The High Horse Audit 2012, Part 2: The most disappointing game of 2012

It was always going to be hard to follow 2011. If it's possible to pity a year, I truly feel sorry for 2012. That's not to say that the year just gone failed to deliver any worthwhile experiences. I think it's more accurate to say that 2012 was full of double-edged gaming swords (if I think of a less elegant analogy, I'll be sure to be post it here).

"What do you mean by that?" I hear you ask, mildly frustrated. Well, in all but a few instances, there was something significant that detracted or was missing from the best games released in 2012. How about some examples to qualify my nonsense: Journey was a beautiful, heart-wrenching experience, but it wasn't really a game. Rayman Origins is the best game on the PlayStation Vita, but it's a port of a game released in 2011. Far Cry 3 delivers wild animal attacks and high explosives, but is also troubling with its Colonial themes and apparent racism. Seldom did I find myself playing something for what it was -- or in the case, of Far Cry 3, what it was trying to be according to the author. Every good game released in 2012 came with a catch.

I don't think I played a truly terrible game this year. At the end of the day, I only have so much time to play video games, and I'll always be somewhat discerning in how I choose to use my spare minutes, hours, even seconds. There were some games that disappointed though, some that failed to deliver on promises or assume the lofty weight of my expectations. Where to begin?

Let's start with the PlayStation Vita. I love the machine, I love the controls, I've even come to love the "bubble" interface. I can now play PSone games on the device, and the amount of compatible titles from the PSP back catalogue is slowly increasing. Yes, despite flagging sales, the Vita is finally delivering on most of the promises made by its maker. There's only one, relatively-large problem: there's no games exclusive to the Vita which could prove to be system sellers -- the fabled "killer apps", if you will. Yes, there are some great -- amazing, even -- games available on the portable, but none that couldn't be or haven't already been done better on home consoles.

Uncharted: Golden Abyss was a solid outing, and the initial stages -- which have Drake acting more the treasure hunter than wily mass-murderer -- almost had me convinced the series was heading in a promising, less-violent direction. So enamoured was I with the initial stages, that I even lashed out at Kotaku's Kirk Hamilton via Twitter over his negative review of the game. For what it's worth, Kirk, I apologise, as after enough time, the play formula reverted to the mass of firefights and death I've come to associate with the series. Back to my previous point, I'm not sure that anyone would take Golden Abyss over any of Drake's home console adventures.

AAA releases like Halo 4 and Borderlands 2 failed to hold my attention long enough to see either game's end. These big guns also failed to deliver the compelling narratives that many a critic promised. Master Chief and Cortana don't measure up to any of Reach's Nobility (see what I did there), but I will concede that Gearbox's second effort is better written than the sparsely-storied original.

Yes, there were a few games that left me wanting in 2012, but none quite like Street Fighter X Tekken; a game that took two storied franchises and combined them to produce the most lopsided contest in fighting game history.

That's right, I'm not even (that) mad about Capcom's hideous DLC strategy that had players shelling out for content included on the disc. Why? I didn't buy any of the costume packs, and I got a voucher for the extra characters with my copy of the Vita version. I wasn't even (that) upset about the game's lacklustre online offering, which was at first plagued by audio glitches and is now, in some cases, unplayable following efforts to fix problems found at launch (I can remember Gamespot reporting that a fix for the fix is due this month). When it's all said send done, I prefer local competition, so the online issues are a pain, but they wouldn't stop me from playing altogether.

What killed me is that save for a few exceptions (the Mishimas), the Tekken side of the roster has a hard time defending itself from the projectile-laden arsenal of their Street Fighter opponents. Paul Phoenix, a powerhouse in his native series, is neutered by his inability to fling fireballs. King and Marduk, intimidating, hulking wrestlers with prowess in throws, parries and counters in their home realm, are most often pinned to corners in this crossover effort. Even a fighter as wacky and nimble as Alisa is able to be relegated to the edge of the screen.

Also problematic is the combo system, which relies heavily on sneaking in light hits to chain into launchers and juggles. It's not something that can be imparted easily to newcomers (read: I've tried to get friends that are comfortable with both series playing this game to no avail), and worse still, it's not a system that proves satisfying after sustained play.

For someone who's been playing fighting games for nearly twenty years as well as someone who's invested a lot of time in both series, Street Fighter X Tekken is the most disappointing game of the year. It takes legends of the genre and delivers something that is glitchy, at times cheap, and one-sided. I like the game, but there's no way it could've met my expectations.

