Ever since my rather devastating experience with Super Meat Boy I’ve been pretty adverse to twitch based platformers, mostly because I don’t want to give myself RSI or an aneurysm. Whilst I may have made a brief foray back into the genre with They Bleed Pixels there have been numerous others I’ve left by the wayside because of the sense of dread I get when I play them. However I am a sucker for minimalistic takes on game ideas and 140, spawned by the man who was the gameplay director for Limbo, strips away much of the typical platforming experience and then amplifies it with its own brand of unique mechanics.
You’re a square, but only when you stand still. You’re a circle, but only when you’re moving. You’re a triangle, but only when you’re flying. The only instinct you have is to move from the left side of the screen to the right, backed by an eerie and haunting sound. Things start to change as you pick up these strange little baubles that dot the landscape, reshaping that sound into a pulsating beat which the entire world reacts to in time. This world isn’t completely safe though as there are many things that would seek to stop your journey forward, but even they are slaves to the rhythm that weaves through everything around you.
The art style of 140 is probably the most ferocious example of minimalism that I’ve seen to date. Things that you’d usually expect to see in even minimalistically styled games like gradients, shadows or shading simply don’t exist here with everything being solid colours. This is not to say that it’s a visually dull game however, far from it, more that when something is done to this level of simplicity it’s anything but random, it’s a carefully calculated experience that’s designed to get you focused on the game play. In that respect it does well as you’ll do little more in the short time this game will keep you.
The main game mechanic of 140 is 2D platforming, seeing you leap from section to section and often failing, seeing you transported back to your last checkpoint. However the twist with 140 is that the entire world reacts to the background music which you build up by collecting the little orbs and then bringing them back to a platform. Every time you do this the world around you will change, either wholesale by transporting you to another place or by bringing another part of the environment to life. This opens up new opportunities for you to progress but also ramps up the difficultly level, forcing you to reconsider how you’ve been playing up until that point in order to incorporate this new mechanic.
The enemies and boss fights are also pretty intriguing, taking the same music driven idea and incorporating it into battles that have the signature trademarks of other genres (like bullet hell, for example). They’re a fun distraction from the rudimentary platforming, often forcing you to think radically differently in order to complete them. The final challenge felt like something of a cock block though and whilst I got close to completing the game the somewhat random nature of it (yes I know there’s a pattern but since it doesn’t repeat from the start on death it’s a real pain to figure out) seem to catch me out every time I got close to the final puzzle.
Unfortunately there’s not much more I can say about 140 as it’s an experience that you have to play for yourself to really appreciate. At the beginning it feels a little too simple, lacking pretty much anything to keep you interested, however that quickly changes as the music ramps up and the world starts reacting to it. It’s also a very short experience too, clocking in at just over an hour, which makes it well worth a look in if you’re seeking something radically different from the gaming norm.
140 is available on PC right now for $4.99. Total game time was approximately 1 hour.
Often the origin tale of a developer can be just as interesting as the games they develop. Long time readers on here will know that I’ve got a soft spot for Wadjet Eye Games who’ve been responsible for publishing some of the best pixel-art adventure games in the last couple years but they’re also a developer themselves having released numerous titles previously. Their first ever game was called The Shivah, initially done as a entry into a monthly game contest, but quickly became their first commercial title. I unfortunately never even heard of it at the time, most likely because I was deep in the throws of my World of Warcraft addiction at the time, but they’ve since remastered it and released it as The Shivah: Kosher Edition and they provided me with a copy for review.
You play as Russell Stone the lone rabbi of a small synagogue in New York city. It’s not the easiest of times for Rabbi Stone as his congregation has been steadily shrinking and the bills keep piling up. Just when he was about to pack everything in he gets a knock at the door: the police want to see him about something. As it turns out a former member of his congregation left him a large sum of money in his will, more than enough to keep the synagogue open. Puzzled as to why this strange windfall has come his way rabbi Stone sets out to find out the reasons as to why this money was left to him and the circumstances in which came.
Whilst I never played the previous version looking through the various guides and reviews of the previous edition of The Shivah shows that a lot of work has gone into revamping the visuals with every aspect being redone. The difference is quite stark with every scene now having a lot more detail, fidelity and lighting effects. It’s the kind of thing that I’ve come to expect from every game Wadjet Eye publishes and I’m glad that their in house titles are no different.
The Shivah is an adventure game where you’ll spend the majority of your time clicking on things, reading through text and figuring out where to go next in order to progress the story. Whilst I can’t comment on its previous incarnation it does feel like this was the part was left pretty much as is as the mechanics are quite simple and barring a couple of the challenges you’re not likely to get stuck at any one position for long. I think this is telling of its origins as an entry to a game challenge contest as many games done in a similar fashion eschew elaborate puzzles due to the constrained development time.
Whilst there’s an inventory system it’s thankfully kept to the bare minimum, mostly serving as another point of reference for solving the other puzzles. I must admit that playing The Shivah I felt like I’d been spoiled by more recently releases in the genre with many implementing a clue system to record pertinent details. The Shivah has this for a few things but there were a couple times where I found myself forgetting a name and having to scramble around the game looking for it again. The notable lack of feedback for some turning points, like in other games where a clue being added to your journal was a good indicator that you could progress, can also leave you wondering what else you need to do. Thankfully most of the time you can get past that by simply travelling to another location but I did manage to get myself caught up in my own head a couple times.
The story is interesting, running you through the trials and tribulations that religions face in the modern day and how the rigorously devout deal with them. Whilst I was a little sceptical as to it being of any interest to me the way The Shivah deals with people compromising on their ideals and how others react to that is quite intriguing. I might understand the plight of the modern day Jew but I’m very familiar with people holding one stance publicly yet doing something else privately and the way The Shivah deals with such hypocrisy has a very real feeling about it.
With it being a rather short game though it’s hard to deeply empathize with any of the characters and whilst some of the scenes can be confronting on an emotional level it certainly didn’t elicit emotions of the same level as say To The Moon (although to be fair few do). The Shivah does get a lot of bonus points for having a story that changes depending on your actions though as how you resolve the situation will greatly depend on how you conduct yourself. Thankfully getting all of them isn’t too difficult so there’s no need to keep a treasure trove of saves lying around and the auto-save function ensures that you’ll have all the chances you need to get the ending you want.
