Horizon: Zero Dawn (2017)

 

Genre: Open World Action RPG | Players:1 | Developer: Guerrilla Games

     Tribal humans fighting mecha-dinosaurs? Quite a pitch. Sign me up. I see why they put that as the first trailer for the game. That child's dream premise is the setting of Horizon: Zero Dawn, where an unspecified apocalypse has left humanity on the brink of extinction. Those left have reverted to tribal stone age societies that survive by hunting animals and scavenging the mechanical beasts that now roam most of the land.

    At the center of this is Aloy, a girl cast out from her tribe at birth for unknown reasons. Raised by her adoptive father figure and mentor, she trains to be able to take place in a tribal tradition that will win her re-admittance to the tribe as well as the right to demand answers of the matriarchal tribal leader of her past and banishment. Things go wrong tho when the contest is interrupted by outsiders raiding and slaughtering the contestants and other warriors who have seemingly come specifically to kill Aloy. This spurs her to journey outside tribal territory on a journey to find answers to not just the attack, but to her own heritage and how it connects to the legacy of the "Old Ones"; the humans of the pre-apocalyse who are both semi-worshiped for their technological knowledge and feared for their downfall that has left only ruins.

    Players control Aloy in an open world setting where they can do quests for NPC's, follow the main story, fight machines both stealthily or openly with a wide variety of weapons and skills, or scavenge resources to craft items, weapons, ammo and outfits. The combat is decently fluid and the skills and weapons give many ways to take down enemies. Each enemy type has strengths and weaknesses that Aloy can scan to learn the best way of taking them down and leveling up gives skill points that can be spent for Aloy to learn new abilities which gives the RPG part of this action RPG. The enemy AI is decently challenging, but can feel a bit stifling when multiple enemies attack patterns overlap effectively stun-locking until Aloy dies. The world is large and heavily explorable with villages, bandit camps, cities, landscapes and the ruins of the Old Ones. More chances to run into the more colorful NPCs. The characters are all interestingly designed and acted as they go about their lives like the man who pays players to collect "artifacts" which are actually just ancient coffee mugs with corporate branding on them because he thinks they were part of a sacred ritual. Too bad Aloy is the least animated of them. Natural given she has lived isolated for 18 years, but she never seems to grow out of it. Ashly Burch gives great emotion in some dialogue, but Aloy's whole personality can come off kind of flat. There are also some technical bugs like voices sometimes going out of sync with mouths, or Aloy becoming torso-less when an outfit change won't load. Nothing unseen before in video games and it doesn't dampen what is an excellent science fiction story and adventure with varied combat and deep exploration with a bit of replayability in different dialogue trees and choices to be made.

Buyer's Guide: Was a PS4 exclusive for years until a PC port was released. The PC port was super buggy. It has since been patched, but is still the slightly less stable version with more versatility in technical options being on PC. Later editions come with the Frozen Wilds DLC already included.

4 Corporate Sponsored Apocalypses out of 5

The Last Guardian (2016)

Genre: Adventure / Puzzle / 3D Platformer  |  Players: 1  |  Developers: Team Ico / genDESIGN / SIE Japan Studio

The many delays and behind the scenes troubles that plagued the game's development are well-documented elsewhere, so I'll skip all of that. My stance can be summed up with a familiar phrase, 'better late than never'. And in a strange way the delay makes TLG more special to me, because it delivers the kind of one-player PS2-era experience that is becoming rare in titles on modern consoles.

But, subjective silver lining aside, there's a drawback to deal with. While not much of a problem at the beginning, what's required of you as you progress deeper into the game causes the camera mechanic to feel outdated. Because it has to acknowledge both the boy and the giant cat-bird-dog creature (named Trico) featured on the cover art, it can favour one when you need it to favour the other. It moves freely with the right stick, but in cramped spaces its functionality takes a hit, leading to frustration, and the game features quite a lot of such places.

Trico feels more alive and has more personality than any collection of pixels should conceivably have. Equal parts ferocious and timid, Trico is a genuine wonder, and it only takes about twenty minutes of play to become completely attached to its presence. The creature has its own mind, it's not an empty-headed steed, so when you want it to go someplace you'll have to encourage it, which often means assessing its mood and influencing it accordingly. If it's hungry, feed it; if it's frightened, soothe it, etc. Judge well and you'll have smoother sailing.

If you enjoyed Ueda's previous games, namely ICO (2001) and Shadow of the Colossus (2005), then the chances are good that you'll enjoy TLG, too. The world has the same kind of ancient, historically rich beauty as its predecessors; the same kind of forward progression and puzzle solving as ICO; and the necessary interdependence of the two main characters is once again where the heart of the story resides. You play as the young boy, but if you're an animal lover in real life then the winged Trico is likely where the majority of your sympathies will lie.

The many set pieces that punctuate the emotional journey are heart in throat experiences that I'll remember and no doubt relive for years to come. Takeshi Furukawa's music often heightens them, periodically adding mysterious, exotic, sympathetic and dramatic tones that help bring what's important to the surface.

4 nutritious barrels out of 5

The Legend of Zelda: Majora's Mask 3D (2015)

Genre: Action, Adventure | Players: 1 | Developers: Grezzo, Nintendo EAD Tokyo

As with the 3DS remake of Ocarina, this revamp of Majora’s Mask successfully addresses every issue I had with the original. They were laser-precise in fixing the things that irked me the most, and even if I feel that those things were overcome-able by patient, smart players, I have to admit that there is an incredible sense of legitimacy to the changes herein. There is no similar great crime to rival the hand-holding present in Ocarina 3D’s trade quest.

The two largest alterations have a gigantic impact on how convenient it is to do a 100% playthrough. Owl statues now grant permanent saves, instead of temporary ‘memo’ saves. Resetting the time, however, no longer elicits one. I.e., get into the new habit of resetting, playing the Inverse Song of Time and running around the clock tower to the owl statue, now centrally located along with the bank. Having legitimate saves in the middle of cycles makes once trying things, like completing Anju & Kafei’s quest, completely tolerable.

