The Endless Magic of Fallout 4

I am currently about 30 hours into Fallout 4 and I have seen and done more things than I can count. I've totally lost myself in post-apocalyptic Boston, exploring every corner of the map, completing numerous quests, liberating and upgrading settlements, and modding every gun I can get my hands on. As someone who sank way more hours into Fallout 3 than they would like to admit, my anticipation for Fallout 4 was off the charts. I'm happy to say that every ounce of hype I piled on it has been justified. It's an absolutely massive game, and as much as I feel I have accomplished in those 30 hours, I know I have just barely scratched the surface of what it has to offer.

I've currently hit the halfway point in the game's main story, and as simple and straightforward as the plot has been, it's the characters and their stories that make Fallout 4's world come alive. The main plot is just fine (and gets really interesting thanks to a pretty cool mid-game twist) but the real draw narrative-wise are the moment-to-moment conversations you have with companions or other NPCs. Getting to know the characters and learn about their history in the wasteland is one of the best things about Fallout 4.

Needless to say, the gameplay here is fantastic and ever-so addicting. The gunplay has been vastly improved, so much so that I've been using V.A.T.S. less than I did in Fallout 3. However, there have been plenty of combat encounters that I had to take a step back and be more tactical. Be careful though, as V.A.T.S. no longer completely stops time; I've actually died a few times while using it. It's a welcome change and adds a new level of challenge. The RPG elements have been toned down a bit, and I really like how leveling up works now, as it's much more streamlined (not to mention that the Perk Chart is absolutely adorable).

A lot has been made of the game's crafting and base building aspects, and though I haven't really dabbled in them as much as I would like (I'm totally afraid I'll lose myself in them) they are a really cool and welcome addition to the Fallout series. While there are a few instances where crafting or modding is required, it's a totally optional part of the game.

If it's immersion and atmosphere you want, the Fallout games have them in bunches. One of my favorite things about Fallout 4 are the character interactions that occur in real-time. You could just be walking around Good Neighbor or Diamond City and stumble upon NPCs engaging in conversations about events that have already or are currently unfolding in the Commonwealth. It just makes the world you're exploring, even as over-the-top and barren as it may seem, more lived-in and believable.

One of the staples of the Fallout series are the various radio stations you can tune into with your Pip Boy; Fallout 3's Galaxy News Radio was perhaps my favorite thing about that game. Wondering the wasteland and murdering countless people/animals/creatures while listening to The Ink Spots and Billie Holiday is one of the most satisfying things in all of gaming. Fallout 4's Diamond City Radio contains a fantastic song list, though has a rather uncharismatic DJ, especially when compared to Galaxy News Radio's Three Dog. Regardless, it just wouldn't be a Fallout game without a robust and varied song list. (Tip: don't ignore the Classical Radio station, as mass murder is much more enjoyable when Chopin is playing in the background).

Perhaps more than anything, the most magical aspect of Fallout 4 is exploring. If you're able to ignore the multitude of quests and crafting/modding opportunities that the game presents you with, just being able to wander around the wasteland, discovering new places is just indescribably cool and surprisingly relaxing, when you don't stumble upon a Super Mutant camp that is). With Skyrim, I completely ignored any and all quests just to wander around marking new places on my map. I'm not doing it as much with Fallout 4, but that sense of discovery still powers my experience. The Commonwealth is so varied (and colorful!) that I have to take time out from my exploring and murder to take in the sights.

Out of everything the Fallout 4 offers (and there's a lot), it's the little moments that make this the best game I've played all year. Whether it be stopping to take in a view, finding that one piece of rare scrap you really needed, blasting off a super mutant's face in slow motion with just a sliver of health left, delving into the backstories of your companions, or watching the little mushroom cloud that happens when cars explode (they're SO COOL!), Fallout 4 is full of intensely satisfying moments that you just can't experience anywhere else.

What a S.P.E.C.I.A.L. game it is.

Now, if you'll excuse me, I'm gonna go play more Fallout 4.

The Game Awards 2015 - Nominees and Predictions

This has been an great year for gaming, filled to the brim with fantastic titles that spanned various genres and earned the acclaim of critics and gamers alike. I can't tell you how great it is to able to say that, especially considering how barren 2014 was. Now that we're reaching the end of 2015, awards season has begun its slow crawl towards us. Last year's aptly named Game Awards returns again this December, and the list of nominees has recently been released. While I enjoyed last year's show, I hope that the 2015 version moves closer to a more traditional awards show format, forgoing the out-of-place interviews and announcement of awards off camera. Regardless, it's nice to see gaming starting to get the recognition it deserves.

Here is the list of this year's nominees, as well as who I think should win (highlighted in yellow):

A Look Back at 20 Years of PlayStation

Image courtesy of Sony

On September 5th, 1995 the original PlayStation made its way onto U.S. store shelves and into the hands of hungry gamers all across the country. Sony's original machine was considered a huge underdog, especially considering how much the gaming industry was dominated by Nintendo and Sega at the time. But here we are, twenty years later, and the PlayStation brand stands tall as a pillar of the industry. I can't imagine this industry without PlayStation, and shiver to think how I could have ever developed such a deep love and respect for gaming without all the countless hours I spent way too close to my television, late at night, powering through games like Shadow of the Colossus and the Uncharted games. I love all things video games, but PlayStation remains closest to my heart.

While I have a rather long personal history with PlayStation, I actually didn't own the original system. I was a Nintendo kid growing up but had a lot of friends who owned PlayStations, so I got my fix going over to their houses whenever I could. I drooled over games like Castlevania: Symphony of the Night, Crash Bandicoot, Final Fantasy VII, and Metal Gear Solid, all experiences that I could never get on my N64. Regardless, my allegiance to Nintendo was so strong that when the next generation of consoles arrived, I chose a GameCube over the PlayStation 2, a mistake that I would finally rectify a few years later.

The summer after I finished 8th grade, I saved up enough money and finally bought myself a PS2. I was now fully caught up in the phenomenon that was PlayStation. My first two games were Enter the Matrix and Burnout 2: Point of Impact, two games that admittedly weren't the best way to introduce myself to a PS2. I later picked up classics like Metal Gear Solid 2, Grand Theft Auto 3, Ico, Jak and Daxter, and Ratchet and Clank. The PS2's library of games was absolutely massive, and even though I had my GameCube and (eventually) an original Xbox, the bulk of the games I played during the 6th generation of gaming consoles were on PS2. I kept my PS2 powered up long after its life cycle had ended, and still go back to it occasionally to this day. In my eyes, the PlayStation is the greatest video game console to ever exist.

When I started college, I bought myself a PS3, along with Resistance: Fall of Man and Motorstorm. Like most people, I was somewhat letdown with the PS3 after the amazing experience I had with the PS2. I had the original "fat" model of the system, and it was bulky, loud, and constantly overheated. Though I spent a fair amount of time with it, my PS3 eventually fell by the waist side as my gaming attention turned to the Xbox 360 full-time. It wasn't until my junior year of college that I decided to give the ol' PS3 another try. My original model was dead by that point (I could never figure out why) so I picked up the smaller, remodeled version that was released in 2009. Consider this point in time the "PlayStation" renaissance for me. Games like Uncharted 2: Among Thieves, God of War 3, Heavy Rain, Infamous, and the phenomenal The Last of Us relit the fire in my heart for all things PlayStation. As the 7th generation of gaming console was winding down, the PS3 seemed to be finally finding its footing, a kind of resurgence that would carry over to the PS4. Even though my experience with the system was uneven, I'm glad I owned one.

