Showing posts with label Vita. Show all posts
Showing posts with label Vita. Show all posts

Tuesday, October 11, 2016

Measure Twice, Cut Once
Review
Severed, Drinkbox Studios (PS Vita)

Abstract: Fusing together first-person dungeon crawling with touch-based attacks was a risky choice, but one that pays off in Severed. A gripping world sets the stage of an impeccably designed adventure that builds momentum throughout. Smart infusions of new challenges and gameplay systems keep Severed feeling fresh as you progress. Disappointing boss fights and weak narrative payoff is a bummer, but not one that compromises an otherwise exemplary experience. Severed was a delight. It is a game every Vita owner should play.

Enter a world of colorful vibrancy of death and dismemberment. Severed is a unique creation, a mixture of gameplay conventions old and new. Drinkbox Software earned my trust with Guacamelee, and they make good on the promise of their talent with this dungeon crawling, finger-swiping adventure. Not many titles come out each year that justify the PlayStation Vita as a must own console, but Severed does a great job of proving just how impressive a handheld experience can be.

Severed weaves a tale of loss and the lengths someone will go to save their family. The game begins as the protagonist has her right arm violently severed, only to animate and fly away. You explore a dilapidated home in an alien world. It’s soon made clear that your entire family, your mother and father and brother, are dead and you’re in the ruins of your childhood home. Death is just the beginning of your adventure, however. A surreptitiously granted sword and quick monster encounter later and you’re off. You must now venture into danger filled dungeons, learn about where you are, and find a way to save yourself and your family. I was quickly intrigued by Severed’s plot but unfortunately the game does not do much to build upon it.

The first and most immediately compelling element of the game is Severed’s world. It is never made explicit to the player, but the setting comes across as a demon filled purgatory. Bolstered by a strong art direction, similar to the one they used in Guacamelee, Severed does a great job at establishing a mood. Distinct Central American notes permeate the various landscapes, from the look of the protagonist herself to the various iconography and architecture you encounter. This aesthetic carries over to monster designs as well, each with flair and personality. Exploring the forests, temples, and caves throughout Severed was a treat.

The contrast of color and beauty with gore and horror works fantastically.
On paper Severed sounds like a game that wouldn’t work. Severed is a combination of Ultima Underworld with Fruit Ninja. You read that right. Severed is a first-person dungeon crawler with a touch based control scheme for attacking. It is a unique mix that simply works. First-person dungeon crawlers are a genre of games we don’t really see anymore. It has been close to two decades since I played my last one. Aside from some Japanese developers that have recently adopted this early Western genre, first-person dungeon crawlers are all but lost to time. Thankfully, Severed learned from its ancient lineage to create a solid dungeon crawling experience. Quick access to maps, elegantly simple UI, and straightforward dungeon layouts make exploring easy. Rooms are diverse, often filled with interactable elements like destructible vases (that give resources) and secret paths. Light puzzle solving, typically involving switches or locked doors, prevents monotony while exploring without seriously halting player progress. A fast travel system would have been nice, but never did it feel like a slog to traverse Severed’s large map.

Combat is one of Severed’s most pronounced successes. When you think Fruit Ninja, you don’t picture a tense or thoughtful series of swipes. You think about mindless chaos. Though Severed uses directional swipes for its combat, the experience of battling couldn’t be further from those more casual titles. As you explore, you’ll come across rooms that have monsters inside. To progress to the next room, you have to defeat them. Monsters can be attacked only by swiping your finger across the screen. Short, quick swipes do little damage whereas long swipes deal much more. Defeating enemies is all about pattern recognition and discovering weaknesses. For instance, after being hit a couple times, one monster will block its center to prevent damage, while simultaneously opening up its flanks to attack. Other monsters have weak points that only make themselves apparent after you whittle away their defenses. These demons aren’t just helpless creatures waiting to be wailed on – they fight back. Every enemy has an attack timer, indicated by a meter on the bottom of the screen. Once it’s filled, they attack. The only way to mitigate damage is by parrying their attack, swiping in the opposite direction. Learning how monsters attack and the best way to quickly counter them is absolutely critical to make your way through Severed.
 
