Monday, May 20, 2013

Sanctum 2 Review


Developer(s): Coffee Stain Studios
Publisher(s): Coffee Stain Studios
Platform(s): PC, Xbox 360, PS3
Review Platform: Xbox 360
Release Date: May 15, 2013

The tower defense genre has grown more popular over the last several years, as digital distribution platforms like Steam and Xbox Live Arcade have made it easier for development studios to get their games out there. But, somewhere along the way, the sense of tedium grew as the market was inundated with tower defense titles that did little to innovate within the genre. Last week saw the release of two games that provide something a little different and mix up the traditional tower defense formula. One of those games was Sanctum 2. As a first-person shooter/tower defense hybrid, it immediately presents itself as an interesting prospect.

Sanctum 2 is a game that some may struggle to come to terms with. It doesn’t fit comfortably into the preexisting molds from which it was cast. But, the resulting mélange is an exciting new toy. Half tower defense and half first-person shooter, Sanctum 2 takes a while to get used to. It mixes the two aspects of each genre nicely, but not necessarily in a way that presents itself as immediately comprehensible for the player. But more on that later.

In Sanctum 2 aliens are attacking various outposts that contain oxygen-producing cores. Your job is to fend off the advancing waves of enemies, all the while building a labyrinth of walls and turrets for the aliens to stroll through on their way to the core. You choose from one of four distinct classes, each with their own weapon and a character-specific trait. For instance, the standard assault class is given a trait that causes bullets to gain more damage with each successful hit on an enemy target; and the anti-air class uses ammo that sets enemies on fire, doing damage over time. Each class feels distinctive enough from the other. A universal leveling system gives players the chance to choose from various secondary weapons, perks, and unlocks numerous towers as you level up.


At the beginning of the match, the map you are playing on is void of any structures whatsoever. At the start of each successive wave, a resource and barrel pickup drops on the map. Resources allow players to purchase towers to attach to barrels. Barrels are what players place on the map to create a system of walls that act as a maze, funneling the enemies in as many directions as possible so that they take as much time as they possibly can in getting to the core. Each barrel pickup only drops a set number of barrels and resources, so the building of the maze system is incremental and happens as you complete each successive wave. Throughout the course of a match it is essential to engage in some resource management.

Sanctum 2 is designed to be played as a cooperative experience. Up to 4 players can take to the various maps created for Sanctum 2. There is a story mode—which can be played privately or in public lobbies—that has players completing maps to unlock comic-style storyboards explaining why it is that aliens are trying to destroy the cores. But, the story backdrop ultimately proves to be unnecessary. You don’t have to justify a tower defense hybrid with a storyline. That’s kind of one of the nice things about making games in the genre. You can also engage in a survival mode that can be played in private lobbies with friends, by yourself, or in public matches.


Ultimately, the cooperative experience requires a lot from the player. Playing Sanctum 2 in public lobbies is one of the most exhaustive multiplayer experiences I’ve had in a while. Allow me to explain: Tower defense games, by their very nature, have a strategic element. The strategic element in Sanctum 2 is experienced in the placing of barrels and towers in such a way as to make the enemy much less efficient in accomplishing its goals. Add to that certain enemy types with certain weaknesses and specialized towers that do everything from slow enemies within a certain radius of the tower, to towers that only affect ground forces without armor, and you’ve got the makings of a solid tower defense experience. But, an experience that begins to fall apart when the cooperative aspect of the game is introduced.

The game has a terrible tutorial that explains next to nothing about how things work in Sanctum 2. This creates a situation where players are having to experiment on their own to find out what the rules are. It creates an uninformed player-base creating problems when playing in public lobbies. People clearly didn’t understand several key aspects of the game, because the tutorial failed to introduce certain pillars in the mechanics of the game. The frustration is compounded by the decision to make resource and barrel pickups shared among players. I can’t tell you how many times people just stopped playing near the end of the wave so that they could be waiting in the spot where the pickups drop at the beginning of the next wave. Once a player picks up the resources and barrels they’re gone for good, no longer available for anyone else to pick up.

