Zombies Ate My Neighbors

LucasArts - 1993 - SNES/Genesis

I'm cheating a little bit here by labeling Zombies Ate My Neighbors as a horror game. I don't think it's truly a horror game, but it is horror themed if you can make a distinction between those two things. So remember when LucasArts was a thing? Well back in the 90s before all they were doing was milking the Star Wars license, LucasArts used to be known for quality point-and-click adventure games like Monkey Island, Day of the Tentacle, Full Throttle, and Grim Fandango. It was around this time that the creative talent at LucasArts broke away from their traditional fare of PC adventure games to produce Zombies Ate My Neighbors, a co-op shoot-em-up game for the SNES and Genesis. Yes, the game can also be played single player - but find a buddy if you can. The real fun is had in multiplayer.

So you, and hopefully a friend, will play as Zeke and Julie - two teenage neighborhood kids who witness an attack on their suburb by just about every horror movie monster you can think of. There's zombies, mummies, werewolves, aliens, vampires, you name it. Zeke and Julie arm themselves with all sorts of unconventional weaponry like squirt guns, soda cans, dinner plates and fire extinguishers to combat the threat. Each weapon's effectiveness varies depending on which enemy it's used on. For instance, mummies are weak vs. soda cans. Because, you know, reasons.

The game features 55 levels, but I'm not sure I've ever even made it past the twenty something range levels in this game. It gets pretty hard pretty quick, even with co-op help. The main objective in each level is not to kill all of the enemies, but to save all of the neighbors in each level. Each level's map is a non-linear, giant block of terrain and you must rescue each and every one of the neighbors hidden in the level. You don't have a hard time limit, but the longer you take, the more likely it is that neighbors will start being killed by the infinitely respawning monsters in each level. Once neighbors die, they won't come back - even in subsequent levels - so rescuing them as quickly as possible is paramount. The game is over when all of the neighbors die or if you lose all of your lives. Ammo management is also a key mechanic as each weapon has a finite amount of ammo. You can find more ammo, different weapons, health packs and other helpful items in each level, but you'll have to look carefully as these upgrades are often well hidden.

Summary:
There's not much else that can be said about this game. It's a classic co-op shooter that still holds up very well today. It's difficult, but it's still a great game to share with a friend. Discovering the game's secrets, fighting huge mutant babies and frantically running away from chainsaw killers in a giant hedge maze is still just as fun as it was 20+ years ago.

Off

Mortis Ghost - 2008 - PC

I stumbled across this game while searching for new stuff to play and looking really deep into the internet for recommendations. I often like to try lesser known games that are passionately appreciated by a very small group of people. I saw that Off was a game that was getting this kind of love and decided I wanted to check it out. Off is a French indie game released on the PC in 2008 which was eventually translated into English in 2011. It is a weird, weird, trippy game. I think I would pitch it as: "What if Earthbound was a horror game? And then it was given an extra dose of weirdness"

In Off, you play as "The Batter" (possible Earthbound reference?) who is tasked with "purifying" various zones of the in-game world that have become infested with ghostly specters. The Batter is guided through the game world by a well-spoken and eternally smiling feline known as "The Judge" whose in-game artwork looks like it was likely influenced by Lewis Carroll's Cheshire Cat. The Judge provides The Batter with knowledge and background story about the in-game world and often provides hints for the puzzle solving sections. The Batter is also assisted by a masked merchant named Zacharie who sells The Batter equipment, items and upgrades. He always greets The Batter with a signature creepy chuckle and will occasionally wear a cat mask to impersonate the Judge for some bizarre reason. Most of the characters in the game, especially The Judge and Zacharie, are quite aware that they are characters in a video game and will sometimes directly address the player as though you were a character in the game. In most games, this sort of 4th wall break is done for comedic effect, but that's not the case with Off. Here, it's used as a story element which helps construct the creepy, surreal atmosphere. This is my favorite type of horror game. Off mixes its dark and disturbing subject matter with bizarre, surreal imagery to mess with the player's mind. It uses atmosphere and storytelling to deliver its chills in lieu of jump scares.

I was initially not very taken with Off's art style. It looked cheap, minimalistic and low quality. But as I played the game, the artwork really grew on me and I think it helps to give this game a sense of style. Some of the monster designs are really horrifying too. The soundtrack also helps to create the unique and wacky feel of the game. Just give a listen to "Pepper Steak", Off's battle theme. It's a remix of an old jazz song set to a Cajun beat. It sounds completely insane and a little horrifying, which fits in perfectly with the game thematically. The one complaint I will level against the sound design is that Off repeats some basic sound effects much too often. And I'm not sure if it was just my copy of the game, but the music was very poorly looped. Minor complaints, but these are little things that can be easily cleaned up to give a game more polish.

I found the storytelling to simultaneously be a strength and weakness in Off. The dialogue is very well written, but the story is often ambiguous at times. For a good portion of the game, I felt like I wasn't sure what I was doing or why I was doing it. There are also a lot of events that take place in the game that are a little vague about what's happening, especially near the end. While narrative ambiguity is a definite problem with the game, I still felt interested to explore the world and learn about all of the characters which speaks to how strong and engaging the writing still is. The actual gameplay for Off is where the game falls flat on its face. The RPG combat is very basic and extremely repetitive. Without any interesting battle mechanics, Off's combat system started to stale very quickly. I found I could just use the same attacks and strategy regardless of which enemies I was facing. The game's designers chose to include an "auto-battle" system as well, but I feel this is actually a detriment to Off. It's never good when a game can play itself. The player always needs to feel engaged. The puzzles in this game were almost equally as disappointing as the combat. A lot of the puzzles weren't very well communicated and even the ones what were weren't very clever or interesting. There were times when I wasn't even sure if what looking at was even intended to be a puzzle or not. It's a shame because a little more polish, thought and depth on the gameplay would have done a lot to improve the playability of this game.

Summary:
If you play Off, you're doing it for the story, not the gameplay. The puzzles are weak and the combat is mind-numbingly repetitive. To its credit, Off still manages to create a very unique and bizarre world through strong writing and stylistically appropriate artwork and music. The story lost me at times, but it was still an interesting and engaging ride. Off is certainly not for everyone though and it will likely be doomed by its faults to continue to only be appreciated only by a small group of hardcore horror game fans. If you do decide to try it though, don't say I didn't warn you about that combat system.

EDIT: You can download Off completely free here if you're interested in giving it a shot

Resident Evil

Capcom - 2002 (1996 Original) - GameCube/Wii/PS3/X360

Ahhh, October. October has always been one of my favorite months. Maybe it's because I was born in the beginning of the month, or maybe it's because October means football season is in full swing or maybe it's because the oppressive Florida weather where I live starts to cool down a bit and you can go outside again without feeling like you're going to die. Or maybe it's because October is home to Halloween, which has become one of my favorite holidays in my adult life. Aside from eating candy and dressing up like ridiculous characters, the fact that Halloween is a sort of celebration of fear and scary things has always been a novel concept to me. Last year, I observed Halloween by watching a bunch of horror films and exploring specifically why I did or did not find them scary. This year, I'm planning to do the same thing here, but with games. I'm going to kick things off with one of the most obvious and well-known horror games of all time, but I promise in the coming weeks I'll cover some horror games you probably haven't played before. Also if you're looking for other horror titles to try, check out anything I've labeled with the horror tag so far. All of those titles are interesting in their own way and definitely worth a look with Silent Hill 2 being a particular favorite of mine.