The other significant innovation is that the Song of Double Time now allows you to pick the exact hour to which you’d like to travel within a given day. Picking a time in the next day will require a second rendition, but it’s still a huge boon in comparison.

While many other small refinements were made, sometimes the original tail-end dialogue for events will remain, resulting in a nice sense of preservation, but also a tiny loss of overall semantic logic. Further, relocating two of the masks may seem infuriating (especially given what one of them is), but this does result in a stronger story for an involved NPC.

The four boss fights are updated, unequivocally, for the better. They are more involved and cinematic. In order to maneuver underwater like an Arwing, Mikau now requires magic. Fear not, you can still dash and dolphin leap just fine without any, but if you want to have unfettered fun, I absolutely recommend going to grab a bottle of Chateau Romani before taking a swim.

There are only two problems. One is a bonus feature, so I’m not inclined to hold it against this release: While it makes all the sense in the world to finally bring the one truly missing feature of 3D Zelda games to MM3D, the fishing is simply a complete disappointment. The IDEA of wearing certain masks to catch analogous fish is incredibly sound! Having to basically catch every fish in the lake to spawn “boss” fish, however, is tedium and there is no reward, at all. When I say reward, I mean a log, a menu to fill up stating which fish I’ve caught. That’s ALL I ask for when it comes to fishing in Zelda, and I’d imagine that’s true for most fans. Here, as far as I can tell, you catch them, (sometimes) hear a comment from the fishing hole attendant, and release them with no record whatsoever that you caught them in the first place. If I’m wrong, please correct me.

The other issue could be serious, depending on individual circumstances: There were two instances where I became caught up on the geometry in Termina Field. I was able to free myself both times by changing forms. I realize that you cannot go outside prior to gaining control over the Deku Mask, but that could easily occur in Clock Town, if you’re trying to be adventurous with your jumping the same way I was when I had trouble outside.

I absolutely recommend this over the original versions, but please be careful on your first cycle! That said, I don’t think I've ever made it entirely clear how much I adore this interactive piece of fiction. Majora's Mask 3D makes this dense, rich experience magnitudes more playable. It is an utter joy to execute actions in this game once you understand how to play it. Resonant emotional colors bleed from it profusely. Cherish it, if it speaks to you even a fraction as much as it does to me.

4½ Inexcusable Instances of Deku Scrub Racism out of 5

I do not have binocular fusion and are thus incapable of experiencing 3D. 

Don't ask me how it looks here, or in any other 3DS game.

The Legend of Zelda: Ocarina of Time 3D (2011)

Genre: Action, Adventure | Players: 1 | Developers: Grezzo, Nintendo EAD Tokyo

To get it out of the way, I’m ecstatic to say that the two small issues I mentioned in my nut of the original game have been resoundingly rectified! It’ll be easiest to tackle everything new in a bullet-point fashion, so let’s go:

*Indicators on the world map tell you when you’ve cleaned out all of the Gold Skulltulas in each area.

*The ocarina is now appropriately afforded its own touch-screen button and you’re allowed to view the songs as you play them assuming you aren’t the type to obsessively memorize such things. In fact, the HUD for the ocarina on the bottom screen makes it far easier to see the patterns making up each song as you play them, thus making them easier to memorize than ever before! Yes, I do miss seeing the N64 buttons, but it wouldn’t make sense. I’ll just buy a Song of Storms shirt.

*The same soundbites are used, for good and ill. Don’t front, you’d be upset if Navi was changed.

*In terms of graphics, some things look astoundingly identical. Specifically, certain character models. Most things, however, are utterly gorgeous. A lot of love was put into the fishing hole, especially!

*One heart piece and several of the Big Poes were a bit glitchy, but because of the nature of Zelda I was able to simply vacate the area and try again.

*Both pairs of special boots are now classified as items, making equipping and removing them a lightning-fast process.

*This version does skew towards new players with some Sheikah stones giving advice without having to wear the Mask of Truth.

*The locations where you can change the water level in the Water Temple are now color-coded to denote which door leads to each and are emblazoned with washing machine-esque diagrams.

*I don’t mind the above addition because labeling tools doesn’t negate the work the player has to do. Those nails aren’t hammering themselves. Conversely, I am very annoyed that the trade quest is now mapped out step by step. The world is not large enough, at least in terms of NPCs, to justify this.

* You can hold L1 to center the camera and use the gyroscope to peer around w/o having to use the look button. It’s usually exactly as much as you need to get a glimpse above you. Incredibly useful!

*You can sleep in your bed and retry bosses from there, “in the realm of dreams.”

*A version of the Master Quest is included, which unlocks upon completing the regular quest. Please look elsewhere for detailed coverage. Perhaps here, in the future.

In the current gaming climate, I’m willing to spot a company as meticulous as Nintendo two glitches that were not damning in any way. Further, as annoyed as I am with them for hand-holding new players during the most iconic side-quest, I cannot deny that this is the definitive version of this game and that it deserves a full,

5 Parties Worth Forgiving A Plot Hole For out of 5

I do not have binocular fusion and are thus incapable of experiencing 3D. 

Don't ask me how it looks here, or in any other 3DS game.

MotU: He-Man: Defender of Grayskull (2005)

Genre: Action / Adventure  |  Players: 1  |  Developer: Savage Entertainment

The objective of the game, if I'm not mistaken, is to advance through poorly designed and repetitive levels battling bland enemies, employing badly animated sword strikes to end their miserable existence. You'll use a roll manoeuvre during combat in an attempt to add variety, but it's not necessary and you'll soon grow tired of even that. You'll discover that it's quicker to simply lock onto them with L2 (if you're lucky) and hack and slash until they become a crumpled heap.

He-Man can also jump, which comes in handy for cocking-up the awful platform sections. At those times, collision detection in hinted at but largely absent.

