Video Game Review: Ghost of Yōtei by Sucker Punch Productions

Let the wind gently guide your hand to the purchase button

Whispering winds carry upon them the golden leaves of the gingko tree throughout the waving fields of grass and rice throughout Ezo. There is wisdom in the winds, and alongside them comes Atsu, a young woman intent on attaining retribution for her long-dead family. Ghost of Yōtei occurs hundreds of years after the much loved Ghost of Tsushima, and though the story and all its characters are new, there is much that has been shared.

To begin, this game is gorgeous. The intro is enough to let you know the developers have taken care to infuse the spirit of this historical timeframe in Japan with their own art style. From the snow-capped mountains of Teshio Ridge to the multi-colored flora and fauna in the Yōtei Grasslands that open their arms to the player upon booting up the game, every aspect of the world feels beautiful and well crafted. The art design is not focused on hyperrealism, instead going for a specific feeling, one that captures an almost painted artistic aesthetic of what Japan would have looked like in the early 1600s. The small villages and towns feel lived in, the roads feel traveled (yet dangerous), and the castles and prominent landmarks (like Mt. Yōtei) all take on a life of their own. Exploration in Ghost of Yōtei never suffers from a lack of beauty.

It’s odd; I remember enjoying Ghost of Tsushima, but have trouble remembering many of the specifics outside a bunch of the story beats. I think it may have something to do with the game being a better version of a “Ubisoft clone,” much like the Horizon series. Unlike some of the more contemporary games (like Elden Ring) that eschew this approach to exploration mechanics, Ghost of Yōtei embraces the classic format. And like Horizon, it takes said format and makes it its own. Instead of using some sort of tower to unveil playable areas, paying for maps from the cartographer or accepting bounties will place markers on the player’s map that create a more natural sense of exploration. On the way to a particular place, you may run into a golden bird that may lead you to a hidden area, some new charm, perhaps help a wold in trouble, or relax at a hot spring that you can use to increase your health. Like I mentioned earlier, the world is entrancing, and it never felt like a chore to go from one place to another. Fast travel is instantaneous, and nothing feels too far away.

The game throws you right into the thick of things. With Atsu back in Ezo for her revenge against Clan Saito and the Yōtei Six, Ghost of Yōtei immediately places the player in combat. Traditional of more modern action games, the player can use heavy and light attacks, block, parry, and dodge, among other moves. The gameplay feels great, and taking on multiple enemies, or even taking on one specifically challenging boss, feels appropriately climactic and cinematic. While the duel showdowns are not as flashy as in Ghost of Tsushima, the sentiment still resonates with each intro; a battle to the death feels like it (even if the gameplay loop does not support that narrative for the player).

Swordplay feels great. Though I suppose I should expand to say combat feels great, as multiple weapons become available over the course of the game. Though the general play style is still the same, knowing when to switch and use which weapons against which helps with breaking opponents’ stagger gauges, making the challenging fights much more manageable on higher difficulties. In combination with the quick-fire weapons (like smoke bombs) and ranged weapons (like bows), the combat is engaging throughout the entire experience. Even while I was going around finishing up the non-combat related collectibles at the end of the game, I would still engage in combat to enjoy a bit of that Sucker Punch fun. Knowing when to use your spirit to heal or disarm an enemy comes with hours of experience (that I still did not always get right).

I occasionally had some issues with visibility, specifically when facing many surrounding enemies. Especially ones with longer-range weapons like the yari and the kusarigama. The developers made some accommodations for the player by showing a light from the direction a bowman was about to fire from (and simultaneously, any enemies around the player will duck to avoid the arrows). But sometimes the number of enemies is overwhelming. It would not have irritated me as much if there were no mechanic that relies on not being hit. Trying to build up your howl only to get hit by an unseen enemy was a tad annoying. Not a huge issue, but something I ran into quite a few times.

I refuse to speak for everyone here, but I have to say, I think the map is a fantastic size. It felt explorable while not being overwhelming. Many games try to cram everything (plus the kitchen sink) into their game to pad it with more content. Ghost of Yōtei feels like just enough. After fifty hours, I feel like I have unlocked almost everything, and yet, I still feel like I explored a pretty large game world. The side content feels good, albeit with a few underwhelming quests. I enjoyed learning music on my shamisen and would play some songs when I was walking around. The bounties are fun and varied, many with a story of their own that end in surprising ways. Sucker Punch took care to ensure that the side content felt meaningful, even if there are a few missed opportunities.

