Archive for the ‘PS3’ Category
Sorry this is going up on Sunday night. Normally Retro Game Night is recorded on Friday and goes up Saturday morning, but we had to delay recording a day and these HD videos take a lot longer to render and post to YouTube. Either way, the video speaks for itself, but Fred got a retail copy of Resident Evil HD Remaster on PS3 that will be coming to the US in “early” 2015 (according to Capcom). Well since there was another option, we grabbed it early. Enjoy!
Platform: Xbox 360, Playstation 3, Wii U
Released: 2010 (360/PS3), 2014 (Wii U)
Developer: Plantinum Games (360), Nex Entertainment (PS3 port), Bee Tribe (Wii U port)
Publisher: Sega (360/PS3), Nintendo (Wii U)
Digital Release? Yes, this game is available on all released platforms digitally
Price: $7.59 (disc only), $11.24 (complete), $14.99 (sealed) per Price Charting
Bayonetta is an anomaly. It succeeds where many before it have failed. Merging a Japanese style video game in every sense of the word, whimsical plot, a female sexually independent dominatrix lead, and incredible gameplay that attracts both Eastern and Western fans alike. It is a true testament to the fact that if you bring a bunch of ideas together, no matter how outlandish, and they all remain consistent with an overall theme then more can definitely be better. The first major release from Platinum Games knocks it out of the park, provided you don’t play the PS3 version.
Bayonetta opens in the fictional town of Vigrid where an endless battle is being fought between light and dark wages on. Representing the light are the Lumen Sages and representing the dark are the Umbra Witches, and right off the bat this game turns the tables on you by revealing that your lead character, Bayonetta, is an Umbra Witch. Not that the light is portrayed in a particularly positive way – all of these “angelic” creatures don halos as well as aggressive weapons, massive sizes, horrific appearances, and an affinity for causing death. As Bayonetta you will trek across areas that vary from natural modern cities to metaphysical interpretations of heaven, purgatory, and hell, all with help from the game’s handful of unique characters that add some spark to Bayonetta’s lone wolf demeanor. That’s not to say you’ll be swapping who you play as or that there’s a multiplayer component – because you won’t and there isn’t – nope, all of these cast members merely break up the monotony of the typical “hero on a quest” formula. It’s all a good fit for an entertaining story, but that’s only the half of it because from both a plot and gameplay perspective Bayonetta herself has plenty of depth.
Developed by former Clover studio members(they made Viewtiful Joe and Okami for Capcom, among others), Bayonetta is one hell of an action beat-em-up title that feels like an alternative reality sequel to the original Devil May Cry (which creative director Hideki Kamiya is also responsible for). Bayonetta is a tall, slender character that has plenty of finesse and flexibility, which will be flaunted both for the benefit of battle and to flirt with the player. The push and pull of combat is juggled by Bayonetta’s combos and a dodge mechanic that, when timed correctly, can give you an opportunity to dole out some massive hits on groups frozen in time. This game is not about memorizing combos, despite the presence of a countless number of them, but rather responding with twitch reflexes to the actions of your opponents. By the time you reach some of the later battles you will be required to anticipate the counter to an enemy’s action, thus making the final stages feel more like a dance or game of chess than a beat-em-up. This might have been a setback were it not for how elegantly Bayonetta blends it all together and slowly builds to the point of some of those late encounters. It also doesn’t mind making the most of Sega’s library as it taunts and emulates some of my favorite classics from the late 80s arcade era, complete with a surprising level that kept a smile on my face the whole time.
In lieu of all the craziness, complex battles, and seemingly noble battle between two forever warring sides, Bayonetta is hardly a game to be appreciated by all gamers for a number of reasons. First and foremost the game is definitely not for kids with consistent swearing, graphic violence, and lets not forget a cascade of sexual innuendos, suggestive poses (complete with camera flash), and the fact that Bayonetta’s finishing move involves her getting completely naked. Yup, you read that right, she gets completely naked. Before you worry too much about what type of game this is, for the most part the animation of these finishers is kept somewhat classy by covering up the lead lady’s naughty bits and never really having any true nudity, but that doesn’t mean she doesn’t spend a significant amount of time in the buff. It’s explained dutifully by the fact that all Umbra Witches have long hair that houses their powers and thus everything attached to Bayonetta, including her unique wardrobe, is actually her hair wrapped firmly around her body; when this power must be unleashed, all of her hair exits and generates various intriguing avatars for which to dispel the largest of her enemies. So basically in order to kill a big monster she’s gotta have hear hair leave and that renders her naked for the moment. I could also see how the consistent spread legs, bent over, and licking lollipop shots could be construed as distracting when you consider most of these shots occur at the end of a battle, but frankly it feels more like just an extension of the character. Bayonetta is in control and she doesn’t care if you know it or not so when she teases you. She poses in such a way as to get your attention and remind you that if anyone is being exploited here, it’s you the player. I thought it was a great play on roles and a surprising way to break the fourth wall, but historically Bayonetta is viewed more as an oversexed male perspective of a character rather than the strong female lead she represents. Perhaps this will have no bearing on your interest in the title, but it is a consistent and necessary theme.
