Just last Friday, I made my debut as a DToid staff member with my review of Brut@l. I found it to be rather mediocre, but at least acknowledged the game was well made. I, sadly, did not finish the game before posting the review, but I stood with conviction in my verdict.
Not one to let stones be unturned, I plugged away at reaching the finale to see if my opinion on Brut@l would change; overall, I’d say no. In a few ways, yes, but not for the better.
The biggest issue with Brut@l is that the camera is just too finicky. Since the game deals with permadeath, failing to make it across a gap results in an instant game over. It feels cheap and out of the players hands when that happens.
Another problem comes from the randomly generated dungeons. Since there aren’t any pre-determined setpiece moments, a lot of the game just blends together. If you speedrun through (skipping all the upgrades, enemies and collectibles), you could finish the game in an hour, but most people won’t be able to do that.
The combat is too simplistic to remain fun for long. The enemies start ramping up in hit points and your weapons fail to get any stronger, unless you’re lucky enough to have the game grant you a tome for a stronger weapon.
You can, eventually, unlock talismans that grant you small buffs, but even that is dependent on the randomizer. Having so many options out of your control just makes for a really frustrating experience.
I’d be more forgiving if the game had occasional boss battles, but the only such moment occurs on the final floor. When I, eventually, got there, I was a little thrilled. It was finally something different in the game.
Sadly, the joy ended almost immediately upon tackling the boss. He’s pretty easily disposed, but monotony sets in and the game falls into a groove that isn’t very much fun.
You enter a small room with the boss sitting on a perch. He summons a wave of monsters which you then need to dispose of. After that, you collect an ASCII letter (in this case, a special V) and repeat the process.
Once the two waves are down, you can lower a crossbow that then shoots off one of the three heads on the boss. He then destroys the crossbow and flies off. Now you have to repeat that process two more times.
Or stand like an idiot because your inventory is full and you can’t pick up the damn item to initiate the wave!
I’m fine with the game encouraging more exploration, but why does it take 26 floors to finally have this happen? Why weren’t there more boss battles peppered throughout the game? Having one every five floors may be a bit excessive, but every 10 wouldn’t be so bad.
For that matter, why is 26 the floor limit? Why wasn’t more care put into distinguishing the level design? I know something like The Binding of Isaac is based around randomly generated floors, but the pool that Isaac draws from to create levels is pretty varied. Brut@l’s is not.
Sometimes you can get four levels in a row that all have the same beats. A poisoned floor, bottomless pits and locked chambers that require you to destroy a wave of enemies; it’s just boring after an hour or two.
As a matter of fact, I almost feel like giving the game a five is being generous. Sure, everything works, but it’s so devoid of creativity that it almost feels insulting. Why would you spend $15 on a game that couldn’t be assed to create fully developed levels?
Again, the concept is sound. I don’t mind tinkering around with core mechanics that can change up on each playthrough, but those mechanics need to be very solid. When combat devolves into just mashing Square and jumping away, your game has failed.
I’m sure Brut@l has fans out there, but I don’t see what they do. The art style is the most realized thing in the entire package; everything else feels like half measures thrown in a big pot and set on low heat.
Still, I did actually finish the game. I won’t let something defeat me. I can’t say the same for others. That’s why I won’t change my original review score. Everything I originally said still stands.
Without abusing save game backups, most people are not going to finish Brut@l. I guess the game lives up to it’s name, but it could do with a lot more polish.
I’m not quite sure what I expected with Ridge Racer: Unbounded. The title sounded cool and I had heard decent things a few years back, but I never realized that Namco Bandai had tried their hand at a Burnout game. When I first loaded the game, I was delighted that this was taking a more destructive approach to racing.
After I finished the first event, I knew something was very wrong. The previous Ridge Racer games were all about speed. Tight turns, tighter controls and hilariously awful translations; that is what gave Ridge Racer its charm. All of that gets thrown out the window for Unbounded in an attempt to modernize the series.
Ridge Racer Unbounded (PlayStation 3, Xbox 360, PC [Reviewed]) Developer: Bugbear Entertainment Publisher: Namco Bandai Games Release: March 27, 2012 MSRP: $9.99 (on PC), $29.99 (Consoles)
For starters, the graphics are darker and more realistic than ever before; the pace has been slowed a bit and the cars feel far too weighty. Drifting, which is an integral part of the track design, is so fucking busted that I nearly quit in fury a few times. Busted explains a lot of things with Unbounded, but it applies more to the controls then the arenas you’ll be tearing apart.
The newest addition with Unbounded is the destructible environments. I have to give credit where credit is due; Unbounded does offer an impressive amount of course carnage. While the props are basically made of styrofoam, your car can glide through things and not immediately crash. Sadly, that’s about the only decent thing in the tracks.
As for regular buildings, your car typically gravitates towards them. Barely clipping them will usually cause your car to smash up, but sometimes you go flying through the air or spinning in circles. While that should be realistic, the game has an awful tendency to reset your car before your crash site. This causes a tremendous amount of wasted time in Time Attack events and often causes you to lose up to 7 places in race mode.
