Connect with us

Games

‘Legend of Mana’: A Mess of a Masterpiece

Legend of Mana is a convoluted game. One that throws its audience into the deep end and leaves them there.

Published

on

“Cherish what you encounter in life.”
Legend of Mana (1999)

Legend of Mana is a convoluted game. One that throws its audience into the deep end and leaves them there. From there, it’s on the onus of the player to understand Legend of Mana. Which is an almost unreasonable request, admittedly. Legend of Mana is an action RPG with: interactive world building, a week system, nonlinear progression, multiple story arcs, crafting, monster raising, and not a single tutorial that ends up fleshing out the title’s many mechanics. The game simply expects the player to take their time and learn through trial and error. Legend of Mana wants players to cherish every little detail, for better and for worse. 

Legend of Mana feels very bold in that regard. It wears its eccentricities with pride, putting its oddest elements forward. The player’s first real act is creating a part of the world, not combat. That alone sets the tone well for the rest of the game. The title’s priority isn’t in action, but in meditation. This isn’t to say combat doesn’t play an active role, but that Legend of Mana is more intent on creating a living, breathing world than it is offering audiences yet another Seiken Densetsu experience. 

For as great as Trials of Mana is, it also marked the third time in a row that the franchise had: told a story centered on the Sword of Mana, ended with the destruction of the Mana Tree, and left players feeling like they ultimately failed in their goals. Which isn’t necessarily a bad approach in a genre where the heroes are more often than not guaranteed to win, but it’s an approach that surely would not work a fourth time in a row. Which is why Legend of Mana intelligently goes the opposite direction altogether. 

The Sword of Mana plays an important role, but only at the very end of the game and never explicitly. The Mana Tree is already destroyed by the time the story begins, and the player’s goal is not to protect Mana, but to usher it back into the world. More importantly, Legend of Mana finally gives the franchise’s world a name: Fa’diel. It’s fitting then that the first game to name Fa’diel is also the only game to emphasize literal world building over combat. 

Legend of Mana
Fa’diel in all its glory.

While the prospect of giving the player a world to create isn’t necessarily unique, Legend of Mana posits a fairly cruel twist early on: the main character is only imagining the world. This ends up being one of the more interesting ways Legend of Mana ends up commenting on what was becoming Seiken Densetsu’s frankly rigid structure. More specifically, humanity’s lust for Mana. All three previous games ended with the Mana Tree’s destruction, and Mana leaving the world due to mankind’s actions. Taking place centuries after the last time the Mana Tree burnt down, Legend’s world is long over and the goal is not to truly rebuild, but to revisit Fa’diel’s memories. 

It should be noted that Legend of Mana is not an abandonment of Seiken Densetsu’s core concepts by any means. While it takes a far more inspired approach to the franchise than its predecessors, its design is very much rooted in the direction the series was going in. With each passing game, more focus was placed on nonlinear progression. Legend of Mana simply brings that philosophy to its zenith, allowing players to whatever they want whenever they want so long as they have the means to do so. 

Naturally, this results in an RPG that can feel aimlessly overwhelming at times. As previously mentioned, the player’s first act is creating Fa’diel itself, but the task itself is anything but simple. Players are made to a select a 6×6 grid on a massive map where they’ll then be spending the rest of the story mode gradually building up Fa’diel. Where a new location is placed ends up playing a major role as each area has their own set of Mana that can affect the areas around them. Quests, shops, droppable items, and enemy levels are only directly affected by the map system. Something Legend of Mana does not make clear. 

At the same time, there’s a very clear reason why Legend of Mana keeps mum on this information: it’s not the point. The map system is meant to reward players who take the time to learn how the Mana system works, how different areas affect one another. The intent is to make the player immerse themselves in the role as a grand creator, to the point where audiences are bound to forget that the game is just in their imagination. Although logic dictates that conveying information clearly should be every developer’s firstmost priority, Legend of Mana is so committed to its central premise that it refuses to stray the course, even for convenience purpose. 

Such an approach can be naturally damning— and in some respects it is— but Legend of Mana is designed around its deliberate lack of information. To say this approach works in the title’s favor might seem bold, but it’s the honest to goodness truth. Legend of Mana would lose much of its personal flavor if it were any clearer with information. This, of course, leads to an RPG that’ll be hard to digest for most audiences, but it also lends itself to a richer experience overall. 

There’s value in slowly understanding the inner workings of Legend of Mana, especially when coupled with the idea that Fa’diel as the player creates is only a dead world’s last lingering memories. With this in mind, it’s only natural the player need to discover everything on their own accord. Legend of Mana also makes use a New Game Plus system where the difficulty can (and should) be raised upon a new cycle. In truth, the game takes after titles like Devil May Cry when it comes to difficulty. The experience really isn’t over until No Future mode is over and done with. By that point, however, players should have naturally built up a better understanding of Legend of Mana’s mechanical and narrative concepts. 

All things considered, it’s a rather jarring approach to a series that always opted for more character driven plots. Legend of Mana is more conceptual, more thematic. At the same time, characters are far more fleshed out than they’ve ever been. It’s not unusual for even the smallest of characters to have some degree of depth or nuance to them. The more open ended approach to progression means that multiple characters have their own isolated story arcs or side quests where they’re the main focus. In a plot driven game like Secret of Mana, this approach might be awkward, but Legend of Mana thrives off it. 

Specifically through its three major story arcs: the Faerie arc, the Dragon Emperor arc, and the Jumi arc. Trials of Mana played with the idea of multiple story arcs in a single game, but its approach meant that players could only experience on arc per playthrough. Legend of Mana not only allows players to play through all three arcs in a single game cycle, they can be completed in any order whatsoever. Better yet, while the three major arcs are self contained plot-wise, they’re all thematically relevant to the game as a whole. 

Legend of Mana

Despite being the first game in the series to feature a silent protagonist, Legend of Mana has a far stronger story than any other entry in the franchise. Cleverly recontextualized as the embodiment of love, the Mana Tree is finally given its raison d’etre. Where previous games used Mana as a mystical force of energy, Legend of Mana twists Mana into something tangible and clearly understandable. More importantly, love as a concept is intelligently expanded on within each arc. The Faerie arc focuses on romantic love, the Dragon Emperor arc focuses on familial love, and the Jumi arc focuses on platonic love. As a result, audiences are shown a more nuanced understanding of love without being bogged down by a script that runs itself in circles. 

