The beauty is not in the walking in Dear Esther

On a whim over the weekend, I loaded up Dear Esther. Besides my other plan to beat all those Metal Gear games in order of release, which is moving along swimmingly, thanks for asking, I am also trying to tackle many of the acclaimed indie games from years prior. Y’know, the big small games. The ones that generally feature some sort of unique gimmick and demand you think about things more than just swallow yet another tired, scripted action scene that is supposed to wow you with its bombastic approach at storytelling. So far, in 2014, I’ve experienced Gone Home, Journey, Brothers: A Tale of Two Sons, and Thomas Was Alone. Many more to come.

Other than being set on an island, I knew very little about Dear Esther going into it, which is how I like my videogames to go these days. Alas, we live in a day and age where the Internet can ruin anything for you in half a second–that said, hope you all watched last night’s Game of Thrones episode, gotta get that purp. I do recall some heated arguments about whether or not this is a “game,” just like many rushed to do with Gone Home, mocking them both as nothing more than walking simulators, short films with little to no interaction. With that in mind, I went in expecting a pretty good story and little else–truthfully, that’s kind of what I got, and that’s all right.

In Dear Esther, the player starts off on a dimly lit shore of an uninhabited Hebridean island, surrounded by fog and mountains. Far off in the distance is a tall, metal tower, with a red light blinking every few seconds, the beacon beckoning you towards it. As you explore the island, you’ll listen to a series of voiced-over letter fragments to a woman named Esther, which are revealed in no set order. The narrator’s identity is not specified though it’s easy to figure out he is Esther’s husband or lover. Alas, she’s dead, and that’s not a spoiler, as it is something you learn very early on in the journey. Dear Esther, despite its namesake, is more about the narrator and the island’s former inhabitants than anybody else. To say any more of the story would ruin the experience, especially since that’s all there is here, a story; a good one, mind you, and one that can be seen performed in a number of different manners, but just that.

Controlling the player is as simple as using the [W] key to walk forward and the mouse to look around. You can click on either of the mouse buttons to zoom in a bit for a better look at things. That’s it. Those are all your actions. When you enter a dark room, a flashlight automatically comes on, and it also turns itself off when you go back into the light. After playing for about ten minutes, my finger grew tired of just pressing down the [W] key, and I knew I’d have to do this action all the way until the end credits, but thankfully Dear Esther comes prepared for controller support. I’d much rather hold up on a joystick than keeping a finger firmly pressed into a keyboard, and I suspect I’m not the only one. I do wish there was at least something else to do control-wise; perhaps actually collecting the letter scraps or being able to pick up and examine items on the island. Heck, even a jump button, to push exploration even more. I wanted a little more game in this game; yes, it’s still a game.

The writing ranges from mesmerizing to feverish to a bit overdone, but it’s all backed by a gorgeous, swooping orchestrated soundtrack composed by Jessica Curry that can make any scene, whether it’s looking out at the rough ocean waves that brought you to this seemingly metaphoric island or trapped inside a dark, fungi-lit cave, extremely powerful. There’s strings, there’s piano, and they never overtake a scene, simply raise it up. Crashing waves, rushing wind, and cawing gulls provide additional noise at times too.

Dear Esther is an audio/visual trip, a game bent on delivering those two aspects to you at full force. For some, that’s enough. For an hour and a half of simply walking, it’s just enough. I did want something else to do, another way to play in this gorgeously constructed world, to be part of the island, but no man’s an island. And so you keep walking, keep walking, keep walking, all the way to the end. The darkness that greets you is far from comforting, but there is a sense of completion nonetheless. Quitting to the desktop after too many minutes on a blank screen that screamed the end slightly ruined the effect.

GAMES I REGRET PARTING WITH: Blazing Dragons

Videogame consoles have never been thought of as the go-to venue for adventure games. Gameplay in point-and-click adventure games often ask you to review a single stationary scene, point at many things with a cursor, and click on them to see what happens. Nine-point-nine times out of ten, you’re doing this with a mouse–thus, the clicking.

Unfortunately, console controllers are not designed for this type of molasses-tempo action, leading to developers fusing the point-and-click style with other more commonly accepted gaming elements, like exploration, puzzle solving, action scenes, QTEs, and so on. Some of the more recent and more successful console adventure games include L.A. Noire, Telltale’s The Walking Dead, Stacking, and Machinarium. It can work, but it has to be designed with a consoler gamer in mind.

However, back in 1996 or 1997, I played an adventure game on a console in my high school years’ bedroom that clearly would’ve worked better with a mouse and keyboard. Alas, it only came out for the PlayStation 1 and Sega Saturn. Yup, talking about everyone’s favorite medieval-themed, distinctly British Blazing Dragons.

