PC review: Fallout 4

After their release of the fifth major Elder Scrolls title, Bethesda has returned to the post-apocalyptic setting of the Fallout series, with Fallout 4 being set in the Commonwealth, formerly the area surrounding Boston. Fenway Park has been reorganized into the central hub known as Diamond City, and the cityscape is a hodgepodge of old New England brick buildings with towering paneled steel skyscrapers. Following the example set forth by Obsidian’s Fallout: New Vegas, Fallout 4 effectively allows players to roam freely once the hour-long run of tutorial quests has been cleared.

Prior to the core game taking place, players bear witness to life before the bombs dropped in the small suburb of Sanctuary. Character creation grants a great degree of customization options, including the gender of the protagonist, and for the first time in the series, the main character speaks to allies and enemies alike. After being visited by a Vault-Tec representative and reserving their space in Vault 111, the happy family life is interrupted as news breaks on the television of the first bombs dropping. Grabbing their infant son Shaun, the protagonist and his/her spouse run for Vault 111, and are sealed inside just as a mushroom cloud paints the horizon.

Inside Vault 111, the couple and their baby are ushered into cryostasis pods, where they are frozen in time to outlast the nuclear radiation above ground. However, the protagonist’s sleep is interrupted early after a small band of scientists and a raider crack the seal on their spouse’s pod, and kill them in a struggle to steal their baby. The protagonist is forced to watch helplessly as their child is taken away, and they are left as the only surviving adult in Vault 111, drifting back off to cryostasis-induced sleep for a bit until their pod is finally cracked open, and they are freed to venture forth into the wastes of the Commonwealth in search of their son and the individuals responsible for his kidnapping.

Fallout 4 suffers from a similar problem as The Elder Scrolls IV: Oblivion, in that the main story doesn’t offer a particularly compelling narrative, and that side quests relating to the game’s various major factions are consistently more interesting, more widely varied in their offerings, and generally more challenging. Simply playing the main story missions will not last particularly long, and the ultimate goal of finding one’s lost son pales even in the company of bringing clean water to the people of the Capital Wasteland in Fallout 3. It is far easier to sink hours into establishing the band of regional do-gooders known as the Minutemen, helping human-like Synths who wish to escape their Institute overlords via a new-age Underground Railroad, and uncovering the twisted goals of Vault-Tec in the other regional Vaults.

While the option to roam largely wherever one’s heart desires early on is very much appreciated, the game world, though large, is still much smaller than other open-world contemporaries like Grand Theft Auto V or Xenoblade Chronicles X. Still, the Commonwealth is littered with many locations to discover, and exploration feels rewarding. Leveling up in Fallout 4 proceeds faster than in Fallout 3 or New Vegas, and Fallout 4 technically lacks a level cap. This is partially due to the much broader offerings of the perk system – classics like Bloody Mess, Lady Killer, and Mysterious Stranger make their returns, but a whole slew of new ones round out the list, and all serve comparably useful ends. The V.A.T.S. system, which slows time for players to hone their attacks to specific body parts on enemies, remains effectively unchanged from the last outing.

A core part of the Fallout series’ identity stems from its 1950’s retro-future aesthetic, while the games are also largely recognized for their dark humor. Bethesda has selected many catchy tunes for Diamond City Radio to broadcast, though a good handful of these songs are reused from Fallout 3. The humor in Fallout 4, meanwhile, is split quite evenly between dry, situational humor and the less effective instances of characters taking a none-too-subtle push of exclaiming just how much violence and death can be entertaining in this decayed world. It’s an unfortunate step backwards, as both Fallout 3 and New Vegas excelled at the much more engaging approach of ‘showing over telling’.

Fallout 4 also utilizes a small selection of dialogue options when interacting with quest-specific characters or companions. Generally, two of these options end up resulting in the same responses, while one is a negative response or decline of engaging in conversation, and the fourth and final option is almost always a sarcastic statement. The sarcastic options rarely add anything valuable to the conversation, while the three other options are often vague descriptors for the full sentences that your protagonist will ultimately dish out. Dialogue options that are colored in yellow, orange, or red are persuasive and threatening approaches, and their respective color is dependent on how far you have leveled up their associated perks. Nine times out of ten, though, it feels like the dialogue options serve more to boost your affinity ratings with companion characters than they do to progress whatever quest you are currently undertaking.

In a similar vein, Fallout 4’s quests and indoor environments are more linear in design than those in Fallout 3, New Vegas, or even The Elder Scrolls titles. While they may not be as expansive overall, these locations are much easier to navigate, reducing the likelihood that you will find yourself lost in some deep and winding labyrinth. The wait times as these areas load is longer than one would expect from a game of this generation, and Fallout 4’s bugs and glitches are plentiful. While I never encountered any hiccups that were game-breaking, I did find three or four glitches each time that I fired the game up – whether it was a stray bullet that ricocheted off a car and caused it to fly forward like a Frisbee, NPCs pushing one another around during dialogue sequences, full sentences being skipped for no discernible reason, or Deathclaws clipping through buildings only to launch sky-high and immediately die upon their return to the ground, Fallout 4 lacks a considerable amount of polish in this department.

