Wednesday, September 25, 2019

MIDI Week Singles: "Requiem Ending" - Penumbra: Requiem (PC)


"Requiem Ending" from Penumbra: Requiem on the PC (2008)
Composer: Mikko Tarmia
Developer: Frictional Games



And wee have used Mikko Tarmia's music before here earlier in the year with "Catherine's Theme" from SOMA, and back in 2016 with "Lux Tenebras" from Amnesia: The Dark Descent, so I thought it only fitting to use this song from Frictional Games' first series, Penumbra.

Similar to the music that Mr. Tarmia composed for Amnesia: The Dark Descent, a lot of the music in the Penumbra series is there to create an atmosphere of dread and fear, without the call for such dramatic scores like what Jason Graves wrote for the Dead Space series.  What I love about "Requiem Ending" is that it not only works as a cap for the series, but there is also a sense of longing once the vocals come in at 0:26 and then that feeling is amplified when the cello (I'm at least pretty sure it's a cello) comes in at 0:47.  And I feel like it is not until a minute into the song that we are given the first glint of a melody which is only played a couple of times before the song fades out and ends.

It has been some time since I last played Penumbra: Requiem and listening to the soundtrack, it is hard to place times when specific songs played during the game, but I know that I can always count on Mikko Tarmia's scores to be effective in establishing tone, even when using the barest hints of melody.



~JWfW/JDub/Jaconian

Monday, September 23, 2019

Mass Effect 2: Or Why I Thought I Stopped Playing Mass Effect 2 Four Years Ago, And How I Almost Started All Over Again - A Think Piece



EA/BioWare: To Hell With Your Key-Bindings. Just Do What We Tell You.
This is going to be an interesting article.  I had another one fully written, all 1,148 words of it put down and looking quite charming.  There were sections about starting the game twice, once before importing my character from the first Mass Effect and once about the importing process.  There was another bit about how annoyed I was that the game, when booted up through Steam, was not recognizing that I had bought the Deluxe Edition and that none of the associated DLC expansions seemed to be available.  There was a section, where I kvetched about my relationship options from the first game not being available in the second because Liara was only available through one of the DLC expansions (being the reason that I started writing that first article in the first place).  There was a section where I touched on how I felt that all Mass Effect 2 was, was a dating sim with a Mass Effect skin.  And there was even a part, rightfully justified mind you, about the game not recognizing any of the key re-bindings I had so meticulously done.  I had all of this down and ready to post last Friday and then it all came to a grinding halt when I realized that I was not at all accurate in my reasonings for not enjoying Mass Effect 2 after further research.

This adventure of discovery started when I went looking on my computer for the screenshots folder normally located somewhere in the depths of the Steam folder.  I knew that I had not even tried playing Mass Effect 2 since I acquired this computer four years ago.  I then began downloading Mass Effect 2 through Steam having read an article about Origin recognizing the game through Steam and being accessible through Origin, especially since the game requires an EA login to either play or logon to the Cerebus Network.  So once Origin recognized Mass Effect 2, I decided to delve into the Extra Content section, seeing all of the Deluxe-ness of the Deluxe Edition, and that is when the clouds really parted and I knew that I was not going to be able to publish my article as-is.

It was on Origin that I saw "The Cerebus Network" being what the Deluxe Edition encompasses, which includes some weapon and armor packs, a few new locations, and the Zaeed - The Price of Revenge story.  Before doing research for that article, I had been under the impression that the Deluxe Edition on Steam contained all of the available DLC expansions like Lair of the Shadow Broker and Overlord, none of which are accessible through Steam.  Before I knew this, this was one of the main reasons why I stopped, because the character I had decided to be in a relationship with was locked behind a paywall as Liara does not appear in the main game.  So I started pulling all of the available content over on Origin, but first I booted it up on Steam, in order to grab some screenshots of the prologue/intro for the article.  Then I decided to re-download the first Mass Effect to see if my saves were still up there in the cloud to recover my original save file so that I could import it over to Mass Effect 2.  Sadly, that cloud save does not exist anymore, possibly because I had not accessed it in over four years?  Is there a time limit on how long Steam saves cloud saves before they delete them?  Although that doesn't seem to be the case since I can see that I have save files from Torchlight from 2013 and Left 4 Dead from 2012.  But I also do not see either Mass Effect or Mass Effect 2, or even either of the Dead Space games, which makes me wonder if it is a Steam versus Origin issue?

