Video Game Review: Cocoon by Geometric Interactive

A world within a world within a world...

You may or may not have heard of Matryoshka dolls, those stackable dolls that can be nested within one another. What Geometric Interactive did with Cocoon was take that concept and turn it into an adventure puzzler, but instead of dolls, you stack worlds. That’s right, worlds (or, levels represented as worlds, to be more precise). Hard to imagine, but bear with me here.

Part of Cocoon’s beauty is its simplicity. You use the left stick to maneuver and the X button (on PlayStation) for everything else. That’s it. Want to pick something up? X. Want to activate something? Hold X. In doing this, Cocoon begins with no tutorial. You start the game and get to work. But what are we doing exactly?

Cocoon is a clever adventure/puzzle game, novel in its approach. The protagonist is a little bug with wings exploring a weird set of worlds. It uses orbs to activate different events and solve puzzle mechanics to discover more about the universe. These orbs, when placed on a proper pedestal, can be accessed, a level within a level. The puzzles range from rudimentary to moderate. There were a few times I found myself stuck on a puzzle for more than a few minutes, and those were the moments where the game shone. They made me consider the game, the world, and the mechanics. I’d overcomplicate the solution and find myself running around with orbs for no reason, putting them everywhere and anywhere I could. When it clicked, the game was satisfying, and using the stacking mechanic set the game apart.

Besides the stacking, the game continues to introduce new mechanics throughout its short runtime. By keeping the game brief (maybe five hours), the game stays fresh, pushing the player forward. The new mechanics themselves are not anything earth-shattering, but within the evolution of the game’s progress, they help to maintain curiosity. Once you advance past a puzzle, the game locks off any unnecessary areas so you don’t waste time unnecessarily backtracking. That Geometric Interactive thought of the player in this regard is a significant treat. Even the music, which is serviceable for the needs of the game, tells the player when they’re on the right track to solving the next puzzle.

The worlds themselves are intriguing, if typical. A sci-fi desert world, a world with shifting phases of matter, and a biological world that looks like the anatomical innards of some creature comprise the main playable areas. The brilliance comes into play when you hop between these worlds to move forward, sometimes using one world to activate puzzles in another. Difficult to explain until you see it in action. Cocoon’s puzzles become even more enjoyable toward the end when the player has to juggle multiple orbs and moving components to proceed.

My primary issue boils down to the lack of narrative depth each of these worlds provides. Besides paring down the complexity, the game also completely shuns any sort of narrative above the base-level gameplay and discovery. As I mentioned, you play as an insect exploring the world. But why should I care? What is the purpose? Is this some kind of rite of passage for this insect’s species? The closest thing the game has to lore exists in the “side content”. Small puzzles in not so hidden areas that allow you to release a trapped entity. But there is no information about them, why they were trapped, or how freeing them impacts the world as a whole. It’s just something else to do, and doesn’t provide any challenge.

I am uncertain whether this was the intent of the developer. The game doesn’t provide any true challenge, and is interesting enough to keep you hooked through the gameplay and environment alone. Sure, backtracking can sometimes be a bore, but overall the game moves at a steady pace. There is no story here to intrigue, but there’s also not enough challenge to make someone quit. Is this the perfect balance for an adventure/puzzle game that does not want to include any story elements? Honestly, I think it is.

Depth does not guarantee fun. Sometimes maintaining someone’s interest for a short time is enough. Cocoon does just that. It’s a game that doesn’t impose. It doesn’t ask too much of the player and, in return, it provides an enjoyable experience that allows its novelty to pull you through to the end. Would I have liked more story? Sure. Was it necessary? Not at all. In fact, when I think of the term palate cleanser (regarding video games), Cocoon is an apt example. I may not come back to Geometric Interactive's darling in the future, but I still think it’s worth a play through. For those seeking a game that won’t eat all of your time, something a little different without too much of a challenge, an intriguing (if not deep) world, and some clever puzzles, Cocoon is a perfect fit.

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The Math

Objective Assessment: 7.5/10

Bonus: +1 for world stacking mechanic. +1 for staying fresh.

Penalties: -1 for no lore. -1 for over simplicity at times.

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.

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.

Video Game Review: Balatro by LocalThunk

You'll be seeing poker hands in your dreams.

