Spec Ops: The Line

Reviewed Platform: PS3

Other Platforms: Xbox 360, PC

Today’s video game market is flooded with modern day shooters that all seem to make you seem like the hero, but Spec Ops: The Line is a modern day shooter where you feel like anything but. Do you hate life? Do you wish that there was something that would make you feel horrible for simply being human? Do you feel that Apocalypse Now wasn’t interactive enough? Then Spec Ops: The Line is definitely the game for you.

You are Captain Martin Walker, a soldier in the United States Army who goes into a ruined Dubai, which had been hit by horrendous sandstorms, in order to find out the fate of a battalion who were supposed to be evacuating Dubai, but then suddenly dropped off the map. On entry, however, the state of Dubai is a lot worse than at first expected.

Sure, this may sound similar to your generic modern shooter that we see on the shelves every two weeks, but this is nothing like it. It isn’t the gameplay that stands out, though. The third person cover-based shooter aspects are fairly generic (you take cover and shoot at people). There’s nothing exactly revolutionary in there, even with the ability to use the environmental sand to take out guys not really serving much purpose.

No, it isn’t the gameplay, but rather the story that is of interest. The game revolves almost entirely around morality. No, this doesn’t mean that there’s some arbitrary karma meter that you can fill up that will either give you the good ending or the evil ending. Instead, it’s more so the morality of war, in keeping with its inspiration: Heart of Darkness. Is it okay to be doing these things? Is there another choice? Sometimes, there is absolutely no better choice, you just have to choose from what you feel is less bad and in keeping with you own personal morality.

At one crucial point in the game you are almost forced to do something so horrible that will make you feel terrible. Personally I had to stop playing the game for a while. Spec Ops: The Line had made me feel completely and utterly disgusted with myself for doing something so awful, even though I should have known better and not have done it at all. It is at this crucial point that you start to see the changes in the characters.

All three characters become increasingly angrier throughout the game. What were originally stern and commanding orders at first are now littered with cursing and angry tones. Characters start arguing with each other as battle warps their minds, leading them towards insanity. It’s so striking that even though you should hate these characters you start feeling how they do. The game openly admits that they are no heroes, and challenges you to hate them.

But there also seems to be something rather meta about the entire affair. Spec Ops: The Line critiques the shooter genre at almost every turn. Some scenes seem somewhat reminiscent of other popular games, such as Call of Duty, and suggests that what you are doing is in no way heroic but rather barbaric. The game even goes so far as to have loading screens later on in the game question you about what you are doing, suggesting that it is ridiculous killing is okay for entertainment, asking you is you feel like a hero. Even the choice of Nolan North as the main character seems to be stab at his heroics as Nathan Drake from Uncharted.

The entire game is proof that games can be viewed as artistic, with a lot of the story and message being open to interpretation. It tells an incredibly compelling story that will have you hooked throughout. I have been careful not to say a lot about this game as it should be experienced. Though the shooting is fairly generic, it is incredibly challenging and unforgiving, which seems to complement to story aspect. Definitely pick this game up at some point because it has an emotional value that is not often seen in video games and is incredibly hard-hitting.

Indie Games: Gravity Bone

This is one of my favourite independently made games. Just putting it out there. Gravity Bone, made by Brendon Chung of Blendo Games, isn’t a very long game at all, maybe taking up to 15 minutes on your first play-through, but those are 15 minutes well spent. I also advise playing it first, then reading the rest of this. The link has already been put in the name of the game earlier, but here it is again.

See, the beauty of Gravity Bone is that it shouldn’t be 15 minutes long. Gravity Bone is the first couple of levels of a longer game that was never made. These are the tutorial levels at the start of a game, showing you the world and giving you instructions. But then it stops, and that isn’t at all a bad thing. In fact, it’s brilliant.

Gravity Bone’s story is hard to really explain as I’m not entirely sure there is one. There might be, but I’m not too sure. Suffice to say, it may be about a spy or a hit man or someone like that being given contracts to carry out specific work for some reason. It’s not entirely clear, but you create the story within your head, connecting the dots and possibly understanding the game. That is, unless it is complete nonsense.

But I seriously don’t think the story is important. Gravity Bone appears to be a game attempting to break apart video game conventions. Those tutorial levels I mentioned? Yeah, that is the entire game. The game is two stages of tutorial and this creates an air of safety that is broken down later on in the game. We slowly get fed a world which we never fully experience and there’s some sort of beauty in that when you get to the ending.

