Friday, May 15, 2015

News & Views
5/9/15-5/15/15

Welcome back to The Impact Factor everyone! It’s time for another week of News & Views. I really hoped everyone enjoyed the first episode of our podcast, which you can find on SoundCloud or on our YouTube page. The second episode is up on both already! Here, though, I found a bunch of great editorial pieces to share with you all. From tales of poor gamers, to pessimism in video games, to arguments for sustained criticisms of games, this week’s News & Views has it all. A lot happened this week on the news front, too. Nintendo announced its World Championship for E3 2015, Ubisoft told the press it no longer planned to develop for the previous generation of consoles (PS3/360), Koji Igarashi had an incredibly successful Kickstarter, and much much more (Fliss and I talk about these at length in TIF Episode 2!). Until next time!

Spotlight
Christian Donlan, Eurogamer

Worth Reading
Kiva Bay, Critical Distance, KillScreen

Eugenia Hu, The Mary Sue

Heather Alexandra, Paste Magazine

Dana Goldstein, The Marshall Project

Taylor Bair, Gamasutra

Brad Williams, Game Chruch

And the rest!
Rob Fahey, GamesIndustry.biz
Steam Greenlight has been the source of a lot of controversy ever since its introduction. New, unfinished games flood the Steam storefront making it increasingly difficult for fans to find the best games and developers to get their game discovered. Fahey explores just some of the many troubling aspects of this Valve initiative.

Brian Crecente, Polygon
I love Spelunky. I know it may not be much to look at but please, if you love video games at all, do yourself a favor and pick this one up. It is deceptively deep, challenging, fun, frantic, and one of the best games of all time. This speedrun is just one of the zany, awesome things about Derek Yu’s fantastic roguelike.

Nick Robinson, Polygon
Oh P.T., how I wish I heard good news about you. P.T. has been steadily dying a digital death over the past two weeks. Now, not only has it been removed from the PSN so that new users cannot obtain it, but users who had previously gotten it can no longer re-download the game onto their PS4’s. (I have my digital copy installed on my hard drive, phew!) Robinson discusses how Konami, likely unintentionally, just made P.T. a phenomenon.

Edge Staff, Gamesradar
Lots of cool stuff about games I love this week. As you all (hopefully) read in my Final Fantasy Type-0 HD review, I am a big fan of the franchise. I recently finished up the FFXV: Episode Duscae demo and really enjoyed it. But, for now, Final Fantasy VI is by far my favorite. It was great reading through the rich history of this landmark game’s development.

Brian Crecente, Polygon
As a stalwart console gamer, I don’t agree with everything Crecente has to say in this opinion piece, but he certainly raises some interesting points. I would be all for a home console ‘box’ that is a service rather than what we have today. Nintendo would not be my guess for which company would be the first to initiate this change, however.

Johansen Quijano, Gamasutra
Quijano crafts a compelling argument for why he thinks game criticism, on a fundamental level, should be revisited. Quijano argues that the nature of games mandates more higher level, long-term criticism like what is seen with literature or art. I agree that this new direction could produce interesting discussions about important games, but I don’t know if I could be the one to write about a single game for several years.

Zac Gooch, OKgames
Gooch argues that the side quest filled tedium of Ubisoft’s many open world games are dulling the genre and creating a sense of stagnation. I completed Far Cry 4 a few months ago and really enjoyed it, but I don’t see myself playing more than two maybe three games like that it year. The collectathon, mini-map marker rich experience can be exhausting for completionists like myself.

Tuesday, May 12, 2015

More Than ‘Kinda’ Great: How ‘Kinda Funny’ gets video game discussion right
Article 

Abstract: Kinda Funny is a team of tremendously talented and hardworking individuals who have nailed how to talk about video games. A concerted effort to hone in on what works in, and what was missing from, video game discussions has produced stellar content. I am excited for what Kinda Funny does next and highly recommend checking them out.