I was skeptical of Balatro when I heard of all the praise it received last year. How could a roguelite game about making poker hands become something so lauded that it propelled the little indie title into the stratosphere? Not only has it succeeded critically, becoming a nominee for game of the year at the Game Awards (and winning best indie, best debut indie, and best mobile game), but also commercially, selling over five million copies as of earlier this year. The developer, LocalThunk made the wise decision to remain anonymous, so though I can't mention him/her by name, know that minus the music, one person made this entire game (who is now set for life, thanks to Balatro). Because of PlayStation Plus’ monthly offerings, I had the opportunity to check it out for free. I’d just finished up Clair Obscur: Expedition 33 and had Death Stranding: Director’s Cut next in the lineup and decided I needed a palate cleanser. Enter Balatro.

As aforementioned, Balatro is a game about creating poker hands. That is the main hook of the game. Simple, effective, and increasingly challenging. You make hands to reach a certain chip score. In order to beat a blind (level), your hands need to make enough chips to surpass the blind. Every round, Balatro gives the player a certain number of hands and discards to work with. You use these to ensure you have the best offerings when you put your cards up. If you’ve used all of your hands and still haven't met the threshold of the blind, it’s game over and time for a new run. Getting to the boss blind (a more difficult blind that gives the player a detriment) when you know your jokers aren't quite where you want them can be intimidating.

But wait, there’s more! In addition to creating better hands, there are ways to amplify your chip score… and this is where Balatro shines. That little joker that smiles menacingly at you from his white background on the title screen is one of only 150 jokers that can be utilized throughout the game. Many of those need to be unlocked through specific criteria, but can all show up throughout your run once you’ve unlocked them. The fun of Balatro comes from managing your jokers and hoping that you can find such strong synergy amongst them that you make millions upon millions of chips per hand. And when that chain of points goes off, boy is it a satisfying feeling (I had to turn the game speed up to four times, otherwise it was a bit too slow).

But wait! Yes, there’s even more. In addition to jokers, there are vouchers, tarot cards, spectral cards, and planet cards that can help boost the score of your runs in immeasurable ways. Vouchers are expensive (you use money earned from victorious rounds to purchase them), but effective. They can increase your hand size or discard count and are endlessly helpful. Tarot cards can do anything from changing the suit of a few cards, to adding a steel card to your deck (which multiples your Mult by 1.5), to increasing the amount of money you have. Planet cards are specifically for hand types, so you can upgrade how much a straight or flush gives you every time you use it. Spectral cards are tricky and sometimes require sacrifice, but they can pay off big time when you get when you want of it. Changing a dozen cards to a single suit or card number/face card can alter your run big time. Sure you’ve heard of four of a kind, but have you ever played a five of a kind? Full house, okay, but what about a flush house? Layered on top of all of this is the ability to choose your deck, each one offering different boons and blights that more layers to your run. Altering your deck to fit your run is an increasingly satisfying endeavor, and when you're on a roll, you feel unstoppable.

 

But that’s the thing about roguelites, right? When you have a good run, it’s great, but when you don’t… Well, then it can be irritating, grating, and sometimes can feel like a total waste of time. The higher you increase the challenge, the more elements get introduced that induce that time-wasting feeling. For instance, on Gold tier (the highest difficulty) they introduce rental jokers, after already introducing permanent jokers and perishable jokers. Sometimes this feels like artificial difficulty and can make a run feel immediately useless. After building up so much and getting past a few antes, it feels like a slap in the face when you run into jokers that will only help for a few rounds. If your build can account for it already, great, but if not, it’s game over. I feel like the player should fail because they took certain risks with their hands (like trying to discard for a Royal Flush and coming up short) or mismanaging their hands and jokers, not because the game doesn't give you the tools to do so. Though, anyone who has ever played a roguelite will know it’s just the way it goes. If you play these types of games, expect to be frustrated at times, most of which will have nothing to do with your own incompetence, but with the hand you’ve been dealt.

I don’t speak too much on the other aspects of the game because the graphics are simple, effective, and serviceable. The different art for new jokers is always fun to come across, but otherwise nothing here that will etch itself into your memory (though maybe your retinas) for years to come. The music does the job, though I honestly listen to other music soundtracks or sports games in the background. The sound effect for racking up points is a bit addictive and exciting to hear as it ding ding dings you into the millions. There is no story here, so the gameplay has to be enough for you, or it has nothing.