The story is great. It may not win any awards, but the characters are solid and their motivations sincere (though I believe Atsu’s motivation shifts a little too quickly toward the end). Voice actors are believable, and the animations that accompany them are fantastic. The voice acting done for some of the younger characters is done by adults, and it sounds terrible. Aside from that, the adult performances are spot on. Traditional revenge tale cut up into segments. Atsu is after the Yōtei Six for the murder of her family; she intends to cross each name off her sash.

While the gameplay loop works well, sometimes the desire for player choice impacts the believability of the world and story. For instance, early in the game, you can choose which member of the Yōtei Six to go after; upon completing whichever sequence you choose, some cutscenes will mention only the first member that you killed (which is necessary to advance the story right away), while others will incorporate every member you have dispatched. There is no order to it, and it would sometimes remove me from the world and remind me of the illusion of choice so elegantly debated in the gaming scene over these last few decades. While the facial and gameplay animations are fantastic, there are some minor animation issues throughout the game that are stiff or clunky, but they rear their heads so infrequently that when they happen, you notice.

Ghost of Yōtei’s story, like the rest of the game, doesn’t shatter any boundaries, doesn’t reinvent the wheel by any means. What it does, however, it does very well. Set in Japan in 1603, the game can easily transport you through its beautiful world and complex characters if you let it. I never felt the game falter for very long whenever it did (a boring side mission here or there), and I never felt the need to put it down for long. Coming from the superhero-charged Infamous series, it’s impressive to see what Sucker Punch has done in representing the Edo period in Japan’s history. I have yet to try the Kurosawa mode because I feared missing out on the vibrancy provided by the developer’s aesthetic, but it is an option for those seeking a more authentic black-and-white samurai experience with Japanese voiceovers. While some of the supernatural side quests push the boundary a little more than I’d like, the game feels grounded overall, something I much appreciated.

Those who like samurai/shinobi style games with a good story are in for a treat. If you have not played Ghost of Tsushima, it is not a necessary experience. As I’ve mentioned, this game occurs three hundred years later. There are references to the past, but they aren’t anything significant and wouldn’t hinder one’s enjoyment of the title. For those of you who have played the original, I believe this title is superior to Tsushima in most ways. With Ghost of Yōtei: Legends (a free multiplayer addition) on the horizon, the game will offer even more bang for your buck.

The Math

Objective Assessment: 8.5/10.

Bonus: +1 for beautiful authentic aesthetic. +1 for focused content.

Penalties: −1 for occasional visibility issues. −1 for story layout/cutscene implementation.

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: Death Stranding: Director's Cut by Kojima Productions

Better late than never!

Death Stranding, six years old now (note: this is a review of the original, not the recently released sequel), sat on the periphery of my must-play-at-some-point list since its release. I say periphery because I never actually purchased it, but always intended to. A friend bought it for me last Christmas and, besides wanting to check it out over the years, praise for the sequel helped push it to the forefront of my pile (and in a year of games that is the antithesis of any backlog, mind you). This game pushed me through a range of emotions that I wasn’t certain it would evoke, and the funny thing is, few of them had anything to do with the story. Let’s go through them a bit.

Emotion one: Frustration. It’s rare that I consider quitting a game. In fact, I’m a bit of a completionist. Giving up before finishing a game’s storyline is a rarity for me, and yet, there was one point early on when I considered doing just that. Here I am, ill-equipped to handle the world of Death Stranding, I have my BB (Bridge Baby, or, a baby in an incubator that connects to my chest that can detect BTs (ghosts)), and I’m delivering a heavy cargo load to the Wind Farm up in the mountains. I’ve been careful, holding my breath whenever I’m near one of the BTs (again, ghosts), but somehow, I’m caught. I try to escape, but alas, I have too much cargo and the souls from the beach drag me down into the tar. The world sways as I’m dragged hither and thither, and suddenly I’m over a hundred meters away from my cargo and—is that… why yes it is—a tar-drenched whale breaches the surface, my BB is wailing, and I can’t soothe it because I am surrounded by ghosts and am literally being chased by a whale in the mountains. None of it makes any sense, and I’m trying to figure out how to get away from whatever is going on. I fall a few times, and the BTs are pulling at me. The BB is still crying (I detest the sound of whining or crying (or anything high-pitched for that matter)), and I am not only frustrated now, but the game has fueled my second emotion: Anxiety. Finally, I managed to get away, but now my BB has autotoxemia and won’t be able to help me scan for BTs on my way back. I get a message: my cargo has been destroyed. Perfect. I have to reload my save and do that entire area over again.