The Shivah: Kosher Edition is a short but sweet experience from Wadjet Eye games, capturing the essence of what led to the publisher’s creation and showing how remastered games in this genre should be done. It’s a simple title, one that’s aptly suited to the iOS platform that this version is available on, and whilst the replay value isn’t high if you’re a fan of Wadjet Eye style games then you’ll definitely enjoy The Shivah.
The Shivah: Kosher Edition is available on PC and iOS right now for $4.99 and $1.99 respectively. Game was played on the PC with 2 hours total play time and 60% of the achievements unlocked. A copy of this game was provided to The Refined Geek for the purposes of reviewing.
I have something of a soft spot for the Call of Duty series, a trait which I think is highly evident given the fact that I’ve been reviewing their games for the past 4 years. This primarily extends from their highly cinematic single player experiences where the actual game play borders on being more like an action movie rather than a traditional FPS. However I also found myself inexplicably drawn to the multiplayer, finding myself being one of “those people” who just couldn’t get enough of the fast paced, super spammy Nuketown map. I also have to admit that I did feel pretty special to be invited to come and preview their games way back when (something I’ve been unfortunately unable to repeat lately) and the fact that they sent me copies to review was a kind of validation that I hadn’t got before. Whilst that trend didn’t continue this year I’m still a fan of the series in general and have spent the better part of 2 weeks gorging myself on everything Call of Duty: Ghosts has to offer.
Call of Duty: Ghosts takes place in the not too distant future in an alternate timeline to the rest of the Call of Duty series. You primarily play as Logan, the son of a lifetime military man Elias who regales you with the story of an elite unit who faced down overwhelming odds and came out the other side. They called themselves the Ghosts, known for never giving up until their mission was completed and always ensuring that all their men got out, dead or alive. The story is unfortunately cut short as it quickly becomes apparent that the USA is under attack however the origin of the bombardments isn’t quite clear. What is for certain however is that the new world superpower, The Federation, are behind it and they need to be stopped.
Ghosts is one of the first titles to make it onto the next console generation (although its still available on current gen) and the improvements to the graphics that they enable are quite impressive. Whilst the difference between Black Ops II and Ghosts is as great as you’d expect to be, especially with this being the first next gen Call of Duty title, there’s still been a dramatic improvement since the last Infinity Ward game. All of the screenshots were taken in game and I think they speak volumes to the amount of effort put in to the set pieces that Infinity has created. It’s also probably the reason why the game comes in at 28GBs, by far one of the largest downloads I’ve ever had for a single player game (the multi is a separate 4GB download of its own).
The game play is your standard corridor shooter with you being guided from point A to point B by one or more NPCs with different kinds of objectives along the way. Saying that for most games would be a jab at their originality or banality but the Call of Duty series does it so well that it’s hard for me to criticize them for it. Still if you were looking for something innovative or different about the single player campaign you’re going to be disappointed as it really is just a scenic tour through a whole bunch of impressive artwork with action movie style combat thrown in so you don’t get bored walking everywhere. That being said it is quite the ride with you rarely being given more than a couple moments to catch your breath before the next unbelievably epic moment occurs.
The combat is, as always, polished and refined to the point where it’s smooth as glass. The only variation from previous games is the weapons and equipment that will be made available to you and for the most part the differences are largely cosmetic as they’re all guns that shoot bullets. There is a little variety in the way the guns act in different environments, like when you’re in space or under water, but the standard assault rifle will be your mainstay for the majority of the game. If there’s one thing I’ll criticize Ghosts for it’s the use of sniper accurate enemies who seem to be able to hit you from almost any angle, leading to long periods where you have to peek your head out, get hit, figure out where they are and then try to pick them off before they or their friends do the same to you. This is made somewhat more annoying by the unpredictable nature of the NPCs who sometimes charge ahead or seem to get stuck in one position until you do the charging, but then again I’ve yet to find a game where I’ve felt the NPCs were truly useful additions.
Considering the amount of hype and focus the dog got prior to Ghosts’ release I’d be remiss if I didn’t give my perspective on it. Riley (that’s his name) is essentially another mechanic for them to throw at you with his main function being that of a kind of single target grenade that you can point at anyone and have him take them down. There are also some more weird sci-fi sections where you’re able to control him directly, making him sneak behind enemy lines and even take down people from a remote console. It fits in with the overall game, although why such a big deal was made of it I’ll never quite understand, and there’s a particular heart wrenching moment when he gets shot and you have to carry him through the battlefield. Conveniently they also provide you with an insane machine gun at that point, allowing you to go full rambo on the assholes who shot your dog which was probably one of my favourite parts of Ghosts.
I’m somewhat thankful that Ghosts took a new route as the previous storyline was starting to get a little long in the tooth, especially with all the various sub-plots that I just couldn’t seem to keep track over between instalments. They’ve taken a break from the traditional clandestine unit saving the USA from imminent attack, instead putting you in a world that’s been devastated by the newest superpower. It’s best not to think about it too deeply though as it tend towards more being an action movie than a psychological thriller, hoping that you won’t think and instead enjoy the ride. If you do that the story is passable and is more than enough to keep you motivated from one objective to the next.
The multiplayer breaks away from Infinity Ward’s traditional way of doing things (where most things are locked until you level up enough to get them) and instead adopts a Squad Point system for upgrading your character. Unlike the the cash system that the original Black Ops had Squad Points aren’t earned in troves by simply playing. Whilst you will get points for levelling up the system is obviously more geared towards you completing challenges, both grand ones that require multiple games to accomplish as well as field orders which grant you a bonus during the game. Because of this all the guns in the game are available to you from level 1 and all that’s required is that you grind out a few points to unlock them.
The perks, however, are hard locked to your level with the more powerful ones being reserved for the later stages. This does mean that particular play styles are just simply not feasible until you get to that stage as you won’t be able to have your pick of the perks until you hit level 60. For someone like me who’d developed a distinctive play strategy (I’m a rusher style player) it meant that I had to change the way I played in order to get anywhere in the game. It doesn’t take too long to adjust as you can still do the traditional assault rifle style play but I did feel a little miffed that I couldn’t engage in the insane runabout shenanigans that I did in previous games.
Indeed it seems that Infinity Ward is trying to encourage a slightly different style of play with Ghosts as there are now many more open maps that are more conducive to sniping than there was in the previous games. You can imagine how annoying this is to a rusher like me where my style of combat relies on getting in people’s faces, but it means that you just have to adapt or die. There are still a few crazy small maps however it seems that they’re no where near as popular as the Nuketown of old as there’s rarely more than 100 players in the Ghost Moshpit game type with most staying on Team Deathmatch or Domination. This is probably not so much of a problem on the consoles however as there’s an order of magnitude more players around at any given time.
