Category Archives: Essays
I am going to rant about the Switch Online Expansion Pack.
I have been a subscriber to the Switch Online service since its inception. I would not call it a great service, but I have found its value justifies its price. I was a huge fan of Mario 35 (which came free with the service) last year, although I am of course enormously frustrated that they took the game down in March. I get that they launched the game to celebrate Mario’s 35th anniversary, but why develop a game to just have it available for a limited time? It would be one thing if the player base had fallen off and the cost of maintaining the game wasn’t worth it anymore. But all the way until the end it seemed to me like Mario 35 had a very engaged audience. I tried PAC-MAN 99, which was sort of a follow-up game, but it just didn’t engage me like Mario 35. Then there’s the online multiplayer aspect of the service. I don’t play a lot of online games on the Switch. I got my fill of Splatoon on the Wii U, and I mainly use the Switch online functionality to play Mario Kart 8 on very rare occasion with family and to download levels for Super Mario Maker 2.
The most appealing feature of Switch Online to me has always been the NES and SNES games that become accessible through the subscription. That said, I don’t think there is really much special about the NES and SNES libraries on the Switch. Most of the main draws are games that I personally have played to death on other platforms and, in some cases, I’ve technically bought multiple times over in some fashion or another. (For instance, I own Super Mario Bros. 3 on NES, Game Boy Advance, 3DS Virtual Console, Wii U Virtual Console, and NES Classic Edition.). And to make matters worse, these libraries grow at a trickle with months going by without any new additions.
And yet despite all of its shortcomings, I still find myself using this feature of the service the most. There are times when I’m in a funk, and I don’t want to play a new game, I just want something old and comforting. Times when I just want to decompress and boot up Donkey Kong Country for the umpteenth hundred time. I think these retro games offer two benefits that appeal over just playing something more modern. The first is that they are nostalgic comforts. I mentioned I own numerous copies of Super Mario Bros. 3, and the reason for that of course is that sometimes I just want to play Super Mario Bros. 3 on a whim. That game holds a special place in my heart, some of my earliest memories are of playing that game. And there are times when I’m feeling down that I can go to that game and be reminded of all I’ve been through in life and all the challenges that I’ve faced and then I feel better because I realize that what I’ve been feeling is just another bump along the road.
The other reason why I like to have this library of retro games just waiting for me there on the Switch is that there is a straightforwardness to many retro games that is difficult to find in more modern offerings. Modern games can often be really hard to zone out to. They have lots of cutscenes and story elements and tutorials and other bits that you have to pay close attention to, even in situations when you just want to shut off your brain and engage with pure mechanics. A lot of older games tend to put a significantly lower mental load on the player. You don’t need much of a tutorial to play Donkey Kong Country, it’s just a game about running and jumping. You don’t need long cutscenes to convey the Shakespearean tragedy of the plot in Kirby’s Adventure. You just boot the game up and play. At the end of a long, hard day, it’s nice to just have a collection of games that you can just peruse and boot any one of them up at random with no worry given to how much time you’re going to have to spend getting the introductory cutscenes and tutorials out of the way.
So of course I was thrilled a few weeks ago when Nintendo announced it would be expanding the Switch Online service to include N64 and Genesis games. I was slightly annoyed by the plan to charge extra over the existing subscription fee, but I figured the new price couldn’t be that much, maybe ~$10 more at the most. After all, despite it’s shortcomings, Switch Online’s rather small $20/year fee has always made it rather easy to balance out the cost-benefit equation for this product. …..And then the actual price came out……$50/year……meaning a $30 up charge over the existing service……over twice the price of the base subscription.
That’s a lot. Well beyond what I ever thought could have been a worst case scenario. And really, not that many games are included at launch. A mere nine N64 games and fourteen Genesis games. Of course, they promise more will be coming, but with how they’ve slowly trickled out NES and SNES games, the safe assumption is that it will be a long time before this “expansion pack” sees any sort of expansion.
I also worry about the Genesis games. There is an existing retail collection of Genesis games on the Switch: the “SEGA Genesis Classics” collection. One would assume purchasing this collection of games outright would be a better option than paying $30 year after year to play these games on your Switch, but the emulation in the retail collection is actually quite poor. There is noticeable input lag that makes the fast arcade style games that the system is known for less responsive and more of a slog to play. Much as I’ve scoured the news on this service, I can’t find any details on the emulation for the Genesis games being released on the Switch Online service. My fear is that its the same emulation that is currently used for the retail classics collection, and if that’s the case, then these games simply won’t be worth playing on the Switch. If it’s better emulation, then that would be awesome and make the service quite a bit more appealing (although at the same time I suppose it would be a kick in the shins to the people who bought the classics collection).
As excited as I was for the service initially, I do not have plans to pay for the upgrade when it comes out. Maybe down the road when a significant number of new games have been added (if that ever happens) I will reconsider. But the thing is that while I can rationally reject this as an overpriced product, I know myself well enough to foresee how I could potentially break down and pay for this. Some day I’m going to come home frustrated and tired from work and in my ill temper I’m going to think “Hey, it would be a real great pick-me-up to just be able to play Star Fox 64 right now.” All it takes is really just one moment of weakness to cave in and pay for something you feel like you shouldn’t.
And is that so bad? Probably not really. I’m deeply annoyed by the pricing of this service upgrade and don’t want to support it. But ultimately, this is not some sort of great moral crisis. The only principle at stake here is the principle of not paying for something that is blatantly overpriced. There is no reason to abstain from buying it other than that. Nintendo is not really scamming customers here. They are, if anything, being brutally honest about how little value they’re delivering for the price. And I don’t know of any issues with employee wellbeing that might lead me to want to boycott their products. Of all the scummy things that happen in video games, this is extremely tame in the grand scheme of things. The world will not flood and children will not starve if all of a sudden I break down and pay the money. So if it happens, it happens. I’ll feel like a hypocrite for a little bit, but life will go on.
But…….seriously……thirty dollars……what are they thinking.
Blair Witch follows the mythology of the 90s hit found footage horror film, The Blair Witch Project, although as it tells a relatively self-contained story, I don’t think its necessary to be familiar with the movie to enjoy the game (it does however probably help some). In the fictional world of Blair Witch, the residents of Barkittsville, Maryland hold onto legends that warn of murders, mysterious disappearances, and supernatural forces that inhabit the surrounding Black Hills Forest. All of these legends seem to loop back to the Blair Witch, a piece of local folklore that has existed since colonial times.
Taking place seemingly some time after the events of the original film (but before the 2016 sequel), Blair Witch focuses on the story of Ellis Lynch, a police officer still suffering from the psychological trauma incurred during his time serving in Iraq (or maybe Afghanistan, I don’t think the game specifically says). After a local boy goes missing and the police suspect that the youth has run away into the forest, Ellis shows up late to the search party with his emotional support dog, Bullet. With the other searchers already deep into the forest, Ellis sets off onto his own path with the aid of Bullet and his keen sense of smell. As sun sets, Ellis unsurprisingly finds himself lost and entrapped in the supernatural nightmare of the forest.
Blair Witch is primarily an exploration adventure game. Ellis, lost in the forest, soon discovers that the missing boy didn’t run away, but was kidnapped by a dangerous assailant who resides in the woods. To catch the killer, Ellis must follow clues through the forest, solve puzzles to overcome barriers gating progress, and occasionally contend with hostile entities that stalk the forest. It’s an extremely story heavy game but does make a reasonable use of conventional gameplay elements.
The woods themselves are a genuine masterwork of atmosphere and mood. There’s something about a deep, primordial forest, especially at night, that stokes a special kind of primal apprehension. Forests are wide open, leaving one vulnerable to threats from all directions, yet closed enough to reduce visibility to what may be lurking in the surroundings and to block out light from the moon and the sun. And then there is the labyrinthine nature of the thing. Man can get swallowed up, lost and never to return from the gulf of their enormity. The greatest factor favoring the survival of modern man is his connection to civilization, and deep within the obscurity of the forest he is cut off, unreachable and unfindable by the outside world that has been warped to uniquely suit his survival.
