Monday, November 30, 2020

Monthly Update: December, 2020

 

I am posting my update for December on this, the last day of November because I kept thinking that the Monday after Thanksgiving was December 1st and because I had it all set up in my head, I am making the executive decision

As of this sentence, it is not even the end of November yet and I already feel exhausted thinking about what happened this month.  It is even kind of strange to think that the US Presidential Election happened only a few weeks ago as it felt/feels like it has been something constantly happening for just over a month now.  There were the weeks leading up to it with multiple states participating in early voting, either in-person or by mail, then there was election day (not capitalized until it is recognized as a national holiday) and then the weeks and weeks of the president and his lawyers demanding multiple recounts, that specific ballots be thrown out (but only the part that dealt with voting for President and Congress), and Four Seasons Total Landscaping was, in fact, their intended destination.  And then on top of all of that, here in the United States we have had surges in COVID-19 cases in 49 of 50 states (keep at it Hawai'i!) with some states, including the state I am living in, declaring 2-4 week lockdown/freezes on schools, restaurants, bars, et cetera, essentially recreating the circumstances that we experienced back in March. Then there are the newly reported and presumptive cases which have risen from 21,469 at the end of March to 198,633 on November 20th, to say nothing about the Thanksgiving holiday happening in two days.  And if you take the current mortality rate of (roughly) 2.069%, which could mean that 4,109 people that were infected four days ago will be dead before the end of the year.

I realize this is a bleak way to start out the monthly article, but it is what is on my mind a lot these days.

I had been talking with one of my friends about his 3DS a while back as mine has been out of commission, apparently since January 2018 according to the Activity Center app.  My plan was to buy it from him as he said that he has not touched it since he purchased a Switch with the only stipulation to the agreement was that I actually play the 3DS and, presumably, not sell it.  Then a month or so back, we came to an agreement that I would barter for his 3DS and we would make an exchange the next time we all saw each other (as he lives just under 90 miles away.  Well, color me surprised when I came home from work last Monday to find that he had mailed the system to me along with four games: Fire Emblem Fates: Conquest, Super Smash Bros. for Nintendo 3DS, Pokemon Sun, and The Legend of Zelda: The Ocarina of Time 3DI mean holy damn that was beyond generous and I have obviously acknowledged everything.  So all last week I spent transferring my data from my old 3DS to the new one picking up where I left off in Mega Man V, restarted Castlevania: Lords of Shadow - Mirror of Fate, but I am not sure if I will restart Dragon Quest VI: Realms of Revelation a third time as I last restarted it after my DS died, but maybe I will try to continue as I was 35 hours in on that second run.  I will definitely need to follow a guide for a bit though just to catch up.  Plus I feel I should give Super Smash Bros. an honest go to honor this amazing gift since I know that this series is one of, let's call him "Beep Beep," his favorite games to play and has asked me if I have had the game from the Game Cube up through the Switch, to which I have always responded that I did not.  Hopefully, there will be a tutorial because I have no idea what I am doing and only vaguely aware of what all the percentages mean.

I  ran through Amazon's new cloud-based streaming video game service Luna and there will 100% be an article about that experience, going into the default selection of games, how it ran on my computer, and how well our internet service held up to streaming games like Control, GRID, and Metro Exodus among others.  I had put my name in the hat to participate in a free weeklong trial and I felt pretty early on that I had made up my mind about if I was going to renew after the week had elapsed.

One main takeaway from the Luna trial was that it reignited my interest in  Metro 2033, which I have had on Steam for a couple of years but never started (either from a Humble Bundle or their Monthly subscription).  I then decided to give the first game in this series a try, but discovered that the game either could not recognize that the PhysxLoader was already loaded, that it was in fact not loaded, or that there was some other major issue with the game, so I popped on over to GOG and picked up Metro 2033 Redux at 80% off which I thought came packaged with Metro Last Light Redux, but it looks like that is its own separate entry and I must have been thinking about the Metro Redux collection that was released on consoles (oh dang, it's only $19.99 on the Switch...that's a pretty good price...maybe if it's still on sale on Wednesday...).

This seems like a good time to wrap things up for the month that begins tomorrow.  Please stay safe out there people.  Wear a mask when indoors and when you can't be socially distant, wash those hands, use 60%+ sanitizer as needed, because the last thing we need is another 1,138,770 people newly infected and 10,086 people dying from COVID-19 this week or any week hereafter.



~JWfW/JDub/The Faceplantman/Jaconian

Saturday, November 28, 2020

First Impressions: Spiritfarer (Switch)





I purchased Spiritfarer after seeing a recommentation from Jorge Albor of the Experience Points podcast.  I thought it looked like a game Jane and I might play.  I was half-right.

This article is unique in that I have not actually played Spiritfarer, but I still want to write my first impressions.  Jane, on the other hand, has put in about twenty hours over the past week.  



Spiritfarer is a beautifully animated game, consisting mostly of busy work.  Collect resources, process resources, visit islands, manage relationships.  The game it makes me think of most is Stardew Valley, except instead of a farm, you have a ship, on which you build a ramshackle collection of different buildings.  You can get orchards and gardens, a mill, a smithy, a loom.  All sorts of stuff.  And on your ship are a collection of Spirit People, in the form of lovingly drawn animals.  


Spiritfarer is a game that exudes personality.  You play the role of Stella, the spiritfarer, who helps dead souls pass on.  She is a cheerful and energetic child. The dialogue and animation give life to the characters. Each of your animal spirit friends has a meter measuring their happiness.   You can accomplish tasks on their behalf, you can give them food, and - best of all - you can hug them.  It is extremely adorable the big bear hugs Stella gives.  


