Tuesday, August 18, 2015

TIF Reviews: The Grand Tournament! [Hearthstone]
Video Article

The Impact Factor is back with a very special new feature: the video article! That’s right, I’m finally moving into the 21st century. I know not everyone has the time to sit down and read my sometimes length pieces here on the blog. So I figured, if they don’t have 10 minutes to read an article, they’ll definitely have 45 minutes to watch me talk! All jokes aside, I’m super excited to share my video article with you here on TIF.

This week I talk about the upcoming Hearthstone expansion, The Grand Tournament (TGT). TGT is Hearthstone’s second major expansion and fourth new content release, bringing with it over 130 new cards for players to try out in Ranked, Casual, and Arena! A bunch of new cards brings about a bunch of new questions. The biggest of which is: what are the most powerful cards and which will make the biggest impact on the game in the months to come? Fear not! The Impact Factor is here to answer this most pressing of questions.

Below I talk about the roughly 25 cards I think have the best chance of making an impact in competitive play moving forward. I’m predominantly a Ranked mode player, and so I frame my discussion strictly for what cards will be best when playing there.

Let me know in the comments here or on YouTube what you think. Do you agree with the 25 cards I’ve chosen? What cards do you think will make the biggest impact? Play arena and want to hear about the cards from that perspective? Just let me know. Video articles are a huge new experiment for me, and no pilot experiment is without its problems. I would love any and all feedback!


Without further ado, here is TIF Reviews: The Grand Tournament!


Friday, August 14, 2015

News & Views
8/8/15-8/14/15

Oh man am I excited today! So much goodness is happening. First and foremost, today is my girlfriend’s birthday. Happy birthday Justine, I love you so much! Got some sweet dinner plans in store for tonight. Also, PlayStation just announced that they’re doing PlayStation Experience again this year! The first of it’s kind, PSX is a conference tailor made for fans. And, in even bigger news, PSX is in San Francisco this year! So, yeah, I’m definitely going. Already bought my 2-Day pass! Expect to see plenty of coverage and thoughts and pictures here on The Impact Factor from the event when December rolls around.

As usual, I’ve also found a ton of great pieces from around the web this week. Check out below for great writing about gameplay loots vs story loot, how a Bioware RPG touches on immigration and identity, how women unlearn their love of video games, and Pokemon’s utopian economy.

And of course you can check out the brand new episode of The Impact Factor podcast that was posted today! You can subscribe to the podcast on iTunes, or if you prefer other methods, check out our SoundCloud. We’re on YouTube too!

Spotlight
Katherine Cross, Gamasutra

Worth Reading
Bea Malsky, The New Inquiry

Sylvia Monreal, FemHype

Cameron Kunzelman, The Cage is Worms

Patrick Lee, A.V. Club

Greg Toppo, USA Today

With Comments
Katherine Cross, Gamasutra
Partially inspired by a great piece by Austin Walker I linked in a previous News & Views, Cross examines what games can do to make their cities feel alive. My recent experience with The Witcher 3 reinforces her hypothesis that cities need non-violent ways to be interacted with. I enjoyed this piece so much, Charles Fliss and I discussed on the most recent episode of The Impact Factor Podcast.

Michael McWhertor, Polygon
What I wouldn’t give to have some way to directly access to Hidetaka Miyazaki’s mind. He’s brilliant. I love how he talks game design, and the ways in which as one of the game’s directors, he is using Dark Souls 3 as the turning point in the Souls franchise. I couldn’t be more excited.

Suriel Vazquez, Paste
Vazquez writes an extensive, excellent piece covering the recent struggles of Mike Watson and Super Arcade. Watson’s leadership and community building has created one of the U.S.’s only thriving, profitable real arcades. Due to archaic ideas about “arcade culture,” Watson lost his fight with the city of Azusa to expand Super Arcade. Ugh. I wish all of the Super Arcade community the best in moving forward.