When I started following Kinda Funny's video game coverage, I honestly had no idea what to expect. I had followed Greg and Colin's work pretty closely during their time at IGN: from reviews to editorials to their excellent Podcast Beyond. Leaving IGN meant the Kinda Funny crew could finally talk about video games—but what they would do with that new freedom puzzled me. Twitch and YouTube talking heads generally have a certain method for discussing games. A method of which I’m not too fond. A method in which level-headed discussions and authenticity rarely come across. Part of the nature of the beast that is making a living through Twitch/YouTube is appealing to an audience. Generally speaking, the larger the audience the more comfortable a living. This creates a certain drive for content creators to work to endear themselves to the largest possible audience; to give the people what they want. I feared the worst and hoped for the best as the Kinda Funny crew started their new endeavor.

Over the course of a couple weeks, my fears were assuaged. It became immediately apparent that the team behind Kinda Funny had a clear vision for how video game discussion could, and should, be handled. Kinda Funny initiated Colin & Greg Live and the Kinda Funny Gamescast with complete confidence. This innovative daily talk show and podcast from seasoned experts bring something new and something refined, respectively, to how we as a community think and talk about games. A lot of what makes Kinda Funny’s video game coverage so great are the intangibles: the clear friendship between the crew, the feeling of warmth and inclusion, and more. But it is clear, to me at least, that concerted efforts were made by the crew to create a more productive space in which video games are discussed. I’ve narrowed these efforts down to the four ways Kinda Funny gets video game discussion so right. What makes me excited about the future of their work. Let’s get into it.

Putting the News in Perspective

The tide of video game news is faster now than it has ever been. Every week, every day, news about one project or another is breaking. You’ve got tidal waves of news that come from press events or conferences, and then you’ve got the gradually rising waters of stories that take shape over time. Keeping up with all video game news is practically impossible. The news items you do consume hardly have any time to digest before the next big thing comes around. Sorting through this sea of news, and making sense of all of it in the context of the larger industry, was a missing piece in the video game discussion puzzle. Kinda Funny figured that out.

Colin & Greg Live fills this niche perfectly. Every weekday at 11amPST the two hop onto Twitch to go through the previous days’ biggest and most impactful news stories. Given in the format of a daily sports talk show, Colin & Greg Live is not only able to keep you up to date on what’s happening in video games, but also give perspective on what everything means. For starters, their approach to discussion of each news item is highly synthetic. Colin & Greg Live weaves stories into the larger narrative of the state of video games and the industry itself. The news is elevated to more than just face-value bullet points. The existence of Colin & Greg Live itself also helps to show the scale by which video game news is released. The fact that there are enough stories to fill out a full show every single day is telling. Colin & Greg Live shows just how fast an industry I love is moving. Kinda Funny works hard to report on every corner of the industry, too. No news item is exempt from discussion. As long as it will make an impact moving forward, the topic is discussed. The end result is a show that takes respect and knowledge of video games and combines them into something we have never quite seen before, and something desperately needed.
There's nothing quite like getting your daily games news digest with these two.
Passion without Pandering

As I mentioned briefly in my introduction, I understand there is great temptation within this sphere to try to appeal yourself to the largest audience possible. Doing so could result in increased followers, subscribers, etc. That’s not the case with Kinda Funny. Everything, and everyone, feels authentic. The personalities of Greg, Colin, Tim and Nick feel true to themselves. They feel genuine, not designed or carefully crafted to appeal to a certain group of people. Their passion for video games is real, and their reaction to news and games isn’t a façade.

It’s easy to be passionate about video games, and Kinda Funny has that in spades. What it has, the others lack, is proper checks and balances that work to contextualize and understand the excitement. The Kinda Funny crew does an excellent job, as I described above, of understanding what news is exciting and why they are excited. Each member keeps the others honest, looking at the same announcement or game from their own unique perspective. The discussions they have help to move away from the hype machine we see so often in video games coverage and discussion, and move towards a place where a piece of news does not have a singular impact.