Motorstorm RC Review (PSV): Escape to a simpler time

The Racing genre didn't really exist for me until the release of the original Micro Machines on the Sega Mega Drive (Genesis). Cars didn't really do much for me: I was more interested in Superheroes than I was in Hot Wheels, cared more for Shinobi than Outrun. The three Micro Machines (not counting Micro Machines Military) games captured my imagination thanks to their whimsical premise: racing scale miniatures in seemingly innocuous, everyday environments. Whether it be thrashing a sports car across a series of school desks, racing buggies around buckets and spades littered across a non-descript beach, or circling bathtubs in speedboats, the drivers of these tiny vehicles experienced frustration and excitement in levels far greater than each banal setting should have allowed. The Motorstorm series is also big on excitement (and frustration), but its art direction and mechanics are somewhat more severe in tone. The announcement of Motorstorm RC took me by surprise and based on what I saw, I wasn't confident that an isometric perspective or the smaller scale would be a good fit for the series. I'm glad to advise that I was mistaken. 

As per the series tradition, the bulk of Motorstorm RC's content is played and unlocked via the Festival mode. The festival's sixteen tracks are separated into four brackets which represent each of the series' four instalments: Monument Valley (the original Motorstorm), Pacific Rift, Artic Edge and Apocalypse. The tracks are tight and terse, with laps of most lasting between fifteen and thirty seconds. The brevity of the events -- which come in four varieties -- are perfectly suited to gaming on the go, or for punctuating more fleshed-out experiences (I've alternated between this, Uncharted: Golden Abyss and Ninja Gaiden Sigma Plus regularly since launch). 

Batteries not included

There's eight vehicle classes and multiple models, liveries and colours to unlock. Unfortunately, unlike the majority of events in preceding instalments, you're unable to select what class of vehicle you can use for each event. This makes sense for drifting events -- where you're restricted to using the muscle car, the only drift-capable vehicle -- but I'd have appreciated the option to avoid using the buggy class altogether on account of its over-sensitive steering. The majority of classes are fun to use, and there were very few events that I didn't care to retry ad infinitum. Motorstorm RC is the embodiment of fun and whimsy with beautiful, uncomplicated visuals, inoffensive music and tight, responsive controls.

Motorstorm RC's high level of replayability is thanks in no small part to its asynchronous multiplayer component, which is amongst the best I've ever encountered. Upon start-up, you'll find yourself in the the Playground -- a sandbox with half-pipes, a football field and other distractions -- where you'll be taunted by messages regarding the desecration of your times across any events that you've completed. At any time you can hold the circle button to retake your throne from PlayStation Network friends and randoms. The spirit of competition doesn't stop at the Playground. When you play any event, you'll often notice the driving paths of friends, high-ranking randoms, and even yourself pacing through each track. Seeing what the community is capable of encourages you to become a better racer. On one occasion, a good friend had registered a time far greater than my own and I resolved to beat it. After being walloped repeatedly by his (and others') beautiful lines, I raced around repeatedly until I registered a time far better than I thought I was capable of. While it's unfortunate that there's no means to directly compete with your friends, I found this approach to be more than sufficient.

Wreckreation allows you to race around any track in a vehicle of your choosing, but I'm still captivated by the Festival proper. The constant lure of your friends' short-lived supremacy of the leaderboards should have you addicted to this near-perfect pocket racer. More dangerous still, a steady stream of appropriately-priced DLC that introduces new cars and tracks to the mix is slowly draining the balance of my PlayStation Network wallet. Right out of the gate, the PlayStation Vita has its killer app. I just wish there were more of my friends playing so I can get sucked in even deeper.  

Uncharted: Golden Abyss Review (PSV): The eventual return of Dread Pirate Drake!

With every instalment on the PlayStation 3, the Uncharted series has gradually become a more focussed experience. Players are led through a series of platforming sections and corridors with almost no ability to deviate from the game's meticulous sense of direction. Where with Uncharted: Drake's Fortune it felt as though I had an adventure game burdened with brutally-difficult gunplay, Uncharted 3: Drake's Deception  had become so concerned with shooting that the adventure elements came across as somewhat superfluous. Uncharted: Golden Abyss sits just above Drake's Fortune in terms of the Adventure-to-Action ratio, and I found myself enjoying it more than the third instalment as a result.