He-Man's muscular physique is referenced often, in the piss-poor animation and in having each step he takes be accompanied by monotonous heavy footfalls that drill deeper and deeper into the player's brain with each laboured step.

You'll be required to hit switches and then wonder if they even registered, collect keys that are approximately half as big as you are, and reset your game often because of getting stuck in parts of levels that are easy to get into but impossible to exit from. On the plus side, you don't actually have to carry the keys once you find them, because he has a magic gaming pouch in his furry pants.

If you endure, like a real hero would, you're rewarded (compensated?) with special moves that do more damage but take an age to enact. I'm genuinely not sure if they were purposefully slow-mo or if the frame rate actually shit itself.

The Eternian hero is voiced by Cam Clarke, who also played him in the short-lived but fantastic Masters of the Universe reboot in 2002. That series was never released outside of R1 territories, whereas this game was only released in Europe. MotU fans from R2 got shafted in the first instance, but MotU fans from countries other than Europe should consider the second instance an act of mercy.

My time with He-Man: DoG ended when I rose from sitting, walked purposefully to the console and said aloud, "Get the fuck out of my machine!"

1 drawbridge out of 5

3D Dot Game Heroes (2009)

Genre: Action / Adventure  |  Players: One  |  Developer: Silicon Studio

If I say the words: sword, shield, life meter (red), magic meter (green), bomb bag, bottles, boomerang, magic boots, maze-like puzzles, side quests and fairy companion then there's a high probability that you're going to think of The Legend of Zelda, right? I would too, but now you can add 3D Dot to the list. It has a stupid title, I know, and it would be natural to assume before playing it that the blatant theft makes it deserving of derision, but the opposite is true, it deserves much praise. It takes the classic, honed to perfection, 8-bit LoZ 2D aesthetic and translates it into a homage-filled 3D adventure for PlayStation 3 owners.

I don't mean the Ocarina of Time (1998) kind of 3D, either. It keeps the angled/overhead perspective of an older LoZ title and instead of turning pixels into regular polygons it lovingly builds everything from blocks, keeping it old-school even while it utilises modern tech, imbuing everything with an almost tilt-shift photography vibe (for the technically-minded, it uses voxels).

Furthermore, despite there being no need to do so, the screen even slides from designated area to area just like it would on a handheld. It's that kind of game; you can feel the love and nostalgic charm in every constructed part.

Speaking of construction, you can customise your character completely (except weapons), as long as you can visualise him/her/it in square blocks. There are tons of pre-made ones to choose from, but if you're feeling adventurous you can start from scratch and build Link, Samus, Mario, Iron Man, Voltron, Jesus (on or off a cross), anything you want! (For extra jollies, name your character 'Bates'.)

If you get bored being who you are then simply change at the load screen. And it's even possible to share creations with friends because, unlike some other developers, the people at Silicon Studio haven't locked the save files. They made it as easy as pie to pop them onto a USB stick and give them to the world.

Your chosen hero's swords are upgradable. If you have enough cash you can leave the blacksmith's with a weapon that'd give Cloud Strife an inferiority complex.

Note: Beware, a large portion of the side-quests are time-sensitive events, requiring a player to have discovered and completed each one in-between clearing Temples. If you've not triggered an event before polishing off a Temple Boss then that particular quest (and its reward) is gone forever. Likewise, any branching quests that are dependent on the first one being brought to fruition will also be gone forever. It sucks when you remember too late that you forgot to revisit a particular corner of the map and speak to a specific fretting NPC.

4 swords for a jobbing hero out of 5

Assassin's Creed: Freedom Cry (2014)

Genre: Action / Adventure | Players: 1 | Developer: Ubisoft

Our introduction to Freedom Cry’s protagonist Adéwalé was in Ass Creed IV: Black Flag (2013) when he served as quartermaster aboard Captain Kenway's pirate ship, the Jackdaw. FC is set fifteen years after that time, with the former quartermaster now a fully-fledged assassin and Captain of his own vessel.

Things go bad and Adéwalé gets washed ashore after a shipwreck. The place he lands is Saint-Domingue, a French colony on the Caribbean island of Hispaniola. In Saint-Domingue black workers are kept as slaves by cruel white masters. Adéwalé empathises with the working men and women, having once been held in similar chains, so he chooses to stay and liberate them using his assassin skills.

Originally a DL-only addition to Black Flag it was subsequently released as a standalone title minus the IV prefix in the title. That means if you own the Ass Creed IV disc you can choose the original partial download. It’s the full FC game but makes use of your existing AC IV install files. If you don’t have the disc you can download a larger file enabling you to play the full FC game in its standalone guise. At full price, when compared to the amount of gameplay that IV gives you, FC is piss-poor value. It doesn't get close to my definition of value for money.

The biggest addition to gameplay is the ability to free slaves from plantations. In fact, it’s your currency while on land. It sounds odd, but (once unlocked) guns and ammunition are free as reward for selfless services rendered. The better items can only be purchased once you've freed enough people.

There’s an important social message at its core that's deserving of wider attention, but everything about the expansion feels rushed, from the story to the poorly thought-out progressions and limited number of upgrades. Whereas IV had more in it than it first appeared, FC has less than it first appears. The majority of the locations are nothing more than a tiny beach area with two or three visible treasure chests. You’ll visit them once, with no need to ever return. Worse still, the sea shanties are absent, meaning sea journeys feel longer and are mirthless.

The few larger areas that make up the bulk of the game are well-designed and would've fit nicely into IV. It's a shame there isn't more to do within them and that the missions on them are so broken. Of the nine memories (missions) available, I had to restart six because of glitches. One in particular had to be restarted four times because the same glitch made it impossible to complete. That's the kind of thing I'd expect in a beta, not a final product. Well, except a Ubisoft product.

