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mediabasedlife · 3 years

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A Look Back At...The Last Generation (2013-2020)

I’d like to start this off by thanking those who encouraged me to write this article, my friends and family who encouraged me to rekindle this project despite my own trepidation. I hope its quality lives up to those lofty expectations.

Say what you will about the hobby, gaming is in many ways the gift that keeps on giving. Every year there are hundreds, if not thousands of new offerings for every brand of player out there. And wouldn't you know it, there's a fairly significant portion of that library that are actually pretty good. Now, people will argue ad infinitum about what games are the best, or what consoles, or even which generation trumps the rest. This diversity of opinion is what has allowed gaming discussion to thrive just as potently as the medium which it encapsulates. Like any opinion, all of this is especially subjective; great games have been coming out pretty much every year since gaming began, a trend that seems like it will continue as long as gaming itself continues to thrive. While some may argue, I would say the latest generation thrived especially well. Ignoring the Wii-U, since I never owned one, and skirting around handhelds, the latest generation spanned the life of the Xbox One, the PlayStation 4, and technically, the Nintendo Switch. And through their seven-year life [switch notwithstanding], we saw the release of some truly excellent games - from top budget AAA titles to humble indie offerings. Now, in 2020, while we as a community are taking our first steps into the new generation of gaming, I think it fair to take pause, gaze back, and remember some of the games that made the latest generation so memorable for so many.

2013

2013 marked the start of the last-gen, with the release of both the Xbox One and the PlayStation 4. Both consoles were built to shepherd out their predecessors, marking leaps in visual fidelity and infrastructure that would empower them to become the monoliths of gaming that they hoped to be. I won't say that both consoles had an equally vibrant launch, but they both tried to put their best foot forward. While the Xbox was busy desperately trying to become the multimedia center for your living room, Sony kicked off the next generation in style, releasing a whole seven days earlier than its competitor. With the Xbox not far behind, both consoles brought a suite of new, shiny games to play. Well, in theory, anyway. I'm not here to speak of the quality of the launch lineups of either console, but what I can do is list off the game that stood out, and why it made it onto my list.

-Assassin's Creed Black Flag Black Flag actually saw its initial release on the PS3 and Xbox 360 almost a month prior to the soon to be current generation, but with both new consoles came a second release, one that came equipped with all the bells and whistles you'd expect from what was then a next-gen game. It doesn't look good for my list to start things off on a technicality, but this game is worth it. Black Flag remains one of my top three Assassin's Creed Games, which is saying a lot considering the sheer scale of the franchise. Fresh off the love it or hate it Assassin's Creed III, Black Flag looked to take a revitalized approach to the franchise formula, playing off of fan feedback, expanding upon what fans loved from AC3, and adding in new activities and a broader, fresher open world to explore. In it, you play as Edward Kenway, a charming rogue of a pirate who kicks the game off by stealing the identity of a defected Assassin. Expecting nothing more than riches and glory, his masquerade instead goes quickly sour, thrusting Edward into the conspiracy filled, secretive world of the Assassin and Templar conflict. What makes this story stand out is how different Edward was as a protagonist, seeing him acting largely indifferent to the traditional formula the assassin's creed games had followed thus far. The game's setting also helped it immensely; the game plays more like a pirate simulator, seeing players sail the Caribbean searching out treasures and fame, gathering a sturdy ship and a hearty crew, engaging in thrilling naval battles, and basking in the warm glow of the sun-drenched sands that define the game's many islands. Along the way, you interact with a bevy of historical or mythical figures, such as Blackbeard, Captain Kidd, Calico Jack, and many more. All of this came together to create an immensely satisfying game, a standout amidst its peers and predecessors, and an experience that still stands the test of time despite the numerous sequels it has received.

2014

2014 was the year the new generation really started to pick up. The consoles had begun to get their footing, truly ushering in the next wave of quality games and proving their value to the players. Several critically acclaimed games got their start here or saw revitalized releases on the current generation of consoles. However, there were a few strays, games that elected to release on the prior consoles first and foremost, games that wouldn't see new-gen ports for some time, and others that never did, but still merited recognition and praise. But how many will make it onto my list? Well, you'll just have to read on.

-Titanfall Titanfall was, for me, the first game on the Xbox One that truly cemented it as a worthy purchase. It was a melting pot of ideas and innovation that I immediately fell in love with. Built with an always-online principle, Titanfall sees players engaging in a pseudo-campaign of multiple, looping competitive matches. On the surface, you could easily glance Titanfall's way and see nothing remarkable. Another first-person shooter in a sea of competitors, all of whom had far more clout at the time. But what set Titanfall apart from the start was its dedication to movement, satisfying and fast-paced gunplay, and especially, robots. See, Titanfall's whole gimmick is this; players take on the role of Pilots, better than average soldiers of the far future who are deployed in times of conflict as superior ground troops, but more importantly, heavy artillery. As pilots perform well on the battlefield, they can call in the titular Titanfall, summoning their respective Titan to the fray. Titans are large, deadly mechs that can be piloted by the player to give them a distinct advantage in battle. What this translates to in gameplay is simple; as players make their way through matches, they build up a meter which when filled allows them to call down a massive robot to wreak havoc. Every player can do this, usually multiple times a match if they're good enough. Titans are fast, tough, and lethal, and fun as hell to control. But what kept the game balanced was the fact that titans weren't invincible. All players came equipped with anti-titan weaponry, alongside their usual loadout of rifles or handguns. This meant that anyone could take a titan down if they were savvy. The titans, coupled with the frantic movement and satisfying shooting, made Titanfall a one of a kind game. It's fitting, then, that the inevitable sequel would go on to improve on it in virtually every way, but that'll have to wait for later.

-Diablo 3 I will admit to not having played this in its initial release window, in fact, some years would pass before I finally picked it up on console during a sale. And though my time with it was quite belated, I would still consider it to be a genuinely fun game, one worthy of being on this list. In Diablo 3, players choose between seven classes; Wizard, Monk, Necromancer, Witch Doctor, Demon Hunter, Barbarian, or Crusader. From there, they are thrust into the demon-plagued land of Sanctuary, beginning their adventure in the town of New Tristram. Each class has a different backstory and a slightly different narrative throughout, but the core throughline is thus; you are sent to the village to investigate reports of a falling star, only to be swept up in a fight against hell and heaven itself for the fate of the world. In terms of game difficulty, the game sports an impressive twenty difficulty tiers; easy, normal, hard, master, and then sixteen levels of torment. Should players want an even greater challenge, there's also hardcore mode, which starts you off with permadeath: you get one life, no exceptions. Die, and the character is gone for good. Overall, I would say that Diablo's biggest strength is in its gameplay loop; Diablo plays like a top-down, hack and slash role-playing game, with players exploring the various levels in search of loot all the while battling hordes of enemies and leveling up, earning new abilities and skills that players can swap out to create their ideal builds. The core gameplay loop, while simple, is wildly addictive, with a massive loot pool to chase in an effort to grow ever stronger. Each class plays differently, but all of them are easy to learn. Diablo also supports local and online multiplayer, making it a great game to play with friends or family.

-Sunset Overdrive Sunset Overdrive is a game I've previously covered on this blog before. In fact, I'd say I did such a good job that if you want to read about it, go read that article. But if you'd rather not click away, let me give you the TL;DR. Sunset overdrive is a satirical open world game made by Insomniac in which you play as a cocky and comedic hero out to save their city from a bogus energy drink that caused a pseudo-zombie outbreak. It's built around movement, with the player grinding on rails and running on walls and doing everything they can to stay mobile while gunning down the mutated enemies and exploring the environment. It's funny and feels great to play while being hampered by an underwhelming character creator and suite of customization options, but still manages to come out on top as an immensely satisfying game.

-Destiny Destiny is the brainchild of one Bungie studios, the original creators of Halo, the next game on this list. Fresh off their amicable split from Microsoft, Bungie did what they did best; develop a truly great FPS. But this time, they added a twist; Destiny is equal parts Shooter, Looter, and MMO. It took these three core ingredients and mixed them together with gusto, delivering an immensely entertaining game that felt incredible to play both alone or with your friends. The story of destiny is a long one, but can be summarized simply; Some years in the future, Humanity met and allied with an alien being known as the Traveller, an alliance that heralded massive technological and social leaps, ushering in the new Golden Age of humanity. Unfortunately, the Traveller's natural enemies, The Darkness, attacked the solar system, destroying much, and whittling down the last survivors to a single safe city. In response, the Traveller created Guardians, reanimated protectors infused with the Traveller's power, tasked with defending the earth and all its colonies from the encroaching forces of evil that threaten this dwindling peace. Resurrected by a ghost, an emissary of the Traveller, you play as one of these Guardians; taking on the role of either the agile Hunter, the cosmically magical Warlock, or the strong and stalwart Titan. From there, you could either progress alone or join up with friends to take on the challenges of the solar system, pushing back the forces of darkness. Although lacking in longevity in its first outing, destiny was quickly expanded and iterated upon, turning it from an already impressive game to a true powerhouse and pillar of its genre.

-Halo: The Master Chief Collection I won't pretend this started off as a flawless, perfect compilation of prior Halo games. But I love Halo, and I loved playing these games again, so it makes the list. Especially after all of the improvements and subsequent additions 343 made to the collection post-launch. On release, it featured Halo CE, Halo 2, Halo 3, and Halo 4, but has since gone on to include Halo 3: ODST and Halo Reach as well. If you're unfamiliar, Halo is a staple franchise in the Xbox lineup, and the master chief collection sought to unify all of the prior releases under one umbrella for the newest console. Halo is a sci-fi FPS franchise, largely following the saga of the titular Master Chief Petty Officer, John-117. John, or Master Chief as he is more commonly called, is a Spartan; a supersoldier of the future, who fights to protect humanity from an alien collective dubbed The Covenant. In the first game, Master Chief crash lands on an alien ringworld known as Halo, which later turns out to be an ancient superweapon created to exterminate all sentient life in the galaxy. Subsequent games only build the stakes from there, seeing John stave off one intergalactic threat after another in a franchise that continues to satisfy time and again. What the Master Chief Collection does is bundle everything up in one convenient package, while simultaneously offering tweaks and improvements to complement the technological advancements of the new consoles. It offers local and online multiplayer, both for its story and its competitive modes. Overall, even with the flawed beginnings, I would consider The master chief collection a must-have for Xbox players.

-Grand Theft Auto V Ah yes, GTAV, the game that refuses to die. Technically, this game released on the Xbox 360 and ps3, but it's been put on the PS4/XBO and now even the PS5 and the latest Xboxes too. I won't be surprised if this game gets ported to the consoles that come after that, too, in seven or so years. This game just won't quit. But that's also a testament to the dedication of its player base and the overall quality of the game itself. GTAV is an irreverent, biting joy of a game, replete with humor and charisma. It was, and remains, the latest in Rockstar's open-world crime franchise, in which players take on the role of not one, but three separate characters trying to make their way through life in Los Santos California; Michael, a retired crook stuck in the witness protection system, Michael's former, quite deranged partner Trevor, and rounding out the cast is Franklin, a street-savvy up and comer. Together they go about committing numerous heists, shady deals, and more than a few moments of mayhem in their quest for glory. Its secondary selling point was a robust and open-ended online mode, where players could create their own character and participate in myriad activities with and against their friends and strangers for fame, money, and clout. This is the mode that has kept GTA going in the years since its release, and it is the mode that has seen the most improvements and updates as well. I spent a not inconsiderable amount of time in it myself, but it was always the story of Michael, Trevor, and Franklin that drew me in overall.

-Tales from the Borderlands Tales from the Borderlands is the only Telltale game I'm putting in this whole list. Not for lack of quality on the other games' parts, but simply because this one has to be my favorite. For those unfamiliar, Borderlands is a series of FPS games that take place far in the future on the fringes of space; the titular Borderlands. It follows a revolving door of ragtag Vault Hunters, people who go in search of mythical, alien "vaults" that are rumored to contain vast amounts of treasure. They are incredibly popular, addicting looter shooters that match satisfying gunplay with beautiful cell-shaded graphics, topped off with charming and funny characters and not too shabby storytelling. Telltale games, on the other hand, are traditional point and click adventure games, released in episodic formats and usually broken down into seasons. They focus on storytelling first and foremost, showcasing incredibly compelling narratives influenced by player choice. You'd think, then, that these two dichotomous formats wouldn't pair well together at all, but Tales from the Borderlands proves that sentiment is wildly false. Tales from the borderlands took what was great about previous telltale games, and matched it perfectly to an original tale set in the Borderlands universe. It weaves an incredibly compelling narrative, filled with equal parts humor and feeling, and manages to tell one of the best Borderlands stories to date.

2015

I don't have a lot to say about 2015. The new generation was still going strong and saw some truly excellent games grace its shelves, many of whom are going to appear below.

-Bloodborne 2015 kicked off incredibly strong with Bloodborne, the latest instant classic from the studio behind the equally popular Dark Souls franchise. Bloodborne melds the skill-oriented, punishing combat and exploration heavy maps of the Souls games with an eldritch, psychological atmosphere, a match so perfect it went together like peanut butter and chocolate. To espouse the story of Bloodborne would be an effort in itself, but I shall do my best to summarize it; Shirking the more medieval settings of the Souls games before it, Bloodborne sees players navigating the victorian gothic town of Yarnham, a city plagued by beasts and monsters. It is these monsters you are tasked with dispatching, taking on the role of a Hunter of Beasts, sent to cleanse the town of that which ails it. But not is all as it seems, and the beasts may not be the only monsters Yarnham has to offer. Outside of its interpretive yet incredibly strong narrative, Bloodborne offered equally polished gameplay, iterating on the previously mentioned combat from prior dark souls games to create a punishing yet wildly satisfying gameplay loop that was easy to learn yet hard to master. Bloodborne forced players to always be on their guard but gave them no shield or barrier with which to do so, believing that offense was the greatest defense, making success hinge on your willingness to fight and your skill in surviving the nightmares that Yarnham had to offer. A melding of horror, action, and exploration, Bloodborne was a true success, cementing itself for years to come as a top tier action-RPG, and saw countless fans that remain dedicated to it to this day.

-The Witcher 3: Wild Hunt I'm going to be blunt; This is one of my favorite games of the last generation. It is a top tier RPG, made up of an incredibly charming cast of characters, a beautiful open world, and a thrilling, fantastical narrative that all come together to make one of the best games to release in the last seven years. Though a sequel to not only two prior games, but also a long line of books, The Witcher 3 was surprisingly friendly to newcomers, of which I was one at the time. Despite its pedigree, I felt right at home in the world of the Witcher, quickly picking up on what I had missed in its long and storied life. The Witcher 3 puts players in the role of Geralt of Rivia, the titular Witcher, a magically enhanced human tasked with routing out monsters that threaten the world of man. This time around, Geralt is searching for his ward, Ciri, as he navigates a world fraught with monsters and men in equal measure. what starts as a simple search for a missing friend quickly blossoms into an adventure for the fate of the world itself. Though a fantasy RPG at its heart, the witcher manages to tell some particularly grounded and human stories, and this game is no exception. One moment will see you stalking a beast out in the wild, the next will see you navigating political intrigue in the courts of royalty. But it all flows together to create one of the best RPGs I've ever played, and one that earned a not inconsiderable amount of well-deserved praise when it first debuted back in 2015.

-Assassin's Creed Syndicate Hot off the heels of the muddied AC Unity, Syndicate was the last proper Assassin's Creed game before the franchise would experience a massive genre and gameplay shift in its next entry. Where Unity saw too much focus on graphics and not enough care anywhere else, Syndicate finely balances all of its parts to create an impressive experience overall. This time around, players get to visit London, at the tail end of its industrial revolution. Out goes flintlocks and swords, in came steam and steel. This entry sees players in the role of both Evie and Jacob Frye, siblings fresh off their induction into the Assassin Brotherhood, tasked with dispatching justice on their Templar foes across London. The setting isn't the only big change for this game, as Syndicate saw an overhaul in both visual quality, scale, and gameplay. London feels lived large and lived in, with plenty of ground to explore and streets filled with people going about their day-to-day. Missions are split between Jacob and Evie both, with some allowing you to pick and choose and others forcing you into the shoes of one or the other as they work together to clean up the city. It innovated on the traditional gameplay loop, with this game having you going from borough to borough, toppling its templar leaders and expanding your sphere of influence with the aid of historical figures like Charles Darwin, Karl Marx, and Nikola Tesla. These famous faces are not the only people lending the Fryes their helping hand, as Syndicate also put the Fryes in charge of their own street gang, a ragtag group of brawlers and scouts that would come to their aid at the press of a button. Most times, conquering a borough involved you and your gang scrapping it out with those of the templar order, dusting knuckles to see who got the final say in the control of the area. This may seem at odds with the traditionally stealth-oriented approach prior games focused on, but that side of the game was not neglected either. Assassination missions saw fine-tuning and innovation as well, with players able to plan out and partake in uniquely tailored kills that matched the locale and personality of their target, from disguising yourself as a scientific cadaver to kill a corrupt doctor to allying with a guard and feigning capture to infiltrate and kill a target in the Tower of London. The game saw improvements out of combat as well, with Syndicate receiving a large overhaul in its parkour movement and general navigation. The Frye twins come equipped with a grappling hook that allows for speedy travel across London's many rooftops, while ground travel was made all the more expedient with the inclusion of horse-drawn carriages. The general parkour itself was also tuned, allowing for freer player movement and tighter directional control. All of this to say, Syndicate saw some truly welcomed improvements, iterating on the legacy and creating a lasting impression that stands up as one of the better games of the franchise.

-Star Wars Battlefront While I've spoken of a Battlefront on this blog before, this is not that same game. Rather, this is Battlefront 2015, a soft reboot to the previous Battlefront line of games for the new generation of consoles. This Star Wars Battlefront was helmed and developed by Dice, famed for the Battlefield franchise, a line of competent and entertaining military-focused first-person shooters. They were known for solid campaigns, but more importantly, massive scale competitive multiplayer modes. This pedigree is shown heavily in Battlefront, with the game sporting 64 players competitive multiplayer, with teams taking on the roles of either the empire or the rebellion as they fight their way through maps taken straight from the star wars universe, from the snowy plains of Hoth to the immense forests of Endor and everywhere in between. The game was replete with game modes and had the ability to be played in either first or third person. Players were given access to a modest selection of in-universe weaponry, and could even take the role of recognizable star wars heroes on occasion. Visually, the game was stunning, with incredibly faithful and detailed recreations from everything to weapons to the maps themselves. It felt like a genuine passion project, built from the ground up by competent developers and made for fans and first-timers alike. Battlefront, much like many games on this list, has since been usurped by a sequel but remains an incredibly competent shooter and a genuinely fun game to play.

2016

While 2015 saw the release of some truly impressive games, 2016 was a genuine powerhouse of a year. It saw the rise to prominence of Virtual Reality, through the oculus rift and the PlayStation VR. 2016 also saw the first re-released console of the current generation, in the form of the Playstation 4 Pro, a trend that Xbox would follow as well, seeing the release of 2016's Xbox One S, and in 2017, the Xbox One X. These were touted as faster, better performing, better-looking consoles than their base model predecessors, offering several enhancements to graphical fidelity and console performance, running games even better than they already did. And with these new consoles came an all-star suite of excellent games, a multitude of instant classics from big-name studios and fresh indie developers alike. Many of the games that released this year are ones I've individually covered before, but they still deserve their spot in this article. So without further ado, here are some of the most noteworthy games of 2016.

-Oxenfree Where Bloodborne was the standout hit that kicked off 2015, Oxenfree did the exact same thing for 2016. Developed by the California based indie team at Night School Studios, Oxenfree is a supernaturally infused, slice of life adventure game that follows Alex, a witty, rebellious, soon to be high school graduate as she makes her way to the fictional Edwards Island, accompanied by her best friend Ren and new stepbrother Jonah. This small group of friends is meeting up with what they assume will be a large group to have a weekend bash, But what was supposed to be a boisterous weekend party turns out to just be two extra guests; Clarissa, a fellow student who has ties to Alex, and Nona, a mild-mannered girl who just so happens to be Ren's current crush. Their modest get together quickly goes south when Alex uses a small handheld radio to tune into a weird signal emanating from the island, unleashing the spirits of a sunken military submarine, long since lost at sea. These wayward souls possess one of the kids and scatter the rest across the island, forcing Alex to uncover the mystery of their death and find a way to save her friends and escape the island. The game wears its inspirations on its sleeve, taking queues from classic ghost stories as much as it does retro coming of age stories, but it adapts these ideas masterfully. As for how it plays, Oxenfree is a side scrolling point and click adventure game, built around exploration and dialogue rather than complex game mechanics. It explores the interpersonal relationships between all the characters as much as it explores the haunted nature of the island itself. It easily shifts between these disparate tones, with a story filled with as many supernatural spooks as sarcastic teenage banter, seamlessly integrating player choice into the mix to create a truly excellent narrative. Oxenfree also features a high amount of replayability, with player choice going on to influence which of the game's many endings, as well as touting a new game plus mode that adds an extra smattering of content for your subsequent playthroughs. Oxenfree was a gift that kept on giving, more than earning its spot on this list.

-Firewatch Firewatch is the first of several 2016 games I've previously written about, and while my opinion of it may have not been the highest initially, ruminating on it since has led me to a new appreciation of the time I spent with it. I would recommend reading my original review, but the short summary is thus; you play as Henry, a man on the run from his troubles who takes a job in the Shoshone national forest, keeping an eye on the wildlife and ensuring nothing is amiss. Your companion through the game is Delilah, a voice through your walkie talkie, somebody else who has taken the same job as you over in one of the adjacent watchtowers. Throughout the game you explore the forest, keeping the area safe while exploring the mysteries of the area you now inhabit, all the while developing a friendly relationship with Delilah as you go. It's a simple, but satisfying first-person adventure game, with an emotionally charged but comedic narrative about one man's journey to get lost and find himself.

