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Showing posts with label Metal Gear. Show all posts
Showing posts with label Metal Gear. Show all posts
Friday, January 1, 2016
2015 Year in Review: Video Games
The Legend of Zelda: The Wind Waker HD
My rating: 8.5
Bayonetta
My rating: 7.5
NES Remix
My rating: 5
Pokemon Shuffle
My rating: 7
Persona Q: Shadow of the Labyrinth
My rating: 9
Forza Horizon 2: Fast and Furious
My rating: 6
(Mario Kart 8)
DLC review – Animal Crossing x Mario Kart 8
My rating: 7.5
Animal Crossing: New Leaf
My rating: 8.5
Splatoon
My rating: 8.75
Shadows of the Damned
My rating: 7.25
Metal Gear Solid V: The Phantom Pain
My rating: 7.75
Metal Gear Solid 3D: Snake Eater
My rating: 8.75
Fast Racing Neo
My rating: 9
Monday, October 12, 2015
3DS review: Metal Gear Solid: Snake Eater 3D
Metal Gear Solid 3, the tale of how Naked Snake set out on the path to become Big Boss, and the effective starting point of the entire Metal Gear legacy, received a 3DS port early in the handheld’s life cycle. Much like Star Fox 64 3D, Ocarina of Time 3D, and Majora’s Mask 3D, Metal Gear Solid: Snake Eater 3D is taken directly from its console version and reworked to fit the control scheme of the 3DS. However, unlike those other 3DS re-releases, Snake Eater 3D does not see any graphical upgrades from the Playstation 2 original. Which is not to say that the game is any less aesthetically pleasing or immersive than ten years ago, when it debuted – the jungles are lush and dense with greenery, the animals active, and the wandering patrols a constant threat to Snake’s location being exposed. The frame rate does, unfortunately, dip a bit during cutscenes where there are many characters or events on screen at the same time. Gameplay, however, is never hampered by this.
The touch screen is utilized wonderfully, as the stylus can be used to easily access Snake’s codec, medical supplies, and food items. Weapons and items have also been relegated to the touch screen, and nine of each can be set to be on-hand at any given time, while another icon allows you to swap those out with additional items that Snake picks up and stores in his supply pack. This cuts down significantly on switching up Snake’s loadouts, which were previously managed via a scroll wheel on the PS2 and HD Collection releases.
Snake can also draw his weapons and put them away with a press of the right shoulder button. However, a simple tap of the shoulder button will not suffice – you have to hold it down for a brief second, otherwise the input may not take. Given the stealth-heavy nature of Snake Eater 3D, this rarely proves problematic, save for a couple of the boss fights, wherein it can be mildly frustrating as you dodge attacks and attempt to quickly react to Snake’s supernaturally-powered foes. While not necessary for playing Snake Eater 3D, the 3DS’ Circle Pad Pro attachment is highly recommended for anyone already familiar with the button and joystick layouts on the home console releases. All in all, though, despite being a port of a game that whose original release was never designed with a handheld in mind, Snake Eater 3D runs very well on the system, and the new control scheme is handled wonderfully – far better than some would have suspected.
The voice acting is, of course, just as great as it was a decade ago on the PS2. David Hayter’s iconic Snake voice keeps players company for the majority of the adventure, with humor from support members Major Zero and Para-Medic often flying right over his head. Suzetta Minet portrays the sultry and quick-witted EVA, Neil Ross puts forth a commanding performance as sadistic villain Colonel Volgin, while Josh Keaton’s depiction of a young Ocelot is one of a lovable try-hard who often slips up in his own attempts to impress his superiors. A few new sequences of dialogue have been added to this 3DS release, covering the updated control scheme. All of the spoken dialogue, as well as the iconic soundtrack and titular theme song, come across clear and clean through the 3DS’ speakers.
Equally memorable to the voice work in Snake Eater 3D are the boss encounters with the members of the Cobra Unit. They remain as intense and varied as ever, seeing no alterations from their PS2 counterparts. More seasoned veterans of the Metal Gear series will likely opt for as stealthy a playthrough as possible, maximizing their camouflage percentage by pairing patterns and face paint to the surrounding environment to better avoid detection. The 3DS' camera can be utilized to make new camo patterns for Snake, though these are not as complex in nature as the game's pre-loaded camo options, and will always default to registering as the most prominent color within the picture that was taken, ignoring any less prominent colors that are a part of that same image.
For those new to the Metal Gear play style, there are plenty of weapons beyond the default silenced tranquilizer pistol that can be found in the jungle, including an AK-47, a short-barrel shotgun, an SDV sniper rifle, and a more lethal handgun, to name a few - just don't expect a warm welcome from Volgin's GRU forces if you fire loudly in their direction. Plenty of additional items and food rations can be missed, should you choose not to devote time to exploration. The 3DS' gyroscope is briefly used to balance Snake on branches and bridges, while the hidden collect-a-thon Kerotan statues have been replaced with the likeness of Mario’s green pal Yoshi.
A first time playthrough of Snake Eater 3D will likely push close to the twenty hour mark, while players who have beaten Snake Eater in the past and simply want a quick retread can finish the game in less than fifteen. Snake Eater 3D does see a few technical hang-ups, and some very minor control oversights, but more often than not it excels as yet another great handheld port of a console classic in the 3DS' library. And at the end of the day, it remains the greatest Metal Gear story ever told.
My rating: 8.75 (out of 10)
Tuesday, September 29, 2015
Top 10 Vocal Tracks in the Metal Gear Series (#10-6)
Earlier this year, I wrote up two top five lists for songs from the Metal Gear series. One was focused on orchestrated tracks, while the other was focused on the series’ vocal tracks. While I still feel the selections I chose for both of those lists are deserving of the rankings that I assigned them, there are other Metal Gear theme songs that I feel deserve mentions. As such, I have crafted a follow-up to the vocal track list – a ‘part two’, if you will. If you missed the original list featuring the top five vocal tracks, you can check it out here.
#10 – The Stains of Time (Metal Gear Rising: Revengeance): Though Metal Gear Rising boasted a loud and bombastic soundtrack during its early hours, The Stains of Time is reflective of the way in which the narrative begins to ramp up, and the themes at play head into darker territory. Monsoon is certainly one of the more freakish boss characters Raiden squares off against, having his entire body segemented into small pieces, allowing him to split apart and reform as he makes quick strikes with his octagon sais. The music and battle only become more intense, as Monsoon hurls military vehicles at Raiden, while the cyborg ninja protagonist ultimately embraces his inner demons, letting Jack the Ripper run free in order to inflict greater damage on Monsoon chop him up into even smaller pieces from which he cannot reassemble.
#9 – Rules of Nature (Metal Gear Rising: Revengeance): While perhaps not officially the main theme of Metal Gear Rising, Rules of Nature is certainly one of the most popular tracks to come from the game. Rules of Nature accompanies one of Raiden’s first boss battles, against a towering Metal Gear Ray. During the first stage of this fight, Raiden slashes the Metal Gear’s armor off, and uses his cyborg enhancements to hurl it through the air. Later on, the Metal Gear takes a second attempt at besting Raiden, only for the cyborg ninja to jump across the barrage of missiles it fires his way, sprint straight down the side of a crumbling clock tower, and finish the mechanized foe off for good. Rules of Nature is an unapologetic, fast-paced adrenaline rush that perfectly encapsulates this battle, and the overall vibe of Metal Gear Rising.
#8 – Heavens Divide (Metal Gear Solid: Peace Walker): Heavens Divide begins softly, not unlike Portable Ops’ main theme of Calling to the Night. But it gradually picks up pace and volume, delivering a message about Snake taking responsibility for his past and present, and his forging his own path toward the future. While Snake Eater was the major turning point whereby Naked Snake lost faith in his home country and government, Peace Walker focuses on Snake’s taking the title of Big Boss to heart, training an organized military and setting forth on a path to finally lay to rest his internal struggles with The Boss’ actions from ten years prior. Heavens Divide weaves a tale of loss and sorrow, resulting in the eventual solidification of Big Boss’ ideals and determination to create a military without a nation.
