Video Game Review: The Elder Scrolls IV: Oblivion Remastered by Bethesda Game Studios and Virtuos

By the Nine Divines, the rumors were real!

Back in April, the rumor making its way around the games industry was that there was to be a remake of The Elder Scrolls IV: Oblivion, and further, that it would be shadow dropped (released at the time of, or soon after the announcement). A few weeks went by in this fashion, and all the internet faithful who fondly remembered their adventures in Cyrodil twenty years past began to doubt the authenticity of all the claims. And then it happened. A dream comes true, a rumor becomes real. Microsoft, Bethesda, and Virtuos announced a complete remake (that for some stupid reason, they decided to call a remaster) and that it would launch that very day. Praise the Nine! If there was one game I could have had remade from the ground up, this was it. So, as someone who played the original Oblivion for over a thousand hours, how does the remake stack up?

To reiterate, this is not a remastered version of the game from 2006, this is a full-on, soup-to-nuts remake of the old Oblivion and its Knights of the Nine and Shivering Isles expansions. The game is faithful in every way that I can remember, with some slight adjustments being made to better enhance gameplay/gameplay experience. They removed some exploits (like easy sneak leveling) while leaving some classic ones that are always fun to exploit in subsequent play-throughs (Boots of Springheel Jak can still be plastered onto your feet while you wear another set of boots, thank Akatosh--though I didn't use the exploit this time around). These details prove that Virtuos and Bethesda took care in ensuring that the spirit of the game remained while addressing things that could break other aspects of the experience, especially for new players. For instance, using that previously mentioned sneak exploit early in the game would affect how strong enemies become, making the player character unequipped to handle them. For those of you who may have found more errors than I, I must apologize. It has been almost twenty years since I last played. But for what it’s worth, to me, everything that made the game memorable is still here.

The Elder Scrolls isn't quite as household a name as the subtitle for the fifth game; Skyrim. Those who know the name Skyrim will know what Oblivion is about. For those who don’t, the Elder Scrolls series casts the player into a sprawling open world with vast choices in character build, stories to uncover, guilds to join, dungeons to explore, and glitches to exploit. You begin Oblivion in a prison cell, looking through the bars while a dark elf across the way uses the race you’ve chosen to taunt you with racist remarks. Ah, how art imitates life. If you choose the same race (dunmer/dark elf), he’ll threaten to sleep with your wife (if male), or he'll threaten to sleep with you (should you choose a female character). Don't worry, you can deal with him later. The choice of race has its repercussions in the early game, with some people disliking you from the outset. Raising your personality and speech craft will allow you to smooth-talk anyone into being your friend though. It can be tough going at first, but it helps create an immersive atmosphere.

Speaking of, Oblivion is an easy game to get lost in. It’s one of those games where you could wander, find a random dungeon, complete it, find another one close by, complete that, too. Realize that you had a mission, but instead, you’ve spent the last two hours doing nothing whatsoever to do with whatever you had planned in the first place, and yet, you still feel satisfied. You’re an adventurer inhabiting a magical foreign world, and Oblivion’s idiosyncrasies are a wonderful catalyst to help the player immerse themselves further. Listening to the soundtrack as I skimmed the chiming nirnroot from the edge of a body of water was a soothing experience that brought me back nearly twenty years. Happy to say, the game still has that effect on me.

One of the best aspects of this remake is the high-quality upgrade of all the models. Everything looks gorgeous, the world, the characters, the armor, and the weaponry. Sure, there are things that popup here and there, and performance is at times suboptimal (and this from someone playing on a PS5 Pro, so be warned standard console and non beefed-up PC users), but the game doesn't just copy old character models over, they are remade, some looking completely different from the original, but all in a way to enhance the experience. While the original had a certain charm, it could sometimes be alarming to see just how hideous some of those old models were. From the sky to the oceans, to the flora and fauna, the remake is remarkable and precisely what I wanted out of the long-rumored game.

The gameplay is first person, though it can be played in third, and has been improved upon thank goodness. You have access to a variety of play styles and can eventually branch out and make your character a jack of all trades if you so desire (like I did, I like to feel like a god toward the end of my RPGs). Whether you choose to be a blade/blunt in one hand with a shield in the other, a two-handed blade or blunt weapon, a pugilist master, or an archer, the options are pretty similar throughout. The same button is used to fire an arrow as it is to swing a blade. Blocking incoming attacks with your shield, shield bashing an enemy, then getting a few quick swings in with your blade is satisfying. The gameplay isn't revolutionary, it is a nearly twenty-year-old game after all. But I must admit it is satisfying, after having played Skyrim all these years, to have the ability to always have a magic spell on hand without having to save a hand slot for it. A character that levels up in magic has all sorts of abilities at their disposal. Some to enhance, some to deceive, some to destroy, some are a mix. How you play your character, and the spells you can eventually create (in combination with the armor that you magically enhance) are entirely up to you and the play style you prefer.

My favorite things about Oblivion? The guild quests and overall quest variety. I was pumped to run through them all again, and they’re just as I remembered. Thieves Guild, Mages Guild, and oh, that Dark Brotherhood quest line. So satisfying. I wouldn't want to spoil it for anyone, but one of my favorite quests—in any game—is in that Dark Brotherhood quest line (Whodunnit?). Outside of the guilds, some other quirky quests make the world that much more endearing. Ever rescue someone trapped in their own painting before?

Compounded with some of the glitches/bugs/features, some not-so-memorable quests can easily become something to remember. For example, I had helped defend a castle at one point in the game, a random side quest. One of the knights comes out to assist me, and he thanks me for my help. Cool. You’re welcome, guy. I go into the castle, take a nap, come back out, and there’s that knight again, standing by a corpse that he helped me kill. He gasps first, then, in a genuinely devastated voice says something like, “He’s dead. There’s a murderer around.” If that isn’t comedy gold, I don't know what is.