Juliet Kahn, Offworld
This is something that’s so tough to read, but that I’m so happy it exists. Kahn’s excellent piece on Offworld asks one simple question; why can’t games be for girls exactly what they are for boys and men: easy to love. Kahn believes that “we need more games featuring women, made by women, willing to tell stories about pop stars, witches and queens, willing to work in palettes beyond army drab.” Totally agreed.

Patrick Klepek, Kotaku
Klepek always finds the best crazy gaming videos. Who would have thought beating Dark Souls on a Rockband guitar controller would be so passé? Now all the cool kids (read: one extremely patient, skilled, possibly masochistic guy) are beating Dark Souls using voice commands. What makes it all the more impressive is that his voice inputs had a substantial almost 1-second delay. Holy crap. Hats off to you, Dark Souls expert.

Wednesday, August 12, 2015

Everybody’s Gone to the Rapture, Running, and the Need for More Time
Perspectives

Welcome back to The Impact Factor everyone. Got a quick surprise Perspectives piece for you all! This is a story that’s been developing pretty quickly, so by the time this gets posted some of my issues may have already been resolved. Still, I had some thoughts and wanted them posted. So here we go!

Yesterday developer The Chinese Room released their anticipated new title for PS4 Everybody’s Gone to the Rapture. The Chinese Room is fairly well known for making experiences that stray from industry-standard gameplay conventions. Their first major release, Dear Ester, was one of the first of several games to be labeled a “walking simulator.” This is a pejorative term used to describe first person experiences in which the primary objective of the player is to explore the game world rather than shoot enemies, wield a sword, or solve puzzles. Everybody’s Gone to the Rapture is the studio’s newest “walking simulator.” You play as a character who has seemingly survived a biblical rapture and is now tasked with exploring a small desolate British village in hopes to find some clues as to what’s transpired. 
Welcome to the Rapture. It's quite lovely.
Everybody’s Gone to the Rapture was met with a mixed critical reception. Much like their other two titles, Dear Ester and Amnesia: A Machine for Pigs, several reviewers took issue with various aspects of The Chinese Room’s newest title. The main sticking point of several reviews, however, was that movement was painfully slow. Everybody’s Gone to the Rapture’s main gameplay mechanic is walking around and exploring a compelling setting, so the complaint is certainly a fair one. If it takes too long to get from point A to point B with ostensibly “nothing happening” in between, I can see the frustration. Moving painstakingly slow through a sprawling world could be a serious concern if systems weren’t in place to alleviate the issue.

Negative reviews can be such a bummer. Everybody’s Gone to the Rapture is a game I was looking forward to for quite a while. The way The Chinese Room designs their games allows them to create unique narrative storytelling and world building that’s organic, interesting, and is unique to games. Exploration-determinate narratives can be phenomenal. You don’t need to look any further than Gone Home by Fullbright Games to see how exceptional it can be. So when I heard that the slow walk speed of Everybody’s Gone to the Rapture impacted this immersion, and frustrated many respected reviewers, it damped my enthusiasm.
Gone Home was one of 2013's best. It made me so excited
to play more first-person exploration games.
When I woke up Tuesday morning, after many of the reviews had already been posted, I came across this piece on KillScreen. Turns out Everybody’s Gone to the Rapture has a sprint button. You can run. No review I read mentioned this functionality. And you know what? It turns out most didn’t even know it existed. This is a pretty big issue.