As for regular buildings, your car typically gravitates towards them. Barely clipping them will usually cause your car to smash up, but sometimes you go flying through the air or spinning in circles. While that should be realistic, the game has an awful tendency to reset your car before your crash site. This causes a tremendous amount of wasted time in Time Attack events and often causes you to lose up to 7 places in race mode.
These should be fun, but the physics and AI of the game are so borked that I couldn’t wrap my head around them. At times, you fly out of the gate and pass everyone with ease. Other times, the opponents are beyond hard and you’ll hardly catch them. Sometimes you’ll smash through highlighted objects only to immediately crash once the automated cutscene ends. You’ll even make jumps only to see your car barrel rolling through the air, despite not clipping anything.
There is also some horrible graphical glitch that causes constant flickering for upwards of 15 seconds at a time. It obscures some of the track and leads to wiping out or missing turns. It also looks terrible and gives me a headache, but that may be a personal issue.
What isn’t personal is information about your cars. The stats are shown before you decide on your vehicle, but they aren’t really reliable. Maybe this is more down to individual playstyles, but the car with the highest speed stat should be the fastest one on the track.
There are also some cars that are carbon copies of others (excluding the pointless DLC) and others, still, that have mostly the same stats, but are higher in key areas. It makes certain cars completely worthless after reaching higher driver levels.
Then there is the lack of course diversity and the general sluggishness to the controls. It just doesn’t feel pleasant to play Ridge Racer: Unbounded. I had fun, at times, but not enough for me to recommend this to anyone. The lackluster campaign and hilariously anti-climactic ending just rub salt in the wound.
The online portion is completely non-functional. From the sound of what it included, it could have remedied this package. Racers were given the ability to customize events and challenge others worldwide. While it may have been frustrating to deal with the controls, I could see smashing people into walls as being a blast.
Still, that doesn’t work. Namco Bandai shutdown the servers in 2015 and have basically cut the game in half. The price tag, at least, reflects the lack of multiplayer, but it still sours the overall package. Having courses made by other players would be outstanding, even if the game feels rushed and sloppy.
It doesn’t help that there isn’t a split-screen mode at all. I know PC games typically don’t offer split-screen, but even the console ports of Unbounded lacked the feature. In other words, the multiplayer was basically a bulletpoint on features for the game. No one actually cared about molding it into a celebrated feature (something that should be sorely missed upon it’s closure).
Overall, I just wouldn’t bother playing this. Unless you just have a fondness for the Ridge Racer name, there isn’t much here that hasn’t been done better in other racers. Unbounded mostly made me pine for a new Burnout or to return to Burnout: Revenge. Even the crappy portable Burnout games are better than this drivel.
Went wrong somewhere along the line. The original idea might have promise, but in practice the game has failed. Threatens to be interesting sometimes, but rarely.
I was a big fan of Doom growing up in the 90’s, but I somehow missed out on all of the “Doom Clones.” I had a demo CD for the Mactintosh version of Star Wars: Dark Forces and I played a lot of Goldenye 007 on N64, but I never really played anything else like Doom.
One of the friends I made in middle school introduced me to Heretic and HeXen, but I couldn’t find copies for a reasonable price. Instead of borrowing or bootlegging the game, I decided to just wait until I had enough money in the future (which never seemed realistic at the time).
Flash forward to today and I’ve somehow managed to have Heretic on my Steam account for 5 years without playing it. I had forgotten about the QuakeCon pack from 2011 that included every iD title from that moment. Much to my surprise after having a Doom craze, I had some more Doom to explore.
Heretic: Shadow of the Serpent Riders (PC [Reviewed], Mac OS)
Developer: Raven Software
Publisher: id Software
Released: December 23, 1994 (March 31, 1996 for Shadow of the Serpent Riders expansion)
Calling Heretic a “Doom clone” is doing the game an injustice, but it certainly has a lot of game feel similar to Doom. Almost every weapon is a reskin from Doom 2 and most of the monsters share similar properties to enemies seen in Doom. The designs are incredibly different (and really diverse), but it’s hard to initially get out of your mind that Heretic is just Doom with a different coat of paint.
Eventually, you start to pick up on some of the changes that developer Raven Software has crammed into Heretic. For starters, this is the first FPS I can think of with an inventory system. It allows for the level of challenge to be ramped up since the player can constantly hold a source of health on them.
Not only that, but you can carry around various power-ups to use in sticky situations. Other shooters at the same time forced you to utilize anything you picked up then and there; Heretic puts more control into the players hand with the inventory system.
It is a bit annoying how you need to scroll through and additionally select an item before using it, but I’ll let that slide due to the release date (1994). That something so genre bending was even pulled off on the Doom engine is just awesome, let alone how chaotic it makes combat feel.
Each weapon has a different ammo type. It solves the mini issue Doom suffered with having the pistol and chaingun share ammo; getting the chain gun made the pistol redundant. In Heretic, every weapon feels valuable at any given time. Even the dinky starter mage staff can become awesome with the correct power-up.
