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Tatassticot
completed
Metroid Dread
This is gonna be a tough one. To be honest, this game forced me to re-organize my backloggd notation and create "4stars : very good in its genre"
Because I believe it's exactly what Dread is: really good in its genre. I cannot honestly state it is bad or things aren't well done, with the notable exception of music, which isn't not as as good as I think it might have been considering the production level, the production owner (Nintendo), the licence the game belongs to (Metroid) and the genre the game belongs to (Metroid-vania). Yet, can I say I consider it a good Metroid-vania? That's a good question.
To be fair, that's the first Metroid game I ever payed if we consider wandering arround completely lost in a 1st person metroid on the Wii at the age of 6 isn't something we can call a game experience. Nontheless, I know what metroid-vania are: I'm used to Castlevnias (Dawn of Sorrow, Order of Ecclesia, Bloodstained, Super IV) and I certainly know or/have played other games in the genre. About Castlevania: i consider the games I've played masterpieces. I frequently listen to their killer soundtrack.
Considering all things said above, my expectations were to discover a pinacle of the genre featuring a great soundtrack. As stated, soundtrack isn't great, but what's about gameplay?
Well, the 1st hour is... Beyond all expectations. It is carefuly crafted, it's in my opinion a near perfect 1st time user experience. You learn how to move, then how to fight. You're then introduced to simple rules establishing the world, its concepts, enemis and levels. Then you encounter the deadliest enemies and your introduced to the counter-attack system. You fight this enemi in a simplified boss fight. Then you're forced into a scary survival horror phase leading to a pursuit in which you have to run for your life.
This is as brilliant as stressful and exhausting. It voluntarly doesn't give you enough time to get confident with controls and mecanics. This is all for pace, and as I state in many of my reviews: pace is 90% of games pleasure.
If this boiling hot pace was maintained throughout all the adventure this game would have been one of the best ever made. Unfortunately, strange design choices lower the interest of the cat-and-mouse game between you and EMMIs (I think of the invisibility feature, which in my opinion is available too soon). That being said, the game's globaly well paced thanks to two major things: bosses and upgrades.
Bosses are very good in their vast majority. I have no complain about them. I'll even remember the magma core boss for a while considering how clear and joyous its patterns were. I also want to point out the submarine boss, which was more of a puzzle, which constituted a nice (nintendo) switch of pace. Unfortunately there are two things I found not-so-good about bosses. The first one is the final boss, which is interesting, but waaaaaaaay too long and difficult. The second one is something I honestly struggle to understand considering nintendo funded this game. The game's flooded with really poor designed sub-bosses you'll fight counteless times. Neither chozo soldiers nor Mawkin warriors are fun to fight. Even if I was convinced it was something of the past, the game spams two of them in a small area to create "novelty, challenge" -> this only create a urge to pull-out the cartridge and sell it to the nearest videogame shop.
Upgrades are, I think, the issue I have with this game. There are two types of uprgades: the ones that actually are upgrades that unlock gameplay, and the ones that aren't upgrades. The first one are cool: walking on the wall, running very fast, charging your shots... All this unlocks new possibilities and empowers both the character and the player. The second one are smokescreen that actually change nothing to the game except allowing you to open a door : piercing shots are just shots, stronger missiles are just missiles, ice missiles are just missiles.
All of this is very disturbing considering upgrades are at the core of metroid-vania designs. I mean, when you unlock something in castlevania, you either use it till the very end (i.e : double jump), either you CAN you use it if you want: most of the time, it's a new weapon with a new pattern, which mean you can use it outside of its straight mandatory use of opening a door. Metroid doesn't feature that, which mean skillset strangely appear... Weak, in comparison of a Castlevania. From the begining to the end of Dread, all you do is shooting and walking, which isn't the same in Castlevania. This bother me, because i'm scared i'm in a "I knew Castlevania when I was a kid so I love it and cannot consider it inferior to other things" mood. But I honnestly think castlevania is much more interesting on this point than Metroid is.
This is a much bigger issue than it first seem because here's the catch: why would you lock a door with a key you've unlocked on level 2 (let's say, invisibility) during level 8? There's no point in it: the devs know it, that's why they didn't do so. But this creates the following issue: upgrade are perishable. If the level designer doesn't specifically design a puzzle arround the running ability, then there's no point to run. That's exaclty what happens. As a consequence, the running ability becomes useless since the 4th level is done. This is a pity.
I must also point out what I'll call "lame" upgrades, like "infinite jump, but only on a horizontal line under water when the moon is half and it's 4am". This seems like... Useless. This seems like exactly what it is after i talked to a friend who knows the serie: legacy. Dread is drowned under the serie's legacy: it is too scared of disappointing to try something new. As a matter of fact, it is even too scared of its legacy to try NOT to put somehting in the game. What's the point of infinite jump in an horizontal line under water? None. But if we don't implement it, Jean-Michel-fan-of-Metroid will complain. So we do. This leads to difficult to use mecanics, like infinite jumps you have to time on who knows what (even the game says "you have to execute it on a precise timing" but doesn't tells you what timing it is lol).
So yeah. A very, very good action game. Very difficult too: in fact I think it's too hard as I think nearly all metroid-vanias are too hard and I don't know why we keep setting their difficulty like this. In my opinion, a game that use less smartly and with less diversity it's "action" side compared to Castlevanias. It trades it for horror sequences that are wonderful at the beginning of the game, better plateform sequences and very cool high-speed chase phases.
Not an absolute must have on Switch, but definitly a good pick.
But yeah, musics are disappointing.
Because I believe it's exactly what Dread is: really good in its genre. I cannot honestly state it is bad or things aren't well done, with the notable exception of music, which isn't not as as good as I think it might have been considering the production level, the production owner (Nintendo), the licence the game belongs to (Metroid) and the genre the game belongs to (Metroid-vania). Yet, can I say I consider it a good Metroid-vania? That's a good question.
