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
I’m not into classical music. It was never a part of my childhood in the way it is in some families. We listened to Magic FM in the car. My dad’s friend also made us a great mixtape with Fleetwood Mac, Michael Jackson, Stevie Wonder and other classics. So much of my childhood was about pop music generations before my own; those tunes bring back memories from before my parent’s divorce, from a time that seemed happy and golden. The idea that people could get nostalgic over Beethoven, Mozart or Mahler is a bit weird to me. So how can this game make me feel warm and fuzzy about a classical composer I’m barely familiar with? Continue reading
Videogames have found a wealth of inspiration from the first and second world wars, often adding their own quirky takes on the stories of hope and tragedy that emerge from these seismic historical events. (I’m curious to play the Shadow Hearts series, for instance!) Valkyria Chronicles riffs heavily on WWII – it is set in an alternative universe where you fight as the small country of Gallia, stuck between two warring world powers…
So, here we are again. Another disappointing game from you, Nippon Ichi. Really, I have to ask you guys: what is going on in your studios? I feel like you’ve been on full-on panic mode ever since the first Disgaea’s unlikely critical and commercial success – can’t you just calm down and make another awesome game? Why is it so hard to replicate the original game’s magic mixture of memorable characters, gasp-worthy storyline twists and anal-probe jokes? Come on, get it together!
Humanity’s technological advancement has bought about the demise of most of the world’s population. The earth is scorched. All manner of unsavoury creatures roam it – mutants, ghouls, slavers and raiders are all there to greet you when you escape your home and prison, Vault 101. There are reminders of a past where men and women cared for perfectly square lawns, shopped in all-new supermarkets, cheery diners and cheerier housewives. In fact, the game really makes you wonder if the American dream was really any better than nuclear armageddon. On the other hand, considering Fallout 3’s preoccupation with the themes of prejudice, discrimination and slavery, why is it silent on topics of (human) race, (historical) slavery and racism? One has to ask: Is Fallout 3 really as subversive and “out there” as it thinks it is? Continue reading