Combat is fast and fun. And just a little bit bloody.
As you progress the complexity of monster encounters ramps up. Some monsters don armor that must be destroyed with a charged swipe before you can deal damage. Others have defenses in place that, if you swipe the wrong way, you’ll power the monster up instead of hurting it. Later still, monsters will have stat boots that cause them to attack faster, deal more damage, or even recover health. Fights quickly become more than 1 vs 1, too. You’ll have to fight several monsters at once, which involves rotating your character to face them. Even though you can only face one at a time, monsters can attack whenever. What results is a skill intensive choreography of balancing damage and defense as you attack, parry, and rotate. Mistakes are punished and precision is key.

Think you're going to mindlessly swipe your way to victory?
Think again. 
Severed’s RPG elements manifest themselves in a couple ways. You gain abilities after defeating bosses, which adds new dimensions to both combat and exploration. Early in the game you gain the ability to briefly stun enemies, opening them up for attack and stopping their attack meter. Later on you acquire the devour ability, which not only allows you to open walls marked with its symbol, it also enables you to steal enemy stat boosts for yourself. Additionally, Severed features a robust leveling mechanic based on the game’s namesake. Attacking enemies fills up your Focus meter and, if an enemy’s health is depleted when the meter is full, you are able to use precision swipes to remove limbs, horns, eyeballs and more from your foes. Those severed appendages serve as your experience points. Severed parts can be consumed to fill up nodes on a skill tree. Nodes grant bonuses like better defense, quicker recovery time, or more damaging attacks. Severing quickly becomes the name of the game (pun intended) as you’ll want to cut off everything in sight to make yourself more powerful.

Combat is not without some faults. Though much more skill intensive than something like Fruit Ninja, Severed still asks the player to swipe one heck of a lot. Not only do you look like a madman in the game’s more tricky sections, it also results in some serious wear and tear to your fingertip. I appreciated the monsters, but Severed repeats enemies a bit too often for a 3-4 hour experience (albeit they come back with slightly altered variants). Boss encounters are generally underwhelming, too. In fact, several late game encounters are more challenging than the game’s bosses, both in sheer difficulty and in terms of strategy. When you have to defeat 4 uber-hard monsters on a strict time limit it makes a tiny little crow monster feel like chump change.

I've fought floating eyeballs harder than you! (Seriously) 
Other issues I have with the game lie outside of chopping monsters to bits. The narrative, while intriguing, never fully comes together. The player is left to guess the exact nature of the world, the antagonists, and the final outcome. A little more would have been nice here. The game’s soundtrack is disappointing and quickly became repetitive. Still, I can’t help but be enamored by the number of small things Severed does so right. Your protagonist changes as she gains new abilities, transforming her into an otherworldly-looking monster-slaying badass by game’s end. Sound effects for attacking, parrying, and severing are immensely satisfying. The way the camera dips and rises as you walk, the tactility of everything. Severed has far more in the plus column than minus.

It's the little things that make a game feel special. That, and a
breastplate made from the face of a boss you eviscerated.
Severed is a game I played nonstop until I finished. I got sucked into its world. I was hooked by the novel fusion of old and new. A great sense of momentum carried me through my adventure and my platinum trophy capped off an overall stellar experience. Perhaps Severed isn’t reason enough to buy a Vita, but if you have Vita there is no reason hesitate on this one. There’s nothing quite like its vibrant horror.

Severed
4/5

Tuesday, December 8, 2015

PlayStation Experience 2015
Special Article

PlayStation Experience (PSX) was a phenomenal event. As always here on The Impact Factor, when I attend a live event I give you a special report: a synthesis and reflection. Plus a ton of pictures. This one is no different! I’ll try to keep my written thoughts for PSX a bit shorter, since I have a boatload of pictures to get to.