For what its worth I feel that the multiplayer of Ghosts is weaker than previous instalments as it just doesn’t seem to have that same pulling power on me that it used to. I’ve still racked up about 7 hours on it after taking about 2 to find my feet again but I just don’t have that same sense of compulsion pulling me back. Maybe its the lack of Nuketown, maybe it’s the lack of my spammy akimbo style of game play but whatever it is it just isn’t the same as it used to be. Activision said that they were expecting lower sales this time around due to the console switch over and that seems to be reflected in the multiplayer. Hopefully the next instalment won’t suffer because of it.
Call of Duty: Ghosts is another highly polished instalment in the franchise, showing that Infinity Ward is capable of delivering a highly cinematic experience that’s thoroughly enjoyable to play through. Whilst the stories and setting are always different the core game play remains the same and it’s commendable that they can still make it enjoyable this many years on. However the multiplayer experience is definitely a step down from previous games, lacking the same addictive power that compelled me to become a fan of the series all those years ago. Overall it’s still a solid game experience but they’re going to have to aim higher next time around if they want to recapture their original glory.
Call of Duty: Ghosts is available on PlayStation3, PlayStation4, Xbox360, XboxOne, WiiU and PC right now for $78, $78, $78, $78 , $99.95 and $89.99 respectively. Game was played on the PC with 5.4 hours in the single player campaign and 7.1 hours in multiplayer.
Prior to the release of Batman: Arkham Asylum you’d be hard pressed to find anyone who’d heard of Rocksteady Studios. Primarily this would be because they only had one title to their name before that, Urban Chaos: Riot Response, which wasn’t badly received but at the same time you’d struggle to find anyone who’d played it. Their following two instalments using the Batman IP however catapulted them to fame and their success led to them being acquired by Time-Warner shortly before the release of Arkham City. However the most recent instalment in this series, Batman: Arkham Origins comes to us not from the venerable Rocksteady but instead Warner Bros Games Montreal, a development house that’s familiar with the series (as they worked on the Wii-U port Arkham City). Combine that with the Joker no longer being voiced by Mark Hamill and fans of the series were decidedly nervous as there was no telling how this game would pan out.
Arkham Origins takes place long before the world that was established in the previous two games, going back to the beginnings where Bruce Wayne is just beginning his journey as the caped crusader of Gotham City. He’s been at it long enough to attract the attention of some of the city’s more nefarious criminals and this has resulted in Black Mask, a notorious underworld dealer who’s eluded conviction due to the numerous businesses he runs, putting a bounty on Batman’s head. He has also invited 8 different assassins to go after the bounty including many of Batman’s long time rivals. Of course Bruce can’t sit idly by and potentially let others be put in danger for his sake and so begins a long Christmas eve spent putting the beat down on Gotham’s worst.
Visually Arkham Origins is a small step up from its predecessor with the primary limitation of them progressing any further being the fact that it’s still being released on the current console generation. In all honesty though it still looks fantastic with all of the environments having an incredible amount of detail in them. I’m also somewhat thankful for this as my PC hardware is starting to get a little long in the tooth and whilst Arkham Origins looked great there were times when it began to noticeably slow down. However that wasn’t a frequent occurrence, even in the outdoor scenes where you could see far off into the distance.
Just like the 2 Arkham titles before it Origins keeps the core game play and style the same whilst adding in additional challenges, enemies and tactics to keep it feeling fresh. You’ll still spend most of your time beating the every loving crap out of various different types of enemies, the challenge ratcheting up every so often with the introduction of new types of enemies requiring different techniques to take them down. However you still have the option of being a silent predator at times, swooping through an area and taking out multiple enemies without being seen. Finally the core puzzle mechanics make a come back, albeit with a new mode to make things a little more interesting.
Combat, as always, is fast paced and meaty with every hit you land having a really satisfying feel to it. I always seem to start off feeling rather uncoordinated, getting my combos interrupted all the time by just not noticing the incoming attacks, but it doesn’t take long before I’m hitting huge multipliers and laying waste to everyone. One thing that has always irritated me is the initial lack of a way to take out large groups once you’ve knocked them all down as whilst you can do a ground take down on them all too often that results in you losing your combo string as it seems you can’t counter whilst in the middle of one. Later on of course you’ll unlock some better ways of dealing with them and after that combat starts to feel a lot more fluid.
However one criticism that I’ll level at it, and this has been true of all of the series, is that as you progress through the story the number of different things you can do during combat start to become a little overwhelming. Pretty often you’ll find yourself facing a knife wielder, a guy with a riot shield and probably a tough enemy that needs to be stunned before you can do anything. These require no less than 3 different methods of taking them out and when combined with the dozen or so quick fire gadgets you end up having to remember so many things that you’ll eventually just settle on a couple. They all become somewhat moot however with the introduction of the shock gloves and then all you have to focus on is getting enough charge in them so then you can lay the smack down on everything around you.
The stealth sections feel like they have remained largely unchanged although this could be primarily due to the fact that I didn’t invest many points in that skill tree until very late in the game. They’re still fun and somewhat challenging, especially the ones that have unique mechanics like the Deadshot encounter, but if you were looking for a markedly different or revamped experience you’re not going to find it. There’s also the possibility that I just wasn’t paying attention to some of the prompts and missed some new opportunities but I didn’t really have any problems accomplishing anything (unlike say in the Mr Freeze battle in Arkham City).
The detective mode/puzzles remain largely the same albeit making use of some of the new mechanics granted to you by the various gadgets that weren’t present in the previous titles. There’s also the addition of the crime scene mode which you use to reconstruct crimes to figure out details about how they happened and to track down the people responsible. For the most part it works well however it’s not made entirely clear when you have to move to a new section to continue the investigation, or what the expected behaviour is, so at first it was a little confusing. Still since it’s largely the same mechanic it still functions well even if it doesn’t feel as fresh or different as other aspects of the game are.