Part of the issue arises that, in their rush to get the game fully functional and out in reviewer hands, The Chinese Room had neglected to mention the hold R2 to run functionality. Fine. It seems strange to me that none of the reviews I read were able to come across the system, though. Clayton Purdom, author of the KillScreen article, touches briefly on why this might have been the case. “I confess that in my more frustrated moments I gave all the shoulder triggers a shot, and presumed whatever increase in speed I witnessed to be hallucinatory. (It’s the type of game where you frequently think you’re seeing things)”. I can see his point. In an official Ask Me Anything on Reddit, The Chinese Room also stated that they were going for a realistic movement speed in Everybody’s Gone to the Rapture. This means that not only is walking speed “slow,” but when running the player might move slower than they have come to expect from other games. Purdom touches on this phenomenon, too. “The average running speed of even a moderately paced first-person game, like Destiny, is an absolute sprint, an all-out tear, closer to the way a real person would move on a dirtbike.” So perhaps reviewers did try holding R2, but due to the nature of the game’s world and the slower than expected pace they didn’t notice it.
 
Listen to the light. It's telling you, "Hold R2 to run."
This raised a couple flags for me, though. As a scientist, I’m all about testing. And not discovering the sprint functionality screams lack of thoroughness to me. When working in science, you must constantly push yourself to find evidence. You never take anything to be true (or “real”) without tons of supporting evidence. You can never know something doesn’t work until you know something doesn’t work. That’s dozens of hours and many tests later. I often take that experimental mindset to games. The first thing I do is to test out all my buttons, in all potential combinations. Sure, the game often tells me what does what, but there’s so much more than that. I know “X” is jump, but if I press it longer do I jump higher? What’s the best rate to press it to optimize speed jumping? What’s the height and distance? I do this all the time. It’s hard to know if I would have discovered that R2 is sprint. Running is generally mapped to holding down a stick (L3, usually). But I sure know that I would have done some serious testing to see if I can come across any kind of running functionality.

I’m sure many of the reviewers whose writing I read would have done the same too, given enough time. For many reviewers, though, there’s simply not enough time to gain a mastery of the game they’re tasked with reviewing. This whole emerging story of Everybody’s Gone to the Rapture and the unknown run button speaks more to the stupid need to get Day 0 reviews out. Reviewers often get copies late. This creates an enormous time crunch to start the game, understand its systems, beat the game, and write an interesting review. Thoroughness is often lost in the process. Like Purdom suggests in his article, I absolutely feel that we need to move more towards a “provincial” review system. Online functionality has been a determining factor in several outlets giving placeholder reviews for new games, since you never know what playing on retail severs will be like. But perhaps this should be expanded to all kinds of games. If the reviewer doesn’t get enough time to really understand the game, it should be noted. Obviously an ideal solution is getting the game in reviewer hands sooner, but I understand how that’s not always possible. A provincial review system would give people time to test and experiment with the game. Give them that informed opinion I as a scientist constantly seek out and work for. Time and critical analysis always draws the best conclusions, in my experience.

Be skeptical of what you read. Always. And I’m now more excited than ever to jump into Everybody’s Gone to the Rapture.

Tuesday, August 11, 2015

De-Grating On My Nerves: Item Degradation Systems Suck
Article

Abstract: Item degradation systems have neither historically nor contemporaneously added anything of value to the gameplay. They are tedious, archaic, and uniformly unfun. Please give good thought to their inclusion.

There I was, knee-deep in swamp water facing against a seemingly endless horde of angry Drowners. I had just come from a coastline shipwreck, and before that spelunking in a magic filled cavern. I had gotten caught up sweeping across the lush and vibrant countryside. I am a Witcher. Nothing was going to stop me. Monsters cower before me. Humans do well to remember the power my training, conditioning, and rituals have afforded me. As I sit atop my trusty steed Roach watching as a storm gathers out on the horizon, whipping the grass and trees around me in nervous anticipation, I remember something. Oh yeah, I need to go get my freaking weapons and armor repaired. So I trek to a signpost, warp to a miserable little town with a miserable little dwarf, pay him an exorbitant amount of gold, and then make the trek back. Nothing says epic fantasy adventure like my thirtieth trip to the same stupid blacksmith.
I'm here to kill monsters and chew bubble gum. And I'm all out of gum.
That’s right folks. I don’t often like to focus on negatives here on The Impact Factor, and even less so about nitpicking games, but here we are. I’ve been spending a lot of my gaming time recently playing The Witcher 3: Wild Hunt. It’s an exceptional experience. I cannot wait to spend dozens (and dozens and dozens) more hours exploring its rich world, great writing, unique take on fantasy lore, and compelling quests. Throughout the time I’ve been playing, though, I couldn’t get this topic off my mind. I tried. Believe me. I also debated whether or not to write anything about it, especially since it’s one of those things that is discussed fairly frequently in the games space. But I just had to write about it. I know you’ll forgive me in time. So what’s the thing that bothered me enough to write an article about it here? Item degradation systems in role-playing games.

