Sigy Says – Ridge Racer: Unbounded Review

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.

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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.

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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.

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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.

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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.

3

Poor

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.

Sigy Says – Life is Strange Review

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.

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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.

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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).

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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.

6.5

All Right

Slightly above average or simply inoffensive. Fans of the genre should enjoy this game, but a fair few will be left unfulfilled.

DJ Hero Retrospective

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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.

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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.

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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.

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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.

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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.

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Not Every Game is For You


Hyper Light Drifter was just released this week. Word on the street is that the game is quite challenging. There has been a lot of hype surrounding the release of the title; people have fallen in love with the visual style and were waiting to dig their claws into the game.

Gaming Blog “Rock, Paper, Shotgun,” posted an impressions piece in which the author, John Walker, claimed the game was just too hard for him to finish. While I can respect him leveling with his audience about his personal experience with the game, I’d like to make a counter-point to his stance on difficulty.

The closing few paragraphs of the article mention that gaming shouldn’t cater to one specific group of people. I completely agree with that, but not in the way Mr. Walker claims. He said that every game should be made accessible with different options to allow less experienced players to see the game.

That doesn’t make sense to me. Certain games are built around their difficulty. If you changed Dark Souls, for instance, to have an easy mode, its atmosphere wouldn’t feel as foreboding. It’s similar to the problem Resident Evil 6 has with its fundamental design; Capcom wanted to make an action shooter, but shackled the end product to Resident Evil’s past as a survival horror game. You got a pathetic attempt at modernizing a franchise and a really unfrightening horror vehicle.

Some games can withstand different options for various skill levels. Things like Ninja Gaiden and God of War are focused more on empowering the player than berating them. You get to execute enemies in a glorious, bloody hurricane of destruction. The option exists to make the games challenging (and Ninja Gaiden is pretty unforgiving on any difficulty level), but the design wasn’t based around an uphill battle.

You can be this awesome and suck. It’s crazy!

I can understand Mr. Walker’s frustration in being engaged with the game until the first boss. It is truly aggravating to be sinking into a game’s atmosphere and have it pull out the rug from underneath you. We do live in 2016, though, where the amount of available games is staggering. A quick run through Steam, GOG or Green Man Gaming can let you find something else you’re interested in.

There are also a tremendous amount of games built on being a more spectator driven experience or even just a plain easy one. It might suck that you can’t play this one specific game, but just look at how much else you can find online. It’s similar to being rejected by someone you like; don’t fight it, just move on and go your separate ways.

I can’t disagree with Mr. Walker’s assessment that gamers with the mentality of difficult games being only for them is selfish. That is true; I just feel he misses a key point. Not every game is going to be built for your own skill level. If life had an easy option, we would all be sitting on our asses and getting nothing done.

So honestly, I feel Mr. Walker just needs to accept that not everything will be his cup of tea. It’s pointless to change a game’s core design just because you find yourself at an impasse. If your life is so full of other distractions or obligations that you can’t put the time in to learn a game, maybe it’s time you started looking for different games.

The options are staggering.

Disappoint ≠ Bad

Destiny is the greatest version of “Follow the Dot” I’ve ever played. You sure do a lot of looking at your radar, running straight towards the objective and forgetting exactly where you are. Don’t get me wrong; the graphics are nice and all, but the level design doesn’t matter.

I can’t recall half of the missions I’ve even done in Destiny. I do side missions in the same area and I don’t even realize it. When I log on to help my friend, I can’t even guide him through an area I’ve previously completed. I end up relying on the dot and everything else is blank.

On the other end of the spectrum, I recently played through Dark Souls 2: Scholar of the First Sin. I wasn’t enthralled with the original, but I honestly forgot how lackluster the level design is. It may not be “Follow the Dot,” but the interconnectivity makes no sense.

You’ll go from a woodland setting, up an elevator and enter some lava pit. How is lava existing above a forest and not seeping down? For that matter, why is warping at bonfires such a prominent feature? I can’t remember where I’ve been and what bosses I’ve finished, despite being level 240.

Oh no…Not you two again…

The pedigree that each developer had before making these games makes them all the more disappointing. How do you go from Demon’s Souls and end up with Dark Souls 2? Where does the idea of Halo becoming an MMO go wrong?

Is either game bad, though? Honestly, no. I’ve managed to beat Dark Souls 2 four times and I’m currently still playing Destiny. I didn’t even want to give Destiny a shot, but my friend persuaded me into it. Logging around 24 hours is pretty good for being indifferent.

Even if most of the package is lackluster, both Destiny and Dark Souls 2 get their core mechanics right. It’s fun to pick up a gun and shoot in Destiny, while Dark Souls 2 makes the act of timing your attacks, item usage and defensive tactics engaging.

Dark Souls 2 may lack the art direction, world design and enemy design of it’s predecessors, but fighting is incredibly awesome. There are new moves, a slightly faster speed and an extensive amount of weapons (though some are basically copies of each other).