Blazing Dragons is based on the animated television series of the same name that originally ran on Teletoon in Canada. Never heard of it? Join the club. Join it now, and join it some decades ago when I bought the game simply because it looked cartoonish and fun. Plus, y’know, talking dragons. Evidently, the Blazing Dragons episodes that did make it on U.S. screens were heavily bowdlerized. Anyways, the show, which came from Monty Python brainchild Terry Jones, was a parody of King Arthur and other moments during the Middle Ages, mixing it up enough by telling the stories from the perspective of anthropomorphic dragons beset by evil humans.

The game version of Blazing Dragons, which was developed by The Illusions Gaming Company and published by Crystal Dynamics, walks the same line. In a twist on the legend of King Arthur, you play as Flicker, a young dragon living in Camelhot. Oh, and he’s madly in love with Princess Flame; alas, he’s not eligible to ask for her hand in marriage because he is not a knight. However, a dragon tournament has been announced King All-Fire, where the winner will not only win the prize of the princess, but also become the new king.

With that in mind, you play the game. Using a controller. This means cycling through different cursor options (foot, eye, hand, face) with R1. Flicker can collect a number of various objects and interact with the eccentric cast of both other dragons and human characters to solve puzzles. Thankfully, this isn’t one of those adventure games where you can easily die or find yourself permanently stuck for bypassing a single item earlier on. Yeah, I’m looking directly at you, Beneath a Steel Sky. Many of the puzzles end up relying on your knowledge of fairy-tales, such as planting a bean in fertile soil or using Rapunzel’s hair as a rope to reach something previously unreachable. The other side of solving involves Flicker’s inventions, which end up being crafted with less-than-desirable materials instead of what they really need. Evidently, there is one moment of pure action, but I don’t recall exactly what you had to do and when it happened; I suspect probably near the culmination of the dragon tournament. Otherwise, it’s a lot of chatting for clues, gathering junk, and using items to get one claw closer to becoming a true knight.

I liked Blazing Dragons for its colorful characters, goofy, uncaring plot, and devotion to punny names, such as Sir Loungealot, Sir Blaze, Sir Juicealot, Librarian Pureflame, and Rapunsel Yablanowitz. I was too young to really care or be impressed by the game’s much-touted voice acting cast, which starred the likes of Cheech Marin, Jim Cummings, and Terry Jones himself, though I do remember the audio not being that great to actually listen to. It’s not that many of the characters said lewd things, but rather they sounded poorly mixed, tinny. The game was not perfect, with long load times, some pixel hunting, and the occasionally forced action sequence, but it stood out at the time as something original, a strike of endearing imagination. If anything, I believe this game lead to me discovering Discworld II: Mortality Bytes and reigniting my love for Terry Pratchett’s series of same-name fantasy books.

—

GAMES I REGRET PARTING WITH is a regular feature here at Grinding Down where I reminisce about videogames I either sold or traded in when I was young and dumb. To read up on other games I parted with, follow the tag.

Anticipating the strangeness that is Nintendo’s Tomodachi Life

Over the years here on Grinding Down, I’ve gotten further and further away from what other websites might call “preview coverage” of the videogames still to come out. Mainly the ones I’m interested in. Which is, without a doubt, dozens upon dozens. Really, I want to play just about anything, though we all know, based on time, money, and the consoles I do own, that is never going to happen. Instead, I prefer to wait until I can actually get my stumpy little hands on the game and experience it for myself, that way the words I’m writing at least come out with confidence and a certainty that you can’t get by imagining what a game might be like. I mean, I remember thinking Epic Mickey: Power of Illusion, based on a few screenshots alone, was going to be awesomely magical, and it was everything but that.

Wait, wait, wait. Before we begin, let me give y’all my early thoughts on Borderlands: The Pre-Sequel. If two full-fledged games and 492 packs of DLC were not enough to sate your hunger for guns and loot and farming pearls, good news–there’s going to be more Borderlands action for you. It’s set on the moon. A new move lets you “ground pound.” You can play as the wise-cracking Claptrap. I’m just setting myself up for disappointment here, as I’m probably going to pick up regardless because, well, I find the gameplay pretty addicting. There, I came clean.

Moving on. Let’s talk about Tomodachi Life, recently announced today in an unannounced Nintendo Direct to be coming out for the Nintendo 3DS this summer (June 6, 2014 to be exact), right around the same time Animal Crossing: New Leaf dropped last year. It’s the localization version of Tomodachi Collection, a unique mash-up of The Sims playful style of gameplay using your customized Miis for a whole bunch of zany nonsense. I think nonsense is a great descriptor for Tomodachi Life, and if you don’t believe, please do watch that Nintendo Direct again. Eyes open, mind open. As of late, Nintendo’s not been afraid to get weird, and I’m really digging that mentality. However, they need to figure out what they prefer–unwavering loyalty to the classic franchises to the point that they feel unnecessary, such as with Yoshi’s New Island, or mixing things up with oddball titles like NES Remix and Rusty’s Real Deal Baseball.

