2057: Assault Android Cactus is Out Later This Month, and Here’s Why You Should Buy It

First things first: please forgive the Kotaku-style headline, but I started capitalising headlines in this way when I first started posting on this blog and now I can’t bring myself to change to AP style without going back and changing all my previous ones. And, since there are well over 2,000 “previous ones”, that would take a very long time indeed. So awkwardly capitalised headlines it is for now.

But I digress, and I haven’t even started yet, so let’s begin again.

Nearly two years ago, my then-managing editor Jaz Rignall pointed me in the direction of an intriguing-looking Early Access game on Steam called Assault Android Cactus. After taking a peek at the pre-alpha build, I began corresponding with Mr Sanatana Mishra from developer Witch Beam Games, and it transpired that the game would be on show at the then-new Eurogamer Expo (now known as EGX). Since I was heading to EGX anyway, I made an appointment to meet with Mishra and have a chat about the game, and in the meantime I familiarised myself a little more with the early build.

When I first heard about Assault Android Cactus, I wasn’t sure what to think. On paper, it sounds like any number of games that bloat Steam’s marketplace daily — it’s an arcade-style twin-stick shooter inspired by retro classics — but it quickly became apparent from playing through the limited number of levels in the early build that there was actually something quite special taking shape here. This feeling was further compounded when I eventually made it to the Eurogamer Expo and had a thoroughly enjoyable chat with Mishra about the game and the team’s plans for it in the long-term — to cut a long story (which you can read in full here) short, it was apparent that Witch Beam was a small team who were absolutely dedicated to making Cactus the best experience it could possibly be, and to creating a truly authentic Dreamcast-style experience heavily inspired by the masters of Japanese shoot ’em ups like Treasure, Cave and their ilk.

Since I first gave Cactus its glowing write-up on USgamer, I’ve checked in on the Early Access build numerous times as it’s developed, and regularly talked about how much I like it. I’ve also kept in touch with Mishra and the rest of the team at Witch Beam via Twitter, and it’s been a genuine pleasure to witness the passion they’ve been pouring into their project. It’s been a long and slow road to release for the game, but recently the team finally announced that the full, non-Early Access version would be hitting Steam on September 23, 2015, and that the promised console versions would be following early next year.

I received an email from Mishra last night containing a beta code for the review build of Assault Android Cactus’ full version as a “thank you” for the support I’ve shown them over the last couple of years. Touched by this thoroughly nice gesture of appreciation, I made a point of downloading the new build this morning and playing it for a good few hours. And it seems my early impressions were very much correct: Assault Android Cactus is something very special indeed, and if it doesn’t end up taking its rightful place of honour alongside modern arcade classics like Ikaruga, DoDonPachi, Geometry Wars and their ilk, something is very, very wrong.

For the unfamiliar, Assault Android Cactus is, as previously mentioned, a twin-stick shooter. There’s a few twists on the usual formula, though: the right stick just aims rather than shoots, for one, so you have to actually pull the trigger to fire, while the left trigger swaps between your chosen character’s main and secondary weapon. Main weapons have unlimited ammunition; secondary weapons have a cooldown before they can be used again, but tend to be considerably more powerful.

Another major twist on the formula is the fact that there’s no lives system, with the challenge factor instead coming from a time limit represented by the characters’ declining battery charge. Blowing up a wave of enemies allows you to collect a recharge item, while getting knocked down wastes time and battery charge as well as costing you some points, so avoiding getting hit is a very important part of going for high scores. The battery system proved to be a controversial addition to the game when it was first put in place, but it’s now such an integral part of the game structure that it’s difficult to imagine Assault Android Cactus without it. It ensures the game strikes a good balance between accessibility for casual players and rewarding skilful play from the people who know what “1CC” stands for.

One of the most noteworthy aspects of Cactus’ gameplay is its selectable characters, who are gradually unlocked as you progress through the main series of levels. Far from just being different skins, each of the playable android characters handles uniquely, with very different main and secondary weapons allowing you to play in different ways. Title character Cactus is the most straightforward, boasting a simple machine gun and short-range flamethrower combination, while Aubergine is one of the more peculiar offerings due to her main weapon being an independently controlled helicopter drone and her secondary weapon being the ability to summon a quantum singularity and suck everything into it. The way the different characters play is one area where Witch Beam has clearly taken inspiration from classic Japanese shoot ’em ups, since many of these have selectable ships with different weapon setups. There’s a huge amount of creativity in the way the characters play, though, and it’s a real pleasure to get a handle on how some of the more outlandish characters work. (I still have no idea how to use Aubergine effectively, mind.)

Another interesting aspect is in the level design. Cactus could have easily been a straightforward arena shooter, but instead the levels show a great deal of variety in their structure. While they all have the same goal — destroy all the enemies — some of them take place in a confined space; some of them unfold in an arena that changes shape over time; some of them are in levels that force you to move from one place to another. One particularly memorable one scrolls infinitely in every direction, with checkerboard floor tiles flipping up and down according to which direction you’re going; the backdrops are always interesting and exciting to look at as much as the main action is.

Cactus’ long-term appeal comes from the same place as other arcade-style shooters: score attack. Completing a level immediately shows you a leaderboard as well as a letter grade, with the elusive “S+” rank being reserved for those who chained all of the enemies in a level into a single combo, didn’t die and were generally a bit of a superstar. After attaining an S+ rank, you unlock “Pro Mode”, which puts an on-screen indicator on your HUD showing whether or not it’s still possible to attain an S+ on the level you’re playing; you can also quickly restart a level if you make a mistake along the way somewhere.