Destiny has horrendous level design, a pretty garbage story and a lack of enemy diversity, but the speed, weight and feel of firing your weapon keeps you coming back for more. The loot system is captivating, the quests are quick and plentiful and the PvP harkens back to what Bungie did with Halo‘s multiplayer.

YES! ACTUAL GAMEPLAY!

The small hub areas are pretty pointless and all the “emotes” are regrettably locked behind a microtransaction system, but finding friends and embarking on a short quest is fun. It feels different to experience the typical MMO mold from a first-person viewpoint.

I can’t disagree with any of the haters of either game; they make a lot of valid points. Both titles feel like they are resting on the laurels of their creators. Even more, both games kind of reverse the mentality that was set up with their predecessors.

Demon’s Souls was all about making the world feel oppressive and deadly. You died quickly to make a point; death matters. In a world where dying throws you back around 5 seconds, Demon’s Souls would cause you to lose your experience if you died. That heightened the tension as you now needed to really pay attention to everything.

Halo was about adapting an old-school FPS design into a console format. Due to limited buttons, you were given two weapons. Since split-screen was such a big feature of consoles, co-op was added to the campaign in a way similar to Doom. Multiplayer was based more on skill than any kind of level system or perks.

Dark Souls 2 feels like it is making concessions to get more people interested in the series. Hardcore fans will breeze through the game while newcomers won’t understand what the fuss was about.

Doesn’t look all that appealing.

Destiny is basically Bungie’s take on Borderlands. It also reeks of forced online connectivity. There is no reason why the game could not be made offline and with split-screen. Those were core features of the Halo games that helped foster the community that exists today.

What hurts the most is that both of these games could be better. I hate enjoying them as much as I do, but their foundations are so sound. If industry trends hadn’t become so prevalent, I feel like Dark Souls 2 and Destiny could have been so much more.

Either way, these two games prove that being disappointing doesn’t necessarily mean that the game is bad. It could even be quite awesome.

Paystation 4

Going into the 8th generation of console gaming, it seemed like Sony finally understood their fans. All their mistakes with pricing and vague marketing with the PS3 were a thing of the past. Microsoft became money grubbing and lost their focus on gaming. Nintendo was being Nintendo, but promising a stronger drive to make new games.

A few years into this generation, Nintendo is the only one that remained consistent. Microsoft made a dramatic reveal of backwards compatibility on the Xbox One at E3 this year and Sony is now following suit.

Wait, let me rephrase that; Sony is now charging us a 3rd (4th or possibly 5th) time to play our old games on new hardware. I think I’ve had enough of this lunacy. Despite me strongly preferring the PS4 interface over Xbox One, I can’t believe that my older games are being resold to me.

It’s not the largest deal to me as my PS3 is still functional and plays PS2 games. Many people are not in that same boat. Backwards compatibility should be a required on all consoles, regardless of architectural differences. All those legacy consoles are not going to last forever and I’ll be damned if I’m going to keep feeding money to a company bent on making me bankrupt.

Sony has gleefully taken to the trend of re-releasing “HD Remaster” ports of PS3 games on PS4 and now the PS2 is falling in line. Instead of selling a more expensive version of the current console with backwards compatibility support (which would make sense!!!), we’re being asked to fork over $10-15 for our favorite older games.

That doesn’t seem too dramatic, but the implication is that this will be a trend. Down the line on the PS6, we’re going to be rebuying our PS4 games. Hell, it may not even take that long as we’re currently rebuying PS3 games!

Because we all asked for this shit…

What makes this so shocking is that Sony was such a stalwart for PS1 support on the PS2. It was one of the defining features of the console when Nintendo switched formats and Sega basically forgot about the Saturn. With a PS2, you didn’t need to kiss your old library goodbye.

When the PS3 launched, Sony figured that not giving gamers an option was best and decided on jam packing the system with a bunch of extraneous features. Most people didn’t need media streaming, SACD support, wireless networking and video playback; for some, just playing a video game was all they wanted.

If you wanted the prestige of owning a Sony product, you had to deal with the price and extra nonsense. You were getting a Blu-Ray player, whether you liked it or not. You were dealing with internal storage and install times despite older consoles not having that. You were making due with WiFi even if your network didn’t support it.

Granted, the PS2 forced DVD support, but Sony managed to keep the price down by including expansion ports on the system. This let Sony develop a hard drive and network port for later use and for people to decide if they wanted.  Now that philosophy is lost.

With Microsoft granting you access to your games simply by owning the 360 disc, Sony has no reason to expect gamers to jump on these PS2 remasters. What is more baffling is that Sony launched a “PS2 Classics” line on PS3 that let gamers purchase things digitally.

They also started an initiative called “Cross-buy” that allowed you to make one purchase of software and get it on every Sony console. Like that cute little game on your Vita? That’s cool; you can have it on PS3 and PS4 for no extra cost! Why is this not a feature with PS2 on PS4?

