I distinctly recall the first time I ever saw anyone cry because of a video game. It was back in the mid-’90s, and during a game of Marble Madness on the Mega Drive (Genesis, to you folk in the colonies), my friend’s little sister decided she wanted to play Ecco the Dolphin, and just ripped his cart out of the console while he was in the middle of a high score run. While he generally wasn’t prone to emotional outbursts, or even basic empathy (the guy laughed when Bambi’s mum died) on this occasion, as he watched his game seize up and crash, Niagara Falls.
As gaming has evolved over the years, the ability of video games to make us feel things has grown. Where video games used to be about beating your friends in the arcade, they’re now a way of absorbing stories, and escaping to fantastical new worlds. Within the medium of video games, story-telling has grown stronger, the characters more well-rounded, and with player agency being something only gaming provides, the experiences, often, truly unique. Just as movies grew beyond scaring people in the theatre with a train driving towards the screen, games have grown beyond Pac-Man and Pong into a medium that can evoke joy and sadness in equal measure.
So grab a box of tissues, pop the lid off your tub of ice cream, dig out your favourite Morrissey album, and let’s count down the top ten video game tear-jerkers.
Disclaimer: It should be obvious, but there’s going to be spoilers galore in this article. Like, everywhere.
10. Super Paper Mario
The Mario series generally isn’t known for emotional storytelling. Everyone’s favourite Italian plumber is usually too busy collecting stars, rescuing princesses, or committing genocide against the goomba people to hit us in the feels, but that’s exactly what Nintendo wanted us to think when they released Super Paper Mario for Wii. Lulling us into a false sense of security with cute graphics and compelling gameplay in which a flat, or paper, Mario has to negotiate a 3D world by flipping the perspective of the camera, this is a game which has all the hallmarks of a classic Mario game, but then throws a curve ball at the player with a surprisingly moving story.
As the game begins, a megalomaniacal villain named Count Bleck tricks Princess Peach into marrying Bowser, which according to a prophecy, will trigger events leading to the end of days. Of course, there’s only one man who can save the day, and at the behest of a butterfly-like fairy named Tippi, Mario is soon on another adventure. He brings Peach, Bowser and Luigi along for the ride and our four heroes begin battling the minions of Count Bleck, in an effort to stop the entire universe being sucked into a black hole.
As the seemingly simplistic tale of good versus evil chugs along as expected, we’re introduced to visions of two other characters named Blumiere and Timpani; lovers whose relationship was ended by Blumiere’s vile father when he banished Timpani to another realm to starve and die, alone, for no reason other than he’s not a very nice man. Eventually it’s revealed that Blumiere, not content to deal with his recent break-up like everyone else by drinking hard liquor and downloading Tinder, succumbed to his own anger and misery and became the villainous Count Bleck. Now he’s hell bent on destroying, well, everything, because if his life turns to shit then everyone else’s might as well too.
Timpani, it turns out, didn’t die at all, but was rescued by a wizard and born again as the fairy Tippi unbeknownst to Count Bleck. The two are eventually reunited at the end of the game after countless years apart, and the heroes and villains join forces to stop the universe ending calamity instigated by the former Blumiere at the beginning of the game. Alls well that ends well, and the heroes and villains go out together for a celebratory meal. Well, except for Blumiere and Timpani, who are in fact shown to be dead, and now trapped in some sort of afterlife. So that’s alright then.
9. Ether One
Ether One is a first person puzzle game in the style of PC classic Myst that explores the world of dementia using an Assassin’s Creed-esque machine to send our hero, referred to as ‘the restorer’, into the mind of an Alzheimer’s sufferer named Jean in an effort to rehabilitate her, and restore her memories. Led by a pioneering doctor named Phyllis Edmunds, we negotiate the patient’s mind, and we explore events from her past, getting to know a little about her in a dream-like state of colliding memories and eerie recollections of important events. While the obtuse puzzling and the game-breaking bugs are probably responsible for as many tears shed by gamers as the story is, the yarn crafted here by White Paper Games is well worth the price of admission.
As the player uncovers more and more about Jean’s past it’s revealed that she entered into a relationship with a man named Thomas some years ago, although thanks to her failing memory, we learn little more than that, or where Thomas is now. The restorer continues to fix the parts of Jean’s memory that have been damaged by her dementia, and as he does so, the environment becomes more and more unstable, a sign, Dr. Edmunds assures us, that the treatment is working. Just when we think we’re making some real progress, the game decides to kick the player in the plums for being silly enough to think there was any good left in this stinking world.
The twist is that the restorer isn’t actually a restorer at all, because they’re not a real thing, and neither is the machine. No, the game we’ve played up until this point has all taken place in the mind of Thomas, and Dr. Edmunds, when giving him instructions, is actually trying to get him to remember aspects of his own past. Jean was his wife, and I say was, because of course she’s dead, and her death becomes one of the first things Thomas remembers when he momentarily snaps back to reality at the game’s ending. In the words of Cypher from The Matrix, sometimes, ignorance is bliss.
