Sunday, June 3, 2018

Get Even: A Uniquely Fascinating Game With a Generically Uninteresting Name

Get Even (2017) is a first-person psychological thriller with elements of FPS action, stealth, and puzzle-solving wrapped up in a science-fiction detective theme, in which you play as a mercenary named Black being sent into people's memories through a virtual reality machine to try to figure out who's behind the kidnapping of a high school girl named Grace, who was being held for ransom with a bomb strapped to her chest. You wake up in a run-down asylum with no memory except that you were sent to rescue Grace, but failed. The last thing you remember is the bomb exploding as you tried to defuse it. With a VR headset permanently strapped to your head, you find yourself guided through the asylum by a man named Red, who communicates with you remotely through computer screens. The rest of the game alternates between progressing through the asylum while the inmates run amok, and going into memories related to the kidnapping, which act as more conventional "levels" that you can replay searching for more evidence you may have missed, or changing your approach to achieve a different ending.

Developed by The Farm 51, the company behind Necrovision, Painkiller: Hell & Damnation, and Deadfall AdventuresGet Even is predominantly a "story game," the type of thing where narrative presentation takes priority over gameplay systems, as you're mostly there to take part in the story. There's plenty enough gameplay elements involved as you periodically sneak or fight your way past enemies, solve puzzles, and search for hidden evidence, that it doesn't garner the pejorative "walking simulator" label, but you do spend a lot of time simply walking around and watching scenes play out, or reading emails and listening to phone conversations, as you try to piece together the story and solve the mystery. While the gameplay is perfectly fine and serviceable (it even has a few innovative features, like the "corner gun" that lets you aim around corners or use it like a periscope), the story and the atmosphere it creates are the real reasons to play this game; these elements are absolutely top notch, and they work together to create a pretty unique and memorable experience.

Thursday, May 3, 2018

On Role-Playing Games: How I Define "RPG" and What I Expect From RPGs

The term "role-playing game" has become somewhat nebulous and unhelpful these days when it comes to categorizing video games, in large part because so many games have started implementing RPG elements in their gameplay designs, causing the line between "RPG" and "not-RPG" to blur. Sometimes the distinction is easy to make, if the RPG elements are obviously secondary to some greater gameplay emphasis, but the advent and popularity of hybrid games (like the Mass Effect series, for instance, which are equal parts RPG and action-shooter) have raised serious questions about how we should classify RPGs, since nearly every RPG these days now falls on a wide spectrum based on "how much an RPG" it actually is. When thinking of what games I'd put in a "Top 10 Favorite RPGs" list, for instance, I struggle with deciding whether certain games should even be on the list; for example, is Deus Ex actually an RPG? What about Dark Souls? In both cases, my gut says "no," but you could make an argument for both games, based on how you actually define what constitutes a role-playing game.

A key issue with this debate is that different people have different definitions; for some, the simple presence of a leveling system makes any game an RPG, while others insist that it's more about choice and consequences, while still more people would say that it's about being able to make a character (or an entire party) and explore a large open world, playing the game however you want. In truth, there are a lot of specific mechanisms and general concepts that go into making an RPG, but it's probably not appropriate to draw a hard line in the sand and declare that "if a game doesn't have have these specific elements, then it's not an RPG." As the folks at Extra Credits have pointed out, mechanics don't define genres; why we play them, or what we're looking to get out of them, does. And as the classic Potter Stewart quote goes, "[I can't define it], but I know it when I see it." Which is to say, there's an inherently subjective logic about how we perceive and classify these games, and it's not always easy to put into words. But I'm going to try.

Tuesday, April 10, 2018

Fallout 4: A Case of Simultaneously Being Pretty Good and also Sucking Hard

It's no secret that I harbor a great deal of contempt for Bethesda Softworks. Every game of theirs that I've played (Daggerfall, Morrowind, Oblivion, Fallout 3, and Skyrim) has majorly disappointed me, usually feeling like a soulless shell of some better game that might've been (or in some cases, that actually is/was). That disappointment stems generally from a combination of their shallow world designs and repetitive gameplay, both of which tend to feel lacking in meaningful depth or interesting systems, all in worlds that are so big they wear out their welcome well before their playtime runs out. A chief criticism of mine, especially lately, is that they just don't feel like very good RPGs, and yet ironically they've been generally improving by progressively devaluing the RPG side of things.