The passion that emanates from the Kinda Funny crew clearly comes from a place of knowledge. I believe Colin’s excitement for Shovel Knight and Bloodstained because of his tremendous experience with, and appreciation for, Megaman and Castlevania. Greg’s deep knowledge of Metal Gear Solid helps to frame his excitement for Metal Gear Solid 5: The Phantom Pain. Tim’s love for all things Nintendo comes from his long history with their franchises, as well as an awareness of the missteps the company has made in recent years. I trust the passion of the Kinda Funny crew because it’s deeply rooted in who each of them are, and they make sure this comes across in their discussions.

Letting Developers (and Games) Speak for Themselves

As a longtime video game enthusiast, perhaps my favorite aspect of Kinda Funny’s video game coverage is their decision to let games and their developers speak for themselves. This solves two important and very separate problems. First, video games are an entertainment industry. Because of this, a lot of their coverage can come off like advertisements. Instead of trying to tell me about a game, more often than not I feel like I’m being sold the game. Being told exactly what consumer studies have discovered I ‘want’ to hear. This approach is disingenuous and often neglects to disclose the information I truly need to hear to determine a purchasing decision. The second problem is that games are released at a nearly unfathomable rate these days. It’s hard enough to keep track of the games being released on one console ecosystem, let alone following those released across all the various platforms. To cut through all the noise, and get their game known about, developers need their voices heard. Not only are they the foremost experts on their game (duh), but initiating a relationship between a developer and their potential playerbase is the best way to put a game on peoples’ radar.

Kinda Funny has worked to provide that direct connection between fans and the developers. During GDC, Kinda Funny devoted the bulk of their coverage to speaking with developers about their new games. Kinda Funny impresses upon developers to be themselves and to have fun, not just to sell their product. While talking with developers like Mike Bithell and Ryan Payton, it was less about saying the right things to get me to buy Volume or République, respectively, and more about a conversation between friends. In a short amount of time I felt like I got to know who Bithell and Payton are as people, and how they incorporated their experiences with the industry to create their new games. The coverage gave me enough information to put the game on my radar, while giving me ample tools and information to decide for myself whether to pursue the game further. As an extension of this direct connection between fans and the games, Kinda Funny produces a lot of extended play sessions with freshly released games. Now, this is a pretty standard practice with YouTubers/Twitch streamers. Let’s Plays generally help in making purchasing decisions, as long as the whole exuberant personality-driven nature of video game talking heads doesn’t get in the way (which, for me, is often a problem with others’ content). But an initiative Kinda Funny took recently that I hope they will continue with is doing these Let’s Plays with unreleased games. The team recently did one for the upcoming Guitar Hero game. This style of preview coverage takes some power away from marketing/PR bullet points, and again puts the power in the players’ hands to decide what they think.

Building a Positive Community

‘If you listen to us, you’re a best friend, not a fan.’ This is a point that is reinforced over and over again at Kinda Funny. They’re not there to sell you games. They’re not there to put on a mask for you to laugh or get angry at. Kinda Funny creates a community that synthesizes everything positive I’ve written about them so far: it is thoughtful, it is genuine, and it respects those within it. The crew invites you into their homes, into their lives, to join in a conversation with them. Everything they do is about cultivating a discussion, including the voices of their best friends. Kinda Funny devotes effort to building a community that values unique opinions, and is supportive of the diversity within the group. Feedback is welcomed and incorporated, as the crew always works to be better.
I never hurts to have a couple more best friends to talk to about video games.

The way Kinda Funny approaches their community is the best I have seen in games. It’s more important to Kinda Funny to cultivate a community of best friends, who care about each other and talk freely, than it is to grow a massive fan base for increased page views or ad revenue. Kinda Funny keeps things fun, but grounds their work in authenticity. Watching or listening to Kinda Funny’s video game content is an inclusionary experience—it’s the closest I’ve felt to when I used to sit down with my core group of friends and talk games. Or how I feel doing my new podcast, The Impact Factor. Kinda Funny works to be a place you want to be, and I’m excited to see how the team moves forward in the months to come. You should, too. Be a best friend.