-Stardew Valley Stardew Valley is a retro-inspired simulator game about a down and out office worker who inherits their grandfather's farm in the titular Stardew Valley. They leave their mundane life behind and embark on a new journey in rural life, building up the farm from a rundown, untamed field into a bustling agricultural powerhouse, all the while making friends and forming bonds with the locals that you meet along the way. Stardew plays like a dream and features a stunning pixellated art style that complements its easygoing nature. Stardew is a game you can get lost in with ease, featuring an incredibly satisfying gameplay loop; It's a charmingly simple sim, one that encourages players to make their own way and their own choices, with a multitude of different ways to spend each in-game day. You're encouraged to play the game at your own pace, experiencing its range of content as it comes, rather than being railroaded into any one path for progression. It's a game that encourages exploration, diversity, and freedom, one that never really ends. Stardew made waves when it first came out for being such an open-ended, friendly experience, and it has since gone on to be heavily expanded upon by its developer, seeing releases on even more platforms and accruing even more fans along the way. It's a game that's easy to love and hard to put down, a comfort food game that makes you want to revisit it time and again.

-Titanfall 2 Where the original Titanfall was an excellent Xbox exclusive, Titanfall 2 bloomed the franchise into a multiplatform powerhouse. While it kept the excellent multiplayer modes, Titanfall 2's biggest change was the inclusion of a proper single-player story, and it's this inclusion that sees Titanfall 2 earn a place on my list. Titanfall 2's campaign is short, but sweet, seeing players take on the role of Jack Cooper, a pilot in training under the mentorship of an experienced soldier named Lastimosa. Unfortunately, on their first field mission, Lastimosa is killed, forcing Jack to embrace his future role as Pilot in an effort to survive and keep Lastimosa's experimental Titan out of enemy hands. This Titan, given the codename BT, is unique among Titans in that it can freely equip the various titan weapons and abilities, while simultaneously having an expanded AI that allows it to perform better in combat than its contemporaries. Together, Jack and BT make their way through the Frontier, coming into conflict with the varied enemy forces that they were originally sent in to stop. The campaign is brief, but what it lacks in lengths it makes up for in entertainment; the banter between Jack and BT makes for some great dialogue, and the campaign is perfectly built around the shooting and movement tech that made the first Titanfall so distinct, creating a series of levels that are just as built around gunfights as they are around precise first-person platforming. The game's environments are also beautiful to look at, varying from gritty industrial complexes to lush jungle environments that are as nice to look at as they are to maneuver through. Accompanying the stellar story mode is the recurring suite of multiplayer offerings, all of which have been upgraded and improved upon to complement the innovations of the sequel. Where Titanfall was good, Titanfall 2 is great, and it's a continual shame the series hasn't been given more time to shine.

-The Elder Scrolls V: Skyrim - Special Edition This is another game that I've previously covered on my blog, and it's also another technicality. See, Skyrim technically released back in 2011 but saw so many re-releases in the years afterward that at this point the only device that doesn't natively play it are phones. With this particular re-release, Bethesda sought to give console players the same quality of life changes that PC players had been seeing for years, namely graphical improvements, stability patches, and most importantly, player-created content. Skyrim had developed a bustling and dedicated community of creators in its years since release, all of whom had made countless mods for the game that ranged anywhere from simple tweaks to full-on expansion sized stories, and the special edition release marked the first time Xbox and Playstation fans could get their hands on this library of unique content. It created a situation where the already hefty game could be made all the more robust with fan contributions. Don't like the music? Download one of the unique music packs somebody put together. Want any number of pop culture-inspired items? Looking for some new quests to spice up this five-year-old game? It's all there and more.

-Watch Dogs 2 You might be wondering why I've put Watch Dogs 2 on this list while its predecessor is nowhere to be found. While the first Watch Dogs was a middling revenge story that happened to incorporate some neat hacking based features, Watch Dogs 2 is where the franchise really found itself. It follows the story of one Marcus Holloway, a bright and witty young man who's been framed for a crime he didn't commit by a faulty surveillance network that monitors the city of Los Angeles in a pseudo-dystopic future not so removed from our own. So Marcus does what he does best, hacks into the network and removes himself from it entirely, embarking on a campaign to take the whole system down with the help of white hat hacker collective Deadsec. What sets this game apart from its predecessor is the charisma of its cast and the far more varied ways in which you can use the game's technology to your advantage. Hijack cameras, remote control vehicles, manipulate streetlights, the world of Watch Dogs 2 is yours to manipulate all at the press of a button. And if hacking doesn't get you where you need to be, Marcus has some skills of his own; he's particularly skilled at parkour and quite handy at non-lethally dispatching foes with a weapon of his own design, a billiard ball attached to a bungee cord. And if playing non-lethally isn't your thing, you can also accumulate quite the arsenal of homemade weaponry, all 3D printed from the base of your hacker collective. Watch Dogs 2 is a game about a group of people trying to take down a corrupt system using whatever means they can. It's a witty, satirical, but surprisingly grounded story told across a beautiful open-world recreation of Los Angeles, one that drew me in far more than its predecessor ever managed to do.

2017

2017 might not have had the same pedigree of games as its predecessor, but it did see the belated release of the latest current-gen console; The Nintendo Switch. A revolutionary step up from the Wii and Wii U, The Switch took the gaming world by storm thanks to its ability to seamlessly transition from a home console playing on your TV to a handheld console able to go with you anywhere. The Switch remains a staple of the console market to this day, easily standing tall next to the Playstation and Xbox consoles both new and old. Aside from the Switch, there was still a healthy collection of games for people to enjoy, some of which will be highlighted below.

-Night in the Woods Night in the Woods marks yet another game I've personally reviewed, and also stands proud as one of my absolute favorites of this generation. A humble offering from indie studio Infinite Fall, it was a gorgeously animated sidescroller of an adventure game that followed college dropout Mae Borowski as she returns to her small home town of Possum Springs to rekindle old friendships and reconnect with her family. Despite its anthropomorphic cast, it tells a genuinely human story, one that perfectly reflected what it feels like to revisit old haunts; how things can be so familiar yet change so much, seamlessly blending an emotionally charged narrative with a dark, suspenseful hometown mystery. Night in the Woods remains an absolutely incredible game to experience, showcasing themes like mental illness, sexuality, and identity through the lens of youthful wit and clever, dry sarcasm. I haven't played many truly perfect games, but Night in the Woods came damned close to being one.

-Kingdom Hearts 1.5/2.5 Ah yes, another collection of re-releases. Kingdom Hearts technically started back on the PS2, with the release of Kingdom Hearts 1. From there it blossomed into an incredibly diverse and lengthy franchise that saw releases on consoles and handhelds alike, from the PS2 to the Gameboy Advance. What these re-releases did was bundle all of the Kingdom Hearts games into one complete package, and tossed them all onto the PlayStation 4. It created a cohesive collection for this storied saga and presented it all in an easy to follow order that anyone could pick up and work through. Both games also offered the previously exclusive Final Mix content to the west for the first time, expanding on the already hefty games with more difficulty options, more enemies, more story content, and more challenges to keep the fun going and going. But what is Kingdom Hearts, I hear some people ask. Kingdom hearts is a series of action RPGs that follow the adventures of heroes known as Keyblade Wielders as they fight against the forces of darkness that threaten the worlds beyond. They play great, feature an especially enjoyable cast of characters, and tells a heartwarming story of good and evil. A joint project between Square Enix and Disney, Kingdom Hearts features an abundance of Disney characters and worlds, crossing over with various Square Enix properties in this epic struggle against light and dark. That's the easiest summary of the story by far, as delving any deeper would almost certainly confuse the casual reader, but let me say this; The Kingdom Hearts games are fantastic, well worth the time, and with these remastered collections, more approachable than ever.

-Nier Automata Nier Automata is a tough game to talk about in-depth, on account of just how easy it is to spoil for people who haven't experienced it. But it was also one of my favorite games of 2017, so I'll do my best to give it its due. Nier Automata is somewhat of a hybrid game; it blends so many genres together but somehow manages to do each one of them justice. Equal parts open world, action RPG, Bullet Hell, and more, Nier Automata takes place in the far, far future, in the ruins of earth. Humanity has long since abandoned the planet and sought shelter on the moon, entrusting a group of humanoid androids to defend the planet from an encroaching alien threat. The story follows several of these androids; 2B, 9S, and A2, as they wander the ruins of humanity and fight back against the robot foes that the aliens use as soldiers. It tells an amazing story that all but demands subsequent replays to get the full breadth of its narrative weight across, with each subsequent playthrough seen through the eyes of one of the other characters. Equal parts sci-fi story and humanist breakdown, Nier Automata is a deconstructive, philosophical pondering wrapped in the guise of an anime action game. That's not to say it doesn't wear the disguise well; Nier Automata plays like a dream, with stylish combat and an accompanying score that makes for easy listening both in and out of the game. It's another must-play, especially with the remake/remaster of its predecessor soon to release in 2021.

-Persona 5/Persona 5 Royal Persona 5 is an absolute joy of an RPG. It's slick, stylish, has a superb soundtrack, and tells a top tier story to boot. You take the role of a down-and-out high school kid who's been forced to transfer from his hometown in the countryside to Tokyo, thanks to a bogus police incident. Labeled a criminal and looked down on by the adults of his new school, the protagonist goes about bettering himself, raising his grades, and making the most of his new life in a new city. He forms bonds and relationships with the people around him, making fast friends with many of his classmates and even some chill adults along the way. Oh, he can also use a supernatural phone app to dive into the corrupted hearts of society, utilizing a special power to battle the evils that lie within and force them to change their ways and confess their deeds. Herein lies the dichotomy of the Persona 5; Much like the other Persona games that preceded it, the story it tells is a hybrid of supernatural mystery and coming of age drama, blending mundane highschool life with a fantasy adventure. It is equal parts life simulator and stylish role-playing game, as you and your friends do their best to repair a broken system using the fantastical powers they've been imbued with. These powers are the titular Persona, powerful creatures that embody the sides of ourselves we keep hidden behind the masks of society. These personas allow one to do battle with the shadows that lurk within these corrupted hearts, creatures that take on myriad forms inspired by religion and myth. Wielding this power, they embark on a journey of social reform, fighting a revolving door of less than scrupulous individuals that all culminating in a battle to change society itself. In spite of its overtly fantastical elements, the story it tells is decidedly grounded and surprisingly relatable; at its core, Persona 5 is about a collective of disenfranchised individuals trying their best to make it through life and change things for the better, a story that was and remains especially poignant and a welcomed escapist fantasy to fall into time and again.

-Slime Rancher Slime Rancher is an adorable simulator game and one I've praised before on my blog. It blends first-person shooter elements with the farming simulator genre, tasking players to manage and explore a planet on the fringes of space that's almost entirely populated by a race of creatures known as Slime. Slimes come in a varied selection of types and sizes, but all of them have one universal similarity; they all produce a resource known as a Plort that you can trade to an intergalactic trade center for currency, which in turn allows you to upgrade your slime farm and expand into new territories. The gameplay loop is nothing but fun, with each new expansion bringing in new species of slime that you can wrangle and combine to make hybrids that in turn create more valuable plorts. As you make your way through the planet, you start uncovering logs left behind by your farm's prior owner, that weave a narrative of love and loss, a story that drives you forward in your quest if only to see how it concludes. You're not alone in this quest, though, as you have your slimes for company as well as several long-distance conversations via the computer in your home between friends and fellow farmers alike. Subsequent game updates have only expanded upon the experience, seeing new opportunities for trade, daily activities, and more, making an already invigorating and enjoyable game all the more so.

-Destiny 2 It's no secret that Destiny 2 had a complicated launch window. Many fans felt that Destiny 2 left too much of what made its predecessor great on the cutting room floor, electing instead to reset the player base back to zero and tell a brand new story. While I missed some of what Destiny 2 left behind, I was still somebody who found a lot of joy in Destiny 2, as evidenced by the thousand-plus hour count it tells me I've poured into it since its 2017 release. The game has also seen countless improvements and additions in the years since its release, adopting a new seasonal model and even going free to play after a point. Most recently, Destiny 2 saw the release of Beyond Light, the first in a new trilogy of expansions that hopes to continue the game forward over the next few years. So, while it might have had a rough start, it still remains destiny at its core, making it one of the best shooters on the market, coupled with a satisfying loot hunt and a rewarding structure that continues to keep its fans coming back for more. That alone lands it in my list of games for 2017, and the generation as a whole.

-The Sims 4 Though this game technically saw the light of day back in 2014, I didn't end up playing it until its console release here in 2017. Thus, I place it here. There isn't a lot of complication with Sims 4. If you're at all familiar with its predecessors, you know exactly what to expect. An engaging simulator game, in which you craft an individual or family and set them on the path of life, influencing them as they go or leaving them to their own fates so as to see what happens. You tailor their looks, personality, aesthetic...it's a premier example of micromanagement as entertainment. This installment shirked some of the advancements made by its predecessor but still manages to be a robust and enjoyable game all on its own, made all the better by continued additional content releases in the years since its premiere. It's a game that keeps on giving and seems primed to continue doing so for some time yet.

2018

2018 saw the release of some genuinely top-shelf games, with the Switch continuing to establish itself against its contemporaries, while the Playstation continued to add excellent exclusives to its lineup.

-Far Cry 5 The Far Cry games have always been known for being competent shooters with large open worlds, and this one is no exception. Shirking the usual foreign locales, Far Cry 5 takes place a lot closer to home, seeing players cleaning up the rural backwoods of Montana, taking place in the fictional Hope County. In it, you play as a rookie cop sent in to apprehend an evangelical doomsday cultist; John Seed, The Father. This arrest quickly goes south, leaving you as the last lawman willing to stand up to the Seed family and free Hope County from their grasp. To do so, you systematically break the hold of his lieutenants, dismantling their bases of operations and taking down his associates in a slow climb to face him once more. Along the way you make friends and allies out of the locals, people with a similar drive to rise up and clean up their county. As far as the gameplay, Far Cry 5 is a mix of FPS and RPG elements, with a rudimentary character customization system and plenty of powerful guns to acquire. You level up and earn skills that augment your preferred style of play, be it stealthy or over the top, all in your pursuit of justice. Augmenting this quest is the world it takes place in, with players exploring lush forests, vibrant fields, and the general detritus of rural America. Hope county feels real, with looks to match, despite its farcical tone and over the top gameplay. All of this came together to make a Far Cry that felt fresh and fun, a genuine step forward for the franchise.

-God of War Prior games in the God of War series were not known for subtlety, nuance, or humanity. Rather, they were violent hack and slash games that featured the titular God of War, Kratos, seeking and exacting bloody revenge on the greek pantheon for their slights against him and his family. They were by no means bad games, but they weren't what I would consider masterpieces either. Then, we were given God of War (2017). This soft reboot/Sequel for the franchise saw Kratos embarking on a distinctly more grounded story than its predecessors, navigating the perils of fatherhood while on a journey to deliver his late wife's ashes in the world of the Norse Pantheon. He is joined by his son, Atreus, a bright but rebellious young boy who seeks only to prove his worth to the gruff and distant Kratos. This more human story is accompanied by a more grounded approach to combat and gameplay; while it retains the emphasis on action, it feels more deliberate than prior entries, shifting the combat style from the hack and slash nature to a more measured approach, with players needing to conserve stamina and plan their attacks lest they get easily overwhelmed. The game also incorporates a more open world structure than its predecessors, seeing Kratos and his son freely traversing their environment, unlocking shortcuts, and finding means to double back on past areas in a level progression that feels more like a Souls game than the God of Wars of old. All of this came together to make a game that felt genuinely innovative, a fresh new direction for a pre-established franchise that was as welcoming to newcomers as it was to prior fans.

-Donut County Donut County is a silly, short indie puzzle game in which you play as a mischievous raccoon delivering "donuts" to the unsuspecting populous around him. These donuts are, in fact, large sinkholes that expand as they eat different objects, eventually growing to swallow the entirety of the lot they were sent to. The core gameplay lies in this concept, with you controlling the various sinkholes from level to level, figuring out the order in which to consume the various objects on each map in order to grow in size. As the game progresses you unlock various upgrades to these sinkholes, like the ability to spit things out of them, adding new layers to the simple puzzles the game encapsulates. It isn't a terribly long game, as already said, only taking an hour or two to finish, but it cemented itself as a charming indie game amidst a sea of big-name titles.

-Marvel's Spider-Man Developed by Insomniac, previously mentioned in the Sunset Overdrive excerpt, Marvel's Spider-Man is a rare example of a genuinely amazing superhero game. In it, players take on the role of Peter Parker, a Spider-Man who has already established himself as the hero we know and love, but one that still has room to grow and learn. What starts off as a triumphant takedown of one Wilson Fisk, the Kingpin, soon blossoms into a complicated web that involves a shady group known as the Demons that Spider-Man must stop from wreaking havoc on the city. But the game isn't just about the Heroics of Spider-Man; The Game showcases the best aspects of Peter's character, splitting the game equally between his time as Spider-Man and his normal life as Peter Parker, a scientist working under the apprenticeship of one Otto Octavius, while simultaneously working with his Aunt May at the local Homeless Shelter and trying to rekindle his forlorn relationship with Mary Jane. All of this unfurls simultaneously, weaving a web that melds incredible movement with fast and stylish combat, stellar characters, and a heartwarming tale, cementing itself not only as a great game but also as one of the best Spider-Man stories out there.

-The Missing: JJ Macfield and the Island of Memories The Missing is a heartfelt, down to earth story told through the lens of a grisly but goofy premise. In it, you play as the titular JJ Macfield, a young girl who goes on a trip with her close friend Emily to a remote island off the coast of Maine. What is supposed to be a fun excursion takes a turn for the worse, as Emily goes missing, leaving JJ to track her down. Unfortunately, this quest quickly leads JJ to her death...but not for long. Resurrected by a bolt of lightning, JJ gains the ability to remove various parts of her body, as the island quickly goes from an idyllic wonderland to a psychedelic nightmare. Undeterred, JJ uses her newfound ability to traverse the island, ever searching for her lost friend. The Missing might sound like a horror game on paper, but it uses these macabre themes to tell a distinctly grounded story about dealing with personal identity and navigating a hostile and unfamiliar world, culminating in a heartbreakingly bittersweet twist that I won't spoil here. This is all to say; the Missing is an excellent game. It's a joy to play, despite its harrowing content, and it manages to convey its themes in a way that feels genuine and meaningful, telling a story that's still relevant to this day.

-Super Smash Brothers Ultimate Smash games have always been good, and Ultimate more than earns its moniker. This is the Ultimate Smash game; iterating on its predecessors without changing anything for the worst, Ultimate is an unabashed love letter to the series as a whole, incorporating every character and every map from every prior game all in one upgraded package. If you don't know what Smash is, let me explain; Nintendo is known for a lot of fantastic first-party titles, from Mario to Kirby to Metroid, and countless others. Smash takes all of these well-loved characters, throws them in an arena, and has them fight for supremacy. Debuting on the Nintendo 64, Smash has seen one major game release for every Nintendo console since, culminating in Smash Ultimate on the Nintendo Switch. As earlier stated, it features an absolutely enormous roster of playable characters, featuring every fighter from the previous games and several new additions for good measure. This roster was only further expanded with the release of the fighter passes, seeing an additional eleven fighters across the two that have thus far been released, ranging from surprise hits like Persona 5's Joker to fan favorites like Banjo and Kazooie. While not featuring a traditional story mode, Ultimate makes good use of its characters in a suite of different game modes that can be played both alone or with friends, online or locally. It's a fantastic party game and an equally praiseworthy fighter, rewarding skilled play but catering to casual players and newcomers alike.

2019

2019 marked the slowdown for the current generation, shadowed by the whispers of a new age of consoles. This made for a simple year for games, but one no less stacked with noteworthy games and worthwhile experiences.

-Kingdom Hearts 3 After years of waiting, 2019 finally saw the release of Kingdom Hearts 3. The wait might have been long, but the game delivered on the hype, simultaneously closing out the narrative arc that had begun so long ago with Kingdom Hearts 1 and beginning a new chapter for fans to look forward to. In service of this goal, Kingdom Hearts 3 wrapped up the majority of dangling storylines from all the previous games, while still leaving a handful of mysteries to chase into the future of the franchise. It featured a new suite of Disney worlds to explore, and incorporated Pixar properties for the first time in franchise history. The new content accompanied refined and polished gameplay mechanics and a complete visual overhaul, while still retaining the heart and soul that defined the games thus far. It all came together well enough but was later expanded upon through the release of Re: Mind, the game's beefy expansion that rebalanced gameplay and added in hours of new story content to better cap off the story. All told, Kingdom Hearts 3 was another great game, building on a legacy that seems like it will continue well into the future.

