The five destroyers in BAHRAM’s air armada equipped with particle cannons and support turrets are perfect for wiping out any who oppose the political faction, and only a high-performance super machine that combines an artificial intelligence with human ingenuity can overcome it. In Zone of the Enders: The 2nd Runner, you systematically breach this fleet by unleashing locked-on lasers and homing missiles, and melt the ships’ cores with point blank fire from your high-output Vulcan Cannon. The battle above Vascillia is an epic mission that requires man and machine to harmonize into one being, and represents the important relationship that has built between the two.Continue reading “Integrating With Zone of the Enders’ Man-Machine Interface”
Human consciousness required tools that let it produce abundant resources so people could transition from simple survival to prosperity, which allowed humanity to further discover the world and find a place in it. Tools advanced into machines given more sophisticated logic, motor, and communication systems through developments in electronics, networking, and artificial intelligence. But a world is like a person- the more it becomes one thing, the less it’s like something else. Nier: Automata examines how machines are becoming the new owners of our world but will continue a tragic human legacy, by using videogames to give us a glimpse at how machine logic is coding its own soul.Continue reading “The Soul in Nier: Automata’s Machine”
Early first person shooters created virtual proving grounds for an emerging digital warrior class to test their combat skills, but as games became more intricate, new player archetypes branched out. By the end of the Nintendo 64’s life, Rare had learned to construct complex environments built with infrastructure stalked by reactive guards, while providing players with a large toolset to deal with them. The product turned them into versatile special agents rather than warriors, culminating in 2000’s brilliant Perfect Dark.
Perfect Dark’s intricacies are apparent as early as the first level. Your mission to smuggle the defecting Dr. Carroll from dataDyne is easy on the lowest difficulty, only asking you to reach the bottom of its tower, but adds more objectives that explain the whistleblower’s actions from there. The opening helipad leads down to the executive floors and this large office with two women. If you quickly knock out the tall blonde calling for security you’ll get Cassandra De Vries necklace, smartly introducing dataDyne’s CEO.Continue reading “Running Perfect Dark’s Training Program”
Even after the snow had melted on the harsh planet E.D.N. III, Thermal Energy is such a scarce commodity that the scattered human factions are still locked in a brutal war for its reserves, a conflict that further leaves them vulnerable to attacks from the insectroid race of Akrids native to the land. Of course, when a load of T-Eng is being transported by train, a worm-like beast attacks that is so massive, it dwarfs the four people that are forced to fight it back, even with the racks of weapons littered about. As it takes out the rear cars and any player left behind, the only thing that can counter its immense size is the cumulative strength of those standing against it, all focusing their fire into its mouth and tender insides. And when the worm finally falls, the group makes off with the spoils. With its in-mission economy, Lost Planet 2 portrays an ecological system reminiscent of Frank Herbert’s Dune, showing that, on E.D.N., every second is a fight to survive. It’s a metaphor ripped from the history books of every life form that’s ever lived.
Guarding the outskirts of the anti-air gun early in Halo 3’s campaign is a quadrupedal Covenant tank called a Scarab. Stepping its spidery legs around a circular complex lined with missile pods, a large crane, and enough foot space to let half a dozen vehicles unload their artillery, the scarab is the largest working unit in the series. A far cry from Master Chief’s scripted encounter with it in Halo 2, this AI controlled enemy has a giant laser cannon and its own hit points, and is transporting a squad of Covenant sentries laying heavy fire. As you stare at it in awe, a question forms: how am I supposed to take that thing down? A couple ways. Focus all your fire on the hull and blow it away, or shoot its legs until they lower, fight your way to the power core, and set off a chain reaction. Both answers are possible in the arena littered with tools of mass destruction.
Sin & Punishment’s single best setpiece captures the essence and versatility of its design. With your character Airan on a platform zipping around a naval carrier fleet, you evade the barrage of artillery fire from massive aircraft carriers, dogfight squadrons of enemy aircraft, and bat missiles back at their launchers, while unleashing a constant stream of shots to send them to the bottom of the ocean, all as the world soars and reorients in full cinematic splendor. It’s one of the most exhilarating action spectacles of the generation and combines the best elements of the classic shooter and brawler genres into one unique game. The scene ends with the freedom fighter chasing down a comet-sized missile shot from low-orbit as it hurtles at your ally-turned-monster Saki.
Depending on whether you chose to play as X or Zero, the fight against Web Spider requires a different set of tactics. With his X-Buster, X can dash around the small jungle room until Spider descends from the canopy, wall jumping over the webs he shoots and firing from afar. With his Z-Sabre, Zero is forced to stay close to the bug on his line, dashing away from the web only to careen up and around over it in a circle and strike before your foe scrambles back to safety. The fight gets harder when the Repliforce member lays an electric grid and starts scurrying about the scene. Because of their different playstyles, the remaining seven robot masters will present X and Zero with a similarly different dynamic that test what the two machines, and the player at their controls, are made of.
The first portal back to Mars is guarded by an army of hellspawn trying to rip you limb from limb. Agile fireball throwing imps and dual wielding Mancubus, burly Hell Knights and rocket-launching Revenants all converge on your location, employing a wide assortment of tactics while you unleash the concussive blast of your shotgun and unload mag after mag from the assault rifle and unleash its’ micro missile alternate fire. You weave between shots and sidestep claws barely missing your face, jump to the stunned body of a Cacodemon and tear out its eye only to be knocked down and witness the centaur-like Baron of Hell’s fatal finishing blow. The fight is an exhilarating and tense struggle for your survival.
Contra: Hard Corps opens to a robotic army assaulting a sprawling future city only to be decimated by a charging tank that ejects your character guns blazing into an active warzone. Not only does this succinctly indicate where the games tonal priorities are, it’s also the designers giving you some honest advice: charge forward until every enemy is demolished. Hard Corps distilled Alien War’s brazen creativity down to its run and gun foundation, creating a single minded epic that is equal parts twitch shooter and blockbuster action flick.
Adam Freeland’s ‘Fear’ is an inspired anthem for the push into Rez’s fifth area. The true expression of its ideas, Rez uses its slow opening tempo to kick start a metaphor for the beats of early life, the sample ‘Fear is the mind killer’ scratched over the vacant landscape of a vast digital world as you blast a squadron of enemy planes out of the sky. The techno-trance composition builds as the environment does, the basic geometry evolving terrain and developing an ecosystem of flora and fauna. But it’s also a lyrical representation of its central theme. Rez is a sensory saga of sound and light, a metaphor for the pursuit of knowledge and the quest for enlightenment.