Friday, May 8, 2015

News & Views
5/2/15-5/8/15

What a big week for both games and The Impact Factor! I teased a little something in my last News & Views, and it has come to fruition much faster than I expected! In case any of you didn’t see it, check out my announcement post. To summarize though, I started a video game podcast as an extension of this blog with my best friend and fellow scientist Charles Fliss @thecfliss. I really hope you all like it! We welcome any and all critical feedback—send any thoughts, suggestions, and news articles to the podcast’s email: impactfactorpodcast@gmail.com. Now, onto this week’s News & Views!

I found a bunch of great articles for you all to read through this week. On the editorial side, I’ve got some great pieces discussing why Silent Hill mattered (especially in light with P.T.’s complete removal from the PSN), the Oregon Trail generation, and the inventor of the ‘Let’s Play’. On other fronts, I found a superfan that turned The Last of Us into a TV series, what it is like to crunch on a video game, and more. I hope you all stick with me through the experiment that is The Impact Factor: the blog, and the podcast. See you all very soon.

Special Spotlight
Alex Samocha and Charles Fliss

Worth Reading
Leigh Alexander, Offworld

Frank Lantz, Game Design Advance

Chris Kohler, Wired

Anna Garvey, Social Media Week

Gabriel Cornish, Gamasutra

Michael Peck, Politico

And the rest!
Soha Kareen, Motherboard
The term ‘indie game’ gets thrown around a lot these days. It started by describing smaller, not-well-known titles that were published independently. But now, it covers such a huge swath of the games that are released. Huge titles like No Man’s Sky or Shovel Knight? Indie. Perhaps we need a new term to discover these hidden gems, these games that aren’t talked about or shown at conferences. The video games ecosystem is getting increasingly interesting.

Emily G, Femhype
Ugh. There are a lot of parts of the ‘gamer’ community at large that I don’t like. This is certainly one of them. Sexism runs rampant on YouTube comments, Twitch chat, and even the ‘Let’s Players’ themselves. We always need to work towards games being a safer, more inclusive, place.

Nathan Ingraham, The Verge
The Last of Us is such a phenomenal game, and my second favorite of all time. I always wish more people could enjoy the game’s story and characters. Standing in the way of this, for many, is the game’s punishing survival-horror difficulty. I have recent first hand experience with this. One of my non-gamer friends played through it these past three weeks, but got stuck in so many places because the game is tough. This TV series gives people the option to skip those “frustrations” and get right to the game’s great writing. Worth checking out.

Patrick Klepek, Kotaku
Klepek does a great deep dive into the origin of the ‘Let’s Play,’ tracing it back to a person and site of which I had no idea. It’s fascinating to see where this huge trend in gaming content comes from, and how it has evolved over time.

Patrick Lee, A.V. Club
I’m sure I sound like a broken record at this point, but I love Telltale and I love their take on The Walking Dead. The decisions you have to make throughout the grueling, personal experience weigh on you heavily. Tragedy defines so much of what the characters experience, and make for such a powerful gaming experience.

Jason Schreier, Kotaku
This article sound familiar? Fliss and I talked about it on The Impact Factor (podcast)! Schreier takes a stunningly honest blog post from Couville about the mental, and physical, costs of game development. Framing it as how we as games writers talk about games is a refreshing and much needed conversation.

Ben Kuchera, Polygon
This Kuchera piece kind of goes hand in hand with the above article. His exploration into what it means to hate a game, and if anyone can ever truly hate a game, is fantastic. There are so many factors gamers do not consider when they write online that they hate a game, or developer.

John Szczepaniak, Gamasutra
The past month has been a confusing and sad time for Konami. With Hideo Kojima leaving (the man behind Metal Gear Solid) and P.T. being totally removed from the PlayStation Network, it seems to be all bad news. Szczenpaniak goes off the beaten path, and gives a fascinating look into an alternate dimension: one in which Konami had a games console.

