TrulyWack
Spider-Man Shattered Dimensions was my first exposure to the now commonly known “Spider-Verse”. It was a game I finished when I was about 15 years old, and I remember loving it for its unique artstyles and storytelling.
I figured it was time to revisit the childhood classic… but maybe that was a mistake. Shattered Dimensions isn’t a bad game. I actually do like it quite a bit, and think there’s a lot to love here.
The fact that the developers gave each universes Spider-Man a unique art style and setting made the storytelling pop just as much as the first time I played the game through. I loved the fact that Noir’s gameplay was more stealth based, and the inclusion of shadows for cover was actually a really cool idea.
The premise itself is still awesome for a Spider-Man story… and even cooler for a game based on the character. Especially when there’s so many Spider-Man games that feel similar. Beenox decided to abandon the open world and take a more linear, beat-em-up approach… and I actually think that was a refreshing decision having played these all back to back.
All of that said, the game does suffer from repetitive lackluster combat, frustratingly unresponsive controls, and a runtime that could’ve easily been trimmed down when you consider how little each stage contributes to the overall plot. It wouldn’t be so bad if each level was fun and unique… but a lot of levels felt similar to one another for a game that intended to distinguish each. Instead of focusing on one combat system and refining it, they focus on four… and they’re all just kind of mediocre.
I’m sure it would be pretty fun for others on a single play through. It was fun for me, especially as a teen. But returning to it a second time, especially after having played much better games, it’s just okay.
I figured it was time to revisit the childhood classic… but maybe that was a mistake. Shattered Dimensions isn’t a bad game. I actually do like it quite a bit, and think there’s a lot to love here.
The fact that the developers gave each universes Spider-Man a unique art style and setting made the storytelling pop just as much as the first time I played the game through. I loved the fact that Noir’s gameplay was more stealth based, and the inclusion of shadows for cover was actually a really cool idea.
The premise itself is still awesome for a Spider-Man story… and even cooler for a game based on the character. Especially when there’s so many Spider-Man games that feel similar. Beenox decided to abandon the open world and take a more linear, beat-em-up approach… and I actually think that was a refreshing decision having played these all back to back.
All of that said, the game does suffer from repetitive lackluster combat, frustratingly unresponsive controls, and a runtime that could’ve easily been trimmed down when you consider how little each stage contributes to the overall plot. It wouldn’t be so bad if each level was fun and unique… but a lot of levels felt similar to one another for a game that intended to distinguish each. Instead of focusing on one combat system and refining it, they focus on four… and they’re all just kind of mediocre.
I’m sure it would be pretty fun for others on a single play through. It was fun for me, especially as a teen. But returning to it a second time, especially after having played much better games, it’s just okay.
Well we’re steadily approaching the final game in my Spider-Man series play through. It’s been a… well… if I’m honest… dull experience. But I’ll touch on that in my TASM 2 review.
The first Amazing Spider-Man video game is one that I finished when I was just an 11 year old boy. I had so much love for the character and I was so excited for the film that I blew through the game like it was dinner, and I had starved for weeks.
As a sequel to the film, it’s actually pretty good. The story was good for a movie game, a Spider-Man game, and well, just a game I guess. Somehow it also manages to capture the spirit and tone of the first film really well. It did what it needed to, and it was pretty satisfying overall.
There’s some decent Arkham style combat, but it pales in comparison to those of course. The swinging is a bit clunky, and the physics aren’t great, but it’s serviceable. The grinding in the open world is tedious, but the variety in things to do makes it tolerable. It just sucks that it’s so necessary.
Finding the hidden spiders and unlocking suits was a pretty fun addition. Watching the cities response to the events in the game was really cool. Especially adding that to the waiting screens. It made the world feel more authentic… though the open world isn’t as convincing.
The bosses are a bit repetitive and monotonous, but I think the inclusion of stealth/combat kept the gameplay mostly interesting. The open world is weird because for as dull as it is, there are things I like about it.
I like the blimp and it’s stupid side tasks, I like all of the little things I can go around doing for the reporter, I like stupid stuff like that. It just makes the game more enjoyable. Although everything else is just kind of drab.
As a sequel to the film, and a game that accompanies it… it’s a decent play through. Though I don’t see the replay value even after returning 11 years later.
The first Amazing Spider-Man video game is one that I finished when I was just an 11 year old boy. I had so much love for the character and I was so excited for the film that I blew through the game like it was dinner, and I had starved for weeks.
As a sequel to the film, it’s actually pretty good. The story was good for a movie game, a Spider-Man game, and well, just a game I guess. Somehow it also manages to capture the spirit and tone of the first film really well. It did what it needed to, and it was pretty satisfying overall.
There’s some decent Arkham style combat, but it pales in comparison to those of course. The swinging is a bit clunky, and the physics aren’t great, but it’s serviceable. The grinding in the open world is tedious, but the variety in things to do makes it tolerable. It just sucks that it’s so necessary.
Finding the hidden spiders and unlocking suits was a pretty fun addition. Watching the cities response to the events in the game was really cool. Especially adding that to the waiting screens. It made the world feel more authentic… though the open world isn’t as convincing.
The bosses are a bit repetitive and monotonous, but I think the inclusion of stealth/combat kept the gameplay mostly interesting. The open world is weird because for as dull as it is, there are things I like about it.
