I would imagine that are quite a few video-game-playing James Bond fans who've been holding their breath for a while in the hopes that IO Interactive would make a 007 game. The pairing seems like a textbook example of the right license being given to the right developer. Honestly, I don't think I've seen a pairing that seemed this ideal on paper since the publisher of Stellaris announced a Star Trek strategy game. Thankfully for James Bond fans, First Light turned out a lot better than the ill-fated Star Trek: Infinite.

IO Interactive's resume primarily consists of the Hitman games, which (despite liking stealth games a lot), I have actually never gotten around to playing. Hitman has been near universally praised for its immersive-sim stealth gameplay, and sprawling, open-ended level design. First Light ended up being my introduction to IO's particular brand of stealth game, and it sure makes an excellent first impression!

Becoming Bond

007: First Light's prologue and tutorial are absolutely top-notch narrative game design. In the prologue chapter, the player is given a disguise while infiltrating a heavily-guarded enemy-occupied outpost. This allows the player to move about somewhat freely while getting used to the basic controls and game systems, while still maintaining a sense of threat and tension.

The first proper chapter is a training montage in which the player will likely screw up their first attempts at tasks.

It then proceeds to put the player in a montage of bootcamp training scenes that serve as quick tutorials for the more intermediate and advanced mechanics and controls. This sequence is one of the best-conceived video game tutorials that I've ever played. It throws the player right into a task with only the bare minimum of guidance. This might initially seem unfair or counter-productive for a tutorial. But since it is framed as a training montage, the game expects the player to barely succeed at the task -- and maybe even fail it outright. And it jumps to the next training scene before you really even have time to worry about the fact that you didn't perform very well -- let alone to try to pause the game and restart at a checkpoint (more on that later). As the montage goes on, however, you'll get other chances to perform these tasks with a bit more knowledge of what to expect and also often with more favorable conditions. As such, each time the player is tasked with performing a specific type of task, you'll probably be more successful at performing it, and will likely perform it more quickly, more skillfully, and more instinctively, which perfectly mirrors Bond's own improvement within the story.

It's quite a clever bit of level design, and this tutorial is a near-perfect marriage of gameplay, narrative, and learning under pressure. Obviously, this sort of tutorial wouldn't necessarily translate to other games. I would assume that in any potential future sequel to First Light, James Bond won't be going through basic training again as part of the story. So unless a potential sequel has the player playing as a new recruit (a 008, perhaps?) before being put in the tux of Bond, this tutorial is likely a one-of-a-kind lightning-in-a-bottle situation. In its context as a prequel/reboot/origin story, this is a damn near perfect introductory couple of hours to both the character and the gameplay.

Near perfect marks, all around! I have basically no notes.

I played the demo for Across the Unknown back in November or December. I was not impressed. The demo felt like little more than a dumbed-down mobile game that breezes through Wikipedia summaries of Star Trek: Voyager episodes. The demo was pitifully easy to play through, and the decisions didn't seem very impactful. The fact that you can choose to use the Caretaker's Array to go back home and end the game before it even starts seemed like a silly novelty at the time. I doubted that the actual in-game decisions could prove to be as meaningful.

But the game released, and I'm a sucker for Star Trek games. So I went ahead and bought it (it was discounted on release!). And I'll be damned if I didn't end up being just a tiny bit impressed!

Being able to use the Caretaker to go home and end the game prematurely
is the only major deviation from the show's overarching plot.

The platonic ideal of a mobile game?

Now, when I say "impressed", that comes with some huge asterisks and qualifiers! Remember, based on pre-release marketing and the demo, I was going into this game expecting a PC port of a mobile game along the lines of Star Trek: Fleet Command or Trexels. That was the measuring stick by which I was judging this game. I wasn't expecting it to be Birth of the Federation or A Final Unity.

Yes, Across the Unknown is a mobile game that was released for consoles and PC. It's like a combination of Star Trek: Fleet Command and Fallout: Shelters, except that it isn't a mobile game. Mechanically, it's almost the same, but it completely lacks any of the time and money-wasting pay-to-play grind that mobile games are built around. Yes, you do collect resources and wait for rooms on Voyager to be built. But those rooms don't take real-life hours or days to build; they take just a few in-game "cycles" (it's unclear if a "cycle" represents hours or days in the game), and are done in a matter of seconds or minutes of real time. And there are no "premium currencies" that ask you to shell out a credit card number if you don't feel like waiting for days to grind. Dilithium definitely seems like it could have been a premium currency, as it acts as a gate for higher tier technologies and room upgrades. There's no daily login bonuses. No ads. No "limited time only" promotions. It's just the raw game, stripped of everything that makes mobile gaming so obnoxious and predatory.

The blend of resource-collection and base-building will be familiar to anyone who's played a mobile game.