The ranking system has been well thought out. Levels are designed so that you can “learn” them, much like a bullet hell shooter, and attaining the best ranks is dependent on you figuring out these enemy patterns, how to avoid their attacks and how to ensure that you’re always on the offensive to keep your combo active. Bosses are similar, unfolding across several learnable phases, with the boss’ health bar clearly showing where there’s a phase transition so you can ensure you’re in an advantageous position ahead of time.

If you’re not in the mood for score attack, though, some Sega-inspired “EX options” allow you to play the game in various different ways. You can try the game in first-person, for example, or from a fixed isometric perspective rather than the dynamic camera angles of the regular game — though both of these options disable the leaderboards. There are also several graphical filter options — including an entertaining “JJ Mode”, which spooges lens flare and bloom all over the screen for an incredibly colourful experience — as well as options for having AI players alongside you or taking on co-op enemy waves with just a single player.

In short, if you’re a fan of arcade-style shooters and you’re looking for something entertaining to feed your virtual quarters into, Assault Android Cactus is pretty much an essential purchase. Combine the solid main campaign with other enjoyable modes such as the never-ending Infinity Drive mode and the randomly generated Daily Drive confrontation, and you have a game that will keep you occupied for a very long time indeed — and one that I will quite happily purchase again on PS4 when that version hits early next year.

2055: Adventures at Seal Rock

I’ve been playing some of Final Fantasy XIV’s player vs player mode recently, and I’ve been pleasantly surprised how much fun it is.

I’ve tried PvP in various other MMOs and never really got along with it. I never got far enough through Guild Wars for the PvP to be relevant outside of the single match you’re forced to play in the introductory chapter; Star Wars: The Old Republic’s PvP was unbalanced garbage; and The Secret World’s PvP just seemed too chaotic to be manageable.

The trouble with PvP in a game with RPG mechanics is that it often becomes nothing more than a numbers game rather than a test of skill. In other words, whoever has the best gear will almost definitely win every time. This is particularly apparent in games that make seemingly no effort whatsoever to balance things out for a fair competition, the most egregious example of this I can think of being Blizzard’s Diablo II. (To be far, PvP wasn’t really the point of that game at all, but the fact it was in there at all in such a gleefully unbalanced state was just baffling.)

One of the nice things about Final Fantasy XIV’s PvP is that it puts everyone on a pretty level playing field by syncing gear levels to a relatively low standard — iLevel 80 for level 50 PvP and iLevel 150 for level 60 PvP. This means that even if you haven’t spent months farming content for the very best gear, you can still be both competitive and an asset to your team, making PvP as a whole a lot more accessible to a wider bunch of people. Which is good, because it’s pretty large-scale, with 72 participants across three teams fighting it out all together in most cases.

Seal Rock is the newest addition to Final Fantasy XIV’s PvP lineup. The previous PvP matches on the Carteneau Flats saw you either capturing and defending points from enemy assault, or simply attempting to defeat as many of the enemy teams as possible. The “Seize” mode you play on Seal Rock, meanwhile, is a slightly more involved, dynamic affair that requires coordination and teamwork, challenging your team to activate and hold Allagan Tomeliths that activate at random at various points across the battlefield, with the ultimate goal being to score 800 points before the other teams.

Points are scored by holding onto the Tomeliths; when one is in your team’s possession, your Mammets gradually download data from it until it runs dry, at which point new Tomeliths will activate after a short period, and the process continues. The twist is that not all Tomeliths are created equal; there are B-, A- and S-rank varieties, with B-rank Tomeliths being worth the least potential number of points and S-rank Tomeliths being worth the most.

It’s not as simple as just charging for the most valuable Tomelith, though. At times, it can be more advantageous to watch the other two teams scrap over an S-rank while you sneak around behind their backs and capture all the other ones for a greater total number of points than the S-rank by itself is worth. Add to that the fact that every time one of your team members is knocked out, your team loses a few points, and you have a mode where confrontation is something you want to avoid as much as you can unless you have a significant numbers advantage, at which point it’s enormously satisfying to steamroller members of the enemy team.

What I think I like most about playing PvP is how different it feels from the PvE content. PvE can often feel quite “by rote” after a while, particularly in the more scripted encounters, and while this is satisfying in its own way at times — I’ve described the more intricate boss fights as being delightfully dance-like — PvP keeps you on your toes, challenging you to respond to new and unexpected situations as they crop up, and no two matches are ever quite alike. This makes it fun and enjoyable even if you’re on the losing side, particularly as matches are wrapped up within 20 minutes at the very most, usually less.

I haven’t quite figured out what the best strategies are quite yet, but I’ve been enjoying the experience a great deal so far, and I’m looking forward to battling those scoundrels of the Maelstrom and the Adders again soon.

2050: Three Hours Until Dawn

I’ve been really enjoying Until Dawn so far. Not only is it one of the most impressive-looking games I’ve seen for a very long time — the lighting, character models, animation (particularly facial expressions) and overall cinematography are all gobsmacking — it’s also one of the best “interactive movies” I’ve ever played, outdoing all of David Cage’s work in terms of coherence, tension and emotional impact. (And I’m one of the people who actually likes Cage’s work!)

