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sazorak · 5 years ago

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Every Game I Played in 2019, Ranked

2019 sure was a year that happened where I happened to play some video games. Here’s the ones I played enough to form opinions, in a rough ranked order of preference.

It’s kind of weird that I’ve done this for five years now, but hey. I like to talk about things that I like / dislike. Hopefully you’ll empathize with my complaints, and give ones I enjoyed a try.

As a bonus, I also tweeted about the anime I watched and enjoyed this year.

2015 | 2016 | 2017 | 2018

Orm & Cheep: Narrow Squeaks – 1985 – ZX Spectrum – ★

How far would you go for a joke? For the sake of a joke, I spent an hour beating an incomprehensible, shitty ZX Spectrum Game about Orm & Cheep, an 80s British children show I only know about from a Trash Night video making fun of it.

Orm & Cheep: Birthday Party – 1985 – ZX Spectrum – ★

… and also this one, though Birthday Party is marginally better than Narrow Squeaks. Marginally. Extremely marginally. Congratulations to Orm & Cheap: Birthday Party.

16. River City Girls – 2019 – Switch – ★★★

The style of River City Girls is great. I like a lot of what it’s doing in terms of look and sound. It’s just that… well, River City Ransom’s gameplay was interesting something-like 30 years ago. Gameplay wise, this game hasn’t evolved that much from OG RC Ransom. The combat certainly feels better, but as far as it controls… I can’t tell if it’s not taking advantage of modern controllers and just sticking too close to the original’s control scheme, or if side-scrolling beat-em-ups are themselves just so staid and dated these days that there’s not much to be done. I just wasn’t having much fun, and the RC Ransom progression of new techniques and stat boosting didn’t exactly make me want to keep going.

It’s a real shame because in terms of pure aesthetics and concept, the game is amazing. I just don’t actually enjoy playing it. Oh well!

15. Baba is You – 2019 – Switch – ★★★

The core gameplay concept of Baba is You is fantastic. The way you manipulate nouns and verbs to construct phrases that operate as equations in a physical environment is super interesting. The early goings of the game were quite fun.

The problem I have with this game is that when you hit a wall in it, that wall can sometimes be impenetrable. I found that Baba is You is at times too subtle with its attempt to “teach” you tricks or onboard you into approaches to puzzles; it’s possible to come to solutions without taking away the lesson the designer intended, which can make later puzzles basically impossible.

The difficulty curve feels all over the place; I was extremely high on this game early on, but after getting completely blocked moving forward for hours on end, with the only real recourse being to either look stuff up or stare at past puzzles to try to figure out what apparently crucial lesson I missed despite coming to my own solutions, I ultimately decided to just do something else.

14. Cadence of Hyrule – 2019 – Switch – ★★★

Zelda has great music. Crypt of the Necrodancer has pretty good rhythm-game action. Combine them, and you get… well, it turns out you get a pretty OK procedurally generated Zelda-game with Necrodancer mechanics, I suppose. The appeal is easy to understand, though I’m personally not sure I care much for the final product.

I enjoyed the original Necrodancer well enough as a simple run-based, short-ish rhythm dungeon crawler. The brevity of each given “run” (stemming in part from my own inadequate skill, I suppose) worked well with the style of gameplay, in that it never really became much of a chore.

Meanwhile, I enjoy Zelda as an extended puzzle adventure game where there’s an innate unthinking flow to the actions. I’m not typically thinking much about the moment-to-moment about the actual mechanics of the action; the brain’s desires flow directly to the motion on the screen, as it were.

Combining the two results in a Necrodancer experience that’s way too long, and a Zelda experience that is way harder to control. Add the fact that the procedurally generated world isn’t that interesting and I’m just rather lukewarm on this. Meh!

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13. Super Robot Wars T – 2019 – PS4 – ★★★

It’s fantastic that Super Robot Wars is finally getting proper, high-quality localizations again. It felt like a dream to finally be able to play this franchise again after being forced to stop after the DS era. Playing through the rather roughly translated, and somewhat monotonous SRW OG: Moon Dwellers was good because the OG games tended to have the highest production values and narrative quality (missing out on 2nd OG may have also helped). SRW V was my first foray into the more recent non-OG games, and so shined as something rather fresh to me.

Two years on, and two Super Robot Wars releases later, it’s plain to see that Super Robot Wars’ current annual release cadence is not great. It results in incredibly repetitive, monotonous games that rely heavily on asset reuse— both between games, and even within the same game. Part of the problem is that the derivativeness doesn’t feel additive. It’s not like SRW T is SRW V + SRW X + New Stuff; it’s more that SRW T is a reskinned SRW V, with some heavy series-asset reuse to boot. I think it’d be a bit more tolerable if it felt like these games were building on each other, but every single one feels exactly as slight and mechanically weak.

Super Robot Wars’ combat have not been particularly good from a tactical sense for a long time now. The original OG games were probably the last time the combat was particularly interesting for me, as it presented an actual challenge and difficulty curve. Nowadays, they are entirely fanservice cakewalks, even on the hardest modes. Hell, they’ve apparently decided that increasing the difficulty of the game means you don’t get to chase the special challenge goals, which actually can paradoxically make portions of the hard-mode actually easier than the normal. Bizarre!

��I guess the idea is “well, folks are playing this to see the bits, so if it’s hard they won’t!” Which… I disagree? If the gameplay is deeply unsatisfying, why wouldn’t I just watch the damn series? Crossover shenanigans don’t mean much whey you don’t do much with it. Fanservice talking heads ain’t enough!

The addition of Cowboy Bebop and the return of GaoGaiGar and Gunbuster should have had me onboard. The series list for this game is fantastic. But what they do with it is so flat that about 30 chapters in, I just… stopped. It wasn’t worth it. I’d plainly seen all that it had to offer. Easy, slow, and repetitive gameplay isn’t appealing to me, even if I do get to see Spike Spiegel doing sky donuts to take out a Zaku.

Additionally: stop putting Nadesico in these games. The units are boring, the plot is boring. Stop devoting so much time to it! It sucks!!

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12. Ape Out – 2019 – Switch – ★★★★

Ape Out is a game where you’re a big ol’ gorilla murdering guys with guns while dope ass percussive jazz drums play to the action. It’s cool, it’s short, it could honestly probably do with being somewhat shorter, but whatever. I enjoyed it.

BattleTech – 2018 – Steam – ★★★★

Despite being famously a “mecha guy”, BattleTech has never really been my thing. While I’m not opposed to mecha-as-tank-analog, it’s not my primary focus in the genre; I like my robots to be fast, really. I like mecha getting into melee and fucking shit up. Mecha for me is a power fantasy. That’s not really BattleTech / MechWarrior’s thing. That all being said, I quite enjoyed my time with BattleTech, the PC-game rendition of the tabletop thing. It’s a neat turn-based tactical robot combat RPG with an interesting overarching campaign structure… to a point.

The first issue I had is pacing. While the game is turn-based, the combat and movement plays out in real-time. And given how lumbering these robots are, this means that a single mission can take aaaages. Think 45 minutes to an hour for a single mission. It took me about 20-30 hours to get to the campaign’s halfway point, which is when the game really started to sour on me.

The second issue is one of variance. Let me run you through the fundamental loop of the game. You are a mercenary captain that has a ship of mechs and mech pilots, and you fly around from planet to planet taking on jobs. You need money to pay for your ship to keep going, as well as to pay your pilots. It’s expensive to outfit your mechs, and severe damage to them can both REALLY eat into your budget and also take weeks in-game to repair. Missions are rated based on difficulty, and you are expected generally to field a greater “tonnage” of mechs in excess to that difficulty. This all plays out pretty well.

The game starts with you possessing mostly lighter mechs, and as you progress, you’re presented more and more missions in the campaign that require increasingly beefier mechs with more armor and more guns. Whereas in the tabletop game there’s presumably a kind of “point” system by which players are given a limited amount of tonnage that they can field on any given mission (for purposes of balance), there’s no such limit in the game; as such, you’re encouraged to field the four-ish beefiest robots you have, as they’re the most likely to kill everything fast while coming out with the least damage.

How do you get these beefy mechs? Well, you don’t buy them; instead, you’re aiming to kill opposing pilots and leave their robots as much intact as possible so that you can salvage or steal them. It’s kind of amusing; your entire gameplan after a point becomes “how the fuck do I shake this robot around a bunch such that its pilot dies???” It makes sense in practice, but if you think about it for even a second it comes across rather silly. Given you need good mechs to progress, you don’t have much other choice other than just running tonnnsss of missions and hoping you eventually get enough mech fragments to reconstruct some of your own. But beefy-ness isn’t the whole story, as some of the robots you can get just plain suck, regardless of their tonnage. You’re basically rolling dice again and again hoping a robot worthy of stealing shows up so you can kill its friends, and try to kill its pilot as gently as possible. You go through this cycle four times, across the four different weight-classes, until you’ve got what you need in terms of a team of class-appropriate mechs.

The fundamental lack of variety in what you field combines with every single mission really being “how do I kneecap everyone” instead of the given mission objective to make the game quite samey. Mission types don’t vary much, and the environments don’t constrain you all that much, either; the only ones that are particularly interesting are moons and Mars-like planets where your mechs’ ability to regulate their heat become much more constrained, which can necessitate loadout changes.

I enjoyed the story enough for what it was, but honestly? After 30 hours, I was pretty much good. I had a good time with BattleTech, but I’d had my fill.

Mortal Kombat X – 2015 – Steam – ★★★★

In my ongoing adventure of playing the Mortal Kombat games for their goofy plot / story modes and nothing else, I played Mortal Kombat X. I’m not sure there’s much to talk about these other than “Hey I enjoy their dumb ongoing narrative; I wonder where they’ll go from here!”

11. Mortal Kombat XI – 2019 – Steam – ★★★★

Ditto. The plot for these games are getting sillier and sillier, and the ending of XI may be the most ridiculous yet. In a good way.

10. Devil May Cry V – 2019 – Steam – ★★★★

Character action games are heavily predicated on the question of “How do we spice the game up over time so that it stays interesting… without overwhelming the player?” Devil May Cry V’s answer is “well, we’ll slowly give them more characters with their own expanding skill sets, that’ll be neat!”

It is neat, but I’m not sure it was actually a good idea. The three protagonists all have extremely different move sets, meaning that the forced switches between them on a chapter-to-chapter basis results in you never really mastering any one of them. Each character has a ton of depth, but… take, for example, Nero, the “main” protagonist. He has a sub-mechanic involved with revving his motorcycle sword to boost damage. I never actually figured out how to get to work. Never really had to, because he had so many other mechanics that were also effective, and I never had much time with him alone to dial in the weird motorcycle thing.

DMCV also does probably my least favorite gameplay gimmick of “introduce new mechanics in a boss battle!” Like great, you gave me a whole new move set here, and are now going to rate me on my performance when you’ve never given me a chance to learn these skills? Oh wait, you’re giving me new mechanics in the final boss battle!?! Fuck off. That sucks!

Also, I think I’m an outlier, but I actually preferred playing as V, the control-three-characters-at-once-while-reading-a-book guy. Just felt like I dialed his move set in easier. Weird.

