ja_nathen
I don’t think I have played a game that so perfectly fits the description of a troubled masterpiece better than Prince of Persia: The Sands of Time. The game has so many great features and gameplay mechanics that really elevate it to the top of the cinematic platformer genre that this series started. But for every great idea that presents itself, not too far around the corner is an equally worse one that just sours the rest of the experience. This game is coming off the back of Prince of Persia 3D, which is not really a game most like to remember when discussing this series. Where PoP 3D struggled with being derivative of the games the original duology inspired, such as Tomb Raider, and was plagued with a disastrous development; Sands of Time is much clearer in its design intentions, and instead of trying to catch up with the industry that had left it behind, Mechner and the team at Ubisoft carved out their own corner of the industry, which then would go on to have an arguably bigger impact of the industry at large than the original games. But, like I mentioned, this game has plenty of problems with it, which may be expected with a game that is truly the first of its kind, and it's these setbacks that prevent me from calling the game great, as much as I really want to. Don’t get me wrong, it is still enjoyable by all means, and maybe a more patient player can call it perfect, but for me, these flaws are too big to ignore.
Let's start with the good, because I think the gravity of the bad only makes sense in the context of the good. After the release of Prince of Persia 2 in 1993, the so-called cinematic platformer genre was continued, and then practically owned by Tomb Raider. The original PoP games were heavily precision based, having the player precisely time their jumps and actively think about spacing in everything that they did; Tomb Raider followed this up by taking those elements and putting them in a 3D space, and then using that 3D space to create gigantic and elaborate levels. But where I think Tomb Raider lost the plot a little bit was when it started focusing more on spectacle rather than skill; starting with the second game, Core Design began to shift their focus of design away from the skill based platforming that the first game heralded, towards using dramatic set pieces that lacked a lot of depth. Now, I believe that shift was mainly due to the yearly release contract that Core Design had with Eidos, so the more surface level, “cinematic” moments were an attempt to hold player intrigue without having to drastically change the core gameplay. But, nonetheless, by the end of the original series run, Tomb Raider kind of lost what made this genre special and unique, and it is here where Sands of Time steps in. Prince of Persia: Sands of Time is still a very cinematic game mind you, the dramatic camera angles and more linear structure reflect that, but those elements supplement the very skillful and challenging platforming. The Prince has a rather simple set of moves: he can jump across ledges, run up and along walls, wall jump, shimmy along and climb up ledges, and spin into a jump from poles. All of these moves are simple to understand, but the game really challenges the application of these abilities. The pacing of each of the moves introduction is really well done and doesn’t overwhelm the player, this leads to a train of thought that builds upon itself with each new introduction, culminating in sections that have the player on their toes the entire time; the descent into and out of the prison, as well as the final climb up the tower were the pinnacle of this. Additionally, the reverse time mechanic really allows the player to try out different options and test new abilities whenever they might get stuck, it is the perfect crutch for new players. The animations also play a big part in this. Much like the original duology, The Prince moves in a very natural way, a way that is predictable, for the most part; this creates a great sense of flow and cohesion whenever the player is doing long platforming sections. But, as good as the platforming is, it is the combat that brings it all down.
Between each of the longer sections of wall running and jumping from ledge to ledge, there is a pretty sizable combat section, that almost entirely overshadow the platforming, and not for any good reason. At first, it looks like it functions very similarly to how combat worked in Prince of Persia 2, with The Prince being surrounded by a group of enemies that he must duel by attacking, dodging, and counter attacking; and it actually goes slightly deeper than this too, letting the player vault over enemies and hitting them from overhead, as well as using the walls to bounce off of and strike a diving blow. But, as soon as the higher tier guards are introduced, it all begins to fall apart. Up until this point, the vault and wall bounce had been the players go to for taking down enemies, but the royal guards upward, enemies are able to block even the strongest of attacks, and whenever a hit gets blocked, it stuns The Prince or knocks him down. Now, this wouldn’t be that bad if there were some invincibility frames on the getting up animation, but there are not, so what usually ends is that The Prince ends up getting damage locked whenever he gets knocked down because each enemy decides to attack one at a time at the precise moment the getting up animation begins. Add on top of this an absolutely awful camera that almost never cooperates, a control scheme that correlates with the camera position and not player position, and an auto targeting system that just doubles all of the aforementioned problems, and you have a combat system that actively screws over the player. And honestly, this is not even the worst part, really what kills any fun that could have been found with this system is just the sheer amount of enemies. There are too many enemies in every single encounter that doesn’t take place within the first hour; the player will constantly be hounded by every manner of high tier enemies, which just perpetuates all of the problems this system already had. Not to mention, The Prince's partner, Farha, isn’t invulnerable, meaning that there is a very high likelihood that an enemy will stray off from the pack and target her, effectively being a game over if this happens. This entire system is plagued with so many issues that it almost overshadows any good that the platforming had.
As per usual with these reviews, I do have a couple of notes that don’t exactly fit with the structure of the rest of the review. I really love all the small nods and references to the original duology, from the little cinematic that plays after a combat encounter is finished, to some of the minor 2D sections that are very reminiscent of its forebears, and just the fact that both of the original games are straight up unlockable as extras, being the only way to legally play these classic games in HD. Thank you Xbox backwards compatibility program. As well, while not explored to its fullest extent, the time reverse mechanic is a neat little feature that I think really sets It apart from; I wish it was explored more though, Tears of the Kingdom I think created a lot of fun puzzles and utility out this idea if you want an example. Also, it absolutely baffles me that they take away the entire mechanic for the last stretch of the game, like, the entire marketing factor of the game is just absent from what is supposed to be its climax. That is such a backwards way of designing a champion's road segment. That's about it I think, it's a game with a lot of good, but just struggles with some poor execution and one of its biggest aspects. So, while I don’t think it exactly stands the test of time, pun intended, it still is a classic and worth a playthrough.
Let's start with the good, because I think the gravity of the bad only makes sense in the context of the good. After the release of Prince of Persia 2 in 1993, the so-called cinematic platformer genre was continued, and then practically owned by Tomb Raider. The original PoP games were heavily precision based, having the player precisely time their jumps and actively think about spacing in everything that they did; Tomb Raider followed this up by taking those elements and putting them in a 3D space, and then using that 3D space to create gigantic and elaborate levels. But where I think Tomb Raider lost the plot a little bit was when it started focusing more on spectacle rather than skill; starting with the second game, Core Design began to shift their focus of design away from the skill based platforming that the first game heralded, towards using dramatic set pieces that lacked a lot of depth. Now, I believe that shift was mainly due to the yearly release contract that Core Design had with Eidos, so the more surface level, “cinematic” moments were an attempt to hold player intrigue without having to drastically change the core gameplay. But, nonetheless, by the end of the original series run, Tomb Raider kind of lost what made this genre special and unique, and it is here where Sands of Time steps in. Prince of Persia: Sands of Time is still a very cinematic game mind you, the dramatic camera angles and more linear structure reflect that, but those elements supplement the very skillful and challenging platforming. The Prince has a rather simple set of moves: he can jump across ledges, run up and along walls, wall jump, shimmy along and climb up ledges, and spin into a jump from poles. All of these moves are simple to understand, but the game really challenges the application of these abilities. The pacing of each of the moves introduction is really well done and doesn’t overwhelm the player, this leads to a train of thought that builds upon itself with each new introduction, culminating in sections that have the player on their toes the entire time; the descent into and out of the prison, as well as the final climb up the tower were the pinnacle of this. Additionally, the reverse time mechanic really allows the player to try out different options and test new abilities whenever they might get stuck, it is the perfect crutch for new players. The animations also play a big part in this. Much like the original duology, The Prince moves in a very natural way, a way that is predictable, for the most part; this creates a great sense of flow and cohesion whenever the player is doing long platforming sections. But, as good as the platforming is, it is the combat that brings it all down.