The opening hours of Death Stranding are a chore. I understand the concept of learning to crawl before you can walk, but the game doesn’t do a terrific job of making you feel invested right away, so it feels like you’re scraping your knees on cement instead of learning to crawl on a plush carpet. The world, while giving the desolate feeling that it wants to evoke, doesn’t give one of character. It feels bland and incredibly unrealistic (albeit beautiful; graphics are nice—even for a six-year-old game). Lots of suspension of disbelief needed here to believe that this map is supposed to be what was once the United States of America. There are a few ruins here and there, but nothing makes the world feel like it is the remnant of a country once vast and opulent in some places, and criminally underfunded in others. It just feels like a big, empty open map. And while that definitely serves the gameplay, it doesn’t serve the worldbuilding and immersion. Sure, things were supposed to be wiped out when the Stranding occurred, with timefall (rain that ages anything it touches) aging everything to dust, but some things evaded destruction. The setting feels like an echo of what it could have been. I can appreciate it as a game world, but not as a replacement for the entire USA.

After the Wind Farm mission, I did something that I don’t think I’ve done before: I sought validation on the internet. I asked whether I was crazy or the game sucked. How did this game score well? Some folks said, “If you don’t like it now, you won’t like it at all,” and at that I felt a bit disheartened. But then some heroes said, “Get to Chapter 3. Just push on past the first area.” And so I did. Anyone who gives this game a chance and has a similar experience with the opening, I say push through to the third chapter. Don’t worry about what you’re missing in the first area; you can always come back—and with better tools.

The third emotion, Confusion, came into play when I entered the second area. The story was a bizarre rollercoaster of plot twists that didn’t always pay off, a main character whose motivations don’t seem to match his actions for 90% of the game, and side characters with really odd names (Fragile, Deadman, Heartman, Die-Hardman, Mama—What is his obsession with characters named Mama?). Norman Reedus was an interesting decision for the main character, not because he gives a poor-quality performance, but because he’s so recognizable, and the role of Sam Porter Bridges doesn’t push him to test his ability, it simply feels like you’re playing Norman Reedus from The Walking Dead. This is a Kojima game through and through, so expect a weird story with weirder characters and some plot points that don’t always make sense, and you’ll be fine. The story comes together in the end, but not necessarily in a completely satisfying way.

But the fourth emotion I experienced—Appreciation—kicked in once the gameplay clicked with me and the world became this moldable map under my fingertips. The vision was clear, and the game had become addictive. I spent many nights thinking, “just one more delivery.” But that one turned into two, two turned into three, which turned into an invasion of a MULE camp, which turned into finding another place to connect to the UCA. I would get excited to find a lost piece of cargo for the connection I wanted to level up with and think, “It’s only a few minutes away; let me just bring it to them real quick.” The game has a distinct quality of making you feel you are, in fact, a very important deliveryman trying to connect a once great country (even if the map doesn’t seem like one was really there in the first place).

The gameplay is unique in some senses, familiar in others. At its core, it has basic third-person shooter controls. You get weaponry to dispatch enemies, both of the living and dead variety, and can use stealth to get the job done (though not as intricate as Metal Gear Solid V, the mechanics work well). The uniqueness comes from the delivery aspect of the game. As a porter, it is Sam’s job not only to deliver cargo, but to ensure it remains intact and with as minor damage done as possible. Sometimes, a delivery has a time limit. Sam can only carry up to a certain weight limit before he is over-encumbered, so it’s up to the player to ensure that they don’t exceed what they can manage. Not only is weight a factor, but so too is the height of the cargo. Too high or heavy, and the cargo pile will tilt left or right, and the player has to ensure Sam remains upright or the whole thing may topple over. Easy enough on flat terrain, but once you enter the rougher areas, rushing through is a big no-no. This game induces anxiety like almost nothing else. Watching as my cargo washed away downriver because I mismanaged my energy made me laugh (only after frantically doing everything I could to recover it all). In Death Stranding, if you fail big, you usually only have yourself to blame. And biting off more than you can chew, even when you are familiar with the rules of the game, is incredibly tempting.