The developer tried to design around this by making any tower or barrel already placed on the map reclaimable by anyone. For instance, I dropped in to a public match with only one other person in it. He and I were playing on-mic and talking to each other to develop a strategy for barrel and tower placement. Everything was going along fine, until halfway through the match when someone else dropped in. He didn’t like the way we had our barrels positioned and so he went around reclaiming barrels from certain parts of the maze structure, leaving huge, gaping holes where there weren’t towers to defend. He then went around the map reclaiming the towers we had placed so that he could get himself some resources. Once he had the resources he wanted, he placed low-level towers at points in the maze structure that didn’t need additional tower structures. If it sounds like a troller’s paradise, it’s because it is. I can’t tell you how many times I played in public matches where someone dropped in halfway through a match and went on a reclaiming-spree that ultimately led to our losing the match.


The cooperative experience is designed in such a way that it requires you to play with people you know, people you get along with and people that you trust. As it stands currently, the public-lobby cooperative experience is a troll-fest, a frustrating experience full of players sabotaging those who they don’t agree with and backstabbing their teammates if things don’t go the way they want them to.

Don’t get me wrong, if played with a group of good people, Sanctum 2 definitely stands out as a very solid first-person shooter/tower defense hybrid—the only of its kind. It’s worth experiencing for its uniqueness alone. The universal leveling system was a smart choice, and the unlock progression is excellent. The gameplay itself is extremely enjoyable, feeling like an odd but ultimately satisfying combination of Minecraft and the multiplayer of Mass Effect 3. Sanctum 2 also gives players a chance to engage in some fairly high-level strategy for the genre. But, again, all of this is dependent on you playing with well-informed people that you know.

Final Score “Unique, But With Problems” 7.0
Graphics
Sanctum 2 is stuck somewhere between the last generation and the current generation. It doesn’t look horrible, but it ain’t pretty either. The muzzle flash on guns is a joke, and the way aliens dismember when you blow them up looks like something from the PS1 days. Visually, the game is uninspiring. Aside from the use of some interesting colors, it has little going for it.
6.0
Gameplay
The gameplay is exciting and unique and deserves to be experienced. But, without a group of friends to play with, it can sour really fast. Some of the cooperative design choices lead to player behavior that can be frustrating at best.
7.0
Value
Here’s the deal. Sanctum 2 really is a blast to play, especially for a $15 title. It gives you the opportunity to have a good deal of fun, and chances are you have a friends who you can bring along for the ride anyway.
8.0
Sound
Nothing notable to say here. The music is interesting, but in a campy, genre-specific way. Gun sounds and alien noises ultimately prove dull and generic.
6.0

Review by Jon Hamlin
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Jon Hamlin is a freelance game journalist living in the San Francisco Bay Area. He plays too much Mass Effect 3 multiplayer and enjoys a good glass of wine. Occasionally, he can be found commanding his legion of doom on Xbox Live as GeniusPantsPhD. Follow him on Twitter @WordsmithJon, or email him at jonshamlin@gmail.com All Articles by Jon.


Sunday, May 19, 2013

E3 Drinking Game


We are less than a month away from E3. To some, it’s the best time of the year; to others, the worst. Either way, it can be a boring, painful, and cringe worthy event. Every year there is more than a fair share of stinkers. We here at The GameScouts are here to help. Here is the official drinking game for this year’s E3. Feel free to use Microsoft’s options at their reveal on Wednesday, because we’re all going to need some help to get through it. And, Nintendo’s is designed with their E3-Directs in mind since there is no on stage presentation this year.

Enjoy, and drink responsibly. Or, not, it doesn’t affect me.





Article by Chris Lohr
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Chris Lohr is a freelance writer currently in film school. If you’re looking for him to write for your website, manifesto, or Russian bride catalogue, send an email to puddinginasock@gmail.com. Put today’s date as the subject line and include a picture of yourself. Must be DDD free and willing to host. All Articles by Chris.



Monday, May 13, 2013

Metro: Last Light Review


Developer(s): 4A Games
Publisher(s): Deep Silver
Platform(s): PS3, Xbox 360, PC
Review Platform: Xbox 360
Release Date: May 14, 2013

When Metro 2033 released in 2010, it portrayed a stunning illustration of Russia’s post apocalyptic underworld and its hefty system requirements became the benchmark for PC enthusiasts. The atmosphere and narrative were exemplary, but the sluggish gameplay hampered the otherwise immersive experience and offered very little replay value. Even though I enjoyed the original, the overabundance of post apocalyptic titles this generation makes it hard to care for another desaturated end-of-the-world extravaganza. And although earlier gameplay trailers showcased quite a bit of gameplay diversity, particularly in the stealth department, the sequel returns with the same strengths and weaknesses of the original for an adventure that feels more like a re-make than a fleshed out successor.