-Devil May Cry 5 For those not in the know, Devil May Cry is a series of games that follow the life of Dante, a half-demon sword for hire as he does his best to kill monsters and eat pizza. It's a franchise known for skillful, precise, stylish combat mixed with goofy, over the top stories, usually involving Dante and his associates contending with the fallout of his family, the demon king Sparda and his brother Vergil. While not a flawless franchise, it saw several excellent releases over the years, but then went depressingly dormant. Devil May Cry 5 was the perpetual waiting game, but 2019 saw it finally come out, accompanied by mass acclaim and praise. it really seemed like all the years of waiting were well rewarded. DMCV features three playable characters; Nero, a fellow demon hunter first introduced in Devil May Cry 4, Dante, the series' staple protagonist, and lastly the mysterious V, a newly introduced character for this game. Together the three were tasked with working together to take down the demonic Qliphoth and its master, Urizen, an immensely powerful demon lord. The game looks gorgeous, marking the first time the games have looked truly next-gen. Accompanying this boost in visual fidelity is the franchise's staple; combat was finely tuned to be more stylish than ever, with each character having a variety of tricks at their disposal to dispatch the demon hoard that stood between them and Urizen. Devil May Cry was back, and it was better than ever.

-Bloodstained: Ritual of the Night Bloodstained is the spiritual successor to the Castlevania series, helmed by its most prominent contributor Koji Igarashi. Starting its life as nothing more than a simple Kickstarter, it blew through its funding goal and a few years later saw its release on the current generation of consoles. It's not a particularly complicated game, but it is particularly fun, with it adapting many of the staples that made Castlevania so great. As a spiritual successor to Castlevania, the games play very similarly; both are side scrolling hack and slash games that take place in fantastical gothic castles, and both see protagonists with varied combat and magical aptitude on their quest to take down the castle's owner. In the case of Castlevania, that owner is Dracula, but in the case of Bloodstained, players are tasked with defeating Gebel, an alchemically modified human known as a Shardbinder. You play as another one of these Shardbinders, Miriam. Miriam and Gebel are the lone survivors of an alchemical experiment that gave them the ability to wield a power called shards, crystalline embodiments of demonic essence. The narrative is simple, but the gameplay is where it shines; as players progress through Gebel's castle, you can accumulate more and more shards, all of which give Miriam access to new abilities, abilities that go on to aid her in her continued exploration. This creates a very satisfying loop; explore the castle, collect shards, unlock more of the castle to explore. Augmenting her shards are a suite of craftable and upgradeable weaponry, a selection of melee and firearms that allows players to diversify their preferred playstyle and experiment with what works best in any given situation. Subsequent content additions have added even more to the game, in the form of new modes, difficulties, and playable characters, adding to the replayability and longevity of what was already an excellent experience. Despite starting from simple roots, Bloodstained rose up and became something all on its own, paying homage to its inspirations while cementing a name for itself as a new staple of the genre.

-Catherine Full Body While originally releasing in 2011, 2019 saw an expanded re-release complete with new characters, new stages, and hours of extra story content. At its core, Catherine and its Full Body re-release are unique gems in the gaming world. One part puzzle game, one part dating simulator, it blends the complicated world of relationships with macabre block puzzles, all the while weaving a beautiful tapestry about one man's quest for love. In it, you take the role of Vincent Brooks, an unambitious 30-something simply going through the motions of life. He has a steady relationship and a stable job, a group of colorful and enthusiastic friends, but it's clear from the start just how much he's stagnated. His current girlfriend, Katherine, is starting to ask the big questions; marriage, children, their future. Unable to parse these ideas, he loses himself in his time at the local bar with his pals, shooting the shit and getting sloshed. That is, until, a new flame suddenly appears; the seductive temptress Catherine. One thing leads to another, and it comes to pass that they spend the night together...maybe. This is where the game's narrative really kicks off, with Vincent having to navigate the day to day, attempting to reconcile his long-time love with his possible new fling. This story is juxtaposed against the game's core gameplay loop, which sees Vincent forced to climb the deadly tower of babel each night in his dreams. To do this, players must stack blocks and avoid the perils and traps that each stage presents, making a mad dash to the top of the tower before the bottom collapses in on itself and Vincent plummets to his doom. For you see, this isn't an ordinary dream; if you die on the tower, you die in real life, making this desperate ascent a race for his very life. Each stage of the tower represents the game's various core themes, and each gets more and more complicated as the game progresses. In the interim of these climbs, players are set about answering multiple-choice inquiries that influence the direction of Vincent's relationships, with each answer adjusting a conspicuous morality meter that eventually comes to determine which of the 8 endings you could attain. With Full Body, this number was increased to 13, to adjust for the inclusion of a new paramour; Rin, a mysterious piano player that sets up shop in Vincent's favorite bar. Both Catherine and its Full Body re-release are excellent games, but I was especially smitten with the layers of extra content and story that Full Body brought to the table, additions that made Full Body one of my favorite games of 2019.

-Untitled Goose Game Untitled goose game is a simple premise on paper; players take on the role of an ornery, mischievous goose as it wreaks havoc through a small English town. Equal parts puzzle and stealth game, the goose has a laundry list of tasks it seeks to complete, from stealing hats off people's heads to infiltrating the local pub. It's not a long game by any means, but it has a ton of replayability in the form of additional tasks and challenges that only present themselves after your first playthrough. These range from time-based completions to additional bouts of mischief and all of them are incredibly satisfying to chase down. Untitled Goose Game has a quaint, painterly art style that compliments the charming simplicity of the game's premise, accompanied by a dynamic, classically-toned score that rises and falls in prominence as you go about your goosely business. All said Untitled Goose Game is a genuine treat, a brief but whimsical game that's just about having fun and goofing around.

2020

It's no secret that 2020 has been a rough year for a lot of folks. Between a pandemic, political controversy, and general drudgery, it's a year that feels like it can't end soon enough. But in spite of it all, 2020 was also a fantastic year for games. Serving as the last hurrah for the Xbox One and Playstation 4, we saw the release of some truly excellent stories that kept players going through the long months of an otherwise mediocre year.

-Animal Crossing: New Horizons Releasing right at the start of widespread quarantine, New Horizons supplied people with something they couldn't easily do in their own lives; escape. Animal Crossing New Horizons is the perfect escapist fantasy for the year it released in, seeing players partaking in an island getaway in the hopes of colonizing and forming an idyllic town on an untamed paradise. ��At their core, the animal crossing games are simple simulators. You create your character by selecting a few presets; hair, eyes, skin color, and then you're let free to explore your new locale. With this latest release, that locale is the aforementioned island, a small paradise in the sea dotted by trees and rivers, accented by flowers and weeds. You start your life on this new Island with a handful of other residents; the Nook Family, the proprietors of this island venture, and two random villagers who are looking to make a life on this island the same as you. Things start small, with everyone working together to set up tents and create a bonfire and find some food for a welcome party. Afterward, the game synchronizes itself to your console's date and time and sets you off on your way. Unlike other simulators on this list, Animal Crossing is a unique breed, running concurrently to the real world, continuously progressing in real-time. Flowers grow, trees produce fruit, and each day is a new adventure. It follows the general turn of the seasons for your respective hemisphere, celebrating holidays and alternating available activities with each passing day. As for what you can do yourself, the opportunities are legion; you can catch bugs, go fishing, search for fossils, chat up your villagers, visit other islands, and much more. As you progress, more ventures open their doors to you; catch enough bugs and fish, and you can elect to have a museum built to showcase your finds. Collect enough resources, and you can build new furniture and create plots of land that encourage more villagers to come and move to your island. Everything you do is in service of continued growth, but also serves just as simple fun, a charming, easygoing distraction from the concerns of the day-to-day.

-Final Fantasy VII Remake The Final Fantasy franchise is a long and storied one, replete with highs and lows. One such high was 1997's Final Fantasy 7, a game that quickly cemented itself as a fan favorite and an absolute classic. Now, in 2020, FF7 is back...sort of. See, FF7 Remake is the first in a line of games that will eventually go on to tell the entirety of the original FF7's story, which means that this release is only the first portion of a much larger narrative. Adapting what was originally the first few hours of the original game, FF7 Remake expands upon the opening section of its predecessor, simultaneously remaking the old content for modern audiences and adding in new aspects for old fans. FF7 Remake improves upon the original in practically every way, serving as a genuine remake that still manages to retain what made that original game so memorable and important to fans. The game might be new, but the heart is the same; FF7 Remake follows the story of Cloud Strife, an ex SOLDIER turned mercenary hired by an eclectic group known as Avalanche to dismantle a local power plant that's poisoning the planet. What starts as a well-intentioned but extreme case of eco-terrorism quickly explodes (pun intended) into a much larger story that sees Cloud and Avalanche bringing the fight straight to the corrupt Shinra Corporation and beyond, culminating in a battle against fate itself. Because this remake only covers a portion of what will go on to be a much larger narrative, it only scratches the surface of what makes the original FF7 so great, but it does so with gusto; the game plays and looks better than ever, bringing with it a heartfelt and compelling narrative that keeps you hooked the whole way through.

-Minecraft Dungeons Minecraft Dungeons takes the charming, voxel visuals and world of Minecraft and melds them seamlessly with a charming, easygoing dungeon crawler that's approachable for casual and experienced gamers alike. Where Minecraft is an open-ended sandbox game about building and exploring a blocky world, Minecraft Dungeons sees a collective of heroes on a quest to defeat the evil Illager, a powerful sorcerer whose armies have been sweeping the land leaving destruction in their wake. It's not a very complicated story about good and evil, but it doesn't have to be; Minecraft Dungeons prioritizes it's simple and easy to master gameplay first and foremost. You collect loot, battle recognizable Minecraft enemies, and progress through a litany of stages on your way to fight the big bad. It's not very long but encourages you to play it time and again, collecting better gear and trying your hand at the many difficulty levels for additional challenges. It's not the best looking or the best playing game that released this year, but it had heart and made for a short and entertaining way to pass the time.

-Ghost of Tsushima Ghost of Tsushima isn't a game to scoff at. One of the best looking games of the generation, this PS4 exclusive is one part historical timepiece, one part action-adventure, and one part stealth game. It follows the story of Jin Sakai, a samurai and one of the last survivors of the Mongol invasion of his home island of Tsushima, Japan. Left to die, he is found and nursed back to health by a wayward thief who teaches Jin the art of stealth and subterfuge, seeing him off on his quest for bloody revenge on the Mongol invaders that have encroached upon his homeland. To do this, he must first build up a fighting force of equal minded, skilled warriors, all while dismantling the various camps and operations the Mongols have set up in the absence of the defeated Samurai army. Jin can approach this in one of two ways; relying on his prowess as a formidable Samurai, Jin can challenge the many enemies in the game to flashy yet precise sword combat, or he can utilize the recently learned skills of stealth, infiltrating their encampments and silently picking the Mongols off one by one. There's no wrong answer to how you choose to play, although it takes some time for Jin to accept his new roles as both Samurai and assassin. Both methods of play feel equally as stellar, too; Combat in this game is incredibly polished, finely tuned swordplay that focuses on timing and well-planned strikes to dispatch your foes with ease, while the stealth feels tense and requires a distinctly tactical approach, planning your routes and cleverly dispatching foes so as to not raise suspicion. But the game isn't just about taking out your enemies. Ghost of Tsushima boasts one of the most beautiful open worlds I've ever experienced, a vibrant and gorgeous landscape dotted with myriad activities and side quests for you to explore and enjoy. One moment, you could be doing battle with a wayward group of Mongols or bandits, while the next could see you tracking a friendly fox to a shrine, composing a haiku in the shadow of a large tree, or recuperating your strength at a small hot spring while you ruminate on your adventures thus far. Ghost of Tsushima is an incredibly varied game, alternating between intense highs and calming lows, all coming together to become one of the best games of the last generation.

-Spiritfarer While I have not finished this game, it more than deserves recognition on this list. In it, you play as Stella, a young girl who takes over as the ferryman for the River Styx once Charon retires to the afterlife, tasked with providing for the wayward souls who live on the river as you ferry them to their final rest. To do this, Stella must collect various resources and build up her ship, outfitting it with living spaces and various commodities tailored to her current passengers. These aforementioned passengers will, in turn, begin to open up to Stella, tasking her with making certain foods or visiting different locales, all in an effort to give these wayward souls a proper farewell on their trip to the afterlife. Spiritfarer is a simple simulator game about resource management and exploration that showcases a lovely, genuinely heartfelt story about love and loss, one that will put a smile on your face as easily as it brings a tear to your eye.

And with that, I close out this hefty list, closing out the last generation. This compendium hardly scratches the surface of the last seven years' library, but hopefully, I did a good enough job remembering some of the games that made this last generation so great. There are a lot of games that I've still yet to play, resting in wait in my backlog for the time they get pulled out and given their due, but for now, this concludes my walk down memory lane. The last generation saw some excellent additions to the vast and ever-expanding library of video game history. Here's hoping the next several years can say the same. The start of the new consoles is off to a very promising start; in the last month or so alone we've seen excellent releases from both indie and big-name developers, fresh takes on old franchises, and new IPs alike. So, here's to the Last Generation, here's to the Next Generation, and here's to gaming overall; may it continue to thrive for years to come.

#A Look Back #Gaming #Game Review

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whmguidetoffxiv · 3 years

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A White Mage's Guide; The Armory Chest and Glamor Dresser

Your equipment is one of the most vital tools in your adventure. In FFXIV, this is where you get the majority of your stats and your protection. if you don't have gear that is strong enough, your ability in combat will suffer. But where do you keep it all? Why do you keep it all? Well, let's find out.

This is your Armory Chest; I've put it next to my current loadout for comparison. Each 'slot' in your armory chest can hold up to 35 of a particular item. (Editor's note; this will be changing with the expansion pack Endwalker, where Belts will be removed as an equipable item and more slots will be added to your main-hand weaponry.) When you 'sort' any particular category, it will start with the highest ilevel and work its way down.

What is iLevel, you ask? Excellent question!

iLevel is the strength of your equipment. I have two different hats here, equipable by the same class at the same level, but they have two different strengths. The Crystarium Turban of Healing has an iLevel of 490 and has slightly higher stats than the Weathered Ebers hood, which has an iLevel of 430. Note that the Materia melded to the turban stacks on top of the original stats. This is usually only noticeable at the end of an expansion pack or when you've hit the level cap, but you may encounter a raid or dungeon that won't let you in until your overall iLevel is high enough.

I've Circled it for convenience here. That's the 'mean' of all the iLevels of your equipment. A little trick about the stats of your equipment is that 'rare' items, ones with blue or green (or in the reaaaaly early game pink) have better stats than a crafted or 'grey' background one of the same level. These will hold out a bit longer in terms of leveling, but a rule of thumb is that your equipment should stay within 5 'equipable' levels of your own. So, if you're a level 45 White mage, your equipment should not be equipable at level 27. If you look at the comparison image of the two hats, they both say 'WHM, Lvl 80'. That means a White mage can only equip those at level 80.

This is important because, again, your equipment determines your stats. A Paladin wearing level 30 equipment is not going to be able to soak up as much damage as a Paladin wearing level 50 equipment, even if they are both level 50. Your gear will also stop giving stat buffs when it breaks, as indicated by the red/green bar to the left of each item. make sure to keep your gear in top shape!

As you wear your armor, you'll notice a second, blue bar next to it. This is your 'spiritbond' with your gear. When it hits max, you can right click the piece of armor and select 'extract materia' to get an extra bauble that will boost your stats even more. Again, this isn't as relevant in the early game because you'll be out-leveling your gear faster than you generate spiritbond. but come endgame, it's an easy way to generate materia.

If the idea of manually equipping your loadout every time you change class is daunting (and it should be) you can save your set to a 'gearset'. This will automatically equip whatever is saved to it, and is sorted by your main-hand weapon. (Blue circle) It will show the iLevel of the loadout, and if there is a glamour plate attached to it. (Which I will talk about later.) use the plus sign in the top left corner of the menu to add a new gear set.

The green circle is your 'recommended gear'. This is the easy button if you just got a whole slew of new equipment. It will automatically equip the best gear for your level, stats wise. (This is actually unhelpful regarding accessories at the early levels, because it will always prioritize your weathered accessories first. ) The yellow circle is your Glamour menu, which I will talk about next.

you've probably received an item like this at some point. it has no stats, and can be equipped at level one. This is a 'glamour' item; it's meant to be glammed on top of something else rather than worn as a piece of armor. to make the best use of these, use your Glamour Dresser.

You can find your glamour dresser and armoire in any inn room in the main cities. Unfortunately you can only put an armoire on private estates, not the glamour dresser. If you have absolutely no idea what I'm talking about, you need to find the lady below, outside the Waking Sands in Eastern Thanalan.

She'll give you an easy pair of quests that teach you the bare basics of glamour prisms and dyes. Once you're ready to reach the True Endgame (Glamour) then grab a few pieces of armor you really like and some glamour prisms (easily attainable from your Grand company or the marketboard) and return to your glamour dresser.

To add items to your glamor dresser, select it from the menu on the right, which is your inventory/armory chest. you can swap between selecting something from your inventory, or from various parts of the Armory. WARNING: It WILL put something in the dresser even if it's attached to a gearset, so for ease of use put anything you want in your glamour dresser in your inventory first. Or risk fighting your mortal enemy in your Skivies.

The stuff of Nightmares, I'm sure.

Anyway, it will use one Glamour prism for every item you store in the dresser. The exception is items that can be stored in the armoire. These are almost exclusively Mogstation, special event or seasonal event items, Achievement rewards, and your level 45 job gear. If you try to put these in the glamour dresser instead, the game will tell you it can be stored in the armoire to save crystals and space; you can have 400 items max (across ALL categories) in your glamour dresser.

Once you're ready to create your look, click 'edit glamour plates' at the bottom of the brown menu to pull up your plates. You have 15 plates to design and trust me, they can go quickly. You can design to your hearts content and even preview dye colors for items that can be dyed; those will have a circle in the upper right hand corner of its icon.

Be aware that a high-level item cannot be glammed over a lower-level one, and armor belonging to one class or job cannot be glammed over armor of a different armor type. That's why the specialty items have an equipable level of one. There's even special items designed to be transparent; these can be bought from a vendor near the Waking Sands.

When you're done, click 'save' to save your plate, then open your character menu and click the glamour plates button to chose one of your new designs to glam over your equipment. Now you can fight your mortal enemy in your Skivies whilst having the protection of a tank.

Remember that gearset menu? If you right-click the gearset, you can change its order in the list, and attatch a glamour plate to it. This is handy when you have three jobs that wear the same armor, but you want different looks for each.

Just like your normal inventory, it's important to go through and clean out your Armory Chest and your Glamour Dresser once in a while. You may have forgotten to discard or sell a bracelet you no longer need, or a chestpiece that you were saving for when you leveled that second healing class, only to have outleveled it by the time you remembered you had it. This goes double for the rings, since you equip two per gearset but only have 35 slots.

That's all for now! Best of luck on your Journey through Eorzea, and remember; Glamour is the True Endgame.

#ffxiv #whmguidetoffxiv #armory chest #glamour #glamouristhetrueendgame #itemstats #equipment

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theredherb · 3 years

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The Red Herb’s Top 10 Games of 2020

Hey, fuck 2020. You might notice that many of the “Best Of” lists you read this year and last can’t help but mention how terrible 2020 was. That’s because every day was like hitting a new, splinter riddled branch on our 365 day plummet off a shit-coated tree. The year brought with it a viral pandemic that served as a pressure cooker for the societal and systemic issues boiling beneath the surface of our every day life. And we’re not out of it.

At least one positive holds true of 2020: the games were pretty darn good. One has to wonder, though, if 2020 was the last year of what can be called “normalcy” for the video game industry. Now that the remainder of titles brewed in pre-Covid times are out in the wild, what will the future of gaming look like as studios shift to work-from-home and distribution models migrate to digital as the primary bread winner? What will games look like going forward?

I have no fucking clue. We’ll get there when we get there. But looking back, I’m glad to have had such solid distractions from the stress and strife. If 2020 is any indicator for the industry going forward, then my takeaway is that games will continue to grow in prominence because of their ability to help us cope and, more importantly, stay connected.

Anyway, here’s video games:

10. MARVEL’S AVENGERS

Oh, Marvel’s Avengers. I know you expected to be on more prestigious Top 10 lists than mine. Truthfully, I debated whether or not you should be here. But I had to search my soul (stone) on this one. Really assemble my feelings. Tony Stark my thoughts (?). Here’s the short of it: Marvel’s Avengers has a great story campaign with a surprising amount of emotional weight thanks largely to Kamala Khan’s quest to reassemble the heroes of her youth. Once the final cutscene ends, though, players were expected to take their play box of Marvel heroes, jump online, and duke it out against hordes of villains for the privilege of precious loot and level gains. It would be impossible to get bored because Crystal Dynamics was going to continually Bifrost in new quests, cosmetics, and heroes -- for free!

Except, after fans blasted through the campaign (took me a solid weekend), they found a multiplayer mode filled with repetitive fights against non-descript A.I.M Bots, a handful of dull, un-Marvelous environments (the PNW?! In a video game?! Wowwee!), and a grind for gear that became useless minutes after it was equipped. Oh, and bugs. Tons of bugs. It must be hard for A.I.M. to take earth’s mightiest heroes seriously when they’re falling through the fucking earth every other mission.

So why the Kevin Accolade™? Of all the mistakes and underbaked ideas, Crystal Dynamics got the most important thing right: they made me feel like I was a part of the Avengers. Cutting through the sky as Iron Man; dive bombing, fists-first as the Hulk; firing gadgets at cronies as Black Widow; cracking a row of skulls with Cap’s shield… Avengers is a brawler on super soldier serum.

The combat is crunchy and addictive, and surprisingly deep once you unlock your character’s full suite of skills and buffs. The gear matters little. But choosing a loadout that works for you -- like ensuring enemy takedowns grant you a health orb every time or turning area clearing attacks to focused beams of hurt -- does matter. When it comes to games with disastrous launches, Avengers is the most deserving of a triumphant comeback story because, if you clear the wreckage, I think there’s a solid game here. If I was able to spend hours playing it in its roughshod state, I can see myself digging in for the long-term once it’s polished up and given a healthy dose of content. You know...if Square Enix doesn’t outright abandon it.