The original Resident Evil made its debut on the PS1 in 1996 and is considered to be the genesis of the survival horror game genre. It was very well received critically and commercially and it of course spawned many sequels, spin-offs and movie tie-ins. Starting with Resident Evil 4, recent entries in the series have been more action/shooter than survival horror, but the original Resident Evil is certainly true survival horror. As important and influential as the original is, the game I want to specifically talk about is the 2002 remake for GameCube that was then ported to a bunch of other consoles. The 2002 remake contains completely redone visuals and cutscenes, alterations to gameplay, completely different puzzles and re-recorded voice acting, sound effects and music. This sounds like total blasphemy, especially to remake a game as iconic as the original. But the remake is SO well done; it's faithful to the vision of its predecessor and it's a testament to the quality of the remake that the remake is arguably even more well received than the original. Aside from more immersive sound and graphics, probably the most important thing the remake did was re-record the voice overs. The voice acting was, well, pretty terrible. I think the enhancements made in the remake enable this game to age a little more gracefully and stand the test of time as a horror game masterpiece.

If you've ever played any of the other entries in the Resident Evil series, you know that the story is kind of ridiculous and throw away. There's all sorts of plot holes and inconsistencies and it can get pretty absurd at times. Most of my other favorite horror games use excellent writing to help create their creepy mood, but not really so with Resident Evil. What it lacks in storytelling, it makes up for with superb audiovisual presentation and excellent game design. One of the first unusual things you'll notice when playing the game is that it uses a fixed and stationary camera. The game is still rendered in full 3D, but the camera never moves, only the the player and enemies do. This can be a little disorienting at first, especially when changing scenes, but I'm surprised I haven't seen this elsewhere in other Survival Horror games. It makes the game feel very cinematic and gives the designers complete control over exactly what they want the player to see. In first person games or games with an adjustable camera, the designers have to design set pieces and jump scares around knowing or guessing where the player's camera will be. Resident Evil is freed up to design its scares however it pleases, and it does so very well.

Resident Evil does a great job of not only creating creepy atmosphere with its audiovisuals, but also by creating stress and nervousness through gameplay. Encountering an enemy in is scary in its own right, but that fear is also accompanied by the stress of considering how to deal with the enemy. You may have a pistol, but ammo is limited. Should you still shoot it? Knives don't consume ammo, but are also more risky as you have to get close to the enemy in order to kill it. And even if you do manage to "kill" a zombie, it will actually eventually reanimate and become stronger and faster. You can prevent a zombie from reanimating by burning their corpse, but that means you'll have to carry around kerosene and a lighter which take up precious inventory slots. Burning corpses will also consume kerosene which is preciously finite resource. Is the corpse in a key corridor that you'll have to walk through frequently? It might not be worth your kerosene. And if ammo or health are low, sometimes the best option may be to simply run away.

Another smart game design choice was the limitation of the player's inventory slots. You'll eventually find a giant crate in the game that can store all of your items, but you can only take so many of them with you at a time when you leave. You'll have to make strategic decisions about how many healing items you want to bring, how much ammo you want to bring, whether or not to bring the kerosene/lighter and you'll also want to think about how many inventory slots you want to keep open in case you find something interesting while exploring the mansion. There's also a finite number of saves you can make while playing Resident Evil, which is a really interesting mechanic that I'm surprised more games haven't copied. Your character in the game saves their progress by typing on an old-fashioned typewriter, but using a typewriter requires ink ribbons which are then consumed. When you burn through all of your ink ribbons, you can't make any more saves until you find more ribbons in the mansion. This keeps the player from just killing a few enemies and quickly running back to a save their progress. There's an ample amount of ink ribbons to find in the mansion as to not make the number of saves an annoying issue, but it still makes you think twice before making a save with minimal progress. Very smart game design.

Summary:
Resident Evil is a horror game classic, and the remake is a masterpiece. You absolutely must play this if you're a horror game fan, but if you call yourself that you probably already have. For those looking to test the waters of the survival horror genre for the first time, the Resident Evil remake is a great place to start. It excellently builds and maintains tension through superb audiovisual presentation and smart game design. In the most Capcom of moves, I hear they're remaking the remake for next-gen consoles and PC and it will be out early 2015. I think this is just going to be an "HD remaster" of the remake, but this will still hopefully give more people a chance to play this game. Shinji Mikami, the creative director of Resident Evil, also has his latest game "The Evil Within" coming out later this month. From what I've seen of the game so far, it looks very interesting. Hopefully he can recapture the terror and suspense he created so well initially with Resident Evil

Riven

Cyan - 1997 - PC/Saturn/PS1/Mobile

Anyone else remember this game? Riven was the sequel to the massively popular game Myst which launched in 1993. It was famously one of the first games to be released on a CD and helped to popularize the CD-ROM drive. I can't even believe Myst is more than 20 years old now. I can still remember playing Myst on Windows 3.1 and how frustratingly often it used to crash. Then Riven was released in 1997 and came on 5 CDs. You had to annoyingly keep swapping the CDs out as you explored different parts of the island. There's a lot of stuff like this about Riven that requires the player to have a lot of patience. Patience that I had as a kid, but has long since left me as an adult. It's kind of a shame because I'm pretty sure that if I played a game like Riven today, I'd push it aside after 15 minutes or so and move on to something else. While there are some technical limitations and some game mechanics in Riven that have not aged well over the years, there's also a lot this game does really smartly. It's a "slow burn" type of game. If you give Riven your time and patience, it will reward you with some amazingly clever puzzles and an unusual and immersive fantasy story. 

For those not familiar with the Myst games, they are point & click style adventure games. But not quite in the same way as the old King's Quest or Monkey Island games. They're no puzzles that involve combining items together through some absurd logic that allows you to progress further or whatever. In Riven, you're gated only by how much you've explored and how deep your understanding is about the island and its inhabitants. It's a game that does a beautiful job of communicating a complex story with few words and minimal cutscenes. The only cutscene you're given for quite a while is the game's initial opening cutscene, which really gives you more questions than answers. During this cryptic scene, a man teleports you to an island called Riven after giving you nothing but two books. You arrive in a jail cell on Riven where one of the books you were given is promptly stolen by a man who does not speak your language. The thief is then quickly killed by another mysterious person who sets you free, but not before taking the stolen book for himself. You're then free to explore the island and unravel the mystery of Riven. An intriguing open, no? What's in that book that's worth killing for? And who are these people who are so desperate to get it?

Riven's story is told through exploring the island, discovering its secrets and understanding the meaning and purpose behind them. Riven doesn't tell its story through dialogue or cutscenes as in most games. When you do watch a cutscene in the game, it usually only serves to confirm what you've figured out about the island already. It's never directly or clearly communicated to you what any of the character's motivations are or even why you were sent to the island in the first place. It's really up to the player to discover and understand the deep story in Riven for themselves, and this may have been the most satisfying part of the game for me. I think the best way to go about doing this is to always ask the question "Why?" when something doesn't make sense. A lot of the fun in this game is trying to form the answers to all of the questions the game gives based on what you know about the island so far. The developers did a fantastic job of being very deliberate with their world design. Nothing is there by accident or coincidence, nearly every object or structure in the game is meant to communicate something important to you. As you explore Riven, you'll encounter many mysterious machines and contraptions. Ask "What do they do?". "Who would have put them here?". If you think on these questions, eventually the details of the story will come in to focus.