Between each of the longer sections of wall running and jumping from ledge to ledge, there is a pretty sizable combat section, that almost entirely overshadow the platforming, and not for any good reason. At first, it looks like it functions very similarly to how combat worked in Prince of Persia 2, with The Prince being surrounded by a group of enemies that he must duel by attacking, dodging, and counter attacking; and it actually goes slightly deeper than this too, letting the player vault over enemies and hitting them from overhead, as well as using the walls to bounce off of and strike a diving blow. But, as soon as the higher tier guards are introduced, it all begins to fall apart. Up until this point, the vault and wall bounce had been the players go to for taking down enemies, but the royal guards upward, enemies are able to block even the strongest of attacks, and whenever a hit gets blocked, it stuns The Prince or knocks him down. Now, this wouldn’t be that bad if there were some invincibility frames on the getting up animation, but there are not, so what usually ends is that The Prince ends up getting damage locked whenever he gets knocked down because each enemy decides to attack one at a time at the precise moment the getting up animation begins. Add on top of this an absolutely awful camera that almost never cooperates, a control scheme that correlates with the camera position and not player position, and an auto targeting system that just doubles all of the aforementioned problems, and you have a combat system that actively screws over the player. And honestly, this is not even the worst part, really what kills any fun that could have been found with this system is just the sheer amount of enemies. There are too many enemies in every single encounter that doesn’t take place within the first hour; the player will constantly be hounded by every manner of high tier enemies, which just perpetuates all of the problems this system already had. Not to mention, The Prince's partner, Farha, isn’t invulnerable, meaning that there is a very high likelihood that an enemy will stray off from the pack and target her, effectively being a game over if this happens. This entire system is plagued with so many issues that it almost overshadows any good that the platforming had.
As per usual with these reviews, I do have a couple of notes that don’t exactly fit with the structure of the rest of the review. I really love all the small nods and references to the original duology, from the little cinematic that plays after a combat encounter is finished, to some of the minor 2D sections that are very reminiscent of its forebears, and just the fact that both of the original games are straight up unlockable as extras, being the only way to legally play these classic games in HD. Thank you Xbox backwards compatibility program. As well, while not explored to its fullest extent, the time reverse mechanic is a neat little feature that I think really sets It apart from; I wish it was explored more though, Tears of the Kingdom I think created a lot of fun puzzles and utility out this idea if you want an example. Also, it absolutely baffles me that they take away the entire mechanic for the last stretch of the game, like, the entire marketing factor of the game is just absent from what is supposed to be its climax. That is such a backwards way of designing a champion's road segment. That's about it I think, it's a game with a lot of good, but just struggles with some poor execution and one of its biggest aspects. So, while I don’t think it exactly stands the test of time, pun intended, it still is a classic and worth a playthrough.
Before playing through Spyro: Enter the Dragonfly, I was led to believe by years of watching videos and reading information about the game, that it was an unbearable broken mess that is one of the worst experiences in gaming. I am happy to report that it is, in fact, not that bad. At worst, it is a slightly glitchy, kind of annoying basic platformer; and at best it is a little distracting romp through an otherwise barebones Spyro game. Don’t get me wrong, the game still isn’t very good, it is littered with half baked ideas, technical glitches, and just some of the weirdest aesthetic choices I have ever seen in a game; and from what I can tell, a lot of these bad design choices are the result of a troubled development. But I think the overall experience is ultimately fine, definitely not as dreadful as most people make it out to be.
The big elephant in the room with the entirety of this game is its lack of anything interesting. Nothing stands out, it is all just standard Spyro structure really. The player goes through a linear stage, even more linear for this game's case, collect gems, gather the special items, here they are dragonflies, and the player is done. The Insomniac trilogy, for the most part, proved that this was a winning formula, but what made it so much fun was those slight deviations and changes to the status quo that shook up the players' train of thought. Think of obstacles like the egg thieves, or the entirety of Tree Tops, that recontextualized the environment and the players abilities and asks them to think outside of the box. Enter the Dragonfly does not do that, at all. It is a shallow, hollow imitation of what came before. The game tries to do this; Spyro has a handful of new elemental breath types in conjunction with his fire breath, but nothing is ever done with them. At the most, there will be a section that requires hitting certain objects with different breaths; put out the fire with the ice breath, burn the scarecrows with the fire breath, and electrocute the poles to turn on the power. These breath types would be so much more interesting if, lets say, the player could create platforms on water or lava with the ice breath, or melt metal doors/ice barriers with the fire breath, or maybe even have to electrocute watery areas in order to turn the power on in a level, thus creating a new hazard in the process. But no, the new abilities stop at very surface level challenges that require very little brain power. As well, if it was not clear with my description of what this game considered to be a puzzle, the stages themselves are severely lacking.
Something I really appreciated from the first Spyro game is the abstract sense of nostalgia its set of levels gave me, it was like a happier version of the whole liminal spaces phenomena, like I had been there long ago in a dream I had when I was younger. All of Enter the Dragonflies levels are the exact opposite of this feeling, I have never been to these places before and I would really like to leave. The range of aesthetics this game goes for are just boring as all be; there is a dojo, an island with a luau theme going on, two separate farm levels, a very basic ice level, and a jungle temple. These themes are extremely basic and uninteresting and offer no real intrigue beyond the initial concept; they are quite actually just linear straight shots from the beginning to the end of the level; no alternate paths, no secret hideaways, and barely any of the now standard mini game side missions. Although, I am rather grateful for that last part, but I want to cover that later. The only level that doesn’t follow this structure is the Thieves Hideout, a level where all the egg thieves in the dragon world hoard their treasure, and is themed after The Thousand and One Nights. Not only does it have probably the most interesting concept for a level in the whole game, maybe series (so far at least), but the Arabian theming makes it stand out amongst the much more boring levels in this game; and, of course, there are many winding pathways to traverse and secret areas to find in this level, because what kind of thieves hideout would this be if it didn’t have those. But sadly, this is the only level in the game of this caliber, everything else is just fine. Actually, they might be worse than fine because of just how buggy this game is. There is a decently high likelihood that whenever the player enters a stage, something is going to glitch the hell out; I think I can recall a moment from each of the game's nine levels where some glitch made itself apparent. In some of them, gems would just fall through the floor and be unobtainable unless the level is restarted, others had problems with collision, where some platforms Spyro would just fall right though like he was a ghost, and in one instance in Honey Marshes, the level just refused to load in, leaving me walking on invisible ground unsure of where to go because I couldn't see anything. So, on top of already being rather boring levels, there is a good chance the level is just going to be broken whenever the player hops into them. But, all of this aside, I do think there is some good that this game has, albeit very minimal.
During the games development, one of the bigger issues the developers faced was building the game from the ground up, as they did not have access to any of the original source code or assets from the original trilogy. It is unclear whether or not the publishers, Universal Interactive, had denied them access to those original files, or if they simply didn’t have them on record to use, but either way, this led to many of the games shortcomings. Specifically, the one I want to point out is the change to how Spyro controls, here he is much stiffer, or tighter, depending on your perspective. Spyro in the original trilogy was much more floaty and less precise, which helped those games achieve the more free and dreamlike atmosphere they were going for, but it didn’t work so well in the more critical platforming sections. Which is why I was very happy to find out that Spyro is much more predictable to control here, making the few difficult platforming sections present more palatable. Additionally, like I mentioned earlier, the side mini game missions that plagued the last two games have had their presence greatly reduced; as well, I think they are better designed too. There are now two special gates in every level that lead the player to their respective side mission, these missions vary from piloting vehicles like tanks and UFOs, to sliding down giant mountain sides toboggan style. I like this implementation better than how 2 and YOTD did it because there being two per level doesn’t take away from the level itself, and the new mini games are based on the player’s abilities rather than having their own independent rules and control schemes, allowing them to flow much better into the pacing of each level. On top of this, the bugs that I mentioned earlier aren’t as bad as I made them out to seem, a simple restart of the level will likely fix whatever problems arise, this leaves the levels to be their ok sleeves; they aren’t bad levels, just not all that interesting, distracting for a little while than anything, which I will take a million times over having to a stupid trolley minigame over and over again.
Truly, I don’t think this game is that bad, it has problems, no doubt, but the overall game is fine. I understand why people scream to the high heavens that this game is an abomination, but I just can’t get behind that sentiment, especially when I have played games far far worse than this.
