Asura’s Wrath (EYE TO THE PAST)

Oh thank goodness, something to be positive about.  Phew…

Asura’s Wrath, the result of a dream partnership between Capcom and CyberConnect2 (the .hack// and Naruto game developer), is a magnificent send-up of all things anime.  It thrives in that place where heroes have outrageous hair styles, villains are hammy and overconfident, and all problems can be solved by punching them hard enough.

It’s that dedication and passion that’s both a blessing and a curse here.

SPOILERS for the game below:

Lego Dimensions (EYE TO THE FUTURE)

I honestly wasn’t expecting “Skylanders but for LEGO” to be what came out of The LEGO Movie‘s success.  Were you?

Return NULL – Episode 1 (THE NOW)

And here I thought Steam would disappoint.  Nope – I got a sufficiently fascinating game for my money.  Lucky me.

SPOILERS for the game follow:

RvB 13 – Episode 2: Capital Assets (THE NOW)

While this season still appears to be setting up pieces of a larger puzzle, Capital Assets is more about addressing the lingering conflict and character dynamics coming out of Season 12.  So in that sense more is going on here than last episode – though there’s still room for levity in-between the world building scenes.

SPOILERS follow:

Hatred (EYE TO THE FUTURE)

This is fascinating.  And I can’t put my finger on the reason why.

Resident Evil Revelations 2 (THE NOW)

Resident Evil isn’t dead.  It’s gasping for breath, trying to put pressure on a mortal wound.

Revelations 2 is the episodic sequel to 2012’s Resident Evil Revelations, following returning character Claire Redfield keeping herself and intern Moira Burton alive in the face of a “zombie” outbreak – and also fan favourite character Barry Burton, Moira’s father, teaming up with a psychic girl named Natalia to investigate Moira’s disappearance.

There are two core reasons I can imagine for why a person would take interest in this game: to see how a non-Telltale developer handles the episodic game production model, or to watch Capcom’s flailing attempt to regain fan support by offering a twisted take on their demands (“Oh, you liked Revelations? Let’s churn out a budget game, chop it up into four pieces, and call it Revelations 2.  Want us to bring back legacy characters? Here’s Barry Burton as imagined by people who liked Taken.  Want a game that’s unsettling, creative, and genuinely frightening? Um… here’s more Ganados-looking things.”)

To the first I say, admirable effort despite the flaws.  To the second, that’s pretty cynical but also par for the course – I can’t even begin to imagine what a new Mega Man game would look like, in modern Capcom’s hands.

We’ll discuss each episode on a case-by-case basis below, but let’s get the broad strokes out of the way: innovation does not factor into this game.  Playing any Resident Evil game after 4 prepares you for this particular experience; it is simply improved thanks to the implementation of such shocking features as “being able to move while aiming your gun” and “characters running more naturally and less like raging bulls”.

The characters aren’t cyphers or ill-suited, just one-dimensional and mostly defined by their roles.  Claire is the consummate professional, a working woman who doubles as a quietly experienced zombie expert.  Moira is the irritable teenager who resents her father.  Natalia is a child.  And Barry… actually, Barry’s got more going on but it almost feels like deliberate sabotage, casting him as the overzealous “Father knows EVERYTHING” character – when historically he comes across as an example of the father figure character in its best light.

I will, of course, concede this point: somewhere between the end of Episode 2 and the middle of Episode 3, the characters and the way they interact with the world becomes good.  Backstories and important details come to light, adding what I feel is essential sentiment to the plot – we now have reasons to care about these characters, to treat them as sympathetic yet flawed people.  Nothing I say will take away from that.

That having been said, no one element steps forward to truly elevate the standard gameplay.  The setting is a forested island, not unlike the woodland environments in Alan Wake or Deadly Premonition.  The music did not inspire in me fear or anxiety, but rather reminded me of better soundtracks – Silent Hill 2, for instance.  There is ample grey-and-brown interiors, and blood is occasionally spilt, but it rarely felt visceral or grotesque.  It bored me for the most part, though sometimes it came close to being inspired.

