I’ve driven on two NASCAR tracks in my life. And by driven, I mean I’ve sat in a car, pressed my foot to the ground, and went around those ovals as fast as my nerves would let me. The first time was at Richmond Raceway, a high banked oval designed for the fastest race cars in the world, and I was driving a high powered AMG Mercedes coupe capable of 155 mph, courtesy of the local dealership. The second NASCAR track I drove on was Langley Speedway. A small quarter-mile oval that looks like it was paved in someones backyard. And I was driving my own car, a bone stock Crown Victoria LX Sport. Guess which time was more fun.
To call Langley Speedway a ‘Speedway’ is kind of like calling Snookie an ‘actress’. That’s being a little unfair to Langley, but not by much. Unlike it’s heyday in the 70’s and 80’s, where the track was a haven for short track racers on their way to the ‘big leagues’, now it’s mostly used for Late Model and ‘Legends’ races. The term ‘stepping stone’ would be a fitting caption for most of the divisions that run at Langley now. A few times during the summer though, they open the track to anyone with a license and a helmet for what’s called ‘Wacky Wednsday’. That’s where me and the Crown Vic come in.
Growing up, I always felt western role-playing games on the PC were underrated. Maybe it's due to the fact that I was only two years old when Wasteland was released. Ten years later when I was enthusing about Baldur's Gate, most of my twelve-year-old buddies were busy anticipating the release of the next Final Fantasy game on console. I mean, yes, I love Japanese RPGs as much as the next gamer, but the communities for the computer games I grew up loving always seemed scarce or closed in by comparison.
Fast-forward to the current era of gaming where we have the introduction of Steam and crowd-funding websites, and a different picture is emerging. In an arena where consumers can have direct involvement and influence on the types of games they want to play, there has been a reemergence of these very games. And while the Divinity series of games may not span as far back as some others, they certainly have harkened to this earlier era of RPGs in their latest release Divinity: Original Sin.
The game was completed and enhanced through Kickstarter funding. Different aspects of gameplay were unlocked as levels of the funding were reached, and thanks to all of those who contributed, the game is intricate and vast. The self-published title from Larian Studios also runs on their own engine, complete with a tool kit for designing customized levels. While the game is available on Mac and coming soon for Linux, mods for the PC version are available and can be published through the Steam Workshop.
The first thing you'll want to do with the game is decide whether to play the campaign in single-player or drop in multi-player mode. Both modes require you to create two characters. You will choose the name, sex, appearance, portrait photo, and class for each character. Advanced players can mostly disregard the pre-built classes, as the Divinity gameplay allows fluid and complex class building. Don't feel like you must limit yourself to be strictly caster, ranged, or melee. Various items found in the game, along with perks, traits, and skills, allow you to reach outside of basic class structures. Customization is more involved than the RPGs the game emulates, but it's still more simplistic than a lot of modern RPGs. The game offers a variety of skin tones and hair styles, but sadly falls short in offering any variation in body type. Once you have your character looking stunning, it's time to give them a voice (three options per gender) and most interestingly, an AI personality. AI personalities, such as Loyal, Knight, or Rascal, are more than just clever fun for dialogue- they offer unique insight and development for your playable characters.
You start the game with only two characters, but you can add certain people you encounter to your party. You have the ability to change their gear and assign skill points, as well as control them in battle. However, they are still separate from your main characters, as you cannot speak for them. If you choose to play multi-player, LAN or internet connection are available for drop in/drop out gameplay. The person hosting the game can assign characters to those who join and also determine whether they can change certain aspects such as gear or skill points. I absolutely loved the simplicity of playing in multi-player. However, it would be great to have the option of more than two original characters for a team. Events in the game don't just happen to your characters, your characters also take time to reflect upon events and even their own actions. This is where the exciting addition of the AI personality really shines, allowing the player to create exchanges between their characters. The options chosen in many dialogue exchanges not only shape the character in the player's mind, but they also contribute to certain traits gained through gameplay. For example, if a player chooses kind options, they can receive the Compassionate trait, which gives them a bonus to critical hits. If a player chooses to be cruel, they can receive the Heartless trait, which increases their chances to hit while backstabbing.
Another unique aspect of the game is the bartering system. The game still offers vendors for particular items, but player purchases are not limited among them. Every person in the game offers not only a chance for better information and possible quests, but a selection of items they are also willing to trade. This is one of the ways that the game really emphasizes thorough exploration. And if talking to every person in the game isn't enough, there is also the option to take on the Pet Pal perk, which allows your character to speak with the various critters found throughout the game. Aside from humorous banter and the realization that the animals are more pleasant company than most of the humans, this perk can also help provide solid clues to solving quests and puzzles.
Talking to every creature great and small isn't the only thing that will take some time. Turn-based battles set the pace at self-determined and much slower than an action RPG, especially if you're playing multi-player. This, along with the ability to see rolls for each action, really give the game an old school tabletop feel. The battle system is quite easy to learn, which allows the player to focus on customization and tactics. With every move and attack costing action points, it's important for players to understand what each spell and skill can do. It's also vital to pay attention to the hit percentage that will pop up, along with the area of damage, since friendly fire is very possible and likely with certain magical and elemental attacks. The battle system here allows the player's inner strategist to really shine as they discover attack and elemental combinations. There are many barrels filled with water, oil, etc, but spell casters can also create elemental changes, such as rain. Use these abilities together to create poision gas clouds or electrically charged steam. The creative battle techniques are really what set this RPG apart not only from action RPGs, but also from other turn-based RPGs that place far less emphasis on atmosphere and status effect combinations.
