Frivolous Waste of Time

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Archive for the tag “platformer”

Cave Story+ for Switch, 3DS and PC

Despite being released a Nintendo indie staple, I’m late to Cave Story. Developed by one guy in his spare time and released on PC 13 years ago, Cave Story has been remade and remastered in many different ways, most notably a complete 3D remake on 3DS. Cave Story + is a more straightforward port than that and is a neat addition to the rapidly growing indie library for the Switch.

Cave Story follows a cute little robot called Quote, who awakens on a mysterious island, floating in the sky, populated by talking rabbit creatures known as Mimiga. The Mimigas are being persecuted by a mysterious figure known as the Doctor, who has been kidnapping Mimigas and forcing them to eat a strange red flower which causes them to become violent and feral. Quote sets forth to defeat the Doctor and save the Mimiga, discovering on the way that things on the island are much more complex than they first seemed. The story and world of Cave Story are much more complex, compelling and well thought out than you might expect from its simplistic art style. It is frequently funny, but at times genuinely quite horrific and sad. Minimalist or environmental storytelling is more common in modern indie platformers and it’s quite nice to see something so densely plotted and heavy with world building detail.

Cave Story is a platformer, with Metroidvania elements. You’ll mostly be working your way through caves, blasting enemies with a variety of weapons, all of which can be temporarily upgraded with shards, but will downgrade again if you are hit. One thing I loved about this game is how utterly puny and pathetic you feel at first compared with how powerful and dangerous you become with all your weapons fully upgraded. The jumping itself was obnoxiously floaty for my tastes, but the addition of a jet pack mid-way through greatly mitigated this irritation. You’ll fight through a series of areas, with most centring on the Mimiga Village, and most culminating in a cool boss fight. Some issues with balance and difficulty belie the amateur origins of Cave Story, but these issues rarely raised above the level of annoyance. It’s a hell of an achievement. Exploration is rewarded with upgrades to health and missiles, Metroid style, but this is largely a linear experience. Floaty jumping aside, Cave Story plays well, with some smart level and boss design.

With a charming chip-tune sound track and satisfying blasting noises for the weapons, there’s a lot of polish to Cave Story. It’s got a simplistic art style, but it’s very effective, particularly for the character models and bosses. I loved the character designs, which vary from charming to creepy to just plain bizarre. With support from Nicalis, you can see that a lot of love went into this game.

I suspect that playing Cave Story for the first time in 2017 will not have the same impact it would have had back in 2004. Indie Metroidvania platformers aren’t exactly a rarity these days and, when placed aside more modern examples, Cave Story doesn’t come across as particularly special, excepting its strong world and story. It’s an interesting cultural artefact though, and I can see how it’s influence rippled through the indie scene. I’m glad I played it.

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Shantae: Half-Genie Hero for Switch, Wii U, PS4, PS Vita, Xbox One and PC

I’ve never played a Shantae game before, but I’ve been aware of the series ticking over on a range of Nintendo consoles. Shantae: Half-Genie Hero has an abundance of charm, but ultimately lacks the depth or the tightness of controls needed in the best platformers.

Shantae is, as the title suggests, a half-genie, who protects her town from a range of menaces, most prominently her pirate nemesis Risky Boots. This game focuses on Shantae helping her uncle build a strange machine, as well as uncover some of the secrets of her origin. Half-Genie Hero is a soft reboot and entirely understandable if you haven’t played the previous games. The writing is very self-aware and quippy in a way which treads a very fine line between irritating and endearing. It just about landed on endearing for me, but I suspect lots of people would feel differently. Expect lots of jokes about the game industry and DLC, but it’s the simple but likeable supporting characters that made Shantae’s story a bit more engaging.

Half-Genie Hero, for all its charm, somewhat stumbles out of the gate. The core platforming is pretty unsatisfying, awkwardly floaty with pretty straightforward level design. There are people out there who can tell you exactly what constitute tight controls and strong platformer design and I am not one of those people, but I know it when I see it. The lack of ingenuity in the level design is masked by the charm and style of the environments as well as the range of transformations Shantae can perform. By the end of the game, Shantae had access to eight different transformations with different abilities. Examples include a monkey which can climb walls, an elephant which can smash blocks and a crab which can scuttle around underwater. Transforming to get around is fun and I liked the surprising range of abilities available to Shantae, but I’d prefer fewer transformations and better platforming. One element I did really like were the boss battles; which were generally clever and epic and an area where the game really excelled.