This game is basically everything Jane looks for in gaming.  There is basically no combat, you spend your time helping people, and surrounding it all is a meaningful story about life and death.  I don't know if I'll ever actually play, having watched so much of Jane, but I am certain that this is a special game.  

-D



Friday, November 27, 2020

Book Review: The Rise of Skywalker: Expanded Edition (Star Wars) by Rae Carson


The second-to-last week of November, I finished reading The Rise of Skywalker: Expanded Edition (Star Wars) on my Kindle after starting it a couple of months ago (August according to Goodreads).  I had wanted to read it when I heard that there was going to be more story than what was in the movie, which you expect from a book, but maybe not necessarily from a book adaptation of a movie, let alone a Star Wars movie.  I had previously read The Force Awakens (Star Wars) also on my Kindle a few years back and almost did not pick up TRoS because of how much I did not enjoy TFA novelization and, I think, Alan Dean Foster's treatment of the story from the film (which I apparently never talked about but may revisit before the end of the year); to note, I have not read Jason Fry's novelization of The Last Jedi (Star Wars).  And just a word of warning, there will be spoilers as I do not see ways around it, but I will try to keep them to a minimum.  But they will be there.

To date, I have only seen Star Wars: Episode IX - The Rise of Skywalker once, which was when I saw it in the theatre with Conklederp back on December 20th, 2019 so when I started reading TRoS back in June, it had been just about six months since I had any connection to the story.  It must have been around February when images from The Art of Star Wars: The Rise of Skywalker book were being made public on Twitter and it was revealed that in Kylo Ren's opening scene, that he was actually on the planet of Mustafar, killing Sith cultists who make the pilgrimage to Darth Vader's planet while he was searching for the Sith Wayfinder.  Knowing this little bit of information, which I cannot recall if it is mentioned at all in the movie, made this whole scene a lot more interesting, coupled with the revelation that in concept art Kylo would have met a large spider-like creature (now known as the Eye of Webbish Bog) that directs him to the Wayfinder.  I then knew that I wanted to read this extended novelization, if only so that when I watch the movie again (under certain circumstances which I might get to later) I could have this background of information to put back into the movie.

For the most part, I felt that Rae Carson did a fantastic job with the Star Wars universe and the material from TRoS.  There were more scenes involving Rose (but still felt that there could have been more), additional scenes with Zorii Bliss on Kijimi, a little more with ex-Stormtrooper Jannah, more development with Allegiant General Pryde and General Hux and why he was aiding the resistance.  Even Lando's entrance and the rest of his scenes together felt more natural than just "Hey guys!  You remember Lando right!? Lando Calrissian!? He's BACK BABY!!"  And his final scene with Jannah, which seemed to be a bit on the cradle-robbing side had more context and inner-monologue to deter all those dirty-0ld-man vibes.  There was even a full-on explanation as to how Darth Sideous survived after Return of the Jedi, which only ended up taking a couple of paragraphs but it definitely made his spontaneous return here a bit more palpable.  There was even the Emperor's transmission, which previously was only listenable from an in-game event in Fortnite back in December 2019 and was mentioned in the opening crawl.  There was also some explanation as to Leia's choices regarding Rey herself and put into context Rey's decision to reside at the Skywalker farm back on Tatooine (kind of, or at least that was how I interpreted Leia's interior monologue).  And speaking of Leia, I felt that her characterization here was so much better than in the film, possibly because the dialogue in the book felt more natural than previously delivered lines being worked around to create a scene even if the delivery was not for its intended usage.

There were a couple of scenes from the movie that I do not recall happening in the book, with the main one being Rey's confrontation with Kylo Ren while she is aboard the Star Destroyer and he is searching Kijimi.  The scene in the movie is actually well done with both characters being in two different locations and fighting each other while the camera pans around them allowing them to be in the same space and not at the same time.  It played a lot better than I made it sound.  I also do not recall, but I do not think that there was a scene in the book that went into Sheev Palpatine's lover and their child who then gave birth to Rey, which may end up being saved for a follow-up Star Wars novel or just left ambiguous until that plot point comes up again and needs to be corrected, ironed out, or added on to facilitate a new story.  There was also a little bit more involving the Knights of Ren, although this might end up being something that is left to additional materials such as comics or secondary novels outside of the visual encyclopedias.  I think that Carson even omitted Poe's line about Vice-Admiral Holdo's sacrifice/tactic (referred to as the "Holdo Maneuver") being "a million-in-one shot" which, in this humble human's opinion trivialized her final decisions in The Last Jedi; but I could be wrong and just do not remember the line being in the book as well.

What I ended up enjoying about Carson's writing was that I got the impression that she did more than reading the screenplay in an afternoon and wrote a story off of what she remembered.  That she had seen the movie, seen concept art, possibly even seen deleted scenes and worked those elements into her adaptation of the film which did feel a lot more complete than the film.  Sure there were things that I still had issues with story-wise but that is to be expected with nearly any Star Wars property.  I will eventually pick up the Blu ray of The Rise of Skywalker, but I still want to wait just a little bit longer in hopes of an edition that has deleted scenes, or even a commentary, which JJ did not do for The Force Awakens until the 3D Blu ray was released six months after the initial release;  although there is this edition which has two bonus discs, and trying to find out what exactly is on those is bonus discs has proven to be problematic.  Hell, I am even tempted by The Rise of Skywalker art book after reading Carson's adaptation, so I guess that is recommendation enough.


~JWfW/JDub/The Faceplantman/Jaconian
Instrumental


P.S.

Another way of putting this entire article is that this novelization (and some of the story being told in The Mandalorian) did for me what The Clone Wars animated series did for the prequels.