I’m really pleased with how well it balances the interactivity of a game with the storytelling of a movie. Choices you make throughout are meaningful, and are often referred to later through conversations or consequences. Plus, even though everyone knows the worst possible thing you can do in a horror movie is “just go and see what that was”, the game encourages and rewards exploration with hidden collectible items aplenty, each of which contribute to your clue database and help to unravel the several mysteries at the heart of the narrative.

One of the most interesting things about the game is how your choices affect the characters themselves. Each character has a series of “stats” reflecting things like how honest, brave, romantic and funny they are, and the way you choose to have them behave throughout the game affects these stats, which in turn determines how they behave in certain other situations. Alongside these stats are relationship values that increase and decrease according to your choices throughout the game — again, with consequences at certain junctures according to how much the characters like each other.

The game makes effective use of its multiple characters as a means of presenting the player with different perspectives on the story. Individual characters by themselves might not know exactly what is going on, but by seeing what is happening to each of them, you can start to put the pieces together yourself. Like a visual novel, the game also encourages repeat playthroughs to discover all the collectible clues and piece together what happened, and I can already see a number of obvious branching points based on decisions I’ve made — with some of the more drastic choices resulting in the (apparent) death of one or more of the characters. (I say “apparent” because the game has pulled the “that person couldn’t have survived that… unless…” thing more than once so far — plus it’s apparently possible to get through the whole thing with everyone surviving.)

It makes nice use of timed decisions and quick-time events, too. Quick-time events are loathed and detested by an awful lot of people, but I’ve actually rather liked them since the phrase was coined way back in Shenmue. Until Dawn makes relatively sparing use of them throughout, and they help add a great deal of tension to already nerve-wracking scenes that have made my palms sweaty more than once. Perhaps the best part of the game’s use of quick-time events, however, is the fact that the game occasionally requires you to not do anything at all — literally. “DON’T MOVE!” urges the screen, and the game begins tracking your real-life movement through the motion sensors in the controller. It’s hyper-sensitive, too, so the slightest movement and you’ll be discovered. (You can, of course, cheat the system by resting your controller on something, but it’s more fun to grip it tightly in your hands and hold your breath.)

On that note, it’s also gratifying that in a number of situations, not making a choice is also a valid choice. I liked this when I saw it in visual novel/interactive anime School Days HQ; I liked it when Telltale used it in some of its games; and I like it very much here. Until Dawn takes School Days’ approach on a number of occasions — presenting you with a single (rather than binary) choice on screen and giving you a few seconds to decide whether or not to do it. These choices usually involve choosing whether or not to use violence to solve a situation and have tight timers, so you have to think fast about what the consequences might be — or simply throw caution to the wind and try to deal with whatever happens a bit later.

I have a few more chapters of the game still to go, and the story has thrown up some interesting twists that I sort of half-saw coming but wasn’t sure about — I’m generally not all that great at spotting twists ahead of time, I must confess — so I’m intrigued to see where it all ends up, and who, if anyone, is going to walk away from that mountain retreat.

It’s been a great experience so far, and I can heartily recommend it to anyone looking for something a bit different from the usual “run and gun” nature of triple-A spectacles.

2047: Until Dawn, Some First Impressions

I grabbed a copy of new PS4 game Until Dawn today. I haven’t been following the development of this game at all, but what little I had heard of it sounded enormously intriguing, so I decided to give it a shot.

For those as yet unfamiliar, Until Dawn is an interactive movie-type game in the vein of David Cage’s works Heavy Rain and Beyond: Two Souls in that it’s heavily story-based, extremely linear and the decisions you make throughout are extremely important to how the whole thing concludes. Like Cage’s work, too, there’s absolutely no guarantee that all the cast are going to make it to the end, either.

Unlike Cage’s work, however, which draw influences from noir and a few other sources, Until Dawn is very much designed in the mould of ’90s-era teen slasher horror films. This type of movie is something of a lost art these days, with modern horror films tending to adopt more of a “horrorporn” approach with lots of gore and sadism, whereas teen slasher films were often witty and incisive as much as they were scary and horrific. (This isn’t to say that modern horrorporn films don’t have anything to say, of course — quite the contrary — but teen slasher films were very much their own distinct subgenre.)

The game opens with a bunch of teenagers spending a winter retreat up at a cabin in the mountains. Before long, Bad Shit starts happening and two of the party are dead — though their bodies are never found by either the authorities or their friends. The story then jumps forward to a year later, where the same group are revisiting the cabin on the anniversary of the two girls’ disappearance, and it’s clear that something odd is going on — though the early hours of the game are somewhat slow-paced, with only a few cheesy jump scares to keep you on your toes.

One interesting aspect of Until Dawn is its structure. While largely chronological and episodic in nature — each episode even starts with a “Previously on Until Dawn” recap — the game is punctuated by some interesting fourth wall-breaking sections in which a psychoanalyst appears to be speaking directly to the player. Whether or not this is actually the case remains to be seen, but in the same way that Silent Hill: Shattered Memories made use of the psychoanalysis session as a narrative framing device, so too does Until Dawn use your answers to the frankly rather creepy shrink’s questions to subtly tweak and tailor the experience. Often, these changes aren’t even commented on, leaving you in the distinctly uneasy position of wondering if you were imagining how you thought you remembered things from before, or if the game is just messing with you.