So, what is Tomodachi Life? Well, from the outside looking in, it’s your own personal soap opera. You fill a town with Miis–ones you’ve created or gotten from StreetPassing and so on–and you give all of these Miis distinct personalities. Digitalized voices too. After that, a lot of what happens in this alternate reality is…well, out of your hands. You and your Miis will go on adventures, fall in love, break hearts, be weird, dream a little dream, sing songs, etc. For those looking for a little more guidance, Miis have specific desires for food, clothes, other accessories, and even relationships, and they will sometimes want to play minigames with you, one of which looks like a turn-based RPG in the same vein as Find Mii. It’s not a day-to-day simulation á la Animal Crossing, more like checking in on your gaggle of Miis and seeing what trouble they get into. I personally hope to fall in love with Samus Aran and woo her away from Iwata.

Just like Animal Crossing: New Leaf, Tomodachi Life supports Nintendo’s Image Share tool, which means you can expect my Facebook, Twitter, and Tumblr pages to be constantly updated with the batshit antics my Mii gets up to. This push for social media interactivity makes perfect sense for this kind of game, where it is all about the seemingly unexplainable moments. Now you can just share them with everybody else with the click of a couple of buttons and watch the “likes” roll in.

Lastly, and let this be understood–the existence of Tomodachi Life on U.S. shores is a great thing, as it means there’s still hope for Fantasy Life. You haven’t forgotten about that one, have you? I certainly haven’t.

Metal Gear 2: Solid Snake, where stealthy men are made

So, this plan of mine to play through all of these Metal Gear games in order of release…hmm. I knew going in that the first two games–Metal Gear and Metal Gear 2: Solid Snake–were going to prove the most difficult of the bunch, and that’s mostly because they are…well, old. That’s not to say that all older games are more difficult by default (and design), but it does seem to be the case with me, as I can barely get through a level unscathed in any Mega Man game (circa 1987 to now), let alone reach a boss with enough health left to give me a fighting chance. The Legend of Zelda…I love it oh so very much, but I also absolutely suck at it, with Link making it to a dungeon one out of every ten chances I try, and that alarm sound that plays when he’s down to half a heart a constant companion in his journey across Hyrule.

That said, to make this process easier and not force me to give up from the word “go,” I’ve used some online walkthroughs for both Metal Gear and Metal Gear 2: Solid Snake. Not ideal, but had to be done. Still, even knowing what to do next does not mean you’ll succeed 100% of the time, especially when it comes to boss battles, which can quickly go topsy-turvy if you’re not using the right weapon and equipment. But more on that stuff soon. Gotta first summarize what’s happening this time around. Oh, and did you know that Metal Gear 2: Solid Snake did not have an official English version until it was included as a bonus game in Metal Gear Solid 3: Subsistence for the PlayStation 2 in 2006? Well, now you do. Evidently, there was a non-canonical installment produced without Kojima’s involvement for the NES called Snake’s Revenge, but non-canonical means a whole bunch of fart noises to me.

Right. Well, it’s Christmas Eve, December 1999. FOXHOUND’s new commander, Roy Campbell, brings Solid Snake out of retirement and sends him to Zanzibar Land, a heavily defended territory located in Central Asia, in hopes of rescuing Dr. Kio Marv, a Czech scientist capable of bio-engineering a new species of algae. Also, Snake has to destroy the revised Metal Gear D. Y’know, typical secret “save the world” mission stuff. Along the way, Snake will team up with a colorful band of others, like Holly White, a CIA operative posing as a journalist, Gustava Heffner, an StB agent and bodyguard, and Dr. Drago Pettrovich Madnar, the Metal Gear inventor from Outer Heaven. Understood? Over and out.

Let’s get to the good stuff first. Metal Gear 2 improves upon just about every complaint I had with the original Metal Gear. Gone is an inventory of card keys, now replaced with colorized keys that work on multiple doors (i.e., the red card can open any door requiring cards 1 to 3). There’s still some guess-work to do on doors, but much less than before. Codec conversations are both more meaningful and interesting, with plenty of people to call and get responses from. Snake has a new move, crawling, and this is where the stealth mechanic becomes a Real Thing™, as the previous game was more about occasionally hiding. Being unseen is extremely vital to staying alive, since guards can see better and will work harder to find you after going into alert mode, and grinding for ten-plus rations no longer works. The story is better told, with some fantastic moments, and I’m mostly thinking about Snake’s conversation with Heffner, though the game itself tries to end on a knee-slapper, playing Snake off as just another clown with his head in the clouds.

The parts I’m continuing to not dig are the checkpoint system, the heavy emphasis on backtracking, how difficult it can be to drop back into the shadows, and…honestly, that’s it this time. And those first two elements are heavily related to one another, which is why I ended up playing this, just like the original Metal Gear, in one sitting. Well, two actually. The newest season of Game of Thrones interrupted Snake’s mission for the night, but only that. Naturally, I thought I was near the end of the game when up against the Metal Gear D, but in true franchise form, there were a couple more sections to get through after that.