8. Metal Gear Solid 3: Snake Eater
It’s a testament to just how accomplished Hideo Kojima is at making video games that he can take a game as utterly ridiculous as Metal Gear Solid 3: Snake Eater and still manage to give it a genuinely emotional climax. Set in the ’60s and featuring the dad of long-time series hero, Solid Snake, as the lead character, Snake Eater is a prequel that aims to show how the events of the entire series were set into motion in the beginning. Our hero, Jack, AKA the future villain Big Boss, is sent to Russia to rescue a scientist named Sokolov that is allegedly working on some sort of super weapon. Less than an hour into the game, Jack is betrayed by his mentor, a woman named The Boss, who defects to the Soviet Union and joins the ranks of the evil Colonel Volgin, a Russian separatist who promptly detonates a nuclear bomb on his own people, eradicating all evidence of the super-weapon under construction there.
With America and Russia on the brink of World War III thanks to the Russians now believing that the nuclear attack was in fact instigated by the Americans, Jack is sent back into Russia with one goal; prove America’s innocence in this atrocity by bringing down Volgin and his uprising, and killing his teacher, friend, and now enemy, The Boss. Aided by an American double agent called EVA, Jack heads back into the Soviet Union and systematically takes down Volgin’s forces, before the man himself, and eventually catches up to The Boss to face her down in a fight to the death.
Jack wins the fierce battle against his mentor, and as she lays dying on the ground in front of him, puts her out of her misery by shooting her with her own gun. Jack and EVA head off to a log cabin to celebrate their victory with a bottle of claret and a couple of rounds of bedroom gymnastics, before Jack wakes in the morning to discover EVA gone, with only a note left to explain the situation. EVA, it turns out, was actually working for the Chinese all along, and only helped Jack to get her hands on Volgin’s private fortune. As if that wasn’t bad enough, she then drops the bombshell; The Boss never actually defected to the Soviet Union at all. It turns out that The Boss was also sent to retrieve Volgin’s private stash of money for America, but when Volgin nuked Russia, and World War III was looming, her mission required her to be killed by her own student to prove her country was innocent in the whole affair, and go down in history as one of the most hated war criminals of all time to boot. Unable to deal with his mentor being used as a scapegoat by the country she served until her last breath, Jack begins his turn to the dark side that will eventually lead him to do battle with Solid Snake.
7. Shadow of the Colossus
Shadow of the Colossus‘ approach to story-telling is to barely tell you a thing, and let you put the pieces together yourself mainly from what you see throughout the game. Taking up the role of a boy named Wander, the goal of Shadow of the Colossus is to revive a poor girl who has slipped into some kind of coma. How do you revive a comatose girl? Apparently, by making a deal with a sinister spirit, who claims that if you kill sixteen giant beasts known as Colossi, that will somehow get the job done.
So Wander rides off on his trusty steed named Agro to set about killing these vile beasts. Only, when he arrives at the first Colossi, he discovers that not only is it a magnificent, towering creature, but it’s also pretty friendly, showing no signs of hostility toward the player whatsoever until Wander sticks an arrow in it’s neck. The game proceeds with many of the Colossi not actually posing any threat to the player until Wander initiates the conflict, which gives the player, if they have a heart, the feeling there’s something not quite right about all this.
As each Colossi is murdered by the player, Wander becomes noticeably sicker and sicker, signifying that this probably isn’t going to end well. At the end of the game, he rides off to face the last Colossi, before succumbing to his sickness, transforming into a hideous beast, and being murdered by soldiers. Oh, and his horse falls off a cliff too. Thanks for that.
6. Persona 4
Persona 4 is generally considered a lot more upbeat than Persona 3, but there’s a couple of moments in the later portion of the game that will still have you reaching for the Kleenex. Taking on the role of a transfer student from a big city in Japan, the player moves into the country house of his uncle, Dojima, and his cousin, Nanako. As the story progresses, our nameless hero and his new-found school friends uncover a sinister mystery involving a serial killer, and must do battle with creatures from a secret world inside the television to save fellow students and friends from certain death.
Towards the end of the game, it’s revealed that our cousin Nanako has been kidnapped, and she’s the next potential victim of the serial killer. So the protagonist races to her aid, confronts the kidnapper in the TV world, kicks his ass, and brings Nanako back to reality. In a normal game that would be a pretty good ending, but in Persona 4 it’s the beginning of the worst ending in the game, as when you get back Nanako dies anyway, and the protagonist and his friends murder the kidnapper, who as it turns out, is actually innocent and not the killer at all.
Games have used the good, bad, and true ending system before, but Persona 4 handles it a little differently in that the requirements to achieve the better endings are so obtuse that almost everyone who plays the game will be lumbered with the bad ending on their first play through, before furiously Googling how to make it all better. Getting the bad ending after sixty or so hours of game is soul-crushing, as you watch a six year old girl cough and splutter her way to death in front of her widowed father. Oh, and even though you’re cousins, she calls you “Big bro” too, just to really twist the knife. Fortunately, reloading the game and making a few different choices get you a much, much, much happier conclusion to the game, but not before the bad ending has mentally scarred you forever.
5. The Last Of Us
It’s difficult to evoke an emotional response from people in the early goings of a story, because if they haven’t had a chance to become emotionally attached to the characters, any attempt to pull at the heartstrings usually fall flat. But as Pixar proved with Up, if you do it properly, you can have them blubbering inside fifteen minutes, and it’s to Naughty Dog’s credit that they managed a similar feat with the absolutely harrowing opening to the PlayStation exclusive instant classic, The Last Of Us.
As the game begins we control a young girl named Sarah, who is talking to her father, Joel, about his birthday. The writing and the performances are absolutely perfect here, with the scene giving the player a feeling that there’s a genuine warmth between these two characters in just a couple of minutes, and doing so more convincingly than some games manage in their entire running time. Of course, this isn’t a list of the most charming family moments in video games, so everything goes to hell, real fast.
