Borderlands: The Pre-Sequel — Issue 40

Bor­der­lands: The Pre-Sequel is a lot of retread

Stop me if you heard this one.
A group of four boun­ty hunters run amok on Pan­do­ra and open a trea­sure chest filled to the brim with loot after killing a bunch of things.
In fact, you should have stopped me, because you’ve heard that song and dance before. Twice to be pre­cise. It’s because I’ve waxed poet­i­cal­ly about two oth­er Bor­der­lands titles in pre­vi­ous issues over the past decade. It was all fine and well, that run­ning amok on Pan­do­ra. Until it wasn’t. You see, Bor­der­lands has charm and grace, know­ing when it’s hit­ting its lim­it at the bar. Bor­der­lands 2, well, you have to tell it when to stop because it thinks it can han­dle its liquor but real­ly can’t. Pre-Sequel? Brown liquor gives it courage to talk to folks a cer­tain way, and it winds up get­ting thrown out of the bar and Ubered home. It’s because Pre-Sequel thinks it’s some­thing we’ve nev­er seen before, when we all have and we’re not buying.
Bor­der­lands: The Pre-Sequel is set between the events of Bor­der­lands 1 and 2 sto­ry­line-wise but was released chrono­log­i­cal­ly after Bor­der­lands 2. Pre-Sequel tells the parts of the Bor­der­lands saga that we didn’t see hap­pen­ing simul­ta­ne­ous­ly in the first game and men­tioned in the sec­ond game: How Hand­some Jack dis­cov­ered the Vault; took over the Hype­r­i­on Cor­po­ra­tion and, by exten­sion, Pan­do­ra; and, cor­ralled an ear­li­er group to assist in his nefar­i­ous plans of dom­i­na­tion and galac­tic domin­ion. Along for the ride this time are char­ac­ters we already know from Bor­der­lands 2: Nisha Kadam, the future sher­iff of Lynch­wood and Jack’s future girl­friend; Wil­helm, pre-cyber­net­ic obses­sion and trans­for­ma­tion; Athena, wan­der­ing Pan­do­ra after the events of the Secret Armory of Gen­er­al Knoxx DLC in Bor­der­lands; and, Clap­trap, who’s assist­ed the Pan­do­ra Vault Hunters but doesn’t yet know he’s the sac­ri­fi­cial lamb of the sto­ry. These Vault Hunters are sum­moned through an EchoNet call from Jack to find the Vault on Pandora’s moon, Elpis. 
Know­ing what we know now about Jack and his motives, it’s safe to assume that there will be greed, mon­ey and shenani­gans involv­ing guns. Those are there, yes, but it’s just Bor­der­lands 2 with a slight­ly dif­fer­ent mask and a lack­ing sto­ry. Because make no mis­take: The sto­ry is not mov­ing for­ward here. It’s sole­ly meant to fill in some gaps, but it’s obvi­ous it’s not meant to be some sort of pitch-shifter that Bor­der­lands 2 or Bor­der­lands 3 were and are.
Know­ing this about the sto­ry, what you find when you get to Elpis is def­i­nite­ly a whole lot of typ­i­cal Bor­der­lands skull­dug­gery. From the begin­ning of the jour­ney once you touch down on the plan­et, the new mechan­ics of oxy­gen man­age­ment and low grav­i­ty are a pain to deal with and obnox­ious. Yes, you do need some­thing new to spice things up a bit, but it’s not imple­ment­ed with any type of pre­ci­sion or enjoy­ment. Con­stant­ly hav­ing to man­age how much oxy­gen is left while try­ing to avoid tak­ing dam­age means dis­trac­tion, and it ruins any sort of sand­box vibe the game might have been going for. Oxy­gen man­age­ment is also tak­ing prece­dence while work­ing through Bor­der­lands Begin­ning Syn­drome, or when you start a char­ac­ter in a Bor­der­lands playthrough with lit­tle to no help. The first few hours of any Bor­der­lands playthrough are slow and a slog with no help, and Pre-Sequel is no excep­tion. All oth­er mechan­ics are Bor­der­lands 2 based, so there’s noth­ing else new here of note.
Much like the non-new mechan­ics, the graph­ics are Bor­der­lands 2 based as well. So, you’re not going to see new tex­tures, though there are a few new ene­mies and NPCs to change things up a bit. The new ene­mies are slight­ly inter­est­ing, as are some of the boss­es. This has always been Bor­der­lands’ strength as fran­chise: Col­or­ful char­ac­ters that leave an impres­sion. Pre-Sequel man­ages to cre­ate some good­will with some new char­ac­ters, but they’re all in the style of Bor­der­lands 2. Bor­der­lands 2 was ser­vice­able in its graph­ics as a mar­gin­al­ly bet­ter upgrade to Bor­der­lands, so you’re get­ting that mar­gin­al upgrade here as well. The sound­track also is Bor­der­lands 2 based, so if you enjoyed that, you’re prob­a­bly going to enjoy this, too. There are a few tracks that stand out, but noth­ing spe­cial … much like every­thing else offered here.
Take Pre-Sequel for what it is: a stand­alone pack­age that real­ly should have been prepara­to­ry DLC for Bor­der­lands 2 or even fol­low-up DLC for that game. It real­ly shouldn’t have been held back after Bor­der­lands 2 because it works well as a stop­gap mea­sure between Bor­der­lands and Bor­der­lands 2. As a front-end sequel game, it’s just more of Bor­der­lands 2 — down to the reused assets and sound­track — and that doesn’t nec­es­sar­i­ly increase its endear­ing qual­i­ties, no mat­ter how much I love Bor­der­lands as a whole. At this point, it’s suf­fer­ing from sequel-itis.

