Title: Dandy Dungeon
Wonder Boy: The Dragon’s Curse is the best remake I’ve ever played. Mostly because it’s not a remake. Instead it’s an audio and visual reskin, that can be flipped seamlessly. Press a button and it converts from heavily-layered HD graphics to the bright spartan 8-bit predecessor. Press another button and see how the reimagined audio compares with the beeping original. It’s fluid, and even works with shop NPC’s.
Cool gimmick, so what makes it work so well? Because this type of remake has the dual benefit of denying you the ability to claim that the original was better, while still being able to layer on new personality and depth. Which Lizardcube does well though it’s labor of love, right down to the childhood pictures of the team at the date of the game’s original release in the credits (1989).
I was born in the 80’s so I’m in the prime nostalgia demographic. And if the targeting took a few cues from Wonder Boy, it would feel less vacuous than it normally does.
I hear a piano version of the Pixies’s, Where is My Mind. It’s not the first time I’ve heard the song, and every time I hear it it brings a slight clench to my throat. And then I realize that the song was the reason I bought Uncharted 4 to begin with:
The irony, is that the trailer isn’t really an accurate (or inaccurate) representation of the actual game. It’s simply a different feeling entirely. That being said, the trailer is beautiful, the game completely different but wonderful, and enough of an enjoyable experience that I’ve gone back and played the earlier Uncharted’s (starting with “2”), that I had skipped the first time around. That makes the trailer worth noting, as it was capable of bringing interest to something that I had ignored three times before.
Title: Uncharted 4: A Thief’s End
Maker: Naughty Dog
Review: 4 Stars (out of 5)
Memory: The writing throughout.
After completing Blood borne the first time, I felt a strong urge to go back and replay the entire game. Even if it wasn’t as memorable for me as the first Demon’s Souls or Dark Souls, there was something about that weird Lovecraft nightmare that I had to see through to completion. Even with the Witcher 3 and Uncharted 4 burning a hole in my stack of games, I went back and beat Bloodborne two more times. Weirdly, this was something I never did with any of the other Souls games. I think I made it half way through a couple, but then quickly moved on to something else.
If I was to play wannabe psychiatrist on myself, I would say that the story of Yharnam and the Hunter’s Dream, found echoes in my current life. Which is why when I completed Bloodborne for a third and final time, and I choose the simplest ending, it is the most appropriate. *minor spoiler- I watch in relief as it all comes to an end, and the character awakes to a sunrise and the long awaited promise of a new day.
The night has come to an end!
This is a sad post. Sort-of.
As much as I love vidoegames, it’s comparatively rare for me that a game has the same emotional impact as cinema or literature. There are some exceptions, Spec Ops: The Line, was bizarrely tight in it’s descent into madness, and Thomas Was Alone, made me feel for simple shapes, but in general it’s hard for a game to nail the emotional side when there is so much else to do and focus on.
The Souls games always were head of the class when it came to interjecting intricate easy-to-miss stories, but it’s Bloodborne that actually makes you care about them. However, there is one story that has stayed with me longer than the others, even though I finished the game nearly a three months ago: The story of Father Gascoigne.
There are about a million little bits than I can’t cover here from this single story or it would explode in size (the game is ridiculously detailed). But to give a quick overview: Early in the game you meet a little girl hiding in her home, she’s terrified and you offer to help her find her mother and father, which you eventually do. However, you find her father has lost his mind, her mother is dead (unclear if he was the cause, or this was the catalyst for his madness), and you’re forced to kill Gascoigne, her father. Without given away too much, from here, every action you take to rectify the decision continues a spiral of death and degradation.
The beautiful part is that all of this is missable. In fact it’s designed to be missed, but if you look hard enough, you can see the destruction and personal toll that this event has taken on a single family. It’s comparable to The Shinning, in that you watch a family not only tear apart, but also abandon and turn on the most delicate things that they should innately want to protect. There is something truly terrifying about that, and that is why Bloodborne is a masterpiece in storytelling.
Platform: iOS (reviewed), Android
Cleaning out a closet I found an old Game Informer list that I had torn out of the magazine. It gave the top mobile games of 2013. On the list in the one-two spot is Year Walk (pretty cool) and Ridiculous Fishing (legitatemly awesome). After that it’s a bunch of Star Wars, infinite runners, and adventure games that could have been something if they weren’t redundant. Towards the bottom of this rudandant list was a game that pulled me in with a straight forward name: “Slayin”.
And the name is accurate. It’s simple, short, and a little sweet. It lasts a few sittings, and by the time you’ve beaten it, you feel you’ve seen everything it can offer. But to its credit, it asks very little in return. Its appeal is limited, but it wears it on its sleeve, and how can you blame a game like that?
It’s not a terrible game, it’s just not much of one.
Review: 2 Stars (out of 5)
Memory: The music would randomly stop, but I could never figure out the trigger.
Maker: From Software
What should be said about Bloodborne, that hasn’t already been said? Well a lot actually. There are so many steps forward, and so many steps backwards, that’s it’s nearly impossible to tells who’s coming or going.
Let’s start with “who’s coming”: The story and the setting is so significantly improved it’s staggering. After three outings, the Souls games had started to rest on their laurels. Not Bloodborne. I don’t know if they had a whole team of writers that ate, bathed and slept together for months, or if they had one half-insane screenwriter channeling the ghost of HP Lovecraft, but whatever they did, it’s brilliant. How you can keep all that in your brain without losing it baffles me. The Gothic motif, also allows it to give life to images that normally have no place in games. It’s well orchestra genetic disgust when you meet gigantic bugs with piercing shrieks, or tentacle face brain suckers. It’s also more cinematic. The story still doesn’t hold your hand, but does use beautiful cutscenes, instead of a complete reliance on dialogue. An improvement that I’ve been waiting for since the first Demon’s Sous.
Add in a solid combat engine and this is a 5 star game, except for one massive glaring “going”. They recycle the same enemies, like an 80’s button masher, simply increasing their stats and experience. For a game that rests on combat, this is a huge issue, because the same enemies you’re fighting at the beginning, you’re fighting at the end. What this effectively does is skew the difficulty curve to the beginning, when you’re still learning how to stun-lock enemies, and first memorizing their patterns. By the end, you’ve seen them enough that no amount of extra health and damage is going to take you down. It’s understandable why this was done, the designs, and the enemies; they’re all details and cost a ton to create. But it’s a huge step back from the Souls games in this regard.
Other than these two main points, it’s minor incremental plusses and minuses. Pros: Beautiful graphics, well thought out warp system, cool-dual weapon system, great endings. Negatives: Repetitive boss battles, terrible healing system (forces grinding), and obfuscating environments.
It’s clear From Software set out to make a game that’s different than it’s predecessors, and stands on it’s own merits. In that, they have objectively succeeded.
Review: 4 Stars (out of 5)
Memory: Everything about Rom, The Vacuous Spider (especially the name)
In Shadow of the Colossus, the horse that helps you cover the vast distances of the world feels like a bus. In years late in playing Red Dead Redemption. But it’s obvious the horse physics haven’t evolved in the last ten years. Movement controls in the game aren’t terrific to begin with, but the horse is out of his gourd.