Embarking on an epic journey filled with swords, sorcery, and mythological creatures is everyone’s dream. From the rebellious kids who wish they were someone else to the hard working parents who could do with a break most days, the fantasy of another reality is in all our minds. Some cater to Netflix while others prefer actually exploring a whole new world with the help of video games.
Video games have been around for less than a century, yet they’re the fastest and most prominent form of entertainment. The history of film-making is equally rich and filled with revolutionary milestones such as the first Star Wars or the technology used in James Cameron’s Avatar, but they don’t offer a level of immersion as engaging as video games. Breathtaking natural sceneries, spaceships, cataclysmic spells, eldritch horrors–there’s enough diversity to fulfill every taste. But what are we experiencing as players? Are we living in the worlds we’ve always dreamed of, or merely witnessing someone else’s imagination taking form?
While titles such as Final Fantasy VII and Metal Gear Solid 3: Snake Eater are great, they don’t fill the void left by our need to be someone else. While established games offer the advantage of an amazing story and unforgettable characters, they don’t offer freedom. Thus come sandbox titles, most of which aim to place the reins of narrative into the player’s hands. From the harsh wilderness of Minecraft and its popular building mode to the frosty peaks and political conflicts of Skyrim, the genre seems to be constantly responsible for how we interact with its medium. The latter title, in particular, changed the world of gaming back when it released in 2011 and continues to be one of the most relevant games ever created, with its remastered edition being one of the most exciting releases of 2016. Yet, the fifth entry in the iconic The Elder Scrolls franchise failed to leave a lasting impression on me.
The idea of Bethesda’s Fallout and The Elder Scrolls series is for players to make their own memories in an established world filled with side paths, alternate stories, and secrets. Alas, that never seemed to be enough for me. I always feel like the world around is swallowing me into a reality brought to life by someone else, so whatever choices I make never seem authentic. The sheer freedom supplied by Minecraft and Don’t Starve is overwhelming as I can’t find anything to cling to, so you might as well call me Jared Leto for being this picky.
Although I always have fun and take something out of the games I play, I could never say I had found the title that let me experience just the right amount of independence. That is until Dragon’s Dogma hit the blessed hallways of Steam’s storefront. The ideas of Capcom’s open-world action-RPG, first released in 2012 for PlayStation 3 and XBox 360, didn’t stick to me right off the bat. It took me countless sneers, dead goblins, and a long hiatus until its premise finally sank in and changed how I see sandbox RPGs.
Dragon’s Dogma is often deemed as one of the best games for the PlayStation 3 (for some reason I never see mention of its Xbox 360 version) but is not without its faults. The most praised aspect is its dynamic and engaging combat, with an abundance of vocations and skills providing for an even larger range of options to help tweak your character. Confronting foes is always an excitement due to the many ways one can adapt with a single class, with larger ones such as griffins and chimeras offering a fulfilling challenge. Unfortunately, most of the game’s other aspects such as its story and the world fail to achieve the same level of recognition. The diluted plot is forgettable and the characters fade as quickly as they appear, while the lackluster world is but a series of corridors and large ballrooms where beasts and bandits prowl the same corners defeat after defeat. One thing I realized after picking it up again is that these weaknesses are actually some of Dragon’s Dogma‘s strengths, the problem being what we as gamers expect of such a title.
Unlike its competitors, Dragon’s Dogma doesn’t try to impress players at every turn. The lore of Gransys doesn’t seem rich at first glance, but the simple yet fantastic event that drives the player character out of their once peaceful fishing village gives space to more freedom, a task many open-world RPGs try to accomplish. The Arisen’s title and journey come solely because of The Dragon, with the world also changing due to the beast’s coming. However, not every event between the attack in Cassardis and the epic battle atop the Tainted Mountain are a direct consequence of what happens in the first half-hour of gameplay. Quina’s search for clues that might aid her friend’s adventure is a consequence of the wyrm’s sighting, but Reynard’s pilgrimage was set in motion mainly for his particular dilemmas. The same can be said of the majority of requests made by NPCs, where the dragon is an excuse to get up and ask someone to do their bidding, but not directly related. The lack of twists in the plot helps the player feel like they are leaving a mark in the world, whereas other stories seem to affect the character, always turning him or her into what the developers want. It gives purpose instead of reason, a feat that few can brag about.