The big elephant in the room with the entirety of this game is its lack of anything interesting. Nothing stands out, it is all just standard Spyro structure really. The player goes through a linear stage, even more linear for this game's case, collect gems, gather the special items, here they are dragonflies, and the player is done. The Insomniac trilogy, for the most part, proved that this was a winning formula, but what made it so much fun was those slight deviations and changes to the status quo that shook up the players' train of thought. Think of obstacles like the egg thieves, or the entirety of Tree Tops, that recontextualized the environment and the players abilities and asks them to think outside of the box. Enter the Dragonfly does not do that, at all. It is a shallow, hollow imitation of what came before. The game tries to do this; Spyro has a handful of new elemental breath types in conjunction with his fire breath, but nothing is ever done with them. At the most, there will be a section that requires hitting certain objects with different breaths; put out the fire with the ice breath, burn the scarecrows with the fire breath, and electrocute the poles to turn on the power. These breath types would be so much more interesting if, lets say, the player could create platforms on water or lava with the ice breath, or melt metal doors/ice barriers with the fire breath, or maybe even have to electrocute watery areas in order to turn the power on in a level, thus creating a new hazard in the process. But no, the new abilities stop at very surface level challenges that require very little brain power. As well, if it was not clear with my description of what this game considered to be a puzzle, the stages themselves are severely lacking.
Something I really appreciated from the first Spyro game is the abstract sense of nostalgia its set of levels gave me, it was like a happier version of the whole liminal spaces phenomena, like I had been there long ago in a dream I had when I was younger. All of Enter the Dragonflies levels are the exact opposite of this feeling, I have never been to these places before and I would really like to leave. The range of aesthetics this game goes for are just boring as all be; there is a dojo, an island with a luau theme going on, two separate farm levels, a very basic ice level, and a jungle temple. These themes are extremely basic and uninteresting and offer no real intrigue beyond the initial concept; they are quite actually just linear straight shots from the beginning to the end of the level; no alternate paths, no secret hideaways, and barely any of the now standard mini game side missions. Although, I am rather grateful for that last part, but I want to cover that later. The only level that doesn’t follow this structure is the Thieves Hideout, a level where all the egg thieves in the dragon world hoard their treasure, and is themed after The Thousand and One Nights. Not only does it have probably the most interesting concept for a level in the whole game, maybe series (so far at least), but the Arabian theming makes it stand out amongst the much more boring levels in this game; and, of course, there are many winding pathways to traverse and secret areas to find in this level, because what kind of thieves hideout would this be if it didn’t have those. But sadly, this is the only level in the game of this caliber, everything else is just fine. Actually, they might be worse than fine because of just how buggy this game is. There is a decently high likelihood that whenever the player enters a stage, something is going to glitch the hell out; I think I can recall a moment from each of the game's nine levels where some glitch made itself apparent. In some of them, gems would just fall through the floor and be unobtainable unless the level is restarted, others had problems with collision, where some platforms Spyro would just fall right though like he was a ghost, and in one instance in Honey Marshes, the level just refused to load in, leaving me walking on invisible ground unsure of where to go because I couldn't see anything. So, on top of already being rather boring levels, there is a good chance the level is just going to be broken whenever the player hops into them. But, all of this aside, I do think there is some good that this game has, albeit very minimal.
During the games development, one of the bigger issues the developers faced was building the game from the ground up, as they did not have access to any of the original source code or assets from the original trilogy. It is unclear whether or not the publishers, Universal Interactive, had denied them access to those original files, or if they simply didn’t have them on record to use, but either way, this led to many of the games shortcomings. Specifically, the one I want to point out is the change to how Spyro controls, here he is much stiffer, or tighter, depending on your perspective. Spyro in the original trilogy was much more floaty and less precise, which helped those games achieve the more free and dreamlike atmosphere they were going for, but it didn’t work so well in the more critical platforming sections. Which is why I was very happy to find out that Spyro is much more predictable to control here, making the few difficult platforming sections present more palatable. Additionally, like I mentioned earlier, the side mini game missions that plagued the last two games have had their presence greatly reduced; as well, I think they are better designed too. There are now two special gates in every level that lead the player to their respective side mission, these missions vary from piloting vehicles like tanks and UFOs, to sliding down giant mountain sides toboggan style. I like this implementation better than how 2 and YOTD did it because there being two per level doesn’t take away from the level itself, and the new mini games are based on the player’s abilities rather than having their own independent rules and control schemes, allowing them to flow much better into the pacing of each level. On top of this, the bugs that I mentioned earlier aren’t as bad as I made them out to seem, a simple restart of the level will likely fix whatever problems arise, this leaves the levels to be their ok sleeves; they aren’t bad levels, just not all that interesting, distracting for a little while than anything, which I will take a million times over having to a stupid trolley minigame over and over again.
Truly, I don’t think this game is that bad, it has problems, no doubt, but the overall game is fine. I understand why people scream to the high heavens that this game is an abomination, but I just can’t get behind that sentiment, especially when I have played games far far worse than this.
2011
After a couple months of messing around with Dead Space's spin offs and extended universe, I have finally reached the actual sequel for the game I played all the way back in January, and I must say, the wait was well worth it. The team over at EA Redwood Shores, now Visceral Games, identified the few shortcomings of the first Dead Space game, and rectified them, creating one of the most true survival horror experiences that I have played in a while. Honestly, it felt more akin to the roots of the genre than I think even the Resident Evil remakes did when I played through those. A lot like the series signature plasma cutter, Dead Space 2 is a tight, clean, efficient experience; it wastes none of the player's time and is extremely tense throughout its entire run time. Though, I do think some of the parts that make it such a tense experience are where a lot of its downsides come from.
In my review for the first Dead Space, I mentioned how I felt the game struggled with creating a terrifying atmosphere, as well as being somewhat bland with its environments and overall aesthetic. These complaints stemmed from the fact the game refused to leave the player alone, always having someone talking directly to Isaac, or by not leaving any ambiguity and leading the player directly to where they need to be; this not being helped by the very bland looking environments that looked like scraped concept art for Doom 3. So, I am very glad to say that they improved on both of these aspects quite a lot. Firstly, Isaac talks now. I never would have thought that simply having the player character talk could be so integral to creating tension, but it is. By giving Isaac a voice, the developers dissolved the need for the other characters to be constantly hounding the player with objectives, and trying to force agency where there is none .Now there is clear and effective agency because Isaac is his own person who can express personal wants and create his own objectives; no longer does he feel like an errand boy to the other characters, instead he actually feels like the main protagonist. As well, by having Isaac be more independent, there is much more room for the fear to build, and for anticipation to fester. There are now long stretches of time where the player goes without any sort of meaningful interactions with NPCs, meaning that they are going to be alone with their thoughts way more often, which is the key to creating good horror. To add to the fear factor, the game's environments are so much more varied and creative than that of the Ishimura. The game’s setting is a giant city colony orbiting Jupiter called The Sprawl, think the giant ship from Wall-E, but way bigger. Throughout his journey, Isaac stumbles through every possible corner of The Sprawl; from the medical wing that he wakes up in, a (formerly) bustling entertainment complex, an absolutely terrifying elementary school sector, a decadent Unitologist church, a sprawling mine and cave system, to, what is most definitely my favorite area, the quarantined remains of the Ishimura. All of these environments are so much different from the last, each offering new aesthetics paired with challenges that are appropriate to the area. A few of my favorites would be how the new velociraptor necromorphs use the church’s daunting collection of pillars to play mind games with the player and flank them; the necromorph babies and children that wander the halls of the school, and how the Ishimura is just this imposing scar throughout its entire chapters run time, filling the player with memories of dread with every familiar area they come across. As well, the general pacing of each chapter feels so much smother; gone are the individual levels of the first game that start and stop with a tram ride, in their place is now a much more Resident Evil 4 style structure that flows into itself very well, letting the world feel interconnected and not like individual parts. The RE4 comparison doesn’t stop there, however, as I think the developers finally got what made RE4’s combat so great.
