Video Game Reviews, Updates, Trivia

Final Fantasy’s running series hasn’t been shy about heading off the beaten path, if the years have been any indication. Its standalone sequels have run through Steampunk aesthetic, CPR mini-games, 4th-Wall Breaking Octopi, and XII’s venture into a middle-ground between turn-based and action-oriented combat. Our latest contender’s 10-year development raises well-founded concern, though perhaps that’s one way to see if it stands the test of time. So, does it? Well, I *do* have the answer with me today!





Somewhere

Around

here >_>

The best and worst of its era seem jammed into our newfound planet as our regal protagonist Prince Noctis gets sent on an unceremonious jaunt toward his destined counterpart and bride-to-be, Lunafreya. Conflict’s often a main ingredient to stir up a narrative, and thus the Dudebro Bodyguards and our Prodigal Son find themselves between a rock and a bard’s place. This non-spoiled preamble serves well as a setup for its open world: Final Fantasy’s dabbled in larger scale world design, but perhaps not with the same tone and reasoning; There’s something inherently western about the Road Trip, casually exploring the vast countryside with your immaculate comrades-in-arms. It’s also nice to see FF handling an Amnesia-Resistant protagonist that decently justifies running around towns without being glued to a But-Thou-Must-Cause-The-World’s-Ending storyline.

The world itself is covered with the visually unique: Unfathomably-sized earthen arches stand nearby Ravatogh’s volcanic wonder, in contrast to modern-day inspired skyscrapers and Hammerhead’s humble habitations…even if Cindy’s malfunctioning wardrobe isn’t quite as humble. Humbling, maybe. Standing outside the road-trip simulator sections, I have to at least mention Altissia as one of the most memorable sights of 2016. The inspiration is clear, but they’ve found a sweet spot in the throes of melding historical and fantastical that have to be seen to be believed.


If only the side-questing could keep up with the eye candy. While many of the quest setups are clever(and often chain together with the same characters), they’re all too often stuck with oversimplified goals: Kill the thing, Reach the thing, or aimlessly wander to *Collect* the thing. I like frogs as much as the next royal refugee, but spending 10 minutes hunting for them just to get a quest of the same carbon-copy format doesn’t make for a ribbeting experience, an-


It’s greatest heights in side-quests are two fold: Dungeons & Campin‘. In the current conditions, you’re effectively homeless. Camp seems to be the closest thing to a new one, and this can intermittently start quests of camaraderie that twist familiar objectives into something with more heart to it. I’m also glad to say that both the main quest and Dungeon-y Side quests are *much* healthier in that department, using organically-built puzzles and a late-game section resembling survival horror - its only caveat being that an ability farther in unfortunately throws out the survivalist aspect. The script isn’t necessarily breaking ground, but it’s a large improvement over whatever XIII was - it’s also very notable for its fresh take on one of the best final fantasy moments of yesteryear.

So, I’m looking at a puzzle right now. It’s “Finished”, and I can see the big picture just fine. But you know those weird-shaped bits on the sides of puzzle pieces? Well they’re not fitting here, like a Circle in a Square Peg. FF’s combatative Mix-And-Matching has been going on since XII or so, but XV seems geared more for ARPG fanatics. In Theory. The game has an auto-attack, just fine and dandy. Boring, but dandy…. and the game has an auto-dodge, its reliability tied into how many enemies are flying around the screen. As many mantras of FF remain with the series, large mobs are one of them. There are no healer classes(outside of potions often limited by health-caps), and there’s often no reasonable cover. Ergo, all that remains are weapon-wielding brodudes who can sometimes-dodge opponents. Would people really be happy with a system like this in Dark Souls or Dragon’s Dogma? While parry is very handy when used, the absence of a simple roll mechanic in this fast-paced kind of combat makes for a very unfun experience. The least frustrating of the game’s enemy mobs involve the least amount of characters - Boss fights and smaller scuffles work just great. So, a monosyllabic rephrase for Square Enix: Please don’t add so much shit on the screen.



There *are* gorgeous summons in the game, but their infrequency out of boss battles make them hard to mention as an enduring mechanic. Similarly, you have magic…in the form of Halo’s plasma grenades? They’re actually quite effective, if it weren’t for friendly fire opposing its use. Though it’s true this is a more realistic portrayal of Area-Of-Effect, it’s long duration of ground damage with allies who generally don’t avoid it means its best used preemptively followed by a Brave-Sir-Robining, or you’re fresh outta luck. Perhaps Co-Ops and MMOs are better suited for that sort of template, since your partners actually have a mind of their own. XV’s combat has the general *idea* right, but how it‘s mishandled makes for an unfun Hack N‘ Dash. Character Techs are the one great positive. Besides the Armiger/Omnislash, it’s the only thing I can see keeping the combat from being a “Hold Circle, and Occasionally Square” game. These moves lend better variety for AoE(Gladiolis), well-placed elemental use(Ignis) and ballistic damage(Michaelangelo) to name a few.