Chris Priestman, KillScreen
Priestman profiles an artist that has an unusual, and evolving, take on the synthesis of art of video games. Castaneda has subverted the flow of game development: taking finished levels and turning them into unique concept art. He is now working towards completing the circle, bringing his abstractions into a video game reality of his own.
The Impact Factor: A Podcast?!
Special Announcement

Five months ago, I started the passion project that is this blog. Despite my over ten years working with biomedical research, I could not stop thinking about video games. Talking about video games. Using the analytic muscles I honed in science to pick games apart—see what works, what doesn’t, and what the industry is doing.

This blog has been great. I love writing out my thoughts to share with you all. Reviews, articles, perspectives and more. No matter what, I continue to keep writing about games and posting them here. As I put more and more time, and more and more effort into the blog, my mind began racing with what else I could do. What more I could do. This brings us to today.

I’m so happy to announce that The Impact Factor now has a podcast! I’ve joined up with my friend for over ten years, fellow gamer and social scientist, Charles Fliss. If you want to learn more about him, check out his excellent blog or follow him on Twitter, @thecfliss.

In each episode we talk the most impactful news stories from that week in video games, give our perspectives on a revolving swath of topics, talking about the games we’re currently playing, and little bit of errata. Check out the first episode below!



I appreciate any and all feedback and suggestions! Please send it to impactfactorpodcast@gmail.com.
Look for new podcast episodes on our SoundCloud page: https://soundcloud.com/theimpactfactor

Follow me on Twitter @alexsamocha

Tuesday, May 5, 2015

Hit the Books
Review
Final Fantasy Type-0 HD, SquareEnix (PS4)
Abstract: Final Fantasy Type-0 HD is a surprisingly solid addition to the gargantuan Japanese role-playing game franchise. A decidedly darker tone sets Type-0 apart from other Final Fantasy titles. Incredibly smart design decisions permeate the quick, skill-rewarding combat. The huge cast of party characters allows players to keep the game fresh through its completion. A nonsensical story, poor dialogue, and empty tedium between story quests detract from experience, but Final Fantasy Type-0 HD is certainly a game worth checking out for fans of the franchise or genre.

Final Fantasy Type-0 is a game I never thought I would get to play. Originally announced as Final Fantasy Agito XIII, Type-0 was later renamed and released on the PlayStation Portable (PSP) exclusively in Japan. This portable release was intended to be one of the three games that made up the ‘Fabula Nova Crystallis,’ an elaborate plan by SquareEnix to create three totally different games that all shared a similar universe and mythology. The first of these was Final Fantasy XIII, a traditional JRPG released for the PS3. The second was Type-0, a mission based mobile JRPG experience. The last was Final Fantasy Versus XIII, a more action heavy open-world RPG. Over the course of each games’ development, there were some radical changes. FFXIII went from one game to three, becoming the Lightning trilogy. Agito XII was renamed and restructured. And Versus XIII became what we now know today as Final Fantasy XV.

Initially, I was ecstatic about this tremendous initiative by SquareEnix. I had been a pretty avid Final Fantasy fan ever since I played FFVII, and was always hungry for more. My enthusiasm was quickly damped after I played through FFXIII. The game had some good elements, but was marred by many baffling design decisions. A confusing story and unlikable characters aside, FFXIII was a linear grind-fest that only became enjoyable 25+ hours into the game. Each subsequent FFXIII sequel felt worse than the last. Not completely dissuaded, I turned my eye to the other Fabula Nova Crystallis titles. I was relieved to see that Final Fantasy Type-0 had received fairly positive reviews, only to be crushed upon discovering that Type-0 had never made it to the states, and Versus XIII was stuck in development hell. When the HD remastered version was announced for a PS4 release, my interest was once again piqued. Right around its release date I felt hungry for a new JRPG to dig into and felt Type-0 would fit the bill. Plus, I’m a sucker for Final Fantasy. So I picked it up, and here were are.