Revelations 2 is a frustrating mess, a mixed bag that spends its back half apologizing and smoothing over my irritation over the first half.  If you still want an episode-by-episode breakdown, keep reading – but we are now firmly in SPOILER TERRITORY.

RvB 13 – Episode 1: Prologue (THE NOW)

WARNING: Spoilers follow.

So this happened.

First things first, you can tell Rooster Teeth’s fancy new partnership with Fullscreen has paid off – or maybe they’ve just refined their method; either way, the animation is top form.

Character models have subtle little movements and details, the environments channel the worn-in science-fiction feel of Battlestar Galactica or Star Wars, and any action (brief though it is) finds a nice balance between the impact of blows and the fluidity of motion.  It’s further proof that the famed cockbite is the best in the business at what they do.

Beyond that, there isn’t much to tell – this is moving the pieces into position for what promises to be a game-changing season.  But it’s a really good version of that, and I urge you to go and watch it before reading further.

LEGO Marvel Super Heroes (THE CODEX ADMIN STRIKES AGAIN)

Forward: I am the Codex Admin.  And I.  Am.  Back. 

You know what I miss? Pure, wacky, unadulterated, unrestrained fun.

You know what I found in LEGO Marvel Super Heroes? Pure, wacky, unadulterated, unrestrained fun.

I’d been in a rut for the longest time, if I’m being honest.  Not only in the sense of what to do with my particular range of abilities, but what to do with myself on a daily basis.  Eating, sleeping, watching TV – all a monotonous routine.

And then I came across my copy of LEGO Marvel, and joyous celebration was had.

For you see, being one of the most recent entries in a long line of LEGO game adaptations, LEGO Marvel is the refinement and distillation of a quietly brilliant formula: combine straight-forward platforming, clever puzzles that harken back to classic adventure games, and collectable hunting into a single family-friendly experience.  It draws influence from games old and new, and offers experiences that anyone who comes across this game can enjoy.

A Day in the Limelight – Tails

Name: Miles “Tails” Prower

First Appearance: Sonic 2 (1992)

Role in Franchise: Perpetual sidekick & ally to titular character, Sonic the Hedgehog.  Often playable, rarely headlined his own game.

Notable Qualities:

For one, having an incredible intellect (IQ of 300, by some accounts) despite being 8-years old.  Has constructed functioning mech suits, regularly maintains his own biplane.

Also, has physical abilities comparable to that of Sonic.  Can match Sonic’s running speed by spinning his twin tails (hence the name), and can use the Chaos Emeralds.  Unlike Sonic, Tails can actually swim.

Finally, seems comfortable with his role in the franchise.  Usually relegated to either supporting Sonic’s efforts or acting as part of a larger force.  Never bemoans his situation or feels he’s treated unfairly.  Just embraces his role as a friend to Sonic, happy with his lot in life.

Overall Reception:

Generally loved – partly because he’s a loyal and capable sidekick, partly because when people see an orange cartoon fox they go “Awww…”  Biggest complaint is that Tails’ popularity allowed for more unpopular characters to be introduced.

Like Shadow.  Or Big the Cat…

Then and Now: Spec Ops The Line

What is it? A 2012 third-person shooter by Yager Development.  Set in Dubai after a destructive sand storm isolates the city.  Focuses on actions of Captain Martin Walker & squad in their reconnaissance mission, as it takes a turn for the worst.

Then:  Loved by critics, divided up players.  Reviews praising the story’s difficult subject matter and subversion of war shooter tropes.  Mild complaints overall about the game’s controls, cover mechanic, enemy distribution, degree of difficulty, reason for difficulty – basically anything not story- or character-based.

Three camps of players emerged:

A) “This game’s great for how harsh and intelligent it proves to be.”

B) “This game’s hypocritical for being a war shooter about war, and it upsets me.  Also, it’s clunky as all hell.”

C) “Just another average shooter.  Don’t bother with the story.”

Now: Appreciated and respected by many.  Complaints mostly about the “railroading” of player into morally compromising situations to force guilt – debated on many a forum.  Generally seen as good game worth anyone’s time, that verges on greatness.

Also seen as the final death knell for any non-Call of Duty war shooter.  General absence of such games since 2012 suggests it succeeded.