While it’s a blast from start to finish, I have to admit that Bayonetta is not without flaws, and that’s assuming you dismiss the fact that the necessary 60 frames per second (fps) of the 360 and Wii U versions are throttled by poor porting on the PS3 and can be responsible for a drop to the lower 40s on Sony’s console. This is critical in that the entire game depends on the flow of combat and literally five frames of animation can mark the difference between a perfectly executed dodge and a clunky late jam on the button that leaves you open for large combo damage. This game is also difficult to play in long strides due to the 12-15 hour campaign being chock full of high tension and twitch reflex gameplay that make it far from a “sit back and unwind game”. Fortunately each new encounter feels more like a new puzzle rather than a batch of throw away enemies and once the gameplay gets its hooks into you Bayonetta is addicting. I could see many starting the game but eventually coming to a point where it’s too exhausting to continue to the end, not to mention some of the less than ideal checkpoints during boss battles. If you stick with it, the accolade of completion and seeing the conclusion to the story are a fitting reward for your efforts.
Bayonetta is a game that skates the lines of many games I had enjoyed in the past but was one of the first to nail that overall hybrid. With a playful Japanese style, larger than life opposition, and almost rhythmic combat style there’s a lot to love with this title. It may have a few flaws and for those that never quite get down the timing, can seem like it starts to wear out its welcome, but I was always anticipating my next session from the first chapter to the large scale ending. It takes a bit of time to sink in and you get bombarded by some jarring minutia at the onset, but in the end Bayonetta is a must play title for anyone who owns a 360 or Wii U.
Wii U Extras
In truth the more recent port of this title that accompanies its sequel in the states is almost indistinguishable from the 360 version, especially when the 360 upscale to 1080p is up for comparison. Nintendo’s true stamp on the original comes in the form of various costumes of popular Nintendo franchises that make guest appearances in the Wii U version. From the beginning you have the Peach, Daisy, Link, and Samus costumes at your disposal, which not only change Bayonetta’s aesthetics but also provide her with appropriate special abilities. At first I was eager to try on each of these costumes and enjoy the gameplay benefits they bring, but after a short time I regretted their presence. That’s not to say I don’t think they should be included, more optional content is better than no content in every case, but rather that I just didn’t find any value in them. I can’t get over how goofy Bayonetta looks in all of the costumes and the fact that the game doesn’t acknowledge them – which I knew it wasn’t going to do because those cutscenes were created long before Nintendo costumes were considered – but in a title that thrives on ridiculous over-the-top circumstance it felt just a bit too far even for Bayonetta. I also thought that complicating the gameplay with these seemingly super moves actually hindered my ability to effectively chain combos and thus acted as more of a handicap rather than a special benefit. In the end, it’s up to you, but I played the game as if the costumes didn’t exist.
Final Score: 5 out of 5 (Review Policy)
Console: Playstation 2, Xbox, Wii
Digital Release? Yes, PSN version compatible with PS3 for $9.99
Price: $24.77 (disc only), $26.88 (complete), $56.88 (sealed) per Price Charting
Project Zero 2: Crimson Butterfly is a sequel to the original horror PS2 hit that brings more of everything. More ghosts, more places to wander around and more pictures than a bachelors degree in photography. But is this game a picture worth hanging on your wall or maybe more suitable as a Christmas greeting card?