As new tools unlock, the game becomes more pliable and the vision for the “stranding” genre unfolds. When you place a tool in the game’s world (for instance, a generator that charges all your batteries—especially vehicles), other players who share your lobby also get that in their game world. When you help yourself in this game, you help others, and vice versa. Every time I set up a system that made the world more traversable, I had hoped that it would make it into other people’s worlds. It was enjoyable to see my hard work pay off, and, in the end, I could get around a map—that provided many initial challenges—with ease. The puzzles in Death Stranding aren’t ones you’d find in a Legend of Zelda game. No, the puzzle here is how to make the best use of your tools and the surrounding landscape. As I bent the world to my will—helping not only myself, but others—as I made the premium-timed deliveries with minutes to spare, my cargo perfectly intact, there’s so much satisfaction that I almost forgot about that time that my cargo was destroyed because I was surrounded by ghosts while carrying a crying baby to a Wind Farm in the mountains while a whale chased me.

Almost.

I know Kojima’s story and characters won’t be for everyone. This is a man with an odd vision who now has full control over his work. I felt at many points that the game would have been served well by some higher-up saying, “This is stupid. Did you add it because you thought it sounded cool? It doesn’t.” Or, “Did you just randomly think of it this morning? It doesn’t fit, cut it.” Despite some misfiring in the story and a sometimes cumbersome UI, the soundtrack does well to echo the vibe of the game and put the player in the mood to make some more deliveries. The emptiness and desolation play into Low Roar’s hands.

I know the first few paragraphs came off quite negative—and well they should. Death Stranding had an abysmal start. You shouldn’t have to push through to get to the good part (especially when pushing through takes 6+ hours). When the game gets going, you can experience something unique on a AAA scale. Most games that innovate nowadays lie firmly in the indie camp, so this was a breath of fresh air. It’s not perfect, but despite my misgivings, it is quite good and worth exploring if you want something experimental and that does what it sets out to do (mostly). Despite my confusion regarding the end of the story, I still find myself eager to play the next entry. More deliveries? Yes, please.

The Math

Objective Assessment: 7.5/10.

Bonus: +1 for unique gameplay. +1 for addictive, yet at times relaxing, gameplay loop.

Penalties: ‒1 for opening hours. ‒1 for story misfires.

Nerd Coefficient: 7.5/10.

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.

Review: Star Wars Outlaws

The first Star Wars open world video game is a beautifully designed treat for fans by developers that clearly love the universe, but the gameplay leaves a little to be desired. (Spoiler free)

As a long-time Star Wars gaming lover, I've been waiting for an open-world video game. Hell, I even bought a PlayStation 5 in anticipation of this release, putting my long-suffering PS4 to rest finally. And I enjoyed it! I did my first playthrough in about 25 hours, completing the main storyline. I've since restarted, and am giving myself time to really relax into the game. Like in many open worlds (I'm a huge fan of Assassin's Creed Odyssey and Fallout 4), it takes time to learn, explore, and discover everything a game offers. And to be clear, Outlaws offers a lot—you just have to be willing to work for it.

The setup

You're Kay Vess, a loner thief from the gambling capital of the Empire, Canto Bight. After a job gone wrong, you're on the lam in a stolen space shuttle called the Trailblazer, and tagging along with you is your trusty sidekick, Nix, a creature that's like a cross between an axolotl and a cat. No matter anyone's take on this game, good or bad, they love Nix. We all love Nix. Nix is a damn saint.

He rides shotgun with you on your speeder, can grab weapons and pickpocket for you, push buttons behind energy shields to lower them, and any of a dozen other useful features throughout the game. He's not unlike the little droid companion in Jedi: Fallen Order.

Together, you land on the planet Toshara, where you fall in with a man name Jaylen Vrax, who's putting together a crew for a one-last-time kind of heist against a crimelord named Sliro. The first half of the game is gathering all of the different members (the muscle, the bomb expert, etc.) while the second concerns the actual pull-off of the heist itself. Think a Star Wars Ocean's 11, and you're close.

Throughout the game, you have tons of side quests on the various planets and moons: Cantonica, Toshara, Tatooine, Akiva, and Kijimi. Because you're dealing with all of the underworld elements and crime syndicates, you have the ability to get in good—or piss off—factions like Zerek Besh, the Hutts, Crimson Dawn, and more. There's lots of double-crossing and backstabbing, which makes for a fun, if at times complicated, story.

