E3 might be over but we still have loads of coverage on the way. The Goomba Stomp crew is back from Los Angeles and we will be publishing many more articles with impressions of all the games we played at this year’s convention. In the meantime, we have compiled a list of our most anticipated games from this year’s gala. Enjoy!
Inspired and influenced by the original Cyberpunk 2020 pen and paper RPG, CD Projekt Red’s ambitious new project is not just my most anticipated game from E3, but quite possibly my most anticipated game ever. The trailer that premiered during the Microsoft press conference blew my socks off and, in my opinion, might just be greatest demo in the history of E3. Cyberpunk 2077 is a behemoth of a game, an open world RPG even bigger that The Witcher 3 and with possible multiplayer features on top of hundreds of hours of single-player roleplaying. And, if that isn’t impressive enough, it’s also a first-person shooter with no load times (at least, according to the devs). It’s a game that seems years a head of its time and far beyond the ambitions of anything presented at this year’s convention. Only time will tell if the game lives up to the hype, but based on the visuals alone, Cyberpunk 2077 may be one of the greatest games ever made. (Ricky D)
The Division 2
Surprisingly it took a lot of consideration to determine my game of the show. Gears Tactics, Dying Light 2, The Last of Us: Part 2 and Shadow of the Tombraider all piqued my interest, but at the end of the day, it had to go to The Division 2. The original Division made waves when it was first showcased at E3. It toted truly mindboggling visuals and an open world full of opportunity. On release, The Division was nothing like its original showing; a far less impressive world, with repetitive enemy design and a lack of dynamic combat. For many, this sealed the deal, but I still thoroughly enjoyed the final product. As I’ve learned in my own attempts with game development, it’s hard to include every element you envisioned in your new I.P. However second time around, most games live up to their full potential, think Assassin’s Creed 2 and Uncharted 2. The Division 2 looks to be what the series’ first E3 demo promised, astounding visuals in a dynamic and tactical world. Considering how much I enjoyed the first game, I can’t wait to see the series really make a dent next year. (Chris Bowring)
“Fuck Fallout 76”
That was my reaction when I heard the game was to be a multiplayer Survival game. In an instant, I’d done a complete flip since hearing of its existence and any trace of excitement at the prospect of another game in the futuristic 50’s like dystopic ‘hell hole’ that is Fallout 4 had completely evaporated.
So it was with a morbid curiosity, rather than interest that I tuned into the Bethesda E3 conference to see the damage for myself. Did I want a MMO Fallout? Hell no… Those games are special because the player is special. Every time you add a player to that formula, you dilute the experience and remove the secret sauce that makes these games so enjoyable… but as Tod Howard began telling us about the game and ‘Country Roads’ kicked into life, I found myself captivated and dare I say excited about the idea of surviving in the wasteland with a group of friends. Building one of those self-packing ‘lunch box’ houses and hunting rare materials to help me discover some nuclear codes could if done right be absolutely fantastic.
Other than the building mechanics, the first thing to really jump out is how great the game looks. Howard claims that Fallout 76 is 4 times bigger than Fallout 4 and 16 times more detailed. Environments are more vibrant than ever and peering across the landscape, players will be able to see different weather patterns in different areas of the map. The game also promises an engaging story, as well as the ability to play in groups and against my better judgement, this has me very excited.
Over the last few months, I’ve grown to appreciate the value of a great multiplayer experience. Games like Overwatch, Destiny, Sea of Thieves and Fortnite have allowed me to keep in touch with friends as the rigours of daily life mean that I lack the same amount of free time as I once did and although it’s still early days, I am hoping that Fallout 76 can become one of our go-to games.
Of course, there are always concerns about these things. There presumably won’t be any V.A.T.S., and Bethesda are yet to make a game of this nature that isn’t broken in some way, but the groundwork is set and coming out of E3, there’s no other game that has left a mark on me quite like this and I can’t wait to see more. (David Smile)
Fire Emblem: Three Houses
Fire Emblem is in a precarious spot. The massive success of Awakening completely reinvigorated the series and catapulted it into Nintendo’s staple of AAA franchises. However, the subsequent cash-grabby strategy of releasing three Fates iterations (unlike Pokémon, you needed to play at least two to get the full story) managed to segment that new player base soon after. Fire Emblem Three Houses is the franchise’s first time on consoles since the Wii, and in many ways, it feels like the team knows they have to go all out to regain goodwill and take full advantage of the new hardware. Thankfully, Three Houses looks like it’s received a host of significant improvements across the board.
While battles in Fire Emblem have always been thrilling tactical affairs, it was a bit strange to only see 1v1 fights on a battlefield supposedly populated by tons of troops. With the power of the Switch, Three Houses visually represents hordes of unit-specific fighters attacking alongside you. It can’t be overstated just how cool of an upgrade this is for a franchise knocking on 30.
Utilizing the extra power of the Switch is a theme here; bland battlefield environments aside, the game has received a massive visual overhaul across the board. Character portraits now sport the HD sheen of a modern Disgaea game. My Castle from Fates seems to be back complete with a shiny new third-person perspective that looks absolutely beautiful. And naturally, we can now enjoy Fire Emblem’s stellar cinematics in high definition.
For as much as we know about this new entry, there’re also a ton of unknowns. Is the marriage mechanic returning (please)? Will there be time traveling kids again (please)? Will this be a linear experience or one where player choice can affect the outcome of the story? Fire Emblem is somewhat notorious for its DLC rollout; how will that look this time around? Despite all the question marks, one thing is certain—I can’t wait to see more in an upcoming Direct.