This use of character-specific abilities to make them stand out is one of XV’s stronger traits, and I don’t necessarily mean how well they slap a Giant-Sized Level-66 overgrown chicken. While I didn’t find the main cast’s TMNT-esque characterization to be much deeper than the ponds I’ve been allowed to fish in, the ponds I’ve been allowed to fish in proved a mini-game-ish success. The long list of charming, lure types make for a less obtrusive form of fan service, and the big catch challenges themselves(Vesper Gar, Liege of the Lake) require a healthy mix of reflex & instinct. I actually found eyeballing the fish’s movements over the button prompts made for greater success, and a bit less game-y than reading a computerized signal.


Alternatively, The dynamic photo system is something I’ve never seen taken to such an extent. While there’s definitely a missed opportunity in not being able to take manual ones yourself, the algorithmic gymnastics for slice-of-life moments help add a less dire tone to a game about Evil Empires & Greed over Forces of Magic. The dudebros won’t be reversing tropes anytime soon, but the clever use of these character-exclusive skillsets help add flavor to a group that would’ve otherwise been a lesson in proverbial character design. It’s a bit unfortunate(and gives me Wolf’s Rain déjà vu) to see that the side characters seem far more interesting than our leather-clad, spiky-haired adventurers. Besides a discordant-tinged baddie, I would’ve loved to have more moments with Ravus and the lot, but many are trapped in scarce cinematics and the occasional bout - it’s all told from the four heroes’ perspectives, so perhaps it can’t be completely helped.

One last thing…dude, where’s my steering? It seems your automobile in here emphasizes the auto by staying glued on the road, as semiautonomous as some of our real-world cars do. Feeling extra prescient, Square? Unless you’re a driving nut, this lack of autonomy is a harmless issue due to both fast travel, and a certain feathery friend. Chocobos are wonderful, ideal for dodging ecological obstacles with far better grace than your Mercedes can; Probably the most fun I’ve had riding them since VII, so that’s likely quite the compliment.

Final Fantasy XV is an average game. A bold, and ambitious average game. It’s an engrossing world, but doesn’t rely solely on visual treats to justify itself to the rest of gaming‘s larger library. At the very least, it’s a reminder that current Open World gaming can be light in tone without being pigeonholed into Half-And-Half Satirical(GTAV) or Saints-Row Bonkers for the sake of overly-wacky entertainment value. While the game’s experimentation works wonders in the hobbyists’ core mechanics, the radical combat changes and quest “design“ leave too much to be desired: Mostly worthwhile variety, and a greater sense of control besides *hit*, *don’t* get hit, and have Prompto *try* to Hit before starting a trip to Little Caesars.





Programming/Animating a colossal beast to act truly genuine, and dynamically play off your actions persistently for an 8+ hour game is a monumental task.
In terms of gameplay, this companionship makes it debatably superior to its earlier incarnation of Ico; Instead of being stuck with a one-way hand-holding relationship, success in the game requires a 50/50 Co-operative split that makes *very* unique use of your giant-sized buddy for its puzzles and platforming. There’s a Journey-esque sense of non-verbal company that feels more intimate and earned than most single-player games may offer. Similar to MMOs, there’s a synergy of skills from varied allies to achieve a goal with a great payoff. It’s also nice to see the puzzles and the game’s lore are far more integrated this round - Trico’s responses to them certainly add mystique to an already ominous setting.


The art style follows suit to Ico’s forbidden castle(or Demon‘s Souls/Dark Souls spots like Boletarian Palace/Undead Parish), though they’ve spent much more time in detailing some remarkably intricate architecture that feels like an M.C. Escher painting without a dimensional leap. It plays like their PS2 games put into the PS4 generation - no more, no less. Actually, one more: They do have spectacular set pieces. Not a glorified insanity sort of spectacular. They feel necessary to explicitly display the story, and adds a sense of life to the moments more than just obligatory eye candy.



Complaints… can’t turn off the hints for button mechanics , occasional framerate drops(though the pro may remedy this), and there’s a couple barrel puzzles playing off gravity that are more frustrating than fun.

Story-wise, it’s canonically separate from the preceding games but almost feels like a reboot of Ico due to many of its story beats. If you’ve never played it, that‘ll hardly be a problem. If you like these kinds of games in either case, it’s a very easy recommend to buy. The Last Guardian is enjoyable for all ages, but very singular compared to many that flock to that category. Go git it m8

The Perfect Game. Something we’re all looking to get our hands on, with a smaller few who try building that ideal from the ground up. Look hard enough, and you can see potential for greatness even if the game isn‘t crème de la crème from front to back. While sequels are commonplace in the mass media landscape, they’re also fertile ground for flourishing that same potential beyond where the authors may have aimed for the first time around. After a stroll in Karnaca and more than a few sneak sessions, I’d say we’ve got a serious contender in the ring. Round One.