I like the blimp and it’s stupid side tasks, I like all of the little things I can go around doing for the reporter, I like stupid stuff like that. It just makes the game more enjoyable. Although everything else is just kind of drab.
As a sequel to the film, and a game that accompanies it… it’s a decent play through. Though I don’t see the replay value even after returning 11 years later.
2005
“Ten years, Athena! I have faithfully served the gods for ten years! When will you leave me of these nightmares?”
God of War (2005) gave ME nightmares for a while. It was a game I have been trying to finish for a little over two years now. I found it so painfully challenging that I almost abandoned it altogether.
If not for God of War (2018)… I may have never returned to this. And what a mistake that would have been.
Though I had always love the story in this game, I found the puzzles, combat, and overall experience far too challenging and frustrating to be enjoyable. While I had similar troubles upon my return, I also had the pleasure of dying enough to change my difficulty. Something I didn’t know was possible.
So, after a simple change, I absolutely breezed through this game. Not because it was easy… but because the experience felt more balanced and enjoyable. It became the game I always wanted it to be. Though the puzzles were just as hard, the combat wasn’t nearly as irritatingly grinding as it used to be.
And that, is one of my biggest complaints. The difficulty that the game starts you off with is just cruel. It’s normal… but never have I played a game where normal feels this hard. Perhaps that’s apart of the appeal or the “souls like experience”. Well… all that did was make me want to stop playing.
Though it’s a bit drab by todays standards… this game still managed to kick a ton of ass. An awesome final battle and some really memorable in game moments brought the experience way up for me. Some things feel pretty clunky still, the controls aren’t always responsive, there’s too much button mashing, and the hack in slash can be in excess… but when things are working, they are working like crazy.
A brutal experience, yet a rewarding one. What a series. I can’t wait to play God of War II next.
God of War (2005) gave ME nightmares for a while. It was a game I have been trying to finish for a little over two years now. I found it so painfully challenging that I almost abandoned it altogether.
If not for God of War (2018)… I may have never returned to this. And what a mistake that would have been.
Though I had always love the story in this game, I found the puzzles, combat, and overall experience far too challenging and frustrating to be enjoyable. While I had similar troubles upon my return, I also had the pleasure of dying enough to change my difficulty. Something I didn’t know was possible.
So, after a simple change, I absolutely breezed through this game. Not because it was easy… but because the experience felt more balanced and enjoyable. It became the game I always wanted it to be. Though the puzzles were just as hard, the combat wasn’t nearly as irritatingly grinding as it used to be.
And that, is one of my biggest complaints. The difficulty that the game starts you off with is just cruel. It’s normal… but never have I played a game where normal feels this hard. Perhaps that’s apart of the appeal or the “souls like experience”. Well… all that did was make me want to stop playing.
Though it’s a bit drab by todays standards… this game still managed to kick a ton of ass. An awesome final battle and some really memorable in game moments brought the experience way up for me. Some things feel pretty clunky still, the controls aren’t always responsive, there’s too much button mashing, and the hack in slash can be in excess… but when things are working, they are working like crazy.
A brutal experience, yet a rewarding one. What a series. I can’t wait to play God of War II next.
2008
Terrifying, Brutal, and most importantly, fucking metal.
“Make us whole again Isaac…”
…Sheesh dude.
Dead Space is a well written horror game with organic feeling Sci-fi elements that contribute to fresh and exciting gameplay. The dismemberment angle is really damn cool. It’s unlike anything I’ve had to do before, and it really adds a layer to the game’s uniqueness… which says a lot already.
The goth elements are cool as hell… and the stomping and punching are of course awesome. Weapon variety never gets boring, and neither do your special abilities. Finding new ways to incorporate your abilities into your combat is so much fun, and the different enemy types are consistently scary, and refreshing.
I was on edge from start to finish, as almost every single scare was incredibly crafted. Though I think a stronger focus on story throughout the experience could’ve helped, I’m not upset with what we got. There’s a heavy focus on gameplay, and it’s fantastic, so it’s hard to complain. I think if they had just replaced some of the task-like missions in favor of some story driven ones, it would’ve been even better.
It can also feel a little stiff by todays standards, but I’m sure that’s something that gets worked out in the next entry in the series. The way the seemingly simple story culminated by the end of the game made the experience all worth it. It was everything I could have hoped for.
I got my awesome final boss battle, the story payoff, and the final character reflection, just how I like it. It was more than I could have asked for… and I’m very happy with it. What an awesome experience.
“Make us whole again Isaac…”
…Sheesh dude.
Dead Space is a well written horror game with organic feeling Sci-fi elements that contribute to fresh and exciting gameplay. The dismemberment angle is really damn cool. It’s unlike anything I’ve had to do before, and it really adds a layer to the game’s uniqueness… which says a lot already.
The goth elements are cool as hell… and the stomping and punching are of course awesome. Weapon variety never gets boring, and neither do your special abilities. Finding new ways to incorporate your abilities into your combat is so much fun, and the different enemy types are consistently scary, and refreshing.
I was on edge from start to finish, as almost every single scare was incredibly crafted. Though I think a stronger focus on story throughout the experience could’ve helped, I’m not upset with what we got. There’s a heavy focus on gameplay, and it’s fantastic, so it’s hard to complain. I think if they had just replaced some of the task-like missions in favor of some story driven ones, it would’ve been even better.