I’ll reiterate my takeaway right up top here. Item degradation systems have neither historically nor contemporaneously added anything of value to the RPG genre. They are tedious, archaic, and uniformly unfun. Please stop putting them in games. Or at the very least, give good thought to their inclusion.

It should come as no surprise to anyone who knows me, or has read more than an article or two on this blog, that I love role-playing games. The moment I moved out of the edutainment games space of my early childhood, RPGs became my bread and butter. Sure, I loved all kinds of games from all sorts of genres (platformers, fighting games and arcade racers in particular), but it was RPGs that truly spoke to me. Tales of Destiny. Final Fantasy IV. Hell, even Magi-Nation on the Gameboy color. And it only grew from there.
Not ashamed to admit that I spent a lot of time playing Magi-Nation on the Gameboy Color.
The card game was pretty sweet, too.
The more RPGs I played, the more I noticed a recurring annoyance. A particular system that always frustrated and perplexed me at its inclusion. Item degradation.  So many of my favorite RPGs include some form of weapon or armor degradation. The Souls games, Fallout 3, and Dark Cloud are just a few of many examples. The systems were usually pretty simple. When you use an item in combat it wears down. The amount of wear and tear an item (piece of armor, sword, etc) can endure is based upon an in-game statistic. When the item gets too low, you’ll generally have one of three things happen: the item will become less effective (less damage or less damage reduction), the item will become unequipable, or the item will break. To avoid these terrible fates, the player will need to travel to an NPC, generally a storeowner or blacksmith, and pay money to repair the item.