Yep, that's a dead chocobo.
Final Fantasy Type-0 begins with a bang, as the Militesi Empire initiates a deadly assault on the Dominion of Rubrum, leading to an all out war between the two nations. The game is set in the world of Orience. The land is divided into four separate ‘crystal states,’ so called because each is led by a deity that manifests itself as a large crystal. After years of peace between the four states, Militesi sought to gain control over Orience, starting its surprise military campaign with a blitz on Rubrum. The intro to Type-0 was shockingly brutal, as graphic depictions of warfare littered the game’s first cinematic. Bleeding troops hobble to safety, Militesi troops execute the wounded by shooting them in the head, civilians are massacred in the crossfire. Even the franchise staple chocobos aren’t immune to the destruction, as the game starts with the brutal bloody death of one. I really enjoyed what Tabata and team were going for with the tone of Type-0. The is the first Final Fantasy game I have played that takes into consideration the death and suffering caused by the game’s central conflict. It helps to ground the fantastical world in reality, even if only slightly, making it inherently more tangible and affecting. From that point forward, the story progresses rather simply. You play as a group of elite cadets from Rubrum’s foremost military academy, Academia, known as Class Zero. As this strange student-military hybrid force, you are tasked with aiding Rubrum’s military campaigns: recapturing Militesi controlled territory, conducting secret infiltration missions, etc. As you get further, like so many other Final Fantasy titles, the game’s plot goes off the deep end. Despite the work that clearly went into creating it, the history and mythology of Orience is dense and impenetrable. Type-0 is written in a way so that only the most dedicated fans can piece together what exactly is going on, or what everything means. The last act in particular is a confusing mess and it comes out of nowhere. It provides no real sense of continuity, or finality, to the story and gives far more questions than answers.  Poor writing permeates Type-0’s entire story, but that is sort of expected for Final Fantasy games at this point.
I know exactly how you feel, Cinque.
Class Zero is the focus of the game, acting to move the global narrative forward as the central players within it. Class Zero also makes up your party of playable characters. Each character is named after traditional playing cards (2-10, Jack-Ace). There are fourteen total members, each with distinct personalities and fighting styles. You have the ditzy mace-wielding Cinque, the spear-using numbskull jock Nine, the rapier-equipped bookworm Queen, the stoic King with his dual pistols, and the know-it-all elitist archer Trey to name a few. As you can tell from these descriptions, Type-0 worked hard to make each of the 14 characters memorable and distinct. The price the game had to do so was steep, though, as no one gets any real character development, leaving them hollow stereotypes who exist just to exist. Type-0 keeps another franchise staple, too: the characters have horrible dialogue. I found myself physically cringing at the words, and delivery, whenever the characters spoke. Shallow personalities and bad writing aside, I found myself really enjoying the design of Class Zero. You could never confuse one character for another, as each one looks and plays completely distinct. I found myself constantly switching between characters to see how dialogue interactions changed or how they moved through the world (Cinque has a great / terrible run animation by the way). The real strength of this character diversity comes across in the gameplay. With fourteen (and more) unique ways to fight enemies, I would change my squad of three characters between every mission just to see how they played and synergized.
Just one of my many different party combinations.
This brings me to the combat in Type-0. Every RPG relies on a solid combat system, and I’m happy to report that Type-0’s is pretty great. For starters, the combat is fast and nimble, taking inspiration from action heavy systems like the one in Kingdom Hearts. Dodging is quick and essential. Battles are varied too, with an equal mix of magic, close quarters and ranged attacks. You can reinvigorate encounters whenever you want with how huge and different the cast of playable characters is. Not only that, but mid-encounter Type-0 allows you to switch between characters, changing up the way you play or getting off that heal your party direly needs. In what feels like a franchise first, health design feels more akin to a Souls game. Player and enemy alike hit pretty hard, and either one can be downed in a couple quick attacks. To be clear: health does not deplete nearly as quickly as a Souls game, but still goes down much faster than any Final Fantasy I can remember. And this is great. Encounters, even bosses, are over with quickly, definitely limiting the frustration the JRPG grindfest can cause. Final Fantasy has always pretty guilty of turning enemies into damage sponges. For example, a certain boss in FFXII can take over an hour and a half to kill, even with perfect strategies and max level characters. In Type-0, the hardest boss I ever faced was down in a matter of minutes. This adds to the quick feeling of combat, and I loved it.

