You’d have to be willfully ignorant to not have come across the massive sensation that is Game of Thrones. I have to admit that I’m one of those people who only discovered it through the TV show, much at the behest of many of my friends who’ve urged me to read George R. R. Martin’s epic works. Still it’s easy to see just how detailed the world he created is with deep and complex political landscapes that stretch back over countless years. It was interesting then to hear that Telltale Games would be doing a title within the franchise as whilst they certainly have the pedigree to bring a story to life the world of Westeros isn’t exact their modus operandi. Indeed their entry into this gritty and uncaring world seems to signal that Telltale wants to begin rising above its current station, and that it has the skills to do so.
MINOR GAME OF THRONES SPOILERS BELOW
The Forresters have been the bastions of the Ironwood forests for countless generations and loyal to the Starks for just as long. That loyalty is what led them to be in attendance for the horror that was The Red Wedding where many of their men met their fates. You are Gared Tuttle, squire to Lord Gregor Forrester, who managed to escape the violence in order to carry a message from your lord back to the house of Forrester. Unfortunately the tragedy that befell you at The Red Wedding has also spread to everywhere else and now the house which you have long been loyal to is under threat. Can you fight your way out of this? Or will you use the more delicate hand to beguile your enemies and have them fall on their own swords?
PLOT SPOILERS OVER
Telltale has a very distinctive style when it comes to the games they create, favoring the heavy bordering and solid colours that are typical of their graphic novel inspired works. This has been reworked somewhat for Game of Thrones, dumping the cartoony look and instead aspiring more towards realism than any of their other games have done previously. This has also come with an upgrade in visuals in almost all regards although the semi-stiff animations and less-than-stellar attempts at depth of field do leave a little bit to be desired. Still it’s hard not recognise that this is most definitely a big step up for Telltale games and potentially signals towards them feeling comfortable enough to experiment with the format they’ve perfected.
The signature Telltale style makes a return in Game of Thrones, putting aside most traditional game mechanics in favour of focusing on developing the story and the characters within it. The majority of action sequences play out as a series of quicktime events, throwing up keys to press or mouse movements to make in order to get through a section. The heart of their style is, as always, the dialog system which includes a breadth of options that will shape the game in numerous ways depending on which one you select. Unlike previous Telltale games however Game of Thrones jumps between several different characters, mimicking the format of its source material. All in all there’s nothing too revolutionary about the game itself which isn’t surprising since this is a Telltale title.
Indeed Telltale is probably one of the few game developers out there who are able to get away with doing this since the innovation comes from their ability to tell a good story rather than develop new and novel game mechanics. For story-first titles it’s often better to err on the side of simplicity as too many mechanics, or just a couple poorly constructed ones, quickly distract from the story. This is what titles like Always Sometimes Monsters got wrong, thinking that a variety of different mechanics was necessary in order to keep the player engaged. Nothing could be farther from the truth, so long as the story that you’re telling is engaging enough.
Depending on what your current level of involvement is with the Game of Thrones franchise the story will likely mean a different many things to you although it does tend to assume you’re coming from the TV series rather than just the books. The story begins at the end of the third season and is slated to continue through until the end of the fifth. This means that, unless you’re up to that part in the series, there’s potential for bigger events to be spoiled and pivotal characters that have just recently appeared in the series likely won’t make a great deal of sense to you. Thus to properly experience the story you’d best be placed to catch up to the end of the third season. Who are we kidding though, you’ve already watched it twice.
The story itself is quite engaging, following a thread that’s apparently present in the books but yet to be explored in the series, retaining many of the qualities that made Game of Thrones so popular in the first place. The story isn’t written by George R. R. Martin himself though, rather he sent along his personal assistant Ty Corey Franck (a successful writer in his own right) to be a story consultant with Telltale. Since this is just the first episode there was still a lot of worldbuilding to be done so it wasn’t the most gripping story yet, however many of the events that have taken place are setting the scene for much grander things to come. I definitely have high hopes for Telltale’s version of Game of Thrones and I’m interested to see where they take it.
Game of Thrones is another excellent story-first title from Telltale games, taking the essence of what made their style so popular and maturing it to match the gritty world that George R. R. Martin had created. The graphics are the most notable departure from the Telltale style, ramping it up to a more realistic style whilst still retaining the same feel. However the core of what make their games great, their skill with storytelling, is very much the same and the world of Westeros provides a great canvas for them to paint a new story. Overall for fans of Telltale or the Games of Thrones franchise this title will be certain to delight and is most certainly worth the price of admission.
Game of Thrones is available on PC right now for $29.99. Total play time was 2 hours with 100% of the achievements unlocked.
The one review per week deadline I’ve set myself is both a blessing and a curse. I have certainly broadened my gaming horizons considerably since I first started doing it having played many titles I would’ve otherwise let slip by the wayside. Unfortunately it also means that I usually pass on titles that require a heavy time investment as I simply can’t do them justice. However there are exceptions and Dragon Age: Inquisition, a game who’s predecessors I’ve played (and loved) in the past, is one I certainly couldn’t pass up. So, after shirking off all my other responsibilities for the past week I’ve managed to work my way through Bioware’s latest RPG, and I’m incredibly glad I did.
It has been one year since the events of Dragon Age 2 and the world, still reeling from the last blight and the turmoil in Kirkwall, is set to face another threat. The sky has been rendered asunder in a massive explosion that destroyed the Chantry’s most sacred of temples with you, bearing and strange green mark on your hand, being the only one to survive it. Whilst many want you to be put to the axe immediately Seeker Cassandra steadies their hands in the hopes that you will be able to close the breach between this world and the fade. To do this she invokes the right of the Inquisition, severing ties from the Templars and Chantry to form a new order to close the breach and seek its cause.
At first I thought Inquisition was running on some kind of supercharged Unreal engine, due to the way it used specularity, however it turns out that it’s powered by none other than the Frostbite 3 engine, the same one that’s behind the beautiful graphics of the Battlefield series. Compared to its predecessors Inquisition is definitely a major step forward with everything taking on a new sense of scale and detail. Surprisingly this doesn’t come with it’s usual associated cost of stuttering frame rates, something I was quite impressed with. It may not be Skyrim-modded-to-the-nines beautiful but it’s definitely a game that would be best played on a current generation hardware.
