Tag: Switch

RAPTOR’S GAME OF THE YEAR 2017

Posted on - by RaptorFire

Every year is an adventure, huh?

It’s easy to look back on the time you’ve had over the last 12 months and say “we had a really great year!” or “this was our worst year yet.” Perspectives are a penny a piece when it comes to the human race. We all have our own challenges, tragedies, gifts, triumphs, and tastes. Some people experienced their first year of marriage or saw their favorite movie. Others were forced to face the loss of a loved one or could never look past the failures of their own government. When it comes to the gaming scene, we had some of the biggest, boldest, far-reaching titles in a long, long time. We also saw the rise of the most disgusting, obnoxious business practices that proved just how little the monolithic software companies of the world have for their own paying customers who continue to put them in business. However, given that the purpose of this blog is to focus on the positive side of our little hobby, I’ve decided to overlook all of the latter transgressions for now. Though I urge all readers to exercise their best judgement when making a purchase. This medium is special to a lot of people, and I feel it’s important to be thankful of the good things we have on this earth while always looking for ways to improve, pushing back against practices that are both predatory and immoral.

That said.

I generally avoid a simple ranking of games from 10 to 1 when coming up with a list like this. My goal today will be to praise, in no particular order, the games I enjoyed playing the most this year that were released from January onward, while also giving out “awards” for specific categories that I feel deserve a nod of recognition. Only games I’d played will be on the list… so no Switch titles, unfortunately. I also like to name my Game of the Year just for fun, outlining the game I thought gave me the best time and encapsulates the finest that video games can offer. For reference, here were my last 7 GOTY:
2016- Overwatch
2015- Undertale
2014- Super Smash Bros.
2013- Bioshock Infinite
2012- Halo 4
2011- Portal 2
2010- Mass Effect 2

I haven’t been able to cover all the following games with a blog post… and I may get to that. But without further ado, here are my top picks for this terrific year:

Zelda fans finally received an all-new adventure with the excellent open-world of Breath of the Wild. The wacky but wonderful sequel we never asked for, Nier: Automata, gave gaming another strong story with all the fantastic meta-narrative elements that only a video game could accomplish. Persona 5 presented its take on the classic turn-based JRPG formula, then knocked it out of the part in the most stylish way seen in years. The fantastic world of Pyre proved to everyone that Supergiant games were no two-trick ponies, effortlessly blending character and gameplay in compelling contests of strength. The multiplayer landscape was once again taken in a surprising direction with Invisigun Heroes’ unique use of invisible player characters, creating an experience both fast-paced and strategic for all four players involved. The long-awaited Cuphead promised a whimsical cartoon world from the 1930’s and delivered on every level. Shovel Knight proved it still has what it takes to revitalize the classic side-scrolling designs of yesteryear with it’s amazing expansion, Specter of Torment. Sonic Mania saw Sega’s decades-old mascot frustratedly turning on its own makers and telling them off for missing the point of what the blue blur is all about… all by delivering the best Sonic game of all time 25 years post-inception. We discovered a shocking story within the game that showed off both the best time-travel mechanic of all time and the most ridiculous name of all time, The Sexy Brutale. And finally, while not reaching the same monumental heights as its predecessor, Wolfenstein II: The New Collossus still showed us just how much fun can be had with with just a hatchet… and a Nazi.

Great gaming soundtracks are incredibly important to me, so let’s kick the categories off with that, yeah? I’m a huge fan of many Japanese composers, so it’s no surprise that Nier: Automata’s sorrowful-yet-soaring soundscape really stuck in my brain long after the credits rolled. Its incredible use of vocals, strings and piano set such a unique mood that has been achieved in very few games since. Zelda’s always had great tunes (like, LEGENDARY great tunes), and this year was absolutely no exception. Though the music was spread particularly thin in Breath of the Wild, the songs that we DID get set the mood of this epic, open-air quest. Pyre showed off some amazing variety from the legendary Darren Korb, with memorable character themes, folk music, and minstrelsy peppered throughout the story. And let’s not forget Cuphead’s fantastic devotion to its source material, complete with record filtering, old-timey vocals, and the best big band sound on this side of the swing era. However, it’s the unbelievable variety and style of Persona 5 that wins this category. Never have I heard a better mix of j-pop meets jazz meets funk meets heavy metal. I haven’t stopped listening to this OST since April, and if you haven’t started yet, get on YouTube and fix that!