The Last of Us Part 2
Few games manage to balance thoughtful and emotional storytelling with engaging gameplay and in-depth mechanics. Of the few examples that happen to pull it off, it’s pretty easy to argue that The Last of Us, originally released for the PlayStation 3 in 2013. While the sequel, the appropriately titled The Last of Us Part II, has been teased with various trailers since late 2016, it hasn’t been until this year’s recent E3 demonstration that the public got a chance to see how the game would play. If the presented “gameplay” trailer is any indication, Part II promises to be the same mix of thoughtful and emotional narrative and brutal, unflinching acts of horrific violence.
This is a very good thing.
One of the important things that the original game accomplished was giving meaning to violence. It’s a game that began with the death of a major character – one that you actually play as in the introduction. This immediately introduces us to a world where death has meaning, meaning that resonates throughout the rest of the experience, both in gameplay and in the story. It’s not easy to kill people in The Last of Us. It is draining, mentally and physically to the characters and players. In a lot of ways, it asks the protagonist, and by extension ourselves, what you would be willing to do for the ones you love. Would you kill strangers? Kill friends? Kill… well, everybody? Joel’s decision to essentially doom mankind for the sake of one stand-in daughter figure forces us to consider our lives and choices in a way few video games are brave enough to present.
It looks to be another wonderful, miserable ride where every choice has meaning, and every failure has consequences, both in gameplay and story. And I am mostly hoping that Joel says “clickers” a lot. (Katrina Lind)
Persona 3 Dancing in Moonlight and Persona 5 Dancing in Starlight
Despite all of the fantastic entries that were shown off at this year’s E3, none of them truly had me as excited as the two Persona dancing games that were confirmed for a localization next year. Persona is one of my favorite game franchises, so the fact that the two games were released in Japan with no localization in sight had been tearing me apart. Now that there are confirmed release dates, as well as the English voice actors reprising their roles in the brand new character interactions, I can’t wait to dive back into Persona one more time. Persona 4 Dancing All Night is a guilty pleasure of mine since the premise was so ridiculous yet effective considering how stellar the Persona soundtracks are. The brand new games replace the traditional story modes with a “commu” mode, which lets the players interact with their party members similar to a traditional social link. I can’t wait to see the characters in each group conversing more casually with one another, which was something that I felt was sorely missing from both Persona 3 and 5 compared to Persona 4. The dances also look incredibly impressive and well-choreographed, showing off each character’s personalities through their moves. There seems to be a surprising amount of depth as well, with many different costumes and accessories to unlock as well as the various difficulty modes found in the two entries. The brand new character models and settings look phenomenal, with the Persona 3 characters, in particular, looking fantastic compared to their last 3D outings on the PS2 and 3DS. I’ve only heard a couple of the remixes and tracks included in the two games, but I can safely say that this will be a day one purchase for me as a fan of both Persona and rhythm games. (Ed Moreno)
Resident Evil 2 Remake
I’m a die-hard Capcom fan. I practically grew up playing Mega Man, Resident Evil, Street Fighter, and plenty of other Capcom classics from every console generation. Resident Evil 2 is one of my favorite games on the original PlayStation as well as one of my favorite classic Resident Evil titles. It fixed a lot of things from the original, including the writing (sort of), pacing, environments (there were a lot less shadowless neon-colored walls), and gameplay. I was a mix of excited and skeptical when I first saw the announcement video back in 2015. Resident Evil 7 had yet to come out, so the only real games to compare it to were the HD port of REmake and Revelations 2. I love the classic style of survival horror, but I don’t know if I would have trusted Capcom to pull off a game with fixed camera angles and tank-controls in this day and age, but at the same time the fast-paced action of Revelations 2 doesn’t feel like a good fit for a game like Resident Evil 2. What Capcom unveiled this past week feels like the perfect middle ground. An over the should camera can be used to great effect to build up tension when used properly and can create some interesting situations when combined with the tight corridors of the Raccoon Police Department,
I’m loving how the game has visually turned out. There’s a lot of things reminiscent of the original map from over 20 years ago, but there’s plenty of little updates too…like the reception desk actually being at the front of the station instead of behind the big, obstructing, angel statue. The demo only went into the police station, but the trailer gives us a glimpse at some of the other areas in the game, and it seems that dim-lighting, claustrophobic hallways, and a muted color palette are all consisted throughout. These are all things reminiscent of what makes Resident Evil 7’s visual design so good. I hope that we will continue to see and hear good things about REmake 2 as it continues development. (Taylor Smith)
Sekiro: Shadows Die Twice
When Shadows Die Twice was first teased in a couple of short trailers, speculation mounted that it might be Bloodborne 2, or another amalgam of the Souls series that From Software’s Hidetaka Miyazaki put on hiatus in 2016.
While this bit of wishful thinking turned out to be just that, it didn’t stop Sekiro: Shadows Die Twice from turning in a show-stopping debut at E3 2018. Sure, it may not be the new hit of Dark Souls heroin that fans have been pining for, but the game does contain enough of the series’ trademark DNA to be instantly recognizable as a From Software title.
However, where Sekiro: Shadows Die Twice sets itself apart from its forebears is in its emphasis on lightning fast action. Even as Souls mainstays like the ability to return from death and towering bosses make their return, this game seems to be putting the kind of emphasis on white-knuckle action that would put even Bloodborne to shame.
