Tag Archive: ray carsillo


DefenseGrid2OculusHeader640

When you think of virtual reality, you probably think of immersing yourself so deeply in a game you could almost leave the world you exist in behind. But when Oculus VR releases at the end of March, one of its least-involving launch titles may also be one of its most fun. While at the annual DICE Summit last week in Las Vegas, I had a chance to sit down and go hands-on with the Oculus port of Defense Grid 2.

Now, a port of a 2014 tower defense game may not sound like the most thrilling use of VR, but what Defense Grid 2 lacks in bombastic action, it makes up for in allowing players to focus on the task at hand and bringing them closer to the game like never before. After placing the retail Oculus headset over my eyes and grabbing the Xbox One controller, instead of feeling like I was in an alternate reality, I felt like I was lording over an elaborate playset, able to see the entirety of the level at once in what has become known as “God view.” If I wanted to look at the level from a different angle, I could simply get up and walk around, or slide my chair into a different position. Sure, when turning my head and craning my body, the hotel room around me had changed into what looked like a sci-fi boiler room, effectively placing me in the game like all other VR experiences. The core gameplay of Defense Grid 2, however, had remained entirely the same.

By using my sightline as a surprisingly intuitive cursor, and the controller to then interact with what I was seeing and to select options, I could perform the same actions I would in the console and PC versions of the game. I placed and upgraded towers of varying purpose as I saw fit all along the set, trying to protect a collection of power cores that invading waves of aliens wanted for their own nefarious purposes. With the Oculus headset closing me off from the outside world, I was able to sit down, concentrate, and plan out winning strategies with the greatest of ease.

DG2VR-TowerBuild640

The Oculus version of Defense Grid 2 isn’t just a straight port, though, and does feature some upgrades over the console and PC original. A handful of new challenge levels have been incorporated to further lengthen the experience. Each level also has five collectibles on them, which often require you to get in close to the playset and peer around every corner before using the controller to snatch them up. As well, many levels now feature special interactive elements—some are for cosmetic purposes, while others can actually change the layout of the map.

The biggest addition, however, may be the ability to jump into any individual tower and change the game’s perspective in an instant. Although not as intuitive for implementing strategies as one might hope due to the limited range of sight, this view provides a front row seat for all the fighting once your towers have been placed to your satisfaction. Seeing the detail of the aliens and the world up close is actually kind of breathtaking, giving you a sense for that over-the-top action you may still be craving in VR.

With Defense Grid 2 acting as one of the Oculus’ launch titles, it also serves the important purpose of offering us another way to enjoy virtual reality. It shows that various game genres that might not leap off the page as obvious choices can work just as well, if not better, in VR, and that creating immersion doesn’t necessarily mean putting you squarely in the shoes of a hero character and building a new world around you. Now, it’s just a matter of seeing if the install base for Oculus will be there to take advantage of this fun, re-imagined experience.

DefenseGrid2Oculus640

FireEmblemHeader640

You are the ocean’s gray waves

Nintendo has never been afraid to try something new. Sometimes those gambles pay huge dividends, and other times, they end in disaster. But the Big N keeps innovating, and its most recent change of pace comes with its beloved strategy-RPG series, Fire Emblem. Instead of giving us one adventure, this time Nintendo and developer Intelligent Systems has split up it’s most recent chapter into three perspectives dubbed Fire Emblem Fates.

In Fates, players assume the role of Corrin, a young prince (or princess) from the land of Hoshido who was kidnapped and raised by the kingdom of Nohr as one of their own. When Corrin comes of age and the war between the two kingdoms reaches a fever pitch, you learn the truth of Corrin’s upbringing, and are faced with a game-altering decision: Return to Hoshido, stay with Nohr, or forge your own path towards peace and choose neither.

What’s nice about Fire Emblem Fates Special Edition is that it offers all three paths on one game card, even allowing you to jump straight to the fateful decision on repeat playthroughs. This is a boon, because if you otherwise wanted to explore all three perspectives, and learn all the details there are to learn about this latest Fire Emblem world, you’d have to buy the games separately as Birthright (Hoshido story), Conquest (Nohr story), and then Revelations (neutral story) as a DLC coming nearly a month after launch. It’s like Pokémon, but for plot points.

Unfortunately, of the three stories, the only truly satisfying one comes from Revelations. Not to spoil anything, but key plot details are hidden by siding with one family or another, and although playing through both Birthright and Conquest offers you an overall greater insight into the cast of characters, only Revelations feels like a true Fire Emblem game in terms of the stakes that are on the line and the role your avatar plays.

Besides the altered narrative of each title, the three games also offer slightly different gameplay experiences from one another. Birthright could actually serve as a great starting point for newcomers to the series. It provides the most experience points to level characters up, and gold to upgrade and purchase the best weaponry with—all while giving you a taste of what to expect from other Fire Emblem games, even with its singular “destroy all enemies” goal of most missions.

Birthright640

Conquest is for the more experienced Fire Emblem player, and provides a harsher playthrough. Experience points and gold come at a premium, and you’ll have to truly outsmart the computer if you hope to advance, not to mention make full use of every advantage you might have on the battlefield. There are also more varied goals like capturing points, or defeating only a certain number of enemies amongst the mission objectives.