Just about every side quest focused on a different side of love, whether it be a family’s love, a partner’s love, the pursuit of love, or the complete absence of love. As far as love goes, Legend of Mana is one of the most thematically cohesive video games of all time. It certainly helps that the script is far and away the series’ best, both in terms of general writing and localization. Similarly to The Legend of Zelda: Majora’s Mask, Legend of Mana places an emphasis on NPC’s lives. With a silent protagonist leading the way, it’s important for the side characters to fill the void and develop meaningfully. While some characters end up more fleshed out than others, all the story arc relevant characters come out as some of Seiken Densetsu’s best. 

Escad may be a hero trying to get revenge on the demon Irwin, but he’s also a blatant racist who can’t comprehend that a human might love a demon. Elazul is presented as almost manipulative and cruel, but it’s made clear that his interpretation of love is keeping the people he cares for safe even at the expense of their individuality. Larc positions himself as a proud warrior in control of his destiny, but it’s ultimately revealed that he’s not only insecure about his own abilities, he’s seemingly been living in his sister’s shadow for ages. Legend of Mana takes its time to ensure that the main cast is anything but flat. Even the most minor of NPCs end up having some layer of depth to their character.

That said, for as strong the story and character writing is, it is difficult to actually make progress at times. This can result in Legend of Mana feeling needlessly obtuse, especially in the midst of a story arc. There’s nothing like spinning the wheels of a story arc only to realize that reaching the next step is much more time consuming than it initially seems. This method to story progression has likely, and understandably, halted many the playthrough. 

Of course, in a generation where information is readily available at all times, it’s by no means unreasonable to consult a guide for Legend of Mana. It’s a very complicated RPG, after all, and most players will naturally be eager to not only make progress but to dive into the title’s richer mechanics. Weapon/armor forging and tempering in particular are incredibly difficult to understand at first, but with a guide to lead the way the workshop very quickly becomes one of the most engaging areas in-game. In fact, weapon forging and tempering becomes downright necessary for the higher difficulties. Should a player transition into No Future without understanding how the system works, they’ll be forced to check a guide just to stay alive. 

That said, it is worth mentioning that this free for all approach to game design does make Legend of Mana one of the best RPGs to just adventure in. Every area is designed to have a clear, distinct purpose. While players may not find a new quest at every turn, they’ll either better understand Fa’diel’s rich lore or acquire some new item or monster. Casually adventuring is one of the best ways to take advantage of the game’s Pet mechanic, a system which allows players to find eggs, hatch them, and raise monsters to battle alongside them. 

This is to say nothing of how well Yoko Shimomura’s soundtrack meshes with Shinichi Kameoka’s art design. Legend of Mana’s hand painted backgrounds are simply sublime with Kameoka taking an almost watercolor approach to the game’s aesthetics. The art ensures that each location has a clear visual identity. While the track placement does end up falling back on a few go-to songs, Legend of Mana is arguably Shimomura’s best work, eclipsing her work on the Kingdom Hearts franchise. Shimomura’s score feels fresh, inspired, and at times even unsettling— perfect for a game as fresh and unsettling as Legend of Mana

If there’s one flaw that sticks out like a sore thumb, it’s Legend of Mana’s difficulty. A big reason why No Future feels necessary for the experience as a whole is because of how pitifully easy Normal mode can be. While it starts promising enough, the difficulty curve is basically non-existent in Normal, likely to ensure that players don’t make the game too hard on themselves due to faulty map placements. On one hand, that’s a very thoughtful consideration to make in a title that’s otherwise fairly unhelpful. On the other hand, it shouldn’t be possible to kill the final boss in a single hit. 

Legend of Mana

That said, the higher difficulties really do help Legend of Mana’s combat shine as it has arguably the best battle system in the franchise. A side scrolling action RPG with a Y-axis, getting used to moving around and attacking efficiently takes some time, but the core battle mechanics are incredibly fun to play around with. While the main character can’t pick their stats ala Final Fantasy Adventure or Trials of Mana, weapons actively influence stat growth per level. Paired with the return of multiple weapon types from Secret of Mana, and there’s a lot of build variety to experiment with. 

Abilities also play a role, allowing the play character to actually block and dodge mid-battle. If that weren’t enough, players can learn new abilities by pairing them together. By using Defend and Lunge, players can learn Defensive Lunge, an ability which allows them to dodge while also defending enemy attacks. Weapons have their own techniques as well, and new techniques can be learned by pairing certain abilities with certain weapon types. Using a sword with the crouch ability, players can learn the Rising Sun technique. Every single weapon has at least ten different learnable techniques, giving players an endless amount of variety in combat. 

No Future helps the combat shine in a way that Normal doesn’t. Since enemies have insanely high health pools in this mode, the player has to really dive into the core battle mechanics. It’s important to learn how to weave in and out of battle while also cutting combos short in order to fill up the special meter for more techniques. High level play ends up surprisingly fast and in-depth as a result. Bosses that were mindless on Normal pose genuine challenges on No Future. That said, even No Future can’t save Legend of Mana from its most glaring flaw: the level design. 

When it comes down to it, getting lost in Legend of Mana isn’t a possibility— it’s a given. For as beautifully realized as the world visually is, this does result in dungeons that end up difficult to traverse. While each screen has their own set of landmarks, it’s easy to get disoriented in a single location. Fa’diel’s emphasis on realistic world building means that stages are perhaps too cohesive for their own good. Multiple screens realistically blend in and out of one another, potentially tricking players into believing they aren’t making any progress. This is especially frustrating to deal with in Gato Grottoes’ cavern dungeon where every room looks frustratingly similar. 

Legend of Mana

However, it’s this very approach that best exemplifies Legend of Mana’s best qualities. It commits to its concepts in spite of itself. Legend of Mana is content in being an at times frustrating experience if it means Fa’diel ends up more cohesive as a result. Similarly, Legend of Mana is willing to keep players in the dark so that the essence of discovery is never lost. The gaming medium has a level of interactivity exclusive to itself. All art can make its audiences feel, but only a game can give audiences the feeling of control and the emotions that come with it. 

Legend of Mana is a game about being in control at all times. It’s a game about allowing the player the freedom to do whatever they want, even if it means abandoning Fa’diel mid-dream. Legend of Mana understands its medium to a fault. In embracing those faults, however, Seiken Densetsu is able to pivot into one of the most eclectic and meaningful titles to release on the original PlayStation. After three games of refining the same concepts over and over again, Legend of Mana offers a fresher approach to not only the franchise, but the genre. It is at times messy, but always beautifully so. 