In Dishonored 2, the tagline “Take Back What’s Yours” lives up to its title. You’re given the choice to play as Classic Assassin Corvo Attano(with a VO who needs little introduction), or our new leading lady Emily Kaldwin. It’s refreshing to see a voiced female character in larger-scale Choose-Guy-Or-Gal video games who isn’t just a gender swap of a male counterpart; Her role as empress makes a notable change in how the cast views you, with telling changes in dialogue between the Devious Duo. Besides fighting for survival after an imperial discharge, the player sets off to uncover the how‘s and why‘s of said events, often intertwined with taking down the boss’s main pillars of support. That A-Story/B-Story factor is hardly the only piece to add a spice of level variety, though.

As the first two missions get you familiar with the steampunky streets of Karnaca, the rest often set themselves to infiltrate enormous buildings that revolve around a certain theme and character. There’s this sensation of learning your way around these dense city-structures that can be hard to replicate in open-world locales. There’s almost a sense of gaining ownership as you learn the nooks and crannies, the ins and outs of each floor, in a similar vein that Bioshock and the Thief series were superb at.

For many of the game’s larger missions, the setting fits the character. The Duke lives in lavish luxury, while Breanna’s living quarters are far from conservative. And then we reach Jindosh’s Clockwork Mansion, which might be the most unique level I’ve seen all year; The man’s cacophonous mix of Genius and Insanity is made manifest to explore at your leisure. In games like Thief and Deus Ex, the levels become your means of Avoidance & Subterfuge: Hidden passages, a close-by room, or a silvery space of rectangular solace. Through extravagant divulgence, we find Jindosh’s rooms; They can shift, swing, and move in wild directions through mechanical ingenuity - the plausible impossible, at the touch of a button.

To that end, it’s implemented well as a way to block off soldiers, navigate through Jin‘s cruel labyrinth, or find shortcuts if you’d somehow lost your way. The Assessment Chamber in particular was a memorable mix between Stealth, Puzzle Solving, and Trying Not to Die. Thematic mechanics used as both weapon and problem-solver is also echoed with similar excellence in a later level, Crack in the Slab. The mechanics themselves aren’t completely unheard of, but how they’re stretched, made into something fresh and new makes this noteworthy. Sounds like creativity in a nutshell. Oh, one last thing. The Clockwork Soldiers are the Perfect Nightmare. Good god.


The flowery troupe have to all be eliminated, but playing undertaker can make for a very boring solution. Yep, this game’s bosses have Non. Combat. Options available. While they take a bit longer to wrap up than pure assassination, the payoff is light years more remarkable than sticking some dude with the pointy end; The creativity Arkane’s put in these alternatives are praiseworthy(And I dare not spoil them); Solving the bizarre objectives in-game made the end result feel like a real accomplishment, something I prefer over simple text options to burn the peasants or save the Monocle-Wearing puppies. Picking choices from a list, and actually *doing* it yourself feel very different indeed. These choices often seem less like an act of clemency, and more like a twisted sense of poetic justice - are they living well, or living hell? It certainly fits the game’s tone though, and I found them to be a very pleasant surprise. It’s one of many strong incentives for a second run if a few were skipped the first time. Round Two.

There’s artistic resourcefulness in the game, but it’s hardly limited to a boss. While the art style and its engine haven’t changed much more than Mankind Divided did from DE: Human Revolution, what they’ve built within it can be quite imaginative. Most of Karnaca’s structural design isn’t far flung from the Victorian streets of Dunwall, but environmental assets tossed in the era like retro-futuristic audio recorders(A Familiar Phrase?) and absurdist-shaped keyboards make for a fine line between the vague familiarity of Art Deco/Steampunk, and the exotic directions Arkane have taken in building them. Small touches can go a long way too, y’know. And of course, the infiltrator missions have the most love put in to their virtual conception. Crap, might be fanboying too much. Cynical Engines Engaged:

So when you’re “dishonored” in the first mission, why on earth would these guards leave you(Royalty with years of combat experience)so poorly guarded and unbound? At least for the PS4 Version, Frame rate gets choppy in random spots, and at the beginning of Mission 2(first time on the skiff). This seems very odd, since the PS4 graphics for it aren’t that overwhelming in the first place. Why would I spend 8 runes to craft runes with expensive material costs? The previous required crafting skills didn’t look worth it. Isn’t the excessive gore a little *too* excessive for melee finishing? The device in Mission 7 ends up a vastly overpowered exploit against enemies to the detriment of its challenge. True that it’s more of a story mission, but still, th-


Runes & Bonecharms do make for good reason to explore around the Ins & Outs of Karnaca. The paths left untaken, and D2’s density in level design adds a level of replayability in each mission that feels less present in most gaming titles. Finding collectibles around town isn’t breaking ground, but obtaining many of these give both a greater challenge, and better appreciation for the levels themselves. Playing stealth the first run gave me a strong lesson in this: I was in Dr, Hypathia’s lab deducing how to reach up a stairway while trying to avoid the two guards goofing off on its banisters. I swung around and noticed a pair of ebony chandeliers in the distance. Used Far Reach to close the gap, and called it a day. Akin to Assassin’s Creed, natural parts of the environment become a tool of the trade…even if your methods are a bit supernatural.