The basic structure of the game annoyed me. You regularly return to a core hub town, where you can purchase upgrades and talk to the locals. Between the levels you will usually need to take part in a Zelda style trading quest, with the items you need usually hidden in previously beaten levels with areas which can now be accessed with new transformations, adding a light element of Metroidvania to the proceedings. I do love a good trading quest, but this felt more like padding than anything else. There aren’t actually that many levels in the game, so Half-Genie Hero seems to feel the need to extend the run time artificially. When returning to the levels you are rarely given a new or fun challenge, it’s more likely going to be crabbing around on the sea floor picking up collectibles, or climbing a tower and elephant stomping on flowers to pick up collectibles and blah blah blah. Games for which the genre are named, Super Metroid and some of the latter Castlevania games, take place in a singular world and the approach doesn’t work nearly so well in discreet, linear levels.

For all I’m complaining, Shantae really is a lovely looking game. The art style is bright and clean and the characters are full of life, constantly moving and jiggling around. My favourite was the zombie girl Rottytops, who seems to never stop dancing. The music is very good too and adds a sense of grandeur, with scatterings of likeable voice acting too. There’s a rather pervasive feeling of style over substance here, but I’d rather have that than neither.

Shantae: Half-Genie Hero is not a bad game, but it lacks the cleverness and tightness of level design the best platformers need. It may not be a bad choice if it goes on sale, but it’s not exactly a classic.

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Snake Pass for Switch, PS4, Xbox One and PC

Snake Pass is exactly the kind of game you buy when a new console comes out, software is thin on the ground, and you want an excuse to use your fancy new machine. It’s interesting and something a little bit different, but ultimately something I don’t think will be remembered as much more of an oddity. It asks the question; can you do a platformer without jumping? The answer is technically yes, but you probably shouldn’t.

Snake Pass resembles a 90s mascot 3D platformer, as we control adorable snake Noodle through a series of levels to collect a bunch of maguffins. Snakes aren’t known for their jumping skills, so we instead slither through the semi-open environments, traversing the levels by clinging to poles and stretching your long body across chasms. Controlling Noodle is weird and takes a bit of getting used to. In some ways Snake Pass resembles the ‘fumblecore’ genre, where games have intentionally difficult or fiddly controls for comic effect, like Octodad or QWOP. Moving through an environment in a good 3D platformer should be elegant and satisfying and Snake Pass is rarely either. There is however a certain satisfaction in getting better at the odd controls and I’m sure some people will become very good at moving Noodle around, although I suspect I lack the patience. My main gripe came with the introduction of failure states later on. In earlier levels it’s almost impossible to die, but many later levels have bottomless puts and spike traps and fire which can finish off poor Noodle. In the earlier levels failure felt like an opportunity to just pick up and try again, but regular deaths saw me taking on the same obstacles over and over again. I don’t think this game needed death to be a thing and I think that the core of the challenging gameplay could have been kept without it.

There are 16 levels overall and to complete each one you must collect three gemstones and return them to a plinth. This is far from all the levels have to offer through, and they’re all incredibly dense with extra collectibles to pick up. These collectibles are usually much more difficult to gather than the main gems. There are no difficulty settings in Snake Pass, but the range of collectibles add layers of difficulty within the levels themselves. You can play easy mode like me and just get the gems, but you could also go up to hard or extra hard modes and go for some of the truly evil challenges. This kind of design, simultaneously offering several layers of difficulty, isn’t easy to pull off but Snake Pass does it with an impressively light touch. I was happy with my money’s worth just making my way through the levels. I found that challenging enough, although I suspect that I may just be really bad at this game. If you want more out of Snake Pass it’s there for you; this seems like a game with really interesting speed running potential.

Snake Pass is bright and colourful, with a nice, if slightly generic, Aztek influenced world and cute character design and animation for Noodle. David Wise, best known for Donkey Kong Country, composed the soundtrack and his unique skill for jungle based platformer compositions work unsurprisingly well for Snake Pass.

I liked Snake Pass, but I found difficulty spikes towards the second half of the game more frustrating than anything else, often being based on simply balancing for a longer period of time rather than clever structures to climb. Still, I doubt you’ll play anything else like it and it suits the Nintendo Switch quite well. Digital sales aren’t yet a thing for the Switch, but when they are that might be the time to give Snake Pass a go.