As strange as it might sound, there is value in playing a video game so overtly flawed. What value is there in playing an RPG that leaves audiences frustrated and confused? The value of creating a world without any guidance. The value of exploring a world without any direction. The value of meeting the incomprehensible on its own terms. It all links back to how the game presents love. One can’t be guided towards love. Love is directionless and incomprehensible. At the same time, meeting love on its own terms will naturally allow someone to better understand what it means to love. For better and for worse, every aspect of Legend of Mana’s design is tied around the same core principals: love, freedom, and freedom of love. 

Legend of Mana wants its audience to cherish what they encounter, not just in the game, but in life. Fa’diel is a reflection of the real world. It has dozens of races because Earth has dozens of races. Love is depicted maturely because love is a mature concept that deserves more than just a secondhand mention. The game can feel aimless because life itself is often aimless. It’s an RPG that’s almost painfully difficult to understand at times, messy to a fault. In many respects, Legend of Mana is a mess; but it’s also a beautiful, somber RPG about not just love, but life. Legend of Mana breaks some of the simplest rules of game design, but it does so knowing that even a masterpiece can, and sometimes should, be a mess. Imperfection is the essence of expression, and few games are as meaningfully expressive as Legend of Mana

Legend of Mana

An avid-lover of all things Metal Gear Solid, Devil May Cry, and pretentious French lit, Renan spends most of his time passionately raving about Dragon Ball on the internet and thinking about how to apply Marxist theory to whatever video game he's currently playing.

Games

‘Daemon X Machina’ – Spotlighting 2019’s Least-Hyped Switch Game

Daemon X Machina made a bold first impression with its bombastic announcement at E3 2018 – and gamers promptly stopped caring about it. It’s time for that to change.

Published

on

Daemon x Machina

Daemon X Machina made a bold first impression with its bombastic announcement at E3 2018 – and gamers promptly stopped caring about it. It’s time for that to change.

From the very beginning, Daemon X Machina has struggled for attention.  It’s certainly not for lack of trying; after all, Nintendo has worked tirelessly to help promote this Switch-exclusive mech action game from Marvelous, even going so far as to position it as the first announcement of its big E3 Direct last year. Despite these efforts, though, Daemon X Machina has often been lost in the shuffle of other Switch exclusives. When there’s constantly talks of a new Animal Crossing, Zelda, or Smash Bros., an original IP like Daemon X Machina easily gets left out of the conversation. However, there’s no denying that it has some incredible potential, making it a game that’s certainly worth checking out amidst the crowded release schedule for the rest of the year. Now is the time to spotlight that ahead of its launch on September 13.

A good mech game doesn’t need to do much – it must simply provide the player with massive robot suits, near-excessive over-the-top action, and a story to help the game make at least a little sense. Daemon X Machina looks set to deliver in all three of those departments. It will feature a huge amount of flexibility to create the perfect mech, thanks to hundreds of interchangeable weapons and body parts, many of which can be scavenged from fallen enemies. With gargantuan destructible environments and hordes of robotic foes to take down, the combat looks to be as extravagant as some of the best action games of recent years. That’s not to mention the main plot, which focuses on the aftermath of the moon exploding. Yes, it does sound like ridiculous anime-inspired fodder, but a game about giant roots blowing each other out of the sky doesn’t need a plot that adheres to realism. It need only set up a somewhat-reasonable backdrop for intense mechanized combat, and in that regard, it’s looking like a recipe for success.

Daemon X Machina

All these features are great on their own, but what makes them truly exciting is the pedigree behind them. Daemon X Machina is being developed by a dream team of developers who have worked extensively on some of the most iconic mech games ever made. For instance, the team includes Kenichiro Tsukuda and Shoji Kawamori, who respectively produced and designed the mechs for the legendary Armored Core series. This team aims to take the classic formula that made Armored Core and other classics so special and put it back in the spotlight with Daemon X Machina. However, that doesn’t mean that it will be merely derivative. It already displays a distinct personality of its own thanks to its ambitious gameplay concepts (again, exploding moon) and its distinctive cell-shaded visuals. Its striking color palette of bold reds, blacks, and whites shouldn’t be surprising, considering that its art is directed by none other than Yusuke Kozaki, who has worked on such stylish titles as the No More Heroes series.

If it achieves its potential, Daemon X Machina could be a godsend for its genre. While it would be unfair to call the mech action genre “dead,” it is certainly quite niche. This would be the first time in years that a giant robot action game has had the full support of a major company like Nintendo behind it. And while Nintendo has already supported this genre in the past, this will be the first time that it’s done so on a hit console like the Switch, which automatically gives it a wide and passionate audience. Even with its inherent niche status, Daemon X Machina is already in a better position than many similar games before it thanks to its publisher and platform. If it does well, it could inspire Nintendo and other companies to promote similar games, leading to a needed revival of the genre’s popularity.

But this leads to one of the simultaneously best and worst aspects of Daemon x Machina: its demo. Marvelous released an early demo on the Switch eShop back in February with the intention of drumming up interest in the game and getting player feedback. To put it plainly, it wasn’t very good. The action felt unsatisfying with a lack of any feeling of real impact with each blow; it was difficult to aim at enemies due to imprecise targeting systems, poor visibility, and an absence of gyro controls; and worst of all, its performance was horrendous. It was stuck at a mere thirty frames per second, which is already less than ideal for such a fast-paced action game. But it didn’t even manage to hit that target consistently, leading to a choppy and unsatisfying experience. One need only take a quick look through Digital Foundry’s breakdown to understand the demo’s many issues.

Daemon X Machina

“Marvelous did something incredible here: they listened to their fans.”

However, the demo has turned out to be something of a blessing in disguise. Shortly after the demo’s release, Marvelous distributed a survey to many players and requested their feedback. A few months later, Nintendo released a new trailer showing how the feedback had been integrated into the game. The full list of changes reads like a wish list of everything that needed to be adjusted following the demo. Highlights include the addition of gyro controls, improved targeting and feedback systems, and most importantly, an improved framerate. In fact, the developers have stated that performance was one of their “top priorities” when adjusting the game.

Marvelous did something incredible here: they listened to their fans. The fact that they were so open to feedback and eager to improve bodes incredibly well for the final release. They know that the mech action genre isn’t what it used to be, and they seem truly passionate about creating a quality title in the genre they love. In an industry that is so often focused more on emptying players’ wallets than creating a worthwhile title, this attitude is incredibly refreshing, hinting of a project that’s filled with genuine care and passion.