What isn’t so hot is how predictable the game becomes. At first, you’re not quite sure where to expect enemies to spawn from. Walking down corridors has walls dropping and enemies flying at you from all sides. By the time you reach the third episode, you’ve seen basically all of the tricks Heretic is ever going to throw at you.
That may have more to do with the original game only being 3 episodes, but episodes 4 and 5 really suffer from a lack of creativity. They are definitely difficult and well built (better than the rest of the game, even), but it feels dull after having played through 24 maps with similar layouts.
This is coupled with how the level design tends to have a lot of dead ends that require you to return to a centralized location. I’m guessing this was a precursor to the level design in the sequel, HeXen, where every map has a hub world. It does lend to some insanely confusing layouts, though.
The sound design is also pretty lackluster compared to Doom. On its own, the music is okay and the monsters sound like monsters, but nothing is distinct and most of the enemy sounds play at the same volume. It doesn’t feel as immersive as Doom, nor does it help the player distinguish which enemy is in an area with them.
The overuse of the first boss is also pretty lame. Maybe that is down to me playing on the second hardest difficulty, but I do wish there was more diversity in the boss encounters. Facing three of those floating giant skulls level after level becomes grating.
With all of that said, I still found Heretic to be really enjoyable. It contains enough originality that any comparison to Doom sounds nitpicky. Sure, Doom may be an overall more polished and enjoyable game, but that doesn’t make anything done in Heretic not worth seeing. Heretic is also considerably harder, so Doom veterans will be in for a treat.
Getting the game running on modern operating systems is also a breeze. Since id Software released the Doom source code a long time ago, any modern Doom source port works with Heretic. You can boot up zDoom and get Heretic going in any manner of resolution you want. Full mouse look is enabled and keys can be rebinded to whatever your fancy is. There is even support for internet play, which is pretty damn awesome.
It also doesn’t hurt that the current price is exceptional. $5 for a game that will take around 6-8 hours to finish is just solid value. If you want to spring a bit more, you can get the rest of the series on Steam for $5 more. That includes Heretic, HeXen and HeXen II. That’s a lot of classic first-person shooter action for a small chunk of change.
However you slice it, Heretic is pretty good. There are definitely things that Raven Software could have done to distinguish it from the crowd, but for a first attempt from an unknown developer, you could do worse. For the price, you’d be hard pressed to find much worse, though.
A solid game that definitely has an audience. Might lack replay value, could be too short or there are some hard-to-ignore faults, but the experience is fun.
The narrative driven, choice based adventure game has been a pretty big hit ever since Telltale made The Walking Dead. Lots of other studios have taken a crack at creating uncomfortable and trying scenarios for gamers to rack their minds with. Those studios usually forget to make choices have deeper meaning or create decisions that exist within a binary function of “right” and “wrong.”
Life is Strange attempts to tackle the problems these games typically face. It doesn’t quite nail the impact of decisions (deciding to go with an all or nothing type ending), but it certainly sidesteps the issue of viewing the world in terms of black and white.
Life is Strange (PC [reviewed], Linux, OSX, PS4, PS3, Xbox One, Xbox 360) Developer: Dontnod Entertainment Publisher: Square Enix Released: Between January and October 2015 MSRP: $19.99
The main plot follows a week in the life of Max Caulfield, an 18 year old art student studying at a prestigious school in a fictional Oregonian town. She witnesses the death of a punk rock girl and, in a moment of desperation, turns back time. She doesn’t know what happened or how she did it, but manipulation of the very fabric of space and time is within her control.
The tale then follows her path to uncover the source of her powers, the reason behind the murder she originally witnessed and the problems facing Blackwell Academy. Lots of the story deals with a coming of age type narrative arc, before giving way to a murder mystery straight out of Law & Order.
The real meat and potatoes comes from all the different branching choices you’re given. Life is Strange deftly handles choices without falling back on “right” and “wrong.” Most decisions will never seem better or particularly easy. It’s all about figuring out how you would react or what causes the least amount of harm.
Max’s power of time control is also wonderfully worked into the gameplay. Once you make a choice and see the impact play out, you can immediately rewind to attempt the alternate option or just to tinker around with different outcomes. Instead of relying on the player to keep different save files or playthrough a second time, you can see basically all of the decisions first-hand.
There is one key part of the story that rips control away from Max and creates a heartbreaking encounter that can potentially end in tragedy. There are also story arcs that tackle the implications of getting a “do-over” and changing “destiny.” It’s not entirely original, but its application is very well done.
What’s not so great is the dialog in the earlier episodes. Until around the mid-point of Episode 2, the writing is a bit wonky. Things like, “hella amazeballs” and “for cereal” are uttered without a hint of irony. It feels like an adult was trying to remember what being a teen was and mixed up some memes online.
