Believe it or not, the PlayStation 4 celebrated its 4th birthday last year, which meant Killzone Shadow Fall – a launch title for the console – did as well. The hype has come and gone. Guerrilla Games went on to create Horizon: Zero Dawn: a game that is not only widely considered better than Shadow Fall, but was hailed as one of the best titles of 2017. Yet here I am, writing about this practically ancient game as though anyone still cares what some pundit thinks about Shadow Fall at this point. Then again, there are still people playing its multiplayer, so obviously there’s some interest in the title. Plus, I just got a PS4, and this was one of the titles I traded my pack-in copy of Star Wars Battlefront II for. Sue me for having an urge to talk about it.
I’ll be up front about this: Tower 57 is one of those games that I just didn’t quite get. Now, don’t get me wrong: I enjoy twin-stick shooters. I also quite liked the dieselpunk aesthetic of the whole thing; it’s a style that you don’t see too often, and it was a nice change of pace. Plus, the pixel art was so intricately detailed that it made me want to kiss my fingers like a chef. And yet, the game was just…there. The story seemed like it wanted to be darkly humorous, but was largely bland and generic, with characters coming and going too fast to break out of a single personality dimension. The gameplay was straightforward and made perfect sense…until it didn’t. It’s a game which I continually felt like I should enjoy, but I was never able to truly cross the threshold into legitimately finding enjoyment in it. As a result, this is going to be one of those reviews that I write as much for myself as anyone else; I just need to get my thoughts in order to see what went wrong in Tower 57.
Sine Mora EX is a veritable melting pot of ideas. It’s a bullet-hell shmup that replaces lives and health bars with a timer. It weaves a grim narrative of war, rebellion, and genocide, all seen through the eyes of anthropomorphic animals. To top it all off, its creators include the Hungarian studio Digital Reality, Grasshopper Manufacture (known to many as Goichi “Suda51” Suda’s development house), and Akira Yamaoka (known for his Silent Hill soundtracks). Somehow, though, all these disparate elements combine to create a shooter that is challenging, beautiful, and consistently entertaining.
Absurdist humour is something that can be very difficult to pull off. If you push things too far, you risk alienating your audience, with the potential exception of the “lol, so random” crowd. If you don’t go far enough, most, if not all of the jokes will just fall flat, since (as the name implies), their humour comes from how utterly absurd they are. Add into the mix the complexity inherent in interactive media, and you have the delicate balancing act that is Jazzpunk.
Well, it’s officially 2017 around the world. The start of a new year. Which means that everyone’s looking back on the last year and going, “Well that was a bit toss, wasn’t it?” That is, except for the people who are taking the opportunity to look back at their fond memories from the year past, namely when it comes to video games. There were countless fantastic games that got released last year, so many of which I desperately wanted to try out. Unfortunately, as a university student, there are two things that I severely lack in: money and time. As a result, it is incredibly common that I have to watch as new releases are hyped, released, and enjoyed by the masses, while waiting patiently for the day that they inevitably go on sale and I actually have the time to sit down with them. Some of these games have been sitting in my library for months, awaiting their eventual installation. Others are on my wishlist, hoping to one day be added to my ever-growing backlog. Whatever the case, these are (in no particular order) the games that I wish I had gotten to in 2016. You can also consider this to be a “To play in 2017” list, if that’s your thing. Either way, you’ve probably all already played all of these and think I’m a pleb for not looking at them yet.
‘Twas the night before Christmas, and all through the house,
Not a sound could be heard, ‘cept the click of a mouse.
I tapped softly at keys, poking them one by one,
In hopes that my Christmas post soon would be done.
The video gaming industry can be a fascinating place full of continuously changing focuses. Case in point: Volume, a dystopian-themed sneak-‘em-up, comes courtesy of a studio whose last game was a platformer whose emotional story was told through an assortment of colourful rectangles. I think it’s safe to say that there’s a bit of a shift present; iterative follow-up project, this is not. However, that’s by no means a bad thing, and Volume serves as an excellent example of how trying new things can yield thoroughly impressive results.