Cue fungus-zombies, explosions, and sustained, abject horror. As Joel and Sarah try to escape the town as it becomes overrun by the infected, they meet a soldier who tells them to stop where they are. The soldier whispers something about one of them just being a kid to his commanding officer, and it soon becomes abundantly clear that the army isn’t taking any chances here. Despite the best efforts of Joel, Sarah is gunned down in cold blood, with Joel’s brother killing the soldier in retaliation. After the brief exchange of gunfire, there’s just enough time for Joel to watch his only daughter die in agony in his arms before the opening credits start rolling. Hello darkness, my old friend.
4. Final Fantasy IX
Final Fantasy IX is, on the surface, a lot more light-hearted than the other two PSone Final Fantasy games – the often angsty Final Fantasy VII, and the always angsty, Final Fantasy VIII. But what makes Final Fantasy IX such a compelling game is that beneath the cutesy character designs and the whimsical first few hours, the main story touches on some fairly meaty subjects. One such subject is existentialism, as three of the major characters, Zidane, Vivi and the flamboyant villain Kuja, have all been built, rather than born, to be used in war.
The crux of the story is that the three characters all deal with the nature of their existence in vastly different ways. Kuja loses the plot and decides that if they want a war, he’ll give them one, by basically ending the world. Zidane has a bit of a crisis towards the end of the game but is eventually talked round by his friends. And Vivi spends most of the time wondering if he, as a black mage, a tool created for war that has since gained sentience, could ever truly be alive. As the game progresses, Vivi meets other black mages that have become self-aware, living in isolation in a small village. Talking to the mages he discovers that some of their fellow villagers have previously, randomly, stopped working, and the tribe are forced to confront the harsh reality of the situation; life doesn’t go on forever, and black mages, apparently, have a fairly limited life expectancy.
As the game ends and Kuja is defeated, the party celebrates in the city of Alexandria. We see various characters from the game in many different, often amusing scenarios, as text rolls on the screen giving the player heartfelt thanks. As we learn the fates of the main characters, there’s one character we don’t see. Vivi is nowhere to be seen, and it becomes clear that the text on screen is actually a letter from Vivi thanking Zidane, with Vivi having presumably died before the ending takes place. Thanks a lot, Square Enix.
3. Mass Effect 3
Mass Effect 3 broke the hearts of gamers around the world when they played it and found out that the rushed, nonsensical ending was absolute pigswill. But for all the faults of Mass Effect 3, there were some things that Bioware really nailed, and one of them was the quest-line on Tuchanka featuring everyone’s favourite Gilbert and Sullivan singing Solarian, Mordin Solus.
In order for Commander Shepard to secure an alliance with the Krogan people, an essential part of his strategy to take on the Reapers, they demand that he help them cure an illness that blights their people and stops them breeding, known as the genophage. There are numerous ways to complete this quest-line, as is usually the case with Mass Effect, but the one with the biggest gut-punch involves Shepard being given an offer by the Salarian high command; they’ve sabotaged the plan to help the Krogans as they’re scared of them breeding at an uncontrolled rate, and they want Shepard to help protect their secret.
Of course, if you’re not a bastard, Shepard tells the Krogan about the double-cross, and the Salarian doctor, Mordin Solus, agrees to defy the wishes of his own people in order to do the right thing. As the cure is ready to be dispersed into the atmosphere, lo and behold, the machine they’re going to use to spread the serum is broken, and only Mordin can fix it. It’s in a tower that’s becoming unstable rapidly, and so both Shepard and Mordin know it’s going to be a one way trip for the good doctor. They say their goodbyes, and Mordin sacrifices himself for the good of the Krogan people, and the galaxy, humming Gilbert and Sullivan to himself as the laboratory explodes around him. While some would argue that Mordin getting blown up was actually a lot kinder than the way the majority of the cast was treated in the divisive, controversial third game in the trilogy, his noble sacrifice was surely one of the most emotionally charged moments in the series to date.
2. Metal Gear Solid 4: Guns of the Patriots
The Metal Gear Solid series is known for being many things. It’s ridiculous, overblown, and the cut-scenes can sometimes go on a bit. From the first game in the series on the original PlayStation, to the fourth on PS3, there’s been happy times, sad times, and times that were so confusing that we weren’t really sure if they were happy or sad. But while most games in the series are generally a fairly even balance between lighthearted action and melodramatic tragedy, MGS4 is surprisingly downbeat from start to finish.
Series hero, Solid Snake, has for reasons unknown to him started aging rapidly. Even though it’s only a handful of years since his adventures in MGS2, he looks about twenty years older. Sporting an old man moustache and suffering from a bad back and a smokers cough, Snake comes out of retirement for one last job; to take out series uber-villain, Liquid Ocelot. Watching a beloved character like Snake struggle on through the game is genuinely quite upsetting, made worse by the fact that series creator Hideo Kojima had announced before release that this would be the final game starring Solid Snake, implying death could be in the cards. The feeling of bad things about to happen hangs over this game right from the opening credits.