Again, to reference my review of the first Dead Space, I described that game's combat as an imitation of Resident Evil 4’s, but without the understanding and nuance that made it so great. I think I can confidently say now, though, that they not only understand it, but made it their own thing. The first Dead Space took the surface level ideas of focusing on location based damage and a wide arsenal of weapons, and kind of did only that. The stasis concept was neat, but definitely not fully explored, and while the focus on cutting off enemy limbs is really cool, it is functionally not different than a headshot. Dead Space 2, however, fully expands on both of those ideas, while also fully embracing the RE4 style sense of momentum that made that game such a classic. RE4 does a lot of things right, but what it does obscenely well is creating a sense of forward momentum; it is hard to describe what I mean by forward momentum, but I think the best way I could is that the make the player constantly push forward, and that is the same feeling Dead Space 2 invokes. The player is constantly pushing through hoards of necromorphs,and through set piece after set piece at lightning speed, constantly keeping the player engaged and on their toes. I got physically exhausted my first time playing RE4, and I get the same feeling here; my heart rate is through the roof every waking minute. Stasis has now been revamped so that it can also launch, as well as freeze and carry them. Because of this, there is a much bigger focus on using the necromorphs severed limbs as projectiles in order to save ammunition. This creates a whole new layer of thinking for the player, on top of prioritizing targets based on who they perceive as more deadly, the player must also think about which enemies have the easiest limbs to cut off so that they don’t have to use up ammo, completely flipping the dynamic of the game on its head, and leading to really intense combat encounters. As well, ammo pickups have been made more scarce in order to encourage this playstyle. This is a great addition that really makes the game stand apart from both its inspirations, and even newer games. But like with every game, there are still some less than favorable aspects that accompany it.
While the combat is way more dynamic and way more exhilarating, some of the enemy placements and spawns are just baffling. There are a sizable number of encounters that have the necromorphs just appear behind the player out of thin air, and while I am sure that they had some animation that showed them coming out of a vent, in the heat of combat when I am facing an entirely different direction, with my back to the end of a hallway that I new was clear a second ago, it feels really cheap. I think this could have been made slightly better if maybe each of the necromorphs had more distinct sounds, or at least some sort of doppler like effect that would let the player know if one was coming. Alas, no, the player just has to suffer. But really that is my only complaint, because other than that it is a fantastic game that is well worth anybody’s time. The atmosphere is great, the combat is phenomenal, the story is very intriguing, though I don’t want to discuss it for spoilers and what not. As well, the voice work in this game is very well done and really helps to make deeper connections with the characters; I am also very glad to see they kept with the very diverse dialects and accents from Extraction, that was something that I thought made the universe of Dead Space feel a bit more real. Again, highly recommend.
In my review for the first Dead Space, I mentioned how I felt the game struggled with creating a terrifying atmosphere, as well as being somewhat bland with its environments and overall aesthetic. These complaints stemmed from the fact the game refused to leave the player alone, always having someone talking directly to Isaac, or by not leaving any ambiguity and leading the player directly to where they need to be; this not being helped by the very bland looking environments that looked like scraped concept art for Doom 3. So, I am very glad to say that they improved on both of these aspects quite a lot. Firstly, Isaac talks now. I never would have thought that simply having the player character talk could be so integral to creating tension, but it is. By giving Isaac a voice, the developers dissolved the need for the other characters to be constantly hounding the player with objectives, and trying to force agency where there is none .Now there is clear and effective agency because Isaac is his own person who can express personal wants and create his own objectives; no longer does he feel like an errand boy to the other characters, instead he actually feels like the main protagonist. As well, by having Isaac be more independent, there is much more room for the fear to build, and for anticipation to fester. There are now long stretches of time where the player goes without any sort of meaningful interactions with NPCs, meaning that they are going to be alone with their thoughts way more often, which is the key to creating good horror. To add to the fear factor, the game's environments are so much more varied and creative than that of the Ishimura. The game’s setting is a giant city colony orbiting Jupiter called The Sprawl, think the giant ship from Wall-E, but way bigger. Throughout his journey, Isaac stumbles through every possible corner of The Sprawl; from the medical wing that he wakes up in, a (formerly) bustling entertainment complex, an absolutely terrifying elementary school sector, a decadent Unitologist church, a sprawling mine and cave system, to, what is most definitely my favorite area, the quarantined remains of the Ishimura. All of these environments are so much different from the last, each offering new aesthetics paired with challenges that are appropriate to the area. A few of my favorites would be how the new velociraptor necromorphs use the church’s daunting collection of pillars to play mind games with the player and flank them; the necromorph babies and children that wander the halls of the school, and how the Ishimura is just this imposing scar throughout its entire chapters run time, filling the player with memories of dread with every familiar area they come across. As well, the general pacing of each chapter feels so much smother; gone are the individual levels of the first game that start and stop with a tram ride, in their place is now a much more Resident Evil 4 style structure that flows into itself very well, letting the world feel interconnected and not like individual parts. The RE4 comparison doesn’t stop there, however, as I think the developers finally got what made RE4’s combat so great.
Again, to reference my review of the first Dead Space, I described that game's combat as an imitation of Resident Evil 4’s, but without the understanding and nuance that made it so great. I think I can confidently say now, though, that they not only understand it, but made it their own thing. The first Dead Space took the surface level ideas of focusing on location based damage and a wide arsenal of weapons, and kind of did only that. The stasis concept was neat, but definitely not fully explored, and while the focus on cutting off enemy limbs is really cool, it is functionally not different than a headshot. Dead Space 2, however, fully expands on both of those ideas, while also fully embracing the RE4 style sense of momentum that made that game such a classic. RE4 does a lot of things right, but what it does obscenely well is creating a sense of forward momentum; it is hard to describe what I mean by forward momentum, but I think the best way I could is that the make the player constantly push forward, and that is the same feeling Dead Space 2 invokes. The player is constantly pushing through hoards of necromorphs,and through set piece after set piece at lightning speed, constantly keeping the player engaged and on their toes. I got physically exhausted my first time playing RE4, and I get the same feeling here; my heart rate is through the roof every waking minute. Stasis has now been revamped so that it can also launch, as well as freeze and carry them. Because of this, there is a much bigger focus on using the necromorphs severed limbs as projectiles in order to save ammunition. This creates a whole new layer of thinking for the player, on top of prioritizing targets based on who they perceive as more deadly, the player must also think about which enemies have the easiest limbs to cut off so that they don’t have to use up ammo, completely flipping the dynamic of the game on its head, and leading to really intense combat encounters. As well, ammo pickups have been made more scarce in order to encourage this playstyle. This is a great addition that really makes the game stand apart from both its inspirations, and even newer games. But like with every game, there are still some less than favorable aspects that accompany it.
While the combat is way more dynamic and way more exhilarating, some of the enemy placements and spawns are just baffling. There are a sizable number of encounters that have the necromorphs just appear behind the player out of thin air, and while I am sure that they had some animation that showed them coming out of a vent, in the heat of combat when I am facing an entirely different direction, with my back to the end of a hallway that I new was clear a second ago, it feels really cheap. I think this could have been made slightly better if maybe each of the necromorphs had more distinct sounds, or at least some sort of doppler like effect that would let the player know if one was coming. Alas, no, the player just has to suffer. But really that is my only complaint, because other than that it is a fantastic game that is well worth anybody’s time. The atmosphere is great, the combat is phenomenal, the story is very intriguing, though I don’t want to discuss it for spoilers and what not. As well, the voice work in this game is very well done and really helps to make deeper connections with the characters; I am also very glad to see they kept with the very diverse dialects and accents from Extraction, that was something that I thought made the universe of Dead Space feel a bit more real. Again, highly recommend.
I want to be entirely straightforward about the nature of this review; this is not a review of Serious Sam: The Second Encounter, this is a review of The Second Encounters HD remake and subsequent Xbox 360 port. I will not be going over the design of The Second Encounter, instead I want to discuss my gripes with the HD remake, and then the weird oddities of its console port. With that being said, this is by far the worst way to play what is probably my least favorite Serious Sam experience. I am already not the biggest fan of The Second Encounter, and the issues that stem both from its remake and port job only serve to make it a worse experience.