On the more innocuous end of the spectrum, you have games like Dark Souls. Repairing your weapons is relatively cheap and, with one nearly unmissible item purchase, you can fix your gear at any of the game’s many bonfires. Cool. On the hair-ripping-out-of-your-head end of the same spectrum, you have games like Dark Cloud and Fire Emblem. In Dark Cloud, if an item is broken, you lose it forever. Yep. Spend 60+ hours upgrading and evolving your sword? Have fun never using it again or going back several hours with that backup save you hopefully made. The game has an item called Repair Powder that you can keep in your inventory and use to fix your weapons, sure, but put it out of your mind for too long and enter a particularly long dungeon and you’re screwed. Fire Emblem can feel even worse when it gives you items that cannot ever be repaired. What’s shared between all of these systems, though, is that they all add nothing of any real value to the gameplay.
I can't tell how how scared & annoyed the Dark Cloud item degradation system made 12 year old me.
I broke out in a cold sweat when my weapons got low.
“Alex,” you might ask, “why are item degradation systems even added to games in the first place?” Great question, glad you’ve read the article up to this point. I asked myself the same thing. So let me try to unpack a little about why I think they are included. What the “point” is. In some ways, I can see how an item degradation system is supposed to resemble real life. As I’m sure anyone who has swung around a sword would be happy to tell you, it doesn’t take very long for the blade to dull. Armor gets beat up pretty easily, too. All that being true, why include the most boring part of armed combat as a game system? It’s a video game, items can magically not degrade and I think most people would be a-ok with it. Item degradation systems also serve as experience / gold sinks. If a player needs to spend gold or items they obtained to fix up their gear, it should encourage the player to put more time into the game to get more of said gold and items. Except it doesn’t do that. It just an annoying waste of your resources. And it’s certainly not a fun way to think about playing. “Boy I’m so excited to grind for a bit to make sure I have enough gold to keep my weapons in tip-top shape!” Finally, I can see how item degradation can create a balance of risk and reward. For something like Dark Cloud especially, you need to nervously approach all combat, because do too much for too long without the right preparation and you can lose your best weapon forever. But most systems don’t go this far (thankfully) and just lower your items damage or prevent you from equipping them. You’re never on the edge of your seat thinking will it or won’t it break. It’s almost always more along the lines of, “ugh, I have to stop what I’m doing and repair it AGAIN?!”
Hello again, friend. Be seeing you here again real soon.
In the end, I can’t see any solid reasoning behind an item degradation system’s inclusion in a typical RPG. You don’t need to look any further than Skyrim to see the proof of this. The Elder Scrolls had item degradation systems in all releases until the fifth installment, Skyrim. Not having to deal with repairing your items streamlined the game. It let you spend more time killing dragons and less time worrying about how low the durability on your axe had gotten.
Killing a dragon in Skyrim. No whetstone required.
As I mentioned above, my time with The Witcher 3: Wild Hunt inspired me to write this piece. Managing item durability is my number one grievance after about 15 hours of play. The Witcher 3 has a fast, action-based combat system that tasks the player with swiftly striking foes, dodging, and parrying. That means you’re constantly hitting stuff with your swords and getting hit by monsters and bandits and ghosts. For me at least, it has created a rampant need to repair my gear. The Witcher 3 also included a big and obtrusive icon that pops-up on screen when one of your items falls below 50% durability. I get it, The Witcher 3. I know I need to fix my stuff. Without exploits or spending too much time grinding, gold doesn’t come too easily. That means each time I have to repair it puts a significant dent in my coffers. Less gold has made for less flexible purchasing habits, too. I would love to spend more gold on Gwent cards or bomb formulae, but knowing that I need to have enough to constantly fix my items keeps me from buying. Even getting to the locations in which I repair my items has been a frustration. The Witcher 3 has a huge open world. So far, I’ve only found three NPCs who are able to fix my weapons and armor. Until just recently, the two I’d found were on a different section of the map than my current quest line. This meant that I had to find a sign post, fast travel to another map (which initiates a long load sequence), run a bit to get to the blacksmith, run back to another sign post, fast travel back (another long load) and then resume what I was doing. It’s annoying. So far, The Witcher 3’s item degradation system has taken my time, taken my gold, and taken me away from what I want to be doing. Even though the consequence of weakened or broken items is minor (they block / do less damage), it still makes me wonder why the system was included at all.
Yes game, I know I have to get my sword repaired. Kind of
fighting some harpies at the moment.
That’s not to say that item degradation systems can never work. I just want there to be serious thought about their inclusion. I want them to be implemented smartly. For example, you could do a lot with an item degradation system in a survival horror game. It could create that tension I mentioned earlier, balancing risk and reward. Is it worth killing this zombie even if it makes my baseball bat one step closer to being broken and unusable? Or what if the degradation system can be used to make a new item? Like if the baseball bat were to break, it gives you a sharp killing tool with a more limited range. There are also opportunities for item degradation systems in loot-heavy games like Diablo or Borderlands. Items weakening with use could prompt the player to try out new and radically different kinds of weapons and armor, which could in turn change up the way you play the game. It opens up new avenues of gameplay, rather than add a tedious wrinkle to the same gameplay that you see with traditional item degradation implementation in RPGs.

So that’s that. Stop including item degradation systems unless they really add something to your gameplay. I am loving The Witcher 3 so far, even for as much as it makes me repair my gear. For me it’s back to the grindstone. And the forge. Oh well. I have a Shrieker to kill.  