It is, of course, worth mentioning that From Software did also work on the Tenchu series from back in the day, and Miyazaki (who is helming the project) has mentioned that stint in the world of ninjas as an influence on the development of Sekiro, though he stresses that this is a new and unique franchise.
Still with a permanent, story-centric main character, and no RPG elements revealed as of yet, Sekiro: Shadows Die Twice is as unlikely a Souls follow-up as we might have imagined. Let’s hope it still kicks ass, and picks up the ball that Team Ninja dropped when they tried this last year with Nioh. (Mike Worby)
Super Smash Bros. Ultimate
Super Smash Bros. Ultimate looks absolutely amazing. I had my expectations going into the Direct about how Smash would be handled, but nothing prepared me for the absolute bedlam of pure Nintendo charm that would engulf nearly half of the Nintendo’s E3 presentation. All the fascinating details that we received about Ultimate didn’t seem seem like unnecessary padding, but like an avalanche of incredible information that has put the community’s hype train at full speed once again. From the return of every single character that’s ever been in a Smash game (Snake!) to the introduction of Ridley, a character that Director Masahiro Sakurai had long decried as “too big” for Smash, every second of the Direct revealed new information about Ultimate in a volume that even Super Smash Bros. for Wii U did not surpass.
In that way, Super Smash Bros. Ultimate feels like a Smash fan’s dream come true. With the resurrection of Melee’s hallowed directional air dodge to the rebalancing of perennially-bad characters, such as Ganondorf, Ultimate looks poised to fuse the hardcore base of Melee with the accessibility of Super Smash Bros. for Wii U and, in the process, create the most balanced Smash experience yet. For a Smash fanbase that has been fractured since the release of Super Smash Bros. Brawl in 2008, Ultimate seems like the perfect game to bridge the gap. With more details yet to surface (come on, story mode!), there’s more than enough to get excited about with the latest entry in the Smash series, one that can finally be taken anywhere and played with anyone, anywhere. (Izsak Barnette)
‘Majora’s Mask’ Dungeon by Dungeon: The Moon
In this entry, I will be looking at the game’s fifth and final semi-dungeon, the Moon.
Halfway through my analysis of Link’s Awakening, Nintendo unveiled an adorable chibi-clay “reimagining” of that game for the Switch. In celebration of its upcoming launch, I will turn my eye from the strangest, darkest, most surreal portable Zelda to the strangest, darkest, most surreal console Zelda, The Legend of Zelda: Majora’s Mask. Majora’s Mask is arguably the Zelda game most open to hermeneutic critique, as its narrative themes run deep but somewhat vague, and it’s wholly original structure feels like postmodern art compared to the conservative story and character arcs of nearly every other Zelda. In this series, I will be looking specifically at the dungeon design of the 3DS version of the game, The Legend of Zelda: Majora’s Mask 3D. While this version makes several changes to the Nintendo 64 version, some of which are rather consequential and controversial, I am choosing to scrutinize this version because it is probably how most players currently play the game (plus, it’s the version I own that isn’t hundreds of miles away at my mom’s house). In this entry, I will be looking at the game’s fifth and final semi-dungeon, the Moon.
Upon entering the Moon, Link finds himself on a large grassy field with a single tree, four masked children running around, and a fifth child sitting by the tree. It’s a beautiful but eerie sight, with overlit lighting and and a surreal minimalism that feels like Eiji Aonuma may have taken some advice from David Lynch. While the scene betrays some obscure metaphor I can’t pretend to fully comprehend, its practical implications are far more tangible. Each of the four active children can be paid masks so Link can access their corresponding Breath of the Wild shrine-like mini-dungeon that primarily revolves a single mechanic, while talking to the sedentary fifth child triggers the game’s final boss fight.
Costing only two masks, the most accessible mini-dungeon is the Odolwa path, which is comprised of several Deku Flowers that Link must use to reach the end. Since most of these Deku Flowers are placed on moving platforms, traversing the path requires some precise timing and maximally efficient routes through the air. If Link falls, he’ll have to start over again from the very beginning, which can grow tiresome but is never too annoying because this room is ultimately fairly easy. Instead, the room is weighed down by how tedious and slow it can be, since the player will spend as much time waiting for the right time to launch themselves as they will actually controlling Link. And since the mini-dungeon contains no other challenges, this decent mechanic ends up feeling milked dry by the end.
The Goht mini-dungeon is similar in several ways to the Odolwa. While it uses Goron Link instead of Deku Link, it too is solely comprised of platforming challenges premised on its transformation’s unique movement mechanic (in this case, rolling). This is a much tougher challenge than the Odolwa path in part because it is longer and more intense. But the camera can be a unresponsive after ricocheting off treasure chests, and it can get especially frustrating on the 3DS since the system’s nub-stick feels too imprecise for the sensitive rolling controls. Though initially inventive and heart-pounding, the Goht mini-dungeon ends up feeling drab, repetitive, and frustrating after a few minutes.
The Gyorg mini-dungeon is similar to the previous two mini-dungeons in that it requires Link to traverse a path from start to finish that is designed around its constituent transformation. However, here the challenge is less about controlling Link than finding the correct path forward, as the mini-dungeon’s layout is essentially a one-way water current maze. That means the entire experience is based on monotonous trial-and-error navigation, with the only exception being when Link has to jump out of the water at the end of each section, which is really difficult to consistently pull off. The blind pathfinding combined with an inconsistent (though theoretically enjoyable) move makes this part of the Moon especially obnoxious and not remotely skill-based.