Set in the same post-apocalyptic Moscow underworld of the predecessor, Metro: Last Light continues the story of Artyom who sets out to discover the meaning behind the “dark ones.” The dark and detailed environments of Metro 2033 return, but they lack the same atmospheric impact of the original. Aside from the conservative addition of color in a few places, Metro: Last Light carries an unwelcoming sense of Déjà vu. The various underground camps feel like revamped versions of old levels and the few areas of polish only accentuate the lack of diversity in the design. While the PC version provides significantly richer aesthetics, an NVIDIA TITAN (or an Radeon 7970) is needed to fully appreciate the game as intended. Basically…very few gamers will get the most out it. Unfortunately, the Xbox 360 version is a considerable step down. Textures are low quality, the lighting lacks proper contrast in a lot of places, and there’s even quite a bit of pop-up (which is unacceptable seeing that most areas are narrow closed-off spaces).


This isn’t to say that the graphics are bad per se; they just haven’t been properly optimized for consoles. Despite the derivative levels, there are still a few sights worth seeing. The surface levels are now vast open areas that are tricky to traverse and provide a nice visual break from the grim underworld. The dense crumbling exteriors of Moscow are a nice touch, but it’s a shame that the gameplay hasn’t seen much improvement. The sluggish, imprecise shooting of Metro 2033 has changed very little. When hectic shootouts occur, they feel like you’re throwing bullets into the dark and there’s little satisfaction behind landing kills. Making matters worse are the drawn out escort/follow sections…you know the ones that NOBODY likes. One minute you find yourself fighting for your life…the next you’re following an AI companion for what feels like an eternity.

On a brighter note, the stealth mechanics finally feel functional (unlike the embarrassing mess in Metro 2033) and are probably the most enjoyable aspects of the game. There are plenty of opportunities to ninja your way through large sections of the game… and honestly, I wish the entire venture allowed for a stealthier approach. The world of Metro begs for a stealth-oriented experience but is constantly interrupted by poor action sequences and unnecessary handholding.

Upgrading weapons plays a larger part this time around, but you only need a few parts to get by. Get a scope and silencer for the stealth sections, get clip extension and precision scopes for the heavier artillery…and voila, you’re done. I customized my guns only once or twice during my playthrough and never revisited the upgrade kiosks again. The sound doesn’t fare any better. While the guns and environmental effects sound fantastic, the awful stereotypical fake Russian accents are absolutely unbearable. Even the presence of Nolan North and Patton Oswalt can’t remedy the atrocious dialogue.


Metro: Last Light is a strange sequel because for all the things it does right, it makes the same mistakes as its predecessor. The improved and exciting stealth sections are completely ruined by awful shootouts and the game oftentimes forgets that you even exist. You find yourself walking down corridors listening to annoying AI banter for way too long before anything exciting happens. It feels like you’re in control maybe 40% of the time while the rest consists of pressing the analog stick forward until you’re “guided” to the next area. And while Metro has always been a more story driven experience, its narrative is derivative and unexciting making it hard to become immersed in Russia’s crumbling underworld. And how about that 5$ difficulty mode that you need to "pay" for (unless you pre-ordered the game) in order to get a little extra replayability....please…now they’re just messing with us. 

Final Score “Would've Been Great A Decade Ago” 6.5
Graphics
It looks great on a PC, but you need a monster system to run it as intended. The console downgrade is pretty poor. Low resolution textures, pop-ups, lackluster lighting…brown…brown…brown…oh, wait there's some color, no never mind, it's just brown with glowing green mushrooms.
7.0
Gameplay
The stealth sections are a massive improvement…however the rest of the game is as sluggish as before…and a complete bore.
6.0
Value
10-12 hours is pretty solid…too bad most of it consists of walking down corridors listening to annoying AI banter. And now you have to "pay" for a difficulty mode???….pffft…pleeeease!
6.5
Sound
The guns and environmental effects sound superb…but the awful fake English-Russian accents are TERRIBLE! Just listen to the native Russian audio instead.
6.0

Review by Tin Salamunic
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Tin Salamunic is the founder of The Game Scouts. He is a Video Game Journalist during the day and illustrator by night. He's been obsessed with video games since the early NES days, collecting every major system and game on the market. Video games are the reason he pursued the illustration career and he hopes to be creative director for a video game company one day. All Articles by Tin