The sheer breadth of Inquisition is something that’s hard to understate, something which is wholly a product of the previous instalment in this series being panned for its limited nature. The core of the game still remains the same, it’s a Bioware RPG that has a heavy focus on the story and your role within it, but surrounding that are numerous quests, challenges and other activities that I’m sure adds up to well over 100 hours worth of play time. Layered on top of all of this is the War Room, a birds eye view map of Orlais and Ferelden that allows you to send your advisors on missions to gain influence, rewards or to unlock further missions for you to pursue. It shows that Bioware has listened to the feedback regarding how narrow Dragon Age 2 felt in comparison to its other RPG titles, even if they may have overcompensated to the point of impacting other things (more on that later).
Combat feels like an evolutionary improvement of what was done in Dragon Age 2, keeping the same action-RPG focus whilst attempting to add in other mechanics to make the traditional RPG style more accessible. Instead of the traditional pause mode Inquisition instead gives you a Tactical Camera which allows you to look around the entire combat field and assign actions to your party. It’s not a requirement to use it however as the behaviour system for your companions is back in and, thankfully, is coupled with a much more competent AI that’s able to recognize its new abilities and when it should and shouldn’t use them. Probably the most notable change is though is that the healing system has been completely revamped with no character class having a native healing ability and the number of healing potions given to your party fixed at a certain amount. What this all adds up to is a combat system that’s far more streamlined, lending the focus more to the action than the minutia.
This also means that the strategies you’ll use in Inquisition are going to be far different than any other RPG out there. Instead of ensuring you have the holy trinity set up you’re far more focused on controlling combat, setting up combos and making sure you use other survivability options so you don’t churn through your potion stash too quickly. My party make up usually consisted of a 2H warrior (me), dual wield rogue (Sera), control mage (Dorian) and a frontline tank (Blackwall). The combinations of control from the mage and tank warrior meant that both Sera and I were able to set up extremely devastating combos, some that could drop an entire group of enemies in just a couple hits. There were a couple issues with survivability, especially with mechanics that would drop half your health bar in one hit (not giving them a chance to us a potion) but for the most part once I got past the first 5 hours or so I felt essentially untouchable.
Indeed those first 5 or so hours are probably the most difficult and probably worst paced of the game. Now some of the issues I encountered with not being at the right level might have had something to do with my “go for the story missions first” play style, however once I was over that initial hump whenever I needed to level myself up I didn’t feel like I was struggling to find missions to fill the gap. I think this is probably due to the differences between say, level 3 and 6, being far more drastic than the differences between later levels as I certainly didn’t feel that the later levels made as much of an impact as the first 10 or so did. What was a bit of a chore sometimes was the grind to get power so I could unlock the next set of missions but again this was probably due to me attempting to smash out the storyline rather than meander about.
The crafting system has been shaken up considerably allowing you to create all sorts of highly customized armour and weapons to suit your needs. There’s 3 top level categories of materials (cloth, leather and metal) which have dozens of different types and levels beneath them. This is what allows you to craft armour and weapons with varying characteristics although you’ll likely find you don’t have enough of a particular type to craft the perfect item, even if you’re the stereotypical RPG kleptomaniac. This will then lead you on a hunting expedition for the resources you require something which doesn’t take too long but can feel a little bit grindy if you’re going for the premium materials. However the result can be well worth the grind as I carried my first craft sword through numerous levels.
The war table is an interesting addition, taking its cues from other non-player mission systems like those found in say Assassin’s Creed: Brotherhood. Most of the benefits you’ll gain from sending your advisors on missions aren’t exactly game breaking but every so often you’ll stumble onto something that can make a decent difference in how your game plays out. There does come a time when you’ll run out of the long duration missions however, which puts you in the rather unenviable position of either travelling back to the war room every 15 minutes or simply letting them slide until you next return. Overall I think it’s a good way to keep the story going whilst adding in another avenue to build back story for the world but I probably wouldn’t miss it if it was gone.
This massive amount of content within the game, whilst impressive, has come with an unfortunate cost. As it stands right now the game is riddled with numerous bugs, some of the innocuous and fun, others game breaking or terribly annoying. Many people, myself included, experience random crashes to desktop with no discernible pattern. Others experience weird things like their characters voice changing from male to female or, and this one is particularly frustrating for someone like me who invests an inordinate amount of time recreating himself within the game, change from one voice type to the other. My originally deep voiced character changed to the higher pitched British actor half way through the game, a bug that currently has no fix in sight. This frustration is only compounded by the interface often forgetting that I had a mouse, refusing to respond to any input from it until I ALT + TAB out and back in again.
Whilst I initially wrote this off as a typical Bioware RPG, which have a reputation for doing this, it became hard to make excuses for them the further I got into Inquisition. Sure, it’s clear that they took the feedback about Dragon Age 2 to heart, however at the same time it’s obvious that they sacrificed on polish in order to jam as much content in as they could. Whilst I understand that patching issues, especially the number which are evident within Inquisition, takes time we’re now a week past launch and there’s no patch in sight to fix some of the more glaring issues with the game. Inquisition is still a fantastic game, it’s just held back from where it should be because of these problems.
The incredible scale of Inquisition extends to its story with nearly every aspect of the world getting the full Bioware backstory treatment. Most if it is unfortunately hidden behind giant walls of text that you’ll have to wade through, however for your companions and major story NPCs they will gladly regale you with troves of information about the world and their place within it. At the same time there’s not an incredible amount of reliance on the previous titles to provide context on the events that are occurring, something which I think many of us will be grateful for given the fact that it’s been over 3 years since we last ventured into the Dragon Age world. Truly Inquisition is one of the shining examples of a game that puts a great emphasis on its story and the world which it exists in.