This is kind of the best possible version of what mobile games were promised to be, before they were completely co-opted by greedy corporations. This is not thoughtless shovel-ware designed by soulless corporations to prey on people who will compulsively through money at it. The player is constantly engaged with things to do and decisions to make. And those decisions occasionally have weight and consequence. And it all comes together to tell the coherent story of the entire Star Trek: Voyager TV show! Yeah, the individual encounters are abridged Cliff's Notes summaries of Voyager episodes, but they come together to tell an overarching story that adds up to slightly more than the sum of its parts.

Getting started with this game was rough. First of all, streaming the game initially seemed to be blocked by Capcom, which sent me down an internet rabbit hole of trying to find a work-around. If I couldn't stream or capture gameplay, then it would be awfully hard for me to get decent screenshots -- let alone any video for possible YouTube content. I even Tweeted @AskPlaystation whether I could get a refund, so that I could instead purchase the game on Steam (where I knew I'd be able to record footage). @AskPlaystation never responded.

It was moot anyway, since the next day, I found that the problem was only associated with having High Dynamic Range (HDR) enabled in the PS4's settings. After disabling HDR, I was able to stream the game and capture video footage as normal. Of course, the game's colors didn't look so good -- but whatever, I could live with it. I guess this is a glitch. Maybe Capcom will fix the HDR streaming issue at some point in the future? I can't imagine that they deliberately disabled streaming with HDR, but left it enabled when HDR isn't being used.

You'll need to disable High Dynamic Range (HDR) on the PS4 if you want to stream REmake 2.

But even when I got the streaming and capture functionality working, I lost another night having to troubleshoot my PS4's network connectivity. I kept getting a DNS error. My PS4 has had internet connectivity issues off and on for years, so it might just have a bad network card. Or maybe my ISP is throttling it? It's hard to tell. The console regularly connects to the router and obtains an IP, but then fails to connect to the internet. Or it can connect to the internet, but fails to connect to PSN.

After several hours of troubleshooting, I had to manually enter the DNS addresses of my router's second and third DNS as the PS4's primary and secondary DNS, then sign out of the PSN, then boot up the PS4 in safe mode, then run a database rebuild (which took a few minutes), then reconnect to the PSN. That seems to have worked ... for now. We'll see how long the fix lasts...

In any case, these streaming and network issues cost me the first full weekend with the game. I'd have to play it on weeknights after work instead. Hopefully the game's quality would make up for these early frustrations...

The failure of REmake2's "hardcore" save system

Years ago, in the early years of this blog, I wrote an opinion piece called "The Genius of Resident Evil's classic save system". In that blog post, I wrote about how the way in which classic survival horror games (and Resident Evil in particular) limited the player's ability to save actually helped to amplify the horror atmosphere, while simultaneously facilitating open-ended exploration and creating the genre's trademark resource-management gameplay. I love the old Ink Ribbon method of saving, and I was thrilled that the brilliant REmake maintained these old systems to excellent effect. Other games like RE7 and Alien: Isolation also brought back more traditional survival horror save systems, but without the added complexity tying it to a consumable item (at least not by default).

Unfortunately, REmake 2's save system doesn't fare so well. By default, the game apparently uses autosaves and checkpoints, and you can manually save at typewriters without an Ink Ribbon. It all works similar to RE7. However, you can play on "hardcore" mode (which is available by default) to get an experience more similar to the original save system. Except, it doesn't work as well. In fact, it seems to be fundamentally broken.

It would be nice if the game would use Ink Ribbons from the item box,
rather than having to put it in your inventory, then put it back in the item box after you save.

Part of the reason for this is that the "hardcore" mode also doubles as the game's "hard" difficulty. On the "hardcore" mode, there are no autosaves or checkpoints, and you must consume an Ink Ribbon to save at the typewriters (just as in the original release). However, enemies also have more health and deal more damage, and resources are more scarce (Ink Ribbons apparently replace ammo pickups in certain places). This screws with the balance of the game such that the manual save system becomes less viable for a first-time playthrough.

...

I tried. I really did. I wanted to give Kingdom Come: Deliverance a chance. I wanted to give it the benefit of the doubt.

I had been passively watching this game for a while, and was looking forward to its release. I didn't realize that it was a Kickstarter project. I thought it was just an independent developer self-publishing a game, like Hellblade: Senua's Sacrifice, which was friggin' awesome! So I didn't contribute towards the Kickstarter. But I did pay $60 for PS4 digital download of the game, and I deeply regret the decision.

If you're gonna charge the same retail price as a polished, publisher-backed game, then I expect the game to show something approaching that level of polish. Kingdom Come is just too wonky and unstable right now. Maybe in six or twelve months I might be able to pick it back up and enjoy it. As of now, however, I consider the game borderline unplayable.

Kingdom Come has ambitions to be Skyrim or The Witcher III, but it lacks the polish.