For a long, long time, video game forests kind of sucked. Technology was just too limited to create something in which the player could truly feel lost. In most cases, the player realized they were obviously on a very clear path with dense trees rising up around them to act as invisible walls that prevented the player from wandering off the intended path. Things started to get better around the time of the Xbox 360. Alan Wake is one of my favorite action horror games because it did a really good job of capturing the all-engulfing foreboding of the woods at night. Probably the first game to truly create the sensation in my mind. And now I think Blair Witch does probably an even better job. You truly feel lost, alone, and helpless in this game, even when you are really on the track the the designers intended.
However, the fearsome awe of the natural is only one aspect of this game’s horror mechanics. Unsurprisingly, there is a heavy dose of the supernatural. Reality is fluid within the forest, seemingly guided by the incomprehensible eldritch machinations of the mysterious Blair Witch, a force that clearly pervades the game although rarely ever referenced directly. Specters, hallucinations, shadow entities, and the unseen predation of the kidnapper himself stalk and strike at Ellis. While the tense atmosphere of the forest is excellent, the supernatural terrors form more of the core of the game’s straightforward scares. And they work mostly fine as such.
What I consider to be a bit of letdown is how overt the supernatural elements are. As a horror movie, The Blair Witch Project was notoriously subtle about the influence of the supernatural. Until the very end, every supposedly supernatural event had an element of “plausible deniability” to it. What I mean by that is that the bizarre events happening around the main characters could be explained by supernatural forces, but the audience could just as easily accept more grounded and “realistic” explanations for what was happening. Since the original film, the sequels and this game have really done away with the “plausible deniability” aspect that catapulted the franchise to popularity and instead have focused on more explicitly supernatural occurrences largely to the dismay of fans of the original.
Possibly, I think the designers may have wanted to give an element of this “plausible deniability” to the game through Ellis’ trauma-induced hallucinations. We are told very early in the story that Ellis is suffering mental trauma from his time in service, and there are frequent flashbacks to a generically Middle Eastern setting throughout the game. From a certain perspective, once could see the otherworldly transpirations as a result of Ellis’ increasingly unstable mental state. This creates a confusing layered reality of the real world, Ellis’ illusions, and the supernaturally twisted reality created by the witch. To be honest, the war trauma angle is something that I didn’t particularly care for. Beyond its implications about mental health, these jumps to the Middle East just take the player away from the place that I think really shines in the game which is of course the densely atmospheric forest.
One good element that the mental trauma plot thread brings to the game is Bullet, Ellis’ emotional support dog that accompanies him through the ordeal in the forest. Ellis can issue commands and interact with Bullet in a way that encourages the dog to help with puzzle solving and fending off the spectral creatures that inhabit the forest. There are very rudimentary combat encounters wherein the pair are occasionally ambushed by invisible creatures that Ellis needs to kill with his flashlight, and the player must keep Bullet close by and pay attention to the direction the dog is barking to uncover where these invisible enemies are hiding. This game could have been a very straightforward “walking simulator” where the player just explores the forest while spooky stuff happens around them, but I think the challenge provided by the rudimentary combat and puzzles does create some sense of player agency and thus betters immersion in the game’s setting and atmosphere.
Horror tends to fall apart when it becomes excessive. If a game is throwing scares at a player every few seconds, then the player eventually just becomes numb and the game loses its edge (see Dead Space 3 as possibly the most egregious offender of this phenomenon). The trick, from what I can tell, is to balance segments of foreboding and ominous atmosphere that builds tension with segments of direct threat where the player is in a heightened state of alarm. Horror comes from oscillating through a cycle of gradually increasing tension which culminates in a state true of danger and duress wherein the player is explicitly threatened. After the danger has passed, then there must be a cool off period where the tension is released and the player can then begin the aforementioned emotional buildup anew.
The scariest horror games tend to be those that are very good at this cycle. But where a lot of them fall apart is in the climax, where they tend to go overboard in trying to create an experience that tops everything before it, and the result is something that feels more like a big spectacle than something truly dreadful. I felt like Blair Witch definitely suffered from this problem. The final stretch of the game is fairly overbearing with reality constantly warping into new demented configurations around the character as he’s drawn toward the final confrontation with the kidnapper. I guess I could see how individual pieces of this story segment could be scary on their own, but when they are all just piled together like they were, it just loses its edge and I felt like I was ready for all the spooky stuff to get out of the way so I could see the game’s final conclusion.
The game’s ending is utterly predictable. I’m not going to spoil it or anything, but I think most people will figure out how the story resolves very early on. In addition to the “standard” ending, which could probably be considered the bad ending, there is also a slightly more positive good ending. The game tells you from the very beginning that it is judging your actions and the outcome will be affected by your choices. I got the bad ending and after looking up what is necessary to get the good ending, I’m not sure it’s at all possible to intuit how to get the good ending on your first playthrough. There is a long list of actions that must be completed for the good ending, and I’m not sure the reward is really worth the effort. The ending is kind of lame, so I think that to enjoy this game one must focus on the journey rather than the destination.
Ultimately, I really enjoyed Blair Witch. It is a very good horror game, even if it has a handful of stumbles. It’s got great atmosphere, some great puzzles and challenges, and some very spooky scenarios, even if the main character is kind of annoying and the climax of the game falls apart. It’s also a gorgeous game and really makes its haunted wilderness come to life with excellent lighting, detail, and fidelity. I played on PC and for a long while I thought it was hideous. I would compare what I was seeing on my screen to the screenshots on Steam, and I was certain they had posted doctored screenshots. About 70% of the way through the game, I started fiddling around with the settings and realized that I had something turned on that was greatly degrading the image (HDR). After fixing that setting, I was blown away by how great it looked. The joys of PC gaming and all that! I’m really regretful that I didn’t play through the whole game with those improved settings.
I have always enjoyed posting on my blog, but life over the past two years has really put a squeeze on my writing hobby. My output in 2019 was particularly poor with the only bright spot being that I managed to keep my Halloween writing tradition going with three posts with which I’m reasonably pleased. Changes in both my personal and professional life have incurred new taxes on my free time that mean I have less of it to devote to gaming and in turn both less inspiration and time to write.
While I can’t deny that I’m somewhat mournful of this new challenge to my hobbies, the changes I’ve faced in life over the past couple of years have ultimately been for the better, and I’m thankful for that. Going forward, I hope I can find a way to use my free time more efficiently and reinvigorate this blog as a hobby. With all of that out of the way, I have put together this long rambling post, where I talk in an abbreviated fashion about all the games and gaming stuff that became personal highlights of 2019.
Sega Genesis Mini
I picked up one of these around its launch a few months ago, and it’s been a ton of fun. A major function of games for me right now is to serve as a means of blowing off steam, and Genesis games are great at that purpose. During its heyday, Sega was really all about bringing the arcade experience into the home, and as a result, Genesis games often have a “pick up and play” quality that makes it easy to jump in for some action that can be as little as 5 minutes or as long as an hour. I own a few of the other classic consoles, and this is by far the one I’ve invested the most time in for that reason. I also plucked down the money for the wireless controller from 8bitdo, and it has been an excellent controller so far, well worth the money. (I have another 8bitdo controller that I use with my tablet, and it is also excellent. They make great stuff from my experience.) Hopefully, I will be able to write more about this machine in the future.
Super Mario Maker
This game also follows the theme of using gaming to blow off steam. I really enjoyed Super Mario Maker on the Wii U, and the sequel simply carries that game over to the Switch while adding some excellent new bells and whistles. While I’ve really enjoyed making levels on the Wii U, I haven’t really gotten around yet to making my own levels on Switch. I feel that the lack of an in-built stylus in the Switch makes level designing less approachable than on Wii U. I’ve really just been downloading levels to play when I have some spare time here and there. I haven’t picked up the game up for a little while now, but the arrival of playable Link complete with his own special abilities makes me want to go back.