I will not regale you with the copious amounts of versions, re-releases, and ports that make up the Serious Sam franchise. The only important bits to know for the sake of this review is that the original Serious Sam games, The First and Second Encounters, were released in 2001 and 2002 respectively, and then were both remade come 2009 and 2010. These remakes, appropriately, remade the first two entries in the then new and fancy Serious Engine 3, and with that process came a complete new look. Weapons and enemies had brand new models, textures were upscaled to match the standards for the time, and add some nice new gibs and animations for some of the enemies. Of course, I am probably not touching everything these remakes set out to do, but that is the gist. The problem I have with these remasters is that, in the process of making everything, quite literally, shiny, Croteam severely messed up any sense of art style and cohesion that these games had. The First Encounter gets off slightly easier because the Egypt aesthetic is consistent throughout, so while it is still very shiny and plastic look to it, like every model and texture looks like they have a cheap RTX filter on them at all times, it at least isn't a complete aesthetic shift every couple of levels. The Second Encounter has both the aforementioned Botox injection, and the drastic aesthetic shift; the latter isn’t that big of a deal in the original versions of the game, but here, with the horrible upscaled textures and really shiny everything, it is much more jarring. On top of that, The Second Encounter features levels that take place in massive outdoor areas, but because every surface looks like it was freshly polished near minutes before Sam got there, all of the plants and grass that look normal in the original, look drastically unnatural. As well, a lot of the weapon models were taken directly from the original Xbox port and then upscaled, which does not look good. These models were made for lower resolution textures, and so they also look slightly out of place. But that is all aesthetic criticism, there are some technical critiques I have.
This port does carry over a lot of the bugs that are present in the original PC release, such as enemies getting stuck on walls and terrain, but the port does have some of its own dedicated bugs. Firstly, and the one that was most baffling, is that the AI pathfinding is absurdly broken. It's not that noticeable at first, but as soon as the player reaches the alleyway fight in City of the Gods, it makes itself apparent. In the larger, more open combat arenas, such as the before mentioned encounter, almost all of Ziggurat, and especially in The Grand Cathedral, enemies just start bolting off the complete opposite direction of the player, or worse, the strafe around them. I can not tell you how much ammo was wasted due to these bugs, it is almost impossible to hit enemies that fall victim to these bugs, and it completely destroys the combat structure the game is so dependent on. I am unaware if this bug is present in the PC version, but I never hear it brought up when this game is in discussion, so I can only assume it is a problem in this port. As well, being a PC to console port during the 7th generation of consoles, there are some slight performance issues, and some sluggish controls. There is some slight texture pop in with some of the bigger maps, and some frame drops when a big amount of enemies are on screen, and the load times are just painstakingly long. They make dying so much more of a pain because you are just sitting there on the loading screen scorned by whatever got a cheap shot at you from around a corner. The controls aren't that bad, I have definitely played worse, but they fail in comparison to the smoothness of the original Xbox port. They are very choppy and feel like it's trying to emulate mouse movement. Additionally, the two methods of swapping weapons are not the best; the player can either use the shoulder bumpers to linearly cycle throw weapons, or use the D-pad to open up a weapon wheel to specifically select one. These aren't bad options, but they really should be swapped, like how they are in the 2017 Fusion release of the game, because the Xbox 360 D-pad is probably the worst D-pad out there, and using the bumpers takes way too long during high octane combat encounters.
And that's really it. I would not recommend playing either the original 2010 release of The Second Encounter HD, or its Xbox 360 port. If you are interested in this series in any way, I would highly suggest you either check out the classic release of the game, the original Xbox port, or the modern 2017 Fusion build that is available on PC and all modern consoles, there is no reason to go back and play this version, if only to say that you have like me.
I will not regale you with the copious amounts of versions, re-releases, and ports that make up the Serious Sam franchise. The only important bits to know for the sake of this review is that the original Serious Sam games, The First and Second Encounters, were released in 2001 and 2002 respectively, and then were both remade come 2009 and 2010. These remakes, appropriately, remade the first two entries in the then new and fancy Serious Engine 3, and with that process came a complete new look. Weapons and enemies had brand new models, textures were upscaled to match the standards for the time, and add some nice new gibs and animations for some of the enemies. Of course, I am probably not touching everything these remakes set out to do, but that is the gist. The problem I have with these remasters is that, in the process of making everything, quite literally, shiny, Croteam severely messed up any sense of art style and cohesion that these games had. The First Encounter gets off slightly easier because the Egypt aesthetic is consistent throughout, so while it is still very shiny and plastic look to it, like every model and texture looks like they have a cheap RTX filter on them at all times, it at least isn't a complete aesthetic shift every couple of levels. The Second Encounter has both the aforementioned Botox injection, and the drastic aesthetic shift; the latter isn’t that big of a deal in the original versions of the game, but here, with the horrible upscaled textures and really shiny everything, it is much more jarring. On top of that, The Second Encounter features levels that take place in massive outdoor areas, but because every surface looks like it was freshly polished near minutes before Sam got there, all of the plants and grass that look normal in the original, look drastically unnatural. As well, a lot of the weapon models were taken directly from the original Xbox port and then upscaled, which does not look good. These models were made for lower resolution textures, and so they also look slightly out of place. But that is all aesthetic criticism, there are some technical critiques I have.
This port does carry over a lot of the bugs that are present in the original PC release, such as enemies getting stuck on walls and terrain, but the port does have some of its own dedicated bugs. Firstly, and the one that was most baffling, is that the AI pathfinding is absurdly broken. It's not that noticeable at first, but as soon as the player reaches the alleyway fight in City of the Gods, it makes itself apparent. In the larger, more open combat arenas, such as the before mentioned encounter, almost all of Ziggurat, and especially in The Grand Cathedral, enemies just start bolting off the complete opposite direction of the player, or worse, the strafe around them. I can not tell you how much ammo was wasted due to these bugs, it is almost impossible to hit enemies that fall victim to these bugs, and it completely destroys the combat structure the game is so dependent on. I am unaware if this bug is present in the PC version, but I never hear it brought up when this game is in discussion, so I can only assume it is a problem in this port. As well, being a PC to console port during the 7th generation of consoles, there are some slight performance issues, and some sluggish controls. There is some slight texture pop in with some of the bigger maps, and some frame drops when a big amount of enemies are on screen, and the load times are just painstakingly long. They make dying so much more of a pain because you are just sitting there on the loading screen scorned by whatever got a cheap shot at you from around a corner. The controls aren't that bad, I have definitely played worse, but they fail in comparison to the smoothness of the original Xbox port. They are very choppy and feel like it's trying to emulate mouse movement. Additionally, the two methods of swapping weapons are not the best; the player can either use the shoulder bumpers to linearly cycle throw weapons, or use the D-pad to open up a weapon wheel to specifically select one. These aren't bad options, but they really should be swapped, like how they are in the 2017 Fusion release of the game, because the Xbox 360 D-pad is probably the worst D-pad out there, and using the bumpers takes way too long during high octane combat encounters.
And that's really it. I would not recommend playing either the original 2010 release of The Second Encounter HD, or its Xbox 360 port. If you are interested in this series in any way, I would highly suggest you either check out the classic release of the game, the original Xbox port, or the modern 2017 Fusion build that is available on PC and all modern consoles, there is no reason to go back and play this version, if only to say that you have like me.
2012
Whenever a game is given the title of black sheep by its fan base it is usually with a negative connotation, Hitman: Absolution being no exception. While personally I think the term doesn’t deserve or inherently equate to that notion, I struggle to make an argument for it in the case of this game. As my previous reviews of the four Hitman games up until this point have documented, the series has had such a strong uphill momentum with its advancement and expiration of its ideas and mechanics, culminating with Blood Money being an absolute masterclass in that field of design. But with this peak in design came the immortal dilemma of every long running series; do the developers stick with their guns and what they know, risking being labeled as monotonous and safe? Or do they stake out in a new, bold direction, potentially alienating fans by delivering a product that is different from what those fans have come to expect? I don’t believe there is a definitive answer to this, because there is hard evidence to the pros and cons to both paths. In the case of Absolution, however, it is very clear that Io Interactive went with the latter, and in the process, have become the textbook example of the subsequent negative outcome. That being said, there are some new additions that I feel would be great features in a game that more resembled the older games, rather than this more linear direction.