As to the tale of the Inquisition itself there are numerous moments I could point to (which I won’t, since they’re spoilerific) where the story really shines. It’s a classic hero’s journey, building you up from someone who was in the wrong place and the right time to a leader who inspires all those around him to achieve great things. There are a few moments which stick out in my mind brilliantly where I felt part of something much larger than myself, a notable achievement that few games have managed to replicate. The over-arching story does a great job of making you feel like you’re building towards something greater however the final pay off felt a little anti-climatic. I think this is probably because other games make the penultimate fight feel like you’re going up against insurmountable odds whereas in Inquisition I had cornered my prey and was simply there to deal the final blow. That’s just my impression however, something that may be tied into the fact that I was literally unstoppable at the end.
Dragon Age: Inquisition is a rare example of a sequel surpassing its predecessors, bring a sense of scale and depth that’s rare to see in any game. All the elements that made the original Dragon Age great are there, from the combat to the story to the ancillary elements around them, and the summation of those parts is so much greater than they would be individually. This greatness is however dulled by the numerous issues that plague the game, ranging from the annoying to the down right game breaking. However, despite that, it’s a hard game to put down as everything else about it draws you back in, taunting you to play just one more mission or to follow the end of that quest chain. Suffice to say I think Dragon Age: Inquisition is by far the strongest instalment in the series and it will only get better once Bioware starts patching it.
Dragon Age: Inquisition is available on PC, PlayStation3, PlayStation4, Xbox360 and XboxOne right now for $89.95, $99.95, $109.95, $99.95 and $109.95 respectively. Game was played on the PC with a total of 29 hours of play time and 48% of the achievements unlocked.
I have something of a love/hate relationship with 4X style games. Usually at the beginning I hate them, the complicated web of variables that needs to be balanced properly usually irritates me to no end, especially when I figure out I’ve backed myself into a corner. Whilst that might make put them down initially there’s always that voice at the back of my head that tells me I should try again because this time, it says, you’ll get the balance right. And so the cycle goes until I look at the clock and its 1am…2 days later. The Civilization series has long set the benchmark for the 4X genre and with its latest instalment, Civilization: Beyond Earth, it seems set to keeping setting the standard by which all others will be judged.
Earth lies a ravaged husk of its former self. 600 years into the future humanity made a terrible error, The Great Mistake, that is slowly rendering the planet unliveable. Thus all the great nations of the world put their resources behind a desperate plan: they’d send their best and brightest across the galaxy to find new worlds, to start fresh and save humanity from its certain death. It is now up to you, dear traveller, to restart humanity on worlds that are not of our own. Will you remake humanity in it’s own image? Or will you craft a new kind of civilization, free from the bonds of its past? The world is yours to craft.
Having not played Civilization V it’s hard for me to comment on how the graphics compare to its predecessor although perusing through some screenshots shows that there’s been some improvements, not least of which comes from the form of a better UI. Like most 4X games Beyond Earth tends towards a more simple graphical style mostly because the screen ends up littered with hundreds of objects in no short order, able to bring even a respectably specced machine to its knees. That being said it’s not an ugly game, especially when you’re zoomed out, indeed it’s probably the best looking 4X game I’ve played.
Like all other Civilization games Beyond Earth has a bewildering amount of things to do. It’s enough that, at first glance, you almost feel like you need to read a novel to make sure you know what you’re doing before you click the start button. However, just like other games in this genre, the best thing to do is to simply plonk yourself down and attempt to hammer your way through it, figuring out how each different mechanic works. There’s a semi-helpful AI who’ll pipe up every so often to let you know when something’s happening or there’s a mechanic that needs explaining, which helps a little bit, but the larger overall strategy is still left entirely up to you. With so many options available to you, along with the routine 6+ hour per game play time, you have a recipe for an incredibly addictive game.
Unlike Civilization games of years past Beyond Earth allows you to craft your own history by making a few choices. Your opponents are no longer historical figures, instead they’re representatives of the various factions of Earth that have been sent to settle this planet. The tech tree that we’re familiar with is gone, replaced with a tech web that sprawls out in numerous directions, opening up several different paths to unlocking technology. Beyond Earth also brings with it a system called affinity which sets the overall tone for how your settlement behaves in this new world. With technology trading removed it’s nigh on impossible to research everything in one sitting, ensuring that Beyond Earth will keep you coming back for several more play throughs.
Perhaps the most fundamental thing to understand in Beyond Earth is what all the resources are, what they’re used for and how you can generate the required amount of them in order to unlock the things you want. In my first game I heavily prioritized science which, unfortunately, meant I quickly found myself in an energy hole from which there was little escape. The second time around however I figured out that building out certain resources first were far more advantageous, as was the low hanging fruit in the tech tree. Indeed Beyond Earth, like most 4X games, rewards players for planning out a strategy and then executing it, rather than rushing for the best technology first and hoping your opponent doesn’t get there sooner.
One of the things that I don’t think was explained terribly well was trade. It’s a completely optional thing to engage in, however it quickly becomes one of the largest sources of resources that you’ll have access to. Indeed my energy-first strategy often allowed me to fully kit out a new colony with a trade depot and 2 convoys the second it came online, dramatically increasing its capabilities and growth rate. There are downsides to trade, of course, like your convoy getting eaten by native fauna or picked off by an angry neighbour but trade still seems mightily powerful when compared to the alternatives.
I’m not sure if it was the difficulty setting I was playing on but the AI seems to have some strange quirks when it comes to reacting to what they perceive as a threat. My blue neighbour, who was my biggest trading partner by far, declared war on me twice for nothing I could clearly discern apart from maybe my huge stockpile of energy. The thing is though that they needed me far more than I needed them so the second they broke all trade with me they lost all means to produce additional units. It didn’t take long for me to whittle them down and get a juicy peace treaty as a result but it still felt like the AI should’ve understood the situation it was getting itself into, rather than attempting to bully me with its puny force.
There’s also a few rough edges here and there, like you can see in the first few screenshots in this review. For the most part the innocuous, just seeming to be glitches in certain parts of code that either fail to display something or display it more times than it needs to, but it happened often enough that it did become a little irritating. Since I was coming into this game a little late I usually expect these little rough edges to be gone by the time I get to it so it was a little disappointing to see. That being said the rest of the game runs perfectly so it’s a very small mark on an otherwise smooth experience.