#7 – A Phantom Pain (Metal Gear Solid V: The Phantom Pain): A Phantom Pain’s dark atmosphere and synth sounds are a wonderful mash-up for a few reasons. First and foremost, the lyrics are reflect loss, lingering pain, and the self-destructive nature of revenge, themes which affect all of The Phantom Pain’s major players, in some form or another. Secondly, its choice of instrumentation, with heavy emphasis on keyboard and electric guitar, are perfect matches for the game’s 1980s setting, as is one so-close-to-being-cheesy-that-it’s-great saxophone solo. A Phantom Pain deals with the search for oneself after the jarring losses of battle – whether physical or psychological – have been stacked, and the impact that has on someone and their peers.
# 6 – Sins of the Father (Metal Gear Solid V: The Phantom Pain): The most thematically appropriate vocal track in the series since Snake Eater’s self-titled theme song, Sins of the Father is a powerful, commanding tune. Its lyrics paint the dark path Punished ‘Venom’ Snake will embark upon, while haunting wails beautifully match the tumultuous backdrops of the Afghanistan desert and the African jungle. Listening to the lyrics after following The Phantom Pain’s story to its conclusion further reveals just how specific to the game’s events Sins of the Father truly is.
#10 – The Stains of Time (Metal Gear Rising: Revengeance): Though Metal Gear Rising boasted a loud and bombastic soundtrack during its early hours, The Stains of Time is reflective of the way in which the narrative begins to ramp up, and the themes at play head into darker territory. Monsoon is certainly one of the more freakish boss characters Raiden squares off against, having his entire body segemented into small pieces, allowing him to split apart and reform as he makes quick strikes with his octagon sais. The music and battle only become more intense, as Monsoon hurls military vehicles at Raiden, while the cyborg ninja protagonist ultimately embraces his inner demons, letting Jack the Ripper run free in order to inflict greater damage on Monsoon chop him up into even smaller pieces from which he cannot reassemble.
#9 – Rules of Nature (Metal Gear Rising: Revengeance): While perhaps not officially the main theme of Metal Gear Rising, Rules of Nature is certainly one of the most popular tracks to come from the game. Rules of Nature accompanies one of Raiden’s first boss battles, against a towering Metal Gear Ray. During the first stage of this fight, Raiden slashes the Metal Gear’s armor off, and uses his cyborg enhancements to hurl it through the air. Later on, the Metal Gear takes a second attempt at besting Raiden, only for the cyborg ninja to jump across the barrage of missiles it fires his way, sprint straight down the side of a crumbling clock tower, and finish the mechanized foe off for good. Rules of Nature is an unapologetic, fast-paced adrenaline rush that perfectly encapsulates this battle, and the overall vibe of Metal Gear Rising.
#8 – Heavens Divide (Metal Gear Solid: Peace Walker): Heavens Divide begins softly, not unlike Portable Ops’ main theme of Calling to the Night. But it gradually picks up pace and volume, delivering a message about Snake taking responsibility for his past and present, and his forging his own path toward the future. While Snake Eater was the major turning point whereby Naked Snake lost faith in his home country and government, Peace Walker focuses on Snake’s taking the title of Big Boss to heart, training an organized military and setting forth on a path to finally lay to rest his internal struggles with The Boss’ actions from ten years prior. Heavens Divide weaves a tale of loss and sorrow, resulting in the eventual solidification of Big Boss’ ideals and determination to create a military without a nation.
#7 – A Phantom Pain (Metal Gear Solid V: The Phantom Pain): A Phantom Pain’s dark atmosphere and synth sounds are a wonderful mash-up for a few reasons. First and foremost, the lyrics are reflect loss, lingering pain, and the self-destructive nature of revenge, themes which affect all of The Phantom Pain’s major players, in some form or another. Secondly, its choice of instrumentation, with heavy emphasis on keyboard and electric guitar, are perfect matches for the game’s 1980s setting, as is one so-close-to-being-cheesy-that-it’s-great saxophone solo. A Phantom Pain deals with the search for oneself after the jarring losses of battle – whether physical or psychological – have been stacked, and the impact that has on someone and their peers.
# 6 – Sins of the Father (Metal Gear Solid V: The Phantom Pain): The most thematically appropriate vocal track in the series since Snake Eater’s self-titled theme song, Sins of the Father is a powerful, commanding tune. Its lyrics paint the dark path Punished ‘Venom’ Snake will embark upon, while haunting wails beautifully match the tumultuous backdrops of the Afghanistan desert and the African jungle. Listening to the lyrics after following The Phantom Pain’s story to its conclusion further reveals just how specific to the game’s events Sins of the Father truly is.
Wednesday, March 18, 2015
Top 5 Instrumental Tracks in the Metal Gear Series
The Metal Gear franchise has long stood among the greatest of video games, due in no small part to its deep and involved narrative that carries on in increasingly complex ways from one entry to the next. With each new game comes an equally impressive soundtrack, which fittingly also tend to rank among the best this entertainment medium has to offer. Below are my personal picks for the five best instrumental tracks in the entire Metal Gear franchise, following up on my previous list of the series' five best vocal tracks.
#5 – Yell Dead Cell (Metal Gear Solid 2: Sons of Liberty): While perhaps simpler in its arrangement as a tense techno action tune, Yell Dead Cell does well in helping to establish the atmosphere of Metal Gear Solid 2: Sons of Liberty early on. While The Sons of Liberty may be the sequel’s stand-ins for Foxhound, they operate on very different ideals and significantly more advanced tech. There may be fewer representatives in Dead Cell, yet each feels threatening due to the strikingly different skill sets and arsenals they possess. Yell Dead Cell is a classic, catchy tune, and given the in-game scenarios it is attributed to, a great way to help set the stage for the MGS sequel.
#4 – Eva’s Reminiscence (Metal Gear Solid 3: Snake Eater): A slow burn to a sultry, soft jazz number, Eva’s Reminiscence is a perfect match to the character is represents. The song may rely on a much longer buildup than other Metal Gear tunes before its 1960s spy movie soundtrack style is revealed, but Eva’s story progression is delivered in a very similar fashion. She is a mysterious ally to Snake during his mission to take down Colonel Volgin’s Shagohod, but always seems to be withholding information from him, teasing Snake during each of their encounters. As the game enters its epilogue sequences, Eva’s true nature is revealed, leaving a bittersweet impact on both Snake and the player.
#3 – Zero Allies! (Metal Gear Solid: Peace Walker): Utilizing a sampling of the classic MGS2 theme scored by Harry Gregson-Williams, Zero Allies! is more than a mere throwback to the games that preceded it. It is an encapsulation of the Peace Walker story – the theme of Naked Snake transitioning into Big Boss and wrestling with his complicated history with The Boss, as well as the sense of desperation and intense tactical espionage as the private army of Militaires Sans Frontieres builds itself up in the face of an ever-delicate balance of global politics. It also opens with some of the some echoes reminiscent of a couple of other Peace Walker tunes, namely Clients and Mother Base, and to that end plays into the stealthy construction of Mother Base and the mysterious nature of a steady recruitment of soldiers to Big Boss’ cause.
#2 – On The Ground – Battle in the Jungle (Metal Gear Solid 3: Snake Eater): A successor to the stealth and detection themes of the two previous Metal Gear Solid titles, Snake Eater takes its soundtrack to a whole new level with a tune that can be as frequently-changing as the situations Naked Snake finds himself in. Keeping a low profile in Metal Gear Solid 3 is a much more complex and involved ordeal than in the games that came before it, as Snake must rely on camouflage patterns as he traverses harsh jungle terrain – both enemy soldiers and wildlife posing a threat to him. Snake’s need to nourish his body and patch himself up on the go similarly leads to MGS3’s more involved gameplay, and juggling these multiple facets leads to a more complex yet more so rewarding gaming experience than many other entries in the series. This tune is more than an accompaniment to the moments when GRU soldiers spot Snake crawling through some tall grass – it’s an audible representation of the situation at hand, the general atmosphere surrounding Snake.