The unfortunate truth remains that Daemon X Machina is bound to be one of Nintendo’s least-hyped games this year. As long as games like Astral Chain, Dragon Quest XI S, and Link’s Awakening are all releasing within the same month, it will almost inevitably remain that way. But there is incredible promise for it nonetheless. With the quality of the game design, the legacy of its creators, and their clear passion for their project, it looks set to become something very special and deserves every bit of attention it can get. If fans can look past the games that typically hog the spotlight to find this bombastic little secret, they could be in for an enthusiastic, if under-hyped revival of a once-dormant genre.

Continue Reading

Games

‘Earthbound’ is one of the Weirdest, Most Surreal Video Games

25 Years later…

Published

on

Games that Changed Our Lives

The SNES is arguably home to some of the best Japanese role-playing games ever made, but even among such revered company, Earthbound (known as Mother 2 in Japan) stands out as a brilliant satire about growing up and our fears of conformity. It’s anarchy versus conformity, only conformity doesn’t stand a chance.

EarthBound has been often compared to Catcher in the Rye with its complex issues of identity, belonging, loss, connection, and alienation. Blistering, hallucinatory, often brilliant, Earthbound is a one-two punch of social satire and a hilarious ride into the twisted recesses of a boy’s psyche. This often funny, always poignant coming of age tale, deeply embedded in suburban mores, centers around four kids, off to save the planet by collecting melodies while en route to defeating the evil alien force known as Giygas.

Earthbound
Earthbound
didn’t reinvent the wheel, but it sure had fun twisting the usual JRPG tropes. There’s a princess you must rescue, not once, but twice, who’s really just a child prodigy, and there’s an arch nemesis who turns out to be your next-door neighbour. The game puts you in the shoes of a young boy named Ness as he investigates a nearby meteorite crash. There, he learns that Giygas, has enveloped the world in hatred and consequently turned animals, humans, and inanimate objects into dangerous creatures. A bee from the future instructs Ness to collect melodies in a Sound Stone to preemptively stop Giygas from destroying the planet. While visiting eight Sanctuaries, Ness partners with three other kids, a psychic girl (Paula), an eccentric inventor (Jeff), and the prince of the kingdom of Dalaam (Poo). Along the way are underlining themes of corrupt politicians, post-traumatic stress, corporate greed, depression, capitalism, police violence, terrorist attacks, homosexuality, religious cults, and xenophobia. Your adventures take you through modern cities, prehistoric villages, cold winter climates, a desert wasteland, monkey caves, swamps, dinosaur museums, and even a yellow submarine.

“Ness, you’ve stood on the eight power spots of the earth. From these, you created Magicant, the realm of your mind.”

A pivotal moment in the game comes after collecting all eight melodies with the Sound Stone. After Ness has taken control of his Sanctuaries, Ness visits, Magicant, a surreal location that exists only in his mind and contains his warmest memories and his worst fears – an allegory perhaps, for how the entire game allows us to see into the mind of the creator. There, Ness must face his dark side. A man tells him, “Magicant is a place where you must cleanse yourself of the evil hidden within your mind. Take the time to look around, it is your mind after all.”

EarthBound is arguably one of the single best RPGs ever made, and boasts one of the best storylines of any game.


The tone of Earthbound is perhaps its most fascinating attribute, best exemplified by its most famous quote: “There are many difficult times ahead, but you must keep your sense of humor.” Earthbound skillfully surprises you with a reservoir of emotion and sentiment that happily counters the game’s trendy ironic veneer. Along the way, Ness visits the cultists of Happy Happy Village (based on a real-life Japanese doomsday cult founded by Shoko Asahara in 1984); their mission statement is to paint the town red by literally painting it blue. You’ll fight a watchful puddle of vomit and battle through the zombie-infested town of Threed. You’ll use a peculiar device called the Pencil Eraser to remove statues of pencils that block you from advancing through specific areas, and you’ll suffer through terrifying hallucinations of your family and friends, and be asked to dismember your arms and legs, or otherwise, lose your mind. In one of the game’s most memorable moments, Paula is kidnapped by the Department Store Spook, an unseen entity that resides in the town’s shopping mall. And after defeating Frank Fly and his evil creation Frankystein Mark II, you’ll be escorted to the back of a police precinct, only to be assaulted by four officers and Captain Strong, the chief of the Onett police force. Defeat the corrupt cops and you’ll gain access to the second town you’ll visit (named TWOson, so as not to be confused with Onett, Threed, and Fourside). And when entering a cave, you’ll battle five moles made up of members who each believe themselves to be the third-most powerful of their group. Then there is backwards city Moonside, a warped mirror image of Fourside, that hides a secret more terrifying than the town itself. Just walking around feels like something between an out-of-body experience and a nightmarish trance, in which abstract art attacks you and the psychedelic imagery, lit by gaudy fluorescent neon-lights which contrasts the entire look and feel of what came before. It’s a city where yes means no and no means yes; a place where blond-haired business men teleport you across the city blocks and where an invisible man with a unibrow and a gold tooth gets you past the sketchy sailor hiding out in the back alley.


Throughout the game, Ness is repeatedly antagonized by his neighbor, Pokey, who resurfaces several times, and countless other enemies including Titanic Ant, professional thief Mr. Everdred, and a glorious evil statue Mani, Mani. But the real big bad of the game is the aforementioned Giygas, a.k.a. The “Embodiment of Evil” and the “Universal Cosmic Destroyer”, who intends to sentence all of reality to the horror of infinite darkness. Giygas borrows heavily from Stephen King’s It and was inspired by a murder scene from the black-and-white Japanese horror film The Military Policeman and the Dismembered Beautya sequence which scarred creator Shigesato Itoi, when he accidentally watched the film as a child. Giygas is without question, the most disturbing, and strangest end-boss villain of any Super NES game – a character so deranged, there’s been hundreds of fan theories about what he really is.

While EarthBound’s overall gameplay feels like a traditional Japanese RPG of the era, the game is full of ingenious ideas that buck genre trends. EarthBound also makes no apologies for being very difficult to complete. It takes days to finish and is most challenging at the beginning when Ness travels alone and hasn’t yet powered-up. Inventory space remains incredibly limited since each character can only carry a certain amount of items and you can’t drop many of the items since they will come in handy later in the game. Boosting your XP is a must, otherwise, you won’t stand a chance in defeating any boss; and currency is also important when buying new weapons or visiting the hospital to attend to fatal injuries. Money must be withdrawn from the nearest ATM, deposited by your estranged father, and a bedtime snack from your loving mother sends you off to bed to recharge your stats. There are other refreshing deviations from RPG tropes, and every one of the four characters has a specific skill-set.