The puzzles in Riven are given to you in a similar fashion as the story. The objective or elements of the puzzle aren't given to you explicitly, but rather communicated to you subtly through the environment and world design. It's definitely a game where you have to keep a sheet or two of handwritten notes while you're playing, which is something not many games do anymore. Some of the puzzles in Riven are downright brilliant. There's one amazing puzzle in particular where I can remember feeling so impressed with myself after I had figured it out. The solutions to these puzzles are really so satisfying when you finally figure them out. I'd challenge you to play through this game without looking any of them up.

Riven is not without its faults though and some of them are unfortunately due to this game's age. The game is first person, but it's not full 3D. It's essentially a bunch of still images that have been linked together. This, to me, really makes the game feel aged. A full 3D engine would do this game a lot of good. The game's pace is also incredibly slow and it can be very frustrating to be stuck in one place for a while and feel like you're not progressing. This will likely happen a lot in Riven which can be discouraging to players if they don't have a deep well of patience. There are certain puzzles in the game where Riven may have been to clever for its own good. The puzzle solutions are fair, but they're hidden so deeply in the game's world that they're not easily discovered without a very keen eye and extremely sharp mind.

Summary:
If you've got the time and patience and love puzzle games, mysteries or unusual stories, Riven would probably be a good fit for you. Just keep in mind that this game will probably show its age and you may also get stuck frequently while playing it. If you've never played a game in the Myst series and are curious, Riven is a great place to start. It's a refinement and improvement on everything that the first game was. While subsequent games in the series improved their audiovisual fidelity, they never quite recaptured the sublime story or brilliant puzzles that made Riven a great game. Also steer clear of Myst 5. That game is terrible. Rand Miller, one of the lead creative minds behind Myst and Riven recently launched a successful kickstarter for his new game, Obduction. It sounds like Obduction will play similarly to Riven and I'd love to try another game like this to see if I still have the patience for it. I'll be interested to monitor the development of Obduction and hopefully play it soon.

Ether One

White Paper Games - 2014 - PC

The premise alone for Ether One probably would have been enough to get me interested in playing this game, not to mention that it had mostly positive(ish) reviews upon its launch earlier this year. Gameplay wise, it's kind of one is one part interactive story and one part puzzle game. It's like if Gone Home had a baby with the old school adventure/puzzle games like Myst. In Ether One, you'll be playing the role of "The Restorer". You're contracted to help a medical researcher treat a patient with dementia by entering the patient's mind Inception style and then finding and restoring the patient's lost or broken memories. Really interesting premise, right? Unfortunately, most of what's typed below are a lot of the faults I found with the game. There's a lot of good stuff to be found with Ether One too, but I chose to focus mostly on the things I thought could be improved to make a more complete experience. I want to submit some constructive criticism because I know that Ether One is the type of game that I usually like, but there were a few problems in the way of making my experience truly awesome

Like Gone Home before it, the story of Ether One is told via voiceovers that occasionally kick in and give you narrative details when you're standing near or looking at something of importance. You'll be exploring a deserted island as it exists in your patient's memory and discovering your patient's life history by exploring this small island. The primary voice you hear is that of the lead researcher of the project you're assigned to. She chimes in now and again to give you your objectives and bark out orders on how you're to carry them out. Her character reminded me a little bit of GLaDOS from Portal. She serves to guide the player and move the game along, but her motivations seem questionable. You don't feel like you can completely trust her. The game seemed content to keep this character sort of ambivalent all the way up until the end of the story. Actually, I found a lot of the story's details to be a little vague and I'm not sure if this was intentional or poor narrative execution.

Adding to the confusion and the vagueness of this story is the other female character's voiceover who just starts talking to you out of nowhere. For the longest time, I thought I had missed some important cutscene where the game delivered a bunch of narrative exposition and this other voice was introduced, but nope. For most of the game, you're not sure who this voice is supposed to be or what the relevance is of the details she provides are. To me, this sort of ambiguity wasn't even interestingly vague or mysteriously vague. It was more confusingly and annoyingly vague. A lot of what either of the two voices talk about seemed incohesive and irrelevant to the rest of the story. Because of these problems, it took Ether One quite a while to grab me and for the game to really click with me. There's some really well executed scenes about halfway through the game that pulled me in and there's also an interesting twist at the end, but unfortunately you'll have to tough it out while the game stumbles through the confusing introduction of the setting and characters.

The focus of the gameplay in Ether One is on exploration. You need to find a certain number of red ribbons in each area before being allowed to proceed to the next one. The game also includes some puzzles, but interestingly, nearly all of the puzzle sections in Ether One are completely optional. Since they're not required, solving these puzzles serves only to give you an extra bit of narrative about whichever area you're in. I think it's fortunate that the designers made these optional, because the puzzles I attempted to solve were so frustratingly poorly communicated. I had absolutely no idea what the game wanted me to do with some of these puzzles. Sometimes I wasn't even sure if what I was looking at was supposed to be a puzzle at all. I happened to accidentally solve one of the puzzles, and I wasn't even really sure what I had done to complete it. A lot of them involve placing the correct items gathered from various places around the island, but you can only carry one item at a time for some odd reason. It felt like the game designers were hacking around the game engine rather than coding a decent inventory system. It was a pretty unintuitive mess. Mercifully, these are indeed optional. Aside from the puzzles, the rest of the gameplay was sort of unremarkable and uninteresting. If you're playing Ether One, you're doing it for the story, nothing else. But just like its story, I felt that there was something missing from Ether One's gameplay that could have really made this game special

Summary:
Despite all of my ranting above, I still liked Ether One. I wanted to like this game more than I actually did, but there was some bungled narrative and some really poor execution in gameplay that I just couldn't get over. It's also another pretty short game. That is, unless you try to figure out some of those crazy puzzles. That might pad the game a bit, but I'd advise against it. Skipping nearly all of the puzzles, I was able to knock this game out in about 3 hours. The subject matter in this game is really interesting to me and there are a few short sequences in where Ether One really shines. However most of the rest of the game is unfortunately kind of dull, incoherent or overly vague. Artsy folks who like the "open to interpretation" kind of story may dig this, but I found too many details were missing and my interest wasn't adequately captured at the game's opening. I really still did enjoy playing through this game though. Just not as much as I hoped I would.

Proteus

Ed Key, David Kanaga - 2013 - PC/PS3/Vita

This week, I played through Castlevania: Aria of Sorrow and also the XCOM expansion, Enemy Within. Both are fantastic games, and I'd highly recommend either of them, but Aria of Sorrow is great for the exact same reason Symphony of the Night is great and Enemy within is great for the exact same reason XCOM: Enemy Unknown is great. I considered writing a more fleshed out review for XCOM since I did that one so long ago, but Enemy Within is essentially the same game as Enemy Unknown and I don't want to review the same game twice. Also Aria of Sorrow is pretty much the exact same game as Symphony of the Night, they just changed some of the character names and the castle is laid out differently. Just know that these games are totally fantastic and worth checking out. However this week, I think I'd like to talk about a little indie game I picked up for free on PlayStation Plus called Proteus.

I'm actually not even sure if I should be writing about Proteus on this blog, only because I'm not sure if Proteus qualifies as a game. This really raised the question of "What is a game?" for me even more than Journey did. At least with Journey, there was a definite end to the game. While the goal of the game wasn't directly stated, it was implied that you were progressing towards something by the various scenes and events in Journey. But Proteus has no end, no goals, no progress, no events or story of any kind. Now I'm not sure how you exactly define what a game is, or even if it matters whether or not Proteus is one, but for the sake of not being misleading, you might want to consider Proteus as an "audiovisual experience" rather than a game.