I think the most grueling part of Metal Gear 2—besides the invisible swamp path and inane puzzle involving an owl, a snake, and your stockpile of rations–is just how much it relies on back-tracking, going from one building to another, crossing a desert full of mines each time. For all of time. Eventually, you get really good at it, but early on, without a walkthrough telling me specifically where to go, I wandered aimlessly and ended up just getting caught and killed for no good reason. Because guards are relentless in searching for you, following you across screens and into elevators and jamming your radar, and you basically have a millisecond to find a hiding spot when they go into caution mode, though you’re unlikely to, leading to scenarios where it’s better to just gun everyone down than crawl under a cardboard box. Hence, my 198 alerts in the stats at the bottom of this post.

Oh, one more thing. You know how the Metal Gear series loves to force you to look outside the game for answers, like codec frequencies and such? Well, that’s here too, but alas, since the game comes bundled in Metal Gear Solid 3: Snake Eater, there wasn’t an actual game manual for me to access, and so I missed out on figuring these nifty tie-ins myself. One involved deciphering some kind of code. Instead, the walkthroughs just put it all out there. Boo to that.

And just like before, I have stats for y’all. Mmm, numbers and details:

Last time I was a deer, and this time a zebra. Not sure which is a better rating, though I’m glad to see I killed six fewer humans for this operation. We’ll call that “improving.”

Well, with Metal Gear 2: Solid Snake completed, it’s time for me to move on to…Metal Gear Solid. Dun dun dunnn. Which I’ve not played since its release date of September 1998. Really looking forward to seeing how it–and if it does at all–holds up. The Internet tells me that Metal Gear Solid is basically a 3D version of Metal Gear 2, and playing them back to back should hopefully show whether that’s true or not. Onwards, to Alaska!

Crackdown’s aimlessly emergent leap of faith

Occasionally, I will pop into Crackdown, kick a few gang members in the gut, leap up like a European tree frog to the top of some buildings, and collect a couple of Agility Orbs. If I get lucky, I’ll also take out a gang leader or unlock another agency supply point, which acts as an ammo-refilling and fast-travel hotspot. Given the size of the map for Pacific City, these waypoints are vital to getting around quickly, in spite of the fact that, eventually, the agent you’re playing as should be able to leap over entire buildings. Until then, it’s a much slower-moving game, and I still find myself uninterested in driving any kind of car because of that, y’know, Doc Brown quote.

By far, the best thing about Crackdown, which came out in 2007 mind you, is that it drops you in its open world and immediately lets you do whatever you want. Sure, there’s some guidance with map icons and your commander giving you directives in your ear, but you can completely choose to ignore all that and go on a gang-related rampage, test your might in some land- and car-based races, or experience the dopamine release that comes with finding an orb that increases your skills at a molasses-like pace until you get enough to upgrade. This sort of “totes on your own” mentality can be good and bad; at first, it’s liberating, not having to worry about running over to start some trivial quest, just bounding from one area to another and seeing what unfolds. However, after some time, it becomes boring, especially now that I’ve collected about half of the Agility Orbs in the game, which just leaves behind an empty husk of a city.

Alas, that’s where I’m at now in Crackdown: a bit bored. When it comes to main missions and, uh, actually playing the game, you’re tasked with taking down three different criminal organizations each operating in a separate region of Pacific City. Each organization has multiple lieutenants and minor bosses that can be erased from digital life in any order. You can also eliminate the organization’s kingpin at any time, though those at the bottom of the ladder drastically lowers the firepower and abilities of the kingpin’s guards. Reaching some of these big bosses requires planning and the navigation of large buildings, so you’re better off waiting until your powers have grown, allowing you to jump higher and dish out more damage. I think at this point I’ve killed maybe three to five lieutenants, certainly no major crime-lords yet, and I don’t even know where I should be focusing my attention. Seems like everywhere I go in Pacific City, some bad guy/girl is up to no good and surrounded by goons with guns all aimed at me. Really, it’s just easier jumping from roof to roof.

Visually, Crackdown is no Saints Row: The Third or Grand Theft Auto V. I mean, how could it be? I ask thee again–how? The year 2007 did what it could, and the focus here was more on tall buildings and a sense of openness, a freedom to go left or right or even very high up. That means that when you’re running around on the streets below, everything is bland. Flat and lifeless. Cars are chunky and blocky, and these bounce off other vehicles like bumper cars at the summer festival, occasionally emitting some smoke. I’ve done only a handful of stunts with cars and don’t expect to do any more as they all handle like garbage, even the much-hyped “Super Car” from the Agency. Civilian life in Pacific City consists of groups of five to six people–most who are clones from other groups of people–walking around and running the second they see the Agent coming their way. But that’s all they do, is walk around, just walk, walk, walk. Strangely, and maybe this is the loner in me speaking, but life is better way up high, where silence lives.