As mentioned, Io’s answer to their dilemma was to try something new, something more palatable. In interviews leading up to the games release, and in interviews since, they made it clear that their intention was to move away from the old Hitman formula that they felt was to abstract and could leave players confused, and instead implemented a design philosophy that more resembled popular games from that time like Gears of War or Call of Duty, that being linear experience that focused heavily on cinematics and set pieces. As well, while I can’t confirm this, I would assume the remaining developers who did work on Blood Money prior probably had some feeling like they had done all they could with the old style, contributing to the desire to move forward with the new. The result is a game that feels like it is eating itself from the inside out. Every design choice directly contradicts another and either makes it irrelevant, or breaks the gameplay flow in some way. One of the games newest features that it relies on heavily is the instinct system, this system is a consumable resource that the player can activate by pressing the bumper on the controller. The instinct ability lets the player utilize the disguises in each of the missions; this time around, if the player is wearing a disguise that other NPCs are wearing they will immediately become suspicious, the player must then use instinct to be able to walk past them without triggering alarms. This new change completely destroys any interest the player has in the disguise mechanic. The disguises in the older games worked because the player would put them on and then become near invisible to all NPCs, so long as they weren’t actually doing anything obviously suspicious; here though, the player must use instinct or else the disguise will flat out not work. On top of that, the only way to gain back instinct once it is used is to either complete objectives or challenges, or by just killing people. Challenges far to cryptic to be able to be done on a first playthrough, objectives complete themselves most of the time but are too far between each other, and killing random people goes entirely against the core idea behind this series; this leaves the entire instinct mechanic as a unnecessary hindrance on the overall experience, and the disguise practically forgotten about because the player quickly realizes they are more trouble than they are worth. The levels that suffer the most from this are definitely the three or so that take place in the Dead Factory. These missions are sprawling with guards, and almost nothing but guards, meaning the player just has to pray to god that they have enough instinct to get past all the security checkpoints. As well, the game's whole level structure is entirely upside down and makes zero sense half the time.
The best way I can describe this Aboslution’s levels is that they resemble shitty Splinter Cell levels. Again, they are extremely linear and are split up into checkpointed sections, which is not bad by any means, many games use this structure very well, Splinter Cell being one of them. The problem is that this is not a format the Hitman formula can fit in. Hitman thrives off having its levels be independent ecosystems that function without any player input, that way the player can study and exploit their patterns. Absolution has maybe one or two levels that I can think of that even somewhat resemble this idea, that being the opening sections of both Shaving Lenny and Skurky’s Law, outside of these two small parts the game is entirely reactive to the player. The example of this that pissed me off the most was that some enemies just straight up didn’t have patrol patterns and were completely static, only moving if the player did something to move them. While this was sometimes present in the older games, there was always a way to get around them by interacting with the level in some way, or they were at least isolated enough that the player could distract them with a coin or silenced gunshot to draw them away. In Absolution that is just not an option, these guards are often in highly populated areas and are directly in front of some important thing like a checkpoint exit or mission vital interable thing, meaning there is no clever way of getting around them without using instinct, which the player will probably not have much of because of how fast it drains. Additionally, there are plethora of new combat mechanics and skills 47 can do, such as a mark and execute mechanic straight out of Splinter Cell or Max Payne 3, but combat is still practically a death sentence, just like in the old games, once again highly discouraging the use of the new mechanics. Not to mention that the before mentioned mark and execute bullet time thing eats up a lot of instinct, further discouraging the use of it. These are only two examples of the many ways this game shoots itself in the foot, but despite that are a few things I enjoyed about, and that I think could be great implementations in future entries.
Firstly, the Glacier 2 engine looks fantastic, while I am not a fan of the weird grainy filter they put over the game, when it’s not noticeable, the game looks great. The guns also actually feel good to use for once, to the point that I almost wish the game took a more Max Payne direction with its design, leaning more into action rather than stealth. While the story wasn’t great and was full of so many plot holes and questionable decisions, the performances from the cast and the overall presentation was very enjoyable. The game's villain, Dexter, was a particular delight every time he was on screen, despite being dumb as all hell. Finally, the ability to lean against walls and ledges was a fantastic choice and really made stealth feel a lot smoother and slightly more cinematic somehow. I hope this feature returns in 2016. With that, Absolution ends the original Hitman run with a whimper, it is a game I can only really recommend out of pure morbid curiosity; I can’t even recommend the online mode as the servers were shut down years ago. It is a game only worth playing for the sheer fact that you can say you did.
As mentioned, Io’s answer to their dilemma was to try something new, something more palatable. In interviews leading up to the games release, and in interviews since, they made it clear that their intention was to move away from the old Hitman formula that they felt was to abstract and could leave players confused, and instead implemented a design philosophy that more resembled popular games from that time like Gears of War or Call of Duty, that being linear experience that focused heavily on cinematics and set pieces. As well, while I can’t confirm this, I would assume the remaining developers who did work on Blood Money prior probably had some feeling like they had done all they could with the old style, contributing to the desire to move forward with the new. The result is a game that feels like it is eating itself from the inside out. Every design choice directly contradicts another and either makes it irrelevant, or breaks the gameplay flow in some way. One of the games newest features that it relies on heavily is the instinct system, this system is a consumable resource that the player can activate by pressing the bumper on the controller. The instinct ability lets the player utilize the disguises in each of the missions; this time around, if the player is wearing a disguise that other NPCs are wearing they will immediately become suspicious, the player must then use instinct to be able to walk past them without triggering alarms. This new change completely destroys any interest the player has in the disguise mechanic. The disguises in the older games worked because the player would put them on and then become near invisible to all NPCs, so long as they weren’t actually doing anything obviously suspicious; here though, the player must use instinct or else the disguise will flat out not work. On top of that, the only way to gain back instinct once it is used is to either complete objectives or challenges, or by just killing people. Challenges far to cryptic to be able to be done on a first playthrough, objectives complete themselves most of the time but are too far between each other, and killing random people goes entirely against the core idea behind this series; this leaves the entire instinct mechanic as a unnecessary hindrance on the overall experience, and the disguise practically forgotten about because the player quickly realizes they are more trouble than they are worth. The levels that suffer the most from this are definitely the three or so that take place in the Dead Factory. These missions are sprawling with guards, and almost nothing but guards, meaning the player just has to pray to god that they have enough instinct to get past all the security checkpoints. As well, the game's whole level structure is entirely upside down and makes zero sense half the time.
The best way I can describe this Aboslution’s levels is that they resemble shitty Splinter Cell levels. Again, they are extremely linear and are split up into checkpointed sections, which is not bad by any means, many games use this structure very well, Splinter Cell being one of them. The problem is that this is not a format the Hitman formula can fit in. Hitman thrives off having its levels be independent ecosystems that function without any player input, that way the player can study and exploit their patterns. Absolution has maybe one or two levels that I can think of that even somewhat resemble this idea, that being the opening sections of both Shaving Lenny and Skurky’s Law, outside of these two small parts the game is entirely reactive to the player. The example of this that pissed me off the most was that some enemies just straight up didn’t have patrol patterns and were completely static, only moving if the player did something to move them. While this was sometimes present in the older games, there was always a way to get around them by interacting with the level in some way, or they were at least isolated enough that the player could distract them with a coin or silenced gunshot to draw them away. In Absolution that is just not an option, these guards are often in highly populated areas and are directly in front of some important thing like a checkpoint exit or mission vital interable thing, meaning there is no clever way of getting around them without using instinct, which the player will probably not have much of because of how fast it drains. Additionally, there are plethora of new combat mechanics and skills 47 can do, such as a mark and execute mechanic straight out of Splinter Cell or Max Payne 3, but combat is still practically a death sentence, just like in the old games, once again highly discouraging the use of the new mechanics. Not to mention that the before mentioned mark and execute bullet time thing eats up a lot of instinct, further discouraging the use of it. These are only two examples of the many ways this game shoots itself in the foot, but despite that are a few things I enjoyed about, and that I think could be great implementations in future entries.