The acting is also stilted, at first. I’m guessing no one was exactly sure how the game was going to pan out during the development of the first episode, but it just feels like a lack of direction was going on. Some of the lines are either a bit too soft or lack any dramatic weight. This does eventually pick up and turn into genuinely great performances (save for the final episode fizzling out), but it’s not thoroughly mesmerizing.
There are also some uncanny valley moments with the presentation. While this runs on the Unreal 3 engine, the characters are stiff and the environments feel detached. There is a very touching scene in a pool, but it looks like two dead mannequins floating in nothingness. I couldn’t get around that image, either.
What I did truly love was how gameplay elements were organically woven into the story. There are a lot of puzzles sprinkled throughout Max’s adventure and it’s awesome to not feel like you’re simply a spectator. You have to use critical thinking to figure out solutions based on the powers you’ve been given.
One scene has you gather chemicals to create an IED, blow open a door and then rewind so you end up on the other side. It’s a really awesome accomplishment. It truly feels like you came up with the answer on your own.
Chapter 4 is where this really shines. You have multiple pieces of information you’ve gathered over the course of the game that you’re required to piece together. You have to take a long look at any correlation and connect the dots. Even if you fail, the game has a few work-arounds to get you back on track (excluding your rewind).
The final chapter drops the damn ball, however. There is a stealth section that is entirely pointless. Since you can rewind and remain in place, there is literally no reason to have characters searching for you. You cannot fail and pressing forward serves no repercussion. I understand it was a narrative device, but it utterly fails as a piece of gaming.
Honestly, the game was building up to a crescendo that Episode 5 never delivers. The definitive ending is certainly gut-wrenching, but the 2 hours leading up to it feel like a cop-out. It seems like DONTNOD had no idea how to really make your actions take affect or just wanted to impose their own will on the story. Regardless, Episode 5 does away with all of the good that the rest of the game exhibits.
There are some light puzzles, but everything is a forced, linear path and the dialog amounts to nothing more than expository exchanges with main characters. Some beats will tug at the heart strings, but most will just bore you (do I need to see that damn picture changing cutscene each time?).
That doesn’t destroy all the good that Episode 3 and 4 bring, but it does bookend the game with average scenarios. It starts slow and ends with a whimper. If you chopped out a little bit of the first episode, you could honestly combine it with the second and get the same result.
In all honesty, a lot of these games seem to crumble under marketing hype. Developers never know when to chill out with how cool their games are (or publishers pressure them into overselling their creations). Life is Strange is more about the relationship between two friends and how choices aren’t the end of the world (until they literally are).
I hate to be so harsh to a game that tackles such dark, dramatic and realistic topics like sexual abuse, stalkers, suicide and bullying, but most of the elements drag down the experience. The ridiculous twist of the real villain is also completely out of left field.
The game creates characters that feel like 3 dimensional beings and demands you look at them as more than caricatures, then the final chapter ends up labeling you a hero and the main bad-guy a psychopath. Dammit.
Still, Life is Strange is absolutely worth a playthrough. It’s not the best thing around, but it has an excellent mixture of gameplay and narrative heft to feel like a really important piece of gaming history. It will also resonate deeply with people who have suffered through similar tragedies in life.
I just wish DONTNOD nailed every aspect. This could have been a stone cold masterpiece.
Slightly above average or simply inoffensive. Fans of the genre should enjoy this game, but a fair few will be left unfulfilled.
Rhthym gaming took the world by storm in 2005. A relatively unknown company by the name of Harmonix brought Guitar Hero into the public conscious and blasted themselves to stardom. The mixture of an old-school score mentality mixed with classic rock tunes lead to an immensely popular debut that would see the series continue on for a good few years.
I jumped on the bandwagon in 2007 when Guitar Hero II was released for the Xbox 360. While I never fancied myself an actual rock star, I had some previous experience using a guitar and I liked that songs I truly admired were getting more recognition. It also felt super cool to nail insane solos without breaking a sweat.
Most of my time in college was spent playing Guitar Hero in one form or another. Its sequel or the highly polished third entry gained more of my attention in 2007 than any other game or series.
While the success of the series showed the games industry that graphics and genre weren’t that important in making lots of money, the brand eventually began to stagnate. There is only so much you can do with the formula before people realize they’ve had their fill.
Harmonix seemed to catch on to this after creating the second game. They did not sign with Activision to produce the third and instead went on to make Rock Band, the biggest competitor to the Guitar Hero franchise. The business model was also dramatically better; instead of creating yearly sequels, Harmonix opted to utilize the online connectivity of newer consoles to continually produce extra content for the game.
Activision sort of copied that idea, but still put out a staggering amount of games with the Guitar Hero branding. Handheld consoles got installments; cellphones weren’t free from virtual shredding; there was even a spin-off series focused more on hip-hop and dance music.
That is where my interest truly piqued. I’ve always been a fan of classic rock and I love heavy metal, but to hear modern pop songs and classic hits mashed together in some freestyle kind of insanity was just golden. It encapsulated everything I liked about the internet era of music discovery with a style of gameplay that I had quickly grown to love.