PSX was a little different. As opposed to GDC 2015 or the Hearthstone America's Championship, this event I had company. I went with my lovely fiancée Justine. It was amazing. It changed the way I experienced every single thing: the demos, the show floor, the panels. Everything. At times, she offered a point of contrast. At others, she reinforced my observations. Having Justine there bolstered my excitement for what was great, tempered my reservations about games that weren’t, and gave tangibility to all of PSX’s odds and ends. So, if I can translate this reflection into something meaningful for you all, it’s this: bring someone along to live video game events. It strengthened every single moment I was there.

In only its second year of existence, PSX is a confident, fan-focused event that was well-worth attending. PSX was the first fan-centric gaming convention I’ve attended, as GDC for the people making & publishing games. It was with this mindset that the conference’s structure made perfect sense. Sony did a great job at making fans, like myself, feel like they are an important part of the company’s future. There was a certain amount of honesty that permeated the event. Many games were there at very early stages of development, smaller independent games were given a substantial amount of floor space, and game developers were everywhere. I had more conversations with developers at PSX than I did at GDC. It was a great feeling.

PSX was all about bringing fans close to the people who make PlayStation possible. That’s not just the game devs, although I did see David Jaffe, Tim Schafer, Yoshinori Ono, and Katsuhiro Harada on the show floor. It was the PlayStation executives too. I stood a foot or two from Shawn Layden, Adam Boyes, and Shuhei Yoshida. In each case, the only reason I didn’t talk to them was that they were already engaged in conversation with other fans. It was surreal having that kind of access to the people who run PlayStation.

I want to comment briefly about the culture of the show, too. PSX was unexpectedly pleasant. A few bad apples aside, people we interacted with were pleasant & welcoming. They just wanted to share their passion for PlayStation with others. Signs posted all around the event cultivated this inclusive culture. It was a culture that respected all levels of gamer skill, too. Never once did a fan or a dev critique our gameplay. More often than not, they would offer words of encouragement or helpful tips. PSX was all about letting the fans know that, if you want to play games, there’s no better and more inclusive place than PlayStation.

It’s clear that PSX is one long informerical for games. Initially, I thought this would be off putting. I thought that it would make the games feel hollow. Thankfully, this wasn’t the case at all. From what I’ve read online, PSX felt a lot more like a PAX than an E3. Sure, people were trying to sell me things, but never pushed too hard. Some of the booths were a little corny, but they added to the visual spectacle of the show floor.

Finally, a few quick thoughts. PS VR is a solid experience that has me interested in buying into our VR gaming future (with reservation). Bound, Severed, & Eitr were some of my favorite demos. The themed photo ops are hilariously fun to do. The panels were hit or miss, most felt a little too disorganized to be worthwhile. The keynote was a little underwhelming in terms of game announcements, but was fun as hell to experience in person. PSX was a blast and, should it be nearby again, I would attend without hesitation.