Proteus was created by just two dudes, Ed Key and David Kanaga. Development started in 2008 when David had the vision of making a unconventional and completely non-violent video game. Proteus was finally released last year and David certainly realized his vision. It's a very unusual game and there's certainly no violence. You begin the game standing offshore while staring at a very pixelated island. As you move toward the island, you'll realize that nearly everything on the island makes some sort of unusual synthesized sounds that all sort of meld together to make the game's soundtrack. The game will sound different depending on where you are on the island and what you're standing next to. For instance, in a forest, you'll hear the electronic purrs of all of the pixelated trees. Or on top of a tall mountain, the soundtrack may dim a bit and you'll hear only the quiet sound of the wind blowing. It's another game that you can just watch a YouTube video of and probably get the gist of it. Everything is procedurally generated, so the island is different each time, and everything is very pixelated and musical. It kind of feels like something that would belong at one of those "games of tomorrow" places at Disney World.

I hate to sound like I'm picking on the little guys, but Proteus is totally not my kind of game. The two things I love to look for in games are either a strong gameplay hook or excellent narrative. Most of my favorite games combine both of these elements to make a fun game that also tells an interesting story. Proteus has neither of these elements. There's absolutely no story, and there's really no gameplay either, at least not in the traditional sense of that word. I really did try to give Proteus a chance though, I tried to explore the island with no expectations and just enjoy the whimsical electronic music. But I just couldn't get into it. Sorry, Proteus.

Summary:
Proteus offers a very unusual and non-violent audiovisual experience. If that sentence sounded interesting to you, maybe Proteus will be your game. It certainly wasn't mine, but that's okay. If you're like me and you know that Proteus won't be your thing, Aria of Sorrow and/or XCOM: Enemy Unknown are excellently designed games that are boatloads of fun. Both are worth a look if you like Metroidvania style games or turn based strategy games.

A Story About My Uncle

Gone North Games - 2014 - PC

A Story About My Uncle is the first game from Gone North Games, a small indie studio based in Sweeden. According to their website, Gone North Games was founded by 9 students who have a passion for making games. Since it's advertised all over their website and apparently important to the developers, I'll repeat it here - A Story About My Uncle is a completely non-violent video game. This isn't really an entirely novel concept for a game, but it is unusual I suppose. For better or worse, most games do rely on some sort of violent combat as their main game mechanic. I do think it's cool that games like Gone Home or To The Moon are using video games purely as a story telling medium. But unfortunately, A Story About My Uncle doesn't tell a very interesting story. It is a pretty fun platformer though which is really what this game stands on

The game begins as you, the narrator, are reading your daughter a bedtime story. The entire rest of the game is played out as a flashback as the narrator recounts how he, as a boy, used to play with his uncle at his uncle's house. One day, the narrator's uncle went missing and you soon find out that he was transported to a distant magical world through some transporter device that the narrator's uncle invented. The game is a little vague on the details of how exactly this transporter was invented or how it works, but the narrator of course uses it to travel to this other world in search of his uncle. That's pretty much all the exposition you get. I mean that's it for the rest of the game. You meet some other characters and go to new locations, but the story never really progresses at all. You're just searching for your uncle the whole game. That's it. And then (spoiler alert) the game just kind of ends abruptly at a certain point and the credits roll. Nothing is really resolved and nothing really changes, just "The End". It was very anti-climactic and disappointing. It almost seemed rushed, like they might have been trying to go somewhere with the story, but had to cut a lot of it to meet deadlines or something like that. In any case, I somewhat ironically found the story in A Story About My Uncle to be underdeveloped and uninteresting.

Near the beginning of the game, the narrator discovers some magical super-bouncy boots and some magical grappling tether thing which serve as the game's platforming mechanics. I can't remember what the game actually called the boots and grapple device and I'm too lazy to look it up, but these definitely are what make this game fun and interesting. The boots allow you to jump crazy high and crazy far and the tether allows you to pull yourself closer towards certain parts of the terrain. Most of the terrain in the game is made up of small chunks of floating rock as shown in the cover art above, so the platforming can be kind of challenging in certain areas. Quick props to the graphic artists for this game, I found a lot of the floating terrain and world design to be really interesting from an artistic point of view. Very cool and imaginative artwork.

I prefer to play games laying down in my couch with a controller as opposed to sitting forward with a mouse and keyboard, even while playing PC games. So I'm not sure if it was just because I was playing with a controller, but there were some parts of this game that were really tricky to pull off. And I'm usually quite good at platformers. And that's fine, I enjoy a good challenge, but the difficulty curve with this game was a little wonky. There was one particular section near the end of the game that was insanely difficult, it probably took me 30-40 attempts to finally do it right. And then the rest of the game was mind-numbingly easy. My only other complaint, from a gameplay perspective, was with the level design. It was quite often not very clear where the game wanted me to go next, especially in the later levels where the terrain is separated by great distances. I had to jump around and try to grapple to things trail-and-error style until I finally found something that worked. The difficulty curve is forgivable, but in a linear platformer like this I feel like the player should always have a pretty good idea of where the game wants them to go next.

Summary:
It is definitely a flawed game, but if you like 3D platformers, you could do worse than A Story About My Uncle. It's got some really cool art design and fun platforming, but it has some design issues and the actual story might as well not even exist. It was also kind of short, I finished it in about 5 hours, but I found that length to be appropriate. All in all, not too bad for a small team making their first game. And as its developers insist, it's completely non-violent, if that's a selling point for you.

Goat Simulator

Coffee Stain Studios - 2014 - PC

I think there are pretty much two camps of people as it pertains to Goat Simulator. Those who think it's absolutely hilarious and those who get bored quickly while playing it and are slightly confused by the relative popularity of this game. I believe I fall in the latter camp. Just go watch some gameplay videos of Goat Simulator and you'll pretty much already know which camp you belong to without even having to play the game. I understand the humor though, and I get why people like the game. But the more I play Goat Simulator, the more I'm sure that I'm not this game's target audience.

Goat Simulator was a product of an internal game jam at Coffee Stain Studios. Some early footage of a demo of Goat Simulator was released on YouTube and the demand for a full game to be produced was very high. Because, you know, it's the internet. A full version of Goat Simulator was then launched on Steam earlier this year on April 1st. No really, it was. It's kind of an interesting game. It's maybe one of the truest sandbox games ever made. There's absolutely no objective. The entire gameplay of Goat Simulator relies on creating emergent humor through its admittedly broken physics engine. Have you ever been killed by a giant in Skyrim and seen this? Or seen the bizarre physics glitches in the FIFA or GTA games? The developers intentionally left these kinds of glitches in the Goat Simulator physics engine for comedic effect. And that's pretty much the game, just messing around with the physics engine in the game world. There is a scoring system similar to ones found in the old Tony Hawk skating games where points are awarded for doing various skating tricks. There's also some mini-missions and subquests, but it's pretty much just Messing Around: The Videogame

The aforementioned physics glitches in the Elder Scrolls, FIFA or GTA games are funny because they are unexpected and bizarre variations on our expectations of how the game should behave. In all of those games, there is (arguably) some semblance of realism or at least the attempt to make physics objects behave as they would in the real world. That's not really the case with Goat Simulator. I feel that the intentionally programmed physics bugs in Goat Simulator lose some of their comedic value because, while they still look ridiculous, they are completely expected by the player. You're not really expecting to headbutt a human NPC and have him just fall over. You expecting him to skyrocket unrealistically off into the horizon. And always having this constant expectation of humor somewhat diminished the comedic impact for me. I was almost disappointed when crazy stuff didn't always constantly happen while I was galavanting around in the game world. 