However the real problem with Arkham Origins is that whilst it retains the essence of what made the Arkham series so good it’s also marred by numerous bugs and glitches, many of them that are completely game breaking. The screenshot above depicts one of them where upon using certain abilities with knock back you can cement enemies in a wall or other object. They then become unreachable and whilst I was able to dislodge them after trying every gadget I had (I eventually found I needed to get them on an edge and then attempt to stun them so they’d fall backwards out of the box) it was an incredibly frustrating experience. This is not to mention one part in the Penguin’s ship where all the external doors just simply refused to work, making the opening noise but not allowing me through. This broke my trust with all the game mechanics so I spent the vast majority of the game wondering if I had completed a challenge successfully or if I had just encountered another game breaking issue. I’m not alone in thinking this either as my searches into the issue revealed the list of bugs is scarily long and even after it’s been out for this length of time there’s no patch in sight.
This, combined with the fact that Arkham Origins isn’t too much different from City in terms of overall play style, is probably the reason why there’s been such an abysmal reaction to it. I did my best to avoid any reviews prior to playing it however I unwittingly found out that Destructoid gave it 3.5 out of 10 and whilst I don’t agree with that score overall I understand the reasoning that went into it. Whilst I feel that Arkham Origins isn’t a bad game overall it is certainly the weakest of the series, showing very clearly that Warner Bros Montreal has a lot to learn before they can deliver a title that can be considered on par with the rest of the Arkham series. Whether or not they’ll get the chance to do so in light of the current reaction to Arkham Origins though remains to be seen.
As for the story I felt like it was a great introduction into the relationship between Batman and the Joker as whilst their relationship has been explored in depth in other mediums it was great to see how the rivalry began. The bucket list of other characters thrown in as assassins was unfortunately less well done as it just felt like a convenient way to throw them in without needing a coherent reason for them to be there. This was only exacerbated by the fact that they either had long, drawn out encounters (like Enigma) which just weren’t that fun to pursue or they were so short (like Anarchy) that you really didn’t have time for them to develop.
Should we judge Batman: Arkham Origins without the knowledge of the titles that followed it previously it would be easy to heap praise on it. The combat is engaging and satisfying, the exploration into the relationship between the Joker and Batman is intriguing and the world is filled with detail that few games manage to achieve. However it’s lineage set a high bar for it to live up to and the fact that it’s not different enough from Arkham City, combined with the numerous game breaking bugs, means that Arkham Origins is the weakest of all of the titles. I certainly enjoyed my time in it but there’s no mistaking that the developers behind it have their work cut out for them if they want to live up to the Rocksteady brand.
Rating: 7..0 / 10
Batman: Arkham Origins is available on PC, Xbox360, PlayStation 3 and WiiU right now for $59.99, $78, $78 and $78 respectively. Game was played on the PC with 13 hours of play time and 26% of the achievements unlocked.
I remember sitting in one of my university classes, it was Game Programming Techniques which I was giddy with excitement to be in, and being proposed a simple yet poignant question: how many of you have tried to code a game? The room was filled with students who had spent much of their past few years at university coding but out of the dozens of people there only a few raised their hands. The answer as to why was the same for all of us, we simply did not know how to go about it. Fast forward to today and thanks to tools like GameMaker and Unity it’s possible for anyone, even non-coders, to be able to create a production quality title. Lilly Looking Through is a great example of how these tools enable people to create, without the necessary background in flipping bits.
Lilly is just like any other ordinary kid, letting her curiosity run wild as she ventures around her own little world. One day though something strange catches her eye, a piece of cloth that appears to move with a life of its own. However she can never seem to get close to it, the devious strip of cloth always flitting away at the last possible second. Then suddenly the cloth seemingly takes a dark turn, snatching up Lilly’s brother Ro and whisking him away faster than Lilly can run. What follows is Lilly’s journey to get her brother back, taking her through all sorts of wonderful and whimsical worlds.
Lilly Looking Through has a decidedly Dinsey-esque feeling about it, with the backgrounds all being lovingly hand drawn. It reminded me of the many similar types of games I used to play as a kid like The Magic School Bus and Mario is Missing, albeit with the additional twist of all the animation being done using 3D models. The developers behind Lilly Looking Through should be commended for blending the two elements seamlessly as traditionally it’s usually very obvious where the distinction lies, something that I find quite distracting. The background music is also quite enjoyable, being a great backdrop to the sumptuous visuals.
At its core Lilly Looking Through is a 2.5D point and click adventure game albeit without the usual trimmings of an inventory system and the requisite try this item with every other item to see if you can progress. This is quite typical of the indie scene where general mechanics are left to one side in favour of other things and, in all honesty, it’s refreshing to play a game that doesn’t have a cornucopia of things to do in it. Thus the majority of your time in Lilly Looking Through will be spent solving puzzles and drinking in the scenery you find yourself in.
The one twist in Lilly Looking Through’s puzzle mechanics is the use of her goggles you pick up early in the game. These allow you to switch between two different times in the same world, allowing you to accomplish things that would otherwise be impossible. It’s by no means an unique or innovative mechanic but it does do its job well by making you think about how to use the two different worlds effectively. The rest of the puzzles build off this mechanic, playing on the notion of time passing and setting up things accordingly.
For the most part the puzzles are challenging, encouraging you to look at the scenery around you and figure out how everything interacts in order to unlock the next section. Indeed my favourite puzzle of the lot (shown below) required you to initially play around to figure out what everything did and only then could you approach it scientifically. However the puzzles that rely on understanding colour theory are, to be blunt, unintuitive and just frustrating. I have a basic understanding of how colours mix together but I know that there’s a major difference between mixing paint and mixing light and trying to figure it out intuitively just doesn’t work. It would be ok if this was just a single puzzle but the last few all rely on the colour mixing mechanic.
The story is also pretty simplistic and whilst I’m not adverse to an absence of dialogue (indeed games like Kairo are a powerful experience) it did feel somewhat hollow. I think much of this stems from the fact that Lilly Looking Through is heavily focused on the visual aspect of the game, and in that respect it does well, however it’s just not enough to carry the game on its own. Don’t get me wrong I think it’s still a great little story, especially if I’m guessing right in that their target demographic tend towards the younger generation, but it really is the bare minimum to keep it moving forward.
Lilly Looking Through is a gorgeous little game, one that rewards the player for being inquisitive with a visual display that is quite impressive. The early puzzle mechanics are fun and enjoyable however the later stages that assume some knowledge of colour theory unfortunately let it down, leading to a frustrating experience that feels more like luck than anything else. Still I think it’s a great little game, one that is probably best played by your youngest relative while you watch from the sidelines.