The basic gameplay is straight-forward and great fun to explore, and once you've felt your way around most of the game (which will take many hours depending on how thorough you are) you might get the itch to take your creativity to the next level. Divinity: Original Sin does a fantastic job of merging the organic feel of tabletop with the best offerings of contemporary gaming technology. The next step in staying true to these roots is to allow players the ability to build levels within the game's engine. The engine is solid and provides for smooth gameplay even on less advanced set-ups, though my one small complaint is load times, which of course vary by computer. The Divinity Engine Toolkit is far more advanced than many level editors in other games of its ilk. As a player who loved to create levels in games like the original Warcraft games and Lode Runner, I had all the creative will, but very little of the modding and world editing advanced knowledge. Larian has provided many videos to help those who are newer to level editing on this scale. The step by step guidance was extremely helpful for me, and while building levels this way is definitely more complex and time consuming than in other games, it also creates a more detailed and personalized product.
Divinity: Original Sin is a sampling of some of the best offerings from both old and new schools. A fitting homage to the games I grew up playing, it also establishes an identity of its own and can be grouped in among the best of the genre. It's a fine example of what can be achieved when a good balance between a development/publishing team and players is created. Between all of the creative ways to construct in the game and the sprawling world to explore, the game brings apt innovation to an already solid genre.
What's the one thing that will get you shunned? Gay, Straight, Black, White, Male, Female, Fat, Thin? No. You can be any of those and somewhere, there's a group that will accept you. The only crime that is truly considered a sin is being different. No one wants to be different. That's a lesson ingrained into you from childhood. Sometimes beaten into you. You can be a lot of things, but different isn't one of them. It's confusing at first, because we're lied to with claims of "celebrating our differences", "be yourself!", etc etc. You're allowed to be different as long as you're the same as those around you.
It's confusing and frustrating. Each and every one of us is different from the other. The uniqueness of our existence is burned into our genes. But as soon as we gather, we begin to mark our similarities. No matter how much a group preaches acceptance, they all preach conformity even louder. Dress like us. Listen to the same music as we do. Play the same games. Drive the same car. Use the same drugs. Follow the same teams. Whenever a group starts, the first thing they do is decide how to identify those that are different.
That part is human nature. What I hate is how people change so that they will be accepted. How they give up a part of themselves so that others will smile when they arrive. They quickly discard something they love because it would mark them as different. Oh, you'll tell yourself, "My friends are different, we all accept each other as we are," or "I'm completely honest about who I am." That's simply not true. You know that there is something you hold back. Something you keep secret. You lie to make sure you stay in the group's good graces. It might be something small, like declaring that you hate Pepsi, all the while having a six pack waiting for you in the fridge. Maybe its something bigger, like when you join on in the gay jokes your buddies toss out during sessions of Halo. There's always something.
The fear of being different follows us into every aspect of our lives; from our acquaintances, to the cars we drive, to even the games we play. Vehicles from the major car manufacturers are nearly indistinguishable from one another. Now that computers have the power to display millions of colors and create untold abstract worlds, we push to see how closely they can mimic reality. When someone or something breaks the mold and ventures out of the norm, its a crap shoot whether praise or ridicule will follow. Too often we're too afraid to even attempt something that's not the same as what has come before.
More often than not, I find myself longing for the simplicity of acceptance. There's something enticing about conforming, even it it costs you a piece of yourself. But even a small piece is too high a price. Maybe thats why I like Gridrunner Revolution as much as I do. It doesn't make any concessions for the sake of conformity. It's not a perfect game. In fact, it revels in what other games would call flaws. Its pace starts out so slow that you wonder if it's supposed to be a game at all or just a rainbow-tinged light show. While other games painstakingly render the player in minute detail, here, your character is crudely drawn with such large pixels that you may think your screen resolution is set to double digits. The sound effects are so mismatched that the only similarity they share is that they are all equally out of place. Its lack of a network leader board is baffling for a game that puts so much emphasis on points. Everything about it says, "I'm different!" Screams it. It's unabashed in its lack of similarity to everything else
I wish I could be as uncompromisingly confident in my differences as Gridrunner Revolution is. I wish we all could.
When I was younger, I put a pair of house speakers in my used 1979 Mustang . I did that because I was a kid and kids like loud cars. Plus I liked telling people that I have house speakers in the back of my car. A couple of years later, I spent way more money than I should have installing a full blown audio system in my Audi 5000. I did this even though there was a flashing red light on the dash telling me the brakes didn’t actually work. I did that because I was a kid and kid like loud cars. The other night I was riding down the road in my Crown Vic listening to some radio station that claimed to be ‘Hot’ through the stock speakers and I kinda missed having a trunk full of bass. But not really. Because I’m an adult.
It may sound like I’m lamenting the path to adulthood, but I’m actually not. I can fondly look back on the days when it was important to let everyone I drove by know what type of music I was enjoying. These days though, it’s more important to me that I enjoy the music. Because I’m an adult.
A few weeks ago, a package was left at my door containing a shiny new ASUS gaming laptop. A GL551J to be exact. Since it was a ‘gaming laptop’ I had certain expectations when I opened the box. I expected a firebreathing, neon clad, vent covered, wildly shaped beast of a machine ready to rip the throat out of anything I could throw at it. The GL551J did not live up to those expectations. And that made me happy. It seemed to have been built for a group of people that are often overlooked when it comes to high end gaming hardware. Adults. I have no aspirations to lug around a 10 pound machine whose first purpose is to let everyone around me how extreme it is. There’s a demographic of people who like to set up shop in Starbucks, flip open their PC and make sure that anyone within earshot knows that they’re in the middle of an intense firefight on ARMA at 60 frames per second. But I’m an adult, so I don’t go to Starbucks to pimp by computer to strangers. Hell, I don’t even go to Starbucks. I have a Keurig which makes a great cup of coffee in under a minute right in the comfort of my own home. The GL551j is a powerful gaming laptop that does it’s best not to call attention to the fact that it’s a powerful gaming laptop.
