Surely now – a year on from its original planned release date – we are nearly in the presence of Halo Infinite‘s story campaign. The wheels are set in motion for a committed launch, and though the game’s release will be aping all manner of giant hulking spacecraft in Halo lore by crash-landing without some of its parts, at least it won’t be on fire. You know, metaphorically speaking. We can hope. I’ve been playing a lot of the game’s multiplayer “beta” that’s basically just final release code, and it’s fantastic, so that’s promising at least.
As you may recall if you perused any of this site’s 2020 output, I spent a decent chunk of free time last year playing through and writing about the PC ports of the Halo campaigns – most of them in co-op while weaving through connection errors, bugs and other technical hurdles – in an effort to get ready for an otherwise-intimidating leap of faith into a dense, lore-soaked story spanning (officially as of last month) decades – plural. As you may realise if you perused any of this site’s 2021 output thus far, I haven’t been spending a whole lot of free time this year doing any of those things.
On one hand, a break from the series was just what the doctor ordered; on the other, it kinda seems like the whole ordeal (and make no mistake, it did feel like an ordeal at points) isn’t really worth much if it isn’t finished. But at the time of writing, there isn’t much time left in the year; there has been a pretty constant stream of new things to play and watch throughout 2021 and almost nothing about Halo Infinite‘s launch has seemed set in stone until quite recently. So to finish this lengthy project, I’ve taken inspiration form – stay with me – the Kingdom Hearts series.
Yep, for all intents and purposes I’m packaging the three remaining Halo campaigns as if they were a twisted sci-fi gun-spraying version of Kingdom Hearts 1.5 HD ReMIX or Kingdom Hearts 2.5 HD ReMIX, and the mental gymnastics required to get us to that comparison are surprisingly light. Both collections repackage three older games using the same formula: one headlining main-series title, one title with “spin-off” vibes (though this is no indication of lesser polish or quality) and one lesser-regarded title presented only as a collection of cutscenes. Spot the incredibly neat coincidence yet?
Basically, I set out to play the Halo 4 campaign to completion on my own time by myself, allowing the “spin-off” Halo 3: ODST to be a co-op side project as time and schedules permitted – with no pressure to finish the game because that’s the only Halo campaign I’d already seen through entirely long before this project began. That leaves Halo 5 as the stubborn outsider that I decided was best left experienced via cutscenes and/or story summaries on YouTube, for reasons including but not limited to:
It’s the only Halo game that still hasn’t come to the PC, and there’s still no sign of it doing so;
Though I loved Halo 5‘s multiplayer enough to lift it firmly into my top five games the year it came out (and that was a very competitive year), the campaign is almost universally panned as being short, repetitive and unsatisfying;
Perhaps more than any other Halo campaign, Halo 5‘s is designed around four player co-op, and there’s no way I can be bothered going through the hassle to get a fully-stacked willing team together given the above factors.
So that’s the setup. Got it memorised?
Halo 3: ODST
What a game! No sooner had I booted up the opening mission with my long-suffering Halo co-op mate Toby than I was hit with a wave of 2009 nostalgia I hadn’t yet experienced on this long PC campaign journey. This was one of my very first tastes of dark, moody Triple-A HD gaming back in the day, and the polished visual contrast between shadowy night-time city streets and funky alien weaponry is preserved superbly in ultrawide aspect ratio today. But the game’s art is certainly not the main reason why this campaign such a stellar reputation within the series.
It has somehow been (almost) ten years since The Legend of Zelda: Skyward Sword hit the flailing, ailing Nintendo Wii to a chorus of crickets. Essentially the last major release on the console, there was already a mighty stack of factors going against its success before November 24th, 2011 rolled around: The Wii had endured an extremely light year after a banner 2010 that already felt like a celebratory send-off, as Nintendo pivoted first to launching and then to saving the fledgling 3DS; the game required the purchase of the Wii Motion Plus attachment in order to work with its ambitious controls; and perhaps most tellingly, the lightning had left the bottle for the casual Wii audience and everyone else was playing Skyrim.
Yes, Link, it’s true.
This left a smaller audience than Nintendo would’ve liked to pick up its latest 3D Zelda extravaganza, the endcap to a year-long celebration of the series’ 25th anniversary. Skyward Sword sold in the millions, but for a game five years in development and an install base as record-shattering as the Wii’s, it was nothing short of a disappointment. The day I started writing this it still held the record for the worst-selling 3D entry in the Legend of Zelda series (Edit: Switch sales may have changed this by now). And despite an initial wave of critical acclaim customary for a Zelda game, the reputation of Link’s motion-controlled escapade took a sharp downturn before long and stayed down for years. After all, who wants to dust off their horrifically outdated Nintendo Wii and buy an extra controller attachment just to challenge the notoriety of a finicky, linear, repetitive, excessively hand-holding game in *ugh* standard definition?
omg ewwwww
Five years. Oh no.