No Cloud Save Feature for Some Reason.
Either way, it seemed like some games that do not have cloud saves will only save the save data directly to the hard drive of the computer/system that they are played on, which got me thinking about my older Lenovo and whether or not those save files were still on that computer.  The main reason for this avenue of delving was that the only other two options to bring choices from Mass Effect into Mass Effect 2 were to either replay the first game, or spend $5 to download the Mass Effect: Genesis interactive comic in order to make key decisions from Mass Effect into a new save file that would be uploaded into Mass Effect 2.  There is that brief section at the end of the prologue when Shepard is being questioned by Miranda and Jacob about past events, but those are only a handful of questions that do not take into account all of the decisions made such as relationships, who lived/died during the events on Virmire, and who ends up leading the council at the end of the game.  While I do not necessarily recall all of the choices I made four years ago, I feel like I want the decisions I made to actually count for something, otherwise why even play the first game in the series?

In the end, though, neither the external hard drive nor my old computer contained the save files from my first foray into Mass Effect, leading to the question to either plunk down $5* or spend another 46 hours making similar decisions all over again.  How much is my time worth after all?  Would I feel okay with myself if I spent $0.10 per hour playing a video game?  Or would I feel better spending $5, having already played a game in order to not have to play it again?  Putting it that, I am not okay with giving EA my hard-earned money.  I am kind of on the fence about this as I type it out.  Until that is, I read through all of the story affecting choices made in the game and I begin to recall how I played the first game, and spending that $5 becomes more enticing, mainly because I would probably make all of those same decisions again.  Letting the Rachni Queen live, subduing the colonists on Feros and killing the Thorien, convincing Wrex to side with Shepard, choosing Kaidan to stay behind and detonate the bomb on Virmire, and ultimately saving the council and naming David Anderson as Humanity's representative.  Oh, and having a romantic relationship with Liara but because I did not like Kaidan (seeing as how I decided that he would be the one to die) and Sha'ira was not really a long term option.

And after writing all of this, especially about pondering wether or not to give EA/BioWare $5 to not play Mass Effect in order to have my choices carried over, I thought I would just start up a new character in the first Mass Effect, female Shepard as Vanguard born on Earth Survivor of Akuze, and play most of the same choices, including my romance option (again, because I don't like Kaidan as a person).  So I started doing that and got two hours into the game: Nihlus was assinated, the beacon exploded, and Shepard was debriefing Captain Anderson on what happened on Eden Prime.  And I felt kind of over it.  I had played this game before and while playing, the thought of playing all 40+ hours all over again did not seam appealing.  Sure I could play it again and make different choices, maybe be less of a paragon and be more renegade, but that would have to be an intentional choice and not how I would regularly play.  I do not think that would be a good sign to continue and I still do not like the thought of giving EA any more money than I have to.  And I do not have to play Mass Effect.  Or Mass Effect 2 for that matter.  


I don't.  And maybe I won't.  Maybe?




~JWfW/JDub/Jaconian

Please Don't Get It Near Me


*The actual cost of Mass Effect: Genesis is actually 320 BioWare Points (or whatever is the name of their currency), but you can only buy BioWare Points in $5 denominations.

Thursday, September 19, 2019

MIDI Week Singles: "Agent Combat" - Mass Effect 2: Lair of the Shadow Broker (PC, XB360)



"Agent Combat" from Mass Effect 2: Lair of the Shadow Broker on the PC, and XBox 360 (2010)
Label: E.A.R.S.
Publisher: Electronic Arts
Developer: BioWare


I decided to use this song from an expansion from a game that I have only played a bit of for a couple of reasons.  The first is, that I was pretty upset with Mass Effect 2 in that I had purchased the Mass Effect 2 Digital Deluxe Edition on Steam during a long ago sale and stopped after a couple of hours of play (shortly after getting back Garrus) and learning that the Lair of the Shadow Broker DLC was no longer accessible through the Steam version of the Digital Deluxe Edition.  With all of the potential characters you could romance in the game, it also started feeling like a dating sim with a Mass Effect skin, but I have already talked about that a while back.