Type-0 adds a lot of great skill-based elements to its combat, too. My favorite among them was the breaksight / killsight attacks. When locked onto an enemy your targeting reticle will change colors, indicating when an enemy is exposing itself to big damage, which usually occurs at some point during their attack animation. If you hit the enemy when the reticle turns yellow it is a breaksight, which deals massive damage. If red it is a killsight, and the enemy instantly dies. In this way Type-0 really rewards the players for attacking at the right moment, rather than mashing the attack button. It was so satisfying to bait out an enemy attack, only to kill it from full health in one well-timed gunshot. Killsights in particular allow the player to tackle extremely tough areas whenever they want, even if they are massively underleveled. While I was playing, I managed to clear a level 39 mission even though my party was filled with level 18 characters. My normal attacks did essentially no damage whatsoever to enemies, and I could die in one hit, but when I timed my killsights just right and dodged perfectly, I could down even the strongest foe. Further, Type-0 allows players the option to do specific combat challenges to earn rewards, like regenerating health or bonus defensive auras. These can be quite tough to accomplish and the penalty for failing them is death. This creates a nice risk-reward balance, and gives the player full control over how challenging they want their experience to be. Finally, as an aside, Type-0 also features some real-time strategy missions, which involve helping Rubrum troops capture Militesi controlled strongholds. I appreciated that the game tried to change up how you ‘fought’ your enemies, but the system was a little undercooked, ending up as pretty rudimentary and boring. The game lets you skip these, however, so it’s not an issue.
 
Combat was fantastic. SOs, Killsights and character swapping kept each encounter fresh.
Outside of combat, however, Type-0 has substantially less to do than its more fully fleshed out JRPG counterparts. Between missions you have a set amount of in-game time to do tasks, explore the world, etc. You can explore Academia, the homebase for Class Zero, but most of what that involves is micromanaging your characters’ stats and equipment. Everything you do (aside from fiddling around in the menus) consumes the time you have between story quests. Talking to people can give you expository cutscenes and items, but takes up 2h. Leaving Academia to explore the Orience takes up 6. Super-difficult expert trials consume 12. I liked the feeling of having too much to do in such a limited amount of time, but just wish the things you were tasked with doing were interesting. Most people you talk to have a few nonsensical lines and then they give you a Hi-Potion or something. Exploring the world is pretty weak. There’s honestly not a lot to do or see. Towns are never more than one screen, with a shop or two and nothing else. There are a few optional dungeon areas, but they are generally short and unsatisfying. And none of this even addresses the issue that, on your first playthrough, most of this content is just too difficult to complete. By the end of the story you should only be about level 35. So much of the world is filled with level 40+ monsters that getting through it is nearly impossible. You can only dodge every attack and land killsights for so long without making a mistake. And this is a clear design choice, as Type-0 begs the player to play through the game again on NG+. To make sure you go through the game a second, or third time, Type-0 locks off a lot of content through these level gates. I understand why the developers want to encourage a NG+: it gives your game more ‘replay value.’ But it just does not work for Type-0. In a game with a more compelling world and more decipherable mysteries like Bloodborne I’m all for NG+. Not so much here.
Flying around isn't as fun as it looks. Talking to people around Academia
isn't much better.

As a final part of this review, I wanted to talk about how effectively Type-0 was ported from PSP to PS4. I’ve never been a stickler for graphics and the like (gameplay and story are king in my book), but the discussion is worth having here. There is a tremendous generational leap between the PSP and the PS4, and when looking at the graphics it really shows. The game is a smattering of different levels of graphical fidelity. Floor and wall textures look like they are from a PS1 game; many of the NPC models and environments look PS2-era; monsters and attack animations from a PS3 game; and only Class Zero character models look PS4 (since they were pulled directly from the high resolution pre-rendered cutscenes from the original game). Also, to compensate for making the visuals look nicer, intense motion blur was added to the camera. Now, the camera in Type-0 is already problematic. It is erratic and way too fast. But with motion blur on top of that, seeing much of anything while rotating the camera is difficult. Over time you get used to the crazy, blurry camera and find ways to mitigate its negative effects. I just stayed locked onto enemies at all times to keep the camera (relatively) fixed. Still, it was a major frustration for the first couple of hours while playing.
 