My primary issue with any quest-related writing has to do with the main story. It’s always been serviceable, but not quite on par with the guilds. The final battle is a bit underwhelming, but the ending cutscene is appropriately climactic. Though I would think the main story would be a bigger part of the experience, Elder Scrolls IV: Oblivion is so vast that it doesn't get weighed down too much by the inferiority in comparison to its main guild quests. Still, it could be better. I could take or leave the Oblivion gates. Fun challenge at times, but they all feel a bit similar.

I’m going to use this big paragraph to compare Oblivion to Skyrim a bit more, so bear with me. For those of you who’ve played Skyrim (and let’s be real, who hasn't by this point?), you’ll find a familiarity with Oblivion. This is its predecessor, so that's to be expected. What you may not expect, however, is just how much was taken away from the fifth entry in the Elder Scrolls (and, from what I understand, some was lost between Morrowind and Oblivion as well, but that's a conversation for another time). The athletics and acrobatics skills are completely removed, two skills that have profound effects on your vertical movement as well as your traversal speed. Playing your Oblivion character, then moving over to Skyrim feels a bit like you dipped your character’s feet in molasses. Other things were also removed, but nothing quite so inhibitive. Skyrim streamlines more, has better gameplay and animations in some regards (but this remaster fixes a bunch of old Oblivion issues). The world here is much more varied, which is to be expected when compared with the cold Northern Skyrim, but still something worth noting. The music, of course, a subjective thing, is much more my speed and memorable, transportive. I listen to it while I write. The quest writing is much better. I can't tell you how disappointed I was playing through Skyrim the first time. I enjoyed Skyrim’s Thieves Guild line, but that was it. In Oblivion, I wanted to be part of these guilds, work my way up, find out what was happening and why. When it comes to dungeon crawling, the dungeons in Skyrim are better crafted. Though there are plenty in Oblivion that are exciting to explore, many dungeons lack that unique hand-crafted feel that you find in Skyrim. Both games are great, however, and I would happily play through either.

Also, sorry to inform you, but there are no dragons in Oblivion.

In other sad news, the game does have performance issues. I think it was a great idea to keep some of the exploits for players who liked to mess around with their builds and create god-like characters. It’s a single-player game and isn't harming anyone else’s experience. To keep game crashes and severe frame rate drops? Not a great idea. My friend put the game down early, resolved to wait for a patch. I believe patches are currently being worked on to address some of these issues, but as of my playthrough, the game has some issues. When too many models are on the screen, you get some slowdown. The game occasionally crashes (thankfully the autosave is forgiving). The most horrendous issue I had occurred at the very end of the Shivering Isles quest line. I had to look up a crazy workaround to be able to complete it (and mind you I was near the end of my playthrough, only needing to finish the main quest afterward). I thought I had lost my hundred-plus-hour save. Thanks to the kings and queens of Reddit who helped me figure that one out. These frustrations, though irritating in the moment they occurred, are but a drop in the hundred hours I sunk into the game. I hope it won't let it deter someone completely from buying the game. If anything, wait for a patch.

A few small things got on my nerves, things that I must have forgotten over the last two decades. For instance, enchanted weapon charging. Some weapons need to be constantly charged if you want their magical effects. After a few enemies, you have to go into the menu again just to recharge. The same goes for repairing weapons and armor. Why is there no repair all button once you’ve become a repair master? I also preferred the old-style UI for items, which had more character. That said, these are minor gripes that, as I mentioned, don't etch themselves into my memory when I look back. Still worth noting.

From the moment the emperor enters your prison cell and sets you free on a journey to do whatever the heck you want, when that fresh Cyrodil air hits your face and that atmospheric music stirs in the air, promising adventure, you know this is a place you could stay for a while. I’m so glad that this game got remade. It was truly a memorable day for me when they made that announcement. Despite some issues that pop up, I have to say that I wholeheartedly recommend this to anyone who enjoys a fantasy setting in an immersive, moving world. For those who've played other games in the series, I do believe it is possible that whichever Elder Scrolls game you play first has a strong chance to always be your frontrunner of the series, but objectively, I think Oblivion has the best balance of accessibility and role-playing elements in the series thus far. You’d be remiss to skip out on it just because it’s a remake of an old game. It feels like it could have been made today, it’s still that good. After so many hours of playing the original, I still found new quests to do, characters to meet, and people to exploit. Oblivion Remastered is bursting with content, and, returning player or new, Cyrodil’s more beautiful than it’s ever been.

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The Math

Objective Assessment: 9/10

Bonus: +2 for guild quests. +1 for visual overhaul. +1 for atmosphere and immersion.

Penalties: -3 for crashes and performance issues. -1 for genie glitches and bugs. -.5 for inventory/recharging annoyances.

Nerd Coefficient: 8.5/10

Posted by: Joe DelFranco - Fiction writer and lover of most things video games. On most days you can find him writing at his favorite spot in the little state of Rhode Island.

Video Game Review: Hollow Knight Voidheart Edition by Team Cherry

Before you enter the world of silk and song, fill your heart with the void.

For those of you who may have dodged the indie gaming scene since 2017, Hollow Knight is one of the sparkling gems that come up in conversation quite frequently. Partially because of its overall quality and difficulty, and partially because its sequel, Hollow Knight: Silksong—announced in February of 2019—is not only highly anticipated but also missing in action. The most recent update from the developers confirms that “the game is progressing nicely” and that it really does exist. After finally taking the time to play Hollow Knight, I can understand the hype and the anticipation (albeit with a few caveats). Hollow Knight Voidheart Edition is the full package containing the base game and all of its DLC.