9. Untitled Goose Game – 2019 – Switch – ★★★★

I’m not going to pretend that this is a deep game, or an enduring game, or even necessarily a great game. But I had a lot of fun with it, I have a lot of good memories thinking about it, and I am glad that so many people out there are now wrestling with the fact that birds can be both terrible and also good. Untitled Goose Game carries a powerful message about avian kind. You would do well to learn from it.

8. Super Mario Maker 2 – 2019 – Switch – ★★★★

Mario Maker 2 is such an incremental upgrade to Mario Maker that it hardly feels like it earns that “2”. That being said: Mario Maker 1 is pretty darn good so it’s not like that’s all that bad. The additional mechanics and story mode are good, granted, but like… I had been wanting more than just Mario Maker 1.5.

As is, it was pretty easy to get bored with Mario Maker pretty quickly, given it was mostly a game I’d already played quite a bit before. The addition of the campaign held my interest for a fair amount of time, but I’m not exactly coming back to this all that often. Hopefully the content updates they seem to be rolling into it keep up.

7. Kind Worlds: Lo-Fi Beats to Write To – 2019 – Steam – ★★★★

This is less a video game and more a sort of vague pen-pal application masquerading as a game, but man… the existence of this thing is neat. It’s just a program where folks write letters about their problems, and people send them stuff back. That’s it. It’s kind of a sweet thing to just exist.

I’m not a person with what would one term especially Heavy Problems, but just going through other folks letters and giving them an encouraging word is itself nice.

6. The Outer Worlds – 2019 – Epic Game Store – ★★★★

Having been deeply disappointed with the quality of Fallout 4, I was very happy to see Obsidian come back to do their own Fallout-a-like. The Outer Worlds isn’t perfect; I wish it had a bit more of a bite, the gunplay was… fine, the environment design was kind of dull, and the gameplay loop did not outlast the length of the game itself. But I had a fun enough time with it.

That said, I think the dearth of me having much to say here sort of speaks to how… rather unambitious the writing and design ended up being. There’s not a ton to say about it. It’s more responsive than a Fallout 4, to be sure, but even that caps out at a point. It doesn’t necessarily offer much in the way of RPG-style different “paths” to develop your character in terms of who they are or how they behave, beyond the sort-of four-way axis of “grouch to nice” and “corporatist to socialist.” The skill tree ends up being pretty flat, and you can basically become a master of everything by the end.

Shruggo.

5. Pokémon Sword – 2019 – Switch – ★★★★

Pokémon Sword/Shield is a bizarre thing— its design is constantly fighting against itself. There are tons of ease-of-use improvements– but it somehow has some of the worst online in the series. It gives you dozens of complex, half-explained systems— but also feels the need to hold your hand lest you get lost in its incredibly linear, dull story. It adds challenging Pokémon raid battles that you largely need to team up with other players to beat— but also has one of the most trivial progressions in the series. It has a huge and varied open “Wild Area” where you can catch hundreds of Pokémon before ever facing the first gym— but that wild area largely exists as a world unto its own separate from the traditional Pokémon “routes”. It doesn’t want to have a plot up until the very end when it decides that gee, I guess we have to, even if it makes no sense.

Let’s go into these in more detail.

Sword/Shield introduces a ton of gameplay improvements. Auto-saving, while problematic in places, is super useful. The ability to move Pokémon directly from the box to your party is great, and removes a lot of process headaches. Single hand controls are a godsend for both improved accessibility and general ease of use. Items are way easier to get, Pokemon are easier to raise, and this is probably the easiest game in the entire series to breed and raise “high tier” Pokemon for online battling.

On the other hand: despite your friend list being loaded into the game, you are forced to use a bizarre password system and request system that is super confusing and prone to issues. You cannot directly trade or battle or play with friends except through this, which occasionally results in headaches anytime someone uses the same four-digit password as you and your bud. The Max Raid battle system is super poorly explained in-game in terms of how you find and join others raids— I only divined it by a tweet someone made. They did away with the “GTS” trading system they had used for the past decade that allowed global Pokemon bartering, presumably in favor of encouraging more natural trades— but didn’t give any way to actually communicate with people in game what you want to trade for. It encourages more in-person interaction, but that’s once again playing into Game Freak’s obsession with the Japanese mode of gaming.

Sword/Shield perhaps has the most sheer amount of systems in any one of these games. It’s not necessarily all good, but in terms of “wow, you’re not babying us huh” it is at least interesting. There’s Pokemon that evolve based on absurd, never-explained conditions like “number of crits in a single battle”, “pass underneath this specific rock when they’re at low health”, “spin baby spin.” The wild area has tons of mechanical stuff that they let you explore without forcing your hand much, and they let you explore it freely without really railroading you. There’s a separate wild-area specific currency system based on raids / dens that you just stumble upon unprompted, really.

On the other hand, the core story progression of the game though… is perhaps the most infuriatingly patronizing thing I’ve experienced. Cutscenes happen every 15 seconds, often-times forcing your movement, and are almost of zero consequence beyond someone going HEY YOU SHOULD GO THAT WAY. The game is completely unwilling to let you get lost when going through the story. It’s constant, it’s unrelenting, it’s maddening. It literally made me mad.

Pokémon Raid battles are super interesting. The battles themselves aren’t necessarily hard, but the kinds of things they present— in terms of providing access to unique Pokémon, rare items, and the fact that they’re not as “rinse-and-repeat” as normal battles— gives the system and game increased longevity. It’s a pretty deep system, with meaningful rewards. A five-star battle is time consuming and you run the risk of failing, but if you pull it off you can get items like TRs, EXP candies, even bottle caps (super useful items that let you increase the baseline stat “DNA” of your Pokémon), and the captured Pokémon can have unique moves you’d normally have to breed and possess extremely high baseline stats. You can even get hidden secret abilities! Nice!

On the other hand: the core game progression is so piss easy and straight forward. The game’s leveling curve is all out of whack, in part because their introduction of a forced “always on” EXP share. In older games, you’d only get EXP from actively battling and beating a Pokemon in a fight, or having participated in a fight. Now, your whole team gets EXP just from being around, and you also get EXP from catching Pokemon, making curry, and all sorts of other small activities. All of this is fine or even good in the abstract as it makes raising stuff easier, but the game isn’t well balanced around it. Encounters don’t scale, which can result in you steamrolling the game if you engage with any of the game’s other systems prior to beating the game. I had to compensate by stretching my normal party of six into a party of 10, constantly swapping members out to keep the average level across the party down. Additionally, the only non-PVP reason to train and breed pokes, the Battle Tower, is so trivially easy this time that… why bother??

The wild area system is brilliant. A big criticism I’ve had with this series in the past is that the kinds of Pokemon any given player is bound to encounter and capture tend to be pretty similar. The limited amount of Pokemon that tend to be put on a traditional Pokemon route, and the limited means you have to encounter them (“hey I walk through the grass, we’ll see what pops up”) doesn’t trend towards players ending up with very different party compositions, just because there’s not a ton of options at any given point. The wild area completely tosses that out the window. As an open space, the types of things someone encounters will vary wildly— and it’s further varied by player-specific weather conditions that dynamically change the encounter tables. It completely opens up the kinds of Pokemon one can encounter early on, presenting hundreds of appropriately leveled options for players. It’s brilliant. The intermixing of both grass-only, overworld-visible, and raid-specific Pokemon also increases the range of encounters. It’s the accomplishment of the core Pokemon concept of “explore and find everything.” Finally.

On the other hand: the wild area is actually kind of boring to explore, visually speaking. It’s basically the Ocarina of Time field with sporadic patches of grass. There’s little actually diversity or mechanics to its exploration, especially when compared to the fact that… the game still has normal routes. They still behave as they always have, except that by the total remove of “Hidden Machine” mobility moves, the ability to explore geographically has been severely hampered. There’s no “gee, I can’t get there yet, guess I’ll have to come back later” except for a single mobility mechanic (the ability to go over the water, introduced very late in the game). It makes revisiting past areas mostly a box-checking exercise, and in general feels like an odd juxtaposition. They either should went all-in on the wild area or better merged the concepts together, because as is it feels… weird. Especially because the wild area could have done with being bigger and more diverse looking.

The game spends most of its time having no story at all, which is kind of boring. Juxtaposed with the railroading stuff where there’s still constant cutscenes with their mostly mediocre characters who don’t do all that much, it almost comes across as padding than anything. There are good characters (Piers and Marnie are the best, the gym leaders in general are good) but man do they try too hard to put Leon over.

But then at the end they introduce the story super quickly and it’s very dumb in a way that made me laugh out loud so congrats I guess.

All in all, I rather liked Sword/Shield. It’s no Sun/Moon— which innovated in tons of places and had an extremely charming story, cast, and progression— but the places that it innovates, and the ease-of-use improvements that they’ve put in the game, are great improvements to the baseline formula. While it’s caused a ton of drama online, the Pokédex and Pokémon Bank stuff are not huge impacts on my personal enjoyment of the game. It kind of stinks a bit, but the overall package is still quite good and fun.

The Legend of the Zelda: Breath of the Wild, Master Mode – 2017 – Switch – ★★★★★

Breath of the Wild was my favorite game the year it was released. The harder Master Mode is something that had interested me as something to check out for a replay, but I decided to wait until the shadow of my previous playthrough loomed somewhat less. Breath of the Wild is, after all, both a monumental game and also a monumentally large game. Going back to it for Master Mode would mean (by way of my own obsessive brain) 100%ing it all over again, which is extremely time consuming, even if I don’t go after the all the Koroks.

There was also this sort of reticence in my behind to confront the creeping suspicion I’ve had in my mind that some of the DLC additions have made the core game worse. Which, I would say… is probably somewhat the case. Certain DLC gear items extremely imbalance standard play and really fuck with the exploration of the game (specifically, Majora’s Mask basically making you not have to fight multiple enemy types). Still, I knew I could ignore those, and just focus down on the core experience of Master Mode: harder enemies, regenerating enemy health, and the introduction of floating platforms.

Turns out, BOTW is still fucking amazing, and while the additions Master Mode make aren’t essential, they do make for a fun second run of a fantastic game. The harder enemies make the early parts of that game WAY HARDER (making you really have to get good at using your bombs and stealth), and while that difficulty ramp doesn’t keep up throughout (which, honestly, the platforms are somewhat to blame as they make getting certain bits of higher-level loot earlier easier), it’s still just a great game to go back to.

Breath of the Wild remains my all-time favorite game. Hyped for BOTW2.

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4. Sekiro: Shadows Die Twice – 2019 – Steam – ★★★★★

Sekiro is in a sense the purest expression of the Souls formula. Stripped away of the jolly co-op, the PVP, the stats, the equipment, and most customization to speak of, Sekiro asks the simple question: can you do this? Can you learn all the systems in this quite challenging game, and engage with it on its own terms?

In its mechanical simplicity, I found Sekiro to be my favorite game of that lineage, as it has allowed them to really polish the gameplay by its singular focus. It just feels amazing to stealth around and backstab dudes, parry everything, and triumph in nail-biting sword duels. While you do gain new skills and equipment (in the form of the ninja tools), they are just supplementing the fundamental systems of the game, rather than acting as diverging ones. So really, most of your time is spent not learning wholly new methods of combat, but instead improving your mastery of the core one.