It’s hard not to immediately jump to the conclusion of, “MONEY, MONEY, MONEY!!!” It’s doubly hard when Eurogamer took an in-depth look at the first PS2 remasters (Star Wars: Bounty Hunter, Racer Revenge and Jedi Starfighter) and found that they truly are emulation. This isn’t even some new code being written for different hardware; it’s the same damn thing!

Yeah! I’ll rebuy that!!!!

I could maybe understand not allowing discs to be used as there were a tremendous amount of PS2 games, but previous digital purchases not being supported is just unacceptable. It’s downright criminal, if you ask me. For a company so prided on their dedication to their fans, this just reeks of greed.

I will not stand for it. I may not be able to speak with Sony directly, but I’m not going to buy a single one of these “PS2 remasters”. There is no point. If I give in, what’s to say that I won’t be buying a PS2 Re-Remaster on the PS5? In some cases (San Andreas), you may already be doing so.

Unless you really cannot find a functional PS2, don’t give in to Sony. Let them know that you demand to have your games back. Owning a disc should mean that I can use it; the PC format has been like that forever. Enough is enough with this remaster trend.

Indifference Be Thy Name!

Something seems off with me lately. Whether it’s because of age or general apathy towards the vacant release schedule near the end of the year, I’ve been pretty indifferent to a lot of new things happening.

Fallout 4 launched last week and I don’t care. Spectre just came out in theaters and I thought it was pretty mediocre. Guitar Hero Live has been getting good press, but I found the game is simply the same old thing. Indifference Be Thy Name!

At least with James Bond, you can tell it’s a bit of brand fatigue for Daniel Craig. Some recent interviews have shown that he has grown tired of the character, but I’m still unsure why he would put out another movie with that attitude (I’m guessing the extra 0’s at the end of his paycheck helped).

It can’t just be my cynical attitude towards Hollywood, because I also saw The Peanutsand thought it was pretty good. I believe MGM is constantly battling with whether to reinvent Bond or stick to the same old formula. Sadly, Spectre just feels like a continuation of Roger Moore’s films.

I was never big on Fallout 3. I loved the introductory sequence and was blown away by the scale of things, but none of the missions really added up. The ending felt rushed and even your choices were stuck in a binary process. You couldn’t do a moral grey, just black and white.

My favorite memory from the game was running with your dad and getting hit by a god damned fatboy. That was intense. Otherwise, I just remember the game looking average and being a stripped down shooter and RPG. It was a cool combo, but the game was basically Oblivion with guns.

I also used to be a gigantic rhythm gaming nut. I played all the Guitar Hero games up to 5 (as well as Aerosmith and Metallica) and played each Rock Band game (including the preposterously stupid Lego one). I even still own DJ Hero. I just feel nothing with GHLive.

Yeah, I want to play this instead of some classic rock…

The addition of the lower fret is kind of neat, but I can’t wrap my head around the icons for Black and White buttons. For some reason, I keep reading White as if it’s on top. I know that is more of my problem then the game, but what isn’t my issue is the lackluster presentation.

The FMV sequences are pretty stupid. It’s funny to watch someone else play, but they are completely pointless in the midst of you grabbing the controller. Not only that, but those transitions are not seamless; the damn screen flashes blue between “Awesome” and “Poor” performances. It’s really distracting.

Rating a setlist is always going to be subjective, but I’m just tired of these games front loading all the horrible songs to make you work for your favorite tunes. I like the idea of GHTV, but the menu system loves explaining every detail with excruciating clarity. I just want to play the damn game.

In all fairness, it isn’t a bad game. In the intervening years, I’ve managed to pick up an actual instrument and learn to play. I’m a decent bassist and going back to Guitar Hero, I just want to play my bass. The controller is so light weight and flimsy that I don’t feel like a musician; I just feel like some tool with a toy.

Even with this blog, I haven’t had much to really say. I’ve been playing some neat games (and fucking WWE 2k15 for asinine reasons) and everything is cool. I have a Mega Yarn Yoshi and La-Mulana is kicking my ass. There really isn’t much I can write about.

Yeah?! Well, fuck you!

As fun as a game like La-Mulana is, there really isn’t any deeper meaning to it. I like the design and the philosophy behind it’s difficulty, but it’s just a really well made retro throwback with some punishing moments. It’s great for people like me, but not the general public.

I’m mainly worried that my lack of motivation is a sign of something deeper. I’ve been out of the loop with major game releases for awhile now. Metal Gear Solid V was a fluke for me, in that regard. It was a series I had fallen in love with, where Fallout and Call of Duty are just games that are in my past.

Even Xenoblade Chronicles X doesn’t appeal to me. That is insane, as the firstXenoblade Chronicles is one of my favorite RPGs and Wii games. I should be excited, but I just don’t care. If I get it, it won’t be for some time and I think I’ll manage without.

Oh well; I suppose one cannot always have some topic to bring up. I didn’t feel like leaving this blog empty in November, so this is what I came up with. I promise my next blog will have more of a focus to it.

In the meantime, have a picture of Yoshi with Hogan.