An old friend of mine is a musician. He’s always been a musician. And his first solo album was… well, even if I listened beyond the opening track, I never mentally got past that first song, hilarious as it was. The album opened with an extended narration discussing the concept of chaos with a musical bed underneath. The monologue’s delivery was like a heavy academic paper, but the content was nonsense: “Like all good stories, this one begins with a great flash of light”. Really?
I mention the above because, like my friend’s debut, I got past but never over the opening of Dark Souls. I’ve played this game through twice now, once on the PS3 and once again on Switch. Both times, the opening hours were enough to sour the whole experience for me. (By the way, in case it weren’t already obvious, what follows is going to be rather complain-y. If you would prefer a more balanced take, try my previous post on Dark Souls). If you’re sticking with me, I’ll take you through my own experience with the Undead Burg, one of the opening areas of Dark Souls. Continue reading
Dark Souls is a gaming icon. The words “You Died” (and the collective audible response of “No Shit”) are carved into the collective consciousness that is gaming culture.
Its reputation proceeds it, and I was primed to enjoy Dark Souls. On the surface this series has “me” written all over it, with its reputation for sadism. Ultimately on my first playthrough I came away pretty disappointed. “I liked [Dark Souls] but didn’t love it” was my ultra-brief summary in my Hollow Knight recap. I returned to Dark Souls in the form of the Remastered edition for Switch on a whim. An intended quick blast on my brother’s Switch turned into a full-blown playthrough from start to end. Now with my expectations set to reasonable levels, I can say I enjoyed it more second go around. It’s a very good game, with some strong reservations.
The second time through I came to appreciate the world of Dark Souls more. It’s dark and despairing, sure, but a lot of time and thought has clearly gone into it. Continue reading
Happy New Year everyone! I have very few traditions on the blog but this is one I enjoy, always a fun way to kick off the new year. Alas here I am with preparing for my only end of the year tradition and I discover I didn’t even do one of these for last year, 2017! *sigh*
Never mind though and we’ll press on in the spirit of renewal. 2018 was a bit of an odd one: an unreasonably large number of the games I played in the first half of the year were disappointing. A lack of inspiring games is partly why I blogged very little – my socks just weren’t being consistently rocked by the stuff I was playing.
Then in the second half of the year things changed when I finally picked up a Switch. At the same time, reluctantly, I packed away my old CRT TV. Some weeks later I decided to re-dedicate myself to blogging, and since then I’ve been more thorough than ever before in terms of my output, writing about most of the games I played these past few months.
Given my journey this year and how consistent I’ve been with blogging lately, all of the games featured here I played in the first half of 2018, prior to my Switch purchase. Enough pre-amble, bring on the highlights! Continue reading
Alongside Mirror’s Edge, Dead Space was EA’s other critical darling/commercial flop in the Wii/360/PS3 era. Unlike Mirror’s Edge, which is an original attempt at a first person platformer, Dead Space is a loving tribute to Resident Evil 4. It’s a tightly paced re-imagining of Capcom’s classic with some cool twists of its own. A handful of hours in I’m greatly enjoying it, and can recommend it above Shinji Mikami’s own spiritual successor to RE4, The Evil Within.
The aforementioned twists on the formula are: environments with zero gravity, and vacuums with a limited oxygen supply; unique weapons that depart from the usual pistol/shotgun/submachine gun formula; a heavy emphasis on dismembering foes. Where I’m at in the game, these have all proven themselves to be strong additions to the tried and true winning formula for the third person shooter laid down by Resident Evil 4.
How about that formula then? It’s been executed extremely well so far. There’s the strong sense of atmosphere, with plenty of tension as you encounter increasingly ghoulish scenes aboard the space station USG Ishimura. There’s the quick pace and a clear objective at all times. Frequent interactions with your capable comrades on the intercom or in person serve a dual purpose, just as in Resident Evil 4: they offer a welcome spot of relief from the grisly surrounds, as well as keeping you clear on your next objective. The Dead Space devs did their homework, that’s for sure.
There’s still plenty more of Dead Space for me to see – I hope – so maybe things will change. But as it stands I’m having a great old time and I can’t wait to see what other surprises the devs have in store for me through the rest of the game. I’ve also heard nothing but positive things about Dead Space 2, which I
am dying can’t wait to check out too.
Some great ideas, executed not so well. That summarises Catherine in a nutshell for me. It’s a pity because I admire Atlas and their willingness to go off the tried and true path. Like other Atlas titles (notably the Persona series), Catherine is divided into two distinct styles of gameplay. We mostly watch, visual novel style, the protagonist’s intense social challenges in the day, and then take full control of him during his dreams at night in a series of puzzle challenges. Continue reading