And so, the real game begins, as the time comes in which videogames no longer aspire to be movies, but are actually trying to pass for real life, since there are various rather interesting apps out there for all current VR devices; early attempts to make anything from roller-coasters, creepy manors, pre-historic lands, and even a space shuttle launch, everything goes. This is the kind of creative, all-over approach that's needed for VR to be a success. Now the countdown begins for the first steps, that might one day deliver a Strange Days film-like experience, in which most of our lives are spent jacked in, perhaps even like the film Surrogates.
I remember the early VR setups at the arcades, about two decades ago, which provided very basic, blocky simulation; heck, even cheesy films and tv, somehow lagged behind as to what was really possible to do in a virtual world. But deep inside, many a game designer, as well at the public, were expecting the multitude of options, as well as software, given the financial support behind the current VR endeavor. Whereas Sony VR is focusing on games, we must consider as well, the sheer size of adult entertainment, reason for which, the VR devices running on the PC, like Oculus Rift, are likely to offer not just games, but perhaps even sensual experiences.
This could well represent a landmark in gaming, considering casual gamers may then adopt VR, the way they did with the Nintendo Wii. Remember Kinect and the inability to introduce a new peripheral; well, this generation is pushing even stronger and from different fronts to make VR devices ubiquitous. It must be noted that Nintendo's previous console, the Wii, paved the way for casual gamers to participate often in party games, yet with a particularly interesting peripheral, the Wii Remote.
In fact, as I mentioned elsewhere, a journey inward of evolutionary "fitness-faking narcissism," has previously been elegantly suggested by Geoffrey Miller, who states that in fact, advanced alien civilizations have not made contact since they might have developed VR worlds rather than space travel. If you've noticed this blog's logo, it is a holo-band, a fictitious VR device; as they say, may you live in interesting times. Many writings show how complex man-machine relationships can be in the not too distant future, they help us envision possible scenarios.
Medicine could benefit as well; created for clinical purposes, in various fields within medicine, MedVR is advancing steadily. Robotic surgery, after all, has proven to be somewhat successful. It is in training that VR shines in medicine, for it allows the students to acquire knowledge from a computer setup. Soldiers have been made to relive their time at war with VR also to heal. As well, there is VR used for architectural purposes. Laurentian University, Canada, a place well known for their mind experiments, has a program for their researchers to continue work and initiate new research with the objective of evaluating the impact of virtual reality and simulation training.
These ideas tie into the Anthropocene, a term seemingly coined by the ex-Soviets; from anthropo, for "man," and cene, which means "new" due to the impact mankind has had on its environment. Chemist and Nobel laureate Paul Crutzen popularized it in decades ago. It is nothing more and nothing less than guided evolution, since these days, more wondrous inventions are firstly created by humanity, but afterwards they acquire a more dynamic role, and they may actually change our own existence. Both photos by me (2016/18), and from Strange Days (1995), Surrogates (2009).
The griffin; I mean eagle, has landed, with the arrival of The Witcher 3: Wild Hunt, perhaps the first game which is in every possible way, a Gen 8 offer. The game's scope is also fantastic, thirty times larger than The Witcher 2, and also with a geography reportedly larger than that of Skyrim. The truth is that our hero, Geralt of Rivia, with his warrior-like demeanor and raspy voice, has made for a memorable gaming trilogy, each game with carefully crafted elements, and often also a reflection of Slavic folklore.
In a market inundated with remasters, which only improve the definition of games slightly, original Intellectual Properties are sorely needed. The Witcher 3 doesn't disappoint; this is very much a story of outsiders, class warfare, engulfing various other sociological aspects. Likewise, I'm happy to report, this time around, the story is more human and less political, with the introduction of Ciri, Geralt's apprentice, and even a love triangle; for the world of The Witcher is also one of adult relations.
As with the X-Men films, Witchers are seen both in either good or bad light depending on whom you ask, and it's also somewhat similar to the Spartan education; their training is more than many can take. Truthfully, the Civil Rights movement in the US, and other cases of segregation in history, provide a template, hence many books and movies play with this love-hate relationships regarding minorities. Of course, you sort of feel sorry for whomever wants to confront Geralt; the main character himself has evolved, you can even have him grow a beard, which as a detail, can later be trimmed.