Resident Evil 2
I’ve already written about this game for Halloween, but I just wanted to reiterate that it was probably the highlight of 2019 for me.
Assorted 3DS Games
Most people have probably completely moved to Switch, but I’m still clinging to my 3DS. I’m having a really hard time letting go. I think it’s mostly because the 3DS is more portable than the Switch, being smaller and having a more robust clamshell design that folds up to protect the important bits, which makes it easy for me to take along to play at lunch breaks or when I’m traveling. There’s also just a huge library of great games on the system that I haven’t managed to get around to yet, which means there’s always something new for me to play. Right now, the machine really just sort of lives in my backpack.
My go-to game for the past month or so has been Super Mario 3D Land, which is a game that I’ve beaten before, but makes for good replay due to the amount and creative variety of content. It’s honestly a bit mind boggling to me to play this game and see how well Nintendo translated the scope of a 3D Mario game to a handheld device. Throw in the fact that this game is sort of a spiritual successor to Super Mario Bros. 3 (my favorite Mario game), and I’ve come to realize that I’ve really underappreciated it for a long time. For this playthrough, I challenged myself to collect all of the star coins in each level, something that I tried but never accomplished the first time I beat it. In typical Nintendo fashion, the reward for doing such an above-and-beyond feat is incredibly basic, a simple star tagged to the save file, but I’m fine with that. Now that I’ve got that out of the way, I’ve waded into the 3DS version of the first Luigi’s Mansion.
I bought Rage 2 completely on a whim around the time when it came out. All of the reviews at the time mentioned how mediocre the game was, and I have to concur. It does mindless action very well, but enemy variety, world building, and level and mission design are just let downs and leave the experience feeling like it could have been so, so much more. Nonetheless, I played the game all the way to completion of the story and cleaned up some of the larger optional side missions. I did enjoy what I played, and occasionally go back to do some of the open world missions that I haven’t completed when I just want to zone out to a game, because again it does mindless action very well, but it is not a game that I would put very high on my recommended list.
Star Wars Jedi: Fallen Order
This has been my go-to game lately. Star Wars is something I’m not quite as passionate about as I was when I was a high schooler, but games like Jedi Outcast and Knights of the Old Republic remain among my favorites that I revisit every handful of years. So far, Fallen Order is shaping up to meet the high standards of those particular titles. I’ve heard this game described as Souls-lite as it has a combat system that is very similar to Dark Souls melee combat, although not nearly as tight or graceful, in addition to other borrowed elements like a bonfire-style save and recovery system and worlds that just sort of weave in and out of themselves in a similar manner to the lands around the Firelink Shrine.
I only have two major complaints about the game. First, the game is heavily focused on lightsaber combat with force powers as a supplement (there are no blasters that the main character can use as far as I know). For the most part it works fairly well, but the character can feel clumsy at times. This is particularly true since so many other elements of the game scream Dark Souls, but the melee combat just isn’t as tight as what an experienced Dark Souls player might expect. The second issue I have is the enemy variety isn’t that great. It’s mostly humanoids (usually stormtroopers) that carry various flavors of blasters or energy weapons and a handful of very basic Star Wars monsters. There’s nothing that really captures the imagination to the extent that the menagerie of grotesqueries that appears in the Dark Souls series does.
Those complaints out of the way, I still think the game is really cool. The planets the player visits are fun to explore, and they look incredible. If the game can keep up the momentum it has had so far, it may actually dethrone Jedi Outcast as my favorite Star Wars game.
This is a game I downloaded to my phone, and it’s been a good way to entertain myself when I only have access to my phone. In general, gaming on phones has usually felt like a wasteland to me because of the soul-destroying monetization schemes that are hard to escape. If you had told me a long time ago in a world before smartphones that people in the future would carry around computers in their pockets that were more powerful and had a faster internet connection than the computer I grew up with, my video game addled brain would have immediately started imagining all the amazing gaming possibilities that such devices would open up. And then if you had told me that all the games on these things would suck, I think my brain would break and my faith in the future of humankind would have completely shattered.
Grindstone is, fortunately, one of the too few mobile games that is actually worthwhile. A product of Capybara Games, who also made Critter Crunch and Sword and Sworcery, their house style is definitely on display here. The game is sort of like a match 3 game (e.g., Bejewelled) but with no actual matching. Instead, each level is a grid of differently colored monsters, and the player takes control of a Viking warrior that occupies one of these grid spaces. Enemies are defeated by running a line from the Viking character through consecutively adjacent monsters of the same color. The catch is that if the Viking lands on a space adjacent to an enemy that is readying an attack, the player will take damage. Enemies that are defeated are replaced by new enemies that fall from the top of the screen. Levels are usually completed when the player defeats a certain number of enemies.
While all of this may sound complex due to the haphazard way I’m describing it, it’s actually fairly simple once seen in action. The game has a huge number of levels that keeps this fairly simple formula interesting by introducing new elements such as special monster types, environmental upgrades, and unlockable abilities.
This is the kind of game that I’ve personally found is best for me to play in short, disciplined bursts. The game can be addictive in a way that reminds me of the rabbit holes that I’ve gone down in over the Picross series. Every time I complete a level, I have this impulse to start the next one, telling myself I’ll only play “just one more”. If I’m not careful, way too much time evaporates, and I’ve long stopped having fun and, at that point I’m really just chasing after a dopamine kick. It’s like gorging on a bag of potato chips. That first chip is super salty and delicious, which makes you want to eat one more. Then you eat the second and third chip which are a little less tasty due to your brain becoming numb to the repetition of flavor. But you keep eating because you’re chasing after the satisfaction that the original chip gave you. Eventually, you’ve found that you’ve eaten way too much, should have stopped a long time ago, and that momentary pleasure has given way to self-loathing originating somewhere deep inside the body. Just like the potato chip, it’s best not to let oneself binge on these kinds of addictive games. Play a level or two here and there and then just let it go.
Last but not least, not too long ago I managed to complete my long personal quest to complete all of the games in the Crash Bandicoot N. Sane Trilogy. The third game in the series has always been my favorite, and after having a tough time with Crash 1 and 2, I was pleased to find that Crash 3 is still mostly agreeable to me. I plan to write more very soon on both the surprises and disappointments that the Crash 3 remake delivered, as well as why it took me an incredible amount of time to actually finish.
I arrived at being a Resident Evil fan through a somewhat tortuous history. Despite being a huge fan of the Playstation, I never actually played any Resident Evil games on the system, despite the series being one of the console’s best sellers. I certainly thought Resident Evil looked cool, and I did get to mess around with Resident Evil 2 at a friend’s house, but for some complicated reasons, I never actually got a hold of those titles for myself. The first game in the series that I actually got to spend appreciable time with was Resident Evil 4 which was a marked departure from what had been the series’ convention.
Eventually, I would play those original Resident Evil games through the DS port of RE1 and the PS1 on PSP releases of RE2 and 3, which is to say that my first experiences with those games were through handheld versions. And despite playing those games in their diminutive forms, I thought they were amazing, and it really solidified me as a fan of the series going forward. Resident Evil 2, in particular, left an impression on me. I still vividly remember downloading it to my PSP in college before heading home for Christmas to spend a week with my family and getting some Racoon City action in on the side. Despite that break being a busy holiday week with lots of family stuff going on, I was so enamored with the game that I somehow managed to squeeze in enough time with it here and there to complete both the Leon and Claire campaigns. As I get older, I feel myself getting less and less excited for games long before they release, but I was super pumped a few years back when Capcom announced that Resident Evil 2 would be getting a modern remake.