Wednesday, May 8, 2013

Mars: War Logs Review


Developer(s): Spiders
Publisher(s): Focus HomeInteractive
Platform(s): PSN, PC, Xbox Live Arcade
Review Platform: PC
Release Date: April 26, 2013

Prior to the sales banner debuting on Steam, I knew nothing about Spider’s cyberpunk role-playing game Mars: War Logs. There were no ads, barely any game coverage, almost nothing to promote the game before launch…and it’s a shame because this little diamond in the rough shouldn’t go unnoticed, especially if you’re a science fiction fan. Mars: War Logs can be best described as a Mass Effect and Dragon Age hybrid with a Red Faction overtone. Bioware’s dialogue mechanics are an apparent inspiration with the combat being very reminiscent of Dragon Age, but with a heavier emphasis on melee. It’s a budget title, but its praiseworthy ambition provides a surprisingly immersive adventure with beautiful environments and challenging (albeit sometimes frustrating) gameplay.

Set on Mars a century after a great uprising, Mars: War Logs puts you in the shoes of escaped prisoner Roy Temperance who finds himself in the midst of a battle for water between various factions. The first third of the game revolves around planning your prison escape with Innocence Smith, a young army recruit who also serves as the narrator and your partner AI. During its early hours the game feels much like Chronicles of Riddick: Assault on Dark Athena. You run around the refugee camp gathering supplies and recruiting help for the escape while familiarizing yourself with the combat and the game’s lore. The story itself won’t win any awards for originality, but the setting and characters are intriguing enough to carry the narrative throughout.


I decided to use my Xbox 360 gamepad instead of the keyboard as I find third person games functioning better with analog sticks. On the surface, Mars: War Logs is an RPG brawler, but simple button mashing won’t get you anywhere. Observing your enemy’s body language is key to figuring out how to react properly. You have your basic attacks, dodge/parry maneuvers, and a command wheel that pauses the action and lets you assign further skills to the shoulder buttons. Guns and necromancy can be used for ranged attacks, but most battles encourage the use of modified clubs and batons.

The game is tough…excruciatingly tough at times. Regardless of your upgrades, you always feel underpowered when approaching a group of enemies and most encounters take several tries before you can come out victorious. Enemies can beat you down with just a few swings yet it takes a dozen strikes to take out a single opponent. Furthermore, you always find yourself surrounded with distant enemies using ranged attacks to deal damage. It wouldn’t be so bad if your partner AI were actually useful. He’s taken out within seconds and does almost nothing to help out during combat. He’s merely a temporary distraction. However, my biggest gripe is the broken stealth mechanic. You can sneak up on enemies, but you can’t really take them out silently. This approach only serves as a preemptive attack that deals additional damage, but nothing more. It’s a real shame because the level design begs for proper stealth gameplay. Ultimately, you find yourself rolling around the environment avoiding the vicious attacks while practically petting your opponents to death. It sounds worse than it actually is…and I’m only being critical because underneath the frustration lays a blueprint for superb gameplay that’s being bogged down by questionable design decisions. Nevertheless, I still had fun beating down baddies with modded clubs and special powers and honestly, the balancing can easily be patched and I really hope the developers provide some future updates.

           
Where the game stumbles in the gameplay department, it makes up in its art direction. The sepia covered environments are crammed with detail and each block radiates with personality. For a budget title, the visuals are quite impressive and it’s nice to see so much effort went into crafting a believable world rich in aesthetic extravagance. Roy and the supporting cast are equality well presented, but the same can’t be said for the rest of the characters. Many are derivative models with small permutations in their attire and hairstyles. Making matters worse are the uneven animations, some of which look outright wooden. The result is a beautiful world populated by inconsistent character models and jerky animations.

I called the game a “diamond in the rough” for a reason. Its rough edges aren’t detrimental to the experience…in some instances they actually add to the immersion. The script and dialogue are a prime example. The writing is filled with grammar mistakes and the dialogue oftentimes mismatches the captions. Some words are even mispronounced and I couldn’t figure out whether it’s intentional or not. Strangely enough it ads a bizarre otherworldliness to the conversations and I enjoyed myself more because of it.

