Tag Archives: Lyndsey Beatty

Street Fighter V — Issue 41

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Don’t call it a come­back: SFV cleans up after launch

I’m going to be intense­ly per­son­al for a minute: My life by the time of my mid-30s was not fun. It was a time of change, reboots in near­ly every area (part­ner, career, school again), loss and learn­ing from the mis­takes of my 20s. I’m good now, but it wasn’t with­out strug­gle and pain.
And the old­est entry in the fight game can com­mis­er­ate with me because they know what that time is like. Street Fight­er V is sit­ting at the bar with me, drown­ing its sor­rows because it and the series, too, went through it in its mid-30s and like me is doing much bet­ter than one could expect after the struggle.
SFV didn’t start out as mag­i­cal as it has become. The launch was mired in prob­lems and things just weren’t where they should be. The game’s sto­ry mode didn’t launch along­side the actu­al game and the net­code was ter­ri­ble. But what a dif­fer­ence time makes. 

The sto­ry, while still not as engross­ing as past entries, has improved. It moves the SF world mythos along and makes sense if you know the series’ past. Tak­ing place between Ultra SFIV and SF3: 3rd Strike, Char­lie wakes up in a tomb and is guid­ed to steal an item from Guile, which would help him defeat M. Bison. Third Strike boss Gill dri­ves the plot over­all, tying up the loose ends between SFII and the endgame of 3rd Strike, which is the known end of the series sto­ry­line-wise. I love that Gill is tied into this as it always seemed like he was out of place as the end of SF lore. I nev­er ful­ly under­stood why he was the boss of that tril­o­gy of games except as some­thing new for Cap­com to try because every­one was sick of M. Bison by that point.

While I’m impressed with the sto­ry, I’m more impressed with the pre­sen­ta­tion. Much like its pre­de­ces­sors, SFV looks gor­geous. The back­grounds are beau­ti­ful as are most of the char­ac­ter designs. Even the menus look good. Some­times, when I start the game, I take a sec­ond just to mar­vel at the main menu and how the modes are pre­sent­ed. And let’s talk about the sound­track for a sec­ond. The music is all-around amaz­ing. Every time I get in-game, I dis­cov­er anoth­er track that I feel like I haven’t pre­vi­ous­ly heard, and I fall in love all over again. It’s so good that it’s worth track­ing down and adding to your music collection.

While I love the game, there is a big sec­tion I don’t care for: the play style. I’m an Alpha purist, specif­i­cal­ly SF Alpha 3. That’s my Street Fight­er style and has been for years. How­ev­er, SFV plays kind of stiff — a lot like SFIV — and that’s hard for me to grasp. It’s playable, obvi­ous­ly, but it’s not my style of Street Fight­er play. And that’s OK. It real­ly doesn’t detract from the game’s abil­i­ty to shine or be Street Fight­er, but it’s not my per­son­al pref­er­ence to play. It is a lot of fun to watch being played pro­fes­sion­al­ly, though.

Street Fight­er V has come a long way as the most cur­rent entry in the series. Game ele­ments have got­ten a lot of pol­ish, whether it’s fix­ing the net­code or expand­ing the ros­ter with old favorites and skins allud­ing to long-dor­mant char­ac­ters. It’s now the flag­ship game it should have been, and it’s still rul­ing the fight game roost while every­one waits for the announced Street Fight­er 6. 

Some­times, with the strug­gle comes the rewards and SFV has more than earned its life fight money.

Borderlands: The Pre-Sequel — Issue 40

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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

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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.

Mario Kart 8 (Wii U) — Issue 40

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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.

Samurai Shodown 2019 — Issue 39

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Show­ing up to show out

Vet­er­an fight­ing series Samu­rai Shodown returns with few flaws

SNK has done it again. Gor­geous graph­ics, fun play mechan­ics and a sol­id fight­ing game engine make up the core of one of its flag­ship fight­ing fran­chis­es fea­tur­ing samu­rai. If you’re in the mode for beau­ti­ful fight­ing in the Japan­ese feu­dal era, you’ve come to the right place in the 2019 revival of Samu­rai Shodown.