#1 – Debriefing (Metal Gear Solid 3: Snake Eater): The last leg of the Metal Gear Solid 3 epilogue offers a full and striking reveal of The Boss’ role in the larger picture. It is lead into by the information that Eva leaves Snake before she hits the road, and she details how The Boss let her in on certain details during the time they spent together in Groznyj Grad. Snake’s history with The Boss is described as being intimate and complicated, as they spent years of their lives together training on the battlefield, which is why Snake was so frustrated and confused by her apparent defection to Volgin’s political uprising. Debriefing is the song that plays over the final page of the Snake Eater story, the last hurrah before The Boss’ legacy can be paid tribute to, then laid to rest. It is largely responsible to those final moments of the game being so emotionally charged, and is part of – what I consider to be – one of the greatest cinematic moments in video game history.
#5 – Yell Dead Cell (Metal Gear Solid 2: Sons of Liberty): While perhaps simpler in its arrangement as a tense techno action tune, Yell Dead Cell does well in helping to establish the atmosphere of Metal Gear Solid 2: Sons of Liberty early on. While The Sons of Liberty may be the sequel’s stand-ins for Foxhound, they operate on very different ideals and significantly more advanced tech. There may be fewer representatives in Dead Cell, yet each feels threatening due to the strikingly different skill sets and arsenals they possess. Yell Dead Cell is a classic, catchy tune, and given the in-game scenarios it is attributed to, a great way to help set the stage for the MGS sequel.
#4 – Eva’s Reminiscence (Metal Gear Solid 3: Snake Eater): A slow burn to a sultry, soft jazz number, Eva’s Reminiscence is a perfect match to the character is represents. The song may rely on a much longer buildup than other Metal Gear tunes before its 1960s spy movie soundtrack style is revealed, but Eva’s story progression is delivered in a very similar fashion. She is a mysterious ally to Snake during his mission to take down Colonel Volgin’s Shagohod, but always seems to be withholding information from him, teasing Snake during each of their encounters. As the game enters its epilogue sequences, Eva’s true nature is revealed, leaving a bittersweet impact on both Snake and the player.
#3 – Zero Allies! (Metal Gear Solid: Peace Walker): Utilizing a sampling of the classic MGS2 theme scored by Harry Gregson-Williams, Zero Allies! is more than a mere throwback to the games that preceded it. It is an encapsulation of the Peace Walker story – the theme of Naked Snake transitioning into Big Boss and wrestling with his complicated history with The Boss, as well as the sense of desperation and intense tactical espionage as the private army of Militaires Sans Frontieres builds itself up in the face of an ever-delicate balance of global politics. It also opens with some of the some echoes reminiscent of a couple of other Peace Walker tunes, namely Clients and Mother Base, and to that end plays into the stealthy construction of Mother Base and the mysterious nature of a steady recruitment of soldiers to Big Boss’ cause.
#2 – On The Ground – Battle in the Jungle (Metal Gear Solid 3: Snake Eater): A successor to the stealth and detection themes of the two previous Metal Gear Solid titles, Snake Eater takes its soundtrack to a whole new level with a tune that can be as frequently-changing as the situations Naked Snake finds himself in. Keeping a low profile in Metal Gear Solid 3 is a much more complex and involved ordeal than in the games that came before it, as Snake must rely on camouflage patterns as he traverses harsh jungle terrain – both enemy soldiers and wildlife posing a threat to him. Snake’s need to nourish his body and patch himself up on the go similarly leads to MGS3’s more involved gameplay, and juggling these multiple facets leads to a more complex yet more so rewarding gaming experience than many other entries in the series. This tune is more than an accompaniment to the moments when GRU soldiers spot Snake crawling through some tall grass – it’s an audible representation of the situation at hand, the general atmosphere surrounding Snake.
Tuesday, March 17, 2015
Top 10 Vocal Tracks in the Metal Gear Series (#5-1)
The Metal Gear franchise has long stood among the greatest of video games, due in no small part to its deep and involved narrative that carries on in increasingly complex ways from one entry to the next. With each new game comes an equally impressive soundtrack, which fittingly also tend to rank among the best this entertainment medium has to offer. Below are my personal picks for the five best vocal tracks in the entire Metal Gear franchise. With the release of The Phantom Pain, I have also created a follow-up to this list, detailing the vocal tracks I feel are deserving of spots numbers six through ten, which you can read here.
#5 – A Stranger I Remain (Metal Gear Rising: Revengeance): One of the few Revengeance tracks to steer clear of screamo lyrics and thrash riffs, A Stranger I Remain is not only a solid metal track with a beautiful blend of haunting vocals and a heavy, fast-paced guitar part, it’s also a song very befitting the character it represents. Mistral’s theme provides a great accompaniment to someone as imperfect as Raiden. It’s rather curious that MGR gets so much right in their presentation of the Mistral boss fight, as it is so early in the game – much in the way of the gameplay, visuals, and music that make up the later boss encounters fail to reach the fantastic culmination witnessed in the Mistral encounter.
#4 – Calling to the Night (Metal Gear Solid: Portable Ops): One of the few Metal Gear Solid titles I have not played, this tune seems to have transcended its platform to become recognized as one of the more memorable tunes in the series. Of the two major MGS releases on the PSP, Portable Ops was largely overshadowed by Peace Walker, yet this tune continues to appear on fan compilations of favorite tracklistings from the franchise. And rightfully so – it’s a melancholy tune that is very fitting for Naked Snake post-Snake Eater. He has to effectively rediscover who he is and make a name for himself, so that by the time that the events of Peace Walker roll around, he and his private army are fully prepared for the greater challenges that lie ahead.
#3 – Red Sun (Metal Gear Rising: Revengeance): Sundowner ended up being one of my least favorite characters in Metal Gear Rising, both with regards to his hillbilly personality and a boss fight that felt significantly less inspired than the company of Monsoon, Mistral, and Blade Wolf. However, his theme song utilized deep vocals and a slightly grungier rock sound, all while maintaining the hardcore metal appeal of Revengeance’s soundtrack. Red Sun’s lyrics offer metaphors that are perhaps a bit more thinly veiled than the game’s other vocal tracks, but it’s certainly a catchy number, one that I have found myself listening to many times since completing Metal Gear Rising: Revengeance.
#2 – The Best is Yet to Come (Metal Gear Solid): I often favor many of the softer, slower vocal tracks from the Metal Gear series because they tend to convey the emotional burdens carried by Solid Snake and Naked Snake better than the fast-paced and loud tracks. Those are great for stealth and action sequences, sure, but at the end of the day, when it’s time to gaze back upon everything Snake has accomplished, every hurdle he’s had to overcome, every friend and foe that has fallen along the way, there’s really no other track that better embodies the gravity of all that than The Best is Yet to Come. It's a reminder of the trial he has surpassed, and those that lie still lie ahead.
#1 – Snake Eater (Metal Gear Solid 3: Snake Eater): Snake Eater is one of those tracks that is equal parts silly and epic. It’s a deliberate throwback to James Bond theme songs (some of which boast more cheesy lyrics than others), as can only work in a Cold War setting featuring a one-man army. Snake Eater has long been my favorite entry in the Metal Gear franchise, as its perfect combination of stealth and action elements, deeply human story, and unique sense of style result in a product that transcends what most video games, films, and novels can deliver. There’s really no other medium in which Snake Eater would work to such an effective degree, and there’s no other song that could make the introduction so memorable. Snake Eater presently stands as one of my all-time favorite video game theme songs, and I have no doubt it will continue to do so for many years to come.