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Master Blaster Zero for Switch and 3DS

I’ve played most of the most famous NES classics, but Master Blaster passed me by. Master Blaster Zero is a heavily altered remake, but the core mechanics of the original are essentially the same. It’s an interesting cultural artefact to be sure, but I can’t claim to have fallen in love with it. I think Mario, Mega Man and Castlevania remain the kings of the NES platformer for me.

The plot for Master Blaster Zero is incomprehensible guff. I think it’s post-apocalyptic and about mutants and stuff, but who cares? The original NES game was about a boy whose pet frog jumps down a hole and he uses a tank to rescue him. A frog does still go missing at the beginning of Blaster Master Zero, but it’s only the catalyst for a larger story. I’d prefer it to remain entirely frog focused personally as I quite like the goofiness of the original premise. Final rating for the story of Master Blaster Zero: all frog scenes 10/10, all non-frog scenes 0/10.

Master Blaster Zero can be split into two clear parts. The stronger half is a fairly straightforward platformer, as you manoeuvre the tank Sophia III through a series of caverns. There’s a lot of jumping and shooting, as well as some light Metroidvania elements, although this never becomes particularly extensive. It feels good and controls nicely, with some nifty abilities like hovering and climbing the walls, but it ends up feeling a little bit half baked. You can also leave the tank, where you’re incredibly weak and tiny. There are some interesting ideas at play when you leave the tank, but again, it never quite goes as far as it needs to.

The other half of the game begins when you leave the tank and enter a cavern, where the camera shifts to a top down, almost Zelda-esque perspective. In these you move through short dungeons, shooting enemies. You have variety of weapon types, from a simple blaster to a fast wave shot that shoots through walls. Every time you are hit you are bumped down a tier in the weapons. When you have the wave shot a lot of the game becomes ridiculously easy, with bosses going down in seconds. This is probably a good thing though as these sections aren’t that much fun. Don’t get me wrong, I’m a fan of the idea, but the execution left a bit to be desired for me. There are some cool ideas and variety, like some stealth focused sections (which work better than you might expect) but overall I| got tired of the core gameplay loop after a couple of hours, which isn’t great as the game isn’t particularly long to begin with.

That said, it does look nice, with the NES aesthetic updated very well and some genuinely imposing boss creatures. There are some scenes which are impressively cinematic and the soundtrack is pretty good too. Purely visually, Master Blaster Zero is a good case study in how to bring an NES aesthetic into 2017 but with enough tweaks to make it still feel modern.

All said, I wasn’t too impressed by Master Blaster Zero. I get why it’s so respected as it does a lot of interesting things, but it’s not about to break into my favourite NES games any time soon.

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Yooka-Laylee for PS4, Xbox One, PC, Linux and OS X

I still remember the day I got my N64. My mum was pretty strict when it came to game consoles; she didn’t approve at all and was pretty keen to keep controllers out of my hands. My dad was a big softy though and we went to go pick it up from Toys-R-Us for Christmas. This was the UK in the 1990s and the PS1 was culturally dominant in a way I think lots of people have forgotten, but I had eyes only for the N64. My best friend had one and we’d spent countless hours playing together, but one game had caught my eye above all others. Not Super Mario 64, not Ocarina of Time; Banjo-Kazooie. I obsessed over this game, collecting every Jiggy, every Note, every Jinjo. I’ll never forget the day Nintendo Official Magazine published the secret codes to unlock the enigmatic, but ultimately pointless, Ice Key and Special Eggs, ringing my best friend to share my discovery. I awaited Banjo-Tooie with a fervour, and even though with hindsight I can see that it’s a less tight and strong experience overall than the original, I still loved it to bits at the time. The point is, cut me and I bleed Banjo.

It’s 2017 now, and I’m not far from 20 years older than I was when I first played. Some things haven’t changed; I still have Grant Kirkhope’s Spiral Mountain theme etched into my skull and the childhood best friend was my best man, but one area that has changed is gaming. It’s not 1998 anymore. Yooka-Laylee’s reception was likely disappointing to Playtonic, formed largely by people who left Rare after not being able to handle anymore of Microsoft’s bullshit, who demonstrate clear passion for the collect-a-thon genre and a style of game that no longer exists. Yooka-Laylee is quite clearly a labour of love, which makes it all the sadder that it ultimately fails. Some have snapped back at the criticism of Yooka-Laylee by saying that it simply does what was promised, to recreate the gameplay, style and aesthetic of Banjo-Kazooie into 2017. Those criticising it are simply not the target audience.