To be fair, that's the first Metroid game I ever payed if we consider wandering arround completely lost in a 1st person metroid on the Wii at the age of 6 isn't something we can call a game experience. Nontheless, I know what metroid-vania are: I'm used to Castlevnias (Dawn of Sorrow, Order of Ecclesia, Bloodstained, Super IV) and I certainly know or/have played other games in the genre. About Castlevania: i consider the games I've played masterpieces. I frequently listen to their killer soundtrack.
Considering all things said above, my expectations were to discover a pinacle of the genre featuring a great soundtrack. As stated, soundtrack isn't great, but what's about gameplay?
Well, the 1st hour is... Beyond all expectations. It is carefuly crafted, it's in my opinion a near perfect 1st time user experience. You learn how to move, then how to fight. You're then introduced to simple rules establishing the world, its concepts, enemis and levels. Then you encounter the deadliest enemies and your introduced to the counter-attack system. You fight this enemi in a simplified boss fight. Then you're forced into a scary survival horror phase leading to a pursuit in which you have to run for your life.
This is as brilliant as stressful and exhausting. It voluntarly doesn't give you enough time to get confident with controls and mecanics. This is all for pace, and as I state in many of my reviews: pace is 90% of games pleasure.
If this boiling hot pace was maintained throughout all the adventure this game would have been one of the best ever made. Unfortunately, strange design choices lower the interest of the cat-and-mouse game between you and EMMIs (I think of the invisibility feature, which in my opinion is available too soon). That being said, the game's globaly well paced thanks to two major things: bosses and upgrades.
Bosses are very good in their vast majority. I have no complain about them. I'll even remember the magma core boss for a while considering how clear and joyous its patterns were. I also want to point out the submarine boss, which was more of a puzzle, which constituted a nice (nintendo) switch of pace. Unfortunately there are two things I found not-so-good about bosses. The first one is the final boss, which is interesting, but waaaaaaaay too long and difficult. The second one is something I honestly struggle to understand considering nintendo funded this game. The game's flooded with really poor designed sub-bosses you'll fight counteless times. Neither chozo soldiers nor Mawkin warriors are fun to fight. Even if I was convinced it was something of the past, the game spams two of them in a small area to create "novelty, challenge" -> this only create a urge to pull-out the cartridge and sell it to the nearest videogame shop.
Upgrades are, I think, the issue I have with this game. There are two types of uprgades: the ones that actually are upgrades that unlock gameplay, and the ones that aren't upgrades. The first one are cool: walking on the wall, running very fast, charging your shots... All this unlocks new possibilities and empowers both the character and the player. The second one are smokescreen that actually change nothing to the game except allowing you to open a door : piercing shots are just shots, stronger missiles are just missiles, ice missiles are just missiles.
All of this is very disturbing considering upgrades are at the core of metroid-vania designs. I mean, when you unlock something in castlevania, you either use it till the very end (i.e : double jump), either you CAN you use it if you want: most of the time, it's a new weapon with a new pattern, which mean you can use it outside of its straight mandatory use of opening a door. Metroid doesn't feature that, which mean skillset strangely appear... Weak, in comparison of a Castlevania. From the begining to the end of Dread, all you do is shooting and walking, which isn't the same in Castlevania. This bother me, because i'm scared i'm in a "I knew Castlevania when I was a kid so I love it and cannot consider it inferior to other things" mood. But I honnestly think castlevania is much more interesting on this point than Metroid is.
This is a much bigger issue than it first seem because here's the catch: why would you lock a door with a key you've unlocked on level 2 (let's say, invisibility) during level 8? There's no point in it: the devs know it, that's why they didn't do so. But this creates the following issue: upgrade are perishable. If the level designer doesn't specifically design a puzzle arround the running ability, then there's no point to run. That's exaclty what happens. As a consequence, the running ability becomes useless since the 4th level is done. This is a pity.
I must also point out what I'll call "lame" upgrades, like "infinite jump, but only on a horizontal line under water when the moon is half and it's 4am". This seems like... Useless. This seems like exactly what it is after i talked to a friend who knows the serie: legacy. Dread is drowned under the serie's legacy: it is too scared of disappointing to try something new. As a matter of fact, it is even too scared of its legacy to try NOT to put somehting in the game. What's the point of infinite jump in an horizontal line under water? None. But if we don't implement it, Jean-Michel-fan-of-Metroid will complain. So we do. This leads to difficult to use mecanics, like infinite jumps you have to time on who knows what (even the game says "you have to execute it on a precise timing" but doesn't tells you what timing it is lol).
So yeah. A very, very good action game. Very difficult too: in fact I think it's too hard as I think nearly all metroid-vanias are too hard and I don't know why we keep setting their difficulty like this. In my opinion, a game that use less smartly and with less diversity it's "action" side compared to Castlevanias. It trades it for horror sequences that are wonderful at the beginning of the game, better plateform sequences and very cool high-speed chase phases.
Not an absolute must have on Switch, but definitly a good pick.
But yeah, musics are disappointing.
4 days ago
Tatassticot
reviewed
Lethal Company
A very audacious concept I would have never bet on. Oddly, It works very well.
This game turns the survival horror, which is by essence THE solo game genre by excellence, into a multiplayer game. IMHO, This is done by:
- Creating a very simple core gameplay: simples moves and a single very simple objective (gather stuff)
This create space for other aspects to thrive. Fortunately, that's exactly what happens. You have to do and focus on very very very simple things, and you must do them by very very very simple means. This establish a routine. Fortunately, as anybody know, breaking routine is one the basis of horror: that's why even though glasses are safe places in The Evil Within, I was always moving forward aiming when I was hearing Debussy's Clair de Lune.