The Witchers also have a code, and know when to back off from conflict. They are in short, as the promotional materials in fact say, not heroes, but professionals. The inclusion of Geralt's horse, Roach, is a welcome addition; after all, in Dragon Age: Inquisition, finding an animal to travel long distances, was really rather difficult. The dialogues are particularly good. And, considering this and much more, the countless GOTY awards The Witcher 3 has amassed is impressive but hardly a surprise.
The gameplay is magnificent, solid, the combat flows, and the rpg elements are more than satisfactory. In fact, it's easy to be mesmerized by this medieval world, hence this is not just a game, but an experience. The missions all have internal logic, it's not just fetch this or that, but they seem meaningful. The weather effects are magnificent, it truly fools the mind in thinking you are there; the sun through the trees, the rain or snow, are all presented with a deft hand.
In the end, while reviewing a Witcher game, it dawns on you, that each of them is a marvel of design and story-telling, every one of them was made with great dedication, and I humbly salute CD Projekt for this; like a good painting, the game conveys a state of mind, perhaps even feelings. The standard edition comes packed with goodies; such as a map of the area, a soundtrack, and neat Witcher stickers. While it may be too large for its own good, medieval fantasy never played and looked this good.
Even if there is a new main character at the center of the recent Infamous: Second Son, I nonetheless ended up liking the novel focus the developers had adopted. For, if Cole MacGrath, from the previous games, was Batman, then Delsin Rowe surely is Spiderman, and both of these concepts are fine with this writer. As well, the game does a lot to differentiate itself from its predecessors, with outstanding firey and neon-like visuals. And in which other game can the player shake the controller to spray-paint humorous stencils; perhaps only somewhat similar to Jet Set Radio and Marc Ecko's Getting Up.
In various arguments among individuals, there are euphemisms used to name a group's adversary. In science we find the so-called "evo-psychos," or evolutionary psychologists, and in religion we encounter "fundies," or creationists. And so, Infamous: Second Son, presents the struggle of supposed "bioterrorists," also known as conduits. The underlying themes allow for an excellent game, a continuation of the previous titles, and is a Sucker Punch game after all; these devs have an impressive track record. A militarized Seattle is now the city in which our hero roams, yet it must be said the fictional cities of the previous games were for some reason, more remarkable.
Being a next-gen game, the city depicted is very much alive, with various details; it reminds me of another new game, Gravity Rush 2, plus on the other hand, the upcoming plan to roll out Sony's VR technology, perhaps for enthralling games like these, allowing for the ultimate in game immersion. After all, the original Infamous games had Move peripheral support.
The "famous" or "infamous" paths you can follow, are really a basic addition, like in previous entries, they just offer yet another simplified aspect; though it must be said, unless you count the clever twist at the ending of Infamous 2, these don't serve much purpose, as large part of the game is a constant fight against the policemen du-jour, the Department of Unified Protection, who are also conduits, and it provides insight about our life itself, in that why wouldn't everyone work together, if they are so similar. I get the impression the engine would have run well on the previous Gen, though there are certain details, namely the powers and weather effects, that look particularly stupendous.
As far as the main character, he seems influenced in style and clothing, by Seattle's own music scene, Grunge music, which was quite popular in the nineties; it is also the land of Starbucks, and coffee shops do indeed appear in the game plus a "hooverville" can be found. As mentioned above, the character is younger, and more of a thrill seeker, discovering his powers grants him a new life; he is feared by the populace, but also stronger indeed. Gameplay revolves around recharging our heroes' abilities with smoke; that is cars on fire or chimneys, neon signs, just to name a few, whereas in previous games, it was about electricity. The gameplay remains similar, though now the powers seem more flashy, in hindsight.
There is some degree of DLC, such as the day-one, called Paper Trail, but most importantly, the expansion First Light, featuring the story of neon-powered girl Fetch, which seems like much fun. The controller also plays a part, vibrating, but also emitting sounds. It is certainly a winning formula, since the next Gen has been out for a while, yet few games make an impression like this one does.
I first became acquainted with Fez, a digital-only game, while watching Indie Game, The Movie, a film about the creation and release of Super Meat boy, as well as Fez itself; so as to keep the indie ball rolling. The fascinating movie, showed the development of the game, which is in fact, a peculiar mix between 2d vis a vis 3d worlds.