Lilly Looking Through is available on PC and iOS right now for $9.99. Game was played on the PC with around 2 hours total play time.
If I’m honest clothes shopping isn’t one of my favourite things to do. Whilst I’m somewhat lucky in that I’m not particularly hard to fit the whole process just seems to take too long and the recovering introvert in me doesn’t enjoy discussing my appearance with the store staff. Still I have something of a passion for suits ever since I discovered the difference between the cheap, polyester suits of my youth and the down right exquisiteness of the full wool suit I bought for my sister in-law’s wedding. However I’m still a financial conservative at heart and whilst I’d love nothing more than to drop a couple thousand on a bespoke suit tailored to perfection I’m quite happy with something cheaper if it’s of quality and fits relatively well.
My previous work suit was a decently priced affair from yd, it’s only downside being that it used the cheaper blended fabric so as it aged it started to show rather obviously. The suit I had had before that was pure wool and only went to retirement due to the fact that I naively bought a single pair of pants for it and finding a matching pair (it was grey) proved notoriously difficult. So I figured it was time to invest in another wool suit, one that would hopefully last me for a couple years and, hopefully, wouldn’t break the bank. After searching around for a while I stumbled ASOS’ range of suits and was quite surprised at their prices.
For comparison the best you can usually do on a full wool suit in a store is going to be around $500~600, usually a little more if you’re going to invest in another pair of pants to go with it. Online you might be able to get away a little cheaper, SuitSupply goes down to about $450 with full tailoring, but getting below that usually means a trip to Vietnam, if you want something of decent quality. ASOS though had a full wool suit for about $270 as well as everything else you’d need to kit out a new work wardrobe. In the end I figured it was worth the risk and for about $470 I was able to get a suit, 2 pairs of pants and 4 shirts delivered to my door in about 5 days.
The results, as the above picture shows, speak for themselves.
First off the construction of their suits is top notch, at least on par with my store bought suits of years past. The fabric has a very subtle diagonal lining on it which makes it look a little more welcoming than a solid black fabric suit tends to. As for sizing their provided guide seems to be spot on as I ordered their long versions and they fit my rather tall frame well. The pants will probably need a bit of tailoring to take them up a bit but I much prefer that to the alternative. The suit jacket also feels like it will need a couple wears to settle in properly as the collar has a rather annoying tendency to flip itself up at the moment.
Probably my one major complaint will be in the variability of the shirts as I bought 4 of their Smart Shirts in the same size but they all fit differently. For instance the charcoal button down collar ones seem to fit perfectly in almost all regards (the sides might need to be taken in a bit) however the herringbone one has almost uncomfortably tight sleeves, especially when you bend your elbows. I had figured that since they were all pretty much the exact same design there wouldn’t be that much variability but unfortunately there is. I haven’t looked up other reviews to see if this is a widespread issue however so it might just be an isolated case.
For the price I have to say I’m quite stunned as whilst I was expecting something that was serviceable I wasn’t expecting something that would exceed the quality of what I can source here locally. There are a few quirks here and there of course however apart from getting something fully tailored this is something that should be expected. It doesn’t approach the quality of my good dinner suit however but the price of admission for that particular garment was almost double of this one. So if you’re looking for a daily suit then you really can’t go past ASOS, especially for the price.
In today’s games market there seems to be something of an arms race going on, one whereby every developer attempts to distinguish themselves from the crowd through unique game mechanics or structure. Original ideas are then quickly copied, modified or parodied and many eventually find their way into mainstream titles due to the amount of success they find. However for a game like The Stanley Parable I get the feeling we won’t be seeing much of it’s ideas flow onto other games, not because they’re bad, more because they just wouldn’t make sense anywhere else. This nonsensical nature is the driving force behind The Stanley Parable and it’s probably one of the most odd experiences I’ve ever had.
Stanley was an ordinary man working for an ordinary company. He loved his job, spending day after day in front of his computer, watching the screen and pressing the buttons when he was instructed to. However one day the screen goes blank and after staring at the screen for what seemed like forever Stanley decided he’d better find out what was going on. All of his co-workers were gone though leaving Stanley alone to roam the office, searching for what had happened to them all. Curiously though all the while a voice played inside his head, seemingly giving him a running commentary or what was going on. Should he do as the voice says or is this just the beginnings of his descent into madness?
The Stanley Parable started originally started out as a mod for the Source engine and thus the graphics and art style have that distinct Half Life-y feel about them. They’re decidedly simple and the vast majority of the world is non-interactive which is done primarily to shift your focus onto the storytelling and decision making aspects of The Stanley Parable. It’s pretty much what I’ve come to expect from indie first person explorers so I don’t necessarily count it as a negative but I am something of an eye candy otaku so graphics are always a big thing to me. To be fair the setting of an office is pretty hard to make visually appealing though.
From a gameplay perspective The Stanley Parable is best described as a first person exploration game although applying that label to it feels like its not doing the title enough justice. Really it’s more of an experimental title that uses exploration as a mechanic to explore various ideals from some of the current gaming trends to larger questions of free will. The entirety of it is narrated by a charming British voice (courtesy of Kevan Brighting) which tells you which path to take. You can do this of course and the story that evolves is quite an interesting one, but it’s far more likely that curiosity will get the better of you and that’s where things start to get interesting.
You see The Stanley Parable is a game that relies on you attempting to break it in any way possible, from disobeying the narrator to attempting to do things that would appear to be not intended by the developer. The results of these adventures can range from the mundane, where you just see another part of the world on your way to another, to the weird or down right inexplicable. The most priceless thing about it though is how the narrator reacts to your decision to disobey him as sometimes he will just respond with mild annoyance and other times with outright maliciousness.
The story then starts to revolve around a weird cacophony of interactions, sometimes between Stanley and the narrator and at other times between you and the narrator with Stanley just acting as a vessel between you. If you’re not a fan of the fourth wall being broken down then The Stanley Parable will likely irritate you as there are many moments when the narrator will address you directly and a lot of commentary comes from the idea that you, an unknown entity, is in control of the character in the game. It can seem a little trite at times but the ideas and criticisms that the narrator goes through are quite through provoking, especially upon reflection.