- Isolating players spatialy and relatively to each others
This is due to the objective: searching for stuff in labyrinth. This is served by four level design ideas.
1 - Randomness, that even though it sometimes creates really bad level design, it most of the time creates decent situations that keep us on our toes as they are strangely made and unknown.
2 - "Mischievous things", such as very dense fogs leading to deadly cliffs, near-invisible quicksands, plateform sequences in a game clearly not made for plateforms, Flooded areas...
3 - "Evolving design" such as the said flooded areas, that are near empty in the morning and near uncrossable in the evening. Enemi spawn is also determined by how much time you've spent on the level.
4 - "Two zones design" that put the player's progession in sequence: first you have to reach the lootable area, then you have to loot it, then you have to find your way backward, eventually you have to reach your starting point. This constitute juste as much chances for the game to separate you from your comrades, whom you don't know where they are nor what they are doing nor if they're even still alive (like Glados).
- Relying on efficient horror mechanics
I speak of game design: it's very efficient. As for pure gameplay mecanics and horror esthetics, I must say the game benefits from a conderful treatment of lights and darkness. Each enemi is unique in their behaviour, which is wonderful in two ways. First you have to understand their behaviour, which implies a lot of risks and mistakes. Then, you have to play arround these enemies, which isn't always possible. Some enemies are based on the sound you make, othesr on if they are or not on your sight, others on if you move or not. Eventually, this is a vast and complexe imbricated web of behaviours players and enemies have in a constrainted level design.
- Designing the game's specificity arround communications
This is the game's key mecanics. It's very good. Your mic is always active. Your comrades can hear you within a certain distance, as does the rest of world, hostile creatures included. This is a wonderful way of distracting each other, as conversations go on through routine, which is a chance for mistakes to happen. I addition, everything does a sound in Lethal Company: I must say the sound design is good. Some things tend to do noise, so you use them to reassure yourself, break the monotony and eventually distract everybody (i.e: horns). Some other things do really creepy horror sounds from various sub-horror genres: turrets and mines remind me of Half-Life despair while blob are as slow as inlectuable and more traditional monsters make more traditional screams, swallows, scrapings and tumblings. The game gains a new dimension since you unlock walkie talkies, which mean one operaator can stay at the base and "supervise" the team the best he can. If so, you hurt another fun wall: humans are incapable of communicating efficiently with each other with limited context. I.E: "go on your right, but not exactly your right, like the diagonal right from your current position... Oh ok, you've turned your head... Right."
- Making the game accessible tone-wise, by adding a lot of comedy in it
This makes the game appealing for social groups: nobody wants to live a bad evening, especially when gathered with friends. Considering this and some members of the party might be in a lower mood, multiplayer games have to be softer and more easy to take than solo games. It appears comedy is a powerful tool to do so.
Overall accessibility and benevolence is also really great in lethal Company. For instance, it features a setting adapted for arachnophobes players. Plus, failure isn't a pain, as it either allow to win as a team, either to restart doing pretty much the same thing you were doing before your failure.
- Focusing on small game sessions
This is great to free pressure and leading the players in a "1 more then I'll go to bed" loop, especially considering there will always be this one guy on the back who doesn't want to stop playing and will encourage the group not to leave him alone.
Bonus point: I do like its visuals. I'm glad it takes a lot of inspiration from both cell-shading and the PS1 era.
This game turns the survival horror, which is by essence THE solo game genre by excellence, into a multiplayer game. IMHO, This is done by:
- Creating a very simple core gameplay: simples moves and a single very simple objective (gather stuff)
This create space for other aspects to thrive. Fortunately, that's exactly what happens. You have to do and focus on very very very simple things, and you must do them by very very very simple means. This establish a routine. Fortunately, as anybody know, breaking routine is one the basis of horror: that's why even though glasses are safe places in The Evil Within, I was always moving forward aiming when I was hearing Debussy's Clair de Lune.
- Isolating players spatialy and relatively to each others
This is due to the objective: searching for stuff in labyrinth. This is served by four level design ideas.
1 - Randomness, that even though it sometimes creates really bad level design, it most of the time creates decent situations that keep us on our toes as they are strangely made and unknown.
2 - "Mischievous things", such as very dense fogs leading to deadly cliffs, near-invisible quicksands, plateform sequences in a game clearly not made for plateforms, Flooded areas...
3 - "Evolving design" such as the said flooded areas, that are near empty in the morning and near uncrossable in the evening. Enemi spawn is also determined by how much time you've spent on the level.
4 - "Two zones design" that put the player's progession in sequence: first you have to reach the lootable area, then you have to loot it, then you have to find your way backward, eventually you have to reach your starting point. This constitute juste as much chances for the game to separate you from your comrades, whom you don't know where they are nor what they are doing nor if they're even still alive (like Glados).
- Relying on efficient horror mechanics
I speak of game design: it's very efficient. As for pure gameplay mecanics and horror esthetics, I must say the game benefits from a conderful treatment of lights and darkness. Each enemi is unique in their behaviour, which is wonderful in two ways. First you have to understand their behaviour, which implies a lot of risks and mistakes. Then, you have to play arround these enemies, which isn't always possible. Some enemies are based on the sound you make, othesr on if they are or not on your sight, others on if you move or not. Eventually, this is a vast and complexe imbricated web of behaviours players and enemies have in a constrainted level design.