And the feel of mastering that combat is incredible. By the end you feel unstoppable; normal enemies that would have been challenges early on are nothing. Even a lot of the bosses become trivial as-time goes on, bar the few ‘mastery test’ bosses interleaved throughout the progression. This isn’t some “hey I got more EXP and now over-level for everything!” thing, either; this is me, the human holding the controller getting skilled enough to become a Sekiro master. It’s an amazing feeling.

I beat every single boss in the game, including the hidden ones, and enjoyed the hell out of it.

3. Bloodstained: Ritual of the Night – 2019 – Steam – ★★★★★

I’m very much on the record as being a huge IGAvania partisan. I fuckin’ love the core loop of that permutation of the Metroidvania formula. Koji Igarashi no longer being able to make Castlevanias hurt me. A lot. Over a decade of time spanned between the last IGAvania game, Order of Ecclesia, and the release of Bloodstained. I was a bit worried.

Thank god Bloodstained is really, really, really good.

Bloodstained is extremely “one of those.” You move about a 2D interconnected world, collect items and abilities until you find the stuff that let you move forward in a new area. It’s kind of an eclectic hybrid of IGA’s past titles. The castle design feels very Aria of Sorrow. The shard mechanics feel close to Aria/Dawn of Sorrow’s soul system. The weapons feel very Symphony of the Night meets Portrait of Ruin. The overall mechanics of movement feel most akin to Order of Ecclesia. All in all: a good mix.

The game is massive. There’s so many weird one-off mechanics (something I appreciate), bizarre callbacks, goofs. There’s an in-depth alchemy system (mostly used for cooking, which is funny). The shard system is a bit boring in places— some shards are extremely simple and forgettable mechanically— but the shard leveling system is kind of hilarious in how broken it can become. The familiar system from SOTN is back and has been essentially perfected by making it a dedicated slot so you can just hang with a fairy or sword pal.

I wish the game had more enemy diversity, and the story left something to be desired. Many shards just aren’t very interesting. But the game is just so dang fun. The core gameplay loop is just so compelling, and the game just feels so dang good. I’m glad they took all the time to polish the gameplay feel because hooooooooooo boy.

Looking forward to those DLC characters for some additional playthroughs.

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2. Outer Wilds – 2019 – Epic Game Store – ★★★★★

“Space exploration”, “cosmology”, “archeology”, and “sociology.” While these are certainly not the only fields that dominate much of my attention, they are some big ones. The Outer Wilds is a space exploration game where you explore the structure of a strange but exquisitely constructed solar system, and dig through the remains of a mysterious vanished alien species. Also, you’re stuck in a Majora’s Mask-like apocalyptic time loop ‘cuz the sun keeps exploding. Should probably find out why that’s happening.

I went into this game completely blind, entirely based on the way Austin Walker was raving about it on twitter. Austin’s interests in heady space shit is pretty similar to my own, and turns out? Worked out quite well for me. I blindly explored this solar system for about twenty hours over the course of a couple weeks, and came away from the experience misty eyed at the ending. Outer Wilds is fantastic.

It’s a surprisingly touching and cozy for a game that mostly about you going off into space on your own, all alone. And that’s because you’re not, really. Outer Wilds is less about the science of exploration and archeology and the meaning of it, why it matters even in the darkest moments. Why do we explore? Why does science matter, divorced from the parasite of industry and markets? What value does it give to us, to future generations?

The game is built on the notion that even as we individually wander, explore, and discover, we’re all together collectively building on something that may outlive us, even outlive our species, the pursuit of a collective knowledge that transcends personal enrichment and individual accomplishments.

You are but one a few alien explorers, each on their own adventure. As you adventure, you catch their signals as you cruise across space. The things you learn and do are further built on the relics and messages left behind by the Nomai, the species that came before. This sense of a personal and emotional connection in the act of discovery is the heart of this game. We’re not standing on the shoulders of giants; we’re holding hands with those before us and those after us to build a bridge to a future that we may not live to see.

It’s a positive message of hope in the face of oblivion.

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1. Fire Emblem: Three Houses – 2019 – Switch – ★★★★★

I’ve been really on-and-off on Fire Emblem over the years. I first got in on the franchise with Awakening, which I rather liked for its anime-ass sensibilities— though not without criticism. I found the combat kind of obnoxious in its tendency to get muddied down in the Oops You Done Fucked Up, Time To Reset junk. It was too anime-ass in some places, not the least of which being its incredibly one-note characters who had little bearing on ongoing events so as to support the permadeath system without too much wasted effort on the developers’ part. Fates, the follow-up on Awakening, only amped up these criticisms, becoming convoluted, stupid, and kind of obnoxious to play.

I had hopes that Three Houses would be an improvement. Initial impressions made it seem way more serious, way more grounded, with a lot of improved systems. Turns out: it was better than I could have dared of expected or hoped. Three Houses isn’t improvement, or even innovation; it’s a revolution.

Three Houses is great. It’s long, it’s got so many different systems going on that I hardly know where to begin with describing it, but… it’s great. It’s the platonic ideal of what I’d like out of a Fire Emblem. Things feel like they matter. The setting feels weighty, the plot is actually good, and the characters are absolutely marvelous.

No, it’s not perfect— its handling of representation could DEFINITELY be better. Some of the narrative is hokey as hell in places. Certain routes seem to have gotten more attention than others. The class-based specialization systems could do with more depth such that so many characters don’t end up mostly identically specialized to each other.

But… I found the combat extremely enjoyable. The charge-based rewind mechanic removed the feel-bad gotchas of unanticipated troop appearances and bad rolls etc. The characters are fun, and they’re kept relevant all the whole way through via creative framing of events. The ability to roam an actual physical space via the monastery made the world feel more alive, and made everything feel more real.

The writing was actually interesting and nuanced, exploring things like faith, race, social classes, feudal politics, and romance. While the three routes are largely similar, it’s interesting just how different the underlying messages of each of them ends up being. I appreciate that in this game where you otherwise spend most of your time hanging around with nobles in a church ends just short of you rolling out the guillotines by the end.

This is a tactical RPG in 2019 that I have put something like 150+ hours into, having beaten only two of the four routes. I was, and still am, deeply invested in everything that is. I’ll probably go back to the other two routes when the final DLC is out next year.

SAKURAI, PUT EDELGARD IN SMASH

#GAME OF THE YEAR #2019 #GOTY #nonfiction #thinkpiece #fire emblem: three houses #outer wilds #bloodstained #sekiro #pokemon sword/shield

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moistwithgender · 5 years ago

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Monthly Media Roundup (May 2019)

The march of time inexorably proceeds beyond my grasp and so I must write another post. I’ve been a bit burned out, just focusing on one diversion (it was Zelda, you know it was Zelda), but after finishing it I recovered enough energy to get a few more things done in the last half of the month. I didn’t watch any anime or read any manga in May, though I did read some 70s Marvel, which I liveblog in my “curry reads comics” tag. Last time I did an actual capital-P Post about my Marvel reading was a year ago after marathoning a full(ish) decade. If people are interested in more of that I could work at making posts for each year of issues I read, recapping the developments and my thoughts on them (which will become more relevant as Events become more common, I imagine). I’ve just got a few games to talk about this month, but I imagine I have a lot to say about at least one of them.

The Legend of Zelda: Breath of the Wild (Switch): 2 years ago I did something I extremely rarely do: stood in line at a Best Buy at midnight for the release of the Switch so that I could buy it with BotW. BotW was also out on Wii U, which I had, but the promotional material for BotW had struck such a chord in me that it justified making the jump for the new console (this would eventually become troublesome when the first model of joycons failed, but, well). I got home, put some ten odd hours into it, and then put it down for two years. I’ve always had a problem where, struck with the intuition that I will end up forming a deep relationship with a work, I will put it off for years. I put off Persona 3 for five years after buying it at launch, and it eventually became the most personal game experience I would have, even seven years onward. I think the two factors that pushed me to finally play through BotW was wanting to watch a friend stream it (but also not wanting it spoiled for me), and needing a distraction for when I was taking care of my cat.

It’s been about two months now since he passed away, and I finally finished the game at 215+ hours about half a month ago. So, I was playing this game as a coping method while preparing for loss, and in dealing with loss. It’s appropriate that the game is effectively both a fantasy about reclaiming at least part of what you have lost, and a colossal exercise in coping. The game is as much about getting distracted from your responsibilities and fucking off to snowboard in the mountains as it is about being aware of the world around you. The Zelda games have frequently used themes of Shintoism to portray harmony in nature and in civilization. I’m currently replaying Ocarina of Time and the cosmogony myth (is it a myth if a talking tree explains it to you?) specifically words the goddesses as “[giving] the spirit of law to the world” and “[producing] all life forms who would uphold the law.” When I was younger (see: early 20s) I didn’t scrutinize the text much but now I figure it’s reasonable to read “law” as “natural order”. It should be noted that for an N64 game, OoT has remarkably good prose. BotW, in transitioning the series in what may be its third main genre (as opposed to the genres of Zelda 1 and OoT), has taken that Shintoist aesthetic and incorporated it into the entire philosophy of the game’s design. More than just being a game whose narrative concerns an imbalanced world, BotW embraces the trends of open worlds and immersive sims to create an immense, varied space where the coded laws of physics are always impacting the experience. Thunderstorms make metal equipment a liability, while rain covers the sounds of footsteps. Wind can sweep away items, fire and high temperatures affect flammable objects (including yourself), and aforementioned metallic items can conduct electricity, which can be used to solve puzzles in unintended ways. Weather changes regularly based on the region and changes the world in tandem. Rain doesn’t just fall, it actively collects, and ponds become bigger, and surfaces become slicker. Each systemic element (pun not intended) that was incorporated affected everything else in the world, and in interviews there were mentions that changing the volume of wind in one area had a butterfly effect on another, causing pots to fly off of patios in a village. It’s no wonder the game took five years to make, considering how rarely glitches occur in the game (and most that I know of have to be deliberately recreated for exploitation). You’re engaging with enemies as much as you are with the environment, and at times even with your own body, creating and consuming food and drink for the purpose of staving off sunstroke or frostbite. As a result, BotW’s Hyrule is immensely palpable, and easy to lose oneself in from how livable it feels.

When I first started playing at release, I was a bit disappointed to discover that villages existed in-game, as early promotional material and the state of the Great Plateau you start on painted a picture of a lonely world. In the end, the soundtrack and vast amount of uncolonized land does give an understated sense of melancholy that defines the game, though the fact that every five steps you’ll find a Korok micropuzzle waiting to YA HA HA and fanfare at you betrays that a bit (I still love those Koroks and their puzzles, don’t @ me). The NPCs in this are numerous, though, from the occupants of the villages to wandering traders, and their personalities are all distinct and charming, and probably the best I’ve ever seen in a game, or at least in a long time. If this game wasn’t railroading the Link/Zelda relationship so hard, I would have liked a Dragon’s Dogma-style “date any NPC (within reason)” mechanic. I’m just going to have to start a “NPCs you should marry” side-tumblr.