It can also feel a little stiff by todays standards, but I’m sure that’s something that gets worked out in the next entry in the series. The way the seemingly simple story culminated by the end of the game made the experience all worth it. It was everything I could have hoped for.
I got my awesome final boss battle, the story payoff, and the final character reflection, just how I like it. It was more than I could have asked for… and I’m very happy with it. What an awesome experience.
While Spider-Man: Miles Morales doesn’t exactly reach the same emotional heights or peak gameplay that Spider-Man (2018) managed to pull off, that doesn’t stop it from getting pretty damn far.
The story itself is pretty simple, and what works about it is the relationship between Miles and Phin. It’s the emotional core of the storytelling, and it’s how their dynamic culminates in the final minutes of the game that give it the strength, memorability, and replay ability it will have in the future.
Simon Krieger is the cliché corporate a-hole character that doesn’t serve much purpose other than to be a money hungry overlord who screws over the lower class. It’s something that’s been done to death, but I guess what I can say positively about it is that in this story particularly, it works a bit better than it would under other given circumstances.
Krieger stealing ideas from people of color, and intentionally screwing over marginalized groups and lower class communities works in service of the story being told, so using the “corporate overlord” trope feels fitting, despite being overused at this point.
Some of the new gameplay elements were really cool. It’s nice that Miles has a different skill set from Peter. It really helps distinguish the characters’ gameplay. Especially when the core of their abilities are the same. I also like how distinctly atmospheric this game was in comparison to the 2018 Spider-Man. It helped add identity to this story and really makes it stand on its own.
There’s some pretty blatant elements borrowed from “Into The Spider-Verse” such as the heavy inclusion of the music in the game, which I think worked more than it didn’t. I still think that movie showcased a slightly better understanding of what makes the character work… but insomniac is beginning to find their footing with things as well, and it’s really nice to finally have a game where you can play as Miles’ Spider-Man for a change.
Especially when it is developed by Insomniac. Here, they’ve crafted another incredible superhero gameplay and narrative experience. It has some fun gameplay, and an engaging narrative, and even manages to hit some of the right emotional beats to make it a distinct and memorable experience despite operating as an expansion.
I can’t wait for Spider-Man 2, as I think both Peter Parker and Miles Morales are now each characters with stories that I can enjoy coinciding in the same game.
The story itself is pretty simple, and what works about it is the relationship between Miles and Phin. It’s the emotional core of the storytelling, and it’s how their dynamic culminates in the final minutes of the game that give it the strength, memorability, and replay ability it will have in the future.
Simon Krieger is the cliché corporate a-hole character that doesn’t serve much purpose other than to be a money hungry overlord who screws over the lower class. It’s something that’s been done to death, but I guess what I can say positively about it is that in this story particularly, it works a bit better than it would under other given circumstances.
Krieger stealing ideas from people of color, and intentionally screwing over marginalized groups and lower class communities works in service of the story being told, so using the “corporate overlord” trope feels fitting, despite being overused at this point.
Some of the new gameplay elements were really cool. It’s nice that Miles has a different skill set from Peter. It really helps distinguish the characters’ gameplay. Especially when the core of their abilities are the same. I also like how distinctly atmospheric this game was in comparison to the 2018 Spider-Man. It helped add identity to this story and really makes it stand on its own.
There’s some pretty blatant elements borrowed from “Into The Spider-Verse” such as the heavy inclusion of the music in the game, which I think worked more than it didn’t. I still think that movie showcased a slightly better understanding of what makes the character work… but insomniac is beginning to find their footing with things as well, and it’s really nice to finally have a game where you can play as Miles’ Spider-Man for a change.
Especially when it is developed by Insomniac. Here, they’ve crafted another incredible superhero gameplay and narrative experience. It has some fun gameplay, and an engaging narrative, and even manages to hit some of the right emotional beats to make it a distinct and memorable experience despite operating as an expansion.
I can’t wait for Spider-Man 2, as I think both Peter Parker and Miles Morales are now each characters with stories that I can enjoy coinciding in the same game.
2010
Stylistically perfect. The gameplay feels natural, albeit a bit simpler than Inside. Though that was released after, so Arnt Jensen had time to perfect his formula.
It’s creepy, atmospheric, and like Arnt Jensen’s other game, it tells its story visually in a way that lets the audience piece together what they’re experiencing.
It doesn’t come together quite the way Inside does… but that doesn’t stop Limbo from being a unique and memorable gameplay experience.
It’s creepy, atmospheric, and like Arnt Jensen’s other game, it tells its story visually in a way that lets the audience piece together what they’re experiencing.
It doesn’t come together quite the way Inside does… but that doesn’t stop Limbo from being a unique and memorable gameplay experience.
2014
It’s been a while since I’ve had both the time, and motivation to finish a game all the way through. I’ve picked up plenty of titles over the last few months that I’ve enjoyed playing; though none really hooked me.
Not until I finally picked up Uncharted: Drake’s Fortune. Of course the series is praised to high heavens, so naturally, I had to see what all of the fuss was about. Usually anytime a series receives a ton of praise, I tend to agree with the majority.
There are exceptions of course, many of which I’ve just given up on and have no plans to return to (though they won’t be named). But in Drake’s Fortune, I was happy to find my time well spent, and my burning passion for gaming restored.
Sure, it’s rough around the edges mechanically. What would you expect for a game that came out in 2007? Despite its overall clunkiness, there’s a fluidity to the gameplay that you begin to nail down after a while.