Mars: War Logs has plenty of problems, but it’s still a worthwhile, at times even excellent, science fiction venture. It may not have the polish, finesse, or narrative complexity of Bioware’s Mass Effect series, but the developer’s ambition is undeniable and commendable. For only twenty bucks, you’re getting nearly twenty hours of solid gameplay…and last time I checked, that’s more than what most AAA titles offer these days.

Final Score “A Great Deal for Sci-Fi Fans” 7.5
Graphics
For a budget title, Mars: War Logs looks great. The environments are dense and detailed and the lead characters look spot on. The rest of the characters (including the animations) are a different story.
7.5
Gameplay
I'm confident that with a few updates and tweaks, the gameplay can be improved significantly. As it stands, it's a fun RPG brawler with unforgiving difficulty and a completely useless stealth mechanic.
6.5
Value
Twenty hours for Twenty dollars? Yea, you're definitely getting plenty of value here. The game is incredibly charming and immersive, despite its problems…and if you're a science fiction fan you should definitely check it out.
8.5
Sound
The voice acting is solid…but it's the script oddities and random mispronunciations that make most conversations so hilariously interesting. The music is catchy and fitting…but not particularly memorable.
7.0

Review by Tin Salamunic
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Tin Salamunic is the founder of The Game Scouts. He is a Video Game Journalist during the day and illustrator by night. He's been obsessed with video games since the early NES days, collecting every major system and game on the market. Video games are the reason he pursued the illustration career and he hopes to be creative director for a video game company one day. All Articles by Tin

Tuesday, May 7, 2013

Deadly Premonition: Director's Cut Giveaway


In celebration of the recently released Deadly Premonition: Director's Cut, we decided to host a little giveaway contest. It's about sandwiches, sins, and strawberry jam. At one point in the game, our hero agent Francis York Morgan tries a Sinner's Sandwich, a delicacy containing turkey, strawberry jam, and cereal. It's supposedly eaten as self-inflicted punishment to atone for past sins.

Soooo...for our little giveaway, we want to see a photo of your best Sinner's Sandwich. We'll select TWO of the most delicious looking pieces and will reward the winners with a free copy of the Deadly Premonition: Director's Cut game for the PSN. Don't forget, the ingredients are: turkey, strawberry jam, and cereal!

Please send your submissions to Tin Salamunic at: tin@thegamescouts.com
The deadline is: May 15, 2013!

We're looking forward to your entries!

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Tin Salamunic is the founder of The Game Scouts. He is a Video Game Journalist during the day and illustrator by night. He's been obsessed with video games since the early NES days, collecting every major system and game on the market. Video games are the reason he pursued the illustration career and he hopes to be creative director for a video game company one day. All Articles by Tin

Monday, May 6, 2013

Deadly Premonition: Director's Cut Review


Developer(s): Access Games
Publisher(s): Rising Star Games
Platform(s): PS3
Release Date: April 30, 2013

Deadly Premonition is ugly, broken, confusing, demented…and also one of the most extraordinary experiences of the decade. It disregards all conventional quality standards and plays by its own rules. It’s juvenile and careless, yet provoking and immersive. It fails as a traditional video game, but succeeds as a work of fiction. How much of its absurdity is intentional remains unclear, but this exceptionally orchestrated disaster has to be judged on its own merits. As one of those rare cases where the failures emphasize the strengths, Deadly Premonition achieves its individuality by being the Ed Wood of gaming – it’s so bad (well, more like odd) that it’s brilliant. Originally released as an Xbox 360 exclusive, Deadly Premonition has garnered a cult following and the reviews have been amusingly split amongst critics. While many despised the near broken gameplay and nauseating visuals, others praised its unique ruggedness as the holy grail of this generation. The Director’s Cut hopes to iron out some of the rough edges and reach the PS3 audience, but are the improvements enough to stretch beyond the game’s fan base or do they compromise the integrity of the original?

In a nutshell, Deadly Premonition is Twin Peaks, the game. Its narrative, characters, setting, and tone, are directly inspired by David Lynch’s spectacular TV series. But even the Lynchian eccentricity doesn’t compare to the absurdness of Deadly Premonition. Playing through the game is equivalent to a tennis match with ping-pong balls. The unpredictability and WTF moments can either be enraging or delightful, depending on how you perceive the bizarre venture.