- Designing the game's specificity arround communications
This is the game's key mecanics. It's very good. Your mic is always active. Your comrades can hear you within a certain distance, as does the rest of world, hostile creatures included. This is a wonderful way of distracting each other, as conversations go on through routine, which is a chance for mistakes to happen. I addition, everything does a sound in Lethal Company: I must say the sound design is good. Some things tend to do noise, so you use them to reassure yourself, break the monotony and eventually distract everybody (i.e: horns). Some other things do really creepy horror sounds from various sub-horror genres: turrets and mines remind me of Half-Life despair while blob are as slow as inlectuable and more traditional monsters make more traditional screams, swallows, scrapings and tumblings. The game gains a new dimension since you unlock walkie talkies, which mean one operaator can stay at the base and "supervise" the team the best he can. If so, you hurt another fun wall: humans are incapable of communicating efficiently with each other with limited context. I.E: "go on your right, but not exactly your right, like the diagonal right from your current position... Oh ok, you've turned your head... Right."
- Making the game accessible tone-wise, by adding a lot of comedy in it
This makes the game appealing for social groups: nobody wants to live a bad evening, especially when gathered with friends. Considering this and some members of the party might be in a lower mood, multiplayer games have to be softer and more easy to take than solo games. It appears comedy is a powerful tool to do so.
Overall accessibility and benevolence is also really great in lethal Company. For instance, it features a setting adapted for arachnophobes players. Plus, failure isn't a pain, as it either allow to win as a team, either to restart doing pretty much the same thing you were doing before your failure.
- Focusing on small game sessions
This is great to free pressure and leading the players in a "1 more then I'll go to bed" loop, especially considering there will always be this one guy on the back who doesn't want to stop playing and will encourage the group not to leave him alone.
Bonus point: I do like its visuals. I'm glad it takes a lot of inspiration from both cell-shading and the PS1 era.
4 days ago
Tatassticot
commented on
Tatassticot's
review of
Stardew Valley
I get it, I actually think you're totally right. Indeed, there are no failure in this game, which ultimately mean nothing is a threat and nothing should stress you. But here's the catch: having no failure doesn't mean to progress. Technically, you can play this game without touching your keyboard: the time will go on and everything will be right for you. But will it be fun ?
IMHO I consider the player to be... I was about to say never but I'll say very rarely wrong. If the player does something or feels something, the game should consider it. That's all the point of horror games, which include the player's behaviors in their design.
I feel like Stardew Valley doen't care at all about me (even though he gives me 50 wood some mornings) in a way strangely comparable to the souls games. It appears to be a feeling a hate (I speaking for myself here, I'm nobody else spokesman). Because I hate this feeling, I become vicious: I start to wonder if it is "correct" to give the player a tree to plant considering he'll only be able to harvest it in 32 IRL hours. I mean, is it a sort of punishment? Then, I extrapolate, and I come to the conclusion this precise design of time-locking things behind waaaaaaaaay too long to pass walls is a basis of Stardew. For instance, you have to beat the community center to obtain key items in the game. Some items appear only in very specific condition: let's say during THE event of A season (i.e: ice carrots). If you miss it, your solution to retry you chance is simple: wait for your doom, during 32h. I mean, presented like it, it's awful isn't it ? ^^ I know I'm not fair with the game when I think like that, but I actually sometimes really feel that this kind of design is deliberately painful. Fortunately, most people don't think like me: the game's super popular and sold over 20M copies, which is great
IMHO I consider the player to be... I was about to say never but I'll say very rarely wrong. If the player does something or feels something, the game should consider it. That's all the point of horror games, which include the player's behaviors in their design.
I feel like Stardew Valley doen't care at all about me (even though he gives me 50 wood some mornings) in a way strangely comparable to the souls games. It appears to be a feeling a hate (I speaking for myself here, I'm nobody else spokesman). Because I hate this feeling, I become vicious: I start to wonder if it is "correct" to give the player a tree to plant considering he'll only be able to harvest it in 32 IRL hours. I mean, is it a sort of punishment? Then, I extrapolate, and I come to the conclusion this precise design of time-locking things behind waaaaaaaaay too long to pass walls is a basis of Stardew. For instance, you have to beat the community center to obtain key items in the game. Some items appear only in very specific condition: let's say during THE event of A season (i.e: ice carrots). If you miss it, your solution to retry you chance is simple: wait for your doom, during 32h. I mean, presented like it, it's awful isn't it ? ^^ I know I'm not fair with the game when I think like that, but I actually sometimes really feel that this kind of design is deliberately painful. Fortunately, most people don't think like me: the game's super popular and sold over 20M copies, which is great
4 days ago
Tatassticot
commented on
Tatassticot's
review of
Wanted: Dead
Bosses and chara-design are deeply inspired by Kojima's work, as were some parts of former Team ninja games. It's quite obvious when your familiar with both studios's work. That being say, I consider taking inspiration from masterpieces such as MGS for boss design a very good idea ;)
About difficulty spikes, they're honestly absolutely awful. IMHO they constitute the worse default of the game, waaaaaaaay before it's not so good technique or other issues. As far as I am concerned, I hesistated to stop playing 4 times through all the game : during the biggest room of the 1st stage, on the 2nd boss, just before the club boss and on the final boss. My lover didn't pass the 1st stage. I'm not sure of it because I'm not an expert of these games, but I think it's the type of difficulty you might encounter in Souls games.
My advices are the following ones :
- Use the parry system. Especially against exosoldiers and ninjas.
- Exploit enemi weaknesses. As stated in the review: cqc fighters are weak to guns whilst long range soldiers are weak to katana slashs.
- Take a break. If you cannot beat Richter, go to bed and try it again the following day. It worked for me.
About difficulty spikes, they're honestly absolutely awful. IMHO they constitute the worse default of the game, waaaaaaaay before it's not so good technique or other issues. As far as I am concerned, I hesistated to stop playing 4 times through all the game : during the biggest room of the 1st stage, on the 2nd boss, just before the club boss and on the final boss. My lover didn't pass the 1st stage. I'm not sure of it because I'm not an expert of these games, but I think it's the type of difficulty you might encounter in Souls games.