I’d love to dive into more detail about how the various bits and pieces of the game plays out but to do so would ultimately ruin it for you. The way in which various endings are unlocked, how some of the mechanics work and how the narrator reacts to you are all part of the larger narrative to explore themes that are much larger than the game itself. It’s not a particularly long game and most of the endings are easily uncovered by simply being slightly curious about the environment so this is one of those titles that you just have to experience for yourself, rather than have a reviewer explain it to you.
The Stanley Parable is a curiosity, one that is so far away from any other game experience that it begs to be played by those who are seeking novelty in an increasingly homogeneous medium. It’s somewhat unfortunate that my review can best be summed up as “You need to play this and I can’t explain why” as I’d love to dive into a critique about its many aspects but to do so would take away the reasons as to why it is so enjoyable. It may be a short experience but it’s refined to its core, enabling the player to focus on the points that really matters and to get immersed in the strange and wonderful ways The Stanley Parable plays on your expectations.
The Stanley Parable is available on PC right now for $15. Total game time was approximately 2.5 hours with 60% of the achievements unlocked.
Before Heavy Rain you’d struggle to find anyone who knew about Quantic Dream and the types of games they create. They were a little ahead of themselves with the concept when they released Fahrenheit back in 2005 being largely ignored by the gamer populace even though it received wide critical acclaim. Since then however they have developed a solid reputation for developing games that dispense with game play in favour of creating a deep, rich story whilst also teasing everyone endlessly with their technology demonstrations. Beyond: Two Souls is their latest release which goes back to their roots in paranormal thrillers done in their signature cinematic style.
On the surface Jodie appears to be just like anyone else but ever since she was born she has been tied to another entity that she only knows as Aiden. For a long time that’s all he was, just a presence that was always there watching over her. However over time he developed the ability to interact with the real world and, like the caged animal he was, he began to lash out at every opportunity. This had caught the attention of the CIA who, of course, were looking to exploit this potential power for their own ends. Like anyone else all Jodie wanted was to be part of the regular world but her attachment to Aiden made sure that would never happen.
Quantic Dream have really outdone themselves with Beyond: Two Souls as it aptly demonstrates what the PlayStation3 is capable of. The graphics are simply phenomenal showing that the 3 years since their previous release have been spent pushing the hardware to its limits. The biggest improvements come from the small things that add on exceptional bits of realism like the way skin looks and moves or the way tears roll down the character’s face. It all runs smoothly as well although that’s mostly due to the restricted nature of most of the environments. It allows for a lot of detail but you’re not going to be play in wide expansive environments that are teaming with NPCs.
Beyond: Two Souls retains Quantic Dream’s signature interactive film style with you spending quite a lot of time being in the back seat to the action that’s happening on screen. The dialogue choice system hasn’t changed dramatically, offering up a variety of options which you can choose from and that will influence how the story progresses. The combat sections have been reworked slightly and puts a little more guesswork into completing the interactions successfully. The addition of the Aiden mechanic adds a completely different perspective to the game and also allows for some pretty novel and interesting game play.
From what I can remember of Heavy Rain you, for the most part, got unlimited time in which to make the decision about which dialogue option you chose. Beyond: Two Souls on the other hand will often begin to fade the choices out after a small period of time, leaving you with only a single option which will be automatically selected for you. I will admit that this helps with pacing as you can sometimes be paralysed by choice but you can sometimes end up regretting taking to long to think about what you wanted to say. Of course this also means that subsequent play throughs could be quite rewarding as even when you get to choose the options you want there are still many others that you’d potentially want to see.
The combat/quick time event system has been changed significantly with the the visual cues being almost completely removed. For combat sequences you’re now instructed to follow Jodie’s motion on screen using the right analogue stick. This does eliminate the majority of the rather immersion breaking pop-ups that alert you to what button you need to press however it also adds a layer of ambiguity to what action you need to perform. It’s relatively forgiving as I often found myself getting things right when I was pretty sure I just mashed the stick in a random direction however I just as often found myself getting it wrong when I was sure I got it right.
There are still times when you’ll be pressing buttons, holding down combinations of them or doing things with the controller that the prompts on screen are telling you to do although they’re usually regulated to the non-action sequences. Its also during these sequences that you’ll go hunting around for white dots which detail something you can interact with which also suffer from the not-so-precise detection method of pointing with the right analogue stick. Whilst I don’t have a better system in mind it does feel like it’s somewhat pointless for some sections.
The biggest deviation away from Quantic Dream’s traditional style is the inclusion of the Aiden mechanic, a disembodied spirit that has the ability to go through walls, throw things around and even kill or possess people should the need arise. For the most part he functions as another puzzle mechanic, allowing the developers to create rather intricate puzzles that require some lateral thinking in order to complete. You’re also given a little bit of choice as to how you play Aiden as you can either make him out to be the benevolent watcher or the dick that attempts to screw with every aspect of Jodie’s life. For the most part the game seems to encourage you to be a dick, making abstaining a torturous exercise.
Aiden also functions as the writer’s get out of jail free card as whilst his powers are initially limited to throwing things around it becomes evident that he’s really some kind of all powerful demi-god who can do pretty much anything he wants. Whilst this allows them to put Jodie in a whole host of situations that would otherwise be somewhat unbelievable it does make you question why some things happen to her and some don’t. Thankfully though Aiden isn’t a complete deus ex machina but it remove a good chunk of believability to the game, even for someone like me who’s able suspend disbelief in aid of a good story.
From a story perspective Quantic Dream has done an amazing job of bringing these characters to life; no small part of which is due to the amazing acting by the Ellen Page and William Dafoe. It says a lot that all the emotions I felt whilst playing came rushing back while I was reviewing my footage for screenshots, my heart aching for the pain they endured. Even though I was satisfied with my initial play through I still feel like there’s another side to this game that I’ve yet to experience due to the wide range of dialogue options available. This means that just like Heavy Rain before it Beyond: Two Souls is a game that will reward subsequent playthroughs. even if the overall story is known.
PLOT SPOILERS BELOW
However I feel like Quantic dream kind of screwed up the relationships in Beyond: Two Souls, specifically with Ryan. Whilst Joide makes it clear that she thinks she might be falling for him initially it appears that he’s not completely interested in her, especially considering how he left after she had a flashback to when she was almost raped. The confession then of how he loves her, and indeed in the final scenes when he continues to say he loves her, seem tacked on and hollow. The other relationships by comparison have deep and rich back stories to them that develop over the course of the game and I actually felt something for them, even if some of them were a little shallow. Its possible that I might have felt more if I had pursued the relationship further and its definitely one of the reasons that I’m considering a second play through.