Finally, the Twinmold mini-dungeon is a combat gauntlet where Link fill faces several of the game’s toughest baddies back-to-back. Though it doesn’t channel any individual mask, the smart selection of enemies makes for consistently engaging combat, even if the fights can be made a bit too easy with the Great Fairy sword and ample heart containers. This mini-dungeon features by far the the most vibrant and varied art, which result in some of the best-looking spaces in the entire game. After each battle, Link must lay down a Bombchu to explode a hole in the wall. This is a fun challenge, though it would have been nice to have a few extra Bombchus since correctly timing and placing them can be a hit-or-miss endeavor. As a whole, this mini-dungeon is by far the best of the bunch, and the only one that dabbles in more than one mechanic and feels like an expansion of its dungeon.
The game’s final boss fight is a three-phase epic of outstanding variety and character. The first phase, Majora’s Mask, has two phases in itself. While the first phase mostly just has Link wait for an opportunity to fire arrows and attack after it falls, the second phase is especially clever as it has Link reflect a beam with his Mirror Shield to attack not just Majora’s Mask but three transformation masks which have joined the fray. In practice, aiming the beam can be tough, but it’s a wonderful concept. The second major phase, Majora’s Incarnation, just maniacally runs around, moonwalks, and sometimes fires balls of light. He poses no real threat and has the most shallow moveset of any boss in the game, but he exudes character and embodies the Dionysian chaos that defines the game’s titular mask. Finally, Majora’s Wrath is a comparatively deep fight against a giant humanoid Majora with whip-like tentacles. Though he initially presents a threat and is tactically deep compared to Majora’s Incarnation, Majora’s Wrath can be easily bested with the Fairy Sword in a surprisingly short amount of time. And if the player has access to the incredibly powerful Fierce Deity mask, any challenge this boss fight may present is quickly nullified, making the final battle a complete and utter cakewalk.
In terms of presentation, the Moon may be my personal favorite part of Majora’s Mask. Its surreal, eerie, seemingly metaphorical setting feels mysterious despite cutting to the game’s thematic and narrative core. From the moral quandaries about identity the children pose to the gorgeous-but-uneasy field Link arrives on, the Moon is overflowing with quirk and oddball charisma. But in terms of design, the Moon is almost inarguably the most monotonous and least refined of the dungeons. Several of the mini-dungeons that comprise the Moon are trial-and-error slogs built around the subpar platforming mechanics of the transformation masks, and they completely ignore those masks’ other traits. This is especially problematic in the 3DS version of the game, where swimming as a Zora and rolling as a Goron feel in need of adjustment. Meanwhile, several of the mechanics these mini-dungeons test are barely required previously, such as hopping out of the water as a Zora or bouncing off corners as a Goron. Furthermore, much of the art in these mini-dungeons is drab and characterless, while some areas require an undue amount of magic use. And while the game’s final boss trio is vivid and vivacious, it also lacks depth and difficulty. As a whole, both the multi-phase final boss and the dungeon itself feel reminiscent of the final dungeon in Link’s Awakening, which is fitting given that I’m writing this in anticipation of the upcoming Link’s Awakening remake. It is short, aesthetically singular, and heavily reliant on a varied final boss, but as a dungeon is woefully underdeveloped.
For deep dives into other levels from Majora’s Mask, as well as levels from other classic Nintendo games such as Super Mario Odyssey and The Legend of Zelda: Ocarina of Time, click here.
‘Link’s Awakening’ for Switch Review: A Recurring Dream Nearly Realized
Charming as it still is, going back to the Game Boy’s Legend of Zelda: Link’s Awakening can produce mixed emotions, as modern convenience has not been kind to its two-button control scheme and other annoying quirks. Yet, the draw of Koholint Island’s bizarre story and oddball atmosphere persists — so much so that Nintendo has decided to give their aging experimentation a very welcome Switch facelift, with pleasant visual updates and added accessibility that should mostly satisfy longtime fans and help initiate newcomers. However, a distracting lack of polish and ambition blurs the vision, and holds this otherwise enjoyable remake (re-imagining?) back from attaining the sublime dreaminess it deserves.
That has little to do with the base game; Link’s Awakening for Switch is essentially the same great experience Zelda veterans will remember, albeit prettier and with some quality-of-life additions along the way, such as dedicated buttons for common actions (like swinging a sword or dashing, thankfully), useful map markers, and bottles for fairies (sorry Crazy Tracy, but you’ve become obsolete). Link also moves in eight directions now, which feels much better (though he can still only dash in four), and the world scrolls by in a more seamless fashion, allowing tantalizing peeks into neighboring areas that weren’t visible before.
Obviously those are great tweaks, and they help Link’s Awakening for Switch flow away from the sometimes stilted pace caused by constant menu-opening that could make the original a bit of a slog at times (especially when a lot of item-swapping was necessary). There’s also a bit of extra content this time around, the most notable being a dungeon editor at the location of the former Camera Shop, and some additional dolls to win at the claw game that can be placed in various houses around the world as decorations. None of these perks contribute in any meaningful way, but hey — if you’re into arranging previously played dungeon rooms into booby-trapped mazes for your Zelda friends to test out like lab rats, then maybe Dampé’s house will get some use.
No, the pitch here is basically that the Switch version is still the same old Link’s Awakening, but better looking — and for many, that will be enough. Koholint’s new plastic sheen projects a more playful, friendly vibe that makes for an agreeable, relaxing journey. Some of the darker aspects may not land quite as hard as they did with those stark, black-and-white pixels (the Game Boy Color version also had a more cheery feel), but there’s something about the rubbery trees, fuzzy grass, and rippling ponds that suggests a less-melancholy island of misfit toys.