For more of my PSX impressions and reflections, check out The Impact Factor podcast on Friday 12/11, in which I’ll discuss PSX in grand detail! But now let’s get into photos from the event!
We picked up our badges the day before PSX started. Got a sweet bag of goodies!
In line waiting to enter. We showed up at 7:40am for the 10am keynote.
People had been waiting since 9pm the previous night. It was a very long line.
First view inside! Sweet (gigantic) banner over the badge check-in area.
As we made our way up to the 3rd floor for the keynote, we got to see the PSX Live area.
Very cool little set-up.
After much waiting we finally made it into the keynote room! Got pretty sweet seats.
PSX had a bunch of these collectible cards you got for going to booths, panels &
demoes. This is the rare card for attending the keynote!
The crowd erupted when Final Fantasy 7 Remake was shown. The place vibrated.
Street Fighter V showed off its final character, and confirmed the 6 DLC characters. Whoo!
Two Psychonauts announcements in one weekend? Be still my heart.
Hard to see here, but the Rez Infinite PS VR demo was nutty. The glowing
neon suit was a nice touch. (We got to play the demo of this one, whoo!)
Out onto the show floor! The giant interactable wall for The Last Guardian was
neat. Just wish there was more TLG at the show!
Most booths were understated, but not Battleborne's. We got to pose with
some of Gearbox's new crazy characters.
Our first appointment on PSX Day 1 was PS VR. We traveled upstairs & got
to demo Rez Infinite. Good thing we made RSVP's.
Justine looking very futuristic. We came away excited for our
VR gaming future.
Dark Souls 3 had an impressive display. By pressing down a sword in the
front, the body shot out blood. Awesome.
Got to meet Greg Miller from Kinda Funny! He's a pretty cool dude.
Probably my favorite area of the show floor. So many good games.
Speaking of, Eitr was super fun. The dev ran me through a
few things before I got going.
Justine was on the opposite side, playing some Hatoful Boyfriend.
A must buy.
We went to panels, too! Here we are at the Uncharted 4 panel. Very cool
to see Nolan North, Laura Bailey & Troy Baker.
The future of fighting games panel was pretty rad, too. If nothing else,
seeing those three interact was great.
Lines were everywhere, but none of them too bad. The demoing set-ups
were all pretty nice. This is Destiny's SRL booth.
A nice pair of signs found around the event. Really loved that PlayStation put
the effort into inclusiveness at PSX. Their work showed.
Day 1 swag! Plus lots more not even pictures. Free posters, shirts, postcards
pins, bags, etc. The check-in reward system was a fun way to move around the
show floor. Walked away with $10 PSN credit + 3 free games, too!
Day 2. More PlayStation to be had.
The autograph wall. Very cool.
Cooler still, The Impact Factor made its mark at PSX!
We couldn't NOT do a photo op. Uncharted, Dark Souls, Battleborn,
Fat Princess, God of War
. Yup.
Day 2, finally waited in line to play Dark Souls 3. That counter is total player
deaths at PSX. I only died once in my 12 minutes!
I really liked the way the PSX booths were set up. Lots of
diversity, some functional some aesthetic. ABZU was awesome, too.
Lots of PlayStation characters around the show.
What better way to end PSX than with a little Capcom Cup finals!
The venue got pretty full. Very cool to see the pros play in-person.

Tuesday, November 3, 2015

Intelligent Design: Persona 4 and Capitalizing on Familiarity
Article

Abstract: My time spent playing Persona 4 built a multifaceted familiarity that fuels my passion for more. Too often in gaming, sequels and spin-offs of beloved franchises are created for one sole purpose: to gouge the pockets of devoted fans. Atlas’s work in expanding Persona 4’s game universe, however, is quite the opposite. Persona 4 Q: Shadow of the Labyrinth, Persona 4 Arena and Persona 4 Dancing All Night all pay homage to the beloved Persona 4 while being great games in their own right. Atlas’s approach to capitalizing on familiarity should serve as the model for the industry.

I miss hanging out with my friends in Inaba. This summer I spent a year making friends, solving crimes, and accepting my true self in a small town in the Japanese countryside. I still remember the jokes I shared with the goofy Yosuke, the heart to hearts with Yukiko, and my budding romance with the pop star turned high school student Rise. With one game, one playthrough, I became a lifelong fan of Persona 4.

Persona 4 Golden on the Playstation Vita was some of the best 80 hours I’ve spent gaming this year. If you haven’t already, you can check out my review in which the praise is heaped on pretty heavy. I was a little skeptical coming into the experience. It had been a long time since I played a more traditional JRPG, tropes and turn-based combat and all. But Persona 4 converted me fast. The experience is rich, engaging, and distinct. There was just so much the game did right: writing, character development, aesthetics, social simulation, early to learn but difficult to master combat, dungeon crawling, and plenty more. In the months since playing it, one aspect has stuck with me the longest. What Persona 4 did so well that it left a profound impact on how I think about games. And that’s how it builds familiarity.