So what happens then? Well, Snake meets his mother for the first time, and she dies about fifteen minutes later. Naomi Hunter returns from the first game, helps Snake for a bit, then dies. Otacon has fallen in love with Naomi, so he’s crying again. And again. Raiden returns, looks like he’s going to die about eight times, but somehow survives for the entire running time. It’s just one downer after another, culminating in an absolutely brutal scene where Snake has to make it through a corridor that is blasting him with microwaves. As he’s being cooked from the inside out, and crawling desperately for the door, it’s practically impossible to not feel something for the legendary hero.
Snake does make it through the microwave crawl, he fights Liquid Ocelot to the death, and then saves the day. After he’s warned by Naomi earlier in the game that his body contains a virus that will start spreading to other people within six months, Snake decides to take matters into his own hands and just blow his own head off for the good of humanity. But just as he’s about to do it, his long presumed-dead father, Big Boss, returns for a touching reunion. Oh, and then he dies about five minutes later.
1. The Walking Dead: Season One
Few games are as relentlessly bleak as The Walking Dead by Telltale. Like the graphic novels that inspire it, the game paints a depressing picture of a post-apocalyptic world in which zombies are making a nuisance of themselves, and humanity continually screws things up in an attempt to survive. The game is played from the perspective of a convicted murderer named Lee Everett, who is being transferred to prison when the outbreak kicks off, and is freed following a zombie-related car crash.
He soon meets a young girl named Clementine who has been left with the baby-sitter while her parents are away in Savannah. Once the baby-sitter starts getting a little bit bitey and Lee has to flatten her head for her, Clem follows Lee on the road and the two strike up a genuinely touching friendship that lasts the remainder of the game. Clem has nobody as it becomes obvious very quickly via a series of answer phone messages from her mother that her parents are likely dead, and early in the game Lee discovers that his entire family too has gone the way of the dodo. The two new friends make quite a team, as Lee looks after her, and eventually, teaches her how to survive against the titular walking dead.
Given the tone of the game from the outset, it’s pretty much a given that things probably aren’t going to end well, and the game makes sure to remind you of that fact by icing characters left, right and center whenever the opportunity presents itself. Eventually, heading into the final portion of the game, the gang find themselves in Savannah, and Clem runs off alone to see if she can find her parents. Lee, not having had the heart to tell her that her parents are dead, immediately goes looking for her, but is bitten on the arm soon after.
So Lee, knowing he’s on the way out, struggles on to find Clementine, getting sicker by the second. One by one, his friends are removed from the group either by death or separation, and Lee goes on alone to rescue Clem from her predicament, before promptly collapsing in the street. As he wakes, Clementine, using her survival skills that he taught her, has managed to rescue him and drag him to safety. Only now they’re locked in a room together, and Lee hasn’t broken the news to her that he’s about to turn into a zombie and eat her if she doesn’t do something about it.
The last portion of the game makes the rest of it look like an episode of Teletubbies in comparison, as it dials the bleakness up to eleven. It’s next-level bleak. It’s too-bleak. It’s like that song from Watership Down being covered by Radiohead-bleak. It’s absolutely awful. And so Lee has to explain the situation to Clementine; he’s dying and there’s nothing either of them can do about it. And if he does die, he’s going to turn into a zombie and eat her. Predictably, she doesn’t take the news well, and her reaction is soul destroying. Ultimately, whether you decide to have Clem shoot Lee and put him out of his misery, or leave him to his zombie-fate, the results are the same; there’s not a dry eye in the house.
Games like The Walking Dead and the others mentioned here are making great strides in emotional story-telling, and they’re not alone. There’s dozens of games like Journey, Limbo, Thomas Was Alone, and more, that are doing new and exciting things when it comes to telling a story in video games. While there’s still plenty of games that are content to give you a gun and direct you toward people who need shooting in the face in order to progress (and there’s nothing wrong with that), its nice to see that we’re getting the other side of the coin too, with thought provoking, emotional experiences becoming more and more common. Oh, and if you’re wondering where Aeris is, I never liked her anyway.
This article was originally posted on www.soundonsight.org
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.
‘Borderlands 3’ Looks to the Stars While Stuck on the Ground
After a long hiatus, Borderlands returns… pretty much the same as it always was, for better or worse.
Borderlands 3 is one of the most bizarre gaming experiences of this generation, a highly-anticipated, long-awaited sequel clearly feeling the pressure of living in its predecessor’s enormous shadow. Both beholden to its past and searching for its future, Borderlands 3 is a strange amalgamation of abundantly familiar elements and a few new ideas, most of which never truly find harmony with each other during the game’s lengthy campaign.
Borderlands 3 is perfectly content to just be more Borderlands, with all the expected thrills and frustrations one would expect from that philosophy.
In its attempts to look forward and backward at the same time, Borderlands 3 ends up feeling like a series of half-measures, a collection of systems and story beats that, in the few moments they’re able to take evolutionary steps for the franchise, feel like there’s still room for the now decade-old series to grow. Unfortunately, across the 50+ hours I’ve spent traversing, shooting, and constantly marking items for junk in my inventory, Borderlands 3 hasn’t offered those moments nearly enough, too often falling victim to its old habits, using its legacy as a crutch, rather than a device to propel the franchise into its (admittedly uncertain) future.
It doesn’t help Borderlands 3 front loads some of its worst writing; the opening act of the game is gratingly awful, hammering away at the same few punchlines for its characters as players embark on the series of fetch quests that comprise the game’s opening hours. Beginning some unidentified amount of time after Borderlands 2, Borderlands 3 opens on a war-ravaged Pandora enraptured by its inhabitants latest obsession: the Calypso Twins, who have seemingly galvanized the majority of the Crimson Raiders in their quest to… well, we’ll talk more about the Calypso Twins, and their role in the story, a bit later.