You play as FBI Special Agent Francis York Morgan. York tends to talk to himself…Zach specifically, who represents you the player. He also likes to solve cases with the help of coffee and enjoys discussing B-movie classics while cruising around town. He’s a nut job…and he may be the most unique and interesting character you’ll ever experience in a video game. York is sent to the town of Greenvale to investigate the mysterious murder of a young woman. The seemingly ritualistic nature of the killing is reminiscent of York’s past cases and as he uncovers clues around town, he finds further evidence linking to the killings around the country. Deadly Premonition is an open world horror mystery that plays much like Capcom’s Resident Evil 4. Aside from the raw RE4 DNA, the gameplay is sluggish, slow, and imprecise. It’s far more playable than its Xbox 360 predecessor, but still feels like the basic third person shooter mechanics were shoved down a meat grinder. At the same time, it “compliments” the broken world that it’s in. It manages to reach that perfect balance of being unplayable and a complete joy. It’s indescribable.

Every character in Greenvale is unusual and memorable. Conversations often steer towards absurdity and you’ll often wonder how the script was even put together. Let’s just say that the first inner dialogue with “Zach” is an in depth conversation about Tom and Jerry…yes, the cartoon. Deadly Premonition is filled with varied quests and even sim-like elements. Keeping track of York’s hunger, tiredness, and even cleanliness is a big part of the experience. Shaving, doing laundry, and changing your clothes intertwines beautifully with the rest of the game, especially as York grows on you over time. Missions consist of investigating crime scenes by collecting evidence while putting together clues with York’s “profiling” ability and fighting zombies (or ghosts?) in what seems like a Silent Hill inspired netherworld. Deadly Premonition can be legitimately scary at times…but its creepiness is oftentimes accidental. It’s the combination of repugnant aesthetics and broken sound effects that accentuate the feeling of angst. It’s an uncanny feat, but it works.


The visuals have been supposedly enhanced for the Director’s Cut, but you couldn’t tell the difference unless you had both versions side by side. The increased resolution appears slightly sharper, but the already sluggish framerate is now even choppier. At times Deadly Premonition moves like a slide show but it’s luckily never unplayable. The character models look decent enough (and I’m using “decent” very loosely here), but the environments are an abomination. Textures look like month old vomit and exteriors can be so blurry (especially when driving), it’s hard to tell things apart. Deadly Premonition looks god awful even for a first-generation PS2 title and there are no words to describe it. Ironically, the ugly graphics are a big part of the game’s personality and anything better than this would simply make it into a bad game…instead of a “unique” one. Fans who were concerned that the Director’s Cut would compromise the weirdness of the original need not worry. If anything, this enhanced edition allows players to focus more on the game’s narrative by providing slightly improved controls, but believe me…it’s just as odd as it was back in 2010.

Deadly Premonition: Director’s Cut is nearly impossible to score. It fails in almost every aspect, but is also one of the most memorable and immersive games I’ve ever played. All the broken elements somehow merge into an experience that can’t be summed up by a few paragraphs. I could easily give Deadly Premonition a “1” for the sluggish controls, nonsensical plot, and headache inducing visuals…but why is it then that I enjoyed myself so much? Ultimately, I play games to be entertained; to be sucked into a fictional world inhabited by interesting characters…and Deadly Premonition has them in abundance. Deadly Premonition is an exception…an anomaly that deserves praise for achieving the impossible: It’s the best worst game ever made…and for that, it is flawless.

Final Score “There's Nothing Quite Like It” 10
Graphics
The worst looking game of this generation. A complete disaster…Ironically, it's what makes it so unique…so depending how you look at it, it could be a 10.
1.0
Gameplay
It's barely functional and just slightly better than the original. But believe me…you won't be playing this gem for its shooting mechanics.
2.0
Value
It's the most bizarre and demented game I ever played. If you give it a chance, you're in for one of the most twisted adventures in gaming history.
10
Sound
The sound effects are so bad and broken, I thought my speakers were failing...It's fantastic. The music, however, is superb and the voice acting/dialogue is unlike anything you've ever heard.
10

Review by Tin Salamunic
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Tin Salamunic is the founder of The Game Scouts. He is a Video Game Journalist during the day and illustrator by night. He's been obsessed with video games since the early NES days, collecting every major system and game on the market. Video games are the reason he pursued the illustration career and he hopes to be creative director for a video game company one day. All Articles by Tin