Enter DJ Hero, Activision’s attempt to branch out the Hero name to reach wider audiences. The entire genre was quickly on the decline, but this didn’t stop Activision and Freestyle Games from attempting something different.
DJ Hero was a more back to basics approach to gameplay progression mixed with some popular artists and DJs that were remixing classic dance tunes alongside some rock and metal hits. It created a strange, dissonant sound that felt comfortable in the space of gaming.
It also had a much more structurally solid controller and gameplay that totally emphasized high scores and never ending combos. Different ideas like rewinding and crossfading also put a greater emphasis on player interaction within each track. Gone were the days of pretending to be a star; you were now given some control over what the music sounded like.
The sequel, DJ Hero 2, improved almost every aspect of the previous game. The visuals were cleaner, the audio was better mixed and the soundtrack was even more solid (despite it’s omission of Daft Punk tunes from the first game). 2 focused more on rocking clubs and EDM, but its gameplay was as frenetic and score happy as before.
It also didn’t hurt that the multiplayer was greatly expanded. While credit needs to be given to the developers for attempting to not nickel and dime their consumers (the original DJ Hero has a mode that allows a player with a Guitar Hero controller to play along), having multiplayer that actually utilizes the new fangled controller just makes more sense.
Each mode feels like an intense duel with a potential usurper. Score and accuracy are dominant alongside tracks mixed specifically to up the ante with each successive checkpoint. It brought a cut-throat attitude to competitive play that had long been missing in the rhythm gaming genre.
Sadly, 2010 marked the year that this genre of games couldn’t sustain itself. The influx of releases and more costly instrument peripherals turned any newer customers off. While they were happy with buying one “toy” and sticking with it, having to collect a virtual band in your house was too much.
Not to mention that Guitar Hero was releasing games that focused on specific bands and having redux packages of older content, but even competitor series Rock Band had started to come out with “track packs” and games dedicated to the career of specific artists (granted, the Beatles are fairly important).
For what it’s all worth, I still believe that DJ Hero was the best thing to come out of that explosion of popularity. Guitar Hero also felt a little cheesy to me and a bit insulting to actual musicians. People who had no intention of picking up actual instruments or no understanding of what went into making music treated these songs like simple levels.
I remember playing a song by Rush and explaining to my friends how I saw them live and had been a fan for most of high school, but they couldn’t care less. To them, Rush was the song with the hard drum section and female singer. It was infuriating to me.
With DJ Hero, it didn’t matter if you truly didn’t care about the artists are songs on offer. The game required you to be more active in what was going on. You couldn’t simply sit there with controller in hand and bang through a few songs; you had to pay attention to your crossfader, work on maximizing your note streak for potential rewinds and add your own personal flair (via samples) to up your score.
The shift in focus from a slightly more involved spectator to a remix guru just made everything feel more rewarding. Despite the track list being the same for everyone, the way you heard the song belonged to you.
It truly made me want to consider being a DJ as a career path. While I never went down that road, I started a friendship with a DJ at a club out of my amazement for what he was able to create. Those songs weren’t his, but the way they were played was wholly his invention.
DJ Hero perfectly encapsulated the atmosphere of the club scene while making the player feel like the star of the show. It didn’t hurt that Daft Punk leant their likeness to the original game and that Deadmau5 signed on for the sequel, either. DJ Hero was into a burgeoning music scene before it erupted into mainstream acceptance.
Sadly, the potential third game will never happen. Both Activision and Harmonix tried their hands at new Guitar Hero and Rock Band titles last year, but sales figures were underwhelming for both. People seem to have had their fun and want these games to fade into blissful memories.
It may be pointless to ask for another entry into the DJ Hero series, but I’d pay a lot to see a return to such vibrancy and joy within music gaming. If I’m going to pretend I’m any kind of star of a music game, at least it should be the game that actually gave me control over the sounds pumping through my speakers.
No name speaks more of a quintessential first-person shooter than Doom. Doom was the catalyst for a cacophony of violent games in the 90’s that eventually led to the ESRB being founded to regulate game content. Not only that, it popularized a genre of gaming that had yet to break out into the mainstream.
While the initial sequel, Doom II, was actually better than the first game, developer iD Software has yet to make a game that follows up on the legacy set forth by Doom. Maybe it’s a mixture of nostalgia and genre evolution that keeps holding them back, but for some reason, Doom cannot be topped.
In a few months, the confusingly titled Doom reboot will be launching. Taking inspiration from a mod for the original game, Doom looks to up the violence and make the game as fast paced as it’s forefather. The big question on my mind is; Does Doom still matter?
Obviously one cannot debate the importance of the original title. It was one of the first 3D games with an arsenal of weapons and motley crue of enemies that was unparalleled for the time. It had revolutionary online play and extensive modding tools that allowed fans to make their own creations.
I have no idea what I’m looking at.
It also had some incredible graphics, a rocking soundtrack and some genuinely outstanding level design (that still holds up). Make no mistake; Doom was the real deal. My first encounter with it was in 4th grade. An old friend introduced me to it on the playground with the instruction manual.