Beyond: Two Souls reaffirms Quantic Dream’s domination of the cinmeatic game genre, pushing highly interactive gameplay aside in favour of deep and engrossing story that comes alive thanks to the brilliant acting of all the characters. It’s also a return to their roots in fantasy, almost feeling like a spiritual successor to Fahrenheit, and whilst it does suffer a little bit because of this I still find it hard to find fault with it. If you’ve ever played a Quantic Dream game and enjoyed it then you simply can not go past Beyond: Two Souls as it aptly demonstrates just how good they are at building titles like this.
Beyond: Two Souls is available exclusively on PlayStation 3 right now for $78. Total game time was approximately 8 hours with 46% of the achievements unlocked.
Telltale Games has a reputation for taking IP that’s either old or from another media and translating it into a new game experience in their very distinctive style. If I’m honest I had avoided many of their titles as whilst it was cool to see things like Sam and Max make a comeback I had long left adventure style games behind, preferring the more fast paced worlds that FPS and RTS offered. Still it was hard to ignore the fervour that surrounded their interpretation of The Walking Dead and my subsequent play through of it showed me that Telltale was able to deliver a deep and compelling story. So when I heard about The Wolf Among Us I was sold on it instantly as the brief taste that 400 Days had given me of the signature Telltale experience had left me wanting for so much more.
The days of the fables living in their own world has long since past and they now attempt to fit into the world of humans through a kind of magic called Glamour. This allows them to take on human form so that they can blend in with the wider world, enabling them to live out their lives in relative obscurity. You play as Big B Wolf (affectionately referred to as Bigby) charged with being the sheriff of the Fabletown community, keeping everyone in line and ensuring the safety of all the fables that have made the transition to the real world. However the magic of glamour doesn’t change past deeds and many old rivalries are still going strong. It was only a matter of time before everything started to take a turn for the worse although you’d never expect Bigby, even with his chequered past, to be at the centre of it.
The Wolf Among Us brings with it Telltale’s trademark style for transitioning comic books to the PC gaming medium, favouring a heavily stylized world that’s light on the graphics but heavy with detail. Every scene feels like a pane pulled straight from a comic book with the only thing missing being giant speech bubbles above all the characters. The art direction has improved quite a bit over The Walking dead with the lighting having an almost oil painting like effect on everything. It’s hard to describe but The Wolf Among Us definitely has a similar feel to other Telltale games but there’s an air of refinement about it that their previous titles lacked.
The main game mechanics remain largely the same from their previous titles with the majority of it taking the form of a point and click adventure that’s peppered with quick time events for the more action oriented scenes. Like the artwork it feels a little more refined than their previous titles with the mechanics having improved UIs that are a lot more responsive. Of course the level of game play in The Wolf Among Us is deliberately simple as the focus is heavily on the story rather than anything else which may frustrate some players. I personally enjoy it, especially after such heavily interactive titles like Shadow Warrior and Grand Theft Auto V, but it’s definitely one of the more valid criticisms that are often levelled at Telltale games.
The dialogue system has seen a small change as now instead of the options being on top of each other they’re laid out as a bunch of squares and no longer begin to fade as the time runs out. The “say nothing” option also seems to be far more prevalent something which you can use to great comedic effect if you feel like doing so. These changes definitely make the options a lot easier to scan and choose between, especially when you don’t have a lot of time to make a decision, and I’m not quite sure how to put it but the flow of dialogue definitely feels different to previous Telltale games. I like it and I’d be interested to see what long time Telltale fans think of the changes.
Whilst I think Telltale are probably the only company to do episodic content right this is the first time I’ve come in at the ground level for one of their IPs and, if I’m honest, it’s actually a little frustrating to start this early. Each episode is a bit sized chunk, on the order of 2 hours each, and whilst they’re quite entertaining in their own right I’m not the kind of person who likes to go back and revisit games for DLC and the like. I most likely will for The Wolf Among Us but it still feels like it’d be somewhat better to wait 5 months until all the episodes are out and then binge on them over a weekend. This can be made up somewhat by the fact that multiple play throughs can be quite a rewarding experience with Telltale titles as the game can play out very differently depending on what seems like minor decisions.
I’m not familiar with the source material behind The Wolf Among Us so I can’t comment to how true to form it is (although I’m told The Walking Dead was essentially like for like) but the story is gripping and thoroughly enjoyable. Of course that’d be all for nothing if the voice acting wasn’t up to scratch but the casting has been done exceptionally well with Bigby’s gravely voice fitting his character perfectly. I really can’t wait to see how it develops over the coming episodes as the first episode was action packed enough and the small teaser they give you at the end is almost cruel in how many questions it raises.
The Wolf Among Us continues Telltale’s success with translating IP material onto the video game medium with skill that few other game developers can match. The current instalment is more than enough to get you hooked into this new world, leaving you clawing at the walls for more that won’t be coming for another month. Whilst the simplistic game style won’t be for everyone the story more than makes up for this, providing an extremely rewarding experience for those who take the small amount of time to experience it. Whilst I’d probably recommend holding off until all the episodes are out it still stands on its own as a great experience, even if its a little short.
The Wolf Among Us is available on PC, Xbox360 and PlayStation 3 for $24.99. Game was played on the PC with around 2 hours of total play time and 16% of the achievements unlocked.
Reviving old IPs has proved to be something of a double edged sword. There’s definitely a lot of demand out there as many successful Kickstarter campaigns have shown but the resulting games have always been something of a mixed bag. For the most part the ones that simply try to recreate the old game with modern technology tend to fair worse whilst those that actually attempt a faithful reboot using the world and characters fair a lot better. This was the difference between Rise of the Triad and Tomb Raider for me, although the latter’s budget probably had a lot to do with it. So you can imagine when I saw a Shadow Warrior reboot I was hesistant to try it out for fear that it would have been yet another straight port, even if came with Lo Wang’s signature tongue-in-cheek humour.
You are Lo Wang, general badass and agent to the Zilla corporation, working directly with the company’s head doing whatever is required. Your first mission is simple, offer up $2 million in exchange for a single sword and bring it back. The deal, predictably, goes south and after dispatching numerous guards you find yourself confronted with another foe: demons from the shadow realm. As it turns out that sword you were sent to retrieve was none other than the Nobitsura Kage, an ancient katana which is the only weapon that can destroy beings from the shadow realm. Guided by your new demon friend Hoji you’re sent on a quest to retrieve all the pieces in the hope that you can stop the unrelenting demon invasion. Of course not everything is as it appears and Zilla’s intentions are far from being that of a simple collector.