As far as stealth, it’s certainly an improvement over the first. Similar to Mankind Divided, you’re being given a 50/50 split in terms of the new tools for “Dealing” with hostile threats: Sleeping Darts, Victorian Grenades, yadda yadda. Even *with* Far Reach, C.W. Soldiers(who have literal eyes in the back of their head), hellhounds, and spotlights will make the path a difficult one in D2. This can be especially true if your play style is non-lethal assault, since strangling each guard one by one is a timely expense in the heat of battle; Seen enough I-Just-Stabbed-You-So-Grrrrrr! faces to vouch for that. On the other hand, Arkane saw to include a Sprint-And-Nonlethally-Bash-Your-Head option in the same vein of Mr. Jensen’s punch-and-run extravaganza from MD. The only catch is it requires a sliding maneuver that can awkwardly slip right by them if the angle‘s not right; Melee riposte & Strangle may be a safer alternative. Elite guards in particular offer far more interesting melee with multiple movesets and a feigning attack, should you intend to parry your way to victory. Very nice.

Some of the new leveling features are



Hey. This is future Dom, long after the “present“ one finished his stealth run. The knucklehead‘s been missing *quite* a bit if you ask me. There’s something about launching a swarm of killer rats that really whets the whistle, and especially hard to beat with its stun locking nature. As far as newer bits, I thought Blood Thirst‘s a smart way to fuel the frenzy: Slice up three, get one free. The adrenaline you build fades over time, so you’re encouraged to go hard and heavy for major scuffles. Problem is, I‘ve…changed a bit since the start. My words are coming out, but they sound a bit too morbid…think my comrades are starting to notice. Aw hell, it’s one of those “Real” morality systems, isn’t it?



quite nice. I thought the strength upgrade for bringing down doors the Nicholson way is handy(and sometimes necessary) to reach every nook and cranny in Dishonored 2. The gameplay tweaks aren’t drastic, but they do give some nifty rewards for the ancient art of whalebone collection.

One last nitpick. The villain’s performance comes off a bit too showboaty-at-the-character for my taste, analogous to Far Cry 3 & 4 baddies. Something about her portrayal feels a bit too... melodramatic compared to the rest? On the other hand, the character’s motive is *definitely* their most interesting side, even to the point of explaining lore that the first game never covered. While her presence isn‘t consistent for every mission in the game, the other “Boss” characters drastically make up for it in terms of Exigent Adversaries.

And so we come to The Grand Finale. Maybe you’re expecting a shrewd collection of metacritical buzzwords like

Alas, it was not to be; There are few things more redundant than summarizing a summary. Instead of handing out answers, I had something else in mind. Yours, actually.

Question: What's the most important aspect of a great villain? Motive, threat, or a hearty cackle?

Questions: How much story is too much(or too little)? Does it depend how it‘s presented? Dialogue boxes, character banter, cinematics, throw it all out the window, or mix and match. Some food for thought.

Query: Should A Sequel be Slight tweaks of a strong formula, Drastic changes with vague pieces intact, or somewhere in the middle? Is it a Case-By-Case scenario, or are there key benefits to one direction that outbeat the others? There can only be one.

Q: After reading through the review, does the game seem worth the price tag? Why or why not? Remind me not to quit my day job.


Fallout 4 has arrived in stores, and it seems everyone and their dehydrated father’s been playing it ever since. Despite my expectations, it seems the Main Quest received a massive improvement, enough that I’d preferred sticking with it over most of the side stuff til quite a ways through. While the changes to the game are hardly radical out of what‘s expected from the sequel, there’s been more than enough fine-tuning under the hood(with some exceptions) to make for a far better playing experience than Bethesda’s previous installment. Fallout 4 is a *safe* sequel, but a very satisfying one.

Visually, it’s Skyrim Plus. Lighting gets more attention and Environments look a great deal better than New Vegas or FO3. Some of the textures still have that overly flat look that’s visible in the previous gaming generation, though. Character models can vary. Humans and most conversational characters are around the quality of Saints Row IV or later PS3/360 games. Oddly enough, the handy bots seem to look the best animated of the NPCs. Their animation and movements are surprisingly natural, despite being a self-propelled 1950’s-inspired automaton. Voice Acting is *roughly* BioWare quality. On a similar note, Garrus is everywhere. It’s less of a problem than Oblivion’s Wes Johnson Talk-A-Thon, but it does kill a level of immersion. Otherwise I’ve been happy with the results, and the few celebrity voices are virtually unnoticeable. S’good.