Hollow Knight is a beautiful, thrilling 2-D Metroidvania that focuses on platforming, melee/spellcasting combat, and exploration. The art is clean and crisp and manages to balance the contrast between adorable characters and infected monsters, with other intimidating friends and foes. Everything is hand-drawn, and the animations look and feel so precise and purposeful. The game has a charming aesthetic that is instantly memorable, and the style is consistent throughout all the biomes. Each level has a specific look and feel, a different history portrayed with a paintbrush instead of words. From the City of Tears to Queen’s Gardens, entering a new zone brings both a chance to enjoy Team Cherry’s beautiful aesthetic, as well as the chance to ponder the history of the new section of Hallownest.

Despite being a game of few words, Hollow Knight still tells a story. I’ll probably receive a lot of flack for this one, but I kept thinking of Souls-like games throughout my playtime. I’ve never played a Dark Souls game, but I’ve played Demon’s Souls, Bloodborne, Elden Ring, and Sekiro, and I have to say, despite Team Cherry not using any Souls games for inspiration, Hollow Knight feels precisely like a 2-D version of one of those games (though I suppose it could be said that Souls games are 3-D Metroidvanias). This isn't to say that's a bad thing or that there aren’t distinctions between them, but the similarities are rather uncanny. Nebulous story: check, lose currency upon dying and have to reclaim it without dying or you lose it all: check, enemies reset after resting: check, high focus on bosses/minibosses: check (just to name a few). There are a ton of parallels that one can draw from the game. If you like both the Souls-like gameplay system and 2-D games, you may very much like Hollow Knight.

The gameplay is pure and simple, though mastering movement in intense situations is where the complexity comes in. The game has an incredibly high skill ceiling: easy to learn, difficult to master. The game focuses primarily on combat, with platforming as a close second. The combat is the most challenging part of the game, especially the boss fights and overcrowded areas. Bosses and challenges that require platforming and aerial maneuvers while fighting can be extremely frustrating and require a lot of patience and practice. I could tell when I hadn’t upgraded enough when I had a lot of difficulty in a specific zone, so I’d go off and explore or upgrade my abilities.

While I found it a delight to discover a new zone, I sometimes found the road to discovery a bit of a chore. Sometimes the exploration flowed, and I felt like the game had a perfect pace, but other times I would get stuck, unsure of my next move. The beginning hours felt like a bit of a slog, especially before I got the Dash ability. The fast travel system isn't the most convenient, and considering enemies respawn every time you rest, I sometimes found it tedious to explore, especially when my next move was limited to only two options. The game is mostly cryptic, making discoveries feel rewarding, but it also makes getting stuck feel irritating.

As someone who places a game's story on the same level as (or in some cases above) gameplay, I find the enigmatic story not rewarding enough for some of the sufferings that I endured (which is the same way I feel about Souls-like games). Some of the challenges were so overwhelming or poorly paced that I almost put the game down entirely. While the Trial of Fools is still causing me grief, at least it’s optional (though the only reward is a currency I no longer have a use for). The main offender was the White Palace. Oh boy. For a game that has mildly challenging platforming interspersed between/with combat segments, this was a complete turn (and unfortunately necessary to advance the game). This level is a 100% platforming segment that not only overstays its welcome but is extremely difficult and out of place. I sincerely hope the developer learns from this and either completely omits content like this or makes it optional.

But I feel like I’ve been complaining too much. While the game can be frustrating at times, for the most part it is challenging and rewarding. Fighting a boss and learning its patterns, substituting different charms (little boosts to platforming/combat abilities) to get through an area/enemy, and discovering new zones easily make this game worth a shot. Not to forget the charming aesthetic and accompanying soundtrack. I love the calming music that plays in the City of Tears. Nothing like feeling a sense of peace while being attacked by a bunch of aristocratic insects. There’s a wistfulness that’s weaved throughout the soundtrack that can haunt and entrance at the same time.

When Hollow Knight is flowing, the game makes me feel like I’ve stepped into this microcosm of a larger world. Despite not being forthright with every historical detail, the few folks at Team Cherry made the world feel real, lived-in, and worth exploring. While I had the occasional disconnect because of uncertainty within the plot’s obscure framework, the overall feel was one of curiosity. What’s around the next bend? What’s behind that door? What do I get from defeating this boss and what does he have to do with the lore? Realizing a new ability would allow me to unlock a previously unreachable area was always a treat.

If you’re a fan of Metroidvania-type games, then you’ve probably already played Hollow Knight. To those who are fans of the genre and haven’t, I’d say it’s definitely worth a shot. To those who aren’t, you should answer a few questions before buying: Are you patient? Do you like a challenge? Is a sense of accomplishment from said challenge enough of a reward? Is discovery its own reward? Do you like backtracking and opening previously locked areas? If you answer yes to most or all those questions, Hollow Knight is probably worth your time. Its qualities significantly outweigh its flaws and make the wait for the sequel all the more exciting.

The Math

Objective Assessment: 9/10.

Bonus: +1 for beautfiul art and animation. +1 for worldbuilding, character design, and accompanying music.

Penalties: −1 for unbalanced difficulty spikes. −1 for exploration pacing issues. −1 for unrewardingly vague story elements.

Nerd Coefficient: 8/10.

Posted by: Joe DelFranco - Fiction writer and lover of most things video games. On most days you can find him writing at his favorite spot in the little state of Rhode Island.

Video Game Review: Metaphor: ReFantazio by Studio Zero

Time marches on, and the age of a new king draws nearer...

The death of the Euchronian king, with no apparent heir, brings about a power vacuum in which tensions run high and anxiety reigns supreme. A few primary choices become obvious, but how to decide who will lead? That’s when the old king’s magic comes into play, bringing to this storybook fantasy world something it has never experienced before: democracy. In this fantastical world, candidates vie for the throne with words, swords, magic, and ideals, all while dealing with the social and racial inequalities that have plagued Euchronia for far too long.