Early on, Borderlands 3 is desperately trying to prove to the audience it is still the same ol’ Borderlands, interrupting its genitalia references to break the fourth wall and acknowledges that yes, we’re once again beginning with a series of annoyingly spread-out fetch quests to introduce characters and establish tone. But the delivery of the game’s typical blend of meta humor and pop culture references feels stale on arrival; the lengthy fetch quests just feel like simplistic mission design, and “big dick energy” jokes just don’t hit like they used to in 2019.
(There’s also an entire plot line built around Ice-T as a sentient teddy bear, who calls his in-game wife a bitch constantly, in between dick jokes. It’s as terrible as it sounds.)
Borderlands 3 quickly establishes these abundantly familiar rhythms – and then, surprisingly, doesn’t do much to expand upon them through the rest of the game’s main campaign. Though Gearbox has called this title “the big one” in the past, it doesn’t feel like a major step forward in any sense of the word – and at worst, Borderlands 3 occasionally feels like a regression of what it does best, a slow burn of slight disappointments which add up to a confounding experience.
There’s also Borderlands‘ absolute dismissal of Twitch culture; as the introductory chapters of the game catch players up on the Calypso Twins’ sudden accrual of power, Borderlands 3 has a strangely “old man yells at cloud” feeling to it (to myself borrow an overused meme for a moment), an odd feeling for a game that prides itself on its own (debatable) edginess and camp.
The Calypso Twins are built around the stereotypical cult of personality associated with the biggest streamers of the world – and boy, does Borderlands 3 not spare an ounce of vitriol for the admittedly complicated, often disturbingly regressive world of streamer culture (though they do have a weapon that is a direct Dr. Disrespect reference, and also feature some of the most elaborate Twitch integrations of any modern game). But Borderlands 3 admonishes creator and follower alike with an empty dismissal of the “influencer” – in a rather bleak application of its signature nihilism, it buries any kind of interesting exploration of the Twins- as either characters or societal critique – under a thick layer of cynicism.
It never really even contemplates their place as unifers in a galaxy full of corporations addicted to war profits, under a thin, cynical veneer of disregard for their place in any culture, Pandorian or human – its critique of streamer culture ultimately just feels empty. At times, it even feels hypocritical; unsurprisingly, Borderlands 3’s consistently been one of the most-watched games on Twitch since before its public release last week (plus again; there are multiple streamer-related references sprinkled through the game). It’s contradictory at best – and when considering how thin the public personas of Troy and Tyreen are actually defined outside of “shitty streamer people and their shitty followers”, it just feels weird.
Like the story, the shooting and looting of the game is immediately familiar, though it is a much more welcoming feeling: the single biggest improvement to Borderlands 3 is the shooting, which feels tighter and heavier than it has the previous three entries in the series. If there’s a truly transcendent evolution of the game’s formula, it’s found here: the shooting is simply magnificent from the word go, especially with the new traversal elements of mantling and power sliding, movement options that do wonders to bring life to the game’s many, many, many, many engagements with massive groups of enemies, hidden baddies, and massive (-ly lengthy, though mostly well-varied) boss encounters.
The class selection is also fantastic; there’s a distinct rejection of Borderlands 2‘s semi-linear class system, with each of the game’s four characters featuring multiple unique skill trees players can utilize to create an impressive diversity of builds with. There are hints of old characters in Fl4K, Zane, Amara, and Moze, but those elements are welcomely remixed and expanded upon, in creative ways I just wish the rest of Borderlands 3 would take a hint from; I’ve never had so much fun switching between characters in a previous game, experimenting with the intersections of their diverse ability sets, and seeing how the game’s Legendary and Anointed equipment rarities can further those builds is easily the most satisfying part of the game (though admittedly, all four classes take until about level 30 before they truly unlock their mechanical potential).
It is worth noting the game’s technical performance is as inconsistent as its narrative; for a game that’s been in development for so long, Borderlands 3 feels particularly unpolished for a finished product – hell, between writing and editing this review, I lost a collection of 50 legendary items out of my storage bank because of a widespread bug, kind of an unforgivable mistake for an entire game built around loot hunting.
Outside of the major performance issues widely-reported since the game’s release – including the virtually unplayable “Resolution mode” on Playstation 4 Pro – Borderlands 3 is ripe with the glitches of the past: broken mission objectives, inconsistent AI companion pathing – and, as an added bonus, the expected bevy of Unreal Engine quirks (like falling through the map multiple times). Though it seems like a small complaint, waiting 5-7 seconds for your in-game menu to load in every few minutes in a 2019 video game quickly becomes frustrating, one of many examples of Borderlands 3‘s many rough edges.
(Playing as Moze in multiplayer was a particular low light: from the gravitational physics of my character completely breaking, to glitches that rendered my player utterly unmovable, Borderlands 3‘s co-op modes are frustratingly janky, to the point split-screen co-op is almost unplayable in its current state.)
But the most frustrating part of Borderlands 3 is (outside of the character classes, of course) how risk-averse the entire affair is; in terms of mechanics and systems, it is mostly an integration of Borderlands 2 and the new elements of The Pre-Sequel, with a couple of light improvements around the edges. For example, there are now gear scores attached to every item a player picks up; there’s still no way to effectively manage an inventory, or even a consistency to how the scores are formulated, but hey, at least there’s kind of a way to compare gear (which one will do constantly, since inventory management is a still a hot mess).