2½ changing tides out of 5

Assassin's Creed IV: Black Flag (2013)

Genre: Action / Adventure | Players: 1 / Multi | Developer: Ubisoft

Pop or feed the disc into your machine, allow it to install, get the huge (over one gig) patch to fix all the things that should’ve been fixed before it was released, sign in or skip the Ubisoft registration and you’ll finally be ready to play Black Flag, a prequel to the previous game, Ass Creed III (2012). It takes the seafaring aspect of III and expands it, giving you full access to your very own upgradable pirate ship and a huge ocean environment in which to jolly and roger around in.

Navigating is as simple as turning the bow of your ship in the direction you want to go and instructing the crew to drop sails. There are occasional hazards and enemy fleets to contend with, but unlike, for example, TLoZ: Wind Waker (2003), the actual journeying from place to place isn't dull. You can pick up flotsam and jetsam, go whaling (nasty, nasty business), engage other ships in combat and even have the crew sing sea shanties to fill the silence. The shanties are excellent.

Once you've discovered a location and synced with it by climbing to specific high points you can fast travel there at any time without having to set sail. Fast travel comes in very handy for side-quests and gathering collectables: Animus fragments, maps, buried treasure, hunting, crafting, upgrading (self and ship) and collecting sea shanty pages are some of what the world offers. The menus are packed with additional info relating to all aspects of the gameworld, from actual historical records of people and locations to transcribed song lyrics.

The story is better than anything Desmond ever had. As Edward Kenway you'll make friends, lose friends and even bury a few. I loved how they deepened the layers of interaction through him. You’re an Abstergo employee playing around inside the genetic memories of someone else who, at one time, is a pirate masquerading as an Assassin who’s masquerading as a Templar. Bravo, team.

The modern day sections of the game are more colourful than usual, but are still generally crap in comparison to the Animus adventures. Searching for sticky notes is a pain in the ass and playing a variation of Frogger to hack a computer is stupid.

The music has always been one of the best things about the series. In that it excels again, this time courtesy of Brian Tyler. It's been in my head for weeks.

I'd rather not end this review on a downer, but Ubisoft leave me little choice because in order to access small but crucial parts of the game—parts that are on the actual disc when you buy it, not DLC—players are required to create an account with their UPlay division. If you want to acquire all ship adornments and completely fill your inventory in the one player game then you need that UPlay account. Consequently, my AC IV inventory remains incomplete.

4 teeth of Neptune out of 5

The Legend of Zelda: A Link to the Past (1992)

Genre: Action, Adventure | Players: 1 | Developer: Nintendo EAD

A Link to the Past is the game that moved the Zelda franchise beyond the blind experimentation of the original and the mindless back and forth of its sequel. The upgrades in graphics and gameplay work in unison to finally crystalize what became the series’ keystones: exploration and puzzle-solving. It’s presented from a top-down perspective, like the first game, but secrets are marked clearly in both the overworld and dungeons. Emphasis is instead often placed on finding alternate entrances once one has been tantalized and stymied by what lies behind the easily visible ones. Also, navigating complex cave systems in order to mine them of all their treasures. Dungeons are composed of visually distinct wings and floors and maps make a return. Puzzles that span multiple floors replace exhaustive marches to elevators.

This is also the game that introduces the basic framework of the series: three dungeon items, Master Sword, more dungeon items, light arrows, Ganon(dorf). Though, the arrows are still silver, here. While it may have appeared in other games prior, for me LttP is the origin of the mechanic whereby one moves between two worlds in order to solve puzzles and progress. This went on to appear in Silent Hill Origins and the Constantine licensed game.

The second part of the game takes place primarily in the Dark World where you must retrieve nameless maidens from each of the dungeons before rescuing Zelda and scaling Ganon’s Tower. A Link Between Worlds replaces these maidens with a new generation of sages who are actually given dialogue and interactions with Link prior to them being kidnapped. This is the one true weakness of LttP, in my opinion. There’s a serviceable amount of lore on display, but there is virtually nothing in the way of character and story. I'm content with the level present in the 3D Zelda games, so I don't need MUCH, but I need SOME. Look, I don’t need or want story in Mega Man games, so you have my empathy and respect, even if I don’t have yours in this particular case.

If all you're looking for is solid 2D gameplay, though, you won't find much better on the SNES, or anywhere else, really.

Buyer’s Guide: Originally an SNES game, it’s also available on Game Boy Advance, the Wii and Wii U Virtual Consoles, and the SNES mini. The viewable area is somewhat cropped on GBA, however, so I’d recommend not seeking out that version unless it’s truly your only viable option. Several altered versions of the game were broadcast on Satellaview, but just wiki that yourself or check out Clan of the Grey Wolf’s retrospective if you’re curious from a historical perspective.

3 Catfishes 4x weak to Grass out of 5

Zelda II: The Adventure of Link (1988)

Genre: Action, Adventure, RPG | Players: 1 | Developer: Nintendo R&D4

I respect franchises that are brave enough to change much of their formula, especially early on. Accordingly, Zelda II’s change to a side-scrolling POV for interiors, random enemy encounters, and hidden overworld areas is not something I classify as a problem. It’s a decision; one that I have no qualms with, in a vacuum. The same is true for the brutal difficulty. There are magic drops in carefully doled out supply that will make progression exceedingly possible, if not delectably care-free.

There are RPG elements in play and while you are welcome to grind your heart out there are measures in place to facilitate a relatively swift adventure. You’ll be given a free level-up for completing each temple. If you use the experience-heavy enemies inside them to level just prior to placing the jewel at the end, you’ll be able to make the most out of this boon.

Regardless of my tolerance for these changes, there is a major problem: those very temples. Much like the original Metroid, there is a sameness to each area. Colors change from place to place, but within each temple it’s the same, from the floors to the walls to the bots drop from….the ceilings…The dungeons in the first game are equally guilty, but being presented top-down with a map system forewent the left-right, up-down experimentation necessary to complete these temples. “I went left last time, but I didn’t go up and then right at that elevator I found when I did, right?” is a conversation no one should have to have with themselves. EVER.