While the core gameplay remains *mostly* untouched, what’s wrapped around it is where the main adjustments are. Assumably inspired by their own work on Skyrim, Upgrading and Scrapping plays a much larger role in getting the extra edge. Even if you could care less for upgrading, advanced weaponry/armor is still lootable(and rename able). Upgrading is also tied into what I could only call the ‘nerfing’ of the Power Armor through the fusion core system and its scrap-based repairing. Considering the godlike nature it has in terms of damage reduction and a more realistic take on the armament, I’m not entirely opposed; I’m a bit bugged on the lengths required to actually upgrade said armor. Within 50+ hours of gameplay, I’ve yet to see a piece of adhesive(an intentionally rare item) required to even advance it in the first place, assuming you’re willing to throw points via the leveling system into allowing it in the first place.



Melee enemies got some *major* changes. Similar to RAGE, the feral ghouls move more chaotically towards the player and will literally throw themselves in harm’s way. VATS tactics towards the leg are more important than ever with those buggers, especially with Legendaries. Generally, the ranged foes aren’t dramatically different from previous entries, though Bethesda’s added better variety in enemy-types. Assaultron’s the new girl in town with a nasty melee attack and an eyesore that’s far worse. Amusingly enough, shooting both her legs definitely won’t stop her in a Terminator-Esque crawl.

Companions and Characters play a much larger role this round and even involve an influence system similar to BioWare’s shtick. Some are based on decision making, others are triggered by actions like Hacking, Lockpicking, or just suiting up in Power Armor. Close to what’s mentioned above, the friendship dialogue seems to activate based on your influence and they’ll generally come to you first - it feels more organic than dropping by the same person for a one-on-one. And yep, romance. Bethursday pls. I attempted two - Piper’s, and Danse. Piper is unfortunately more of the “Oh, you *like me* like me?” deal whereas Danse feels like a better fit, since he makes it apparent he holds respect and trust for you(assuming you earned it). Nick Valentine’s a boss, and one of the few if any that includes a loyalty quest. In either case, I was impressed with this part of Fallout 4 moreso than others. All of that does raise an interesting question: If DAI was BioWare imitating Bethesda, is Fallout 4 the other way around?



The leveling system is a bit more streamlined and feels more inclined to those who shun away fancy mathematics in RPGs - this may be an issue for more hardcore fans. In the long run(with a high int), it’s hard not to feel overpowered by the stat-raising marathon and some weapon DMG upgrades. With the level cap removed where it was once around 20, the level of challenge with the right gear eventually gets tossed out the airlock where it was more of a struggle to survive. Complaints aside, the perks have some nifty traits - nerd rage adds a F.E.A.R.-esque slow-mo this round and Nuclear Physicist also compliments those who prefer Power Armor for longer ventures.

Conversational Options… is a mixed bag. The character’s fully voiced and you typically get 4 options: Neutral, Investigative, and more along the lines of Paragon/Renegade. This naturally comes with some issues - FO3(at least from what I remember) had quite a few more, as well as BIS/Obsidian being known for recognizing and utilizing the traits of your character to move the story one way or another. Unfortunately, said utilizations in FO4 are very scarce - Charisma ultimately becomes the go-to for talking your way to victory. On the flip side, The cinematics feel more dynamic in terms on NPC Interaction - Approaching and leaving characters isn’t railroaded into conversational options - Characters often start the conversation first whereas you may be used to “Press A to talk“ ad nauseum. If someone’s boring you in a cinematic, just starting walking in reverse and problem solved.



The Main Quest is wonderful. A beautiful tale about the profound, undying love being Two Dads. Th-



Let me try that again. Fallout 3 was about finding a loved one, which eventually spiraled into something of a grander scope, while New Vegas leaned more towards exploring various factions in the fallout Universe. I suppose that makes Fallout 4 a mix of both? With some exceptions, the game flings you into Boston’s growing tension over the “Synthetic Threat” via the institute, which has resulted in most of the factions establishing their own agendas and overall philosophies on the subject. Fortunately, a good few of the Quests within a faction involve characters challenging or quietly rebelling the mantra they’re meant to follow, which can even play out during one of the few endings. The Blind Betrayal is a great example - what happens to a man with a strong sense of loyalty to his cause, only to find out he’s become that which he’s been fighting against for years? It’s a nice touch that keeps a faction’s quest lines from getting stale.