Earthbound is a strange game, themed around an idiosyncratic portrayal of American culture from a Japanese point of view. The game subverted popular role-playing game traditions by featuring a real-world setting while playing with various staples of the genre and adding a number of pop-culture references throughout. The Japanese title was inspired by the song of the same name by John Lennon – a song about growing up without a father for most of his life, and unsurprising, Ness’ dad is never once seen, and only communicates with his son via telephone. And that’s not the only Beatles reference you’ll see: EarthBound makes two additional nods to the world’s greatest band, along with allusions to Bugs Bunny, comedian Benny Hill, Rob Reiner’s This Is Spinal Tap, the Blues Brothers, Monopoly (Monotoli), Donkey Kong, Pac-Man, Rambo, Mr. T, and The Who, to name a few. Written, directed, and created by famous Japanese personality Shigesato Itoi; this is surely his love letter to 20th-century Americana.

Localizing Earthbound was a massive undertaking. Under directives from Nintendo, Marcus Lindblom worked with the Japanese artists and programmers to remove references to intellectual property, religion, and alcohol from the American release, such as the Coca-Cola logo and the red crosses on hospitals (due to issues with the Red Cross). Alcohol became coffee, Ness was no longer walking around nude in the Magicant area and the Happy Happyist blue cultists sprites were altered to look less like Ku Klux Klansmen. The Runaway Five members’ outfits were changed to make them look less like the Blues Brothers, and the “Sky Walker” was changed to the “Sky Runner” to avoid the Star Wars reference. Apollo Theater was changed to Topolla Theater, presumably to avoid issues with the real-life venue and the use of the word drug, seen on the various town maps was removed or changed. The list goes on and on…

Chock full of odd charm and humour in a genre that usually takes itself a little too serious, Earthbound is one of the weirdest, most surreal video games you’ll ever have fun playing.

earthbound

The game had a lengthy development spanning five years and involved a number of Japanese luminaries, including writer Shigesato Itoi, songwriter Keiichi Suzuki, sound designer Hirokazu Tanaka, and future Nintendo president Satoru Iwata. Released in a huge box-set that contained a strategy guide with scratch-and-sniff stickers, Earthbound came with a $2 million marketing campaign derived from the game’s unusual brand of humor. As part of Nintendo’s “Play It Loud” campaign, EarthBound’s tagline read, “this game stinks.” Earthbound was proud to one of the most bizarre RPGs – and it didn’t shy away from its offbeat premise. Unfortunately, the game was met with poor critical response and sales in the United States, but as the years went by, the game received wide acclaim and was deemed by many a timeless classic. It has since become one of the most sought-after games in the second-hand market, selling for upwards of $80 for the cartridge alone. Holding onto an incredibly dedicated cult following, the main character Ness became a featured character in the Super Smash Bros. series and in 2013, EarthBound was reissued and given a worldwide release for the Wii U Virtual Console following many years of fan lobbying.

EarthBound is arguably one of the single best RPGs ever made, and boasts one of the best storylines of any game. There are two extremely popular fan-made sites dedicated to the game (Starmen.netEarthboundCentral), and dozens of other sites have devoted countless hours in translating the sequel for English-speaking audiences. Earthbound was ahead of its time when released and its influence continues to be felt, inspiring the likes of Pokemon, Animal Crossing, Majora’s Mask, Chibi Robo, Retro City Rampage, and South Park: The Stick of Truth.

While Earthbound’s game mechanics stick to the traditional JRPG template, its surreal world, imaginative locals, and experimental soundtrack created a truly unique experience. Nothing stands out quite like its visual style – an 8-bit presentation powered by a 16-bit processor. The graphics might not be as advanced as some of the other 16-bit titles available on the SNES, but it is certainly among the most memorable. The SNES was home to some amazing soundtracks, but EarthBound’s soundtrack remains the best. Created by four composers, there’s enough music here to fill 8 of the 24 megabits on the cartridge – with direct musical quotations of classical tune and folk music, and a few samples culled from commercial pop and rock. It also contains one of the very best endings in any video game, a touching climax that captures the vulnerability and beauty of adolescence and the power of friendship. And the punctuation mark comes during the credits. Throughout the game, you’ll cross paths several times with a photographer who descends from the sky and snaps a photograph of your most recent achievement. These pictures will roll throughout the credits, serving as a makeshift montage of your time spent playing the game. And be sure to stay until the very end. To say more would be giving away the surprise.


I can’t think of another game as irreverently comic and deeply touching as Earthbound. Here is a game that resonates long after completion, and oozes originality in just about every frame. Ness may rock his sweet ball cap, handy backpack, telekinetic powers, and a trusty baseball bat, but even this hero needs to call his mom regularly, otherwise, he may suddenly find himself useless in battle. Earthbound stands, sweet and strong, outrageous and quirky, like its heroes — it’s about the loss of innocence as well as gaining wisdom – and is one of those treasures absolutely not to be missed. While it suffers from a slow start and stretched premise, the charm of its cast debunking an intergalactic conspiracy goes a long way. Of all the games I own on the Super NES, Earthbound is the game I treasure the most and the game that made me fall in love with the medium.

– Ricky D

EarthboundGameManual

Continue Reading

Games

Indie World 2019: The Best Games From Nintendo’s Showcase

With a healthy mix of brand new titles and a few shocking ports, here’s all the best games announced at Nintendo’s Indie World showcase.

Published

on

Indie World

Whenever Nintendo announces another indie presentation, it’s impossible to know what to expect. One may be a fairly low-key event, while another might announce a brand new Zelda game. The latest “Indie World” presentation for Gamescom 2019 found itself somewhere in the middle. It didn’t feature quite as many earth shattering reveals as the previous presentation in March, but with a healthy mix of promising new titles, updates on previously announced games, and a few shocking ports, Indie World was a worthwhile showcase in its own right. Without further ado, here’s some of the very best game announcements from the presentation, arranged in order of their appearance.

Eastward

Indie World

I’m firmly of the belief that you can never have too many Zelda-likes in your life. For this reason alone, Eastward looks like it could be an exciting addition to the Switch’s indie lineup. Better yet, this latest Chuckelfish-published game looks like it has all the makings of a great entry in the genre.

It tells a simple story: a miner finds a young girl alone in a secret underground facility, and together, they go on to explore a post-apocalyptic land. Although this world has been apparently ravaged by a cataclysmic disaster, it still looks gorgeous thanks to its lush pixel art and fluid character animations. Pair this with your typical Zelda-like gameplay loop of overworld exploration and dungeon puzzle-solving, and Eastward looks like it will be a promising prospect when it releases next year.