Ken Griffey Jr.‘s Winning Run — Issue 40

The Kid’s SNES fol­low-up a guar­an­teed home run

There are a few things Rare, the bas­tion of all that is unholy in retro gam­ing, has done cor­rect­ly. One was Gold­en­Eye 007 for the Nin­ten­do 64. And anoth­er is the Ken Grif­fey Jr. MLB series.
Ken Grif­fey Jr., for the unini­ti­at­ed, is one of the best major league play­ers to have ever picked up a bat and glove. There was once a time that folks believed that Grif­fey would beat Hank Aaron’s home run record in the ’90s. Alas, once Grif­fey left the Seat­tle Mariners after the 1995 sea­son, he was nev­er the same thanks to numer­ous injuries. He’s still “that guy,” though, and it remains that his game series is one of the best in arcade base­ball. The first game was good, but the sequel — Ken Grif­fey Jr.’s Win­ning Run — is absolute fire.
Let’s start with the premise, because there actu­al­ly is some­thing of a sto­ry here. The open­ing cin­e­mat­ics show Grif­fey Jr. at the plate doing what he does best: Smack the ball. Already beloved by fans and team­mates, his hero­ics in the bot­tom of the 11th inning of the 1995 Amer­i­can League Divi­sion Series’ final game that year cement­ed the city’s love for “The Kid” and led to the birth of this sequel title. He was so beloved that when Grif­fey Jr. start­ed think­ing about retire­ment, Seat­tle active­ly cam­paigned for the Hall of Famer to sim­ply “come home” and reclaim his title of King of the King­dome. This set­up is lov­ing­ly craft­ed in just the intro, and the rest of the game is favor­able because of it. 
So, what’s inside the pack­age with a slick out­side? A lot, for a SNES game. There are sev­er­al ways to play, depend­ing on if you want a quick game or if you want to make a full 162-game sea­son of things. The MLB League mode is a great­ly appre­ci­at­ed fea­ture. In it, you can choose to play three types of sea­sons: A short 26-game sea­son, a medi­um 52-game sea­son and a full 162-game sea­son. There’s also an option to play an exhi­bi­tion game in the MLB Chal­lenge mode. I like the abil­i­ty to choose between those options, because maybe I don’t want to sit through an entire sea­son. I can’t do that in real life, so I know I don’t want to do that in a video game ver­sion. There’s even a mode to resume a pre­vi­ous­ly start­ed game. 
If you’re not so inclined to be a play­er, there’s a decent man­ag­er mode includ­ed. Ever the non-tra­di­tion­al­ist, if you’re like me and you want to skip to the end, you can run through a World Series mode where you play out the Series to crown your cham­pi­on. There’s also an All-Star mode where you can play through the tit­u­lar game and par­tic­i­pate in the Home Run Derby. 
With the wealth of options in how to play, it’s easy to actu­al­ly play. Win­ning Run doesn’t rein­vent the wheel of base­ball video game mechan­ics, which is a good thing. That means that even if you’re not a sports nut, you could prob­a­bly pick up the game and learn how to play base­ball. Base run­ning, field­ing, pitch­ing and bat­ting are easy to under­stand here, and the mechan­ics all come naturally. 
While Win­ning Run doesn’t have the MLB player’s license — nei­ther did the orig­i­nal game, either — it does have a fla­vor that com­pet­ing games at the time didn’t have: Charm and charis­ma in every detail. The graph­ics are clean, crisp and out­right beau­ti­ful. They are so well done that even 26 years lat­er, as a SNES game, they hold up. Even the menu graph­ics look great. Rare was killing it in the late por­tion of the SNES’ lifes­pan, and Win­ning Run is a stun­ning example.
And, for a moment, let’s talk about the sound­track. This is one of the few sports sound­tracks that I own. Rare’s sound team con­tin­u­ous­ly makes up for the sur­round­ing mess with qual­i­ty sound, and this is one of the best from their cat­a­logue. The main theme was fan­tas­tic, and the menu theme is out­stand­ing as well. Both themes add to the over­all pack­age and get things start­ed off right. The in-game ambi­ence is nice as is the play announc­er. Every­thing ulti­mate­ly cre­ates a good arcade base­ball feel, which you’re going to need if you’re going to slog through an entire pennant.
Tech­ni­cal­ly, aside from the lack of the MLB player’s license, there’s noth­ing wrong with Win­ning Run. The lack of play­er names and like­ness­es is a bum­mer, but it doesn’t real­ly take away from the core strengths of Win­ning Run. 
Excel­lent options, easy-to-under­stand mechan­ics and a fan­tas­tic sound­track make run­ning the bases fun in Win­ning Run. The Kid’s sequel effort paid off and bats high in the order of great sports games.