The Asus doesn’t fly completely under the radar though. It’s still sports a Republic of Gamers logo on the case along with a keyboard backlit in red. But it’s a far cry from the boy racer looks of offerings from other vendors. You could easily get away with sitting down in the office breakroom and finishing off a few levels of Defense Grid 2 while your co-workers think you’re catching up on some late reports. At 6 pounds the laptop isn’t svelte, but it’s still a good traveling companion. Sitting on a plane while exploring the realms of Dragon Age won’t leave you with a scorched crotch, since the single side exhaust vent does a good job of shooting the heat over to the traveller in seat 15B. As far as power goes, it’s a gaming laptop. So you can play games on it. But if you’re into running benchmarks trying to reach 120fps at 4k resolution, then this isn’t the machine for you. The Intel i7 cpu and Nvidia 860m GPU do a great job at getting you up and running at 1080p all day long (or about 3-4 hours on battery), but you won’t be bragging to all of your friends about your incredible 3DMark numbers at 4k resolution. But adults know that 1: 3DMark isnt a game, and 2: You didn’t just drop $1,099 on a laptop to look at statistics.
At a little over a thousand dollars, the GL551J won’t force you to sit down with your kids and explain to them why they won’t be going to Disney World this year. Asus has managed to pack a lot of performance into the unassuming satin black finish for a price that won’t force you to put in overtime at the office. It’s difficult to find which, if any, corners were cut. Although the 15.6 inch display has a slightly washed out look to it that kept me angling it away from the light. My time with the Asus did have one hiccup. I don’t know if was because I had a well used review unit or because of some other reason, but every so often the screen would go black when I set it down. And it would only come back when I pressed the latch on the battery case. At first it was an annoyance, and then it became frustrating. I’m an adult. I don’t have time to be fiddling with battery latches.
The Asus made me wonder how the kid version of me would have liked it. The version of myself leaning against a mechanically dangerous Audi with a sound system that cost more than the car. Wondering if I should spend my latest paycheck adding another amp or chrome exhaust tips (spoiler, I did both). That kid would not have looked twice at the GL551j. He’d be asking ‘where’s the neon?‘ and ‘why aren’t there more vents all over it?’ The kid me would not have liked it. The adult me however, likes it a lot.
It’s been a long time since I’ve gone through a neighborhood revving my engine while blasting the radio in a car with no brakes. Now my car has more power under the hood, and can stop on a dime and my ears don’t ring when I turn the radio off. Being an adult doesn’t mean you give up all the fun stuff kids have, it just means you don’t spend time and money trying to impress everyone else around you. I don’t have time for that. Because I’m an adult, and I have games to play. And the Asus GL551j is just the machine to play them on.
Take a look at our unboxing of the GL551J
A long time ago in Art Class, I had a specialty. Whenever we were given a project, I’d draw, paint or sketch pretty much the same thing every time. It was an image of a house with a tree in front with a mountain in the background with the sun peeking through. I got pretty good at creating this vista. Each iteration was slightly different from the one before. Sometimes there would be smoke pouring out of the chimney. Or the sun would illuminate the tree and cast a shadow in a different direction. When we studied Monet I even did a pointillist version of the image using nothing but dots. That house/tree/mountain was my touchstone.
Turn 10 Studios have become masters at delivering a solid racing experience. For years they've sculpted Forza Motorsport into showcase of beautiful cars and race courses. Forza 5 looks great and drives even better. Turn 10 Studios have become masters a delivering a solid racing experienceTwo hundred gorgeously rendered vehicles and a driving model that has been top notch for years is all that's needed to make it one of the best games on the Xbox One. Each car has a stunning interior view and even the guys from the famous TV show Top Gear lend their voices and test track to the game.
Near the end of the school year, the Art Class final exam included the assignment of creating whatever image you wanted using the techniques we had learned. So of course I dug into the well worn well of the house/tree/mountain. While I was going through the motions of creating the house, I glanced around the room to see what my fellow students were up to. The guy to the left of me was trying to sketch a barely decipherable animal, either a cat or a horse. The girl in front of me was working with seemingly random blotches of paint that might as well have been finger painting. I was clearly at the head of the class, secure in the knowledge that I was leaving with an easy ‘A’.
For the first time, multiplayer in Forza allows 16 players to race against each other at once. When racing against the AI, you are actually going up against ‘drivatars’ that have been built using traits from other online drivers and people from your friends list. Turn 10 has even added a multitude of gaming modes for drivers to compete against one another. Standard events like drag racing, and circuit racing are joined with less common affairs like cat and mouse and tag virus. The Rivals section has returned from Forza 4 that matches you up against a single person’s drivatar to compete against.
The next week, I returned to the classroom to receive my test score. I was stunned when I opened my portfolio. ‘C’. A big post-it note with a ‘C’ was stuck on my painting. It had to be a mistake. I quickly surveyed everyone around me. ‘Do you see anything wrong with mine? Be honest, is this painting just average?’ Each person agreed with me that I had been grossly wronged and that my house/tree/mountain was definitely worthy of an ‘A’. As soon as the class was over, I went to the teacher’s desk to rectify the situation.
The balding old man with black rimmed glasses was buried deep in his gradebook. I stood there for a while waiting to be acknowledged. He glanced up slightly and I saw that as my cue.
‘Yeah, Professor, I got a ‘C’ on this, and come on, it’s not a ‘C’ painting.’