Friday, August 7, 2015

News & Views
8/1/15-8/7/15

Welcome back everyone! What a huge week we’ve had for video game news. Gamescom 2015 brought with it lots of information about the future of Xbox, announcements for a bunch of Blizzard games, new initiatives and more. If you would like to hear me talk about the Gamescom news that made a biggest impact, check out the brand new episode of The Impact Factor podcast that was posted today! You can subscribe to the podcast on iTunes, or if you prefer other methods, check out our SoundCloud. We’re on YouTube too!

The week was also filled with some great articles from reactions to editorials to analyses. As always, there is a lot of great stuff below. I found pieces talking about Telltale’s magic, a father making a video game for his son’s terminal cancer, ways to avoid cultural appropriation in games, and how this week’s TIME cover about VR (and the subsequent story within) are just awful. See you all here again soon!

Spotlight
Warren Spector, Gamasutra

Worth Reading
Filip Wiltgren, Wiltgren.com

Edwin Evans-Thirlwell, Eurogamer

Simon Parkin, The New Yorker

Patrick Miller, Gamasutra

Stephen Beirne, Normally Rascal

With Comments
Jeff Gerstmann, GiantBomb
Now this was a surprise story. TIME debuted a VR cover story this week, with potentially one of the most bizarre and terrible cover images I can imagine. It makes VR look silly. Like VR is for “others,” that ill-defined subset of our population. The story within wasn’t much better, referring to Palmer Lucky as “not your typical nerd” who is “cheery and talks in normal sentences that are easy to understand.” Lucky basically invented VR, he’s not just a nerd TIME. Ugh.

Laura Hudson, Offworld
In this great article, Hudson explains how we have to think beyond just creating culturally and racially diverse characters in games. Never Alone serves as a perfect example of the power of collaboration.

Keith Burgun, Gamasutra
Games are designed to trigger so many different psychological responses in the player. Burgun writes here about how games create addictive systems to keep players playing. Burgun also goes onto argue that game addition destroys time, and how RPGs of late really emphasize these addiction systems. Worth reading.

Jess Joho, KillScreen
This week has been huge for DOTA2. The International 5 has been taking place all week, culminating in a grand finals on Saturday during which the winning team will receive roughly $6.5 million dollars. TI5 is the largest DOTA event of all time, and fairly substantially the largest eSport event ever. I’m not a huge MOBA fan, and even less a fan of DOTA, but the event has just been fantastic. I know I’ll keep tuning in.

Ben Kuchera, Polygon
Kuchera writes an interesting piece about appreciating games that exist in a certain time and place. His reflection is prompted by the release of the Rare Collection, which features classic Rare games like Blast Corps. I totally agree with the sentiments here. I know I loved Descent when I first played, but imagine some difficulty going back. It’s cool that games can exist in such complex spaces.

Tuesday, August 4, 2015

Once More Into The Night
Review
Batman Arkham Knight, Rocksteady (PS4)


Abstract: Batman Arkham Knight perfectly concludes Rocksteady’s take on the caped crusader. A surprisingly exceptional story complements the game’s strong combat and exploration systems. Batman Arkham Knight’s take on sidequests are perhaps an industry-best. Batmobile sections became fun with time, but were overused in story missions. Batman Arkham Knight stumbles a little under the weight of expectation, but in the end delivers a solid experience that’s worth having.

The night is long, cold and dark. I sit perched on the edge of a time-worn concrete building looking out across rain-soaked Gotham. Pockets of fluorescence give the city its shape, as the urban sprawl all blends together into one imposing entity. Raindrops run slowly down my cowl and across the undulating geography of my suit. My communication system picks up chatter: some criminals bragging about a firefighter they’ve kidnapped. In an instant I’m swooping through the air, propelling myself deeper into the hungry maw of an angry city. When I reach the firefighter’s location I weave a tapestry of violence, downing foes with swift blows, nimble dodges and powerful tools. I then grapple back up into the dark. I look for my next task. Because, for one last night, I am the Batman.