My advices are the following ones :
- Use the parry system. Especially against exosoldiers and ninjas.
- Exploit enemi weaknesses. As stated in the review: cqc fighters are weak to guns whilst long range soldiers are weak to katana slashs.
- Take a break. If you cannot beat Richter, go to bed and try it again the following day. It worked for me.
5 days ago
Tatassticot
commented on
Ardos's
review of
Eastward
I see! As far as my experience goes, I believe what you describe about narration is something quite usual in JRPG-typed games. Nothing special there ;)
Thank you very much for the combat system description. I think I should take a look at it as it can be interesting and I enjoy action combat systems.
Thank you very much for the combat system description. I think I should take a look at it as it can be interesting and I enjoy action combat systems.
5 days ago
Tatassticot
commented on
Ardos's
review of
Pikmin 3 Deluxe
Indeed RTS' competitive scene are as impressive as absolutly incomprehensible for non-initiated spectators, as are pretty much any esport scene are. As for myself, that's not what I find interessting in RTS. What is thrilling when I playan RTS game is the continuous feeling of being overwhelmed by events happening simultaneously and somehow you manage to adapt and find a way to reach victory. This is IMHO a kind of stress quite similar to what we can find in survival horrors. I know you've played The Evil Withn, consider it's the same type of sequences following each other, in which you have two bullets to deal with three enemies. That's stressful and exhausting, but that's why it's so interessting!
I am glad you'll take a look at AOE3 at some point as I know it isn't attractive at all at the first glance, but I also know how much fun it can be as soon as we get into the game.
Arf, I've forgotten that your 3DS was down! My apologies. I press f for respect.
I am glad you'll take a look at AOE3 at some point as I know it isn't attractive at all at the first glance, but I also know how much fun it can be as soon as we get into the game.
Arf, I've forgotten that your 3DS was down! My apologies. I press f for respect.
5 days ago
Tatassticot
reviewed
Valkyria Chronicles 4
What a game what a game what a GAME!
I played the first Valkyria Chronicles in 2016 without ending it because of highschool exams at that time. Nonetheless, I never forget it: Alicia was my desktop wallpaper for years and I considered this game the pinacle of the genre waaaaaaaaay ahead of Xcom for instance.
I bought this game before my switch and fell instantly in love with it. I mean, there's a shiba with a cap on the box, how could I resist? I started it on august 2022 and finished it, 70+ hours later, the 1st march of 2024.
Where do I start? I'm kidding, the only thing that matters is gameplay. It is... Tasteful. Extatic. Carefully crafted. Polished. Subtle.
The game's a TPS-Tactical-RPG. You control a squad during an alternative WWII leading its way through axis troops using two weapons: guns and minds. At the beginning of your round your given action points. You can spend one to control one of your squad member. If you do so, the game stop being turn based to become real-time based until your character has done an action (disarming a bomb, firing its rifle, launching a grenade, healing its wounds...) and/or is exhausted.
This. This smart, subtle game design tweaks, in which actions aren't solely random based (as they are in most Tactical games) but are also skill based (you have to aim before shooting, carefully watch for your step to not be seen/ to not walk on a mine...) is -there I say it- one of the best idea of game design I have ever seen in my life. It brings a ton of dynamism to the fights, as well as a massive amount of tactical depth. For instance, moving your sniper to the top of a building makes a lot more sense than it does in Xcom, because in Valkyria, doing so actually CHANGES the perspective from which your soldier sees the enemies, which means it changes the actions your soldier can do (aiming for the head instead of the belly, aiming for a contextualized action like shooting an explosive barrel, retreating because you discover 5 more enemies that were hidden before...)
So, this is the basis of the franchise. It was fun in 2008, believe me it is still fun nowaday. So what's new gameplay-wise? Well, aside from new characters (I'll speak about that below), the main novelty is... Mortars! Yay! Litteraly a brand new dimension: now, placing your soldiers under roofs is crucial. Interceptions, which are automatic counterattacks of soldiers during real time phases, are totally changed: you don't want to go through a field covered by mortars. Mortars can also attack tanks, neutralizing their tracks and dealing them moderate to major damages. Eventually, mortars redefine the role of snipers, that are now either more short-range semi-shocktrooper capable of picking key units, either very long range pickers very useful to counter enemy mortars.
This is tasty. But that's not all. Because you know, sega can be generous. Now, every class (there are 6 of them) can equip three different weapons slightly modifying the specialty of the soldier. In addition, mid game, you receive a brand new side weapon for each class that redefine the way they're played. Scouts become semi long range soldier capable of destroying covers with their grenade launcher. Shoctroopers gain the ability to clean very large areas thanks to flame throwers. Anti-tank units can become less specialized in anti-tank job and much more deadly for infantry troops.
Did I talk about tanks? I didn't talk about tanks. Some units are tanks. Tanks are armoured: They're essenstial to protect your unit and charge strong enemi units. Unfortunatley, they're large: there are areas they canno't reach, and you must watch for anti tank mines as they are deadly for your tracks and healthpoints. This 4th episode adds 2 mores tanks to the game. One of them is capable of transporting troop, which is again the best idea they could have had. It redefines your game plan between small squads: the scout squad going forward in a light armoured tank and the big guns following as fast as they can.
A lead and promotion system is included. you can define which caracter of your squad is a leader, and then you can use leaders to move several units in a single move. This again is very pleasant and subtle.
All this wonderful gameplay is deserved by top-tier level design. Objectives are varied. Maps are great. They're re-used a ton of times in very clever ways. The pace is MAMA WAHOU I LIKE IT. Really, this is a wonderful action experience...