9. STREETS OF RAGE 4

Here’s a fact about me: I love beat ‘em ups. From Final Fight to X-Men to The Simpsons, I prioritized my quarters for the beat ‘em up machines (and House of the Dead simply because House of the Dead fuckin’ owns). Unfortunately, Streets of Rage wasn’t in arcades, and I didn’t own a Genesis growing up, so I didn’t get around to the series until Sega re-released as part of a collection. Though my history with the 29 year old brawler is shorter than some, the basics stand out out right away: it’s an awesome side-scrolling brawler filled with zany character designs and high octane boss fights.

SoR4 nails that simple spirit while adding an electric soundtrack, buttery smooth animations, and an art style that looks like a comic book in motion. You can button-mash your way through the game or master your timing to combo stun the shit out of bad guys. Same screen co-op is a requisite for the beat ‘em up genre but I have to call it out nonetheless given that it's next to obsolete these days. The story campaign is, of course, finite but a stream of unlockables and a Boss Rush Mode pad out the package nicely.

I really don’t have to go on and on. I’m on board with any game that captures the arcadey high of classic beat ‘em ups, and Streets of Rage 4 does it with flare.

8. RESIDENT EVIL 3 REMAKE

Resident Evil 2’s remake was my game of the year in 2019. It’s a pitch perfect revision that captures the pulse-pounding fear of the original while beautifully updating its graphics and gameplay for modern audiences. The most striking aspect of RE2’s remake is how it expands and reconfigures the classic game’s environments and set pieces. Capcom managed to recontextualize, and even improve on, the original’s design while staying faithful to its tone and atmosphere.

Resident Evil 3’s remake is less successful in modifying and improving on its source material. If the game feels like it was handled by a different team than RE2R, your gamer hands have good eyes (roll with it). It was developed by a separate internal team (three different teams, in fact), but that’s actually one of many choices mirroring its 1999 forebear. Just like the original, RE3R is a tighter (i.e. shorter) experience that launched less than a year after its predecessor. And just like the original, the game skirts away from survival horror in favor of action horror.

Unlike last year’s remake, however, RE3R paints in broad strokes with the original material much in the same way that 2004’s Dawn of the Dead remake shared a vague resemblance with Romero’s ‘79 classic. Capcom at least nails down what matters: you play as Jill Valentine, beaten and discredited after the Arklay Mountains incident, during her last escape from the zombie besieged Raccoon City. Her exit is complicated by Nemesis, a humanoid missile that relentlessly pursues her from minute two of the game. Her only chance of making it out alive is by teaming up with a gaggle of Umbrella dispatched mercenaries, including an overly handsome fellow named Carlos Oliveras that you control for a spell. But fans struggled to get over what Capcom didn’t remake. Several enemies, boss fights, and a “divergent path” mechanic that had you choose how best to escape the Nemesis in a pinch were omitted from the remake. Even an entire section set in a clock tower was cut. But, let’s be honest, the biggest omission is a secret ending where Barry Burton saves the day using only his beard. For real, YouTube that shit.

If you look at what the remake does instead of what it doesn’t, you’ll find a lightning paced action game highlighted by tense, one-on-one fights against the constantly mutating Nemesis. The tyrant’s grotesque transformations evoke the mind-rending, gut turning creature designs found in John Carpenter's The Thing. It’s sad that Nemesis doesn’t pursue you through the levels as diligently as he did in the original, or as Mr. X had in last year’s remake, but these “arena fights” end up being harrowing and fun, culminating in a memorable final encounter. The remake also treats us to the best incarnation of Jill to date. She’s a cynical badass, exasperated at how Umbrella upended her life, and can take a plunge off of a building yet still muster enough energy to call Nemesis a bitch. RE3R also shines thanks to its snappy combat, including a contextual dodge that feels rewarding to pull off, less bullet-sponge enemies than RE2, and an assortment of weapons to get you through Jill’s Very Bad Night(s). It makes for a necessary, though shorter, companion to last year’s stellar remake.

7. HADES

I’m experiencing a new type of shame including a title that I haven’t beaten on my Top 10 list, but I can assure you that I’ve dumped hours into its addictive death loop. It’s probably because of my resistance to looking up any tips, but given the skill-check nature of the difficult boss fights, I’m almost afraid the top shelf advice will amount to “die less, idiot.”

My failings aside, Hades is brilliant. It’s the perfect merger of gameplay and storytelling. You play as Zagreus, son of Hades, and your entire goal is to escape your father’s underworld domain. You pick from a selection of weapons, like a huge broadsword or spear, and attempt your “run,” seeing how far you can make it before an undead denizen cuts you down. It’s familiar roguelike territory, but where Supergiant separates their game from the pack is in the unique feeling of constant progression, even as you fail. With each run, not only is Zagreus earning a currency (gems or keys) that unlock new skills that make the next go a little easier, you’re also consistently treated to new lore. The fallen gods and heroes that line your father’s hall greet you after each death and provide a new insight into their world. The writing is bouncy and hilarious, the voice acting ethereal and alluring, and the character designs could make a lake thirsty.

Supergiant’s stylistic leanings are at their peak here. They’ve managed the impossible feat of making failure feel like advancement. Sure, it totally fucks up other roguelikes for me, but that’s okay. None of those games have Meg.

6. DEMON’S SOULS

Whereas Capcom takes liberties with their remakes, Bluepoint took the Gus Van Sant approach and made a 1:1 recreation of the 2009 title that launched the “Soulslike” genre. The dividing difference is a 2020 facelift brought to us by way of the PlayStation 5’s next-gen horsepower. There’s been online arguments (surprise) regarding the loss of Fromsoftware’s visual aesthetic in translating the PS3 original in order to achieve a newfound photorealism. It’s true, some beasties lose their surreal weirdness -- a consequence of revisiting designs without the worry of graphical or time constraints -- but the game’s world is still engrossing, morbid, and bleakly gorgeous.

That’s not to say all Bluepoint did was overhaul the graphics and shove this remake out the door. No, their improvements are nuanced, under-the-hood changes that gently push the genre into the next-generation. For one, the loading times are incredible. You could hop between all five archstones in under a minute if you wanted. And this game is a best DualSense controller showcase outside of Astro’s Playroom. You can feel a demonstrable difference between hitting your sword against a wall compared to connecting it with an attacking creature. Likewise, the controller rumbles menacingly as to let you know enemies are stomping across a catwalk above you. “Better rumbles” was not on my wish list of next-gen features, but the tactile feedback goes great lengths to make you feel like you’re there.

Granted, sticking so closely to the original means its pratfalls are also carried over to the next-gen. The trek between bonfire checkpoints is an eternity compared to the game’s successors, and Fromsoftware hadn’t quite mastered the sword ballet of boss fights prevalent in Dark Souls. Instead, a handful of bosses feel more like set pieces where you’re searching for the “trick” to end it versus having to learn attack patterns and counters. Still, it’s easy to see the design blueprint that bore a whole new genre. From having to memorize enemy placements to hunting down the world’s arcane secrets in the hopes of finding a new item that pushes the odds in your favor. Bluepoint’s quality of life improvements only make it kinder (not easier) to plunge into the game, obsess over its idiosyncrasies, and begin to master every inch of it. That is until you roll into New Game+ and the game shoves a Moonlight Greatsword up your ass.

5. YAKUZA: LIKE A DRAGON

Here’s a fact about me I’m sure you don’t know: I love beat ‘em ups. Streets of Rage 4 had an easy time making it on this list because it can be classified as both a “beat ‘em up” and “good.” Here’s another fact about me: I’m not the biggest fan of JRPGs. I’m told this is not because of any personal preferences I harbor, but rather due to a distinct lack of culture. I’ve made peace with that. At least my uncultured ways are distinctive.

But my disinterest in JRPGs is notable here because it illustrates how very good Like A Dragon is. Transitioning the Yakuza series from a reactive brawler (entrenched in an open-world SIM) to a full-blown turned-based RPG was risky -- especially 8 entries into the mainline series -- but it pays off explosively for Like A Dragon. Not only does the goofiness, melodrama, and kinetic energy translate to an RPG -- it’s improved by it. Beyond a new protagonist -- the instantly likable and infinitely affable Ichiban Kasuga -- we’re finally treated to an ensemble cast that travels with you, interacts with you, and grows with you. Their independent stories weave into Ichi’s wonderfully and end up mattering just as much as his.

The combat doesn’t lose any of its punch now that you’re taking turns. In fact, it feels wilder than ever and still demands situational awareness as your enemies shift around the environment, forcing you to quickly pick which move will do the most damage and turn the fight in your favor. RGG purposefully made Ichi obsessed with Dragon Quest (yes, specifically Dragon Quest) as an excuse to go ham and morph enemies into outlandish fiends that would populate Ichi’s favorite series. It’s a fun meta that never loses its charm.

This is the best first step into a new genre I’ve ever seen an established franchise make and I hope like hell they keep with it for future outings -- and that Ichi returns to keep playing hero. There’s plenty of callbacks and treats for longtime fans, but RGG did a masterful job rolling out the virtual carpet for a whole new generation of Yakuza fanatics.

4. GHOST OF TSUSHIMA

Sucker Punch’s dive into 13th century Japan doesn’t redefine the open-world genre. But like Horizon: Zero Dawn before it, Ghost of Tsushima takes familiar components of the genre and uses them exceptionally well, creating an airtight experience that can’t help but stand out. I can tell Sucker Punch mused on games like Assassin’s Creed and Breath of the Wild, tried to figure out what makes those games tick, and then brought their own spin to those concepts. You can feel it in their obsession to make traversal through the environment as unobtrusive as possible, letting the wind literally guide you to your destinations instead of forcing the player to glue their eyes to a mini-map. You can feel it in how seamless it is to scale a rooftop before silently dropping on a patrol, blade first. You can feel it in the smoothness behind the combat as your sword clashes against the enemy’s. Every discrete part is fine-tuned yet perfectly complements the whole. The game is silk in your hands.

The mainline story can be humdrum, though. It mirrors the beats of a superhero origin story, which isn’t surprising when you account for the three Infamous titles and satellite spinoffs under Sucker Punch’s belt. But Jin Sakai’s personal journey outshines the cookie-cutter plot. His gradual turn from the strict samurai code to a morally ambiguous vigilante lifestyle (to becoming, eventually, a myth) is a fascinating exploration in shifting worldviews. This is bolstered by the well-written side-missions dotting your quest, some of which play out in chains. It’s these diversions about melancholy warriors and villagers adjusting to life under invasion that end up being the essential storytelling within the game. Whatever you do, don’t skip a single one.

Before GoT can overstay its welcome with collectible hunting and stat-tree building, the ride is over. If you find exhaustive open-world titles, well, exhausting, Sucker Punch coded enough of a campaign to sticking the landing and not more. But if you were looking for more, the game’s co-op Legends mode is the surprise encore of the year. It strikes its own tone, with vibrant, trippy designs, and a progression system that embarrasses other AAA titles in the space (I mean Avengers. I’m talking about Avengers).

3. THE LAST OF US PART II

The Last of Us is widely regarded as a masterpiece. It’s a melancholic trek through a realistic post-apocalypse, driven by the budding bond between a world-weary survivor and a would-be teenage savior. The fungal zombies and violent shootouts with scavengers were scary and exciting, but ultimately just window-dressing compared to the level of complicated, and honest, human emotion on display throughout the tale. While a segment of detractors helpfully pointed out that The Last of Us’ story isn’t unique when compared to years of post-apocalyptic books, comics, and movies, that argument seems to forget that a narrative more concerned with the human protagonists’ connections to one another instead of saving the world or feeding into a hero complex is pretty unique for games -- especially a high profile, AAA budgeted game.

Still, fans made heroes out of Joel and Ellie because of their own connection to their journey. And that connection is almost instantly challenged in the opening hours of The Last of Us Part II to heartbreaking effect. But I’m here to tell you that any other sequel would have been dishonest to the legacy of the original game. To be given a hero’s quest as a continuation, an imagined sequel where Joel and Ellie do battle against the viral infection that’s swept the earth, would have been a despicable cash-in. It would have been a mistake to follow-up the original’s careful examination of human nature just to placate an audience that seems to have missed the point Naughty Dog made. The Last of Us Part II hurts. But it has to or else it wouldn’t have been worth making. It’s a slow-burn meditation on the harmful ripples revenge creates, how suffering begets suffering, and how, if we don’t break the cycles of violence we commit to, suffering will come for us.

To drive this point, we’re given two distinct perspectives during the meaty (and somewhat overlong) campaign, split between Ellie Williams, the wronged party seeking revenge, and Abby Anderson, an ex-Firefly whose actions set the sequel into motion. The greatest trick Naughty Dog pulls off isn’t forcing us to play as a character we hate, it’s giving us reasons to emphasize with them. It was gradual, and despite some heavy-handed moments meant to squeeze sympathy out of the player (how many times do I have to see that fuckin’ aquarium?!), I eventually came to love Abby’s side of the story. The obvious irony being that she unwittingly walks the same path Joel did in the original.

My love for the narrative shouldn’t distract from how well designed the world is. Being a King County local, the vision of a ruined Seattle strikes an uncomfortable note -- it was eerie seeing recognizable buildings overgrown with vegetation but otherwise devoid of life. Maybe the heart-wrenching story also distracts from the fact this game is, by definition, survival horror. Exploring toppled buildings in the dark, hearing the animalistic chittering of the infected, defending yourself with limited resources… It manages to be a scarier entry into the genre in 2020 than even RE3R. There’s a particular fight in a fungus covered hospital basement that easily goes down as my Boss Fight of the Year. Human enemies make for clench-worthy encounters, too, with incredibly adept AI that forces you to keep moving around the environment and set traps to avoid getting overwhelmed.

Admittedly, the subject matter -- or more to the point, the grim tone -- was tough to stomach during an actual pandemic which has happily treated us to the worst of human nature. Still, The Last of Us Part II is absolutely worth playing for its balance of mature themes and expertly crafted world, and the way it juxtaposes beauty and awfulness in the same breath.

2. SPIDER-MAN: MILES MORALES

The most impressive thing about Miles Morales is that, despite being a truncated midquel rather than a full-blown sequel, it’s a better game than 2018’s Spider-Man. It’s not because of the instantaneous loading times or the fancy ray-tracing techniques used on the PS5 version of the game. Rather, it’s how it takes the joyride of the original game and hones it into a laser focused experience filled to the brim exclusively with highs. Like Batman: Arkham Asylum going into Arkham City, Miles starts the game off with his mentor’s best abilities and tools. From there, he discovers his own powers, his bioelectric venom strike, which ends up feeling like the missing ingredient from the first game’s combat.

Your open-world playground -- a locale in the Marvel universe called “New York City” -- is exactly the same size as the previous installment, which helps avoid making the game feel “lesser.” But Insomniac wisely consolidated the random crimes Peter faced into a phone app that Miles can check and choose which activity to help out with. Choices like this really trim the fat from the main game and help alleviate “the open-world problem” where the story’s pacing suffers because players are spending hours on end collecting feathers. This is great because Miles’ story is also great. The narrative kicks Peter out pretty early on, focusing on how Miles assumes the role of city protector, primarily focused on his new home in Harlem. Insomniac avoids retreading the same path paved by Into the Spider-Verse by telling a relatable tale where Miles defines his identity as Spider-Man. With a strong cast led by Nadji Jeter as Miles, the game lands an impactful story that weaves its own new additions to Miles’ mythos (light spoiler: I loved their take on The Prowler).

Miles Morales was pure virtualized joy from start to finish. A requirement of the platinum trophy is to replay the entirety of the game on New Game+. I didn’t hesitate to restart my adventure the minute the credits were over. Everything I loved about 2018’s Spider-Man is here: the swinging, the fighting, the gadgets, the bevy of costumes. But it gave me a new element I adore and can’t see Insomniac’s franchise proceeding without: being Miles Morales.

1. FINAL FANTASY VII REMAKE

I love subversive media, I do. And Square Enix’s “remake” of one the most beloved video games ever made subverts expectations by openly acknowledging that, yes, the original story you love exists and is consistently referenced in this game. But this is not that story. This is something..else. Because the truth is, SE could never have recreated FFVII and delivered a title that matched the Sacred Game fans created in their heads. That impossible standard is like an imagined deity, given power by feeding on raw nostalgia reinforced by years of word-of-mouth and appearances on Top 100 lists. I’m not saying FFVII is a bad game or that fans give it too much credit. Not at all. There’s a reason it’s so influential -- it’s good! But memory works in a funny way over time. We have a tendency to codify our perception of a thing over the reality of it. The connection we make to certain media, especially when introduced at a young age as FFVII had been to a whole generation of fans so long ago, creates a legend in our heads. Unfortunately, it’s a legend no developer could achieve when tasked with remaking it.

So Square...didn’t. Final Fantasy VII Remake has the same characters, setting, and plot beats as the first third of the original game but it’s not the same game, nor is it a remake of it in the traditional sense. It’s something new. And I fucking love that about it.

Everything is reconfigured, including the combat. After years of trying to merge RPG mechanics with more approachable (and marketable) real-time action (see FFXV and the Kingdom Hearts games for examples), Square Enix finally landed on the perfect balance. You fully control Cloud on the battlefield, from swinging your impossibly huge buster sword to dodging attacks. The ATB gauge (no one knows what the acronym stands for -- that information has been lost to time) gradually fills up, letting unleash powerful moves. But best of all, you fight in a party, and you can switch who to control on the fly.

That may not sound revolutionary, let alone for a Final Fantasy, but each character has a completely unique feel and suite of moves. At times, it feels like playing a Devil May Cry game where you can switch between Dante, Vergil, and Nero on the fly (that’s a free idea, Capcom. Hire me, you cowards). You can soften up an enemy with Cloud’s buster to increase their stagger meter, switch to Barret for a quick gatling barrage, and finally switch to Tifa to crush them with her Omnistrike. You can accomplish this in real-time or slow down the action to plan this out. It’s a great mix of tactics and action that prevents the game from feeling like a mindless hack n’ slash.

What really, really works here is the character work. Each lead walks in tropes first, but the longer you spend with the members of your party, the more their motivations and fears are laid out. You end up having touching interactions with just about the whole main cast. There’s a small segment, after Cloud saves Aerith from invading Shinra guards, that the two make an escape via rooftop.They make light conversation -- small talk really -- but it’s exchanges like this that feel genuine, perfectly framing their characters (stoic versus heartfelt), and grounding an otherwise larger-than-life adventure.

Many bemoaned the fact that FFVIIR only revisits a small portion of the original game, but I think it was a brilliant choice -- to massively expand on areas we only got to see a little of in the original. I honestly didn’t want to leave Midgar. It’s a world rife with conflict and corporate oppression, sure, but Midgar is beautifully realized, from the slums below the plates, populated with normal people trying to make the best of life, to the crime controlled Wall Market, adorned with gaudy lights and echoing honky tonk tunes. It very well may be years before FFVII’s remake saga comes to a close, but if each entry is paved with as much love and consideration and, yes, storytelling subversion as this introductory chapter… It’ll be worth the wait.

#gaming

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professorspork · 4 years

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today in the Andromeda Galaxy, GLITCHES TRIED TO KILL ME BUT I MADE IT WORK. or, well. Helen made it work, actually, and I was very grateful. (Elaaden, what do you have against my triangle button working? and wtf was that Nomad bug where suddenly I could see through time and the world contracted and my hair turned white????)

anyway.

this morning I joked to Helen that I was feeling very “I love all of my crew equally”/“I don’t care for Cora” so today I made a concerted effort to get to know her better--and tried a few Nomad combos where she wouldn’t sound like the fun police. (turns out, she and Vetra get along great! and also when I put her with Peebee she gets very self-conscious about how she’s totes not appropriating asari culture and it’s v embarrassing. on the OTHER hand, she makes fun of Peebee for peeping on Jaal and like, again, wtf, let me have my ot3.)

I started out finishing up that Morda drive core mission that glitched, and of course I gave the krogan the drive core in exchange for the outpost because I LOVE KROGAN and also RYDER LOVES OUTPOSTS. win/win tbh. but honestly the best part was getting to pick the dialogue option talking to Addison “fuck Tann” and Ryder actually getting to say fuck! it’s the little things.

after closing out Elaaden I decided to try and finish up a few errand-y missions like scanning plants, etc. in doing so, I got to play soccer with my very best friend Liam which was a heartwarming lot of fun, and fought TWO architects because just one was not enough. Peebee’s ex stole our beloved Proof Of Concept (I know the bot is called Poc, but honestly I think full-naming it is much cuter) and I was all “of course I’m gonna help you we’re in this together” which threw Peebee off her game because she’s still thrown every time someone cares about her. I AM, AGAIN, CANNOT EMPHASIZE THIS ENOUGH, GENUINELY SAD I’M GOING TO HAVE TO CHOOSE AMONG ROMANCE OPTIONS. this experience could not be more different from the main trilogy, where I romanced Liara out of a sense of obligation/curiosity faaaaaar more than any genuine interest or investment, and wasn’t tempted* to deviate from that by anyone else along the way. there are a thousand mechanical reasons why I think romance works much, much better in Andromeda than it ever did in the main series--among them the very pointed focus on found family throughout, the more nuanced ability to craft a unique Ryder by doing away with paragon/renegade and instead having the more robust conversation trees, and the overworld chatting on the Nomad giving EVERYONE the amount of personality off the bat that my OG crew had to like bite and claw for for two and a half games-- but like. I’m not gonna lie a big part of it is just that I just think more of these people are more interesting as potential partners. I THINK I AM AN ANDROMEDA GIRL.