Enter the main character (whom you name), an ally of the long-thought-dead prince of Euchronia. Hidden from the world and afflicted with a curse, the prince has been removed from the board as a potential candidate. It is the main character’s responsibility to free him from his magical curse and bring about peace in a world full of inequality. Through forging bonds with others and awakening to magic long forgotten, the player is taken along for a heartfelt, thought-provoking narrative that brings Euchronia to life in what I think is Atlus’s finest game to date.

Upon booting up the game, I was greeted with a beautifully animated cutscene, introducing Metaphor’s initial conflict and the world that birthed it. From the initial cutscenes until the first moment the main character steps into Gran Trad, I could tell I was in for a treat. The art direction is splendid, immediately drawing me in and giving me a sense of authenticity that I rarely feel that early in a game (especially one this big). Sunlumeo Street and Sunshade Row represent different socioeconomic spheres of the great capital of Gran Trad, but still carry the same heart. And the further you explore, despite the extreme differences of the biomes, Euchronia feels connected and looks fantastic. And let me not forget the special pitstops the gang make throughout their journey, each one postcard-worthy, and each a little piece of the magic that drew me further into an already endearing world.

Exploring the cities and towns is a treat. Anytime a new primary event occurred, I made sure to go around the streets of all the cities to soak in all the information and gossip. This added extra depth to Eucrhonia, making it feel as though the world was moving alongside me instead of remaining static. Because of this, even small, insignificant gossiping characters on the street show a modicum of character growth. Also, the ability to look at the dialogue log is such a blessing (just in case you missed something). With spoken dialogue, you can have the line repeated, which I did multiple times for some of my favorite lines.

I always have to mention the UI design in the more recent Persona games, and Metaphor is no exception. This is undoubtedly the best I’ve seen. Metaphor’s UI is a thing of beauty that kept me staring at the screen. They went quite hard on something that is usually a passing thought in most games and I am all the more grateful for it.

Metaphor gets you into the combat early and blows open the archetype-class-based gameplay, but it continues to expand throughout the entire playthrough. It’s no small wonder that Metaphor is similar to the Persona games regarding its magic and combat systems, considering Studio Zero is made up of many of the developers from P-Studio, including its director, Katsura Hashino. Party characters are capable of embodying archetypes, old magic that is intention manifest, allowing them to summon a powerful being that fulfills a specific purpose toward one’s ideals. Whether that be the archetype of a warrior, knight, or merchant, the archetype system echoes Persona’s system of summoning beings to assist the party in combat, though instead of summoning, the archetype is an embodiment of each character’s willpower. By giving the main character the ability to transfer this focused intent to his companions, they too can achieve different archetypes. This allows Metaphor the freedom of allowing all party members to mix and match archetypes, blowing past Persona to create a more flexible and versatile party utilization system.

Like the Persona games (and most JRPGs), exploiting an enemy’s weakness in this well-crafted turn-based combat is the key to victory. Gems atop the screen show the player how many turns they have against a current enemy. Each gem constitutes one character’s turn. Upon delivering a critical hit or dealing damage with an enemy’s weakness, the player is awarded a half gem, which gives another turn. Exploiting weaknesses gives the player a huge advantage and can turn the tide against strong foes, but equally, missing enemies with an attack or using an ability with an affinity that they are impervious to removes extra gems, relinquishing precious turns. When an enemy increases their agility, it is wise to debuff them, and when they debuff you, it’s a good idea to get back to neutral. In addition, the game introduces Synthesis abilities, which incorporate a mixture of different archetype classes to create a completely different set of abilities that allow party members to work in tandem to take down an enemy. These moves mostly use only two characters, but some use three or four. Depending on the Synthesis skill and number of party members involved, this will take up a gem corresponding to each party member involved. Discovering all the class abilities and Synthesis skills is a treat throughout the entirety of the game. There are so many possibilities to mix and match that the game truly continues to give the player options until the very end (and into a second playthrough).

But Studio Zero decided to go a step further and add action combat. This action combat is how the player character interacts with enemies in the overworld. By knocking an enemy’s stamina to zero, the player character can initiate an ambush on the enemy, allowing an advantage at the beginning of the fight, inducing both stun status and inflicting damage. This works for enemies that are both within level range and that are stronger than the protagonist. For weaker enemies, they are simply killed in overworld combat without having to waste too much time. In this way, it feels like Metaphor respects the player’s time, especially when you have an eighty- to one hundred-hour adventure on your hands. Not only is killing weaker enemies a breeze, it makes grinding much easier (which is totally optional). Metaphor is one of the few games that I found that respects grinding while also retaining its balance. I thought I had saved up so much money with the Merchant class after grinding for quite some time only to find that I didn't have nearly enough to afford all the items I encountered in shops. A million reeve just doesn't go that far these days. Studio Zero built a system that takes into account players who like to grind and those who don’t, and balanced it well. Quite the achievement. While overworld combat is a time saver and mostly satisfying, it's not overly complex by any means. Some class weapons are a little less enjoyable to use than others, so I found that I would sometimes level certain archetype classes with seeds and roots instead of through combat. Turn-based combat is the bread and butter of this game, but it’s nice to have options.

While the primary dungeons are satisfying and large enough to explore and get lost in, some of the side dungeons are a bit basic. It doesn't ruin any of the immersion by any means, but it would have been nice to have a more lived-in feel to some of the side content. I know they’re supposed to be simple side missions, but when the rest of the game feels so high quality, it feels a bit sad that you can run through some of the side dungeons very quickly, though I can see how that would be a benefit for some. With the combat so enticing, I would have happily spent more time encountering enemies in side dungeons.