#5 – A Stranger I Remain (Metal Gear Rising: Revengeance): One of the few Revengeance tracks to steer clear of screamo lyrics and thrash riffs, A Stranger I Remain is not only a solid metal track with a beautiful blend of haunting vocals and a heavy, fast-paced guitar part, it’s also a song very befitting the character it represents. Mistral’s theme provides a great accompaniment to someone as imperfect as Raiden. It’s rather curious that MGR gets so much right in their presentation of the Mistral boss fight, as it is so early in the game – much in the way of the gameplay, visuals, and music that make up the later boss encounters fail to reach the fantastic culmination witnessed in the Mistral encounter.
#4 – Calling to the Night (Metal Gear Solid: Portable Ops): One of the few Metal Gear Solid titles I have not played, this tune seems to have transcended its platform to become recognized as one of the more memorable tunes in the series. Of the two major MGS releases on the PSP, Portable Ops was largely overshadowed by Peace Walker, yet this tune continues to appear on fan compilations of favorite tracklistings from the franchise. And rightfully so – it’s a melancholy tune that is very fitting for Naked Snake post-Snake Eater. He has to effectively rediscover who he is and make a name for himself, so that by the time that the events of Peace Walker roll around, he and his private army are fully prepared for the greater challenges that lie ahead.
#3 – Red Sun (Metal Gear Rising: Revengeance): Sundowner ended up being one of my least favorite characters in Metal Gear Rising, both with regards to his hillbilly personality and a boss fight that felt significantly less inspired than the company of Monsoon, Mistral, and Blade Wolf. However, his theme song utilized deep vocals and a slightly grungier rock sound, all while maintaining the hardcore metal appeal of Revengeance’s soundtrack. Red Sun’s lyrics offer metaphors that are perhaps a bit more thinly veiled than the game’s other vocal tracks, but it’s certainly a catchy number, one that I have found myself listening to many times since completing Metal Gear Rising: Revengeance.
#2 – The Best is Yet to Come (Metal Gear Solid): I often favor many of the softer, slower vocal tracks from the Metal Gear series because they tend to convey the emotional burdens carried by Solid Snake and Naked Snake better than the fast-paced and loud tracks. Those are great for stealth and action sequences, sure, but at the end of the day, when it’s time to gaze back upon everything Snake has accomplished, every hurdle he’s had to overcome, every friend and foe that has fallen along the way, there’s really no other track that better embodies the gravity of all that than The Best is Yet to Come. It's a reminder of the trial he has surpassed, and those that lie still lie ahead.
#1 – Snake Eater (Metal Gear Solid 3: Snake Eater): Snake Eater is one of those tracks that is equal parts silly and epic. It’s a deliberate throwback to James Bond theme songs (some of which boast more cheesy lyrics than others), as can only work in a Cold War setting featuring a one-man army. Snake Eater has long been my favorite entry in the Metal Gear franchise, as its perfect combination of stealth and action elements, deeply human story, and unique sense of style result in a product that transcends what most video games, films, and novels can deliver. There’s really no other medium in which Snake Eater would work to such an effective degree, and there’s no other song that could make the introduction so memorable. Snake Eater presently stands as one of my all-time favorite video game theme songs, and I have no doubt it will continue to do so for many years to come.
Thursday, December 18, 2014
2014 Year in Review: Video Games
As this year comes to a close, I am wrapping up my ‘year in review’ lists, including my top anime and video game picks for 2014. Below is a list of every video game in the order that I played them this year, complete with a brief summary of my full review and the final score I provided each. Keep an eye out for my picks of the top ten video games of the year later this month, and please note that this list will be updated within the next week or so to account for my review of Pokémon: Omega Ruby and Alpha Sapphire.
Grand Theft Auto V – Blending action-packed heists with parodies of contemporary culture in a setting as true to the west coast as possible, GTA V never seems to stop dealing out entertainment, whether from its cleverly-scripted story of three crooks in over their heads, or simply driving freely across the massive expanse of forests, desert, and bustling city streets. There is so much to do and see, it’s truly baffling that the game runs so seamlessly, not only in its load times, but in the way it develops each character and shapes the grand plot. While many games of this genre sacrifice quality for quantity, GTA V still looks quite visually impressive for a late seventh generation console release, and the myriad of alternative, electronic, and classic rock tunes add some welcome flavor to the depiction of Los Santos. My rating: 9.25
Super Mario 3D World – The follow-up to the 3DS’ Super Mario 3D Land, this Wii U platformer sticks to the 2D/3D hybrid design, and features levels that are much shorter than most Mario games would offer. That said, the game looks gorgeous, and offers plenty of variety and replayability, with drop-in/drop-out multiplayer, secret areas abound, and an extra challenge from post-game bonus stages. The Cat Suit, while fun for a while, overshadows many of the other more interesting items, which could have been more consistently utilized. My rating: 8
DmC: Devil May Cry – A new vision of one of the biggest action gaming series out there, DmC sports a new punky, foul-mouthed Dante as he pairs with his more calm and collected brother Vergil to free the humans of the city of Limbo from the influence of the demon Mundus. Everything has been given a gritty, yet colorful look, with Dante smashing and hacking apart grotesque statue-like enemies in environments that draw heavy inspiration from modern eastern European urban areas. The dialogue is cheesy, no doubt, and the story over a bit more quickly than it could have been, but it is unquestionably the smoothest-playing entry in the Devil May Cry franchise, and plenty of fun to boot. My rating: 9.25
DLC
- Vergil’s Downfall: 6.75
The Legend of Zelda: A Link Between Worlds – Attempting to build upon the foundation laid by what is easily one of the most popular Zelda titles is a gutsy feat, and A Link Between Worlds displays how to go about delivering the bare minimum to fans of the series. Selling itself entirely on nostalgia, A Link Between Worlds rips almost everything in its overworld directly from the SNES classic, while showing a general lack of inspiration in the boss and dungeon layouts - these can be challenged in any order, but the tradeoff for such open-ended adventuring is that the difficulty factor peaks within the first two hours of gameplay. The story is bland, the characters generally uninteresting, and the whole package simply a lazy offering for what is one of the most renowned series in adventure gaming today. My rating: 6.5
Killer7 – A cel-shaded hybrid of multiple gaming genres, Killer7 conveys the bold and bizarre ideas that culminated from Suda51 and Shinji Mikami’s brains, albeit in a much different light than the action/comedy seen in Grasshopper Manufacture’s other modern masterpiece, No More Heroes. In a not-too-distant future, six assassins and one liaison take on corporeal form and carry out missions on behalf of their host, Garcian Smith, and elderly man who was once an ace assassin. With political intrigue, science fiction, and psychological horror all mixed into a singular product, Killer7 is a game like no other. Its on-rails control scheme and emphasis on solving puzzles while seeking out and dispatching invisible walking time bomb enemies may sound both a convoluted and repetitive process, but the unique abilities of each assassin continue to offer up new spins on familiar gameplay elements up until the very end. My rating: 10
Kirby: Triple Deluxe – While the 3D effects do well to explore new creativity in level design and the signature simplistic combat the series is known for, the real surprise in Kirby: Triple Deluxe is the degree to which the game utilizes the 3DS’ internal gyroscope, requiring players to tilt their systems back and forth to overcome puzzles within the varied environments. At its core, Triple Deluxe is a familiar path for longtime fans of the series, but the new power-ups and unexpected spins on boss encounters add an air of newness to this latest Kirby title, as well as a welcome (though not overly intense) challenge. Despite being a bit on the short side and hosting a story that is even more simplistic than that of many of its predecessors, Triple Deluxe is a wonderfully polished experience that emphasizes a ‘fun factor’ through every facet of its design. My rating: 9.25
Mario Kart 8 – Introducing zero-gravity segments to the Mario Kart series, number eight is quite a far cry from where it started back on the SNES, and yet, it could not play more smoothly. A few new items adjust the ‘rubber band’ balancing issues many players had with some of the recent installments, while the Grand Prix mode provides both fun and inventive new locales as well as flat-out gorgeous reimaginings of retro tracks. The one major drawback that Mario Kart 8 faces is that its battle mode has been relegated to the race tracks themselves, and lacks any proper battle arenas, effectively nullifying the enjoyment of that bonus game mode. My rating: 8
DLC
- The Legend of Zelda x Mario Kart 8: 8