...Deserved by a wonderful RPG experience! Each of your soldier is actually someone. That is great storywise (I'll get to it better), but that's also great gameplay-wise. Because people are people. They aren't perfect. Some people are distracted for instance. That mean they can loose their ammo on the battlefield. Some other people are racist. That means if you put them at the immediate proximity of darcsen (the quivalent of real life jewish people), they'll be debuffed. Some people like to tchi-tchat, which lower their precision.
But of course people also have qualities. Being daredevil is quality on the battlefield: it allows you to play with your life in the worst circustances. Being sadistic, or full of hatred toward the enemy can also be a wonderful quality (I think you begin to see why this game is also perfect narratively-wise). The consequence of all of it is that my favourite soldier is a nazi. This is morally interesting. I love you Viola. Yeah, i love you too Vancey. Yeah, I love you too Lily. I love you all.
All these gameplay traits are served by wonderful chara-design, which lead to a wonderful progression system. Honnestly, it is one of if not the best chara design I have seen in... There again certainly my entire life. It is Kojima-tiers. For instance, a sniper is bald. Being bald reflects light: I know it, I'm bald myself depsite being 25. This character has a debuff in discretion because of its chara design. It is as clever as funny. A girl wears an iron mask and helmet. Consequences: she barely cannot see. Consequences bis: she is immuned to critical hits on headshots. A french girl is -what else- a professionnal swordwoman. It increases its damage in close quarter combat, but decreases its precision overall. My personnal favorite "little story between the gameplay" is the following one. A female character has the following trait: Unintentional flirt. What does it do? It lowers its avoidance when she crouches. Translation: she has a very nice butt. Let's be honnest, it is funny and smart.
As stated before, this also features a wonderful progression system. If you play enough with your favourite soldier, he'll rank up. Once he reaches the grade of caporal, you unlock his "squad story". A squad story is a dedicated story and level, aside the main quest, that explores a part of the character's background aswell as the friends he teams with. Of course, everything is very well written, using characters personalities to establish interesting situation varied by their tone and objectives. Once you've beat the situation, characters learn from their defaults and mistakes. As a consequences, their affinities with other squad member change, as well as their traits. For instance, a japan undercover spy that cannot hold its secret anymore (and is addicted to men's pheromons but that's another sotry) is much more relaxed once its secret is discovered: its debuffs change for buffs. Another example is a constantly drunk shocktrooper that remembers she's actually a former elite soldier, which unlock its inner potential in combat (instead of simply getting in a etyl comat in the middle of a fight lmao)
The main story and main character are great. I think they're a little bit, but just a little bit under Valkyria Chronicles 1 characters (I mean, there was a massive sergent weighting 200kg who was fond of vegetables in the 1st game), which actually means they're above pretty much any game in the industry. Story wise, I think it's a little bit under the 1st game aswell, which showed harsh things such as concentration camps in a very japanese way of talking about war (which mean a way of talking about war as it really is: a catastrophe), but it nonetheless is very appealing. It namely deals with the military AND civilian use of nuclear technology in a way I'll never forget. There are very smart twists in the human relations, as well as a full development of the world. Antagonists are, imho, very human, which makes them waaaay more terrifying and interesting. I really want to talk more on this, but this imply spoiling so I won't : go play this game, we'll talk later.
Did I mention both graphics and sounds are 10/10? They are.
There are virutaly no reason why you should'nt play this game if your just a bit into videogames, japanese games and/or tactical RPGs. As for myself, I consider it the pincale of the genre. It is a masterpiece beyond the materpieces. It has earned the temporary spot on my favourite games list on backloggd, taking the place of Katamari Damacy (which you should play aswell).
Have a nice day, and play Valkyria
I played the first Valkyria Chronicles in 2016 without ending it because of highschool exams at that time. Nonetheless, I never forget it: Alicia was my desktop wallpaper for years and I considered this game the pinacle of the genre waaaaaaaaay ahead of Xcom for instance.
I bought this game before my switch and fell instantly in love with it. I mean, there's a shiba with a cap on the box, how could I resist? I started it on august 2022 and finished it, 70+ hours later, the 1st march of 2024.
Where do I start? I'm kidding, the only thing that matters is gameplay. It is... Tasteful. Extatic. Carefully crafted. Polished. Subtle.
The game's a TPS-Tactical-RPG. You control a squad during an alternative WWII leading its way through axis troops using two weapons: guns and minds. At the beginning of your round your given action points. You can spend one to control one of your squad member. If you do so, the game stop being turn based to become real-time based until your character has done an action (disarming a bomb, firing its rifle, launching a grenade, healing its wounds...) and/or is exhausted.
This. This smart, subtle game design tweaks, in which actions aren't solely random based (as they are in most Tactical games) but are also skill based (you have to aim before shooting, carefully watch for your step to not be seen/ to not walk on a mine...) is -there I say it- one of the best idea of game design I have ever seen in my life. It brings a ton of dynamism to the fights, as well as a massive amount of tactical depth. For instance, moving your sniper to the top of a building makes a lot more sense than it does in Xcom, because in Valkyria, doing so actually CHANGES the perspective from which your soldier sees the enemies, which means it changes the actions your soldier can do (aiming for the head instead of the belly, aiming for a contextualized action like shooting an explosive barrel, retreating because you discover 5 more enemies that were hidden before...)
So, this is the basis of the franchise. It was fun in 2008, believe me it is still fun nowaday. So what's new gameplay-wise? Well, aside from new characters (I'll speak about that below), the main novelty is... Mortars! Yay! Litteraly a brand new dimension: now, placing your soldiers under roofs is crucial. Interceptions, which are automatic counterattacks of soldiers during real time phases, are totally changed: you don't want to go through a field covered by mortars. Mortars can also attack tanks, neutralizing their tracks and dealing them moderate to major damages. Eventually, mortars redefine the role of snipers, that are now either more short-range semi-shocktrooper capable of picking key units, either very long range pickers very useful to counter enemy mortars.