No you're incredible, Persona 4 Golden.
Everything about Persona 4’s design works to build your connection with the world. Persona 4 Golden is one of the few games in which the long time it take to complete is thoughtfully incorporated into your experience. Many JRPGs are long because, well, JRPGs are expected to be long. There’s grinding and sidequests and meandering around the world map. The stories are long and build upon themselves, but often involve a series of twists and turns to keep the heroes moving from one location to the next. Persona 4’s length is laid out from the very beginning—you’ll be spending a year in Inaba. As you work your way through the game day by day its world becomes more clearly in focus. You become immersed. The game feels long because a year is a long time. You change and learn and grow a lot over the course of 365 days. Persona 4 smartly uses this length to draw you in and keep you there.

Never before has time to completion so thoroughly enhanced my experience
 with a game.
The familiarity that Persona 4 creates as a result of its length is multifaceted. As you might expect, you develop a strong familiarity with the game’s systems. Building S-Links, fusing personas, pulling off all-out attacks. You also gain a deep understanding of your surrounding world & geography. By the end of the game I could navigate the streets of Inaba and the winding hallways of Yasogami High with my eyes closed. The familiarity extends to your party, your core group of friends within the game. As I wrote in my review, the closeness I felt with the game’s characters transcended what I usually experience with fictional characters. Kanji and Naoto and Teddy and Chie now feel like old friends. The dozens of hours I spent playing Persona 4 Golden also led to a deep closeness with the smaller aspects of the game. The voices the sounds the music. It ranges from main theme songs all the way down to the tiny bleeps and bloops of in-game menus. Persona 4 has worked its way into my consciousness in a way that I never expected, and in a way that fueled my desire for more.

We sure had some good times, old friends.
I’m certainly not alone in wanting as much Persona 4 as possible. Ever since it’s original 2008 release on the PlayStation 2, the game has had a vocal legion of fans craving more of Yu Narukami and his Inaba crew. Atlas, the development studio, was well aware of this demand. The fans asked and Atlas delivered. Persona 4 has had three spin-off games: Persona Q: Shadow of the Labyrinth, Persona 4 Arena and Persona 4 Dancing All Night. It’s easy to be skeptical of these derivative titles: so often you come across cheap ‘cash ins’ in the video game industry. I’m sure you can all think of examples where an IP has been used to justify a downright awful game. Like, say, any non-Naughty Dog Crash Bandicoot or essentially any Sonic the Hedgehog game after the initial two or three on the Sega Genesis. The Persona 4 spin-off games, however, are fantastic. Atlas knew they could capitalize on this familiarity. They avoided releasing fan-exploitative cash grab titles by not violating one principal rule: don’t release a bad game. The spin-offs pay great homage to the source material while still being great standalone games. Let me briefly go through how Atlas accomplished this feat, and why they should serve as inspiration for any company hoping to use an IP in new ways.

Persona Q: Shadow of the Labyrinth (PQ) is something I’ll touch on only briefly, as I have the least experience with it. PQ is the ultimate wish fulfillment game. It combines the beloved world and characters from Persona 4 with the ultra-fan-favorite characters from Persona 3. It builds a massive new story for the player to explore. Atlas knows what they do well: make JRPGs. And that’s what they’ve done here. Except in PQ it’s not just more of the same. An RPG spin-off that utilized the exact gameplay mechanics from its inspiration could feel like a cheap cash grab. ‘Hey look, it’s Persona 4 again but now with more characters!’ This kind of exact copying leads to series/IP fatigue (see Assassin’s Creed). But that’s not the case here. PQ ditches the 3rd person exploration for old-school first-person dungeon crawling like we had in early western RPGs like Ultima Underworld or Might & Magic. It’s a mechanic that plummeted out of popularity, maintained in the fringes of modern gaming with titles like Etrian Odyssey and Legend of Grimrock. PQ is a meaty, substantive and unique experience for Persona 4 fans and one where the efforts of the developer show clearly in the final product. Atlas cares not just about making a new Persona 4 game, but make a great new game that is connected to Persona 4. The distinction is important.