Get­ting back to the root of what makes Samu­rai Shodown fun and unique, the 2019 reboot is basic in every way. The bare­bones options mean there isn’t much to do, but if you’re look­ing to just pick a fight­er and jump in, it’s clear­ly there for that. You choose from 18 base ros­ter fight­ers and duke it out in feu­dal Japan with var­i­ous moti­va­tions. All are inves­ti­gat­ing a com­ing cat­a­stro­phe, but their inten­tion in the face of a sin­is­ter envi­ron­ment is unique. Time­line-wise, the game is set between the pre­quel Samu­rai Shodown V and the orig­i­nal Samu­rai Shodown. So, you’re get­ting a taste of the sto­ry before the main series even kicks off.

The char­ac­ters, as well as the back­grounds, are stun­ning. SNK has always been known for its impres­sive atten­tion to detail when it comes to graph­ics with Samu­rai Shodown, and this entry is no dif­fer­ent. The col­ors pop with an empha­sis on non-real­is­tic graph­ics that resem­ble what we know in the West as ukiyo‑e and wood­block paint­ings; every­thing is utter­ly gor­geous, begin­ning with the menu and options screens.

As a title set in feu­dal Japan, the music must reflect the envi­ron­ment — and it’s well done as well. The use of tra­di­tion­al Japan­ese instru­ments has always been present in Samu­rai Shodown and it’s used lib­er­al­ly and to great effect. Also, the voice work is excel­lent. We appre­ci­ate the Japan­ese lan­guage, and it sounds beau­ti­ful and clear here.

We do have an obvi­ous issue with the reboot, despite its beau­ty. There is a notice­able lack of things to do once you stop mar­veling at the graph­ics. Where are the modes beyond the stan­dard offer­ings? So much more could have been added, espe­cial­ly with the series’ his­to­ry at hand. It’s a pret­ty pack­age but it’s miss­ing a lot.

Samu­rai Shodown has been around for a long time, and this revival is just that: A return to the roots of a fan­tas­tic fight­ing game series. This entry is stun­ning and grace­ful yet just enough to whet the appetite of a fight­ing game new­com­er or a sea­soned vet­er­an. With this suc­cess, SNK now knows what it needs to do to show up and show out with the renewed inter­est in the show­stop­per that is Samu­rai Shodown.

Ghost of Tsushima — Issue 39

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A ghost­ly com­pelling tale

Beau­ti­ful. Stun­ning. Breath­tak­ing. The Japan­ese coun­try­side of Tsushi­ma can only be described this way, and this is being mod­est. Immer­sion in the strug­gle and bur­den of a samu­rai lord in 13th cen­tu­ry Japan against invad­ing Mon­gols is stu­pe­fy­ing once you real­ize that it’s intri­cate­ly craft­ed in a video game. You are the ghost, the Ghost of Tsushima.

Wan­der­ing around the real island of Tsushi­ma, Japan, in 1274 is a fairy­tale. Every loca­tion and near­ly every blade of grass or tree tells a sto­ry. That sto­ry is of samu­rai lord Jin Sakai, a man des­per­ate to save his home from an invad­ing Mon­go­lian force led by the grand­son of Genghis Khan. Jin gath­ers a coun­ter­force, only to be defeat­ed and near­ly killed. In the process of heal­ing, Jin finds allies to ral­ly to the cause and peti­tions for help from the shogu­nate to defeat the Mon­gols. You become Jin in your quest to save his home and gath­er weapons and sup­plies, learn skills, acquire alliances, and fight to repeal the invaders. There is much to learn and see in the open world pre­sent­ed to you even if you aren’t a his­to­ry buff or care about the pol­i­tics, econ­o­my, or goings on of feu­dal Japan. There are no time lim­its for tack­ling mis­sions, and you are encour­aged to free roam and explore the land.

Much like any oth­er open world game I’ve ever played, what I like to call the “Metroid instinct” kicks in and I find myself search­ing every nook and cran­ny to find hid­den sup­plies and oth­er good­ies. Dur­ing my explo­ration, of course, I come across peo­ple who don’t like Jin. I note the pres­ence of bon­fires, which gen­er­al­ly indi­cates who I like to refer to as “dudes.” Dudes are the type that are gen­er­al­ly hos­tile to me and my inter­ests. Those inter­ests involve inves­ti­ga­tion and sav­ing peo­ple in the gen­er­al pop­u­lace who require the ser­vices of a skilled samu­rai and con­tract killer. This is usu­al­ly how the fight starts: Dudes notice me in my fin­ery and my mag­i­cal horse frol­ick­ing in the coun­try­side and now they want to get reck­less about things.