And with a collection of some of the strangest characters of the series, as well as a surprisingly poignant story, this small-scale adventure has lost none of its appeal as an engaging Zelda title. Sure, there are a few times where inexperienced players might get stuck at a particularly opaque puzzle, and though the wise owl and phone weirdo Ulrira give plenty of direction, sometimes you just have to set out and explore. Poke around a bit. That’s how games used to be, and it’s actually refreshing when Link isn’t being pushed along; there’s a beautiful (and manageable) world out there, filled with all sorts of secrets to uncover.
Beautiful, that is, when the frame rate isn’t taking a nosedive. The biggest disappointment with Link’s Awakening for Switch is not in the decades-old game design, but in the remake’s current performance. That seamlessly scrolling world tries to hide its loading, but stumbles quite frequently when doing so. Every time Link enters town, transitions to another area, or steps out of a cave or house, the visuals chug to catch up, largely stuttering until they can stabilize again. As someone who usually doesn’t care about such things, I was surprised at how much these short-but-jarring dips took me out of the pleasant atmosphere and affected my enjoyment. A Link Between Worlds set the top-down Zelda standard for buttery smooth gameplay, and it shouldn’t be unreasonable to expect similar polish when remaking one of the franchise’s most revered entries.
Instead, Link’s Awakening for Switch remains rough around the edges in this and other ways as well, niggling though those issues may be. It’s not uncommon for items dropped by enemies to get stuck on geometry (why does it always happen when you really need that heart?), and swinging the sword feels a bit awkward and clunky, occasionally only registering a hit on one enemy despite multiple being struck. Link also waddles a tad on the slow side, and the platforming actions feel loose — nit-picks for sure, but noticeable in their lack of refinement.
None of this twists Link’s Awakening for Switch into some kind of nightmare — far from it — but this remake seems like a wasted opportunity to retune an ancient instrument into a modern marvel capable of hitting the highest notes, and that’s not quite what’s happened here. What we get is a very fine edition of a fantastic game — one that will give longtime fans a great excuse to return to island exile, and hopefully introduce a whole new generation of players to one of the Zelda franchise’s most interesting and off-beat adventures. But though it’s certainly the best version yet of this classic, Link’s Awakening for Switch doesn’t quite reach the definitive summit.
‘Blasphemous’ Review: For God’s Sake
I’m not a religious man, but have often found the gruesome and twisted fiction it can give rise to utterly fascinating. As such, Blasphemous instantly barged its way onto my radar with its gloriously macabre Kickstarter trailer back in 2017. Brooding and grisly, it evoked almost exactly what was eventually delivered in the final product, and — despite a number of technical flaws — the wait was definitely worth it.
Rather than putting it off until later in the review, the Dark Souls comparisons might as well be nipped in the bud at this early juncture. From its visual theme, narrative techniques, and gameplay bullet points, Blasphemous sets out its stall to be a mysterious and challenging affair of swords and monsters. It takes those familiar Souls facets and combines them into a non-linear Metroidvania platformer, and it’s a formula that has rarely been done with as much flair as it is here.
Those familiar with FromSoftware’s narrative leanings will know what to expect from the story in Blasphemous — that being not a whole lot of surface-level understanding. The opening is mainly utter nonsense, comprised of your typical oldey-timey English and dogmatic scripture, and it doesn’t get an awful lot clearer as players fight through the campaign. However, nearly all the collectible items and powerups have readable lore at the press of a button, and piecing together these scraps of information will gradually reveal a greater comprehension of the story.
Players take control of The Penitent One — a masked man who seems to be permanently crying tears of blood — in a quest to reverse the effects of ‘The Great Miracle.’ This cataclysmic event devastated mankind as punishment for ‘The Age of Corruption,’ where everyone was basically really bad at religion and…blasphemed a lot? As a result, everyone in the world is a malevolent, murderous zealot intent on turning The Penitent One into The Pulverized One.
The abhorrent imagery, imposing scenery, and melancholy world of Orthodoxia really is a morbidly fascinating one. Featuring fully hand-painted, pixel-art cutscenes, its visual style is akin to an old Amiga game like Prince of Persia or Another World. Rarely have 16-bit graphics been used to paint such a grotesque scene, and as such, it’s an astounding game to look at. The excellent sprite work comes to life (or perhaps that should be death) with gory combat and executions, while enemies — particularly the bosses — are a thing of depraved, disgusting beauty.
The combat, however, is perhaps a little too simplistic, relying heavily on the executions (usually triggered after performing a perfect parry and counter) to do the heavy lifting for a single basic sword weapon and a handful of extra powers. This is one of the biggest missed opportunities of Blasphemous. Keeping players engaged in labyrinthine, often confusing Metroidvania titles is key, and without an enticing loop of unlocks it can be a little difficult to maintain interest in exploring the world. Not every game has to be Dead Cells, but using the same sword that cannot even be enhanced (yet seems to power up by itself, despite you not leveling up in any way) denies players an important level of tangible progression.
However, simplistic combat doesn’t mean the game is simple — oh no, sir — as it can be extremely punishing — especially the bosses. What Blasphemous has to help players instead of new weapons or stat building is a litany of other sundries. Rosary Beads add various passive buffs like shorter cooldowns, damage and elemental resistance, and higher defense or HP. Relics enable environmental assistance to access new areas through platforms or vines, and Mea Culpa Hearts provide buffs at a price — higher strength at the cost of defense, etc. Prayers, which are essentially magic attacks that use up your expandable Fervor meter, can also be unlocked. They’re largely disappointing, as are the small number of abilities that can be unlocked using Tears of Atonement (souls, basically), which amount to only a handful; those movesets are then upgraded rather than expanded upon.