The combat options in the game expand as the player meets and advances their relationships with their followers. This works like a traditional Persona game, but instead of forcing a player to make the correct dialogue options to move the relationship along, the relationship advances regardless, so long as you take the time to level up your royal virtues (stats that increase through different activities like reading, listening to others, etc.). This is a huge advantage to Metaphor’s benefit. This allows the player to spend more time learning about the world instead of trying to gain someone’s favor over and over because you didn’t pick the perfect dialogue option.

Speaking of followers, this game has the best set of followers (or confidants, as you would see in a Persona game) I’ve come across in an Atlas game. And that’s saying something, considering how much I love the Persona series and its characters. This is probably my favorite group of party members in any JRPG. I loved them all. Some more than others, naturally, but I didn't actively dislike or feel indifferent to any. To watch them all grow and make their choices was an absolute treat, and there wasn't a single character that I didn’t look forward to spending time with. I don’t want to spoil any potential revelations and character growth, but just know, I loved it all. It felt satisfying to reach the end of each arc (except for one—one of my absolute favorites, unfortunately—which was still good, but not quite as good as the rest). You have the twofold benefit of enjoying a story arc while also increasing and expanding combat prowess.

This satisfaction is in huge part the writing, but the English dub voice actors are excellent. Most of them shine, delivering emotional, honest performances. I feel as though the main character, though mostly quiet, is a bit of an exception to this. He’s fine but is outshone by his cohorts. A few other actors are also dubious, but are outside of the main party and don't take up too much screentime. Heismay, Hulkenberg, Strohl, and almost every character throughout the game kept me hooked. Oddly enough, one of the best performances was none other than the primary villain Louis Guiabern (voiced by Joseph Tweedale). His calm, cool, collected, confident delivery is such an allure that he almost pulls you to his side by sheer force of charming magnetism. He steals each scene he’s in and is such a strong part of what makes Metaphor work. The contrast of such strong personalities elevates the game. He is, without a doubt, one of my favorite video game villains. Using his wits and power to remain one step ahead of all adversaries, Louis kept me on my toes all while making it look easy. It’s a thing of beauty to see two groups of people who wish to rid the world of inequality have such different ways to do it. I love each character’s consistency and passion (though I did find a moment or two that stuck out as a counter to that). This was one of the consistent drivers of the game for me. I only wish that all companion interaction were voiced. Sometimes the interactions felt like they could have had increased impact if only they'd had recorded voiceovers for the scene.

While still on the subject of sound, Metaphor’s music is an excellent amplifier to the rest of the game’s quality. The chanting music in combat hyped me up, while the music in the gauntlet runner brought a sense of calm, and oddly enough at the same time, a sense of adventure. When a follower found their purpose, the music filled me with a sense of pride in my companions. As Gallica says, “Music was the first magic this world ever knew, after all. Makes the road a little easier.” And it truly does. The soundtrack is just another piece that fits into this wonderfully large, intricate game.

With the primary story full of twists and turns, like the primary villain himself, it keeps you guessing. Some of the events are lied about early on to create false enmity, which works in the grand scheme of things, but seemed to be a bit of a cheat. Some things are simply unknown. But each revelation seems to fit, odd as some might be, which closes up almost all plot holes that had me wondering how things fit together. In the end, I felt extremely satisfied, even if the final conflict left a bit to be desired plotwise.

Metaphor: ReFantazio is a game that came along at a perfect time. It reflects our world in many ways and is a reminder that belief in an ideal that betters the greater good—however imperfect—is worth pursuing, despite the pain and difficulty endured on the road to its achievement. For all of the inequality that runs deep within the world of Metaphor, it is balanced by the beauty of the world itself and the traditions of its eight contrasting tribes. While the overarching narrative may sometimes seem to drive the point home very strongly, the characters alongside the protagonist consistently bring the nuance and the acknowledgment that the ideals they strive for are not only going to be difficult to achieve but nearly impossible. Nothing is truly sugar-coated when the layers are peeled back, and it’s one of my favorite aspects of the game.

Metaphor is a phenomenal first entry from Studio Zero that enchants, enlightens, excites, and ignites. There is even more that I could say about this game, but I feel like experiencing the game, its world, and its characters is a bit of magic in itself, and I wouldn't want to take that away from anyone. Metaphor is a game that made me want more. Knowing that the clock was ticking and that I was getting close to the end of the game made me genuinely sad, as I didn't want to leave the world or the characters behind, even after a hundred hours.

The Math

Objective Assessment: 9/10.

Bonuses: +0.5 for party and characters, +0.5 for beautiful art direction, +0.5 for experimental combat classes, +0.5 for worldbuilding and lore, +0.5 for strong voice-overs and music.

Penalties: −1 for weak protagonist VO, −1 for a few cheap plot gimmicks.

Nerd Coefficient: 9.5/10.

Posted by: Joe DelFranco - Fiction writer and lover of most things video games. On most days you can find him writing at his favorite spot in the little state of Rhode Island.

Videogame Review: Persona 3 Reload/Episode Aigis by P-Studio

It’s Going Down.

When the clock strikes twelve, the world enters an eerie state called the “midnight hour” and the shadows come out to play. But what is this midnight hour and why are these shadows on the hunt? And why has the high school turned into a horrid skyscraper called Tartarus? Discovering the answers to these questions is precisely the mission of the Specialized Extracurricular Execution Squad (S.E.E.S.). As you take control of the silent protagonist (who you can name whatever you please, though Makoto Yuki is canon) through this eighty-plus-hour JRPG, you’ll discover more about the world, your friends, and the city around you. Persona 3 is where the series pivoted to include the social link formula it is known for today, and Reload refreshes what made it special and puts a modern coat on it. So grab your evoker and put it to your head, it’s time to blow your persona out of your brain.