I might not have given too much information to really get you to play the game, but Gravity Bone definitely needs to be experienced. It is an utter joy and a game I think everyone should play. Give it a go if you’ve got some time on your hands. Yes, it’s a bit artsy, but it’s worth it, I swear.

Indie Games: Trilby's Notes

Trilby’s Notes is the third game in the Chzo Mythos by Ben “Yahtzee” Croshaw. This game follows the main character from the 5 Days a Stranger, the gentleman thief Trilby, after the DeFoe Manor incident. This time the wooden idol from the DeFoe manor has appeared in a hotel in Wales and it seems the curse has not been lifted. Now Trilby must investigate the effects of the curse and try to track down the idol.

The story of the game isn’t amazing. The game is mostly a massive exposition dump that chronicles the curse throughout the centuries. However, whilst the story within the hotel itself is lacking the exposition is great. This is all told extremely well and is incredibly gripping, it’s just a shame that the stuff in the hotel seems like it is there mostly to act as a link between the back story.

Though the hotel isn’t just there for that reason. The hotel parts of the game also feature a Silent Hill style otherworld that serve to create horror. This isn’t your jump scare kind of horror but your atmospheric horror, the stuff that creeps you out as you wander around the hotel. This is extremely effective and builds up the overall tension of the game, especially when the Tall Man (the entity in this game) could, in your head, appear at any time to murder you.

The gameplay of Trilby’s Notes has had a complete overhaul since the previous instalments, opting for the use of a text parser to do actions. This is implemented rather well, though sometimes it can be infuriating trying to figure out what to do at times (especially near the end).

Despite having some flaws, Trilby’s Notes is a good game. Though not as good as its predecessors it has ramped up the horror aspect and added a lot of intrigue for the final instalment in the series. If you’ve played the first two then give it a go as it’s definitely recommended, if only for the brilliant atmosphere.

Indie Games: 7 Days a Skeptic

More sequels should be in a completely different location to the original. Something about the shift from 5 Days a Stranger, set on Earth in the 1990s, to 7 Days a Skeptic, set in space in 2385, really got me. I mean, it just felt great. It did really well to set up the game and make the events from the first game feel like they had a lasting effect.

Sorry, that looks like it should come later on, but that was my initial reaction to the game.

7 Days a Skeptic is the second game in the Chzo Mythos, a series of adventure games by Ben “Yahtzee” Croshaw. It follows Dr. Jonathan Somerset, a counsellor on board the spaceship Mephistopheles, as he battles against the unseen force present in 5 Days a Stranger.

The story is told very well, Yahtzee’s writing still holding up. The plot really draws you in as you follow the story’s events. There is a stronger focus on horror in this instalment and several moments in the game are very chilling. This comes about from both the storytelling and some brilliant sound design. Some of the most chilling moments are when you leave the ship using the EVA suit, which cancels out all sound apart from Jonathan’s breathing (rather like 2001: A Space Odyssey).

The gameplay is very similar to the first game and is your basic point-and-click affair. However, during some parts of the game you have to run for your life as you are chased throughout the ship. These moments can be pretty irritating as you may not know what to do (especially at one notorious part of the game), though the ending chase sequence is exhilarating and admittedly heart-pounding.

There are a few issues I have with the game though that mostly comes from the writing. There are some horror movie irritations I had, such as characters splitting up when a killer is on board, as well as some questionable actions (“I need you on the ship, so I’ll let you get sucked into a vacuum!”) One moment that I found myself confused was when the escape pod took a day to function. Not a very good escape pod you’ve got there.

Nonetheless, I enjoyed the game and was honestly drawn in by the plot. It’s not as good its predecessor, but it’s a great sequel. Anyone who liked 5 Days a Stranger will hopefully enjoy 7 Days a Skeptic, though I would understand if they didn’t.

Indie Games: 5 Days a Stranger

You know who Ben “Yahtzee” Croshaw is, right? The Zero Punctuation guy? Well, before he became the well-known video game critic/cynic he made his own independent titles. One of these is 5 Days a Stranger.

Made using the Adventure Game Studio, 5 Days a Stranger is the first game in the Chzo Mythos (also known as the DeFoe series), a series of adventure games. The story revolves around Trilby, a gentleman thief who, when intending to burgle the DeFoe Manor finds himself locked in with four others. Throughout the game Trilby attempts to find out what is going on in the manor and tries to escape from the horror within.