The gameplay

The first thing any Outlaws player will want to discuss—or hate on—is stealth. This game is not a shooter or a button masher; it's a stealth game. For those not expecting this, it can be kind of frustrating. But I keep coming back to a comment I saw on Reddit explaining this: you're a skinny sneak from Canto Bight, not a warrior or stormtrooper with small arms training. Once I really let that sink in, my perspective changed.

Kay has lots of Imperial compounds and gang-dens to infiltrate, and the stealth gameplay often requires you to not trigger alarms while sneaking around. Once you do, the level restarts, which can be annoying. Much has been said about the AI NPCs being inconsistent in terms of difficulty, but honestly I found several parts to be super challenging.

As a sneak, you have to do lots of slicing (the Star Wars word for hacking) and breaking into buildings. Slicing in this game is basically like playing Star Wars number Wordle: you have to rearrange numbers into the correct order. No real skill is required for this, and it gets repetitive pretty quick. The other way you gain access to doors is with your data spike, which you use by syncing up flashing lights to a trigger. Again, not terribly complicated, but I always liked these breaks in the game.

When you're not sneaking and shooting, there's lots of other activities to keep you busy on the planets. Flying into space is fun, and the space battles are entertaining, not unlike in Star Wars Squadrons.

Traveling in between the planets through hyperspace and approaching them reminds me of Mass Effect. Even in the vastness of space, there's so many little nuances that showcase the developers of Star Wars. When you jump to hyperspace, for example, you move both the joysticks forward simultaneously—you're truly "punching it" as Han would say.

There's also a very a robust Sabacc card game simulator that you can play frequently, and it's surprisingly fun and engaging. Sometimes I'd find myself just settling in for 30 minutes to play this card game with aliens and loving every second.

Spending time in our favorite universe

Honestly, a non-Star Wars fanatic probably won't love this game. The gameplay and story just isn't enough to really impress someone immensely. But if you do love Star Wars, and the thought of just roaming around the Jundland Wastes on your speeder bike appeals to you, you're in for a treat.

The maps are SO comprehensive and detailed, and it's clear that these developers put a lot of love into this game. Here are just a few of the little moments of joy (thanks to some breathtaking graphics) that made me smile—and keep making me smile, as I'm now 40 hours into this game and have no intention of stopping soon:

Petting a bantha at dusk outside Mos Eisley

Checking out a gonk droid sale on Toshara

Winning a game of Sabacc against a Rodian and two humans

Hanging out with some Jawas at night on Tatooine

If these things appeal to you, you'll probably enjoy this game. I wasn't blown away when I rushed through just the main storyline, but as I slow down and take my time, exploring every little bit because I'm a Star Wars super fan, I'm really loving it.

Nerd Coefficient: 7/10.

POSTED BY: Haley Zapal, NoaF contributor and lawyer-turned-copywriter living in Atlanta, Georgia. A co-host of Hugo Award-winning podcast Hugo, Girl!, she posts on Instagram as @cestlahaley. She loves nautical fiction, growing corn and giving them pun names like Timothee Chalamaize, and thinking about fried chicken.

Microreview [Video Game]: Pokémon Legends: Arceus by Game Freak

Ever wanted a Pokémon game to switch it up? Well, here it is!

Introduced as a youth to the Pokémon franchise, there used to always be a special feeling when I’d start up a game and hear the cheery, yet empowering soundtrack play. After playing one game, I knew what was in store; choose your starter, fight your rival, go on an adventure, fight Team whatever their name is, and beat the Elite Four. Eventually, this formula became stale, and though Pokémon games sell themselves without the need for change, core players found themselves not completing some of the games. Over time Game Freak and Nintendo tried to switch things up, but nothing ever created a substantial shift, that is, until now (I hope). Pokémon Legends: Arceus injects some brand new mechanics into the franchise. Though it's only a spinoff, I hope that some of these things will be carried over to the mainline entries.

The most exciting addition to Legends has to be the new capture system. Players can now attempt to capture Pokémon without the aid of their fellow ‘mons in battle. Instead, as the player character, you can directly throw a ball at a wild Pokémon for an attempted catch. Three different types of balls have varying effects: standard Poké/great/ultra balls, feather/wing/jet balls (good for catching flying and fast-moving Pokémon), and heavy/leaden/gigaton balls (extremely effective if you hit an unsuspecting Pokémon from behind). This type of capture system removes the tedium of having to weaken Pokémon in battle every single time. Do you hide in the grass and throw a feather ball from far away and watch it fly across the map? Do you get up close and try for a backstab capture with a heavy ball, knowing the Pokémon can turn around at any second? The game emits a satisfying sound whenever you hit a Pokémon from behind. Or you could always do what I did and hit every Bidoof in the face with an ultra ball. Works every time.