Unfortunately, I think the issues with Yooka-Laylee run deeper than simply being a matter of personal taste and nostalgia. Banjo-Kazooie was a big, epic game, but it was very tightly designed. In terms of pure square footage, the levels really weren’t that big, but were packed to the rafters with stuff. There was a sense of wonder, as each world felt radically different to the others, offering unique style, gameplay and sweet, sweet Kirkhope music. Yooka-Laylee has fewer worlds than Banjo-Kazooie, only five overall, plus the hub world. This wouldn’t be a problem in of itself, but they’re also much bigger and, overall, have far less personality. There is probably more content in each world than in Banjo-Kazooie, each of which can be expanded, but it’s far less interesting to gather. Yooka-Laylee aims for Banjo-Kazooie, but it lands on Donkey Kong 64.

The Banjo games were never known for complex plots, but you still had a clear motivation. Banjo’s sister has been kidnapped by an evil witch who wants to make herself young again. In Yooka-Laylee the villain is Capital B, an evil businessman who creates a machine to absorb all the books in the world, to horde knowledge to then sell back. He steals the pages from a magical book in the possession of chameleon Yooka and bat Laylee, so the two set forth into his lair to get the pages back. The writing is still good, funny and silly and irreverent and oh-so-very British, as it was in Banjo. An element I really liked is that the whole game can be interpreted as a dig at Microsoft, with constant jokes at the expense of corporations and capitalism. A boss clearly modelled on Microsoft’s Kinect was particularly genius, as perhaps nothing symbolises how far Rare has fallen, or was dragged, than that useless bit of nonsense. Whilst I like the idea of Capital B, he ultimately feels like less of an engaging presence than Gruntilda, whose constant taunting and rhymes during the original game is pretty much iconic.

Although the level design is lacking, most of the core mechanics themselves are really solid. Yooka simply feels fun to control, running at a good speed and with tight platforming. Similarly to the talon trot of the Banjo games, Yooka can roll up into a ball and be ridden by Laylee for extra speed and to climb slopes, with controls that feel tight and responsive. Many people have knocked the camera, but I can’t say I ever had any major issues with it. The sheer joy of movement that 3D platformers really need is present here, even if what is layered on top of these mechanics feels lacklustre.

Yooka-Laylee has moments of greatness and charm but it is lacking something. The writing, music and strong core mechanics of Banjo are there, but the level design, variety and, ultimately, heart are not. This is clearly a labour of love and I’d like to see Playtonic have another shot; I think there’s a solid foundation here to build upon, but I’m as diehard a Banjo-Kazooie fan as you could imagine and Yooka-Laylee fell flat for me.

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Shovel Knight: Specter of Torment DLC for Switch, Wii U, 3DS, PS4, PS3, PS Vita, Xbox One, PC, OS X and Linux

The third Shovel Knight campaign was the second game I ducked into on the Switch after Breath of the Wild. It was a good choice; after the sprawling grandeur of Zelda, a nice, tight platforming campaign was exactly what I needed and jumping back into the world of Shovel Knight seemed the best way to do so.

Specter of Torment tells the story of how Specter Knight came to be the ghostly presence we see in the main campaign, as well as how he first recruited the Order of No-Quarter for the Enchantress. Yet again, Yacht Club provide a masterclass in how to include story in this kind of games. It’s light, it never gets in the way, but there’s enough to add an extras layer of engagement to the rock solid platforming gameplay.

Ah yes, and speaking of the gameplay, Specter Knight is just as fun to control as Shovel and Plague Knights before him. Just as with Plague of Shadows, Specter of Torment reuses the same locations and boss fights from the base game. Although I certainly hope we get some truly new levels down the line, the subtle alterations that are made to each level make them feel distinct. Alongside Shovel Knight’s bouncing shovel and Plague Knights bombs, Specter Knight has some interesting, fun traversal mechanics. One is the ability to slash towards enemies and certain objects, launching you across the screen. This can be combed to cover large gaps, with close timing being frequently required. Less commonly, you can also grind on your scythe along rails, which is fun but perhaps a little underused.

There’s a lot of joy in catapulting yourself around the areas and the boss fights are as fun as ever, even if Specter Knight’s abilities make them a little too easy. I was a bit disappointed by the lack of an overworld this time around, with Specter of Torment instead simply containing a level select screen inside a small version of the Enchantress’ castle. It doesn’t quite feel as fully formed as Plague of Shadows, but it’s still a really fun, challenging experience.