Wednesday, November 25, 2020

MIDI Week Singles: "Sleighing Enemies" - Cthulhu Saves Christmas (NS)

 


"Sleighing Enemies" from Cthulhu Saves Christmas on the Nintendo Switch & PC (2020 & 2019)
Composer: Joshua Queen
Album: Cthulhu Saves Christmas (Official Album)
Label: Bandcamp
Publisher: Zeboyd Games
Developer: Zeboyd Games


As you could probably guess from the title, "Sleighing Enemies" is the music that plays when you enter semi-random encounters from Cthulhu Saves Christmas.  And because this is a JRPG that is aware that it is a JRPG and needing to fight enemies to gain experience points to raise levels to defeat even more difficult enemies is going to be something that you do a lot in this game.  The music that plays when you are in a battle is going to be top tier listenable a lot.  Like, a lot a lot.  The second to last dungeon, having at least 15 random encounters you need to fight in before you can just saunter through the dungeon, and each fight lasting (at least for me) 5-10 minutes meant that I would hear this song for between 75 and 150 minutes in that one dungeon alone.  With the song lasting just under two minutes before it loops (let us just say 2 minutes for sanity's sake) that would be like listening to this song on loop 37.5 to 75 times.  In just that one dungeon alone, but not including the boss fight, which has their own dedicated track.

I bring all of this up because after all of the time spent listening to this one song while playing, I still enjoy listening to it.  This is just good battle music that chugs along, pushing the player forward through the battle and anticipating the next one.  I think my favorite section of the song happens at 1:21 when the guitars drop out and the pianos take over being a slight dip in the energy of the song although the drums are still providing drive, then the guitars come back at 1:38 along with hard-hitting snares (I don't know the term, I played trumpet for 13+ years) and I cannot help but stomp the balls of my feet through the end of the song.

I think my only critique is that at 1:47, there are two notes on the chimes played.  That is it.  Maybe it is because Cthulhu Saves Christmas is a Christmas themed game or because I love the sound of chimes in music, but I would have loved there to have been more chimes used in the battle song.  But again, that is just me.


~JWfW/JDub/The Faceplantman/Jaconian

Monday, November 23, 2020

Game EXP: Cthulhu Saves Christmas (NS)

Disclaimer: I received a free review copy of Cthulhu Saves Christmas developed by Zeboyd Games from Robert Boyd through his Twitter account for the Nintendo Switch.  The game was given and received without expectation of a positive review, only that the game be played and a review posted publically.  All of the words in this article unless otherwise noted are my own and all of the screenshots are from my own playthrough of the game.

Before I started Cthulhu Saves Christmas, I had a very brief history with games from Zeboyd Games.  I played 4 1/2 hours of Breath of Death VII eight years ago (specifically December 25, 2012) and stopped after I came to the conclusion that I had not been leveling up correctly (or at least I had been in a way that made the game a lot more difficult) and I had quit altogether when I could not get past a boss battle after multiple attempts.  I was also not a big fan of the combat system used in BoDVII and Cthulhu Saves the World (where enemies increase in strength 10% every turn thereby making long battles a lot more difficult).  I have had Cthulhu Saves the World in my Steam library for probably just as long but as with about 65.47% of the games I have on that platform, I apparently never got around to playing it like I should have; probably from the bad taste that the boss battle BoDVII and the battle system had left in my mouth.  But I have been keeping track (a la following) Zeboyd Games founder Robert Boyd for a couple years on Twitter and when he offered up review codes for Cthulhu Saves Christmas, I felt compelled to take him up on the offer.  Thank goodness I did because I loved about 95.47% of the game, from the art direction to the combat, to the soundtrack, to the writing, to almost everything.

The thing about Cthulhu Saves Christmas is that like the other games by Zeboyd, the entire game is self-aware that this is a video game, with characters commenting on stereotypical RPG game mechanics such as fetch quests killing rats, gaining experience, and fans complaining about game length under 100 hours.  There is even the omniscient narrator who acts as an intermediary between the player and frequently interacts with the characters, another mechanic/characteristic frequently used in the aforementioned properties by Zeboyd.  Essentially, if you have already played Breath of Death VII or Cthulhu Saves the World, the formula is pretty similar from what I can tell, but the differences are what make Cthulhu Saves Christmas 100% worth playing.

In this story, Cthulhu wakes from his sleep in R'lyeh ready to destroy the world (as this is a prequel to Cthulhu Saves the World, which I did not realize going into the game; teach me not to read game descriptions) but has his powers taken away by an aptly placed Christmas present.  As he sets out to gain his power back, he meets Crystal, Santa's grand-daughter, Baba Yaga (who is currently in her teens maybe), and Belsnickle (a Castlevania-esque Belmont-type character who uses his whip on naughty children, kind of similar to Krampus using reeds or a switch on bad children).  Each new party member joins in after you have had a level to get used to the previous character, their abilities, and how best to use them in combat.  A nice touch rather than burdening the player with too much newness all at once.

The combat here thankfully has changed from previous Zeboyd games with the enemies no longer gaining strength after every turn, because I genuinely did not like that system.  It has also changed from the Dragon Quest first-person combat to the enemies still being in front of the party, but now the party is visible, closer to what you would see in Lufia 2: Rise of the Sinistrals.  Another change to combat that I did actually like also had to do with character customization of abilities and item inventory leading up to battles.  Some equipment can modify the abilities for that specific character so balancing the stat increases with the benefits of the gear is another great pull from typical RPGs.  Additionally, each character has four skills that they take with them into combat and three slots that are randomly chosen from their remaining unused skills.  Some skills are expended after they are used while others can be used multiple times by default, or by equipping specific pieces of equipment; this goes for both skills that you actively chose and the randomly chosen skills.  For the random skills, once you use your character's defense/recharge ability, the three random abilities are shuffled again.  For the items, these are once-a-battle use items, although again, there are some abilities that allow items to be used more than once or re-charged.  