I was also an early adopter of both a PSP and PS Vita, two machines that deserved much more than they got. The PSP has a remarkable library, and the PS Vita is perhaps the best way to play indie games, but it was clear that Sony didn't know what to do with them. I still have a strong admiration for the PSP and spent a lot of quality time with in on long car rides and sleepless nights. My PS Vita still gets some love from time to time but is still second to my 3DS. It's a powerful and impressive machine that doesn't deserve the cards it is being dealt.

I currently own both a Xbox One and a PlayStation 4, but it is clear which I prefer more. Sony's latest console corrects all of the mistakes that the PS3 made and improves on all of its successes. Not since the PS2 have I been this excited about gaming, as the PS4 has once again recaptured my love for Sony's trademark gaming brand. Its UI, online functionality, game streaming, social interactivity, and exclusives (Bloodborne, Until Dawn, The Last of Us: Remastered, Infamous: Second Son, and Resogun come to mind) make the PS4 the clear frontrunner in the race for the 8th generation crown.

So what does PlayStation mean to me? Simple: video games. I've spent a good amount of time during my life playing them, and though I share many great memories across all systems, some of the best I've ever had occurred on a PlayStation system. It's insane to think its been over 20 years since Sony first staked its claim in the gaming world, and even crazier to think about how far they've come since then. Sony's trademark gaming platform has had numerous stumbles, but there's no denying that the gaming industry would have not grown as popular if that little square box wasn't dreamed up by Sony over 20 years ago. The best part about all of this? It seems as if PlayStation is just getting started. So here's to 20 more fantastic years of gaming bliss and unforgettable memories!

Thank you, PlayStation. I owe you a lot.

20 Hours in the Wasteland: My Early Thoughts on Mad Max

Mad Max was released to absolutely no fanfare whatsoever last week, as it was covered in the massive shadow of Metal Gear Solid V. Being the fanboy that I am, I decided to pick up the Mad Max game instead of The Phantom Pain, ready to explore the wasteland and live out my fantasy of being Max Rockatansky. I've spent a good chunk of time with the game and have barely even scratched the surface of what it has to offer. There's no other way to say it: Mad Max is a HUGE game. The map stretches on for miles and miles, and there is side content covering nearly every inch of it. Like any good open world game, you are constantly pulled away from the main storyline to complete a side quest, collect scrap, compete in races, or take down outposts. It takes the better bits from games like Assassin's Creed and Far Cry and mixes them up into a pretty solid post-apocalyptic package. Critics are mixed on the game, but personally I've been having a great time with it.

For the uninitiated, Mad Max is an open-world game that focuses on vehicular and on-foot combat. It features all of the trappings every open-world game does, including vantage points, a robust upgrade system for both Max and his car, numerous side quests, hidden collectibles, and more. The main plot revolves around Max's quest to rebuild his car so he can escape to the "Silent Plains" and finally find peace. Early in the game, Max (reluctantly) teams up with a master mechanic named Chumbucket, who, with Max's help, promises to build the "Magnum Opus", a new and improved version of Max's classic Interceptor. Throughout the course of the game, Max forges other uneasy alliances with various leaders in the wasteland, completing side quests and helping them rebuild their strongholds. There is a LOT to do in this game, which serves as its strength but also its greatest weakness (but more on that later).

First off, Mad Max absolutely nails the atmosphere of the George Miller films. The world is filled with the most awesome cars and bizarre characters you would expect from the Mad Max universe. It's also a visual feast, with some of the best graphics I've seen this generation. Voice work is solid, though Max tends to talk a bit too much for my liking. From a purely audio/visual standpoint, Mad Max is incredible.

Control-wise, the game does a nice job of balancing a lot of different schemes. Driving does take a lot of getting used to, as it feels a bit sluggish and heavy at first. Nothing has ever been too problematic, but considering how much time you spend in a car, the driving should feel better. In addition, driving and shooting gets a little convoluted as you have to press multiple buttons at once that can result in cramped hands. Regardless, I never felt that the game's controls were bothersome, and the longer I played the easier and more fluid they became. Max controls well when he's on-foot, but is somewhat sluggish as well.

Combat, both in a car and on-foot, can be exhilarating at best and middling at worst. Battling against multiple enemy vehicles while blasting across the dunes at 100 mph is super fun, especially considering how amazing the explosions look in this game. The on-foot combat system is stolen right from Rocksteady's Batman games, so you spend the majority of your time countering and attacking. There are some special moves you can unlock as you upgrade Max, but the core combat remains the same. After a while of beating down the same enemies in the same fashion, the hand-to-hand combat can get a little grating. Car combat can as well, especially when you're trying to complete various objectives and a group of enemies crash your party, forcing you into combat. However, other than the visuals, combat is the game's biggest strength and provide plenty of explosive (pun intended) and memorable moments.

Max's health can be replenished with water, which is scarce enough to cause urgency but is still readily available to avoid frustration. Same goes for gasoline, which is needed to power your car (of course). However, gas can also be used as a weapon to use against enemies as well as outposts, so you have to decide how to use it.

Your car is the main attraction here, as it can be outfitted with numerous weapons and defensive features. You can choose to build and customize your own car, or steal others from around the game world to use. In addition, Chumbucket also has blueprints for cars called Archangels, which are super powerful vehicles that each have their own strengths and weaknesses.

The main currency of the game is scrap, which can be used to upgrade either Max or his car. In addition to scrap, hidden "part pieces" are scattered all across the wasteland which can be used to build various projects within strongholds. For example, if you find all of the pieces for an oil drum, each time you visit that particular stronghold your car is automatically filled with gas. Scrap is the single most important collectible in the game, so make sure you're constantly on the lookout for it.

As I've said before, this game is massive, so much so that it constantly feels somewhat overwhelming, as the map is littered with seemingly endless things to do. While there maybe a lot tasks to complete, very little of it actually feels unique. This brings me to Mad Max's biggest problem: repetition. In order to progress through the story or gain upgrades, you have to drive around the map completing the same side content over and over. It's not as grind-y as you may think, but it does take time and patience if you want to get the best stuff. Even the combat can get repetitious, though not as much as the side content.

At its best, Mad Max is a thrilling ride that pays fantastic tribute to the universe George Miller created. At its worst, it's repetitive and sluggish. Despite my gripes, I've had a really fun time with it so far. I'm not sure if the need to grind and complete the same tasks over and over again will diminish my positive feelings towards in as I continue playing, but for now I give Mad Max a passing grade.

Remember Kids: Pre-Ordering Games is Bad

Image courtesy of Kotaku

Well, now I've seen everything. Earlier this week, new information on the next entry of the Deus Ex franchise, titled Mankind Divided, was revealed. It got a firm release date of February 23rd, 2016, a pretty cool looking collector's edition, and a new form of pre-order program that Square Enix is calling "Augment Your Pre-Order". It works like this: the more people that pre-order Mankind Divided, the more pre-order bonuses are unlocked, starting with new character skins and working all the way up to new levels and even the ability to get the game early. Think of it as Kickstarter for pre-orders, which is just as horrifying as it sounds. It claims to be a way for fans of the game to "collectively expand and enhance their own Day-One edition" of the game, but I just see it for what it is: a shameless cash-grab.

Now I kind of understand where Square Enix is coming from; they want as many people to play the game as possible. But as someone who rarely pre-orders games, this is a terrible attempt to gain a quick buck and once again cheat a good number of gamers out of some cool content. Personally, I only pre-order games if I want a collector's edition that has the potential to sell out quickly (like Fallout 4's Pip Boy Edition). Back in the day when games weren't as widely spread, pre-ordering made sense, as you wanted to guarantee you had a copy on release day. In today's world games are everywhere, and you can almost always walk into any store and pick up a copy without having to worry about it being sold out. I've even had experiences where the store I bought a game from gave me its pre-order bonuses anyway, without pre-ordering it.