The writing is solid and really draws you into the story. The characters feel real and Trilby is extremely endearing. Yet what helps the story is the atmosphere. For the most part the game is silent, with music only playing at dramatic points in the game. However, every now and then you will hear a creak in the house that will grab your attention and unsettle you slightly.

The game as a whole is more character driven than puzzle based. There isn’t much need to think too much when trying to proceed, however there are a few parts where you may find yourself stuff. However, if you keep track of what is written in the books and diaries that you pick up along the way then you should be fine. This creates rewarding gameplay without feeling frustrating, but nor does it feel like the game is holding your hand.

Definitely give this game a go. Even if you don’t play many adventure games you should find the game enough of a challenge whilst still being fun. For people who do play these point-and-click adventure games then you’ll still get enough of a challenge, but it’s really the story that drives the game forwards. Either way, you’ll enjoy 5 Days a Stranger no matter who you are.

Indie Games: Narbacular Drop

You’ve played Portal, right? Of course you have! Portal is great and if you haven’t played it then you should. Buy it, download it, enjoy it, it’s great.

Why do I bring up Portal? Well, Narbacular Drop is the reason Portal exists. Developed by Nuclear Monkey Software, Narbacular Drop is a game project by a group of students at DigiPen Institute of Technology. From this the developers went on to be hired by Valve to help create Portal.

The gameplay of Narbacular Drop is fairly simple and similar to Portal. You create portals around the environment to solve puzzles and get to the end of the level. Not having a jump ability means that utilising these portals effectively is key to get to the end of a stage. And it's fun.

The gameplay is pretty solid and you can see where Portal came from. The controls are simple to use and solving puzzles is simple enough. From reading around (Wikipedia) it seems this game was to show off what the developers could do and it seems they could do a fair bit. Viewing the game from the standpoint of this being proof of applied concept you can tell a lot of work went into this and that the people who made it had a lot of skill.

There’s not a massive amount to really say about this game other than that it is essentially Portal. There is a story attached, but it is extremely basic and obviously put in only as a framing device, however it does show that the developers were creative outside of the actual gameplay.

If you really enjoyed Portal and want to see its roots then give this game a go. It’s only 6 levels long but really shows off what the developers could do. If you don’t care that much about understanding the humble beginnings of a great game then just play more Portal. It’s a more polished version of this game and fun to boot!

Indie Games: Octodad

Octodad, by The DePaul Game Experience, is one of the strangest games I’ve ever seen and I love it. You play as the eponymous Octodad, an octopus trying to appear as a human by donning a suit. You have to appear as human as octopusly possible (forgive me) to your family by doing chores and helping them out.

This would be simple enough, except because you are an octopus you can’t really walk properly or move your arms with any precision. How does this comes across in the game? Well, to walk you have to use left -click to move your left leg and right-click to move your right leg. Oh, and that’s if you are in feet mode. In hands mode you move around your arm, using left-click to pick things up and right click to move your arm more freely.

With these awful, terrible controls you have to do things like do the dishes, get a book for your daughter or score a goal with a football. These mundane tasks are made somewhat challenging by the controls and this is brilliant. As much as the controls suck this is the point of the game and with the game built around the controls sucking the entire experience is so much fun.

The humour of the game is spot on as well, using the concept well without overdoing it. This adds to the experience and just makes the game so much more worth playing. Alongside this, we also have a brilliant art style that just makes things look great and at times adds to the humour.

Download this game as soon as you can. It’s about 30 minutes long and is extremely fun to play. You might get frustrated with the controls at first but you get to know them and work them well enough. Octodadis one of those bizarre gems that needs to be more widely known and with a sequel coming out (possibly on Steam) it may get the recognition it deserves.

Flash Game Reviews: Don't Look Back

Don’t Look Back is a flash game by Terry Cavanagh of Distractionware. I played this game a few years back when it first came out and loved it. Revisiting it today has made me realise why I loved it. This game is just a brilliant piece of work.

The game tells the story of a guy going to the underworld to rescue what can only be presumed to be his wife. It’s fairly obvious this is an adaptation of the Greek myth of Orpheus travelling to the underworld to get his wife, Eurydice, who recently died. The story of the game isn’t the same as this, with the main character blasting his way through the depths of Hades rather than using beautiful music to charm the god of the underworld.