Once you hit the institute, the main story finally kicks in high gear. It’s a clever twist on their part, and springs a very strange relationship to the player. Take expectations and toss em’ in the trash, bro. Some (myself included) may have been scratching their head on why events transpired as they did to wait on releasing him for so long, and that gets a better explanation if the institute path is continued long enough. Outside of the “Synthetic Tension” theme a la Blade Runner, it also poses the problem of an ideal, clandestine society like that with the spotlight on their location finally removed. BOS/Institute, and even Railroad/Institute couldn’t truly live peacefully with one another - the endings are appropriately bittersweet. BOS is probably the closest I’d see to the true villainous ending. I trust Maxson about as far as I can throw him(in Power Armor). If it were Danse as the Elder, maybe a different story. Railroad is the closest to a Non-Institute good ending, as far as I can tell - at least some “lives” are saved, though BOS’s role after that is somewhat unclear.

Side Quests are fairly improved from yesteryear. There *are* fetch quests like Quartermastery, which seemingly go on forever?! I never bothered finishing it all, though I suppose if you’re looking to find new locations and want to grab additional execution points, it’s not a bad route. The Minutemen faction similarly feels like a starting ground for that sort of deal before digging into the meatier quests and it didn‘t take long for me to take the questing elsewhere. As far as Super-Wacky-Random side quests, they’re still Super-Wacky-Random. I helped defend a group of Well-Idiomed Robotic Seamen from scallywags before watching them propel their dirigible through a concrete jungle, gave a demonic egg back to satan, met a Botanical Zsa Zsa Gabor, found pussy in the darndest place, made paint, and found the video game equivalent of based Crusty.

So there ya go. That’s Fallout 4 in a verbally-compact nutshell.

Is Fallout 4 Worth Buying? lol no, play new vegas you pleb. NEXT



Bloodborne is a complicated beast… let’s talk about Souls for a bit first.

Souls is great. Known for combat that rewards the observant & punishes the tactically slipshod, as well as a moody forbidden world to explore with a distinctive take on looting narrative, it’s gotten a great deal of acclaim. It’s also a bit clumsy in mechanics, occasionally stale/unbalanced in combat, and the story can come off as a minimalist chase for McGuffins cause’ the king goofed up and now we’re in Dark World for some raisin. Bloodborne manages to solve many of FromSoftware’s legacy issues while throwing in an appropriately disturbing storyline, and a few curveballs with nightmarish outcomes. Hidetaka once described it as mixing the better parts of Demon’s/Dark souls, and well, it kind of is.

Layer Number One: Audio/Visual. Unlike Demon’s Depress-A-Thon and Dark’s penchant for Full Choirs pretending they’re at the dentist, the soundtrack has a healthy assortment of moody ambient & unconventional orchestrations that holds a unique vibe outside of its dark fantasy predecessors. Voice acting is great(and less prone to cackling). There’s also a greater distinction between voices too, anywhere betwixt age differences and specific accents, you hoonter of hoonters, you. Visually it borders between PS3 and PS4, but boy what they do with it. Visual detail plays a bigger part, environments are lush with gothic architecture, and plenty I’m best leaving for people to figure out by themselves. Monster types are less of the classic fantasy/berserk stylization and more of the otherworldly abomination-y kind. A scarce few visual issues mar the experience - specific spots don’t always load of how they’re supposed to and look low-rez, though it‘s a very brief problem. Otherwise, they got it right.



Layer Number Two: Gameplay. Shields are pretty much gone. Yep! If you can dodge a wretch, you can dodge a ball of ravens gunning for your throat. Shields are hardly a great fit in the Victorian era setting, and this revision can radically alter your tactics - in other words, you can’t just stand their like a ninny and wait for your foe to finish his attacks. Re-Gain is great. If you’re hit, you can hit back relatively soon and get some health back. It’s not something that most will use persistently(unless you’re as mad as the Yharnamites themselves), but it adds a neat flavor to the overall mechanics, providing greater motivation to go on the offensive. Transformation Weapons as a whole are a much-needed breadth of fresh blood. I hardly miss the Dark Souls days of having to grab a bazillion shards to even build a bloody boss weapon, with the normal equipment close to throwaway ability. What you lose in quantity is greatly made up for in quality. Even starter weapons allow instant shifts between range-over-damage, power-over-speed, with later weapons taking more unusual transformations. I’d actually *stuck* with the saw from beginning to end, as the weaponry scaling(or lack thereof?) encourages you to stick more with a certain style than just a convenient stat boost. Boost what you like, not what you get thrown into.

Boss Phases - It’s a big deal. DS 1 & 2 had this on *occasion*, but now it’s all over the bloody place. Slogging over a shadowy colossus with the same tactics simply isn’t an option, as new forms(and new enemies?) means a deeper level of challenge which hasn’t seen as much frequency in the series. Level design maintains the Overarching world of Dark Souls, while using a few tricks of Demon’s like using locked shortcuts to bridge the player between close-by areas with greater ease. Chalice Dungeons are an anomalous thing - essentially it’s a roguelike with Dark Souls, and it’s as great as it sounds. Suffers a tiny bit with repetition(which is hardly a surprise), but overall it’s a fun romp with some bosses later on that outmatch the difficulty of the vanilla game, and are actually a pillar of the game’s overall lore to boot. Cause nothing says fun like using a couple glowing slugs and a pool of blood to enjoy some inter-dimensional jolly coagulation.