As tedious as one of the main focuses of the series is here, there are a few positives: Ocarina’s sages find their origin in the town names of this version of Hyrule. It’s Error and Bagu’s 'hood, yo. Yet most importantly, to me, is the music. There’s something about the tone that makes it haunting, perched on the precipice of madness. I love it. It should also be noted that a New Game+ exists that allows you to keep your levels and spells.

I can’t in good conscience implore anyone to play this in any serious capacity. If someone you know has it, give it a few minutes. Completing the first temple gives a representative enough feel of the experience.

Buyer’s Guide: Originally an NES game, it’s been ported to the GameCube (on the Zelda Collector’s Edition), the GBA, and every version of the Virtual Console currently in existence. It has also been included on the NES mini.

2 Sides of Yourself Enter, One Leaves out of 5

The Legend of Zelda: Majora's Mask (2000)

Genre: Action, Adventure | Players: 1 | Developer: Nintendo EAD

As with Zelda II before, Nintendo saw fit to make their second N64 console entry radically different from its predecessor. Virtually all of Ocarina’s assets are present, but they are turned on their head to create as new an experience as this franchise has ever mustered. Most importantly, the characters—and some NPCs who were originally not much more than character models—are given entirely new roles. It is the exact methodology exhibited in Stephen King’s Desperation and The Regulators (1996, both), with equally effective results.

Young Link is put in a position where he has the option to help as few or as many of these unfortunate souls as you deem fit. Gameplay revolves around a three day cycle that can be reset at will once the Song of Time is recalled. Link gets to keep the items, heart pieces and masks that he earns in each cycle, but the characters' memories and all events reset along with the time. This leads to repetition, but it is thought-driven, unlike the mindless variety I personally find to be in Luigi’s Mansion: Dark Moon. To further aid in this, people’s schedules are automatically recorded in a notebook the moment they open up to you with their problems.

The above mentioned masks have grown from a side-quest in Ocarina to being the main focus here. A few are transformative in nature, granting new powers. Others function in more limited ways or aid entry into the four dungeons, the process of which is now, also puzzle-driven in nature.

Frankly, there are aspects of MM that made my soul sing and others that I absolutely fucking loathed. I had problems solving certain things on my own, but when I retroactively looked at each case, I had to admit that the game indeed provided the means to resolve those issues. At a different time in my life, I probably would have been more patient and capable of doing everything independently.

In the end, this is the kind of game that teaches you things about yourself and life in general, if you’re willing to listen: when to ask for and provide help, when to accept things, and when things just have to be let go. I can’t claim to prefer it to Ocarina, though I can absolutely respect those who do because they are as equal as they are unique from one another.

Buyer’s Guide: It is of utmost importance to know that if you want the original 64 cart you’ll also need to procure an expansion pack as it is one of the few games that require it. It’s also available in the LoZ Collector’s Edition on the Game Cube and on the virtual console. The 3DS remake will be available the month of this writing (February 2015).

4½ Distraught Goatse Shields out of 5

Shadow of the Colossus (2005 / 2011 in HD)

Genre: Action / Adventure  |  Players: 1  |  Developer: Team Ico

Team Ico’s follow-up to ICO (2001) is a very different kind of game. Nevertheless, there’s the feeling that they both exist within the same fictional universe, making SotC a spiritual sequel.* It’s the story of a boy and his horse. There’s also the matter of a dead girlfriend. Wander (the boy) will do whatever's required to bring her back from beyond the veil, even kill at the behest of a mysterious voice.

Combat is essentially a series of boss battles. The Colossi are the kind of thing you’d face at the end of a Legend of Zelda dungeon. Many are so large that they need to be climbed so that you can attack their vulnerable spot, but just finding the Colossi can be a challenge in itself because the game world is vast.

Your only companions are your horse Agro and your conscience. As you traverse deserts and plains you’ll see man-made structures reclaimed by nature, signs of a once-great civilisation. The loneliness gives you time to reflect on your deeds but will likely bore anyone seeking a quick fix. Seriously, there's almost nothing to do outside of the core objective. Some side-missions would've been nice, but I can understand why they weren't included. The ambitious, uncompromising vision of the game designers is clear to see but will be the very thing that alienates people the most. If possible, trying before buying is definitely recommended.

Most of the story doesn't happen until the last quarter. Until then you’re the principal part of a mystery, required to repeatedly take a life in the hope that aggressive single-mindedness will result in your wish being granted.

The colossi will defend themselves like any animal would and should, but that doesn't change the fact that you‘re the trespasser. You’re the greater evil. The sadness and silent cries of ‘Why?’ on the faces of the victims cuts deep.

Like ICO did, it forces you to ask questions as you play. Why does the game try so very hard to instil a sense of guilt in the player? Are Wander's actions selfless or the product of a beleaguered conscience? How exactly did the girl die? We can take nothing for granted. We can only hope that the end justifies the means. In essence, it's like acting out a Greek myth.

New players will likely have trouble with the horse. Keep in mind that he isn't a car, so don’t try to control him as such. Spur him on, use the reins to direct him and leave him to it. He can be an idiot at times, but mostly you won’t need to negotiate every turn or corner because he’s quite capable of doing that himself.

4½ surmountable bods out of 5

*There’s evidence within SotC to suggest that it may actually be the second part of a trilogy being told in reverse. If so, that would make it a prequel to ICO. The theory will remain just that unless the third game, The Last Guardian, sheds new light. I don’t expect it’ll confirm either way, but I live in hope.

Note: SotC was re-released in 2011 as one half of The ICO and Shadow of the Colossus Collection HD. For more info on ICO, stab right about HERE.

ICO (2001 / 2011 in HD)

Genre: Adventure / Puzzle / 3D Platformer  |  Players: 1  |  Developer: Team Ico

ICO is an adventure game unlike any that the PS2 had seen before. You play as the titular character (pronounced Eee-co), a young lad with horns on his head. His adventure begins in a large room inside a larger castle. You'll have a fair idea why he’s there, but won’t know why he was chosen. Was it because of the horns or some other reason? We also don’t know why there’s a second individual, a caged female, perhaps a little older than Ico, who doesn't speak the same language as the boy. If they’re to escape before whatever it is they've been offered up to comes for them they must somehow overcome barriers and work together.