Summary:

If you're looking for an open ended, goofy sandbox game with ludicrous physics, Goat Simulator is your game. I didn't really enjoy it, but I'm also aware that this kind of game is not for me. It's obviously loved by its fans though, as it has tons of gameplay videos of ridiculous stuff on YouTube. I think a recent patch for the game added a couch co-op mode, which is cool. This is definitely the kind of game you'd want to share with friends.

Diddy Kong Racing

Rare - 1997 - N64/DS

I unfortunately recently lost a family member who was very important to me. I don't think this person quite had the intense passion for gaming that I do, but he was always down to play whatever I was into at the time, and that was awesome. I was trying to think of just one game to pick that we shared together growing up, but there were so many. I can clearly remember Christmas of 1997 when I first got my N64 with Diddy Kong Racing. I don't think I've ever been so excited in my life. I was pretty much this kid. I remember all of the sleepovers we had in the following weeks where we played battle mode and co-op and took turns trying to beat the various bosses in this game. Good times. Good memories. I'm sure you've got much better things to do now than read video game blogs, but in any case, Jay Wolf: This one's for you.

So usually when I write these reviews, I'm either reviewing a game that I've played so many times that I've committed it to memory, or it's a game that I've just finished and it's fresh in my mind. Neither one is really true of Diddy Kong Racing for me, but I played it a ton when it came out and I replayed it about 5 years ago in college. I'll be drawing on old memories for this one, so if I exclude a few details here and there, forgive me. Okay one quick thing before I begin: Is it just childhood nostalgia or did some of the best games ever come out during the N64/PS1 era? Ocarina of Time, Super Smash Bros, Tomb Raider, GoldenEye, Final Fantasy 7-9 etc. It's not just me, right? These are HUGELY influential games. I'm not saying Diddy Kong Racing quite belongs with these titles, but I feel like even the "B" games from this era are better than today's "B" games, no?

Diddy Kong Racing was released for the Nintendo 64 in November of 1997. It was actually developed by Rare under the title Pro Am 64 and had absolutely nothing to do with any Nintendo characters until Shigeru Miyamoto saw the game and, at the last second, suggested adding Diddy Kong as the game's mascot to try to boost sales. It worked, and Diddy Kong Racing became one of the best selling N64 titles and was later remade for the Nintendo DS. This was actually also the debut appearances for the Rare characters Banjo the Bear and Conker the Squirrel who went on to star in Banjo Kazooie and Conker's Bad Fur Day, respectively. Both of those games were also pretty awesome. It tickles me quite a bit that Conker, the mischievous, foul-mouthed alcoholic squirrel got his start in Diddy Kong Racing, a game marketed for kids with an "Everyone" ESRB rating.

I don't normally care for racing games. Especially the ones that try to be hyper-realistic. I went over my feelings on realism in sports games in my Ken Griffey Jr. Baseball review. I like racing games like Mario Kart or Diddy Kong Racing that add excitement to racing games by adding weapons and ridiculous hazards and absurd level design. I'm sure racing purists will disagree, but these games are my jam. The main way Diddy Kong Racing sets itself apart from Mario Kart 64 is with multiple vehicle types. Not only are there cars, but planes and hovercrafts are selectable on most levels as well. Hovercrafts are a little harder to control than cars, but there may be shortcuts in some levels accessible only by hovercraft. Or you can choose to take to the air, but doing so may require some finesse and skilled piloting in close quarters, plus planes have slow acceleration, if I recall correctly. In addition to the variety of vehicles and weapons, there are some cool secrets with the game that reward skillful technical play. Pro tip: Take your finger off of the accelerator when going over a boost. You'll go faster. Or if you're really good, power-slide into a boost while driving a car AND take your finger off of the accelerator. You'll go crazy fast. You can also optionally try to collect stray bananas while racing to increase your top speed. The neat little tricks like this add polish and depth to the game.

In addition to just racing with friends, DKR has a pretty cool battle mode. I'm not sure I like it as much as Mario Kart 64, but it certainly feels more customizable and fleshed out. In addition to a deathmatch mode, there's a sort of capture the flag mode where you compete over possession of certain items and try to bring them back to your base. DKR also has a pretty excellent single player adventure mode which is definitely better than Mario Kart 64's single player. Instead of just racing track after track, DKR's single player combats repetitiveness by offering different challenges for you to complete like collecting hidden coins while racing or defeating super-fast bosses in races through special tracks. Exploring the race tracks and the "hub world" that connects them is highly encouraged and the game world is pretty interesting and well designed for a racing game. There are some cool unlockables and secrets that can only be found through careful exploration. And the soundtrack. Oh, the soundtrack. Even after not playing this game for many years, I can still whistle along to all of the catchy tracks. David Wise, the Donkey Kong Country composer, returned to work his magic on the DKR soundtrack. Pirate Lagoon, Frosty Village and Ancient Lake are some of my favorites.

Summary:
If you like the Mario Kart games and are looking for something similar, check out Diddy Kong Racing. The single player is a little more fleshed out than Mario Kart's and I believe you can actually play some of the single player missions cooperatively with two people, if memory serves. I've never played the DS version, so I can't vouch for that. But if you can dig up an N64 and a working copy of this game, you're in for a good time. It's an extremely solid and polished racing game.

Super Meat Boy

Team Meat - 2010 - PC/X360

As far as indie games go, I know the awareness of Super Meat Boy is pretty high up there. It was featured in the excellent 2012 documentary Indie Game: The Movie, alongside Fez and Braid. And despite being a relatively popular and seemingly well-liked game, it's also frequently deeply discounted (for like $5 or less) in Steam's many summer and holiday sales. But for those who haven't played or heard of Super Meat Boy, read on. Also if you haven't seen Indie Game: The Movie, stop reading this and go watch it. I'm pretty sure it's on Netflix.

Super Meat Boy is the brainchild of artist Edmund McMillen and programmer Tommy Refenes, who call themselves Team Meat. It's actually the sequel to a 2008 browser based flash game which was just called Meat Boy. Check it out here for free if you're interested in trying it. Just know that the sequel is a massive improvement over the original. Tighter controls, better level design, better artwork, higher music quality, multiple playable characters and a lot more polish overall. Both Meat Boy and its sequel seem to have drawn a lot of inspiration from N, and/or N+ a.k.a. "The way of the Ninja" games, which are also free, flash-based games that I totally loved. The one thing these games all share is that they are infuriatingly difficult, but also excellently designed 2D platformers.

Each level of Super Meat Boy requires you to save Meat Boy's girlfriend, bandage girl, from the evil Dr. Fetus. This is accomplished simply by navigating from a starting point to an ending point on a 2D plane, but there are usually many deadly hazards in between. Once you get into the meat of the game -see what I did there?- you'll probably find this game to be extremely difficult. However, by using a well thought out difficulty curve and smart design decisions, I believe Super Meat Boy handles its difficulty extremely well. First of all, the levels are so short that you don't feel like you lose significant progress when you die. There's rarely a level that takes more than 60 seconds to beat.  It can still be frustrating when you die repeatedly on the same level, but because you respawn instantly at the beginning of the level, it makes you want to go right back at it again. It's the good kind of frustrating. The earlier levels introduce you to the precision platforming, wall jumping and sprinting. Then the later levels add more obstacles that incrementally increase the difficulty. By the end of the game, you're doing things that looked completely impossible when you started. It's still very hard, but it's an extremely satisfying difficulty curve.