Lastly, Revelations strikes a balance between the two, offering up more opportunities for gold and experience like in Birthright, but providing the variety of objectives and true strategic gameplay seen in Conquest. Having played every game in the series since Fire Emblem: Path of Radiance, I again found Revelations to be the most satisfying of the three, because it provides the most true to form experience—even if I can appreciate how the other two can appeal to players of different skill levels and familiarity with the franchise.

Once you get past these nuances in plot and gameplay difficulty, the three games play very similarly. The core Fire Emblem mechanics of moving sprites around a grid-based battlefield in a chess match of sorts—with different character classes and weapons having advantages and disadvantages against certain enemies—returns here, and remains relatively the same since the series’ inception over two decades ago in Japan.

There are also a few new features to help punch up the familiar gameplay. Once you choose your path, players will acquire their own fort where they can have Corrin interact with the troops to further relationships (leading eventually to marriage, and then children who can fight by your side) or boost everyone’s stats via items. Building on the StreetPass battles introduced in Fire Emblem: Awakening, Fates now allows it so that you and your friends can invade each other’s forts, with each fort’s customization adding to player resistances. For example, having a fully upgraded weapons hut might add several points into your fighters’ strength (attack) stats. This limited multiplayer aspect adds an interesting wrinkle to the replayability of the game.

Conquest640

Not every addition is a winner, though. Fates adds a brand new Phoenix mode that should actually be called “Baby Mode”, or “Why Even Bother Playing This Game” mode. One of Fire Emblem’s staple features is its permadeath, where when a character dies in battle, they stay dead. The difference between permadeath in Fire Emblem and other strategy-RPGs, like XCOM for instance, is the fact that keeping all your characters alive affects not only the ease with which you might prepare for upcoming battles, but alters subplot storylines, too.

Awakening’s Casual mode first took a shot at softening this by allowing characters to come back after each battle. Here, at least, you still had the rush of needing to complete a conflict in order to see your units return to action. The strategy part of the game stayed intact, even if the stakes were lessened. Phoenix mode, however, turns you from an armchair general into a blunt weapon of destruction by allowing each character to come back to life after every turn, removing all semblance of consequence for your actions. And while it is only an option, one I only tried for the sake of this review before starting a new game and switching back to Classic permadeath, the absence of ramifications took a great amount of joy away from playing the game, as nearly every decision was meaningless.

Some of the fun I’ve derived over the years of playing this franchise has been quitting back to the main menu and restarting missions to try to discover that perfect strategy that would get my entire team through each conflict. It lengthens the experience artificially, but seeing every character’s special ending made it worth it for me, especially knowing I had earned it. Whether it was splitting my forces and flanking enemy bosses from both sides, using higher-leveled units as scout teams while leaving the bulk of my force behind to protect the rear, or slowly moving all my units forward like a phalanx of death towards my objective, solving the survival puzzle that leads to an ultimate victory was always worth it, no matter the time investment, and is at the heart of what makes this a great strategy-RPG series. Fates seems to be trying its hardest to be an introduction to the series in many ways, but to those newcomers, I still recommend at least trying Classic mode first before switching over to Casual or Phoenix mode.

This seems to be Nintendo’s strategy with Fire Emblem Fates in a nutshell. If you’re willing to dig a little, the strategy core that has made this series so popular remains fully intact. Meanwhile, it offers a variety of options to players of all different skill levels, and even provides multiple storylines molded around potential play styles in an attempt to lure in new and old players alike (with certain aspects obviously not appealing to everyone). In a game about choices, though, the biggest grievance comes from the central one. After playing all three stories, it felt largely unnecessary to split Fates into three parts. Revelations provides the most well rounded experience—one that long-time fans should gravitate more towards— with Conquest and Birthright really just adding nuance and character development to what would’ve been fine as a standalone plot. All three still work as solid additions to Fire Emblem’s long-running strategy-RPG pedigree, though, depending on what exactly you’re looking for.

FireEmblemFates640

Developer: Intelligent Systems • Publisher: Nintendo • ESRB: T – Teen • Release Date: 02.19.16
8.0
Whether new to the franchise or a long-time fan, there’s something for everyone in Fire Emblem Fates’ three games. Unfortunately, when you find what you’re looking for in one, you might be disappointed when it’s then not present in the other titles.
The Good Each game offers unique challenges to appeal to every level of Fire Emblem fan.
The Bad Phoenix mode turns you from a calculating general into a blunt tool of destruction.
The Ugly Me singing Azura’s song in the shower. I just can’t get the damn thing out of my head.
Fire Emblem Fates Special Edition is a Nintendo 3DS exclusive. A review copy was provided by Nintendo for the benefit of this review. EGM reviews games on a scale of 1 to 10, with a 5.0 being average.

GOTY-Todd_Howard_andFallout4team640

Fallout 4 surprised many when it took home Game of the Year at the 19th annual D.I.C.E. Awards last night in Las Vegas.

The win was Fallout 4‘s third of the night out of the eight categories it was nominated in, tying it for the most total hardware of the evening with The Witcher 3: Wild Hunt, Ori and the Blind Forest, and Rocket League. It also marks the second year in a row that a game that also won Best RPG/MMO took home the big prize of the night after Dragon Age Inquisition pulled off the same feat last year.

Surprisingly, the game with the most nominations—Rise of the Tomb Raider with nine—only picked up one win, which was for Outstanding Achievement in Character for Lara Croft.