That being said, I felt that there could have been a little better explaining or definition for some of the specialized abilities for some of the characters.  Like Cthulhu turning monsters insane (being one of his key character traits/abilities) is supposed to flip their weaknesses (ie weak against ice turns to weak against fire), which thankfully are displayed next to the monster's name.  To me, it looked like whenever a monster was insane, that only the first weakness changed, even when using the same attack again (as in I was hoping that it would then flip the second weakness).  And then being able to recognize what the weakness was based on the icon did not always seem clear, at least to me.  And then there was Baba Yaga's Chicken who had its own percentage bar that would max out at 200% and how to effectively use the Chicken I was never very clear on; there was even an ability that had the Chicken move next (or something to that effect) and at times nothing would happen.

This type of battle system definitely adds more complexity to each battle than just hitting the A button in a half-sleep-induced trance as you grind for levels; because that is something that I definitely have never done in any Final Fantasy game.  Although, the downside to this type of battle system got weary for me in the end-game as each battle was taking anywhere between 6-13 minutes and when the last two or three areas have 15 battles before the random encounters stop, that is between nearly one and three hours of battles.  At the end of the game, it felt a lot like padding to me in a game that does not need padding out and had already made a number of quips about games needing another 15 dungeons and 1,000 more hours to feel like a true JRPG.  Or maybe I was just not utilizing the right skills and abilities to dispatch enemies faster than I was?

Unlike Breath of Death VII and Cthulhu Saves the World, there is no overworld to explore here, only the dungeon-like areas that you travel through on your way to the boss.  Between each dungeon, Cthulhu and company are located in a central HUB area called Christmas Land (The Christmasiest Place on Earth!) where you have Cthulhu interact with your party members and different characters to help forge new R'lyentionships, and explore locations in-town all to gather new equipment and items.  Each time you are in the HUB, you have five days, with an allowance of one activity per day, to select what you want to do in Christmas Land and what item you want to acquire, although at first you are only given the name of the item and on subsequent days do you learn its abilities.  The thing here is, when you first start in Christmas Land, you have the choice of six different activities, so you will be leaving one uncompleted.  Each subsequent time you come back to Christmas Land, there are more activities to do (along with the one you did not complete), but you still only have five days, so there will be increasingly more and more activities left to do the next time you come back.  Finishing unfinished jobs is something that I was unsure about because there will inevitably be some leftover after each visit.  For example, my first time in Christmas Land, I left the Mall activity incomplete so I did not pick up the Fencing Sword for Cthulhu and while in the next area I found a better sword than the one I had equipped which made me think that this sword was better than the Fencing Sword, so why would I want to waste a day doing an activity for a lesser weapon?  That was my assumption that I ended up not testing.

That was pretty much the format for the game.  You would spend five days in Christmas Land doing activities while (story-wise) Crystal was looking for information on where the next agent from the Christmas League of Evil (might be) holding Santa, then you would head into a new dungeon, fight monsters until you cleared the quota, collected treasure, raised levels and gained new abilities, then fought the boss and headed back to Christmas Land.  The dungeon layout was pretty straight forward as they were not maze-like (thinking about Final Fantasy IV and Chrono Trigger) although there were some semi-hidden areas where you would find treasure chests and it was only by the third dungeon (technically the second after reaching Christmas Land), that I figured that there was going to be at least one treasure chest per screen.  I also did focus on completing all of the quota battles partly because I felt that gaining experience/new abilities were key to surviving, but because it also made exploring the dungeons a lot easier if you did not have to worry about skipping a battle or if you were tracking where you were going to get to a treasure chest.  Once I did not have to worry about the battles popping up and just sprinting through the rest of the dungeon felt very freeing.  Plus, once you completed your battle quota, you were awarded bonus experience points.  

There was a brief point during the final dungeon that I felt that the game was going on longer than it needed, already taking into account how I felt about the length of the 15 battle quota.  What I thought was the final boss battle ended up not being that and so the game went on.  I guess it was kind of like how Frodo and Co. ended up having to tussle with Saruman in Bag End at the end of Return of the King; which is probably why the Scouring of the Shire was not included in any iteration of the movie accept being alluded to in Fellowship of the Ring.  In the end, this final chapter did not bother me when taking the entire game into context, and because again the game was self-aware at this recent development, but while I was in the thick of it, I had wanted the game to have already concluded.

And you know what?  Despite that similar sentiment to Cthulhu above, I did enjoy Cthulhu Saves Christmas in its entirety.  The developer Robert Boyd has said (he has Tweeted it I believe, but I cannot locate the Tweet so you'll have to trust me on this one) that he wanted to create a short and concise JRPG that would take you about six hours to complete and even though I ended up taking close to 10 hours (most because I felt the need to clear the battle quota in each dungeon), I had a lot of fun, even though there were some aspects I felt could use some touching up.  But on the whole, a very solid JRPG that I would recommend.  And now I am installing Cthulhu Saves the World, and you can bet that I will look for parts of the game that reference Christmas or the events that occurred in this game that was released nine years before the prequel.