The Touryst

Indie World

Shin’en Multimedia has long been known for making some of the best-looking titles on Nintendo consoles with visual stunners like the Fast Racing series. However, The Touryst is a departure from the games they’re known for. While it’s just as breathtaking as their previous work with its beautiful lighting and voxel-based design, it’ll be a much slower experience than Shin’en’s signature lightning-fast racing games.

As its name would suggest, it focuses on a tourist taking a relaxing tropical vacation, whiling away their time with activities like shopping, scuba diving, and visiting arcades. However, the trailer also hints of a greater mystery lurking beneath this laid-back surface. With Zelda-like dungeons to explore and puzzles to solve as well as a contemporary tropical setting, it seems like it could be considered a spiritual successor to the NES cult classic, StarTropics. It should definitely be one to keep an eye on when it launches this November.

Röki

Who’s the real monster here? Röki is a narrative-focused adventure game set in a world taken straight out of Scandinavian fairytales, featuring a snow-laden forest inhabited by fantastical creatures of Nordic mythology.  It puts players in control of a young woman exploring this mystical environment, with the goal of saving her family and interacting with these various monsters. Its visuals adopt a beautiful storybook style, and with its emphasis on accessible gameplay and telling a touching story, it looks like it could be a worthwhile purchase for anyone in search of a more poignant adventure when it hits Switch this winter.

SUPERHOT

Indie World

It’s not a true Nintendo presentation without a shadow drop or two, so SUPERHOT took it upon itself to be the first to fill that void during Indie World. It’s a striking shooter built upon one simple concept: time only moves when you do. This core idea creates a uniquely methodical approach to the genre, nearly turning SUPERHOT into more of a puzzler than a shooter. It’s already made quite an impact on other platforms, so it should fit right in on Nintendo’s hybrid wonder – and best of all, it’s available right now.

Hotline Miami Collection

Indie World

If it has style, action, and plenty of violence, it’s probably a Devolver Digital game. The boutique indie publisher has supported the Switch with plenty of quality games over the past few years, but the brutal series that launched the publisher into fame in the first place has been strangely absent. Thankfully, that changed today with the surprise release of the Hotline Miami Collection on the eShop.

Gathering both games in the iconic Hotline Miami top-down shooter series into a single package, this release brings all of their signature hardcore difficulty and neon style to a Nintendo platform for the first time. For anyone who’s enjoyed Devolver’s fantastic output thus far on the Switch but hasn’t yet experienced these famously bloody titles, it should be an excellent purchase.

Ori and the Blind Forest

Microsoft’s surreal love affair with Nintendo continues with the reveal that another Xbox One console exclusive will be making its way to Switch. Ori and the Blind Forest: Definitive Edition is the ultimate version of the acclaimed artistic platformer. It will feature the same beautiful visuals, detailed world, and touching story that made the original release so special, along with all the additional areas, story, and improvements of the Definitive Edition.

For those concerned that the game’s incredible visuals will lose their luster on Nintendo’s under-powered device, there’s no need to worry: the developers have confirmed that the Switch version contains no compromises, running at a locked 60 frames per second at 1080p resolution while docked, with a native 720p resolution in handheld mode. It joins the ranks of Cuphead and Super Lucky’s Tale as yet another former Microsoft exclusive to appear on Nintendo’s console, and with its uncompromising conversion to Switch, it should be one of the most remarkable Switch ports yet when it releases on September 27.

Continue Reading

Game Reviews

‘Fire Emblem: Three Houses’ Review: Raising the New Generation to a High Standard

Fire Emblem: Three Houses marks a triumphant return to home console that puts in the effort to pull the player into its world.

Published

on

There are few comeback stories in the gaming industry as impressive as that of the Fire Emblem series. After very nearly going cold the grid-based, SRPG was single-handedly saved by 2013’s Fire Emblem Awakening and has since gone on to prosper as one of Nintendo’s most well-recognized IP’s. Now, after more than a decade, the storied franchise makes its return to home consoles with Fire Emblem: Three Houses, an entry that takes bold steps forward in promoting it above and beyond anything the series has seen to date.

Three Houses, Three Countries, One Path

Fire Emblem: Three Houses takes place on the continent of Fodlan and consists of three major countries. At the center of the three territories is the Garreg Mach Monastery which simultaneously houses the Military Officer’s Academy as well as The Church of Seiros, the land’s primary religion. The game picks up with your self-named protagonist being appointed a professor at the Monastery after protecting some of its students from a bandit attack. At the same time, an enigmatic young girl named Sothis begins appearing in your dreams who alludes to ominous events to come.

Sothis
Sothis will aid the player character throughout their journey

The gameplay of Fire Emblem: Three Houses can be split into two categories — The traditional turn-based grid combat familiar from past titles and the teaching and guidance of students at the monastery. Teaching and school life are brand new to the franchise and are the foundation on which the entire game is built upon.

In the early goings of the game, you are asked to choose between the three classes, or houses, to instruct and guide in your time as a professor. These three houses — The Black Eagles, The Blue Lions, and The Golden Deer — each correspond to one of the three countries of Fodlan and consists of students from those territories. Your selection of which house to lead will have ramifications that permeate practically every aspect of the game including the story, units available in combat, and interactions within the school; this lends the decision a weight that goes beyond choosing who has the prettiest faces.

Fire Emblem: Three Houses House Leaders
Claude, Dimitiri, and Edelgard are the heads of their respective houses and will play pivotal roles in the game if you choose them

The school year is divided into months with school activities taking up the bulk of the time that culminates with an assigned battle at the end. As a professor, you are tasked with teaching your students the art of war and this is accomplished primarily in the classroom. 

Each week begins with establishing a lesson plan for your class. You can work with students one-on-one to develop specific skills of various weapon types, assign them to group tasks to forge bonds and other proficiencies, and help them establish goals that they will work towards on their own time. Doing so allows them to equip better weapons and, most importantly, acquire new class types through certification exams. 

Small events such as students asking questions on subject matter or seeking advice on their goal paths are evocative or actually being a teacher. It’s easy to grow attached to your students as you guide them from a lowly Commoner class to something as grand as a War Master over the course of the game. While Three Houses does a good job of easing the player into these intricacies, there is an Auto-Instruct option available as well for those who find it daunting or don’t care for perfect optimization.

Fire Emblem: Three Houses Teaching

The end of each week features a free day that can be spent in one of three different ways. You can host a seminar with another faculty member that provides a large amount of skill experience or embark on battles for quest rewards and character-specific paralogues that help flesh out their backstories. The option to explore the monastery, however, is the most interesting and involved of the three as it gives you free rein to roam about the campus in a fully 3D environment.