Aside from the 22 awards given out in specific categories, the D.I.C.E. Awards also recognized Visual Basic with the second ever Technical Impact Award, Hideo Kojima was inducted into the show’s Hall of Fame, and Satoru Iwata was posthumously given the Lifetime Achievement award.

For all of the nominees in each category, you can check out the list below. Winners have been bolded.

Outstanding Achievement in Original Music Composition
Batman: Arkham Knight
Everybody’s Gone to the Rapture
Ori and the Blind Forest
Starcraft II: Legacy of the Void
The Witcher 3: Wild Hunt

Outstanding Achievement in Sound Design
Destiny: The Taken King
Ori and the Blind Forest
Rise of the Tomb Raider
Star Wars Battlefront
The Order: 1886

Outstanding Achievement in Story
Fallout 4
Her Story
Rise of the Tomb Raider
Tales from the Borderlands
The Witcher 3: Wild Hunt

Outstanding Technical Achievement
Just Cause 3
Rise of the Tomb Raider
Star Wars Battlefront
The Order: 1886
The Witcher 3: Wild Hunt

Outstanding Achievement in Character
Assassin’s Creed Syndicate — Evie Frye
Her Story — Hannah Smith
Life is Strange — Maxine Caulfield
Rise of the Tomb Raider — Lara Croft
The Witcher 3: Wild Hunt — Geralt of Rivia

D.I.C.E. Sprite Award
Galak-Z
Her Story
Kerbal Space Program
Rocket League
Undertale

Outstanding Achievement in Online Gaming
Destiny: The Taken King
Halo 5: Guardians
Hearthstone: Heroes of Warcraft
Rocket League
Splatoon

Mobile Game of the Year
DomiNations
Fallout Shelter
Lara Croft GO
PAC-MAN 256
The Room Three

Role-Playing/Massively Multiplayer Game of the Year
Bloodborne
Fallout 4
Pillars of Eternity
The Witcher 3: Wild Hunt
Undertale

Sports Game of the Year
FIFA 16
Madden NFL 16
MLB 16 The Show
NBA 2K16
Rocket League

Racing Game of the Year
Forza Motorsport 6
Need for Speed
Project CARS

Fighting Game of the Year
Dead or Alive 5 Last Round
Mortal Kombat X
Rising Thunder

Strategy/Simulation Game of the Year
Cities Skylines
Fallout Shelter
Grey Goo
Heroes of the Storm
Kerbal Space Program

Family Game of the Year
Guitar Hero Live
LEGO Dimensions
Rock Band 4
Super Mario Maker
Tearaway Unfolded

Handheld Game of the Year
Earth Defense Force 2: Invaders from Planet Space
Helldivers
Pokemon Super Mystery Dungeon
Yo-Kai Watch

Adventure Game of the Year
Batman: Arkham Knight
Life is Strange
Metal Gear Solid V: The Phantom Pain
Ori and the Blind Forest
Rise of the Tomb Raider

Action Game of the Year
Destiny: The Taken King
Helldivers
Just Cause 3
Splatoon
Star Wars Battlefront

Outstanding Achievement in Animation
Assassin’s Creed Syndicate
Batman: Arkham Knight
Ori and the Blind Forest
Rise of the Tomb Raider
The Order: 1886

Outstanding Achievement in Art Direction
Lara Croft GO
Ori and the Blind Forest
Rise of the Tomb Raider
Star Wars Battlefront
The Order: 1886

Outstanding Achievement in Game Design
Fallout 4
Her Story
Lara Croft GO
Massive Chalice
The Witcher 3: Wild Hunt

Outstanding Achievement in Game Direction
Fallout 4
Life is Strange
Rise of the Tomb Raider
The Witcher: Wild Hunt
Undertale

Game of the Year
Bloodborne
Fallout 4
Ori and the Blind Forest
Rise of the Tomb Raider
The Witcher 3: Wild Hunt

FirewatchHeader

Ashes to ashes

Games often subject us to the same experiences over and over, usually with a one-size-fits-all ending we can’t change: rescuing a princess, killing a terrorist, saving the world. But there’s a grain of truth in the way that approach appeals to us, and why it works. Partly why games may be so effective emotionally is that, similarly, life is about the journey, not the destination. It is how we overcome the challenges laid out before us, where we find our enjoyment and potential enlightenment. Also, the ability for people to interact with games allows the medium to simulate emotions at an intensity that other methods often struggle to convey. Most often, they are emotions of empowerment or fantasy fulfillment. When games are at their most remarkable, though, is when they illustrate the emotions we’d rather not face.

Firewatch bravely chooses to buck trends and explores the grief and pain that comes with a sense of loss. It does so in a way that provides a rare, realistic jolt when you are brought to understand how deeply one person cared for another, and find yourself caring about them, too. So, when the game starts with you finding out the wife of our protagonist, Henry, has developed early onset dementia, it is a punch to the gut that feels all too real—especially if, like myself, you’ve had any sort of family member suffer from a mental health issue.