Storywise, it comes with some notable changes from its antecedents. Most of your character’s actions in Quests or with Bosses from Souls may not feel like they’re accomplishing much. Opening paths, and opening more paths, and Le Final Boss. Yep. Bloodborne helps lay this to rest; Bosses aren’t just random demons that fit the area; Their stories and subsequent quests can be interconnected, opening a a hodgepodge of answers and a Pandora’s box of questions. While Souls *does* come with its own revelations, they may not always have bearing on the main story itself - this is also where BB diverges as main game areas and even Chalice Dungeons play an enormous role in building up the lore. The way FS handles the immense backstory reminds me a bit of Chrono Cross in terms of gradually explaining the setting’s original state, and the transition to its phantasmagoric masterpiece. Having said all this, it’s one of the best narratives FromSoftware has managed. One of the greatest fears is that of the unknown, and Bloodborne comes with this in spades.

And that’s about as far as I can go without spoilers. Seriously though don’t touch the lava.

Should you Traverse the Nightmare? If you’re looking for a challenge, Dark Victorian/Lovecraftian storytelling, and a game full of dark surprises, look no further: Here‘s your dream game.

Never thought I’d feel it again. Half a decade’s passed since touching the first souls game, yet the same feeling’s been kindled anew by a game that spiritually precedes Miyazaki’s legacy of daunting challenge in hack-and-slash. Coming 3rd in a line of 10-year creations is Nioh, from the folks who produced the lauded Ninja Gaiden series. Has the gaming vault saved the best for last?

What’s sparking that thrill of battle may not be just learning your enemy’s moveset this time, but learning your own. Made apparent by the game’s opening cutscene, William’s life was joined at the hip by a spirit named Saoirse, who saved him from the brink of death. This attunement to the spiritual has allowed for some supernatural symptoms, including the newfound ki pulse.

After a swing of your blade, you’ll glow an iridescent blue. With a well-timed click using the pulse, any vigor you’d lost will spike up and keep the battle at an active pace. The rhythmic benefits of Ki Pulse border on necessary when faced with the game‘s stronger challenges, habitual dodging and melee demanding as much. While Bloodborne’s Re-gain mechanic encouraged more aggressive combat, it also helped endure longer for a fight - it seems the Ki Pulse holds similar purpose. Countering this…is taking a deep breath. The balancing act of keeping stamina is a noted piece of the Souls series, but the punishment for that typically brought you down to a walk; Nioh goes as far as stopping players in their tracks. It’s a more realistic take on the system, and Nioh evenly raises the stakes as foes will be knocked down with enough effort put in. Bloodborne’s transformation weaponry was renowned for allowing weapons to move effortlessly between speed and power. Nioh’s take on this has less to do with the weapon, and more on how it’s handled through martial art stances to similar effect.

The lower stance even allows you to hit smaller foes that wouldn’t even be possible with other forms; It’s nice seeing grounded combat features beyond what you’d expect.

So. We’ve got hit, dodge, ki, and stance. Sounds simple enough. However, ninja theory’s comeback title has more than a few new toys for gamers to play with.

Even preceding Ninja Gaiden’s xbox debut, the original game’s mantra went beyond melee, focusing on both ranged ninjitsu, and harnessing the worldly elements themselves to survive. In the same vein, Sir William learns to handle talismans, smoke bombs, and the forces of nature to fight them off.
But how on earth does an Englishman learn all this in the first place?

As you might’ve guessed, Free Willy lives up to his title and makes way to 17th Century Japan in search of his brighter half. Put under eastern tutelage, you’re provided with a full dojo to hone your skills. This is hardly just a tutorial for the sake of it, as growing your ninja skills beyond that of a novice would be all but impossible without training from a learned master. I’ve always appreciated the gaming sentiment where growth for a particular skill doesn’t simply come to you out of nowhere, picking a leveling option in imaginary space. It’s earned and trained by both you and your character. As much as Dark Souls III’s weapon arts were a step in the right direction, Nioh’s use of its melee skills can play off combos or while an enemy is dazed. This holds a more natural flow to it than something detached from the motion of a sharpened edge.

In either case, the skills to kill you’re provided with are massive in sheer variety, and the consumable justu moves regenerate at the nearest >bonfire I mean healing shrine. By reanimating these items, ability-based consumables no longer work as a last resort due to its scarcity, and allow experimentation for tougher battles or a series of boss runs.

This seems to be a different story for both guns and the bow & arrow. The game counters our weapon’s robust damage-dealing by leaving ammunition either as a pick-up from the enemies themselves, or to be bought at the local blacksmith.