For every tiny improvement, there’s a concession attached to it; a great example is the game’s map and mission tracking systems. While the map now shows the topography of each area, a useless mini-map and a thoroughly aggravating menu UI make juggling multiple missions an absolute chore (even though one can switch missions on the fly with a touch of the button, there’s no way to see multiple objectives on the map, or even switch between them while in the map menu).
This persists across the entire Borderlands 3 experience: and as the tale of the Calypso Twins and the Great Vault lurches through its interminably lengthy second and third acts, it begins to wear on the experience. For better or worse, Borderlands 3 further entrenches itself in the habits and rhythms of Borderlands 2 – which, after seven years, begins to feel stale in areas, frustratingly reluctant to change, or even reflect on its well-established sensibilities (or on itself; there are literal jokes made about CEO Randy Pitchford’s many controversies, which are… uncomfortable at best). And while the game certainly demonstrates the effectiveness of carefully refining its (rightfully celebrated) mechanics, its absolute reluctance to take creative risks begs the question of why it took so long to bring this game together (or, at the very least, begs the question of whether Gearbox really wanted to do a Borderlands 3 at all, and only green lit the project after the overwhelming failure of Battleborn).
As the game moves through its middle chapters, it just feels lacking in a way Borderlands 2 never did, even with its predecessors own inconsistent humor and pacing. Though ostensibly a journey spread across the galaxy, featuring a massive cast of familiar and new characters, so much of Borderlands 3 feels small and isolated. Every area of the game is broken up into tiny segments, covering small areas of these seemingly massive planets – an experience itself constantly broken up by lengthy loading screens and regular back tracking, which doesn’t exactly vibe with the game’s epic, world-hopping scope.
The absence of the player-characters in the central narrative is another head-scratching omission; despite the inclusion of unique dialogue for every character throughout the game, the four main personalities of Borderlands 3 feel underdeveloped – a problem that persists considering how little they’re seen during the most important moments of the game. They’re explicitly excluded from so many of the game’s cinematic moments, they almost feel absent from the game’s actual story (despite the inclusion of unique dialogue for every character throughout the game, an experiment that pays off to mixed results).
I think about the ending of Borderlands 2, and how much potential it held for the future of the series: the promise of exploring entire planets with friends, finding Vaults and hidden pop culture references was almost breath-taking in its ambition. With its series of linearly-designed, stunted “zones” and limited planet selection at launch, Borderlands 3 never really harnesses the long-gestating potential for growth; and as the story begins building towards its climactic moments, it only further highlights the creative dissonance that plagues so many aspects of the game.
The clearest distillation of Borderlands 3‘s identity crisis is found in the game’s story, which struggles to justify itself as something more than just “another” Borderlands game. It is torn between its desires to attempt something new (at least, at times), and the emotional attachment it knows the audience has with the characters, rhythms, and memorable moments from the first three games of the series. It leads to a story that often follows a template: travel to new area, meet familiar old character for a mission, fight through a series of gently-guiding corridors while constantly staring at the map, rinse, and repeat for thirty-five hours.
Save for the occasional interlude and amusing side story – though that often finds itself stuck in its own loop, with a collection of ancillary characters who either wants to remind you how funny poop is, or how much people in this world enjoy murder and death – to the point its cynical nihilism is no longer humorous, and eventually becomes exhausting.
Sure, there are a couple new characters introduced, but they’re left to the fringes of the main narrative, which is, for all intents and purposes, a retread of Borderlands 2‘s major beats. Yes, it occasionally attempts to subvert expectations, but mostly by presenting a mirrored version of the series’ previous events – where Borderlands 2 was about an evil father manipulating their disgruntled child and the Vault Hunters, Borderlands 3 is basically about mad children manipulating their father and the Vault Hunters – but it is satisfied to simply just be that story, and not much more (and at times, even becomes wholly illogical… remember The Watcher and their foreboding warnings? Neither does Borderlands 3, apparently).
There is one particularly strong section of story, however, and it comes in an unexpected place: after serving the role of enigmatic mission giver (and named member of the Borderlands 2‘s lamest DLC), Sir Hammerlock’s arc in the middle section of Borderlands 3, while disappointingly divorced from the central events of the game, is emotionally propulsive in ways none of the other story is, a moment where Borderlands 3‘s themes find their voice for a too-brief amount of time.
Part love story, and part exploration of the intersections of family and legacy, Borderlands 3‘s tale of Hammerlock and the Jakobs family is so satisfying,the one time Borderlands 3 stops screaming at the player in its desperation to be funny or surprising. For a few hours,the overwhelming nihilism of Borderlands‘ eternally cynical world view melts away, and the series truly offers something akin to hope and possibility in its world. It represents the beautiful essence of Borderlands expansive set of characters, companies, and legacies, and is the rare moment where Borderlands 3 finds harmonic brilliance between its shooting, looting, joking, and genuine attempts at emotional beats.