I didn’t have a Windows PC, so I actually had my parents run out and buy a Mac compatible Windows 95 launcher just so I could try this game. While I did eventually get it running, it was missing some features and would often crash.
My fascination with the game didn’t stop until we eventually did get a true Windows computer. That was my very first computer, actually; a Packard Bell with a 3 gb hard drive. Those were much simpler times.
Regardless, Doom was almost a taboo for how it “corrupted” the innocence of gaming. Parents were sickened at the depiction of “violence” the game had and it’s demonic villains. I guess killing hellspawn is evil, even if it saves the Earth.
News outlets were shocked at how you could mangle police officers (I still, to this day, want to know what game they played). Activist groups wanted the game removed from store shelves. The world was coming to an end and it was all because of this little game.
This is just the second level of the game.
Needless to say, the controversy was overblown and gaming continued to evolve. We now have more grotesque displays of violence in games and sexuality is even becoming a common occurrence. Gaming is a pop-culture staple that is slowly becoming less niche by the day.
So what can a new Doom game in 2016 bring to the table? Does Doom need to be more than a simple throwback? Are fans ever going to be impressed with what gets released? I’m not sure I can answer all of those questions.
The easiest to tackle would be the intention of a new Doom. Not every piece of media needs to have a deeper message or mean something more to it’s medium. On occasion, a good, mindless, violent trip through excess and escapism is precisely what a person needs.
A rough day at work can be capped off with a good, meaty rocket launcher explosion of your best friend (in game form, of course…). The cathartic quality that Doom always exhibits can’t be understated; to this day, I still fire explosives in games and expect splash damage.
The original Doom wasn’t made with the purpose of reinventing the wheel. The developers saw a thing they liked, a new way to do it and set off to make it the best product possible. The main reason Doom succeeded so much was because of it’s business model; a freeware version of the first episode was available for free through mail order and the internet (if one was lucky enough to own a modem in 1994).
That gaming had not seen anything like Doom was merely a coincidence. Most game makers, artists and musicians don’t set out to specifically enhance their art form; they tend to fall on an idea they all love and furnish it into something unique.
How could you not be in love with this?
Will fans accept a new Doom? Well, initial reaction says yes. Fans reportedly cheered at the unveiling during Quakecon 2014. No one but those attendees got to see the footage of the game and everyone was claiming it was going “back to basics”. I guess they were on board.
Then a year went by without much information leaking. No one was talking about the game and people hadn’t seen what the gameplay was going to be like. Eventually at E3, a trailer was released that showcased footage to the general public. Now fans were skeptical.
The “official” box art actually typifies everything wrong with the industry in 2016. The colors are muted, limited and saturated. The main character is faceless, staring at the ground and “gruff”. The font takes up more space than anything else and shows nothing of what the game is.
It just reeks of a cash grab. That is completely disregarding the actual quality of the game, but it seems that Bethesda only commissioned a reboot of Doom because reboots are the new, hot thing. Movie franchises are increasingly doing reboots and even Tomb Raider, another gaming institution, had a successful reimagining.
Look how many shits she gives.
Fans never seem to be pleased with anything. Gunning for that crowd will usually end in disaster. Still, whom else are you going to market a reboot of Doom to in 2016? Falling back on the legacy of your series will do nothing for newer gamers.
Which brings us to the final question; What can a new Doom bring to the table in 2016? As I mentioned above, the main source of inspiration seems to be a mod for the original Doom called Brutal Doom.
One of the creators of the original game, John Romero, was quoted as saying, “The only thing I think about now is.. what if… when we released Doom, we actually released Brutal Doom?” (laughs). We would have destroyed the gaming industry, I think. Brutal Doom is hilarious.”
I’m guessing that was all Bethesda needed to hear to fast track progress on a Doom reboot. A lot of the animations for weapons look like they were taken from the mod. The gore factor seems to have been clearly inspired by the mod. Sadly, the mod seems to be faster paced.
Without taking that into account, though, what else could Doom do? Shooters have become a stagnant genre in recent years. Call of Duty 4: Modern Warfare seemed to be the last big shakeup to the genre in terms of evolution. It’s online, RPG-lite system of unlocks caused a plethora of copycats that still haven’t gone away in nearly 10 years.
Level design has also remained the same…
Call of Duty is also responsible for popularizing the down sight aiming that basically every shooter uses today. Along with Resident Evil 4 redefining third person combat, action gaming hasn’t truly changed since 2005. The industry is falling back on old ideas and past successes to keep their inflated budgets and massive paychecks going.
While Doom may not have started out with the intent of reinventing gaming, it’s launch was special. It was a fundamental shift from being marketed as a toy for children into becoming a hobby that anyone could enjoy. It expanded the horizons of what software could do.
Doom in 2016 just looks like the same boring stuff we’ve seen for decades. I’ve never taken Doom as a serious, scary, horrific trek through a nightmare. Doom has always been a goofy, colorful, fun filled time for me. How can you look at the original graphics and not feel happy?