In an absolute­ly fun mechan­ic, I tend to get into stand­offs with ban­dits. Now, my fight­ing skills here with a katana and tan­tō are not the best, but I have been known to make dudes meet their mak­er quick­ly. Sim­i­lar­ly, I’m not great with archery, but I make the best of a bad sit­u­a­tion and stealth kill my way through the coun­try­side clean­ly and quick­ly. My grasp of the con­trols is ten­u­ous at best, but that’s on me and my lack of skill and “old­er folks’ reflex­es™”. Ghost’s con­trol mechan­ics are sound and easy to pick up with a lit­tle practice.

As I explore after my fights, loot­ing what I need, I take in the scenery. Ghost of Tsushi­ma is quite pos­si­bly the most beau­ti­ful video game I have ever seen. I’ve been play­ing games a long time, and I can’t say until now that I’ve ever been just wowed by a game where I specif­i­cal­ly take in-game pho­tog­ra­phy to use as a back­ground. This is what you buy the lat­est con­sole for and the best TV for: mar­veling at the graph­ics. I’m not even on the lat­est PlaySta­tion mod­el (I’m play­ing with a PS4 Pro), and Ghost makes almost every­thing else look like stick fig­ures from the Atari 2600 era.

With a mas­ter­ful audio expe­ri­ence, Ghost has the sound and feel of a Kuro­sawa mas­ter­piece. You want to feel like the epic Sev­en Samu­rai? Turn on the Japan­ese dia­logue and Eng­lish sub­ti­tles. It’s that type of expe­ri­ence. The nat­ur­al ambiance is also nice. It’s com­fort­ing to know that pay­ing atten­tion to sounds in the envi­ron­ment can save Jin’s life when I’m explor­ing. I’ve lost count of the num­ber of times lis­ten­ing for audio cues linked to bears or dudes has helped me avoid an ambush.

While it’s a great expe­ri­ence, Ghost is not with­out its prob­lems. The cam­era work doesn’t always help when it’s time to fight. Often, I’m fight­ing the cam­era to see my ene­mies and avoid tak­ing mas­sive dam­age. The cam­era could use some refine­ment in lat­er updates. And my oth­er issue is the Leg­ends mode, added after the game’s ini­tial release. I was all geared up to play with my part­ner and then real­ized that this long-await­ed co-op mode does not sup­port local play. We were hot­ly antic­i­pat­ing being able to roam around Tsushi­ma togeth­er as we’re gamers, engrossed in the tale of Jin who absolute­ly love samu­rai. But we were high­ly dis­ap­point­ed to learn that the only co-op sup­port­ed is online. Though the mode is free, it was a mas­sive let­down to real­ize that we weren’t going to be play­ing this epic together.

Despite some minor tech­ni­cal issues, Ghost of Tsushi­ma hits the mark in a lot of areas. A com­pe­tent nar­ra­tive, open world explo­ration, stun­ning visu­als and an easy-to-grasp sys­tem are just some of the good­ies await­ing engross­ment in Jin’s tale of revenge and rev­o­lu­tion in 1274 feu­dal Japan. Ghost of Tsushi­ma scares up a great adven­ture wor­thy of all the praise one can muster.

Nobunaga’s Ambition — Issue 39

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Ambi­tious guide to greatness

I’m appar­ent­ly no bat­tle­field gen­er­al. I learned this fas­ci­nat­ing tid­bit about myself with­in a rather rough short sea­son of my gam­ing life through dis­as­trous deci­sions and lack of prepa­ra­tion. My troops weren’t ready, I didn’t have enough hors­es and my crops failed to sus­tain my gar­ri­son. Even my samu­rai and nin­ja were tak­en out quick­ly. I was out­manned, out­matched and dec­i­mat­ed before I knew what hit me. Suf­fice to say, if I had been Oda Nobuna­ga, feu­dal Japan would have been in sham­bles like my men­tions on Twit­ter these days. That is the way in Nobunaga’s Ambition.