After surviving the mansion incident from the first game you find yourself now playing as a totally different character in a different setting. This time you play as a young girl called Mio Amakura and occasionally your messed up twin sister Mayu. After becoming lost in Minakami forest you stumble across a village. What could possibly go wrong here? Well it doesn’t take long for you to figure out that the place is haunted with the tortured souls of its dead inhabitants as well as that something weird is affecting your twin sister Mayo. The plot is completely separate from the original Project Zero title. The only main link being that you find the Camera Obscura, which is the same device in the first game, as a weapon. You use it to snap the things that go bump in the night – this time its an entire village as opposed to just a mansion. The plot of this game is rather complicated and felt quite hard to follow. Like the first game, there are several documents littered around the place providing you with some background information on what happened to the village and its inhabitants.
Project Zero 2 does make a couple of changes to the series as well. First off, the game now has a novice mode for those gamers who are just utterly terrified of the “brave” normal mode. Saying that, even normal mode comes across as significantly easier than the first game in the series. The most significant gameplay adjustment is taking pictures of the ghosts. Like the first game you wander around in third person and when you want to take a picture you switch to a first person perspective. A small yellow bar will be highlighted indicating that your picture will damage the ghost. Items of interest can be photographed and highlighted in blue in the view finder, taking the picture will usually help unlock a door or solve a puzzle. In this game you are practically encouraged to get up close and personal to the ghouls to take damage from them, the closer you get the more the yellow bar fills. If your used to the charging mechanic of the first game, that mechanic may confuse you at first as it is not made entirely clear when taking a picture will damage the ghost. Similar to the first game there is an opportunity to take a picture at just the right point to do maximum damage, called a “Zero shot,” and your HUD bar will highlight totally red when you have this opportunity. Unlike the previous games ghost encounters may have more than one ghost, they may even last longer, which is saying a lot as ghosts encounters in the first game were not a short experience. Not only that, encounters can be random anywhere in the game, it is not advised to hang around in a room doing nothing for too long.
You can upgrade the camera, which has been made a lot easier from the first. You accumulate points to upgrade by snapping pictures of the ghoulies and you also find spirit stones for upgrade slots hidden around the game. To upgrade the camera you need to use a spirit stone first to activate the slot and then have enough points to solidify the upgrade. This unique way of upgrading seems to be a way of preventing the player upgrading the camera too quickly. Just like the first game you can also load your camera with different types of film that will do different amounts of damage and specific effects. These are in limited supply and scattered across the village.
You will regularly encounter puzzles throughout the game and many of them involve you using the camera at a specific spot to unlock a door. The game will also give you logic puzzles to solve like rotating dials to match the colours. A lot of the game feels like a giant Easter egg hunt where you wander around an area looking for key items to solve a bigger puzzle. You can save your game as many times as you want at designated lamp points; however, if there is a ghost in the area the lamp will go out preventing you from saving. Taking a snap shot and vanquishing the spook will enable you to once again use the save point. This mechanic was in the original game as well and is a great way of making you feel that nowhere is safe.
Graphically the game does an excellent job of recreating a spooky village. You really feel like you’re alone as you wander around this creepy place with the sense that something is watching you, and it usually is. Ghosts appear to look surprisingly solid, which I’m not entirely sure is a good thing. Ghosts take on the forms of members of the villagers who once lived there and there are a huge number of ghosts in comparison to the first game. You’ll encounter blind ghosts, priest ghosts, children ghosts, and my favourite the crazy suicide ghost who attack you by constantly falling from a high up altitude. Of course this ghost was not meant to be funny but it did make me laugh more than tremble with fear. There are of course a lot of ghosts which just seem to hang around in the village. They won’t attack you, they act as the collectables in the game. Taking images of ghosts in the game and saving them to a separate photo album file will unlock additional costumes for Mio and Mayu.
The question I just could not help asking in Project Zero 2 was: so when does this game get scary? To be fair this game has several eerie moments but I never particularly felt scared or in danger when playing this game. Once again I am comparing this to the original game which seemed to contain scenes I found very unsettling. Saying that the developers apparently toned the horror down for this game to encourage players to actually finish the experience.
Project Zero 2 is certainly easier than the first game and a lot more accessible to people new to the series. Ammo and health items are very easy to come by even on standard difficulty. Some may find the pace of the game a little slow and frustrating as you wander around the village looking where to go next, the game does have a handy map if you get completely stuck. Once you get over the first few hours of the game you should be able to finish between eight to ten hours the first time through. The game does have multiple endings to experience and you are encouraged to play through the game multiple times to unlock extra difficulties, costumes and collect a picture of every damn ghost in the game if your a hardcore collector.