But like most of the other familiar faces in Borderlands 3, Hammerlock’s story is contained to his few chapters on his home planet; for a game that ultimately turns on a story of family and shared purpose, there’s so much of Borderlands 3 that just feels like it is missing the mark, or ignoring it altogether. Outside of Lilith and Claptrap (and for a brief time before her quickly-forgotten disposal, Maya) none of the game’s previously playable characters factor into the narrative in any way – hell, most of them, like Axton, Gaige, Salvatore and Krieg, don’t appear or are barely mentioned at all, which kind of takes away from the game’s attempts to be an all-encompassing adventure through the history (and theoretical future) of its surrogate family of bandits, adventurers, scientists, and adventure seekers.
Instead, there’s a lot of focus put on a handful of underwhelming new characters (including Ava, the game’s single biggest missed opportunity relegated to Whiny Teen tropes), only occasionally interjecting those sequences with familiar faces: multiple major characters of the series have precisely one mission dedicated to them through the story, which again feels like Borderlands 3 lacking confidence in its own identity, unable to commit to forging new paths, and instead peppering serotonin-laced doses of nostalgia across the story as a half-measure to cover up that Borderlands 3 really has nothing new to say about its world, its people, or the story it’s been telling now for a decade.
Borderlands 3 is perfectly content to just be more Borderlands, with all the expected thrills and frustrations one would expect from that philosophy. That doesn’t make it an abject failure, of course: it’s still a game I’m going to play for hundreds of hours with my friends, thanks to the sheer diversity of gun play and character builds (it is a sequel to one of my favorite games of all time, after all) – but there’s a distinct feeling Borderlands 3 could’ve been so much more than… well, just more of the same Borderlands. Seven years after its last mainline entry (and five after its forgettable, under cooked “pre-sequel”), just being Borderlands one more time makes it feel like a series stuck in the past, retreating to safe waters by simply remixing the old game… with a strangely newfound (and ultimately, superficial) hatred of streamer culture layered on top to feel relevant in 2019.
That allegiance to the past ultimately comes at a cost; it makes the few moments Borderlands 3 tries to evolve stand out in stark contrast to the rest of the game, complete 180’s in emotional tenor that are never met by equal risks taken in gameplay design, or the construction of the main narrative. When the dick jokes and meme references subside, there is an emotionally satisfying core deep inside Borderlands 3, one that highlights the spaces in between the game’s consistently enjoyable shooting and looting gameplay loop (there’s a particular photo I discovered in the game’s later moments that literally brought me to tears, a quietly poignant and beautiful moment this game desperately needs more of).
But that version of Borderlands 3 only comes out in fits and starts, often hindered by the series’ allegiance to its old identity, one that time, and most of the gaming industry, has passed by (at least, during the main story; I’ll be back next week with thoughts on the post-credits/endgame experience). There is a great version of Borderlands 3 somewhere, a more driven action-RPG with a tighter campaign experience, a more ambitious, fully-formed story, and a true expansion of its celebrated mechanics to marry to the game’s wonderfully diverse class set and enhanced movement options. It’s just not this inflated, safe iteration of the series, one that drowns its few iterative innovations in a sea of repetitive familiarity.
Could Apple Arcade Be the Best Gaming Subscription Service Yet?
Gaming has its fair share of subscription services, but with its flexibility and clarity, Apple Arcade could be among the very best.
Gaming has moved beyond consoles and physical storefronts. The past few years have seen the birth of ambitious new projects like Xbox Game Pass and Google Stadia, which aim to change the way you play your games. Apple has now entered the fray with a subscription service of its own, Apple Arcade. This might look like little more than yet another effort from a major company to capitalize on major trends, but in reality, this new project has the potential to be the best gaming subscription platform yet.
So…what is it?
Apple Arcade is a basic concept: for $5.00 per month, you gain access to an expanding library of games that can be played across all Apple devices, including Mac, Apple TV, iPhone, and iPad.
Compared to other subscription platforms out there, Apple Arcade is refreshingly simple. Unlike Xbox Game Pass, you don’t need to spend extra money to play your games on additional platforms; for that one monthly price, every game can be played across every one of your Apple devices. And unlike Google Stadia, a solid internet connection isn’t required to play your games. Every title on the Arcade can be natively downloaded onto the device of your choice and played regardless of the strength of your WiFi.
The mention of iPhone and iPad may have already set some readers on edge – after all, the gaming community can’t agree on much, but it has generally determined that mobile games aren’t always the best. They rarely provide the same caliber of experiences as console or PC games, so why would anyone want to spend a monthly fee to play a bunch of mediocre mobile games?
However, Apple Arcade is intensely curated to provide a high quantity of stylish, memorable games from some of the most respected creators in the field. For instance, famed indie publishers like Devolver Digital and Annapurna Interactive are fully on board, with multiple exclusive games planned to launch with the service. That’s not to mention the sheer number of highly anticipated indie games like Overland, Sayonara Wild Hearts, and Shantae and the Seven Sirens that will be included in the Arcade. Appple’s website promises that more than 100 different games will be available to play over the course of the launch period this fall, so if the game library can keep up this quality, then it could be promising indeed.
What makes Apple Arcade so special, anyway?
It seems like every company and their mother has a storefront nowadays. Ubisoft, Blizzard, Epic, and even Rockstar have all debuted platforms of their own, while Google Stadia is trying to remove traditional platforms entirely. In such a crowded environment, how can Apple Arcade possibly stand out? Simply put, Apple Arcade is already set to be the most flexible and easy-to-understand gaming subscription platform yet.