In addition to a revamped capture system, Legends adds a more exciting Pokédex. Considering this game takes place a long time ago, the inhabitants have yet to truly understand Pokémon. Most people are afraid of them (yes, even the lowly Bidoof is feared by all). The game takes place in the Sinnoh region during early settlement, back when it went by the name of Hisui. The diamond and pearl clans are at each other’s throats and Team Galaxy is trying to research Pokémon to ensure that Hisui’s inhabitants have a better understanding of the world around them. Luckily for everyone, the player character drops from a rift in the sky to help out. This is where the new (old?) Pokédex comes in. It’s up to the player to research and help fill out the dex. Every Pokémon requires a different set of tasks to fully research. For instance, some dex objectives will have the player catch a certain amount of a specific Pokémon, some will have them see that ‘mon defeated multiple times, some will want to see them use a certain move, etc.

I spent my first few hours in Legends being a good little Pokémon trainer, catching everything I could find, filling out the Pokédex objectives, and exploring everywhere I could. The initial hours of the game are enticing, especially for an old-school fan of the series. Using the player character to navigate Pokémon battles and having to avoid their attacks was a fun new mechanic. I enjoyed feeling like not only were my Pokémon battling, but I was too. And it makes sense. Not all wild monsters are going to ignore you until you throw out another ‘mon, the more aggressive ones would probably attack you too, and the skittish would run away. Due to different Pokémon natures, some will ignore you, some will watch and wait for you to make a move, some will run, and some will attack on sight. For the record, in absolute Bidoof fashion, Bidoof will ignore you, even when you're directly in front of his face.

Depending on how many new Pokémon are captured and how many Pokédex objectives have been fulfilled on your return from the field, you receive currency and experience toward your Team Galaxy rank. Your rank within Team Galaxy determines your ability to train Pokémon to a certain level, akin to badges in the traditional games, so it’s a good idea to get to level seven so you can get your ‘mons to level one hundred. That is if you make it that far.

Unfortunately, I found that the luster of the new mechanics began to fade after about fifteen hours (out of twenty-five I put in). The quest design is rather uninspiring, with many side missions being simple fetch quests. The main quest is pretty straightforward but eventually becomes rather silly. The diamond and pearl clans who were once at war now seem more like immature siblings. The writing in Pokémon games can be and has been (looking at you Black and White), better. Unfortunately, this title is one of the weaker entries in that regard.

What’s worse, the reward for maxing out a Pokemon’s research in the Pokédex is… wait for it… nothing! That’s right. Of those objectives I mentioned earlier, you only need to achieve ten points worth of research to consider the ‘dex entry filled. In some cases, Pokémon can have over thirty objective squares to achieve. The more diligent player isn't rewarded for the effort. It’s nice that Game Freak catered to the more casual player, but they left the hardcore players in the dust in the process.

The worst offender in Legends is the bland, uninspired world. The game initially felt like such a departure from the standard Pokémon game that I was blinded to how underdeveloped the playable areas were. They hit all the basic biomes with a beach area, grasslands, tundra, a volcano, etc., but it never feels like more than a bland map with variety implemented for the sake of variety.

One of the best additions includes alternate versions of some Pokémon and their evolutions. Scyther gets a cool evolution in the form of Kleavor (bug/rock type) while Growlithe and Arcanine take on a different look and become fire/rock types. Instead of offering a new set of three starters, Legends gives the players a choice between Oshawott, Rowlet, and Cyndaquil. Each of these Pokémon are well known, but to spice it up, each one has a new final evolution. Typhlosion becomes Fire/Ghost, Decidueye becomes grass/fighting, and Samurott becomes a water/dark type. These alternate evolution/versions of the Pokémon were a much welcome addition, with some being silly and others quite well designed.

For players looking to add more challenges to the game, Game Freak implemented alpha Pokémon. You can find these ‘mons in the wild and they put up quite a fight. They are much bigger and stronger than the average Pokémon of its species and re-spawn less frequently, so you have to balance your offense and defense when approaching one if you want to catch them. I thought this was a great addition to a not very challenging game. That is unless we’re talking about the final trainer battle in the main story.