All aspects of Shadow Warrior have been tuned for fast paced, hack ‘n’ slash combat, including the graphics. If I’m honest they’re at the level I would have expected from a cross platform release however with Shadow Warrior being a PC exclusive that excuse doesn’t hold up unfortunately. It’s not that they’re bad or dated, indeed as some of my selected screenshots will attest to it can be quite pretty at times, but apart from those set pieces it definitely has not been designed for you to gawk at. Combine this with a healthy dose of asset reuse that you’ll see throughout the game (which includes everything from the treasure chests to whole sections of levels) says to me that the graphics weren’t the highest priority but they do serve the purpose well, even if it gets a little samey as the game goes on.
Shadow Warrior is a first person hack ‘n’ slasher, throwing hordes of enemies at you which you can dispatch in numerous ways. Your primary weapon in nearly all of these encounters will be your katana as only it has the clearing power required to churn through enemies fast enough. There’s a ton of other weapons available all of which are made available to you a various sections in the game and you’re not likely to be wanting for ammo thanks to it being strewn everywhere. However chances are if you can get within melee range of your enemies you’ll want to use the katana over everything else thanks to the synergy it has with the other primary combat mechanic: dark powers.
There are 3 separate upgrade systems in Shadow warrior, each having their own unique upgrade currency and all of them affecting different aspects of the game. The primary upgrade system, or at least the one you’ll be using the most often, is the karma system which is levelled up by defeating enemies. Using special abilities and varying your approach will also net you karma bonuses, allowing you to attain upgrades quicker. The skills you get in this tree are augments to your other powers as well as direct stats boosts which can be your saving grace in the middle of a giant firefight. There are also some unique abilities available which can radically change how you play the game although, in all honesty, you’re crazy if you don’t focus everything on the katana and the skills surrounding it, especially the life stealing abilities.
The other 2 upgrade systems focus on dark powers (upgraded through Ki Crystals of which there are usually 1~2 per chapter) and weapons (which use money). The dark powers system feels like an organic progression mechanic more than anything else as the upgrades come regularly and predictably and, past a certain point, don’t heavily influence the game play. Your initial choices will heavily influence your choices down the line however as it’s pretty clear that you can either favor an offensive or defensive style. Weapon upgrades are probably the least influential out of any of them since the katana is just so much more powerful by comparison except when it comes to the boss fights. Thus I usually found myself with a horde of cash up until I got to a point where I felt a certain weapon needed upgrading to help me out. It’s also worth noting that whilst the katana appears in this menu you will never be able to upgrade it using money, so don’t bother waiting for the unlocks to happen.
All of this combines into a combat system that is fast paced and utterly enjoyable. You’ll start off with small engagements with only a handful of enemies but it will slowly ramp up to the point where you won’t be able to remember how many enemies are on the field. Over time new enemies get thrown into the mix, including giant warlords, warlocks that raise the dead and beasts covered in metal that can only be taken from behind (snicker). Unfortunately it does start to wear on you towards the end because the only way the difficulty increases is by adding extra enemies or reducing the amount of space you have to move around in. Additionally a lot of the cool abilities you unlock will simply not work on the higher tier enemies which kind of makes them pointless, making you reliant on the one move which does the most damage.
Despite this the boss fights are probably the strongest aspect of Shadow Warrior as whilst each encounter uses the same mechanic for defeating them (shoot the glowy bits until the fall down then kill the crystal inside) they each have unique abilities and all of them are just epic in scale. They can be a tad frustrating as there are some one hit kill mechanics and the checkpoint system doesn’t always save at critical points but honestly that was only a big issue with one of them. The rest were a hell of a lot of fun as you spam all your weapons at them to bring them down and nothing can beat the exhilaration you get after you’ve spent 30 minutes circle strafing your way to victory.
Shadow Warrior unfortunately suffers from a few notable glitches as well as having some outright game crashes that happen without warning. The screenshot below shows how shurikens will sometimes just float around in space forever. This usually isn’t an issue however I sometimes heard the shuriken noise coming from behind walls which, for a game that uses sound cues for certain things, can be quite distracting. I also experienced game crashes twice which I can directly attribute to some unknown edge case in ability use as they both happened instantly after I used an ability (circle of iron was the last one I could remember and it happened right after I released it). Key press recognition also seems a little flakey when you start to get dozens of enemies on screen which can be a little frustrating when you’re trying to heal yourself or trying to clear a path so you have some breathing room.
Of course it wouldn’t be Shadow Warrior if it didn’t have signature style of humour including numerous Wang jokes as well as other tongue-in-cheek humour. Thankfully, unlike other titles that tried to use similar humour techniques, it doesn’t get overplayed at every opportunity. Sure you’ll hear the same jokes every so often but it at least doesn’t scream “HEY WE’RE FUNNY RIGHT? YEAH WE TOTALLY ARE” desperately, hoping you’ll give them some laughs out of sympathy.
This then flows onto the story which, admittedly, isn’t anything to write home about but surprisingly is far above what I expected. I guess I was somewhat let down by Rise of the Triad (which was more of a direct remake of the original than anything) and thought Shadow Warrior would be the same but it’s so much better. Whilst the shift in tone towards the end comes at the cost of the humour it does help to round out the story well and thankfully avoids the pitfalls of screaming for a sequel. Overall it’s not the dramatic story telling experience that you might expect from some games but then again you’re not playing Shadow Warrior for that, you’re playing it for the fast action and wang jokes.
Shadow Warrior is a shining example of what a reboot can do to an old IP. Instead of trying to recreate the past exactly with modern tools Shadow Warrior is instead a homage to the title of yesteryear, one that takes all the things we loved about it and bundles them up in a completely new game experience. It’s not without its faults, especially with the rudimentary challenge scaling and game crashes, but I’m hopeful that the latter will be fixed in future patches. For me Shadow Warrior is the standard to which I’ll hold future remakes as it’s faithful to the original IP without relying on nostalgia to drive it. Fans of Wang should definitely check this out.
Shadow Warrior is available on PC right now for $39.99. Game was played on the Hard difficulty with 10 hours total playtime and 59% of the achievements unlocked.