* well that’s a lie I would have romanced Tali in a heartbeat if I weren’t playing fem!Shep and that was illegal. and I’ll probably romance Sam Traynor after that. so. it’s not a total bust.

but I digress.

saved that scientist’s baby on Voeld, and afterwards had my first ACTUAL, HUMAN conversation with Addison about--shockingly--the nature of friendship. I was genuinely surprised and pleased! look at us go! I also did some spying for that STG agent, and got the world’s most badly delivered “gee, are you really going to believe that old coot?” speech out of my main suspect, which was hilariously insulting.

and then, partly due to Helen’s advice and partly because, again, today was Learn To Appreciate Cora Day, I finished out her loyalty mission! I was shocked to find Sarissa alive after all the build-up-- I was certain that after that long a drum roll for how key she’d be in the Initiative’s growth that we’d find her mega-dead-- but as Helen pointed out to me, the trope is Don’t Meet Your Heroes, not Your Hero Is Probably Dead, Actually. her whole “be calm, soldier” routine @ Vedaria was kind of grating in the moment but is very cute after the fact, so fine. the whole muted sounds and gravity tricks of that final fight were super fun, even though I did accidentally jump into space once or twice. the big biotics lightshow was v impressive, but after I took a pretty hardline stance on Sarissa: come clean and shut up, and you’re fired. I did get a little offended when the asari captain was like “you could have killed us all, it was only dumb luck that Ryder found us” bc EXCUSE ME, SOME OF IT WAS DUMB SKILL, but still. it was good to get that all settled, and very good to hear Cora say what was immediately obvious to everyone but her, which is that her compulsion towards mentors and plans would have made her a poor Pathfinder but makes her a perfect XO.

then I hit level 50 and spent a lot of time upgrading my gear, and like-- a kind god would have put the loadout console next to R&D and the buy/sell screen so I wouldn’t have to run up and down the Tempest corridor like an idiot. but whatever. Baby’s Fourth Beam Gun TM (an Avenger with a beam emitter) is working out splendidly, I’m slicing and dicing with my asari sword, and I’ve just put seeking plasma bolts on my Eagle which delights me. still shopping around for my ideal sniper before I commit but we’re getting there!

then I went to start the new planet, but then realized Ark Natanus was right there, and ended up backtracking twice. First I ran back to the Nexus thinking there’d be another fun homecoming cut scene for the asari like there’d been for the salarians that I didn’t want to muddy with adding turians, too, only that didn’t happen. boo! I did remember to check on my mom, tho, so that was nice and emotional. then I went back to Netanus to start that up, only to realize I was wearing a very ugly and entirely face-obscuring helmet-- and once it was clear the entirety of the mission was going to be me emoting at Rix, I restarted the mission with a different armor loudout. yes, I am that vain, but only because opportunities for mlm/wlw solidarity are rare in this game (Gil’s been quiet lately, lol) and Rix deserved my best. though after doing all this, I am wondering: why do all the SAMs have different voices? surely making even one AI as smart and unique as SAM is difficult; then making each Ark’s SAM unique feels like an unnecessary burden? but whatever.

H-whateverthefuck is by far my favorite planet to Nomad around on. I’ve been complaining about the lack of low gravity mechanics since the Mako in ME1 (WE WENT TO THE MOON, THE LITERAL MOON, OUR MOON, AND NOT EVEN THAT HAD LOW GRAVITY?) and so this felt like pure vindication. (also, in general but very aggressively NOT for this planet because of the radiation, shout out to the Nomad for letting me get out no matter how poorly or vertically it’s parked, because lord knows I glitched the Mako many times trying to pause and get out in ‘impossible’ places the Nomad handles with ease.) anyway. the concept of a broken-up planet is terrifying, and the reality of it was eerie as all get-out. what neat execution!

and speaking of a neat execution, I’m so relieved going with the interrupt and firing at Meriwether while she held Sid worked, because I was again legit scared I might get Sid killed. as you’ll recall re: my Jaal loyalty mission, that’s the second time I was genuinely quite nervous there would be real consequences to screwing this up! I give the game a lot of credit for building a world where it feels like I really could screw up that badly. I’m very proud/fond of Sid, and the whole security camera mechanic was delightful-- a more fun version of the kind of stuff KOTOR always made me do. back on the Tempest, I decided to flirt with Vetra while the flirting’s still good, but tbh her flirt option (“I care about Sid bc I care about you”) wasn’t even all that romantically valanced, if you ask me! but also I love that Sid’s idea of justice is fast-tracking having cats in Heleus.

phew! with so many big things now out of the way, I’m not sure how much dithering I can/should do before continuing with the main mission. but that’s a decision for future me.

#leah plays mass effect andromeda

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mamthew · 4 years

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A Final Fantasy Ranking

Over the course of the quarantine, and because I had such a good time with the Final Fantasy VII Remake, I've ended up blazing through a ton of Final Fantasy games. Since April, I've played IV, V, VI, VII, VIII, IX, X, XII, and XIII. 6, 7, 9, and 10 I'd beaten before. 4, 12, and 13 I'd played to some capacity before. 5 and 8 were completely new experiences. I had no interest in going further back than IV, since it was the first one to really put any effort into character work, and I didn't play either MMO because MMOs don't really appeal to me (I'm planning to try XIV whenever this new update drops that makes the story mode more accessible, but it keeps getting pushed back so oh well). I also didn't replay XV because I've played XV three times and watched other people play it in its entirety twice, so I have a much better handle on it than any other game in the series.

Anyway, I didn't really have any plans for what I'd do with this, besides get a better understanding of the series as a whole, but I was kinda inspired to do my own Final Fantasy ranking. I'll probably be a bit more detailed than I should be because I tend to overanalyze my media and end up having too much to say. I’m actually not placing VII Remake in this ranking half because I regard it as a spinoff and half because it’s not yet a complete story, even though Part 1 is unquestionably a complete game. If I were to put it somewhere, it would probably be close to the top, possibly even in second place. Also worth noting that this is gonna have SPOILERS for every game I discuss here. I really just wanna use this as a place to nail down some of my thoughts on these games, so they’re pretty stream of consciousness and I didn’t bother avoiding any details from the plots.

10: Final Fantasy VIII.

I don’t think there’s another game in the series with a more obvious corporate hand in it than VIII. It’s kinda the Fant4stic of FF games; there are the bones of a substantive game in there somewhere, but every aspect of the game is such a bald attempt at checking off a 1999 list of “things gamers want” that the whole affair feels hollow and sickening. A major trend I’ve noticed throughout this series is the extent to which FFVII’s success pushed the architects of almost every subsequent game to try to recapture whatever it was that worked about VII, and VIII got the worst of it. It’s got the sullen guy with a special sword. It’s got the sci-fi. It’s got the terrorists with hearts of gold fighting against an oppressive state. It’s got the train scenes. It’s got the case(s) of amnesia that hides the true premise of the story. It’s got the ability to give any character any loadout.

Besides that, they kinda crammed in just a bunch of stuff popular with kids at the time. Jurassic Park? It’s in there. Beauty and the Beast? Here’s the ballroom scene. Hunchback of Notre Dame? Here’s that carnival. Alien? Now you’re alone on a spaceship running away from a horror monster. Saving Private Ryan? The party shares brains with war veterans and dreams of their experiences at war I guess. Half of anime? It’s all about a high school for mercenaries and the party is trying to get back in time for the school festival. Fandom culture? Zines are a collectible item, and each one you find adds an update to Selphie's Geocities page. It also has astronauts, and transformers, and a haunted castle, and a prison break, and Rome, and Alpine Wakanda, and war crimes, and lion cubs that have attained enlightenment, and there’s almost no connective tissue from one idea to the next.

Also the junction system is convoluted and terrible, using magic makes your stats worse, all enemies level up every time you do, and I couldn’t tell you which character excelled in what stats. The characters were all very flat, and the first time I felt like I was seeing the characters interact in ways that helped me to understand them was in the cutscene that plays during the end credits.

Also the female lead’s role in the story changes entirely with no warning every five hours or so. She’s a terrorist, oh no she’s aristocracy in the country she’s terroristing against, oh no she’s jealous of the others because they grew up together and she didn’t, oh no she’s Sandra Bullock in Gravity, oh no she’s the villain and it’s too dangerous to let her out, oh no it’s actually fine and they were bad for locking her up.

It’s an absolute disaster of a game. However, the music and background art is absolutely beautiful. Maybe they never gave me a good enough reason to be in an evil time traveling haunted castle, but damn is it a gorgeous rendering of an evil time traveling haunted castle.

9: Final Fantasy XII.

I’ve known for years that FFXII had issues in development. The writers came up with a story for it, and execs got scared because there were no young characters and they’d convinced themselves that young protagonists are what makes games sell. So two more characters - Vaan and Penelo - were added, one was framed as the protagonist of the story, and the entire story was rewritten so it could feasibly be from his perspective.

While the two characters they added are egregiously tangential to the plot, XII honestly has no protagonist. The writers originally wanted Basch to be the protagonist, but his entire arc is really just following Ashe around and being sad about his evil twin. Ashe is probably the most important to the story, but doesn’t have much presence for a good chunk of the story, and makes her most character-defining choice offscreen before having it stolen from her by a side character. Balthier has the largest presence in the story, and is most closely related to most of the events of the story, but has pretty much no role in the ending.

Honestly, if I were writing FFXII and told it needed a young protagonist, I would have aged up and expanded the role of Larsa, the brother of the main villain, who shows up as a temporary party member from time to time. The entire game is about family ties, and a journey spotlighting Larsa could have involved his learning about Ashe, Basch, Balthier and Fran’s family situations and using their experiences to grapple with his own. Damn, now I’m sitting here thinking about how good that could have been.

As it is, the game feels disjointed and aimless, and the ending is so bad it’s farcical. When I reached the ending, I watched Basch and Ashe forgive Basch’s evil twin for his villainy rampage, harking back to the moment earlier in the game when Ashe turned down the chance to gain powers that would have allowed her to avenge her country because she realized that those powers could also drive her to hurt innocents in the crossfire. In this moment, I realized how Vaan fit in as the protagonist of the game. “Oh, he’s going to realize that violence begets violence, and that he must break the cycle by forgiving Vayne for the death of his brother. He’s going to let go of that hatred he’s been trying to push onto someone for so long, and it’ll finally allow him to heal.” I realized that even though the road to this point was rocky, the writers had managed to craft a satisfying ending from the seemingly disparate pieces of this uneven plot.

And then Vaan picked up a sword and screamed AAAAAAAAAAA and charged Vayne down and stabbed him, and Vayne turned into a shrapnel robot dragon and exploded all the star wars ships and I threw my controller aside and laughed uncontrollably while my characters beat him up and completed the game on their own without any further input from me.

Oh yeah, the battle system is also incredibly boring. Instead of battling, the player writes up an AI script for each character, then lets them act based on those scripts. I would straight up put the controller down and watch youtube videos whenever a group of enemies showed up. I was pretty excited about the job system, but then there didn’t really feel like much of a difference between jobs, and my characters all behaved pretty much the same as each other.

The hands-off battle system, unfocused story, lethargic voice acting, and tuneless music all left me pretty uninvested in the whole affair. The art style and locations are beautiful, though, and it did make me want to eventually check out some of the Tactics games, which take place in the same universe but are supposed to have excellent stories and gameplay.

8: Final Fantasy XIII.

I’m not sure I’ve ever had two such opposing opinions of a game’s story vs. its gameplay. This game is the only one that plays with a bunch of story elements from FFIX, which did a lot to endear it to me. It’s sort of a game in which the protagonists are Kuja, the villain of IX. Like Kuja, they are created as tools by an uncaring god for the purpose of fighting against one world on behalf of another world, and are subsequently forced to grapple with the horrors of having an artificially shortened lifespan.

The story actually has a lot of Leftist themes, too. The gods of that universe spread ideology among the populace, and the people unquestioningly believe these false stories, as the gods have provided for them for as long as there has been written history. Much of the character arcs center on the characters being forcibly removed from their places within those ideological frameworks and having to unlearn what they’d always believed to be objectively true about the world.

So the story actually is pretty good, but it’s held back by some really clumsy storytelling; it constantly uses undefined jargon, has almost no side characters with which it might flesh out the world, actively fights against players trying to glean information from environmental details, and maintains (at least for me) a weird disconnect between the characters in the gameplay and the characters in the cutscenes. I think this partly stems from Square’s original failed plan for FFXIII to be the first game in a much larger series of games sharing themes and major story details. Despite these issues, however, the characters are all likeable and (mostly) believable, and their interactions are grounded in real emotional weight even while their universe feels intangible.

This all got dragged down by the gameplay, which is total dogshit. It’s got the worst battle system I think I’ve seen in an RPG. The game only stops being doggedly, unflinchingly linear about thirty hours in, the whole game took me about fifty hours, and I spent the last fifteen hours beating my head against each individual battle, waiting until the system hiccuped long enough to accidentally slide me a win. That meant I had about a five hour window of euphoric play, convinced that I actually loved this game, thrilled with every new experience it gave me, and excited to see what would happen next. I guess those five hours are what pushed this game over XII in my ranking.

7: Final Fantasy V.

Until FFXV, this game was the last of the “Warriors of Light” games, in which the game follows a party of four set characters for its entirety. To this day, it’s the last of the “Warriors of Light” games to let the player customize which character holds which roles through the job system.

FFV’s job system is the reason to play the game. Its story is mediocre, and its characters are all fairly flat, but there’s something viscerally satisfying about building party members up in jobs that might enhance the role they ultimately will fill. For my mage character, I maxed out Black Mage, Blue Mage, Mystic Knight, Summoner, and Geomancer. Then at the end, I switched her to a Freelancer with Black Magic and Summoning, and she kept all the passive skills for those jobs and also the highest stats across those jobs.

It was super fun and kind of a shift of focus for me, since I tend to place story above anything else in games. Despite the story not being special, though, the game’s writing is actually a ton of fun. It’s definitely got the most comic relief in the series, and I came away loving Gilgamesh as much as everyone else does.

And while it’s nothing special graphically, it does have some really cool enemy designs, and the final boss design is one of the most memorable ones they’ve ever done. Which is impressive because I keep having to look up Exdeath’s name because the character himself is super forgettable.

6: Final Fantasy IV.

This wasn’t the first game in the series to feature actual characters with names and depth, but I have no interest in playing FFII, so it might as well be. I actually played the DS Remake for this game, so it definitely had some quality of life improvements, like full 3d characters and maps, voice acting, an updated script, the ability to actually see the ATB gauge, and the ability to switch to other characters whose turns are ready without using a turn.

Apparently one thing the remake didn’t do was rebalance the difficulty for more modern sensibilities. Instead, this remake is...harder? It requires more grinding than the original? Why??

Either way, though, the story is actually solid! The game opens on its protagonist, Cecil, committing a war crime on the orders of his king, who raised him as a child. The first ten hours of so of the game follows Cecil as he tries to understand why he was ordered to kill so many innocents, turns his back on his country, and works to redeem himself.

This arc is reinforced by the game mechanics, too, which is super clever. His redemption is marked by a change in job from a Dark Knight to a Paladin, which also resets his level. For a time, his life is considerably harder because he’s finding his footing as a new person, which is marked by battles which had been easy becoming much harder for the player for a time.

This game places storytelling over gameplay more than I think any other game in the series. Each character is locked into a job, which I much prefer in my RPGs to games where characters function pretty much interchangeably. I dunno if it’s because I cut my RPG teeth on Tales, but it really bugs me when I can give Tifa the exact same loadout as Barret. I want the lives of the characters to bleed into their functions as gameplay devices.

However, the developers clearly had a ton of different jobs they wanted to add to their game, but hadn’t figured out how to allow for the player to switch in and out party members in standby. To fix this, they increased the in-battle party to five characters rather than or four (or the later constantly frustrating three), rotated the roster a ton, and had a ton of characters who straight up leave permanently. One character dies and never comes back. Two characters die and only are revived after it’s too late to rejoin the party. Four characters end up too injured to continue traveling.

This let the developers make a ton of jobs, but it doesn’t let the player exploit these jobs to their fullest. Characters’ stats reflect their role in the story, as well. One character is quickly aging out of adventuring, so his magic stats increase on levels, but his attack and defense stats actually decrease, signifying his failing body. Another character has already achieved some form of enlightenment, so he gains no stats when he levels up at all. The purpose of IV is the story, over any other aspect of the game, which makes it even more mindboggling that the remake would have increased the difficulty.

Besides that, the biggest issue I had with this game was the overbearing constant drama of it. While there were a few more lighthearted parts, they were mostly relegated to NPC dialogue and sidequests. The characters in this game don’t become friends so much as they become companions who bonded over shared tragedies, and this makes for quite a few scenes of every character separately wallowing in their own immeasurable sadness. I played FFV directly after this game and the light story and jokey dialogue was a much-needed palette cleanser.

5: Final Fantasy VI.

Before the unexpected success of FFVII irreparably changed the franchise, Square constantly mixed up the story formula for the series. IV, V and VI all handled their stories really differently from each other, and what I remember of III also felt fairly different from the games that came after.

Every game from VII on had a very clear protagonist (except XII, whose botched protagonist was still clearly marketed as the protagonist). The concept of the Dissidia crossover series is built on the idea that every FF has a protagonist at the center of its story. FFVI’s Dissidia character is Terra, but Terra is not the protagonist of FFVI.

Apparently while developing FFVI, the directors decided they didn’t want the game to have a clear protagonist, so they asked the staff to staff to submit concepts for characters, and they’d use as many as they could. This game has fourteen characters, each with their own fun gameplay gimmick in battles. Three of the characters are secret, and one can permanently die halfway through if the player takes the wrong actions. Of these fourteen characters, the main story heavily revolves around 3-6 of them, while five more have substantial character arcs.

There’s kind of a schism in the fandom over whether this game or VII is the best one in the series, and I can see why; this game is absolutely fascinating. No other game in the series has done what this game did, which means it’s one of the two FF games I really want to see remade after they complete this VII remake.

The first half is very linear. It breaks the beginning party into three pieces, then sends each character to a different continent, where they meet more characters and build their own parties before everyone reunites. Once the story has taken the player everywhere in the world, the apocalypse hits. The villain’s evil plan succeeds and tears the entire world apart.

The second half of the game picks up a year later with one character finally getting a raft and escaping the island on which she’s been marooned. In this half, the player navigates the world, which has all the same locations, but in completely different parts of the map. The driving factor for much of the second half is to learn from incidental dialogue where each party member has gone in this new world, to track them down, and to try to fix some of the bad that’s been done to the world before finally stopping the villain who destroyed it.

It’s unique and clever and occasionally legitimately tugs at the heartstrings some, which is impressive for a poorly translated SNES game. The final dungeon is a masterpiece all on its own. It requires the player to make three parties of up to four characters, then send them in and switch between them as new roads open. This way, the game manages to feel like an ensemble piece up to the very end.

4: Final Fantasy VII.

As I previously mentioned, there’s kind of a schism in the fandom over whether FFVI or FFVII is the best game in the series. Neither is the best game in the series. FFVII is better than FFVI. Oops.

When I was first drafting up this list, it was before I’d reached my replays of VI or VII, and I tentatively placed them next to each other, with the strong assumption that I’d end up placing VI a bit higher than VII, since it has so many strongly differentiated characters with solid story arcs, beautiful artwork, great music, etc. etc. Then I reached FFVII and not even four hours in, I realized it would have to be higher on my list than VI.

VI has a better battle system, its characters are much more differentiated by their gameplay, its character sprites have aged much better than VII’s character models, and it has four party members in battles instead of three. But I couldn’t overlook VII’s gorgeous artwork, sharp character work, and character-driven story. In the end, I had to give it the edge.

VII is a strange beast. It simultaneously really holds up and has aged horribly. The story is excellent and I love the characters, but the actual line-to-line writing is pretty bad, making the whole experience of the game a bit like swimming upstream; you’re getting somewhere good, but the age of the game is still pushing you back the best it can. Similarly, the background artwork is fantastic and gives the game locations a sense of place incomparable to anything that had come before it, but the character models are so low-poly that the two are constantly at odds with each other.

Still, the game is more a good game than it is an old one. I think it’s managed to duck the absurd level of hype around it by actually being very different from what the most popular images of it make it out to be, if that makes sense. The super futuristic techno-dystopia city only makes up a very small portion of the larger game, and most newcomers to the game won’t have seen Junon, or Corel, or Cosmo Canyon. Heck, I didn’t know Cait Sith or Red XIII were characters before I played the game for the first time. One of the many reasons I’m excited for the rest of this remake is to see newcomers to the story learning just how much variety there is to the world, events, and characters of this game.

FFVII also began (and pulled off really well) a number of storytelling trends that continued in subsequent games in the series. Obviously, almost every game since this one has a clear protagonist with a cool sword for cosplayers to recreate, and an androgynous villain whose story is closely linked to the protagonist (or one villain who is linked to the protagonist and a second one whose purpose is to look like Sephiroth), but it’s started broader, more quality shifts, too.

FFVII is the first game in the series to try to give all its characters arcs based on a similar theme, for example, a trend that has helped give it and future games a sense of thematic unity, especially in IX, X, and XV. Heck, that trend was why I almost came around on XII before they nuked it. It was also the first game in the series to have a real ending, rather than closing out with essentially a curtain call featuring all the party members, like they did in IV through VI (and I assume earlier).