This is tasty. But that's not all. Because you know, sega can be generous. Now, every class (there are 6 of them) can equip three different weapons slightly modifying the specialty of the soldier. In addition, mid game, you receive a brand new side weapon for each class that redefine the way they're played. Scouts become semi long range soldier capable of destroying covers with their grenade launcher. Shoctroopers gain the ability to clean very large areas thanks to flame throwers. Anti-tank units can become less specialized in anti-tank job and much more deadly for infantry troops.
Did I talk about tanks? I didn't talk about tanks. Some units are tanks. Tanks are armoured: They're essenstial to protect your unit and charge strong enemi units. Unfortunatley, they're large: there are areas they canno't reach, and you must watch for anti tank mines as they are deadly for your tracks and healthpoints. This 4th episode adds 2 mores tanks to the game. One of them is capable of transporting troop, which is again the best idea they could have had. It redefines your game plan between small squads: the scout squad going forward in a light armoured tank and the big guns following as fast as they can.
A lead and promotion system is included. you can define which caracter of your squad is a leader, and then you can use leaders to move several units in a single move. This again is very pleasant and subtle.
All this wonderful gameplay is deserved by top-tier level design. Objectives are varied. Maps are great. They're re-used a ton of times in very clever ways. The pace is MAMA WAHOU I LIKE IT. Really, this is a wonderful action experience...
...Deserved by a wonderful RPG experience! Each of your soldier is actually someone. That is great storywise (I'll get to it better), but that's also great gameplay-wise. Because people are people. They aren't perfect. Some people are distracted for instance. That mean they can loose their ammo on the battlefield. Some other people are racist. That means if you put them at the immediate proximity of darcsen (the quivalent of real life jewish people), they'll be debuffed. Some people like to tchi-tchat, which lower their precision.
But of course people also have qualities. Being daredevil is quality on the battlefield: it allows you to play with your life in the worst circustances. Being sadistic, or full of hatred toward the enemy can also be a wonderful quality (I think you begin to see why this game is also perfect narratively-wise). The consequence of all of it is that my favourite soldier is a nazi. This is morally interesting. I love you Viola. Yeah, i love you too Vancey. Yeah, I love you too Lily. I love you all.
All these gameplay traits are served by wonderful chara-design, which lead to a wonderful progression system. Honnestly, it is one of if not the best chara design I have seen in... There again certainly my entire life. It is Kojima-tiers. For instance, a sniper is bald. Being bald reflects light: I know it, I'm bald myself depsite being 25. This character has a debuff in discretion because of its chara design. It is as clever as funny. A girl wears an iron mask and helmet. Consequences: she barely cannot see. Consequences bis: she is immuned to critical hits on headshots. A french girl is -what else- a professionnal swordwoman. It increases its damage in close quarter combat, but decreases its precision overall. My personnal favorite "little story between the gameplay" is the following one. A female character has the following trait: Unintentional flirt. What does it do? It lowers its avoidance when she crouches. Translation: she has a very nice butt. Let's be honnest, it is funny and smart.
As stated before, this also features a wonderful progression system. If you play enough with your favourite soldier, he'll rank up. Once he reaches the grade of caporal, you unlock his "squad story". A squad story is a dedicated story and level, aside the main quest, that explores a part of the character's background aswell as the friends he teams with. Of course, everything is very well written, using characters personalities to establish interesting situation varied by their tone and objectives. Once you've beat the situation, characters learn from their defaults and mistakes. As a consequences, their affinities with other squad member change, as well as their traits. For instance, a japan undercover spy that cannot hold its secret anymore (and is addicted to men's pheromons but that's another sotry) is much more relaxed once its secret is discovered: its debuffs change for buffs. Another example is a constantly drunk shocktrooper that remembers she's actually a former elite soldier, which unlock its inner potential in combat (instead of simply getting in a etyl comat in the middle of a fight lmao)
The main story and main character are great. I think they're a little bit, but just a little bit under Valkyria Chronicles 1 characters (I mean, there was a massive sergent weighting 200kg who was fond of vegetables in the 1st game), which actually means they're above pretty much any game in the industry. Story wise, I think it's a little bit under the 1st game aswell, which showed harsh things such as concentration camps in a very japanese way of talking about war (which mean a way of talking about war as it really is: a catastrophe), but it nonetheless is very appealing. It namely deals with the military AND civilian use of nuclear technology in a way I'll never forget. There are very smart twists in the human relations, as well as a full development of the world. Antagonists are, imho, very human, which makes them waaaay more terrifying and interesting. I really want to talk more on this, but this imply spoiling so I won't : go play this game, we'll talk later.
Did I mention both graphics and sounds are 10/10? They are.
There are virutaly no reason why you should'nt play this game if your just a bit into videogames, japanese games and/or tactical RPGs. As for myself, I consider it the pincale of the genre. It is a masterpiece beyond the materpieces. It has earned the temporary spot on my favourite games list on backloggd, taking the place of Katamari Damacy (which you should play aswell).
Have a nice day, and play Valkyria
7 days ago
Tatassticot
commented on
Ardos's
review of
Eastward
It does seem very beautiful indeed!
You say you like the sotry even though you did not "understood" all of it. Why and how is that? I mean, I know we can enjoy stories without understanding everything in it (I know it very well: I'm dumb), but most of the time things that aren't understood are details. Is that the case in Eastward?