Which also makes it easier to giggle at some of the less polished elements that disrupt the experience, which I think will naturally be fixed in later entries. Still, what Naughty Dog managed to accomplish is pretty incredible. The environments and level design are gorgeous and ambitious.
Sure they get a bit samey after a while by todays standards, but I would’ve been blown away had I played this back when it came out. The combat is also pretty awesome. Though I do think the hand to hand combat elements could have used a little more work, even with how little you use them.
The score was surprisingly good, which makes me excited to hear what they bring to the table for the rest of the series. The voice actors were also excellent. Nolan North really sells it.
I think the enemy types was consistently refreshing. I can tell they wanted to keep players interested since there were so many combat sections in the game, and I do think they succeeded at keeping it a fun experience in that regard. The traversal was great, despite occasionally showing its age.
The survival horror element towards the end of the game was also really well done, and you can totally (and perhaps accidentally) see the makings of another game in what they were doing (Last of Us).
There’s a couple sections that I’ve seen criticized that I can’t help but overwhelmingly agree on, and that’s the River sections. The barrel aspect becomes a bit bombastic and comical in that regard, and without a doubt obnoxious. Though I will admit it never became too much of a hinderance.
The story was okay overall, but what I think they managed to get right in this first entry is the characters. They’re thinly written, but endlessly endearing. There’s a lot of potential for them to grow into truly memorable, tangible people. I just think that potentially hasn’t been unlocked yet. Though I can see that happening as I progress throughout the games.
There’s rarely ever a dull moment. The game is consistently entertaining, and chock-full of great moments that will keep you wanting to play. Even when Naughty Dog hasn’t quite found their footing with a series, they still deliver memorable experiences that you can’t help but enjoy, and I absolutely love them for that.
Not until I finally picked up Uncharted: Drake’s Fortune. Of course the series is praised to high heavens, so naturally, I had to see what all of the fuss was about. Usually anytime a series receives a ton of praise, I tend to agree with the majority.
There are exceptions of course, many of which I’ve just given up on and have no plans to return to (though they won’t be named). But in Drake’s Fortune, I was happy to find my time well spent, and my burning passion for gaming restored.
Sure, it’s rough around the edges mechanically. What would you expect for a game that came out in 2007? Despite its overall clunkiness, there’s a fluidity to the gameplay that you begin to nail down after a while.
Which also makes it easier to giggle at some of the less polished elements that disrupt the experience, which I think will naturally be fixed in later entries. Still, what Naughty Dog managed to accomplish is pretty incredible. The environments and level design are gorgeous and ambitious.
Sure they get a bit samey after a while by todays standards, but I would’ve been blown away had I played this back when it came out. The combat is also pretty awesome. Though I do think the hand to hand combat elements could have used a little more work, even with how little you use them.
The score was surprisingly good, which makes me excited to hear what they bring to the table for the rest of the series. The voice actors were also excellent. Nolan North really sells it.
I think the enemy types was consistently refreshing. I can tell they wanted to keep players interested since there were so many combat sections in the game, and I do think they succeeded at keeping it a fun experience in that regard. The traversal was great, despite occasionally showing its age.
The survival horror element towards the end of the game was also really well done, and you can totally (and perhaps accidentally) see the makings of another game in what they were doing (Last of Us).
There’s a couple sections that I’ve seen criticized that I can’t help but overwhelmingly agree on, and that’s the River sections. The barrel aspect becomes a bit bombastic and comical in that regard, and without a doubt obnoxious. Though I will admit it never became too much of a hinderance.
The story was okay overall, but what I think they managed to get right in this first entry is the characters. They’re thinly written, but endlessly endearing. There’s a lot of potential for them to grow into truly memorable, tangible people. I just think that potentially hasn’t been unlocked yet. Though I can see that happening as I progress throughout the games.
There’s rarely ever a dull moment. The game is consistently entertaining, and chock-full of great moments that will keep you wanting to play. Even when Naughty Dog hasn’t quite found their footing with a series, they still deliver memorable experiences that you can’t help but enjoy, and I absolutely love them for that.
This is a much better experience if you play it with a couple of friends.
The story is decent, and it feels just like the kind of storytelling you would want from an Alan Wake experience. My only issue is that it feels as though it has no progression on Alan’s overall story or character arc. It feels very “villain of the week” esque in that regard. Though the villain they chose, Mr. Scratch, is a good one. Especially with those awesome videos you find throughout. The new enemy types were refreshing as well.
The gameplay is more fun and action oriented. Even during loops I found myself still enjoying it. I also appreciate that when there are timeloops, you would have to explore different sections of the same levels.
I think that playing it with friends was the ideal experience because if it began to feel too repetitive, we would rotate the controller… but I think that makes the biggest issue with this game pretty transparent.
The time loop sounds like a fun idea in theory… but it makes for a repetitive and somewhat meandering experience. If I rated this personally based off of my overall enjoyment with the experience, it’d probably be closer to 3 and a half stars. But I’m trying to be slightly more objective about it.
The story is decent, and it feels just like the kind of storytelling you would want from an Alan Wake experience. My only issue is that it feels as though it has no progression on Alan’s overall story or character arc. It feels very “villain of the week” esque in that regard. Though the villain they chose, Mr. Scratch, is a good one. Especially with those awesome videos you find throughout. The new enemy types were refreshing as well.