Overall, Project Zero 2 is a solid game but as you could tell from this review I could not help constantly comparing it to the original. The game changes the gameplay mechanics for the camera in a way I don’t think is as enjoyable by timing the right shot as opposed to charging it up. The story didn’t really draw me into the world or care as much for the main characters. When the game was finished I was quite surprised as it just seemed to abruptly end. Saying that, the game is a lot easier and more appealing to people new to the series. Unfortunately the game will still only appeal to a niche audience. If you want to try a horror game that tries things different from the typical survival horror experience I recommend giving this a try. If you liked the original I’m pretty sure you’ll find this game enjoyable. For everyone else this is a tough game to recommend. Though I had fun with the game I favour the original more, but felt compelled enough to look at the sequel.
Unlike Jam, I have not played the first and thus do not have to worry about comparing the two. What I have a harder time with is wrapping my head around why this game is so popular in US horror gaming circles. I get what appeals in other Japan-centric games like Silent Hill or even potentially Resident Evil - disturbing images and big squishy monsters – but I never understood that supernatural appeal vibrant in Japanese ghost stories. These stories in visual media always break the universal rules of good horror: they are complicated tales instead of a simple plot, you see the danger in full view instead of off screen or lingering in the shadows, and they don’t clearly end. Fatal Frame II is all of these things and I just don’t understand the appeal.
Despite this fact, it is a decent game that encompasses solid mechanics and a great world to explore. Whereas many found it to be an unsettling attack to the senses, I found to it to be a great exploratory simulation of events and locations I’d never have to the guts to tread in real life. I always talk about games being haunted house simulations, which is more of an American view in that I’m expecting big gory beasts and graphic violence, whereas Fatal Frame II is literally a series of haunted houses you have to reconcile. The village is flooded with souls that are both at peace and tortured, but you may never know who these people are or why they fit in either camp (except for whether or not you can damage them with the camera) thanks to the brunt of the plot being in collectible books. Reading those books isn’t the issue, its knowing whether or not you have found all of them and the game’s complete lack of care whether you did or not, that I start having issues with. When unraveled the tale is quite simple, but far be it for the developers to present it that way and instead you end up circling the same concepts and stories a few dozen times before you can comprehend what even happened by the time the credits roll. Fatal Frame II does effectively capture the strongest sense from Japanese ghost stories, which is to screw with your perspective and corrupt something you love. It’s very good at that. It messes with you.
Combat is consistent, although figuring out the inner workings of how that all comes to pass takes time. Just when you think you’ve figured out a mechanic, the game allows other ghosts you encounter to change or break the rules you just figured out. Perhaps you could always snap a shot of a ghost coming out of invisibility the last time but this time the ghost’s ability is to disappear when it’s fully visible and you have to hit it at a different time or distance. Maybe the ghost is in plain view but because the camera doesn’t turn yellow/red you can’t snap a photo for damage. Maybe a girl is literally falling out of the sky to her death and although she’s invisible has the ability to hurt you when she lands even though other ghosts walk right through you. It’s a bit irritating at first until you realize you have plenty of health and healing items for trial and error, but when faced with a ghost that can’t be exorcised or one that kills you in a single touch (or both) the annoyance of the battle system can get the best of you. I just had a hard time being threatened by enemies that I can walk through, in many points of animation can’t harm me, and consistently go invisible. Then again, I was scared to death and on the edge of my seat as I navigated a room plagued by a one-hit death ghost.
With all the focus on exploration – whether it’s fighting a new enemy, looking for something specific, or trying to find out where your half-goofballs sister is gallivanting to next – I was hoping I’d be looking for more interesting items. The random unnecessary books that document the past, present, and potential future of The Lost Village and your place in it are fascinating little tidbits of lore, but those are completely optional as are the content spirits lingering about. What is necessary is annoying fetch quests that have you finding stupid little stones in the ground with fragments of a key, assembling a doll from six or seven different parts strewn about, or traversing an entire house only to find the item you need was in the first room you entered and having to re-trace your steps twice while you fetch and return with that item. It makes the relatively short game a bit long in the tooth.