Dark Souls and Demon’s Souls before it executed this approach to lore brilliantly by affording vague notions of direction and no purpose whatsoever. Finding out what happened before and during the course of the games in the Souls series requires a massive amount of research through in-game item descriptions, character dialogue, enemy placements, environment, and the internet. And even then, making sense of the information is a task of its own. The most reliable source of information in Dragon’s Dogma is its characters, as the world tries to tell a story through its environment–much like Demon’s Souls–but fails by not even attempting to raise any questions. The dwellers of Gransys are unique in their own manner, alas it takes a while until they become memorable and once some of them do, they disappear into their own peaceful programming. That can be both good and bad because it helps players relate to the world, but also extinguishes their chances of getting to know those characters better… and maybe tricking them into wearing a certain ring. As disappointing as it is, this presentation adds replayability by suggesting a more aggressive approach in further playthroughs, encouraging players to seek the lore instead of waiting for it to fall from the sky.
Dragon’s Dogma proved it survives the test of time with its release on Steam four years after it came out on consoles. Still, the exposure to a different public didn’t seem to affect how it is perceived. That can be due to how many other games, despite how they move the industry forward, spoil players by supplying them with all the necessary tools to find themselves within the lore. Some gems succeed in stimulating the mind by arming the character with the most basic provisions and reminding them to walk in the shadows, which generally teaches a lesson or two.
‘Life is Strange 2’ Episode 5 Review – “Wolves”: A Worthy Send-off
The final episode of Life is Strange 2 may take a while to get going but it does offer a solid conclusion to the Diaz brothers’ journey.
Life is Strange 2 hasn’t made any bones about being a political game over the course of the last year. The 5th, and final episode, “Wolves”, doesn’t just continue with this message, it doubles down, and in a big way.
Set near the Arizona-Mexico border, “Wolves” follows the Diaz brothers on the final leg of their journey. Having escaped from the cult that held Daniel up as a messianic figure in the previous episode, Sean and Daniel are camping out in a sort of pop-up town filled with outsiders like themselves.
The location provides Life is Strange 2 with its final breath of relaxation before the story enters its high tension endgame, and it’s a much needed reprieve. Unfortunately, it does seem to go on a bit longer than the player might like, and that makes things drag a smidge.
To give you some idea of how long you’ll be spending in the village, 4 of the 6 collectibles are found here. So, yes, this starting area is the main place you’ll be spending “Wolves” in. To be clear, the area isn’t bad per se. There’s a lot to see, a scavenger hunt to go on, and a few interesting characters to speak with, including a surprise cameo from the original game. The bummer of it all is that players will be feeling the time here more laboriously simply because there isn’t much of anything happening.
In the 2nd or 3rd episode of this story it’s perfectly fine for an extended bit of down time. Episode 3, in particular, benefited greatly from allowing you to settle into the setting and get to know a diverse and likable new group of characters. However, by the 5th episode, players will be so eager to see how things are gonna settle up, they won’t be able to get out of this area fast enough.
On the upswing, once Sean and Daniel leave the village, the story moves at a pretty solid clip to the credits. As the key art and trailer for “Wolves” might suggest, the Diaz brothers do indeed challenge the border wall in the final leg of Life is Strange 2. Where things go from there, I won’t spoil, but rest assured that Daniel will absolutely go through the crisis as you’ve trained him to do.
By this I mean, you will see the final results of your choices throughout the game, and they’re pretty impressive. With 4 possible endings, and 3 possible variations on those endings, Life is Strange 2 can ultimately play out in a variety of ways. How yours plays out will, of course, depend on the choices you’ve made and how you’ve influenced your brother throughout your journey.
Either way, though, Life is Strange 2 closes off “Wolves” with an emotionally satisfying and generally fulfilling conclusion to your journey. It might be a necessary evil that the events can’t be intense the whole way through, being that this is not an action or combat-focused game, but the fact that things take so long to get going in the final episode is a bit of a problem.
Still, fans worried that Life is Strange 2 might fail to stick the landing can rest easy. “Wolves” might not be the best, or most satisfying, episode of the series but it does what it needs to do and it does it well, particularly in the back half.
‘Yaga’ Review: A Bittersweet Fairy Tale
Some games feel perfectly suited to their genres, as if they fulfill every ambition that their genre could promise. On paper, Yaga from the developer Breadcrumbs Interactive, should be one of those games. This roguelike RPG is meant to bring traditional Slavic folktales to life, and its procedurally generated structure allows the game to change in every playthrough, just like how the ancient fairy tales it’s based on can change in every telling. Yaga immediately shines on a conceptual level, but as a game, the most important question remains: will this fairy tale be enjoyable to play?