Unable to communicate verbally the pair exchange meaning via gestures, inflections and discernible emotions. If you want her to follow you the best way is to grab her hand and lead her. United by circumstance you become guide and protector. The bond that develops between them is all important, and mostly it’s up to you to create and sustain it. Is it a love story? Perhaps. It’s certainly a story of chivalry and mutual respect. If you fail to take an interest in that aspect of it then you may as well quit playing before you've even begun.

There’s no tutorial, no HUD and no objectives other than escape. To do that you’ll be required to solve puzzles and overcome challenges, including avoiding the clutches of the creepy shadow people that rise from the ground, determined to drag the girl into their shadowy existence.

As you progress though the castle you’ll catch glimpses of areas you've been and areas you've yet to reach. You know walls are basically just textures arranged at right angles, but it feels solid. The higher you go the more the defiant wind howls, carrying with it the call of the raging sea and the occasional bird. The prevalent atmosphere is one of wonder coupled with unknowable dangers.

The camera is a point of contention for some people. It’s fixed like a movie camera, but you can pivot and zoom at any time, even during cut scenes, and it’ll swing or pan as you run by to encompass the enormity of the environment. If you had complete freedom to move it wherever you liked then the puzzling aspect would be less effective and it would be arguably less dramatic visually.

Combat is simplistic. You hit things with a stick. You might be lucky and have something other than a stick, but the available actions never change. It doesn't matter. Like everything else in the game, it gives you only what you need. Even Michiru Ōshima's beautifully evocative music is minimal. The ambient sounds of the castle are the soundtrack the majority of the time.

I've maybe made it sound less than perfect in some ways but only because I don’t want to give a false allusion. It’s a game that doesn't rely on gimmicks. It uses emotion as a narrative device, wherein a small person can make a big difference, and for which an understanding of friendship is a key requirement.

5 flights to freedom (and stairs) out of 5

Note: ICO was re-released in 2011 as one half of The ICO and Shadow of the Colossus Collection HD. For more info on SotC, click HERE.

Assassin's Creed II (2009)

Genre: Action  / Adventure  |  Players: 1  |  Developer: Ubisoft

I was disappointed we didn't get the historical Japanese setting that was hinted at in the previous game, but that was softened by Ass Creed II outperforming its predecessor in every way. I replayed it recently and can confidently say that it’s still my favourite of the entire series so far. I don’t have first-hand experience of any version other than the PS3, but as far as it goes it works straight out of the box, without the need for patches or updates and it was glitch free. The only reset I was forced to perform was when I had more than a dozen enemies pursuing me simultaneously over a large distance and got overly-happy with the smoke bombs, the PS3 RAM didn't like that much, but that’s what I get for pissing about; none of the mission objectives will ask that kind of activity of you.

Ezio’s training in the past, sometime around the second half of fifteenth century Renaissance Italy, is a crucial element in Desmond’s education and evolution as an assassin in the present. It’s a small link between the two eras, but at least it’s something. Bless them for trying. The story even has a go at addressing the reason everyone speaks fluent English (except when it’s more dramatic for them to revert to their native Italian); it made me chuckle.

If you want to take the experience further there are many database entries filled with facts about the era and a large dollop of supposition about the people featured in the story. It's entirely optional, but it's a nice addition.

Surely there are some down sides? Of course, there’s a few. The frame rate isn't perfect, but that’s likely the trade-off for the world being so open and the draw distance. Secondly, there’s historian Shaun Hastings, an NPC that you’re forced to interact with more than once in order to advance the story. He looks like a git, he sounds like a git and he behaves like a git, ergo, he's a contemptible git.

Note: The missing/corrupt memories you encounter are filled in via DLC. It’s Ubisoft, after all, and that’s how they roll. They claim the levels just weren't ready in time, but I don’t believe that for a second. They just wanted more of your cash. They didn't get mine. The eventual GOTY edition has it all in one place.

A direct sequel to the story, Assassin's Creed: Brotherhood, was released on November 2010 for PS3, Xbox 360, PC and Mac. Milk that titty, Ubisoft.

4 beneficial bleedings out of 5

The Legend of Zelda: A Link Between Worlds (2013)

Genre: Action / Adventure | Players: 1 | Developer: Nintendo EAD, Monolith Soft

It’s important to know what this game is, and what it isn’t. It isn’t a DS Zelda game starring Toon Link. It doesn’t bother with any stylus or badly executed split-screen shenanigans. I use my thumb to access the menus and I hold the 3DS like a handheld is intended to be for action-adventure games.

It isn’t a remake of A Link to the Past. It’s far more accurate to say that this shares the general maps of that game to create an experience that both rewards you for your intimate knowledge of them and consistently challenges your expectations in the same satisfying way as Maverick Hunter X.

The main gimmick on display is the ability to merge into walls, making Link 2D while the camera rotates down and to the side, presenting the world in 3D. Popping in and out can be disorienting but my adjustment period was remarkably brief. Thank goodness, as the mechanic is used EXTENSIVELY and never grows stale.

Outside of one dungeon, the ones on display can legitimately be tackled in any order. You could play the Dark World somewhat out of order in LttP, and if you were alright with finding out halfway through one that you were missing an essential item, you were free to do so in the original game, as well. Here, however, the dungeons are marked with runes at their entrances denoting which items are required for successful completion. You can first rent and then later buy many of the series’ staple items at a central shop and this is what makes true freedom of play possible.

I’m always going to tackle the Swamp Palace second, but in both of my playthroughs I’ve gone wildly out of order, otherwise. The biggest boon of A Link Between Worlds is manifest here: instead of literal carbon-copy maidens, the sages are legitimate characters a la the 3D Zelda games. I care about saving them and the order in which I will.