Henry’s immediate relatability has to do with how Firewatch begins. The game does not start by introducing players to the situation through a dynamic, visual bombardment of information. Instead, you are given lines of text explaining who Henry is, but like a “choose your own adventure book” you are given simple choices that allow you to insert yourself into the scenario. They are choices many of us will likely make over the course of our lives, or can at least relate to, and which prove to be completely inconsequential to the main story. These choices help paint a picture of Henry for when the game truly starts, though. Is Henry more crass than charismatic? The game gives you a chance to decide who Henry is to an extent, priming you to be more inclined towards certain dialogue decisions later in the game—even if they have no bearing on the narrative’s eventual outcome. It is not as deep as character customization in an RPG per say, but it helps with immersion once you do take full control. And it is enough so that when you are blindsided by the news of Henry’s wife, you find yourself just as shaken as he would be, the sense of loss transcending the game.

Sunset640

When Firewatch proper starts, you’ve just arrived in Wyoming’s Shoshone National Forest, nominally to work a summer job as a firewatch patrolman, but with the underlying hope that a chance to commune with nature—and the quiet time to focus on writing the Great American Novel—will serve as a distraction or otherwise help soften the grief. Then, we meet Delilah, Henry’s supervisor at another tower and his only link to the outside world. Somewhat isolated, the two of you can only communicate via a handheld two-way radio.

Delilah will walk you through the entire game, evolving from a motherly wilderness guide to a friend and confidant. You will also learn about Delilah and other people in the forest who have dealt with losses of their own as you perform humdrum tasks, before stumbling upon a mystery that has been growing in the forest for years.

Even with that small twist, the bulk of Firewatch boils down to Henry running around while he and Delilah get to know one another, swapping stories, and lending each other strength in times of need. That probably doesn’t sound exciting, especially with the choices you make in conversations with Delilah having no bearing on the end game, much like the opening text. Well, it’s not, really, but that shouldn’t (and doesn’t) mean it’s automatically bad, either. Excitement does not make or break an experience. The illusion of choice—expertly maintained thanks to Campo Santo co-founder Sean Vanaman’s Telltale pedigree, no doubt—builds up the liveliness of the world and lends a quieter sort of allure: that of building a new relationship.

Map640

From a more practical standpoint, the surface of Firewatch bares scars akin to a forest after a careless spark ignited some kindling on a dry, summer afternoon. Although its message is poignant and powerful, some might miss it when the fantasy shatters due to jarring and frequent framerate drops in the second half of the game. Yes, the visuals are gorgeous—courtesy of artist Olly Moss—highlighted by bright colors spread across the landscape in wide ribbons that dominate your first-person sightlines. But they are also simple, making the technical issues both surprising and disappointing.

Also, even if you adjust to the lower stakes of Firewatch, you may still find yourself cursing the glacial rhythm at a few points. When the mystery deepens and tensions begins to rise, Henry’s slow plodding across the Wyoming wilderness hurts pacing, turning what should’ve been a three- or four-hour experience into the five- to six-hour one we ended up with.

There are also likely some who will be left unsatisfied by the game’s resolution and ending. To this I say, that’s sort of the point. There’s a streak running through Firewatch that you might call “realistic” or “naturalistic” that would be ruined by something more conventionally crowd-pleasing. Any story, fictional or otherwise, can wrap everything up with a happily ever after and then pretend time stopped forever. Opting for something less naive serves as a reminder there’s another, more nuanced approach.

I’ll admit, I don’t typically enjoy games like this very much. Brothers and Gone Home are among the many critically acclaimed tearjerkers that left me unaffected and unimpressed. But Firewatch—technical issues be damned—actually moved me. I slipped into Henry’s persona as easily as feet do worn loafers. Part of this I feel was due to its audacious intro, with the game being only the aftermath of a devastating life moment that would rattle any person to their core; the rebuilding of a soul after it was burnt to the ground. That said, Firewatch’s subject matter may be too much for some, and those more superficial players will likely be unable to see past the game’s surface flaws, but those who are willing to make the trek with Henry will be rewarded. With a bit of patience and perseverance, the journey through Firewatch reveals a well-written adventure with an artful dedication to exploring themes and emotions that are rarely tackled in gaming, but so often essential to how we define ourselves as humans.

ControlledBurn640

Developer: Campo Santo • Publisher: Panic Inc. • ESRB: M – Mature • Release Date: 02.09.16
8.0
Through the grounded reality it portrays and simple jobs players are tasked with, Firewatch sneaks up and surprises you when it zeroes in on a powerful message about the human condition.
The Good A heartfelt, well-told tale that should resonate with everyone on some level.
The Bad Routine framerate drops throughout the later stages of the game.
The Ugly We’re all headed for the same destination.
Firewatch is available on PS4 and PC. Primary version reviewed was for PS4. Review code was provided by Campo Santo for the benefit of this review. EGM reviews games on a scale of 1 to 10, with a 5.0 being average.

ACCRussiaHeader

In Russia, Chronicles crush you!

Serving as the third and final game in Assassin’s Creed Chronicles, ACC: Russia has the unenviable task of bringing up the rear guard of this series of spin-offs. Although Russia fails in some regards to capture the spirit of the main series—much like its predecessors—it at least continues the maturation process we saw between China and India, and can stand proudly as the strongest of the three.

Set in 1918 during the height of the Russian Revolution, veteran Assassin Nikolai Orelov, protagonist of the Assassin’s Creed: The Chain and The Fall graphic novels, must take on one more mission for the Brotherhood before he escapes with his family to America. This mission is not an easy one, however. Nikolai has been tasked with infiltrating where the Templars are holding Czar Nicholos II and his family, and must retrieve Ezio Auditore’s infamous box—the primary narrative link between all three Chronicles titles. Along the way, Nikolai interferes with the execution of the family, leading to the youngest child, a teenaged Princess Anastasia, surviving and suddenly coming under Nikolai’s protection. With the secrets of the box revealed, Nikolai must escape the pursuit of both the Assassins and the Templars if he hopes to save Anastasia and get his family free of Russia.