The larger reason is because I loved the music Christopher Lennertz composer for Gun: Showdown which I covered back in 2015.  What I love about "Agent Combat" is that it is just good combat/action music.  After the first 10 seconds, which feels like it is used to establish the threat, the rest of the song drives the action forward, which is what you want with type of music cue.  Then after 25 seconds there is a hint of melody before the drums and brass come back with around 30 seconds left in order to re-establish the threat.  The only real negative things I have to say about this song is that it only lasts 67 seconds, but I imagine that in-game the song will loop?  Maybe?  Like I said, I cannot download the DLC unless I rebuy the game through Origins (I think) or do a bit of semi-finagling in order to get everything to work.

But until then, I am just going to enjoy the music, all 12 minutes that he wrote, which are a great 12 minutes.



~JWfW/JDub/Jaconian

Monday, September 16, 2019

First Impressions: Last Day of June


Last Day of June is a game that I picked up for free through Epic Games' promotional period (which is still going on if you're at all interested) and I started playing shortly after I finished What Remains of Edith Finch.  I also landed on this game because How Long To Beat suggested that it would take about 3 hours to beat the game, although I typically look at the Completionist time even if I am not trying to 100% a game, mainly because I tend to take longer because I like to read all I can and look around the environment.  And I can sometimes take longer to solve puzzles.  I probably should have guessed that I was going to be in for an emotional ride just by looking at the header for the game, but that was apparently lost on me when I clicked the Install button and booted the game up.

The premised for the game is that start out playing as the character of Carl shortly before he goes through a traumatic event in his life and through mysterious means, is offered the chance and ability to possibly change the outcome of that trauma.  In the first section of the game, I guess you could call it the prologue, you see the events that lead up to the main event in the game which operates as linear storytelling with very little to do aside from triggering events to happen.  Presumably, this is fine as the developers put the player in the frame of mind that events happen as they are intended to happen and there is nothing you can do to change those events.  You know, the whole you cannot change your own fate stance.

In the second act, through magical (is it really magical though?) means, it seems like Carl's consciousness is able to travel back to the day of the traumatic event seeing how possible different actions taken  by different people in their surrounding community could alter the outcome of the event, or even prevent the event from happening in the first place.   This is where I am currently at in the game, and from what I can tell, I believe that I am about 22.22% of the way through the game and that it will definitely take me longer than four hours to finish the main story (complete or no) having played for a couple of hours already.  I anticipate that I will probably take another 3-4 hours, which does not bother me at all.


The only thing that I am currently worried about, is what I think is going to be one of the game mechanics that I am only able to speculate on because I have not seen it happen yet; if it will happen at all.  Based on finishing the second character story one of four times, I feel like I will be able to go back to play another/previous character's story after affecting the world (opening up inaccessible areas, gaining access to new items, etc) then going back and earning a slightly different ending.  I guess I am not entirely worried, but if this is not how the game is going to unfold, then I am just overthinking things again.  But that is my thing.  I overthink things, frequently making them more complicated than they really are, which is why I know I will not be finishing this game in the next hour.  And that is just fine with me.



~JWfW/JDub/Jaconian
And That's How The Story Goes

Wednesday, September 11, 2019

MIDI Week Singles: "The Gift of Forever" - Eternal Darkness: Sanity's Requiem (GC)


"The Gift of Forever" from Eternal Darkness: Sanity's Requiem on the GameCube (2002)
Composer: Steve Henifin
Label: Nintendo of America / Nintendo Power
Publisher: Nintendo
Developer: Silicon Knights



Last week, while randomly looking up information about Eternal Darkness: Sanity's Requiem, I found out that former Silicon Knights composer and former director (and composer I assume?) of Hadal Studios, Steve Henifin passed away in July, 2019.  He was 51.  The obituary I found from the funeral home did not say anything about how he died and I could not find anything else online about his passing that was not already mentioned in the aforementioned obituary.  All I can further assume is that his death was sudden and unexpected.

I was really unsure what music to choose as a way of saying goodbye to the one person whose music I had only experienced in one game that I played.  But that one game, over time, has become one of my favorite video games of all time, and the music that Steve Henifin wrote played a big part of that love for the game.  In all honesty, I decided on "The Gift of Forever" partly because of the name of the song and how I view music that I love, but also because of how it was used in Karim's chapter and how his story unfolded.