Before he could respond I started pleading my case.
‘I mean, compared to that cat thing that Ronald did, it’s way better. And the splotches of paint that Marie turned in, she even said she had no idea what she was doing and she got a B. You can’t tell me that this is a C. I have shadows, l added smoke. Check it out.’ I laid the painting in front of him, cementing my point.
He stared at me for a beat before fixing his gaze on the painting I had placed on his desk and speaking.
‘I’m not grading you compared to the work of others. I’m grading you compared to you. You’ve been doing that scene all year long. And yes, you use light well, and yes the composition is fairly balanced. And so was the one before that, and the one before that. It’s a good scene. I was hoping that you would challenge yourself this time. Take a hard look at the work you've done and ask yourself, is it the best you can do?’
That question hit like a brick. He had called me out on something that I didn’t even realize I was doing. I was coasting. I knew what was needed to be considered a success and thats what I did. Nothing more, nothing less. I figured the work was good enough to get by and so why do more? Thats why I got the grade I did. Not because the work wasn’t good. Not even because it wasn’t good enough. But was it the best I could do? No, it wasnt.
Forza 5 knows what it needs to do to get a passing grade, and thats exactly what it does. And that's all it does. The 200 cars included look and sound fantastic. Even though for a series that has spanned 3 consoles, the low car count raises some eyebrows. As dozens of DLC cars were quickly released over the past few months, you realize that the low car count was a thinly disguised money grab, nearly doubling the price of the game if you want to get close to the levels of previous iterations. It’s even more telling when you hear the detailed descriptions that once accompanied each car have more often than not, devolved into a lukewarm overview of the car manufacturer instead of a history of each individual vehicle.
The race courses included with Forza 5 look incredible, although it seems odd that it’s always the same time of day and weather is non-existent. Especially considering some of the tracks included are well known for their night races. Lemans, Sebring, and Yas Marina all go hand in hand with night racing. With this being the fifth version of Forza running on one of the most powerful consoles available, the omission of night racing or any type of weather is very noticeable.
With so much emphasis placed on the multiplayer side of Forza 5, it falls short on closer inspection. You aren’t allowed to create a public room or even search for a specific race type. If you want to find a race with a certain number of laps on a specific track to join, it simply isnt possible. Instead you’re restricted to pre-created hoppers or private matches which you have to fill yourself. And since the ‘Car Club’ feature from previous Forzas isn’t included, finding and staying in touch with a group of like minded racers is difficult at best.
Somewhere along the way the franchise has started coastingForza has been doing what it does extremely well for years. But somewhere along the way the franchise has started coasting and has done just enough to get by. It’s good. It’s even good enough to be the best racing game on the XBox One. But it's lost many of the features that made it exceptional. The game has relied on higher resolutions and framerates instead of expanding on the features and capabilities that would make it great. It's almost like the game got to a certain point and just stopped evolving. Forza Motorsport 5 needs to take a step back, look at what it’s done and ask the question, “Is this the best you can do?”
Christmas is over. The two super hyped "next generation" consoles have released to massive sales even with very limited libraries. Everyone has finished the launch titles they were interested in and the rest have not come down to the magical preowned pick up price yet. There is nothing new on the horizon with naught but a trickle of ports and indie games to keep gamers going until the tail end of march when the next big system sellers Titanfall and infamous: Second son come out.
Looking at the respective stores for new releases each week is like looking for a snowball in the desert.
So these next gen consoles are relegated to being pretty dust collectors for the time being as gamers look elsewhere for the next gaming fix.
PC & iOS seem to be evergreen sources for games however this January again both are rather sparse on the release front. However there is one shining beacon through the bleak winter: Baldurs Gate 2: Enhanced Edition.
Originally released back in 2000 (14 years ago at time of writing) based on Advanced D&D mechanics Baldurs Gate 2 managed to sell over 2 million copies, no mean feat considering how complicated this system is.
Combining the original campaign Shadows of Amn with both add ons Throne Of Baahl and Black Pits 2: Gladiators of Thay, there is a massive amount of content contained within, encompassing hundreds of hours of gameplay.
Baldurs Gate 2 features the traditional Isometric RPG with movement and actions controlled via mouse clicks and hot keys (if you so desire). It's very simple on the surface but as soon as you dig into the menus and all the options available for each character within, things start to get real complex, real fast. This is not a game for the casual gamer.
This is further reinforced by the steep difficulty curve, beginning in a dark dingy dungeon (as is common with many RPGs these days) with a group of up to 4 (depending on conversational choices) facing off against ever growing groups of goblins swiftly becomes tricky if you don't have your wits about you. Upon finally exiting this dank dungeon you are greeted with a diverse interesting world to explore and the adventure can truly begin. I wouldn't like to spoil the story for those reading this review but I will say that it's not exactly Lord Of The Rings in terms of quality but it is a compelling story nonetheless that is well worth playing through and has more than a few twists and turns along the way to keep you guessing.
For this enhanced edition, several new areas have been added into the main game which are all presented organically into the main quest and extend the playtime still further, if you were to attempt to see everything in the game you probably wouldn't need to play anything else till the summer.
Yes there's nothing groundbreaking or particularly new here but this is the best version of one of the greatest RPGs ever and that in itself is to be applauded. The graphical update is noticeable and more than acceptable but can't quite quite match the polish of more recent games of a similar ilk such as Diablo 3. The soundscape is well crafted and everything is as you would expect sword clattering, box opening noises are all present and correct and the score is well realised. The voice acting is fairly good though the characters aren't quite as well realised as they could have been.