Resident Evil fans will know that the series can be divided into two separate eras. There was the original era of Resident Evil that used fixed camera angles, tank controls, and limited items and ammo to produce slower, less precise, but more methodical action games. With the advent of Resident Evil 4, the series majorly shuffled things up and pioneered the modern over-the-shoulder action game. While the series has maintained its horror theming, emphasis was put more on precise aiming, less restricted ammo, and linear level design that contrast with the more backtracking oriented earlier games. The shift in direction for the series has been a huge point of contention for some Resident Evil fans, but I personally enjoy and find merit in both styles.
The Resident Evil 2 remake is a case study in wanting to eat your cake and still have it. It tries to combine the limited ammo and less linear level design of the original Resident Evil 2 with the over-the-shoulder combat experience of the more modern games. And for the most part, I think it succeeds at creating a delicate fusion of these contrasting gameplay styles. It even manages to incorporate elements of the offbeat Resident Evil 7 in a way that just clicks.
Resident Evil 2 offers two campaigns, one from the perspective of Racoon City police force newcomer Leon Kennedy and the other from the perspective of Claire Redfield, the biker sister of Resident Evil 1 protagonist Chris Redfield. The game starts with the player’s chosen protagonist making their way into Racoon City, Leon to start his new job and Claire to find her brother who has gone missing. What awaits them when they reach the outskirts of town is a doomed city overrun with a zombie outbreak. In a turn of fate, Claire and Leon cross paths and one of gaming’s greatest duos is born. After teaming up, Leon suggests to Claire that they make their way to the Racoon City Police HQ to figure out what’s going on and hopefully find safe refuge. Upon entering, they find the building nearly abandoned by the living, save for one dying officer who hints at a hidden escape route that could help the pair make their way to safety.
Within the massive RCPDHQ, the player is immediately greeted with a great many locked doors and blocked pathways. Exploration and backtracking is thus necessary to slowly open up new areas and progress in the game. RCPDHQ is essentially one big mystery that players need to work through. Eventually, players move beyond the police department, but each subsequent area is similarly structured.
For those unfamiliar with Resident Evil 2, the game is comprised of two separate campaigns, each focusing on one of the main characters. While Claire and Leon cover much of the same ground in their individual stories, they access most rooms and areas in a different order, gain different weapons, and there are certain important areas that are campaign specific. In addition, each protagonist interacts with a different set of characters along the way, meaning they each have a fairly unique story. When all of these aspects are taken into account, I feel like each campaign is distinct enough that a second playthrough with a different character doesn’t simply feel like a retread, and it’s worth playing both of them to see the complete story in all its glory.
As a remake, the new Resident Evil 2 is a fairly extensive reenvisioning of the classic. Much of RCPDHQ will be familiar to returning players, but new key areas and story beats have been added such that the game feels like a new experience while still strongly evoking nostalgia for its forebear. By far the biggest change is the more modernized camera and combat. Ditching the fixed camera angles and simplistic aiming system of the original for the over-the-shoulder style that became the norm with Resident Evil 4, the new Resident Evil 2 walks a thin line of trying to recapture the elements that made the original resonate with so many players, while also upgrading the game to the standards and expectations of 2019.
Personally, I think it’s very successful. Initially, I had doubts that the much more precise and agile gameplay would work well with Resident Evil 2’s monster design. When Resident Evil 4 arrived, the series replaced its iconic zombies with more intelligent and nimble enemies to compensate. Slow, shambling zombies might have been a threat in the earlier games with their clumsier controls and more claustrophobic environments, but it seemed difficult to believe that such monsters could present any sort of danger when headshots could be easily pulled off with true analog stick aiming. Fortunately, this remake does make them a sufficient challenge through both their herky jerky movements that makes targeting specific body parts more difficult and the fact that they can take a fair bit of ammo to bring down, ammo for which there is a reasonably constrained supply. And of course, zombies aren’t the only monsters that Leon and Claire face off against.
In the original Resident Evil 2, Mr. X, a mutant supersoldier sent in to clean up witnesses to the outbreak, would stalk the RCPDHQ during whichever character’s campaign the player chose for their second playthrough. The new remake turns Mr. X into the star of the show, with both Leon and Claire having to contend with him for a fair portion of their individual campaigns. While Mr. X would seemingly appear at random in the original game, the remake greatly expands his role into a persistent and pervasive threat that is always hunting for the player.
A near unstoppable foe, after his initial appearance, Mr. X’s loud footsteps can always be heard lurking the halls of RCPD. The flow of the game is radically changed by his presence. It becomes a struggle between cat and mouse. The player must always be listening for his approach, and when he does happen to reach the player, the best strategy is usually to cut and run for safety. Furthermore, loud noises like gunfire summons him toward the player’s position. No longer can the player calmly take their time to bring down zombies and other monsters with well aimed shots. The threat of Mr. X means the player must more or less always be on the move.
In terms of scare factor, I must admit that, while it has a moody, desperate atmosphere, Resident Evil 2 is not really particularly close to being the scariest action horror game I’ve ever played. There are definitely some good scares here and there, and Mr. X creates a low boiling tension that always simmers in the back of my mind while playing, but I can think of a few action horror titles that are far better at creating dread and suspense, such as The Evil Within and Dead Space. To be honest, even the original game wasn’t really super-scary, and it definitely injected what felt to be more of an action movie feel into Resident Evil. With that said, I really enjoy the game for what it is, an excellent horror-themed action game, and would rather not dwell on what its not.
Resident Evil 2 will probably be the highlight of 2019 for me (at least in terms of the world of video games). It’s super nostalgic while also standing on its own as an entirely new game. To be honest, the game kind of makes me wish they would team Leon and Claire back up again for Resident Evil 8 or something. They are easily the stand out protagonists of the Resident Evil series to me. And with Resident Evil 7 essentially being another reinvention of the series’ survival horror formula, I can only wonder if the next game will continue what it started or use Resident Evil 2 as its template. Both are excellent games in my opinion, and it’s incredible to see the series turn itself around after the mess that was Resident Evil 6.
Phantasmagoria is a mid-90s horror adventure game from Sierra and the creators of the vaunted King’s Quest series. At that point in time, adventure games were undergoing a decline, not necessarily due to quality, but due to the growing popularity of action and strategy games on the PC. In that light, Phantasmagoria feels like an ambitious attempt to establish a new generation of adventure games that would propel the genre into the next century.
I think in my mind, I’ve always seen Phantasmagoria as a grander and more important game than it actually was. That’s because as a kid I first saw this game when it was featured in a brief segment on the local evening news. While the game did garner some controversy due to its depiction of violence against women, the segment I saw was actually more of a fluff piece extolling the game’s story and use of digitized human actors. In my little kid brain, it was clear to me that if an institution as important as the local Fox affiliate had deigned to give Phantasmagoria air time, then it must be a really great game! As an adult, of course, I understand that segments like these are used by news stations as padding for when they don’t have enough real news stories to cover their 30 minute block. Nonetheless, the praise this game received has been ingrained in my head for two decades since, and I’ve always held Phantasmagoria in high esteem, despite never having played the game.
The lesson here is that you shouldn’t trust what you see on the news.
Phantasmagoria is a horror-themed, story-driven adventure game that follows Adrian Delaney, a semi-popular novelist, and her husband Don, an equally semi-famous photographer who have decided to move to the quiet New England town of Nipawomsett so that Adrian can peacefully work on her next novel. As hip young affluent weirdos, the couple have decided to make their residence in the abandoned (but surprisingly well-kept) home of Zoltan “Carno” Carnovash, a 19th century magician and serial widower. What could possibly go wrong?
Unsurprisingly, Carno’s seemingly bad luck in love was no mere coincidence, as he was in fact under demonic possession and driven to murder his wives by otherworldy forces. And while Carno may be long dead, the dark spirit of his madness still lies dormant in the house and finds a long-awaited vessel in Don. This plot really exists somewhere in a spectrum between Stephen King’s The Shining and one of those terrible Lifetime channel movies where the female main characters are more or less tortured by their husbands for 90 commercial-saturated minutes.