Friday, May 3, 2013

Far Cry 3: Blood Dragon Review


Developer(s): Ubisoft
Platform(s): PC, PS3, Xbox 360
Review Platform: PC
Release Date: April 30, 2013

What happens when you give developers free rein to indulge in their fantasies? Blood Dragon happens - a bizarre, delirious, sarcastic, oversaturated and utterly parodistic nod to everything eighties…in short, an absolute delight. Blood Dragon is a standalone title that’s relevant to last year’s Far Cry 3 only in name and gameplay, but nothing else. What started out as Ubisoft’s April fool’s joke somehow made its way into an actual game…and for that, I applaud them wholeheartedly. There are no words to describe Blood Dragon, nor is there anything to compare it to. It’s the video game equivalent to a Mel Brooks film and gamers who grew up with classics like Terminator and Robocop will appreciate its nostalgic humor the most.

Blood Dragon celebrates its absurdity with neon vistas, zebra striped tigers, radioactive alligators, and a protagonist who rips out hearts for money…ehm, credits. The ludicrous premise and overwhelming aesthetics are consistently eccentric without disregarding the superb gameplay of last year’s Far Cry. Blood Dragon is stupid and arrogant in the best way possible and never shies away from obscenity. The narrative unfolds through a series of NES-era 2-d slides with a thick overtone of foul language. There’s a plot there somewhere…about saving the world or something…and of course a madman that you need to nix…but it’s really about taking a bath in neon vomit; beautiful, radiating, 80’s disco neon vomit.


The game doesn’t take itself seriously for a second, but never looses sight of its core mechanics. In a way, Blood Dragon highlights the best parts of Far Cry 3 with a greater focus on stealth. Every mission can be played stealthily (with the exception of a few necessary shootouts) and there are plenty of garrison liberation side missions scattered throughout the new island. These fortified posts are exceptionally challenging with boats, jeeps, and even helicopters circling the premises. Trying to sneak through them completely undetected can be tricky…and incredibly satisfying.

Weapons are upgradable by completing additional objectives, like rescuing scientists and hunting rare animals, and leveling up still plays a role but it’s been streamlined. As you rank up, you gain abilities and bonuses associated with that level instead of distributing skill points. It works well considering the smaller size of the game and you still get a sense of growth as you acquire deadlier skills.

The biggest addition to Blood Dragon are…well, the blood dragons. These massive dinosaur-like creatures are deadly and a pain in the ass to kill. They change color depending on their alert level and once they turn red, it’s best to stay out of their way. Since they are blind and only react to sound, you’re best off crouching when they’re nearby. A freshly plucked heart can be tossed to lure them towards enemies, which is extremely beneficial when infiltrating military outposts.


Visually, the game is like having an acid trip on an exploding roller-coaster  The environment feels like an outdoor disco with mutated zoo animals on the loose…it’s spectacular. It captures the eighties aesthetic beautifully and is a refreshing contrast to last year’s exotic vistas. The nighttime does get a little monotonous at times and the entire island tends to lack diversity. Nevertheless, considering you’re getting an entirely new sandbox for a mere fifteen bucks, there’s not much to complain about.

Far Cry 3: Blood Dragon is the most delightful franchise oddity of this generation. It’s a fantastic homage to eighties' science fiction flicks and preserves the superb gameplay that made last year’s Far Cry 3 such a masterful experience. Even if you don’t get a single joke, Blood Dragon offers a solid six hours of gameplay on a brand new island that feels like a non-stop disco party. It’s crazy, it’s demented…it’s brilliant.

Final Score “Deliriously Spectacular” 9.0
Graphics
Beautiful neon coated vistas with fantastic lighting and twisted looking blood dragons. However, the scenery lacks diversity throughout and makes the island feel smaller than it actually is.
8.0
Gameplay
As brilliant as last year's Far Cry 3. The greater emphasis on stealth means you have more flexibility with each mission and the liberation side missions are as fun as ever.
9.0
Value
For only fifteen bucks, you're getting six hours of pure bliss. There's really nothing like Blood Dragon out there and it's worth every penny.
9.0
Sound
Music by Power Glove? Yes please! Absolutely spectacular, inducing the ridiculous voice acting.
9.0

Review by Tin Salamunic
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Tin Salamunic is the founder of The Game Scouts. He is a Video Game Journalist during the day and illustrator by night. He's been obsessed with video games since the early NES days, collecting every major system and game on the market. Video games are the reason he pursued the illustration career and he hopes to be creative director for a video game company one day. All Articles by Tin