It has somehow been (just over) five years since I put out what is still the longest singular piece of writing I’ve ever cobbled together in my lifetime: A 10,000 word behemoth on The Legend of Zelda: Twilight Princess HD(Edit: Um, about that…). Inspired by a decade of mixed personal feelings, lengthy conversations with friends, and triple-digit hours of watched YouTube content on the strengths and weaknesses of the game; the post ended up perhaps a touch unwieldy and yet oh-so-cathartic. Thanks to a bucket of alternate perspectives and a highly underrated Wii U remaster, I had never felt so assured that – despite its flaws – um, I liked the game, actually.
And I’d be OK never writing another word about it.
The last thing I was thinking as that project slowly came together was “I’m setting a template here and I definitely want to put myself through this again.” And yet you know where this is going, because you read the title: It’s Skyward Sword’s turn. But this time around, dear reader, we’re not investigating if years of Zelda franchise evolution and some neat nips and tucks have improved my sentiments towards an inconsistent videogame; we’re seeing whether my third favourite Zelda game of all-time (behind only Majora’s Mask and Breath of the Wild) can possibly still hold such a lofty position after it has been exposed to a decade of stiff critiques, a lack of clear historical identity and a radical reinvention of the entire franchise in its wake.
Challenge accepted.
But we are going to try our very best to do it in less than 10,000 words this time, probably (Edit: We failed, and we failed hard). Regardless, this one will need a beverage or two to get through; at the time of writing Skyward Sword is the last 3D Zelda game to release on a second console, and rest assured I have no intention of leaving stones unturned. Whatever it will cost.
You guessed it – we’re in for another long one.
(I’m going to go ahead and re-purpose a paragraph from the Twilight Princess post because it fits too well this time, and kinda feels poetic too)
Be aware that this post contains a huge amount of spoilers that get steadily worse the longer you read – worth mentioning if you haven’t played the game before. All you need to know if you’re a Skyward Sword newcomer is that yes, I believe this HD / portable release is definitively the best version of the classic title, and yes, you really should play it. If you really want to read on, continue at your own risk, but you should know that what follows is so exhaustive that you may not even feel like you need to play it by the end. But maybe play it anyway?
This year’s moments list is virtually an even split between single-player story beats worthy of entire spoilercasts and the discovery of delightful game mechanics I just did not expect. That’s just about all I could ask for, as that spectrum of variety made this one of my easiest lists to write. It’s no coincidence that my number one entry is a combination of both of these types, and with a bit of right-place-right-time multiplayer magic sprinkled in, we’ve got ourselves another strong showing from the industry and another year of reasons to love gaming.
Also I apologise but some of these screenshots might show up really dark for you, possibly because they were taken on a really bright TV.
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VR BEST OF 2018 DISCLAIMER
This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. If you actually agree with me 100%, that’s odd, but let’s have a beer. Respectful disagreement is most welcome.
Spoilers ahead!
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10. Hot Air Balloon Crash – Overcooked 2
The first Overcooked was frantic and colourful and threw plenty of surprises at you, but they were always deliberately telegraphed and only slightly altered the game’s stages aesthetically. After a fair few of those kinds of stages in Overcooked 2 – enough to start getting used to the rhythm of the game’s heaven-sent ingredient throwing mechanic – the game threw me and two of my mates onto a hot air balloon amidst turbulent weather and frequent fires on deck that you have to put out (which ended up being my job). Luckily we were only meant to make salad, which is reasonably simple. But no sooner had we got our pathing and task division down than the entire stage suddenly broke apart and plummeted out of the sky, crashing straight into a sushi restaurant where all of a sudden we had to prepare – you guessed it – sushi. The shock, visual flair and immediate need to adapt made for an invigorating surprise that probably played a big part in ensuring we would actually try to finish the game.
Not every game worth playing brings a single standout moment worth talking about separately – Oftentimes it’s the consistent elegance of the mechanics, presentation and/or story flow that makes a game worthwhile. But many will have standalone gameplay sequences, story twists or bits of content that stand out from everything around them, either because the rest of the game is not quite as memorable, because everything just seems to come together in that moment, or even because when you played them you were in exactly the right mood to be affected by them. As a result, everyone’s lists will likely be pretty different, but these are my picks for the most memorable videogame moments of 2016. Spoilers are everywhere here.