In the end I guess I just wasn’t in the mood for a traditional, non-violent, complicated ghost story about fetching things while your sister goes crazy. I did, however, have a good time getting through the game’s 6-8 hour initial campaign and appreciating the moments, stories, and enemies that did make me smile and nod. Fatal Frame II is different from other games and it’s well executed in what that specific game is, which is perhaps why it stands as such a pivotal title in the genre. Everything you experience, down to the final moments and multiple endings, assure you that if you’re a fan of the likes of Ringu (The Ring) or Ju-On (The Grudge) that you’ll be right at home with the eerie atmosphere Fatal Frame II has to offer. For me, this was nothing more than a unique style to a niche genre that, while well executed, just wasn’t that much up my ally. Still, if you feel at home with a good old fashioned Japanese ghost story, complete with cryptic outcome, this may just be the game you’ve always been looking for.
Final Scores Jam: 2 out of 5 – Fred: 3 out of 5 (Review Policy)
This week Fred and Jam are discussing the Capcom series Ghosts’N Goblins (or Makaimura if you prefer). Easily one of the most punishing franchises ever created, the boys tackle the trials and tribulations of Sir Arthur on a never ending quest to save his girlfriend. Along the path he will traverse to various worlds, see terrible beings, and of course battle the many derivatives of the Devil.
And just for fun, have a video of me cussing out the original for two hours:
First Action Assault Recon (F.E.A.R. from now on) tries to be multiple things at once – a first person shooter (FPS) with a gimmick, a horror title, and a technology showpiece – and does a competent job, which is probably why some have claimed it’s the best FPS of all time. F.E.A.R. is far from the greatest FPS of all time, but it is a blast to play (especially in the dark) and combines that helplessness of being outnumbered and the rush of taking on those odds without so much as a scratch to show for it. The horror elements are more of a thematic tone for the minutiae, but the proper use of shadows, lighting, and occasional jump scares do help to justify it all. That and the two main antagonists, Paxton Fettel and Alma, do a fantastic job of creeping you out and making you dread the eventual encounter with either or both of them. Visually, especially on the PC, this title can go up against a decent number of today’s shooters and impress, so naturally it was a showpiece when it premiered in 2005. Put it all together and you get a game that shouldn’t be ignored.
The F.E.A.R. team is a fictional spec ops group that works in tandem with Delta Force – a real military group – to handle special situations like the ones faced in the game. You play as Point Man (who’s name is withheld), the leader of F.E.A.R., which is most likely not a long lasting career because you are tasked with leading the assault along with cohorts Spen and Jin. A terrorist named Paxton Fettel has broken into a tech company named Armacham Technology Corporation (ATC in the game) and taken control of the genetically engineered super soldiers they were developing. As you progress through the game there are several encounters with Fettel that include his psychic abilities, apparent links with you, and his cannibalistic nature that also happens to consume the victim’s memories. Not only that, but a little girl named Alma appears to be roaming about the facility and her powers can cause…quite a mess. While there is a creepy supernatural story that unfolds as you progress through F.E.A.R., the brunt of the game’s overstretched 10-12 hour campaign will be corridor shooting and kill box ambushes against unfair odds to progress through what is quite possibly the largest building I’ve ever seen. To its credit the writing is good and distributes just enough information in an easily digestible and upfront fashion that when the twist hits at the end and the subsequent roller coaster of the epilogue, you know exactly what’s going on and why it’s significant. Also stay tuned after the credits for a bit more back story.
In 2005 there were more than enough FPS titles to choose from and most of them were military shooters like F.E.A.R., so naturally the game needed a gimmick. Fortunately for developer Monolith, the gimmick of slowing down time to essentially allow your character to make judgment calls and aim accuracy that is seemingly impossible, was quite an effective one. When you play even a short demo of the game, few encounters can be effectively handled without slowing down time, especially when you consider this is a health/armor system without regenerative health so every bullet you are hit with counts. Slowing down time to have pinpoint accuracy or the ability to blow away a pack of enemies while running in circles around them is not only a great way to take on groups, but it makes you feel overpowered. Given that this ability is finite, although it does slowly recharge, can provide a balance to the one-sided nature of battle; however, the game’s hide happy AI will give you plenty of opportunity to fall back and wait for a full recharge. That’s not to say F.E.A.R. is unbalanced in favor of the player, because there are plenty of encounters throughout the game – especially as you near the conclusion – that are downright unfair and take a mix of ability and luck to overcome regardless of special abilities.