What was unashamedly billed as a Metroidvania crossed with Dark Souls then feels more like the former than the latter in its gameplay, but a key element Blasphemous takes from Miyazaki’s masterpieces is that enemies only respawn when you rest at a Prie Dieu (which also refills your health flasks). It’s one of the most needed adaptations to the Metroidvania formula; nobody likes accidentally going the wrong way and having to kill all the same enemies again just to get back to where they started.
And go the wrong way players will, as Blasphemous breaks Metroidvania rule 101: don’t get the map wrong. The map isn’t terrible per se, but it is just slightly lacking in certain facets, which can make the journey through Orthodoxia needlessly annoying. By far the most egregious issue is that you can’t exit the map by pressing the map button again. Instead the jump button is used to exit, which will also make your character jump upon returning to the gameplay. It sounds pedantic, but with as many pitfalls and death traps as Blasphemous has, I certainly didn’t appreciate constantly jumping without intention, and died more than once because of it.
When players do die in Blasphemous, a marker will be placed on the map showing where they fell in order to help guide them back to reclaim lost Tears of Atonement and regain the portion of their Fervor bar, which gets gradually reduced with each death. This is helpful until realizing that the map can’t be zoomed in; having markers and a legend is all well and good, but when all you can do is view the map from a very zoomed-out angle, they might as well not be there. It makes finding those potential secrets — or even normal room dividers — much more difficult to pinpoint than they should be.
Unfortunately, Blasphemous is not only sprinkled with little design niggles, but it’s also quite buggy, and at times feels a little unfinished. At one stage I had the game soft lock so that I couldn’t use any of the trigger buttons (to heal or dodge), while another incident saw a boss glitch off the screen, initially attacking nothing before righting itself and appearing from thin air to kill me. Frame drops are also pretty constant — especially when playing in handheld mode — creeping down to single digits in busier areas, and when combined with the buggy camera, can lead to more than a few pitfall deaths.
None of these issues truly spoil the experience, however, and so Blasphemous ends up as an intriguing and challenging title that easily holds a place in the upper echelons of its genre. As cynical as putting Dark Souls mechanics in a Metroidvania seems on paper, the execution here is largely successful, and ensures that the game can be regarded as more than just a pretty thing to look at. Its difficulty may put some people off, as might its vague story or numerous bugs, but the rewards of seeing the gorgeous new areas while brutally executing new enemies will keep hardcore purists going until the immense satisfaction of the final victory.
What’s Love Got to Do With It? Link’s 5 Best Almost-Romances in ‘Zelda’
Editor’s Note: This article was originally published on February 14th, 2016.
For all the fairy tale aspects and emphasis on collecting hearts, the Legend of Zelda games aren’t exactly known for getting overly lovey-dovey. Despite having two characters who are clearly meant for each other, Link and Zelda have been basically all about business over the last thirty years, putting work before pleasure. Sure, there have been the occasional sideways glances or insinuations in between killing the pig monster that’s trying to take over their world, but otherwise the relationship has mostly stayed strictly platonic, full of the kind of stiff mutual respect that leads to underpopulation.
Zelda, of course, is burdened with the many responsibilities that come with running a kingdom constantly under siege by the forces of darkness, as well as presumably having to consistently fight the urge to give in to Stockholm syndrome during each of her many kidnappings. So basically, she’s pretty busy, really focusing on her career right now. She’s also royalty, so that’s intimidating (and most likely requires a similarly noble suitor). And Link? Don’t mistake his oversleeping for laziness. This guy needs his rest so he can slay monsters and push boxes that should be way too large for him to push. The Chosen One just doesn’t have time to play the Hyrule Field, and frankly, just like with a superhero, it’s probably best he doesn’t get to close to anyone.
Still, there have been hints of love over the last few decades, with Link’s opportunities extending to relationships of tenderness and awkwardness alike that have offered hope of a Happy Ever After for the hero in green. Unfortunately, he’s killed fans’ hopes by blowing every one of them, whether by tragic twist of fate or simply running away in embarrassment. Oh well. Here are the best of the “almosts”:
Throughout all of the Zelda games, one thing has become apparent: Link doesn’t really do guy friends. This trait is on full display in Ocarina of Time, but while Link may never be bros with that jealous jerk Mido, that doesn’t mean he’s all by his lonesome. His companionship with an actual Kokiri is clearly a deep, meaningful one, and so Saria becomes one of the most endearing characters in the game. Sure, Malon is cute in that farmer’s daughter kind of way, but she seems more in love with horses than heroes, and besides, with a dad who can’t take care of himself, you know the honeymoon would be short. But Saria genuinely cares. She gives Link an ocarina, a pretty cool gift if you’re a forest person, and she teaches him a song so that they can always be in contact (hint, hint). Add to that the long, sad, lingering look on Saria’s face as she watches her “friend” cross the bridge to adventure, and you know there was something going on.