. -◊-◊-◊-◊- VR BEST OF 2016 DISCLAIMER This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. If you actually agree with me 100%, that’s strange. Fun, but strange. Respectful disagreement is very welcome.
Big videogame spoilers follow! -◊-◊-◊-◊-
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10. Getting Schooled – Pokemon Sun
Opinion seems to vary wildly on the difficulty of Pokemon Sun & Moon relative to the last few games in the series – and in truth a lot of that always depends on team composition – but at least for me and the five people I played alongside on launch day, it presented a challenge for which we weren’t quite ready. You can pretty much nail down the start of that difficulty spike to the first trial of the second island, where the player comes face-to-face with a School Form Wishiwashi – a gargantuan fish with boosted stats roughly equivalent to the most powerful legendaries in the game. Its raining when you fight it and it will summon allies to use Helping Hand – all of which combines to ensure that even its Water Gun is strong enough to one-hit-KO every Pokemon in your party that doesn’t resist water moves. I was lucky enough to have it summon an Alomomola, too – a Pokemon capable of healing the son of a bitch for half its health whenever it felt like it. The whole thing was a tense struggle that felt tremendously refreshing.
Well this looks a bit weirdly-timed now, but I have been working on it for almost two months, so here we go. Strap yourself in.
It’s been a while, old friend.
Ten years ago, in 2006, I picked up The Legend of Zelda: Twilight Princess alongside my brand new Nintendo Wii console at the system’s launch. After years of hype and a string of exemplary prior Zelda games, I could barely contain my excitement. 80 hours of gameplay (and weeks of real-world time juggling Wii Sports) later, I had completed it very close to 100%. And what a rollercoaster it had been.
Twilight Princess promised a lot, as the Zelda series’ long-awaited return to the dark, “realistic” aesthetic made popular by Ocarina of Time following a controversial – at least at the time – stylistic sidestep with The Wind Waker. And in fairness, it delivered a lot – sensational dungeons, standout set pieces built on fan wish fulfilment, a breakout companion character and bosses on a truly grand scale, mainly.
Ooh baby.
Yet the game also came in for its fair share of criticism for its slow and inconsequential opening, largely empty world, bland colour palette, litany of rupee-related annoyances, relative lack of difficulty and slavish devotion to aping Ocarina at the expense of the freshness offered by predecessors Majora’s Mask and the aforementioned Wind Waker. Though I remember plenty of moments from Twilight Princess fondly, it came in at Number 7 on the Top 10 Zelda games list I wrote back in 2013.
And yet early last month, it received a new lease on life.
Link makes a triumphant return with a new HD sheen.
With help from little-known Australian studio Tantalus Media, Nintendo released The Legend of Zelda: Twilight Princess HD for Wii U here on March 5th. Based on the “waggle-free” Gamecube version of Twilight Princess, which I never touched, and boasting quite a few tweaks and supposed improvements, it marked the perfect opportunity for me to revisit the classic adventure with a critical eye, separated somewhat from the perhaps exaggerated criticisms the internet has whipped up over the last decade. Now that I have finally finished TP in its newest iteration, here is what I have to say about it.
Prepare yourself – this will be a long one. A very long one.
Be aware that this post contains a huge amount of spoilers – worth mentioning if you haven’t played the game before. All you need to know if you’re a Twilight Princess newcomer is that yes, I believe this HD version is definitively the best version of the classic title, and yes, you really should play it. If you really want to read on, continue at your own risk, but you should know that what follows is so exhaustive that you may not even feel like you need to play it by the end. .
Time for another all-too-uncommon album review, this time from guest writer, graphic artist and DJ extraordinaire Youniversal.
—Written by Youniversal—
—Edited/formatted by Vagrantesque—
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Released: August 2014
Label:Virgin Records Genre: EDM -◊-◊-◊-◊-
All ethereal-like.
