A year and a half ago, I was grabbing some takeout, and while they were wrapping up the thai, I circled though the neighboring Gamestop. On the shelf in beautiful pastel colors sat No Man’s Sky. It had been described by a CEO friend as “very relaxing”, and the image of Stan slouching into the couch, chasing the dragon, in the South Park Guitar Hero Episode episode came to mind. That’s about perfect, I thought.
I played it for a little while, marveled at the beauty of interstellar travel and exploration, and then put it away. Fast-forward a year to a quiet Friday night when I decided to pick it back up, and to my surprise discovered an almost entirely new game. It had added large gameplay changes like bases, vehicles, star freighters, missions, and difficulty settings. And then there were small enjoyable changes, that while unnecessary, added to the experience: like charming little quotes when you died (which now, thanks to the new difficulty settings, actually happened).
And yet the best parts of the game remained. And it was as it had been described to me- “very relaxing”.
I’ve never seen a game continually iterate and provide so much free post release content. Another massive update has released this past month, which shows a continued desire to bring more structure to the experience. And while I appreciate the additional story content, there was something beautiful about how little the game held your hand before. The mixed reviews I had read when it released appeared baffled by the pacing and lack of purpose. The story itself is an exercise in restraint, in which you can take as much or as little of it as you want. What is revealed is typically cryptic and haunting.
It’s in this interstellar loneliness, punctuated by moments of deep meaning, that the game becomes something incomparable. For it’s original aspirations, for what it is, for what it continually tries to be, it’s a phenomenal game. And one that was dismissed too quickly.
Review: 5 stars (out of 5)
Memory: The desperation the first time you get stuck/lost on a planet.
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.
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.
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)