There are a few negatives, however. The analog stick makes aiming the hookshot a bit hairy, but that very imprecision is harnessed for appropriate balancing sections, to compensate. The game tells you that you should take a break occasionally when you save, too.

Petty bullshit complaints, I know. Bottom line: LBW remixes and updates LttP while introducing the most crucial element of 3D Zeldas to the 2D plane. The best 2D Zelda by countless miles, sanjou~

Buyer’s Guide: It’s a 3DS exclusive.

4 Tsundere Witches Stole My Heart out of 5

I do not have binocular fusion and are thus incapable of experiencing 3D. 

Don't ask me how it looks here, or in any other 3DS game.

Ace Attorney: Phoenix Wright — Trials and Tribulations (2007)

Genre: Adventure, Visual Novel | Players: 1 | Developer: Capcom

Trials and Tribulations concludes the Phoenix Arc of the Ace Attorney series with aplomb and miles of grace to spare. In terms of gameplay, it is as similar to Justice For All as Silent Hill 2 is to Silent Hill 3. I.e., completely, functionally identical. It is worth noting that the introductory trial is actually part of the main storyline this time and the two stand-alone trials organically contain elements and themes present in that central narrative. They also house two of the most adorable and fulfilling one-off characters in the franchise. On top of all that, you actually get to play as two attorneys whose names aren’t Phoenix Wright, in three of the five(!) trials.

Because more of the Fey family’s story is presented in Justice than the first game, T&T works in a number of brief flashback-esque monologues about those events, throughout the proceedings. I have been told by a fellow Nut author—who has only played T&T—that this summarizing is effective and didn’t make him feel chided for not having experienced the other games. Good show.

Looking back on Justice For All from the finish line, this time, it’s clear that it derives its unique personality in the canon from a profound sense of tragedy. There’s nothing wrong with that. This game, however, is imbued with something outreaching of the humor to counterbalance the damage it wreaks upon its cast. There’s an almost shining aura of joy and life surrounding all involved, even the ancillary villain characters. For the central cast, redemption and release radiate beyond even the deepest shadows cast.

Trials and Tribulations simply feels like the most complete package of the trilogy in terms of presentation, content, and resolution. Like Final Fantasy VI, it exists in a space transcendent of its genre and overarching lineage of games. It is one of the most resoundingly successful, humanity-affirming pieces of fiction I have personally experienced and I unabashedly adore it.

2023 Update: Given that this franchise, or at least Phoenix's arc, exists to exalt tokusatsu, I can no longer recommend this game, or series.

Buyer's Guide: As usual, it was originally a Japanese GBA game that was ported to the DS, PC, and eventually the Wii (as WiiWare). It's also on iOS. There is a trilogy version available in the west as a download in the 3DS eShop. According to the AA wiki, there are some changes to the text, in addition to the fixes for the incredibly small number of typos that the series contains.

5 Refreshingly Bitter Blends out of 5

Bastion (2011)

Genre: Action Adventure | Players: 1 | Developer: Supergiant Games

The protagonist known only as "The Kid" wakes up in his bed to find an apocalyptic event called "The Calamity" has shattered the land and only random pieces of landmass float around as he makes his way to the titular Bastion; an emergency evacuation place for the city of Caelondia. Only one other person survived to make it to the Bastion; An old man known only as "the Stranger" who also provides the wonderful, low growl narration. The Bastion can be enhanced by finding Cores; huge crystals that used to power the city. The more cores that are found makes the Bastion larger and more functional. It also allows the Skyway that shoots him to remaining landmasses to send the Kid to farther landmasses. While exploring the wild, the Kid will fight various monsters with a variety of upgradeable weapons and search for cores and survivors while the Stranger narrates about the background of the places visited and sometimes snarks about what the Kid is doing (usually something the player did).

The Kid runs around in an isometric environment with the maps revealing themselves as the player explores in a beautifully rendered, highly colorized artstyle that somewhat contrasts with the downer scenario. The combat follows the old adage of "easy to pick up, difficult to master". It is fairly straightforward, but with nuance and the various weapon combinations add more as players progress. The Bastion can also be upgraded to add a forge for weapon upgrading, a distillery that allows for equip-able potions that offer a variety of passive buffs, and a shrine that adds more challenges when the various gods are invoked. The soundtrack is a wonderful new mix of old time western tunes with some more modern electronic and heavy bass. The controls were at first obtuse and janky on the PC since aiming with the mouse made a weird disconnect with attacks especially with melee weapons were The Kid would attack where the  cursor was instead of the direction he is facing which feels unnatural and is probably different with a joystick. Having gotten used to it though it still worked pretty good and eventually I couldn't put it down. With the great story, wonderful fresh genre soundtrack, and a fair amount of replayabilty with different weapons, modes and New Game Plus makes this one an easy recommendation.

Buyer's Guide:
Available on Steam, Xbox Live Arcade, iOS, OnLive and as a browser game for Google Chrome.

4½ Level-starting Faceplants out of 5

Deep Sleep (2012) / Deeper Sleep (2013) / The Deepest Sleep (2014)

Genre: Adventure / Survival-Horror | Players: 1 | Developer: scriptwelder

The Deep Sleep flash games are a free-to-play survival-horror trilogy created by scriptwelder and currently hosted on several online gaming sites, including Armor Games and Newgrounds. The basic premise is that you’re an individual interested in lucid dreaming who never bothered to consider the consequences of your rabid curiosity. 

The first game is the only flawless entry in my opinion, as it sets up the world and atmosphere exquisitely. It aims to be unsettling without depending on overt jump-scares, and succeeds. The second chapter has the best interconnected string of puzzles in the series as well as a collection mechanic that results in a more satisfying glimpse at the overall plot. It does ape something from a popular movie series, but having a laugh and a bit of an eye-roll over one thing isn’t enough to dampen my enthusiasm, in this case. While all three are short, the final installment is almost disappointing in its brevity. However, the environments and story reveals make it entirely worthwhile.