Ambi­tion is not for the faint of heart. It requires seri­ous plan­ning, thought­ful tac­ti­cal strikes, and good resource man­age­ment. At its core, Nobunaga’s Ambi­tion is a war sim­u­la­tion that takes you through feu­dal Japan’s rev­o­lu­tion­ary peri­od, where uni­fi­ca­tion was the goal and Nobuna­ga was the man to do it — pos­si­bly. While you can choose to be Nobuna­ga, you can be any oth­er num­ber of gen­er­als from dif­fer­ent regions of Japan at the time. You’re tasked with rais­ing an army, gath­er­ing and main­tain­ing sup­plies, and defend­ing your region while con­quer­ing oth­ers in a bid to uni­fy all of Japan under your shogunate.

You roam around the Japan­ese coun­try­side with your troops and chal­lenge the oth­er gen­er­als in a turn-based bat­tle some­times to the death. If suc­cess­ful, your name will be men­tioned in his­to­ry as a great gen­er­al and the uni­fi­er, much as his­to­ry played out with Nobunaga’s vic­to­ry over Shogun Ashik­a­ga Yoshi­a­ki in 1582 and his suc­ces­sors’ bat­tles after his death.

The premise is unique, though to ful­ly appre­ci­ate what it is you’re doing and why, you prob­a­bly will have to be a his­to­ry geek or inter­est­ed in Asian his­to­ry. It’s niche but fun with a lot of his­tor­i­cal edu­ca­tion thrown in.

Its niche con­text aside, the game is fun to play once you ful­ly get into the sim­u­la­tion. It’s a very 1993 pre­sen­ta­tion. The graph­ics are small for the maps, but they’re rem­i­nis­cent of the graph­ics of the time for the SNES and Win­dows games. The stand­out among the graph­ics, though, are the gen­er­al por­traits. They’re col­or­ful — as are the oth­er graph­ic ele­ments — but are also beau­ti­ful­ly detailed. For a SNES game, the graph­ics are top notch and still can com­pete with the big titles of the era.

The music can be a lit­tle grat­ing but it’s not over­ly ter­ri­ble. There are a few dif­fer­ent songs for the menus and bat­tle, and while slight­ly tin­ny, they are OK in a short-term play setting.

If you’re into strat­e­gy sim­u­la­tions and Japan­ese his­to­ry, let curios­i­ty strike and set­tle in for a rous­ing bat­tle. Nobunaga’s Ambi­tion is enough to get you start­ed in the genre and is des­tined to lead to greater things.

Tekken 7: Fated Retribution — Issue 38

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Tekken’s fate unknown after mile­stone entry

Tekken is about a cer­tain sub­stance and style. The fight­ing engine is so deep in Tekken that if you’re just start­ing with the sev­enth game, you’re at an imme­di­ate dis­ad­van­tage because you’re behind. Way behind. Sto­ry-wise, you’re behind, too. There’s so much going on with the Mishi­ma clan that you’re bound to be ask­ing the ques­tion: Why now? Tekken isn’t just answer­ing that; it’s pos­ing the ques­tion of what’s next?

For the Mishi­ma clan — and Tekken’s ros­ter at large — the future is the ques­tion on everyone’s mind, but to get there, Tekken 7 stakes its ambi­tions on look­ing back to tell the sto­ry of the future. Spoil­er alert: With Hei­hachi gone, there’s only Kazuya and Jin left to car­ry on the blood feud of the clan. The sur­round­ing enti­ties are on either side of the con­flict between father and son, and there will be casu­al­ties. But that isn’t Tekken 7’s main sto­ry to tell. Real­ly, it’s two ques­tions: How did Kazuya become enmeshed in the dev­il gene fool­ish­ness, and how is Hei­hachi entan­gled in that as well? The answers lay with new char­ac­ter Kazu­mi Mishi­ma, Kazuya’s moth­er and Heihachi’s wife. She plays a cen­tral role in unrav­el­ing the mys­tery of Kazuya’s trans­for­ma­tion using the dev­il gene and why Hei­hachi threw his child off a cliff more than 40 years before.

While Bandai Nam­co is set­ting up the pay­off, look around. You’re in a Tekken game and many things will be true at once: The sound will be phe­nom­e­nal, and the graph­ics will be stun­ning. After all, this is a Tekken title; the King of the Iron Fist tour­na­ment does not slouch. What’s strik­ing is, this is a four-year-old game and it still looks decent. Tekken has nev­er been one to hold back when it comes to looks, and even with the upgrad­ed PlaySta­tion 4 Pro, it’s still a good-look­ing game. Tekken 7 could look worse with the ben­e­fit of more pro­cess­ing pow­er, and some sec­tions do show the age of the game. How­ev­er, it’s min­i­mal as far as Tekken is con­cerned, and Tekken 7 is still a pow­er­house when com­pared to every­thing else on the market.