All In a Day’s Work 

Garreg Mach Monastery is sprawling, with numerous buildings explore, courtyards to walk through, and facilities to take advantage of. While the graphics of Three Houses aren’t necessarily something to write home about from a technical perspective — there are even moments of noticeable slowdown in particularly populated areas — the vibrant art style and eye-catching medieval architecture give the monastery a beauty that makes it a pleasure to wonder about it.  Small details such as pegasus knights flying in the sky and messenger owls flitting about between buildings breath life into the campus and lend credence that this is an academy in a fantasy world.

There are a plethora of activities to do while roaming the premises and Three Houses does an admirable job of easing you into each of them. Tasks such as gardening various crops and fishing for the biggest catch not only provide valuable resources but also go towards increasing your professor level which increases your maximum Activity Points you can spend in a day.

Fire Emblem: Three Houses Monastery

Meanwhile, sharing meals with students in the dining hall, inviting them out to tea parties, and returning lost items all serve to build bonds between pupils and increase their motivation for further studies. Interacting with them in such ways or even just talking to them on the school grounds also offers insight into their thoughts and feelings on current events in the world, which goes a long way towards developing their character in addition to Fire Emblem’s long-established support conversations. 

As characters spend time together in the monastery and fight together on the battlefield their support levels will rise, granting various bonuses in battle such as increased hit rate and evasion. These supports are accompanied by conversations that flesh out each character’s personality and provide valuable backstories not found in the main story.

In typical Fire Emblem fashion, the cast of Three Houses is unique and distinct with multiple layers of complexity over initial arch-typical natures. Peeling back these layers over the course of the game serves as some of the most satisfying intrinsic rewards it has to offer, with macho, good guy Raphael and self-doubting Marianne being particular standouts in my play session. This is accentuated even more since every single line of dialogue, no matter how minor, is fully voiced, a rarity for JRPG’s. The English acting ranges from good to exceptional, but the Japanese voices are also available for those who prefer it.

Fire Emblem: Three Houses Sylvain
Support conversations range from comical, to serious, to heart-warming — but they are always engaging.

It’s a shame the same level of polish can’t be said about the main story, however. The plot is rather straightforward and doesn’t do much to push the boundaries of expectations outside a mix-up here and there. Many scene transitions are nonexistent and jarring and the stilted movements of CG scenes reserved for important moments detract more than they add. That said, the stellar character and world-building that take place within the monastery more than makeup for the lukewarm story-telling and give ample reason to become invested. Not to mention the curiosity of seeing the story from the other houses’ perspectives encourages subsequent playthroughs.

Bonding and interacting with students outside of your class is worthwhile as well as it’s possible to recruit them into your own house. Convincing a student to join your class takes a large amount of effort over a long course of time, making the moment they finally give the “Ok” feel much more earned than recruitment has in past Fire Emblems. This not only gives you another unit to use on the battlefield but also avoids potentially seeing them as an enemy down the line when things aren’t quite so peaceful in Fodlan anymore.

Fire Emblem: Three Houses Dining

It’s easy to fall into a routine when going about the monastery in Three Houses. The constant loop of every action taken feeding into accomplishing another is positively addicting. It encourages you to make the most out of each day while also emphasizing the steady march of time. For a game that places such importance on the passage of time, however, it is slightly off-putting how the seasons in the monastery never change from its default bright, sunny day, especially with talk of snow and colder weather abound in later months.

All time spent at school is ultimately in preparation for combat, though, and Three Houses presents some of the finest and most refined form of it the Fire Emblem series has ever seen.

Applying Theory to Practice

The fundamentals of combat in Fire Emblem: Three Houses are the same as all of its predecessors but numerous additions and changes cast it in a whole new light. Encounters take place on grid-based maps and you move each individual character to attack enemies, assist allies, and position them for counter-attacks, among other things. Once all of your units have moved the enemy gets their turn to retaliate and the process repeats.

Before initiating combat a combat forecast appears that tells you the damage each side will inflict, the chance of landing that attack, and the chance of dealing a triple damage critical hit. Utilizing this forecast to calculate risk vs reward of various engagements becomes routine as deaths of characters are permanent when playing in Classic mode, although Casual mode makes its return that brings back lost units after the mission as well. The fight then plays out automatically with characters fluidly moving in unique and organic ways depending on how the battle plays out. While you have no control during these segments, there’s something viscerally satisfying about seeing someone like burly Raphael deftly dodge an attack and roundhouse kick the enemy to the face in retaliation.

Battle

The weapon triangle — a series mainstay that gave rock-paper-scissors qualities to weapon types — has been done away with in Three Houses, requiring players to think beyond simply matching enemies with their direct counters. In its place come Combat Arts, a system that’s been taken from 2017’s Fire Emblem Echoes: Shadows of Valentia. These special skills are obtained by gaining proficiency in weapon types through teaching sessions and combat and grant each character different ways to approach combat.

The set of Combat Arts learned are unique to each character. For example, Claude and Bernadetta are both proficient with bows but only the latter learns the far-reaching snipe art “Deadeye,” while only the former learns the blessed imbued “Monster Blast”. This applies to magic as well, with every character learning a different set of spells as they grow more proficient. While there is some overlap in spells and arts learned between characters, they nonetheless make them feel more distinct from one another as opposed to simply using the ones with the best stats, minimizing the problem previous entries have of “dead weight characters”.

Another wrinkle to combat is the addition of battalions and Gambits. Battalions are a unit of generic soldiers that can be assigned to each character to confer various stat bonuses. Each battalion grants the use of their special Gambit, powerful abilities that typically hit multiple enemies in an area, thus weakening their stats and preventing movement for a turn. Support type gambits exist as well, such as letting allies sustain a lethal hit once or making it so they take and deal only one damage for a turn. Not only do Gambits open up new strategic possibilities by introducing a form of crowd control to the series, but they are also pivotal in taking down Three Houses’ new enemy type: Monsters.

Fire Emblem: Three Houses Combat
Battalions also add more life to the battlefields by showing more than just your unit and the enemy facing off one-on-one

Monsters have been in Fire Emblem games before, but never in this form. Monsters are gargantuan beasts that take up four squares on the grid, sometimes more. They have multiple health bars to drain, devastating area sweeping attacks, and barriers that diminish damage taken and prevent critical hits. The key to slaying these beasts is to utilize battalion Gambits to attack multiple parts of the monsters at once and systematically whittle down their barriers.