The first chapter of Phantasmagoria starts with Adrian and Don settling into their new home, and the place really is something else. The peculiarities of this quasi-mansion estate include a giant face sculpted into the side of the building, sphinxes guarding an ominous locked door in the foyer, a live electric chair, a room filled with creepy baby laughter, and a secret chapel hidden behind the library amongst other things. As someone who recently became involved in the home buying process and came to realize the intense scrutiny it requires, the absurdity of the house leaves me wondering who would ever buy into something like this. What’s more is that Adrian and Don seem barely cognizant of how bizarre their surroundings are. Early in the story, there are some throwaway comments where they make fun of the builder, but that is the one singular time that I can remember where they express concern over the eccentricities of the house. Never do they ever seem bothered by the fact that there is a WORKING ELECTRIC CHAIR IN THE GUEST BEDROOM.
Haunted houses work best when they have a modicum of subtlety, otherwise the audience will struggle with suspension of disbelief. Characters that choose to live in a place that is overtly unnatural or dangerous just aren’t that believable, especially when those characters are people of means like Adrian and Don who could easily afford to live wherever they want. But to be fair, in the starting chapter where the player gets to explore the house for the first time, the house did manage to capture my imagination even if it clashed with my incredulity. “Hmm, I wonder what’s waiting behind this scary door guarded by sphinxes,” I said to myself. “I can’t wait to see how the story uses the electric chair,” I thought. As stupidly overt as the house is, it sets up curiosity for the rest of the story. Unfortunately, when compared to these expectations, the rest of the game up to the climax feels rather uneventful.
Phantasmagoria is a seven chapter ordeal. At the end of the first chapter, Don becomes possessed after Adrian unseals the demon that’s been trapped in the house, and it feels like the story is about to take off, but then………..well not much really happens. Adrian spends the following chapters somewhat aimlessly poking around town and the house, as Don becomes more aggressive and abusive toward her. It’s hard to articulate how empty the plot of Phantasmagoria can be at times. Adrian’s motivations are often unclear, and she is seemingly oblivious to the growing danger in her own marriage. Most chapters involve her exploring a new area of the estate, and unlocking little snippets of Carno and his victims’ story. The problem is that Carno’s story really isn’t that interesting. It’s the very cliche story of a stage magician whose lust for true magic leads him to becoming the thrall of dark forces.
……And then there’s Harriet and Cyrus. A not insignificant chunk of this game is taken up by a bizarre subplot where Adrian discovers a homeless mother and son living in her barn, who she promptly puts to work doing household chores and lawn work. The questionable undertones of this story element aside, these characters do very little to advance the core plot of Don’s descent into madness or play into the horror that is supposed to be the game’s core. They simply serve to be emblematic of the padding that fills out this game.
While Phantasmagoria aspires to be a grand horror game, there’s not a lot of scares to be had in the first six chapters. Although Don is slowly becoming more and more of a dick, Adrian is never in any real danger. The scares come at specific points in the story when Adrian has visions of the various ways in which Carno murdered his wives. The scenes are pretty gruesome and really exist more for shock value than to develop true suspense and tension. As you can tell from the screenshots, Phantasmagoria uses digitized footage of live actors, and when the game was released, it came under a fair bit of controversy for its depiction of violence against women. The whole affair reeks of 90’s schlock. There’s even a painful to watch sex scene midway that crosses the line into rape and just feels incredibly tone deaf compared to the rest of the game.
Outside of the story, the game is sprinkled with light adventure game puzzle solving. It’s standard adventure game fare: find items to get other items to clear obstacles that are in the path of your progress. The puzzles are actually surprisingly easy. At the point in time when this game was released, adventure games were starting to come under fire for the obtuse and absurd logic they required, with Sierra, the company behind this title, being one of the largest targets. Phantasmagoria is incredibly easy when compared to this standard as a result of taking this criticism to heart and wanting to focus more on the story.
The final chapter of Phantasmagoria is a major departure from its preceedings. The game’s climax turns into more of an interactive movie with Don finally breaking down into a murderous rampage. In an extended chase sequence, Adrian must evade Don while finding a safe path out of the house. This segment is very trial and error in nature: go down the wrong hallway or into the wrong room and Don will meet Adrian with a gruesome death. This is the part of the game where it best approaches proper horror, and yet it still doesn’t quite reach its goals. As a deranged killer, Don, himself, is more cartoonish than threatening, and once again the game falls back on its primary means of achieving horror which is to simply use cheap, gratuitous blood and gore for shock value, although I will admit the practical special effects used in these scenes is quite impressive.
Horror is fairly relative, especially in the context of time. I’m left wondering if I had experienced this game for the first time as a kid in the 90s, would I find it scary? Maybe I would and maybe I’m just too old and desensitized now to get any chills from cheap gore. Certainly, the game reviewed and sold well upon its release. On the other hand, time and age may account for the scares falling flat, but it doesn’t excuse the story for feeling underdeveloped.
Phantasmagoria was a late in life product of Sierra, known for many classic adventure games such as King’s Quest and Space Quest. I have honestly never played a Sierra adventure game other than this one, so I can’t say if its representative of the company’s typical quality or not. Reading the history of this game, it’s clear the team went into this project with a lot of ambition, but became ensnared in practical constraints such as time, budget, and early 90s technology. For its time, Phantasmagoria was an unparalleled production, and I can respect the work and aspiration that went into this game even if I think it has aged poorly.
Dusk is badass. I don’t know of any other way to start talking about this game other than to just get that out there. Dusk is a first-person action game that is more similar to Quake than to the story and spectacle heavy FPS games that come out today. This is immediately apparent when you first get a look at its grungy, low-poly visuals. But beyond the superficial, Dusk perfectly encapsulates what made those early first person action games so much fun, and, in a lot of ways, it exceeds those inspirations. That said, it might seem like a strange choice for a Halloween game, but I was personally surprised to discover that it was one of the most gruesome and disturbing experiences I’ve played in a while.
Dusk begins in media res with the player character waking up as an unwilling cult sacrifice in the basement of a farmhouse guarded by hooded men wielding chainsaws. After managing to escape captivity, the player emerges into a quiet countryside where monsters and cultists lurk in every dark corner. Eventually, the player reaches the government-quarantined town of Dusk, deep beneath which a secretive archaeological site has unleashed cosmic horror upon the world. The player’s ultimate goal becomes traverse a strange parallel dimension that spawned the twisted alien abominations that are assaulting the very fabric of Earth’s reality.
Dusk doesn’t have much overt storytelling. The motives of the mute main character are never explained in-game. There are no cutscenes and no other friendly characters with which to interact. The cult leader will occasionally telepathically taunt the player, but there’s no one to instruct the player on specifically what they should be doing which contrasts with the majority of action games released today. Storytelling is really more environmental in nature. The player learns about the world of Dusk via the places and things they witness along their journey.
I think the low-level storytelling is a key part of Dusk’s appeal. Modern video games, especially big budget ones, tend to have a preoccupation with making sure the player always understands exactly what is happening and what they should be doing. As a result, they often tend to get bogged down with cutscenes, radio conversations, tutorials, setpieces, etc. Dusk, on the other hand, just lets the player run loose. As I have limited free time for games these days, the fact that Dusk just cuts straight to the fun stuff is incredibly refreshing.
The key to this is in how incredibly well-designed Dusk’s levels are. They tend to be highly non-linear, offering the player multiple paths and directions to explore at any given moment. Stages like these could falter by becoming too confusing or maze-like, too easy for the player to get lost, but I never really had this issue with Dusk. It is complex without being confusing. Each area feels distinctive and memorable, which makes it easy to find one’s way around. I really enjoyed exploring this game, discovering what oddities and horrific sights lay around every corner, unlocking the vast number of secrets the game hides, and getting hooked on the adrenaline rush that each enemy ambush brought.