So after defeating Phantom Ganon in the Forest Temple and revealing Saria as the Sage of Forest, her resigned acceptance that their carefree days are behind them is a bittersweet acknowledgment (and reminder) that duty will always come before happiness. Mido’s revelation later that she had been waiting all this time for Link’s return doesn’t help with the melancholy, her unfulfilled pining just another casualty in the fight. But hey, at least she gets to hang out with a bunch of other misfits who are similarly trapped by their fated responsibility! Including…
I’m not sure that anyone has thrown themselves at Link more than Princess Ruto. As a spoiled brat being carried around inside a giant fish that ate her, Ruto develops a one-way relationship that culminates in her believing the two to be engaged when she hands over Zora’s Sapphire, all while blushing profusely. These aggressive signals couldn’t be any more obvious, but Link does a great job of playing it cool and clueless. She really doesn’t pull too many punches though, and it’s hard to explain why he doesn’t bite. After all, who wouldn’t want to spend the rest of their lives with someone who’s rude, entitled, and bossy? So what that she’s an entirely different species and any offspring would be freaks of nature?
Even when older Link meets her later, she finds time to bring up their love life amidst all the seriousness of being a very important Sage, scolding Link for making her wait so long, then explaining how she can’t be with him until her duties are over. It’s all hilarious until you think about what would happen if Princess Ruto ever really did get free. Sorry fish lady, but the princess for Link is in another castle.
With its tropical setting, one would think that Link’s Awakening would be one of the best chances for Link to find true love, but alas, even though he meets the girl of his dreams (who even looks like Zelda!), yet again it’s not meant to be. It’s hard not to instantly relate to Marin and her fascination with the young lad who washed up on Koholint’s shore. She has been trapped on an island her whole life, imagining a big exciting world out there beyond the vast ocean’s horizon, and yearning to see it. What kid (and many adults) can’t identify with that feeling? Link represents discovery, adventure, and the enthusiasm and verve she displays because of this is infectious. She definitely likes him, but does she like him like him?
Though quick to chide Link for hitting a cucco or smashing a jar, she’s rather shy about her feelings, but a couple of things slip. Sitting side-by-side on a log at the beach, she reveals her deepest desires and asks to know everything about him (before awkwardly laughing the question off), and later on top of a mountain, nearly confesses something before being interrupted by her father. The game itself even seems to think Link has a shot, asking after the hero “acquires” her and holds her high above his head like a treasure he just found, “Is this your chance?”
Sadly, however, Marin’s story may be the most heartbreaking of all Link’s ladies. She knows that when the Wind Fish wakes up, all of Koholint, herself included, might vanish into memory. She pleads with Link that “some day you will leave this island… I just know it in my heart… …Don’t ever forget me… If you do, I’ll never forgive you!” Marin just wants to exist, to feel, and Link, the person who has awoken that inside her, is destined to be the one that takes that from her. Getting the best ending to the game reveals some hope that maybe these two will meet again one day, in a magical land far away.
Has Link ever had a more fully-formed relationship with anyone than what he shares with the impish former ruler of the Twilight Realm? Following the classic Hollywood arc, the two start out bickering and irritated with each other, Midna constantly hounding her wolfish companion, with Link begrudgingly powering through the pain in order to get to the princess he actually likes. Naturally then, over the course of many trials and monster-shaped obstacles, the two slowly began to develop a mutual respect and liking for each other, as tragic backstories are revealed and codes of honor are put on full display. By the end, when sassy beast turns into great beauty (a nice twist on a classic fairy tale trope), Link is left speechless (big shocker), much to Midna’s delight. “What? Say something! Am I so beautiful that you have no words left?” This is called flirting, people. If I was Link’s wing man he would’ve received a nudge in the ribs right here.
In fact, most of their interactions over the entire game comprise of her playful teasing, the type of schoolyard antagonizing that is akin to pulling someone’s hair and running away. If Link’s the kind of guy I think he is, these insults will only add to the liking. On top of that, her mysterious nature and later trusting openness can only strengthen the interest. Of course, what it could easily boil down to is just that really, they’re the perfect match: she’s funny and talks a lot, while he’s well, Link.
Unfortunately, he stays true to silent form, and after a brief pause at the end where she clearly wants to admit her feelings but (I’m assuming) feels awkward with Zelda around, Midna departs back to her own dimension, never to be seen again, all because a certain green-clad idiot just stands there and lets her destroy the Mirror of Twilight (with a tear nonetheless) having never told her how he actually feels! Stupid Link! Rookie mistake, pal. Live and learn, plenty of fish in the sea, and all that crap.
Ah, but which Zelda? Well, in the entire franchise, there are really only two with whom Link had any real chemistry beyond teaming up to save the kingdom, but the best of those is the one that wasn’t even a princess. In Skyward Sword, Zelda is a happy youth, the kind of spirited person that everyone is drawn to, a force of positivity and happiness. She also has had a crush on Link for years, as the two have been particular friends since they were kids, much to the annoyance of a jealous Biff-type schoolmate of theirs. This really is the boy-next-door meets girl-next-door story that has less of a fantasy feel than the other games, feeling more grounded and accessible.
Much of this realistic feeling is owed to the amount of awkwardness between the two whenever they’re left alone in the beginning and things start to get real. Zelda often fishes for compliments on her choice of clothes or weirdly, her harp, while Link stammers his way through the several “aw, shucks” responses. This is all highly endearing in a puppy love sort of way, but throughout the game we are reminded as well of how deeply these two really care for each other, with Zelda risking her life without a moment’s hesitation to save Link from falling, or the goddess’ plot exploiting the fact that Link would “throw [himself] headfirst into any danger, without even a moment’s doubt” to save her.