The biggest problem with this campaign is that once pre-order number grow enough to unlock a new tier, all the previous rewards are rendered obsolete. So if you really want those character skins, you better hope that no one else pre-orders the game or else you're stuck with a lousy digital art book instead. What's worse is that Square Enix is teasing the ability to release the game four days before it's released if enough people lay down their money early on a game that may or may not be any good. They are purposefully holding back the game's real release date because they want their money right now. If that's not an evil scheme, I don't know what is.

I don't really have anything against pre-orders in some situations. I think if publishers provide tangible rewards for putting down money on a game early (like Mad Max did with a die-cast replica of Max's Interceptor) then I'm all for it. However, I feel that digital rewards, like new levels or characters, are a scam. Gamers who opt to wait out for reviews before purchasing a game are cheated out of some potentially cool stuff and are forced to purchase them later. It serves no purpose other than to ensure sales.

Can pre-orders work? Of course they can, just with the right mindset. If a publisher is going to offer exclusive content to those who pre-order, make it available for free six months or so after launch. That way there's an incentive to pre-order a game without punishing those who don't.

My faith in the gaming industry wanes more and more each day, but I still see hope for it. Please game publishers, don't continue down this path! Treat your consumers with more respect, and maybe you'll get some back.

My 5 Most Anticipated Games of the Fall

This Fall's game release schedule is full to the brim with some major releases, and I'm having a really tough time deciding what to spend my money and time on. However, with some time and very careful consideration, I've narrowed down the list of games I'm willing to spend my money and time on to just five. Of course, that isn't to say that I'm going to play more of them. Knowing me, I'm going to go incredibly broke this Fall and disappear for the next four months.

Anyway, here are some cool games I'm excited for:

Image courtesy of Duuro Mag

Mad Max
Avalanche Studios
PS4/Xbox One/PC
September 1st

It's no secret that Fury Road absolutely took over my life this year, and I'm super excited to see if the game can bring Max and all the madness of the world he inhabits into the digital space. It serves as a prequel to the film, shedding light on what Max was up to before he joined forces with Furiosa. The fact that it's being developed by Avalanche Studios, the team behind the super fun and destructive Just Cause games, gives me hope; if there was ever a development studio that can pull off a Mad Max game, its this one. However, publisher Warner Bros. seems to have completely given up on the game, based solely on the fact that its received little to no fanfare leading up to its release, not to mention the fact that it's going head-to-head with the behemoth that is Metal Gear Solid V. Regardless, Mad Max looks very promising, with the ability to fully customize Max's car and engage in chaotic vehicular and hand-to-hand combat across a massive open world. This is a day one purchase for me.

Image courtesy of IGN

Super Mario Maker
Nintendo
Wii U
September 11th

Did I ever tell you guys that I have a Wii U? Well, I do. It's just sitting next to my TV collecting dust, is all. However, Super Mario Maker looks like just the thing I need to revitalize the little black box when it releases this September. The game's premise is right there in the title: you have the ability to create and share your very own Mario levels. There are a wealth of options at your disposal that allow you to fully customize each level as you please, allowing each player to effectively take Mario games where they have never been before. Like most games that allow and encourage player creation, Super Mario Maker will live or die depending on community support. But I'm not worried, as Nintendo fans are some of the most rabid and creative gamers on the planet, and I fully expect to play some truly unique levels for months and years to come. Just don't expect anything good from me.

Image courtesy of 505 Games

Adr1ft
Three One Zero
PS4/Xbox One/PC
TBA September

If you know me, you know that I like the so-called "walking simulator" genre of video games. Experiences like Gone Home and Everybody's Gone to the Rapture continue to swirl around in my head long after I played them. Adr1ft is not a "walking simulator" per se, as you're in space. So it's a "floating simulator"? Whatever genre is may or may not fit into, Adr1ft holds a lot of promise. You're the lone survivor of a massive space disaster with no memory of the incident, and it's up to you to stay alive long enough to make contact with Earth, as well as piece together what happened. The fact that it's set in space is enough to get me pumped, but it looks visually stunning and looks to offer an intense and thrilling experience. There's still no release date set yet, but the sooner it comes out the better.

Image courtesy of Bethesda

Fallout 4
Bethesda Game Studios
PS4/Xbox One/PC
November 10th

No duh. Like, what human isn't excited for Fallout 4? It's been on everyone's mind long before we even knew it actually existed, and when it was finally revealed earlier this year, the gaming world collectively lost its mind. It's bigger, badder, and more colorful than Fallout 3. It's got improved shooting controls and mechanics. The awesome V.A.T.S. system returns, as does an upgraded Pip Boy. You've got an invincible (!!!) dog that can aid you in item collection and combat. You can even build a settlement from scrap and customize and upgrade weapons and armor. You've got a truly massive apocalyptic Boston to explore until the end of time; seriously, Fallout 4 will be endless. There's no level cap and the game continues even after you complete the main story, a welcome change from Fallout 3. So yeah. I don't have to do anything to explain why Fallout 4 is the most anticipated game of the Fall for me. Even though I just kind of did.

Image courtesy of EA

Star Wars Battlefront
DICE
PS4/Xbox One
November 17th

I like Star Wars. You like Star Wars. The whole world likes Star Wars. So we all know how cool it would be to actually be a part of all the massive battles that the films are known for. Ever wanted to pilot a Snow Speeder during the Battle of Hoth? How about cruise around on a Speederbike and fight the Empire in the Battle of Hoth? Well, Star Wars Battlefront hopes to do just that when it launches in November. Those looking for a single-player campaign will unfortunately be left out in the cold, as the new Battlefront is multiplayer only. Being made by DICE gives me hope that the shooting and flying will be as tight and responsive as always, but being in the hands of EA worries me. Will Battlefront, which has a pretty slim selection of maps and locations at launch, be propped up by endless DLC and microtransactions? Or will the base game be enough to entertain and thrill fans? Only time will tell, but what I've seen of the game so far has got me excited. My anticipation for all things Star Wars is at an all-time high, and a new entry in the Battlefront series can only add to it.

Does Until Dawn Have a Chance?

Image Courtesy of Game Informer

Until Dawn, the choose-your-own adventure-style horror game from Sony and Supermassive Games finally arrived for the PS4 earlier this week after an overly long development. Perhaps more surprising than the fact that it actually came out (it originally was a Move game for the PS3) is that it's good. I'm talking really, really good; it's garnered praise from critics and gamers alike as a gripping, unique, and genuinely scary experience. Sounds like Sony has another hit on its hands, right? Well, that answer may be a little more complicated than it seems.

Sony doesn't have a huge tentpole title for the PS4 this Fall, as Uncharted 4 got pushed into next Spring, and is having to rely on the remastered Uncharted collection to be their "big" first-party exclusive for the final quarter of 2015. While the system has great third-party support, there's no new, exclusive title that Sony could use as a system seller. Except there is, and it's called Until Dawn. Having played a good chunk of it, I can safely say it's one of the most surprising games of the year, and one of its best so far. My fear is that it's going to fade into obscurity, especially considering that Metal Gear Solid V is just around the corner. It seems like Sony's leaving it out in the cold to die.

Sony's first big release of the year was The Order: 1886, and even though it was lauded as a "must have" game for the system, it most certainly did not live up to the hype that surrounded it. The thud that it made when it launched earlier this year is still ringing in a lot of people's ears, particularly Sony's. It seems as if Sony is desperately trying to avoid that kind of let down again by not pushing Until Dawn as hard as it could. Part of me also thinks that they don't know what to do with it; I imagine it didn't focus test well, as it seems more suited for a certain kind of audience (horror movie fans, adventure game fans, etc.) and doesn't scream "mainstream appeal". Regardless, Until Dawn is good enough to be the first-party exclusive Sony so desperately needs going into Fall, but it won't, and that's a real shame.