I must declare that I never played the original Persona 3, nor did I have a chance to play Persona 3 FES or Persona 3 Portable, so my frame of reference is strictly tied to its sequels, specifically Persona 4 Golden and Persona 5 (not Royal, sorry Kasumi). As Persona 4 and 5 are two of my all-time favorite JRPGs, the 3 Reload announcement was an exciting prospect. For me, a new Persona game would be released, with a new set of characters to love, and a new dungeon to explore. Persona 3 Portable allowed the choice of a female protagonist, so they must have removed some features of the past games to create this updated version unfortunately, as I would have loved the chance to have a female protagonist in a Persona game.

The game’s aesthetic is fantastic. The character models and art style make it feel like you’re watching anime at times. Sure, there’s the occasional NPC who has a lower budget model, but the overall look of the game is vibrant and diverse and is always appealing. The high school setting and dorm (two of the places the player frequents) don’t necessarily wow, but have an ingrained sense of comfort that grows on you as you spend your hours on Tatsumi Port Island. P-Studio has ensured visual parity between the oldest modern Persona game (1 and 2 are a different beat altogether) and the newest. Now we just need a little refresher for Persona 4 and we’ll be golden.

But the parity doesn't just stop and the in-game animations and visuals, it also extends to the UI and combat. The UI is beautiful, seamless, and most important, stylish. Like its predecessor-successor Persona 5, P-Studio knocked the UI’s look out of the park with its distinct sophistication. You could probably show me that UI in ten years and I'll know exactly which game I’m looking at. That said, the item UI could use a bit of organization. Finding items, especially late game when you’ve collected so much, can end up being a bit of a hassle. And the naming conventions of the skill cards aren’t necessarily intuitive.

The combat is fun and flashy and exactly what I love about these games. For those of you who haven't played any Persona, the games are turn-based. The primary goal of combat is to down your enemies (putting them in a weakened position). This can be done by landing a critical hit or exploiting an enemy’s weakness (like fire, ice, etc.), once one is downed, the player receives a huge 1 More on their screen, allowing them to attack again in a row. Once all enemies in the current encounter are down, you have the opportunity to engage in an All-Out attack, which sees the main character and allies land a combined attack on remaining enemies that does a lot of damage. In Persona 3 Reload, finishing a fight with an All-Out attack guarantees the activation of an event called Shuffle Time, which allows the player to pick prizes (and who doesn't love prizes?). This combat loop is extremely satisfying and easily hooked me for hours on end. One of my favorite new additions to the combat is the updated Persona 5 baton-pass. Shifting, as it has been renamed, allows the player to exploit enemy weaknesses with greater ease, and adds an extra flow to the combat. When the character triggers an enemy weakness, they can use their 1 More action to transfer their additional turn to a teammate (who may then be able to exploit another weakness or heal the team). This creates ample opportunity to down the entire enemy line and get a chance at the sweet, sweet Shuffle Time.

Though I love the combat and would love to see something like it implemented in some of my other favorite series (Pokemon anyone?), there are a few gripes I had that occasionally created some irritating bumps. The main player character is considered the party leader. If the party leader dies, it’s game over. You have to restart the game, the fight, or go to your last save file. It’s dumb and inconvenient and doesn't enhance the experience in any way. In a game with insta-kill spells, this can come on randomly. There were a few fights in which I was deep into an encounter and the main character was insta-killed, leading to much frustration. In reality, my other characters would simply use a revive spell or item. The game doesn't have to end. Also, I’m not sure if it was a glitch, but halfway through the game, the game-over screen stopped allowing me to replay a battle I had lost (meaning I could only restart the game or load an old save file). Why? Later on, I would sometimes be offered the ability to retry, sometimes not. Not sure what the deal was there, but it was an odd inconsistency. Also, outside of combat, item management in combat is not the best. Also, I think an option to skip the All-Out attack animation should have been considered. I saw it about a million times, I don’t think it’s necessary to watch it every time.

Filling the persona compendium is a satisfying endeavor that kept me occupied throughout my adventures in Tartarus. For those not in the know, personas are different creatures and mythological beings that the characters summon to grant them their magical abilities. Unlike the supporting S.E.E.S. members, the main character can summon multiple personas. There is a certain Pokemon-like element to it, the collectible element is exciting, and trying to get better and better personas with better abilities is a continuous goal. Unlike Pokemon, however, personas are easy to discard for a better one. The sentimental attachment gained from sticking with a certain group of Pokemon doesn't exist here. Instead of Pikachu, you have Thor (but Odin looks to be a bit better, so maybe I’ll go with him…). Some of the designs are neat, some are quite bizarre. Who wouldn't want to use Alice from Through the Looking Glass and What Alice Found There? Or what about Lucifer? Yeah, that’s about how wide the compendium goes.

The dungeon design is varied, not just aesthetically, but in layout as well. Some were easier to navigate than others, but none were particularly difficult by any means. Every block has a unique look with new enemies to encounter. Admittedly, many of the enemies are re-skinned, which leads to a bit of redundancy in the design, but since each new re-skin comes with a new set of weaknesses and abilities, it essentially feels like a new enemy. Trying to discover a new enemy’s weaknesses never gets old thankfully, even if the enemy designs begin to tire. While I enjoyed most of the dungeons, one in particular was visually obfuscating, causing me to have to pause the game multiple times. It wasn't fun to look at for more than twenty minutes at a time and I find it a rather odd inclusion. It’s what I imagine some sort of hallucinogenic trip to look like, and it isn't particularly pleasant. Another irritating Tartarus issue I had concerned the consistent commentary from teammates. I swear I’ve never played a game where I was told about every single treasure chest and every single enemy in the game. The only conclusion I came to was that play-testers simply couldn’t see any of these things. But boy is it annoying at times. Also, the number of times I heard Fuuka tell Koromaru how cool he looked in combat made me want to remove him from my party. Of course he looks cool! He's a dog with a knife in his mouth.