The gameplay is more fun and action oriented. Even during loops I found myself still enjoying it. I also appreciate that when there are timeloops, you would have to explore different sections of the same levels.
I think that playing it with friends was the ideal experience because if it began to feel too repetitive, we would rotate the controller… but I think that makes the biggest issue with this game pretty transparent.
The time loop sounds like a fun idea in theory… but it makes for a repetitive and somewhat meandering experience. If I rated this personally based off of my overall enjoyment with the experience, it’d probably be closer to 3 and a half stars. But I’m trying to be slightly more objective about it.
2021
Easily the best couch co-op gaming experience I've ever had.
From consistently changing gameplay mechanics that are fantastic every time, to incredible level design, and boss battles... It Takes Two sticks the landing in every way in terms of gameplay.
There are so many little mini games sprinkled throughout that keep the experience exciting and creative- and small details scattered throughout every level that are easy to appreciate. I was impressed with every inch of this game top to bottom.
It's a total blast to play, and it's a wholesome, rewarding experience in just about every way it could be.
There are admittedly some tonal inconsistencies. I can't deny that. And I can see why people are unimpressed with the story. Especially when every other aspect of the game is a home run.
I can't pretend that I didn't enjoy it though. It took time for certain aspects to grow on me. Certain characters too. Eventually I came around to those aspects, and I felt as though the culmination of events led to a relatively satisfying conclusion for the story.
It was an unforgettable experience, and I can't wait to go back to it one day and play through it as May next time!
From consistently changing gameplay mechanics that are fantastic every time, to incredible level design, and boss battles... It Takes Two sticks the landing in every way in terms of gameplay.
There are so many little mini games sprinkled throughout that keep the experience exciting and creative- and small details scattered throughout every level that are easy to appreciate. I was impressed with every inch of this game top to bottom.
It's a total blast to play, and it's a wholesome, rewarding experience in just about every way it could be.
There are admittedly some tonal inconsistencies. I can't deny that. And I can see why people are unimpressed with the story. Especially when every other aspect of the game is a home run.
I can't pretend that I didn't enjoy it though. It took time for certain aspects to grow on me. Certain characters too. Eventually I came around to those aspects, and I felt as though the culmination of events led to a relatively satisfying conclusion for the story.
It was an unforgettable experience, and I can't wait to go back to it one day and play through it as May next time!
2011
Few games have managed to have such unique mechanics as their primary focus of gameplay. Perhaps that’s what makes L.A. Noire so incredibly special, and simultaneously so frustrating.
It’s a games that never quite reaches the heights of its potential both through its narrative and its gameplay… but it consistently tows the line of becoming something truly great.
It manages to immerse you in its 40s noire-esque atmosphere through the well executed use of music choice, dialect, automobiles, clothing, and set design. And that score… oh wow that score. I would have loved to have more to do in this open world. I’d love to get lost in it.
Rockstar managed to create a truly living and breathing world through Red Dead 2 with its over abundance of interactivity and detail. Something similar can be said with the approach to the grand theft auto games as the combat mechanics open them up to so much excitement and possibility.
The problem with L.A. Noire’s open world is that it feels so empty… there’s some stark limitations on what you can and cannot do, and there’s not a lot of interactivity with the world. I would have loved to stumble upon active crimes, or random NPC exchanges. I recognize that changes such as these have only blossomed at Rockstar over the last decade, so this game predates those lovely inclusions… but I can’t help but think about how much this game might have benefited otherwise.
The game gets a lot of slack for its narrative, as it just isn’t quite as interesting or strong as it should be for a detective game developed by Rockstar. The first half’s pacing feels fragmented with most cases lacking a strong overarching narrative structure. It certainly feels like some cases are only their to pad out the run time.
It isn’t until the back half of the game that pieces begin falling in place and dots begin connecting. I really liked the way certain pieces of information came together for me as I was playing. It was almost as if I had solved some big case of my own, as they deliberately don’t spoon feed the player. I think if they had trimmed off some fat in the first couple of departments, it would have benefitted the story they were trying to tell.
I don’t like that I can’t jump!!! Aughjhh. I don’t like when games don’t allow me to traverse wherever I want to. I mean sure, I’ll probably do something stupid and pointless. But that’s my right dammit! I want to jump off of that building or climb up the side of it! Let me have what I want!
Anyways, I mostly really liked the gameplay otherwise. You were limited to what you could and couldn’t do at times, but it all felt organic to the story flowing through each scenario you were in. I think trying to determine whether or not someone was telling the truth was a really awesome idea in theory… but never quite worked the way it was supposed to. It’s a mechanic that probably would work better today, as the technology for it is likely more ready for something so ambitious… but I think here, it was perhaps- too ahead of it’s time.
The alter in protagonists was a lovely little surprise. Especially since Kelso is an awesome character. I’m beginning to really love games that do it.
Overall, I came pretty close to loving L.A. Noire. If the elements I took issue with were refined, I probably would have. But liking it a lot isn’t too bad either.
It’s a games that never quite reaches the heights of its potential both through its narrative and its gameplay… but it consistently tows the line of becoming something truly great.
It manages to immerse you in its 40s noire-esque atmosphere through the well executed use of music choice, dialect, automobiles, clothing, and set design. And that score… oh wow that score. I would have loved to have more to do in this open world. I’d love to get lost in it.