Graphics don’t make a game, but how a game looks in motion is an inescapable factor in its ability to compel a player forward. Over the years, art styles have grown more vibrant, charming and wonderful; the fact that there was even competition in this category this year is a testament to that. When I saw Persona 5, I thought the contest was over already. Persona takes advantage of its new HD engine and pours style into its every facet, from its menus to battle commands to monster designs and even the text bubbles(!?!?) Every action taken in the game pops out of the screen with reckless abandon, showering the player in red-soaked anime goodness, demanding they have the time of their life (before it steals your heart). Did I mention this is a PS3 release??? Then Pyre showed up about a few months later, straightened its tie, and proceeded to beat Persona’s aesthetic into the ground with its own hand drawn, glorious animations and environments. Characters come alive with amazing designs and colors, while the titular Pyres burst off the monitor with every victory goal. And YET… both still couldn’t keep up with the fabulous animation of Cuphead. There are 19 bosses in Cuphead. Each of them had to be drawn and re-drawn thousands upon thousands of times in order to get the silky-smooth 1930’s artstyle that simply needs to be seen in action to be believed. It’s a true testament to Studio MDHR’s commitment and passion for its vision, and the result is a game that will forever stand as a gold standard in independent game development. In the world of gaming aesthetics and artstyles, Cuphead is a triumph.

My final category goes to the game that surprised me the most this year. I love surprises. Games and movies that throw clever curve balls and continually subvert expectations are the kind that usually give me the most memorable experiences (Undertale and Madoka still haunt me to this day and I love it). This year had plenty of great experiences, but not quite as many surprises as usual. There are few exceptions that stuck out: Pyre was a particular treat, as the concept of a “fantasy sports RPG” didn’t appeal to me at first blush. But as the reviews came out and the true scope of the game became clearer, my interest grew enough to give it a try, and the result was an unforgettable story of my own making. In a similar way, Nier: Automata’s meta elements and its talent for changing its audience’s expectations at every corner were delightful to uncover, with its dozens of endings, secrets and thoughtful psychological musings peppered throughout. Sonic Mania, on the other hand, promised a return to form for one of my favorite childhood heroes, and the surprise inside wasn’t found in its adherence to that promise, but in simply how spectacularly I found the game’s execution of Sonic’s original vision. On top of all that, a strange little game named The Sexy Brutale came from seemingly out of nowhere, giving the player one of the best examples of a time-travel mechanic I’ve ever seen in a game. (I’d love to talk more about what makes it so great here, but you’ll find my more complete thoughts on Sexy Brutale in an upcoming spoiler-ific post.) In the end though, the most fantastic surprise I found was in my escapades within the twisted world of Persona 5. As my introduction to the celebrated series, I could not have picked a more excellent gateway. Persona 5 oozes style, personality and swagger from every pore, extending beyond its striking visual aesthetic and seeping into its formulaic but ingenious execution of classic JRPG dungeon-crawling. P5 eliminates so many of the issues I have with the JRPG formula, namely the stat grind. Battle commands have shifted from a scrolling menu into a single button press for each action (making P5 one of the few RPGs that remember how many buttons a Playstation controller has, thank you very much), and if that isn’t quick enough, Persona’s trademark “Rush Mode” clears out enemies that can hardly be bothered with in a jiffy. Outside of battle, the min-maxing remains compelling through the Confidant system, where players are required to build relationships with teammates and neighbors. The stronger your relationships, the stronger your Personas can be, cleverly weaving together your character’s personal growth as a young man and his growth as a warrior. The compelling nature of your social interactions, the emphasis of stealth to drive home the theme of “Phantom Thievery,” and the experience’s inimitable style throughout its 100+ hour run… the pleasant surprises this game offers are endless. I approached it intrigued. I left blown away. Like Fire Emblem Awakening before it, Persona 5 simultaneously made me stop wondering why I still owned a PS4 while revealing to me a whole new franchise to have a place in my heart. And there it will stay, waiting patiently for the countless P5 spinoffs to drip from Atlus’ depths before Persona 6 inevitably comes out on my 50th birthday, probably.

Which brings me to my Game of the Year. It’s shocking to me how much I really needed to ponder which experience meant the most to me, especially considering that this is a year that a new Zelda game came out. Alas, while Breath of the Wild’s scope and scale were impressive, serving as an example of the best open-world gaming has to offer, its various technical hiccups, lack of traditional dungeons and reliance on the ill-advised weapon durability system failed to enrapture me in the same way previous entries had. So the battle came down to Persona 5, The Sexy Brutale and Pyre. It was an incredibly close call, but…

My Game of the Year has to inevitably go to PYRE.