Throne of Baahl adds more of the same adventuring contained in the main campaign but here it finishes up the story started in Child of Baahl, which can be found in Baldurs Gate: Enhanced Edition.
Black pits 2: Gladiators of Thay is the weakest part of the package focusing on gladiatorial combat confined within an arena whilst it looks and plays just as well as the rest of Baldurs Gate 2, the lack of freedom holds this section back with it's lack of a sense of scale and without a particularly compelling story it's rather a damp squib when compared to Shadows Of Amn and Throne Of Baahl.
Overall this is a great package and unlike other so called enhanced/definitive/Goty packages it is fairly priced at $24.99.
Baldurs Gate 2:Enhanced Edition is available now on iPad, PC, Steam and Mac.
42 Level One
Recently I received a gift of Divine Divinity and Divinity: Original Sin on Steam as a belated birthday gift from one of my best friends, David. He had been keeping watch on Divinity: Original Sin while it had been in development and thought I might like it. I had never heard of the series nor its creator Larian Studios, but I was willing to give it a go.
Divinity: Original Sin is a top down, third person, isometric view RPG. Think of the way the Diablo series looks and you get the idea. However, the game play has very little in common with the Diablo series.
First things first. The character creation.
Character creation is interesting because you start by making two characters. The appearance editor is okay. It has a several options for both male and female characters, but nothing really to write home about. However, the class or abilities portion of the editor is where it shines. Yes, you have 11 classes to choose from, but each of these can be modified by the player during creation. Playing a Wayfarer but don't want the Pet Pal talent? Change it to something you feel will be more useful. The only part of the editor I took issue with was the character portraits. Despite there being many, I really felt like it was still too easy to come up with an appearance for your character that didn't have an analogue in the portrait selection.
The visuals and audio for the game are both well done. The maps and general animation are on par for this style of game, but the spell and particle effects really kick it up a notch. Some areas you walk through will have seeds and leaves blowing by your field of view, making the game feel more alive and further immersing you in the game. The sound track for Divinity: Original Sin is truly top notch. Normally I tend to turn music way down or off in games because often times I find it jarring and that it doesn't fit the mood of the game. Not so in this case. The first time I heard the theme music at the beginning of the game I was hooked. And the music in the game is no different. It just sounds great and works.
Looks like you passed out around a lot of combustibles, little goblins.
Where Divinity really shines for me is the feel of the game play. I have never played an RPG video game that feels so close to playing a pen and paper RPG, ever. The game doesn't spoon feed you your quest information or where to go. You have to spend time conversing with NPCs and looking for clues. For the most part I really like this, but there have been a few times now where I've missed a vital clue or it just seemed there wasn't one.
The combat also feels like a table top RPG too. When out of combat you just roam around at your leisure, but once you go into combat it goes to an initiative based turn system like most pen and paper RPGs. Once in a fight you rely on action points to determine your movement and what attacks or actions you can take. This might not sound very interesting, but believe me when I say that the combat in this game is some of the best turn based combat I’ve ever experienced in any game. There is so much that goes into an encounter that it's really hard to describe it with out writing a small book, but i'll touch on one of the coolest parts; that being the area effects. With your elemental attacks as a magic user or a ranged attacker, you can set the field on fire to burn anything coming at you. Fire isn't working? Cast a rain spell to douse the fire and create steam clouds which you can then hit with lightning to electrify. This is just one example of many.
My only real issue with Divinity: Original Sin is also one of its strengths. The conversation. On one hand you have these great moments of dialogue between your two main characters that can reveal a lot about their personalities and back story and reward you with in game bonuses. On the other hand dialogue with random citizens is the same thing over and over. I would have preferred that there be no conversation option with the background players because they all pretty much have the same dialogue options which tend to be pretty jarring and pulls me out of the immersion of the game.
Divinity: Original Sin in a very well done RPG. I think for true fans of the genre it's a game well worth owning and playing over and over again. If you are hoping for another Diablo clone or something hack n' slash, don't bother.
This review originally appeared on GameonGirl.com
By Matt Bradford
The City is in shambles, its leaders corrupt, and its people are dropping like flies. One thief possesses the skills and guile to set things right, but he (and by extension, you) will have to wade through a hot mess of an adventure before the day is won.
And yes, Thief is a hot mess. It's the kind that offers just enough to keep you interested, but ultimately leaves you wondering if you're enjoying the ride or holding out for the game you think/hope it can become. To be fair, Square Enix's Thief revival has its bright spots. These, however, are few and far between, and only hardcore fans (or those who haven't played a stealth game in ten years) will stick around long enough to see them shine.
This game again...?
The setup is enticing (if not entirely familiar). After a botched job puts Garrett and his partner Erin out of commission, our hero awakes from a year-long coma to find Erin missing and The City in ruins. A disease called the Gloom is eating away at its (very few) residents and the powers-that-be seem more concerned with plotting nefarious deeds than doing their jobs. Can you guess which grumbly-voiced criminal reluctantly decides to save the day?
Swap Gloom with Rat Plague, The City with Dunwall, and Garrett's “focus” powers with Corvo's supernatural abilities, and the comparisons to Dishonored are hard to ignore. Both share a breezy, first person style; embrace similar themes; and accommodate the same “choose your own playstyle” approach to mission objectives (hell, both even have a brothel, mansion, and derelict factory mission to boot). But where Dishonored injects its dystopian fantasy land with a sense of energy, color, and style, Thief remains relentlessly bleak and lifeless at nearly every turn.