Rockstar managed to create a truly living and breathing world through Red Dead 2 with its over abundance of interactivity and detail. Something similar can be said with the approach to the grand theft auto games as the combat mechanics open them up to so much excitement and possibility.
The problem with L.A. Noire’s open world is that it feels so empty… there’s some stark limitations on what you can and cannot do, and there’s not a lot of interactivity with the world. I would have loved to stumble upon active crimes, or random NPC exchanges. I recognize that changes such as these have only blossomed at Rockstar over the last decade, so this game predates those lovely inclusions… but I can’t help but think about how much this game might have benefited otherwise.
The game gets a lot of slack for its narrative, as it just isn’t quite as interesting or strong as it should be for a detective game developed by Rockstar. The first half’s pacing feels fragmented with most cases lacking a strong overarching narrative structure. It certainly feels like some cases are only their to pad out the run time.
It isn’t until the back half of the game that pieces begin falling in place and dots begin connecting. I really liked the way certain pieces of information came together for me as I was playing. It was almost as if I had solved some big case of my own, as they deliberately don’t spoon feed the player. I think if they had trimmed off some fat in the first couple of departments, it would have benefitted the story they were trying to tell.
I don’t like that I can’t jump!!! Aughjhh. I don’t like when games don’t allow me to traverse wherever I want to. I mean sure, I’ll probably do something stupid and pointless. But that’s my right dammit! I want to jump off of that building or climb up the side of it! Let me have what I want!
Anyways, I mostly really liked the gameplay otherwise. You were limited to what you could and couldn’t do at times, but it all felt organic to the story flowing through each scenario you were in. I think trying to determine whether or not someone was telling the truth was a really awesome idea in theory… but never quite worked the way it was supposed to. It’s a mechanic that probably would work better today, as the technology for it is likely more ready for something so ambitious… but I think here, it was perhaps- too ahead of it’s time.
The alter in protagonists was a lovely little surprise. Especially since Kelso is an awesome character. I’m beginning to really love games that do it.
Overall, I came pretty close to loving L.A. Noire. If the elements I took issue with were refined, I probably would have. But liking it a lot isn’t too bad either.
What kind of experience do you hope for when you pick up an action adventure game? Are you looking for an epic scale story and satisfying combat?
Perhaps you want to traverse some richly detailed environments and do a little puzzle solving along the way.
Uncharted 2: Among Thieves manages to deliver on just about every single thing you would hope to get out of such an experience. I needed to sit on this one for a bit before properly writing about it because I wasn’t sure how to approach this review.
It’s not a game that necessarily redefines the genre or reinvents the wheel in anyway. But it’s sure as hell the type that keeps the wheel spinning better than ever. A lot of the problems Drake’s Fortune had were reworked. Especially in the combat. It’s a lot more fluent and opportunal (not a word?) than ever. Though it’s not quite as tight or clean as something like tlou… yet. I love that you can now throw the barrels in any direction, and being able to use grenades is awesome.
I also think the traversing was a big step up, along with the environments you go to and from. The story feels much more grandiose and the scope is a lot larger with the way they develop it. The set pieces are bigger, and better! The boss fights are pretty awesome, with the exception of the mercenary on the train, cause wtf was that.
Outside of some large difficulty spikes that could be pretty obnoxious, a final boss fight that left more to be desired, and a combat system that could use the same polish as naughty dogs later titles… Uncharted 2 kicks ass in just about every way you’d want it to.
I really hope the final entry in the series manages to blend all of the elements I love with the ones I’m hoping for. Nonetheless, I have one more to get through before then, and I’m not mad about that!
One other little thing I’d like to address is that I see the first game get flack for its supernatural elements. I’m now left very confused and don’t know what to make of that considering this game takes it a step further… which if I’m honest, I kind of liked. I never felt like either game went “too far” or anything. It’s okay to be a little silly.
Last thing is that I’m tired of folks pretending as if the first game is this awful first attempt, and that this sequel rectifies all of the series’ issues, and is like 3 steps above or something. How stupid. Don’t get me wrong- THIS IS A BIG IMPROVEMENT. But the first game still rocks… and this just enhances all of the elements I loved about that one. So it’s time to show some respect to Drake’s Fortune. Thank you for your time. Goodbye.
Perhaps you want to traverse some richly detailed environments and do a little puzzle solving along the way.
Uncharted 2: Among Thieves manages to deliver on just about every single thing you would hope to get out of such an experience. I needed to sit on this one for a bit before properly writing about it because I wasn’t sure how to approach this review.
It’s not a game that necessarily redefines the genre or reinvents the wheel in anyway. But it’s sure as hell the type that keeps the wheel spinning better than ever. A lot of the problems Drake’s Fortune had were reworked. Especially in the combat. It’s a lot more fluent and opportunal (not a word?) than ever. Though it’s not quite as tight or clean as something like tlou… yet. I love that you can now throw the barrels in any direction, and being able to use grenades is awesome.
I also think the traversing was a big step up, along with the environments you go to and from. The story feels much more grandiose and the scope is a lot larger with the way they develop it. The set pieces are bigger, and better! The boss fights are pretty awesome, with the exception of the mercenary on the train, cause wtf was that.
Outside of some large difficulty spikes that could be pretty obnoxious, a final boss fight that left more to be desired, and a combat system that could use the same polish as naughty dogs later titles… Uncharted 2 kicks ass in just about every way you’d want it to.