Unlike regular enemy and boss types that can usually be taken down by one reasonably powerful unit, monsters require the brunt of your military force to slay. Contending with both monsters and regular enemies as they barrel towards your army provides for some of the tensest moments in the game that then result in blissful satisfaction for overcoming them; all the more emphasized by Three Houses’ phenomenal soundtrack that amplifies feelings of triumph to remarkable heights.

Map designs, on the other hand, leave something to be desired as many take place in large, open areas where strategy ultimately boils down to careful positioning of units on defensive tiles. Even maps with branching paths feel like little more than an excuse to give your units an opportunity to equally distribute experience gained from combat. The lack of gimmicks and terrain variety leads to missions sometimes blending together, a problem exacerbated by the fact that nearly every victory objective is either “Route the enemy” or “Defeat the commander.” It’s never so dull as to become mind-numbing, but having more variety in the 60-80 hour long campaign would go a long way towards solidifying what is otherwise an incredibly tight combat experience. 

Lessons Learned, Experience Showing

Fire Emblem: Three Houses is a grand culmination that takes a deep, introspective look into what makes the series so great and evolving it in meaningful and impactful ways.

The monastery and professor role not only fit right at home in such a character-driven game but also breath fresh life into the school setting that has long been regarded as “the graveyard of creativity.” The main story may not be the most engrossing but never has it been easier to grow intimately attached to such a large and varied cast of characters. Those attachments manifest in battles as a drive to persevere and the various tools the game gives you, old and new, give the power to do so. Fire Emblem: Three Houses is no doubt, the triumphant return to home consoles that fans have been waiting over a decade for and a sterling lesson that for a game series, class is always in session.

Fire Emblem: Three Houses Rhea
Continue Reading

Games

Why Does the ‘Control’ Northlight Engine Matter?

Published

on

With less than a month to go until the release of Control on Xbox One and Playstation 4, the hype surrounding the game is reaching its peak. We recently called Remedy’s upcoming title “the best game playable at E3 2019” and deemed it the “highlight of our experience at the conference,” but few details have been released about the title since the controversial Electronic Entertainment Expo. Remedy Entertainment, best known for their Max Payne, Alan Wake, and Quantum Break releases, has a track record of delivering storytelling experiences like no other, but they have an important secret to their recent successes that might aid their upcoming survival horror/action-adventure release. To better understand Control, let’s take a look at its in-game engine, Northlight, and explore why it enables Remedy to craft such gripping narratives.

What is Northlight?

For all of its titles, Remedy Entertainment has relied on the unique strengths of their self-created in-game engines to allow their storytelling experiences to thrive. Many of their previous successes have utilized in-house engines specially designed to deliver cinematic experiences and create games that keep the characters in focus, and Northlight was created to further advance upon their previous technology. Initially built for the Microsoft title Quantum Break, the new engine was created to allow for better interactive narrative experiences that could establish greater depth and realism in a digital world.

According to an interview with writer and creative director Sam Lake, Northlight pushes the envelope by allowing for “Mo-cap with full faces, with surface capture, and 4D scanning, and how to get that into an engine and make it really, really good. It focuses on character lighting, lighting overall, obviously pushing it to the next-gen.” These features all work in tandem to create photorealistic environments and characters that look, sound, and feel real to enthralling players and captivate viewers. In short, Northlight allows Remedy to create Hollywood-quality cinematic experiences within a digital platform.

Control Northlight

Supporting Ray Tracing

A big part of Northlight’s success as an engine is due to its support of ray tracing technology, offering dynamic ambient light that sets the scene and creates engaging landscapes. For those unaware, ray tracing is a modern rendering technique that allows for more realistic shadows and lighting than previous digital rendering software, although often times it is prerendered, slow, and incredibly data-intensive. Thanks to advancements by Nvidia, ray tracing is finally possible to be rendered in real-time inside of in-game engines, making it more accessible to game studios.

Northlight’s game engine pushes the limits by incorporating these advancements into its software, making it possible for players to have the future of in-game lighting, provided that they have the right graphics card. This allows Remedy to truly bring scenes to life within their titles, dynamically lighting environments to create intense emotional moments and the biggest spectacles.

Motion Capture

Although motion capture has been an integral part of narrative video games for a number of years, Northlight uses the Dimensional Imaging’s top of the line 4D technology to capture facial performances and accurately model emotions. According to Dimensional Imaging, this software utilizes “nine standard video cameras” to capture footage “without using markers, makeup or special illumination.” In turn, this allows for every nuance of an actor’s performance to be articulated in the game engine, giving greater realism and deeper emotional experiences.

In addition to this technology, Northlight utilizes traditional motion capture technology to create realistic clones of actor’s bodies. This was most notably seen when Remedy’s motion capture team’s picture of a dog in mo-cap gear went viral.

Control Northlight

Hollywood Quality Picture and Sound

Because of its emphasis on delivering narrative experiences unlike any other in gaming, Northlight’s software has built-in timeline editors that provide greater creative freedom than conventional game engines. By offering the ability to analyze and adjust lighting, physics, and movement in real-time, Northlight ensures that every scene is picture perfect and rooted in realism.

 Similarly, sound is also an integral focus of the built-in editing software in Northlight. According to their site, developers can “freeze and rewind sound, analyze it and even use it to drive visual effects and animations in perfect sync with the soundscapes.”  With audio and visuals working in tandem, Remedy can create a dynamic game environment that looks and feels as real as any conventional narrative on television or film.

Northlight and Control’s Release

With Northlight, Remedy will be able to make the most immersive and story-driven world possible by delivering top of the line graphics and performances, both of which will play a huge role in Control’s success. Unlike Quantum Break, Control will take place outside of the conventional linear style game and work as a Metroidvania style title, making setting the scene and developing a dynamic and photorealistic environment an important part of propelling players through the game world and an integral piece of the experience.

At e3, Control’s featured demo was primarily centered around demonstrating the title’s gunplay and physics -which absolutely blew us away- so combining this positive experience with top-notch acting and cutscenes will surely create one of the better experiences of the year. With all of the unique possibilities offered by Northlight, Respawn is sure to make a massive mark on the industry and encourage other developers to push the envelope of available technology. Look for Control when it releases on PC, Playstation, and Xbox One on August 27th.

Continue Reading
Freelance Film Writers

Goomba Stomp is the joint effort of a team of like-minded writers from across the globe. We provide smart readers with sharp, entertaining writing on a wide range of topics in pop culture, offering an escape from the usual hype and gossip. We are currently looking for Film, TV, Anime and Comic writers.

Contact us: Editor@GoombaStomp.com

Advertisement

Trending

529 Shares
Share
Tweet
Reddit
Pin