To say too much more would be to spoil it — and anyway, I’m only up to the third chapter so far — but I’m very, very impressed so far. It’s by far the most “next-gen” game I’ve seen so far with regard to graphical fidelity and particularly facial animation. It’s also nice to see other developers experimenting with the interactive movie format as David Cage has done in the past; Cage’s work often draws heavy criticism (though I’m very fond of both Heavy Rain and Beyond: Two Souls) but the underlying principles of making meaningful narrative choices and interacting with the on-screen action are sound. I’m very intrigued to see where it all goes, and can confidently already recommend the game to anyone out there with a PS4 who enjoys a strongly narrative-driven experience.

2038: Vacation from Eorzea

Astute long-term readers will notice that I haven’t been talking much about Final Fantasy XIV recently. And the reason for that is simple: I just haven’t been playing it that much.

It’s not that I’ve gone off the game per se — I still see myself playing it for many years to come — it’s more that I’ve got out of it what I wanted to get out of it so far. The Heavensward storyline was exciting and dramatic — and, for my money, better than A Realm Reborn’s main quest — and the Alexander raid dungeon was an enjoyable challenge, though we’re still yet to clear its Savage incarnation.

Trouble is, outside of levelling alternate classes there’s not a huge amount to do at level cap right now.

This is the exact situation A Realm Reborn (and, I imagine, most MMOs) found itself in at launch, of course; the difference here, however, is that whereas it took me a good few weeks to make it to 50 in A Realm Reborn — I reached the level cap a while after the more dedicated players in my Free Company — I got through Heavensward pretty quickly. This was deliberate, of course; I binged on the new story content because it was enjoyable and interesting, and also because I wanted to see everything that the expansion pack had to offer. I also wanted to avoid inadvertently being spoiled on the storyline, since Final Fantasy XIV is that rare example of an MMO where the story is actually worth paying attention to and even told pretty well.

Consequently, I got to the “end” a lot more quickly than I did with A Realm Reborn, and consequently I’ve found myself with a lot more “dead time” with stagnant content. Sure, I could run Alexander over and over again to try and get some more gear sets. Sure, I could level other classes — I probably will do this at some point. Sure, I could run the current two level 60 dungeons over and over to get as many Tomestones of Esoterics as possible to gear up one or more classes.

Trouble is, I simply don’t have a lot of motivation to do so right now. And that’s sort of fine by me, really; whenever I play an MMO I always find myself in a weird place where I’m really enjoying the experience of playing the game and getting good at it — I maintain that Final Fantasy XIV is one of the few games I genuinely consider myself to actually be pretty good at — but also feeling a strange sense of “guilt” that I’m not playing any of the other million and one games that have been staring at me from my shelves for the last few years. Conversely, I play a game that isn’t Final Fantasy XIV and I feel a similar sense of “guilt” that I’m not playing Final Fantasy XIV more. I can’t win. Stupid brain.

On balance, though, this “dead time” is actually proving to be rather welcome, as since I have little inclination to log in right now for anything other than my weekly raiding commitments — and the group as a whole is pretty half-hearted about the whole thing at the moment, to be honest — I am having plenty of time to delve into other experiences. I managed to get the Platinum trophy on Omega Quintet. I’m working on the Platinum trophy for Hyperdevotion Noire. I am loving the shit out of Sword Art Online on PS4. And I’m also really enjoying Splatoon, Heroes of the Storm and any number of other games right now.

The trouble with any hobby that has a lot of different elements to it — be it gaming, music, reading, movies or whatever — is finding that perfect balance where you can enjoy all those different elements at different times and not feel like you’re neglecting any of them. Right now, even though I know that I don’t have much motivation to play Final Fantasy XIV, I still feel like I’m neglecting it because I’m not logging in to talk to my friends. So perhaps I still haven’t quite found the right balance there. But eh. I’m not going to worry about it for the moment — a new content patch for the game might rekindle my interest for a while, but in the meantime I’m going to cut right back and enjoy the other experiences I have on the go right now.

2037: I Killed a Volcano

Another Sword Art Online Re:Hollow Fragment post, I’m afraid, but, well, deal with it; it’s good, I’m enjoying it, and I want to talk more about it.

I was describing the game to a friend earlier and the thing that struck me is how utterly different from your typical JRPG it is. It’s extremely non-linear at heart — that is to say, there are a number of parallel linear objectives to follow at any given moment, but it’s always entirely up to you which one you pursue at any given moment, or even whether you pursue them at all or just decide to grind out a few levels fighting powerful enemies.

So far the “main” quests I’ve encountered include the ascent of Aincrad, which is the way you “beat” the game; the storyline that unfolds as you unlock access to each part of the Hollow Area; the “Grand Quest” which mysteriously appears on one trip to the Administration Area; and a line of waifu-specific objectives that demand you go into the Hollow Area with a specific companion and complete a particular kind of Hollow Mission, the exact details of which are usually given in fairly vague terms, so you have to figure out exactly which missions will fulfil their criteria for yourself.

In my relatively brief session on the game earlier, I chose to forego the waifu quests I had previously been working on (largely because I couldn’t find a Hollow Mission that involved fighting kobolds or goblins to progress Silica’s questline) and instead continue with the Grand Quest. This part of the game — which I believe was added in a free update post-release on the original Vita version — involves entering a mysterious new part of the already mysterious Hollow Area, known as the Abandoned Area, and promises the reward of powerful new Sword Skills that you can’t get anywhere else.