Another defining aspect of the gameplay, and easily what makes the game surpass arguably every other Zelda, is how Nintendo heard the decade or so of complaints about the linear Zelda lock-and-key formula being reiterated to the point of stagnation, and, after great success with A Link Between Worlds’ item rental subversion, just decided to make everything optional. You do the tutorial on the Great Plateau, and, if you feel especially gutsy, you can beeline it straight to Ganon. He’s in horse-riding distance, or running distance, if you’re tenacious. Will you make it to him, survive the hordes of enemies, and take him down? If it’s your first time playing the game and you haven’t learned the systems, probably not. Is it possible? Absolutely. Much like how the monthly cycle of a Persona game is a proverbial Rocky training montage of preparing for The Big Fight, everything you do in BotW is in preparation. A lot of open world games can feel dissonant in that you’re incentivized to be distracted as a player and make your own fun, meanwhile the protagonist keeps saying “I’m gonna get bloody revenge on the mafia boss!” during bowling matches. There is still, unavoidably, a sense of urgency played up for narrative sake in BotW, since Impa insists Zelda is waiting and can’t hold Ganon back forever, but it’s all much more narratively justifiable, if you want that. You know, because Zelda is for hardcore roleplaying.

I couldn’t resist a second playthrough, even after logging 215+ hours, so I went ahead and started a separate file on Master Mode, Nintendo’s weird in-house, in-franchise rebranding of, uh, a hard mode. Previously it was called Hero Mode. Why do you--well, okay, I know why they do it. They’re likely trying to distinguish it from a “we just tweaked the numbers” hard mode, and also want to make it feel less threatening than something labeled hard mode. If they’re going to go to the trouble to make it a distinct form of play, they want to try and appeal to everyone. And it is fairly distinct. All enemies are bumped up one rank, so a red bokoblin is blue, and a blue bokoblin is black, and so on. There is a new strongest rank of enemy, though in my run I did not seek them out. There are enemies (and treasure chests!) perched on flying rafts, which can be one-shot with proper bow aiming, but also carry dangerous elemental arrows, and can alert all other enemies in the area. Stealth is much more difficult, and pointless early in. All enemies regenerate up to a third of their health, including bosses! Though, that can be temporarily interrupted by inflicting any amount of damage on them, so it behooves you to be on the offense. Less autosave slots! This wasn’t a problem for me. Guardians randomly delay the firing of their beams! This was absolutely a problem for me and I avoided them entirely in my run. In the beginning when tools and resources are scare, particularly on the Great Plateau, Master Mode is at its hardest, and its most thrilling. Rather than aimlessly exploring, I was pressured to decide where I knew things were, and beeline it to them. Sometime in-between two of the four main optional dungeons, I had amassed enough valuable resources that the game had settled back into the same kind of difficulty as normal mode. Bosses were a little harder due to regen and my resources being somewhat scarcer, but they were manageable. Competently performing flurry attacks (upon successfully dodging attacks at the last second) was extremely valuable to me, but I imagine with enough food in my inventory, I could have brute forced my way through a lot of the fights (though, uh, obviously thou wouldst like to live deliciously (please hate me for this phrasing)). I chose to forego the Master Sword for the sake of challenge, and beat Master Mode with only seven hearts, in around 25 hours. You should play Master Mode, it’s fun.

Here’s a little gameplay SPOILER:

Something I haven’t done, but would like to eventually do, is avoid the main dungeons and just head straight to Ganon. When I played Master Mode, I wasn’t totally confident, and did the dungeons for the resources. After watching some speedruns I learned that if you skip the dungeons, and therefore the main bosses, you have to fight them all at once immediately before the fight with Ganon, without breaks.

That. Sounds. Great.

Wandersong (PC/Steam): Have you heard about Homestuck?

Okay, wait. Wait. Come back, wait. Stop leaving. PLEASE.

Okay, I got the most inflammatory sentence out of the way. Now that we’re eased into that: Wandersong is unignorably influenced by Homestuck. Homestuck conjured a lot of baggage, from having a really difficult, pretentious, arrogant author (I should know, I gave him the benefit of the doubt for way too long), to having some unfortunate narrative turns, to being a billion words long. Wandersong invokes the vaster-than-God scope, the minute and personal perspective of the heroes, and its inclinations toward emotional intelligence (it still surprises me Homestuck had these moments given the author’s deeply unsympathetic sense of humor), and… condenses it! It also makes it a light puzzle-platformer and is about performing music (note: not rhythm, you don’t have to have ANY rhythm), and looks like a Paper Mario game. It is very charming, very funny, very optimistic, and most surprisingly, uncompromising at times. Wandersong says that you, despite your role, are capable of great things, especially self growth and change, as long as you commit to it. If, faced with the consequences of your bad decisions, you choose to double down and keep at it, you will reap what you sow. This is distinctly different from Undertale’s brand of pacifism route optimism, where “no one has to die!” This brand of optimism is a measured but enthusiastic “you can’t save someone who doesn’t want to be saved, but you can save the rest” and I think that’s a uniquely valuable message.

I was a little confused about the resolution of the communist uprising chapter, but I recall the game bringing my cynicism into question, and the most important thing a work can do is make you question yourself.

(Also, if any of my mutuals are low on funds but interested, I do have a drm-free version I can share.)

Minit (PC/Steam): I don’t think I actually have a lot to say about Minit! It’s very fun and curious and short. You play a little… duck… thing, and you pick up a cursed sword which kills you in one minute. Then you wake up the next day, and die in a minute. Then you wake up the next day. Having only sixty seconds of vitality, you have to optimize your exploration. There’s a slow-speaking old man who you will die listening to, but the hint he gives at the end of his sentence will lead you to something valuable. There’s a guy in a bar angry about the lack of music. If you change the music, he will probably dislike it. If you keep changing the music, you might live to see him like it. There’s a boat ride to a tropical island you have to grit your teeth and wait through. Not all of the events are slow, some are quick bouts of hurried exploration. Most of it is, given the time limit. I’d say more, but given the overall length (it took me about an hour to finish), I’d risk spoiling a sizable fraction of the experience. It’s about $10, though I got mine in a Humble Bundle Monthly subscription. The spec requirements are very low, so your laptop can likely run it.

A Hat in Time (PC/Steam): Heads up, I’m gonna get into a lot of spoilers for this game, including endgame spoilers, but also heads up, the story isn’t really the point in this game. This is a game about tone and platforming. That said, I’m gonna be talking exclusively about the weird ideas in this game, and if you want those weird ideas to be a surprise, then just skip ahead until I put up big letters.

I’m somewhat hesitant to be critical of A Hat in Time because despite a number of weird Things about it, I recognize that it’s quite popular with a lot of people, and that always makes me pause and want to figure out what it is that makes it pass the bar for others. My guess at this point is that it invokes nostalgia through its unmitigated imitation of games that came before. The games it chooses to ape are all your childhood’s Greatest Hits, Wind Waker (which it most resembled in its earliest development), Super Mario Sunshine/Galaxy (which it most resembles now), Banjo-Kazooie, Psychonauts, etc. It never really surpasses those games, for me, and at times cribs from them to the degree that it obscures the game’s own identity. After all, what you enjoy may help define you, but you wouldn’t say it’s your personality. Well. Unless you kin the Gamecube. I guess. There are bonus levels to the game’s different “worlds” (I thought they were different planets, since your hub area is a spaceship, and you access them via different telescopes, but it turns out it’s just one planet?), and you can collect photographs, which sequentially tell a story about the residents of that “world”. Psychonauts did this because each level took place in the mind of a character, and the photos together told a story about the character that fundamentally changed the way you thought about them, and made the whole game feel richer as a result. I collected the photos for all but the DLC levels in AHiT (those are Really Hard), and of those five or so worlds, none of those bonus photos told me anything that changed how I thought about the characters. There’s a dock town run by a mafia (s-sorta) led by a chef, but did you know they all used to work at a processing factory before going there? There are two manipulative bird directors who are fighting over the same studio to produce their own film and win an award, but did you know they… wanted to be directors since they were kids? There’s a devil analogue who steals people’s souls if they wander into his forest, but did you know he was a prince, and the princess was mad he talked to another girl (it was a flower girl, he was getting flowers for the princess), and imprisoned him until they both the prince and princess turned into evil ghosts? That’s the only one that comes close to being an “oh” moment, but I don’t think it does for the reasons the writer was hoping for. In general, these are prologues without substance.

Speaking of substance, the game has a bit of an issue with theming. At least, it does at first. The first town is the previously mentioned dock town, run by a mafia. By “mafia”, I mean a bunch of meatheads who talk about how they like punching people, and refer to themselves individually, in the third person, as Mafia. Mafia loves to punch the poor and the birds. Mafia is a one-dimensional character copy-pasted across 20% of the game. Mafia laughs. They’re run by a chef, but also they can’t cook, so there’s a cat chef in hiding who routinely swaps out their food with his so no one has to eat bad food. I don’t know why, when the town has maybe three non-Mafia character. He does eventually leave and board your ship, so maybe he’s just looking for something to do. The leader of the mafia also boards your ship, for a joke and to sell you an upgrade. The mafia are also afraid of mud monsters, or aliens, or something. There’s a girl with a moustache named Moustache Girl who wants to use your Time Macguffins to overthrow organized crime, and Hat Girl decides that’s a no-go. There are giant faucets around the town that replace all the water with lava. You might be noticing these things have little to no connection. You might be suspecting this level was made first when the dev was inexperienced. I might be suspecting this. It’s fine.

Later worlds do a much better job of theming. There’s the movie studio split between two birds. One of them a penguin, who prefers science fiction, the other a…

...hmmm. I suspect this guy, The Conductor, is an OC the director has had for a while, maybe since childhood, that they just decided Is A Bird, and carried it into the game, since the game occasionally is like... bird?? Alternatively, it’s some sort of corruption of Woodstock from Peanuts. Possibly both. Anyway, this guy just wants to make movies that take place on wild western trains. He has a strong fake Scottish accent, and the penguin, named DJ Grooves, is some sort of disco Elvis. They’ve both hired owls as actors, and some crows have snuck onto the train set (the crows are so obviously the G-Men from Psychonauts’ Milkman level it bothers me a bit). This is already a little busy, but it’s okay! Birds, movies, two distinct genres, and you trapped in-between them, just trying to collect your macguffins. It works. You take part in both of their movies, and your performance in both determines the winner, when suddenly… CORRUPTION WAS AFOOT, and you have to explore the depths of the studio and engage in a showdown.

Another world is a spooky forest where your access is restricted by completing certain contracts for the devilish character. Sometimes it’s murder (reasonable), exploring a haunted mansion in survival horror format (ooh!), fixing the plumbing in a well (wait, what), and doing mail delivery (back up back up). Half of that works. The finale of the forest makes up for it, though. This game insists on most of its bosses having like 4-5 phases and breaks for dialogue and the gall required to get away with that honestly earned my respect. They’re pretty fun times.