Whether Until Dawn ends up being a hit or not, Supermassive Games is to be congratulated on crafting a very, very good game. It delivers on the potential of games like Heavy Rain and Beyond: Two Souls (in fact, Quantic Dream should take a few notes from it) and delivers something unlike I've ever played. It practically begs for multiple play-throughs, as every single choice you make alters the narrative in a unique way. Even if you don't like horror or adventure games, give Until Dawn a chance, it really deserves it. On top of its innovative gameplay and narrative structure, it's also well acted and written, and is perfectly paced to build some solid tension, leading to lots of great scares.

I really want to see this game succeed, but my gut tells me otherwise. It's not getting the kind of marketing push it deserves, and though it's scored well with gaming outlets, its coverage is being pushed aside for all things Metal Gear. I feel as if it's a great reason to pick up a PS4 if you haven't already, as it's the kind of game you won't find anywhere else. Until Dawn deserves your time, money, and attention, and if you have a PS4 and about 10 hours of free time, definitely give it a chance. It deserves more faith than it's getting.

Two Days with the Black Ops 3 Beta

Image courtesy of Treyarch

Over the weekend, Activision opened up the previously closed Call of Duty: Black Ops 3 beta to everyone on PS4 (as it was originally only available to those who pre-ordered the game). I am admittedly not the biggest COD fan on earth and have always been bad at its multiplayer. Even though my opinion on the series has remained the same over the years, I always find myself drawn towards it for some God-awful reason. I do usually like the single player campaigns, as I find that they have a goofy charm to them, but could never for the life of me enjoy its insanely popular multiplayer the same way everyone else could. But, for reasons unknown, I always seem to pick up the newest entry every single time. This leads to me following the same emotional path each year, something I like to call "Failing to like COD in Four Easy Steps". It is as follows:

1. A new game is announced
2. I think, "Maybe this will be the one!"
3. I play the new game
4. I realize, once again, I've made a horrible mistake

I just can never, ever get into it. Is it because I'm bad at it? Well sure, that does play a large part. But for me, its biggest crime is that it's just not fun to play when you're bad at it. I've played countless shooters in my day, and there have been plenty of them that I'm not good at, most notably of which is Halo. I'm passable at it, but I fluctuate between good and downright awful at it at the flick of a switch. Thing is, I'm always having fun, regardless of how well I'm doing. Heck, to me, COD isn't even fun when you're winning. It's too twitchy and it feels like each player is make of paper; get shot twice and BOOM you're dead. I never feel like I have the time to defend myself or be tactical. I just run around the maps like everyone else hoping to run into someone and shoot them before they shoot me.

But I know you're all asking the same thing: if you don't like COD, why did you play the beta? Easy:

1. It was free
2. I had nothing else to do over the weekend

Please understand, I'm not a COD hater! I just don't like it. But that won't stop me from playing a free version of it!

Black Ops 3 does try to do some cool things to change up the COD multiplayer formula. Instead of customizing some random character that means absolutely nothing, BLOPS 3 gives you multiple characters to choose from, each with their own unique personalities, designs, power-ups, and voices. Yes, you heard me: COD's multiplayer characters now have voice over! And you know what, it's pretty cool! Running around and hearing your character interact with your teammates in-game is a nice touch. Your specialist (as they're called) is allowed one of two special abilities, which can either be a more powerful weapon or "power-up" of sorts. The one I used, a badass looking lady named Battery, had armor that reflected bullets for a short time. Another character had the ability to come back to life after being killed. Imagine my surprise when I thought I actually killed a dude for once, only to have his lifeless corpse pop back up and kill me dead. They are a cool addition but I didn't feel like they really changed up the rhythm or tide of a game too much.

I played a bunch of the modes that COD is known for, like Team Deathmatch, Domination, and Kill Confirmed. The game plays just as fast and smooth as previous entries, and the shooting remains tight. Fans of Advanced Warfare will be happy to know that the ability to double jump is back, as is the ability to swim I also checked out a new game mode called Safeguard, in which each team takes turns escorting an A.I. robot across the map. It was cool and a nice, tactical change of pace for the series, except for one small thing: the robot always reached its destination, as it continuously regained its health after being disabled. I don't know if there were any other rules for the mode, but the game ended in a tie as neither side could stop the robot. Again, this is a beta, and Treyarch mentioned they are messing around with is and that the beta was a great place to do so. Hopefully it gets fixed up, because I thought it was a pretty cool addition.

For a beta, it played very well (except for that one time it completely broke) and looks to be in good shape when it ships this November. For better or worse, Black Ops 3 is more Call of Duty, which means you'll either love it or hate it. But the thing is, you're probably going to buy it. Why else do they keep making them year after year, and sell millions of copies? COD has a HUGE fanbase and I don't see that ever changing any time soon. Thing is, this Fall has some really, really big games coming. As for me, I know exactly what I'll be doing in November, and I have convinced myself that this is the year that I finally heed my own conscience and NOT buy the new Call of Duty game. Hooray for me! And my wallet!

I just don't like Call of Duty's multiplayer. Nothing against the series, as I see its appeal and respect it as a well designed and polished video game. But it's not for me, despite my endless attempts to change that. Do you like Call of Duty? Well, congratulations! Black Ops 3 is more of what you love, with some cool tweaks. It's gonna sell out the wazoo for the 186th time in a row, regardless of what I or any other person says. So go get hopped up on Moutain Dew and kill some racist 14 year-olds online. I'll just be over here, playing something else.

Back to Basics Stealth: My Thoughts on Volume

I've always had a soft spot for stealth games, especially the ones that rely on the player's quick wit and swift movement rather than deadly force to succeed. Volume, the new game from Thomas Was Alone developer Mike Bithell, does just that: it's a beautifully old-school take on the stealth genre that also manages to hide a few new tricks up its sleeve. I've only just begun to scratch the surface of what the game has to offer (it features 100 campaign levels) but have been so incredibly taken by it so far. Much like Thomas Was Alone, Volume features deceptively simple game design: collect all of the items in a level and escape, all while avoiding enemies. Both games also share a similar learning curve, as you learn new techniques as you progress to counter the equally evolving enemy types and level design. It's always challenging without being overly difficult. It's equal parts Robin Hood, Tron, and Metal Gear Solid, a lovely combination if I do say so myself.

The premise is a science fiction take on the Robin Hood legend. You play as Rob Locksley, a small-time thief who uses a device called the "Volume" to simulate robberies. Rob decides to stream his digital robberies online (I like to think he uses Twitch) to demonstrate to the citizens of dystopian England how to "steal from the rich". It features the vocal talents of YouTube celebrity Chris McDonnell, Danny Wallace (the narrator from Thomas Was Alone), and even Gollum himself, Andy Serkis. Story takes somewhat of a backseat to the gameplay, but it's well written and implemented, and always intriguing.

As the game progresses, Rob is given some new toys to play with, like a noise maker that can be thrown to lure guards away from their posts or a flashy item to distract them. Of course, Rob can also utilize some less advanced techniques to outwit his enemies, like whistling and hiding in closets. Controls are butter smooth and the level design is excellent, though it is easy to take advantages of the A.I. at times. It's fun, challenging, and addicting.

Volume features 100 story missions (which all last around 5 minutes or so), but the real draw here is its robust level editor. It gives players every tool that was used to create all of its campaign levels, allowing them every ability to create an endless stream of new content. If the community plays its part (like I think it will), Volume could have some serious legs.

