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Title: This amount of fandom impresses me
Posted: July 06, 2012 (12:11 AM)
For anyone who doesn't get it, watch the opening to Tales of the Abyss:
Users with accounts on the HonestGamers site are able to contribute reviews and occasionally other types of content. Below, you'll find excerpts from as many as 20 of the most recent articles posted by zippdementia. Be sure to leave some feedback if you find anything interesting!
It’s impressive to see Tomb Raider go from setting up frightening encounters with wolves, to getting your blood pumping right before a shoot out, to giving your trigger-finger a break and making you get cerebral with a puzzle or two.
Presumably you’re not reading this review because you’re getting ready to open a new copy of Little Nemo to play on your brand new NES. I have to figure instead that you have an emulator and may have been wondering whether there’s anything good about a game featuring a little boy in his pajamas. The answer is a definite “yes.”
The heart of Mass Effect is you, the player. Mass Effect is a series that succeeds in its details, rather than its broad strokes, and while the technology and themes of the story create a vivid setting, all of the details of that setting are decided by the player.
Silent Hill draws a map of the human psyche and at the edge of that map places a sign reading “Here be Monsters.”
Somewhere amidst the zombies, the parasites, the secret organizations, Resident Evil has lost itself. You can tell that Capcom wanted Resident Evil 6 to be big; an homage to sixteen years of fandom. The problem is, they don’t know who they are appealing to any more.
When I think about my favorite fear moments in video games, the ones that come immediately to mind are those in which I’ve had no ability to fight. Escaping from the Nemesis in Raccoon City; pounding my way through rooms in the Himuro mansion while being pursued by the unstoppable Kirie; desperately fleeing horrifying visions in Amnesia; these define what I look for in a true horror experience. Those moments are all Slender is.
I want to reflect for a moment on how much Mega Man 6 represented the end of an era. The first Mega Man was released in 1987, only two years after the Nintendo Entertainment System came to Western shores. It appeared in the same year as Contra, Castlevania, and Metal Gear. It was the year that saw the American release of The Legend of Zelda and Metroid and, in Japan, Final Fantasy. There is n...
You know what the majority of Mega Man 5 feels like? It feels like a chore to complete before being allowed to play the real game. That game is to be found in the walls of the castle stages, where the challenge finally picks up and presents us with some of the best-designed death traps in Mega Man history. It might fall apart a little bit with the final bosses, but by the time you get there you’ll be ready to see the credit screen anyway, so you might not mind.
More care has been given than ever before to keep true to the Robot themes. This is especially noticeable in the stages like Toad Man where you progress through several environments, but it is also evident in the incredible variety of enemies that inhabit every stage, most of them relevant to the particular theme. It is especially commendable in Ring Man’s stage, who could have easily been the odd Robot out this time around. Mega Man 4 leaves no man behind!
In the first few screens you are introduced to the occasional lonely snake head, which shoots at you when approached. Then you meet three of them at once in a tight space and test your dodging skills. Then you fight a huge one. The progression of difficulty, when done in this visual way with the enemies literally getting bigger, is extremely rewarding. It’s a tactic that is still repeated in games, like God of War, today.
Mega Man 2 deserves all of the praise that it receives for controlling well and for amazing presentation. What I think goes overlooked in this praise is that it makes a lot of the same mistakes that caused people to shy away from its predecessor in latter years.
No one denies the innovations of the first game, but no one really gives it full credit, either. Here was a game which took difficult platforming and boss battles and gave players an out. Not the cheater’s out of Game Genie or even the passcode out of Contra. These were legitimate powers gained from beating the bosses, which made the levels easier, especially when the right power was applied to the right level. In my experience, it was the first platforming game to reward strategy.
Thinking on your feet is a necessity. The development, execution, and results of a plan happen almost simultaneously so that, by the time you've decided what to do about the guy sneaking up on your hiding place, you've already blind-pumped bullets into him, leapt out of cover across a bar counter crowded with glass, and bullet-time vaulted your way to a new hiding location—popping a guy in the head who was there before you—and are already dealing with the next situation.
At a time when your simulation options were either Sim City or ActRaiser and games weren't exploring concepts such as existentialism and spirituality, the experience held up a lot better. In other words, ActRaiser's main selling point was how different it was at a time when gamers were eager to see something new. Had ActRaiser been just a great action game, it might not have stood out so much in 1990, but it would still be enjoyable now.
The aim of Journey is an attempt at engendering empathy without overtly inserting it. Rather than rely on story to build empathy with a virtual character, Journey offers us the opportunity to empathize with the general human condition.
Aaron Reed, who some call the father of modern interactive fiction, is currently a second year MFA student in the Digital Arts and New Media program at UC Santa Cruz who has accomplished what most of us only dream of... he's quit his day job as a database admin to focus on what he loves to do! His responses to my questions revealed not only the creativity I'd expected, but also a drive to apply this creativity to a diverse range of fields.
Twisted Metal: PS3 is the kind of game that you'll know whether you'll like long before you play it. In fact, right now, you probably already have an idea of whether or not it's the game for you. The reasons for this are simple: Twisted Metal knows what it's about and it focuses on doing that one thing really well. Therefore, if you like vehicular arena battles, you'll like- or quite possibly love- Twisted Metal.
That's the problem with Metroid: Other M. It's a game that clearly understands what makes a Metroid experience great, so every time it chooses not to use that knowledge I'm left scratching my head and asking "why?"
In all areas, Kingdom Hearts: Birth by Sleep is a nice break from the traditional RPG experience. The story is engaging, the combat is fast-paced and the gimmicks work. The biggest indicator of its success, though, is the fact that I was captivated throughout three playthroughs. Never once did I feel like I’d “been there and done that.” That alone is worth a recommendation.
More than two years after its release, Fallout 3 remains as flawed as it is fun.