The best level to play is, unsurprisingly, the first DLC. I say unsurprising because it’s clear the dev is learning as they go, and the level design improves as they go along. Aside from bonus levels, the first DLC takes place on a massive cruise liner titled the SS Literally Can’t Sink. Ha ha. It’s split into three parts. The first part has you exploring the many interconnected rooms of the ship to find broken shards of a macguffin, the second part has you taking that mental map and using it to frantically complete multiple timed fetch quests at once, and the third part, now that you understand the ship pretty intimately, capsizes the ship, requiring you to traverse frigid waters and overturned scenery to retrieve babies and the ship’s incompetent but adorable baby seal crew (the seals speak in hewwo talk, the game is unforgivably loaded with memes but let me have this). This progression is my favorite in the game, and while I haven’t bought the Nyakuza Metro DLC, I’m looking forward to it.

The ending level had me a bit bewildered at first because in the beginning when Hat Kid refuses to use time powers to stop organized crime, I saw it as a hamfisted way to create tension between Hat Kid and Moustache Girl. Apparently it was working up towards the moral of the story. In the final level, Moustache Girl has stolen all the macguffins, and possessing ultimate power, becomes corrupted ultimately, and summons everyone in the world to her Bowser castle to be judged and die. On first glance, I thought “well, sure, that’s sensible,” but when Hat Kid finds the support of all the villains in the game, I was a little confused. The villains sacrifice themselves to give you infinite health, explicitly stating that they’ll just come back through time magic if you win so who cares (cool stakes), and you overcome authoritarianism with the support of corrupt hollywood, organized crime, and the literal devil. This would be fine if at some point Hat Kid, you know, took them on a Zuko Quest to face turn all of them, but that doesn’t happen. They just all decide “hey yeah, fuck this girl! Also we don’t have time for the nuance this might require!” After all is said and done and you collect all your macguffins, you’re given the choice of leaving the defeated Moustache Girl a single macguffin so she can defeat the mafia (whose side are we on) or just saying nahhh. Neither appears to make a difference, but maybe in a year or two we’ll get a DLC that makes you regret your words and deeds. You try to fly your ship to your home planet, and the villains all grab on to your ship, which is in space, begging you not to leave. I seriously suspect they intended to incorporate face-turn scenes and just couldn’t find the time, because nothing but physical proximity implies these guys would have any emotional attachment to Hat Kid, and that’s a bit of a stretch. Anyway, Hat Kid brooms them off the ship to plummet down to earth and flies away. Sheds a tear about the whole thing. In the end, the moral was that Order good, but too much Order bad, except if you are Hat Kid, in which case Chaos good. Or maybe…

After finishing the game I decided to look into any left over secrets, since my completion score was in the 80s of percents. Turns out that if you use the camera badge to finagle the free look feature into a marginally open armoire somewhere on your spaceship, you can find a shrine to Hat Kid with a couple skulls, a bunch of blurry photos, and some strange symbols. If you doing this while wearing the mask that lets you see the secrets of the dead (for platforming and puzzle purposes, of course), there’s a bunch of alien text you can decode. And then there’s some youtube channels. And a twitter account. All sharing more of those decodable ciphers, all talking about vague dreamy apocalyptic histories and dark betrayals. Or something. That’s right, this game’s got a fucking ARG. I cut things off there. If the developer Gears for Breakfast is gonna make an occultist grimdark sequel to A Hat in Time, they can put up a trailer for it.

OKAY I’M DONE TALKING ABOUT A HAT IN TIME, the short of it is that I had a lot of mixed feelings but had fun.

How did I end up talking more about A Hat in Time than Breath of the Wild? What are my priorities?

Well, that’s everything I finished in May! Will I get back to anime and manga in June? Guess we’ll see! Again, let me know if you want me to do year-recap Marvel posts, since my liveblogging is mostly just shitposts, and the occasional attempt at thoughtfulness among those posts feels kind of out of place. Honestly, I’m probably gonna do that anyway, but it’s nice to see interest. If you read all this, thanks a lot! Go play Breath of the Wild and Wandersong.

#curry plays games

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ryanmeft · 6 years ago

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No, Nintendo Does Not Hate Metroid

Nintendo, a company that makes video games, recently announced that after almost two years, they were scrapping all current work on Metroid Prime 4, taking it from whatever mystery studio was working on it, and giving it to the hallowed minds at Retro Studios to start over with, hoping to get it right.

This was greeted with rapturous applause by Metroid fans, who almost universally recognized how good Nintendo was being to them, and were highly appreciative of the fact they’d be willing to write off all the resources they’d spent so far, just because the game wasn’t up to snuff.

I am of course kidding. That up there was a joke. Metroid fandom contains the whiniest, most entitled, hardest-to-satisfy fans of any Nintendo property, and while the majority of fans were cool, the loudest ones were typically the whiners. Most notably, a not-insignificant section of the fandom has gripped, with an unshakable hold, the idea that Nintendo doesn’t respect or even dislikes the franchise. I’ve listened to this particular whine for years and years, ever since there was an unimaginable eight-year gap between Super Metroid and Metroid Fusion. Never mind that other beloved series of yore, from Mega Man to Final Fantasy, have also gone similar periods without a new game. Never mind that non-Japanese fans of Nintendo’s own Earthbound are still denied the chance to play the final game in the series, and probably always will be. Never mind that Sonic fans suffered under a notorious drought of good games lasting two decades before Sonic Mania finally happened. None of that means shit: Metroid fans are the most persecuted, victimized, and unfairly treated fandom in video games.

Now, I’m the last guy to feel I need to defend a massive company like Nintendo, but in this case I’ll make an exception. Because just like Ghostbusters fans who can’t figure out their particular obsession just isn’t as relevant as they want it to be, Metroid fans need to grow up and start appreciating what they have gotten, rather than what they haven’t. Below are the three reasons why Metroid fanboys aren’t even the least bit as ill-used as they think are.

Almost Every Metroid Game has Been Excellent

The nature of video games is such that many more entries in a successful series are usually produced than in other mediums like film. Even a series like Metroid, which has been iterated less often than Nintendo’s other properties, has had eight fully fledged games since 1986, and 10 if you count the heavily re-worked upgrades of the original game and Return of Samus. Of those, only a single one, Other M, has been poorly received, and there’s no indication that’s what Nintendo expected. After all, fans were excited when the series got handed to Team Ninja; the idea that this was callous on Nintendo’s part, for not developing the game themselves, is something that only took hold retroactively, and you know what they say about hindsight. The original Metroid, Super Metroid, Fusion, and two of the three Prime entries are among the more critically lauded games in history, and excepting only Other M, all of the others have received highly positive reviews. The Metacritic average for the mainline Metroid games is an 89 of 100. Boy, look how much Nintendo hates this franchise, going out of their way to make good games for it and crap like that.

The Bad Spin Offs are Nothing Compared to Other Series

One of the big pieces of evidence Metroid fans like to roll out to prove Nintendo loathes Samus like unto the heat of a sun is that they’ve spent some of their time on it making poorly received spin offs, like Blast Ball and Federation Force, that don’t capture the spirit of the series. “Look!” they shout, from atop the Tower of Cluelessness high on the Oblivious Cliffs, “They aren’t doing what a bunch of us fans who have never programmed a game or made a decision about a franchise think they should be doing, so they clearly don’t care!”

You might already see the flaw in this thinking. By this standard, nearly every company with a long-running series hates that series. Capcom has inserted Mega Man into soccer and allowed him to be licensed out for extremely shitty PC games, and have pooped out almost as many crappy Resident Evil-themed spin-offs as there are main Resident Evil games. Square has pimped Final Fantasy out to every possible genre, from racing to fighting to freaking tower defense, all while taking ages to finish the next main entry in the series. Nintendo themselves have slapped Mario on every possible thing they can, and despite strong sales to dumb people, Mario Party is notorious for being a bunch of slapped together mini games for people who like their games to be completely random.

If bad spin-offs proved anything about what Nintendo thinks of Metroid, the fact they’ve spared it from as many as other series get would actually support the idea they are more protective of it.

Metroid Doesn’t Deserve as Much Love as You Think it Does

Economics 101 is now in session. All right, children: why does a company make things?

“To make their fans happy, Mr. Eft!”

Wrong, little Dingleberry! They make things to---say it with me---MAKE MONEY!

See, companies like money. And this is especially important for an industry with relatively low margins and high costs like video games, because folks like the evil satanic Metroid-hating demons at Nintendo need games to sell well not only to justify further games in that series, but to fund further games in that series. Unlike, say, Disney, they don’t typically have the option of busting out an Avengers and making 1000% profit. Unless it is something really massive and popular and guaranteed to sell, like Call of Duty or Pokemon, most franchises live entry to entry, relying on the previous one being profitable to decide if the next one will ever be made.

And here’s some economic reality for you: almost from the outset, Metroid has failed that test more often than it has passed it. Yes, the series has sold decently---for a minor franchise. The fact that it is legendary among gamers and highly influential among designers has not traditionally translated into the kind of money it needs to guarantee the entries keep rolling out. One of the most frequent desperate cries of the Lesser American Hardcore Metroid Fanboy plays out something like this: “If only Nintendo put as much effort in as they do for Mario and Zelda, it could be a real blockbuster!”

Except it couldn’t. And it has proven that time and again. It has sold, it is often said, respectably. That’s a business term for “We didn’t lose money…but it didn’t exactly pay our salaries, either.” Metroid’s critical and fan status is simply not reflected in sales, where Samus is holding at the 14th overall spot in Nintendo’s history. She’s managed to scrap together around 17 and a half million units moved in three decades, compared to just over a hundred million for Zelda and hundreds for Mario (that’s including every Mario game of any kind, but if you only include platformers, the series is still on top).

Simply put, Metroid doesn’t get the same attention as Mario and Zelda for the same reason Luke Cage or Cloak and Dagger don’t get as much love from Marvel as Spider-Man and X-Men: financially speaking, it doesn’t deserve it. No one argues that means Marvel hates Luke Cage; the sales just aren’t there to justify an equal amount of time, energy and resources.

Given all that, fans ought to be grateful the series is still around at all. Nintendo has tossed all of the Prime 4 resources spent so far down the crapper and re-started it just to get it right, when they would have been fully justified with just abandoning it. As a big fan of many minor characters and series, take it from me: when your preferred fan obsession is far from being top dog in the overall culture, sometimes you gotta stop whining and take what you get.

#Metroid #the legend of zelda #nintendo #Final Fantasy #video games #resident evil #Super Mario #Mega Man #call of duty #marvel #spider-man #X-men #luke cage #metroid prime 4 #ghostbusters

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lacquerware · 6 years ago

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Hyper Light Drifter is basically perfect

I've tried several times to write up my feelings on Hyper Light Drifter, and each time I've hit a block, looked back over what I've written, decided I hate most of it, and wallowed in sadness for a bit before repeating the whole cycle. My wife pointed out that writing is not like games, where you can just keep grinding out a challenge, failing and failing until at last you get it; sometimes you need to step away for awhile and let clarity come to you of its own accord.