Even the defining features of this reboot, it’s gore filled executions, was done in Gears of War. You would be forgiven for mistaking Doom as a first-person sequel to that series; the art style is practically the same.
So, does Doom still matter? For cultural reverence, I’d say yes. As far as being an exciting, landmark event; hell no. There is nothing that Doom can do to become interesting again, apart from a complete shift in tone and setting (which would then defeat the purpose).
What film producers, game developers and artists need to realize is that certain things take off because of their time frame. Doom was a massive hit because nothing else was like it in 1994. In 2016, we’ve seen so many things emulate Doom that gamers just don’t care.
And no one cares about this.
Naming your game Doom and expecting it to sell is just naive. You would be better set creating a new IP and shifting focus away from the nostalgia laden masses. It’s fine to claim the game is a spiritual successor to Doom, but to drag the actual legacy into the dirt is shameful.
Then again, come May, I may be eating these words. The game could be good. Whose to say?
As 2015 winds down and we begin our reflection of the past 12 months, critics and gamers alike are starting their lists of the best games of the year. While I could take the easy route and explain some of my favorite titles, I wanted to put a bit more thought into such a blog.
I decided to take a different approach; comparing games to Gotye song titles. Why would I do that, you ask? Well, apart from comedic value, this is my blog and you can fuck yourself. So, with that said, let’s kick of the GOTYe Awards 2015!!
Somebody That I Used to Know Award – Tony Hawk’s Pro Skater 5
It’s always sad when a cherished franchise becomes a former shell of itself. Activision had thoroughly milked the Tony Hawk license after the 5th game, but we kept getting sequels. I guess implementing things like dune buggies and tennis wasn’t enough, so Activision and Neversoft were content with throwing literally everything into a game.
This led the series to open-world territory, “realism” based trick systems and eventually a plastic skateboard controller. The series has been in flames for longer than my young cousin has been alive.
When Tony Hawk’s Pro Skater 5 was announced, gamers let out a sigh of relief. We were finally going to get a game that properly continued the legacy of the original titles on a next-gen system. Except, that isn’t what happened.
The game we ended up receiving was a broken mess of an overpriced coaster that barely functional properly and had very little content. I mean, I’ll all for having Tony Hawk roll around on the ground like he’s having an epileptic seizure, but I’m not willing to shell out $50 to do so.
It just takes me back to being a teenager and playing the hell out of Tony Hawk’s Pro Skater 3. It was the first game I bought with my own cash. It was the game that inspired me to listen to hard rock. It was also the catalyst to me becoming a completionist. THPS5 is basically a reminder that nostalgia is a lie.
Board With This Game Award – Yoshi’s Woolly World
At this point in time, I’m going to assume that Yoshi’s Island was a complete fluke. I was utterly captivated with the game upon it’s release. It was all my 7 year old self could think about. I was a big fan of Mario, but playing this new Yoshi title was so different. It was colorful, inventive, laid-back and beautiful.
All of it’s mechanics made sense, were implemented in creative ways and never got old. Even the music was timeless, with tunes stuck in my head 20 years later. When I had originally played it, I thought Nintendo would be able to make an ever better game with more powerful hardware. The SNES was old by the time Yoshi’s Island rolled around, after all.
That game has never been given to us. Yoshi’s Woolly World was the best attempt at recreating some of the old-school magic, but Nintendo appears to be more focused on targeting nostalgia then anything else. I miss the Nintendo that took risks with their IPs.
Mostly, I just found the game utterly boring. It’s devoid of challenge and plays things so safely that I often had to stop after beating a few levels to prevent myself from falling asleep. I love those amiibo that were made to commemorate the game, but they don’t make me forget Yoshi’s Island.
Here In This Place Award – Grow Home
When I saw Jim Sterling talking about an actual good Ubisoft game, I immediately got intrigued. I’ve been a fan of some of their franchises, but their more recent output has been plagued with bugs and issues that often cripple the entire experience. Even “classics” like Assassin’s Creed 2 had major game breaking bugs.
Still, Grow Home looked right up my alley. It was a free form game with a simple goal and endless opportunities to explore. I love exploring, I’m a fan of highly stylized art and I can never say no to original ideas. Grow Home may not be a classic, but it’s very charming.
It’s sense of scale is without equal. Climbing ever higher and peering down to the islands below is enough to take your breath away. It also makes your gut sink if you’re playing on a big enough television. The visuals may not be realistic (in any sense), but god damn if they don’t encapsulate exactly what developer Reflections was aiming for.
The sandy beaches, vibrant colors, endless sky and oddly shaped enemies make you believe you’re in a different world. It’s truly a great concept with awesome execution. It also reignited my love of rock climbing with some mechanics that correctly mimic the motions one makes while scaling a mountain.
Thanks For Your Time Award – Metal Gear Solid V: The Phantom Pain
MGSV may not have been the send off for the beloved Metal Gear franchise we all hoped for, but it was a very well built game. It’s unique approach to stealth with an open world that felt like a real land mass made for some of the most intense and endlessly replayable scenarios in recent memory.