It almost seems like the song plays out the events of Karim's chapter.  There is the start of the song with a quote from Ulyaoth about the Universe being a yawning chasm, which you could say is the time before Karim came upon the Tome of Eternal Darkness. There are the female vocals signifying the source of Karim's love and the origin of his quest followed by ambience until around 2:13 when the song becomes the Tome's influence on Karim's love? Then later in the song, the chugging drums is the drive Karim feels to recover the ancient artifact, and the lone female vocals are Karim's reminder of the woman he loves.  Maybe.  I am just making assumptions here, but that is the way I interpret the song and adding a story that really does not need to be there.  Whatever.


A great song, from a great game, written by a great composer gone too soon.



~JWfW/JDub/Jaconian
I Seek The Night And Hope To Find Love

Tuesday, September 10, 2019

#IndieSelect: Super Life of Pixel (NS)

Disclaimer:  I received a free copy of Super Life of Pixel on the Nintendo Switch from publisher WhiteMoon Dreams, Inc. and developer Super Icon Limited through Indie Gamer Chick's #IndieSelect.  The game was given and accepted without promise or expectation of a positive review, only that the game be played, and experiences are shared through social media channels.  All of the words in this article unless otherwise noted are my own from my own experience playing Super Life of Pixel.


When I started looking through what Super Life of Pixel had to offer I was immediately reminded of two games that I have played over the last six years.  The first was Evoland, an RPG from 2013 that evolved through different styles of graphics and gameplay as you progressed through the game.  The second was The Adventures of Elena Temple, a retro platformer that allowed you to play the same game using different skins emulating different fictional gaming systems based on real-life counterparts.  What Super Life of Pixel has done is to take both of those concepts, but ups the offerings by actually using real-world consoles and hand-held systems, some that I had never heard of before and others that I am very familiar with.

Super Life of Pixel is a platformer that lets you play eight stages created in the style of specific computers and gaming consoles throughout history.  Starting with the Sinclair ZX81 with its monochrome screens up through the Sega Saturn (which I have not unlocked because I haven't completed the game yet) with its 16.77 million color display.  The object is to collect the required amount of diamond-shaped jewels in order to unlock the exit to proceed to the next level, while there are other items to collect that eventually unlock additional consoles to play, as well as Pac-Man looking fruit that looks to be there for completionists.  As the player progresses through the consoles, the levels become increasingly more-and-more complex and increase in difficulty without decreasing in the level of fun.  For the most part.  Obviously, there is only so much that a developer can do with a single screen platforming area using the constrictions of an Atari 2600, but once you reach the ZX Spectrum and you play through multiple screens and the screen if full of more and more enemies, that is when the game becomes a little frustrating.

I think this is only doable after you acquire the double jump boots, but I
could 
be wrong on that note.
For the most part, the difficulty in the different levels seems to vary a bit, some levels being significantly more difficult than others.  The ZX Spectrum levels gave me the most difficulty, specifically with "Monster Palace" and "The Great Outdoors," earning me the "Determined" for dying 20 times in-a-row on the same level on a single playthrough.  The rest of the levels that I have played through (not all of them to remind you) have been a lot more fair-ish.  Most of the levels incorporate the spikes that slide up from the ground at the same interval throughout the level, which is nice when you are trying to time jumps.  The game also allows the player to move the screen up or down to see beyond the immediate playable area, which definitely comes in handy when you are trying to figure out where to jump next after following the diamond jewels to what looks like a cliff.


You really hope that this pit doesn't lead to a floor of retracting spikes.
One last note on the difficulty which specifically has to do with the optional collectibles.  There is a flashing gem (because I cannot call it a jewel since I already used that descriptor) that unlocks the SEGA Master System, which is typically visible in most levels without having to uncover it in a hidden area; think the bandaid in Super Meat Boy.  It requires a little bit more skill to grab and might require the player to look up/down, but rarely is it as hidden as the fruit or the disks.  The fruit and the disks are often located behind hidden walls and require a butt-load more skill and time to acquire than I wanted to put into the game.  It was in the stage above, "Monster Palace" that I gave up trying to earn all of the fruit, and I only found out about the hidden discs by accidentally finding one, and then through some of the message boards did I find out what it actually was that I had found.  And since there are no checkpoints throughout the entire game, which I feel like the game does not really need, I found myself not willing to risk trying to a hard to reach fruit at the risk of having to play through an entire level all over again in the very real chance that I died in the attempt; more so when levels like "The Great Outdoors" took me over 5 minutes to complete.