A staggering amount of interconnectivity is displayed across all three games and something seemingly random in the first game actually allows you to achieve the full ending of the second. There’s even two endings to the finale and the menu provides you quick access to see the one you didn’t choose initially. There are several points in each game where you can “die” and doing so only puts you back a screen, a la the Kemco-Seika trilogy. You can also quit and save at almost any time, but don’t clear your browser history or cookies after doing so, because, well, that’s how it’s accomplished.

While it will help to keep your expectations in check, I still genuinely feel that these are handily the best flash games I’ve experienced. The care that has gone into crafting the stellar atmosphere, paired with the references made to other games, paints this series as a sincere love letter to the genre.

Deep Sleep

Deeper Sleep

The Deepest Sleep

Buyer’s Guide: Click the links just above to play them on Armor Games. They can also be found on Newgrounds, Kongregate, Game Jolt, and Crazy Games.

3½ Delinquent Hotel Receptionists out of 5

Assassin's Creed: Liberation HD (2014)

Genre: Action / Adventure  |  Players: 1  |  Developer: Ubisoft

Ass Creed got its first playable female protagonist in AC: Lib. The creation of Aveline de Grandpré, an assassin of African and French heritage, may well have been to address criticisms from gamers up to that point, but to Ubisoft's credit both aspects play a key role in the game. It's not just a cheap cosmetic change.

It uses the AC III game engine but does interesting things with it. Aveline can change her clothes to best suit the task at hand. Hold back the cries of Women + Video Game + Clothes = Sexism for a second because there's a good reason for her frequent visits to the clothing store. The 'guise' she wears gives her a persona that makes it easier to infiltrate certain areas and affords to her a level of camouflage; e.g. few people will look twice at a slave carrying a box into the servant's entrance of a rich Lord's house. But once in the house the box can be dropped and the hidden blades revealed.

The same applies to the opposite end of the societal spectrum. When dressed as a lady of leisure Aveline can gather information from people in power during their rich-folks garden party, etc. It enables the player to get right into the heart of the action instead of having to constantly hide some place and eavesdrop like a creep.

It takes place in America during the second half of the 18th Century. The astute among you will notice that that's the same era that AC III is set. Indeed, while Ratonhnhaké:ton was fighting Templar control in the colonies, Aveline was doing her part in New Orleans amid the transition from French to Spanish control of the city. However, while AC III was from the perspective of Desmond and his useless cohorts, AC: Lib is a virtual environment provided by Abstergo Industries, so the legitimacy of events is questionable - the assassin might not be perceived as the good guy (or gal) all the time. Is it enemy propaganda?

Some good: being on the HDD means it loads quickly. Aveline is a better thief than anyone that preceded her. Play the trading game properly and money will roll in easily. It's much easier to avoid detection from enemies; it's arguably too easy. Chain-kills are fun. Another returning feature from previous games is the glitches. I had to reboot the game four times, which was the second-lowest ever (hey, it's a kind of improvement). And best of all, there's no Desmond!

Some bad: you can’t skip FMV if you restart a Memory. The emptiness of many handheld games is carried over. The autosave sometimes doesn't work. It feels short in comparison to the others in the series. It tempts you with the idea that missions can be approached differently depending on which guise you adopt, but that rarely happens; it more often than not restricts you to one specific persona, even going so far as to automatically change it at mission start, meaning the game has a lot less freedom and certainly less replay value than it could've had.

3 unwashed scabs out of 5

Ace Attorney: Phoenix Wright — Justice For All (2007)

Genre: Adventure, Visual Novel | Players: 1 | Developer: Capcom

As with most sequels, Justice for All throws a few new gameplay mechanics into the mix. The majority increase ease of use and make things more interesting. The rest fail to detract in any overly significant way.

This time around you can present character profiles as well as evidence, making some exchanges simpler to navigate without obtuse reasoning. This plays greatly into the biggest addition: the challenge of undoing individuals’ Psyche-Locks. People have reasons to hide things from you and you’re tasked with finding the keys in the form of evidence and character relationships. The strike system has also been replaced with a health bar that can be depleted in varying amounts depending on the importance of the action in question. This gets replenished between trials and when you successfully remove Psyche-Locks.

Of final note on the gameplay side is the fact that the game has become a bit more strict when it comes to cross-examinations. Sometimes you’ll have to press statements in a certain order, or even re-press earlier ones, just to move forward. YOU might jump a few steps ahead logically, but some trains of thought must be established step-by-step in court. I’ve heard this be described as game breaking, but frankly, if this momentary stymieing ruins a game for you, then you probably don’t have the patience necessary to enjoy this genre.

From a story standpoint, this entry officially walks through the door of allowing mystical happenings to stand in a court of law. I don't mind it, but I can understand (and respect) why some people do not care for it.

As for Phoenix himself, he delivers some killer lines that speak beautifully to his growing confidence. The humor is ramped-up and serves to further endear the already established characters. To balance this, the drama has been turned up to eleven in the cases directly comprising the main storyline.

Finally, as someone who has become a fan of tokusatsu since the last time I played this series, I can now fully appreciate how much of a deep-seated effect it has on Maya’s resiliency and strength as a person. I always loved how she was able to snare so many of those around her into its web, but now I understand WHY.

If you’re willing to walk the path now laid out for the series by the Fey family, then there’s little chance you’ll find disappointment here.

2023 Update: Given that this franchise, or at least Phoenix's arc, exists to exalt tokusatsu, I can no longer recommend this game, or series.

Buyer’s Guide: Like the first game, it was originally a Japanese GBA game that was ported to the DS. It’s also available on PC, on the Wii (as WiiWare), and cell phones. There is a trilogy version available in the west as a download in the 3DS eShop. According to the AA wiki, there are some changes to the text, in addition to the fixes for the incredibly small number of typos that the series contains.

4 Saddest Text Screens In The History of Gaming out of 5