~JWfW/JDub/The Faceplantman/Jaconian
Order of Stars Expire

Friday, November 20, 2020

First Impressions: Neverout (NS)

My first thought before starting Neverout was that I was about to play a game that looked a lot like the 1997 Canadian film Cube (DO NOT WATCH THE TRAILER as it contains major plot spoilers, just watch the film here), where a group of strangers band together to find their way out of a series of puzzle and trap-laden interlocking rooms.  Essentially that kind of what Neverout from developer Game Dust is about, but it is simplified a bit here.  First off, there is, at the moment at least, no narrative beyond solving the puzzle in each room (which I will get to) to move along to the next room.  In each room you are able to move along all surfaces in the six-sided room, rotating the room so that you are always on the bottom of the room.  By rotating the rooms, you can affect some objects in the room like sliding boxes, which if you are positioned wrong when you rotate a room, can crush and kill you.

Neverout starts you out in a four-walled room without any context as to why you are there, how you got there, or what you are supposed to do.  Although the mechanical chunk noise followed by a scream from an adjoining room indicates that there is something that can very much kill you.  But, because this is a video game, it is obvious to figure out that after you seemingly wake up, that you need to do something.  As you start moving around the room, you come to a wall and, perhaps by accident, you move forward "at" the wall, only to find that the room rotates and a portal appears on the ceiling with 02 on it.  There is also a mechanical grinding sound to further give credence that the room is rotating as opposed to you being able to scale walls.  Since this is a new addition to the room, you check out this portal which opens up as you approach it.  You fall through and are now in another four-walled room where a cat-walk comes slicing out of the walls, although it is harmless.  These are the tutorial levels, giving you the basics for how the puzzles work in the game, and how to get you in the right frame of mind so to be able to solve them. For the most part.  Each new mechanic introduced in the 20 tutorial levels is visualized by one of five different color-coded rooms:

  • Beige/Yellow:  Catwalks and sliding blocks (blocks can kill you).
  • Blue: Teleportation squares.
  • Green: Electricity barriers (electricity can kill you).
  • Red: Buttons that require a block to pass over them (which then remains stationary).
Once you finish the 20 levels of the tutorial you are taken to a HUB room of sorts that will put you in another 20 rooms of a specific color where you do only those types of puzzles.  So when you enter the red portal, you will be doing the button (see above) puzzles.  20 of them.  As in 20 more puzzles.

One thing I want to quickly mention is the movement mechanic, and I say mechanic because this was a conscious decision by the developers to restrict movement.  Even though Neverout is first-person, moving is still on a grid.  You can look around as smoothly as you please, but when you move, you cannot move diagonally, only straight, back, left, or right.  This restricted movement is because there are a number of puzzles that you could cheat your way to the portal by skirting the diagonal and potentially bypass the solution.  By forcing the player to only move along the grid, it ensures that they are forced to solve the puzzle the way that the designers intended.  That is not to say that you cannot glitch your solutions, especially if you are playing it in VR, but on the Switch, I do not see cheesing out the solution to be an option.

Presently, I have finished the first 20 levels of the tutorial and then scattered levels from the rest of the rooms, primarily from the beige/yellow puzzles, being some of the less complex puzzles especially compared to the teleportation and electricity barrier rooms.  I have found myself able to do a couple of puzzles at a time, but then I have to stop, especially if I become stuck, frustrated and a little dizzy.  There are times when I have found it difficult to tell which way is up and then I remember to look down at the ground.  Thankfully you are able to exit out of a room at any time and go back to the HUB as I will then sometimes attempt another color, but other times I will just stare at the various rooms, then exit out of the game, because 100 of these puzzles is a lot.  Like, a lot - a lot.

If there were only 10 puzzles for each color, thereby eliminating 40 puzzles from the game, you would still have this fun first-person puzzle game with 6o puzzles, but for me, knowing that there are 20 puzzles just seems daunting in a way that feels almost oppressive.  That is the best way I have to explain it.  Maybe it would work better, as in I would feel more compelled to play more during each sitting if there was a story, character development, music that was not primarily ambient, but it is really all that I can handle.  Typically after Neverout I will head over to Mario Picross on the Super Nintendo app and play a couple of puzzles there just to mentally cool down because I need a bit of a breather after that.

I could see myself not finishing Neverout, relegated to the pile of Switch games I have started by not completed because I am stumped and refuse to look up solutions on GameFAQS or YouTube, but I think if I keep the game around and play a couple of levels here and there I will eventually finish it.

Eventually.



~JWfW/JDub/The Faceplantman/Jaconian

Thursday, November 19, 2020

MIDI Week Singles: "City of Wind - Windia" - Final Fantasy Mystic Quest (SNES)

 


"City of Wind - Windia" from Final Fantasy Mystic Quest on the Super Nintendo Entertainment System (1992)
Composer: Yasuhiro Kawakami
Album: Final Fantasy USA: Mystic Quest Sound Collections
Label: NTT Publishing Company, Ltd.
Publisher: Square
Developer: Square

The town music in Final Fantasy Mystic Quest is unique in that you first hear it when you arrive in the forest town of Foresta on your way to the Bone Dungeon, Aquaria (which oddly enough is not featured on the official soundtrack), and towards the Wintry Cave.  Later, you arrive in the city of fire, Fire Burg which has a variation on the Forestia theme with more of a rock feel to it.  When you reach the City of Wind, Windia, you once again hear another variation on the town music, although this one is closer in tone to Forestia.  The main difference between the Windia theme and all the other variations used for other towns is that here there is a wind sound effect that plays throughout the entire song.

As I sat at work, listening to the song and looking out at the grey sky and trees blowing in the wind between intermittent rain, I knew that this was going to be a perfect song to use.  The melody itself is calming and peaceful and for me, the wind does not sound menacing at all, just that it is ever-present, and as far as sound effect integrated into the music on a 16-bit video game goes, I do not mind this at all and actually makes me feel a little bit colder; like when you watch a movie where people walk through knee-deep snow and you feel colder.  That is what this song does for me, thinking of the upcoming wintry months full of cold and wind, but only the good associated feelings, as well as watching The Kid play this when she was about eight-years-old, then playing it myself.  Good memories.


