The Night of the Rabbit from Daedalic Entertainment is a point-and-click adventure game starring an aspiring young magician named Jerry. After finding a magical top hat in the middle of the woods, Jerry is thrust into a magical world of larger-than-life, talking animals, including a white rabbit who serves as Jerry’s host and is the… Continue reading
Dungeon Souls is a new dungeon crawler roguelike from Lamina Studios/Mike Studios, and published by Black Shell Media. The game released on Steam on December 2, 2016, after a about a year-and-a-half in Steam Early Access. Currently the game has a “Very Positive” rating, with 941 user ratings at the time of this writing. After a… Continue reading
Let me begin by saying that this is not a full-review of Pokemon Sun. I likely will never fully-complete this game, and let’s be honest, it’s just as likely that you won’t either. Pokemon games are huge time sinks and completing a Pokedex isn’t even the main quest of the game, it’s just something to… Continue reading
Lunch Break Games is a series where I write brief reviews on quick-play mobile games that can be played in a short amount of time. TAP HEROES (Android/iOS) Price: Free – Though if you really enjoy the game, consider paying for some of the game’s in-app purchases to support the creators. Tap Heroes is a game… Continue reading
This is going to be a short review, not because Gone Home is a short game (though I did complete it in around 2 hours), but because I really don’t have much to say about the game. It is what it is. Gone Home is a game about coming home from traveling abroad to find out that your entire family (consisting of a sister, a mother, and a father) are not home. As the game progresses you slowly unravel what’s been happening with your family while you’ve been away from home and out traveling.
Gone Home takes place in the early 1990s so texting, Skype, and Facebook messaging are not around yet. It serves to explain why I’m a member of the family, yet have no idea what’s been really going on with my family for the past year. It’s a narrative stretch, but it works.
The concept that this girl, even if this was her first time at the house that her family had just moved in to, would need to move from room to room to figure out what happened to her family and snooping through pretty much every drawer she comes across, was just too far-fetched for me to really get into. Surely this girl would be more resourceful than to just wander through the entire house, room to room, like a lost puppy, as the game forces you to do. She did just spent the last chunk of her life traveling around the world, after all.
It also felt weird how the game doled out the story to me. I was either hearing Sam’s voice in my head, whenever I’d pick up certain objects, or I was piecing together bits of story from the items that didn’t trigger Sam’s voice. I would have liked it to be just one or another. The voice thing in my head is easier to process, since I can just listen to it as I look at stuff. But the reading method would have been more realistic and allowed me to piece things together on my own, which I feel like would have made the story more rewarding to figure out.
Spoilers Ahead For A Bit
The ending of Gone Home felt abrupt and meaningless. All of a sudden, so to speak, Sam ran away and then the game was over.
Gone Home did the same thing that Firewatch did to me, it built up unrealistic expectations about a game that was ultimately squarely-rooted in reality. I was finding the hidden passageways and ghost-related stuff while a thunder storm was grumbling about and the lights flickered from time to time. But it turned out to be nothing at all. The game got me excited, and then let me down with a perfectly realistic ending. That’s such an odd thing to say, that a perfectly realistic ending was disappointing, but it’s true. Had the game not gotten all mysterious and spooky, and was just about me finding clues to the whereabouts of my parents/sister, I likely would have enjoyed the ending far more.
To me, it felt like the developer thought that they had to dangle a fancier carrot in front of my face to get me through the game, as if they doubted their own character’s ability to keep my interest. In the end, this made the game feel cheap.
Gone Home is certainly an interesting way to tell a story, and it is a story about a character type that there are not many games about, which is cool and refreshing. However, the rather abrupt ending and the forced build-up left a bad taste in my mouth.
For a long time, Tomb Raider was one of those video game franchises. Whenever a conversation about sexism in video games came up, Tomb Raider was usually one of the first games discussed. Everyone liked to talk about Lara Croft and her short shorts, narrow waist, and big triangle boobs. She existed as fanservice, and, for anyone with a sense of good taste, it was super tacky.
Things changed in 2013 when Tomb Raider released. Ditching any sort of sub-title to mark an attachment to the original games, Tomb Raider served as a re-boot of the tainted franchise. The game promised an all-new adventure for the franchise’s iconic heroine, Lara Croft. With 2013’s Tomb Raider, the brand was reborn. From that point forward, “Tomb Raider” would mean something newer, something different.
Tomb Raider begins with Ms. Croft’s research vessel crashing into a mysterious island. From the start, the game let me know that I was in for an adventure that I would just barely survive. Through the crash and the ensuing frantic scramble in an effort to figure out where the hell I had ended up, the game heartily challenged both my reaction speed and problem-solving capacity by use of quick-time events and environmental puzzles, respectively. After a handful of careful jumps, some spurts of button-mashing, and a good deal of near-death experiences, I finally emerged out onto one of the game’s first vistas. The view I was rewarded with was gorgeous, and really showed off the attention to environmental detail that Tomb Raider would utilize as the game unfolded.