Civilization: Beyond Earth is yet another great example of why Sid Meier’s series is considered the best in the 4X genre. The staggering amount of mechanics, playstyles and strategies that the game puts before you means that there’s always something new to discover or try out, providing nigh on endless hours of entertainment. Like all of the previous Civilization titles it demands a heavy investment of time in order to get the most out of it but should you commit the experience that you’re rewarded with is simply unmatched within its genre. It’s not a perfect experience, lacking a good introduction and having a few rough edges, but it’s still a solid overall experience, one that’s sure to delight Civilization fans all over.
Civilization: Beyond Earth is available on PC right now for $49.99. Total game time was approximately 8 hours with 20% of the achievements unlocked.
The Call of Duty franchise is strangely polarizing among gamers. For some it’s one of the most abhorrent examples of what the current games industry is, with yearly product cycles and numerous DLCs coupled with lowest common denominator game play. For others they’re something else, an equivalent to the popcorn titles that grace the cinemas, to be enjoyed for the spectacle that they provide and nothing more. I most certainly fall into the latter camp as I enjoy the titles for what they are and am usually done with them before the first DLC drops. The latest instalment, Call of Duty: Advanced Warfare, ramps up the ludicrous by taking us to the near future where technology is so advanced it begins to look like magic.
The year is 2054 and you are Private Jack Mitchell of the United States Marine Corps. Your first mission is to support South Korea as their brothers from the North have finally decided to make good on their endless tirade of threats. During the fighting however one of your brothers in arms is struck down and a piece of flying debris severs your arm. Several days later at his funeral you’re approached by his father, Jonathan Irons, CEO of Atlas Corporation, the worlds most powerful military contractor. He offers you a second chance, to get back into action and to right all the wrongs that led to the deaths of people like his son. Equipped with the latest military grade prosthetic arm you follow his lead into battle but it soon becomes clear that Irons’ goals are far more ambitious than you could have known.
In it’s default state Advanced Warfare, to put it bluntly, looks like absolute garbage. I’m not exactly sure why but it seemed to assume I was running it on the computing equivalent of a dry potato and dialled the graphics all the way down to its barest minimums. Now my machine is by no means cutting edge but it’s been able to handle every other Call of Duty title at near maximum settings without hassle. Tweaking everything upwards however brought back the level of graphics I had come to expect from such high budget titles without the performance hit I was dreading based on the initial settings it had chosen for me. Whilst there were fewer stop and gawk moments than previous titles (mostly due to the insane amount of action going on) it’s still a rather good looking game, a big achievement considering how many platforms it was released on.
Advanced Warfare’s plays pretty much how you’d expect it to, given its Call of Duty lineage, however it’s the first in a long time to introduce a core mechanic that shakes up their traditional corridor shooter game play. For the most part you’ll still be running through tight urban environments, laying waste to the enemy du jour, however now you’re equipped with an Exosuit that bestows upon you certain abilities like being able to double jump or regenerate health. The near future setting has also allowed first time Call of Duty developer Sledgehammer Games a great deal of freedom in designing the weapons, some of which are pure science fiction goodness. All this, combined with a couple new interesting mechanics, makes Advanced Warfare a far more varied and interesting game to play than its Call of Duty moniker might first lead you to think.
Combat is, as always, smooth, refined and incredibly fast paced. It’s great to see that Sledgehammer Games was able to replicate the essence of what keeps people coming back to the Call of Duty franchise with their first title as it could’ve easily gone the other way. For the most part combat is challenging enough, punishing you for mistakes whilst rewarding you for good play, however some of the larger battle scenes suffer from an overzealous AI who will pin you, and only you, from every angle. This can lead to some frustrating sections where you have to carefully plod your way through, even though the scene seemingly wants you to run out guns blazing. This may be a function of me playing on the second hardest difficulty but still, sniper accurate AIs using SMGs at long range doesn’t make sense no matter what way you slice it.
The exosuit is by far the stand out mechanic for Advanced Warfare as it’s almost a free license for the developers to give you any kind of power for a specific situation. This includes the rudimentary things like slowing down time and regenerating health to more ludicrous items like cloaking and an unlimited grappling hook. These abilities also allow for many of the maps to be more open than they have been in other Call of Duty titles, allowing you some more control over how combat plays out. Unfortunately you’re never given control over how your exosuit is configured which is a bit of a shame since there are some abilities I’d favour more over others. There is a rudimentary upgrade system for the single player campaign which can turn you into a rather broken super solider if you invest your points well.
I didn’t get much of a chance to sit down with the multiplayer side however it does appear that Advance Warfare makes a return to the smaller, tighter maps that were favoured in previous Call of Duty titles.This means that the spammy, rushy game style that I like to play is viable once again and even with the default classes I found myself being pretty effective, something which usually isn’t the case. However the handful of games I played often suffered from lag, spikes and rubber banding which made it far more frustrating to play than what it should have been. I’m not sure if this is a function of the number of players or just some incredible bad luck but it seemed if there was one laggy person we’d all end up suffering.
Advanced Warfare, whilst being a highly polished game in most respects, still has a few rough edges that I hope will be smoothed over in Sledgehammer Games’ next release in the franchise. I had numerous occasions where enemies were able to shoot through walls, a frustrating thing to happen when you get behind cover only to die to a hail of gunfire that shouldn’t be able to hit you. The sound engine also seems to struggle when you change between headphones and speakers, even when you change it from within the game. Whilst these are issues you can work around they still add a layer of frustration that shouldn’t be in a big budget title like this but I’ll give Sledgehammer Games a pass since this is technically their 1.0 release.
The story of Advanced Warfare is your pretty typical Call of Duty shtick, light on the details and back story but makes up for it in spades with action and explosions. After the first hour it’s pretty easy to figure out where everything is going but with high calibre talent like Kevin Spacey on board it’s hard not to get drawn into it regardless. So whilst you might not have the emotional investment in the characters to warrant the kind of reaction the writers were going for it’s still enough to drive the game forward.