LEGO Marvel Superheroes – A love letter to fans of Marvel’s comics and films, this LEGO version of Manhattan incorporates a ludicrous number of heroes and villains, from the iconic Iron Man, Wolverine, Thor, and Captain America, to less mainstream and sometimes oddball picks like Taskmaster, Black Bolt, Super Skrull, and M.O.D.O.K. There’s plenty of distractions in the form of races and combat challenges, both in New York City and on board the S.H.I.E.L.D. Helicarrier stationed overhead. It’s a fun story that does well to aim itself at younger players and older fans alike, and isn’t afraid to poke fun at itself, with members of the Avengers commenting on how silly some of their foes plans are. My rating: 8.25
Shovel Knight – A brilliant homage to NES icons like The Legend of Zelda, Mega Man, Castlevania, and Final Fantasy, Shovel Knight conveys charm in its 8-bit aesthetic while offering smooth platforming action controls more appropriate for a 2014 release. The crew at Yacht Club games has done a masterful job in balancing fun elements with a fair but challenging degree of trial-and-error routines. The quirky and colorful villains of the Order of No Quarter are a humorous and memorable lot, and though it may not be as long a quest as many major retail releases this year, Shovel Knight offers up plenty of variety and replayability via its StreetPass arena, wandering warriors, and bonus challenge stages. My rating: 8.75
The Wolf Among Us – Hot off the heels of their success with the first season of The Walking Dead video game, Telltale Games has opted to take on the more fantastical and magic-oriented realm of the Fables comics. As Sherriff Bigby Wolf, you must search for clues regarding the death of one of the Fables now living in Fabletown, New York. It quickly becomes apparent that there are larger motives at play, and that Bigby will have to pay attention to the finest of details if he is to bring the case to justice. Favoring clue hunting and quick-time prompted action sequences, The Wolf Among Us is as much an ‘interactive story’ as it predecessor, not controlling in a manner typical to most video games in this day and age. Still, its cel-shaded styling is distinct, its storytelling generally solid and engaging, and its characters all decently developed by the time the final chapter comes to a close. My rating: 7.5
Skullgirls Encore – Designed with fighting game fans in mind, Skullgirls is surprisingly accessible to those lacking an intimate history with genre mainstays like Mortal Kombat or Street Fighter. While the nearly-all-female cast conveys a curious charm with their designs all being inspired by monster movies and horror fiction, the most impressive feat Skullgirls pulls off – aside from its buttery-smooth gameplay – is the fact that every single character is animated by hand, a design choice unheard of in today’s industry. Though the roster may not be as large as other fighting games, each character is designed with specialized playstyles in mind that fit major staples of the genre while adding a little bit of a different flair to the mix. Story modes are rarely the highlight of any arcade style combo-fest, yet Skullgirls handles its world and characters in such a way that will leave players wanting more when the single player modes have been conquered – and with more DLC characters on the way, one can only be excited for what lies ahead. My rating: 9.25
Metal Gear Solid V: Ground Zeroes – A glorified demo of what is planned for the next proper numbered installment in the MGS series, Ground Zeroes has Snake running around a small camp in search of his former Peace Walker comrades Chico and Paz. The story is far too short and simple for player to care about, and lacks any real semblance to a proper Metal Gear tale. Likewise, the gameplay has been dulled across the board to grant mainstream gamers ease of access, which in turn effectively robs the entire experience of the Metal Gear spirit. My rating: 4.5
Donkey Kong Country Returns 3D – A port of the Wii’s recent resurrection of DK’s platforming adventures, this game is riddled with many worlds and stages to explore, each with secret areas and bonus collectibles. Aside from a few upgrades courtesy of Cranky Kong’s shop, the gameplay is rather straightforward, asking that players progress to the end of the stage while stomping and rolling on enemy wildlife that have been possessed by resident villain tiki masks. The emphasis on twitch-memorization movement drags down the fun factor in later worlds, however, as the game is effectively asking you to go through the motions in a very specific pattern as opposed to throwing any real learning curve at you or asking you to strategize with experience. My rating: 6.5
Sin and Punishment: Star Successor – Letting up on the difficulty factor from its predecessor, this Wii sequel offers greater creativity in both enemy and environment designs. More general science fiction, the cyberpunk aesthetic is still at play in Star Successor, though not as heavily as in the original Sin and Punishment. The story of Isa and Kachi running from the Nebulox forces is light, but this is a game that is more about fine-tuned arcade-style action gameplay than it is about a gripping story, and to that end, Star Successor does a fine job of continuing the cult-following legacy of Sin and Punishment. My rating: 8
Kid Icarus: Uprising – Part on-rails shooter, part action-adventure game, Kid Icarus: Uprising is a bold reimagining of a long-dormant Nintendo property that doesn’t take itself too seriously, poking fun not only at the previous Kid Icarus titles, but also Nintendo’s long history of iconic video game characters and creations. With Hades pulling the strings behind a grand bid at expanding his forces from the Underworld into the realm of the living, Palutena calls upon her most trusted Angel Pit to seek out ancient artifacts and take up the mantle of unlikely savior. Along the way, Pit will become sidetracked as he squares off with the Forces of Nature and beings from beyond the Earth, all of which bear beautiful, highly-detailed designs fitting of the classic Greek and Roman influences the series is known for. My rating: 9.25
Persona 4 – Designed in the vein of old-school JRPGs, but incorporating modern sensibilities to its design, gameplay, and story, Persona 4 follows a group of classmates/friends as they try to unravel the mysteries surrounding a series of murders and the television world of the Midnight Channel. The party members are, by and large, a genuinely entertaining lot, which is just as well, considering how much time will be spent in their company, both while scouring dungeons for experience points and treasure, and during your free time in town and at school as you forge stronger social links to increases their combat capabilities. The symbols of the arcana that you choose to pursue will influence the types of Personas you are able to fuse and summon, and taking on a local job or after-school activity will boost personal stats. The dungeons each hold an aesthetic unique to the characters they correlate to, though the endgame stretch streamlines everything into a suddenly straightforward and deflated experience compared to everything that preceded it. My rating: 8.75
Hyrule Warriors – A hack-and-slash spinoff in the vein of Dynasty Warriors, this is certainly one strange but not unwelcome combination of franchises. While the core mechanics are more in line with the DW combat system, the incorporation of classic items like the Bow, Bombs, Hookshot, and more give Hyrule Warriors a flavor just different enough to identify it as its own beast. The story may be light, but the game offer plenty of missions between its three core modes of gameplay, and a reasonable amount of depth in upgrading character stats and weapon bonuses. As a whole, it may not be as strong as most Zelda titles, but it does well to cater to longtime fans of the series, while refining many elements carried over from Dynasty Warriors. My rating: 8.25
Super Smash Bros. for 3DS – Overpowered characters from the series’ last outing on the Wii have been toned down in favor of greater balance across the board, while final smash moves have similarly been evened out for the better. Classic mode grants players freedom to select from one of three matches before each encounter, throwing metal, giant, and horde battles into the mix, and offering greater rewards at higher difficulty settings, while the time-sensitive gathering of stat boosts in Smash Run is, in stark comparison, a largely forgettable portion of the handheld Smash experience. 3D effects are used for little more than added depth perception, which is just as well, given the often chaotic nature of fights, and players who find it difficult to keep track of their fighter on screen can increases the thickness on the outline of their character model – the renders of which, along with the environments and collectible trophies, look exceptional on the small screen. My rating: 9.25
Bayonetta 2 – Pairing silky smooth gameplay with an unapologetic sense of flair that many other action games strive to achieve but few actually manage to do, Bayonetta 2 is not only one of the best showings in its genre, it is one of the best games of this eighth generation of consoles. With wacky humor, battles that constantly escalate in scale and ridiculousness, and a protagonist that commands with every backflip and shot from her pistols, Bayonetta 2 is not just an absolute visual treat, it’s a no-holds-barred wild ride from start to finish. The majestic soundtrack, bonus levels, and Nintendo easter eggs only add to this utterly delicious package. My rating: 9.75