I’ve talked about the meat, but what about the potatoes? The social link and daily life activities of the main character are part of what makes modern Persona what it is. Persona 3 Reload doesn't disappoint in this respect. From the dying man, Akinari (one of my new favorites) to the unusual monk Mutatsu, the social links are satisfying and worthwhile. While a few of the main party characters seem a bit single-minded, they eventually open up a bit. Though Sanada’s incessant desire to work out drove me a bit crazy, I still warmed up to him, and Junpei. Well, Junpei is Junpei. My only issue in this game is that not all teammates have social links. Sure you can level them up in a social way that increases combat ability, but you can’t link them up, which is an odd omission. Considering I prioritized my social links, I missed time-sensitive events with some of my fellow S.E.E.S. members that I would have liked to have seen. Another small gripe is the nighttime social links. At night there are exactly two. Daytime? Seventeen. I understand the need for a big imbalance due to the game’s structure, but there were quite a few nights where having another companion available would been a great addition, and it would have allowed me to spread the love a little more evenly. Beside that though, I enjoyed getting my part-time jobs and leveling up my social stats (academics, charm, and courage). Having only three (as opposed to five for P4 and P5) allowed a more focused assault on specific stats, though each can hit a max of six (instead of five as in the other games).

Last but not least, sound! I played in English and loved the characters and voice actors. I loved the dorm crew and am so glad I got a chance to become a member of S.E.E.S. (even if Junpei got on my nerves sometimes). Having a silent protagonist is a bit odd at times, but it works for the Persona games on the whole. But where the game shines is the music. The soundtrack is fantastic. Every Persona game has an amazing soundtrack and Persona 3 Reload has an absolute banger of an OST. “Color Your Night” and “It’s Going Down” are some of my favorites. My girlfriend even came into the room a few times to ask what I was listening to because it sounded cool (for the record, she is not into video games). Even if you don't play the game, the soundtrack is worth listening to on its own.

Persona 3 Reload feels like it could be an entirely new Persona for those who’ve yet to play the original. For those who have played the original, I can’t say how it compares, but I do know that it is now in line with its contemporaries. While there are some intriguing choices made (like excluding some teammates from social links), the overall package is an appealing and satisfying one. It’s difficult to say where I place this darker iteration in the series, but I do know one thing, when the final cutscene rolled, I felt the same sensation I had at the end of the previous two games; a mournful end to something good, a goodbye to a group of friends. And that’s how I know it was a successful Persona game.

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The Math

Objective Assessment: 8.5/10

Bonus: +1 for an excellent OST. +1 for visual splendor. + 1 for social links.

Penalties: -1 for party leader KO game over. -1 day/night activity imbalance. -1 for repetivie dungeon voice lines.

Nerd Coefficient: 8.5/10

Posted by: Joe DelFranco - Fiction writer and lover of most things video games. On most days you can find him writing at his favorite spot in the little state of Rhode Island.

———


Why did you make me do this?

The good thing about a Persona game is that they usually release a big update or add-on that brings with it a significant chunk of gameplay. The bad thing is that, by the time it comes out, you’d have to replay the entire hundred-hour game just to experience it (hence why I have yet to try Persona 5 Royal—again, sorry Kasumi). I didn’t realize what kind of DLC Episode Aigis was going to be (whether it would be post-game or integrated like Royal), so I waited for its release before playing Persona 3 Reload. What I wasn’t expecting was a $35 price tag. It’s a hefty one.

Now, I went at length with my primary review, so I’ll keep this one brief. Episode Aigis is post-game content that you can probably play without having to finish the main campaign (of course you would have to endure the spoilers). The only thing that carries over here is your persona compendium. Episode Aigis places the character at level 25 and has you and the old team essentially re-level up to get as powerful as you were before. It’s not exactly an enticing premise, but since the combat is enjoyable, it’s not much of an issue.

Introduced right away is the new character Metis, who accompanies the heroes throughout the Abyss of Time as they try to resolve issues from the past. Metis has charm and is at times humorous, but the number of times she says the word “sister” got on my nerves. It’s annoying, frankly. I liked her kit and wanted to see more of her since I was used to the rest of the cast, but there were a few times I put her aside just so I didn't have to listen to her call Aigis sister for the millionth time.

The DLC is sizable, taking about thirty hours and comprising three new dungeon types that are intermixed throughout the exploration of the Abyss of Time. Notably absent are any social links or daily activities. This is primarily a combat-focused add-on. Yes, there is a reason for the combat, and the story does resolve things for all the ancillary characters that were in the main game, but the potatoes are missing from the meat and potatoes plate.

While the combat is great, there isn't much in the way of new enemies or combat mechanics. It feels like a rather exploitative DLC that should have been about $15, or better yet, included with the game (since they had already released this years ago with Persona 3 FES). Sony recently remade The Last of Us Part I and included their Left Behind DLC with the package because it is now considered part of the first game. I fully believe P-Studio should have done this with Episode Aigis. Or at least not charge $35 for something that doesn’t quite live up to the base game.

One of the issues I had with this DLC was that enemies attacked out of turn on many occasions (a big no-no when you're trying to coordinate your attacks), something that never happened in the primary game. Also, one of the end-game enemies, Maya, was an irritating pain and I just eventually ignored her (not that I couldn't beat her, she would just eventually run away after I wasted my time fighting her).

The story has an odd Christ allegory that I found drained a bit of the end-game appreciation. Speaking of, I disliked how the end battles remove character weaknesses to buff playtime. It creates boring drawn-out battles that I just wanted to be over.