I've been looking for a game to really grab me all year long, and have yet to find one until now. Volume is a "just one more level" kind of game, one that begs you to just keep going. I had a hard time putting my controller down the first time I started playing, and could see myself spending a lot of time with it in the future. If you've been wanting a stealth experience in the same vein as the original Metal Gear Solid, then Volume is just the game for you.

In Defense of Walking Simulators

This week's biggest new release is Everybody's Gone to the Rapture from The Chinese Room, developers of Dear Esther and Amnesia: A Machine for Pigs. It takes place in a small, remote village in England in 1984, where everyone has mysteriously vanished. As an unnamed (and seemingly unimportant) character, you are free to explore the county of Shropshire at your leisure, and uncover the truth.

Rapture is another entry in the so-called "walking simulator" genre of games, where the "gameplay" consists of pressing forward on the left stick and occasionally pressing a button to inspect items or start conversations. Much like Gone Home, the goal in Rapture isn't to defeat enemies or solve puzzles, but to have a story told to you. Think of games like this as an interactive movie studio in the middle of a big production, where you wander around from set to set, watching each scene unfold before your eyes.

To me, that's what makes games like this so interesting. And I will classify them as games simply because that's what they are. Rapture isn't a book because even though narrative is its primary focus, it's been visualized for me. It's not a film because I get to control where I go, what I see, and how fast I go. Games like this are about exploration and discovery; things are being shown to you but it's your job to interpret them. What makes this game (and others like it) special is that it can mean so many different things to different people. But at the same time, that all depends on how well its story is told.

Gone Home was universally loved, and for good reason. It was small, concise, and moving. Rapture is similar, though on a much larger scale. Critics and gamers are divided on it, and after playing a good chunk of it, I can see why. You move rather slow (though holding down R2 does speed things up a bit) and the story might not grab everyone's attention. You can advance by sticking to the game's main path, but are free to explore at your own leisure. There are numerous things in Rapture you can miss if you just blaze through it, so I highly suggest you take time to explore everything.

Most "walking simulators" are criticized for a lack of interactivity; there may be a lot to "see" in them, but often times there is very little to "do". Rapture is very much a game that you "see" rather than "play", and though that may not seem inviting, I feel that's what make it so unique. You can explore the various homes and buildings but will find that you can't go inside most of them. There are radios scattered around that provide more insight to the plot, as well as some hidden narrative beats, but you can't pick up and inspect items like you could in Gone Home. The lack of interactivity will definitely be a turn off for some gamers, and I can totally understand that. But for me, I have fully enjoyed my time with Rapture because its the first game I've played in a while that just set me free and let me explore with little to no consequences. I am fully invested in its story and am eager to see what happens next. Games like this hinge completely on their story; how well a narrative is written and structured can make or break a game where story is the primary (and only) focus. Thankfully Rapture's story is well paced and completely engrossing, and because of that, the game works.

In the end, I really do like these so-called "walking simulators". The ability to freely experience and explore a game at your own pace is something that doesn't happen all that often. Games like Rapture are definitely not for everyone, but they provide a very unique and important experience. Video games don't have to be about shooting or collecting things all of the time, and it's good to take a step back and just be simple. It's nice to have developers experimenting with narrative and exploration like this, as I feel it will only help make gaming better.

The debate on whether or not these are actual "games" will rage on forever, but for me there's no other way to classify them. Everybody's Gone to the Rapture is a video game. Gone Home is a video game. They are stories and experiences that you can't get anywhere else, and because they are being told in video game form, you get to live in them rather than just watch them. And that, to me, is what makes gaming the best entertainment medium.

My Week In Gaming: A Trio of Goodness

Here's a quick rundown of all the new games I played this week!

Even though we're getting close to the end of Summer, this week saw some really high-profile game releases. Usually a crowded release week like this one would overwhelm me, but I've been away from 'new' games for the past month of so, instead opting to play back through older games again or cross ones off of my backlog. Finally having something 'new' and exciting to play was absolutely fantastic, especially considering that one of these games came out of nowhere. 

Image courtesy of Game Informer

Galak-Z

PS4
Developed by 17-bit Games

I've been following Galak-Z for a long time, and was really excited to see it finally released on PS4 this week. If you don't know anything about it, Galak-Z is a rogue-like top-down space shooter that takes heavy influences from '80s anime like Robotech (your ship can even transform into a mech). Make no mistake - Galak-Z is incredibly difficult. It's got a steep but manageable learning curve (the controls and weight/physics of your ship take some getting used to) but if you learn to play by its rules, you'll come to really find the joy and thrill in Galak-Z's gameplay. The story is broken up into five seasons, each consisting of five missions. If you die during a mission, its game over, and you've got to start all over again. If you make it through a season, you unlock the next and can start from there. All of your stats and upgrades are stripped when you die or start a new season as well, but you can collect scrap to gain them all back. Missions are short (lasting about 8 minutes or so) but intense. Being a rogue-like, missions are randomly generated. However, the objectives of each mission remain the same, but the layout of the map and placement of enemies change. Don't be scared away from its difficulty, because Galak-Z is one of the year's best games, and a must-own if you've got a PS4.

Image courtesy of WiiU Daily

Rare Replay

Xbox One

Developed by Rare

It's hard to believe that Rare, one of the world's most cherished game developers, has been around for 30 years. Though they've been on somewhat of a downslide lately, I will always hold the company in high regard. They've given me and the rest of the world gems like Battletoads, Perfect Dark, and Banjo-Kazooie. Rare Replary collects 30 games that stretch across the company's long and storied history. Unfortunately, games like Goldeneye 007 and Donkey Kong Country are absent (thanks, Nintendo and EON), but there are more than enough fantastic games here to provide infinite hours of fun. In addition to the games, there's a pretty extensive array of behind-the-scenes features, including some looks at cancelled Rare projects. Rare Replay also includes a challenge mode (called Snapshots) reminiscent of Nintendo's NES Remix, where games are rearranged into bit-sized chunks and feature a wide range of objectives and challenges. Though some of the games are not worth playing more than once, this is one of the most well presented and stacked gaming collections I've ever seen. At only $30, Rare Replay is a no-brainer for anyone with a Xbox One and a deep love for video games.

Beyond Eyes

Xbox One and PC
Developed by Tiger & Squid and Team 17

Announced at this year's E3, Beyond Eyes was stealthily released for Xbox One and PC this week to little fanfare. This is a shame, as it's a stunningly beautiful and simple game that deserves way more attention that it's getting. You play as Rae, a young girl who has lost her sight after an accident. She becomes friends with a cat (whom she calls Nani), and has to leave the safety of her home when he runs away. The game features a visual style reminiscent of a watercolor painting, and the world comes into view as Rae explores it. It reminds me a lot of the PS3 classic The Unfinished Swan, where you had to spray paint around the world in order to move around and explore. When Rae hears things in the distance, they come into view, but things aren't always as they seem. The sound of a revving engine is imagined as a car in Rae's mind, but once she reaches it, it turns out to be a man mowing his lawn. It's a game about exploration and seeing the world from a different perspective. I haven't played a more relaxing and genuine game in a long time, and if you've got a few hours to kill and are looking for a break from the mainstream, I highly suggest giving Beyond Eyes a try.

Taking the Journey Again

I played Journey when it was originally released on PlayStation 3 back in 2012 and found it to be mesmerizing. I only played it once, though, as I didn't want that experience to be tarnished by going back through it again. I had the perfect idea of what it meant to me and I never wanted that to change, even though I was tempted to play it again on multiple occasions. Journey was recently released on PS4 (complete with a higher resolution and a better frame rate) and I decided it was as good a time as ever to go back and experience it once again.

Like my first play-through, I completed the PS4 version of Journey in one sitting. I think that's it appeals to me so much; it's a game that doesn't require too much effort or take up too much of your time, but still manages to feel complete. Journey can be completed in about 90 minutes, but not a single second is wasted. Every vista, puzzle, and set piece is different from the last. It's just so complete.