Super Meat Boy has some really cool bonus features, unlockables and secrets included as well. There's a built in replay system where you can save and share your times and replays to any of your friends who also have the game. Finishing each level in the game under a certain amount of time will unlock a mirrored "dark world" version of the level which usually includes more obstacles or enemies and is even more difficult. There's also the collectible bandages found in the various levels which are usually either hard to find or hard to difficult to get to. These bandages, presumably dropped by bandage girl, can be used to unlock other playable characters which have different speeds or jump heights which add more flavor to the game. There's even hidden warp zones that lead to even more obnoxiously difficult levels for those who are into ridiculously hard challenges.

Summary:
Super Meat Boy is probably one of the most difficult games I've ever completed and I'm quite proud to have finished it. It's also probably responsible for the most swearing I've ever done while playing a game. But don't let the difficulty scare you off, Super Meat Boy is a must play if you're a fan of platformers. It's a difficult game, but it's also a rewarding one. It also boasts an excellent soundtrack and some really cool Castle Crashers-like cartoony graphics. There's also lots of very subtle references to Mega Man, Castlevania and Super Mario Bros. in the animations and artwork. It's good stuff. I'm also quite curious to see what Mew-Genics, Team Meat's upcoming game, is going to be like. If it's half as good as Super Meat Boy, I'll probably still love it.

Castlevania: Symphony of the Night

Konami - 1997 - PS1/Sega Saturn/PSP

Symphony of the Night was an important departure in gameplay for the Castlevania series. Games in the series had previously been all 2D platformers, like the ones I was referencing in the Shovel Knight review. While SotN has some platforming elements, I don't think most people would describe it as a platformer. Rather, SotN helped give birth to the term "Metroidvania", which is used to describe gameplay that is exploration focused with a large, non-linear game world, often involves a good amount of backtracking, and revolves around discovering or unlocking upgrades to your character which are then to get to previously inaccessible areas. An example of this are the red doors in Super Metroid. They're introduced early in the game, but the player can only pass through them once they unlock Samus' missile launcher and realize that the missiles will open the red doors. Recently, Konami has put out games in the Castlevania series like Lords of Shadow 1 & 2, which are 3D action games similar to God of War or Devil May Cry. But when I think "Metroidvania", Symphony of the Night comes to mind as an example of one of the best games made in this style.

In addition to including "Metroidvania" style gameplay, SotN also includes RPG elements. Each enemy killed rewards a small amount of experience points. Primary weapons and armor can also be swapped out and upgraded. Some of the weapons and armor have unique bonuses or functions which lets your character configuration be very customizable. There are giant two handed greatswords which swing slowly, but have great range. Then there's one handed rapiers which swing quickly, but have a limited hitbox. Even the armors have unique functions such as restoring HP while walking or increasing the power of the alternate weapons. Speaking of which, the Castlevania staple alt weapons like the axe, holy cross or dagger make a return in SotN, further adding to the combat customization. 

Aside from being a departure in gameplay, SotN was also notable for being the first game in the series where you play as a member of the vampire hunting family Belmont only in the short prologue to the game. For the rest of the game you'll be playing as Alucard, who is actually the half vampire son of Count Dracula himself. Yes, "Alucard" is "Dracula" spelled backward. It's so campy and silly. I love it. You might think with dumb names like this, SotN would be a little self aware and have a bit of a sense of humor. But it kind of doesn't. SotN is actually features some pretty hilariously terrible voice acting and dialogue. The writing and VO work are about the only things in the game that aren't top notch though. The rest of this game is just so solid. 

If you do end up playing this game, I would challenge you to do so without referencing a guide. Discovering one of the castle's many secret rooms for yourself is immensely satisfying. And there are a lot of secrets. A lot. This is kind of a spoiler for those who haven't played the game but if you didn't fight Dracula as the final boss, you didn't really finish the whole game. There's actually a completely different second half of SotN that can be unlocked by finding special secret items in the castle. It's nuts. And finding all of these secrets and unlocks by yourself is just so rewarding. Besides, if you get stuck, you can usually consult the in-game map and figure out where you need to go just by closely examining the layout and flow of the castle. There's so much attention to detail in SotN from the combat and secrets to the enemy design and animations. There are so, so many unique enemy sprites with unique attacks and animations in the game. There are some enemies that appear literally one time in one room and then never again for the rest of the game. The amount of polish on the gameplay in SotN is one of the most impressive things about the game. 

The excellent soundtrack to SotN compliments the game very well. When you discover a new passageway and the track changes to something new you haven't heard before, it adds to the excitement of exploration. Composed by Michiru Yamane, the SotN soundtrack demonstrates Yamane's proficiency in a wide variety of musical styles. There's the jazzy upbeat Wandering of Ghosts, the gothic epic Final Toccata, the classical Wood Carving Partitia, the horrifying Door to the Abyss, the operatic Prayer, and the rockin' electric guitars of The Tragic Prince. The soundtrack is musically kind of all over the place and I love it. It gives each area of the castle a unique feel.

Summary:

If you've never played a Metroidvania game or a Castlevania game for that matter, start with Symphony of the Night. Even though the game is 15+ years old, the excellent gameplay and sprite art style allowed SotN to age very well. I hope Konami will return the Castlevania series back to this style of gameplay rather than the silly God of War clones they're trying to make right now. That's just not what I want from the Castlevania series. I'm not sure why the transition from 2D to 3D wasn't as graceful for the Castlevania series as it was for the Metroid series, but I'd love to see the next Castlevania be a 3D exploration game similar to Metroid Prime. Exploring a 3D castle with the amount of secrets and polish as the one in SotN would be amazing. Actually as long as the next game in the series is a Metroidvania, I think I'd be happy.

Shovel Knight

Yacht Club Games - 2014 - PC/3DS/WiiU

Being born in 1987, I just caught the very tail end of the 8 bit NES era. Some of my earliest gaming memories are of playing 8 bit platformers on the NES like Mario 1/2/3, Contra and Milon's Secret Castle - Anyone remember that game? But I actually never grew up on the old Castlevanias and Megamans that Shovel Knight draws heavy influence from. The legendary difficulty of those games had discouraged me from playing them until very recently. While I feel I now appreciate those games, I don't think I would say that I enjoyed them. I just don't have the patience to bare through the brutal old school difficulty those games have. I was pleased to find out that unlike the games it's influenced by, Shovel Knight does an excellent job of easing the player into the game by slowly introducing the player to the mechanics and then incrementally ramping up the difficulty level. Don't worry, there's still some controller-snappingly difficult levels later in the game. But they come at a point where you're already too invested in the game to throw down the controller and give up in frustration... I'm looking at you, Mega Man 2.

In Shovel Knight, you play as Shovel Knight who uses - you guessed it - a shovel as his primary weapon. Shovel Knight is off to save his comrade and love interest, Shield Knight, from the clutches of the evil Enchantress. Along the way you'll have to defeat eight "boss knights", which is a clear reference to Mega Man's usual eight robot masters. Your shovel can be used to hit enemies directly in front of you similar to Simon's whip in Castlevania or it can be thrust downward to bounce off enemies like the "pogo bounce" in Ducktales. The shovel can additionally be used to dig up the many mounds of treasure found throughout the levels in the game. Treasure can be used to purchase weapon, armor or health upgrades or it can also be used to purchase various "relics" which give you powerful secondary abilities which cost magic power. Instead of using a "lives" system, each time you die in Shovel Knight, you'll lose a chunk of your treasure. However, in borrowing a page from Dark Souls, if you can get back to where you died previously without dying again, you can recover your lost treasure. Very cool design. Another interesting mechanic is that each checkpoint in a level can be optionally destroyed for a good sum of treasure. It's a neat risk/reward mechanic, but I was usually too scared to destroy any checkpoints in the game, especially in the later levels.