Firstly, the Glacier 2 engine looks fantastic, while I am not a fan of the weird grainy filter they put over the game, when it’s not noticeable, the game looks great. The guns also actually feel good to use for once, to the point that I almost wish the game took a more Max Payne direction with its design, leaning more into action rather than stealth. While the story wasn’t great and was full of so many plot holes and questionable decisions, the performances from the cast and the overall presentation was very enjoyable. The game's villain, Dexter, was a particular delight every time he was on screen, despite being dumb as all hell. Finally, the ability to lean against walls and ledges was a fantastic choice and really made stealth feel a lot smoother and slightly more cinematic somehow. I hope this feature returns in 2016. With that, Absolution ends the original Hitman run with a whimper, it is a game I can only really recommend out of pure morbid curiosity; I can’t even recommend the online mode as the servers were shut down years ago. It is a game only worth playing for the sheer fact that you can say you did.
There is nothing that I can say that really does justice to this masterpiece of a game. It is so deeply embedded in the idea of personal experience that anything that I try to pass off as objective would be doing the whole game’s meaning a disservice. I could say that the game refocuses the core gameplay back on the stealth aspect of the series from where Metal Gear Solid 1 took a more set piece focused structure; I could say that the game finally justifies itself being in 3D with how it very effectively utilizes verticality and its first person perspective; I could say how I think Kojima’s writing style really matures in this one, compared to the more blunt and in your face style that the prior games had, here being much more subtle and intricate while still holding on to that grandiose nature; and I could say that MGS2 is one of the most unique experiences I have ever had in this medium. But the entire game is built on the premise of building your own memories, and creating your own conclusions, so I feel a bit out of place in trying to chronicle my experience rather than just keeping my experience to myself. So, with that, I think I'm just going to leave this as a cop out review and let my thoughts about this game settle for a while, because there is truly a lot to digest. Though, I think that is probably the only objective thing I can say about Metal Gear Solid 2; that no matter who you are, you will undoubtedly find something deeply meaningful in this game, one way or the other.
I liked Prince of Persia: Warrior Within. I liked quite a lot of it. There was a great deal of improvement from Prince of Persia: The Sands of Time to this one, mainly within the realm of controls, combat, and environmental design. As well, it really hit my blindside with the direction the developers decided to take for the game’s structure, it is not something that would typically expect, or even see, from a 3D platformer that would be released during this game’s time period. But, despite the areas that Warrior Within impressed and improved in, there are an equal number of extremely glaring issues that plague this otherwise fantastic game. These issues are definitely indicative of a rushed development, which is a real shame, because maybe with a bit more time these kinks could have been ironed out, and a truly great game could be uncovered.
To start with the good, the combat introduced in The Sands of Time has refined. The sword fighting, parkour mix that game had going on, while good, suffered the problem of being very repetitive. The Prince had access to all of his combat moves from the get go, so there was no sense of progression and difficulty scaling with that aspect, and the enemies didn’t really challenge these abilities in any sort of evolving way, everything was very static; this then lead the player to adopt a playstyle that abused the whatever the best move they had discovered was, typically the wall rebound or vaulting slash. Warrior Within fixes this by greatly expanding the number of different combat moves The Prince can perform. Pretty much any combination of buttons will perform some kind of different attack, and when added with the acrobatic moves like the wall run or rebound, the possibilities just skyrocket, to the point that it is very likely that the player will still be discovering new attacks even into the late game. Thankfully, the enemies too evolve with this move set. Each one is distinct and had their own attack pattern and little quirks that really change up how the player approaches encounters, like how the ninjas will dodge practically every swing that is thrown their way, or how the weird frog things explode upon taking enough damage; very much a far cry from the one note enemies of the previous game. Additionally, the further the player progresses in the game, they begin to unlock new abilities that use the sand tanks, no longer just being used for turning back time. These abilities range from being able to slow down time to a crawl except for The Prince, a giant AOE sand blast that can be used as a get off me tool, and a sort of rage mode that lets the player go absolutely ham on everything around them. These sand abilities add a lot of depth and intrigue into the combat, as well as creating a great feeling of progression that The Sands of Time sorely lacked. While this is all great in its own right, it is also how these new abilities interact with the new environments that really drew me in.
Foregoing the linear nature that the series had come to know, Warrior Within opts for pseudo open world structure, something that I was 100 percent not expecting. While the game still flows between area to area rather linearly, there is a much heavier emphasis on exploration and back tracking. The player will find themself going through the same areas multiple times in order to get to where they need to be, but don’t worry, just because they are the same areas doesn’t mean they function the same. One of this game’s new features is the ability to travel between past and present time periods via the many time portals that can be found throughout the map. The player will come across each of these portals and their respective chambers as they play through the game, but it is up to the player to figure out how to effectively use them in order to explore around and find secrets. In correlation with this new structure, the game’s map and areas are all interconnected and weave into each other fluidly, little to no loading screens can be found moving from place to place, save for the occasional death or cutscene. Of course, these new areas are also filled to the brim with traps and platforming sections that really halt the player and challenge their skills. They aren’t too dissimilar from what was seen in the prior game, The Prince’s moves, for example, are a one to one carbon copy from The Sands of Time, with the only new addition being that dangling ropes can now be used to extend the wall run. But while that hasn’t changed, the obstacles have, they have been made far more difficult in order to compensate for the new sand abilities, and I am all here for it. I vividly remember thinking that The Sands of Time would really benefit from having some sort of time slow down ability that would allow the platforming to be more difficult, and that is exactly what I got. The advent of, I'll call it bullet time for now, allows for traps to be much more deadly, with spinning blades and crushing walls being extremely fast, and requiring a deadly amount of precision and timing on the players end, all with the safety net of using a sand tank in order to make it slightly easier. But all of these new layers and improvements aside, the game is still riddled with issues that, while thankfully are not on the game design side, are sadly on the technical side.
I mentioned earlier that I believe this game had a rushed development, and I firmly believe this because the glitches and bugs that I encountered come directly from simple oversights that could have been remedied by simply having more testing done. From what I can gather, there are two big glitches, both of which I encountered, and a couple of smaller, less significant ones. The first one happens pretty early on in the game, after the player fights the first boss. The Prince kills the boss and then the player goes about their merry way following the path before them, eventually they come across the next time chamber, but the portal is already active, so they just walk right in and continue as normal. This is until they reach the next major area where a cutscene that is supposed to play, doesn’t, leaving the player trapped in this room because the exit wasn’t opened like it was supposed to. If this hypothetical player is anything like me, they would then reload a save to see if they had simply missed a trigger, only to find that upon resetting, they are no longer playing as The Prince, but instead The Sandwraith, something the player isn’t supposed to see until much, much later. The only way to undo this glitch is to load two or three saves back, so if the player has been saving over their saves, they are screwed and just have to start the game over from the start. The second big glitch happens in the exact same area at the end of the game. In order to get the secret ending the player must find all of the health upgrades throughout the game, so before I entered the last boss, I was doing a Metroid style round up of all the ones that I missed, something that the game was clearly encouraging. This was all going smoothly up until I had to go grab the very first upgrade that is housed in one of the earlier areas, the area that the first boss is fought in. I went back, grabbed it, and then had to proceed down the intended route because the bridge had given out and I couldn’t go back the way I came, but when I got to that very same area from earlier, the path way was open, like you would expect, but there was an invisible wall keeping me from grabbing the ledge to it, effectively soft locking me in this room because there was no other way out, the only solution was just to reload a save and settle with getting the bad ending. Both of these glitches are entire playthrough killers, if I hadn’t been creating new save files the first one would have made me quit, and I was very close to when the second one happened. I can only assume that these two glitches are linked in some way, given that they occur in the exact same areas and are pretty much the same issue. There is nothing that can seemingly be done about this, as even the HD version on PS3 houses the same issue, so it is unfortunately just a cruel reality of this game.