Like most indie games which have become bestsellers, the game's creator, Phil Fish, came up with a novel way to show a cute 16-bit world; to allow it to become 3d, and enable the player to explore the Mario-like worlds, filled with all kinds of platforming, puzzles and nifty, throw-back music. In fact, Fish spoke of making the Fez experience a friendly one, a place for the player to enjoy. There are four perspectives, and you can jump in one, and land on the next.
The game's mechanics match, in fact, the quality of the design. Gomez is a cool little snow-white character with a red fez hat, who has to collect yellow cubes, in order to restore balance to the flora-decorated, fauna-inhabited world. The bright skies change from within the colors of the spectrum for a winning effect. A bright light with an electronic voice lets our tiny hero learn some basic directions.
In spite of some back-tracking, Fez surely wins you over with its charm. Even when you start playing, the game has a wink at electronics in store for us. The fact that its development has been documented for history to witness, makes the game even more special, since you know that it took blood, sweat and tears to make it happen.
When household pets ruled the world, might as well be the slogan of the clever game, Tokyo Jungle, which borrows a page, to an extent, from the classic short film La Jetée, yet more importantly from the feature film 12 Monkeys. It's a special treat to us fans of desolate urban landscapes, such as those from the film I am Legend, and various tv documentaries. It's dog eat dog, or some adventurous tamagotchi, in a barren, post-apocalyptic land.
As much as this is a make-believe world, it is nonetheless, an interesting hi-concept attempt to bring certain scientific branches, with much creative license, of course, to a game console. In particular, Zoology, the study of the animal kingdom, and Ethology, the study of animals in their natural condition (that is, if we take for granted these animals have adapted to a sort of asphalt jungle), with a handy map, in this 3d side-scroller in which you can actually dress up the animals in groovy clothes and in which you cut your teeth in survival mode and thence unlock story levels.
This rate game asks questions such as whether animals can become feral in the span of a single generation; a cute Pomeranian appearing in the game's promotional materials. As stated before, this is not realism; as, for instance, the animals jump rather high, in true arcade fashion, and later on in the game, prehistoric animals can be unlocked. Yet it's fair to say that playing both as predator and prey, at differing times, is a winning gameplay feature in this title, which unfortunately has a "creative" save-system, the likes of which hasn't been seen since Dead Rising.
Tokyo Jungle is a psn game, yet I managed to find the Best of PSN compilation, which includes this peculiar game, along with three other fairly solid titles, these being When Vikings Attacks, my second-favorite, as well as Sound Shapes, and Fat Princess. It does ask for the disc to play, for both TJ and the others, and this makes little sense, considering their online roots, though the format is now another. The beauty of these games is, except for Sound Shapes, that you can play co-op with a second controller, making this a sweet package of party games. Extra points for originality.
And so, this marks the first time I have pre-ordered a game; for it was quite evident from early on, having watched hours of pre-release footage, that Bioware had come back with a vengeance, to deliver the goods, with Dragon Age Inquisition. The package comes with a few extra weapons, which are quite welcome, since even while Dragon Age: Origins is my favorite game, period, I was never extremely good at it. So, without further ado, let us delve into the Gen 7, or previous console version, while others debate for or against, the newer consoles' versions.
The story kicks in with Cassandra and Leliana from the religious Chantry, both from the previous two games, who wish to close the dangerous Breach in the sky, and it's your task to help them, based on your newfound power to seal rifts; this much is explained in the prologue. This time around, the developers got it right even with save-games or lack thereof; with the use of the web-based Dragon Age Keep, the player can review and export decisions from past games, similar to how the Mass Effect comic-book was used for the initial release of the ps3 version of Mass Effect 2.
On to the character creation screen; in which I chose to play as an Elf, as I had in DAO; perhaps looking a bit like a wimpy Geralt of Rivia. Add a taste of elf-haters, and the civil unrest in a world-building so well depicted, as has become usual in the developer's history, putting the player in the middle of a racial conflict. Herald of Andraste, is the title given to your character due to his powers, and authorities aren't too content with it. But you can convince people, town after town, that you are there for help. Also, many players will wonder whether to play as male of female, later realizing that, given the quality and breadth of the game, it makes sense to to play as both eventually.
And the hours tick by, and you realize you haven't even seen one third of Thedas, with wide expanses, reminiscent of Skyrim. All the while, you are sealing these mysterious rifts, which really remind me of Aurora Borealis, or Northern Lights, from such classic books as The Golden Compass, in which multiverse-travel are a reality, specifically through them. And the woods and the constructions here, look majestic and colorful. Thus, we find the main weak link of the game; namely the characters aren't too interesting. Sera is a rebellious and quirky elven rogue, though the Bull is also quite well-rounded. In fact, the romance options cover various possibilities, hence people from all walks of life will feel at home.