Nearly every aspect of Shovel Knight is designed to invoke 8 bit nostalgia. Everything from the menus to sound effects is very reminiscent of the NES era. It's actually possible to play the game with just four buttons and a D-pad, like a NES controller. The world map is very Mario 3-esque with optional mini-boss enemies that shuffle around the screen after completing every level. There's Zelda II like towns throughout the game where upgrades and new equipment can be purchased. Even the health boosts are potroasts in homage to Castlevania. There's some great 8 bit music as well: Strike the Earth, An Underlying Problem and La Danse Macabre are highlights from the soundtrack. Even the composition of the tracks somehow simultaneously reminded me of Castlevania and Mega Man.

Summary:
There really isn't too much negative I can say about Shovel Knight. It's a difficult game, but it's also a fair game. It introduces difficulty over time instead of beating you over the head with it like Shovel Knight's old school brethren. It is kind of short though, but at the same time I felt its length was appropriate. If you're a fan of old Castlevania or Mega Man games or even 2D platformers in general, you must check out Shovel Knight. You won't be disappointed.

Jak and Daxter: The Precursor Legacy

Naughty Dog - 2001 - PS2/PS3/Vita

Remember when 3D platformers were a thing? Prior to playing Jak and Daxter, I couldn't even think of the last 3D platformer I played. I think the Mario games are kind of singlehandedly keeping that genre alive right now. But back in the late 90s/early 00s, they were all over the place. Mario 64, Banjo Kazooie and Prince of Persia: Sands of Time were some of my favorite platformers from this era, but I somehow never played any of the Jak games. I was a little hesitant to try Jak and Daxter because I didn't have the best experience with the last Naughty Dog game I played. But a friend of mine was insistent that I must play Jak and Daxter, and I'm glad I did. It's absolutely worth a look if you dig 3D platformers.

The first thing that struck me about Jak and Daxter were the quality of the animations in the game. They're cartoony and exaggerated, but they bring the characters to life so well. Now it may be because I was playing the PS3/HD version of the game and it's hard to tell what they retouched and what was original, but Jak and Daxter may have some of the best animation work I've seen in a game. Which is astounding, considering the game was released in 2001. Great voicework too, which was also not the norm for games made in that era. The NPCs are all full of life and personality. It reminded me a lot of characters from Psychonauts, another excellent 3D platformer that everyone should play. It was strange because while the characters and game world had great personality, I felt the overall narrative/story of Jak and Daxter was totally phoned in. I mean the main villain of the game isn't even introduced until more than halfway through the game. Very weird. 

At a basic level, Jak and Daxter plays similarly to Mario 64. There are several "worlds" and each world has a certain amount of stars to collect, or "power cells" in the case of Jak and Daxter. One major difference though is that the world's layout is totally seamless in Jak and Daxter. For example in Mario 64, the castle sort of served as a hub world and each level was entered by jumping into a painting on the castle's wall. And while there's still "worlds" in Jak and Daxter, it's all seamlessly tied together as one giant island. No loading screens or anything like that, which was probably pretty technically difficult to do. I thought this was pretty cool, until I realized one terrible design problem: it takes FOREVER to get from one area to another. In Mario 64, you could just pause and select "exit world" or whatever. Here you have to walk all the way from one area to another, and the game world is pretty huge. It was super annoying when I wanted to go back and visit the earlier areas to pick up power cells that I had missed. So much walking. This game is in desperate need of a fast travel system. There are a few teleporters scattered across the island, but they're too few and far between to be that useful.

Mechanically, the game is pretty solid. Occasionally I felt like the double jump ability in the game felt unresponsive, but aside from that it's a pretty tight platformer. The levels are all very unique and have their own distinct personality. Some have mini-games or vehicle driving sections that can be completed for additional power cells. I feel that variety and cleverness in level design is really important in a platformer, otherwise your game starts to stale very quickly. Jak and Daxter nails this aspect of good game design. Upon entering a new area, I never knew what to expect, only that it would be different from what I was doing before. 

Summary:

If you miss the 3D platformers of yesteryear and have never played Jak and Daxter, it's worth a look. It's got a high amount of polish and style, but some gaping flaws in certain areas. It does character design well, but forgot to write a story for them. It has variety in level design and a huge open world island, but forgot to include a good fast travel system for it.  I'll be interested to play Jak 2 and 3 soon to see if they corrected some of these flaws and improved on the foundation they laid with The Precursor Legacy. 

Device 6

Simogo - 2013 - Mobile

As of this writing, Device 6 is only available as an iOS download, which is a shame. Now I know most phone games, and most deservedly so, have a stigma attached to them for not being "real" games. I find most phone games to be mindless time-wasters, but Device 6 is certinaly an exception. It's too bad that the only method to download Device 6 is an app store that's cluttered with a bunch of other throwaway games, but the real shame that Device 6 is iOS-only is that I have no Apple devices to play it on! I've wanted to play this game ever since its release last year when it got boatloads of positive buzz. I finally got a chance to play it this week after borrowing a family member's iPad, and let me tell you, the hype is real.

In Device 6, you control a girl named Anna, who wakes up alone in a castle on an island with no memory of why or how she got there. As you guide Anna through the castle, you'll discover lots of the castle's weird and creepy secrets. The narrative was very self-aware and sometimes humorous. There were parts that reminded me of The Stanley Parable. But it was also often creepy and abstract. I admit there were a few elements of the story that seemed to be over my head. I couldn't tell if it was just me that wasn't following the story well enough, or if the narrative wasn't doing that great of a job getting its points across. Either way, I think Device 6 is well written, it's just kinda... out there. Which isn't to say that it's bad, it's just very different.

In an industry that has far too many clones, copycats and sequels, Device 6 is proof that there is still a very deep well of creative narrative and fresh new ideas that modern games are just beginning to drill into. From a presentation standpoint, Device 6 is completely unlike anything I've ever played before. The narrative is presented to the player as text on a screen that the player scrolls across using finger swiping motions. The text will sometimes change it's positional location or rotation based on what's happening in the story. For instance if Anna walks down a flight of stairs, the text will slope diagonally downward. And if Anna has a decision on which way to go, the text will branch off in opposite directions, allowing the player to choose which way Anna will go by swiping their finger in the desired direction. While you swipe your finger to move the text, the sound of footsteps can be heard. If Anna arrives at a door, a door opening sound effect is played while the text scrolls. Occasionally pictures are shown alongside the text when Anna sees something of importance. These pictures frequently contain clues to puzzles and often employ a very cool looking parallax scrolling effect. The audiovisual presentation of this game is so unique and gives the game a very distinct style

Device 6 has excellent puzzle design, but it's different from the puzzles in a game like Braid. In Braid, all of the puzzles had to do with manipulating objects or locations in the game engine. Device 6 presents you mysteries and then offers you clues in the narrative or in the pictures included with the narrative. It's just as brilliant, but in a different way. It reminded me of old school adventure games like Myst which I used to love as a kid. Just like in Myst, I had a pen and paper out to take notes with the entire time I was playing Device 6. Not a lot of games are designed that way anymore. The only thing slightly negative I can say about Device 6 is its length. It's pretty short. I knocked it out in about 3-4 hours. Usually I'm a fan of shorter game experiences, as long as they're priced right (Device 6 is currently $3.99). But I enjoyed my time with Device 6 so much that I was left wanting more when the ending came. I guess that could also be a good thing though, depending on how you look at it.