This was ironic, because actually, I often feel that games are this way as well. A challenge you simply could not overcome yesterday takes only two tries today. Sleeping on it made all the difference. But my wife had just seen me play through Hyper Light Drifter, a game that had such a hold on me that I found myself exhibiting an uncharacteristic stubbornness, soldiering through even the hardest challenges with a trance-like obsession when I almost certainly would have stepped away from another game. Now I'm back writing about it and find myself knowing exactly what to say. Go figure.

I really loved playing Hyper Light Drifter. I kept thinking it was one of the most perfect games I'd ever played, then arguing with myself that that couldn’t be--nobody even talked about this game—then continuing to relish every moment of the game and laud each design decision I noticed. “Yes,” I’d think, “that was the best possible way to implement that concept.” With the exception of two absolutely unforgivable bugs (one causing permanent slowdown, the other causing me to lose a dungeon’s worth of progress), I couldn’t find anything to criticize. The visual storytelling, the combat feel, the pacing, the dichotomy of intense difficulty and forgiving checkpoints all felt tailored to my exact tastes.

Ultimately I think the reason this game appeals to me so much is because part of me never wanted modern games. Part of me wishes games today were just amazing 90s games. When video games went 3D, it’s not like the potential of 2D games had been exhausted--we just abandoned that track as a species, enticed by triangle tits and Z-targeting.

I enjoy the Horizons and the Gods of War, but there’s a lot about those kinds of games that I could do without. All the talking, for example. Also, most of the systems. Not to beat a dead horse, but Horizon has a whole sidequest line devoted to finding ancient coffee mugs. There’s also a bunch of outposts where you can sneak around and kill humans. No. If I want to kill humans occupying outposts, I’ll play the kill-humans-occupying-outposts game. Horizon was supposed to be about blowing up glittery robot dinosaurs. All the time I spent not doing that, I wished I was.

Hyper Light Drifter is lean, but also deliberate in its intentions. Every element feels decadent, like the craftwork of some mad artisan—the nuanced risk-reward of the dash mechanic, the metagame of balancing your renewable ammo supply, the satisfying chunk of obtaining a new item or the zip-snap of your slash-dash lopping off some unfortunate head. Hyper Light Drifter falls into a small category of games that feel like direct evolutions of the 2D games of our childhood. It's a glimpse at the future we might've gotten if not for Tomb Raider and Doom. Scratch that, it's the future we got anyway, albeit in small, precious doses. In fact, I think HLD stands as an example of modern game concepts influencing classic game concepts. What looks on the surface like a neon Zelda, feels oddly Souls-y in your hands. The results are positively post-retro.

We saw similar results in the likes of Fez, which brilliantly used 3D to reinvent 2D; Mark of the Ninja, which borrowed from the traditionally 3D stealth genre and innovated upon the tenets of that genre in a 2D context; and Guacamelee, a Metroidvania which took cues from fighting games to master combat-feel and beat even the giants of the genre, Castlevania: Symphony of the Night and Super Metroid at their own game, at least in terms of the moment-to-moment action.

The Drifter has an efficient brutality like many a video game ninja, but the combat has a notably staccato feel to it in contrast to the legato momentum of games like Ninja Gaiden or Shinobi 3. Every sword slash has a tiny dead zone in between, and if you mash, even your basic three-slash combo is likely to drop. Unable to queue up subsequent inputs with buffering, you have to be disciplined in your rhythm--get frantic, get yourself killed. When you learn that this game was the brainchild of a man with a congenital heart defect, this design element takes on a profound relevance.

Sometimes the best strategy is to let them come to you, lest you get winded.

Dashes can be chained together infinitely, but the timing is so tight there's a challenge room dedicated to mastering it. In the beginning, I found it hard to consistently chain even two dashes together. After an hour of entranced practice, I hit a hundred. Master this and you'll be untouchable.

Frequent setpieces keep the game's dungeons and exploration elements from feeling rote. You never know what'll be around the next corner, but it's sure to be a treat for the eyes.

Well done, Heart Machine. Please live and make more things.

#hyper light drifter #heart machine #reflections #games #gaming #video games #videogames #gamming #indie #indie games #playstation 4 #ps4 #screenshots #criticism #review #cyberpunk #disasterpeace

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bransles · 3 years ago

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@somnium-led said : TLOZ asks ▪︎ 18, 31, & 41 !! // accepting.

18. which zelda game feels most mature to you?

uuuhhh i’d say twilight princess, but that was like. the point. MFDSJF. it’s definitely presented in the most mature way, and it’s the only one that’s rated T instead of E. in a way i feel it’s attempt to be the most mature was almost. ostentatious. it still is definitely that Classic Zelda feel, but the graphics and designs of some characters/monsters was just. lmfao. which, like. the reason TP looks Like That was because western audiences were obsessed with 2edgy4me games, so wind waker got a bunch of unfair criticism for its cutesy graphics. and then TP ended up selling poorly in japan LOL

31. hardest dungeon played?

FUCK THE CITY IN THE SKY. oh you think the water temples are hard? do you remember the city in the sky? how needlessly big it was? how easy it was to get lost? how it was impossible at times to figure out what you were supposed to do and where you were supposed to go? or maybe it wasn’t that hard and i’m just stupid idk. but for me at least the city in the sky was not only hard but agonizing. i hate it

also i’m gonna say i don’t think the water temples are that hard. in oot, it’s just very easy to miss a key, and the constant pausing to take on/off the iron boots just drags it on for longer than needed

41. favorite ocarina song?

scarecrow’s song

no but rlly i go hard to nocturne of shadow. i wish the ocarina temple warp songs had like longer versions. i wanna listen to a 3 min extended version of this shit. also oath to order is a banger

#( 🎵 ❛ answered ╱ love letters.#( 🎵 ❛ ooc ╱ fruit cup (complimentary).#somnium led

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athetos · 6 years ago

Note

🗻👑👤🐾🎭👎🎼🌊🚻🕛 (the treble clef is supposed to be the two barred eighth notes emoji but i have no clue where that option was i dont use any emoji except the horn...rip)

It’s ok cloud I can’t find emojis I need either lol

Favorite game environments/worlds: obvious answer but breath of the wild really blew me away. There were a ton of cool, tiny areas most people would miss that were real treats to find. And it was huge. Zelda games in general have great environments. Super Mario sunshine ranks up there too, I don’t think any game will be that island aesthetic.

Favorite boss(es)? Gigyas from earthbound is always a standout, it really sticks with you and messes with your head. The final neutral boss of undertale is another one like that. The final main story boss of the world ends with you, the final boss of devil survivor 2, and the final boss of paper mario: the thousand year door are also top notch.

Favorite game characters? Vivian from the thousand year door, neku, Shiki and beat from twewy, nanashi and nozomi from smtiv: apocalypse, Pauline, yoshi and Rosalina from mario, guzma and Roxie from Pokémon, urbosa from botw, frog and marle from chrono trigger, Cecil and Rydia from final fantasy iv, there’s just so many!

Favorite video game companions? Yoshi! Also love the frog from donkey Kong country even though it was an asshole to control

Favorite plot/story? Chrono trigger and the world ends with you probably. Bravely default grated on me a bit but definitely kept me hooked. Zelda and shin megami tensei are always good.

Favorite underrated/unpopular games? The world ends with you is very niche, i feel like, and I guess the switch version hasn’t had good sales so far, but it is truly one of the greatest games of all time PLS check it out you won’t regret it! I also don’t see a ton of stuff on the Devil survivor games and yeah they’re basically anime shin megami tensei and all the bad things that comes with it but they’re good games I promise. And Zelda games are always popular but everyone overlooks the oracle games, or the minish cap, and they’re amazing. They deserve way more recognition than the ds games

Game with the best music? Undertale, earthbound, chrono trigger, anything from grant kirkhope or David wise, castlevania in general, celeste, super Mario 64, the absolute beast of a soundtrack that will be smash ultimate

Water levels in games, scary or no? Scary because most of them are bad. Nobody can apparently figure out how water physics and puzzles should work. Swimming is almost always a chore in games. Look at all the water levels in zelda games! Always hardest dungeons.

Which gender do you play as? Depends which character design I like more, and what customization options there are. I typically wind up picking male characters because all the woman customizations are overly feminine, whereas it’s usually easier to make an androgynous character using a male avatar.

Opinion on timed challenges? If they’re done right they’re okay, I mean, I love speedruns and those are self-imposed, but sometimes the time challenges are ridiculously difficult, with almost no room for error. They have to be feasible!

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aion-rsa · 3 years ago

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10 Hardest Games of 2021

https://ift.tt/3IXunBY

While I wouldn’t go so far as to say that 2021 has been a banner year for hard video games, anyone who seeks out difficult games as a cathartic escape from difficult times certainly won’t be disappointed by this year’s selection of controller smashing, monitor breaking, soul-shaking experiences.

In fact, it was an especially interesting year for difficult Triple-A and AA games. From Metroid Dread to certain difficult settings in Resident Evil Village, it really does seem like more and more major studios are starting to explore the viability of at least adding optional difficulty modes to their major releases designed to make some of the year’s biggest games as punishing as possible.

Of course, many of the year’s hardest games can still be found on the indie scene where smaller studios continue to argue against the idea that they just don’t make hard video games like they used to…

10. Cyber Shadow

One of our most underrated games of 2021 also finds its way onto this particular list by virtue of being a proper throwback to the most difficult action games of the 8 and 16-bit eras.

While Cyber Shadow incorporates a few mechanics designed to make the game slightly more accessible than the NES Ninja Gaiden games developer Mechanical Head Studios so clearly loves, the game ultimately uses those “conveniences” as an excuse to incorporate some of the most frustrating design concepts featured in genre classics like Batman and Castlevania. Fans of those games will likely welcome those callbacks, but everyone else will wonder how we all survived growing up with titles like this.

9. The Binding of Isaac: Repentance

The Binding of Isaac: Repentance may be described as the “Ultimate Edition” of this classic roguelike game, but it features enough new (and incredibly difficult) content to be worthy of a spot on this list.

Most of the new content in this game was seemingly designed under the assumption that you’re pretty good at The Binding of Issac, which is really funny considering that being “good” at Binding of Isaac basically means that the game no longer makes you want to smash your screen quite as often. Of course, the game is so good and so addictive that you might just end up learning to love the pain.

8. Death’s Door

While Death’s Door is remarkably well balanced and gives you plenty of time to learn its “tricks,” this game’s blend of classic Zelda tropes and modern Soulslike mechanics makes it the kind of formula that will challenge you until the very end.

Death Door’s combat will certainly keep you on your toes, but it’s the seemingly simple act of navigating this game’s world that will push you to your limits. Not many modern games emphasize figuring out where to go quite the way this one does, so anyone out of practice with that classic concept is going to spend a lot of time figuring things out.

7. Ninja Gaiden: Master Collection

I suppose there’s an argument to be had about the eligibility of remasters and collections on any “end of the year” lists, but it’s hard to fairly talk about the hardest games of 2021 without talking about this collection that features three of the hardest 3D action games of all-time.

These games demand a pretty unique style of play that falls somewhere between Devil May Cry and Dark Souls. It’s a little more “methodical” than many of the games in the former franchise but still features the kind of frantic, enemy-filled rooms action setpieces that the latter series rarely utilizes. All of that is just a roundabout way of saying that these games are incredibly tough.