The Abandoned Area is introduced to you with a beautiful garden, one end of which is dominated by an enormous pair of doors — doors which are, of course, locked. However, since Sword Art Online is well and truly aware that it is a game, it very much follows the rules of a game, and consequently there are two obvious depressions in the door where “something” most certainly fits. And, wouldn’t you know it, there are two pathways out of the garden, each of which leads to a different “dungeon” area — one in some fiery caves, another in the mountains. And oh! It just so happens that your map indicates that there’s a powerful Area Boss waiting in the furthest reaches of each of these areas. Guess what you have to do to progress the Grand Quest?

It’s not just as simple as wandering in and smacking the boss about a bit, though, not least of which because the bosses are challenging encounters with plenty of mechanics to figure out. In order to even get at the boss of the fiery cave area, you need to complete a number of different Hollow Missions that reveal some interesting facts about the local fauna — most notably the explosive bugs that become petrified when they die, and which conveniently explode with sufficient force to knock down walls when triggered by the correct catalyst. Once you’ve discovered this useful piece of information, you then have to scour the area for other instances of these petrified bugs, blow them up and see if they reveal a convenient pathway through to the boss.

The mountain area is similar in execution, though it is set up in such a way as to prevent you from progressing too far without completing the fiery caves first — you need a key item to melt open a door that is frozen shut. In this area, however, you quickly encounter the Area Boss without too much difficulty, who promptly screeches at you with a noise so terrible you’re forced to retreat. The challenge here, then, is to uncover a means of protecting yourself against his powerful sonic attacks. I’m yet to discover exactly what that means is, but it will almost certainly involve a convenient Key Item somewhere, because that’s how games work and, as previously noted, Sword Art Online is very much aware that it is a game.

The fiery cave area boss — dramatically known as Gaiard the Volcano — is a great fight that is far more than simple hack and slash. It’s a fight where you’ll have to pay attention to what moves are coming up — they are telegraphed in various ways — move carefully to avoid them, order your companion around (assuming you brought one with you) and take every opportunity you have to get in your most powerful attacks. It’s an intense fight that really doesn’t let up for a moment; opportunities to attack are short and easy to miss if you’re not paying attention, and you need to keep a close eye on your partner’s condition, too; letting them die is as instant a Game Over as if you died yourself. It’s extremely satisfying when you finally clear it, however; it took me a good few attempts, but like the very best boss fights, it never felt like I was being smacked around by cheap, unfair moves — I learned something every time and progressed a little further, until eventually I was able to counter almost all his earth-shaking attacks and take full advantage of the openings that were presented throughout the battle.

If you’re the sort of person who enjoys setting their own objectives and pursuing things in whatever order they like, then, Sword Art Online Re:Hollow Fragment is something that will very much appeal. Plus I was delighted to see today that it appears to be a top-seller on PSN right now, which means that it’s a game that is getting noticed, played, enjoyed and promoted by people who like it. That makes me really happy; while it is far from the most technically proficient game in the world — the upscaled PSP graphics and somewhat inconsistent frame rate will be a culture shock for many — it’s a beautifully designed, enormously addictive and extremely playable game that I can see myself spending a very long time with before I move on to something else.

2034: The Hollow Area

Been playing some more Sword Art Online Re:Hollow Fragment for the past few days, and I’m thoroughly enamoured with it. It’s quite unlike any RPG I’ve played before, though I must say, it does a pretty good job with the whole “simulated MMO” deal, particularly as you can even play it in cooperative multiplayer.

I’ve mostly been exploring the “Hollow Area” part of the game, which is the vast new section originally added in the Vita version of the game; the original PSP version only covered the last 25 floors of Aincrad up to the final boss on Floor 100. Aincrad is a mostly linear experience; the Hollow Area, meanwhile, though gated by story progression in a few places, is much more non-linear in nature since you can freely move between regions, take on any “Hollow Missions” you choose or simply explore, fight monsters and seek treasure.

Interestingly, this aspect of the game is the one area where Re:Hollow Fragment differs from a real MMO: while the first time you enter a new zone in an MMO you’ll probably take some time to explore and map it fully, most MMOs design their areas in such a way as to be easily navigable by large groups of people, and once you’ve been everywhere, you’ve been everywhere; no further exploration needed. When it comes to dungeons, any kind of exploration is usually discouraged entirely in favour of a linear sequence of encounters culminating in one or more highly scripted boss fights. There’s nothing wrong with this; when it comes to herding a group of players towards their objective together — particularly when they might not be able to communicate with one another due to issues such as the language barrier, console players not having a keyboard to hand or people simply being unwilling to talk — it’s best to keep things as simple as possible so no-one gets lost, everyone can have a good time and work their way through efficiently.

Since Re:Hollow Fragment doesn’t have to worry about “real” players (for the most part — multiplayer assumes you’re already familiar with how the basic game works) it’s free to be a bit more interesting with its areas. So we have mazes, networks of caves, perilous clifftops (that you can fall off and die instantly) and dungeons with multiple routes and secret passages, many of which you’ll need to pay return visits to at a higher level to get the most out of. It’s an absolute pleasure to explore, and all the more rewarding when you come across a powerful monster to fight or a treasure chest containing an awesome treasure item.