Do you like poker? Do you like a challenge? Do you like the rush of watching your poker chips pile up before you as you hoard them like Smaug in a gold vault? Sometimes frustrating, sometimes unfair, but despite this, still addictive, Balatro manages to be more than the palate cleanser than I thought it would be. In fact, it’s both. Sometimes you want to read some snippets of a coffee table book between two sci-fi epics... and sometimes that coffee table book is so interesting that you read it front to back. Be it your main obsession, or a game that you’ll pick up from time to time, Balatro deserves many of the accolades it’s earned, and LocalThunk all the praise for single-handedly creating one of the most recent roguelite fads.

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The Math

Objective Assessment: 8.5/10

Bonus: +1 for synergistic gameplay. +1 for addictive fun.

Penalties: -2 for unfair runs that aren't the player's fault.

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: Clair Obscur: Expedition 33 by Sandfall Interactive

Jack, I want you to paint me like one of your French games.

In the distance, across the vast sea, a daunting number stands as a beacon of mortality for those who live in Lumiere. Every year, the Paintress erases the number on the monolith, and every year she replaces it with one less, the number corresponding to the age of the sacrificial citizens of Lumiere. It has become the tradition of those in Lumiere to watch as those they love become flower petals on the winds of fate, to enjoy what little time they have left. But there are those who refuse to sit back; there are those who have no desire to let the Paintress take away their loved ones. These are the Expeditioners, the brave soldiers who set sail in hopes of locating the Paintress, of ending the war she sees fit to wage upon the innocent souls of Lumiere. But over the last seventy-six years, no expedition has yet been successful. Will Expedition 33 prosper where everyone else has failed?

The first few moments of Expedition 33 were enough to inform me that I was in for something special. As the camera zooms in over a distorted Eiffel Tower, the opening song, "Lumiere", grips with an enchanting sound, the prelude to an incredible soundtrack. The cutscene then focuses on Robert Pattin—sorry, Gustave as he gravely gazes in the distance toward the hulking Monolith, its aura threatening despite my lack of knowledge. Maelle and Gustave speak, and the dialogue feels natural, the characters’ histories in place, their ease apparent. The character models and facial animations, even the hair physics, all look wonderful. I’m already in.

This game is gorgeous. And French, very French. For instance, there is a set of “baguette” costumes for each character in which they don black pants with a black and white striped shirt, black suspenders, a red beret, and a baguette wrapped in a red and white sash. While the story can be dark and devastating at times, the developers did their best to add a bit of light to balance out their chiaroscuro foundation. The art style, from character to design to the splashes of paint used to decorate the UI, invites the player to stare at the screen. The game’s world, influenced by the extravagant and grandiose Belle Époque, creates a dazzling atmosphere. Each area is robust and filled with character and color, bursting with an enigmatic history of some long-forgotten battle. Even the world map, once it becomes available to the player, is a gorgeous proof of the ability of Sandfall Interactive’s veteran developers. Despite being this studio’s first game, it isn't the developers' first rodeo, and every ounce of love and effort poured into every facet of this game is evidence.

Exploration is simple and straightforward. While limited at first, the game opens up to allow for more traversal options, as is standard. Though I do wish there was some better form of fast travel, at least in the post-game, the map is captivating enough to observe over and over again as you pick up your last music records and pictos. While it’s exciting to scan each individual area for loot and discover little trinkets and mini-bosses throughout the map, I found that some areas that looked explorable were barred by invisible collision detectors. I don't mind keeping blinders on; a bit of suspension of disbelief never killed anyone, but when there is a rock that is less than a foot high, I should be able to climb atop (especially if I have a jump button and can do the same to other rocks of the same size in other areas). I also found that sometimes the developers created little hidden spaces that felt like they were meant to be discovered, only to find nothing waiting for me. If it happened once or twice, I wouldn't mind, but these were both frequent occurrences.