One of my other criticisms with SLoP is that the presentation of the consoles may not be 100% historically accurate despite the highlighting of the specs for each system before the start of each new collection of levels, but to Super Icon's credit, they do say that the levels are "historically inspired consoles" which you could say is not a claim of historical accuracy.  Out of the first five computers/consoles featured in the game, I have only played on the Atari 2600.  From my own experience playing Atari games (as well as consulting some videos on YouTube), the color palette for each of the stages seems about right, but the amount of detail, for what little detail there actually is, still seems too high for even the latest games released on the system in 1990.  The detail for Pixel and some of the enemies seems too detailed from what the Atari 2600 could produce.  Then combined with the quality of the music playing at the same time as the sound effects in-game, I feel like there were not enough sound channels to produce all of the sound effects and music at the same time.


I knew this as Rush'n Attack, but on the C64 it was Green Beret.
You know, despite all of these criticisms, I have been having a really fun time playing through all of the computer systems and consoles that I never played when I was younger.  I will sit down and play for about 20 minutes at a time, usually getting through 2-3 levels (sometimes more if I fall into a groove) before I put the game down.  Not through lack of fun mind you, but because after playing the same 2-3 levels multiple times over-and-over, I mentally need a break.  Also because the music does not change between levels (it does change when you switch consoles), I feel like an audio break is also in order.  However, I can see someone trying to make the point that if a player feels the need to put a game down and stop playing, then it really is not a good game and should be criticized as such.  Which is definitely not how I feel.  When I am playing, I am having fun, greatly amused by Super Icon Ltd's dedication to taking a simple concept and running with an attempt to do a bit of a history lesson of influential gaming consoles over the last 38 years.  That takes some chutzpah and while the execution may not be Smithsonian levels of accuracy, I feel like they did nail the fun factor, especially when you are able to catch references in level design.



~JWfW/JDub/Jaconian
Instrumental

Friday, September 6, 2019

Demo Time: Cadence of Hyrule: Crypt of the NecroDancer Featuring The Legend of Zelda


I knew practically nothing before I started the demo for Cadence of Hyrule: Crypt of the NecroDancer Featuring The Legend of Zelda, although I knew about Crypt of the NecroDancer, but only by name.  Before seeing the trailer during E3 2019, I could not have even told you that CotND was a rhythm game.  What I did like was that Nintendo was okay handing off one of their most popular and profitable franchises to indie developer Brace Yourself Games who at the time had only one game under their belt.  And because I was not at all familiar with CotND, I thought that pulling the demo for CoHCotNDFTLOZ (going to just call the game Cadence from here on out because that abbreviation is just ridiculous) would be a perfect way of finding out if future me would have fun showing support in the form of a $24.99 payment.

Unfortunately, this is also the downside of demos.

Slashy slash to the beat. Or not, it still hits.
When you watch the trailer, it is easy to get caught up in the flawless execution of the player(s) moving around in an area inspired by The Legend of Zelda: Link's Awakening.  It is almost like when you watch Olympic athletes perform their sports and think to yourself, "Hells yeah I can do that!!"  And that is when you end up with shattered ankles from thinking that you can indeed ski jump better than the person who spent the last three years launching themselves off a mountain nearly 3,000 times.  Thankfully my ankles have never been shattered, but my desire to play more of the demo and the full game were dashed.  What it boils down to is timing.  And my timing apparently sucks.  I recognize that there is a bit of a learning curve and I would be a bit surprised if this game took that approach that it expected players to have already played CotND, even though there is a bit of a tutorial in the beginning to get the player used to moving to the beat of the song.

And not only is the player expected to move to the beat of the music, but the enemies also move in a similar manner.  One beat might be a move, followed by another move and turn, followed by an attack.  Maybe it is my brain that finds it hard to track multiple enemies on the same screen all advancing towards my position awaiting to attack, all the while paying attention to the music and the beat tracker in order to make the most powerful attack on one enemy while avoiding all of the others on the screen.