Probably the easiest way to get your hands on this game is on Steam (PC) where it is consistently going on sale (although not at this moment), is compatible with modern day systems while also having low enough requirements that most contemporary machines can run it at the highest settings, and includes the expansion packs Extraction Point and Perseus Mandate. If PC is not an option, you can also pick this title up on 360 or PS3, but keep in mind the expansion packs are a separate title on 360 (F.E.A.R. Files) and not available on PS3 – although full disclosure I have not yet played either of these packs and probably won’t for some time, so it’s not exactly a deal breaker. Regardless of where you play it, F.E.A.R. looks good, however I find it to look exceptional on the PC. Details like dynamic lighting and shadows play with the player’s perception and contribute to the eerie atmosphere of the ATC office building. Additionally the graphic depictions of what has happened to the unfortunate workers and soldiers that came in contact with Fettel, Alma, or ATC super soldiers is presented with so much detail it felt uncomfortable to look at for more than a few seconds. I was surprised how the game kept track of fallen bodies, bullet holes, shattered glass, and arterial blood spray as I went on. I’m not sure if each of your victims in the console version painted the walls like they do in the PC port, but I’m betting they do and it’s an impressive touch.
When you put it all together F.E.A.R. is a title that has easily withstood the test of time in the 9 years since its release. Fans of the FPS genre should give this first title a go if only to see if you find the slowdown mechanic worthwhile and fun, because that is easily the biggest draw to playing the single player component of the second and third title. Sadly the multiplayer component has been brought offline by both WB and eventually Gamespy, but for those who want experience the multiplayer that has equally defied the obstacles in its way, fear-community.org provides a free version of the MP along with a master server and support to start your own server. It’s an interesting mix of fresh blood and nine year veterans from the look of things, but since competitive shooters have never been a strong spot for me and I found this game more difficult than most FPS campaigns, I decided to steer clear of what is a blatant hardcore community. Despite the repetitive nature and elongated campaign that outstays its welcome for about 25 percent of the content, F.E.A.R. was an excellent weekend play in the dark to kick off my month of horror games.
Final Score: 4 out of 5 (Review Policy and scoring system)
Bioshock was released all the way back in 2007 (which seems like quite a while in terms of game releases), near enough the same time as the launch of the Xbox 360. Before I re-played this game for the Game Club, my last save on the 360 was dated August 2009. So would you kindly take a seat and read on, as we see if Rapture is still a city worth re visiting or if it should stay at the bottom of the ocean.
In Bioshock you play as Jack, a character who doesn’t really say much. After surviving a plane crash and swimming to a lighthouse, you find underwater transportation to the city of Rapture, a so-called underwater utopia created by a man named Andrew Ryan. You quickly learn that Rapture is not the magical gum drop land it was probably intended to be because most of the residents have totally lost their minds and want to murder you. People seem to be hooked on something called ADAM which changes your genetic code, giving the recipient special powers. The game does a great job of explaining the story through use of audio diaries, which give audio-based background to the game while you are still playing. The story is filled with regular twists and turns that will keep you interested right up to the end. Since there is so much depth to the plot, I found I understood more when going through the game multiple times (not to mention these are hidden items that you can drudge for when not on an initial playthrough).
Bioshock plays as a first person shooter with role playing elements. The game gives very clear goals and even a quest marker for where to go. Don’t worry completionists, you have plenty of opportunity to explore the world and discover secrets and additional information of Rapture. You also find plasmids which unlock super powers for your character such as shooting electricity or even bees out your hands if you choose it. Alternatively you can use plasmids for more passive results such as improving your melee damage, healing abilities, and several other traits.
You can also hack devices like vending machines to receive discounts or hack automated cameras and turrets, which will attack enemies instead of you. When you hack you enter a mini game, which is Pipe Mania basically, connecting the pipe parts together so the fluid flows to the right target. Unfortunately if you fail to do this in the limited time you will receive damage and possibly trip an alarm. Hacking is fun to begin with but gets quite tedious quickly, so fortunately like with most things in this game you also have the option to pay for a hack or use a auto hack tool to bypass the mini game entirely. Of course there is always the option to not be so nerdy and just not hack at all.