The Punisher — Issue 40

The Pun­ish­er makes good in dig­i­tal crime cleanup

Before Mar­vel vs. Cap­com became a rel­e­vant name to gamers, the com­pa­nies col­lab­o­rat­ed on oth­er games. Those games became essen­tial clas­sics to devel­op gamers who spe­cial­ized in sin­gle-com­bat titles. In 1994, Cap­com and Mar­vel brought a Final Fight-style game to the Gen­e­sis that starred comics’ most infa­mous anti-hero: Frank Cas­tle aka The Punisher.
The game fol­lows the sto­ry­line of the clas­sic Mar­vel comics series. Frank Cas­tle, a dec­o­rat­ed vet­er­an Marine, was enjoy­ing a day in the park with his fam­i­ly when they unwit­ting­ly became wit­ness­es to a mob shoot­ing. As a result, Cas­tle and his fam­i­ly were mas­sa­cred, him being the only sur­vivor. Cas­tle became deter­mined to get pay­back by any means nec­es­sary. With fel­low war­rior Nick Fury (of S.H.I.E.L.D.), Cas­tle begins his war on crime against mob boss Wil­son Fisk aka King­pin, who caused the death of his fam­i­ly and many oth­er innocents. 
The game plays sim­i­lar­ly to “Final Fight” and “Cap­tain Com­man­do.” You can choose to play as either Cas­tle or Fury and can team up in mul­ti­play­er. You start off with the basics, pro­gress­ing to com­bos and var­i­ous weapons such as hand­guns, auto­mat­ic rifles and katanas. There was lib­er­al food and oth­er pow­er-ups such as cash, gold bars and dia­monds that increased my score and restored health since the amount of ene­mies com­ing at me was nonstop. 
The graph­ics were pleas­ant enough, although they attempt­ed to copy arcade cab­i­net-qual­i­ty with lit­tle suc­cess. I will give Cap­com cred­it for mak­ing the graph­ics comic­book-like. it was like read­ing an actu­al issue of the comics includ­ing cap­tions “BLAM!” “KRAK” and BOOM!” instead of play­ing a rushed paint job of a pop­u­lar com­ic series video game. The music of each stage was also decent as Capcom’s sound team deliv­ered, keep­ing things close to what the Pun­ish­er feels like. 
With the work Cap­com put in, the atten­tion to detail made me want to pick it up to play as a return­ing com­ic book fan who knew about Cas­tle and Fury but want­ed to learn more about the King­pin and oth­er Mar­vel vil­lains such as Bush­whack­er and Bonebreaker. 
The Pun­ish­er is the first suc­cess­ful par­ing of Capcom’s know-how with Marvel’s leg­endary vig­i­lante who wastes no time dis­pens­ing his brand of jus­tice on crim­i­nals. Play­ing through this isn’t exact­ly punishment.