Pyre to me demonstrates both the raw talent behind Supergiant Games and how the challenge of blending gameplay and narrative (a feat that only video games can achieve, and one I believe every story-heavy title should strive for) can be pulled off with flying colors. Persona achieves this in many ways with its Confidant system, giving each face in your party a unique voice and background, but Pyre does something even more special. It successfully creates a cast of colorful characters whose fate is tied to your actions even more intimately and successfully than the legendary Mass Effect 2 did. Creating a sports RPG where failure is not marked by a Game Over screen, but by the knowledge that a dear friend must suffer in exile longer than necessary is simply brilliant. My favorite story from this year involved me giving up my own character’s freedom due to my own failure as a team leader. Few games can achieve such a simple yet dynamic approach to storytelling, and it’s this reason that ultimately, amidst so many other incredible titles, Pyre earns it’s place as my top game of 2017.

Thank you for reading! It’s my hope and prayer that your 2018 give you good health, great games, and wonderful memories.

The Open Road

Posted on - by RaptorFire

Minor spoilers ahead for The Legend of Zelda: Breath of the Wild

When I think about what makes the Zelda series so popular, what becomes undeniable is its reputation as the gold standard for adventure gaming. I find it hard to believe that there are many boys and girls who haven’t at some point in their younger days dreamed of a life of daring and discovery. Great dragons to slay. A damsel to rescue. Knights in shining armor. It’s a life, at first glance, of unbridled freedom and wonder.

Whatever Nintendo’s faults as a business may be, I believe it’s safe to say that they’ve always known how to make video games. The Zelda titles have been scratching the adventurous itch for gamers for nearly three decades now, with a consistency in quality that most franchises its size would commit cold-blooded murder for. As a die-hard Zelda fan ever since the 64 came out, I am one of the many gamers to have seen first-hand what all the fuss is about, and it’s always a special occasion when Nintendo’s Zelda team reveals a brand new addition to its legacy. I speak no hyperbole when I say every new mainline Zelda release date sees me dropping everything that isn’t work or family on my way out the door to the nearest retailer. So I always expect great things when a new Zelda hits the streets. Earlier this year, we got a particularly interesting one.

Let’s wind the clocks back a bit first: I liked Skyward Sword. I didn’t really get the divisive attitude many of my friends had towards it, but hindsight is 20/20 and I think I can see their point. I still like it. A lot. In my mind, Nintendo managed to achieve its goal of translating motion control into mainstream gaming, something it had been tinkering with since Metroid Prime 3. The controversially linear nature of the game also provided a tightness of focus on its new combat system, fully utilizing the controller’s one-to-one tracking for every weapon and gadget. As much as Zelda boasts of its prowess as an epic adventure, I’ve also seen it as a puzzle game, with all kinds of brain teasers sprinkled throughout each game’s dungeons. Skyward Sword had the bright idea to take this concept and apply it to its combat system as well, with every different enemy pushing you to adopt a new approach and encouraging the player to refrain from waggling the controller carelessly. It was this commitment to design that I respected and enjoyed so much about the game when it came out.

But as most of you know, not everyone shared this point of view. Nintendo may have even been one of those people. Longtime Zelda producer & manager Eiji Aonuma had long been imagining a truly “open-air” Zelda, a title that would truly return the series to its roots as what series creator Shigeru Miyamoto once described as a “miniature garden” for players to explore and discover. But like many projects, imagination can be kept on a leash by time and resources, and the technology just hadn’t quite caught up to the idea yet. Now though, with open world games coming out a dime a dozen each year and the launch of Nintendo’s first high definition console, the Zelda team decided to give the concept a proper go.

So what’d they come up with?

What first struck me about Breath of the Wild was the abrupt lack of any sort of hand-holding system included in the older 3D Zelda games, usually in the form of the almost universally panned “partner” characters present. Here, though, there’s a noticeable absence of any sort of extraneous help, only a quick cutscene, a brief tutorial, a few words from the princess, then the game says “go.”

Which brings me to what strikes me as the title’s greatest strength, and what I believe makes Breath of the Wild a true achievement in gaming. The game absolutely nails the difficult idea of “if you can see it you can touch it” games, a long-pursued concept for every open world game that had come before it. While we’ve had no shortage of wide-open, lively worlds in the past (Skyrim says hi), Breath of the Wild makes a valiant attempt to break any mechanic or concept holding back the player from truly exploring the world at their own pace. Getting sidetracked into finding a skull-shaped cave with goodies in it or spotting something worthwhile after climbing a mountain peak is nothing new to games, but still pretty neat in this one.

Every major tool in the game is obtainable within the first hour of play, a major departure from the Zelda tradition of opening the world gradually through the drip-feeding of items. On the one hand, it’s easy to be overwhelmed by the sheer size of this map (which has been said to be modeled after the Japanese city of Kyoto in terms of its vastness). On the other, the player has few instructions to follow other than “beat the main bad guy, now pick a direction.” In a world demanding more player choice, this is a very good thing. Every situation requires the player to make a decision. Every choice contributes to the player’s growth, tying everything in beautifully to the age-old Zelda theme of getting stronger to beat the aforementioned main bad guy. It’s this execution and understanding of decades of game design that makes Breath of the Wild such a success.