Outside of those two gigantic problems, some other issues I took with the game was that the auto targeting during fights was a bit too strong, making it very hard to strategically not fight some enemies because of low health or some other reason. The map the game provides too is also awful, it gives little to no information about where you are or how to get places, and serves no real purpose other than telling the player where they are, and where their objective is. With these issues in mind, though, I still think the game is objectively great and honestly a bit ahead of its time. It is similarly troubled like its older sibling, but rather than its problems stemming from poor game design choices, they come from a lack of polish and time, pun somewhat intended. If The Sands of Time gets to have a remake, this game certainly does too.
To start with the good, the combat introduced in The Sands of Time has refined. The sword fighting, parkour mix that game had going on, while good, suffered the problem of being very repetitive. The Prince had access to all of his combat moves from the get go, so there was no sense of progression and difficulty scaling with that aspect, and the enemies didn’t really challenge these abilities in any sort of evolving way, everything was very static; this then lead the player to adopt a playstyle that abused the whatever the best move they had discovered was, typically the wall rebound or vaulting slash. Warrior Within fixes this by greatly expanding the number of different combat moves The Prince can perform. Pretty much any combination of buttons will perform some kind of different attack, and when added with the acrobatic moves like the wall run or rebound, the possibilities just skyrocket, to the point that it is very likely that the player will still be discovering new attacks even into the late game. Thankfully, the enemies too evolve with this move set. Each one is distinct and had their own attack pattern and little quirks that really change up how the player approaches encounters, like how the ninjas will dodge practically every swing that is thrown their way, or how the weird frog things explode upon taking enough damage; very much a far cry from the one note enemies of the previous game. Additionally, the further the player progresses in the game, they begin to unlock new abilities that use the sand tanks, no longer just being used for turning back time. These abilities range from being able to slow down time to a crawl except for The Prince, a giant AOE sand blast that can be used as a get off me tool, and a sort of rage mode that lets the player go absolutely ham on everything around them. These sand abilities add a lot of depth and intrigue into the combat, as well as creating a great feeling of progression that The Sands of Time sorely lacked. While this is all great in its own right, it is also how these new abilities interact with the new environments that really drew me in.
Foregoing the linear nature that the series had come to know, Warrior Within opts for pseudo open world structure, something that I was 100 percent not expecting. While the game still flows between area to area rather linearly, there is a much heavier emphasis on exploration and back tracking. The player will find themself going through the same areas multiple times in order to get to where they need to be, but don’t worry, just because they are the same areas doesn’t mean they function the same. One of this game’s new features is the ability to travel between past and present time periods via the many time portals that can be found throughout the map. The player will come across each of these portals and their respective chambers as they play through the game, but it is up to the player to figure out how to effectively use them in order to explore around and find secrets. In correlation with this new structure, the game’s map and areas are all interconnected and weave into each other fluidly, little to no loading screens can be found moving from place to place, save for the occasional death or cutscene. Of course, these new areas are also filled to the brim with traps and platforming sections that really halt the player and challenge their skills. They aren’t too dissimilar from what was seen in the prior game, The Prince’s moves, for example, are a one to one carbon copy from The Sands of Time, with the only new addition being that dangling ropes can now be used to extend the wall run. But while that hasn’t changed, the obstacles have, they have been made far more difficult in order to compensate for the new sand abilities, and I am all here for it. I vividly remember thinking that The Sands of Time would really benefit from having some sort of time slow down ability that would allow the platforming to be more difficult, and that is exactly what I got. The advent of, I'll call it bullet time for now, allows for traps to be much more deadly, with spinning blades and crushing walls being extremely fast, and requiring a deadly amount of precision and timing on the players end, all with the safety net of using a sand tank in order to make it slightly easier. But all of these new layers and improvements aside, the game is still riddled with issues that, while thankfully are not on the game design side, are sadly on the technical side.
I mentioned earlier that I believe this game had a rushed development, and I firmly believe this because the glitches and bugs that I encountered come directly from simple oversights that could have been remedied by simply having more testing done. From what I can gather, there are two big glitches, both of which I encountered, and a couple of smaller, less significant ones. The first one happens pretty early on in the game, after the player fights the first boss. The Prince kills the boss and then the player goes about their merry way following the path before them, eventually they come across the next time chamber, but the portal is already active, so they just walk right in and continue as normal. This is until they reach the next major area where a cutscene that is supposed to play, doesn’t, leaving the player trapped in this room because the exit wasn’t opened like it was supposed to. If this hypothetical player is anything like me, they would then reload a save to see if they had simply missed a trigger, only to find that upon resetting, they are no longer playing as The Prince, but instead The Sandwraith, something the player isn’t supposed to see until much, much later. The only way to undo this glitch is to load two or three saves back, so if the player has been saving over their saves, they are screwed and just have to start the game over from the start. The second big glitch happens in the exact same area at the end of the game. In order to get the secret ending the player must find all of the health upgrades throughout the game, so before I entered the last boss, I was doing a Metroid style round up of all the ones that I missed, something that the game was clearly encouraging. This was all going smoothly up until I had to go grab the very first upgrade that is housed in one of the earlier areas, the area that the first boss is fought in. I went back, grabbed it, and then had to proceed down the intended route because the bridge had given out and I couldn’t go back the way I came, but when I got to that very same area from earlier, the path way was open, like you would expect, but there was an invisible wall keeping me from grabbing the ledge to it, effectively soft locking me in this room because there was no other way out, the only solution was just to reload a save and settle with getting the bad ending. Both of these glitches are entire playthrough killers, if I hadn’t been creating new save files the first one would have made me quit, and I was very close to when the second one happened. I can only assume that these two glitches are linked in some way, given that they occur in the exact same areas and are pretty much the same issue. There is nothing that can seemingly be done about this, as even the HD version on PS3 houses the same issue, so it is unfortunately just a cruel reality of this game.
Outside of those two gigantic problems, some other issues I took with the game was that the auto targeting during fights was a bit too strong, making it very hard to strategically not fight some enemies because of low health or some other reason. The map the game provides too is also awful, it gives little to no information about where you are or how to get places, and serves no real purpose other than telling the player where they are, and where their objective is. With these issues in mind, though, I still think the game is objectively great and honestly a bit ahead of its time. It is similarly troubled like its older sibling, but rather than its problems stemming from poor game design choices, they come from a lack of polish and time, pun somewhat intended. If The Sands of Time gets to have a remake, this game certainly does too.
2004
I am really struggling, at this point, to come up with anything to say about the Spyro series every time I get around to playing one of these. I don’t mean for this to imply that I think Spyro: A Hero’s Tail is a bad game, truthfully I think it's probably my favorite since the first game, very much better than Enter the Dragonfly and definitely a more refined experience in comparison to Ripto’s Rage and Year of the Dragon. It expands on the different breath types introduced in EtD by actually having puzzles involve them, and by giving each type their own attributes, the lightning breath in particular I loved because of its extended read and stun affliction. It also, I don’t think exactly fixed or improved, but defined the other playable characters sections; in YotD they really just felt like extensions of Spyro’s gameplay with slight deviation in move set, creating a feeling of almost bloat, and while again I don’t feel like this feeling as been shaken off, I think it's more manageable here because these sections are different enough to feel distinct and add a little bit of variety. But outside of that there is nothing this game does that makes it particularly stand out, there is just nothing, it's not interesting; and frankly, the series has felt this way for a couple of games now. I genuinely have nothing to say, I hate to do another short review so soon but that's the reality here; and while me feeling burnt out has of late when it comes to this whole backlog journey I have been doing for nearly a year and a half now might be playing a part in my opinion of this game, I don’t think that changes the fact that this game is just ok at best. Again, it is not bad by any means, just nothing of note. With that though, this will probably be the last review, and game, that I do for the next couple of months. My summer job is going to be very time consuming and I don’t anticipate me having any time to play anything, but who knows, maybe I will be able to squeeze one or two out, we’ll see.