Combat is no step up either. You can throw objects like cars or gas tanks, you can kick with your kicky stick (leg), or you can use one of two carried weapons to pierce flesh with bullets. The left trigger locks on (when it feels like working), and right trigger fires. Alas, the shooting feels light and ineffective, especially when up against bosses that have multiple health bars. It’s akin to shooting a bag of sand, except that bag of sand no longer remains unmoved, it’s also firing back your way. It gets even worse the farther away you are from the target, though the Agent’s shooting skills should advance at some point, so maybe it’ll be easer then. Oh, and you can toss grenades, which explode with the impact of a big fart that could no longer be held in. It’s not great, and my tactic involves shooting a guy until I start to reload and then running into them with a jump kick. Rinse and repeat, as well as run away when you lose too much health.

Like I said, I’m getting bored with Crackdown, so I’ll probably do another round or two of running and jumping around in hopes of nabbing some more Agility Orbs with the hope of stumbling upon a boss and, if the wind is blowing my way, putting him or her in the ground. I’d like to progress a bit more only to see the Agent grow in strength and ability, not because the story is some compelling piece of literature. This is truly the definition of a sandbox title, and I’m just about done playing.

Lara Croft mourns her first deer kill, slaughters dozens more

I think I’m just about done with Tomb Raider. No, wait. I am done. Given the new low that I stooped to last night, it’s best that I just put it and its unlocked Trophies, as well as untouched online multiplayer aspect, behind me, orphaned on some storm-hidden, sun goddess-worshipping tropical island, one which, with any luck, I’ll never find again.

Tomb Raider‘s story came to a close a couple weeks back for me. I don’t remember the exact percentage number at the end of it all, but since then I’ve slowly been working towards that soul-settling 100%. Basically, nabbing all the leftover collectibles. Well, that’s not going to happen. Sure, I’ve upgraded all my weapons with every mod available, finished every optional tomb, collected every relic and document from every level that had ’em, earned all the ability skills, and done most of the GPS caches and challenges.

It’s that last mentioned category that will go incomplete, thus robbing me of a full completion rating. Oh well. The GPS caches actually end up getting marked on your map, making them easier to find since they are only glittering lights, but the challenges, which are things like “shoot down eight tiny wind chimes that blend in really well with the background” or “find 10 specific mushrooms in a forest filled with mushrooms” are not labeled on the map. That means you spend a lot of time running around the same environment, constantly clicking left trigger for Lara’s hunting vision in hopes of seeing something glow. At this point, I have two mushrooms left to find in the forest levels, and that seems like an impossible task–even with an online walkthrough–as I can’t tell which ones I’ve already collected and which ones are still out there, being fun guys.

But let me talk about earning salvage in a post-game Tomb Raider world. In order to pay for weapon mod upgrades, you need salvage, which is earned from finding crates of it in the environment, looting fallen enemy bodies, and skinning slain animals. However, the first two–crates and enemies–are quite finite once the game ends, with little to no respawning for both of them. This means that if you don’t have enough salvage by then, you’re going to have to grind for it, and the quickest and easiest animal to kill over and over again like some mindless sociopath are deer, the same forest friend that gave Lara Croft some minor heartache when she first had to kill the beast to feed her tummy.

Let me start at the start. Early on in Tomb Raider after acquiring the bow, Lara is given a quest to kill a deer, with the implication that she needs to do this to stay alive. To eat, keep her energy up, etc. She goes through the hunting motions and even apologizes to the deer as she guts it. This is supposed to be an emotional scene, but it quickly dissolves into just perfunctory videogame mechanics, as gutting the deer earns Lara both XP and salvage. Note, not food. The quest was for food, and the reward was other stuff. I’m not a huge fan of hunger meters–looking at you, Minecraft and Don’t Starve–as they constantly put pressure on you to always be looking for something scrumptious to keep that meter high instead of letting you just play the game, but here, where hunting is emphasized, it would’ve made sense to have Lara kill a deer every now–for hunger’s sake.

Anyways, since killing deer obvious meant nothing to Lara in the end, just a means to more skills, I took her down a dark path for my last half-hour with Tomb Raider. Back in the coastal forest sections, I had her running in circles, assault rifle at the ready, blasting deer to the ground with a single shot, sometimes  popping off a rabbit or two while waiting for the deer population to respawn. When ammo ran out, I took to practicing how far I could snipe a deer with a loosed arrow, as well as how high they could bounce into the sky once I got the “exploding arrows” perk unlocked. Evidently, kind of high.

This sort of obsessive, stalker-like hunting all became methodical, something which I think an archeologist would appreciate, approaching a task systematically, even if that task is basically slaughtering deer after deer after deer, and all for salvage, a secondary currency that lets her grow in power. Strangely, even after all the weapon mods were bought, Lara can still earn salvage, but that only makes the hunting seem even further without point. No thanks. I’m done voraciously knocking down digital deer, though I don’t expect their death-cries to leave my head for some time.

Lara Croft and the lost artifact to lock away an evil entity

Little did y’all know, but while I was playing Tomb Raider, I was also playing Tomb Raider. Er, I mean…Lara Croft and the Guardian of Light. Which is not like Tomb Raider at all. Not that the newest Tomb Raider was very Tomb Raider-y either, in all meaning of the name. Wait, hold up. This is quickly getting confusing. Okay, let’s start again then.