As someone who appreciates history, let me tell you that one of my favorite things about Tomb Raider was the attention the game gave to educating me with little facts as I scoured through the game’s environment uncovering relics, when I wasn’t busy dodging gunfire or running from wolves. Artifacts ranging from vases to paper fans were scattered throughout the island’s many caves and tombs. Oftentimes, getting to these locations to retrieve the artifacts was a puzzle in itself, one that involved figuring out how to maneuver across a cliffside without plummeting to my death, among many other equally dangerous feats.
Many of the items were beyond my reach, figuratively and literally speaking, the first time I passed through an area. As I played the game, I gradually unlocked more gear for Ms. Croft to utilize. Thanks to an implemented fast-travel system (you discover campsites as you play through the story which can be used as both save points and fast-travel points) I could easily go back to an area to recover a relic I then had the means to retrieve.
Tomb Raider absolutely nails the thrill of exploration. Whether I was exploring a discovered tomb (which contain treasures well-worth the effort it takes to fully explore them) or tip-toeing my way across a rickety bridge, the set pieces that the story pulls Ms. Croft through were always fresh and exciting.
I really liked the idea of being able to go back and further explore the previous regions, however, I was largely focused on completing the story (which was the main draw of the game, for me), so I didn’t fully utilize the fast-travel system, and instead opted to just ignore the artifacts that I couldn’t get to, in favor of progressing through the story faster.
The story was very spectacular. It presented me with many memorable moments, and while the characters were pretty straight-forward and borderline predictable at times, it wasn’t bad enough to detract from the overall mystery of what the heck is going on, on the island. Being careful not to reveal anything, I will say that the ending was a tad bit disappointing, mostly in that it set the stage for more games in the franchise, so it left the larger questions unresolved on purpose.
As I mentioned earlier, Tomb Raider involves plenty of gunfire. Beyond the game’s iconic bow, Ms. Croft eventually picks up a pistol, shotgun, and machine gun. All of her weapons can be upgraded through use of a neat leveling system that had me scavenging for “scrap”, which is found by breaking boxes and looting dead enemies. Scrap can be spent on giving the weapons better stats or new functionalities, like a scope for the machine gun, or incendiary ammunition for the shotgun. Enemies come in a few different forms: there are fast-moving wolves, the standard grunt-type soldier that can be dropped with a few well-placed shots, and the larger, tougher enemies that usually require the player to dodge their hard-hitting attacks and attack them from behind.
The combat in Tomb Raider was the least satisfying element of the game, and I blame that largely on the bow.
The bow is a near-silent weapon that I was using to kill unsuspecting enemies who were standing nearly back-to-back with one another. Even with using a controller, landing precise headshots with the bow was an easy task. If I missed a shot and the enemy became aware of my presence, a well-placed arrow to the chest was enough to stagger an incoming enemy, if not outright kill them. Taking out enemies was far more efficient by just using the bow all of the time, rather than running around with a machine gun and alerting the area to my presence. The bow made things easy, which in turn made things repetitive.
Another aspect of Tomb Raider that struck me as odd was the overall destruction that the game pulled Ms. Croft through, and her lack of reactions to the destruction, thereafter.
For example, I’d open a box and would find a paper fan from, say, a few thousand years ago. Ms. Croft would excitedly exclaim what dynasty she suspected the fan was from, who it was likely used by, and what the drawings on the fan represented. As I said, as a history nerd, I ate this stuff up. But then, moments later, I had accidentally triggered the entire temple to collapse and was now guiding Ms. Croft out of the gradually collapsing building. Through all of the destruction, she never reacted in a remorseful way at all the artifacts that were likely just destroyed.
Also, it seemed like every set piece ended in mass destruction. It really nullified the excitement of, “I have to get out of here, now!” to just, “I wonder when this place is going to cave in.”
Beyond the main story, I found scraps of journals from the island’s prior inhabitants, and Ms. Croft’s own crew members, that slowly painted a broader picture of what the island was, to accompany what I was experiencing first-hand. Telling a story though randomly placed, static items is a trite way of handling backstory in a game. But, it’s an absolutely ridiculous method of doling out backstory when I’m finding scraps of journals from people in locations that those people likely did not take a moment to sit down and write in their journal. This was a big load of nonsense, and my biggest peeve with the game. I was finding journal scraps from crew members who had written about things that just happened. Did the game expect me to believe that the character would just leave that page there?