Before we get back to the good stuff, I must urge Sandfall to remove all platforming challenges from their future games. The jumping mechanic is serviceable, no doubt about it, but is it good? No, and it doesn't need to be. The Gestral beach challenges, where platforming was necessary, were some of the lowlights of the game. Though optional, they still interrupted my enjoyment of the game. It is my strong belief that if your game isn't built for platforming, it should not include any kind of platforming challenge. And what did I get for my toil? A costume.

I’ve spoken a bit about player input for exploration, but what about combat? Well, that part is absolutely brilliant, and if this wins game of the year, it will be the primary reason. Expedition 33 takes the classic turn-based JRPG-based team combat system and adds a massive twist: Souls-like dodging and parrying. I played on normal difficulty, and the game put up quite a challenge at times. Easy mitigates some of the reliance on dodges and parries (the former easier to pull off, the latter more difficult, though it offers a reward), while the harder difficulty will absolutely necessitate them. I find this to be a terrific balance on the part of the developer as Clair Obscur: Expedition 33 has an enticing story, characters, and world that should be enjoyed by players with lower skill as well as those looking for a challenge. Parries and standard attacks increase the AP (Attack Point) gauge by one, which in turn allows each character to use special abilities. In addition, weapons, Lumina, and Pictos alter combat so significantly that swapping them almost feels like playing a different game.

Speaking of variety, each character’s play style is so significantly different from one another that learning each one is a joy. Sandfall didn't simply alter or tweak the genre for the sake of tweaking it; every combat change they made was for the betterment of the genre. While I don't expect (nor want) every game to adapt something similar throughout any future games in the turn-based RPG genre, I would be shocked if this interactive, versatile, and diverse combat system doesn't heavily influence other creators. It should, it really should.

There’s more than one way this game takes influence from the Souls games: bosses. Bosses and mini-bosses litter the map and the storyline and challenge the player in ways they hadn't been before. New boss animations and abilities constantly kept me engaged and excited for the next encounter. The design on both bosses and standard enemies is wonderful and inventive, matching the world and creating enticing battles throughout the entire runtime. Good luck with Simon if you get there.

If the combat system is the roast beef of this French dip, the art, music, and UI are the baguette that surrounds it, then the story and its characters are the au jus, submerging all and giving extra flavor to every ounce of this fantastic game. There are huge moments, small gentle moments, character reveals, motivations, and growth that all drive the game forward. I was sucked in by the nuance each character showed and the relationships they forged along the way. The vulnerable decision to divulge more information back at camp always intrigued me (though I wish there was something to tell you when another character was ready to speak with you, as it was easy to avoid camp for long stretches of time). As one who does not wish to spoil anything story-related, I’ll have to leave it minimal and vague.

Despite my enjoyment, I had three primary issues with the story/revelatory mechanisms. First, while the game is meant to convey an air of mystery, there are many moments that feel like the developer is holding back for the sake of holding back; these moments feel like a contrivance and don't serve the plot, like Sandfall's hand is visibly holding back pages from you. When the concealment is done with care, it works well, when it isn't, it is quite noticeable. Second, the pacing is fantastic… until the third act. If you like to explore before finishing your game, make sure you don't start the third act, as it’s just one mission with no warning (as opposed to the first and second acts, which run for multiple hours across multiple missions). Third, there are moments where the game reveals things to the characters, though the player has no idea what these things are. Instead of feeling excited alongside the characters, in the moments you don’t feel like you’re part of their experience, but on the outside looking in.

While I noticed these small issues throughout my playthrough, they pale in comparison to how phenomenal this game is. Clair Obscur: Expedition 33 delivers on every front that it intends to (minus the platforming). With such charming characters and engaging systems, it’s no wonder this game found immediate success. If this is Sandfall Interactive’s first swing at their own take on the genre, I can only imagine what they have in store for us next. I would recommend this to JRPG lovers, Souls-like lovers, and anyone who enjoys a unique world encircled with wonderful music, great characters and story, and engaging, unforgettable combat. And let me not forget the heavy helping of melancholic whimsy that accompanies the player until the very last brushstroke of this fantastic adventure.

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The Math

Objective Assessment: 9/10

Bonus: +1 for unique gameplay, characters, and world. +1 for visual splendor and engaging soundtrack.

Penalties: -1 for obscure for the sake of being obscure. -1 for any platforming levels.

Nerd Coefficient: 9/10

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: 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.