Super Smash Bros. for Wii U – While Smash Bros. does well on the 3DS, it feels properly at home on the Wii U, with tight controls and the ability to enter (admittedly chaotic and fast-paced) 8-player bouts. There’s an abundance of modes represented in this new home console Smash Bros., and even more in the way of unlockables. While Classic mode does break from its traditional patterns a bit, the roster of playable fighters is top-notch, and easily the most diverse and balanced group the series has seen in years. The returning stages may not boast as strong of a showing as on the 3DS, but the new stages for this Wii U counterpart are a strong showing, by and large, and pair well with the move away from Brawl’s gimmicky gameplay and design elements. My rating: 9.25
Pokemon: Omega Ruby and Alpha Sapphire – While generation III did well during its original Gameboy Advance release to introduce plenty of new and interesting typing combos that proved both enjoyable and useful in the long run, this pair of 3DS remakes only adds so much to the formula. Some new features from the Pokenav aid in catching specific Pokémon in the wild, while the experience share system carried over from last year’s Pokémon X and Y lead your party members to reach much higher levels than necessary shortly after the halfway point of the journey through the now fully-3D Hoenn region. The bonus post-game Delta Episode content is easily among the highlights of the game, and makes up for many of missteps encountered during the core story of Team Magma and Team Aqua. A lack of new offerings, combined with the generally less-inspired layout of the Hoenn region when compared to its brethren in the franchise, lead Omega Ruby and Alpha Sapphire to be less impressive than what most fans have come to expect in the overall quality of Pokémon titles. My rating: 7
Grand Theft Auto V – Blending action-packed heists with parodies of contemporary culture in a setting as true to the west coast as possible, GTA V never seems to stop dealing out entertainment, whether from its cleverly-scripted story of three crooks in over their heads, or simply driving freely across the massive expanse of forests, desert, and bustling city streets. There is so much to do and see, it’s truly baffling that the game runs so seamlessly, not only in its load times, but in the way it develops each character and shapes the grand plot. While many games of this genre sacrifice quality for quantity, GTA V still looks quite visually impressive for a late seventh generation console release, and the myriad of alternative, electronic, and classic rock tunes add some welcome flavor to the depiction of Los Santos. My rating: 9.25
Super Mario 3D World – The follow-up to the 3DS’ Super Mario 3D Land, this Wii U platformer sticks to the 2D/3D hybrid design, and features levels that are much shorter than most Mario games would offer. That said, the game looks gorgeous, and offers plenty of variety and replayability, with drop-in/drop-out multiplayer, secret areas abound, and an extra challenge from post-game bonus stages. The Cat Suit, while fun for a while, overshadows many of the other more interesting items, which could have been more consistently utilized. My rating: 8
DmC: Devil May Cry – A new vision of one of the biggest action gaming series out there, DmC sports a new punky, foul-mouthed Dante as he pairs with his more calm and collected brother Vergil to free the humans of the city of Limbo from the influence of the demon Mundus. Everything has been given a gritty, yet colorful look, with Dante smashing and hacking apart grotesque statue-like enemies in environments that draw heavy inspiration from modern eastern European urban areas. The dialogue is cheesy, no doubt, and the story over a bit more quickly than it could have been, but it is unquestionably the smoothest-playing entry in the Devil May Cry franchise, and plenty of fun to boot. My rating: 9.25
DLC
- Vergil’s Downfall: 6.75
The Legend of Zelda: A Link Between Worlds – Attempting to build upon the foundation laid by what is easily one of the most popular Zelda titles is a gutsy feat, and A Link Between Worlds displays how to go about delivering the bare minimum to fans of the series. Selling itself entirely on nostalgia, A Link Between Worlds rips almost everything in its overworld directly from the SNES classic, while showing a general lack of inspiration in the boss and dungeon layouts - these can be challenged in any order, but the tradeoff for such open-ended adventuring is that the difficulty factor peaks within the first two hours of gameplay. The story is bland, the characters generally uninteresting, and the whole package simply a lazy offering for what is one of the most renowned series in adventure gaming today. My rating: 6.5
Killer7 – A cel-shaded hybrid of multiple gaming genres, Killer7 conveys the bold and bizarre ideas that culminated from Suda51 and Shinji Mikami’s brains, albeit in a much different light than the action/comedy seen in Grasshopper Manufacture’s other modern masterpiece, No More Heroes. In a not-too-distant future, six assassins and one liaison take on corporeal form and carry out missions on behalf of their host, Garcian Smith, and elderly man who was once an ace assassin. With political intrigue, science fiction, and psychological horror all mixed into a singular product, Killer7 is a game like no other. Its on-rails control scheme and emphasis on solving puzzles while seeking out and dispatching invisible walking time bomb enemies may sound both a convoluted and repetitive process, but the unique abilities of each assassin continue to offer up new spins on familiar gameplay elements up until the very end. My rating: 10
Kirby: Triple Deluxe – While the 3D effects do well to explore new creativity in level design and the signature simplistic combat the series is known for, the real surprise in Kirby: Triple Deluxe is the degree to which the game utilizes the 3DS’ internal gyroscope, requiring players to tilt their systems back and forth to overcome puzzles within the varied environments. At its core, Triple Deluxe is a familiar path for longtime fans of the series, but the new power-ups and unexpected spins on boss encounters add an air of newness to this latest Kirby title, as well as a welcome (though not overly intense) challenge. Despite being a bit on the short side and hosting a story that is even more simplistic than that of many of its predecessors, Triple Deluxe is a wonderfully polished experience that emphasizes a ‘fun factor’ through every facet of its design. My rating: 9.25
Mario Kart 8 – Introducing zero-gravity segments to the Mario Kart series, number eight is quite a far cry from where it started back on the SNES, and yet, it could not play more smoothly. A few new items adjust the ‘rubber band’ balancing issues many players had with some of the recent installments, while the Grand Prix mode provides both fun and inventive new locales as well as flat-out gorgeous reimaginings of retro tracks. The one major drawback that Mario Kart 8 faces is that its battle mode has been relegated to the race tracks themselves, and lacks any proper battle arenas, effectively nullifying the enjoyment of that bonus game mode. My rating: 8
DLC
- The Legend of Zelda x Mario Kart 8: 8
LEGO Marvel Superheroes – A love letter to fans of Marvel’s comics and films, this LEGO version of Manhattan incorporates a ludicrous number of heroes and villains, from the iconic Iron Man, Wolverine, Thor, and Captain America, to less mainstream and sometimes oddball picks like Taskmaster, Black Bolt, Super Skrull, and M.O.D.O.K. There’s plenty of distractions in the form of races and combat challenges, both in New York City and on board the S.H.I.E.L.D. Helicarrier stationed overhead. It’s a fun story that does well to aim itself at younger players and older fans alike, and isn’t afraid to poke fun at itself, with members of the Avengers commenting on how silly some of their foes plans are. My rating: 8.25
Shovel Knight – A brilliant homage to NES icons like The Legend of Zelda, Mega Man, Castlevania, and Final Fantasy, Shovel Knight conveys charm in its 8-bit aesthetic while offering smooth platforming action controls more appropriate for a 2014 release. The crew at Yacht Club games has done a masterful job in balancing fun elements with a fair but challenging degree of trial-and-error routines. The quirky and colorful villains of the Order of No Quarter are a humorous and memorable lot, and though it may not be as long a quest as many major retail releases this year, Shovel Knight offers up plenty of variety and replayability via its StreetPass arena, wandering warriors, and bonus challenge stages. My rating: 8.75
The Wolf Among Us – Hot off the heels of their success with the first season of The Walking Dead video game, Telltale Games has opted to take on the more fantastical and magic-oriented realm of the Fables comics. As Sherriff Bigby Wolf, you must search for clues regarding the death of one of the Fables now living in Fabletown, New York. It quickly becomes apparent that there are larger motives at play, and that Bigby will have to pay attention to the finest of details if he is to bring the case to justice. Favoring clue hunting and quick-time prompted action sequences, The Wolf Among Us is as much an ‘interactive story’ as it predecessor, not controlling in a manner typical to most video games in this day and age. Still, its cel-shaded styling is distinct, its storytelling generally solid and engaging, and its characters all decently developed by the time the final chapter comes to a close. My rating: 7.5