I really hope the final entry in the series manages to blend all of the elements I love with the ones I’m hoping for. Nonetheless, I have one more to get through before then, and I’m not mad about that!
One other little thing I’d like to address is that I see the first game get flack for its supernatural elements. I’m now left very confused and don’t know what to make of that considering this game takes it a step further… which if I’m honest, I kind of liked. I never felt like either game went “too far” or anything. It’s okay to be a little silly.
Last thing is that I’m tired of folks pretending as if the first game is this awful first attempt, and that this sequel rectifies all of the series’ issues, and is like 3 steps above or something. How stupid. Don’t get me wrong- THIS IS A BIG IMPROVEMENT. But the first game still rocks… and this just enhances all of the elements I loved about that one. So it’s time to show some respect to Drake’s Fortune. Thank you for your time. Goodbye.
So I don’t exactly have the same nostalgia for this series that a lot of others do. I did play Arkham City a lot as a kid, and at that time I loved it. Outside of that, I haven’t touched the other games.
I wanted to revisit Arkham City in my adulthood, but I figured I should start where the series began. I’m glad I did. As someone who went into Arkham Asylum as an adult, almost 15 years after its initial release- I can confidently say it still holds up well.
It’s a more linear experience than the one I was familiar with, but I’ve grown to appreciate linear storytelling games over open world experiences anyway. Even while operating as a more linear experience, it still has an open air of freedom. You have an entire island to roam around, and you can freely go where you please when you want to.
So while it’s not entirely “open world”, it’s still open arena I guess? Idk the term for it. Anyways, I love the gadgets you unlock throughout the game. They’re everything you would want to be able to use as Batman. The remote control batarang is awesome. I only wish I could knock out enemies completely with it.
The aesthetic is so richly moody and atmospheric. Rocksteady did an incredible job at capturing the spirit of the character, and the comics. I also love that they weren’t afraid to go a little creepier than some kids might have been ready for at the time.
A lot of the combat still feels really cool. I do wish some things were a little more responsive, and that there was a bit more complexity to the combat system- but I also recognize how revolutionary this was for its time. I’m willing to bet improvements are made in future installments.
The boss levels were a lot of fun, and I wish there were more of them. For a what was probably a stripped back budget at the time, Rocksteady really managed to pack a lot of punch into this game. There was nothing else like it in the superhero genre. They really created something truly special, and I love it.
I don’t think that it narratively reaches any exciting heights or anything. It’s pretty standard superhero fair. But for what it was, I really enjoyed it. If any of the future games can combine incredible gameplay, atmosphere, and storytelling, then that will for sure be a game that’s one of my favorites. This got pretty close at times.
Can’t wait to continue with the series!
I wanted to revisit Arkham City in my adulthood, but I figured I should start where the series began. I’m glad I did. As someone who went into Arkham Asylum as an adult, almost 15 years after its initial release- I can confidently say it still holds up well.
It’s a more linear experience than the one I was familiar with, but I’ve grown to appreciate linear storytelling games over open world experiences anyway. Even while operating as a more linear experience, it still has an open air of freedom. You have an entire island to roam around, and you can freely go where you please when you want to.
So while it’s not entirely “open world”, it’s still open arena I guess? Idk the term for it. Anyways, I love the gadgets you unlock throughout the game. They’re everything you would want to be able to use as Batman. The remote control batarang is awesome. I only wish I could knock out enemies completely with it.
The aesthetic is so richly moody and atmospheric. Rocksteady did an incredible job at capturing the spirit of the character, and the comics. I also love that they weren’t afraid to go a little creepier than some kids might have been ready for at the time.
A lot of the combat still feels really cool. I do wish some things were a little more responsive, and that there was a bit more complexity to the combat system- but I also recognize how revolutionary this was for its time. I’m willing to bet improvements are made in future installments.
The boss levels were a lot of fun, and I wish there were more of them. For a what was probably a stripped back budget at the time, Rocksteady really managed to pack a lot of punch into this game. There was nothing else like it in the superhero genre. They really created something truly special, and I love it.
I don’t think that it narratively reaches any exciting heights or anything. It’s pretty standard superhero fair. But for what it was, I really enjoyed it. If any of the future games can combine incredible gameplay, atmosphere, and storytelling, then that will for sure be a game that’s one of my favorites. This got pretty close at times.
Can’t wait to continue with the series!
Using my favorite video game as a way to plug the trailer for my new film (As it was a source of inspiration):
https://www.youtube.com/watch?v=dVQzC7bIBys
I finished writing the movie not long after completing this game. It was inevitable that some elements from this story's DNA would seep their way into my script, as this was what inspired me to finish.
Though I'm not sure that I could ever write anything as heartbreaking or moving as what has come out of The Last of Us games, the soundtrack was another constant motivator. Finding the writing through music.
It doesn't matter what medium a story is told in. If it's well executed, it can inspire others- or at least resonate with them fundamentally.
https://www.youtube.com/watch?v=dVQzC7bIBys
I finished writing the movie not long after completing this game. It was inevitable that some elements from this story's DNA would seep their way into my script, as this was what inspired me to finish.
Though I'm not sure that I could ever write anything as heartbreaking or moving as what has come out of The Last of Us games, the soundtrack was another constant motivator. Finding the writing through music.