Call of Duty: Advanced Warfare was a gamble that has paid off for both the franchise and Sledgehammer games, demonstrating that they’re able to replicate all the things that make this series great. The combat is fluid, fast paced and satisfying, expanding on the traditional corridor shooter with additional mechanics that are pure, and awesome, science fiction. It may be let down somewhat by its story and rough edges but overall it slots beautifully into the franchise. This should hopefully then flow on to the rest of the Call of Duty titles as they’ll now have an extended development time frame, something which can only lead to bigger and better things. For lovers of fast paced corridor shooters you really can’t go past the Call of Duty series and Advanced Warfare, I’m glad to say, is another great instalment.
Call of Duty: Advanced Warfare is available on PC, PlayStation3, PlayStation4, Xbox360 and XboxOne for $89.95, $99.95, $109.95, $99.95 and$109.95 respectively. Game was played on the PC with a total of 8 hours played and 49% of the achievements unlocked.
There’s no doubt that the media we consume has an effect on us, the entire advertising and marketing industry is built upon that premise, however just how big that impact can be has always been a subject of debate. Most notably the last few decades have been littered with debate around how much of an impact violent media has on us and whether it’s responsible for some heinous acts committed by those who have consumed it. In the world of video games there’s been dozens of lab controlled studies done that shows consumption of violent games leads towards more aggressive behaviour but the link to actual acts of violence could not be drawn. Now researchers from Stetson University have delved into the issue and there doesn’t appear to be a relationship between the two at all.
The study, which was a retrospective analysis of reports of violence and the availability of violent media, was broken down into two parts. The first part of the study focused on homicide rates and violence in movies between 1920 and 2005 using independent data sources. The second then focused on incidents of violence in video games using the ESRB ratings from 1996 to 2011 and correlated them with rates of youth violence over the same period. Both periods of study found no strong correlation between violence in media and acts of actual violence, except for a brief period in the early 90s (although the trend quickly swung back the other way, indicating the result was likely unrelated).
Violent video games are often used as an outlet for those looking for something to blame but often the relationship between them and the act of violence is completely backwards. It’s not that violent video games are causing people to commit these acts, instead those who are likely to commit these acts are also likely to engage in other violent media. Had the reverse been true then there would have been a distinct correlation between the availability of violent media and acts of real world violence but, as the study shows, there’s simply no relationship between them at all.
Hopefully now the conversation will shift from video games causing violence (or other antisocial behaviours) to a more nuanced discussion around the influences games can have on our attitudes, behaviours and thought processes. There’s no doubt that we’re shaped by the media we consume however the effects are likely much more subtle than most people would like to think they are. Once these more subtle influences are understood we can then work towards curtailing any negative aspects that they might have rather than using a particular medium as a scapegoat for deplorable behaviour.
I can remember 8 years ago when Dreamfall first came out and my collective group of friends all talking about playing it. This was just when my love of cinematic styled games was starting to bloom with titles like Fahrenheit only just having graced the shelves. However I was told with no uncertainty that if I was going to play Dreamfall I had to play its predecessor, The Longest Journey, before I could dive into it. Considering that game is some 40 hours long (or more, depending on how long you got stuck on the rubber duck puzzle) it would be no small investment but suffice to say I’m glad I did. After a wildly successful Kickstarter campaign Red Thread Games is finally continuing the story of Zoe Castillo and her journey to save two worlds from the impending darkness.
Betrayed by a mother she only just found out was still alive Zoe has been trapped in the story time, a place which exists between the twin worlds of Stark and Arcadia. Her body lies motionless in the real world, hooked up to a machine that ensures she stays alive but makes no attempt to bring her back. She has found purpose in this world however, saving those who’ve become trapped in their dreams by the Dream Machines by guiding them back to the light and warning them of their danger. This is not what was intended for her however as the darkness that threatens to engulf both worlds still spreads even in her absence. It is time for Zoe to make a return to the real world and to return to her journey.
Dreamfall Chapters looks decidedly previous gen in terms of graphics as it lacks much of the graphical fidelity of its current gen brethren. Primarily this is a function of its use of Unity and cross-platform ambitions which limit the amount of eye candy you can use. However that being said it’s far from an ugly game, with lovely expansive environments that are just brimming with details. It’s definitely best played with an expansive view (both figuratively and literally) as the bigger picture is so much more than the sum of its constituent parts.
Dreamfall Chapters takes inspiration from the Telltale style of story based games, stripping away all but the essential mechanics and instead placing a heavy focus on the story and player agency. You’ll be following the stories of 2 individuals, the first being Zoe Castillo, the main protagonist from the first Dreamfall game and Kian Alvane, another one of the main characters from the previous title. Dreamfall Chapters retains its adventure game roots, giving you all manner of puzzles to solve in order to progress the story, however it now also includes choices, both major and minor, that will affect the outcome of story. It’s a formula that’s worked well for Telltale for the past and to their credit Red Thread Games have managed to take the essence of it and make it their own.
In terms of game play this first instalment (Dreamfall Chapters is now an episodic game) feels a lot like an extended tutorial coupled with a reintroduction to all the characters, worlds and stories that exist within them. A lot of the mechanics you’ll encounter, like shining a light on things to reveal something that can’t be seen otherwise, are mostly things you’ll only encounter once in the game but are obviously being set up for use again later down the track. You’ll be able to pick up the vast majority of them without too much hassle especially if you’re a long time adventure game player. There are a few puzzles which feel like they’re an homage to the ridiculous puzzles of yore (the pillow on a broom is one example of this) however for the most part you likely won’t find yourself stuck at one point for an inordinate amount of time.
The dialogue choice system is probably Dreamfall Chapter’s stand out feature as it’s leaps and bounds above what’s in most other story-first games. Instead of being given a bunch of options to choose from with just a small blurb to go on you’re instead treated to the inner monologue of the character as if they’re making that decision. This has two benefits, the first being that you’ll always be sure that the decision you make is in line with what you choose. Secondly you can get a feel for how Zoe thinks her decision will pan out which can sometimes change your mind on how you want a particular situation to play out. On the flip side however this does require you to go through the options fully before making a decision as the dialogue that follows is usually brief and provides no further insight that what can be gleaned from listening to their musings prior.