The “powerful monster” aspect is worthy of some note. I’d heard a few people compare this game to Monster Hunter when it first came out; I haven’t played Monster Hunter myself so can’t comment with a huge amount of authority, but it never struck me as a particularly obvious comparison to make. That is, until I started ranking up some of the regions in the Hollow Area and coming across the “NM” (Named Monster) and “HNM” (Hyper Named Monster… I think?) encounters, which pit you against powerful, boss-tier enemies that demand a little more than just hack and slash. Now I kind of Get It… that moment when you think “That thing looks awesome… let’s kill it!”

That said, the game isn’t particularly hack and slash even with its trash mobs, anyway; it has an interesting combat system based around a combination of carefully timed button presses (Phantasy Star Online-style) and skills with cooldowns a la traditional MMOs. While Kirito starts a fair distance down the Dual Wielding path he’s depicted following in the anime, you’re free to change to any other weapon type whenever you like, and in fact if you want to farm Skill Points to learn new abilities, you’re going to need to do that, since Skill Points are earned most reliably by levelling up weapon proficiencies. What’s nice is that each weapon type has its own unique set of skills to learn along with its own unique animations and timings for “Exact Attacks”. Branching off each weapon type are support skills, too, ranging from healing and buffing to passive abilities that improve your overall position in battle.

Then there’s the Implementation system, which works alongside the skill system. While the skill system is presented as being part of the Sword Art Online game Kirito and his friends are trapped in, the Implementation system is the game’s equivalent of turning on Google Labs in GMail; it tasks you with “researching” various things during Hollow Missions (and only during Hollow Missions) and then rewards you with experimental game adjustments — anything from stat buffs to the ability to receive new item drops from NMs and HNMs — and even entire new game systems, such as the Original Sword Skill system, which essentially allows you to record a “macro” of your favourite skills and chain them together at will. The challenges you’ll be tasked with completing range from the simple (defeat 20 enemies) to the infuriating and time consuming (land 200 perfectly timed Exact Attacks) but the rewards are very much worth it, and this array of challenges — there are well over a hundred of them in total, I believe — give the game a great deal of variety as it becomes less about simply hacking your way through monsters as quickly as possible, and more about defeating them in specific ways in order to efficiently complete these research objectives.

Perhaps one of the most interesting things about Re:Hollow Fragment is the fact that all this stuff is technically optional. All you have to do to finish the game is climb to floor 100 of Aincrad, beat the last boss and hooray, you win. Any RPG player worth their salt knows that making a beeline straight for the final boss is rarely a good idea, though; sure, you might clear the game quickly, but you’ll also miss out on potentially some of its coolest aspects. As such, I’m unsurprised to have found myself well and truly captivated by exploring the Hollow Area, while my progress on Aincrad has stalled after just two floors. The Assault Team don’t seem to mind, though, and the game’s generous complement of waifus are more than happy to accompany me on my various adventures, so all’s well.

I can see myself spending a long time with this game, and I’m actually keen to play some more multiplayer (particularly as two trophies relate to multiplayer sessions — though you can play “solo multiplayer” in a party with your characters from single player) — it’s been a very pleasant, enjoyable surprise so far, and I’m looking forward to continuing to explore its hidden depths. And then jumping right into Lost Song when it comes out in a few months!

2032: Everybody’s Gone to the Rapture

I’m never quite sure how I feel about so-called “walking simulators” — that subset of first-person games that first appeared with the original Half-Life mod version of Dear Esther, and which has subsequently spawned all manner of variants, including The Vanishing of Ethan Carter, Gone Home, a remake of Dear Esther and The Stanley Parable.

The reason why I say I’m not quite sure how I feel about them is that reflecting on the ones that I’ve played, in some senses I feel like they’re quite an “easy” way for a developer to make a narrative-centric game — “easy” being very much relative, of course, since although walking simulators don’t need things like encounter design and balancing, they do need to worry about world design and pacing, arguably even more so than games with more conventional “mechanics” in place. But despite this, there are times when I experience a walking simulator’s story, and I wonder if a game was the best way for them to tell that story; if all you’re doing is following a path listening to audio logs or reading notes, why not just listen to an audiobook or read a book?

But then I think a bit harder, and I think about the subtle ways in which these games use interactivity to provide a distinct experience from reading a book, watching a movie or even playing a mechanics-focused game with a strong story. Sure, you can attempt to charge straight through to the end and “speedrun” the game, but why would you do something so dumb? These games are made to be explored and savoured like a work of art; some do it better than others, but most have at least some degree of exploration about them.

The most recent one I’ve played — Everybody’s Gone to the Rapture, a new PS4 release from The Chinese Room, creators of Dear Esther — actually does, I think, the best job of creating a surprisingly compelling game out of its stories (because there are several) without resorting to putting in adventure game mechanics or anything like that. (Not that there was anything wrong with Ethan Carter’s investigation sequences, of course, but I can see them killing pacing a bit for people who have trouble figuring that sort of thing out.)

Everybody’s Gone to the Rapture sees you arrive in an idyllic Shropshire village shortly after everyone has apparently disappeared. By following a trail of clues and memories deposited by mysterious glowy light… things around the village, it’s up to you to try and piece together what happened and why. Did the world really end? Well, no, because you’re still in it and it’s still there — but if that’s the case, where did everyone go?