It doesn't matter what medium a story is told in. If it's well executed, it can inspire others- or at least resonate with them fundamentally.
God of War III takes a fundamentally damaged character, and twists him even more into the “monster” he’s described to be in the rebooted series.
A man who killed his family. Killed dozens of innocent people, including ones who beg for their lives. The game forces you, the player, to often take these lives. And in the final stretch… the last act… Kratos the irredeemable Ghost of Sparta has an idea planted within him. One that not even he considered possible.
The idea that even he is capable of changing after all he’s become. That what he’s done doesn’t have to define him forever. An idea planted by a young girl… similar to that of his daughter. He’s reminded of his humanity. He’s reminded of hope. And in his final moments in the game, he does the first selfless thing in all of the series. He gives a bit of hope to the world he’s destroyed along his path for vengeance.
His first selfless act while on a new path. A fresh start Pandora suggested possible. One that we would later embark on with him. Kratos is not forgiven for what he’s done. He’s not justified in it either. But maybe with the rest of the life, he can continue to make better choices.
…This game dials up the storytelling another notch over the previous two entries. Pandora often reminded me of Atreus in the time I spent with her- shaping Kratos into a gentler soul, while giving him something to care about other than vengeance.
The boss battles were more frequent, yet they never lost the epic scale I’ve come to love about them throughout the series. Each was exciting, and revealed something new about the world and its story. Though the gameplay is distinctly similar to the first to games, maybe to a fault, there were still plenty new mechanics that allowed the experience to feel fresh and satisfying. The level design is at least just as mesmerizing as the first two… yet somehow they do it even better here.
The graphics were nicely improved, which feels really rewarding for the last entry in the franchise. And having more cutscenes allowed for more storytelling, which was more payoff I wasn’t expecting. It’s the perfect follow up to the incredible cliffhanger the second game leaves things on. I couldn’t imagine how this could succeed things in a satisfying way… and yet it did at every turn. It has all of the elements I was hoping for and plenty of elements I love that I wasn’t expecting.
Then of course, by that same token… an element I absolutely hate that hurts the experience significantly… though it’s not reflected in my rating because in all fairness, it isn’t in the game very long. There is an over abundance of sexuality and eroticism in one portion of the game that became incredibly obnoxious remarkably fast. It also goes hand in hand with the over-sexualization, and treatment of women in the game.
If you’ve played it, then you already know that there’s an entire quick-time sex mini game randomly thrown in and completely out of place. I’m positive it was to appeal to male gamer incels who never leave their basement… but I think just about every other type of person who’s played this can agree that we can do without it. I genuinely can’t believe it’s in this game. The first game in the series had some similar issues… but not this bad.
However, if you’re able to move past this and continue playing, the storytelling does make up for it tenfold. It is the definitive experience in the trilogy, and it’s given me memories I won’t forget.
A man who killed his family. Killed dozens of innocent people, including ones who beg for their lives. The game forces you, the player, to often take these lives. And in the final stretch… the last act… Kratos the irredeemable Ghost of Sparta has an idea planted within him. One that not even he considered possible.
The idea that even he is capable of changing after all he’s become. That what he’s done doesn’t have to define him forever. An idea planted by a young girl… similar to that of his daughter. He’s reminded of his humanity. He’s reminded of hope. And in his final moments in the game, he does the first selfless thing in all of the series. He gives a bit of hope to the world he’s destroyed along his path for vengeance.
His first selfless act while on a new path. A fresh start Pandora suggested possible. One that we would later embark on with him. Kratos is not forgiven for what he’s done. He’s not justified in it either. But maybe with the rest of the life, he can continue to make better choices.
…This game dials up the storytelling another notch over the previous two entries. Pandora often reminded me of Atreus in the time I spent with her- shaping Kratos into a gentler soul, while giving him something to care about other than vengeance.
The boss battles were more frequent, yet they never lost the epic scale I’ve come to love about them throughout the series. Each was exciting, and revealed something new about the world and its story. Though the gameplay is distinctly similar to the first to games, maybe to a fault, there were still plenty new mechanics that allowed the experience to feel fresh and satisfying. The level design is at least just as mesmerizing as the first two… yet somehow they do it even better here.
The graphics were nicely improved, which feels really rewarding for the last entry in the franchise. And having more cutscenes allowed for more storytelling, which was more payoff I wasn’t expecting. It’s the perfect follow up to the incredible cliffhanger the second game leaves things on. I couldn’t imagine how this could succeed things in a satisfying way… and yet it did at every turn. It has all of the elements I was hoping for and plenty of elements I love that I wasn’t expecting.
Then of course, by that same token… an element I absolutely hate that hurts the experience significantly… though it’s not reflected in my rating because in all fairness, it isn’t in the game very long. There is an over abundance of sexuality and eroticism in one portion of the game that became incredibly obnoxious remarkably fast. It also goes hand in hand with the over-sexualization, and treatment of women in the game.
If you’ve played it, then you already know that there’s an entire quick-time sex mini game randomly thrown in and completely out of place. I’m positive it was to appeal to male gamer incels who never leave their basement… but I think just about every other type of person who’s played this can agree that we can do without it. I genuinely can’t believe it’s in this game. The first game in the series had some similar issues… but not this bad.
However, if you’re able to move past this and continue playing, the storytelling does make up for it tenfold. It is the definitive experience in the trilogy, and it’s given me memories I won’t forget.