From start to finish, Yaga uses the rich source material of Eastern European history and folklore to create a vibrant, fantastical world. The entire game is framed as three elderly women telling the story of Ivan, a heroic blacksmith who has been stricken with the curse of bad luck. These women spin a fanciful yarn, one in which Ivan is constantly plagued by horrors from traditional fairy tales such as the hideous One-Eyed Likho, along with more realistic foes, such as a corrupt, overbearing Tsar. The game thrives on this balance between history and fantasy. Its world is filled with peasants who face daily, universal struggles with war and agriculture, while massive ogres and goblin-like Vodyanoys haunt the surrounding wilderness. This mixture creates a strong setting that finally gives Slavic history and mythology its long-overdue representation in games.
“Take the presentation and story together, and Yaga becomes a playable portrait of the lives and superstitions of Eastern European peasants.”
The frame story always remains the same: Ivan will always have to serve his Tsar while avoiding bad luck in every playthrough. However, beyond these core details, the old women are extremely flexible storytellers, often switching events around or changing story beats entirely. In some playthroughs, you may discover a woman raising an enormous chicken; in others, you may instead encounter a band of thieves waiting to rob you. You will frequently face important decisions to make that will dramatically impact the outcome of your quest. yes, you can always break into monster hideouts with hammers blazing to slay every creature before you; but more often than not, you are also given the opportunity to peacefully talk your way out of these toxic situations. Even more dramatically, oftentimes the game will zoom out to the old women storytellers and allow you to choose how they tell the rest of Ivan’s story. Yaga is at its best when it doubles down on this player freedom. It makes every moment engaging and allows its stories to truly come alive.
Yaga’s writing and presentation only serve to make this world even more striking. It features a distinctly dark sense of humor – for instance, a man may ask you to push a boulder into a well behind his house, but he will neglect to tell you that he has also thrown his wife into the bottom of that well ahead of time. Much of this dialogue is even written in rhyme, enhancing the otherworldly, fairy tale atmosphere. On top of that, nearly all dialogue is fully voice acted, with most voice actors delivering some eccentrically charming performances that make the game feel as if it’s a playable Disney film. The visuals look like they’re taken straight out of a Russian children’s book of fairy tales, while the music incorporates traditional instruments and language into an electronic, hip-hop fusion soundtrack that captures the cultural heritage that Yaga focuses on while connecting it to modern culture. Take the presentation and story together, and Yaga becomes a playable portrait of the lives and superstitions of Eastern European peasants.
However, this leads to the gameplay. Quests may be randomized each time you play, but nearly every one of them takes the same general format. One character will request help, and then Ivan will have to venture out into the world to fight some demons or recover an item. Worse yet, the levels are just as randomized in their procedurally generated design, and not in a particularly clever way, either: most of them likewise follow the same formula, being little more than arenas full of enemies connected by copy-and-paste environments. Many paths in each environment lead to nothing more than pointless dead ends. The combat has a satisfyingly simple basis, with basic moves like long- and close-range attacks, roll dodging, items to use, and a variety of different weapons to equip, although his trusty old hammer is generally the best choice. However, while this simplicity makes the combat enjoyable on its own, there is very little depth to it, and the inherently repetitive design of the mission only serves to highlight how paper-thin combat can be. Most battles involve little more than hacking away at enemies until they die, which becomes increasingly repetitive by the end of the roughly ten-hour campaign.
At the very least, the robust customization system helps add a little intrigue to the combat. As a blacksmith, Ivan is naturally gifted with the ability to craft weapons for himself to use. By scavenging parts and items from fallen enemies and treasure chests around the world, Ivan is able to create the most powerful weapons. Crafting is simple to use yet extremely ripe for experimentation, requiring only one base item and a handful of accessories to create unique new items. With dozens of components to discover and use in your forging, there are plentiful opportunities to create the best possible weapons.
“All told, Yaga achieves a bittersweet ending: it’s bitter as a game but sweet as a fairy tale.”
The crafting system would be the standout aspect of the moment-to-moment gameplay if it weren’t foiled by another one of the game’s systems: Bad Luck. Ivan has been cursed with perpetual Bad Luck, which grows constantly throughout the game – whenever something good happens, Bad Luck is sure to increase. Whenever the Bad Luck meter fills all the way, Likho will appear and strike Ivan, generally breaking one of his weapons or stealing his money.
On paper, this mechanic makes sense, since it prohibits the player from becoming too overpowered and also fits into the folklore style off the story. In practice, however, it is an infuriating limitation on player progression and invention. It effectively punishes players for putting thought and care into their weapon crafting and character-building – at any moment it can all be washed away in bad luck, so what’s the point? Considering how enjoyable the crafting and combat systems are, it’s a shame that Bad Luck seems to exist solely to diminish the very best parts of the gameplay, leaving the game feeling like it cripples itself.