Scummy saves

The nail in the coffin is the game's restrictive and punitive save system. I'm a fan of diagetic save systems, and this particular save system could probably work really well if the game were just in a more stable and robust condition. I want to emphasize that this worked brilliantly in Resident Evil (and in survival horror in general) because the challenge and difficulty of survival horror came from having to manage a slowly dwindling supply of resources and health. Very few (if any) encounters outside of boss fights were even capable of bringing you from full health to dead, and even the boss fights were clearly telegraphed so that you had plenty of warning to go back, restock your supplies, and save. When to save (and whether or not to overwrite your previous save) became a part of strategy, especially in the case of Resident Evil with its limited, inventory-space-consuming Ink Ribbons.

Reloading from savior schnapps makes you drunk.

Basically, Kingdom Come only auto-saves at the start of a major new quest. You can trigger a manual save by sleeping or by drinking a special type of rare and expensive alcoholic consumable. If you re-load after using the savior schnapps, the character is also inebriated. This seems, to me, to be an attempt to punish players for save-scumming. It also means that if you get tired or have to step away for whatever reason, and you didn't just complete a quest and are not in a convenient position to save (either lacking access to a bed, unable to risk being drunk when you reload, or simply don't have savior schapps), then you are just screwed.

Until this game gets to a more playable state, this save system needs to be relaxed immensely, or relegated to a "hard core" or "ironman" mode. Because the game is so bad at tutorializing mechanics and at presenting information to the player or warning you that what you're about to try to do won't work, save-scumming is almost necessary just to figure out how basic mechanics work in the limited opportunities that the game gives you to practice them. Tutorials drop walls of text on you without actually giving you an opportunity to practice the thing being tutorialized, so that you aren't given a chance to reinforce the concepts in your mind before the game moves on to something else.

It's been a long time since I've given a crap about Resident Evil. I loved the classic Resident Evil games. The Play Station original is a foundational game for me, and jump-started my interest in horror and the macabre. I felt like the series jumped the shark with Resident Evil 4, however, and my interest in the series tanked with its abandonment of horror in favor of schlockey action-shooter gameplay. I played through Resident Evil 5's co-op with a friend, but didn't really enjoy myself, and after playing the abysmal demo for RE6, I skipped that one entirely.

So I was genuinely excited by Resident Evil VII: Biohazard. The popularity of first-person horror games, and the phenomenon that was P.T. / Silent Hills (not to mention the success of Resident Evil REmastered on Steam) obviously seems to have kicked Capcom in the butt and reminded them that there is still an audience for genuine horror games - an audience that mainstream gaming has neglected for most of the last decade. I'm not sure if development of REVII started as a response to P.T., or if it was already in the works following the success of games like Amnesia, Outlast, and Alien: Isolation. Either way, it's good to see major publishers embracing the genre again.

The family's new - but familiar - mansion

This new Resident Evil really does go back to the franchise's roots. The early hours of the game actually feel a lot like a combination of the original Resident Evil and Resident Evil 3: Nemesis, but updated with a first-person camera and a lot of modern horror contrivances. Long-time fans of the series will recognize the safe rooms and item-boxes. The classic health status indicator is now part of a watch on the character's wrist that you can see whenever you pull up your inventory. There's a foyer with a balcony. Doors are locked by silly, esoteric puzzle mechanisms that require themed keys, crests or various other stand-ins for keys. There's even a booby-trapped shotgun to tease you at the start of the game. Some of these elements of design feel appropriate, while other ham-fisted call-backs admittedly feel like the developers were trying too hard.

The mansion is new, but has many call-backs to the first game.

The map is well-designed, with its claustrophobic hallways, shortcuts, and lots of visual detail. Lighting is excellent, though the game is a bit too dark at the recommended brightness level (at least without a flashlight), and it becomes washed-out at higher brightness settings. Sound design is also quite exceptional, with the game giving great audio feedback (especially for the pursing stalkers). I also like a lot of the little details, particularly how using a key to unlock a door takes a small amount of time, during which you are vulnerable.

The family also makes for some excellent antagonists, especially compared to the likes of stupid, campy villains like Albert Wesker and Salazar. These villains have a lot of character, and there's enough detail in the mansion to give a sense of who these people might have been before they went off the deep end: the collectible football bobbleheads, for example. And on top of that, they are genuinely disturbing and threatening, and the whole game would probably be scary enough if you just spent the whole time avoiding them and trying to escape their murder house.

The family makes for genuinely disturbing villains that put RE's earlier villains to shame.

The save system is kind of an odd hybrid of the classic save system and more modern checkpoint systems. The logistics of the classic system have been scaled back, as you no longer require a consumable item (ink ribbon) to manually save (at least not on the default difficulty). But the game will also checkpoint you at certain points, and it maintains a single autosave slot with your checkpointed progress. So if you die to one of the obnoxiously-hard bosses, you don't have to go back a whole hour to your last manual save; instead, you get to restart at the most recent checkpoint.

However, the manual saves still have value, because Biohazard is structurally very similar to the original Resident Evil - both superficially and in terms of gameplay...