You'll be hard-pressed to find a more relaxing game on any console. Just watching your character glide over the endless desert dunes is so strangely therapeutic, as is discovering all of the hidden secrets Thatgamecompany has scattered throughout the world. If there was ever a game that could be prescribed as a treatment for stress, this is it.

Even if you haven't played Journey, chances are you've heard of its soundtrack. It's one of the best in video games, and was even nominated for a Grammy, the first video game soundtrack to do so. It just meshes so well with the visual style of the game. It's one of the few game soundtracks I own and listen to all of the time. But don't take my word for it; you can listen to the game's best track here.

Playing through Journey again didn't diminish the feeling of discovery or wonder I had when I first played it. In fact, it made me appreciate it more and I plan on playing through it again a few more times. It's one of those rare games that gets better each time you play it, as you discover more and more about its world and story. So if you haven't played through it before, I implore that you do so as soon as possible. And, even if you've taken this journey once or multiple times, do so again (it's free on PS4 to those who have purchased in before). It's the perfect way to spend a few hours and unwind, and just get lost in its wonder.

Marvel's Miracle: My Thoughts on Ant-Man

Photo courtesy of MovieFreak

After a long and arduous road, Marvel has finally managed to get one of its most bizarre and lesser known heroes onto the big screen. The fact that an Ant-Man movie got made at all is quite an accomplishment; the fact that it ended up being genuinely funny, entertaining, and solid all-around is a miracle. It doesn't have the heft of an Avengers movie, nor does it have brawn or brainpower of The Winter Soldier, but Ant-Man is a great origin story that balances humor, thrills, and genuine emotion very well.

After the trouble Ant-Man experienced during nearly every phase of production, I was almost certain that it would end up being Marvel's first big misstep. Thankfully, those feelings were unwarranted, as director Peyton Reed, along with the principal cast and a great script by Adam McKay, Edgar Wright, Joe Cornish, and Paul Rudd, managed to make a superhero with the ability to shrink and communicate with ants not just work, but become one of Marvel's absolute best films to date.

Each Marvel film adapts a different narrative style: The Winter Soldier is an espionage film, Thor is fantasy, and GotG is an action/comedy. Ant-Man is structured like a classic heist film, as Ant-Man himself (who in this film and the current run of comics is Scott Lang) is tasked with making sure that the incredible technology that allows him to shrink (the "Pym Particle", created by the original Ant-Man Hank Pym) doesn't fall into the wrong hands. Those "wrong hands" belong to Darren Cross, who has taken over Pym's old company and is determined to duplicate the Pym Particle and create a breed of (super tiny) soldiers. While it's definitely not the most original plot, it works. Think of it as Marvel's Ocean's 11, but with a flying ant named Antony instead of Brad Pitt.

The cast is solid all around, featuring great turns by Paul Rudd as Scott Lang/Ant-Man, Michael Douglas as Hank Pym, and Evangeline Lilly as Pym's estranged daughter Hope van Dyne. They take their roles seriously, but never forget to have fun. Most of the plot, which was originally thought up by Edgar Wright and Joe Cornish, remains intact, and you can definitely feel their influence throughout the film. While it may be void of the charm of Wright's other films, Peyton Reed does a fine job of holding everything together.

In addition to its solid writing and plot, Ant-Man features some of the most creative and entertaining action sequences I've ever seen in a Marvel film; the third act is incredible paced and well shot, and features a thrilling fight between Ant-Man and villain Yellowjacket that takes place inside a briefcase, all set to The Cure's Disintegration. I won't give anything away, but if the structure of the last few Marvel films has gotten you down (small fights and character moments that culminate with a giant battle in the sky), I'm certain you will be pleased with how well Ant-Man moves along smoothly, letting you get to know the characters along the way before ending with a satisfying (and somewhat unexpected) climax.

It may not be Marvel's best (that honor, in my opinion, still belongs to Cap 2), but Ant-Man is definitely one of the most creative and fun films I've seen from them. After the heavy-handed torrent of characters and brooding that was Age of Ultron, I was on the verge of superhero movie fatigue. I can't tell you how refreshing it was to see a superhero movie that scaled it back tremendously (literally) and just had fun with itself.

Ant-Man is light, goofy, funny, touching, and tremendously entertaining. Not bad for the world's second-most famous insect-themed superhero!

(By now, you all know to stay after the credits during a Marvel movie. Be know this: there are actually 2 this time around! One midway through the credits and one after. Be sure to watch them both, as they tease some really, really big things to come in the Marvel universe!)

Steam Refunds and Changing the Digital Distribution System

Image courtesy of wegotthiscovered.com

Steam, arguably the most well-known digital video game distribution platform in the video game industry, recently began utilizing a revolutionary new feature: full refunds for digital game purchases. This may seem relatively insignificant in the grand scheme of things; after all, people have been trading and getting refunds for games as long as they have been available. But, to my knowledge, this marks the first time a major company has allowed their customers to receive a full refund for a digital product that they have purchased, for any reason. The terms and conditions, as outlined on Steam's website, are as follows:

"You can request a refund for nearly any purchase on Steam - for any reason. Maybe your PC doesn't meet the hardware requirements; maybe you bought a game by mistake; maybe you played the title for an hour and just didn't like it. It doesn't matter, Valve will, upon request via help.steampowered.com, issue a refund for any reason, if the request is made within 14 days of purchase, and the title has been played for less than two hours. You will be issued a full refund for your purchase within a week of approval. You will receive the refund in Steam Wallet funds or through the same payment method you used to make the purchase."

Valve, the company that created and operates Steam, obviously has set some pretty strict guidelines for how refunds will work. When I first heard about this, I was worried that people would quickly take advantage of it, by buying a game and completing it, only to demand their money back, effectively playing a game for free. However, it is apparent that Valve has crafted a fair way to allow gamers with legitimate complaints to get their money back. I only wonder if this marks the beginning and end of digital refunds for games, or if it represents the first step in massively changing the way digital games are sold and distributed.

As a gamer, I typically stick to buying physical copies of games, unless of course they are digital-only. I do this mainly so that I can trade them back in when I want to get a new one and not have to pay full price. There have been ideas and rumors floating around about the trade or sale of used digital games since they became readily available. In my opinion, allowing refunds for digital games is probably as far as gaming companies are going to go in regards to the sale of second-hand digital-only products. The idea of a "used" digital game makes very little sense to me. For instance, if I purchase a physical copy of a game, it comes with a case, a slipcover, and a game disc. Like many other physical things, the minute it reaches my hands it begins to depreciate. It no longer holds the same value as it did when it was brand-new.

Because digital games are intangible objects, they cannot obtain or show wear and tear, nor can (or should) they depreciate in value. They do not have cases or discs, and exist exclusively as a digital entity that cannot be seen or touched. If I buy a game for $15 right now, it should still be worth $15 years from now (unless of course it goes on sale or is reduced in price). Allowing someone to buy a digital game for $30 instead of $60 because it is "used" breaks the whole digital distribution system. Why would anyone in their right mind pay $60 for a digital version of a game when they could get it for $30, especially considering that both versions are in exactly the same condition?

If digital game trade were to work, developers would remove certain features or functions from the game (like multiplayer) to reduce its value. Still, as it is right now, the trade of digital games does not seem like something that would work. However, Steam and Vale have the right idea. The process and rules they have set up allow people to receive refunds for digital purchases without being able to take advantage of their services. As far as I am concerned, this is as far as refunds/trades will get for digital games, but who knows what the future has in store.