With 33 levels divided across 3 episodes, I was a bit worried that the game would start to get repetitive. Fortunately, the game has a ton of imagination packed into its sweeping journey. What starts off as a struggle for survival in a dark countryside filled with cultists and killers eventually morphs into a trek through secretive high-tech facilities harboring strange and unrestrained experiments and eventually across the warped landscapes of cosmic abomination. With each loading screen to usher in a new chapter, I always felt on the edge of something strange and surprising.
As an action game, Dusk is a lightfooted run-and-gun. Like Serious Sam or Quake, the player has gotta always be moving, less they become an easy target. There is a good variety of weapons, and the enemies are designed in such a way that makes most of the weapons fairly useful to the player. In a lot of Dusk’s classic counterparts, I usually found myself defaulting to using only one or two weapons that were clearly the most powerful, and only grudgingly using the lesser ones when I was out of ammo for the favorites. Dusk, on the other hand, does a good job of designing different situations that uniquely suit particular weapons, thus giving the player fairly frequent reason to mix things up and not simply rely on the shotgun or rocket launcher.
Despite the fact that Dusk is a fairly kinetic and aggressive action game, I was impressed by how well the developers were able to infuse it with the atmosphere and tension of a horror game. You wouldn’t necessarily think that an action game where the player is routinely outgunning dozens of enemies at a time could be scary, but Dusk can often be truly suspenseful. There were a ton of times when I was getting goosebumps because I knew a disturbing reveal was being ominously teased. The game oozes atmosphere, and I thought it was great at psyching me out. One of my favorite levels features the player descending downward through a cave that leads deep into the Earth. As the cave got narrower and more tortuous, I found myself becoming increasingly anxious about what I would find at the end of the long, downward spiraling tunnel. Something that really helps is the grungy, low-poly graphics which go beyond being a sentimental call back to classic games and provide a level of abstraction, aliennes, and crudeness that greatly enhance the murky and unsettling nature of Dusk’s world. Simply put, the game does an amazing job at balancing the power fantasy of taking on huge hordes of enemies with a feeling of vulnerability toward the hidden threats that lie in wait for the player.
Dusk is a quintessential example of a nostalgia trip done right. It doesn’t merely exist as a desperate attempt to recapture the fond memories of the past. Rather, it understands the elements that made those classics so great, elements which are often discarded or downplayed in modern game design, and then it enhances and advances those elements with its own ideas in a way that exceeds its inspirations. I honestly have no hesitation in saying that Dusk truly outdoes many of the action games that it seeks to honor.
Earlier this month, news broke that Sony was finally discontinuing production of the Vita. This got me thinking a lot about the machine. Considering my enthusiasm for handheld gaming, I’ve always viewed the Vita a bit regretfully. As a platform, it never really sparked much passion in me. It’s an amazing piece of hardware: a big colorful screen, a nice d-pad and buttons, very ergonomic compared to other handhelds, and, of course, it has two analog sticks, an addition that its predecessor sorely needed. As a machine, it’s also just very slick looking from an aesthetic standpoint. In comparison, I’ve always thought the various versions of the 3DS looked very toy-like, especially considering the classy, minimalist shapes of the DS Lite and DSi. I’m ashamed to admit this, but I always feel a bit more self-conscious when other adults see me playing a 3DS than I do when I’m playing a Vita.
The problem that I’ve always had with the Vita is the games. On the one hand, it’s unfair and inaccurate to say that the Vita doesn’t have a decently-sized library of games. The problem is it doesn’t have a lot of games unique to the system. Sony put a lot of effort into supporting the PSP with great games. They developed new series like LocoRoco and Patapon, and they had great entries of their other big series on the machine, like Killzone, Syphon Filter, Resistance, MotorStorm, and Little Big Planet. The big video game publishers in Japan were also big supporters of the PSP, but that support didn’t materialize the same way for the Vita. Square-Enix, for instance, launched huge titles for the PSP like Final Fantasy Type-0, The Third Birthday, and Crisis Core, but the only major game for the Vita from them that I can think of was the FFX/FFX-2 collection.
It seems like most of these publishers very early on decided that mobile and 3DS were simply better investments. The worst loss for the Vita was when Capcom decided to move the Monster Hunter series from PSP to 3DS, instead of Vita. Monster Hunter was a hugely successful series in Japan and was the driving force behind the PSP’s long-tail popularity over there. Worst of all, Sony, themselves, gave up on making games for the Vita pretty quickly. Going by Wikipedia, the last major release from them seems to have come out and 2013.
Regardless, the Vita still managed to cultivate a fair number of games for itself. The Vita library was heavily filled out with indie games. I like indie games, and I play a ton of them, but I was never really drawn to play these games on the Vita. This was mainly, I think, for two reasons. First, these games often released long after their original release on either Steam or PS4, and I had often already played them on these other platforms by the time they came to Vita. There were a few times when I made a conscious effort to wait for the Vita release of a specific game, but this frequently ended in the Vita version being cancelled or the wait ending up being so long that I just lost interest. The second issue I had with these games was that they were often markedly inferior versions, either running poorly on the Vita or simply not being scaled correctly to the handheld’s screen size and resolution. Stuff like uncomfortably tiny text or fuzzy image quality were recurring flaws in these ports.
I know that in addition to indie games, there was also a large contingent of Japanese visual novels released for the system. And while I recognize there is a niche for these sorts of games, the genre doesn’t really appeal to me outside of a few of the higher profile games like Danganronpa or Steins;Gate.
I know that I’m not alone in feeling, simply but sadly, that the glory days of handheld gaming are long behind us. The Vita didn’t really come close to living up to the PSP, and while the 3DS faired better, it’s library wasn’t quite as expansive and vibrant as the DS before it. Don’t get me wrong, there were a lot of great games for the 3DS, but they were mostly from Nintendo, while other game makers provided much less support. Almost certainly, a combination of mobile phone gaming and the extensive piracy on both the PSP and DS has lured support away from dedicated handhelds. From that perspective, I think the Switch is probably a very smartly formulated device, as it keeps Nintendo’s handheld legacy alive, while also being a platform that attracts console game makers.
All of this said, I’m not really in a rush to bury my Vita in a drawer and forget about it. The recent production news has really been a reminder to me that there’s still a handful of games that I want to go back and play. Particularly, the higher profile visual novels, namely Danganronpa, Steins;Gate, and Virtue’s Last Reward. I also recently became interested in playing Death Mark, a more obscure title from last fall. Perhaps it will be a Halloween game this year. Beyond that, I think the machine is still the best way of playing PS1 and PSP games. It’s too bad that most of my PSP collection is on UMD and not PSN, or else I could probably permanently retire my PSP.
Over a year ago when I excitedly picked up the Crash Bandicoot N. Sane Trilogy, I had an immense amount of enthusiasm to replay these games. I’ve been a huge fan of Crash Bandicoot for a long time, and the reviews for the remake were absolutely glowing. With that in mind, I thought to myself, “How can I possibly end up disappointed?” Reality set in when I made it to The Road to Nowhere level in the first entry of the series. I found it to be insanely difficult and frustrating. I never remembered Crash 1 ever being so hard, and it took me almost 2 hours to beat this particular level. I don’t think any other stage in the remainder of the game was quite that challenging, but I felt the game as a whole awkwardly oscillated between deflatingly easy and acutely demanding. In the end, I’m still a fan of Crash 1, but my fondness has definitely been tempered quite a bit.
Regardless of my issues, I moved on to Crash Bandicoot 2: Cortex Strikes Back with quite a bit of optimism. I’ve found that many hail this sequel as the high point of the original trilogy of Crash Bandicoot games, much like its cinematic namesake. For me, while I personally owned and played Crash 1 and 3 to death, Crash 2 was only an occasional rental. When I was younger, I tended to avoid buying (or requesting as gifts) games that were available at the local video store to rent, unless if it was just a game that was simply too big to not own. (Metal Gear Solid, Final Fantasy, any Mario game are all good examples of what I mean by “too big to not own” games.) As a consequence, I’ve never had any strong feelings toward Crash 2, for better or for worse.