The sound­track is excel­lent, though I want­ed a lit­tle more from it. I real­ize that not every Tekken sound­track is going to be the first Tag, where every track was a banger. How­ev­er, this is Tekken, and a cer­tain bar has been set by past games that cur­rent games must live up to. There are some bangers here, but not near­ly enough. For ref­er­ence, I have every Tekken sound­track ever released, arcade and home ver­sions. For the first four games, I have the entire sound­track saved on my iPod. As the series pro­gressed, I had few­er songs from each sound­track. As of Tekken 7, I have two tracks. It’s a good sound­track, but it just isn’t any­thing I haven’t heard before in a Tekken game. Tekken 8, or what­ev­er it will be called, will have to step things up in the sound department.

As far as Tekken’s playa­bil­i­ty, I can’t real­ly attest to it on a hands-on lev­el. Full dis­clo­sure: I’m not a good Tekken play­er. That said, how­ev­er, I find it a lit­tle eas­i­er to pick up Tekken and play with the new fea­tures added in the arcade mode. I real­ly like that there’s an easy com­bo assist fea­ture. It makes it far less frus­trat­ing to learn the com­bo sys­tem, and it makes it much eas­i­er for begin­ners to under­stand how moves flow together.

Tekken, despite hav­ing only four attack but­tons, has always been about depth, and that’s scary for the unini­ti­at­ed like myself. With the assist fea­ture, I’m more inclined to take the time to learn and dig just a lit­tle deep­er with the series. It’s a fan­tas­tic addi­tion that needs to stick around in future entries.

The char­ac­ter cus­tomiza­tion mode also deserves some praise as it’s com­ing along nice­ly. It’s been around now for at least three games, and it’s got­ten bet­ter each iter­a­tion. This is part of the depth of Tekken — along with its engine and com­bo sys­tem — that makes it such a great series. Tekken 7 takes care of the details, and the obvi­ous love and care put into the cus­tomiza­tion sys­tem gives the game con­tin­ued life, even as it gets a lit­tle long in the tooth. The fact that new char­ac­ters and upgrades are still being released is fan­tas­tic con­sid­er­ing the game’s age.

With the sto­ry­line dic­tat­ing growth and the graph­ics engine need­ing to catch up to oth­er fight­ing game dar­lings, Tekken has its work cut out in keep­ing up with the sur­round­ing com­pe­ti­tion. Tekken 7 does an admirable job demon­strat­ing its sta­bil­i­ty and abil­i­ty to lead the pack as the King of the Iron Fist, and its longevi­ty and intu­itive fea­tures con­tin­ue to make it an attrac­tive option for those need­ing a fix from Mishi­ma and Co. Tekken 7 is good enough to keep its crown and can prob­a­bly shrug off new chal­lenges for the throne until its time for the eighth go-round. Long live the king.

Injustice 2: Legendary Edition — Issue 38

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Injus­tice 2 hits right notes in super rematch

The intri­ca­cies of deter­min­ing the win­ner of the sto­ried fight between Bat­man and the Jok­er all depend on prep time for Bat­man and the Joker’s mani­a­cal state at the time of the bat­tle. We’ve thought this through and deter­mined that even with min­i­mal prep time, Bat­man could win this fight con­sid­er­ing his pre­vi­ous expe­ri­ence with the Jok­er. To sim­u­late it, we would need only one thing: the Injus­tice series of games. And con­sid­er­ing Injus­tice 2 has more chances for this to hap­pen with prop­er sim­u­la­tion, you can best believe we’re div­ing deep into the sol­id sequel DC com­ic book fight­ing game.

Injus­tice 2 is a com­pe­tent sto­ry­teller in its quest to be a DC com­ic book sim­u­la­tor. Set after the fall of Superman’s tyran­ni­cal regime, Injus­tice 2 places Bat­man at the fore­front again to take on the task of rebuild­ing soci­ety and com­bat­ing a new threat in the form of The Soci­ety. Mix­ing in long­time Super­man foe Bra­ni­ac only adds to the chaos. What it boils down to is that these are char­ac­ters you know from the DC uni­verse — even if you’re pass­ing­ly famil­iar with them — fight­ing it out to stop Super­man from con­tin­u­ing his reign of tyran­ny estab­lished in the pre­vi­ous game.