Lara Croft and the Guardian of Light is a downloadable, top-down action game set in Central America that has Lara Croft on a quest for some lost artifact that potentially has the power to lock away an evil entity. Specifically, Xolotl, the Keeper of Darkness. Back in the day, Totec’s army was defeated when Xolotl used the mirror of smoke to unleash hordes of ghastly creatures. Totec survived and found a way to defeat Xolotl, imprisoning him in the mirror of smoke and becoming its immortal guardian in the form of a stone statue. In the present day, Lara reads of the legend and attempts to find it. After locating the mirror, a local warlord takes it from Lara and accidentally releases Xolotl. D’oh.

Rather than the series’ traditional third-person perspective, the camera is high overhead, like a bird, meaning Lara is maybe as tall as a toothpick now. Players control her by using the left thumbstick to move and the other thumbstick to point her equipped weapon in a specific direction, with right trigger to shoot. You can roll and drop bombs and jump and throw magical ropes that attach themselves to ceilings, and that’s kind of all the main moves you have at your disposal. Well, that is if you don’t have a friend to play with, as Guardian of Light is designed as a co-op experience, with a second player using Totec, the titular light-guardian voiced by Jim Cummings. Totec has a spear and shield, which play a big part in the platforming puzzles, but when you are going at it solo, Lara just has the spear itself. Despite Guardian of Light being given out for free to all Xbox Gold members, I was unable to find an online game to join and try out some co-op action.

Let’s talk about how the game actually feels when being played. Lara’s a speedy, gun-toting English archeologist. That’s one of the first things I noticed in Guardian of Light, that she’s extremely light on her feet, able to dive this way and that while still being able to shoot enemy spiders and demon-like creatures with deadly precision. Or as much as an Xbox 360 analog stick can give out. But still–she’s fast. Gone are the days of old, when running and jumping from platform to platform was like moving through water and you often spent more time lining up your jump than executing it. Jumping feels a bit clunky, and I never felt 100% confident when jumping from one platform to another. Same goes with using Lara’s rope to run up and along walls. Lastly, and this could just be my controller, but any time I had Lara running down the screen, like towards me, she would stutter and occasionally pause, which made this one puzzle involving spikes shooting up from the ground a real hassle. You gotta keep moving, Lara.

Right. Guardian of Light–I do like it. It’s certainly a different kind of game banking on the Tomb Raider namesake for interest. In truth, Lara could be replaced with anyone else, and that game would be just as good as it is now. Heck, put Indiana Jones in there, and you suddenly have a pretty good Indy game, not to be confused with a pretty good indie game.

However…I’m stuck. Sadly, it’s early on in Level 3: Spider Tomb. It’s just after that spike trap I mentioned two paragraphs up, with Lara stuck in a small room with, seemingly, nowhere to go. I tried throwing spears into the wall and jumping up, throwing her rope like a rabid cowgirl, but nothing worked. I just kept throwing her into a pit of death, lowering my score with each fall. I guess I’m going to have to grin and bear it and find a walkthrough, as there are still eleven more levels to go, and I do want to see more.

2014 Game Completed Comics, #23 – Tainted Olive, Chapter One “Shadow of a Choice”

–

Every videogame that I complete in 2014 will now get its very own wee comic here on Grinding Down. It’s about time I fused my art with my unprofessional games journalism. I can’t guarantee that these comics will be funny or even attempt to be funny. Or look the same from one to another. Some might even aim for thoughtfulness. Comics are a versatile form, so expect the unexpected.

This is truly Hideo Kojima’s legendary Metal Gear

Last year, I put myself to the task of completing five games that I’ve always wanted to see through to the end, but never did for a variety of reasons. I was able to beat three out of the five, and I still plan on at least giving Final Fantasy IX a solid go this summer, as that type of JRPG feels like the kind one plays piecemeal-like across some warm, sockless nights. I thought about doing another list like that again this year, but secretly I’ve had another idea in mind ever since I bought Metal Gear Solid: The Legacy Collection 1987 – 2012 last fall and then never cracked its case.

The idea is simple, but lengthy. Possibly even maddening. Basically, I’m going to play through every game in the collection in the order of release. That means like this:

1. Metal Gear
2. Metal Gear 2: Solid Snake
3. Metal Gear Solid
4. Metal Gear Solid: VR Missions
5. Metal Gear Solid 2: Sons of Liberty HD Edition
6. Metal Gear Solid 3: Snake Eater HD Edition
7. Metal Gear Solid 4: Guns of the Patriots
8. Metal Gear Solid: Peace Walker HD Edition

Woah. Talk about a plunge. Some quick history is that I’ve played Metal Gear Solid, Metal Gear Solid 2, and Metal Gear Solid 3, all of them at least once. I know for sure I’ve mucked around on several occasions with MGS2‘s opening tanker level, just to try things a few different ways. Other than that, everything else above has never been experienced. And it’s been many moons since I did play those previously checked titles, meaning I remember very little of the story, the gameplay, the secrets, and the surprises. I’m looking forward to revisiting and seeing these games for the first time, all of which is, I guess, fine preparation for Metal Gear Solid V: Ground Zeroes and Metal Gear Solid V: The Phantom Pain.