Another common feature of FF games that it didn’t start with VII but certainly was canonized with it was the mid-game plot twist tying the protagonist to both the villain and the larger story. FFIV had this as well, of course, but I feel like the orphanage twist in VIII, the Zanarkand dream twist in X, and the time skip twist in XV were all meant to recall VII’s twist of Cloud’s…very complex existence (IX’s two worlds twist actually is a clear homage to IV, but it’d be hard to argue that Zidane’s connection to Kuja - and the character of Kuja generally - weren’t more influenced by VII).

2: Final Fantasy X and Final Fantasy XV.

Sorry, this one is a two-fer. I’m not gonna spend too much time on why I placed these two together in the #2 spot (I wrote a long thing on it here, if you’re interested). In summary, the games kinda mirror each other, in story and design. Each game can be seen in the negative space of what the other game leaves out, and at the end, the characters react to similar situations in completely opposite ways. For this reason, and that they’re of comparable quality, I think they’re best viewed as companion pieces.

FFX was the first mainline Final Fantasy game I ever completed, six years late. It was the first FF game with voice acting and many fully modeled locations. It also kinda marks the beginning of the series’ constant changes to the battle system.

That’s not to say the previous games’ battle systems didn’t also differ from each other, but they all had the same setup, with levels and an ATB gauge. This was the first game since III not to have any real-time element to its battle system, nor numbered levels gained through experience points. Since X, no two FF battle systems have been remotely comparable, which is cool and innovative and keeps things fresh, but also means I’ve been starved for just a regular ATB FF game for too long.

In many ways, FFX feels like a bridge between the PS1 games and the later games. It feels much more streamlined than VII, VIII, or IX, in terms of both storytelling and design. The game is very linear, pushing the player from one area to the next and not allowing much backtracking until the very end. It also loses the aging look of the PS1 games’ menus and UI, finally updating the classic font and the blue menus with white borders to fully modernized and sleek graphics.

However, movement still feels very similar to movement in VIII and IX, the music definitely evokes the PS1 games more than the later games, and most locations are portrayed with beautifully painted backgrounds, rather than modeled in (which I actually prefer, and I was glad to see that VII Remake has gone back to that in some places).

Voice acting in this game is phenomenal for 2001, and honestly on par with many contemporary games. I can’t think of a voice actor for the main cast who didn’t do a great job. Tidus’s narration, especially, is emotional and evocative in all the right ways. Grounding the plot in a very personal story about Tidus’s difficulty coming to terms with and proving himself to his abusive father keeps the story relatable and real.

Something interesting about my experience with X is that because it was my first Final Fantasy game, I thought for a very long time that the series was about organized religion, and the ways it is used to justify evil acts. This might be the only game of the ones I’ve played that is about organized religion, or even prominently features a religious doctrine, which really sets it apart from the rest of the series.

The game’s thematic unity is on point, even if there is a scene where they state the central themes a bit too plainly. Every character, and even the entire universe of the story, is held back by the past, and every subplot and the main plot revolves around finding ways to move forward and leave the past behind.

I love FFXV. It feels like a return to form after XII and XIII. It’s also probably the furthest any game in the series has strayed from the original formula. Battles are entirely real-time, and the game is a straightforward action game. There is very little time spent with menus, and even the leveling system has been stripped down to a few skill trees. It’s immediately obvious that the game was originally created to be a spinoff, not a main title.

FFXV is also probably too much a product of the current era of microtransactions and payment plans. The full story is spread out across *deep breath* a feature film, an anime series, an anime OVA, a standalone demo, two console games, four DLC story chapters, a multiplayer side game, a VR fishing game, four phone games (though really three phone games because A New Empire straight up isn't in that universe and also is terrible), an expansion including several entirely new dungeons, and finally a novel set to release sometime this year. That’s a whole lot of story. I’ve not played the phone games or the VR fishing game, or read the novel yet, but I’ve experienced all the rest.

But I also played FFXV when it first released, before any patches, before I knew there was a film, just the game all on its own. So you can believe me when I say that without any supplementary material, the game is still great.

It goes back to the FFI, II, III, V “Warriors of Light” system, where the party has four characters who do not change at all throughout the game. While this bugged me at first, I soon came to appreciate having a story where almost all character interactions involved these four characters. It meant I came to understand them well enough to feel like they were my friends, too. Most characterization in this game is understated, presented through small shared moments, dialogue, and body language as they travel the world together. Much like X, the overarching story might be expansive and far-reaching, but the real show is in the personal journeys the friends have.

Much of the first half of the game is spent exploring an open world, driving along the road and getting out of the car for pit stops or to explore the forests nearby. This is one of the very few games where I don’t mind just exploring an area without the promise of an upgrade or a new scene, just to see what’s around the corner, or to hear whatever banter the characters might engage in next.

The entire world of this game is gorgeous, and the orchestrated music is some of the best they’ve ever done. The main plot is beautiful, too. It’s bittersweet and emotional, with a charismatic villain and a twist that blew me away the first time I reached it.

The supplementary material is also mostly really quality. I’d recommend the Royal Edition over the original edition for sure, and to watch Kingsglaive as well. The anime series is quick and fairly fun, and Comrades expands on the universe in some great ways, but neither has as much bearing on the overall plot as the DLC chapters and Kingsglaive. I’m so in love with the DLC chapters, actually, that two years ago I wrote a piece just on how much Episode Ignis affected me (here if you care).

This is definitely getting long, so I guess I’ll move on after saying I’m upset that they patched Chapter 13 to make it easier, and I’m angry at everyone who complained that Chapter 13 was too hard. It was a brilliant piece of storytelling through game mechanics, and it’s mostly been stripped of all that, now.

1: Final Fantasy IX.

It’s IX. It was always IX. I actually did come into this with an open mind, wondering if one of the new games I’d experience (IV, V, VIII, XII, XIII) might end up hitting me harder than Final Fantasy IX, but as I replayed my favorite game in the series I quickly realized that wouldn’t be happening.

There are only a handful of games that make me cry. IX is one of two without voice acting. There are several songs from IX that make me tear up just when I hear them.

The story of the black mages gaining sentience, learning that they can die, and trying to force themselves back into being puppets just to lose that knowledge really moves me. The same goes for the story of Dagger no longer recognizing her mother, setting out to find a place to belong, learning that her birth family is long dead, then watching her mother return to her old self a moment before losing her forever. And Zidane’s story, where he has nowhere to call home, finally discovers the circumstances of his birth, and realizes that had he stayed in his birthplace, he would have become a much worse person than he ultimately did.

More than any other, though, Vivi’s story will always stick with me. He was found as a soulless husk by Quan, a creature with the intention of fattening him up and eating him, but each of them awoke something in the other, and Quan ended up raising Vivi as his grandson. When Quan passed, a rudderless Vivi went to the city to find a new home, and eventually learned he was created as a weapon. Other weapons had also gained sentience, but none had the worldliness that Vivi had gained from his loving relationship with Quan. When Vivi discovers that most weapons like him die after only a few months, he grapples with the possibility that he may die at any time, and eventually decides that he can only take control of what life he has by living each moment to the fullest. He ends up becoming an example for the other weapons to follow.

FFIX is a game about belonging: both yearning to have somewhere to belong and learning that the place where you think you belong is actually toxic and harmful to you. Even the menu theme is a tune called “A Place to Call Home.”

IX ran counter to the trends of the series in a number of ways. It was a return to high fantasy after the more sci-fi VII and VIII, and was also much more lighthearted than those games, while still being heartfelt and occasionally bittersweet. Gameplay-wise, it locked each of its characters into a single job, gave them designs based on their jobs, brought back four-character parties, and introduced a skill system in which characters learn skills from equipment. It also had a much softer, less realistic art style, and mostly avoided the attempts to recapture VII that have plagued most other subsequent titles (besides Kuja’s design, I guess).

The story is also structured so well. It regularly shifts perspective for the first thirty hours, allowing the player to spend ample time with each of the party members, and shaking up character combinations for fun new interactions. It introduced a system similar to the skits from Tales games, showing the player often humorous vignettes of what’s happening to other characters at the time. Once the characters have all come together in one party, the game has earned the sense that all of them (except for the criminally underexplored Amarant) have become a family.

The supporting cast are a blast as well. Zidane’s thief troupe (who double as a theater troupe) are likeable and fun. Kuja’s villain arc allows him to be sympathetic without losing his edge. The black mages are tragic without being overdone.

The development team for this game put so much more work into this game than they had to. The background artwork was all made in such high-definition resolutions that the act of downscaling them to fit in the game removed details. Uematsu traveled to Europe to make sure he’d get the feel of the soundtrack right, and has said it’s his favorite score he’s ever done. Sakaguchi, the creator of Final Fantasy, says IX is his favorite game in the series.

FFIX is one of the two games I would like them to remake after they finish the VII Remake, but I’m terrified they’ll mess it up in some way. Honestly, the game’s only flaws (which I do desperately want them to fix) are a lack of voice acting, the underdeveloped party member Amarant (and to a lesser extent Freya), the dissonance of Beatrix never getting punished in any way for her hand in a genocide, and the fact that very few of the sidequests are story-related because so many of the smaller story details that would normally be relegated to sidequests are covered in the main plot.

Despite the danger, though, I think revisiting IX is absolutely essential moving forward. It represents so much of what made older games like IV and VI great, and its story is much more grounded in real emotion than many current Square stories tend to be. Remaking VII will be good for getting VII out of Square’s system. Remaking IX would be good for putting IX back into Square’s system.

Here’s a IX song as a reward for getting this far. I’m gonna go listen to it and tear up again.

#final fantasy #final fantasy iv #final fantasy v #final fantasy vi #final fantasy vii #final fantasy vii remake #final fantasy viii #final fantasy ix #final fantasy x #final fantasy xii #final fantasy xiii #final fantasy xv

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thesevenseraphs · 5 years

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SEASONS IN DESTINY 2'S THIRD YEAR

Hey everyone,

A couple of weeks ago, I did a (too?) many-word retrospective [Part I, Part II, Part III] on the last six months or so of Destiny 2. This covered what we think worked well, what didn’t work as well as we’d hoped, and some of our thinking on where Destiny 2 is heading. You’ll see some of this manifesting in what’s coming this fall:

A Rise of Iron–sized expansion, Shadowkeep, where we’ll explore how the Moon has evolved since we were there last. (See how vague I’m being? It’s because I don’t want to SPOIL. There are many, many sleeps to go.)

Overhauls to key game systems such as armor that give you more choices on how you play and look.

Evolution of game difficulty systems, starting with changes to Nightfall strikes. (You may have seen a preview last week at gamescom; more on that down the road.)

Features that make it easier to play with friends, such as New Light* (more below) and Cross Save. (I see all of you new-to-PC players. Thanks to the PC community for welcoming them!)

We’re simultaneously deepening the parts of Destiny 2 we know and love, but also removing the prohibitive stuff from before that made Destiny 2 hard to play with your friends.

This is a real high-wire act. We want Destiny to be a game where every blueberry could become someone who calls the Tower home.

My hands have had a week off from typing, so let’s talk about seasonal philosophy and how Seasons are shifting to fit with how we tell stories and move the world forward in the vision of Destiny 2 as a single, evolving world.

I mentioned in the Director’s Cut, Part III that we want Destiny to be a world that has narrative momentum, and a key part of that will be how Seasons support Year 3. Back in June, we mentioned that one of the ways we’re making it easier for friends to play together is to offer everything à la carte. We’re going to do just that with each Season. You and your friends can choose what you want to play, and the world will change every Season.

Year 3 will have four fully supported Seasons of content (last year’s Annual Pass had only three!), but this year, you can opt in to each Season for 10 bucks—you won’t have to pay up front for an entire year of content, like with the Forsaken Annual Pass. (FYI, the first season in this new vision, Season of the Undying, is included with Shadowkeep, but if you just want to experience Season of the Undying, you can grab that à la carte without needing Shadowkeep.)

THE WORLD OF DESTINY 2 CHANGES EVERY SEASON With each new Season in Destiny, we want players to feel like they—as a community—are contributing to Destiny’s evolving world. Each Season in Destiny has to ride the line between delivering self-contained, Season-long world arcs and making the handoff to the next season. Together, Seasons move the Destiny universe forward.

In Season of the Undying, the portal to the Black Garden that was opened as a part of JacketQuest has awoken the Vex, and they are now pouring out across the surface of the Moon. Working with Ikora, players will [Do Some Stuff, Go Somewhere, Fight Some Things, and Solve a Problem aka REDACTED]. By the end of the Season, the portals will close, the world state will change, and the Seasonal activity connected to it will go away.

Yet something remains. This will be just in time for [REDACTED] to kick off the start of Season Nine—Season of Dawn.

Everyone who plays Destiny will be able to see how the world is different and changing during the Season. Those with the Season Pass will be able to play a seasonal matchmade activity within the Black Garden for that extra level of sweet gear (this is similar to the old Annual Pass access), but the goal is that everyone will be involved in how the world changes.

And at the end of the Season, your collective actions will have caused the world state to change and the Seasonal Activity connected to those events will also go away.

Doing this allows us to evolve the world—narratively, but potentially physically as well. It is not possible to keep Destiny frozen in place to allow all activities to live forever while also changing the world in meaningful ways. This strategy lets our team be agile and innovative. We believe that Destiny will grow even better when the world state can change, and that the best Destiny stories are the ones where “you had to be there when….”

But while events and activities in the world will come and go as the world evolves, weapons critical to the meta will not be locked in each Season for new players or for players who missed that Season. Legendaries and Exotics you need to stay competitive will be re-earnable in the future, although not always immediately after the Season ends. We’ll be talking more about that later—this is one area where, with the new seasonal model, we expect our plans to evolve across the Seasons to meet the needs of the Destiny community.

And while we’re on the subject of gear and weapons, I want to talk about some other additions we’re making to your chase to create whatever-your-perfect-Guardian-is.

Reward Philosophy in D2Y3 As we dug into how to deepen the customization of your Guardians, we wanted a reward system that could: standardize some of the reward mechanisms each Season, provide clear value in its rewards, make the value of a paid Season super clear, and allow players predictable progression via XP.

We all love the chase—that perfect roll!—but we all play differently. Year 3 will add more transparency and predictability while still giving you the RNG option for the unexpected gear or roll you didn’t know you loved until you got it.

We’re adding two new predictable reward pursuits in Season of the Undying.

Seasonal Artifact Our first addition is the new Seasonal Artifact, which is free to all players. This will allow you to further customize your Guardian’s build every Season by unlocking additional mods to socket in your Armor 2.0 gear. Earning XP just by playing will level up your Artifact, letting you unlock the next mod you want for your characters.

While leveling up and unlocking mods, you will also increase the Power of the Artifact, which will continue increasing until the end of the Season (yes, it is uncapped). Artifact Power adds directly to your overall Power and is account-wide. We are both excited, and a little terrified, to see how high players will manage to raise their Artifact Power during the Season.

We want the Artifact to let us experiment more freely with our sandbox. During the last five years of Destiny, we’ve really wrestled with (and continue to wrestle with) obsolescence and permanence in player Power. So, when we were coming up with something new in the Seasonal Artifact, we wanted to figure out how we could have a system that allowed players to create build-altering powers yet not need to commit indefinitely to whatever they made and have it live on forever.

We want to date new builds, not get them hitched into the forever combat ecosystem.

It doesn’t have to be forever anymore. The Artifact can spotlight some different ways to play each Season and introduce new types of perks, while we (and you!) can experiment more boldly with new combinations and expressions of Power. We want to use the Artifact as a mechanic to allow the game to shift some each Season. In an action game like Destiny, part of the fun can be discovering new ways to play.

Here’s an example from my own play: I earned Wendigo this season. I did it naturally, by grinding a ton of strikes (although I was pretty tempted to go farm Blind Well with a group to make it go faster). I ended up using Fighting Lion a bunch in these strikes to get my grenade kills (omg why don’t the guys at the end of “The Hollowed Lair” count?!). What I found was that I really liked using Grenade Launchers, but I hadn’t really given them a spot in my routine PvE loadout (I don’t have Mountaintop). But as I was playing with Fighting Lion, I was getting better at using breech-loaded Grenade Launchers and at timing my detonations, et cetera.

So, while I was on WendigoQuest, I ended up developing an appreciation for an archetype I’d largely overlooked, and I developed some new skills (OK, “skills”) while earning Wendigo.

Seasonal Artifacts and Seasonal mods will go away at the end of each Season. And the new Season will bring a new Artifact, new mods, and a new pursuit for Power. This way, we can try bolder balance choices each Season with the sandbox, and if we get it a little wrong, we’ll be more likely to let it ride for the whole Season without nerfing your new favorite OP build.

Seasonal XP Progression The second predictable reward chase we’re adding to Seasons are Season Pass Ranks. Some of you might have spotted this on the August 14 armor stream, but we didn’t provide any context. Without context, it’s really easy to find yourself on the jumping-to-conclusions mat. (This is totally human; we all do it. I certainly do. It’s OK.)

Let’s talk about these ranks.

We want to make sure that each Season has multiple, complementary reward sources, because we all play Destiny differently, and we want to be able to customize our Guardians the way we want to. We will continue to have RNG rewards as a part of our activities, and we also want to add a direct track of rewards each Season that you can progress every evening. The best weapons and armor will still live in the treasure chests of our toughest monsters and villains, but we hope now there will be fewer nights where players feel like they logged into Destiny and got nothing done.

The Internet is talking a lot about different builds in games. Season Ranks are kind of like a build for playing a season of Destiny. Grabbing bounties, doing strikes, completing weekly challenges—these are straightforward ways to unlock Season Pass Ranks when you don’t have the time to arrange a raid group, or check Google for the right strategies to solve a problem, or gamble against RNG (where it feels like the house always wins). The ranks help our friends in the community who have families and/or full time jobs, or who are deep in finals territory at college. Sometimes you just want to log in, grab some bounties, shoot some aliens (or Guardians), earn XP, and chill with your friends.

That’s why we’ve added 100 ranks to earn each Season, with Free and Premium track rewards, plus a UX design that’s intuitive and familiar if you play other games. Unlike those other games, you’ll make progress by earning XP doing the things you’re already doing in Destiny—defeating monsters and completing bounties and activities. This is about a new additive layer of predictable rewards for just playing the game.

Here’s a look at the Season Pass UI:

It’s All Part of the Season

With every Season Pass, you will get everything you’d expect from a Destiny Season (new activities, rewards, a storyline, et cetera), not just the new Season Rank UI and the reward tracks. Like I alluded to way back in the first Director’s Cut, we need more sustainable ways to deliver rewards, and the Season Rank UI is a big step in us getting there.

So now, with all this context, let’s look at what you Season Pass owners get in Season of the Undying (which, again, is included with Shadowkeep):

Season Pass owners get access to a new seasonal activity, the Vex Offensive, which includes:

Four Legendary Weapon drops

Additional weekly and daily bounties

Additional weekly challenges with powerful rewards

A new weapon quest for an Exotic Bow, Leviathan’s Breath

Exclusive to Season Pass owners

A new Exotic Hand Cannon, Eriana’s Vow

Awarded on Rank 35 of the free track

Awarded on Rank 1 of the premium track

Three seasonal Legendary armor sets (one for each class)

Collect a complete set during the first 25 ranks of the free track

NOTE: This is a change from the Annual Pass, where you were required to purchase gear from the Season.

On the premium track you get all three sets on Rank 1

These also drop within the Vex Offensive seasonal activity

If you want versions with higher stat tiers, you’ll need to play Vex Offensive to earn them

Some additional premium track rewards:

Three universal ornament armor sets (one for each class)

An Exotic weapon ornament for Eriana’s Vow

Two Legendary weapon ornaments

A new finisher

An Exotic emote

An Exotic ship

Progression, or How Differently You All Play Destiny For many of us, Destiny 2 is a regular hobby, but how that hobby fits in with our lives is different. We have players who play every day, we have players who have 10–15 hours a week, and we have players who log in for whatever time they can spare. Every season, Destiny 2 will change, and the community working on changing the world together means that we want all of our community to be able to be a part of it.

Some other games let players buy every rank when a new Season begins. In Destiny, we want your time spent playing the game to matter; we want the first players who unlock a bunch of the sweet stuff to have unlocked it through play, not pay. Some players are going to work super hard trying reach rank 100 as quickly as possible. We think that’s great.

But again, all of you play Destiny 2 differently, and when we say we want the whole community to be part of how the world changes every season, we keep coming back to giving players the choice of how they want to spend their time. Based on how a lot of you play, 100 ranks is going to be cleared in the season, but not all of you will have the time.

To solve for how our community plays Destiny, we’re planning to allow Season Ranks to be purchased as a catch-up mechanic late in the season. We’re going to wait to see how players engage with Season Ranks and make sure it’s tuned well before determining exactly when we unlock the ability.

Season of the Undying runs for 10 weeks, and we’re currently thinking of enabling this somewhere in the last 2–4 weeks of the Season. We know that sometimes life gets in the way, and you just want to get the last few rewards before the season ends and everything resets. In the same way that we’ve been doing seasonal catch-up for Power, we think providing a late-in-the-season rank catch up makes sense. This initial version is our starting point, and the way we’ve designed Seasons moving forward means that we’re going to be able to have the flexibility to tune how this works once we see how Season of the Undying goes.

I see you: “Did Bungie just raise the XP needed to get a rank to some ridiculous level so that players have to buy ranks at the end of the season?” The answer to that question is NO. For example, in our internal team tests, playing strikes in a fairly relaxed manner (18 minutes per strike play time) with full stacks of bounties can get a Seasonal Rank in less than one hour. Every week, Guardians also get rest XP bonuses (per account), where their first three ranks are at triple XP. Playing strikes with full stacks of bounties and rest XP should get 10 ranks in around 8 hours. And knowing you, we’ll all see even better ways you’ll min-max your time to clear your ranks.