Where Injus­tice 2 shines is its pre­sen­ta­tion and its char­ac­ters. Every­thing that looked good in the first Injus­tice is much-bet­ter look­ing the sec­ond time around. The user inter­face got a new­er, sleek­er coat of paint, and all the char­ac­ter mod­els and back­grounds look bet­ter and clean­er, too. The char­ac­ter select screen even looks bet­ter and more flu­id. NetherRealm’s fight­ing game visu­als get bet­ter with each game, so this is just a tes­ta­ment to their grow­ing prowess. The music isn’t stand­out, but it’s serviceable.

Despite its shiny upgrad­ed pre­sen­ta­tion, I’m still not a fan of how it plays. The com­bat doesn’t feel nat­ur­al, like say, how Mor­tal Kom­bat feels. It still feels like it’s a step or two behind MK and like it’s try­ing too hard to dif­fer­en­ti­ate itself from that series by throw­ing a wrench into the basic com­bo setups. I’m also not a fan of the unlock sys­tem. It’s a lot of gear to unlock for a lot of char­ac­ters, but I don’t real­ly have the time or the incli­na­tion to sit and work on it. I’m not say­ing have it unlocked imme­di­ate­ly when I first start the game, but I am say­ing it needs to be eas­i­er. The expe­ri­ence is not the most enjoyable.

Injus­tice 2 is a nice upgrade from the first game. It’s got the name fac­tor, char­ac­ters you prob­a­bly know and slick pre­sen­ta­tion that will catch most anyone’s eye who is into fight­ing games. Whether you’re a com­ic book fan or a casu­al fight­ing game con­nois­seur, Injus­tice 2 is worth a look to see if it’s worth its weight in kryptonite.

Marvel vs. Capcom Infinite — Issue 38

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Mar­vel vs. Cap­com now infi­nite­ly frus­trat­ing series

The Mar­vel fight­ing game scene is well known by now and well worn. Pret­ty much, any­one who’s any­one in the Mar­vel com­ic uni­verse and movies has been in a Mar­vel Ver­sus game. This is noth­ing new by now. You’ve seen these peo­ple before and, if you’re a Cap­com fan, you have seen their side of the ros­ter in oth­er games before you got here. So, what exact­ly are you get­ting out of play­ing the lat­est iter­a­tion in the long-run­ning Mar­vel Ver­sus Cap­com series? Not much, but Cap­com already knew that. They just hoped you wouldn’t notice.

If you’re invest­ed in the Mar­vel Cin­e­mat­ic Uni­verse but don’t know any­thing about the comics, MvC: Infi­nite serves as a start­ing point for under­stand­ing the comics side of things in prepa­ra­tion for Avengers Endgame. Oh, yeah, there’s some Cap­com sto­ry set up, too, as an after­thought. Real­ly, this is sev­er­al sto­ries mashed togeth­er: From Mar­vel, you get the Infin­i­ty Saga and Age of Ultron sto­ry; from Cap­com comes Sig­ma and Mega Man X’s sto­ry and some of Vam­pire Savior/Darkstalker’s 3 arc deal­ing with Jedah Dohma. The sto­ry kind of makes sense in a mashed-up way. It’s not half bad, giv­en that the pre­vi­ous efforts of Mar­vel vs. Cap­com 3 to give a cin­e­mat­ic team up was decent and miles ahead of any oth­er title in the series to date. Most­ly, the Mar­vel Ver­sus series has fol­lowed an estab­lished com­ic book arc — Mar­vel vs. Street Fight­er was most­ly Apoc­a­lypse and the first Mar­vel vs. Cap­com focused on Onslaught — and this is no dif­fer­ent. Where it fal­ters is oversimplification.

The Infin­i­ty Saga is nev­er tru­ly fin­ished in the comics because Mar­vel con­stant­ly returns to it over the years to explain a lot of things. Also, think­ing crit­i­cal­ly about what this is real­ly based on, the sto­ry of the Infin­i­ty Saga real­ly took about 18 of the 22 MCU movies to tell its sto­ry. You can­not tell this sto­ry in two games — Mar­vel Super Heroes being the first to tell this arc. Infi­nite tries to and winds up half accom­plish­ing it with some weird, forced Cap­com sto­ry side fool­ish­ness thrown in for good mea­sure, because hey, Cap­com is also in the name.