Your enjoyment of Yaga depends heavily on what experience you want out of it. If you’re looking for a deep and satisfying RPG, then it likely won’t deliver. Although it features satisfying combat and customization systems, the frustrating randomization of its level design and Bad Luck system only serve to foil these good qualities. If you are instead looking for a faithful, fleshed-out image of Slavic cultural heritage, portraying both the harsh realities of peasant life along with its fanciful folklore, then Yaga is a clear triumph thanks to its emphasis on player choice, its excellent writing, and its beautiful hand-drawn visuals and inventive soundtrack. All told, Yaga achieves a bittersweet ending: it’s bitter as a game but sweet as a fairy tale.
‘Resident Evil 3: Nemesis’ — A New Height to Survival-Horror
If we can forget that Nemesis was a poorly designed rubber goof in the Resident Evil: Apocalypse movie, we can easily state that he is the apex predator of the series. The follow-up to Resident Evil 2 had quite a few expectations to fill and, for the most part, Resident Evil 3 delivered. While not so much a fan-favorite as RE2, there was a lot to like about RE3. The return of RE‘s Jill Valentine, some new intuitive controls, and, of course, theNemesis.
RE3 marks the first time in the series where you are limited to one character – Jill. Through this, the story is slightly more focused and straightforward – despite the plot being all about Jill trying to leave Raccoon City. RE3 director Kazuhiro Aoyama cleverly sets in pieces of RE2 to make this work as both a prequel and a sequel. If you’ve never played RE2 – shame on you – you would not be able to scout notable tie-ins such as the police station. With a large majority of the building still locked up, Marvin Branagh, the wounded police officer who helps you in the second game, is still unconscious and has yet to give anyone the keycard which unlocks the emergency security system.
Where RE3 really shines is in its latest entry of Umbrella Corps. bio-engineered tyrants called Nemesis. The hulking tank brought a new dimension to the series, invoking more cringe-inducing terror and stress than ever. As if zombies and critters jumping through windows weren’t bad enough, now you have to worry about an RPG-wielding maniac busting through a wall and chasing you around the entirety of the immediate environment – and chase is certainly brought to a whole new level indeed. It became a running joke when you would encounter a handful of zombies, but could escape unscathed by simply running into another room. Nemesis, on the other hand, will continue his pursuit no matter what room you run into. At the time, this brought a whole new level of detail in the genre. Knowing that at any given moment he will just appear and will certainly derail whatever key or plot item you’re quested to look for made Nemesis a very intense experience.
Resident Evil 3 is the pinnacle of the series and the last of old-school survival-horror.
The gameplay also takes a few different approaches in this game. There will be moments when you encounter Nemesis, or certain plot occasions where you will be prompted to make a decision. It was a great alteration to the series, as it added new layers and weight for the player. Another addition to the gameplay came in the form of control although as minute as it sounds, is having the ability to turn a full 180 degrees – yes you read that correctly. Resident Evil quintessentially coined the term survival-horror, and survival certainly predicates the genre. There will be times – if not numerous times, you will run out of ammo. When those moments used to occur, you would have to make your character turn in the slowest fashion imaginable to make a run for the door and to safety. It was those moments back then that would pull the player away from the action. With the addition of the quick-turn ability- which was actually first introduced in Capcom’ Dino Crisis game – it gave the player the chance to just cap a few zombies and dash creating more seamless and dynamic gameplay.
The level design of Resident Evil 3 is grand, if not grander than RE2. A lot of the setting and scenery take place in the open air of the city and a few other places around the vicinity. RE and RE2 mostly took place indoors, and those settings helped create unique moods especially when it is all about tight corridors adding a more claustrophobic feel. Aoyama definitely went with a bigger setting and atmosphere in the follow-up. The game takes you through a police station, a hospital, a local newspaper office, a clock tower and a factory. More often than not, though, people tend to forget the scope and grandeur of RE3. Not to mention you can only… spoiler… kill Nemesis with a Rail-Gun at the end.
Resident Evil 3 is the pinnacle of the series and the last of old-school survival-horror. It took everything that it did so well in the previous titles and made it bigger and better. Nemesis encapsulated fear and dread in ways rarely experienced at the time. The scene where he popped through a window and chased players through the police station has always remained a nostalgic moment, much like anything that comes through a window in the RE series. In fact, a bit of advice for anyone playing the first-gen of RE titles: beware of windows.
Editor’s Note: This article was originally published on May 16, 2016.
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