Achievements of the Week – The Welcome Home Edition

Oh look, another week at Grinding Down coming to a close. These things just sort of creep on me. Like creepy creepers. Like your hairy uncle that drinks too much at family gatherings. Um…

Right, moving on. Did I play more Deus Ex: Human Revolution and scour China for all of its secrets? Nope. Did I continue on with Mafia II to sneak into some government building and steal gas stamps? Nope. Did I get back into Bastion after going silent on the game for many, many weeks? Nope. Did I play the latest DLC for Fallout: New Vegas? You bet your sweet buttocks I did. And that’s basically all I played. Still dealing with a lot of stress and lack of time/energy. Hopefully, after the next few weeks, that will all be in the past. Hopefully.

From Fallout: New Vegas…

Condemned to Repeat It (20G): Decided the fate of all the Divide Dwellers

Hometown Hero (30G): Completed Lonesome Road.

So far, until more FAQs come out and the wikia is expanded, there are two ways that I know of for dealing with Ulysses, the final boss of Lonesome Road. And they are…

::SPOILERS SPOILERS SPOILERS::

You can talk your way through it, first needing a speech skill check of 90, and then who knows what else after that. Or you can kill him. But to do so, you must first deal with a swarm of medical eyebots that are constantly healing him and constantly respawning, as well as a seemingly endlessly attack from marked men. Chances are you have ED-E with you, but he goes down very fast. Trying to take on Ulysess, two to three eyebots, and at least two marked men at once eats up a lot of stimpaks. There are machines that will stop the eyebots from spawning, but you need a 100 in either Repair or Science to do so. Guess which three skills my character Kapture neglected to focus on during this playthrough? Speech, Science, and Repair.

Basically, I was screwed, and this became even more evident after failing the fight over ten times and trying every tactic in the book. Actually, there was one final tactic left: I changed the difficulty from Normal to Very Easy. Sigh. Not ideal, but it worked; I used Pew Pew to weaken Ulysses farther than ever before and then turned him to ash with a well-timed V.A.T.S. headshot.

After that, there’s some choices involving a nuke, which, even though I clearly labeled this section as spoilery, I will not go into. Maybe another post. They’re pretty interesting, and from what I can tell, actually have a lasting effect when returning to the Mojave Wasteland.

But yeah, between Ulysses and Deus Ex: Human Revolution‘s Barrett, I’m not having a great time with boss battles lately. Why can’t we all just eat cake and talk about how great The Beatles are and then end the night with songs around the campfire? I mean, really.

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That’s it from me. How did y’all do this week? I’m guessing many of y’all played Gears of War 3 since that was the big name to drop recently. Let everyone know what Achievements you unlocked in the comments below!

Games Completed in 2011, #28 – L.A. Noire

I don’t think I’ll ever forget my L.A. Noire experience. It’s up there with Limbo and the featureless boy’s early jaunt through the forest, with Fallout 3 and leaving Vault 101 for the first time, with finishing a level in Super Mario Bros. by clinging to a flag pole and drifting down, fireworks praising your accomplishments. This crazy creation from Rockstar and Team Bondi is a mix of genres and games and most definitely not another skin for Grand Theft Auto IV fanatics to wear. It’s also unlike anything I’ve ever played, and it’s “motion scan” facial animation work has ruined everything that’s come before it–and possibly everything else after it. Deus Ex: Human Revolution may be all shiny and futurized, but it’s impossible not to cringe during cutscenes where characters are talking to each other.

You play as Cole Phelps, a detective trying to do what’s right, as well as avoiding the horrors of his past, namely his time spent at the battle of Okinawa during World War II. It’s the late 1940s, and Los Angeles is yours for the scouring; as the city begins to thrive with post-war opportunities and jazz and all things that encompass film noire, so does crime. Scoundrels and scum really earn their nicknames in L.A. Noire, committing horrific crimes, most of them against women, and it’s up to Detective Phelps to piece together what happened from clues, inspecting the crime scene, and interviewing key witnesses or suspects.

It’s a point-and-click adventure with astounding production values. As you search a crime scene, a deep, whomping bassline plays, letting you know you’ve not yet found everything. As you drive around the city–or let your partner take the wheel–you’ll go over the case’s details while listening to remixed versions of tunes by the likes of Ella Fitzgerald and Louis Jordan, Lionel Hampton & His Orchestra, Dinah Washington, Louis Jordan, Gene Krupa, and Billie Holiday. By far, the music is the strongest factor for immersing one’s self in a period lost to time and technology. Nobody writes songs like these anymore.

It’s a game that demands you pay attention. To play detective. Sure, the musical sound clues make it a little easy for finding actual clues at a crime scene, but it’s up to you, you playing Cole, to determine what’s actually important, where to go to first, what questions to ask witnesses, when to get tough and accusatory, when to lock up the guilty. There’s even one mission during the Homicide desk where you’ll be traversing all across L.A. based on cryptic poetry, having to use your eyes and knowledge of the city to get you where you need to go. Genuinely rewarding, by the completion of it.

Unfortunately, L.A. Noire is quite disappointing come the end. The developers pull a Metal Gear Solid 2, and you’re suddenly no longer playing as Cole Phelps. Sure, there’s a story reason for it, but it felt a bit like a betrayal, as well as clearly foreshadowed what was to unfold. And what unfolded was trite, a death not needed, not justified. Cole bites it saving Elsa, the woman he cheated on his wife with, which didn’t make him a terrible man, only all the more human. Then there’s a funeral scene with some cryptic accusations tossed at minor characters. After that and credits, strangely, you can hop back into the game to look for newspapers, golden film reels, cars, locations, and missed unassigned street missions–as Cole. Yeah, it’s a videogame all right.

That said, it’s a fantastic one, and I encourage all to experience, even if, like me, you really hate the Grand Theft Auto franchise. Most of the time you can’t even take your gun out of its holster, and L.A. citizens are pros at hopping out of the way of reckless drivers. And you can skip all the action sequences if they are too tough or not your thing; it’s a story game, where the story overshadows the game, and the game exists only to strengthen the story. There really is nothing quite like it.