Take, for instance, The City; Thief's central hub wherein Garrett will spend his downtime running odd jobs and filling his pockets with shiny objects (don't bother asking who he's selling them too or why everyone is poor and yet The City is overflowing with expensive silverware). While nicely detailed and peppered with secrets, it is aggressively bland and void of life. It is a bleak patchwork of locked doors, empty rooms, dead ends, and random loading screens; and its districts offer little variety beyond “dilapidated row of buildings” to “dilapidated row of buildings with a gate”. What few NPCs you will encounter are barely animated puppets who offer little aside from repeated lines of dialogue and the occasional pickpocketing opportunity.
On the upside, The City contains a great number of hidden rooms and secret areas. On the downside, you'll find it hard to give a crap. Truly, the first time you crack open a window and slip in to rob some poor schmuck's bedroom, you'll get a sense that Garrett has hours of thief-like instances just waiting to be found. And then, once it becomes obvious none of these areas are inhabited or pose any real threat beyond the occasional lock or trap, robbing these areas of their valuables becomes more of a chore than anything else. Once you see one empty living room with a nightstand and valuable watch, you'll have basically seen them all. Eventually, you won't even bother.
This sense of lifelessness extends to Garrett's missions. Like The City, Thief's mission locales are barely memorable, offering little to do beyond scour for scraps of paper (plot!) and whatever McGuffin you've been instructed to nab. Even The City's brothel, which should have been one of the more lively and enticing hotspots, is a boring maze of boring rooms, boring hallways, and “hostesses” who aren't so much skilled in the art of seduction as they are with rubbing awkwardly over their clients (and in some cases not moving at all). Here again, you'll spend a bulk of your time eluding the same guards, rummaging through the same drawers, opening the same treasure chests and eventually stumbling across a “hidden ancient secret” which--surprise surprise--is filled with ancient bookshelves, ancient drawers, and dustier versions of things you've seen before.
By the time Garrett's journey is through, you'll struggle to remember what it was all about. Mostly, because it gives you little reason to care, but also because Garrett himself is about as unlikable and compelling as his world. On brief occasions, you'll engage in an interesting puzzle or exhilarating (albeit heavily scripted) escape sequence. And sometimes you'll resist the temptation to skip a somewhat interesting cutscene (assuming you can put up with the noticeable frame rate drop). In the end, however, all these positive moments will do is make you realize Square Enix had the ability to make something impactful out of Thief, but fumbled along the way.
The lights are on, but no one's home
This being Thief, one would expect any shortcomings to be overshadowed by an expert stealth experience. After all, this is Thief; the series that inspired numerous stealth series when it debuted in 1998. By extension, this reboot should remind everyone how it's done. I mean, that's kind of the only reason a new Thief game should exist, right?
Stripped to its basics, Thief is barely more than a inflexible game of shadow and light. Move between the shadows and the world is yours for the taking (or clubbing). It doesn't matter if guards are looking directly at you, if said shadow is cast by one barrel in the middle of a bonfire, or if you're kneeling behind a waist-high statue. Thief's dark areas are magical zones that are invisible to enemies despite the fact that there is a full-grown human who is clearly squatting one foot away from you rifling through a noisy drawer.
On the occasion you do step into the light, expect everyone within a square mile radius to notice. Thankfully, Thief's enemies are mostly idiots, so these situations will rarely end in failure. It's entirely possible to skip stealth altogether and run directly towards the objective, as enemies are easily duped and will always give up the chase for very little reason. Guards on your tail? Duck into the nearest room. Rebels on your back? Climb a ladder and watch as they forget what they were searching for. Better yet, just hightail it for that glowing ball or important door standing between you and the next area. Guards are a-OK with letting you slip through to the next sequence without raising alarm or continuing their attack. Maybe they're union guards? Who knows. Except one of the lines you'll hear time and time again is, “He 'aint my problem anymore”. But actually, yes, he's your only problem.
In some ways, Thief is unintentionally funny to watch. On one occasion, a jeweller caught me red-handed in his dimly lit workshop. As I crouched in place to plot my escape, he back away in fear and soon returned to pacing the workshop in search of the dastardly thief who barely escaped his grasp. This happened four more times as I proceeded to rob him blind, and even when he finally called a guard to come investigate, I was able to scale a nearby walkway and shake my head as both he and the guard gave up the hunt after zero investigation. And then, on another occasion, I stormed the side entry of a mansion with my crossbow a-blazing, only to lose every last one of my pissed-off pursuers by ducking behind a crate. In a dead end.
In short: Garrett's enemies are morons. Or lazy. Or both. Even the game's paranormal foes who can sense Garrett's focus moves are easily avoided with slow movements and shadow hopping. It's sad, too, because judging by the abilities and weaponry Garrett has at his disposal, you're constantly aware that you can (and should) be trying harder. In actuality, the game has a way of making you over-confident in your ability to outwit enemies and find paths which may as well read “Stealth Route Here.” Don't want to deal a room full of guard? Look an inch to your left for a shiny blue grapple point or one of the many conveniently placed vents. Better yet, just run for it; it'll all be over quicker.
Thief's AI was so lacking that I started wondering if the real game was hidden elsewhere in either its Master Thief or custom difficult mode (the latter of which lets you define your own rules). And while guards do adopt heightened senses, they are still easily tricked and outrun. So you'll still be compelled to run around, but you'll likely suffer more bolts to the face than usual.
Death from a thousand annoyances
It's not just problematic AI and uninspired design that bury Thief's rare moments of inspiration. It's the little things. Things like choppy cut-scenes (on a digital download for PS4), characters that repeat the same animations ad nauseam during conversations, or the countless times you'll hear voices that sound like they're in the same room only to discover you're hearing rogue snippets of dialogue from someone outside and a street away. It's the abnormally long load screens which you'll never see coming, waist high objects you can't scale, arrow abilities that look cool but are never needed, and a slippery PS4 touchscreen inventory system that'll discourage you from using items altogether. It's side quests that offer more of the same, bonus thief challenges that break all the rules in all the wrong places, unituitive mission objectives (curse you, vault!), and brief moments of “hey, this is kind of neat” which last just long enough to keep you on the job.