Visually, the game is a throwback, in the best sense possible, to DA: Origins, though also considering the new character designs from DAII, one thing that changes is the vastness, the scope of the levels. I thought it was of great use, that on the upper-right hand, quests are shown, when they upgrade to a considerate percentile. You also establish camps, which you can automatically travel to, and rest in order to restore potions, which becomes of important strategic value. Meanwhile, in the war room, you can delegate missions, which are completed by npcs later on. Powers, on the other hand, are gained mostly by closing rifts and building encampments, and are needed to unlock new areas.
As it happens, I bought a larger hd in order to play this game; and it was most certainly worth it. While it is true that the visuals, while nice and shiny, aren't as advanced as those on the pc, there seem to be some textures and perhaps a filter missing, still the game's adventures remain intact. It all reminds me of The Witcher 2 port for the xbox 360, in that it may not rival the pc, yet it's more than adequate. Despite some questionable game decisions by the developers, the Inquisition marches on.
I consider a long while in this blog, I have expressed bafflement at the
infantile approach Western developers adopt to depict Eastern European
characters. Having tried out the demo of Metro 2033 on pc, in which society
gone-underground is shown with a deft hand, I proceeded to play Metro Last
Light, in its console version. Given that both games in the series have been
released in Redux re-masters for the newer consoles, it seemed somewhat timely
to write about such title.
the works of renowned Russian sci-fi author, Dmitry Glukhovsky, it can be seen
the author has an eye for subtle social commentary, as we find a costumbrist
tale at times, as the city hubs are clearly a strong suit narratively. While
being the second game in the series, Metro Last Light is not based on the second
book, Metro 2034, yet the author did take over writing duties for this game's
screenplay. It's indeed of great value that the voices of contemporary
young-adult Russian authors may be heard amongst the concert of nations,
instead of us media-consumers getting second-hand, or cranberry accounts of the realities of the ex Soviet Union.
At a time
when even some above-average first-person-shooters still somehow leave a bad
aftertaste, such as, praise notwithstanding, Far Cry 3, with its unilateral
narrative and short-sighted view of what constitutes them and us; a shame, since its predecessor really nailed it with its multiculturalism, it is quite hard to encounter an original perspective such as Metro Last
Light in sci-fi, or the Polish The Witcher in fantasy. In the Metro world, the
player controls Artyom as he explores the ruins of post-nuclear Russia. In this
apocalyptic state, he is confronted with mutants and hostile survivors, most of
them within or around the shelter that is the Moscow metro system.
presence of gas chambers and the so-called Reich faction depicted as bad guys,
made me ponder on the one thing East and West at least agree on; there is
nothing more satisfying than, in make-believe of course, to wreak some havoc on
the nazis, while they spout their nonsense about mutant corruption and whatnot.
Given this scenario, the closest point of contact here, are the Wolfenstein
games, yet perhaps it's the little details in game design and so on which set
Metro apart. Moreover, one can play with the Russian voice-acting option on,
yet unfortunately, the English subtitles don't translate everything that is
said, in this thorough world.
stunning, 4A Games offers metro tunnels looking rusty and full of vegetation,
as they should in any clever dystopia. In my experience, some games may distract
you from your surroundings, while others make you completely lose sense of
time; such is the immersiveness of this title. Each human model seems to have
been crafted with great care, and the mutants move fast and fiercely, their
musculature reminiscent of wild animals. The level design, while linear, is an
achievement in itself, mostly rather lived-in, right down to a theater with performers.
Some of the creators of the Metro game series, had previously worked on the breakthrough Stalker, Shadow of Chernobyl, and this translates into rather tight controls and interesting additions to FPS norms. The stealth sections while knife-throwing, are a high point, as is the need to control your gas mask while outside, reminiscent of the Mars exterior missions of Doom 3, and check for radiation, carrying a small inventory. The third act truly features some of the most amazing sci-fi I have witnessed in some time, and what to say of the fact that there is no multiplayer; good riddance. As well, the game has a basic morality system, which doesn't really intrude as far as gameplay is concerned. The Limited Edition comes with an extra weapon and more bullets for Ranger mode; you might actually need them.