You get the sense that if Capcom’s angle of things was removed, this would be just fine, and Infi­nite would be OK with­out it. That does not help Cap­com at all here. Imme­di­ate­ly, it destroys the need for a new team-up game and ren­ders Capcom’s side of the ros­ter unnec­es­sary. I do not feel Ryu or Chun Li are use­ful in any of the sit­u­a­tions pre­sent­ed in the sto­ry mode.

The ros­ter is actu­al­ly not bad, but with the few new addi­tions locked behind a DLC pay­wall, you’re kind of left to won­der would Infi­nite be just a tad bit bet­ter if the more note­wor­thy char­ac­ters were avail­able from the start. The base group is basi­cal­ly a retread ros­ter from MvC3, and the new addi­tions should have been in the series; the fact that we’re just now get­ting Black Wid­ow, Black Pan­ther, Jedah and the Win­ter Sol­dier is a crime that only Cap­com seems to like committing.

In addi­tion to the gener­ic over­sim­pli­fi­ca­tion of the sto­ry, the pre­sen­ta­tion is just as gener­ic and bland. The Mar­vel Ver­sus series has always had strong pre­sen­ta­tion, and to be frank, this ain’t it, as the kids say these days. The back­grounds are good, but some of the char­ac­ter designs have an oof lev­el the size of Ultron Sigma’s final form. They are, quite frankly, ter­ri­ble a lot of the time. There seems to be an attempt at real­ism but not, at the same time, because some of the Mar­vel char­ac­ters look like their MCU coun­ter­parts, but then when you look clos­er, there’s a detail that keeps them from look­ing exact­ly like the actor or actress that plays the character.

For exam­ple, look at Cap­tain Amer­i­ca and Cap­tain Mar­vel. Cap­tain Amer­i­ca, from far away, looks exact­ly like MCU Win­ter Sol­dier-era Cap­tain Amer­i­ca as por­trayed by real-world Cap­tain Amer­i­ca stal­wart Chris Evans. Up close, how­ev­er, Cap looks just enough dif­fer­ent for you to real­ize that Evans prob­a­bly didn’t con­sent to his like­ness for the game. Same for Cap­tain Mar­vel and actress Brie Lar­son. It’s a small but notice­able quib­ble I have here. And, some of these Cap­com char­ac­ters look atro­cious. Ryu’s face on the title screen is hor­rif­ic. The sprites look ter­ri­ble here but in game, he looks fine. It’s a shame because every oth­er game in the series has been OK in terms of the graph­ics. Sure, they weren’t award-win­ning, but they reflect­ed the series’ growth. Infi­nite looks like it took about 10 steps back in a lot of respects.

The music is just as bland. Each iter­a­tion of the Ver­sus series has had some bangers on the sound­track — even the much-maligned Mar­vel vs. Cap­com 2’s sound­track was mem­o­rable if not catchy. Here, there is absolute­ly noth­ing note­wor­thy. It’s the first Ver­sus game where I don’t have some­thing from the sound­track saved, which is not good at all. As I played through the sto­ry mode, I kept wait­ing for some­thing to jump out at me, and I got noth­ing. I was not impressed.

The con­trols didn’t impress, either. There has been a not­ed trend, since MvC3 was released, to sim­pli­fy the game sys­tem for the Ver­sus games to make them more accessible.

While I’m always a fan of draw­ing in the casu­al fan for these types of games, I’m not a fan of ruin­ing a good thing. MvC2 was still acces­si­ble to even the most casu­al fight­ing game play­er, and this is even worse than the ton­ing down of the con­trols between MvC2 and MvC3. There is no depth to the com­bo sys­tem now, and that doesn’t help Infi­nite in any way.

I’m under­whelmed when it comes to Mar­vel vs. Cap­com Infi­nite. Noth­ing plays in its favor, noth­ing makes any sense, and the team-up crossover event is show­ing its age in every facet of the game. There’s noth­ing new here to make me say wow or push me to play as I did the oth­er games in the series. If Cap­com were to lose the Mar­vel license again, it wouldn’t be a shock­er or unwarranted.

 It’s time to admit that the series is not an infi­nite source of amuse­ment. Unfor­tu­nate­ly, at this point, it’s mere­ly a finite source of fight­ing game goodness.