Persona Q brings something new to the Persona RPG table.
It's not just about reliving your time with Persona 4.
Persona 4 Arena and its sequel, Persona 4 Arena Ultimax (P4AU), even more clearly show Atlas’s devotion to making Persona 4 spin-offs great. P4AU is a 2D fighting game featuring characters from both Persona 4 and 3. Atlas, and the Persona team, get pretty distant from their RPG roots with this one. Designing fighting game systems is almost certainly nothing like designing social simulation and turn-based RPG combat. It’s clear that Atlas had a vision for the game, however, and wanted to make the best possible experience. To accomplish this, Atlas pulled in probably the best 2D fighting game developers to make P4AU: Arc System Works. Arc System Works is responsible for some of the most important 2D ‘anime’ fighters of the past two decades: Blazblue, Guilty Gear, & Under Night In-Birth. Their finesse at creating deep fighting systems, fluid attacks and flashy combos serve as the foundation for the excellent P4AU. One of hallmarks of a well-designed fighting game is to build an avid community: a community that is there to learn the intricacies of the characters, from frame data to mix-ups to bread and butter combos. P4AU still has that, so much so that it was featured on stream this year at the biggest fighting game tournament in the world. P4AU is a balanced, thoughtful fighter and an excellent Persona 4 game. Atlas went beyond the call of duty to provide a lengthy and engaging story mode for the game that builds upon Persona 4’s overarching narrative and sheds new light on its protagonists. There were so many corners Atlas could have cut with P4AU, but what they delivered excelled on all levels. If you want to make a fighting game based on your IP, P4AU is the way to do it.

Persona 4 Arena was the best reviewed fighting game of 2012. Its
community is still thriving in 2015. That's impressive.
Finally the latest Persona 4 spin-off, Persona 4 Dancing All Night (P4D). The last, and perhaps my favorite of the bunch, P4D is a visual novel slash PSOne-esq rhythm game hybrid that’s exceedingly fun and brilliantly designed. Atlas tackles the challenge of a new central gameplay mechanic, and once again succeeds by drawing inspiration from the past and combining it with engaging RPG-mechanics. In many ways, P4D is the spin-off that’s most successful at capitalizing on the familiarity built by Persona 4. Everything about your time with the game is brought back in fun ways. The music, which was supplementary to your time with Persona 4, now serves as the basis for how you interact with P4D. You know the songs, but now you can fully engage with them. Playing P4D is like playing Persona 4 all over again, but in a smaller (and new) package. It’s a phenomenal feeling that I’ve never really had before, neither with direct sequels nor spin-offs. P4D, on top of being an excellent Persona 4 game, is also an excellent rhythm game. It takes cues from best in the genre, like DDR and Bust a Groove, with great press-and-hold notes, double notes, alternate button record scratches and a powered-up fever mode. Instead of boring, static or abstract backgrounds, Atlas put the effort into motion capture to animate realistic and character-specific dances that happen while you’re playing a song. P4D also works to be a perfect experience for all levels of skill: bringing in RPG-like systems of item collection that allow you to perfectly titrate your difficulty level (you can make notes slower or faster, preserve your life meter longer, extend combos easier, or make all notes invisible). Atlas also expands upon the idea of what a rhythm game can be by creating a fully fleshed out visual novel story mode that uses the dancing as both narrative and gameplay. And, I should mention, Atlas didn’t skimp on the visual novel aspect either. Character models are animated, every single line of the game is voice acted, and the story pays great homage to the Persona 4 characters I care about so deeply. P4D exudes design confidence, showing that Atlas not only knows its world, but knows how to perfectly expand upon it. I expected P4D but to be fun, but not great. Turns out it’s exceptional.

My fiancée and I still cannot get enough of Persona 4 Dancing All Night.
It just does everything so well. And it's super fun.

If every studio put the care into building upon an IP like Atlas and the Persona team have done with Persona 4, we’d live in a much richer game space. Atlas deserves commendation for its commitment to honoring fans and creating great games that exist for reasons other than gouging cash from its committed audience. The finesse with which Persona 4’s universe was expanded gives me all the more confidence in the team to create an awesome Persona 5. I can’t wait.