By this point, the base game for Shovel Knight is bloody good value, with three excellent campaigns. Specter Knight is distinct and fun to play as, although I do hope that Yacht Club begin to move beyond the original campaign as their basis.

 

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Lego Dimensions: Fantastic Beasts and Where to Find Them Story Pack for PS4, PS3, Wii U, Xbox One and Xbox 360

This is the second of the more extensive ‘Story Packs’ for Lego Dimensions, after 2016 Ghostbusters reboot. My feelings towards Fantastic Beasts as a movie is very similar to my feelings towards Ghostbusters; somewhere between lukewarm and positive. I’m a big Harry Potter fan but Fantastic Beasts as a movie just didn’t quite land for me; nonetheless, I liked it enough that I was happy to receive this pack as a Christmas present.

Just as with the Ghostbusters pack, this is essentially a straightforward retelling of the story of the movie. There are some funny asides and visual gags from other franchises, but nothing side-splittingly hilarious. The presentation is held back by the use of a lot of archive sound from the movie, with more subdued delivery which made sense in the movie just coming off as weird here. The newer voice acting from some of the cast is much better.

As ever, the Fantastic Beasts story pack doesn’t do anything new in terms of gameplay. The pack gives you Newt Scamander and the Niffler. Newt doesn’t offer anything unique; in fact, he has essentially the same move set as Gandalf from the starter pack and the Niffler simply allows you to use dig spots. Playing through the six story missions will take you a couple of enjoyable hours. The same enjoyably structured if entirely uncreative general unfolding of the environments which makes these games so mindlessly satisfying is in full force here and it is lacking the over-abundance of irritating boss fights which can slightly hamstring these games.

The Adventure World is fine and has some nice missions, but I must say that I’m a bit over New York as an Adventure World setting. It’s definitely more exciting than the Ghostbusters one, but compared to the beauty of the Adventure Time world or the labyrinthine complexity of the Portal 2 world, it ends up coming off a bit bland. I think these worlds are better when they move away from cities; it forces the developers to be a bit more creative. The general look is great and the voice acting solid, with the excellent soundtrack from the movie helping to elevate the experience.

These packs are getting harder and harder review because generally I feel the same about all of them. There are some I’m more enthusiastic about (Adventure Time) and some I’m less (Sonic the Hedgehog), but in general they all operate at the level of decent. Fantastic Beasts and Where to Find Them is another decent Lego Dimensions entry and I think that’s all I’m really asking for.

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Lego Dimensions: Sonic the Hedgehog Level Pack for PS4, Ps3, Wii U, Xbox One and Xbox 360

There aren’t many Lego games that you’d be able to call genuinely brilliant, but most operate comfortably at least around ‘good.’ Lego Dimensions has held on to that, with the entire experience operating at the boundary between good and great, which is fine, that’s where the series belongs. There hasn’t been much that I’ve actively disliked, until the Sonic the Hedgehog Level Pack for Lego Dimensions which is a rather miserable experience.

There isn’t much story apart from Sonic and pals fight to take down Eggman who has nefarious plans. That’s ok though and the writing is decent in that snarky self-aware way that recent Sonic games have fallen into. I’d always choose genuinely good writing, but Sonic is such a poisoned brand at this point that self-mockery does feel like the only real option left. Inside the pack you get Sonic himself, a pointless Sonic car and Tails’ plane.

The core story Level is a decent length and takes in a series of classic Sonic locations from a range of games, from Green Hill Zone through to the first level of Sonic Adventure with the whale. I’m no massive Sonic fan; in fact, I picked this up to play with a Sonic obsessed friend of mine (poor bastard) through the local co-op. I’ve played the first one and dabbled with some of the 3D ones from the early 2000s like Sonic Adventure 2 and Sonic Heroes, then more recently Sonic Generations, but it’s not a series I consider to be a real classic. A lot of the locations went over my head, but my depraved Sonic chum seemed to enjoy visiting a bunch of classic locations, so good for him I guess.