Like its antecedents, ACC: Russia is a side-scrolling platformer that focuses more on the stealth aspects of Assassin’s Creed than anything else. Each level is broken down into subsections, where players are scored upon how effective they are as Nikolai. High scores lead to character boosts, and by continuously scoring gold in the Silencer (non-lethal takedowns), Assassin (lethal takedowns), or Shadow (no interaction with enemies whatsoever) disciplines, a score multiplier will come into effect.

ACC_RUSSIA_Gunplay640

Where Russia shines compared to the two previous chapters of Chronicles is in the variety of objectives each level throws at you, and how you can accomplish them. While combat is still a detriment here—with Nikolai feeling relatively underpowered compared to his foes—there is a new array of items and tools at his disposal. Their inclusion will help you avoid combat more easily and better even the odds, making the stealth elements not nearly as punishing or predictable as in Russia’s precursors.

For instance, Nikolai has a grappling hook that he can send an electric charge through to disable light generators, electrify water (and the enemies standing in it), or even overload outlets—all undoubtedly benefits of the time period. There are also new distraction techniques like using telephones to alter enemy patrol routes, or firing Nikolai’s rifle to pick enemies off from afar or make noise to divert their attention when necessary.

The rifle also allows Russia to build on the sniper sections introduced in India. Here, however, they feel more natural, since Nikolai often has to pull his rifle out to cover Anastasia as she runs ahead. Speaking of Anastasia, there are even sections where you have to play with her and her far more limited talents, forcing you to push your stealth skills to the limits. This is a rare instance in this series where narrative actually led to more interesting gameplay.

The only downside to all these new tools was how everything was poorly spread out, as certain techniques—like being able to electrocute enemies—are introduced very late in the game, making them feel like an afterthought design-wise. As well, some of the level felt noticeably weaker in terms of design than others.

ACC_RUSSIA_Anastasia640

A perfect example of this is in the chase levels. In ACC: China, when Shao Jun had to get through an area as quickly as possible while being pursued, it was one of the best elements of that game and it only seemed to continue on in India. The chase levels in Russia, however, are probably the weakest of the series, with old, plodding Nikolai being something of a chore to control in those moments. It makes sense for him to feel different than the other characters, but for those differences to make him feel inferior—at least as a parkouring assassin, because his gadgets definitely give him a leg up in other ways—might have made sense for the story, but definitely detracts from the experience.

One last disappointing element about Russia was the art style. India was the most vibrant and interesting world of the three games, and Russia may be the weakest. The Sin City-esque usage of grayscale with splotches of red do make sense for the setting, giving everything a downtrodden, depressing overtone. Unfortunately, they don’t work as well as intended, making many parts of the game somewhat painful to look at—especially when you get to the handful of indoor levels that are awash in color.

Assassin’s Creed Chronicles: Russia is the best game this offshoot series has offered up thus far. Sadly, it still falls short in ways that have plagued the series from the get-go. However, if you’ve come this far with Chronicles, at least things end better than they began, with a compelling narrative, great gameplay variety, and ingenious uses of stealth that will reward those players who have stuck around.

ACC_RUSSIA_Tram640

Developer: Climax Studios • Publisher: Ubisoft • ESRB: T – Teen • Release Date: 02.09.16
7.5
Shortcomings that haunt the entire series remain here, but more gameplay choices and a compelling narrative make Assassin’s Creed Chronicles: Russia the strongest of the three Chronicles titles.
The Good Largest variety of gameplay of the three Chronicles games, interesting story that ties well into greater AC universe.
The Bad Combat is still a chore, poor pacing.
The Ugly You can almost see the osteoporosis setting in on Nikolai as he sluggishly runs around.
Assassin’s Creed Chronicles: Russia  is available on Xbox One, PS4, and PC. Primary version reviewed was for Xbox One. Review code was provided by Ubisoft for the benefit of this review. EGM reviews games on a scale of 1 to 10, with a 5.0 being average.

I had a chance to play the first couple hours of Far Cry Primal‘s campaign at a recent Ubisoft event. Here are two missions where I got to tame my first animal, and also took on one of Takkar’s rival tribes, the sun-worshipping Izila. Far Cry Primal will be available for Xbox One and PS4 on February 23, 2016, and PC on March 1, 2016.

Homefront2Header

Ahead of its Closed Beta stress tests that will be held over the next several weeks, Deep Silver allowed me to sit down with some members of Dambuster Studios to go hands-on with their newly announced 4-player “Resistance” co-op mode for the upcoming Homefront: The Revolution.

Whereas Revolution’s main campaign will follow Ethan Brady—one member of the underground opposition against the occupying Korean People’s Army—Resistance mode allows players to become a wholly unique foot soldier in the guerilla fighting force that challenges the KPA in 2029’s Philadelphia. In Resistance mode, players will be tasked with taking part in special missions with various objectives across several difficulty levels in an attempt to help remove the KPA from the City of Brotherly Love.