Yes, yes, I know.  Play. Practice.  Repeat.  Git gud. 


I have been playing video games for nigh on 30 years so I feel like I know what is expected of me to be better at a particular video game.  What I got after playing CoH:CotNDFTLoZ was that I was not having fun and I felt that I was not any good.  There are games that I have had fun at while still not starting out as being a good player (Dark Souls, Fortnite), but I still play them because I have fun.  I got significantly better at Dark Souls to the point where I bought the game again when it was released on the Switch. 



I honestly didn't notice any difference in defense w/ the shield.
Now, before I offend someone out there and get doxed, I am not saying that this is a bad game, a bad mechanic, or just bad game development in general.  I have not even played the game, only the demo.  What I am saying, is that based on what I played of the demo, I did not like what I played and will not be purchasing Cadence of Hyrule: Crypt of the NecroDancer Featuring The Legend of Zelda.  I know there are plenty of people and critics who loved Crypt of the NecroDancer on their preferred platform, which is why Nintendo allowed Brace Yourself Games to create a new game using the Legend of Zelda IP.  I just happened to not enjoy the demonstration presented to me.



So there.



~JWfW/JDub/Jaconian

Who Can Relate?

Wednesday, September 4, 2019

MIDI Week Singles: "If You Must" - Tony Hawk's Pro Skater 3 (GC)


"If You Must" from Tony Hawk's Pro Skater 3 on the GameCube, PlayStation 2, PC and a bunch of others (2001)

Composers: Del the Funky Homosapien
Album: Both Sides of the Brain
Label: Hieroglyphic Imperium Records
Publisher: Activision O2
Developer: Neversoft





I feel like it was (or still is?) pretty common for people playing games in the Tony Hawk Pro Skater franchise to be introduced to new music through the in-game soundtrack.  Before playing THPS3 on the GameCube back in 2003, I was only familiar with The Ramones' "Blitzkrieg Bop" and "Ace of Spades" by Motörhead.  I also was not really into hip hop (or was my general friend group at the time) so there really were few ways for me to have been introduced to Del the Funky Homosapien; I since become a fan of Guttermouth, KRS-One (It was a close toss up between "If You Must" and "Hush" for which song to feature today) Since the song does contain several words that would not fly with the ESRB ratings board, there was a skidding skateboard-type sound effect added to bleep out the questionable word(s), so before I listened to the song outside of the game, I had not heard it in its entirety; although the censored words to not fully detract from the overall song.

There was an official soundtrack to Tony Hawk's Pro Skater 3, but none of the music from the game made it on that soundtrack.  Maybe there was an issue getting additional rights to the music?  I could speculate out the wazoo, but that's not going to get anyone anywhere.  This is why I had to pull the song straight from the Both Sides of the Brain album.


Now, whenever "If You Must" comes on on my iTunes, I immediately think of starting in either Suburbia or the Airport, dropping in and thinking about where I am going to go and what I am going to grind on/against.   Grinding up wooden ramps in order to grind off of some haunted house, or trying to get to baggage claim to rack up a stupidly high score by grinding off of everything in sight; that was my tactic anyway.  I think one of the things about this song that I fell in love with, was that the basic message was that basic hygiene is important and you are not a more manly man or a better person if you neglect yourself.  Self care is important people.

I really just like this song (and the entire Both Sides of the Brain album) and it seems to be general consensus that the games in the Tony Hawk's Pro Skater series had a lot of great current and older music, which introduced a lot of gamers to songs and artists that they may have either already written off, or had never heard of in the first place.  We need a new THPS game.



~JWfW/JDub/Jaconian

Tuesday, September 3, 2019

#IndieSelect : Vasara Collection (NS)

Disclaimer:  I received a free copy of Vasara Collection on the Nintendo Switch from developer/publisher QUByte Interactive through Indie Gamer Chick's #IndieSelect.  The game was given and accepted without promise or expectation of a positive review, only that the game be played, and experiences are shared through social media channels.  All of the words in this article unless otherwise noted are my own from my own experience playing Vasara Collection.