The story is well told, but this is done simplistically and in a minimalistic style. This simplistic storytelling is especially effective when reaching the end of the game, which comes around abruptly, with an empty feeling. This seems to suit the game tonally, with no ultimate conclusion, leaving the ending up to the player’s interpretation.

The actual gameplay is frustrating as hell. This is due to its Megaman style platforming, requiring precise timing and jumps. You may repeat the same screen twenty times, but you persevere, pushing forwards. On top of this, on the final stretch of the game you are not allowed to turn around, so moving forwards has to be an exact science otherwise you’ll have to play that section again.

Though frustrating, the game isn’t unforgiving. The most you really have to replay when dying is around 2 screens, which is no large feat. Also, whilst some bosses are difficult at first there is a trick to each one that is fairly easy to figure out (though the comments on Kongregate make it seem the people are incapable of understanding how to defeat the Cerberus boss).

With fun, but frustrating, gameplay and a gripping and emotional story, Don’t Look Back is a game I don’t even hesitate to recommend. It’s absolutely beautiful, with an amazing aesthetic and brilliant sound design (I have now downloaded the soundtrack). Play this game when you can. It isn’t very long, so won’t require a massive commitment, but the time you spend on it is totally worth it.

Indie Games: Pilot Light

Another Blendo Games project, Pilot Light is a point-and-click adventure that is a simple homage to the old Sierra and LucasArts games. The game follows our hero as she delivers a package across space. That’s pretty much the plot of the game and I’m OK with that. Point-and-click adventures don’t need any in-depth plot, they just need fun pointy clicky gameplay.

Indeed, the gameplay is pointy, clicky and fun. It’s a fairly basic affair, however, with you combining objects or using them on other things to get to attain your goal. Whilst it is fun it is too simplistic, with things pretty much being laid out for you with very little challenge. No crazy thinking is required, just put this in that and you win.

However, most of the fun comes from the writing. There’s no real story, but there are lots of events that take place. Whether it’s stopping someone robbing a space fuel depot or trying to get a man’s engine back from a monkey, the game has a lot of laughs and an enjoyment factor outside of the core gameplay. I found myself chuckling a fair few times, which made up, I feel, for the lack of challenge.

The art for the game is also pretty good. The rough around the edges style is cohesive with the gameplay and writing and really helps you get a feel for the world. This art style also works well with the animation, which I have to admit I really liked and would liked to have seen more of.

Something that could have improved this game, however, would have been better sound design. The only sounds are these little sound effects that only really play when you pick something up. Having some music in the background or sound effects during the cutscenes, or when doing other things, would have improved how the game felt. The lack of sound made it feel somewhat vacuous at times, which was disappointing.

Overall I’d say give this game a go. It’s pretty short, but it’s a nice little diversion if you have some time to spare. Whilst the gameplay is something to be desired, the writing will keep you going through it.

Indie Games: Grotto King

Recently I’ve been playing through a fair few independently made games. When playing these indie games you often find you play a fair few from a certain developer. One such developer is Brendon Chung, lead of award-winning independent games company Blendo Games.

Grotto King is a free game that comes from this company. The game is pretty short, coming at maybe 8 minutes overall. You are on a quest to kill a monster in its lair and your reward is a massive bounty. So you venture forth, into the dungeon/well. Glory awaits!

The actual gameplay mechanics are fine. The inability to look up or down I found to be irritating, but there really isn’t any need to look up or down. The gameplay at the very least is built around this limitation. You fire arrows at the three monsters in this game (or four birds that will explode) and at targets. The targets are there to trigger moving blocks or doors to open, but there are no real puzzle elements.

That’s about it for the game, actually. There’s nothing specifically interesting about the game other than exploding wildlife. You kill a few beholders/eye-monsters in simplistic fights, and then it finishes. The ending to the game is abrupt and somewhat disappointing and the gameplay is adequate, but nothing spectacular. There’s no specific story to speak of to carry you through, so nothing really shines through.

Saying that, though, the general aesthetic is great. I did like the look of the game, though the eyeball monsters were somewhat disappointing. The environment was very good, yes, but it was nothing to really make the game great. 

Overall, the game is fairly bland, but I can tell work definitely went into it. If there were better fights or maybe a better/funny ending then I could enjoy it more, but all I can do right now is say “Meh...”