Turns out, after all these years, I hate this game.
I’ve had to ponder for a bit on why I find the game to be such an unpleasant chore, and I feel that my reasons are twofold. The main reason is that the game is often unnecessarily frustrating. I often enjoy difficult games, but there is a difference between a well-designed challenge and the tedium and nuisance of clumsy game design. Take Bloodborne, for instance. There are many times when the player encounters a new boss that initially seems utterly insurmountable. But with persistence and practice, the player’s skills and understanding eventually become honed to the point that enemies and areas that originally seemed impossible become quite easy. It’s an immensely satisfying feeling when I realize this happens. With games like Crash 2, on the other hand, the challenge doesn’t seem to arise from a deficit in skill or experience, rather it seems to come from the player bumping into aspects of the game that aren’t particularly well thought out or refined.
Take for instance the camera, over which the player has no control over in these original Crash Bandicoot games. I argued before when discussing Crash 1 that the inability to freely manipulate the camera often results in the player having difficulty understanding Crash’s position in three-dimensional space. The screenshot below is a good example of this issue. In this image, consider that Crash is moving into the screen while the enemies hover mid-air, traveling in square pathways. It was essentially a guessing game for me to understand how close they were to Crash along the axis that runs into the screen. This of course makes it quite difficult to avoid contact. This issue was bad in Crash 1, but is particularly a problem in Crash 2 where a lot of the later levels involve Crash flying through space with a rocket pack strapped to his back. With no ground beneath him for reference, it became really difficult for me to gauge how close Crash was to any of the enemies or hazards.
Another problem I had with the game that ties into this complaint is that sometimes very basic obstacles require an uncomfortable amount of precision to overcome. For instance, there are a fair few pits in the game that felt like I needed to wait for Crash to be upon the very edge before jumping across, or else he would fall just short of the landing on the opposite side. Often, the game reminds me of the slew of mediocre NES games that I rented as a kid which demanded the player make pixel precise movements and, as a result, felt sloppily designed when compared to something like Mario or…….well, Mario.
Before I go further, I want to make a point of not over-exaggerating the difficulty of Crash 2. While it was frequently frustrating, it was not nearly as hard as my recent playthrough of Crash 1, wherein there were a few levels in which I got bogged down in for hours. But beyond the clumsy difficulty curve, I find Crash 2 simply didn’t resonate with me as much as Crash 1. The immediately obvious culprit for these feelings is that I have a sentimental attachment to Crash 1, but not to Crash 2. While this may be the case, after a fair amount of reflection, I think there are a few truly rational justifications for why I was let down by this sequel, but still retain a modicum of fondness for its predecessor. The main issue I think is that this game tends to have a lot of levels built around tedious gimmicks. The aforementioned rocket pack levels are an offender. It’s also worth mentioning the dark levels that involve Crash having to speed his way through before the light provided by an accompanying firefly fades out. There’s also a certain level that involves soft dirt that Crash can burrow beneath. The burrowing is supposed to help him hide from swarms of bees that periodically give chase, but since these bees can be killed with the spin attack, I never really understood why I would intentionally want to burrow into the dirt.
Then there’s the ice levels. Oh the ice levels. I’m not sure I’ve ever really liked slippery ice levels in any game. At best, they are merely tolerable. Crash 2 has probably the most painfully laborious ice levels I’ve ever played. The issue here is that it takes forever for Crash to gain traction and pick up speed in any direction while on ice. Since the player needs to frequently stop to prevent Crash from sliding out of control in any direction, then has to wait for Crash to pick up even a modicum of momentum again, it’s a tiresome ordeal.
I recognize that complaining about gimmicks is an odd complaint to level against Crash 2, but not its predecessor, especially as some of the gimmickiest levels of Crash 1 have become its most iconic. Afterall, the hog riding and boulder escape levels are some of the original game’s most recognizable stages. But these stages provided a fun and exciting diversion from the standard way the game is played. The ideas they came up with for Crash 2 just felt like chores to me. They are challenge by constriction of the player (no light, no traction, etc.), and don’t really add an interesting new dimension of play.
Finally, there’s the ending, which I felt was utterly anti-climactic. It’s a quick fight with Neo Cortex, and then the game is just sort of over after a quick cutscene showing Crash and Coco are okay. It’s also a rocket pack stage, which I’ve mentioned I’m not fond toward. The reality is that there’s a secret ending, which I assume is significantly more elaborate. As I understand, access to this ending requires the player to break every wooden crate in each level. That is a high-level feat that requires a fair bit of mastery and practice to pull off, and I simply didn’t enjoy the game enough to even attempt it. I appreciate secret endings that encourage high-level play, but as I discussed in my Hollow Knight post, it’s far less than ideal if the normal ending that most players will see is neglected as a result.
I know that this post has really just been one big long rant. I rarely rant in blog form or write too negatively about games, simply because if I dislike a game, I generally don’t take the time to finish it, much less find the energy to devote to writing about it. But I committed myself to reexperiencing and writing about the Crash Bandicoot trilogy after the PS4 collection came out, and so here I am. Furthermore, I’ve come to the impression that Crash 2 is generally the most well-regarded of the original trilogy. So, I’m fully aware that many reading this may disagree with me. That’s fine. This post merely represents my personal feelings and thoughts, and I certainly don’t harbor the delusion that I’m any sort of definitive arbiter of gaming quality.
With all of this behind me, I’m now facing the final game in the trilogy, Crash Bandicoot: Warped. Of the three original entries in the series, this is the one I have the most sentimental attachment toward with probably the most hours of my youth sunk. In a strange way, I feel suspense building inside me. Crash 1 ended up being less amazing than I remember, and my experience with Crash 2 was mediocre. I feel a dark thought nagging at the edge of my consciousness: “Maybe the Crash Bandicoot series was never really all that great.” The moment of truth will soon be at hand, as it is now up to the Crash Bandicoot: Warped to dispel that notion.
I love puzzle games, but that hasn’t always been the case. When I was much younger, the term “puzzle game” was more synonymous with falling block games, that is to say games that relied on the old Tetris formula in which the player’s goal is to arrange pieces of junk falling from the sky according to some idiosyncratic rule that causes the mess to disappear. I really liked Tetris, but I also got it for free with my Game Boy. It simply never crossed my mind to use the limited opportunities that a youngster has to get new video games on the numerous clones of Tetris that proliferated after its breakout success. Those types of games simply didn’t offer enough content in comparison to the action-adventure games that I usually picked up.
Somewhere along the line all that changed. The “puzzle game” term was commandeered by a different game and its numerous clones. That game, of course, was Portal, and it completely reinvigorated what had become an utterly sleepy genre. The term suddenly was used less to describe games about the strategy and reflexes of arranging falling blocks, and more to describe games in which the player sets about solving puzzles built into the environment of the levels they are meant to explore. And after Portal, there was a boom in indie groups taking advantage of new digital storefronts to release new games in the genre. One game that often stands out in my mind as emblematic of this boom time was QUBE, a game that could easily be described as a Portal clone, although a good game nonetheless, worth the time of anyone interested in such games. QUBE sort of came and went, and it seemed like it didn’t quite make the same lasting impression as some of the other big name puzzle games of the time, which is why I was happy when a sequel, QUBE 2, was released earlier this year.
QUBE 2, like the game before it, is set inside a massive structure made of white cubes, ominously implied to be of alien origin. During the beginnings steps of the story, the player discovers and equips a strange, technologically-advanced glove that allows them to manipulate the properties of the cubic building blocks of the surroundings. This is the primary means through which the player interacts with the environment. The glove can confer functionality to specific cubes with each functionality having a specific color coding. Red cubes expand outward, laterally from the surface in which they are embedded, to create steps or possibly obstructions. Blue cubes act like “ejectors”, forcefully expelling the player or any other objects that touch their surfaces in the opposite direction. Finally, green cubes become detached from the structure, creating a moveable object that can be used, for instance, to weigh down switches or act as stepping stones.