A lot of Everybody’s Gone to the Rapture involves following said glowy orb things around as they lead you to the next area of story, but the game unfolds in a seamless open world that you’re free to wander around and explore at your own leisure. In doing so, you might be able to uncover some mysteries, or more likely you’ll spend some time indulging in what the real joy in these games is: rummaging through someone else’s house.

Gone Home was great for this, and made good use of gamers’ propensity to open every cupboard, drawer, door, window, chest and toilet just in case there’s something hidden inside. By exploring Gone Home’s house, you’d discover a number of different story arcs, most of which were subtly told but came to their own distinct conclusions over the course of the game.

Everybody’s Gone to the Rapture is a little more explicit about its storytelling in that rather than reading notes, you’re witnessing blurry recreations of things that happened between the characters previously, but there’s still some brainwork to do: you don’t necessarily encounter these events in chronological order so you’ll have to figure out what happened when, why and with whom.

There are also lots of more subtle touches around the place. Poke around in people’s houses and you might find boxes of leaflets showing what they were up to, or the books they liked to read. The whole village is immaculately designed and really, genuinely looks and feels like a remote country village in England. It’s a pleasure to explore, and the game generally rewards you for doing so with fragments of stories to find; it’s entirely possible to finish the game without having seen all of the story arcs come to their conclusions, but if that’s the way you choose to play, it’s a valid option.

I’m conscious I’ve been talking very vaguely here, but really, there is no more point to Everybody’s Gone to the Rapture than its story, so I’m hesitant to spoil it while it’s still new. It’s worth experiencing; I don’t regret grabbing it and playing it through in a single sitting (which I would suggest is The Way to Play It — it’s not very long) but, like most walking simulators, I wonder if I’ll ever return to it for any reason other than to show people how gorgeous Cryengine-powered graphics can look. I somehow doubt it, but that doesn’t mean it wasn’t a good or worthwhile experience; it was beautifully presented and told its story well despite getting a bit wiffly-waffly “oh, let’s be vague and let people come up with something for themselves” at the end, as these things tend to go.

Worth a look then, if you like that sort of thing. I doubt it’ll make many converts to the walking simulator fold, if you’re the sort of person who is staunchly against them or doesn’t get their appeal, but for those who do enjoy this style of storytelling, The Chinese Room has once again proven that they’re masters of their art.

2029: Our Video Future

I’ve been playing a bit more with making some videos using the PlayStation 4 and its ShareFactory software. As it turns out, today I actually hit the upper limit of how many clips of commentary it’s possible to add to a single project; apparently I need to record narration all in one go, then split it up later if necessary rather than recording in small chunks!

This was today’s project:

Sword Art Online Re:Hollow Fragment is a really good game that I’m enjoying a whole lot, and making a video about it seemed like a good idea, because a lot of people who haven’t taken a chance on it and just started playing it really don’t know anything about it at all. My good friend Chris Caskie, for example, specifically thanked me for showing all the different parts of the game across the course of my six-minute video, since gameplay footage he’d seen in the past had only ever shown a tiny (and, from the sounds of things, boring) excerpt of what’s actually on offer.

I think I’ve found a format I like working in, too: I never felt quite comfortable doing “Let’s Plays” or recording live reactions as if I was streaming a game. At least part of this, I feel, is due to the fact that, as a viewer, I don’t really have much interest in Let’s Plays and streaming, because I’d much rather play a game than watch someone else play it. What I do appreciate, however, is the opportunity to see a game in action, find out a bit about it and perhaps a touch of personal opinion as to whether or not it’s worth exploring. I am also uninclined to spend 20 minutes watching someone go through options menus and whatnot; short and relatively snappy is the key, summarising everything I might want to know about the game without rambling on and on about it for too long.

So that’s the format I’ve adopted in my last couple of videos. I feel it works well; I’ve been pleased with the result (though not so much with the sound quality; I need to 1) adjust the sound levels between the game footage and my commentary recording and 2) invest in or find a pop filter for my headset microphone, which is otherwise proving to be pretty good for this) and I actually find myself going back and watching the videos I’ve recorded again; considering a few years back (prior to the first time I went on a podcast) I absolutely loathed and detested the sound of my own voice and would rather have stuck my head into a woodchipper than listened to myself, this is Progress of sorts, I guess.

I think the fact I’m enjoying making these videos — and that I can do so quite quickly — is important though. I will always be someone who enjoys writing about games first and foremost, and that’s what the magazine project I’m currently working on is all about. For a basic “review” of sorts, however — which is effectively what I’m doing with these videos, or at the very least providing some first impressions after a few hours of play — video seems to be an eminently suitable medium, perhaps even better than dry written words on a page.

Perhaps I’ll even be able to make some money off this sort of thing eventually, though I’m realistic here; my viewing stats have broken three figures on, I think, just one of my videos posted to date, with the others having anywhere between 10 and 70 views. That’s not at a point where it’s worth putting ads on my videos as yet, though that said I haven’t really made a huge effort to try and promote what I’m doing; I’m just putting it out there to see what people think.

If nothing else, it’s something to do on empty, tedious days, and I’m having a whole lot of those at the moment.

2026: Hollow Fragment

The next “big game” of the moment for me is Sword Art Online: Re: Hollow Fragment, a PlayStation 4 rerelease of an earlier Vita game, which itself was an expanded version of an even earlier PSP game. The Vita version had a notoriously dreadful translation, but I’m pleased to report that the PlayStation 4 version is at least readable — though the conversation system is still bafflingly nonsensical at first.