The second and last thing I'm wondering about is the combat system. I understood it is not turn based, nonetheless the game is a 2D RPG. So how do you fight in this game? Is it something similar to secret of mana? To chrono trigger (even though it is turned based)?
Thank you very much for your review!
You say you like the sotry even though you did not "understood" all of it. Why and how is that? I mean, I know we can enjoy stories without understanding everything in it (I know it very well: I'm dumb), but most of the time things that aren't understood are details. Is that the case in Eastward?
The second and last thing I'm wondering about is the combat system. I understood it is not turn based, nonetheless the game is a 2D RPG. So how do you fight in this game? Is it something similar to secret of mana? To chrono trigger (even though it is turned based)?
Thank you very much for your review!
7 days ago
7 days ago
Tatassticot
commented on
Ardos's
review of
Pikmin 3 Deluxe
Very juicy indeed...
Very glad you liked the game!
I did not know you were such a sadistic player! My eyes were teared each time I forgot a little pikmin on its own and it eventually gets devoured. You're a monster!
To argue a bit on RTS, I get why you find this genre... Let's say "hairy" ;)
I agree it neither is the most appealing genre nor it the most easy to take in hands, but I nonetheless encourage you to discover it. Most of the time, RTS feature campaigns which are accessible to pretty much any player. These campaigns are conceived as tutorials: sometimes they even feature difficulty settings.
If you feel like discovering the genre, I suggest you play Age of Empires 3, which is in my opinion the pinacle of the genre. Focus on the campaigns and everything will be alright. Features, units, buildings, objectives will be added to the formula one after the other. You'll be able to discover and understand the game's basis before it reaches its full potential, which is a wonderful flow of decision making based on observation and precise timing. I insist: RTS are total. You should never be idle playing and RTS, nor you should be bored. If you are, there's something wrong with the game! It certainly isn't a RTS after all (as stated below)
If you like AOE3, I suggest you take a look at Command and Conquer, which features faster paced skirmishes based on more contextualised interactions between units. It also features very funky cutscene with a bad bold guy. Believe me, it's worth watching.
In addition, I think the image you have of people smashing their keyboards and IPM duels reaching 500 IPM isn't a fair image of the vast majority of RTS gameplay. RTS are playbale with only a mouse for PvE and medium PvP level. I must also point out RTS is a missknow genre, regulary mixed up with other genres. Here's a quick list of these genre RTS is mixed with in some people minds:
- RTS: Is based on Real Time action. That means you are always doing something playing an RTS. Esport is why you think it's hard to access.
- Tactical: Is turned based. Regularly, it's mixed with RPG. Valkyria Chronicles, Xcom, Fire Emblem, Joan of Arc are tacticals
- Management games: Feature civilian management. Depending on the scale of the game, it goes from the sims to Simcity. I guess new subgenres like heavy management games (satisfactory, factorio, jurassic world evolution...) can be considered management games
- 4X: eXplore, eXpand, eXploit, eXterminate. Turn based management game featuring both civilian and military aspects of a society. Most of the time, it is based on a giant timeline. Civilization, Stellaris, Cruasder Kings, Anno, Total War are 4X. These are very hard game to get started with and they need a lot of your time (which RTS virtualy doesn't).
I hope it helps. I hope it's clearer on your mind.
I am curious: what are the game you hesitate to call RTS you have played on your 3DS?
Very glad you liked the game!
I did not know you were such a sadistic player! My eyes were teared each time I forgot a little pikmin on its own and it eventually gets devoured. You're a monster!
To argue a bit on RTS, I get why you find this genre... Let's say "hairy" ;)
I agree it neither is the most appealing genre nor it the most easy to take in hands, but I nonetheless encourage you to discover it. Most of the time, RTS feature campaigns which are accessible to pretty much any player. These campaigns are conceived as tutorials: sometimes they even feature difficulty settings.
If you feel like discovering the genre, I suggest you play Age of Empires 3, which is in my opinion the pinacle of the genre. Focus on the campaigns and everything will be alright. Features, units, buildings, objectives will be added to the formula one after the other. You'll be able to discover and understand the game's basis before it reaches its full potential, which is a wonderful flow of decision making based on observation and precise timing. I insist: RTS are total. You should never be idle playing and RTS, nor you should be bored. If you are, there's something wrong with the game! It certainly isn't a RTS after all (as stated below)
If you like AOE3, I suggest you take a look at Command and Conquer, which features faster paced skirmishes based on more contextualised interactions between units. It also features very funky cutscene with a bad bold guy. Believe me, it's worth watching.
In addition, I think the image you have of people smashing their keyboards and IPM duels reaching 500 IPM isn't a fair image of the vast majority of RTS gameplay. RTS are playbale with only a mouse for PvE and medium PvP level. I must also point out RTS is a missknow genre, regulary mixed up with other genres. Here's a quick list of these genre RTS is mixed with in some people minds:
- RTS: Is based on Real Time action. That means you are always doing something playing an RTS. Esport is why you think it's hard to access.
- Tactical: Is turned based. Regularly, it's mixed with RPG. Valkyria Chronicles, Xcom, Fire Emblem, Joan of Arc are tacticals
- Management games: Feature civilian management. Depending on the scale of the game, it goes from the sims to Simcity. I guess new subgenres like heavy management games (satisfactory, factorio, jurassic world evolution...) can be considered management games
- 4X: eXplore, eXpand, eXploit, eXterminate. Turn based management game featuring both civilian and military aspects of a society. Most of the time, it is based on a giant timeline. Civilization, Stellaris, Cruasder Kings, Anno, Total War are 4X. These are very hard game to get started with and they need a lot of your time (which RTS virtualy doesn't).
I hope it helps. I hope it's clearer on your mind.
I am curious: what are the game you hesitate to call RTS you have played on your 3DS?
7 days ago
7 days ago