Summary:

If you like puzzle games, unusual stories, or games that are completely unlike anything you've ever played before, you must play Device 6. It's just so unique and different and oozes creativity and style. That alone should be reason enough to play it. Just be aware that it's pretty short and pretty weird. I hope its developer, Simogo, will eventually port Device 6 to platforms other than iOS so more people get a chance to play this. In any case, Simogo is now on my "cool developers" list and I'll be looking forward to their next project.

The Wolf Among Us

Telltale - 2013 - PC/PS3/X360/Mobile

Looking back at some of the things I played last year, I think Heavy Rain might be one of the most important games I played. It was a flawed game, but I enjoyed it immensely. I loved the focus on interactive storytelling and the fact that it was not necessarily worried about being a "game-y" game. It opened the door for me to play other excellent interactive narrative games like 999, To the Moon and Gone Home. But despite the fact that I know I love these types of games, I still had to be sold on The Wolf Among Us. I belonged to the very small camp of people who wasn't completely blown away by Telltale's breakout hit, The Walking Dead game. Although I admit it probably had more to do with the setting and themes of the story than the actual quality of the game. No more zombies for a while, okay popular media? I'm burned out on zombies. But I'm happy to report that The Wolf Among Us won me over and it feels just as fresh and compelling as Heavy Rain did the first time I played it.

The Wolf Among Us is based on the Fables comic book series which I had never heard of prior to playing this game. The basic premise of Fables, and consequently The Wolf Among Us, is that fairy tale characters are real and have adopted magical human disguises to live alongside normal people. TWAU follows the lives of several fairy tale creatures, or "fables" as the game calls them, who are living in a small community called "Fabletown" within New York City. You play as sheriff Bigby Wolf (The Big Bad Wolf) whose job it is to protect and maintain order in Fabletown. Not too long into the game, one of the fables in Fabletown is murdered, which puts Bigby on the trail of a mysterious and dangerous killer

I really liked the setting and themes in this game. It places fairy tales, which we usually think of as light-hearded children's stories, in a dark, gritty and seedy New York City. It deals with mature themes like murder, drugs and prostitution. The narrative loves to dance in morally gray areas and force the player to make morally ambiguous choices throughout the game. The fables themselves are also really interesting and are brought to life through great voice acting. Being not familiar with the Fables series lead me to wonder which fairy tale would be introduced next, and it was always cool to see this game's dark twist on a classic character. In contrast to what seemed like a budgetary and game engine constraint in The Walking Dead, the comic book art style really suits TWAU. I especially liked the purple, black, magenta and yellow neon color palettes that were used during the nighttime scenes in Fabletown.

Mechanically, TWAU plays very similarly to The Walking Dead or Heavy Rain. Most of the game is spent watching a scene play out and then making dialogue choices with the occasional quick time events mixed in. The dialogue choices are where TWAU excels. Making difficult decisions in a short amount of time was the thrilling part of the game. The quick time events were... not. I get that they're included to provide tension during the action sequences in the game, but I didn't like that messing up too many QTEs just put you in a game over fail state. You then have to replay the exact same sequence over again. I much preferred the Heavy Rain implementation of QTEs where messing up a button prompt didn't give you a game over, but instead had a negative effect impact on what your character was doing in the story. That's way more intense to me because I feel more resigned to accept the result of my QTE fest and not just simply repeat it over until I get it right. 

Summary:

Overall, I found The Wolf Among Us to be another excellent interactive story game if you're into this sort of thing. And if you've never tried this kind of game before TWAU is a great place to start. I really enjoyed the characters, setting and themes in the game. Like Heavy Rain before it, the story occasionally stumbles and some of it feels like filler, but overall it's written pretty well. I would love to play a "season 2" of this game similar to what Telltale has done with The Walking Dead. Check out The Wolf Among Us if you want to take a dive into a gritty world of darkly twisted fairy tales

The Elder Scrolls V: Skyrim

Bethesda - 2011 - PC/PS3/X360

Watching season 4 of Game of Thrones got me in the mood for a little high fantasy. Normally that kind of setting is not my thing, but I think Game of Thrones has gotten me to appreciate it more, so I went back and replayed Skyrim. I played it initially when it came out in 2011 and got too distracted by exploring and all of the crazy sidequests and never finished the main storyline. This time around, I stayed focused on the main quest long enough to finish the game and realized that Skyrim actually isn't that long of a game if you can manage not to get distracted. That's the key though. Managing not to get distracted. The game world is so vast, immersive, beautiful and interesting... and at the same time so buggy, repetitive and in some cases downright broken. I have a lot of mixed feelings about this game. For as many things as I can think of that I love about this game, I can think of just as many that I absolutely hate. It's a very Jekyll and Hyde game to me.

First off, the things I hate about this game... Really Bethesda? You had a huge budget to make a massive sprawling universe like Skyrim, but could only afford 3 voice actors? And then you had them repeat the exact same lines over and over again every single time I walk just a little too close to them? It really breaks immersion when I hear the "Some may call this junk..." line by the same voice actor for the billionth time. And stop dropping loot for me to carry if I can only carry like three things. The carry weight restriction is really annoying, especially when this game loves to constantly unload buckets of treasure in front of you after each enemy you slay. I know Skyrim is notoriously buggy, but just two hours in to my playthrough, I encountered an enemy NPC who was literally invincible. I had to give up on one questline because I couldn't kill him. I nearly gave up on my playthrough as well. How has stuff like this still not been patched three years later? But honestly I think I could forgive all those issues if it weren't for this next thing, so listen up Skyrim developers: You CAN NOT repeat the SAME EXACT PUZZLE multiple times throughout your game. The dragon claw puzzle thing only works once, Bethesda. The tenth time I see that puzzle copy/pasted, it comes across as lazy, game-padding filler. It's poor design, it breaks immersion, and it's definitely not clever. That goes for the stupid rotating stone animal tablet things too. And also the combat in this game is kind of "meh". Yeah.

Now on to the good stuff. This game is gorgeous. I'm not an "Ooo look at the awesome graphics" guy either. Even three years later, Skrim still looks graphically impressive, especially with the outdoor scenery. It really does help with immersion and I felt more engaged with in the impressive visuals than I do with most games. I mentioned this before, but it's quite impressive how big of a world Skyrim is. The vast world and scenery is a joy to explore and it seems like there's so many varied and interesting things to do and see. It makes you want to explore every corner of every cave, talk to every NPC and complete every quest just to make sure you don't miss anything cool. While the game systems and AI don't always work the way they should, Skyrim still does a lot of technically impressive things with the game engine. Skyrim does open world sandbox exploration as well or better than any other game I've played.

Summary:
Skyrim is definitely a game whose reach exceeds its grasp in a few places. The exploration is done well, but the puzzles, combat and glitches are black marks on an otherwise excellent open world adventure game. I have a bit of a love/hate thing going on with Skyrim, but there are probably more reasons to play this game than not to. I'd say check it out if you think you might like Skyrim. Just be wary of its lack of polish in certain areas.