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TRACK LISTING
1. Divinity (feat. Amy Millan) 2. Sad Machine 3. Years of War (feat. Breanne Duren & Sean Caskey) 4. Flicker 5. Fresh Static Snow 6. Polygon Dust (feat. Lemaitre) 7. Hear the Bells (feat. Imaginary Cities) 8. Natural Light 9. Lionhearted (feat. Urban Cone) 10. Sea of Voices 11. Fellow Feeling 12. Goodbye To a World
There comes a time in every conceptual cycle where the new kid on the block finds a unique answer to the age old question: “What comes next?” On August 12th 2014, 22 year old Porter Robinson released a masterpiece that used its devices to break the limitations of what the industry would consider EDM. ‘Worlds’ is a 12 piece synthpop album that takes the charm of a late 90’s 32-bit title and the flare of otaku culture, then shoves them together to produce what you could call a beautifully glitchy nostalgic mess. Using the english vocaloid AVANNA by Zero G and the help of artists such as Amy Millan and Urban Cone, Robinson guides his listeners through a universe of escapism and the unlikely relationships that blossom between reality and the digital world.
Here’s my favourite annual list once again – my personal top ten movie scenes of the year. These are the moments within 2014 films that drew real reactions from me, mostly either of the teary-eyed or the “That was so sick!” nature. Even if they come from otherwise poor movies, I will still remember these cinematic moments, and if they come from otherwise good movies, well those movies just go up a level and look all the better for it.
Naturally, this is the most spoileriffic list of them all, so please proceed with caution.
. -◊-◊-◊-◊- VR BEST OF 2014 DISCLAIMER This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. If you actually agree with me 100%, that’s spooky. Respectful disagreement is most welcome. -◊-◊-◊-◊-
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10. The Final Blow – Godzilla
Jeez, I mean – just… Just LOOK at that shot. Badass doesn’t even begin to describe the moment when Godzilla finally bests the “MUTO” menace in his 2014 return to the big screen. It almost makes up for all the flaws in the rest of the movie. Almost. .
Videogames are built on moments, whether those moments be built right into the fabric of the game or simply emerge from the experience of discovery and/or sharing gameplay with others. They are the difference between games you simply play and games you remember. 2014 was positively packed with instances that made gamers start conversations with “How good was it when…” These are the ten that stick out the most in my mind.
MASSIVE SPOILERS FOLLOW for a number of story-focused games, so be warned.
. -◊-◊-◊-◊- VR BEST OF 2014 DISCLAIMER This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. If you actually agree with me 100%, that’s spooky. Respectful disagreement is most welcome. -◊-◊-◊-◊-
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10. Final World – Donkey Kong Country: Tropical Freeze
Throughout the majority of my time with Donkey Kong Country: Tropical Freeze, I wasn’t exactly paying attention to the story set-up that gave DK and his friends the motivation to traverse the game’s gorgeous and tough levels – I was simply enjoying the challenging gameplay flow, the sweet level design and the satisfying boss fights. That was until the final world, when I realised I had been island hopping rather than just exploring different parts of the same island like in the first DK Country Returns on Wii. I realised this because, after spending most of the game waiting for the “Freeze” part of Tropical Freeze to show up, it suddenly appeared in the form of the entire original DK Island. Each of the 8 worlds from the Wii game appears as a single level in this world, complete with returning music and signature design elements mixed with ice level tropes. A really *cool* touch from Retro Studios. .
So I just finished the single player downloadable content for PS3 exclusive The Last of Us, released a couple of days ago, and I have to say that it’s pretty damn good. Entitled Left Behind, it’s definitely short (around 2-3 hours, which is probably par for the course with this kind of DLC) and maybe you could argue it’s also a bit pricey for what it gives you. But I’m certainly glad I played it. As you might already know if you read my review last year, I adored The Last of Us and it only just missed out on my personal game of the year award for 2013. If you share my feelings on the brilliance of the original game then you owe it to yourself to consider playing Left Behind. Here are five reasons why: .
1. It fleshes out both the original story and its world.
Though it sets itself up as a prequel, Left Behind is only really half so. The narrative follows two interchanging paths, one set before Ellie meets Joel and one set during the events of The Last of Us’ main storyline. As such, if you face the temptation to play Left Behind first and let it lead into the main event, resist. You will have things spoiled for you in a big way if you elect to look at things in that manner.
Having said that, the bulk of the story of Left Behind focuses on Ellie as she explores a decrepit mall with her friend Riley, who has recently joined the rebellious Fireflies organisation. The brief tale is inspired by, and indeed connected to, the four-issue Dark Horse comic book series American Dreams that was released last year. It features callbacks and references to both major and side events in The Last of Us, particularly if you are willing to poke around the environment a bit, and its revelations add an extra layer to the main game’s excellent ending. TLOU rightly stands alone as a well told, standalone story, but Left Behind certainly makes it richer.
Vagrant Rant 