These are the only glove functions that are introduced to the player. With such a limited number of ways to manipulate individual blocks, I was initially worried that QUBE 2 might be too simplistic mechanically for a large variety of complex puzzles. Ultimately, however, I found that the game had a good ramp in terms of difficulty and complexity. While the player may only have three “powers”, the game continually introduces new elements and features to the environment that keep the basic formula of the puzzles from stagnating. And while I felt the game started off maybe too easy, the puzzles progress through a fair difficulty curve, and I think the puzzle design offered a very satisfying challenge without ever becoming unreasonably obtuse.
The first QUBE was completely devoid of story, and that’s not an exaggeration. As far as I can recall, the main character never spoke, was spoken too, or encountered other characters. He/she/it simply moved through the cube structures solving puzzles to progress. I think the game may have been criticized a bit unfairly for this, as the closest point of comparison most people have for this game is Portal, and many people play Portal for the story first, puzzles second. Eventually, a “director’s cut” version of the game was released that included new story elements, but I’ve never gone back to play this version, so I can provide no comment on it.
I can say, however, that QUBE 2 puts a fair bit of effort into its story from the get go. The player takes control of Amelia Cross, a woman who awakens on a desolated planet that has been overtaken by the eponymous alien cubes which have self-assembled into enormous structures that dot the world’s surface. Taking refuge in one of these structures, Amelia begins to explore its inner workings and sets about uncovering the true nature of the cubes and their potential as friend or foe to humankind. The story is metered out in the “radio play” style with all interactions between Amelia and the other characters being carried out over radio transmissions as the player goes about their business. I thought the actual plot that unfolds was merely decent. It’s not bad by any means, but for people who have read or watched a lot of science fiction, it will probably be easy to figure out where the story is heading. But as predictable as it may be, the story doesn’t really get in the way of the overall adventure, and I felt it gave some coloring to the experience that increased immersion, meaning I don’t feel that it was a purely perfunctory element of the game. But it’s important to understand that for the kind of person who plays Portal for the story and jokes and doesn’t really care about the challenge of puzzle solving, this game probably won’t be particularly engaging.
Speaking of immersion, I thought QUBE 2 was visually stunning in its own humble way. I feel like that’s kind of a weird thing to say about a game where the player spends their time exploring environments entirely made out of white cubes. But the image quality is really sharp, and lighting is used well to create texture and dynamism in the world. Later on in the game, bits of nature and greenery begin to encroach on the otherwise sterile environments, adding a small bit of satisfying diversity. There’s not a huge amount of variety to the setting, but I never felt bored or tired of the aesthetic, which is not something I can say of the first QUBE.
QUBE 2 is interesting because its predecessor is so quaint in comparison. QUBE was a simple $15 puzzle game released in the wake of Portal’s popularity. It was a cool game, but I never really thought the core concept could carry more than one title in a series. The team behind this game apparently had a completely different idea, however, and really doubled down on what they had. With QUBE 2, they took their humble indie game and blew it up into a significantly more expansive and polished product. QUBE 2 has more extensive content, slicker visuals, and a significantly more substantial story. I find it to be the often too rare kind of sequel that stands completely on its own, and in no way requires experience with the prior game in the series to fully enjoy. Personally, I often tend to be compulsively driven to play games sequentially in a series (i.e., I can’t play sequels until I play their predecessors). But with QUBE 2, I have no hesitance about recommending newcomers start here, and only tackle the original game if they are left wanting more.
The Inpatient is the latest PSVR spinoff from PS4’s excellent (non-VR) horror adventure game Until Dawn. Unlike Until Dawn’s first spinoff, Rush of Blood, which was was an arcade action game more akin to The House of the Dead than the original Until Dawn, The Inpatient goes back to the series’ roots and focuses on story, dialogue, and exploration with scant action. In The Inpatient, the player takes on the point of view of an unnamed amnesiac patient at Blackwood Sanatorium in the winter of 1952. I don’t want to spoil Until Dawn, so I’ll be speaking a bit vaguely here, but the events that transpire at the asylum during this time period play a major part in the lore of the series and are described in detail during the original game. Thus, The Inpatient seeks to give a new perspective on the series’ backstory and serves as a sort of prequel.
I’m going to be blunt and upfront here: as a huge fan of Until Dawn (and also PSVR), The Inpatient was a big disappointment. While Rush of Blood was an arcade shooting gallery that hugely deviated from the carefully-paced, story-focused trappings of its predecessor, I still think its a better continuation of Until Dawn than The Inpatient. Rush of Blood had interesting and varied environments, a ton of cool monster designs, and despite a few irritating jump scares, was a more moody and frightful experience. The Inpatient, despite launching at double the price of Rush of Blood, feels like a low budget project, in contrast. It’s an incredibly stripped down experience with few actual scares and a story that is dull and insubstantial.
As a patient at Blackwood, the player spends roughly the first half of the game almost entirely confined to their room at the asylum. Early on, a new roommate is introduced, and most of the time is spent having conversations with him. Unfortunately, he’s not a terribly interesting character, and I found all of these conversations rather unmemorable. Eventually, alarms go off and chaos ensues offscreen, after which the main character and this roommate are left abandoned for days. Those who have played Until Dawn will probably immediately realize what has happened, but I can imagine those who are unfamiliar with the series will be completely confused.
During this segment, the player occasionally rests, only to enter a dream sequence where the player is left to wander the long dark hallways of the asylum as mildly spooky stuff happens along the way. And when I say mildly spooky, I mean it. It feels like a really cheap haunted house. The worst scare of the game happens in the very first dream sequence when something randomly appears in front of the player, screams in their face, and then disappears. Cheap jump scares like this are questionable design in normal games, but as I wrote about in my Rush of Blood review, they are extremely uncomfortable in VR. This one was so bad that I actually reflexively ripped off the PSVR headset. Strangely, this was the only jump scare I encountered during my entire playthrough, but the experience left me anxious (in a bad way) for the rest of the game. I found every other attempt the game made to scare me to be rather tepid.
After a long boring period stuck in the room with Mr. Personality, the main character escapes their cell by way of…..something. As far as I could tell, the story doesn’t even really attempt to give a real explanation as to how the main character gets out of the locked room, but nonetheless the player eventually finds themselves freely roaming the halls after they escape in a surreal dream sequence. After the slow and lackluster first half of the game, one might be hopeful that it was merely building up to a more exciting escape from the grounds of the asylum, itself. Not so, however, as I felt the back half of the game was even more unfulfilling than the first.
After a bit of aimless wandering, the player meets up with a group of survivors who promise to take him/her back to a safe haven. At this point in the story, the asylum should be overrun with bloodthirsty creatures, but the player only has one brief encounter with a monster. The player basically spends the rest of the story following the other survivors through empty hallways and corridors while little else happens.
Toward the end, some (human) violence breaks out, and I could only assume this was an attempt to try to create some excitement for the climax, but I felt it completely fell flat at creating any tension or raising my interest in the story. The ending, itself, felt extremely anticlimactic. The Inpatient has multiple endings which are the outcomes of various dialogue choices the player can make, but I don’t feel the game grabbed me enough for me to give it another playthrough.
Even for superfans of the original Until Dawn, I don’t think The Inpatient is a necessary experience. It’s story simply doesn’t stand on its own, and it doesn’t really meaningfully advance the Until Dawn lore. The outbreak at Blackwood could have been a terrifying event to witness, but everything exciting happens off-screen, far away from the player’s view. This is presumably the end of Until Dawn as a series, and it’s really too bad that it ends on such a whimper.