If you haven’t figured it out already, Bioshock allows you to play the game as you want. You can stealth or go guns blazing (the latter is more tricky on harder difficulties). You have a lot of choice into how to advance in the game, and even better, you can switch out your abilities should you want to change your gameplay style. The only potential issue is Bioshock can come across as quite easy on any difficulty. Even on hard mode, if you die you just get resurrected instantly in a close by vitality chamber. There is practically no penalty for this and you just continue on in the game. A hardcore mode was added in the first update for 360 and PC, so any of those that have online access and update – not to mention the port onto PS3 and iOS – will also have a Hardcore mode that will give you a game over with any death, but this is almost canceled by the game’s ability to let you save and load anywhere.
The graphics in this title are absolutely phenomenal. Rapture is unlike anything else you will probably see in other video games and a lot of thought clearly went into the art direction, which is consistently demonstrated when you pay attention to the consistent writing on the wall as well as items and bodies positioned in specific places. This can show you how far Rapture has probably fallen from grace. Bioshock is set in 1960 and the art style is inspired by Art Deco, but of course since Rapture isn’t like your typical city above the ocean things have been changed for this specific utopia. The water physics are also very impressive, water will flow down stairs and pour from the ceilings very much convincing you that you are in a underwater city. The game also makes excellent use of shadows; you will regularly encounter silhouettes of enemies projected on the wall making you kind of dread what could be round the next bend.
Character models and enemies are also very impressive. The most common enemies are splicers, which are disfigured people, and their reaction to you and the world very much mirrors a society gone wrong. Much like yourself, some of the splicers also have powers, like teleportation. The other most notable foe is the Big Daddy, giant creatures in a diving suit that protects a character called a little sister (but I’ll get to them shortly). These incredibly threatening creatures actually won’t harm you until you either attack the Big Daddy itself or get too close to the little sister. When that happens the brute goes feral and will attack you with full force. Consequently even to this day the Big Daddy is one of my most memorable characters in gaming. Returning then to the little sisters, these are little girls which have a parasitic sea slug in their stomach, allowing them to collect ADAM. Once you have taken down the Big Daddy protector you’re faced with the moral choice of harvesting the girl for maximum ADAM – this kills the girl in the process (you don’t see any child mutilation, but you can clearly tell what’s about to happen) – alternatively you can rescue the girl and receive a small amount of ADAM. Surprisingly choosing either path only leads to a different ending and has little effect on your progress in the game, which will call this further into question due to how the story progresses.
Bioshock still holds up to this day. The game has aged well, the graphics still look great on whatever system you choose to play the game on, and the gameplay doesn’t feel too dated. Bioshock is also very much a game you need to take your time with and just enjoy exploring the world of Rapture. Rushing through it will do little for your enjoyment and potentially hinder the experience. Each time you pick up the game you will probably play it differently and with the amount of player choice and gameplay style, it is unlikely two playthroughs will be the same (although the plot does remain consistent save for which of the two endings you receive). Bioshock was great in 2007, it is great today, and will likely stand the test of time for years to come. If you still have not visited the world of Rapture would you kindly do yourself a favour and play it.
Final Score: 5 out of 5 (review policy)
Bioshock was reviewed by a personal copy of the reviewer, no codes of any kind were provided. This review is based on the Xbox 360 version but it is also available on PC, PS3, and iOS devices with little content difference.
I was gonna write a retrospective on this, but honestly in podcast form we’ve covered Doom not once, but twice! From those episodes came a project that has taken six months and over six hours to put together in one near 15 minute video. I compare the PC, 32x, Jaguar, SNES, PS1, 3DO, Saturn, and GBA versions of Doom so you don’t have to, complete with bad language and snarky remarks (sorry parents). Check out this version of Versions for Doom, but fair warning: there is some adult language.
This week Fred and Jam tackle the Bioshock game club. Irrational Games (as 2K Boston) follow up the System Shock series with a new underwater utopia gone wrong and plagued by warring factions. With inspirations from popular culture and depression era architecture, Bioshock proves that the devil really is in the details.
This week we are an ensemble cast with Andy from 42 Level One and Agents of Shieldcast as well as Eli from Knuckleballer Radio joining to discuss the main PS2 iterations of the Final Fantasy Series: X, X-2, and XII. As with all our FF eps, it’s a broad overview, but the discussion will help you understand what to expect from each iteration and what development changes were made. With the recent HD remakes of the X titles, you may just be tempted to give these titles a second glance.