Sword Art Online, for those not into the animes, was a popular show a couple of years back. It was one of those “mainstream” shows that became really popular and which everyone subsequently decided they hated for one reason or another. I never quite understood the hate; sure, it was cheesy as fuck in places, but it was an enjoyable, beautifully presented show with an amazing soundtrack and a concept I’ve always loved ever since I played .hack for the first time: the MMO that is trying to kill you.

The Sword Art Online anime concerns Kirito, a protagonist who is a blatant self-insert for the writer, but I won’t hold that against anyone, since self-inserts can be a wonderful means of escapism. Kirito becomes trapped in the new virtual reality MMO Sword Art Online after the game launches out of beta and the “logout” button is removed by its designer, capturing all 10,000 launch day players in the virtual world. To make matters worse, said designer — the villain of the piece — informs the players of a little tweak to the rules of the game: if they are forcibly removed from their VR equipment, or if they run out of HP and “die” in the game, then their VR equipment will fry their brain with microwaves, killing them instantly.

There’s a get-out clause, though; if the game is cleared by someone defeating the final boss on the 100th “floor”, everyone who survived will be allowed to escape. After two years of the game, it becomes apparent that this goal is still a long way off, and player numbers are dwindling as more and more people either fall victim to carelessness or despair along the way. Ultimately, the first arc of the anime concludes with Kirito and his friends defeating Sword Art Online’s designer and freeing themselves from the virtual world of Aincrad, only to find themselves in numerous subsequent adventures in other virtual worlds. You’d think they’d learn.

Hollow Fragment, meanwhile, takes place in a reality where Kirito’s defeat of Heathcliff at the end of the first arc was not the end of Sword Art Online, and the players find themselves still trapped within the game. Moreover, they discover that once they pass the 75th floor — the floor where Kirito defeated Heathcliff — they are unable to return to the lower floors, and many of their skills and items become “corrupted”, mere shadows of their former selves. The game, then, continues; it looks as if the only way to escape really will be to defeat the boss on the 100th floor.

Except that’s not all, because clearing out 25 floors of dungeon would be far too easy a task. In the opening of the game, Kirito finds himself transported to the “Hollow Area”, an unexplored part of the Sword Art Online world where strange things happen and rare, high-level monsters and items abound. Acting as a sort of “testing area”, the Hollow Area allows Kirito to uncover a number of mysteries surrounding the virtual world of Aincrad as well as beef up his own character’s power significantly through various research trees. The flow of the game then becomes a journey back and forth between three distinct components, then: Aincrad, the Hollow Area, and what I like to refer to as Waifutown.

Aincrad is pretty straightforward. Upon arriving on a new floor, you’re shown a big tower off in the distance and informed the boss is waiting for you at the top of it. Between you and said tower are several overworld areas populated by enemies, so you’ll need to fight your way up to the boss room in order to challenge it. Along the way you’ll also need to gather intelligence on the boss by completing quests and defeating specific named monsters (NMs) as well as helping your fellow “players” to level up enough to take on the challenges ahead. Each “floor” is pretty linear in its design, though the dungeon at the end of it is more maze-like and unfolds across several levels, and you’ll be doing a fair amount of backtracking to complete quests.

The Hollow Area works a little differently. Rather than a linear sequence of areas leading to a dungeon maze, the Hollow Area is an interconnected network of zones more akin to a regular RPG or even MMO map. The Hollow Area is split into several different regions, each of which you’ll need to build up points in by completing “Hollow Missions” that appear and disappear in real-time as you play. While completing Hollow Missions, you can take on research tasks, which give you specific objectives to complete; once these are completed, you can then implement the research into Kirito’s character to improve it. You have to content with bosses here, too, though in the Hollow Area they guard region transitions rather than separate floors.

Waifutown, meanwhile, is what you do when you’re not adventuring. The town on the 76th floor that acts as your adventuring home base is home to most of the characters who got their own episode in the original Sword Art Online anime arc, along with a couple from the later arcs (Leafa and Sinon) who have been shoehorned in for the sake of having a few more waifus to pursue. In town, you can shop, upgrade weapons and hang out with your fellow adventurers. This latter aspect is important; by hanging out with your prospective adventuring partners, you can increase your relationship with them (up to and including sleeping with them) which subsequently helps them perform better in battle. By building up your relationship as well as “training” their AI by praising it when it does well, you can tailor each of the companion characters to your own liking. Or you can pick a waifu and spend the whole game with them if you so desire.

Sword Art Online is an enormous and surprisingly complex game. There are a lot of different systems at play — it’s going all-out with the “simulated MMO” aspect in this regard — and, while it’s daunting to begin with, the many different ways in which it’s possible to progress in the game make it feel like you’re always achieving something, and that there’s always a choice of things to do at any given moment. While its graphics look like butt outside of the beautiful 2D artwork — its PSP roots are very apparent — it really doesn’t matter all that much; it plays satisfyingly well, feeling quite like a high-speed Phantasy Star Online at times, and there’s a wonderful, constant sense of discovery and exploration as you work your way around this strange and wonderful virtual world. (And yes, I’ll probably make a video about this at some point so you can actually see how it plays.)

Also you can bed Lisbeth. 10/10