Still, though there are many acts of bravery and sacrifice on both sides that outwardly prove love, the beating heart of Link and Zelda’s relationship in Skyward Sword lies in the small moments, glances, and gestures that have players rooting for these two crazy kids to come through in the end. Zelda nervously folding her hands in his presence, Link’s embarrassment at the implication of a kiss, the playful way she is constantly pushing him off the edge of high places and endangering his life, etc. While the end makes no guarantees, as one of only three people living on the surface, this is Link’s best chance to make a life for himself outside of killing things.
Ten bucks says his “be aloof” strategy drove her straight to Groose.
And that’s it! So, while romance has never been a main focus of the Zelda series, that doesn’t mean Hyrule doesn’t have a pulse. Link’s made a life out of collecting hearts, and despite all the misfires with the ladies and fish ladies, Link’s still young. He’s just got to get back on that horse and find someone that’s not his horse. After all, it’s dangerous to go alone.
Though you could always choose the bottle…
Indie Games Spotlight: Apple Arcade (Almost) All the Way
We love indie games here at Goomba Stomp – after all, they can offer some of the most groundbreaking, creative experiences out there. However, with so many coming out every single week, it can be hard to know which of them deserve your attention. That’s why we’ve started our new Indie Games Spotlight series, where we’ll highlight some of our favorite new independent games every other week.
Our inaugural issue is dominated by the recently released Apple Arcade. Apple’s ambitious new service has brought with it plenty of standout titles to discuss, including some from respected creators like Devolver Digital and WayForward.
Devolver Digital Joins the Arcade
Apple Arcade is upon us, coming with a slew of stylish indies from a variety of developers new and old. One of the service’s most immediately prominent supporters is the boutique publisher Devolver Digital, which is supported Apple’s platform with some exclusive new titles, two of which we’ll highlight below.
First is Bleak Sword, a compact brawler that takes place entirely in stylish dioramas. Inflicted with a deadly curse, players must traverse through the isometric black, white, and red environments to right the wrongs of their world. The action has been streamlined to work equally well on both mobile devices and traditional gamepads, although it has also been spiced up with some RPG elements like spells to cast and stats to upgrade. It’s available to play now for Apple Arcade subscribers.
The second release is Cricket Through the Ages, which features “inarguably accurate recollections” of the game of cricket throughout human history. Some of its true-to-life scenarios include one prehistoric match between cavemen and dinosaurs, another taking place during a medieval joust, and of course, one in outer space. Featuring simple one-button controls and support for both single- and multiplayer, this historic romp may not be exactly accurate, but it certainly does look ridiculous and fun. It can be played now on Apple Arcade.
Mosaic Paints a Bleak Picture of the Daily Grind
Mosaic is all about one of the most mundane aspects of existence: the daily grind. It takes place in a seemingly pristine world where there’s little more to life than clocking in and out of work and whiling away the idle hours with mindless mobile games. As reality becomes gripped in a “harrowing technological autocracy,” it tasks the player with becoming the lone rebel to shatter the façade.
With its polygonal 3D visuals and subversive narrative, it easily draws plenty of comparisons to Playdead’s iconic Inside, as well as more recent experiences in the same vein such as the excellent FAR: Lone Sails. For those looking for a more introspective, provocative experience, Mosaic should be well worth checking out. It’s available on Apple Arcade now and will come to consoles and PC later this year.
Get your Zelda Fix with A Knight’s Tale
Between the remake of Link’s Awakening and the upcoming sequel to Breath of the Wild, Zelda fans certainly aren’t starved for content. However, if you want even more Zelda-like action beyond what Nintendo is offering, then A Knight’s Tale looks like it could do the trick.
A Knight’s Tale ticks all the Zelda-like boxes: stylized cartoon graphics, a massive world to explore, puzzle-filled dungeons, and simple action-based combat, to name a few. Powered by Unreal Engine and boasting of more than 30 hours of content, it’s looking like a hefty serving of Triforce-inspired goodness. Unlike most other games on this list, no Apple Arcade subscription will be required to play this adventure when it launches across all consoles (yes, including Switch) and PC this fall.
Spidersaurs: Contra Meets Cartoons
Remember being a kid and waking up every Saturday, eagerly anticipating a morning full of colorful, action-packed cartoons? That’s the feeling that Spidersaurs aims to capture from its very first trailer. It presents a post-apocalyptic world that’s being ravaged by mutant dinosaur-spider hybrid and pairs this with a run-and-gun gameplay style that’s reminiscent of classic Contra games.
Perhaps the most notable thing about Spidersaurs is the pedigree behind it. It’s being developed by WayForward, the creators of all-time indie classics like the Shantae series as well as more recent hits like River City Girls. It’s safe to say that whenever WayForward is involved, a quality product is more than likely to result. It should be well worth a look, especially since it’s available now exclusively on Apple Arcade.
Go on an Emotional Adventure with Mutazione
Mutazione offers a completely different type of cartoon experience than Spidersaurs. This narrative-focused adventure game is a slow, laid-back experience populated by otherworldly characters and presented with a delicate hand-drawn aesthetic.
It tackles the topic of growing up, putting players in the role of 15-year-old Kai as she leaves home to care for her ailing grandfather in a mysterious, forested world. It teases a mixture of relaxing slice-of-life activities – making friends, playing music, going to parties – while also alluding to a broader spiritual journey. Like so many other games on this list, it’s available to play now on Apple Arcade. It’s also available for purchase on PS4 and PC, for those who haven’t dived into Apple’s new service yet.
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 Indie Game reviewers.
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