Stinky Footboard is Fully Funded


A little while ago, we reviewed the revolutionary Stinky Footboard controller and I'm happy to report that their Kickstarter campaign has been fully funded. Their goal of $75,000 has been surpassed with a total pledge of $79, 562. The board will be available for sale in June for $119 and you can check out the developer's site for purchasing details. The Stinky Footboard takes gaming to an entirely new level by allowing you to map up to four keys/commands to its four sectors for additional gameplay support. For more details about the functionality and our final verdict, check out our full review.

Thursday, May 2, 2013

Last Month in Gaming: April 2013


My apologies readers! I’ll promise that I’ll try hard to make this the only Last Month in Gaming you see this year. Last week was a busy one for me, and a few of my writing responsibilities slipped my mind. With that out of the way, we can finally start last month’s This Month in Gaming for April 2013!

LucasArts Closes


Early in April, gamers were given the news that longtime game developer and publisher LucasArts was closing its doors for good. While heartbreaking in its own right, it didn’t necessarily come as a surprise to those of us who have followed LucasArts over the past several years. The publisher had a knack for starting projects that would never come to see the light of day. Couple that with a lack of vision and direction for the company because of so many changes in upper-management and it’s easy to see how the financial instability that had plagued the company for the past several years, eventually became its downfall. It wasn’t a good start to the month.  

Microsoft Prepares to Unveil Next Console


Until recently, Microsoft had been pretty mum regarding a possible reveal date for its next home console. Mark your calendars for May 21, ladies and gentle-toads, because that is the day that Microsoft is going to try and convince you that it has more to offer than Nintendo and Sony. While the reveal of the Microsoft console is interesting enough in and of itself, the thing I’ll be watching for is how Microsoft addresses the controversies it has been mired in for the last couple of months. Rumors about an always-online Microsoft console have been circulating for some time, but the rhetoric around that rumor ramped up when, now former, Microsoft Creative Director Adam Orth had an outburst on Twitter, essentially telling people worried about the possibility of an always-online Nextbox to piss off. Microsoft can’t afford to have a bad E3. In order to have a good E3, they need to polish off their public image, and that means using the reveal on May 21 to directly address some of the more unsavory rumors that have been going around. They can’t afford to spend their E3 press conference talking about things like always-online.

Nintendo Continues to Confuse


Nintendo hasn’t been doing very well since the tail-end of last year. The Wii U hasn’t sold well at all. In fact, in February and March, the Wii outsold the Wii U in the United States. Nintendo hasn’t been hitting monthly sale projections and their quarterlies are looking even more dismal. It has a lot of people worried, myself included, who would like nothing more than to see a second Golden Age for Nintendo. At the end of April, Nintendo pulled a fast one on those of working in the game press when it announced that it wouldn’t be holding an E3 press conference. Nintendo wanted to be clear: They would be at E3, but they would be hosting two smaller events in lieu of a large press conference. One event would be an invitation-only affair for the press, and the other event a small pavilion where they would—presumably—showcase some games. This announcement dumbfounded many people in the industry, who saw E3 as Nintendo’s only shot to reinvigorate what little consumer-base it had by showcasing some of the games planned to release later this year, games that the console desperately needs. Say what you want about the relevance of E3. It remains the single most popular and widely covered event dedicated solely to videogames that the industry has. It’s where consumer-bases are built and maintained, which is why it is important for Nintendo to really come out in force… or why it was important.

There it is! Last month’s This Month in Gaming! May should prove to be an interesting month as publishers, developers, and console manufacturers all prepare to put the final touches on their E3 projects. Hopefully, Nintendo’s sales will bump a little in anticipation of the announcements of the next Super Smash Bros. game, as well as the yet unrevealed Mario Kart and Zelda games, respectively. Either way, they have a rough road to travel to June.

Article by Jon Hamlin
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Jon Hamlin is a freelance game journalist living in the San Francisco Bay Area. He plays too much Mass Effect 3 multiplayer and enjoys a good glass of wine. Occasionally, he can be found commanding his legion of doom on Xbox Live as GeniusPantsPhD. Follow him on Twitter @WordsmithJon, or email him at jonshamlin@gmail.com. All Articles by Jon.