Our goal in tuning this is for our most committed Destiny players, who start on week 1, to reach Rank 100 simply by doing the things they already love spending their time on. If that’s not happening, we have the freedom and ability to adjust. We want Destiny to be your home however you want to play and hit 100. You may never want or need to buy a rank. We just want our community to be able to play together as easily as possible and narratively be part of the Destiny world as it changes.

Your Seasonal Rank also goes away at the end of the Season—a new Season of ranks and rewards will take its place. And like our Seasonal Activities, we don’t want important gameplay-focused rewards to be inaccessible to players who missed a season, so any Legendary or Exotic weapons introduced in a Season Pass will be attainable in future Seasons. Those coveted rewards won’t be available immediately, but it won’t take longer than six months either. More details on that soon.

*New Light, Removing Barriers for Friends, and $0 We’ve talked a lot about what you get if you buy the Season Pass, but let’s talk about what you get with Destiny 2 for spending nothing. This fall, new friends playing Destiny 2 for the first time are coming, and we’re going to make Destiny a great experience for everyone. At its core, what makes Destiny 2 special and a place we all come back to is the community, the friendships, and the memories made along the way. Destiny is best if you can convince your friends to play, and we think a $0 price tag is another way to make that easier. The default version of Destiny 2 this fall will be New Light, and on top of all of D2Y1 available for free with New Light, we’re going to make sure there’s plenty of new, free content in Season of the Undying. Here’s some of what all players (even without the season pass) can access on October 1:

Alt: All Destiny 2 players, whether you’re coming in with New Light or are all-in on Shadowkeep and Season of the Undying, will have access to the following:

Patrolling the Moon destination

The opening mission of Shadowkeep

Two new strikes

Crucible Updates

Two returning PvP maps from the D1 era—Widow’s Court and Twilight Gap

Elimination in Crucible Labs

Armor 2.0 build customization

Eye of the Gate Lord Seasonal Artifact

New finishers

Two new pinnacle weapons: one for Gambit and one for Crucible

Free Seasonal Rank rewards, which include:

New Exotic weapon—Eriana’s Vow

Three Legendary armor sets (1 per class)

Two Legendary weapons

Best of Year 2 Bright Engrams

Glimmer and upgrade modules

The Legendary armor and weapons that come with the free Seasonal Ranks are like sampler platters for the Season Pass. If you want to find the best stat rolls for that armor, you will need to play the Seasonal activity and get the drops. But players who just want to collect all of the armor can earn the base version from the free track.

Eriana’s Vow, the new Exotic on our Seasonal track also drops on the free track (but you get it earlier if you have the Season Pass). We have also added a lot of rewards on the free track that are nice quality-of-life rewards for players, like upgrade modules, which are free Infusions.

How This Could’ve Worked Last Year This has been a pretty dense dump of information (thankfully it has more pictures than the Director’s Cuts did). I wanted to wrap this up by looking at how a season of content done in the style of Year 3 might’ve worked with some Year 2 content we all remember.

Let’s re-imagine the Season of the Forge in Year X of Bizzaro-Destiny

(begin Wayne’s World do-loo-loo-loo)

A week before the Season begins, all players receive a note in their mailbox. It simply reads: “I have returned from the stars. Meet me on Dec. 4 at 10:15 AM PST. —Ada” Once this note has been given out, a small countdown timer appears on the Traveler. When the timer reaches 0, players in the Tower see a ship unlike any they’ve ever seen land between Zavala and Lord Shaxx. A figure transmats out and walks through the Tower, opening a door that had long been shut. Players follow the character through the Tower and the figure lowers her hood and greets players, “I am Ada, and we have work to do.”

The Season Pass in the Director is updated, the rewards are revealed, and now Ada and players begin a Season-long experience of refining forges in the world, completing bounties, finding materials, working on Black Armory armor sets, and taking on the new raid, Scourge of the Past. In a twist, Datto and his group are the first to finish.

As players work together to forge weapons early in the track, smithing and building new ones, the room around Ada begins to change. The schematic data from players’ work is resulting in new weapons and mods for players to create. These weapons and mods don’t all require playing the Seasonal activity—some of them are found in new encounters within strikes, some of them are forged in Last Wish (like the Alchemy Lab in Blackwing Lair).

As the player community plays, meta objectives are revealed. Once a certain number of players have unlocked ranks on the Pass, cinematics unlock for everyone to watch. We see the Drifter and Ada arguing over something pitting the two against each other, the scene ends with Drifter raising an eyebrow at a set of gun schematics behind Ada.

As the Season winds to a close, the Drifter begins to summon players to him. He’s having a new space built in the Tower, and the first people he asks for help are those who’ve earned the title of Dredgen. Now players begin to gather materials and donate them to fund the Drifter’s new scam. The Drifter won’t stop talking about the gun schematics he saw behind Ada.

Very late in the Season, players notice Ada’s room looks like it’s being packed up. She’s leaving. The schematics that sat behind her are missing. Over the course of a few weeks, she packs her equipment and, in an event similar to her arrival, she vanishes. Ada, her wares, and her forges are gone.

Banshee-44 reminds players that even though Ada is gone, she left him the schematics for her weapons and armor, and he’ll be rotating them through over time.

And the Drifter asks you to visit him, saying he’s got a surprise…

(end Wayne’s World do-loo-loo-loo)

And while today, the “Let’s Pretend” section above is very much a work of fiction, we are working to build the technology that would make something like this possible and help make our Season Pass feel uniquely Destiny.

Wrap-Up Season Passes in Year 3 will in some ways feel very new and in other ways feel pretty similar to the Forsaken Annual Pass experience. Our intent is that the Season Pass mechanics—as we’re aligning everything with a single, evolving world and how we’re moving the Destiny story meaningfully forward—are additive to the core Destiny experience (we’re still going to have things like Holiday events, dungeons and secret missions, and all kinds of stuff that we hope surprises you!). It’s an evolution and an experiment, and hopefully what you’ve seen lately is that we’re going to keep being agile and continuing to make the best decisions for the game along with you. We’re excited to see where our unified seasonal philosophy will let us take the Destiny universe over the next year.

(Also, thanks for all of the comments and responses to the Director’s Cuts—I have some deleted scenes and ideas on how the format could evolve when it returns next year!)

See you soon, Luke Smith

#Destiny #Destiny 2 #Destiny 2: Shadowkeep #long post

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jadedinsomniac95 · 4 years

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My Experience with Battle Royale Games

I was never a Fortnite or PUBG player. I didn’t understand the hype and excitement surrounding those games (and regarding those two in particular I still don’t) but for a long time they dominated X-Box Live party chats and various social media platforms as the best and most must play games around. When I had briefly worked at GameStop, Fortnite apparel and collectibles literally flew off of the shelves. Sometimes, we would open a new box of shipment and within minutes all of the new Fortnite memorabilia was purchased! I enjoyed seeing the colors and the different characters, but I still couldn’t understand why everyone was in love with this game. I’ve always been someone that enjoys multiplayer games, but I’ve also always preferred single player, story driven experiences. Fortnite, certainly more well known for the battle royale mode rather than “Save the World” mode, just didn’t do anything for me. In a way, my lack of enjoyment playing the game tainted battle royales as a genre for me and made it hard for me to accept and enjoy them. It wasn’t until my friend told me to look into this new battle royale that had just released that was “different” that I began to understand the craze. At first, I ignored the game expecting it to be just as bland and basic as the games that I’ve played before, but when he began to send me screenshots, I felt attached to these characters and weapons immediately. That battle royale is, of course, Apex Legends. Apex burst onto the gaming scene with a whopping 50 million player-count in the first month of release! While it may not have the same giant player base that Fortnite does, there is something polished and satisfying about every aspect of the game. In my opinion, on a fundamental level, the control and maneuverability of the characters is second to none in any video game of any genre. There is something incredible about sliding down hillsides in an escape from trouble while you charge up your shields and prepare for a battle in a more favorable situation. The maps, though limited in quantity (which is not unusual for a battle royale because of the sheer size of them) are iconic and, ironically in a game as tense as Apex, comforting to be in. Perhaps most importantly as it is one of the key differences between itself and Fortnite/PUBG, the characters are all incredibly acted and designed. They all have their own unique personalities and looks, as well as their own backstories and interactions. Yet, where Apex distances itself even further, and it is something that one could argue is a negative in the game as it adds more variability to each match though I think it is a huge benefit, is in the abilities of the characters. There are characters who scout and work to inform the team of what is coming and where to go next, there are assault characters that are more suited for pushing the pace, there are defensive characters that are always handy but really show their power at the end of a game, there are healing/support characters that help to keep the team in the fight, etc. But multiple characters fit multiple roles. Octane can be a scout with his speed boost and jump pad, but he can also use that speed and pad to become a dangerous attacker that pushes the pace. Revenant, the newest character that was added, is an assault character and a support character. His Death Totem Ultimate serves to revive teammates (as long as they interact with it beforehand) which allows the squad to push and come back to life if their push fails. The biggest downside of the game, in my mind, is their microtransaction/loot system. The shop is a mess with a few featured skins staying up for a week at a time at exorbitant prices, and, though it has gotten better in recent battle passes and events that Apex has run, the designs aren’t all that interesting. Cosmetics are not a game breaker as they mostly do nothing to influence gameplay (though some skins are more streamlined than others which helps in firefights), but it is a shame that nothing has been done to make their monetization model more fair for everyone that plays the game - both in price and content. With that said, Apex is more than their terrible shop. The intricacies of Apex have allowed me to enjoy the genre of battle royales more than I ever expected to and cause me to think harder than I sometimes would in a regular multiplayer shooter. To me, the battle royale craze has felt like it was dying, at least somewhat in the past, but it continues to move forward with great success. We haven’t gotten player count numbers from any of the main games in quite some time as far as I have seen so there is no true way to quantify this but Fortnite is still huge and Call of Duty has recently put out their own battle royale mode in Modern Warfare, “Warzone”. I think Warzone is a great game mode that has a similar charm and feel to Apex Legends. Thanks to the operators that the COD series has been utilizing for the past couple of games, characters that the player chooses are unique and have their own personalities, though they are not as vibrant and differentiated as those in Apex. The core gameplay is very well done and the ways that they adapted regular multiplayer elements into the mode are very well done. Buy stations are incredible for the versatility in what they allow you to do, whether that be purchasing armor/gas masks, getting kill streaks, calling for your loadout from multiplayer, reviving yourself, and reviving squad-mates amongst other things! The cash element had me skeptical at first but it is really well done and my hoarding personality loves to stockpile cash to use later on in the game. One of the best parts about Warzone is the ability to bring yourself back from the dead once a game (as long as you die before the gulag closes). These 1v1 battles are intense, though quick, and are sure to hype up your squad if you win. It is amazing that, for a genre that is very fundamental and virtually unchanging, so many companies are creating battle royales with unique twists that others either utilize themselves or use to make their games better. For the most part, I have become a huge fan of the genre as a whole now. While I still don’t like Fortnite or PUBG, I appreciate the things that they have done for gaming and battle royales as well as the unique qualities that exists in their games. Perhaps real-life events have caused me to appreciate battle royales more than I had before, this quarantine has been a strange time, but I am glad that I have embraced them as much as I have because playing them with my friends are some of the most fun gaming times that I’ve had.

#battleroyale #apex legends #cod #opinion #experience

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zombiescantfly · 5 years

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Words About Games: Unreal Tournament (Epic Megagames, 1999)

In 2291, in an attempt to control violence among deep-space miners, the New Earth Government legalized no-holds-barred fighting.

291 years earlier, I heard that for the first time. Unreal Tournament begins with a narrated flythrough explaining two very simple things: there is a Tournament, and you are going to win it. After the lonely melancholy of Unreal, that's a pretty abrupt pivot. Why, after getting through most of the 90s with platformers, pinball, and fighting games, did Epic Megagames barrel in headfirst to the multiplayer arena shooter market, a playground run exclusively by industry already-giant id Software?

Because they wanted to.

As I mentioned in the Unreal essay, that game's multiplayer was a fun shell filled with horrible, horrible problems. Epic set to fixing it, but realized that beyond some quick and dirty surface-level patches, there wasn't a lot they could do within the same scope. So they broke away from a simple expansion pack and landed on creating a full separate release by the name of Unreal Tournament.

Unreal Tournament, UT99 from now on, was released on November 23, 1999, to an almost absurd level of praise. Quake 3 Arena, id’s latest offering in the Quake franchise and first multiplayer-only title, would come out just over a week later on December 2, pitching the two games into a deathmatch of their own which still rages to this day almost 20 years later.

Let's talk about Quake a bit. Shooters, up until around the time the first Quake came out and probably still after that, were commonly referred to as ‘Doom clones’ because, well, many were. Any unambitious dev could buy an engine license, whip up some sprites on a lunchbreak, and ship a game. There's a parallel to be drawn between that era and the current ongoing avalanche of Unity and Unreal asset flips, but you can turn to others for opinions on all that.

Quake was, famously, id Software’s followup to Doom 2, and an early frontrunner of fully-3d shooters. It was so popular and noteworthy that it even caused the term Doom Clone to fall away in favor of Quake Clone. Quake expanded the popularity of online play, and saw the creation of the some of the first AI bots made exclusively for deathmatch. Quake 2 came along not too far after and pulled in even more interest. If you remember from my Unreal essay, that was when it grabbed my own interest, and I became a frequent over-the-shoulder spectator of many a Quake 2 deathmatch.

But then, UT99. When I first played Unreal Tournament, I was blown away. By the bots. Meaning that they killed me a lot. I was very bad at it. I didn't even strafe back then, just ran forward and turned with the mouse. But I learned.

UT99 is actually quite an accommodating game. Bots have 9 skill levels ranging from drooling idiot to a fittingly-named godlike, and I remember bumping them up a level at a time over the years. UT’s bots were one of its largest selling points back then, and the cornerstone of the Tournament part of its name.

The titular Tournament in Unreal Tournament is a series of botmatches of increasing difficulty over the game’s five primary gamemodes: Deathmatch, Team Deathmatch, Capture the Flag, Domination, and Assault. A final series of three 1v1 matches caps off the Tournament, the third of which pits you against the Big Bad Reigning Champ, a robot named Xan Kriegor.

There were a handful of firsts in that short bit, so let's take a look.

As stated, Quake 2 was the de facto king of online shooters at the time. But Quake 2, for all its fame, only had three gamemodes available: deathmatch, team deathmatch, and capture the flag. Unreal had dabbled with alternative styles of deathmatch and team deathmatch, but all of them were, more or less, the same gamemode, save one. In a unique take on King of the Hill, the first player to score a kill got a permanent damage boost until they were killed, at which point that buff was transferred to their killer. Killing the King awarded more points, matches were first to X points, you get the idea. RtNP added Cloak Match, a take on this KotH concept where instead of a damage boost, players fought for permanent partial invisibility and infinite jump boots.

Unreal Tournament was a little more ambitious than just reflavoring deathmatch, however. Domination used its own unique rotation of maps centered around controlling three points. Your team scores one point per every couple of seconds, per point held. Touching a point is enough to flip control of it to your side, and the result is a fun, frantic match with enough additional focus to guide it away from just another deathmatch. Map control becomes something more than just controlling various weapon spawns, and demands you keep your attention between the three points. Random respawns instead of near your team’s current territory and the instant capture of points meant the game never ground down to just being spawncamped, and helped reduce the prevalence of one-sided victories. Domination was great, the extra effort put in to creating its own category of maps was great, and games today still use the gamemode. That said, Destiny 2 really needs to make capture instant and not have you sit around for 5 seconds in a tiny room, like come on.

Domination may have been new for the time, and DM, TDM, and CTF made their own waves that I'll get into later, but Assault is what really caught people's attention. Assault was an attack and defense mode where one team was tasked with completing a series of varied objectives, while the defenders tried to stop them. The most similar thing we get in games now is pushing a cart down a predetermined path in TF2 or Overwatch. Payload gamemodes in those games are similar in the sense that one team must progress down a path to get to a specific location, and I suppose it might come across as a streamlining of the idea, but Assault is just more interesting.

UT99 shipped with seven Assault maps, and each one presented a different scenario. Assault was not just replacing the objective on an existing map, the same as Domination had its own maps. Each one had a little story it presented, from the attempted hijacking of a supersonic train, assaulting an ancient fortress on an alien planet, sabotaging an underwater research facility, stealing a Navy battleship, escaping a medieval castle, destroying an experimental battle tank, and even a recreation of the D-Day landing. Assault maps varied in how linear they were, with maps like Guardia, HiSpeed, and Overlord being fairly straightforward, to the more open-ended OceanFloor and Rook. It was, by design, an asymmetrical experience, but that design went so far as to change in-level as the attackers pushed further and further in. On HiSpeed, for example, the attackers start in a helicopter hovering over the rear of the train, and drop down largely uncontested. There's a full car where they can grab weapons and powerups, and then they reach where the defenders have spawned.

As objectives are met and various places in the map are reached by the attackers, spawn points start to change. On the same map, attackers spawn with a serviceable loadout of shock rifles and pulse guns (we'll get to the weapons later), both good options for the mixed-distance encounter they'll be facing as they move towards the next car. The defenders, however, spawn with access to flak cannons and rippers, which in the close quarters of the car’s interior are absolutely brutal. Once the attackers push far enough in to it, though, that car becomes their spawn point and the defenders are moved further back, thus giving the attackers access to those weapons for the next part of the map.

The same sort of design echoes throughout all seven Assault maps, and it creates a varied and frantic experience that was new at the time and still hasn't really been copied. The feeling of actually taking part in an event in the game’s world added so much to even the relatively sparse setting, and it remains a great example of an excellent piece of very quiet but highly effective worldbuilding.

The other gamemodes were again, team and free-for-all deathmatch, and as standard as that was at the time, UT99 made some weighty impressions on the genre. At the time of Quake 2’s release, it was common practice to just repurpose singleplayer campaign levels as the multiplayer maps. Quake 2 would get its own suite of maps designed explicitly for multiplayer later in its life, and Unreal shipped with 14 multiplayer-only maps, with a further 9 added later as free updates. UT99 shipped with multiple dozens of maps, each one presenting a different take on design and execution. You have a standard collection of flat-ish arenas, some truly impressive vertical design, maps with stage hazards, big maps, small maps, maps with areas of low gravity, and maps with secret passages leading to hidden weapon spawns. A handful of Unreal’s maps were even remade for UT99, and two in particular became series mainstays - Deck 16 and Curse. Both are still thought of as iconic maps, and for very good reason. They're well-balanced and play to the strengths of the game they're in while also, going back to Unreal’s bit here, feeling like they're a real space.

Because while UT99 may be a multiplayer-only fragfest with no real story, it has lore.

The opening narration is just a small bit of fluff, but it sets up a whole lot that the various designers had a ton of fun expanding on. Official weapon descriptions in the manual talk about the (in-game) real-world applications of each, and even set some up as not even being explicitly for combat. The Translocator, a personal teleporter by way of launching tiny disks, is a repurposed tool given to miners to help escape cave-ins. The GES Biorifle is a vacuum cleaner for toxic sludge instead of dust. The Impact Hammer is a jackhammer but sideways. The in-universe justification for those few weapons doesn't mean anything to the gameplay, but given that the Tournament was set up by Liandri Mining Corporation, it adds a bit of fun sense-making to the whole thing.

Maps, too, are part of that lore package. Each map throughout the Tournament ladder has a short description, and it's almost always about what this particular arena’s place in the world is. Most boil down to “this is a site built for the Tournament” or “Liandri bought this and made it a Tournament arena,” but it's about the tiny details hidden in the lines. Deck 16 is a toxic sludge refinery, but it's also a single deck of the spaceship Gaetano, rented out to Liandri whenever it's in drydock. Curse is an ancient temple that was an archaeological site until Liandri bought it after funding ran out. Arcane Temple is a Nali worship site on Na Pali left abandoned after the Skaarj invaded. Oblivion is a Liandri passenger ship that tricks Tournament entrants by being their first arena. Hyperblast, the final stage of the Tournament, is Xan Kriegor’s personal spaceship made specifically to be an arena.

The whole thing paints the Liandri Mining Corporation as this quirky half-malicious corporate giant, as big and influential as any sci-fi megacorp but out of an innocent love for their decidedly not-innocent game. It's a world where humanity spent seven days on the brink of destruction at the hands of the Skaarj, where the Corporation Wars tore entire planets apart, and where despite that everyone can get over it, crack some beers, and watch people blow each other away on live television, kept safe by technology that respawns them within seconds.

Character backgrounds, too, drop hints in their two to three sentence lengths. The bots you fight against or with all have tiny snippets of who they are, making reference to revolts, arrests, rebellions, other worlds, secret government experiments, and revenge.

The important thing to take away from this is that all of this was put in but none of it had to be. It doesn't affect the game and it's not even immediately noticeable unless you let every map and character description load before entering a Tournament match. Just going to map select for a practice session/instant action game doesn't show the same descriptions, so you have to go through the singleplayer ladder. It's work put in that shows a genuine and earnest excitement for the world the devs had created, and I still get a smile thinking about it. Unreal Tournament is such a weird celebration of every gritty science fiction trope, but turns them all on their heads to create a world for this game that feels exactly as expansive as it isn't. Because Unreal Tournament doesn't have anything to do with the lore it hides in all these corners, it's just a multiplayer shooter with no story beyond “kill better than the other guys.” And boy do they ever make that part feel great.