The date that started well
This portable Uncharted iteration feels a lot more casual than its console brethren. By that I mean the tone is more relaxed, as it always feels as though there is less at stake. Only one recurring character makes an appearance and this really adds to the sensation that Golden Abyss is supposed to be taken as a stand-alone narrative. Much like the Indianna Jones and James Bond films, there's very little continuity to worry about and for a character like Nathan Drake -- who I would argue shares a lot of qualities with the afformentioned film heroes -- this approach to the story works reasonably well. The developer has commented that this instalment isn't necessarily a prequel, and you really could slot this tale into any part of Drake's saga prior to Drake's Deception (not that this couldn't have happened afterward mind you, it's just that I envisage most would like to have seen a "Happily Ever After" following the events of the third game).

The supporting cast is relatively small and is a mix of the charming and forgettable. The chemistry between Drake and love interest, Marisa Chase is thoroughly endearing, and she can confidently stand with Chloe and Elena as another strong, female protagonist. The villains in this instalment aren't particularly memorable, but they get the job done. I would have liked a more detailed insight into the history shared by Dante, Drake and Sully, but the theives' apprenticeships are, for now, a missed opportunity. General Guerro is a ruthless and somewhat cliched South American dictatorial figure that's a combination of Hugo Chavez, Castro and your typical 80s action villain rolled into one portly package.

Drake himself is made more likeable thanks to the noticeable shift in pace for the first half of the adventure. You'll still kill your fair share of mercenaries, but as per my last post, there's much more exploration and adventuring to be found in this instalment. Dusting off artefacts and re-assembling destroyed documents create a welcome change of tone that casts Drake as a history enthusiast moreso than a treasure-hungry murderer. He comes off as somewhat more believeable too, trying to discourage his companions from wandering into deeper trouble. For the first part of the game, Nathan Drake transforms from gun nut to history buff and amateur archaeologist, making for a character and experience that differs sufficiently from the series' home console brethren.

From the opening scene, Uncharted: Golden Abyss will blow you away with its scale and beauty. It may not be on par with Naughty Dog's technical prowess, but the game doesn't fail to impress. There's no portable game I can think of that compares in terms of visuals, and the soundtrack is up to the series' high standard. Perhaps the only blight in terms of presentation is the lacklustre fire effects. Traversing structures set ablaze with blocky red textures is perhaps the only wart on this visual and aural powerhouse.

Like a breath of fresh air
I've complained before that the platforming in the Uncharted series has become more and more unnecessary as the series has aged. The touch controls for platforming seem to alleviate this concern, as you can power through these segments faster than ever before. Having to swipe up to regather your grip after false handholds predictably give way also served to reignite my interest in this aspect of the game.

Touch controls have also been integrated into melee fighting as well as being used instead of button presses for quick-time events. It's in these particular instances that the additional control methods form a bit of a Frankenstein's monster. Having to switch beween buttons and swipes in the heat of battle rarely works in the player's favour. There's also a few of the adventuring segments which aren't particular practical when gaming on the go (for examples, please check my previous post). The implementation of a litany of control methods was at times ill-considered to say the least.   

 

 

I must have said something
At just about the halfway point, Golden Abyss shrugs off this mostly-peaceful premise and becomes a full-blown shooter like its predecessors. Increasingly frustrating firefights are punctuated by rote platforming sections which I've seen and played to death. The arsenal is sufficiently varied, but proves to be just as tired as the combat scenarios that define the second half of the game.

The shooting controls are responsive, but the mechanics of combat can be wacky depending on the situation. For example: there are quite a few times you'll be tasked with shooting small groups of enemies while hanging from a rope. If you happen to run out of bullets for your sidearms during these situations, an extra clip will find its way into your gun. The damage model is also a little inconsistent. I could often survive a direct hit from a rocket, but one shot from a sniper rifle meant certain death. Even the touch controls respond reasonably well when weapons are drawn, it's just unfortunate that the physics governing combat don't deliver logical outcomes.

The swipe heavy quick-time events -- that simulate actions like boosting and cutting, as well as pugilistic boss fights towards the end -- are repeated ad nauseam in the final chapters. Bend Studio will have you swiping up to break walls even at the sake of momentum and most certainly at the expense of fun. The touch screen is for the most part responsive, but failure in  some of these sections towards the end of the game often resulted in me having to replay lengthy segments of gameplay. What could have been a fun diversion often led to frustration.