Somewhat appropriately, the Sonic Lego pack holds essentially the exact same issues as the main series; controlling a character like Sonic at high speed through a 3D environment in unbearable. Mario transitioned to 3D perfectly because it was a game about precision and tight control, but Sonic’s speed just doesn’t translate. This level pack has the same problem, with some fun moments of speed (never as fun as a proper Sonic game mind) hampered by the simple ‘puzzle solving’ that you have in the Lego games. I find these incredibly simple puzzles oddly satisfying normally, but they are an infuriating break of gameplay flow here. I was shocked by how well they were able to transfer over Portal to the Lego format, but they really didn’t manage to pull of Sonic the Hedgehog quite so well.

The Adventure World looks pretty nice but made me feel physically sick. Like, actual motion sick. Now, this was admittedly because of the frame rate drop accompanying co-op play combined with the high speed and open world design but when I returned to the open world in solo play I didn’t like it that much either. The same issues that has always plagued Sonic open worlds are still present here; it’s just not fun or exciting to explore. These Adventure Worlds are rarely great, excepting the Adventure Time one, but this is easily my least favourite so far.

The overall look is good, with the Sonic characters translating over to the Lego form surprisingly well. The music not so much, with Sonic falling into the same problem of The Simpsons when it came to licencing music. You don’t get Green Hill Zone, you get something which sort of sounds like it but isn’t as good. This may sound like a minor thing, but when you’re releasing a product which is, let’s face it, primarily trying to capitalise nostalgia, these details matter.
I’m afraid that Sonic the Hedgehog is easily my least favourite of these so far. They made a good stab at converting Sonic into the Lego formula, but it’s hard to claim that they pulled it off. This one is only for the die-hard Sonic fans, although to be fair my die-hard Sonic fan mate thought even less of it than me, so make of that what you will.

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Rise of the Tomb Raider for PS4, Xbox One and PC

I was quite excited to finally get my hands on this game after a year of Xbox One exclusivity; I really liked the last Tomb Raider game and it got good reviews at the time. Oddly enough, the year delay in release may very well have affected my enjoyment of this game for one simple reason; Uncharted 4 came out since the Xbox One release and outdoes this very similar game in pretty much every way.

Rise of the Tomb Raider sees Lara Croft trekking into the mountains of Siberia is search of the Divine Source, a fountain of youth of sorts which provides everlasting life. Lara’s father Thomas had been obsessed with it before his death, which had seen him ridiculed in the press. Lara’s experience on the island back in the last game has opened her mind to the possibility that her father was right and so she sets out to salvage his legacy. She is opposed by the sinister Trinity, an ancient group who seek the Divine Source for their own nefarious ends.

Put simply, the story in Rise of the Tomb Raider is unbelievably boring. The narrative of the first game worked because it was fundamentally a survival story about someone learning to harden themselves to the horrors around them. This element is naturally missing in the sequel and all the Divine Source nonsense had my eyes glazing over. The biggest feeling was that I’d seen all of this before; the villain Konstantin is so stunningly generic that it’s a wonder the writers felt comfortable to use him and Trinity are like any other evil organisation we’ve seen in any number of games. None of the characters, perhaps excepted by Lara’s friend Jonah, are particularly likeable, communicating almost entirely in portentous and dramatic dialogue. There’s none of the lightness or humour or charm of the Uncharted games in Rise of the Tomb Raider. Don’t get me wrong, I’m not saying that Lara needs to be quipping every 10 seconds like Nathan Drake, but everything is so po-faced and serious and lacks a sense of fun. Exciting treasure hunting stories can’t really get away without a sense of fun. I had close to no investment in what was going on.

Thankfully, the core mechanics are strong enough to mostly make up for it. The term ‘game feel’ has come under some ridicule lately, but I don’t know a better way to describe the ineffable feeling of something just feeling good to play. Perhaps it’s the frame rate, perhaps it’s controller sensitivity, perhaps it’s the animations, or maybe all three and more, but this game just feels good to play. Leaping around the Siberian wilderness as Lara never really got old, with good core platform mechanics. Much weaker is the combat; I don’t know if it’s gotten worse since the last game or if my standards have simply got higher, but the shooting in this game simply isn’t good. Stealth fares much better, but it is not uncommon for the game to deny this as an option and to throw you into a shooting gallery. Dodgy shooting mechanics in stealth games is fine as they are meant to incentivise stealth, but by so regularly denying you even the chance to use stealth you’re left with them just being bad because…well, they’re just bad.