Fire and Blood: My Thoughts on Mad Max: Fury Road

For weeks on end, I have been trying desperately to turn my feelings about Mad Max: Fury Road into comprehensible words to no avail. Just about every attempt boiled down to me saying "IT'S PERFECT GO SEE IT" over and over. It's now been three weeks since it opened in theaters, and the fires that it set in my brain are slowly starting to recede, and I am finally able to clearly state exactly why I feel that Fury Road is, and forever will be, the greatest movie-going experience of my life.

Mad Max: Fury Road is a film that takes a part of you with it when it's over. I left the theater with my head buzzing and my body slightly weakened, like I just finished an intense two-hour workout. I couldn't think straight for a few hours after watching it for the first time; it's a miracle that I was able to drive home safely. It left me breathless and exhausted, yet I still wanted more. I knew the minute I walked out of that theater that I was going to see it again.

From a technical standpoint, Fury Road is an astonishing achievement. It does so many things so well; it's a masterclass in editing, cinematography, directing, production design, world building, sound editing, acting, and practical effects work, and should be studied in film school for years to come. It should also be said that it's a minor miracle that a film so packed with wall-to-wall action can be so comprehensible. There wasn't a single point where I was confused as to where people were, what they were doing, and how they got there. This is a film that starts at full speed and only gets faster, but you never get lost in its frenetic, breakneck action.

Like the last two films in the franchise, Max plays more of a supporting role here, stumbling into the story by accident. It's Imperator Furiosa, played so brilliantly by Charlize Theron, who takes center stage, and it's her story of redemption that is the heart and soul of the film. Furiosa, along with the five women she has tasked herself in saving from a lifetime of sexual slavery, are all very capable, believable individuals. Not once are those women objectified or used as some sort of "accessory"; each has a unique mindset and set of abilities that are utilized throughout the film. They are more than just a plot device; they are real, believable people who play a key role in their own survival.

Fury Road never falls victim to the many tropes that plague many Hollywood action movies, especially ones that feature female characters. Our heroes are able to reach a reasonably happy end not because Max comes along and saves the day, but because everyone plays a vital role and works together. No one person is more important than another. Furiosa and Max are evenly matched, and they both realize that the only way they are ever going to survive is if they work together. They quickly get a feel for each other's strengths and utilize them whenever needed. Over the course of the film they get to know each other just enough to build a solid partnership; there are no forced implications of any sort of relationship building between the two; they're just two people working together out of necessity (and chance) to survive.

One of the most refreshing things about Fury Road is that it doesn't preach to its audience. The world and the characters that inhabit it are explained through subtle yet revealing visual clues. You get a clear understanding of who these characters are and what makes them tick by just watching them. You understand the trials and tribulations that they experienced without ever having the film delve into some long-winded backstory. It trusts the audience to unravel its mysteries without having to be constantly shown the solution. Not once does it take the people watching it for granted. I can't tell you how refreshing it was to watch a movie that let me discover its world on my own.

It's been said before, but it bears repeating: Fury Road is unrelenting. There are a few breaks now and then that allow the characters and the audience breathe a little, but its foot never fully comes off the accelerator. Everything is always moving forward, never wasting a single frame. The action is brilliantly choreographed and shot, and is constantly one-upping itself. After watching the sandstorm sequence, I was certain that there was no way anything that the film could throw at me from that point on could top it. I was (happily) proven wrong again and again, constantly having to pick up my jaw off of the floor. The way this film builds is a lot like climbing Mount Everest, only when you reach the summit you just keep going up, blasting through the atmosphere and into deep space.

Mad Max: Fury Road a film that reminded me just how powerful, inspiring, entertaining, and beautiful cinema can (and should) be. It is a modern action masterpiece that has set the bar for all films to come. It is almost mind-boggling that a film that spent so long in development could not just turn out as great as it did, but to become a benchmark for all modern filmmaking. It's a film that makes me want to go out and create something. It's as inspiring as it is breathtaking.

Much like he did with The Road Warrior in 1981, George Miller has rewritten the book on action cinema. From now on, I will judge every film in one, simple way: "Is it as good as Fury Road?".

Sadly, I think that answer will always be "no".

The Return of Retro

Image courtesy of Gamer Headlines

One of my favorite games released this year (so far) is Axiom Verge, a 2D side-scrolling action/adventure game in the same vein as Nintendo's Metroid series. It flew under my radar somewhat, but finally caught my attention about a month before it released on the PlayStation 4. Critical response has been overwhelmingly positive but it has not received the same attention as some of the other, bigger games released this year. Though it may seem diminutive in stature compared to the industry's big blockbuster franchises, Axiom Verge is an extremely meaty and rewarding game that relies on the player's quick reflexes and sharp thinking to advance. From its pixelated graphics to its pumping chip tube soundtrack, Axiom Verge has the retro blood of all the classic action platformers of the late 80s/early 90s pumping through its veins, and as someone who has been playing games for a long time, that is a very good thing.

Perhaps the most extraordinary thing about Axiom Verge is that it was made by one person. Tom Happ spent the good part of four years pouring his heart and soul into this project, designing all of the characters and weapons, mapping out all of the levels, writing the story, and even composing the game's musical score. Happ lists Metroid, Contra, and Blaster Master as Axiom Verge's main influences, and the love for those games is clearly present in just about every ounce of the his creation. Many games today cite multiple games as influences, but most have moved away from conventions of the past in favor of newer, simpler game design. However, as recent trends indicate, Happ is not the only person with a deep love and appreciation for gaming's past. Retro gaming is making a big comeback.

Axiom Verge represents a renewed interest in games that adhere to the "old school" rule book. The game industry is full of big, expensive games that utilize state-of-the-art technology to give the player an unrivaled, realistic gaming experience. But every so often, it is good to revisit the past. Independent developers are leading the charge; games like Shovel Knight, Guacamelee!, Rogue Legacy, Fez, and Spelunky were all made by small development studios, and all of them were huge hits critically and commercially. They gave me the same feeling I had as a kid, discovering video games for the first time. It is that sense of discovery and nostalgia that I think is sorely missing in the industry today, and is something the constant barrage of Assassin's Creed and Call of Duty games cannot offer.

I would love to see more games like Axiom Verge in the future. What makes it so great is that it wears its influences on its sleeve without blatantly ripping them off; it is a great, unique game in its own right. Games like it, along with the fantastic Shovel Knight and Rogue Legacy, show that fancy graphics or a deep story are the only things that make games great. The games made back in the Super Nintendo/Sega Genesis era were all made with one goal in mind: make the best possible game with whatever limited resources are available.

Technology was not what it was back then, so developers had to rely on genuinely great game design and expert craftsmanship to get their game made and sold. Games are easier to make than ever, and in the process, have lost that certain heart and soul that made games of the early 90s so memorable. I am truly thankful games like Axiom Verge exist and that an audience is responding to them the same way I am. Maybe modern developers will take notice, and finally remember that in order to keep going forward, sometimes you have to look back.

Nintendo Goes Mobile: A Game Changer?

Picture courtesy of Game Informer

This past week, Nintendo made a stunning announcement that they were teaming up with mobile game publisher DeNA to release games and apps on mobile devices. This was long rumored, and Nintendo constantly denied any desire to enter the mobile market, especially when its 3DS brand of handheld gaming devices has been selling incredibly well, even beating out both the PS4 and Xbox One in sales for the month of February. Nintendo will develop all of the games (which will all be brand-new, and not ports of existing games) while DeNA will lend their expertise to make sure the games fit within the mobile space. The announcement came alongside the reveal that Nintendo was also working on a new, next-generation home gaming console; usually news about a new gaming system would take center stage, but the revelation that gamers will soon be able to play Mario and Zelda on their smart phones or tablets is a huge deal.