The final human trainer boss battle is a doozy. Completely unbalanced with the rest of the game, and to be honest, quite frustrating considering how the game never offers up much of a challenge in the way of trainer v trainer battles. The inclusion of fast and strong moves adds an extra layer to the turn-based combat (with fast moves letting you attack quicker and with less damage, and strong moves doing the opposite), though I never needed to pay much attention to it until the final battle. I wish the mechanic had been necessary throughout the campaign.

Though Pokémon Legends: Arceus misses the mark on a few important things, it’s never a bad game. It’s an enjoyable experience that becomes a bit easier to put down over time. When I first started the game, I picked it up every night for a few hours. Eventually, I would pick it up every few weeks to make sure I finished it, but once I started playing again, I would appreciate the simple joy of collecting all the little critters around the map. It’s just too bad the innovative ideas aren't supported by the story, characters, and world this entry deserves. That being said, if your favorite aspect of any Pokémon is catching, then this one is absolutely for you. And though there isn’t a huge reward for maxing out your research, there is one for catching them all. The Pokémon god Arceus awaits. Boot up your Switch and start collecting!

The Math

Objective Assessment: 7/10

Bonus: +1 for new and enjoyable capture/battle mechanics. +1 for the addition of alpha Pokémon. +1 for the new alternate Pokémon designs.

Penalties: -1 for poor character/story writing. -1 for a bland and ugly world. -1 lack of satisfying research rewards for more hardcore players.

Nerd Coefficient: 7/10

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.

Microreview [video game]: RAGE 2 by Avalanche Studios and id Software (developers)

No One Asked For This

I’m terribly disappointed in RAGE 2 so before I go on and on about why I think it sucks, here’s what I liked, in bullet point form:

• Enemy heads have a huge hitbox and pop in a satisfying manner
• The ground punch attack feels great
• It looks good and there’s no loading once you’re in the world
• The cars sound meaty
• Exploring the world can be fun even if a lot of the map markers are just boring “kill everything” activities

The game starts off okay, with The Authority (the primary antagonist in RAGE) razing your fledgling community. After this tutorial (and honestly, who needs a tutorial in a FPS anymore?), you’re given a car and an open map and set to work. The work is meeting three characters that will help you overthrow The Authority. You gain their support by completing open world activities.

Minus the grinding to build support, the game is more or less just 7 story missions. It’s amazing how short the story is. There was just so little in the narrative to keep me interested. The open world activities are mostly just “kill everything”. There’s one ally whose support is gained through search and recovery missions, which I found to be not only the most interesting but the most rewarding. There are arks scattered across the world, where the game dispenses either a new weapon or a new ability. Since they’re so rewarding, they’re well worth searching out and they build your support with one ally. I finished the game with that ally’s support maxed out and all the others only half full because their missions are just slogs through enemy nests that give you resources to buy things. 

The problem with dispensing abilities and weapons through open world activities is that if you never find that ark, you miss out on something that makes the game more fun. When I finished, the map revealed the rest of the arks I hadn’t found and I finished the game without three weapons and two abilities. Considering I found use for almost every weapon and ability I did have, it’s baffling that the game was perfectly happy with letting me finish it and not give me the tools to make the game more enjoyable. I specifically sought out arks because they give gameplay-affecting tools, but I guess that was my bad because I could’ve finished it with just a pistol, an assault rifle, and a shotgun. I’m really curious what the bare minimum of this game you have to play before hitting the credits.

Beyond taking away the things that make the game fun and hiding them on an enormous open world map, the travel between points was worse than boring, it’s a waste of time. Driving from one area to another in an open world wasteland should be more dangerous, but I was rarely attacked, and everything that attacked me was easily shrugged off or ran away from. At one point I unlocked a flying motorcycle that just hovered high enough above the ground to make all ground obstacles pointless and I couldn’t be attacked, so I was making straight line flights from one point to another. I may as well have had fast travel.

So most missions are a grind, exploring isn’t necessary, and travel is a waste of time, but how’s the shooting? It’s okay. Nothing has the id Software signature feel to it. Enemies are mostly bullet sponges unless you aim for the head, which is comically easy to hit. It’s like bullets are magnetically attracted to their skulls. I found that most fights boiled down to whether I shoot them in the head at a distance with the assault rifle, or run up to shotgun them in the torso. I had a rocket launcher that was useful for big enemies, and a pistol that shot rounds that would catch on fire that I didn’t find particularly useful, but, again, I didn’t find three of the weapons in this game. Maybe they were super cool. I’ll never know!