Rise of the Tomb Raider is just as guilty of all the open world tomfoolery you get in everything these days; namely an infuriating map filled with collectible knick-knacks with no discernible purpose. The most interesting parts would be the audio logs which fill in the back story if…y’know, the story wasn’t crap. The main story stuff is actually really fun and I’d recommend just focusing on that, with one notable exception; the Challenge Tombs. These are the best part of the game and left optional, which is interesting. I wonder if they expected audiences raised on the simple gleeful joy and scripted platforming found in the Uncharted games to resent puzzling and exploration based interludes. Either way, there are 9 in total and they’re undoubtedly worth seeking out and doing. The puzzles are never particularly difficult or anything, but they’re neat and satisfying and actually make Lara feel like a proper tomb raiding archaeologist than just another marauding adventurer.

Rise of the Tomb Raider is helped immeasurably by just how bloody lovely it looks. The icy setting works very well and offers a nice change from the lush jungle of the last game. In the incredibly dull PS4 Pro announcement, this game was shown prominently as one which shall be boosted by the extra power of the console. Well, Rise of the Tomb Raider has had the opposite effect on me because I realised that I don’t need games to look better than this. I’m sure there are people who will notice little drops in frame rate and visual niggles, but for me who’s not observant about that stuff, Rise of the Tomb Raider already looks close enough to perfect. I very much appreciate the team behind this game resolving my decision on the PS4 Pro, although I doubt Sony would see it that way. The environments are gorgeous, the weather effects hugely atmospheric and the character models expressive. This is s sumptuous and gorgeous game. The music is entirely forgettable and the voice acting bland, although that could be the writing, but those visuals were honestly enough for me to keep coming back.

I really expected to like this game more than I did. It is good but I couldn’t shake the niggling wish I was playing Uncharted 4 again instead. When the sequel hits (and this game makes abundantly clear there will be one), I hope that a lot of the niggles are fixed, although I doubt they will be. Excellent general ‘game feel’ and stunning visuals only get you so far when core mechanics like combat are so poor and the game seems so willing to waste your time with pointless collectibles and a bland story. Unfortunately, Rise of the Tomb Raider never lives up to its potential.
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Lego Dimensions: Ghostbusters 2016 Story Pack for PS4, PS3, Wii U, Xbox One and Xbox 360

Due to me being a SJW libtard feminazi cuck, I actually quite liked the new Ghostbusters movie. It’s no masterpiece, but it had plenty of laughs and I liked that it wasn’t a straight remake of the original, with new characters who didn’t simply feel like analogues for the original cast. In Lego Dimensions, Ghostbusters 2016 as I shall henceforth call it is the first ‘story pack’, a more substantial offering than the level packs, containing six levels along with a new buildable frame for the game portal.

This pack follows the story of the movie pretty closely, but doesn’t really work as a Lego-ified story. Part of the charm of the Lego games is seeing franchises which aren’t comedies, like Star Wars or DC, made silly and goofy when put through the Lego lens. Ghostbusters 2016 is a comedy, it already is silly and goofy, so this story pack ends up mostly feeling like a heavily abridged version of the actual movie, without the unique Lego spin which is so great elsewhere. Still, I liked that the core four Ghostbusters returned to record new dialogue; as with the movie, Kate McKinnon is the highlight. The best moments are where elements from other franchises bleed into the Ghostbusters world, with one particular scene involving giant balloons that I won’t spoil.
The six levels are strong so far as these Lego games go. Since there’s no real challenge in these games, a lot of the charm is following the clear instructions and seeing how everything comes together. It’s an oddly passive and relaxing game experience. People may knock it, but in the moment I can’t deny that I find it very satisfying. In the pack you get Abby from the movie, who predictably has a proton pack useful for busting ghosts as well as the new Ghostbusters van, which functions much like every other car in the game; badly.

The most disappointing element is the adventure world, which is bland, flat and dull. Coming off the awesome Ooo in the Adventure Time pack, the New York of Ghostbusters feels cramped and repetitive. This is the downside of adapting such a recent release, locations such as ‘the university that Kirsten Wiig is fired from’ and ‘that Chinese restaurant they use as a base for a bit’ don’t exactly feel iconic enough to be particularly exciting. The love that was pouring out of the Adventure Time world simply isn’t present here.

The first story pack for Lego Dimensions is certainly decent, with some very strong levels, but doesn’t quite justify its existence. All three story packs are tie in to new films, which makes me a bit nervous as I feel like that is what held back the Ghostbusters pack. Still, there are worse ways to spend a couple of hours than busting your way through this pack.

 

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