~JWfW/JDub/The Faceplantman/Jaconian
Instrumental

Wednesday, November 11, 2020

MIDI Week Singles: "Valor & Honor" - The Elder Scrolls Adventures: Redguard (PC)


"Valor & Honor" from The Elder Scrolls Adventures: Redguard on the PC (1998)
Composer: Chip Ellinghaus & Grant Slawson
Album: The Elder Scrolls Adventures: Redguard Original Game Audio
Label: Bethesda Softworks
Publisher: Bethesda Softworks
Developer: Bethesda Softworks



It has been a couple of years since I played The Elder Scrolls Adventures: Redguard and I guess I never wrote a full-on review article, but I did play and finish this back in 2016.  The game takes place on the small island of Stros M'Kai in the Hammerfell province during the 2E 864 while Tiber Septim is consolidating his power and bringing the various parts of Tamriel under his rule.

The song opens somewhat militaristic ally, which you could argue for either the Crowns or the Forebears depending if you are against or for Imperial rule.  The second theme opening with the flute (1:55) could be showcasing more of the island as a quiet and tranquil place, but then that is disrupted by the third theme (2:16) which is the music that crops up nearly every time you are engaged in combat, which happens a lot in this game.

I like this track because it showcases three different sides to TESA:R, being the Imperial occupation of a small port city, wind through palm trees, and engaging in combat against a fellow Redguard pirate or a enclave of goblins living behind a waterfall.  It is just good showcase of music from a game that I, for the most part, enjoyed playing.


~JWfW/JDub/The Faceplantman/Jaconian
Fraught With Danger And Travail

Monday, November 9, 2020

Game EXP: Wolfenstein: The Old Blood (PC)


Before starting Wolfenstein: The Old Blood, I wanted to play Wolfenstein (2009) because the character of Caroline Becker and a couple of other references were from that game and I wanted to have as much of a complete story as possible before jumping into Wolfenstein II: The New Colossus.  So while I did try to find Wolfenstein (2009) I came to the conclusion that it was only available if you had already purchased and downloaded the game on Steam, or if you had a physical copy; although it could be pirated I did not want to dive down that route and potentially mess up my computer.  I then decided to download and play Return to Castle Wolfenstein just to get some back story on B.J. Blazkowicz that was more in keeping with this iteration (kind of), and after only 10 minutes into that game I found out that The New Order was created to essentially replace and modify some of the events in Return to Castle Wolfenstein, so I only made it as far as BJ escaping from his cell after finding his partner who had been electrocuted to death.

I also briefly wanted to mention that as was the case with Wolfenstein: The New Order, I did experience screen tearing ranging from the top half of the screen, but only if a few instances, to just the top third to quarter being the rest of the game.  Otherwise, the game ran fine, usually averaging out at 60 fps even when on a combination of low and medium settings.  The audio played fine and again, the game was perfectly playable and even looking back, my memories of playing do not include all of the screen tearing that had happened.

With Wolfenstein: The Old Blood, the game was broken up into three acts told in two parts with the first act taking place in Castle Wolfenstein, the second act in a small nearby city, and the third act seemed to take a hard left turn which I will get to at the end of the article.  Part of the game ended up being what I was originally expecting from this series, being a run-and-gun (stealth and non-stealth) inside an alternate reality Nazi-run castle, hence the name of the series.  Captured by Nazi's while attempting to infiltrate Castle Wolfenstein, B.J. Blazkowicz must escape his cell, rescue his partner that also captured when their spy-like infiltration failed, and make to his safehouse in the nearby village of Paderborn.  The game gets a lot of flack for not being different enough from The New Order and from what I have read, The Old Blood was originally going to be part of a DLC pack for the first game, but grew in size and scope and ended up becoming its own fully-fledged game.

Once I started the game, I was not expecting so much of the first act to be nothing but involved stealth.  Sneaking behind hulking Nazi proto-bio-robots to essentially backstab them to death and sneaking up on prot0-Panzerhunds (referred to as  Kampfhunds here) ended up being most of the first quarter of the game.  Once you escape from your cell, you are only armed with a section of pipe that you use to campus walls, and stealthy dispatch early prototypes of the Power Armor soldiers you fight in The New Order.  There were times when the stealth sections would get rather tiresome in that the actions were feeling repetitive even though I felt like I was making some progress as far as making my way through the prison area of the castle, it probably could have used either some retooling to trimming.

Once you do pick up guns, you quickly notice that these are not the semi-high tech weapons found in most of The New Order, which makes sense as this is decades before BJ wakes up from his 14-year stupor in the asylum in Poland.  The weapons alone were different enough from The New Order that it did not feel like I was playing the same game and I had to recognize the limitations of the older weapons I was now using.  So aside from that, the gameplay in each area, as it really felt like the game was broken up into areas sectioned off by heavy impenetrable steel doors, began again to feel repetitive, but for a completely different reason.  In The New Order, in some of the levels, there would be Nazi officers who would be near radio equipment who could trigger an alarm if you were spotted.  Here in The Old Blood, a similar tactic was implemented, but it was overused in that there would always be two officers in somewhat close proximity to each other and it became almost more like a puzzle to figure out how to take them both out without being spotted; most of the time in meant sniping them with your silenced pistol (which seemed to have a stupidly long range for a pistol).  This level designed continued through most of the rest of the game and I quickly got tired of having to worry about triggering an officer only to be flooded with a never-ending sea of Nazis, often forcing me to either restart by choice or because I was killed; although sometimes I could survive the onslaught if the alarm was triggered by the second officer right before I killed them.