Assassin’s Creed: Revelations

Reviewed Platform: PS3

Other Platforms: Xbox 360, PC

WARNING: SPOILERS

I loved Assassin’s Creed: Brotherhood. It was my favourite game in the series so far, and I theorised that it would probably be the best combination of gameplay, gameplay elements and story that we’d find within the Assassin’s Creed series. If you want to see why just check out my review of it.

When Revelations was coming out I was sceptical. I had kind of had enough of Ezio. He’s cool and everything, but his story was over in Brotherhood. So, I went into Revelations not really sure what to expect story wise, nor was I sure what they would change to make this one stand out.

The answer came to me quickly. They changed very little that mattered. The UI had a complete overhaul and they added bombs. Neither of these things did it for me, the change in UI seeming pointless and the inclusion of bombs just irritating. I went through the entire game without using bombs as they seemed pointless and too much worthless effort as I wanted to get up close and personal or use my crossbow to take dudes out, which I couldn’t as the crossbow is super expensive. On top of this we have a hook-blade, which just seems to defy common sense and biology (I swear using it would cause your wrist to snap off in an instant). 

Oh, and the less said about the stupid Tower Defence mini-game the better.

Everything that was introduced to Brotherhooddidn’t seem to have much of a place in this game. In fact, a lot of things were dropped. For one, horses are no longer in the game. Nor is an interesting city layout, which now just seems sloppily put together (we’re in Constantinople now). Building up a brotherhood just seems purely peripheral now and seems nigh on useless.

Viewpoints are no longer as spectacular as they once were

So yeah, the gameplay was kind of lame. But a lot of the little niggles I had were always there (such as parkour not always working properly). Why was I suddenly noticing these things? I loved the gameplay in all previous games, even the first game. What went wrong? Well, I theorise the problem is that the others had a cohesive and interesting story to hold it all together. You lose this and it all falls apart. And this was my biggest issue with Revelations.

Revelations no longer seemed to tell Ezio’s story. This time it was about the struggles of Constantinople. There’s a Templar presence, of course, but they just seem to want to bring the Byzantines back, rather than do anything seemingly useful. There’s a massive focus on this story that seems to have nothing to do with Ezio. He’ll get involved, but for the most part I can’t see why.

What should have been the focus of the game was the side plot. All these B-side missions that come about involving Ezio gaining his humanity back at such an old age. He gets to know this other Italian, Sofia, and through their bonding he realises that he is getting too old to be an Assassin. He needs to pass on the torch. This coincides with the story of Altaïr, another part of the game that had little focus on it.

Quite clearly some futuristic DVD

See, Altaïr has left these DVDs around and they tell his story bit by bit. But they really don’t, as the story skips around so much we can’t reconnect with him. The story tells of how he has been exiled and how he deals with it, I think. He gets married, has children and attempts to bring down a colossal douchebag who has taken over the Assassins. This would be a good story in its own right, but it falls short so many times.

Here are some problems. Firstly, how did that guy get to take over the Assassin’s? He’s clearly incapable of doing so and an absolute tyrant. Secondly, Altaïr’s son dies and Altaïr goes to ask the tyrant why he ordered his execution. I couldn’t care as I didn’t know he had children as this was suddenly forced upon us. Thirdly, who is this woman? I can only assume it is the woman who pretended to be Robert de Sable in the first game. She was shown to be romantically involved with Altaïr in another game, but this was only shown and not developed. Fourthly, when she dies I can’t care as this is the only time she is in the game. Fifthly, Altaïr can easily kill the guy, but doesn’t.

They completely ruin Altaïr’s story, and I know this is all very picky, but Altaïr is an important character who needed more time focussed upon him for development. Just showing snapshots of his life is pointless as we can’t really connect with him, nor can we cohesively follow his story.

If they were to remake this game then this is what I’d do: have two plots, one with Ezio and Sofia, the other with Altaïr and his life. Focus on both equally. Then you can connect with the characters and feel for them as they go through tough times and attempt to overcome them.

I feel that Ubisoft lost their way with this game, just trying to squeeze out yet another game before Assassin’s Creed III. This could have been handled very well, especially if the story actually revealed a lot, but for a game called Revelationsthere aren’t many revelations. The game just feels rushed, and that’s a shame as it did have potential to be great. The ending was very good, but the game itself wasn’t worth it (apart from the Sofia parts of the game).

For Assassin’s Creed fans this is, of course, an important game to play as it does continue the story, but I can’t help but feel it was completely unnecessary. Non-fans would probably have fun with the game, but for me, who cares a lot about the story and characters, this just didn’t do it.