To steal a line from one of thief's own guards, “I have better things to do”. Surely, Thief is a functional game—and it'll do in a pinch--but there are better games to play. Games like Dishonored, which has oodles more style and finely-tuned gameplay; Assassin's Creed, which has richer worlds to explore; Uncharted, which has a better story and characters to latch on to; and Splinter Cell or Metal Gear, which outpace Thief's stealth mechanics in every way.
Truly, Thief should have been the game that redefined its genre, as its ancestors did years ago. It should have been the technically superior next-gen title early adopters could wave in the face of their last-gen friends (who also have their own version). It should have been...better? Instead, Square Enix's reboot barely comes off as a half-baked Thief clone, which is really the biggest crime of all.
Super-intelligent motorcycles, smarmy weapons dealers, and a mechanic literally dragged along for the ride. Lococycle has this and more for you to try to process into something coherent, unfortunately "Loco" is more than just part of the title.
Lococycle starts out with a live action movie that is scripted, budgeted, shot, and acted like a B-movie. This really isn't a surprise, as it has long been known that developer Twisted Pixel was aiming for that feeling. Given the plot it fits beautifully.
A shady weapons company, Big Arms, has built two super-intelligent assassin motorcycles I.R.I.S. and S.P.I.K.E. They show off their newest creations at a party attended by six stereotypical characters, three of which will probably offend a few people; there is the smarmy, fast-talking weapons dealer CEO, the Korean Supreme Leader, the African King, the American General, the Russian General, and the macho biker with the "cybernetic hand."When a storm rolls in and the party moves inside, the Dealer has some underlings move the motorcycles to a different location. As the motorcycles are being moved I.R.I.S. is hit by lightening. Thinking that she might be damaged she is brought to Pablo. While Pablo is checking to make sure she is not damaged, I.R.I.S. scans the "outlaw biker" magazine Pablo was reading earlier, and then she watches a commercial on the T.V. The commercial is for the "Freedom Rally," a motorcycle fan gathering, kind of like the yearly Sturgis Rally but with more outlaws and less corporate sponsorship.
Taking all this information in and processing it through her now fried and faulty computer I.R.I.S. decides that she needs to throw off the yoke of Big Arms and ride the roads of freedom to the Freedom Rally. She also decides Pablo has to come along and somehow attaches his leg to one of her tailpipes, literally dragging him along.
After finding out that one of his two super bikes has flown the coop the Big Arms dealer does the only logical thing an evil C.E.O. in a B-movie would do, send his entire private army after it; including the other super bike, S.P.I.K.E.
While I can appreciate a good B-movie, Lococycle tries too hard. It's got some good bits, especially during the live action cut scenes. They even got some name actors and a B-movie legends; Freddy Rodriguez plays Pablo, James Gunn is the Big Arms CEO, Tom Savini is the leader of the motorcycle gang, Robert Patrick is the voice of S.P.I.K.E., and Lisa Foiles is the voice of I.R.I.S. Each sound like they are having a lot of fun in their roles, so that helps make the storyline a little more interesting. Especially Robert Patrick and Tom Savini, between the two of them I thing they get the lion's share of meaty off-the-wall dialog.The live action encapsulates the best parts of the crazy story. It's in the game where things start falling apart.
Pablo speaks nothing but Spanish. I have to applaud Twisted Pixel for wanting to promote a minority character, even though he's just being drug behind a motorcycle and occasionally used as a weapon. The problem is they try to have both I.R.I.S. and Pablo say lines of dialog and witty one-liners during gameplay. For folks that don't speak Spanish the only option is subtitles for Pablo, which if you are concentrating on the battle onscreen, you miss a majority of what he says. So while I know Freddy had some excellent dialog outside of gameplay, I had nary a clue if he had any winners during. I.R.I.S. does not help either, because while early on she states she can speak over 50 languages, her fried computer misinterprets everything he says. So while Pablo may be stating the amount of pain he is in all I.R.I.S. hears is "lollipops and rainbows" or maybe the "love for the open road.”
A majority of the gameplay falls into the action brawler/shooter category, which is a bit odd for a game based on a motorcycle. Driving is the lower end of the spectrum here. You can move left or right, but the only acceleration is a limited turbo boost and there are no brakes. Most of the shooting and brawling sections are tight and fun for the first few times, but they get repeated early and often. The brawling sections do have combo multipliers you build up that get big fancy lettered names that start out as typical fodder like "AWESOME" and eventually move into the silly and fun of "POETRY" and "BEARDED." It's boss battles and some of the mini-games that really make the gameplay a mixed bag of "meh." The "targeted" shooting sections aiming felt way to loose making it very frustrating to have to play through multiple times. Some of the boss battles even pay homage to classic arcade games, but here too the controls are either "right on" or "why bother."
Sometimes the mini-games didn't even give you a clue as to what to do. At one point I.R.I.S. conks out and stops. The game goes into a split screen showing an oncoming enemy with a "distance from me meter" on one side and Pablo sitting on the road behind I.R.I.S. on the other. I started pushing buttons, nothing happened. I started moving Pablo around, still nothing. It wasn't until I start moving Pablo to the extreme sides that I finally got a button to flash onscreen to start me into a simple mini-game. After trial and error I learned that there are three parts to the mini-game, but again, I had to find the next hotspot to activate the next mini-game. Needless to say I became very familiar with the restart. I think that was my biggest frustration with the game, a lot of redoing sections because of lack of information, guides, or just plain poor game mechanics.