Jumping ahead quite a bit (after the escape from the castle and fighting a super-soldier closer to those in The New Order), the next section of the game was BJ trying to make his way through the village of Paderborn, so that he could retrieve information from a Nazi officer who was residing in the village while seeking help from a couple of local agents.  Parts of this area felt like it was trying to get BJ close to other characters as the majority of the other characters he interacted with were dead Nazis and there were some interactions that felt halfway genuine, but others felt forced, but maybe that was also because this was a prequel.  Maybe?  But after the stone walls and tight hallways of Castle Wolfenstein, it was actually a nice change of scenery.  

In this area, the big boss fight was the first time I ended up turning down the difficulty because, after my fifth-plus attempt, I just could not manage to kill the bastard while dancing through a medium-sized room and trying to expertly grab the occasional health pack that was thrown towards me.  Maybe it was that my shooting and strafing skills were still not up to par with where they should be (playing mouse/keyboard) or I was just approaching the fight all wrong, but it definitely reached the point to where either I gave in to the shame of taking the game from "Bring 'em on! (normal)" down to "Don't hurt me" (easy), but not so low to "Can I play Daddy?" (very easy?) or I just would have stopped playing altogether.  I still feel a little guilty about that, but if I had not, then I might have been stuck at that fight and never finished.  So there!

After some more running through city corners, the game took an odd paranormal left turn in the third act after certain events happened (which I will not get into here) when zombies (referred to as Shamblers) started showing up, but at least the story lead the game there even though the Shamblers did kind of show up out of the blue.  I knew that parts of the 2001 release of Return to Castle Wolfenstein dealt a lot with paranormal activities and mysticism but that MachineGames wanted to steer clear of that aspect of the two previous Wolfenstein titles, but apparently, this game decided that a mysterious gas under the city has the properties to turn corpses into the sprinting dead was fine.  The rest of this act was pretty fun because while shooting Nazis was fun, killing zombie Nazis that would sometimes explode was even more entertaining.  I did feel a little bad about killing the civilians who also turned into Shamblers because they were just minding their own business before the gas explosion uprooted Paderborn.  There were a couple of encounters that allowed you to pit Shamblers against living Nazis and if in close enough proximity, you could wait while the two enemies fought amongst themselves as it was often easier to kill Shambers than Nazis who would shoot back.  There was even the Decide Who You Help and Who Ends Up Dead which was somewhat hidden within the level design and kind of made me regret my choice, but that is just the way the cookie crumbles in 1946 Nazi Germany apparently.


And then there was this giant-ass beast of a What the Hell!?

The game ended not at all as I was expecting in that it continued with the zombie state of things and unlike The New Order where you fought a human inside an early form of mech, but here you fought the upper half of a giant monster that I am still a little foggy on where it came from and why.  In this boss fight I again ended up turning down the difficulty after five or six attempts because the challenge, at this point in the game, felt a bit much for me.  I did this mainly to finish, but also because I was not 100% certain that I was actually affecting the monster with my attacks, and in two instances, I ran out of ammunition and could only be replenished by the random Nazi zombie that came stumbling into the area just to make matters worse.  But I did defeat the monster, recovered the documents from a Nazi corpse, got them to where they needed to be, then rode off into the sunset (only to arrive at an airbase right before the flight out to assault Deathshead's island... well shit).

Love that Schockhammer!  But not as much as the Assault rife apparently.

You know, yeah, I did really enjoy Wolfenstein: The Old Blood even with what criticisms I mentioned above, and that there were not as many moments in the game where you could just talk to other characters, but that was the story that was being told here.  BJ needed to escape from prison to find sensitive information and fought Nazis and zombie-like creatures along the way.  I have read some criticism that there is not the variety of guns here that there were in The New Order, but I personally did not mind that.  The guns here acted like guns, they killed Nazis and that was all I was asking for her.  Now it will be time to take a jump forward in time to see what happened to BJ after the events in The New Order with Wolfenstein II: The New Colossus which I have for the Switch so it will be interesting to see how the game compares (with a controller) to the low/medium settings on my previous laptop played with keyboard/mouse.



~JWfW/JDub/The Faceplantman/Jaconian
L'Infer a Doucement Touché Notre Sol



P.S.
And here is an extra screenshot that I did not manage to fit into the body of the article.


This was during a mini-boss fight inside Castle Wolfenstein (or was it a church in Paderborn?)  against another steam-powered and untethered Supersoldaten and I decided that running up to and firing point-blank range while dual-wielding assault rifles was going to be the best tactic.  I just really liked the lighting here and the ballsiness of Blazowicz of facing down a Nazi Super Soldier.

Friday, November 6, 2020

Game EXP: Wolfenstein: The New Order (PC)


So, I finished Wolfenstein: The New Order quite a while ago, and kind of like I said in my First Impressions article, I enjoyed this a lot more than I had anticipated for reasons that I was not expecting.  Having played the reboot of DOOM (developed by id Software), I think I was expecting another intense run-and-gun shooter taking out Nazis left-and-right, but what I got with these games (developed by MachineGames) with Bethesda Softworks and id Software being the common links between the two of them, were character-driven stealth shooters that carefully walked the line between campiness and seriousness.  These were also games wherein TNO you could dual-wield sniper rifles, so there was that too.

And since this is a few days after election day here in the United States (how is it still not a national holiday!?) talking about killing Nazis seemed about right, especially in this political climate; this article was written before the election on November 3rd.