The fact that I’m nitpicking the story, in a Tomb Raider game, should make it evident as to just how far the Tomb Raider franchise has moved in the right direction. Ms. Croft is a likable, realistic, intelligent character, who is thrown into a great adventure. Even though that adventure can feel a little repetitive here and there, and some story-telling methods make little sense, it still remains an adventure that you do not want to miss out on.
Tomb Raider was reviewed using a PC retail copy purchased by Tom. All screenshots included in this review were taken from my gameplay experience. Multiplayer modes were not reviewed.
Thematically, Time of Dragons is a weird game. The free-to-play game caught my attention when Steam recommended that I may like it. After a quick glance, Time of Dragons reminded me of the flying missions in Turok: Evoloution; futuristic technology stuck onto the backs of prehistoric (or in this case: fantasy) creatures for no real reason… Continue reading
Rust has been out for two-and-a-half years but late last week my friends finally discovered it. Personally, at that point in time, I couldn’t have been less interested in the game. I knew it was another open-world survival game riding the coattails of Minecraft and DayZ. You start with nothing, smack some trees, smack some rocks,… Continue reading
As March came to a close, so too did the second season of Disney’s Star Wars: Rebels. Much like The Clone Wars, the second season of Rebels has been far superior to the show’s premier season. Between the exciting adventures, the character development (I can’t wait to see how Agent Kallus evolves in season 3)… Continue reading
The Flame in the Flood is a crafting-based survival game developed by The Molasses Flood that released in February. You can watch me experience the game through my 12-episode Let’s Play The Flame in the Flood series, or you can just stick around here for a bit and listen to me tell you why I didn’t really like this game.
One thing that I did like, and it’s probably something you’ve just noticed if this is your first time seeing the game in action, is that The Flame in the Flood has a very unique art design. It reminded me of something between a pop-up book and the movie Coraline…which I think is just a fantastically unique art design for a game to have these days. The visual design was by far my favorite aspect of the game.
Unfortunately the rest of my experience with the game was all downhill….or should I say, down river…from there.
As many of you probably saw, I struggled with just exactly how to handle the animals in the game.
Initially I expected to be able to build weaponry, but it was clear that The Molasses Flood didn’t want combat to be a key component in their game. And that’s their artistic decision. The entire game revolves around rafting from location to location, scavenging in these randomly generated little pockets of wilderness along the riverbank. Animals patrol these areas and make it nearly impossible to simply waltz in and pick up the supplies that you need. Due to the ferocity of the animals and the fragility of Scout, the protagonist, one botched animal encounter usually was enough to severely hamper my chance at success and I’d have to restart my progress from further back upriver. So my go-to strategy for dealing with the animals was simply to just run away.
This led me to miss out on a lot of potential loot that each little area offered; loot that I desperately needed to succeed later in the game. My survival method of vacating an area snowballed into a severe supply shortage by the end of game.
A few hours into The Flame and the Flood and it became evident that the game stacked the odds too heavily against me. But, the reward for success wasn’t enough to entice me to deal with all the hardships I was enduring.
The story was vague and largely absent, there wasn’t that much to discover, just more of the same supplies, and there are only four enemy types to deal with in the game: boars, snakes, wolves, and bears. There just wasn’t much the game was offering me, other than the forced satisfaction of seeing myself progress down the river mile by mile.
After having to restart my progress for the fourth, fifth, and sixth times, The Flame and the Flood went from being a challenging adventure game to a monotonous voyage where I braced myself for how the game was going to screw me over next.
If it wasn’t areas that were essentially barren of supplies, it was weather that relentlessly drenched Scout and brought on deadly hypothermia. I knew the ways to deal with all these issues, but I just didn’t have the supplies to do so as I had no real way of sustaining myself AND creating the tools I needed to fend off the animals.
Scout comes with a little dog named Aesop, who serves no purpose but to annoyingly bark every few feet and provide you with some extra inventory space. You can’t get Aesop to do anything for you, he just is there, and that’s it. He doesn’t need food, you can’t eat him….I really have no idea why The Molasses Flood decided to give me this dog. You can upgrade your raft in various ways, but you can’t teach Aesop to be useful. It never made much sense to me.
The Flame in the Flood isn’t a bad game. It’s just not great. I will recommend it to those of you who really love crafting/survival games, and I will also point out that The Molasses Flood claims they stamped out the audio bug that I encountered multiple times, but even then, the frustrating mechanics of the game still remains intact, and that’s a game I just really didn’t enjoy much of.
Give me a readily available way to fight back against the animals, or make them territorial and guard only a portion of the area that might have better loot while still allowing me to explore the rest of the area. The Flame in the Flood had a lot of potential, but unfortunately the mediocre gameplay really holds it back.
A review copy of the game was provided for the purpose of this review.