Skullgirls Encore – Designed with fighting game fans in mind, Skullgirls is surprisingly accessible to those lacking an intimate history with genre mainstays like Mortal Kombat or Street Fighter. While the nearly-all-female cast conveys a curious charm with their designs all being inspired by monster movies and horror fiction, the most impressive feat Skullgirls pulls off – aside from its buttery-smooth gameplay – is the fact that every single character is animated by hand, a design choice unheard of in today’s industry. Though the roster may not be as large as other fighting games, each character is designed with specialized playstyles in mind that fit major staples of the genre while adding a little bit of a different flair to the mix. Story modes are rarely the highlight of any arcade style combo-fest, yet Skullgirls handles its world and characters in such a way that will leave players wanting more when the single player modes have been conquered – and with more DLC characters on the way, one can only be excited for what lies ahead. My rating: 9.25
Metal Gear Solid V: Ground Zeroes – A glorified demo of what is planned for the next proper numbered installment in the MGS series, Ground Zeroes has Snake running around a small camp in search of his former Peace Walker comrades Chico and Paz. The story is far too short and simple for player to care about, and lacks any real semblance to a proper Metal Gear tale. Likewise, the gameplay has been dulled across the board to grant mainstream gamers ease of access, which in turn effectively robs the entire experience of the Metal Gear spirit. My rating: 4.5
Donkey Kong Country Returns 3D – A port of the Wii’s recent resurrection of DK’s platforming adventures, this game is riddled with many worlds and stages to explore, each with secret areas and bonus collectibles. Aside from a few upgrades courtesy of Cranky Kong’s shop, the gameplay is rather straightforward, asking that players progress to the end of the stage while stomping and rolling on enemy wildlife that have been possessed by resident villain tiki masks. The emphasis on twitch-memorization movement drags down the fun factor in later worlds, however, as the game is effectively asking you to go through the motions in a very specific pattern as opposed to throwing any real learning curve at you or asking you to strategize with experience. My rating: 6.5
Sin and Punishment: Star Successor – Letting up on the difficulty factor from its predecessor, this Wii sequel offers greater creativity in both enemy and environment designs. More general science fiction, the cyberpunk aesthetic is still at play in Star Successor, though not as heavily as in the original Sin and Punishment. The story of Isa and Kachi running from the Nebulox forces is light, but this is a game that is more about fine-tuned arcade-style action gameplay than it is about a gripping story, and to that end, Star Successor does a fine job of continuing the cult-following legacy of Sin and Punishment. My rating: 8
Kid Icarus: Uprising – Part on-rails shooter, part action-adventure game, Kid Icarus: Uprising is a bold reimagining of a long-dormant Nintendo property that doesn’t take itself too seriously, poking fun not only at the previous Kid Icarus titles, but also Nintendo’s long history of iconic video game characters and creations. With Hades pulling the strings behind a grand bid at expanding his forces from the Underworld into the realm of the living, Palutena calls upon her most trusted Angel Pit to seek out ancient artifacts and take up the mantle of unlikely savior. Along the way, Pit will become sidetracked as he squares off with the Forces of Nature and beings from beyond the Earth, all of which bear beautiful, highly-detailed designs fitting of the classic Greek and Roman influences the series is known for. My rating: 9.25
Persona 4 – Designed in the vein of old-school JRPGs, but incorporating modern sensibilities to its design, gameplay, and story, Persona 4 follows a group of classmates/friends as they try to unravel the mysteries surrounding a series of murders and the television world of the Midnight Channel. The party members are, by and large, a genuinely entertaining lot, which is just as well, considering how much time will be spent in their company, both while scouring dungeons for experience points and treasure, and during your free time in town and at school as you forge stronger social links to increases their combat capabilities. The symbols of the arcana that you choose to pursue will influence the types of Personas you are able to fuse and summon, and taking on a local job or after-school activity will boost personal stats. The dungeons each hold an aesthetic unique to the characters they correlate to, though the endgame stretch streamlines everything into a suddenly straightforward and deflated experience compared to everything that preceded it. My rating: 8.75
Hyrule Warriors – A hack-and-slash spinoff in the vein of Dynasty Warriors, this is certainly one strange but not unwelcome combination of franchises. While the core mechanics are more in line with the DW combat system, the incorporation of classic items like the Bow, Bombs, Hookshot, and more give Hyrule Warriors a flavor just different enough to identify it as its own beast. The story may be light, but the game offer plenty of missions between its three core modes of gameplay, and a reasonable amount of depth in upgrading character stats and weapon bonuses. As a whole, it may not be as strong as most Zelda titles, but it does well to cater to longtime fans of the series, while refining many elements carried over from Dynasty Warriors. My rating: 8.25
Super Smash Bros. for 3DS – Overpowered characters from the series’ last outing on the Wii have been toned down in favor of greater balance across the board, while final smash moves have similarly been evened out for the better. Classic mode grants players freedom to select from one of three matches before each encounter, throwing metal, giant, and horde battles into the mix, and offering greater rewards at higher difficulty settings, while the time-sensitive gathering of stat boosts in Smash Run is, in stark comparison, a largely forgettable portion of the handheld Smash experience. 3D effects are used for little more than added depth perception, which is just as well, given the often chaotic nature of fights, and players who find it difficult to keep track of their fighter on screen can increases the thickness on the outline of their character model – the renders of which, along with the environments and collectible trophies, look exceptional on the small screen. My rating: 9.25
Bayonetta 2 – Pairing silky smooth gameplay with an unapologetic sense of flair that many other action games strive to achieve but few actually manage to do, Bayonetta 2 is not only one of the best showings in its genre, it is one of the best games of this eighth generation of consoles. With wacky humor, battles that constantly escalate in scale and ridiculousness, and a protagonist that commands with every backflip and shot from her pistols, Bayonetta 2 is not just an absolute visual treat, it’s a no-holds-barred wild ride from start to finish. The majestic soundtrack, bonus levels, and Nintendo easter eggs only add to this utterly delicious package. My rating: 9.75
Super Smash Bros. for Wii U – While Smash Bros. does well on the 3DS, it feels properly at home on the Wii U, with tight controls and the ability to enter (admittedly chaotic and fast-paced) 8-player bouts. There’s an abundance of modes represented in this new home console Smash Bros., and even more in the way of unlockables. While Classic mode does break from its traditional patterns a bit, the roster of playable fighters is top-notch, and easily the most diverse and balanced group the series has seen in years. The returning stages may not boast as strong of a showing as on the 3DS, but the new stages for this Wii U counterpart are a strong showing, by and large, and pair well with the move away from Brawl’s gimmicky gameplay and design elements. My rating: 9.25
Pokemon: Omega Ruby and Alpha Sapphire – While generation III did well during its original Gameboy Advance release to introduce plenty of new and interesting typing combos that proved both enjoyable and useful in the long run, this pair of 3DS remakes only adds so much to the formula. Some new features from the Pokenav aid in catching specific Pokémon in the wild, while the experience share system carried over from last year’s Pokémon X and Y lead your party members to reach much higher levels than necessary shortly after the halfway point of the journey through the now fully-3D Hoenn region. The bonus post-game Delta Episode content is easily among the highlights of the game, and makes up for many of missteps encountered during the core story of Team Magma and Team Aqua. A lack of new offerings, combined with the generally less-inspired layout of the Hoenn region when compared to its brethren in the franchise, lead Omega Ruby and Alpha Sapphire to be less impressive than what most fans have come to expect in the overall quality of Pokémon titles. My rating: 7
Wednesday, July 16, 2014
Xbox 360 review: Metal Gear Solid V: Ground Zeroes
To tide fans over until the proper release of the fifth numbered entry in the Metal Gear Solid series, Konami released Ground Zeroes in both physical and digital formats. Intended as a teaser for all that is to come in the open-world Phantom Pain, Ground Zeroes runs on the Fox Engine, and even on the now-last generation Xbox 360, the graphics are damn impressive. The rainstorm that shrouds Big Boss’ mission excels at highlighting raindrops streaming down textures and assets like tarps flapping in the wind in highly realistic fashion. While Kiefer Sutherland’s takeover as the voice of Snake does reveal a noticeable difference to what fans have come to know and love from the efforts of veteran David Hayter, the experience is not a massive upset to the familiar, as Snake/Big Boss does very little talking for the duration of Ground Zeroes.