Anyways, I spent most of Sunday playing the original Metal Gear. I was confused, I was pleased, I was determined, and I befuddled from time to time. First off, to play Metal Gear in this collection, you have to load up MGS3‘s main menu and select it from there. Took me a bit to figure that out. Then, right from the get-go, I realized this was some different version, seeing at it starts you directly with Solid Snake swimming up to Building 1 instead of in the jungle. I know about the jungle level because of the Internet, and so I immediately went investigating. Evidently, there’s an NES version (jungle) and an MSX version (Building 1), and the NES release was produced without any involvement from series creator Hideo Kojima. In fact, Kojima has been quoted as calling the NES version “complete garbage” so I guess it’s better that the collection comes with the MSX edition instead.

Set in 1995, Metal Gear stars the newest FOXHOUND member, a rookie soldier codenamed Solid Snake. His mission is to infiltrate Outer Heaven, which is militaristic state founded by some “legendary mercenary,” and destroy Metal Gear, a mysterious weapon capable of mass nuclear destruction. That’s kind of it for story beats, and you’ll occasionally get some more info through Snake’s transceiver and meeting other people in the buildings, but it doesn’t add much detail to the overall plot. I do like that you eventually learn that Metal Gear is being built 100 floors below Building 3, but when you take an elevator to go fight it, you only descend like nine or ten floors. Close enough, I guess.

Right. Metal Gear. It’s a top-down action-adventure game that puts an emphasis on stealth–but not a requirement. Solid Snake can shoot guns as well as punch soldiers in the noggin, and these are his two offensive tactics through the whole game. He can also sneak past unalerted guards, which works too, until you get spotted, and then you have to fight or flee. You’ll explore buildings and floors, looking for clues and hostages to rescue; once you rescue enough hostages, your class star will increase, which allows Snake to have more health and hold more ammo. You’re always being steered in a specific direction, whether it is to find a certain level key card or an item to help you move to the next area, but I will admit I used a walkthrough in a few spots where I missed a certain item, like the enemy’s uniform.

Even here, in its earliest form, it is still quite rewarding to slip past guards or make it through an entire room unnoticed while still taking out every enemy soldier. This is only lessened by the fact that enemies respawn immediately after leaving and re-entering a room. All that work for naught. Or, if you really enjoyed it, well…do it again. Sometimes it was not worth the effort, and I found myself either running for the exit or punching every guard in the face with little care to alarms. The boss battles always appear intimidating, but there’s a pattern to look for, and they come with some killer chiptune tracks.

Alas, not all is amazing in Metal Gear, even in Kojima’s preferred version. Here’s the stuff I hated in list form:

• For some reason, Solid Snake has to take his gas mask off in gas-filled rooms to use a key card because there’s only one accessory spot to use, and you lose a decent sliver of health in this process.
• The portable transceiver is steamy trash. No one ever answers Snake when he calls, and if they do, they speak batshit or just repeat text even though I already found the item they told me to go find. What was the point of Diane?
• The checkpoint system is bonkers. Basically, it checkpoints every time you enter an elevator, but that’s it. You can “save” your data at any time through the pause menu, but if you die, you can’t reload to this save spot. Only the checkpoint. Thus, I don’t understand what the point of “saving” is. Thankfully, I played the game in a single sitting, so no worries there.
• I wouldn’t say I hated this as it helped me more often than not, but you can basically grind for ammo and rations by entering and exiting rooms over and over. Seemed like a silly oversight.
• Not enough reasons to use many of the items outside of their required spots. Like the bomb-blast suit or the cardboard box.
• There’s no way to know what key works on what door. You just have to keep switching between them until the door slides open. Not a problem early on, but later, after you have cards 1-7, it can be a nuisance.

Lastly, for all you data nerds, my end game stats:

As they say, it’s not a stealth game unless you kill 319 humans. Probably a dozen dogs, too, though that data wasn’t tracked. Okay, that’s it. On to Metal Gear 2: Solid Snake next!

The Half-hour Hitbox: March 2014

Officially, March is the month that sees an end to winter…so why am I still so cold? Fact: I’m literally typing this intro text in front of a tiny space heater. Well, let’s not start deep-diving into things like polar vortexes and the death of the planet, but I’m really looking forward to spring becoming spring. For one, it means I’ll be able to play more console videogames since I won’t immediately crawl under the heated blanket every night after work just to stay warm. Two, well…um, I don’t know. I guess it just ultimately means I’ll have more time to play all them vidyagamez I have in my backlog.

Actually, there’s not too many games for this edition of Half-hour Hitbox. I’ve mostly written about the big games occupying my time this month–like Tomb Raider, Professor Layton and the Azran Legacy, and Wallace & Gromit’s Grand Adventures–and I’ve only dipped my toes into a few other games over the last thirty-one days. This is me attempting to remain focused and dedicated to the task at hand, of beating more games than starting new ones.

