Skyrim Review and Some Further Thoughts

Some games, the review just comes out. Sometimes to the extent that I must stop playing the game simply to write the review as it won't wait any longer. Sometimes you just get this perfect mix of experience and critical thoughts that make writing a review the easiest thing ever.

Skyrim was no such game.

My review is up now for Pixel Hunt. I'm really happy with everything I said, but there is so much more I didn't say. I probably could have kept writing for another three thousand words or so if I wanted to and had the energy to. But writing a review of a game that a) so many people have already played, and b) where everyone is going to have such a unique experience, is pretty dang hard, it seems.

I focus on two main things: how utterly awesome the world is, and how utterly horrid the UI is. You might think the amount of words I devote to the UI is unfair but it really is bad and it really, really bugs me in a way it wouldn't in a lesser game. It in no way makes the game any less worth playing, but it certainly hurts the experience regardless.

Two things I didn't mention in my review that I would've liked were combat and music. For combat, I wanted to say something along the lines of "If you are playing an Elder Scrolls game for the combat, you are doing it wrong." But I think I have told enough people they are wrong for one week! The combat is good enough for your character to engage with. Sure, throw a few companions and enemies in the mix and it can begin to look like an Under-6s soccer match, but for the most part, it works good enough. You don't have the control of Dark Souls, sure, but that isn't the point of the game. Really, I would've been happy if they had removed the different kind of attacks all together and just had one attack for each weapon, a la Morrowind with the "use best attack" option on.

The weird slow-mo executions are... weird and, for the most part, jarring. The problem with these is that you can't really have a set of executions for all characters when every single character is going to have its own imagined morals and personality. I can hardly imagine Qwae decapitating people, but she needs to for the bonus damage that perk gives her. Sometimes it works. Sneaking up behind someone and slitting their throat is enormously fulfilling, but picking up a cave bear on two daggers just feels like some weird, VATS-induced hallucination.

The music is something I realised I forgot to mention the moment my review went live. My thoughts on it have been sitting on a piece of paper beside my computer for weeks! Argh! Anyway, these are my thoughts on the music that should have been in the review: I remember reading a review of Morrowind years ago that lauded the game but hated the boring, looping soundtrack. The review recommended that you rip your Lord of the Rings soundtrack to your xbox, and play it instead of Morrowind's soundtrack. I can't help but think Skyrim's developers read that review and did exactly that. The way the music shifts from ambient skipping-through-the-woods to harrowing choir there-is-a-dragon-right-above-you is amazing. It is so subtle then so present, and the way it interacts with the dragon language and your shouts is really quite phenomenal.

And finally, some further thoughts I have for something I want to write in the coming weeks. I've been thinking about Skyrim and coming of age. At the start of the game, when you create your character and start thinking about what skills you will focus in, you aren't really choosing who your character will be, but who they will become. For hours, you are limited by whatever armour/weapons/magic you can scrounge. You want to be sneaky, perhaps, but you suck at sneaking. So you keep sneaking-and-failing then fight until you sneak-and-fail a little less. And a little less. Soon enough, you are walking up to a Bandit Chief and stabbing him in the back with a dagger before he even realises his entire posse is dead. So it's this weird thing where for the first part of the game you don't really get to be the character you want, but eventually you get to become them.

And that is something I plan to write more on. In the meantime, perhaps you want to go read my review.

El Shaddai Review

My review of El Shaddai: Ascension of the Metatron is now up at Pixel Hunt. You can read it if you want.

As will become apparent quickly enough if you do indeed read it, is that I got really, really bored with El Shaddai. This disappointed and frustrated me in equal measures. I love the games that try to do something different, something weird, something other than men-with-guns-in-corridors-shooting-alien-zombies. So I really wanted to like El Shaddai--so much that I tolerated its dreadfully boring play for hours just to give it a chance to get better. It was weird. It was experimental. It had weird colours! It deserved a chance, right?

But El Shaddai is creatively bankrupt. As I say in my review, the pretty visuals are just wallpaper on the corridor. My engagement with the world is so frivolous, so insignificant, that I might as well have been watching a video. But as this was meant to be a videogame, it was a video where I had to constantly hold down the 'play' button, and that gets old pretty quickly.

So as I was playing it and undeniably not enjoying myself, I kept thinking, "But I really like Rez." It seemed at first to be a weird game to be thinking of, but the two really have a lot in common in how they attempt to engage the player. The difference is only that Rez succeeds. Both are highly linear, require minimal interaction from the player, and rely heavily on their audiovisual representation. But this works for Rez. It doesn't work at all for El Shaddai. I think it is because Rez is skeletal, stripped back, wireframe and drumbeats--so a stripped back interaction with it worked. El Shaddai is lush, deep, multi-layered and complex--so a stripped back interaction with it just feels fraudulent.

So that is why the review talks about Rez before it talks about El Shaddai, which is probably breaking some game review style guide's rules or something. I don't dislike El Shaddai because it is weird and experimental. I dislike it because it is generic, dogmatic, and so devoid of any creativity beyond its pretty graphics that there is nothing unique there to experience. In short, it has no soul.

Gears of War 3 Review

I wrote a review of Gears of War 3 over at Pixelhunt. You can read it now, if you want. It doesn't say everything I want to say about Gears of War 3, but Gears of War 3 is a huge game so there is a lot I want to say about it.

One thing my review didn't have space for was the excellent menu and stats system. Gears of Wars 2 was one of those few games on 360 where I wanted to track down and get as many achievements as I wanted, as they were actually enjoyable, additional things to do. Gears of War 3 channels this superbly by tracking your exact progress with every single achievement. Within the menus, you can find out exactly what collectables you are yet to find, exactly which weapon executions you are yet to achieve, exactly which campaign levels you still need to complete on what difficulty, etc. It makes going after the achievements even more enjoyable. The user-interface improvements stretch to multiplayer, too, with dropping in and out of groups and parties immensely easy without having to go to the dashboard.

Story wise, I talk about it a lot in the review, but I only touch on how much I love the Gears characters. Sure, they are all dude-bros, but that doesn't stop them from being characters. Epic has done an excellent job of crafting these personalities and their little nuanced reactions to different scenarios. For me, Gears of War isn't for dude-bros, it's about dude-bros. I find the relationship between Marcus and Dom especially interesting, especially in relation to how I have played through ever Gears of Wars' campaign. Namely, with my own brother on co-op with myself as Marcus and him as Dom. There is a moment later in Gears of War 3 which had a huge affect on this, but I won't spoil it yet and will save that for a later post. Though, the name of the chapter in-game pretty much spoils it anyway. Or maybe it doesn't. Maybe it reflects on its inevitability. Who knows!

I also have many ideas of how Gears of War can be read as a reflection on the futility and contradictory nature of modern masculinity, but that too can wait for a latter post. For now, I find it fascinating that for all their brawn, none of the Gears are equipped with whatever it is they need to save those they love. They are always coming up short and painfully aware of it. Even the cover system reflects this: you are not good enough to face them head-on. I think it captures something really interesting. I could stretch such a post to discuss the Locust as a non-phallic civilization because they don't build towers. You know, just to really annoy those that insist Gears of War is about nothing.

Anyway, there you go. Gears of War 3 is great and you should play it. Also, we should play it. My gamertag should be over there on the side somewhere. If you see me playing, feel free to drop in and help out with a few waves on Horde mode.