In short, Ground Zeroes does not feel the part of a Metal Gear game in gameplay or spirit. The heads-up display, while simplified, is highly unspecific and does little to give players any real indication of where enemy troops are or how many of them are patrolling an area. This is something that would not be terribly difficult to keep track of, given the tiny size of the map the main mission takes place on, were it not for the fact that there are so many structures of varying heights and widths. This results not only in enemies being difficult to keep track of, but also a degree of uncertainty with how well-hidden Snake is. And the slow-down sequences when Snake is given a few brief seconds to respond to his being spotted do virtually nothing but incite panic in the player, as Snake is most frequently spotted from a distance, and firing upon foes will alert anyone nearby, putting the whole area on alert status.
Because the main story requires no more than two hours to complete, it lacks any time necessary to develop Snake, Chico, or Paz, much less give players a reason to care about the supposed ‘high-risk mission’ or the brief appearance of Skull Face, whose voice actor provides deadpan efforts that imply he has as little interest in the character as most anyone else who will play through this glorified demo. The weird and goofy factors that make a Metal Gear experience so endearing and one-of-a-kind are gone – Ground Zeroes is gritty and serious, building off the Snake Eater and Peace Walker formulas, but lacking almost any creative end. While the finale does sufficiently set the stage for The Phantom Pain, there is only one moment at the end that will prove particularly exciting, or give fans of previous Metal Gear installments any real sense of fulfillment.
There are bonus missions to take on, and collectible cassette tapes and XOF badges littered around the environment that extend the lifespan of Ground Zeroes, if only as a thinly-veiled fetch-quest. The dialogue on the cassette tapes themselves reveal far more about any of the characters than the in-game actions do, and are overall better-scripted than the couple of action-heavy cutscenes. If Ground Zeroes is a genuine taste of Phantom Pain, I for one am extremely wary, due to just how bare an experience this is, and how much it appears to be adjusted for mainstream audiences.
My rating: 4.5 (out of 10)
Monday, September 3, 2012
"We've managed to avoid drowning!" - 25 Years of Metal Gear
Though Solid Snake officially debuted back in 1987 with the original Metal Gear game, his popularity did not gain major momentum until the release of Metal Gear Solid, which hit the Playstation in 1998. Since then, Solid Snake has become one of the most recognizable faces in gaming history. The series has also earned itself significant praise for the ways it changed the experience of gaming. While I have not played every single game in the Metal Gear franchise, the games I have experienced have all proved thoroughly enjoyable.
My first experiences with Metal Gear came in the form of the Metal Gear Solid Essentials Collection, which was released shortly before Metal Gear Solid 4: Guns of the Patriots as a means for newcomers to familiarize themselves with the series, or for veterans to revisit Snake's previous adventures. I knew very little about Metal Gear at that point in time, and I figured a thirty dollar price tag wasn't too bad a deal for three games - if I ended up disliking them, it would be easy enough for me to turn around and sell them. Thankfully, that was not what happened.
Metal Gear Solid is not a graphically pretty game. Even for the time of its release, it has some rather grainy textures and Snake's character model wears a bandana that covers his eyes instead of having a proper face. But what it lacks there it makes up for in some truly groundbreaking game mechanics and storytelling elements. The use of cigarette smoke to detect lasers, Psycho Mantis reading your memory card, and the placement of a codec number on the back of the physical game case are inclusions that are honestly quite simple in concept, but make the game so much more immersive and fun. Hell, the simple fact that Snake has to sneak around enemies instead of fighting them head-on is a welcome departure from the all-too-familiar run and gun routine of so many other action games.
Metal Gear Solid 2: Sons of Liberty added a few new features that would have been helpful in the first game, such as the ability to enter a first-person view. I don't mean to knock the PS1 classic, but from a design perspective, MGS2 handles much more smoothly. Sons of Liberty certainly retained the masterful storytelling element, though it was handled in a different manner. Snake took on the role of a side character, with Raiden stepping into the spotlight. Like many other fans, I found Raiden to be quite annoying at first - not as nauseatingly so as his support/girlfriend Rose, but he was still whiny and immature. But patience yielded great results, as the final few hours of Sons of Liberty delivered a phenomenal ending that answered as many questions as it asked.
As far as I am concerned, though, the best of the bunch has to be Metal Gear Solid 3: Snake Eater. I have experienced few video games so perfect in their design. Snake Eater took everything that worked in MGS2 and improved upon while simultaneously adding in a host of new elements, each of which proves just as polished and helpful during Naked Snake's trek through the jungles of Russia. Only a handful of games have genuinely moved me so emotionally, and I'll be damned if Snake Eater does not have one the most beautiful and bittersweet conclusions ever written into a game. All of the MGS games rely heavily on cutscenes to deliver their stories, and though MGS4's may be the most Hollywood high-budget, I still feel that MGS3 does the best job of all the games in the series in weaving a story that trumps many a film and novel.
Though not as perfect a game as Snake Eater, Peace Walker did a solid job of continuing the story of Naked Snake as he builds his own personal and becomes involved in the late days of the Cold War. Hot Coldman isn't a particularly memorable villain when compared to the likes of the Cobra Unit, but the boss fights against the Chrysalis, Pupa, and so on are both challenging and varied. Peace Walker is a little more action-heavy than other MGS games and it is also shorter than the main numbered entries, but I felt it did a good job of bridging the gap between the era of Naked Snake and that of Solid Snake.
The series has such a wonderful cast of characters, from Psycho Mantis to Solidus and Otacon to Ocelot - I could list them all, but I think it's just easier for me to say that there are only a few select characters that I don't like. And as much as I enjoy exploring Hyrule and Zebes, the world of Metal Gear is also one of the best visions ever realized in gaming. It's a perfect blend of practical realism and dystopian science fiction. Though the storyline of the main games may have come to a conclusion, the upcoming Metal Gear Rising: Revengeance and Metal Gear Solid: Ground Zeroes indicates that there is still plenty of story to be told in the Metal Gear universe. I look forward to whatever new directions Hideo Kojima takes the series in, because even when a Metal Gear game hits its lowest point, it is still a whole tier above most other video games.
Some of my favorite boss fights from the series include:
- Psycho Mantis in Metal Gear Solid
- Harrier Jet in Metal Gear Solid 2: Sons of Liberty
- Metal Gear RAY in Metal Gear Solid 2: Sons of Liberty
- The Fury in Metal Gear Solid 3: Snake Eater
- The Shagohod in Metal Gear Solid 3: Snake Eater
- The Boss in Metal Gear Solid 3: Snake Eater
- Chrysalis in Metal Gear Solid: Peace Walker
Some of my favorite songs from the various soundtracks include:
- The Best is Yet to Come from MGS
- Main Theme from MGS2
- Yell Dead Cell from MGS2
- Father and Son from MGS2
- Snake Eater from MGS3
- Debriefing from MGS3
- Old Snake from MGS4
Some of my favorite characters include:
- Solid Snake
- Grey Fox
- Otacon
- Solidus
- Naked Snake/Big Boss
- Young Ocelot
- The Boss
- EVA
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