The worst part of RAGE 2, the unforgivable part of it, is the bugs. Holy hell. One location never flagged as 100% complete because I opened a chest, died, and the chest remained opened but the counter locked it at unopened. There were a handful of times when the game just hard locked. Once the game crashed my OS. One time I beat a boss but died at the same time. It played the “you beat the boss” cutscene, but I came back dead and had to quit to restart it.

I didn’t think RAGE would ever get a sequel, and I question what this is doing for anyone. The original wasn’t a great game by any stretch but it was better than this one in almost every measure. There’s a lot more to do in RAGE 2 and the open world aspect might appeal to some people, where RAGE was more of linear game, but more to do isn’t a benefit when what you’re doing isn’t fun to begin with.

The Math

Baseline Assessment: 6/10

Bonuses: +1 the bullet pointed list adds up to one bonus point

Penalties: -1 baffling weapon/ability scavenger hunt, -1 grinding for rep is the bulk of the game, -1 BUGS

Nerd Coefficient: 4/10 (not very good)

***

Reference: Avalanche Studios and id Software. RAGE 2 (Bethesda Softworks, 2019)

POSTED BY: brian, sci-fi/fantasy/video game dork and contributor since 2014

Microreview [video game]: Assassin's Creed Origins by Ubisoft Montreal (developer)

A Bright Shining Sun

I tell people I have a love/hate relationship with the Assassin's Creed series, but I'm going to be totally honest here: it's mostly a love/annoyed relationship. I find them to be brainless timesinks, and that's not really a bad thing. They're a reliable, often enjoyable 20 something hours of game. I haven't played all of them, and the ones I have played are often regarded as the bad ones, but I almost always get one when I want to kill time. Assassin's Creed Origins, however, is better than a time killer. It's a great game.

Assassin's Creed Origins takes the history-skipping game way back to ancient Egypt, in the times when Cleopatra's brother occupies her throne, and he's propped up by a Greek army. You play as Bayek, a Medjay, and you're hunting down the people who killed your son. This mission will take Bayek all across Egypt and lead to uncovering a greater conspiracy.

Origins bins a lot of hallmarks of the Assassin's Creed series. In doing so, it becomes a much more enjoyable game, and probably a more accessible game, but it loses some of what makes Assassin's Creed unique. Origins presents a huge, sprawling Egypt that you're free to explore and engage with on your terms.

Origins took a lot of, let's call it, inspiration from The Witcher 3. It's very much about having a lot of stuff to do, and letting you do it in whatever priority you want. Often, you can even run off in the middle of a quest to do something else and then come back and pick it right up. While the quests aren't quite as well written as The Witcher 3, and they rarely do that thing where it acknowledges when you've already solved a step in the quest ahead of time, they are competent. They don't feel like a waste of time. Bayek himself, along with the rest of the cast, is also well written. Compared to some of the rest of the Assassin's Creed series, this is the best it's been.

What is loses is the strict focus on stealth. Bayek can get into a lot of fights and leave most of them alive, where most Assassin's Creed protagonists would wilt like a flower. Additionally, if you do find yourself in over your head, you can simply run away and it'll almost always work. This is in stark contrast with other games in the series, where enemies are almost omniscient and ever-preset to the point that being spotted means reloading a checkpoint. Add in that you no longer have the ability, or much need, to blend in with crowds, nor much need to run along rooftops to avoid being seen, means this Assassin's Creed feels least like a game in this series. If it weren't in a historical setting, with a single "assassinate" button, and good climbing mechanics, it'd be a different game entirely.

Some people aren't going to like this shift; I'm not one of those people. I loved it. Like The Witcher 3, it hooked me early on and I spent a lot of long stretches of time playing it. Unplayed games notwithstanding, this is the best game in the series. The extra time Ubisoft put into its development clearly paid off; they made an Assassin's Creed that I just loved.

The Math

Baseline Assessment: 9/10

Bonuses: +1 absorbed a lot of the good open-world qualities of The Witcher 3

Penalties: -1 lost some of the unique qualities that Assassin's Creed is known for

Nerd Coefficient: 9/10 (very high quality/standout in its category)

***

POSTED BY: brian, sci-fi/fantasy/video game dork and contributor since 2014

Reference: Ubisoft Montreal. Assassin's Creed Origins [Ubisoft, 2017]