Every one of the many subscription platforms out there touts its “flexibility” in allowing you to choose what games to play and where to play them. Apple Arcade does the same thing but with one major difference: less limitations. As mentioned earlier, each game can be downloaded directly onto your device, and with save data being stored in the cloud, progress can be carried on between every one of your Apple products. Meanwhile, platforms like Google Stadia effectively shut down without constant WiFi access.
In terms of price, Apple Arcade continues to stand out. For $5.00 a month, you can play over a hundred unique titles. Compare this with the $15.00/mo price of Xbox Game Pass or the $10.00 subscription price of Google Stadia Premium, and Apple Arcade easily comes out on top (that’s not to mention that you still have to pay for Stadia games individually on top of the monthly fee). For reference, a year of access to the more than 100 games in Apple Arcade costs the same as the retail price of a single triple-A retail title. You won’t need to invest in a new controller either, since PlayStation and Xbox gamepads are fully supported.
Even when it comes to the games included, Apple Arcade should stand out from the crowd. Stadia may already have some massive third party blockbusters like Cyberpunk 2077 and DOOM Eternal, but they don’t offer much incentive to be played on Google’s streaming service instead of traditional consoles or PCs. On the other hand, Apple Arcade’s low price point and more practical flexibility offer a compelling reason to play games on Apple’s service instead of purchasing them individually on other platforms. That’s not to mention the handful of exclusives available at launch or coming soon after, from famous minds like SimCity creator Will Wright and the father of Final Fantasy himself, Hironobu Sakaguchi.
The world of gaming certainly has more than its fair share of subscription services. Yet Apple Arcade stands out for its clarity, its accessibility, and its remarkable library. With these factors combined, it could become the very best gaming subscription on the market.
Sirfetch’d is the Leek ‘Pokémon Sword’ Needed
Fortunately, Pokémon Sword specifically, has given more reason than just filling the pokédex for future Galar trainers to go seek out this elusive duck. Meet Sirfetch’d!
Ever since we were chasing pokémon around the tall grass of Johto, it was obvious that among the Kanto pokémon given evolutions, Farfetch’d was the one that had been forgotten. A pokémon with more dishes than moves, Farfetch’d had the usability of a fork scooping water, becoming a time-dwindling nuisance due to its rarity. Fortunately, Pokémon Sword specifically has given more reason than just filling the pokédex for future Galar trainers to go seek out this elusive duck. Meet Sirfetch’d!
Sirfetch’d is easily one of the best-designed pokémon for Pokémon Sword and Shield that has already been announced. With a sword and a shield made from its previous garnishing, and a prideful stance that oozes confidence, Sirfetch’d genuinely looks like the next stage of evolution from the woefully inept Farfetch’d. What we don’t yet know is its stats and, as a consequence, what tier it will be in competitive gameplay. But what we do know is it will be a fighting type with the ability steadfast, much like the fellow knight Gallade. Its signature move, Meteor Assault, will be debuting in Pokémon Sword and Shield, which inflicts heavy damage that forces the user to recharge the next turn.
The announcement of Sirfetch’d only creates curiosity as to who its opposing pokémon will be in Pokémon Shield. It’s doubtful that there will be another evolution for Farfetch’d, as Sirfetch’d is shown already in command of a shield, so the play on sword and shield will not feature in a twin evolution. The likelihood is another pokémon that has been neglected for so long, and in dire need of a renaissance in the franchise; something like Dunsparce from generation two would be ideal, considering that, like Farfetch’d, it manages to be both rare and pointless.
What has made the addition of Sirfetch’d and some of the other Galar region pokémon so appealing is their alignment with the inspiration and theme behind Pokémon Sword and Shield. Sirfetch’d breathes the nature that the games are trying to convey, but so does Corviknight in its chivalrous demeanor. Crucially for Corviknight, it’s another hint at a Victorian England inspiration behind Pokémon Sword and Shield; the raven in the Tower of London is as iconic as the factory chimneys that tower above Galarian form Weezing. Even the possessed teapot is taking a less casual approach to the stereotype.
But honestly, it’s quite charming to see so much inspiration derive from a region of the world. Kalos was inspired by France, but the only pokémon that conveyed a French stereotype was Furfrou, which feels like a missed opportunity in hindsight. If Pokémon is to continue using regions of the world as the inspiration behind their generational games then, from what we’ve seen so far, Pokémon Sword and Shield could be ideal templates.
That’s not to say there haven’t been any poor designs. The two legendaries, Zacien and Zamazenta, are the rather generic canid legendary pokémon. Rolycoly looks like the love-child of Beldum and Minior, while Impidimp looks like it fell off the pages of a lost Atom Ant storyboard from the sixties. However, if there weren’t contemptuous new pokémon in Pokémon Sword and Shield, then the games would exist without reliable antagonists; getting through Pokémon Moon without the humorous Bananarama Dugtrio would have been an emptier experience. That is why it is easy to accept an Impidimp as long as there is a Sirfetch’d.
This is partly why it is easier to look forward to Pokémon Sword and Shield than it was to Pokémon Sun and Moon. There was a slight drop in pokémon design quality from X and Y to Sun and Moon, while so far, the designs in Sword and Shield have improved from Sun and Moon. The announcement of Sirfetch’d only confirms that designs have at least been slightly improved and we can await with great anticipation for what pokémon the opposing exclusive will be in Pokémon Shield.
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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TIFF 2019: ‘True History of the Kelly Gang’ Examines a Criminal’s Upbringing