I might have missed how to aim while dual-wielding since the regular button to aim became the firing button for the second sniper rifle.

As is my routine with a lot of video games, especially first-person-shooters, I inverted the Y-Axis, and then I tinkered around with the graphical settings because I knew this five-year-old laptop was not going to run on anything more than medium settings if that.  I settled on low settings in both games, and as I mentioned in my first article, there was near-constant tearing in the upper third of the screen any time I moved, which was all the time.  For me, the game was still playable since the fps counter in the upper left of the screen would range anywhere between 30 and 60 fps so I believe it had to do with the refresh rate of my screen which I discovered I could not alter beyond what it was already set to; I even turned off Windows Game Mode which I read over on PC Gamer could help with freezing and stuttering games, granted not my same situation, but I figured I would give it a try.  And hey, at least the screenshots look nice and pretty.  Right?

And you know what, according to Metacritic, TNO was the 14th most discussed game in 2014, so there would be very little reason to go into a long-winded thesis about the game so I will probably end up keeping this one kind of short as I already covered a lot in what I wanted to say in my First Impressions article even if it was only for the first 1/3rd - 1/2 of the game.

Something about using the map to explore as much as possible, uncovering as many hidden areas and having issues with being able to access them, especially access points visible on the map and pretty sure I could tell where they were in-game, but never often explaining how to get to them.

One thing that surprised me by the time I finished TNO was that there was no Castle Wolfenstein, with the closest location being Deahshead island fortress at the very beginning and then at the end.  But oh boy do you travel around in this game, almost to the detriment of keeping the story tight and concise.  You start the game on an airplane flying towards Deathshead island, then you wake up in Poland, travel to Germany, London, then up to the sodding Moon, and down to the bottom of the ocean, then you are back up in the air plummeting towards a building fighting your way either back down or up I do not recall, then you are back underwater and finally finishing again at Deathshead compound (a la not Castle Wolfenstein but it might as well be).  Do not get me wrong though, it was a kick running on the Moon shooting Nazis with specially modified weapons but especially looking back, it did feel a bit Forest Gump-like with all of the locations BJ ended up visiting so that he could help stop the Nazis from their continued take over of the world.


The other aspect of the game that I was not prepared for, was the emotional toll that the game would take.  I never broke down into tears, but I really enjoyed seeing B.J. Blazkowiz fleshed out as a character, as well as the host of NPCs of the Resistance, especially the characters of Max Haas, and Tekla.  Also seeing the relationship between B.J. and Anya develop over the course of the game seemed sweet and genuine without feeling forced.  For context, earlier in the game, I decided to save Fergus as I felt that based on the opening of the game during the assault on Deathshead's Island, it felt like B.J. and Fergus had a history and he would have saved someone he was more familiar with over Private Wyatt, which may or may not impact the story that I experienced and the characters I interacted with; beyond the obvious of interacting with Fergus instead of Wyatt.  I am pretty intrigued to play the Wyatt timeline, but I have a feeling that it will only alter interactions with BJ and other characters, as well as the final act of the game, but it will not have any significant change on the overall story or game; but I realize I could be wrong.

Something that I loved about the game was the inclusion of the LaserKraftWerk, which you find during your first mission in London after your 14-year siesta in a mental institution.  When you first find it, it replaces your Laser Cutter, which is more like a utility tool used to cut holes in chainlink fences and cut locks from gates, whereas now you can cut through specific sheets of metal, often allowing you access to items stored in boxes and to create entrances to hidden areas.  In order to limit the use of these tools, they run off of a battery that you can charge at stations throughout each level, but it will also auto-charge to a certain point allowing you to not become stuck if you need to use it to continue through the stage and are not near a charging station.  A very cool aspect of the KWL is that there are upgrades you find, like the Targeting Scope that lets you use the tool like a sniper rifle.  Once I later found the Generator which charges the LKW at a faster rate and up to full, I found myself using this a lot more, and with the Targeting Scope and by the end of the game, it became my go-to weapon for taking out troublesome Nazis who kept taking pop-shots at me from behind cover (since you could eek out and when the targeting scope highlights them, the near-instantaneous firing would typically kill them).  It felt a little cheap, but they are Nazis so they deserve it.

The primary takeaway from all of this, if you have not already gathered, was that I really enjoyed Wolfenstein: The New Order in ways that I was not expecting.  The gun-play was a lot of fun, the story played out in a way I was not expecting both in terms of locations, characters, and when in time the game took place.  I was a little disappointed that you do not go up against Hitler or Mecha-Hitler, but Deathshead was an acceptable opponent and especially his presentation felt fitting as well.  Spoiler?  I wish though, from what I recall, that there had been a little bit more Deathshead in the game as his presence is more omnipresent, like Sauron in The Lord of the Rings, that you hear a lot about him throughout the game and see a lot of what he has been doing for the Nazis.

The game ended well too, in that I was happy with how the story ended but it was spoiled a little bit because I was playing this six years after the game was first released and three years after Wolfenstein II: The New Colossus came out, so I know that Blazkowicz has a healthy dose of plot armor equipped.  The final scene though with its slow-mo cut scene was still moving none-the-less, which tells you something about the quality of the storytelling here, that MachineGames did not just create a run-and-gun first-person shooter banking on the Wolfenstein name; or at least it does in my opinion.  So upon coming to the end of the game (in the Fergus timeline), I was still entertained and engaged enough with the characters and the world that I quickly jumped into the prequel, somewhat based off of the now nearly impossible to find Wolfenstein (2009)Wolfenstein: The Old Blood.  Kind of, but that will be in an upcoming article.



~JWfW/JDub/The Faceplantman/Jaconian