Fallout 4 is, to this point, the pinnacle of Bethesda taking a step back and essentially deciding that they're not even going to try to make role-playing games anymore -- they're just going to make open-world action-adventure games. As such, Fallout 4 is by far the most "dumbed-down" (ie, "streamlined") game Bethesda has ever made, but that's a good thing I feel. These were already pretty simple, mindless games to begin with, and so now it's easier to appreciate these games for what they actually are, instead of pretending they're something they're not and then feeling disappointed about it. As a result, I actually kind of liked Fallout 4 and sunk an unfathomable amount of time into it (235 hours, to be exact).

And yet, despite all the time I put into it, and despite saying that I "kind of liked" it, there's still a lot that's critically wrong with Fallout 4, to the point that I honestly can't say it's a good game. Sure, it's pretty good for what it is (a Bethesda game, and certainly not a Fallout game), but the bar is so low with these games that being "pretty good for a Bethesda game" isn't really much of a compliment. It still has all the inherent problems of a Bethesda game, and somehow, some of those problems are actually worse than they've ever been. It's hard to believe that, while Bethesda's games have steadily gotten a little more polished and a little bit fancier with each release, they've never really evolved when it comes to the core game design (you could even argue they've actually devolved over time), while Fallout 4 stands strong as an iconic example of just how questionable and misguided Bethesda's design decisions can actually be.

Sunday, April 1, 2018

Fallout 4: My New Favorite Game of This Decade

It's no secret that I harbor a great deal of contempt for Bethesda Softworks. Every game of theirs that I've played (Daggerfall, Morrowind, Oblivion, Fallout 3, and Skyrim) has majorly disappointed me, usually feeling like a soulless shell of some better game that might've been (or in some cases, that actually is/was). That disappointment stems generally from a combination of their shallow world designs and repetitive gameplay, both of which tend to feel lacking in meaningful depth or interesting systems, all in worlds that are so big they wear out their welcome well before their playtime runs out. A chief criticism of mine, especially lately, is that they just don't feel like very good RPGs, and yet ironically they've been generally improving by progressively devaluing the RPG side of things.

Imagine my surprise, then, when I decided to give Fallout 4 a chance (only because it was on a free weekend event -- I wasn't about to pay Bethesda for the opportunity to play another one of their disappointing games), and actually liked it. Like, really, really liked it. I get that some people might not like it because it's technically a step back from Fallout 3 and New Vegas, at least from an RPG standpoint, but I honestly didn't care. The first-person action is absolutely on point in this game -- the best it's ever been in a Bethesda game -- and the world was so much fun to explore, with so much to see and do. I also, surprisingly, liked how the voiced protagonist offered your character a lot more personality, and the dialogue system itself, meanwhile, flows really nicely. There's a much more cinematic feel to this game, which makes it look simply gorgeous to play, and as we all know, visual presentation is one of the most important things when it comes to game design.

There's a lot more I could talk about, of course, which I'll get into in the full article, but to sum up the teaser section before getting into the more detailed section of things: I was not expecting to like Fallout 4, and was blown away by just how good it actually is. Bethesda have out-done themselves, and I truly feel like this represents a new major step forward for what they're capable of accomplishing. It's so good that I think I can safely say that it's my new favorite game of this decade, easily bumping Prey 2017 out of the top spot. Anyway, on to the actual review.

Sunday, March 18, 2018

Fallout 4 Mod Guide: Recommendations and Mini-Reviews

I've been playing Fallout 4 lately, and as always seems to be the case with Bethesda games, it practically requires a bunch of user-created mods to spruce up and polish the overall experience. That statement, of course, is meant to be a somewhat disdainful commentary on the way Bethesda designs their games, but I don't want to get into a long rant about why that's the case. (Maybe that'll be part of another article, later.) Rather, I just want to take a moment to showcase some of the many mods I've been running in my lengthy playthrough, with descriptions and mini-reviews for why I'm using them and what I think of them, plus recommendations for how essential I think a mod is and when it should be installed.

According to the Nexus Mod Manager, I currently have over 150 mods installed, though that number is misleading because some of the mods use multiple optional, modular plugins which count as separate mods (the item sorting mod that I'm using, for instance, accounts for 12 different plugins) or require compatibility patches to work with other mods, which again count as separate mods. I played about 30 hours of unmodded "Vanilla" Fallout 4 before I started installing mods, and from there it was a cascading effect. It started with basic "quality of life" improvements in the gameplay to fix minor/major annoyances, and then shifted to atmospheric overhauls with the visuals and audio to make the game look and feel more pleasant to play, and then towards the end became a matter of adding in all new content to keep things fresh and interesting.