In the wake of this announcement, Nintendo's stock rose almost 33%, which is great news for the gaming giant. Nintendo has always been a company that plays by its own rules, for better or worse. Most recently, this mindset has backfired in a major way; the Wii U has been a major critical and commercial disappointment (which is possibly the reason why they are currently working on a new, more powerful system) and many long-time fans are becoming more and more fed up with company's failure to keep up with the ever-changing gaming market. However, with the decision to develop and publish games on mobile devices, it seems as if Nintendo is finally willing to keep up with the times.

Even with the commercial and critical disappointment of the Wii U, Nintendo is still the world's most recognizable and popular video game company. Developing and releasing their games on smart phones and tablets is arguably the smartest move the company can make, especially in today's market. Mobile gaming is the biggest and most profitable in the entire industry, so by bringing their games to mobile devices, Nintendo has the opportunity to reach a new market and create a generation of new fans. Nintendo president and CEO Satoru Iwata stated that the company hopes that their mobile games will help people become "interested in the Nintendo IP" and will become more motivated to buy a Wii U or 3DS.

Nintendo claims they want to begin releasing mobile titles as soon as this year, which is an admirable and attainable goal. In my opinion, the sooner they can get their games on mobile devices, the better. Despite their recent upswing in sales, Nintendo still has a lot of catching up to do if they want to go toe-to-toe with Sony and Microsoft. Hopefully this decision will lead to much greener pastures for the company; as someone who grew up with Mario, Zelda, and Donkey Kong, there is nothing I would like to see more than Nintendo be on top once again.

Helldivers Review: Glory in (Constant) Death

Image courtesy of Sony Computer Entertainment

The beginning of each new year can be somewhat of a dead zone for gaming; all of the biggest releases are still on the horizon, and a solid new game is hard to come by. I typically use January/February as a place to catch up on my gaming backlog, but sometimes, out of nowhere, a great game sneaks up on me to (once again) push all of those unfinished games to the side.

Case in point: the brilliant and insanely tough Helldivers, a PlayStation-exclusive top down science fiction murder fest from Arrowhead Game Studios (whom you may recognize as the developers of Magicka).

If you've played Magicka, then Helldivers should feel right at home; you can team up with three of your buddies and traverse a near-endless stream of procedurally generated maps killing enemies and completing objectives. However, friendly fire is always on, meaning you have to coordinate with your friends in order to succeed. This adds a new layer of strategy and coordination; if you want to survive, you have to work together. And watch where you point your gun.

The setup for the game is straight out of Starship Troopers: you are a Helldiver, the best soldier that Super Earth has to offer. It is the distant future, and you are tasked you with eliminating the evil alien menace that is plaguing the galaxy and out to destroy Super Earth's way of life. It's up to you and your Helldiver pals to spread managed democracy across the universe and ensure freedom for generations to come! It's gleefully hilarious, especially since your character yells out "Have a fresh cup of tea-mocracy!" and "FREEDOM!" just about every time you kill something.

Gameplay is simple enough to grasp but has enough layers to create some unique strategy. You travel from planet to planet (each with varying difficulty) completing objectives, all the while trying to escape with your life. You have an arsenal of weapons that can be expanded and improved the more you level up. Each planet you visit also has scientific samples that you can collect to gain research points, which are in turn used to level up your weapons and abilities. Each player has the ability to call in support via strategems; equipment ranges from turrets and ammo to an APC and even a giant mech suit. Before you leave each mission, you have to wait on your escape shuttle; it's a little 'last stand' of sorts, with enemies coming at you from all sides. It's frantic and incredibly fun, especially when you throw other players and multiple strategems into the mix. Controls are precise, meaning you have no one but yourself to blame if you die.

Helldivers doesn't hold your hand at all. It rarely does you any favors, so that means it's up to you to take care of yourself and your teammates. Everything in this game can kill you: your friends, your own weapons, your defensive equipment, a teammate's drop pod, even the rescue shuttle can flatten your ass. You may thing that's a little too much, and at times it can be (especially when you're close to the end of a mission) but trust me when I say that nothing that Helldivers threw at me was frustrating. In fact, the multiple deaths made the game that much more fun (and hilarious). The feeling of accomplishment you get when you clear an insanely tough mission is incredibly rewarding.

You can play the game solo, but I would strongly suggest you either play with friends or use matchmaking. Helldivers is made for co-op, and it's much more entertaining and rewarding playing with others.

We're barely into 2015, but Helldivers is all but guaranteed to secure a spot on my "Best of" list at the end of the year. It's been a while since I have played as rewarding and entertaining game as this. I highly suggest you gather three of your closest buddies and dive straight into hell; you'll have a damn good time.

Just prepare to die. A lot.

The Order: 1886 and Quality vs. Value

Image courtesy of Twinfinite.net

Over the weekend, copies of Sony's upcoming major first exclusive title The Order: 1886 found their way into the hands of a few gamers, one of whom decided to upload his play through of it on YouTube. This caused a major controversy; not because someone put an entire play through of a yet-unreleased, highly anticipated game on YouTube for all to see, but because the game clocked in at about five hours. Many gamers became rather upset (actually, enraged would be the more accurate term) at the fact that a massively hyped, full-price single player-only game would offer such a short playtime. People have been debating The Order: 1886 all week long (it's still a trending topic on Twitter as I write this) and despite all of the anger it has attracted (this is the Internet, after all, and 'hate' is the only language people speak), the dispute over game length brings up some interesting discussion.

For me, game length really isn't a factor. I would much rather play a shorter game that feels concise and complete, rather than one that is lengthened with unnecessary padding (Alien: Isolation comes to mind, though I did still thoroughly enjoy that game). I cannot say whether The Order: 1886 is a 'good' or 'bad' game yet because I haven't played it; I have pre-ordered it, and, despite all of the outcry over it, am still eagerly awaiting the chance to get my hands on it.

Many people angered at the game's length immediately assume it is a bad game. That argument holds absolutely no ground. It seems to me that people are mixing up the concepts of 'quality' and 'value'. Allow me to explain:

First, remember that value is defined as "the worth or usefulness of something".

For the purposes of my explanation, let's take the entire concept of quality out of the equation and focus solely on value:

• If you buy a game for $60 and it lasts you 10-15 hours, that means you paid about $4 per gameplay hour. That is a good value. The game was a good use of your money.
• If you buy a game for $60 and it lasts you 3-6 hours, that means you paid about $10 per gameplay hour. That is a bad value. The game was a bad use of your money.

The only thing a game's length has an impact on is your wallet. Whether or not you enjoyed those six or twenty hours is completely up to you. Regardless of how long or short a game is, if you enjoyed playing it, that means you made good use of your time, and vice versa. To me, if a game is great, the fact that it's long or short is made irrelevant. A game should always be measured by how good or bad it is, not by its length. For all I know, The Order: 1886 could contain an absolutely fantastic five hours. And if that's the case, then I'll be glad I played it.

If you feel that a five hour game has no reason to be $60, you have every right to think that. But that doesn't mean the game itself is inherently bad because of it. You have to remember that quality is a perceptual, conditional, and somewhat subjective attribute that can be understood differently by many people.

In the end, the length of a game typically is the result of the developer's artistic vision. If Ready at Dawn felt that five hours was long enough to contain their vision for The Order, then you have to respect that. You don't have to like it, but just honor the fact that it's the game they wanted to make.

Gaming is an expensive hobby. Do what you wish with your money. My philosophy as I've gotten older is this: if there's something out there that you have interest in and want, go get it for yourself. Pay no attention to the opinions of others and make your own judgements. Is The Order: 1886 too short for your liking? Great, don't buy it! Are you fine with paying $60 for a five hour game? Great, buy it!

So in the end, what I'm asking is this: judge a game by its quality, not its length.