Mario Kart 8 (Wii U) — Issue 40

Mario Kart races back to form in Wii U edition

There comes a time in every Mario Kart fan’s life when you have to make a choice of whether you still love the series or if you don’t. I assume this, of course, because I have no idea if any­one still plays Mario Kart or not. I assume they do, and I just don’t know it. The series hit that fabled peak of ques­tion­abil­i­ty for me when Mario Kart Wii was released. GI wasn’t using a rat­ing scale when we reviewed it (editor’s note: This was reviewed in 3Q2008), but suf­fice to say it would not have received a good score. Mario Kart had a lot of work to redeem itself for me, a long­time lover of the series who start­ed in 1992. The lat­est orig­i­nal entry, Mario Kart 8, has made sig­nif­i­cant effort to pol­ish the series again.
Mario Kart, at its core, has always been about arcade rac­ing. There’s noth­ing real­is­tic about play­ing as var­i­ous Mario and oth­er gen­er­al Nin­ten­do char­ac­ters while romp­ing through var­i­ous Mush­room King­dom locales. It’s always been about the Mario charm expand­ed to fit with­in a palat­able dri­ving scheme that makes any­one a cham­pi­on go-kart enthu­si­ast. Mario Kart 8 does not shirk on this charm. If it’s a mem­o­rable Mario char­ac­ter, they’re prob­a­bly in this game. 
And, in a nod to the appeal of Nin­ten­do crossover and nos­tal­gia, there are new addi­tions from out­side the port­ly mus­ta­chioed plumber’s usu­al sus­pects: You can now play as Ani­mal Crossing’s Isabelle and The Leg­end of Zelda’s Link. While they don’t nec­es­sar­i­ly con­tribute any­thing new to the series, their pres­ence is enough to elic­it excite­ment because it means Nin­ten­do is final­ly open­ing Mario Kart up to the gen­er­al ros­ter. There is much to mine from, and if you’re ques­tion­ing any of this, look at the lead Smash Bros. has tak­en in this field.
Mario Kart has always been the sort of series that takes its his­to­ry seri­ous­ly. Entries after Mario Kart: Dou­ble Dash have begun ref­er­enc­ing the pre­vi­ous tracks of yore, some­times with var­ied results. Mario Kart 8 man­ages to gath­er a lot of stel­lar new tracks and some old that aren’t favorites but will suf­fice as entries. A lot of the old­er tracks are from more recent entries but make no mis­take — they are there for the pur­pose of draw­ing you in to remind you of the good times and then send you on your mer­ry way to try the new tracks. Tug­ging at my heart strings with a mod­ern SNES Rain­bow Road remake will get you every­where, though there are caveats to these remakes. 
While the tracks are great graph­i­cal­ly, the music is hit or miss. When I say I want a Rain­bow Road throw­back, I also want the orig­i­nal music to go with it. It doesn’t need a musi­cal over­haul because the orig­i­nal music was bril­liant. I’m not sure why Nin­ten­do thought it need­ed to have the sound remade, but it wasn’t a par­tic­u­lar­ly great deci­sion. Oth­er remas­tered stage choic­es, includ­ing Grum­ble Vol­cano and Music Park, are fine. And a lot of the new tracks are great; Drag­on Drift­way and Excite­bike Are­na are def­i­nite standouts.
Graph­i­cal­ly, the game looks amaz­ing. It’s the best-look­ing Mario Kart pro­duced yet. All the char­ac­ters look life-like, and the stages are incred­i­bly detailed. Even the water par­ti­cle effects look amaz­ing. There are times when there’s a brief lull in action that I can soak up the sur­round­ings, and I’m impressed by the Wii U’s under­stat­ed capa­bil­i­ty. Mario Kart 8 shows what the sys­tem could poten­tial­ly do. It’s a tes­ta­ment also to just how good Mario Kart looks in the mod­ern era.
Now, here’s where we may have some issues. I’m not fond of the AI rub­ber­band­ing, and I haven’t been a fan of it since the Mario Kart 64 days. We are a quar­ter of a cen­tu­ry grown up and past that, and we’re still hav­ing issues with last-minute vic­to­ries by the AI. This is a known issue at this point, yet it rears its ugly head still. Also, while a lot of the new tracks are cool — Excite­bike Are­na among the best of the bunch — there are some that do absolute­ly noth­ing for me. Track selec­tion is impor­tant, and this entry has dullards. Big Blue, for what­ev­er rea­son, keeps show­ing up in mod­ern catchall Nin­ten­do games, and it’s here, too. I’m not impressed with the track at all, and they could have come up with some­thing else. 
Also, while I love the Ani­mal Cross­ing track, it needs some­thing else than the series’ cute motif and catchy music. It’s your basic, run of the mill dri­ve around in a loop track, but it needs some­thing else to give it some pop. Same thing goes for the Hyrule track. It’s basic, too. What makes this worse is that the tracks are part of the DLC bun­dle for the game. If you’re ask­ing me to spend hard-earned mon­ey on extras, the extras need to be super spe­cial. I’m not get­ting that with those two tracks, specif­i­cal­ly. Thank­ful­ly, there are oth­er extras to be had that kind of make up for those.
Over­all, this is a sol­id entry in the Mario Kart sphere of influ­ence. This is the best entry in years, and it deserves some high praise for a lot of the things that it gets right. There’s always room for improve­ment, but the rac­ing king con­tin­ues to show why it’s the arcade rac­ing champ and why it con­tin­ues to rule the road of go-karting.