6. Back 4 Blood

When a developer has to put out a statement in which they acknowledge that they may have made their game a little too difficult, you know that game is going to find its way onto any respectable shortlist of the year’s hardest games.

Back 4 Blood’s Nightmare difficulty level is one of the most absurdly challenging gaming experiences I’ve endured in years. It’s the kind of difficulty option that leaves you feeling certain that you must be doing something wrong because there is no way that a studio would actually release something this punishing. That’s why it was so weirdly comforting to hear the game’s developers acknowledge that something had indeed gone wrong with this co-op shooter that will make you hate your teammates forever.

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5. Returnal

Some of the controversy surrounding Returnal’s difficulty was arguably a bit overblown (and was later addressed by developer Housemarque via a quality of life update that allowed you to suspend your run), but this really was one of the year’s most challenging major games.

The thing that separates Returnal from so many other roguelikes is its almost bullet hell-like third-person action. It takes quite a while to get used to working within a 3D space filled with that many lethal projectiles, and (like so many other classic entries into that subgenre) the difference between a successful run and a terrible one can sometimes come down to just a little bit of luck.

4. Blade of Darkness

Blade of Darkness is a re-release of an often forgotten action-adventure classic that is sometimes described as a spiritual predecessor to modern Soulsborne games. While it’s certainly surprising to play this game and see just how ahead of its time it was in that respect, don’t let that sometimes overused comparison give you the wrong impression about how hard this game really is.

Blade of Darkness’ complex combo-based combat system is one of the most interesting takes on melee battles that I’ve ever seen in a video game. It’s almost like a deeper and more challenging version of the lightsaber combat system from the old Jedi Knight games, and it makes the simplest battles feel like truly epic encounters.

3. Tails of Iron

Whenever a game includes the words “punishingly brutal combat” in its description (the thing meant to sell you on the basic experiences as quickly as possible), you know that you’re in for a good time.

Tails of Iron’s combat system offers no room for mistakes. One missed roll or one greedy extra hit can often spell your doom in this game that emphasizes memorizing patterns and finding that “zen” state that allows you to basically move on autopilot. There’s certainly a little room for creative exploration within the combat, but it’s not too much of a stretch to suggest that this game demands perfection.

2. Eldest Souls

It wouldn’t be a proper rundown of the hardest modern games without at least one Soulslike on the list, and I’d say that Eldest Souls is the hardest Soulslike I played in 2021.

Eldest Souls is a Soulslike boss rush game that forces you to bounce between battles against massive foes with very little downtime or opportunities to hone your skills against lesser enemies. That basic premise makes it very difficult to “grind” your way to success and also ensures that some of Eldest Souls‘ earliest encounters feel like they could be final bosses in most other games.

1. Ghosts ‘n Goblins Resurrection

I’ve never heard anyone deny the difficulty of Ghosts ‘n Goblins (as well as many of its successors), but if for any reason you find yourself wondering why those titles are regularly referred to as some of the hardest games ever made, a few hours with Ghosts ‘n Goblins Resurrection will certainly answer all of your questions.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

This remaster may make Ghosts ‘n Goblins “smoother” than it has ever been before, but Capcom went to great lengths to ensure that this game is still so difficult that you won’t even be that angry when you’ve died for the hundredth time because you’ll quickly appreciate that it’s all part of the experience.

The post 10 Hardest Games of 2021 appeared first on Den of Geek.

from Den of Geek https://ift.tt/3dZD00v

#aion-rsa #Den of Geek

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shadow--link · 3 years ago

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1. Is there a Zelda game(s) that you associate with each season or time of year? uh...no?

2. Favourite 2D title? FSA lol

3. Favourite incarnation of Zelda? Minish Cap

4. Least favourite entry in the series? the 2nd one

5. Favourite LOZ soundtrack? hmm Gerudo Vally or uh The Dark World, thems music fun

6. Is there a Zelda game that intimidates you/looks too hard? The 2nd one 😭😭

7. Favourite dungeons? hmmm, ones that have an easy flow and that I don't have to google to figure out lmao

8. Most underrated Zelda game? uh...idk

9. Least favourite character in the series? fucking Ingo

10. Favourite item? da spinna

11. Favourite Ganon characterization? Twilight Princess

12. Which Zelda game has the most sentimental value to you? idk what that means lmao

13. What Zelda game, in your opinion, has the best character design? botw

14. Master Sword, the Four Sword, Great Fairy's Sword, the Koholint Sword, or the Biggoron Sword? stick jk jk the four sword lol

15. Favourite location within Hyrule? My bed

16. Favourite location outside of/parallel to Hyrule (Termina, Lorule, Holodrum, Subrosia, the Dark World, Labrynna, the Great Sea, etc)? Lorule

17. Most atmospheric game? Twilight Princess cause I CAN FUCKING SMELL IT-

18. Which Zelda game feels most mature to you? tp

19. Which Zelda game has the darkest story to you? Majora's Mask ig

20. Favourite 3D title? Does A Link Between Worlds count

21. Prettiest Zelda game? Four Swords Adventures, I really like how they have 16 bit sprites and like-really smooth magiv effects

22. Favourite incarnation of Link? Vio

23. The Pendants of Virtue, the Spiritual Stones, or the Goddess Pearls? ...deku nuts

24. Game with most impressive/useful lineup of items? uh idk lol

25. Favourite companion (Midna, Ezlo, Navi, etc)? Midna

26. Favourite handheld title?Hyrule Warriors (cause switch)

27. Game with the best title (Breath of the Wild, Twilight Princess, Link's Awakening, etc)? A Link to the Past cause PUN HA HA FUNNY

28. Most wholesome Zelda game? ggggguh I don't like wholesum stuff-

29. Favourite item to use (aside from the sword & shield)? SPINNEr

30. Favourite title theme from a Zelda game? uhhHHHHHH

31. Hardest dungeon played? The fucking one thing guh from phantom hourglass that you have to keep going back to

32. Game with the best map design? tp or oot

33. Do you prefer puzzles or combat? combat ig, I played hw a lot

34. Game with the hardest boss? skws

35. Game with the hardest final boss? skws

36. Which game had the most engaging story, in your opinion? dooooes the fs manga count-

37. Least favourite enemy? redeads

38. Creepiest enemy? ya boi but like the other one

39. Which Zelda game, in your opinion, had the most satisfying ending? albw

40. Most out-of-place thing in the series? tingle

41. Favourite ocarina song? song of storms

42. Favourite non-transformation mask from Majora's Mask? bomb mask lol

43. Favourite transformation mask from Majora's Mask? the oni one (can't spell ferece)

44. Hardest sidequest in the series?all of them cause I don't do sidequests

45. Best sidequest in the series? idk

46. Favourite remake/remaster (Ocarina of Time 3D, The Wind Waker HD, Link's Awakening for the Switch)? idk

47. Most fulfilling Zelda game? idk djsbdhjbsdjh

48. Favourite graphical style within the games (cel-shading, realistic, 16-bit, etc)? Four Swords Adventures

49. Favourite thing to keep in a bottle? cum/j/j/j/jj/j/j/j/j/j UH fairies

50. Favourite shield? Mirror sheild

🌟 TLOZ asks 🌟

1. Is there a Zelda game(s) that you associate with each season or time of year?

2. Favourite 2D title?

3. Favourite incarnation of Zelda?

4. Least favourite entry in the series?

5. Favourite LOZ soundtrack?

6. Is there a Zelda game that intimidates you/looks too hard?

7. Favourite dungeons?

8. Most underrated Zelda game?

9. Least favourite character in the series?

10. Favourite item?

11. Favourite Ganon characterization?

12. Which Zelda game has the most sentimental value to you?

13. What Zelda game, in your opinion, has the best character design?

14. Master Sword, the Four Sword, Great Fairy's Sword, the Koholint Sword, or the Biggoron Sword?

15. Favourite location within Hyrule?

16. Favourite location outside of/parallel to Hyrule (Termina, Lorule, Holodrum, Subrosia, the Dark World, Labrynna, the Great Sea, etc)?

17. Most atmospheric game?

18. Which Zelda game feels most mature to you?

19. Which Zelda game has the darkest story to you?

20. Favourite 3D title?

21. Prettiest Zelda game?

22. Favourite incarnation of Link?

23. The Pendants of Virtue, the Spiritual Stones, or the Goddess Pearls?

24. Game with most impressive/useful lineup of items?

25. Favourite companion (Midna, Ezlo, Navi, etc)?

26. Favourite handheld title?

27. Game with the best title (Breath of the Wild, Twilight Princess, Link's Awakening, etc)?

28. Most wholesome Zelda game?

29. Favourite item to use (aside from the sword & shield)?

30. Favourite title theme from a Zelda game?

31. Hardest dungeon played?

32. Game with the best map design?

33. Do you prefer puzzles or combat?

34. Game with the hardest boss?

35. Game with the hardest final boss?

36. Which game had the most engaging story, in your opinion?

37. Least favourite enemy?

38. Creepiest enemy?

39. Which Zelda game, in your opinion, had the most satisfying ending?

40. Most out-of-place thing in the series?

41. Favourite ocarina song?

42. Favourite non-transformation mask from Majora's Mask?

43. Favourite transformation mask from Majora's Mask?

44. Hardest sidequest in the series?

45. Best sidequest in the series?

46. Favourite remake/remaster (Ocarina of Time 3D, The Wind Waker HD, Link's Awakening for the Switch)?

47. Most fulfilling Zelda game?

48. Favourite graphical style within the games (cel-shading, realistic, 16-bit, etc)?

49. Favourite thing to keep in a bottle?

50. Favourite shield?

528 notes · View notes

xb-squaredx · 8 years ago

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The Legend of Zelda: Breath of the Wild Review: The Joy of Discovery

By now, most everyone has heard about how amazing Breath of the Wild is, if all the acclaim and 10/10 reviews are any indication. I’m not exactly striking while the iron is hot or likely telling anyone anything they don’t already know, but I’d like to take this review to express my thoughts on this wonderful game all the same. Most of my reviews are somewhat…clinical, I feel. I dissect something piece by piece. The story was good, the gameplay was bad. This is why it was bad, etc. But for Breath of the Wild, I want to try something a little different and talk more about how I felt during the game than focus on all of the stuff in the game. Partially because there is a LOT of stuff in this game and we’d be here all day if I went at it like I usually do, and partially because this game fills me with the kind of joy and wonder that I haven’t felt from a game in a very, very long time.

This game is many things: it is a massive 3D open world game, a game that deliberately defies the conventions of the Zelda games that came before it, and a game that emphases the joy of discovery. Constantly throughout the game I am seeing and learning new things about the world and rules that govern it. Cries of “I could do that?!” have been constant in my time with the game, alongside excited (and sometimes terrified) squeals of “What’s happening?!” Breath of the Wild is a game that is constantly giving, secrets abundant. In the past, open-world games have been called “sandbox games,” games that drop you off in a big ol’ sandbox to play and shape the world around you, and that’s a great way to describe Hyrule this time around. Ravaged by a being known as the Calamity Ganon for 100 years, by the time Link gets around to saving the day, much of Hyrule has been largely overtaken by wilderness, not to mention monsters. It truly is a vast world, larger than several other high-profile open-world games out there, but Breath of the Wild doesn’t just go for scope; it goes the extra mile to make it a world worth exploring.