Besides the goods and services you’d expect from a smithy, Nioh provides an option every RPG needs: refashioning wardrobe. Ever found that great piece of armor, but doesn’t quite fit the rest? Based on the gear you’ve owned or worn, virtually anything’s fair ground to not just find the right hue, but the physical build to properly work the dance macabre.

Indeed, the game has a level of customization that goes beyond the cosmetic. Game Director Fumihiko Yasuda’s been cited for that the game takes some influence from Diablo, and the loot system seems to indicate hints of this. Instead of dropping bare bones weaponry and upgrading from the bottom, new gear can drastically vary not just in damage dealing or conventional upgrades, but benefits that’d only apply to the world of Nioh.

It seems Japan is rife with demonic forces known as yokai. Taken from the pages of Japanese folklore, the game finds advantage in using obscure pieces of the mythos to build a fresh experience. Illusory walls have been around gaming since at least castlevania, but the Nurikabe Demon adds a new take on an old idea. While Nioh’s level design doesn’t stray far from what you’d expect, the new flavor to it’s an appreciated deviation.

Some of the items or characters in-game may be familiar for those who’ve played Okami or Persona, but Nioh’s spared no expense in lending eastern folklore not just to its monsters and characters, but the spirits therein.

Saoirse is a guardian spirit, and it seems she is not alone. Whether noble or wicked, many of those that William encounter have found a spiritual being of their own, based in cultural tales of old. This isn’t merely for show - There’s a symbolism between the spirit itself and the mortal it’s chosen, which both emphasize the character’s intents and belief as the story progresses.

Further adding to this is spiritual possession, which briefly peers into the soul of another, should you defeat someone with a celestial guide. It’s storytelling that seems more tangible than finding lore that exists only in an abstract item menu, seemingly pulled out of thin air. Since the game’s main antagonist has a somewhat lacking presence outside of very key points, these chapter-by-chapter vignettes serve as the narrative meat to the pilot’s Tolkien-esque journey. Similarly, William’s spiritual side allows access to amrita memories, key moments from other souls who’ve passed in the game and give a sense of place to each mission.

Besides the main story, there are a hefty list of side missions to fill in the gaps for minor characters or to take you to new adventures. One involving a bridge battle, and another at a bathhouse remain some of the better they’re offering. It’s nice to see rewards go beyond the monetary, either adding major pieces to the story or entirely new guardian spirits with their own bonuses to wield.

What you’re looking at now is one of the new locales for the side missions. Since many of the game’s sub-stories involve backtracking to earlier parts of the game, I was pleasantly surprised by the auburn grass and labyrinth beneath. >But the future refused to change. The level gets reused with enemies switched around. Even games like Skyrim or rogue likes may use the same assets, but building new designs to keep the gameplay loop from stagnating is practically a must. While the quests come with great payoffs, the level deisgn for too many of Nioh’s quests come off lazier than I am. Sorry, but I think they can do better here.

One thing I think Team Ninja nailed this round was turning the safety off for the game’s boss battles. Even for the most demanding foes from Soulsborne, quite a few heavy hitters like Vicar Amelia or Dancer of the Boreal Valley still offer solace if you’re out of range. While not exactly innovative, the emphasis on bosses wielding high range or blistering speed to close the gap makes their challenge worthy of note. The game’s mix of unfamiliarity to its combat and burning the security blankets will rock the boats for even veteran souls fans. My complaints for the bosses are two-fold: Umi-Boza’s level poorly describes how to remove its key annoyance, and rhymes with a cheetah abuses ranged attacks to the point of spam. As a whole though, their fights reach a strong mix of formidable and poignant.

While the fluid animations work great for combat, the environments have with flat textures and the humans have dated character models, even by PS3 standards. Cinematics alleviate this a bit, but the game’s atmosphere still suffers as a result. On the other hand, Nioh does offer what most games don’t - the option to exchange graphical quality over frame-rate performance. While I’m not seeing a drastic difference in the cinematic version, high animation speed and a game like this make a dynamic duo. If top-of-the-line graphics are critical to what you value as fun, then perhaps it can‘t be helped. If not, let the good times roll.

The story itself is perplexing on the first trip. The game explains itself by the end, but the ongoing process can be an effort in confusion. The cinematics happily toss a long list of characters with complex backstories, but the second half in particular is telling too little from the cinematics without context, rushing from one character to another wondering who half the cast is. It can make sense, assuming you read every offered biography and complete the right missions. It has a level of narrative clarity akin to the average From Software game, though there’s more focus on the cutscenes this time around. At its best, they give reason to sympathize with a cast smothered in misfortune and tragedy, avoiding the trite black-and-white nature that we might expect a game like this to delve into.

So, Nioh. While graphical limitations and quest issues keep it from becoming an undeniable Souls-Killer, the game provides an experience you can‘t get from others in that subgenre. It’s hard to say if Nioh is the ultimate game, but it makes a strong case for the ultimate challenge and I’ll happily tip my hat to anyone who can cross the finish line.