Upon first entering the mode, players will be able to customize how their soldier looks, along with what weapons they carry. You can even choose what job your character had before the invasion started, a decision which offers varying bonuses to skills. (For example, in a nod to the team’s own lot in life, video game developer gets a boost to hacking.)

Homefront2CharCustomization640

As you play, you’ll earn in-game currency that can be used to buy packages that vary in contents and cost, and which reward random gear and weapons. If you’re impatient, there are microtransactions that allow you to purchase more currency—but nothing is guaranteed. So, if you’re looking for a sniper rifle, you could pour a ton of money into the game and never get what you’re looking for, or play a mission or two and get it on your first package.

It may sound unfair, but part of this revolves around the idea that supplies are limited when you’re fighting a larger, more powerful occupying force and are resorting to hit-and-run tactics—in that world, beggers can’t be choosers. In fact, it even carries over into your missions. You’ll always have to scrounge for bullets mid-battle, because you’ll almost never have enough ammo to get through an entire mission, especially if you fight the KPA head-on.

Of course, this is where the idea of being a guerilla fighter becomes even more important. Communication between you and the other members of your cell—whether found through matchmaking or paired up with three buddies—is critical to winning the day, especially as missions get harder to handle. Scavenging for supplies on the outskirts of town is one thing; taking on a fully-stocked KPA outpost is another. Speed and stealth are critical to helping you even the odds, and learning the lay of the land may be the only advantage you can have over the KPA, as they’ll almost always outgun and outman you.

HFTRSniperRifle640

In my first mission with the team, we had to hack satellite relay towers around town. To make matters easier, we found motorcycles at a resistance drop point that allowed us to whizz past patrols and get to our objectives before the enemy knew what hit them. The next mission was completely different, however, and had us trying to steal APCs from a KPA checkpoint. Using the shadows to our advantage, we first moved along the rooftops, knifing snipers along the way before then heading underground via sewers to come up on the other side of the gate. Admittedly, I spent most of my time following the devs because of my unfamiliarity with everything, but I was impressed by the tactics we were using. When we didn’t try to fight like genuine guerilla fighters, the odds became too much, especially for our low level characters.

As great as this occupied Philadelphia looked, and as well as the game handled as a first-person shooter—aside from some twitchiness with the motorcycles that I attribute to the sensitive keyboard and mouse controls—there are still a couple lingering questions surrounding Homefront: The Revolution and its brand new mode.

A lot of games try to do 4-player co-op, and while the two missions I played were a lot of fun (even with relative strangers), is there enough here to keep people coming back for more? We know the game is launching with 12 missions, but what might make the mode is that Dambuster and Deep Silver are releasing 20 more missions over the course of the game’s first year, for free, for everyone. That could offer a lot of replayability.

The other question, though, is whether or not Resistance mode will play into the story of the Homefront series. Will achieving a series of victories over the KPA influence the game, or future games, in any way? Will there be large-scale community events that bring all the 4-person cells around the world together to rise up and take Philadelphia back? It seems that only time will tell, since as fun as my play session was, it clearly only scratched the surface of something deeper that we’ll have to wait to explore when Homefront: The Revolution comes out for Xbox One, PS4, and PC on May 17.

HFTRCrossbow640

DICEStage640

The Academy of Interactive Arts and Sciences announced yesterday that Penn Jillette and Randy Pitchford would kick off this year’s D.I.C.E. Summit with their presentation titled “Assumption and Expectations with Interactivity and Magic”. The session looks to incorporate lessons in misdirection, expectation disruption, and lying.

Penn Jillette, of course, is one half of the internationally renowned magic team of Penn & Teller, and Randy Pitchford is probably better known as the president and co-founder of Gearbox Software, but has proven to have a few aces up his sleeves as well over the years. The duo’s session looks to help set the theme for this year’s summit, the “Art of Engagement”.

“Engagement is central to both business and art,” said Martin Rae, president, Academy of Interactive Arts & Sciences. “This year a variety of talented people will explore engagement and how it deeply affects what they do – whether it is advancing automobile technology, building boundless entertainment franchises, or creating open worlds based on experience. As always, our audience will be treated to big ideas that will help drive their own creative pursuits forward.”

Along with Jillette and Pitchford, the AIAS announced nearly a dozen other speakers for this year’s show including lead writer for the Tomb Raider reboot Rhianna Pratchett, new IP editorial director for Ubisoft Tommy Francois, and TV/film producer Adrian Askarieh.

They join previously announced speakers such as Firaxis co-founder Sid Meier, and Bethesda game director Todd Howard. All D.I.C.E. Summit sessions will be available via livestream through a variety of yet to be announced partners. The 19th annual D.I.C.E. Summit will take place in Las Vegas from February 16-18.

ACCIndiaHeader640

Diamonds are forever

It’s not always easy to provide fresh takes on an established game universe—especially when it’s an annual release like Assassin’s Creed. This hasn’t stopped Ubisoft from trying to approach their crown jewel franchise from different angles, however, and one of their more recent attempts was in the form of the spinoff series Assassin’s Creed Chronicles. Forgoing third-person action adventure for a side-scrolling arcade-like motif, the first chapter in this series, Assassin’s Creed Chronicles: China, left much to be desired. Nine months later, we now have the second chapter in that series, Assassin’s Creed Chronicles: India. While it’s improved on several of its predecessor’s shortcomings, enough issues remain to keep this title from being as notable as its open-world brethren.