Maybe we should try this again?
While the final chapters feel tired and the progress in terms of characterisation ends up lost in a sea of blood, Uncharted: Golden Abyss is well worth your time. It's a strong showcase of the Vita's potential, and the first half of the game is just as, if not more enjoyable than its home console counterparts. For all of the issues with control and mechanics that I encountered towards the end of the game, I feel like Golden Abyss has the potential to take the series in a promising new direction that focusses more on adventure than cold-blooded killing.

Golden Abyss swipes, rubs and cuts in the right direction

This post contains spoilers for Uncharted: Golden Abyss.

Uncharted: Golden Abyss features a Nathan Drake that I can live with. Not as in sharing the same domestic space. He's a charming young man -- don't get me wrong -- but he would cramp the married couple dynamic that my wife and I have. I mean "live with" as in I can forgive myself for liking him.

Why? Because this Nathan Drake isn't the murderous consumer of all things hidden, shiny and -- more often than not -- dangerous. Sure, he kills lots of thugs, but that's not all he does. Like the other Nathan Drake that I've spent time with, he runs, leaps and climbs up tall structures of ancient origin. This one also collects various relics and treasures that are littered throughout various temples and caves.

What's different about this Nathan Drake, however, is that he pauses, he investigates, he acknowledges danger. He acts more like Indiana Jones, the big screen hero that he is so often compared to. He examines sites for clues and even dusts them off  to confirm each item's historical context. He takes photos of ancient ruins and looks to group collected items and evidence based on the civilisations or "mysteries" to which they pertain.

 A lovable mess

This Drake is an explorer first and foremost, and a bloodthirsty grave robber second; well, that is until a recurring cast member gets involved at least. Still, I got enough of this new Drake to be satisfied that the series could cater to the "Adventure" side more than the "Action" in terms of the Action/Adventure genre.

I've read criticisms that the touch controls for the afformentioned clue cleaning and charcoal rubbing feel "tacked-on," but I think it creates a pace that is more suitable for a portable game. Gaming on the go means that you need to pause at inopportune times, and an action-heavy shooter with long peaks and short troughs in activity can make for a jarring experience. For example: as great a game as Grand Theft Auto: Liberty City Stories is, I would argue it's not a very portable experience. You're always doing something in game, whether it be driving to a save point or mission marker, or completing some of the more lengthy missions, there's no break: no place to leave the action and  it can suffer as a result. Through these new touch-controlled sections of the game, Uncharted: Golden Abyss is punctuated perfectly. There's still enough shooting and jumping for this to be seen as a legitmate instalment in the series; but enough is new to differentiate it from its predecessors.

On the topic of jumping and platforming, the new swiping controls breathe life into what was starting to become a superfluous activity in Uncharted 3: Drake's Deception. The additonal control method in concert with new instances where players need to swipe upward in order to regain grip on some of the more shaky handholds reinvigorated my interest in this particular aspect of the series. There are missteps, but for the most part, I felt that the new touch controls kept me engaged.

Swipe up to converse

There are some poor design choices where controls are concerned, but they don't detract significantly from the overall experience. The need to swipe upward everytime a companion needs a boost and the silly gestures required to cut walls of bamboo and hanging cloth repeated to the point of nausea. One sequence towards the middle of the game (which I loved) requires exposing the back of the Vita to a light source, which may not be overly practical during your commute either. They work more often than not, but there have been some ill-considered control methods that have appeared thoughout the adventure.

As far as characterisation and controls go, Uncharted: Golden Abyss feels like a breath of fresh air in the context of the series at large. This new and (for the first few acts at least) less-violent Nathan Drake reads more like a witty adventurer, and less like a sociopath who likes treasure and dispatching scores of mercenaries.

What do you think of the new Nathan Drake? Do the new controls feel "tacked-on" and unnecessary, or have they added to your experience?

PlayStation Vita Launch: First impressions and purchase recommendations

A friend texted me yesterday to ask whether they should buy a Vita. This question haunted me for the better part of twenty-four hours and I've so far been able to articulate how I feel in writing. Good thing our friend YouTube emerged a few years ago, because now you can get all of my umm-ing and ahh-ing uninterrupted and commercial free!

Before you watch this twenty minute ramble, allow me to apologise for the following:

• Saying "umm" approximately 247 times.
• My pronunciation of "Shinobido" (Shin-O-Beed-O)
• Liberal use of the word "experience"