Conversely, character models look quite good on the whole. Standouts include companion characters like Piper (whose animations are highly expressive), Nick Valentine (with a network of mechanical pieces visible through his cracked facial structure), and the Mr. Handy models (whose eyes are constantly zooming and retracting, while bobbing up and down, independent of one another). In fact, the companion characters are one of the game’s strongest points. While human-friendly Super Mutant Strong and canine pal Dogmeat operate almost exactly the same as their equivalents in previous games, Piper is a reporter determined uncover a Synth conspiracy in Diamond City, Nick Valentine is a slick trenchcoat-wearing private eye with considerable knowledge of the Commonwealth, Deacon is a ‘far-out’ beatnik master of disguise assisting The Railroad in their aims of freeing runaway Synths from the enigmatic Institute, and Curie is a pre-war Miss Nanny robot who fills the role of questioning ‘where do the lines between man and machine blur’ with her insistence on research and finding a way to be inspired beyond her programming. On the whole, Fallout 4’s characters are a nicely varied bunch, with a few being among the best the series has seen to date. Upon reaching maximum affinity levels with each companion, players earn an additional perk specific to that companion’s behavior, while some companions can even be romanced.

Helping NPCs on various quests can unlock new settlements for you to establish and build structures, defenses, workbenches, food, water, and energy. It’s a welcome addition that not only increases the play time value of Fallout 4, but also finally makes use of the various junk items you discover in your journeys. Cans, toy rocket ships, fallen trees, turret switchboards, old cameras, and many other assorted items can be taken to workbenches and broken down into base resources, which can then be recycled for constructing settlement necessities. While this settlement management system is neither the most fleshed-out, nor the most actively rewarding version of such an addition to an open-world game, it does bring something fresh and coherent into the mix.

Additional workbenches can be used to concoct health items, and customize weapons and armor. Pieces of Power Armor can also be repaired here. The iconic Brotherhood of Steel Power Armor functions differently than in previous games, effectively acting as a limited exoskeleton or vehicle, able to take its own damage before you yourself are physically wounded. Power Armor also runs on energy cores than can be gathered from generators scattered across the Commonwealth. The more of these cores in your possession, the longer you can make use of the Power Armor. Pieces of the many versions of the Power Armor can be swapped out and paired with one another, and there are many Power Armor frames in the Commonwealth to scavenge these pieces from. The Power Armor is especially useful for taking on stronger foes like Deathclaws, which appear more frequently in Fallout 4 than in previous games, and can also make short work of Super Mutants or Ghouls, two enemy types which travel in generally larger numbers than before. It is not uncommon for eight or more Ghouls to attempt to overwhelm players, while Super Mutant ranks often include one suicide runner who will attempt to rush players with a Mini Nuke in hand.

As is tradition for the series, Fallout 4 requires you to keep an even eye on your health bar and your radiation level. The higher your radiation level, the greater portion of your health bar it takes up, temporarily reducing the maximum level you are able to heal to until you are either able to find RadAway or pay a doctor NPC with the Commonwealth’s bottlecap currency. By and large, Fallout 4 feels surprisingly less the part of an RPG than its predecessors. It isn’t uncommon to find high level, specialized weaponry during one of your many quests, even during the game’s earliest hours. This sort of negates the need to hold onto common weapons for customization. The wide selection of perks is truly a high point of Fallout 4’s ‘play-as-you-want’ design, but the game feels more like an open-world adventure/survival title with a mild amount of RPG elements thrown in than a proper RPG.

My rating: 7.5 (out of 10)

Comic Book Review: Captain America: Castaway in Dimension Z

Penned by Rick Remender, Captain America: Castaway in Dimension Z is a two-part storyline that reintroduces Steve Rogers as part of the Marvel NOW! comic run. Dropped into an alien realm ruled by the maniacal Arnim Zola, Captain America must escape a technological fortress and battle horrific alien tribes if he hopes to survive and make an escape home. Neon blues and purples decorate the bizarre backdrop of Cap’s new surroundings, and, in many ways, it feels like the First Avenger has been dropped into Remender’s other dimension-hopping series, Black Science.

Castaway in Dimension Z opens with a bang, and despite Cap’s ability to escape from Zola’s clutches, he ends up furthering the wrath of the Nazi-turned-robot villain by taking Zola’s artificially-created son with him as he escapes from the facility. The two encounter plenty of challenges over the many years they remain in Dimension Z – the monstrous wildlife is plentiful, and the two are nearly killed by a tribe of rock-like beings, only managing to come to peaceful terms with them thanks to a universal communicator that Cap has on him. But Cap did not escape Zola unscathed – he was infected with a technological virus that haunts him more and more as time passes, and Zola attempts to break Rogers’ mind.

Cap’s decision to take the boy (who he names Ian) from Zola, is brought into question as something of a morally grey action. As is later revealed, Ian was not the only child Zola intended to raise, but he did intend to brainwash both of them to do his bidding. Meanwhile, Zola’s virus torments Steve Rogers with questions of the justification of tearing the boy from his home, teaching him his own values and sense of right and wrong. As readers, we certainly know that Cap’s virtues will always trump those of Zola, but in the eyes of a child who has never known anything beyond this tumultuous and bizarre reality, it’s a lot to take in.

Less compelling to this narrative is Steve Rogers’ out-of-nowhere decision to finally attempt an escape plan after many years spent in this hellish domain, and a full beard grown. Certainly, Zola has many scientific monstrosities at his disposal, and storming his technological fortress is no small feat, but there is practically no explanation as to why Cap decides to wait until Zola’s plans for invading Earth are nearly complete before taking any sort of heroic actions. Visually, it’s an interesting setting to have Cap stranded in, and breaks from the familiar Hydra or A.I.M. bases that the First Avenger so frequently storms. Plot-wise, Castaway in Dimension Z is slow-going, and doesn’t offer many satisfying answers.

My rating: 6.25 (out of 10)

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)