The Vasara Collection is a collection of two arcade games that have been put into a single title by publisher/developer QUByte Interactive, allowing the player to play either Vasara or Vasara 2 or a series of stages that pulls levels from both games.  I have some history with arcade shoot 'em ups (shmups) having played a bunch of 1942 and 1943 at the grocery store while waiting for my Mom to finish her shopping.  I also played a lot of NES ports like Commando, Jackal, Life Force, and Ikari Warriors, as well as modern takes on the genre like Jamestown.  I should also preface that I am not very good at shmups.  I tend to get overwhelmed by the amount of action on screen as well as the saturation of enemy fire.  So I went into Vasara Collection with low expectations that I was going to have fun and get far in the game.

First off, Vasara Collection has a lot of options that you can set prior to starting a game.  Everything from the overall difficulty of the game, to the number of lives your character has, to the number of special attacks you start with after each time you die.  And even before starting the game, you can adjust the orientation of the Switch if you are playing in handheld mode.  Because arcade games have taller screens than they are wide, QUByte Interactive had the wonderful foresight to allow the player to decide how they wished to play.  Now, if you are playing up to four-player co-op, playing on a regular TV will allow the game to be played in widescreen, but since I only played in single-player matches, that is all that I can comment on.

The most important frame of mind, as a player, you need to accept is that this was an arcade game.  It might not need explaining, but here we go anyway.  Arcade games are not designed to be a fair experience.  They are designed to engage the player enough to keep them interested, to make them feel powerful enough to give them faith that they can beat the game.  They are also designed to make money, which means that the player is going to die a lot.  There might be the illusion of fairness, but in reality, the cards are heavily stacked against the player from the first quarter (or two or four depending on the specific cabinet).  With this in mind, some of the features added to both Vasara and Vasara 2 allow the player to either recreate the arcade experience of having credits (which can be added simply by pressing the L shoulder button) or in Free Play mode (which is always the best time to go to an arcade).  

My first foray into Vasara was with the first game, playing in vertical mode while using the Flip Grip.  The advantage to using the Flip Grip here is that it allows the majority of the screen to be used while playing instead of having over 50% of the screen covered by a border of either black or artwork that does nothing for the gameplay.  Having played in both formats though, there are still plenty of times where I feel like a complete bad-ass, destroying enemy ships and inexplicably dodging enemy fire as it blankets nearly the entire screen.


This is where I find most, if not all of the fun from the Vasara Collection to come from: destroying large swaths of enemies while avoiding wave after wave of enemy fire while respawning as soon as stupidly possible.  At the same though, I think this is also part of where the difficulty in the game itself comes from.  Being able to have infinite lives means that the player does not necessarily have to learn from their mistakes.  They can either put in another digital quarter or just press +/- to continue when they have lost all of their lives.  There are no real repercussions to being killed.  You are able to pick up some of the P-Nodes to re-power up your ship in the few seconds that your respawned ship is invincible as well as being able to spam your special attack, clearing the screen of whatever ass-hat it was that killed you in the first place, unless it was a boss, in which case you will just need to survive just a bit longer (after you die a handful more times).

I dead.
Until you reach the last stage in whichever mode you are playing in.  In Vasara 2, you have the option to play either a six or 12 stage game and I have currently only played the six-stage game in Vasara 2 due to time constraints the day I received the game.  The issue is that in both Vasara and Vasara 2 when you die your final life in the last stage and continue, you restart back at the beginning of the entire stage with your base level ship.  My problem with this decision on the part of the developers is that does not teach the player how to be a better player.  I feel like this decision only punishes the player once they reach the last level.  "Great you made it to the last stage, we are now going to impose a rule that did not exist until now and that will put you at a disadvantage if you die and have to restart."

Chibi Seiryubo?  Why not!?
The presentation here is fairly nice.  There are some extra features although the more semi-impressive one is a collection of art that may or may not be concept art.  I wish there was a bit of explanation here because as it stands, you can scroll through pictures of the various characters in the game with zero context.  What I enjoyed the most from this was seeing what the ships that the various characters flew that was not from a top-down view.  There are some online leader boards, but they only show the top 10 in the respective game that you are playing.  No showing where you fit below the top 10, but I did appreciate, at least for the time being, that not all top 10 scores were 999,999,999, which at least shows that people are legitimately playing the game and not hacking it.