As mentioned above, Zelda has boasted a wide variety of puzzles requiring exploration and critical thinking, but Breath of the Wild tackles this series staple in a bit of a different way. Gone are the traditional Zelda dungeons (STILL NOT SURE I’M OKAY WITH THIS), and in its place are numerous smaller “shrines,” each holding a unique puzzle and uninspired aesthetics (think TRON with weaker music). Each give the player a good look at the wonderful work Nintendo’s level designers can do when it comes to creating brain teasers, and completing each shrine adds a little bit more to your overall strength in-game.

The puzzle-solving isn’t limited to these shrines, however. Nearly every encounter in the game shares a level of problem solving, a concept that seems to take a page from Skyward Sword’s smaller, more focused surface areas. In Breath of the Wild, it’s difficult to go more than a few yards without running into a buried treasure, a secret cavity, or (most likely) an enemy camp filled with some hilarious baddies. In-game enemies may suffer from a bad case of palette swapping, but their interactions with you as the player has been overhauled from previous titles, and serve as some fantastic visual comedy (try knocking the weapon out of their hand and see what happens). The possible approaches to combat have been beefed up as well. You can do what I did through most of my playthrough and shoot a few bad guys from afar before recklessly rushing in with your sword raised. Or take a stealthier approach and stab everyone in their sleep at night before taking all their food. Or dropping a metal box on their head with magnesis. Or lighting the grass on fire, creating an updraft to glide on before diving headfirst on their captain. Or. Or. Or. In this vein, Zelda can get endlessly creative… for the most part. More on that later.

The land is dotted with things to do and people to meet, packed with content and quests ranging from entertaining assaults on an enemy base to throwaway fetch quests to some truly bizarre tasks… maybe not bizarre for Zelda, but still. You have to draw some kind of line when a game asks you to cross-dress as a woman, break into a desert-dweller’s home and eavesdrop on a bar-goer in order to learn a password into an adult-only shop (not that kind, you creep.) So.

There are problems. A game with the number of framerate drops and sudden freezes that Breath of the Wild suffers from should not be a prefect 10, no matter who you are. And while the game strips away a ton of the weakest aspects of open-world gaming, it sours the dish by throwing in a few bad ingredients of its own. The game’s stamina bar, which dictates nearly every action you take, is just far too anemic at the start of the experience to be terribly useful. What was once a clever bit of problem solving spice added in Skyward Sword now becomes a frustrating shackle for the player without first upgrading the stamina bar (at the expense of upgrading health… by the way.) The number of times I’ve been unable to climb up a cliffside because of my character’s poor endurance is just a tad irritating. Oh, and when it was raining, climbing was impossible anyway since the surface lost all traction too, so there’s that.

Arguably worst of all is the game’s new weapon durability system. You’ve probably heard about it by now… every weapon and shield in the game is now limited to a number of uses before breaking. I can understand Nintendo’s desire to include a wider variety of weapons into this game (which does make the experience better), but the overall longevity of some of these weapons is simply unacceptable. I had more than one encounter where I was forced to burn three weapons in order to kill one dude. THREE.

On the one hand, this does force players to use weapons and tactics out of their comfort zone and get used to improving their skills with an item they wouldn’t normally use. But therein lies the kicker: force players. It doesn’t seem quite right to promise a world of absolute freedom in almost every way, only to yank the player’s enjoyment away just because their favorite weapon broke after five hits (a couple weapons actually last that briefly, yes). The entire combat experience for me ended up ranging from grudging acceptance of the new system and planning around it, to frustrating dullness as I would wail on an enemy and break one weapon… after another… after another.

And yet, despite all that…

The result of the game’s achievements can be felt within every circle of the gaming community. Breath of the Wild has received critical acclaim across the board, tremendous financial success worldwide, and responses from fans that have ranged from over the moon with gratitude to… well, let’s call them “passionate.”

Despite my initial apprehension of the many series’ conventions broken at first, I feel like this title is really where Zelda as a series was always headed. Zelda had always been influenced by Miyamoto’s memories of his childhood exploring caves and hiking through the woods. I think it’s safe to say that the team once under his supervision has truly achieved both a gold standard for open-world gaming and his vision of introducing players to the joys and wonders one experiences on the open road.

With Breath of the Wild, we discover that it’s a road well worth taking.

References:
https://w w w .youtube. com/watch?v=vLMGrmf4xaY
https://web.archive.org/web/20110831131810/http://www.gamespot.com/gamespot/features/video/hist_zelda/index.html