Mechanically the game is pretty much bang on with performance being great and not a crash to be seen throughout my playtime. However the look to select system feels a little wonky, often requiring you to shift your character and camera around multiple times in order to be able to interact with something. This can be rather frustrating when you notice something pop up (a little eye indicates you can interact with something) only to have it disappear the second you stop to try and click on it. It’s not something that will prevent you from progressing within Dreamfall Chapters, but it does feel like it happens more than it should.
Dreamfall Chapters does a good job of setting up the world that the rest of the game will take place in, reintroducing many of the characters from the previous games and filling in their stories of the past year that Zoe’s been out of action. Whilst the majority of the story is exposed to you directly there’s a fair amount of detail crammed into Zoe’s journal which can be a little bit of a chore to read through. Given the time between the previous game and this one though it almost feels like it’d be worthwhile playing through it again as some of the larger story elements rely heavily on the back story that was built back then. Indeed Dreamfall Chapters isn’t designed for those who are just becoming familiar with the franchise as it leans heavily on what came before it.
In terms of the story of this instalment it’s clear that the primary focus was on setting up the initial world that the following chapters will build upon. Considering the wealth of background that’s available in 2 other games they can somewhat get a free pass for not developing the characters much however if you’re looking for the story of Dreamfall Chapters to go places quickly you’ll unfortunately be disappointed. Don’t get me wrong though, there’s a lot to love in here, you’re just not going to be cemented to your seat from the second you click play.
Dreamfall Chapters fills a hole that’s long been in many gamer’s hearts, continuing the story of Zoe Castillo that felt like it was cut abruptly short at the end of the previous game. It might not have next generation graphics or play as smoothly as some other adventurers other there however it makes up for it with one of the best dialogue systems I have seen in recent times. It will be interesting to see how the player choices pan out in the greater story as they’re making a big deal about player agency and I hopeful that they will be able to deliver on it. Dreamfall Chapters really is only for fans of the series but should your interest be piqued I would heartily recommend making the investment to play through its predecessors.
Dreamfall Chapters is available on PC right now for $29.99. Total play time was 3 hours with 86% of the achievements unlocked. The writer was a backer of the Dreamfall Chapters Kickstarter at the $500 level.
There are few games that manage to mix elements of different genres together well enough to produce a playable game but the Borderlands series stands out as one of the best examples. There’s the right amount of RPG style elements, with all the loot, levels and specializations you could ever want, combined with the fast pace of a modern shooter. That, along with it’s never-takes-itself-seriously style, makes Borderlands games an incredible amount of fun to play even years after they’ve been released. The latest instalment, Borderlands: The Pre-Sequel, continues along the established tradition bringing the same experience that Borderlands fans have come to expect.
Long before Jack became the handsome bastard that he was in Borderlands 2 he was just a simple Hyperion programmer based on the Helios satellite orbiting Pandora. Still he aspired to be something greater and that’s where you come in vault hunter as Jack wants to find the vault and plunder its secrets for himself. However as you’re making your way to meet him on Helios you’re ambushed by the Lost Legion, a group of fanatical soldiers led by the fearless Colonel Zarpedon, who then take over Helios. Now it’s up to you to fight your way through them in order to retake Helios and, hopefully, find your way down to Pandora to find the coveted vault.
The Pre-Sequel retains the same visual style of its predecessors, bringing along with it some noticeable improvements to the visual effects such as the lighting, physics and particle systems. It still uses the same engine as Borderlands 2, which is the main reason you won’t see it on previous generation consoles, so the overall feel of the game remains largely the same. It’s at this point where my rig was starting to show its age as after tweaking with a few settings the game rapidly descended into unplayable territory, something I had never experienced with the previous Borderlands title. Once I figured out what I was doing wrong (cranking up PhysX without an NVIDIA card was probably bad idea) the game was buttery smooth throughout.
The gameplay of The Pre-Sequel remains largely the same as its predecessors, giving you the same hybrid RPG/FPS experience with all the Borderlands style trimmings. There are 4 character classes to choose from, each of which is roughly equivalent to the same kinds of character classes from the previous 2 titles. They are unique in their own right however and the skill trees further differentiate them from anything that’s come before. You’ll be collecting dozens of guns again, however this time around you might not be leaving all those greens on the ground thanks to the newly introduced grinder mechanic. Apart from that The Pre-Sequel will play pretty much the same as both of its predecessors, for better or for worse.
Combat flows between you being an unstoppable killing machine, able to lay waste to dozens of enemies without breaking a sweat, to feeling like you’re banging your head against a brick wall. Part of this is due to the game’s slightly off pacing as I often found myself several levels ahead of many of the side quests by the time I got around to them which made me not want to do them. There’s a real dearth around the level 20~24 bracket which I got around by fishing out a couple quests and grinding the enemies, something which put me off playing for extended periods of time. Past that point though it started to feel a lot more balanced with my mistakes rightly punished but careful strategy was rewarded properly.
I chose to play as the Enforcer which seemed to match my desired play style pretty well. His action skill summons 2 drones, one that continually heals you and the other who hunts down enemies for you. It felt like probably the best “OH SHIT” action skill out of the lot since I could summon them just before I died and I’d usually end up getting a kill before the second wind timer expired. I did however opt for the more character focused skill tree which made certain gun types absolutely ridiculous at dishing out damage, especially if my shields dropped and I had just offed another enemy. Towards the end I became completely unstoppable however as I, somehow, got my shield recharge rate down to almost instant, allowing me to tank pretty much any enemy face on.
Loot will come at you thick and fast in The Pre-Sequel, much like it did in the previous 2 games. However The Pre-Sequel introduces the Grinder, a machine which allows you to combine 3 items of the same quality into one, hopefully netting you a better item. If you’ve got a hole in your gun selection and nothing good seems to be dropping then this can be a great way to fill it. However it does have an upper ceiling as you can’t combine 3 epic items into a single legendary (you can only create legendaries by combining 2 legendaries with an epic). I can somewhat understand the reasoning behind this, it’s for those end game gun raiders who are looking for the best gun possible, but it was a little annoying to find that out after I had saved up 3 epic pistols hoping to get myself a shiny orange.
