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.
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.
It’s no exaggeration to say that Final Fantasy VII had a major impact on me. It marked my introduction to JRPG’s and broke me of my N64 stockholm syndrome and its slow trickle of games to embrace the Playstation, the platform I look back on as the defining point of my gaming life. I spent so much time breeding chocobo’s and grinding that goddamn crashed Gelnika ship that I continued to play for months after I’d killed Sephiroth and avenged Aeris’ famous death. I hadn’t experienced anything like it. Then I came to despise it and what it became in the years after its release. I thought back on the tangled weave of Cloud’s angst and Sephiroths madness and the nonsense turns its plot takes. But when you can no longer remember why you dislike something, perhaps it’s time to return and look with fresh eyes.
The Japanese ad for The Saint’s Flow Energy Drink shows Pierce, the hip and youthful face of the Third Street Saints brand division, being mercilessly beaten on a basketball court by armed punks. The situation looks bleak, until an anthropomorphized purple can of Saints Flow descends from heaven and gives him the strength to throw off his attackers, unleash a savage volley of fists, kicks and a clothesline before shooting a Ryu-style fireball from his hands and closing out the performance by atomic dunking a basketball that appeared out of nowhere to a shower of neon stars. The Third Streets Saint’s lifestyle has been canned and is ready to be swallowed.
Note- This text refers to the Campaign only.
As the Queen of Blades defiantly stands over a besieged Terran city watching her Zerg swarm breach its defenses and tear humanity to shreds, you remember again that the woman once known as Sarah Kerrigan’s thirst for revenge has killed the last bit of it in herself. But for all the great and terrible power she once wielded, Sarah has been confined to a sterile white-walled lab, a woman once more. Fitting of the ravenous brood at its core, StarCraft II: Heart of the Swarm’s campaign evolves Wings of Liberty’s versatile DNA into a powerful new beast.
The first time we see Wei Shen is through the monitors of a Hong Kong PD drug sting as he tries to conduct a transaction. When the sale goes bad, we take control as he charges through a densely packed fish market chased by a squad of uniforms. Unable to elude arrest, he gets thrown into lock-up and reunites with his childhood friend Jackie, now a low-ranking member of the Sun On Yee, one of the most powerful criminal organizations in the city. Jackie promises to make an introduction. When Wei’s pulled into interrogation, we learn the setup for the story, and the linchpin connecting the game’s mechanics, systems and narrative; Wei Shen is an undercover cop, just back from fifteen years in America, trying to take down the triads. Sleeping Dogs is a bloody saga of betrayal and loyalty as Wei Shen takes down the Yakuza from the bottom up.
[JOURNAL ENTRY. APRIL 5.]
I decided to write down my stories, in case they become the last ones told.
My squad was taking a breather after a tough firefight when a giant green behemoth charged through the burnt out husk of a Japanese office building and battered the front door into splinters. I’d never seen this alien before. Several of my soldiers were completely unprepared for another engagement- their magazines down to their last bullets and vitals were starting to wane. They had been scattered about the map, rummaging through the crumpled bodies of the large-headed Sectoids and the businessman-impersonating Thinmen trying to scavenge whatever loot they could to take back to HQ before starting the search for the lone Thinman that had retreated out of sight. The brute ran for the cover of a nearby planter, trying to keep its head low and prepare for its attack.
Post-launch dlc has to be handled very carefully to succeed. Not only does every piece need to identify the strengths and weaknesses of its core game, but needs to be created in relation to the pieces that have already been released. In the two story additions to Mass Effect 3, we were given missions that were designed for very specific purposes- they expanded the universe fiction. Problem is, even though they do so in different ways, they’re both filling in gaps to a story that is already closed. The third piece is Bioware’s opportunity to get away from Mass Effect 3’s controversial ending and flex its creative muscle on something different. ‘Omega’ reminds us why Bioware are among the best storytellers in the industry.
When I try to make a concrete decision as to what my favorite game of all time is, the answer tends to change from day to day. More often than not, however, Bioshock is the first thing that comes to mind. My initial arrival in Rapture was a swift kick to the face, forever opening my eyes to how it feels to be in an atmosphere so thick I could taste it. Not since that precious moment so many years ago had I experienced a world so fully realized and enticing as presented in victorian Dunwall.
Why All We Needed Was More Dark Souls
If there even is a proper word for the confusing mixture of emotions I felt in the first 30 minutes of booting up the long-awaited add-on to last year’s utterly exhilarating Dark Souls, it’s not in my repertoire. What I do know, is I was immediately struck with a very profound childlike excitement that had me giddy, all due to the fact I was simply doing something new. Having spent well over 200 hours exploring the dense, beautiful and wholly unique world FromSoftware had granted me last year, I pretty much knew everything you could about Dark Souls proper. Every pressure-plate triggered trap, every well-hidden enemy, every nonsense attack a boss could throw at me. Every single obstacle the game could lay on me I had painfully experienced, triumphantly overcome, and gloriously mastered.