Enough babbling, on with the list…

Hitman: Absolution

Remember all the trouble I had with Hitman: Blood Money? Of course you do. Well, thankfully, Hitman: Absolution plays much more smoothly than its older brother, but I’ve only gotten through the tutorial level so far. Again, there’s a lot of systems to play with here: you can be sneaky, you can be aggressive, you can be both, and you can be creative in all your approaches. I like that; I’ve always liked that. So long as thinking of an idea and implementing it via action buttons is, more of less, easy to do. That’s the ticket. The next stage up is the Chinatown one from all them demo trailers, and I’m eager to see what trouble I can get Agent 47 into next.

Dungeon Defenders

Well, it finally happened. I played Dungeon Defenders. See, I’ve had a copy on both Steam and PlayStation 3 for a long, long time now. Just sitting there, waiting. Making puppy eyes now and then as I’d skip past it to play something else. And then, this month on the Xbox 360, Gold users get a free copy of the game, meaning I now have three versions of it across all my current platforms. Alas, the game never looked too appealing to me, both visually and from a gameplay perspective, so I never made it a priority, but I figured enough was enough. I needed to know for sure.

Unfortunately, my gut instincts were right–this isn’t a game for me. It’s boring solo, consisting of just you setting up turrets and defenses, clicking start, and running around like a madman to keep on top of every situation. You do this for several waves until you win, and then you move on to a new area that, from what I can tell, while aesthetically different, plays just like everything else. Maybe I’ll try to see if I can join someone’s online game, but if not, I’ll probably end up deleting Dungeon Defenders. FROM ALL MY GAMING DEVICES.

Celestial Mechanica

In this collaboration from Roger Hicks and Paul Veer (animator of Super Crate Box), Earth was saved by celestial beings known as mechanians from complete destruction. However, since then, these beings haven’t been seen in like a hundred years. Naturally, in Celestial Mechanica, you play as one of these beings, exiled and now booted all the way down to Earth. Your mission is to get back…as well as try to sell some indie game soundtracks.

Basically, we have a Metroidvania action-platformer here, that starts pretty slow. I mean, you can’t even jump at the very beginning. Gameplay involves exploring and solving large environmental puzzles, with checkpoints for deaths almost non-existent, making for frustrating rooms when spikes and lasers are the main adversary. I played for a little bit and got a few powers, but eventually closed the window to do something else. Perhaps I’ll return to this Earth some other time in the future…

Polar Escape

A very short “escape the room” adventure game, wherein you’re stuck somewhere cold–maybe Alaska given I saw a poster for The Thing above the bed–trapped inside a four-walled room. The puzzles are all extremely logical, like using a hose on a tank of gasoline to extract the gas to power the generator, and the only hiccup I ran into was figuring out the secret code that unlocked one of the lockers. Once I got through that, the rest of the items get used one after the other in the most obvious of ways. Wasn’t really expecting much here, but Polar Escape didn’t impress me at all in the end. Also: could use some editing.

2048

Over the last few days, I’ve read a decent amount about the popular puzzle game Threes. As well as 2048, a clone that is also experiencing popularity. Alas, given my Windows 8 phone, I can’t play Threes, but I was able to download 2048 and see what all the fuss is about. You basically slide tiles around to combine numbers in hopes of reaching a big score and creating a tile with the number 2,048 in it. I’ve not done it yet, but it’s surprisingly addictive and easy to get into. I can only image what Threes is like then, being the original idea. We’ll just call this another good killer of five to ten minutes, something to play while waiting for the teapot water to boil.

Hexic

When I first got my Xbox 360, I only had two retail games for the longest while–Fable II and The Elder Scrolls IV: Oblivion. I’d come home for lunch a lot and want to play, but didn’t have the allotted time for either of those two titles. Then I discovered that the Xbox 360 came with some arcade games pre-installed on it, with one of them being Hexic HD, a title-turning puzzle game that, despite its appearance, was deceptively difficult to master. And now you can play Hexic on your Windows 8 phone…for free. Uh oh. These last few months have shown us the truly nasty side of free-to-play games.

That said, I’m not even through the tutorial yet, so I have no idea if this game gets free-to-pay gross. It might, it might not at all. At this point, it’s just teaching me the basics that I already know while introducing special power-ups and moves to help clear the board faster. This reminds me greatly of what Tetris Blitz did, wherein you have Tetris, but also a handful of probably unnecessary and overpowering special items that, naturally, can be purchased with real money. I do like that there’s a tile with a single eye talking to you, calling you “a human”, and the presentation is quite nice, though some text can be a little small at times.

–

The Half-hour Hitbox is a new monthly feature for Grinding Down, covering a handful of videogames that I’ve only gotten to play for less than an hour so far. My hopes in doing this is to remind myself that I played a wee bit of these games at one time or another, and I should hop back into them, if I liked that first bite.