Batman Arkham Knight, the final game in Rocksteady’s Batman trilogy, was one of the year’s most anticipated titles. It not only had to live up to the extraordinary precedent set by the previous two installments, but to also innovate and push the franchise forward. Batman Arkham Knight was the summer, capitalizing on a light release schedule and a tremendous excitement for a new AAA title to justify next gen console purchases. The game looked to continue the series’ rich legacy: many, myself included, didn’t know superhero games could be truly exceptional until Batman came around (a few notable exceptions like Spider-Man 2 aside). In nearly every regard Batman Arkham Knight delivers, living up to expectations.

If you have played the previous two Rocksteady Batman games, Arkham Asylum and Arkham City, you’ll know what to expect coming into Arkham Knight. The game is a 3rd person open world action adventure game. You play as Batman, unsurprisingly, confronting perhaps his biggest challenge yet. The story takes place one year after the events of Arkham City in a Gotham that has experienced relative peace and tranquility following Batman’s previous endeavors. The façade of safety quickly dissolves after a late-night diner massacre at the hands of the restaurant’s patrons. All signs point to Scarecrow and his weaponized fear toxin. This first attack gives way to a much larger and more sinister plot. Scarecrow has created an alliance with the mysterious and highly militarized Arkham Knight to create a fear toxin bomb so large it would envelop the entire Eastern seaboard (Gotham very much included). The city is evacuated and it’s left to a skeleton crew of police and Batman to defeat Scarecrow, discern the identity of the Arkham Knight, and to stop Gotham’s rogues gallery from taking advantage of the tumult.
Scarecrow's fear toxin remains one of Batman's most horrifying threats.
The story in previous Batman Arkham games has always been strong, but not to the extent by which it excels here. I say without exaggeration that the game’s plot is its strongest element. This is a spoiler free review, so it’s difficult to talk in any detail about why I was hit so hard with just how great the game’s narrative was. Early into the game you encounter an event that twists and distorts the player’s perception of reality. Throughout the game you’re made to question what you see and experience. The ways in which Batman Arkham Knight plays with player expectations are phenomenal, and many work uniquely because Batman Arkham Knight is a video game. Clever is the word that kept coming to mind while I was playing. Rocksteady is a master of their craft, constantly finding ways to use the conventions of both gameplay and narrative construction and turning them on their head. Batman Arkham Knight also makes smart use of mechanical storytelling, allowing your actions as a player to shape the game’s story as much as any cutscene. The successes of the game’s story go beyond this twist, though. Despite the huge cast of villains at play, Batman Arkham Knight spends a lot of time developing its titular antagonist. The core theme of finality resonates throughout your time with the game. In every regard, this feels like your last time as the Batman. This allows for a lot of narrative freedom, and gives a view of Batman that hasn’t really been seen in any of his several on-screen incarnations. It’s great.
Who is the Arkham Knight? Why does he hate Batman so much?
Where do you get the money for an entire fleet of tanks?
Batman Arkham Knight maintains the solid gameplay foundation laid down by the franchise’s previous entries. Combat is fast, fluid and skill intensive. Timing your strikes correctly can make for big damage, and knowing when to counter is crucial for success in the more difficult combat scenarios. Predator challenges are back too, tasking Batman to sneakily defeat a group of gun-toting foes. These systems are so well designed that they have become an industry standard for 3rd person action games—something other devs have taken and adapted into various forms across various IPs. So, while gameplay comes across as “expected,” I really wouldn’t have it any other way. To the game’s credit, you’re given a large number of combat and exploration tools from the get-go, removing the often tedious grind to get new items that open up gameplay. Along the same line, Batman Arkham Knight is content to throw you into the deep end. Tough combat and predator scenarios pop-up with relative frequency, testing the player throughout the completion of the story.
 