This article is meant to be a recommendation guide for which mods I think are worth installing if you're planning to play Fallout 4, but it's by no means a comprehensive, exhaustive guide of everything. There are a lot of highly-rated, super-popular mods that I chose to pass on for my own personal reasons, one of the main ones being that I wanted to stay pretty close to "Vanilla" for the bulk of my playthrough (ruling out massive overhauls like Horizon), or had to pass on because I lacked the required DLC (ruling out the unofficial patch and revamped user interfaces), while other mods affected things that I just didn't care about (like Sim Settlements or any of the other settlement mods). This article is simply a look at some of the mods I'm actually using; use it as a basis to start your own research, and then go from there.

Monday, February 26, 2018

What All is Wrong With Gothic 1's Back Cover

I was looking at a few games on my shelf recently and decided to grab a few and take a closer look at them. Upon closer inspection, I realized that a lot of what's printed on the back of the box for Gothic 1 is straight up wrong or subtly misleading. I'm not sure if this is due to basic ignorance, as if the person writing these blurbs on the back of the box had no first-hand experience with the game and was simply making stuff up based on general statements they'd been told by someone else, or if it's a deliberate marketing spin to try to sell the game. This has no bearing on the quality of the actual game, of course, and I don't think it even affects anyone anywhere anymore anyway anytime since anyone buying Gothic for the first time is likely buying it digitally based on word of mouth, not what's printed on the back of the box. Most people won't ever even see the back cover unless they own a physical copy or deliberately search for pictures of it. Anyway, since I found this so interesting, I figured I'd share these observations with you and give you a quick rundown on what all is wrong with the back cover.

Wednesday, February 7, 2018

Prey: My Favorite Game of This Decade

Prey is a science-fiction-themed first-person shooter from 2006, in which you play as a Cherokee named Tommy running loose on an alien spaceship as he tries to rescue his girlfriend, Jen, after they're both abducted in an alien invasion. Built on the Doom 3 engine, it plays pretty much like a standard Doom-style corridor-crawler of that era. What makes it noteworthy, besides its convoluted 11-year development cycle and infamously-canceled sequel, is its implementation of mind-bending alien technology that allows you to move through dimensional portals, change gravity, and shrink to minuscule sizes, in addition to its array of strange alien weaponry. I pre-ordered the "Limited Collector's Edition" back in the day and enjoyed the game well enough (it's still on my shelf), but never felt a fanatical attachment to it.

Prey is also a science-fiction-themed first-person immersive-simulator from 2017, in which you play as Morgan Yu making his (or her -- you choose your gender) inaugural trip to the moon-orbiting research station Talos I. Once you arrive, you discover that the station has been attacked by a strange alien lifeform; most of its crew is dead, many of its systems are out of operation, and you have seemingly no way off the station. The rest of the game sees Morgan piecing the history together of what happened to Talos I and its crew while combining stealth, combat, hacking, and alien abilities (among many other skills and options) in an open-ended system that gives you a lot of freedom about how you complete objectives and how you play your character. This new Prey, in fact, bears no resemblance to the original Prey, having absolutely no connection except for the name.

Conceived by developer Arkane Studios (Arx Fatalis, Dark Messiah of Might and Magic, Dishonored) as a spiritual successor to System Shock 2, the name Prey was given to the game by publisher Bethesda, who owned the trademark ever since they picked up the publishing rights to Prey 2, which they canceled several years ago. With no official work being done on Prey 2, I guess they wanted to get some kind of use out of the name that they'd already bought, and since Arkane's pitch of surviving an alien attack on a space station vaguely matched the theme and basic concepts of the Prey license (in addition to making linguistic sense -- the aliens prey on human life), they decided to go with it. Hence Prey (2017) having the same name as the 2006 cult hit, even though it is, essentially, System Shock 3.

None of that really matters, though, because the game is great. I'm a big fan of the style of games pioneered by Looking Glass Studios (and similar developers, some of them borne directly from Looking Glass survivors) in the late 90s and early 2000s like Thief, System Shock 2, Deus Ex, Vampire Bloodlines, and so on, and I've enjoyed every game that Arkane has ever created. Putting Arkane in charge of a System Shock-like game is like a match made in heaven, and they pulled it off with near-perfect mastery. Prey is what I wanted BioShock to be, since it's a much more faithful adaptation of the System Shock 2 formula, and plays a lot like those games I mentioned previously, except with the added benefit of modern production values. It ticks every box for things I enjoy in video games; it's one of the most enjoyable games I've ever played, and it's my favorite game to have come out in this decade.