Probably the biggest issue I have with The Pre-Sequel is that it’s just too similar to Borderlands 2. Its predecessor introduced a whole host of new mechanics that made the game fresh and gave the end game players something to progress. The Pre-Sequel on the other hand feels pretty much like an expansion pack to Borderlands 2 as nearly everything is the same, just with new character classes and an additional loot generation mechanic. I’m sure Borderlands purists will love this aspect of the game but for those of us who like to see franchises grow and expand past their roots it’s a little painful to see something spin its wheels, even if the game itself is pretty enjoyable. This is most certainly reflective in my total playtime which is a stunning 9 hours less than in the previous title.
The Pre-Sequel’s story definitely has some moments of brilliance in it, especially with the Australian humour weaved into it. Of particular note is Jack’s transformation from a run-of-the-mill Hyperion employee to the insane psychopath you crossed paths with back in Borderlands 2, even if some of the events that happen feel a little forced. The rest of the characters are pretty much throwaways with enough backstory for you to know why they’re there but nothing to make you care for them in the slightest. It’s pretty much par for the course in the Borderlands series, much like the rest of the game.
Borderlands: The Pre-Sequel is sure to delight long time fans of the franchise as it brings the same hybrid FPS/RPG experience that keeps many of them coming back for years after initial release. However that’s also what makes the game somewhat weak in comparison to its predecessors; it fails to innovate past the benchmark that Borderlands 2 set all those years ago. Suffice to say I still think it’s worth playing however it’s longevity, at least for me, was drastically cut short due to the high levels of similarity.
Borderlands: The Pre-Sequel is available on PC, PlayStation3 and Xbox360 right now for $89.99, $79.95 and $79.95 respectively. Game was played on the PC with 16 hours of total play time and 38% of the achievements unlocked.
If you’re a long time PC gamer chances are that you’ve considered getting yourself a gaming laptop at one point or another. The main attraction from such a device is portability, especially back in the heydays of LANs where steel cases and giant CRTs were a right pain to lug around. However they always came at a cost, both financially and opportunity as once you bought yourself a gaming laptop you were locked into those specs until you bought yourself another one. Alienware, a longtime manufacturer of gaming laptops, has cottoned onto this issue and has developed what they’re calling the Graphics Amplifier in order to bring desktop level grunt and upgradeability to their line of laptops.
On the surface it looks like a giant external hard drive but inside it are all the components required to run any PCIe graphics card. It contains a small circuit board with a PCIe x16 slot, a 450W power supply and a host of other connections because why not. There’s no fans or anything else to speak of however so you’re going to want to get a card with a blower style fan system on it, something which you’ll only see on reference cards these days. This then connects back to an Alienware laptop through a proprietary connection (unfortunately) which then allows the graphics card to act as if it’s installed in the system. The enclosure retails for about $300 without the graphics card included in it which means you’re up for about $600+ if you’re going to buy one for it. That’s certainly not out of reach for those who are already investing $1800+ in the requisite laptop but it’s certainly enough to make you reconsider the laptop purchase in the first place.
You see whilst this external case does appear to work as advertised (judging by the various articles that have popped up with it) it essentially removes the most attractive thing about having a gaming capable laptop: the portability. Sure this is probably more portable than a mini tower and a monitor but at the same time this case is likely to weigh more than the laptop itself and won’t fit into your laptop carry bag. The argument could be made that you wouldn’t need to take this with you, this is only for home use or something, but even then I’d argue you’d likely be better off with a gaming desktop and some slim, far more portable laptop to take with you (both of which could be had for the combined cost of this and the laptop).
Honestly though the days have long since passed when it was necessary to upgrade your hardware on a near yearly basis in order to be able to play the latest games. My current rig is well over 3 years old now and is still quite capable of playing all current releases, even if I have to dial back a setting or two on occasion. With that in mind you’d be better off spending the extra cash that you’d sink into this device plus the graphics card into the actual laptop itself which would likely net you the same overall performance. Then, when the laptop finally starts to show its age, you’ll likely be in the market for a replacement anyway.
I’m sure there’ll be a few people out there who’ll find some value in a device like this but honestly I just can’t see it. Sure it’s a cool piece of technology, a complete product where there’s only been DIY solutions in the past, but it’s uses are extremely limited and not likely to appeal to those who it’ll be marketed too. Indeed it feels much like Razer’s modular PC project, a cool idea that just simply won’t have a market to sell its product to. It’ll be interesting to see if this catches on though but since Alienware are the first (and only) company to be doing this I don’t have a high hopes.
I’m fucking fed up.
I’m fed up with the fact that I can’t go a week without a female gaming icon getting harassed to the point where she has to leave her house. I’m pissed off that rational discourse broke down so quickly that all anyone talks about now is the hate. I hate the fact that I, as your stereotypical male gamer, feel like I’m responsible for all this shit despite the fact that I treat every female gamer like any other gamer. I’m fucking tired of feeling like all I can do is stay silent and try to be a good member of the community so I can lead by example, just like the countless others I play games with on a daily basis. So fuck it, I’ll paint a target on my back by calling out both sides of the argument for the shit they’ve flung in the wrong directions and hopefully I’ll convince someone that everything about this whole controversy needs to die a fucking swift death.
The one thing I’m going to abstain from doing is going over what sparked this (every recount of what happened to get us to this point is so charged with bullshit swinging one way or the other) and if you’re reading this you likely have your own idea of what the fuck is going on. So instead of getting off on the wrong foot here, although I’ve already likely done that with the first paragraph, I’ll just dive into the meat of what I think needs to happen here and then you can all feel free to flame/dox/death threat me in the comments.
If you’re one of the cadre who backs the idea that Gamergate is about ethics in games journalism then there’s really one thing, and only one thing, you need to do: stop fucking using the Gamergate term. No matter how good you think you are at dodging all the hate, bullshit and utterly atrocious actions of a minority of people you’re never going to rise above the rabble that they’ve managed to generate. There’s a larger debate in there that could have some wide reaching ramifications for how games sites handle their relationships with publishers and developers and it’s one I think still needs to be had. However should you go charging in brandishing the Gamergate tag as your source of inspiration all you’re doing is giving credance to those assholes who use the same platform as a place to spread their hate.