So this, I believe, is where the Vasara Collection rests for me.  I will probably never be able to finish the game, with its reliance on being able to complete the last stage with between three-to-five lives (more if you gain a 1-Up during the stage), and starting the player at a disadvantage if they do have to restart.  The music is about on-par with what I would expect from a shmup arcade game, but I have read that other people tout the music as something extraordinary, so I may have to find an isolated soundtrack and give it a listen.  But in the end, it is a fun game when you are able to dodge a screen full of orange enemy fire while laying waste to anything that comes at you.

Or maybe I just need to find some other people to play with.  Anyone?



~JWfW/JDub/Jaconian
Our Soul Has Burned by Dragon Fire

Monday, September 2, 2019

Monthly Update: September 2019


Happy September everyone!

I am not entirely sure what that all entangles, but what I can tell you is that out of all of the video games that were released in August 2019, I am currently playing only one of them.  No, that one game is not Astral Chain, but the Vasara Collection, which I received from Qubyte Games as part Indie Gamer Chick's #IndieSelects, so I will probably post an article about that experience tomorrow rather than the semi-regularly-scheduled Friday post.  I do want to play Astral Chain, but I just started Fire Emblem: Three Houses earlier last week after completing Octopath TravelerAnd by finished I meant that I completed all eight of the main stories although I am aware of a final dungeon and boss run that requires completion of seemingly random side quests in order to access that.  I will probably talk about Octopath Traveler later this month as well as this semi-well hidden access to a final dungeon.

For current September releases, I would like to pick up The Legend of Zelda: Links Awakening remake, Dragon Quest XI: Echoes of an Elusive Age - Definitive Edition, and Ori and the Blind Forest: Definitive Edition, all on Nintendo Switch, but I do have a backlog of games (specifically on the Switch, to say nothing about the hoarding issue on Steam) that I do want to play through.  Then there is the issue that buying games actually requires you to pay money, which I do not have a problem with if we were to have a surplus of it in our checking/savings accounts; This comment does not support stealing or pirating video games.  PLUS the other games coming out Q4 that I also want to play: The Witcher 3: The Wild Hunt - Complete Edition, Doom Eternal, and Neverwinter Nights: Enhanced Edition (mainly so that I can finish the expansions, of which I only have the first two but only beat Shadows of Undrentide).  I mean sure I would like to play Borderlands 3, Blair Witch, and The Outer Worlds but my computer has not been up to the task of running currently released games since 2013; thankfully though The Outer Worlds will also be getting a Switch release sometime in 2020.

Oh!  I also started Last Day of June in early August, courtesy of the Epic Game Store is one of the free games that they have given away, this time through publisher 505 Games.  I think after finishing What Remains of Edith Finch I wanted something, not action-oriented as I currently have Fortnite scratching that itch once a day.  That being said, I have not found a whole lot of time to play Last Day of June, or really use my computer at home much over the last month.  I think it just boils down to having my evening's post-work filled up with other non-computer related activities.

Conklederp and I have also delved a bit into foreign mystery/horror shows on Netflix.  These appear to be single-season stories that are a lot easier to digest, both mentally and in practice.  I may talk about these shows (The Chalet, Typewriter, and more to come) in a later article, but I find that deconstructing shows can be cumbersome.  I like to cover my bases, what I liked about the show, what I did not like, and I find that those kinds of articles take longer to research and write than my typical Game EXP or MIDI Week Singles article.  So those may or may not get written.  Schrödinger's Article if you will.

Lastly, and jumping back to the Switch for a moment, I have (finally?) encountered semi-significant Joy-Con drift on the right grey Joy-Con.  I feel fortunate that this has not been an issue in the two years since we bought the Switch, and doubly fortunate that it happened at a time that Nintendo is offering to fix Joy-Con drift issues for free.  So I have submitted my ticket to Nintendo and hopefully I hear back, but in the meantime, I have swapped out for the neon red/blue Joy-Cons, so again, I feel fortunate that we have a back-up pair if the grey ones end up being sent in for repairs.

So let us leave it there for September.  Plenty of article ideas as well as plenty of time to procrastinate and actually not write them at all.  We'll see.



~JWfW/JDub/Jaconian
And I'll Carry On


P.S.  And if you happened to be at PAX this last weekend, hopefully y'all had a great time and I am looking forward to reading/finding out about the happenings.