Batman Arkham Knight's combat is more of the same. For the most part, that's a good thing.
As a sequel, Batman Arkham Knight needed to innovate. And it did. Certainly Rocksteady’s biggest gameplay innovation was the addition of the Batmobile. Batman is able to remotely summon the Batmobile at any point, providing the player another means of exploring this newest and largest playground. Throughout many of the story missions as well, Batman is tasked with hopping in the car to pull winches, destroy walls, race through tunnels or take out the Arkham Knight’s AI-driven tanks. If you follow video game coverage at all, you’ll have heard the uproar about the Batmobile. Criticism was mixed but overall negative. I expected to hate the Batmobile. And I did. At first. But then it clicked. What at first felt like driving a bulky tank on the world’s largest slip n’ slide gave way to a powerful feeling of control, speed and destructive force. I cleared races with ease, enjoyed tracking down and destroying militia convoys, and absolutely wrecked hundreds of enemy tanks. While you don’t feel like ‘the Batman’ while in the Batmobile, it did add a compelling new gameplay element. Mandatory vehicle sections were shoehorned into the main story missions too frequently, however. It could often kill the momentum of the (frequently awesome) task at hand. The Batmobile sections certainly aren’t for everyone. I can understand the hate. All I ask is that you give it a try for yourself before writing it off. You might actually enjoy it.
Don't knock it 'till you've tried it. And spent some time getting good at it.
Other small tweaks to the Batman formula were more successful. Boss fights are done away with in Batman Arkham Knight. I love boss fights as much as any other guy, but their exclusion helped to reinforce the (mostly) grounded tone of the game’s world. Their absence also reinforced the player grasping, and mastering, the game’s base systems. You don’t need to learn any special one-time boss mechanics to beat the game. It felt streamlined. Perhaps my favorite tweak was Batman Arkham Knight’s take on giving the player sidequests. So many open world games will give you a map littered with icons: go see this, go do this, times infinity. It gets overwhelming. That’s not the case here. Sidequests are discovered organically through exploration. Hear some opera music while flying over an alleyway? Go check it out, you might find something interesting. See some smoke rising from a corner of Founder’s Island? You’re the Batman, go investigate. Not only does this reward player exploration, but it also creates a connection between the player and the world that was fresh and exciting. Completionists don’t have to fret, either. If you haven’t discovered a new sidequest location for a while, Alfred will send you some intel that places you in the general vicinity of a new one. It should come as no surprise that the sidequests are all pretty great, too.
Sidequests change up how you play. They are one of the
game's many highlights.
Batman Arkham Knight does have its faults. In many ways, Batman Arkham Knight buckles under the weight of tremendous expectation and the need to get “bigger and better.” The game conveniently finds a way to evacuate all of Gotham’s citizens, once again. This leaves the grand, beautiful city you get to explore feel hollow. Gotham is bland and empty. Devoid of life and character, consequently sapping a lot of the titular hero’s intrigue. You can’t feel like Batman when those you’re protecting are nowhere to be seen. In a way, a vacant Gotham places an even stronger focus on the game-y-ness of Batman Arkham Knight. You’re fully aware you’re playing a game at all times. As the third Batman game I’ve played, this put a lot of pressure on the combat and predator challenges to keep me fully engaged for 25+ hours. For the most part, they succeeded. But I often found myself doing the laziest, fastest approach to both, wanting to just get past them. The lack of full engagement with the game systems also made Batman Arkham Knight feel long, and not in a good way. After finishing my final sidequest and seeing the “bad true-ending”, I was more than ready to put the game down for good.

Still, there is no other game like Batman Arkham Knight. The game excels on so many levels. I would argue that it’s not the best Rocksteady Batman game, but it’s easily among one of the best new releases this year. Visually, Batman Arkham Knight is the best looking game on PS4. The story is exceptional. Batman Arkham Knight is a great way to end the trilogy. For one last time, I was the Batman. One last time into the dark night. I look forward to what morning brings.

Batman Arkham Knight
4/5