In fact I have no fucking idea why anyone who’s actually interested in having a rational debate about these matters even hold onto the tag at this point. I mean it’s not like we can’t create a new one #fuckingEthics or something like that and use it instead, what’s the point of holding onto a term that only gets press when it runs someone from their home? We may not be responsible for the people who are peddling this bullshit but fuck me, we can decry the label as one that’s been mutilated in only perpetrating hate and continue the conversation that needs to be had somewhere else.
The anti-Gamergate crew isn’t entirely blameless in this whole shitpile though as they’ve often lumped the wider gaming community in with hatemongers. Look a minority of people causing a shitstorm in the larger group is nothing new to the world and it is not fair to anyone in that group if you tar them all with the same brush. If we’re going to ascribe that kind of thinking to everything we might as well just assume all Muslims are terrorists and start treating them all as if they were. The hard and fast fact here is that whilst yes, the hate peddlers of Gamergate identify themselves as gamers, they are not representative of the whole and it does us all a great injustice to think that.
I know anecdotes don’t mean much in the larger scale of things but I’ve always tried to be inclusive of women in the games I play with them along with supporting titles that feature strong female characters as leads. I had a look through my reviews of this year and whilst, yes, they’re primarily filled with lead male protagonists a good half of them allowed you to choose your gender with half a dozen or so featuring what I’d consider a well written female lead. However if you formed your opinion of me based on the fact that I’m an (almost) 30 year old white male who spends an inordinate amount of time playing games and all you had was the Gamergate controversy to go on you’d figure I’m just another fucking misogynist hellbent on ensuring the female race stays out of my games.
Just…fucking no, that’s not me at all.
I want to do my part to stop this kind of shit from happening but there are some larger conversations I want to continue in spite of the hate. Hell I don’t think it’s too much to ask, I consulted with my journo friends when I first started getting offered game copies for reviewing and got great lessons on full disclosure, but it seems like maybe now isn’t the right time. What needs to happen now is for everyone to put a bullet in the Gamergate tag and then anyone who brandishes afterwards can be rightly labelled the peddler of hate that they are. Then, once it’s dead and buried, we can resurrect the conversation about journalistic ethics without the bullshit. I have no fucking idea if that will work or not, it probably won’t, but one thing is clear, everything about Gamergate needs to die right fucking now.
My phone is a pretty boring place, filled with productivity applications that are more focused on work than pleasure. It wasn’t always this way, indeed I used to find all sorts of weird and wonderful titles to play on my phone mostly because I had the time to play through them during the hours I’d spend in transit to work every day. However I simply haven’t had that time to myself any more and so the world of mobile games has passed me by, with likely many good titles falling by the wayside. Today I finally make the return back to the platform and if there are many more titles like Monument Valley I believe I’ll need to make an effort to stay.
You are Ida, princess of a realm long forgotten. The world you inhabit is beautiful but barren, bereft of almost any signs of life yet filled with the signs that many have been here before you. Somehow though you can’t help but feel responsible for this and the quest for forgiveness is what keeps pressing you forward. So many questions lay before you, who built this place, where are they now and what led to their apparent downfall?
Monument Valley is a fantastic example of minilmalism, combining solid colours, soft gradients and simple lighting effects to great effect. Every puzzle screen has its own unique style to it which means that the game never gets visually boring or confusing. This is complimented by the use of Escher-esque style drawings with impossible structures and non-Euclidean geometry which, whilst also being amazing samples of this style of work, also function as the game’s main puzzle mechanic. Overall Monument Valley makes a great visual impression, one I’m sure many other games will draw inspiration from.
The core game play of Monument Valley is in the style of other non-Euclidean based games like Anitchamber or The Bridge (although it’s much closer to the latter) where you’re required to figure out how the rules of the geometry in your world work. The things start off relatively simple, only requiring you figure out that your perspective is the key, however you’re quickly thrown into the deep end where the world never behaves as you’d initially expect it to. The puzzles are very well laid out however as you’ll often be introduced to the prime mechanic in its most simple form at the start of the puzzle before you’re introduced to a use case that will require some lateral thinking on your part. There’s also a lot of visual red herrings to ensure that the puzzles aren’t too obvious but they’re uncommon enough as to not be overly frustrating.
This all culminates in a game that’s an absolute joy to play. The beautiful visual elements combined with the inherently non-intuitive puzzle elements just gave me this feeling of exuberance that few games have. There were so many times I’d be stuck on a puzzle for a few minutes before figuring out the solution which would give me a grin that wouldn’t go away for a long time. Probably by far my favourite puzzle out of the lot was the box as the way it was designed evoked this child like excitement in me every time I opened it in a different way. It speaks volumes to the developer’s ability to create an experience that is as fun as what they’ve created.
Monument Valley does suffer from a few usability issues, at least on my Xperia Z. A lot of the touch controls felt like they were either far too sensitive, making me spin the puzzle pieces wildly with little input, or not sensitive enough, leaving me to think that certain pieces couldn’t be moved. I’m willing to admit that this might be a hardware issue rather than something wrong with the game itself however it did make some sections more frustrating than they needed to be. Since I’m on Android though your mileage may vary as I’m sure some more mainstream handsets will function better than my now aging Sony.
The story elements are pretty light on in Monument Valley, told only in the snippets before each puzzle and when you find the old lady hiding wherever she is, but it’s enough to elevate the game above other pure puzzlers. Given Monument Valley’s rather short length it’d be unfair for the story to develop much more than it did but I definitely feel there’s potential for this world to be expanded upon more, possibly with additional puzzles. Needless to say I’d love to see Monument Valley get the full release treatment as I believe the concept still has a lot of legs in it.
Monument Valley is a testament to what the mobile platform is capable of creating, combining gorgeous minimalistic graphics with great game mechanics to create an experience that’s up there with many high budget titles. Whilst it falls short in a couple categories, namely it’s overall play time and so-so controls, it makes up for it in spades in almost every other regard. It’s not a game I’d recommend for everyone, indeed any minimalist title is exclusionary by nature, however for lovers of good puzzle games you really can’t go past Monument Valley.
Monument Valley is available on Android and iOS right now for $4.99 and $4.99 respectively. Game was played on a Sony Xperia Z with about an hour of total play time.