Set in 1841, ACC: India follows Arbaaz Mir, protagonist of the Assassin’s Creed Brahman graphic novel and father to Jayadeep Mir, better known as Henry Green from Assassin’s Creed Syndicate. After being lost for nearly three centuries, a precursor box once owned by legendary assassin (and fan favorite) Ezio Auditore has once again emerged in Templar hands. The Templars believe the Koh-i-noor diamond—a known precursor artifact, and the focus of the aforementioned Brahman book set two years earlier—could be a power source for the box. Arbaaz must now prevent the two items from coming together, or risk unfathomable power falling into Templar hands.

On the surface, ACC: India plays similarly to China. Arbaaz must work his way through intricately-designed levels while platforming and parkouring his way past Templar soldiers. Each subsection of said levels are scored on stealth and combat efficiency, with the added bonus of high scores leading to character boosts and in-game rewards.

Market640

There are some striking differences between the two games, however. The most noticeable from the get-go is how India is artistically divergent from China. A wide array of bright colors and floral patterns mark Arbaaz’s sword swings and dot the vibrant landscape as visual markers for you to follow through the levels—a stark contrast to the muted backgrounds with splashes of sharp red and black watercolors seen in China. This is, of course, also a welcome reflection of each setting and our respective protagonists, helping subliminally show their differences beyond what we see through the game’s limited dialogue and cutscenes.

ACC: India also offers more gameplay variety compared to its antecedent. There are several sections where Arbaaz will have to cobble together a costume in order to bypass heavily guarded gates, or use cannons and sniper rifles strewn about the conflict-laden region of 19th-century India to clear out and open up new sections of a level. This increase in interaction with the environment helps immerse players into Climax Studio’s version of India—even if Arbaaz’s adventures only begin to scratch the surface of what could have been done in the game.The varieties of objectives these interactions afford are also a nice respite from the constant sneaking the game otherwise promotes.

This leads us to one major weakness that both Assassin’s Creed Chronicles games have in common: combat. You have to be stealthy and sneak around everywhere, because much like China’s protagonist Shao Jun, Arbaaz Mir is easily overpowered if he ever finds himself in direct combat. Countering and blocking remain unintuitive; even with Arbaaz’s superior gadgetry and the returning Helix glitch system (that temporarily makes Arbaaz almost unbeatable), most of the time open conflict is the last place you’ll want to be. This makes Arbaaz feel extremely weak—a far departure from what we have come to expect from the protagonists of Assassin’s Creed—due to how limited your options feel when combat is all but removed from them.

Parkour640

Also returning from ACC: China are the timed sections, where you have to get through a level as quickly as possible—stealth-be-damned—usually because Arbaaz just blew up something he shouldn’t have. Much like before, many of these levels are a highlight and we see more of them in India than in China. That’s good, because they not only provide more fun, but also lengthen ACC: India by several sequences when compared to its forerunner.

As good as many of them are, though, there are a couple that fail to understand the importance of speed in making them enjoyable. These levels usually require either a great deal more climbing, or stricter timing from Arbaaz’s movements, with platforms that swing, switch, or rotate in ways reminiscent of the puzzle-platforming levels seen in older, mainline Assassin’s Creed games. It’s hard to have a sense of urgency while you’re waiting for platforms to move back into proper position before you can continue on, obliterating any rhythm you’d hope to get into.

Assassin’s Creed Chronicles: India is an improvement when compared to the first chapter of this ancillary Assassin’s Creed series. It does a nice job filling in more gaps in the universe’s massive timeline, while uniquely linking itself to the previous tale, which took place 300 years earlier. It’s also a longer game, with a larger variety of gameplay to help keep things fresh, and its arcade scoring system provides some replayability if you’re into setting high scores. The combat and pacing still need some work, but the improvements seen from ACC: China to India make me at least remotely hopeful for what we can expect when ACC: Russia concludes the series next month.

PalaceOverview640

Developer: Climax Studios • Publisher: Ubisoft • ESRB: T – Teen • Release Date: 01.12.16
7.0
Assassin’s Creed Chronicles: India learned from the missteps of its predecessor, as gameplay is more varied and its colorful, vibrant levels are both pleasing to the eye and fun to interact with in most cases. Open combat is to be avoided at all costs, however, limiting how you play the game—and some of the puzzle-platforming levels drag in term of pacing.
The Good Better variety to the gameplay, another story that helps fill in the blanks of the franchise’s timeline.
The Bad Direct combat still feels unintuitive and clunky, new climbing sections slow down pacing.
The Ugly Alexander Burnes sounds like a bad Sean Connery impersonator.
Assassin’s Creed Chronicles: India is available on Xbox One, PS4, and PC. Primary version reviewed was for Xbox One. Review code was provided by Ubisoft for the benefit of this review. EGM reviews games on a scale of 1 to 10, with a 5.0 being average.

JackTheRipperHeader640

Slice and dice

Assassin’s Creed’s story-driven DLC packs have always tried to offer something different from their main story counterparts. From spiritual animal visions to freeing slaves, these post-release expansions have pushed the boundaries of what we expect from the series—especially gameplay-wise. In many ways, the newest addition to this lineage, the Jack the Ripper DLC for Assassin’s Creed Syndicate, continues this trend.