Watch Dogs — Issue 40

Watch who watch­es soci­ety in sur­veil­lance thriller

I am sort of a tech geek. While I do not have the lat­est gad­gets in gam­ing or mod­ern liv­ing, I love to have knowl­edge about the lat­est in dig­i­tal secu­ri­ty. Dur­ing the height of the Covid-19 pan­dem­ic, I spent time off binge-watch­ing the USA net­work show “Mr. Robot.” The pro­tag­o­nist, Elliot Ander­son, was not a social but­ter­fly, but if he want­ed to know some­thing about some­one, all he needs is their dig­i­tal details and he would either help or hin­der them. Before Mr. Robot took form, Ubisoft in 2014 devel­oped a game that applied action-adven­ture ele­ments and mixed them with cyber­se­cu­ri­ty and per­son­al pri­va­cy issues involv­ing big tech­nol­o­gy com­pa­nies. Watch Dogs was born of that curios­i­ty.
In Watch Dogs, you take on the role of hack­er Aiden Pierce, who in 2012 was col­lab­o­rat­ing with his mentor/partner Damien Brenks on an elec­tron­ic finan­cial heist in a fic­tion­al Chica­go hotel. Unknown to the hack­ing duo, they tripped off an alarm set by anoth­er hack­er, which forces Aiden to take his fam­i­ly out of the city.
While on the run, they are pur­sued by hit­man Mau­rice Vega in a car chase that kills Aiden’s niece. Enraged, Aiden, along with partner/fixer Jor­di Chin, sets off to find Vega and his employ­er while uncov­er­ing a hideous con­spir­a­cy behind the pop­u­lar CtOS (Cen­tral Oper­at­ing Sys­tem) that has Chica­go heav­i­ly depen­dent on it.
Watch Dogs is sim­ple to play yet requires some prac­tice to be famil­iar with. Using the ana­log sticks to con­trol Aiden’s move­ments and the in-game cam­era was dif­fi­cult at first; how­ev­er, with enough prac­tice, you will have him almost invin­ci­ble. The menu for Aiden’s col­lect­ed items as well as dri­ving sce­nar­ios are like Grand Theft Auto, which I found frus­trat­ing but not unplayable. Aiden’s main weapons are a col­lapsi­ble baton and a portable device known as the Pro­fil­er. The Pro­fil­er picks up NPC info that could be used to loot or embar­rass them, depend­ing on the sit­u­a­tion. Also, you scan scale ver­ti­cal walls and crouch behind walls to hide from ene­mies. I espe­cial­ly like the abil­i­ty to hide because it’s well done in its appli­ca­tion. Dur­ing the first mis­sion of the game, I found Vega and roughed him up, hacked the base­ball stadium’s pow­er grid to cause a black­out and snuck away from the police. With the well-prac­ticed con­trols, it was easy to make this sequence work and get on with the rest of the game. That’s how smooth it should be.
The graph­ics in Watch Dogs are sharp and do well in tak­ing advan­tage of Ubisoft’s Dis­rupt engine, which pre­sent­ed the city of Chica­go and its land­marks with great care and detail. Anoth­er detail I liked was the abil­i­ty to set the time for Aiden to rest. The rep­re­sen­ta­tion of the day and night cycle was per­fect. Watch Dog’s music is a nice mix of adren­a­line and house music and con­tributed well to the over­all atmos­phere.
Watch Dogs is great to play if you want to act out your vig­i­lante hero fan­tasies, legal­ly, of course. Watch Dogs will not dis­ap­point, although I would rec­om­mend using a strat­e­gy guide to help make your first playthrough more enjoy­able.
For those who are inter­est­ed in cyber­se­cu­ri­ty like I am or want to expe­ri­ence con­trol of a city by tech­nol­o­gy, get to hacking.