Twisted Pixel is a developer that has created some really good games for the Xbox 360 like The Maw, 'Splosion Man, and Ms. 'Splosion Man, they even created one of the best Kinect games with The Gunstringer. With Lococycle they may have strayed a bit. Ithas some good bits and some bad bits, although Twisted Pixel created craziness it wanted to capture, in the end the bad outweighs the good. Throw in a B-movie story and now you are on a trip to a very niche audience. Lococycle may have been better suited as a straight to DVD B-movie rather than game.
In this day and age with people shouting from every mountain top and soapbox available, it should come as no surprise that a game like Never Alone exists,a game based on and around another culture and its mythology where you play as a young girl on top of everything else. It’s something that we're probably going to be seeing a lot more of and I'm all for it. I just hope those other games don't skimp out on the "game" part of it all.
Never Alone is based on the lore of the Alaskan Iñupiat. In it you play as a young girl named Nuna and a magical arctic fox. After saving her from a polar bear, the fox starts following the girl around through a giant blizzard. The entire game is narrated by a person speaking what I presume to be the Iñupiat native tongue, and it gives the feeling of listening to your grandpa tell you a story around a campfire, which is fitting. In between all the in-engine bits we have cutscenes drawn to look like old paintings you would find in caves and on native art and whatnot. All of this really helps sell the idea that this is another culture's story being told to us by another culture, and not filtered through white people.
When we aren't in the native art style, the game looks kind of weird. The fox and the polar bear look like they don't have enough fur on them, with their coats fading out as it gets further from the body. It gives them this balding effect and I can almost make out the naked model underneath it all. The girl looks fine, but I have a hard time figuring out if the trim on her coat is supposed to be frozen hair, animal bones, or it just glitched out. There are these huge triangles all over the coat and they look like something wasn't coded properly.
The environments don't look that much better. Sure, when you get to the caves and wooden areas, everything looks fine. But when things are covered in snow, it gets bad. The snow never looks or acts like snow. It looks like white dirt that the character models just clip through. And that's a real shame, because it looks like some effort was put into the game in regards to the snow. When you walk on ground level snow there's a slight bit of dust up, and when the snow gets deeper Nuna does a small hop with every step, which is how a small child walks in snow. Believe me, I'm Canadian, I would know. The snow never feels like anything more than a big texture, and it really bugged me.
But snow aside, where the game really falls apart is in the gameplay. You control two separate characters, Nuna and the fox. I think this game was meant to be played in co-op mode, with one person controlling Nuna and one controlling the fox. But I don't have any friends to play games with, so I had to play it solo. You can switch between the two of them at any time, and when you do the other character becomes AI controlled. Unfortunately, the AI is kind of stupid. So many times throughout this game my AI character would die or screw up puzzles because I had no way that I knew of to tell them to stay put or come or not be stupid. There was a level where I was controlling Nuna and had to jump between blocks of ice that were smashing into the ceiling (because video games). So I jumped and ran across the ice block to the safe area. The AI then did one of three things. He either ran into the safe spot with me, caught up to me then ran back into the crushing maw of death behind me, or overshot the safe spot and fell into the gap between the platforms and drowned. This happened so many times I almost gave up and stopped playing the game. But I eventually made it through there and made the jump to the final platform, completing the level. Or, I would have, if the fox hadn't missed the jump and drowned. Pushing us back to part where one of the previous three things would happen.
Speaking of jumping, it doesn’t feel great in this game. Like a lot of polygonal platformers nowadays, turning around takes off a lot points right off the bat. So many times I tried to make jumps but my character wasn't facing the right way, so I went a foot forward (or backwards) into a bottomless pit. When you do get the jumps right, you have to make it a decent way on to the platform or you will fall back on to the ledge and have to sit through the climbing animations. And then you have the wind to deal with, which is always fun. When it's first introduced, you're given the ability to brace yourself so you don't get thrown back. But almost every time you encounter wind after that first time, you're supposed to use the wind to propel yourself forward to make jumps. It's never really clear on when you're supposed to brace or use the wind, and since the place I'm supposed to be jumping to is blocked by the camera which I have no control over, I'm just sitting there cowering from the winds trying to figure out where the hell I'm supposed to go next.
Also there's the bola. Oh boy, is there the bola. You get this from a magical owl man who may or may not be your grandfather and it's absolutely terrible to use. What you do is, pull the right stick back to charge it up, then flick it forward in the direction you want it to go. There is no precision aiming with this thing. You just fling it and hope it's going in the right direction. And it's dependent on which direction you're facing, too.
The fox can scurry up some walls and wall jump, and it works fine enough. He can also somewhat control spirits. This is entirely dependent on his position on top of the spirit, which basically serves as a platform. When you get to a specific on the spirit, it will move. But, since you probably had to control Nuna to get her up on the platform, you will have to switch back to the fox to move him the quarter of an inch forward to get the platform to activate right. It never feels right doing this stuff and it really pulls you out of any kind of experience when you have to move that damn fox into the proper position.
I believe games being developed by and about people of other cultures is a good thing. I don't really go out of my way to learn about this stuff, but a game could get me interested and teach me something I didn't know before. Hell, this game even has a documentary series in it about the Iñupiat. But the game around all the learning stuff needs to be good. And I don’t think Never Alone is particularly good. The graphics and platforming aren't great, and the computer controlling the other part of your twosome is terrible. Maybe I would have had a different experience with the game if I had played this with a friend or, failing that, the fox that hangs out outside my house howling at me all night. But I didn't. I was alone in this, and I did not enjoy it.