Set in the fall of 1888—20 years after Syndicate and during the height of the Jack the Ripper murders—master assassin Jacob Frye has a dark secret that he’s hiding: he knows who the Ripper is. Jacob hopes to catch the madman before the police in an effort to rehabilitate Jack, but then suddenly ends up missing. A month later, Jacob’s twin sister Evie is forced to leave her home in India and return to London, in the hopes of finding her brother and putting a stop to Jack’s rampage permanently.

The most intriguing aspect of the Jack the Ripper DLC is that it tackles a subject with so many questions surrounding it. Considered the world’s first serial killer, Jack the Ripper was never caught nor his true identity revealed. Therefore, one might think it would give Ubisoft a wide berth in terms of how to work their narrative into this unsolved mystery. Unfortunately, it seemed to do the exact opposite.

Evie640

Part of the fun that stems from Assassin’s Creed is how the story finds ways to seep into the nooks and crannies of history, spinning well-defined, real-life events in a way that fits their conspiracy theory driven plot. Ubisoft took a great risk crafting their own tale to explain where Jack came from, how his methods evolved, and finally why his murder spree stopped. But because so little is known about the real-life Jack, the development of the character felt stifled, as there weren’t many ways to add depth to such a primal, one note villain to begin with without knowing something concrete about the man. Maybe part of this stems from the brevity of the DLC; a side expansion simply wasn’t enough to both introduce Jack and also turn him into a nemesis we could love to hate. Of course, the DLC alludes to Jacob and Evie having met Jack during the events of the main game, and yet there is no connecting between the two, unlike previous Assassin’s Creed DLCs. No matter the case, the result was a story that left me unsatisfied, even with its definitive ending.

Gameplay, on the other hand, added some surprising new wrinkles to the series—the foremost of which was actually playing as Jack the Ripper in several instances. Symbolic of the cat and mouse game Jack played with the actual police 125 years ago, the DLC sees Jack do the same with Evie, and there are several sequences where players can act out the brutality of Jack the Ripper as he leaves a trail of clues for our heroine. While these moments could’ve been used to better show Jack’s motivations—we see what he does, but never really get a clear sense as to why—they did offer a unique sense of freedom to how you would normally play an Assassin’s Creed game, now given the chance to step into the shoes of the villain as well as the hero.

Playing as Jack also introduced two new mechanics to the game (which then become available to Evie in non-lethal adaptations). The primary addition is a fear factor that allows you to instill terror in your enemies, so much so that they’ll run away instead of facing you. Building off of this is an supplement to melee combat called the Brutal Takedown, which—when pulled off successfully—can add to your ominous presence.

EvieSneak640

The idea of using fear as a weapon is something that I didn’t realize had been lacking from Assassin’s Creed until now. Being able to double assassinate a couple of thugs, then do a Brutal Takedown on another that scares away a half-dozen other guards, is the most empowering tool in your repertoire yet. It also makes a lot of sense. If you were a lowly guard patrolling a manor, and just saw your buddy’s throat ripped out, would you stay and fight, or turn and run the other way? Of course, as you might expect, some enemies do stay and fight, but others quickly beat a hasty retreat. It also allows for more enemies per conflict, as you’re now not expecting to fight all of them. You can—and you can win—but it wouldn’t be very efficient nor Assassin-like.

The major issue with the fear system, however, is that it’s not limited to just Brutal Takedowns. Evie and Jack both carry tools such as fear grenades and spikes. While Evie uses her spikes to pin enemies to the ground, so that their screams inspire terror in fellow thugs, Jack impales them as grim examples of the carnage to come. Meanwhile, fear grenades allow you to strike terror from behind cover without being seen. While great for clearing an area, they also felt overpowered, as a fully-stocked assassin never even has to unsheathe their blade, as they simply had to chuck a couple of grenades into the crowd.

These new elements come courtesy of a foundation built on the main game of Syndicate, though. Jack the Ripper takes place entirely in the two most northern districts of the main game’s map—Whitechapel and City of London—which unfortunately gives you a much smaller piece of land to cover, expediting much of the experience. Thanksfully, there are some new side missions to complete from associates both new and old, and three new Black Box missions to partake in. All told, though, Jack the Ripper might feel a tad repetitive for anyone who immersed themselves in the main game when it comes down to helping Evie track down Jack.

Although a little light on the content side, Assassin’s Creed Syndicate: Jack the Ripper is still a fun side excursion in the Assassin’s Creed universe. New mechanics and characters meshing with familiar ones from the main game make this DLC a fun experience overall—one that won’t disappoint most fans, all while filling in more gaps along the ever more convoluted timeline of Assassin’s Creed.

JackRunning640

Developer: Ubisoft Quebec • Publisher: Ubisoft • ESRB: M – Mature • Release Date: 12.17.15
7.5
Striking fear into Evie’s enemies may be a bit overpowered, and Jack may not be the formidable bad guy we hoped he would be, but this DLC is still a fun adventure that serves as a nice excuse to return to Assassin’s Creed’s take on Victorian-Era London.
The Good New fear mechanic provides a fresh take on familiar gameplay…
The Bad …that is also overpowered and too heavily relied on.
The Ugly Jack the Ripper would make the easiest Dickens Fair cosplay.
Assassin’s Creed Syndicate: Jack the Ripper is available on Xbox One, PS4, and PC. Primary version reviewed was for Xbox One. Review code was provided by Ubisoft for the benefit of this review. EGM reviews games on a scale of 1 to 10, with a 5.0 being average.