The motion blur can get really bad in combat. I quickly found ways to work
around it, fortunately.
Overall, I was quite impressed with what Final Fantasy Type-0 HD had to offer. I was taken aback by how much I liked the combat system, with smart choices all around. Type-0 was certainly more enjoyable than FFXIII, I can say that much. The game’s flaws are obvious and problematic, but if you can put up with them and see things through, you’ll be treated to a pretty solid JRPG.

Final Fantasy Type-0 HD
3/5

Friday, May 1, 2015

News & Views
4/25/15-5/1/15

Another week down, another week closer to E3! News continues to spill out about the biggest event in video games, with yet another press conference announced. There was a bunch of high impact news this week: Silent Hills seems to be completely dead, Batman: Arkham Knight has a crazy expensive DLC season pass, and Valve removed paid mods. I found some great editorial pieces too, from how fashion designers made Deus Ex better, to the dehumanization of online harassment being used as a gameplay mechanic. This week I’ve also been working on a super secret project that I hope to share with you all soon. Until then, see you next week! 

Spotlight
Brian Crecente, Polygon

Worth Reading
Jeff Cork, Game Informer

Hugo Bille, Gamasutra

Luke McMillan, Gamasutra

Jess Joho, KillScreen

Ashley Reed, Games Radar

And the rest!
Ant, Retroactive Fiction
What an amazing story. It’s crazy to me that video games have been around for over forty years now. This story was a reminder that with some big ideas and innovation, we’ve gone from a simple text adventure game to high fidelity cinematic, artistic and powerful interactive experiences.

Matt Porter, IGN
Sad news indeed. This news coincided with the amazing P.T. being pulled from the PlayStation store this week. P.T. was one of the scariest games I’ve ever played, and it makes me sad I’ll never see the expansion of these ideas take the form of Silent Hills. Poor Guillermo can never catch a break in the video game world.

Dave Smith, Business Insider
A sobering reminder of the power of an angry mob. I don’t think charging for mods is inherently bad; in fact, if done right, it could be great for modders and the community at large. Valve’s poorly thought out implementation and greedily portioned share of the profits made for a huge misstep that, as the title implies, cost the company seven figures in a matter of two or three days.

Matt Akins, Medium
The mobile market is a horrid place. Greedy, shoddily made pieces of junk are released daily. The in sea of free, and the sea of clones, it’s hard to get your name out there. Akins’ story is probably one so many mobile devs have experienced.

Dan Stapleton, IGN
I love the Arkham series’ from Rocksteady. I can say without question they are the best comic book superhero games I have ever played. But this DLC season pass situation is just ridiculous. Charging $40 seems steep for any amount of post-release content, but WB is refusing to even elucidate what exactly is included in the package. Buyers beware.

Andy Chalk, PC Gamer
This makes, what, 8 press conferences at E3? It is increasingly hard to keep up with the faced pace nature of video game news, and the sheer number of press conferences at E3 is certainly reflective of that fact. I’m interested to see what exactly will be shown at this one. It’s still a big question mark.

David Chandler, KillScreen
You didn’t think I would stop finding great Bloodborne content, did you? I love Chandler’s writing. Makes me a little jealous. Chadler explores Bloodborne’s unique synthesis of Stoker and Lovecraftian horror present in the exceptional From Software title. For my review of Bloodborne, see here.

Patrick Klepek, Kotaku
Boy do I wish there were a good Jurassic Park game. It’s something I’ve wanted since I was 3 or 4. Alas, never have I been so lucky. I really tried to get into Jurassic Park Builder (now Jurassic World?), but it was your standard freemium wait-or-pay garbage. Looks like this new game is a big miss, too. I’m still holding out out hope for LEGO Jurassic World!