To be honest, I appreciated the ability to see more of these characters and to watch them work through the problems that were a result of their actions in the main game. If you enjoy the main game and its characters, then this is a worthy addition. I would just wait for a price drop or a bundle. Have no worries though, the soundtrack is still peak.

--

The Math

Objective Assessment: 7/10

Bonus: +1 for story extension. +1 for amazing OST.

Penalties: -1 for lack of social links. -1 for how many times Metis says "sister". -.5 for rehashing from level 25.

Nerd Coefficient: 6.5/10

Posted by: Joe DelFranco - Fiction writer and lover of most things video games. On most days you can find him writing at his favorite spot in the little state of Rhode Island.

Nonfiction Review: Play Nice: The Rise, Fall, and Future of Blizzard Entertainment by Jason Schreier

From king of the world to a cog in the system, Play Nice blows open Blizzard's rise to fame and its fall from grace

Play Nice, the most recent book from renowned journalist Jason Schreier, says all in the title. The book follows the Blizzard from inception to acquisition to scandal. Though the future for the company is rather uncertain (what with the recent Xbox acquisition), the past holds a lot of dramatic development fuel (at least enough for an almost four-hundred-page book). Though I’ve never been a hardcore Blizzard fan, I’ve sunken many hours into Overwatch and was curious to see how some of their development choices unfolded. Instead, I got a whole lot more that I didn't know I wanted.

Schreier begins with Allen Adham and Mike Morhaime’s (Blizzard’s co-founders) initial foray into the industry and hits on every success, cancellation, and acquisition that comes their way. The industry darlings of the 90s continued to pump out hit after hit after hit. The Warcraft, Diablo, and Starcraft franchises were all massive successes, but the history behind each plays out here. For instance, the Diablo team was originally a separate studio that was brought into the company. Play Nice details how Blizzard’s primary Irvine offices contrasted with the Blizzard North, how the two companies’ ethos were at odds, in some cases, with their newly acquired brethren, and at other times in harmony.

Schreier, to his credit, paints this era of booze-fueled frat fantasy video game development in vivid detail, partly from his own description, but mostly from the quotations he managed to secure from the many past and present Blizzard employees. At times the book gets crass, though that is in line with the content being represented. Schreier’s commentary is often comical. At one point he references a past advertisement/mantra that came into being from a past World of Warcraft customer service call. In the background of the call, a man’s wife claims: “This game is why we don’t have sex anymore.”

But the book covers more than the early days. The transition from fraternity game developer to full-time publicly traded company brings with it many issues. Sometimes the dream of becoming big has an entirely different reality, and Schreier finds quotes to help nail that sentiment. The consistent rotating door of executives, owners, and employees left me (never mind the company) on unstable footing. So many names are introduced and quickly discarded that I had to do a double take (or at least flip a few pages back to see if I was still reading about the same person from a few pages ago). Schreier will build up an employee with a bit of backstory, and then not mention them for a while (or ever again), while others stay in the periphery, bouncing back into view every so often. It’s a bit disorienting, but completely understandable considering the company’s thirty-plus-year history of confusion, success, and most recently, scandal.

As someone who is opposed to CEOs making hundreds of times what their workers make, I found it tough to read about the disgusting practices carried out by Activision and Blizzard’s upper management. Developers found it difficult to live while their bosses made millions of dollars. While Schreier brings in voices from all tiers of development, the main focus, especially later on, comes from those affected by the poor policies implemented to ensure that Blizzard would become a profit-first company (as opposed to their initial player-first mentality). Arbitrary rules put in place would see employees compete in unhealthy ways to keep their jobs. Not to mention, all the time that Blizzard continued to put out hit games with commercial success (including in their early days), their staff was paid less than other studios. To work for Blizzard was its own sort of payment.

One of my main issues with the book is the inconsistent timeline. The book, overall, is chronological, following the earliest days of Blizzard to the recent Microsoft acquisition and layoffs. At some points, however, Schreier goes back in time to discuss other projects and put emphasis on things in a time that I thought I had already moved past. So, like with the many different employees that are mentioned and dropped, I found myself flipping back to make sure I knew where I was chronologically. Again, it's hard to fault Schreier for this, considering the studio had multiple projects in the works, and he tried his best to cover each with their own highlight. Despite some of the timelines coming into conflict, it’s digestible, even if I needed to take a few moments to review my notes. Minus some poor fool pressing Enter and starting a new paragraph instead of the space bar multiple times, another issue I have is how Schreier ends each chapter. Almost every chapter ends with what feels like a dun, dun, dun… To Be Continued. Look, I get it, but the content is interesting enough. It isn't necessary, and eventually comes off as unintentionally comical.

Discovering many of the intricacies of not only Blizzard, but Activision, Vivendi, and Davidson & Associates (Blizzard’s original parent company), and how the company and its parent companies work (or don't work) was incredibly insightful. The constant bureaucracy from Blizzard’s owners and eventual erosion of what made the studio unique and successful slowly begins to creep up on you as you read through the book, and it’s quite fascinating to see it unfold. From the sexual assault scandals to poor implementation of morale-destroying policy to leeching almost all creative juice from the teams in favor of profit, Play Nice covers one of most influential video game studios of all time with vivid clarity. Thanks to the many interviews Schreier conducted to make this book, it feels like a triumph for those poorly affected by ABK’s (Activision Blizzard King) harmful policy and in some cases inadequate response to employee grievances. While I think Schreier should have waited a bit longer to see how Microsoft and ABK’s merger plays out over a longer period, the content here is informative and reflective of an ever-changing industry. If one wants insight into how one of the most beloved developers in the world has become a shell of what it once was, this is the best way to do it.

Posted by: Joe DelFranco - Fiction writer and lover of most things video games. On most days you can find him writing at his favorite spot in the little state of Rhode Island.