For better or worse, Wolfenstein 3D cemented FPS weapon progression. Ever since and with only a few minor alterations here and there, the loadout progression is melee weapon, bad pistol, automatic weapon, shotgun (though those sometimes switch position), a better version of one or both of those, some kind of explosive option, sniper rifle (that was a later addition), and then a superweapon of some kind. From Doom to Quake to our old nemesis Half-Life to our slightly newer nemesis Halo to Call of Duty, you get those weapons in roughly that order.

So let's talk about Unreal again for a second. I didn't mention that game's weapons because I wanted to bring the whole discussion in at once, but it does require me to go back in time a year and talk about where the series landed on its own weapons. The first thing to know about Unreal is that it was not immune to the Holy Progression of Gun, but it did make some incredibly noticeable changes. Unreal saw a videogame gun, famous for being a thing you can left click on men with, and asked “what if you could also right click on men?”

I'm moving a rough sort of progression, so be aware that this is only the general order you get these guns in. In Unreal, the first weapon you pick up is the Dispersion Pistol, a projectile-firing semi-auto gun that doesn't do a whole lot of damage. One fun thing about it is that its projectiles cast a real-time light on the environment so you can use it as a way to peek into dark areas before going in them with your vulnerable body. But another thing about the Dispersion Pistol is its alt fire, where you hold down the right mouse button to charge up a shot which then acts essentially as a rocket launcher shot - it deals better damage, it deals splash damage, and it can gib enemies. In-universe, the Dispersion Pistol is a Skaarj weapon, and you can also find hidden upgrades for it that boost the damage of both firemodes at the cost of taking more ammo per shot. Luckily, as your holdout weapon, the Dispersion Pistol recharges its ammo passively.

The second weapon you get is the automag, a basic hitscan pistol. Primary fire shoots a fairly accurate shot, alt fire has you hold the gun sideways to increase the fire rate at the cost of accuracy. It's dumb and I love it to this day.

Third up, the Tarydium Stinger, a projectile-based minigun with an alt fire that acts as a projectile shotgun. Here's where the lines start to get a bit blurred, but we're not totally out of the usual progression just yet.

After the Stinger you get the ASMD Shock Rifle, a famously curious gun that, as its primary fire, shoots a hitscan beam, and shoots a fast-moving projectile orb as its alt fire, trading perfect precision and speed for a little bit of splash damage. The thing about it is that if you shoot the orb with the beam you get a giant explosion that does an absolute ton of damage.

Moving from that piece of sweet hardware brings us to the GES Biorifle, a rapid-fire goop-throwing mine layer with a charged shot as its alt fire.

Then, the Eightball Launcher, a rocket launcher that has not two but four firemodes. Click primary fire to shoot a rocket, fast moving and with splash damage. Hold primary fire to charge up to six rockets that fire in a spread pattern, or click alt fire while charging to shoot them in a spiral formation. Also, you can get a mild lock-on effect by holding your mouse cursor over an enemy for about half a second. Alt fire is the same as primary but with grenades - click alt fire once to lob one, hold to charge up to six. The grenades bounce around for a set period of time, and also blow up on contact with an enemy.

Then possibly the series’ most famous weapon, the Flak Cannon. Primary fire is a projectile-based shotgun that fires individual shards that bounce around the environment for a bit, allowing you to fire around corners or even up at the ceiling to bank a shot over cover. Alt fire is another grenade launcher, though this one fires its shells at a shallower angle, a higher velocity, has a smaller up-front splash radius, and still creates little bits of flak that bounce around for a short time. This gun is my and many other people’s favorite gun in videogames.

The Razorjack is a strange gun that fires disks that bounce around the environment at scarily high velocities, and even have the ability to decapitate enemies if you hit their head, a useful feature in the Skaarj-infested levels where you first find it. Alt fire is a tricky system that lets you influence the path the disk takes, though its high velocity, bad turning radius, and small size makes “influence” a more appropriate word than “guide.”

Next is the Rifle, a high-powered hitscan primary fire with an alt fire that zooms in. Headshotting enemies decapitates them but other than that it's just a sniper rifle, let's move on.

Finally, Unreal has the Minigun, a hitscan bullet-spewing beast that shows up near the end of the game, leaving you with just barely too little time to get to use it as much as you want and also to realize that hey, it's just a minigun. Primary fire shoots with a short spool-up time, alt fire shoots faster but less accurately. Unfortunately this does not make you hold the Minigun sideways like the Automag.

So that was Unreal’s loadout, and it made some big waves at the time. Physics-based projectiles? Well sure, Quake had the bouncy grenade launcher, but the Flak Cannon and Razorjack made being aware of and using the environment second nature to players. The ASMD’s ability to produce a BFG shot on demand if you could combo properly was amazing. And the upgradeable nature of the Dispersion pistol made what was usually a loadout slot reserved for being sad about having to use a legitimate late-game complement to your arsenal.

So it stands to reason that Unreal Tournament barely changed it.

UT99’s arsenal did change a little bit, but not too drastically. Most changes were to damage or fire rate, and every weapon got a new model. Some weapons were slightly renamed, like the Automag becoming the Enforcer or the ASMD receiving its full title of ASMD Shock Rifle, the Eightball Launcher was just called the Rocket Launcher, the Rifle became the Sniper Rifle, and the Razorjack was renamed the Ripper.

The next level of changes was tweaking some alt fires. The biggest change here was the new Ripper losing its guided blade in favor of an alt fire that shot an explosive disk. Unlike the primary fire, it didn't bounce, and while it had only about half the splash radius of the Rocket Launcher proper, its fire rate and projectile speed were both much faster. Other than that, the only change to another gun was the Sniper Rifle getting a thematically appropriate overlay when you zoomed in, instead of Unreal’s Rifle not displaying anything. Additionally, because it seems to fit here more than the next bit, if you manage to find another Enforcer lying on the ground, you can pick it up and dual wield. It's pretty rad.

Larger changes came in the removal of both the Stinger and the Dispersion Pistol, and the addition of the Impact Hammer, Pulse Gun, and the series’ first superweapon, the Redeemer.

I'm personally a bit conflicted about trading the Stinger out for the Minigun. On one hand, UT99’s Minigun is a great piece of visual design - massive, chunky, and bold, with the added flair of seeing your arm holding onto a forward grip to really sell the vibe of that one scene in Predator. On the other hand, there's something to be said about a projectile weapon over a hitscan one, especially since so many high-powered hitscan weapons exist in the game already. But at the same time, UT99 does have an answer to the automatic projectile weapon, the Pulse Gun.

The Pulse Gun should be instantly familiar to anyone with a passing understanding of id Software’s early titles. Primary fire is just the Pulse Rifle from Doom, and alt fire is the Thunderbolt from Quake. But put together, married in this suitcase-sized brick of green polygons? A thing of beauty.

Let me at least address the Impact Hammer before moving on: it's a melee weapon you can charge up. It'll kill someone pretty good if you charge it up and manage to make contact. It has a pretty fun and inspired visual design but ultimately the only reason it's there is because you can run out of ammo with the Enforcer you spawn with. The end.

Alright, the Redeemer. The Redeemer is a man-portal nuclear warhead launcher, kind of like the Fat Man from Fallout 3 except way, way cooler. Primary fire launches a relatively slow-moving projectile that, on contact with anything, explodes in a shockwave that does enough damage to instantly gib anyone without 199 health and a Shield Belt powerup. It goes through walls, too. It's a very good superweapon. Making it better is its alt fire, where you take personal control of the missile as it travels, allowing you to guide it around the map with a surprising degree of maneuverability. The BFG may have a classic flair, but the Redeemer took the idea of a superweapon to a whole other level.

So how did all of these weapons actually play together? How did an arsenal designed for and balanced around a singleplayer game with fixed enemy spawns translate to a multiplayer arena? Quite well, in fact. Epic didn't design the game in a vacuum, and as Quake 2 was the reigning champ at the time, they didn't have to look far to see what worked and what could be changed for the better.

UT99 plays fast, hard, and unrelenting. People load into a map and immediately start running around picking up weapons and letting the lead fly. Now, it's time for my bias to show a bit. I only ever watched Quake 2 multiplayer, but I have in fact played Quake 3 and Quake Live, as well as a handful of hours of Quake Champions which I know isn't really comparable but it uses the same weapons so I'm still mentioning it. UT is my series, I have a preference for it, and this next bit is all my own opinion and observation.

Quake only has three weapons.

Quake is a game where movement is fast, projectiles are fast, and time to kill is fast. It's a fast game. But it's so fast that only three weapons end up mattering - the rocket launcher, railgun, and thunderbolt. They're the three highest-damage weapons in the game and they make up pretty much the entirety of its arsenal. Quake matches inevitably all play out as taking potshots at each other with rockets as everyone strafejumps around like crazy, switching to the railgun if someone manages to be in the open for more than half a second, and swapping to the thunderbolt if you manage to get close enough that another character model takes up more than a handful of pixels on your screen.

Quake is a very fast and chaotic game, and I'm not saying that this kind of play isn't skillful, it's just so fast that actual duels never really happen, and people just kind of end up taking damage from one end of the map when they're on the other. Quake’s other weapons just may as well not exist, because if you find yourself using your starting shotgun, the nailgun, or any other weapon you want to be close for, you're likely doing so in range of someone's Thunderbolt and that's not a race you're going to win.

It's a difficult point to make, so let me move back to UT and why I prefer it. UT is a small but noticeable bit slower than Quake in a way that I feel greatly benefits it. Overall, it comes down to bringing the action in a little closer, really making the fights seem more personal, and really giving players more of a chance to dance around each other rather than hopping around the level on their own accord until they find each other by chance. Projectiles are both slightly slower and much more visible than in Quake, so trying to slam a rocket into someone's face from three hundred meters isn't really going to happen. So, from further away, you'll want to use a hitscan weapon, but since your target will be smaller they'll be harder to hit. Unless you want to zoom in with the Sniper Rifle, but then you lose a bit of awareness of your immediate surroundings. Close up, the Flak Cannon is king, but its range is short enough to matter. The Pulse Gun’s alt fire is just the Thunderbolt, and it'll tear someone apart pretty handily, to say nothing of putting the Minigun into overdrive with its own alt fire. Even flipping your Enforcer sideways will get bullets into someone quickly, and with fancy enough footwork you can save yourself from a gruesome fate with the starting gun. Or, if you're trying to keep someone away, quickly laying down a gooey minefield with the Biorifle works just as well as filling a hallway with a dozen bouncing Ripper blades.

Every gun in UT99 can kill someone, and not just in theory. The game balances each of its weapons almost perfectly, and nothing ever feels totally useless or has an obvious better version (I am not counting the Impact Hammer or Enforcer in this statement). Jumping over or dodging away from rockets to close with the Pulse Gun’s alt fire is just as reasonable as forcing someone to switch away from their Flak Cannon by retreating backwards as your Biorifle makes it impossible for them to safely advance. Lobbing a Flak alt fire over that minefield is alway an option though, so be ready to get out of the way, and maybe pull out your Shock Rifle to push them backwards. A fully stocked Minigun can keep an approach locked off, but a quick sniper bullet right to the face will put an end to it.

Alright, admittedly the Biorifle is historically a bit ignored, and the Ripper didn't even show up in subsequent games, but both still had a purpose. I, personally, am a staunch defender of the Biorifle’s utility as an area denial tool, and the ability to charge its alt fire will instantly kill someone no matter their health and shield level, if you can hit them. It's certainly better in team gamemodes like Assault or CTF, though. But just shooting at people with the weapons does not an arena shooter make. For there to be the proper levels of frantic action, movement needs to have a strong focus.

As in Quake, you'll want to get familiar with your spacebar. Strafe jumping isn't a thing as far as constantly upping your own speed, but it sure does make you harder to hit, and getting decent at dodging rockets always helps. Double tap a movement key to do a quick dodge in that direction, useful not just for avoiding projectiles but for snaking down corridors. On an elevator? Jump just before it reaches the top to get a massive boost and go flying. The Impact Hammer isn't ideal as a weapon, but a quick blast downward makes a decent stand-in for a rocket jump, if at the cost of significantly more self-damage. Capping it all off is the Translocator, the aforementioned teleporting-disk-thrower. Primary fire to shoot a disk in a pretty generous arc, alt fire to teleport to it. Disks emit light and can be destroyed, if you teleport while carrying a flag you drop it, and yes, you do fall faster than the disk travels upward. Truth be told, I usually play with the Translocator turned off, but that's mainly because the bots, as good as they are at the rest of the game, are less than stellar at putting those disks where they want, often leading to a cluster of them bouncing their shot off a wall just inches under the ledge they want up to, and not taking any action until they get it. I think it has to do with the accuracy modifiers based on bot skill level, but I'm not sure.

The bots are great in every other respect, though. Sure, they'll never actually replace a human player, but they're more than good enough for a few hundred hours of offline play. All the tricks the Skaarj demonstrated in Unreal are on display again, and tuned up to use every weapon. Bots jump and dodge, retreat if they're low on health, make decisions about what weapon to use based on their proximity to you as well as their own inventories, switch between firemodes when it makes sense, and plenty else. Upping the bot difficulty doesn't just make them do more damage or give them more health (it doesn't even do that in the first place), it makes them smarter. Or ‘smarter’ if you really care - it changes their reaction times and how accurate they are, how aggressively they'll act, and even how good they are at using the weapons beyond just aiming. A low-level bot might not get close enough to hit you with the Pulse Gun’s alt fire, or will use a Rocket Launcher in close quarters with all the risks of splash damage and self-death that entails. Higher difficulty bots will bank Flak shots off walls and bounce grenades around corners, lay fields of Biorifle goop, or be deadly-accurate with a sniper rifle from above.

The bots are what really put UT99 firmly on the ‘classic’ shelf, because its contemporaries just didn't offer the same thing. Again, Quake 2 had bots, but they served the purpose of being moving targets and not much else. Driving UT’s bots was a dead-simple, if tedious to implement, system. If you'll indulge me, I'm gonna pull back the hood and reveal the not-at-all-secret ways Unreal Tournament made all of its bots so good at playing each map.

All over a map, there are invisible waypoints hand-placed by the designer. The goal is to make a rough trail of waypoints to each part of the map. Bots see each waypoint and have the ability to travel in a wide radius around each. Weapons, ammo, health, armor, and special powerups all act as special waypoints that a bot will see and travel to if they don't already have what that pickup is. Players and other bots are considered waypoints as well, and when all that comes together, a bot will very intuitively move around the level. Placing a waypoint higher in the air will make a bot jump to reach it, so having them move over obstacles is simple. Like I said, it only requires a loose sort of web across the level, as the world geometry itself is also something a bot sees. Going around a corner or a box in the middle of a room is no issue provided the waypoints are good enough.

So now that you know how the sausage is made, what does that mean for the game? Well, quite a lot. Bot support is built into every single one of the maps UT99 shipped with, which is no small feat considering the base game came with 53 maps across four gamemodes (deathmatch and team deathmatch use the same maps), with a further 30 maps added for every gamemode but Assault over the course of four free downloadable bonus packs.

Every single one of those is playable, to this day, offline with a complement of bots just as ready to rock as they were almost twenty years ago. And that's not event counting the thousands of user-made maps still available for download, but we'll talk about modding in a bit. Because right now, it's time to talk about another excellent thing present on each map - the music.

Returning from Unreal are indisputable gods of music Alexander Brandon and Michiel van den Bos, who trade the previous game's subdued alien score for a soundtrack full of some of the boppin’est, crunchiest, hypest EDM tracks of the late 90s. (Can you tell I don't know anything about music?)

Run, GoDown, and Organic provide the upbeat bleeps and bloops to murder by; Save Me, Razorback, and Superfist let you rock out with your shock (rifle) out; while Forgone Destruction, Skyward Fire, and The Course chill things out a bit so you can focus on getting sick headshots. The quality of the music in Unreal Tournament is impossible to overstate, just as it was in Unreal. Brandon and van den Bos are unrelentingly good at their jobs, and the mishmash of styles all grinds together across UT99’s broad palette of maps like butter full of shrapnel. It's good, is what I'm saying. The music's really good. Listen to it. Please.

Stage music is something I personally miss from shooters, if you'll indulge another tangent. I love hearing the gameworld as interpreted by the composers, it adds so much to the whole package, and we just don't really get it anymore. The rise of the modern military shooter in 2007 with the runaway success of Call of Duty 4 kind of slammed the door on stage music with a tactical-lite focus on identifying footsteps and directional fire, but even Halo’s deathmatches were filled with a blank silence. Or Halo 2, I suppose, since Halo 1 didn't have online play, except for the PC version, which did. No stage music though, that's the main takeaway.

UT99 had a truly odd mix of contemporaries, from the last days of Quake 2 and the imminent release of Quake 3 a week after UT itself came out, to Half-Life creating a mod scene in its multiplayer, to Halo a year or so later. The turn of the century would bring with it the generally-accepted death of the arena shooter, but they all went out kicking, and the few hundred people still populating UT99 servers to this day are a testament to its tight, clean design and no-frills focus on gameplay.

Unless, of course, they're playing a mod.

Truth be told, I never actually played much UT99 online. I was very bad, you see, and when I got better my horrible social anxiety had progressed to the point where the idea of even playing a game with faceless strangers was terrifying. I was 8. But anyway, modding! You may have, in your travels as someone who presumably plays videogames - an assumption I'm making because you're reading this - heard of the Unreal Engine. In a hidden bit of Trivia, Unreal was the first game on the Unreal Engine, and Unreal Tournament also used it. Wild!

Along with the game itself, both releases also shipped with the Unreal Editor, or UnrealEd. UnrealEd is the exact development tool the fine folks at Epic Megagames used to make those games, and they just casually handed them to the players. The result echoes throughout the game industry to this day, and while Epic was hardly the only developer supporting mods, they were the first to do so on that kind of level. As a result, there are thousands if not tens of thousands of user-made maps scattered around the web, along with new gamemodes, fan-made expansions for Unreal, new character models, weapons, and mutators.

Ah, mutators.

Mutators can be thought of as ‘mini-mods,’ if you want. There's a list of them you can select before each game that all change, or mutate (see?), the gameplay a bit. Superjump, low gravity, replacing each weapon spawn on a map with another, big head mode, stuff like that. Mutators are a fun addition that can mix up a usual match, but don't bring with them the sweeping changes of a full mod or total conversion. They were a way to illustrate how flexible the development options were, and a nifty thing for players to have available to them.

So, Unreal Tournament had lots of ways to keep the game fresh, either built-in or crafted by other players. Turn a small map into Explosion Hell with the Rocket Arena mutator, or download a player-made weapon pack filled with weird goodies. Wondering how Quake’s iconic maps play in UT? Somebody's made them. Hell, someone's even made a bunch of UT2004 maps for UT99, complete with de-made character and weapon models. A lasting legacy of creativity is what UT99 brought above all else, and the fact that so much of what it did can remain as the primary example of how to do something right says more than I can about its impact on videogames as a whole.

Unreal Tournament is a fast, brutal game balancing all of its various systems on the edge of a spinning razor blade, and it does so with a mastery that I feel was not seen among its peers of the time. From the weapons, the movement, the maps, and the gamemodes, Unreal Tournament presents you the player with so many options, but it never feels like a generic crowd-pleasing paste has been slathered over everything. The game's core is simple and well defined, and everything else builds on that. It has a certain tightly-realized identity that I feel is missing from a lot of games that try to have the same sort of arcady arena vibe - Halo was probably its closest rival as far as small genre shifts go, and looking at Destiny 2 as the latest version of that is a weird mix of procedurally generated weapons, hero abilities, flat maps, and very few projectile weapons. Skill has been taken out of some areas and added to others, but the design feels looser, less actualized. Call of Duty is fast, but still has that small desire to be somewhat tactical, so there are recoil patterns and weapon attachments, the rich-get-richer killstreaks, and a progression system that murders any attempt at balancing their arsenal. Quake Live, from what I understand, has a healthy enough playerbase, but my preference has already been stated. Quake Champions tries to marry its classic gameplay with that of Overwatch, and the reactions have been mixed. Team Fortress 2 has been bogged down with more and more weapons that blur the lines between classes, and the official map rotation - already small on launch - has barely been added to in twelve years.

This isn't a “games are different now and that's bad” sort of thing, my point is just that UT99 had a much cleaner mission statement, if you will, than what we get now. The industry's gotten bigger, and budgets followed. Expectations of sales rose, leading developers to want to bring in as many players as they could. Games can't really be niche anymore.

Or maybe that was true five years ago, but now the indie scene’s getting huge, and you can find a revival of your favorite genre just about anywhere. Most aren't super well polished, but isn't that what made games like Unreal, Quake, and Half-Life into what we remember? They all had more ambition than was perhaps warranted, and each made their huge impacts despite a healthy amount of blemishes. Endless polish makes for a good player experience, but maybe not as much of a memorable one.

Unreal Tournament all but made me into an FPS fan, and I think it's great that we all have so many types to choose from now. Public tastes have shifted and evolutions of the genre happened. I've enjoyed my fair share of Calls of Duty and Battlefields, I plugged hundreds of hours into TF2 throughout highschool, I've ridden the Overwatch hype train, and I love poking holes in walls and getting sneaky kills in Rainbow Six: Siege. But Unreal Tournament is my oldest bastion, and one I return to every now and then when the whim takes me. It occupies my top slot, though admittedly in an endless 1v1 with Unreal Tournament 2004.

But there was another Unreal Tournament between the two, one that came and went with mild fanfare while paving the way for what I feel is, hands down, the best game ever crafted by human hands. Check back at the end of the month for a short look at the odd little Unreal Tournament 2003.

#unreal tournament #ut99 #words about games #videogame #review #essay #fortnite #unreal retrospective

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