MGSV also did something that no other game really nailed quite as well; it acknowledged the player’s role in the legacy of Metal Gear. Sure, the ending twist is revealed in a sloppy manner and kind of muddles the already convoluted plotline ofMetal Gear, but the true message was that we are Big Boss.
We are the ones who have gone through all of the trials of tribulations of Snake. We have seen his best and worst times. We rose to the challenge to save this virtual world on multiple occasions. We started our own private army to combat digital mercenaries and prevent a nuclear apocalypse. Without us, Kojima would have never been able to create such an engrossing experience.
It’s sad to know that the future of Metal Gear is basically dead. Konami is a tired excuse of a once golden company. We can be grateful that Kojima won’t have to spend the rest of his days wasting away at a worthless sinkhole.
Like Drawing Blood Award – Mortal Kombat X
I was pleasantly surprised with Mortal Kombat (2009). While the game was maybe a bit too similar to Street Fighter IV, it took a dying franchise that once captured the attention of the United States and brought it back to life.
The older games were focused on making the most gory and explosive experience possible. The first two haven’t aged particularly well, but Ultimate Mortal Kombat 3remains a classic. It’s combo system, innovative block button mechanic and aggression meter all make the game feel unique and brutal.
The 2009 reboot captured that same essence. It has the gore factor in check (and jacked up to 11), it has lots of combos strings and move cancels and it’s got plenty of diversity with it’s cast selection. Mortal Kombat X is basically a lesser version of the 2009 game.
While it’s graphics are insane and the gore is even more stomach turning, the game just feels off. From it’s garbage PC port to the milking of DLC with almost literal cheat codes bearing a $1 price tag, the game just feels gutted.
The story mode that was so fun to play in it’s predecessor has been cut down to a measly few hours with no real purpose. The online functionality has somehow gotten worse, despite being on more powerful hardware. Even the DLC fighters feel like a wasted opportunity, going with film nostalgia over any real innovation on or celebration of the MK legacy.
For a game that looked so promising to basically fizzle out after being launched is just sad. Playing it is like visiting the doctor’s office. You don’t want to be there and watching the needle draw blood is enough to make you pass out. It really sucks, as I thought Mortal Kombat was going to be here to stay.
Easy Way Out Award – Call of Duty: Black Ops III
Another year, another Call of Duty game. A series that I once looked forward to is now a running joke with most gamers. It’s also a good case study for how to save on production costs between sequels.
Ever since Call of Duty 2, there has been a new game in this series every year. We are on the 12th entry in almost as many years. Having two developers working on a series should make for a fresh approach with every passing game, but that doesn’t seem to be the case.
Treyarch was, for a small while, attempting to do different things with the tired COD recipe. Black Ops brought things to the Vietnam War Era and Black Ops II attempted to inject some different gameplay elements into the mix, but Black Ops III just falls on the same bullshit as before.
I guess Advanced Warfare was a roaring success, because trying to actually distinguishBlack Ops III from the last title is a nigh on impossible task for anyone but diehard COD fans. The game doesn’t even make sense with the Black Ops name, having little connection to the previous games in it’s own trilogy arc.
Activision doesn’t care about that. Why try putting effort into your titles when you can take the easy way out and produce the same garbage year in, year out? For as much unfounded flak as the Call of Duty series gets, Black Ops III is an example of when the internet is actually correct about something.
I Feel Better Award – Bloodborne
When Demon’s Souls came on the scene, many people took notice. Here was a game that was going against the norm and actually challenging gamers to think on their feet. There was no floating arrow to point you in the direction of the objective. There were no easy ways out of difficult situations. If you sucked, you weren’t finishing the game.
While Dark Souls seems to have stolen everyone’s heart, I’ve always had a fondness for the smaller ambitions of it’s predecessor. I loved the level structure, darker tone and more challenging combat of Demon’s Souls. I wanted a game with more brutality and with a stronger sense of challenge.
Bloodborne delivered on that. It’s level design created a sense of tension and dread in the early stages that gave way to more expansive and mind-bending labyrinths in the late game. It’s enemies were fast and ferocious with stronger AI and a thirst for blood.
Beating any single area felt like a massive accomplishment, let alone surmounting the bosses. Coming to terms with the combat, getting a feel for the world and making forward progress all led to a really gratifying sense of fun. The DLC was just icing on top of the cake.
I’m not sure if this list ended up being as funny as I originally planned it to be. The whole Gotye craze that happened a few years ago seems to have disappeared. The guy clearly wasn’t trying to be a pop sensation, but the masses wised up to some decent music for once. It was frightening.
Regardless, I feel that “Somebody That I Used to Know” is still a part of the internet’s collective conscious. If you don’t get the reference, then too bad. Gotye certainly doesn’t care.
Anyway, happy 2015 everyone. Hopefully next year, I can think of some more Gotye related song titles to go with some awards. Or maybe it will just be “Smoke and Mirrors”.