From forests of many different shapes and sizes, to snowy mountains, volcanos and deserts, there’s plenty of variety within the vast reaches of the game. After what amounts to the tutorial section is completed and players are given all of the tools needed to survive the rest of the game, you are given the option to go wherever you want. It’s even possible to make a beeline straight for the final boss, but good luck beating it that way. Link starts with nothing, in his underwear at that, and from moment one you’re basically on your own. Hyrule is treacherous and while it’s true you can go anywhere…if you aren’t prepared for what lies ahead, you’ll end up dead.

Breath of the Wild is unquestionably the hardest 3D Zelda yet, and that’s due in no small-part to the fact that everywhere you go, there’s something trying to kill you. From the many enemies you fight, to nature itself, it’s quite dangerous to go alone. I learned the hard way that enemies don’t just move fast and hit hard, but they’re also relatively smart too. My first encounter in the game with the common Bokoblin enemies didn’t go nearly as smoothly as I planned. Armed with fragile tree branches, I came upon a group of three. I successfully snuck up on them and attacked, but was only able to dispatch one before my weapons broke. I was able to snag one of their bows, only to discover I hadn’t gotten any arrows. My options were limited, so I ran away. I ran away from what amounted to the basic Goomba of the game. Constantly throughout my adventure, the enemies have proven clever and I’ve had to step up my game to best them. Think you can cheese them out by bombing them when they give chase? They’ll kick your bombs back at you so they blow up in your face. Fighting near a campfire, they might light their wooden weapons on fire for an extra edge. Should you catch an enemy unarmed, they’ll make for the closest weapon they can find and use it to good effect, and quite a few will improvise if no weapon is available. And so it becomes apparent that good tactics win the day.

When approaching any given enemy encounter, there are tons of ways to deal with them. I could just run in guns blazing and beat them all down, or I could pick them off from afar with my bow. Better yet, use a well-placed Fire Arrow on some exploding barrels to take them all out at once. Or I could light the dry grass on fire and let that do the work for me. Or push a rock down a cliff and have it stomp them flat. And on top of all of that, I could choose to be stealthy and run in, steal their weapons (and maybe the treasure they’re guarding) and run off before they even know I’m there. Keep in mind there’s likely ten other ways I could tackle the same scenario I’m not even thinking of, and that should give you an indication of how open-ended a lot of this game is.

This extends to exploration too. I could run through the entire game, or I could tame a wild horse (among other things) to ride through areas a bit faster. You can sail on rafts, or use your Cryosis rune to make ice pillars to cross watery sections. You can climb on almost anything in the game, provided you have enough stamina and then use a Paraglider to get down safely or cover large gaps in no-time. The world design is top-notch in this regard, giving you plenty of ways to get to most locations, and giving you plenty of locations to visit. At almost any random point on the map if you pan around, you’ll likely find something of interest to travel to, and you’ll likely get lost when something else catches your attention on the way to your destination. Breath of the Wild is the kind of game where it’s FUN to be lost, to let yourself be distracted. Some of my favorite moments in the game have often been on the journey to places, and not where I ended up.

When journeying to an important plot-related city, I was suddenly in a small bit of forest and unknowingly in the midst of an enemy camp. A camp filled with archers armed with Shock Arrows. From the darkness streaks of lighting came at me from all directions. Too many archers to count, no way to know where was safe. I could only run and hope for the best. Then there’s the time my horse and I tag-teamed an enemy in a moment that can probably never be replicated. Or the time I took on a skeleton monster while riding a bear. That was on fire. This is the kind of game you can get together with friends and gush about, trading stories. It might just be the only way you can find out about some of the more nuanced systems in the game or learn of an NPC’s existence. Having a game that doesn’t just completely bare itself is kind of…refreshing, as I feel a sense of elation every time I learn something new.

Breath of the Wild seems to be designed with the approach of a Zelda game, but following real-world rules when possible. So physics and common sense rule all, and mastering those rules lets you do some cool or funny things. Most of the time. In superhot areas, for example, you can just drop food on the ground and watch it get cooked. Or discover that a Bomb Arrow instantly detonates in your face when it’s that hot. You can use your Magnesis rune to control metal objects in a variety of ways, like using a metal door that’s been ripped off its hinges and make a walkway to a treasure chest…or use the rune to bring the metal treasure chest to you. If you can imagine it, often the game will let you do it. This leads to some comical workarounds, like making makeshift catapults, and in a lot of cases you can completely trivialize puzzles, combat challenges or platforming if you’re smart enough.

Speaking of puzzles, they’re a big part of the Zelda series, and some might be wondering how this game handles them. Outside of the few major story missions (which are still optional anyway!), traditional dungeons are largely absent in favor of Shrine Trials. Scattered all across Hyrule are shrines that house various trials within. Rarely you’ll find a combat trial or, rarer still, shrines that give you rewards straightaway, since getting to said shrine was enough of a challenge in the first place. Most of the time, though, they’re bite-sized dungeons, usually one or two rooms dedicated to a single puzzle or theme. As with the rest of the game, you can approach most of these puzzles in any variety of ways, some of which might not be intentional but were left in the game anyway. With more than 100 of these things, some aren’t all that fun or memorable, but they usually make me feel clever when I’m done with them, so they’re alright in my book. Acting as fast-travel points doesn’t hurt either, and you don’t even have to SOLVE them to warp to them!

Combat is a fairly chaotic experience, quite messy at times, but in a good way. You often have to adapt, and even when you think you have a plan, it can go awry, so you best be flexible. Link can use a bunch of different weapons now: from swords to spears, hammers, axes and more, with the bow and arrow being incredibly useful. You can find weapons anywhere; some are in chests, others can be found out in the open, or swiped from enemies. Generally, any weapon an enemy can use, Link can use (and vice-versa, so watch out!) But don’t get too attached, as they all break eventually. The weapon durability in this game is pretty much love-it-or-hate-it. For what it’s worth, I think as a concept it’s fine, but can be a tad extreme. It makes every weapon feel brittle, and often I dislike getting weapons from a treasure chest as a result. Coupled with this, you don’t have a lot of inventory space for weapons at the start and though that can be GREATLY alleviated later on, the actual process of upping that inventory can be kind of tedious and hard to figure out…or rather, hard to find the NPC that’ll let you do it. But the game, again, has weapons EVERYWHERE, so I never had to worry about being left defenseless. The Bayonetta-esque Flurry Rush attack is great, a reward for dodging at the perfect moment, and add to that a satisfying parry and combat’s solid.

Exploration makes or breaks these types of games, but Breath of the Wild largely nails it. I already mentioned how the game’s world is designed to almost always point you in the direction of something worthwhile, but it bears repeating. From interesting locales, to treasure, to enemy camps, there’s always something going on. At times, I’ll even stumble upon NPCs out and about when they get attacked by a pack of monsters, so I’ll divert from my route and help them out. There are a variety of sidequests you can engage in, some even unlocking shrines that are otherwise hidden. The areas you visit often have such life in them, so many small details coming together to create a genuine world that I loved exploring and being a part of it all.

That attention to detail shows real craftsmanship at work with Breath of the Wild, and those little touches often impressed me, endearing the game to me even more. From the fact that Link stubs his toe if he kicks open a chest without any boots on, to the NPCs having set routines you can follow them on, there seems to be no limit to the variables in this game. This extends to the weather too, and the time of day. At times it can be kind of annoying though. During rain storms, surfaces become slick and almost impossible to climb. In a game where climbing is pretty much THE way to get around places, sometimes the only way, it really is frustrating when some rain rolls in, usually right when you don’t want it to. Thunderstorms, while rarer, are also causes for concern. Lighting will strike down at times, and if you have on anything metal, you’ll get shocked too…and it’ll hurt. It’s not so bad if you have some wooden weapons or non-metallic armor to switch to, but there have been times I’ve had to pretty much become defenseless due to the rain and lightning. You CAN wait it out, or go a step further and make a campfire to pass the time, but that isn’t always ideal and leads to frustration more often than I’d like.

On the subject of story…it’s kind of a mixed bag. What’s there is genuinely interesting; we’re experiencing a Zelda story dealing with the fallout of the bad guy winning, for one. The characters you meet during the key quests of the game are often interesting and some (including a certain prince) have already endeared themselves to fans. And yet, there’s barely anything to them. This largely comes down to the game mostly giving you breadcrumbs of story, strewn about various landscapes that will trigger a memory in Link, and a cutscene for the player. These memories are the primary way we see Zelda fleshed out as a character, and her interactions with Link are great, right up there with Skyward Sword’s own Zelda (my personal favorite at the moment). And yet, there’s not a lot there to work with unfortunately, which makes it all the more confusing why THIS is the Zelda game that decided to use voice acting. I’ve seen a lot of people bashing the English voices, but I honestly don’t understand the complaints; the delivery seems fine and the voices are fitting enough….my sole complaint is that there’s so LITTLE of it. A character will be introduced, speak a few lines of dialogue…and then go back to the text boxes of old. Major cutscenes get spoken lines, but again, they are few and far between. Considering you can skip pretty much ALL of this if you really wanted to though, I can see why there wasn’t that big of an emphasis on it, but it’s still a shame.

And lastly, as fun as the game is, as much as its game world design is a triumph and the way it rewards creativity is to be commended…it does have some technical issues. No matter which version you play, there are some frame drops here or there, especially in more hectic scenarios. For the record, I’m playing the Wii U version and from what I’ve read, the Switch version isn’t all that different, so if you’re desperate to play it and don’t want to get a new console to do so, you’ll be fine in the Wii U’s corner. That said, the fact that the game can stutter and freeze whenever I fight a Moblin is worrying, as is the 10-15 second loading it has to do if you ever hit the HOME button and go back again.

With all of this said…and I said a lot more than I intended to…these flaws don’t really bother me much. The game’s high points are so high, these come off more like nitpicks than general problems. That won’t necessarily hold true for others (like say….a certain Mr. Sterling), but that’s the case with me. I won’t ever call it some flawless masterpiece; the durability issues, the annoying weather and the fact that you can’t pet the adorable dogs ARE flaws…but they’re miniscule imperfections in a beautiful gem of a game as far as I’m concerned. My time with Breath of the Wild has been…magical. A breath of fresh air (I just HAD to say it!) for the Zelda series and for games as a whole. Few games have gripped me as tightly as this one has. It’s the kind of game you can play all day and forget to eat, a weekend gone in the blink of an eye. As it stands, The Legend of Zelda: Breath of the Wild is a fantastic game I can’t recommend enough. Just like A Link to the Past and Ocarina of Time before it, I have a feeling it’ll be fondly remembered for years to come and will likely heavily influence the Zelda games that come after.

Until next time.

-B

#xb-squaredx #blog #review #legend of zelda #breath of the wild #link #zelda #ganon #wii u #nintendo switch

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