While the player character in Dark Souls can be in a "hollow" state, the player never truly does go hollow. At least, not in the sense that NPCs and enemies have gone hollow. According to Dark Souls' mythology, the undead are condemned to repeatedly wander Lordran in search of a cure, being unable to permanently die. But for virtually all such undead, this quest is futile. An undead can temporarily stave off hallowing by absorbing souls or infusing themselves with the humanity of someone else. Eventually, an undead dies one too many times, or is worn down by the daily grind of collecting souls, and loses the will to go on. When this happens, that undead becomes hollow, loses his sanity and free will, and continues to wander the world as a mindless zombie attacking any un-hollowed that it encounters on sight.
It is unknown how many "Chosen Undead" are brought to Lordran, but the Crestfallen Warrior at Firelink tells us that many have come before you. Is it possible that all hollows in Lordran were at some point "Chosen Undead", tasked by Frampt to retrieve the Lordvessel and re-kindle the dying flame? Probably not. A great deal of the hollows that you encounter in the game were likely former residents of Lordran, and there was no need to select a "Chosen Undead" until Gwyn's power faded to a "cinder", and the fire began to die. This presumably took a very long time - a whole "age", to be precise.
The Crestfallen Warrior informs us that we are not the first "chosen undead",
and suspects that we won't be the last either.
Avoiding hollowness with purpose
Many undead adventurers wandered into Lordran (or were abducted and taken there), and they struggle to hold onto their precious humanity for as long as possible, fighting for their lives in the fear that they, too will go hollow. Some, like the Crestfallen Warrior, resign themselves to the inevitability of hollowness, and find a sense of purpose in warning other new arrivals that they, too, are doomed. Others pursue some seemingly impossible goal or objective in the hopes that the journey will provide them with the sense of purpose necessary to avoid (or at least delay) hollowing. And yet others have taken up crafts or vocations such as blacksmithing, vending, or guarding something in order to keep them focused and avoid hollowing. Keeping such a goal may help keep an undead partially lucid, but they also seem to begin to forget everything else, and only the knowledge of their quest or craft remains.
Going on "one final quest" seems to provide adventurers with enough focus to hold back hollowing.
But hollowing isn't just a thematic element reserved for non-player characters; hollowing is also a mechanic in the game that affects the player. Whenever the player character dies, you are reborn at the last bonfire in a hollowed state, unable to summon help from allies until you restore your humanity through the consumption of someone else's humanity. In Dark Souls II, hollowing further handicaps the player by cummulatively reducing your total health each time you die, and only restoring your humanity can refill your health meter. In both these cases, the player is not truly hollow; you are only in a state of partial hollowing.
It's unclear whether non-player characters are able to die and restore their humanity, or if deaths contribute to an irreversible progression towards hollowness. There are, after all, apparently hollowed NPCs such as the undead merchant in the Undead Burg and blacksmith Lenigrast in Majula who are sane enough to have kept their shops open. The presence of NPC summon signs hints at the possibility that they, too, are capable of restoring their own humanity through the same mechanisms that you can, but the game itself justifies this with ambiguous appeals to "time distortion" and parallel realities that obfuscates the matter - particularly where Solaire and Lautrec are concerned.
Summoned NPCs may recover humanity as you do, or they're from another time or dimension, or both.
Solaire's dialogue refers to "heroes centuries old phasing in and out.". Solaire may be using the words "world" and "time" interchangeably. This seems to be the game's justification for how summoning works: you may be literally summoning someone from a bygone era into your own time period. Anytime, you are summoned to someone else's world, you are also being transported to another time (past or future, depending on whether or not you finish the game). Solaire and Lautrec seem to somehow come from another time or dimension, but other characters definitely seem to exist within your world and time: Andre, the Crestfallen Warrior, Rhea and her companions, Big Hat Logan and his apprentice, and so on are all undead who have seen many other "Chosen Undead" come to Lordran seeking their destiny.
In any case, it's not until an undead "gives up" that the hollowing process becomes complete. What do we mean by "giving up"? For an NPC, it means that they gave up on life and went hollow, and the player typically ends up putting them down. For the player, it means that you stop playing the game. As long as you continue to play the game, then your character will continue to hold onto a sliver of humanity and maintain his or her sanity for a little while longer. When you put down your controller for the last time, you have condemned your character avatar to finally succumbing to hollowness, whether you recognize it or not... [More]
Not having a GameCube meant that I unfortunately missed out on some pretty high-quality games. Probably the most notable ones were Eternal Darkness and the remake of Resident Evil, neither of which, by itself, was enough to sell me on a console. I've since been able to play through a friend's copy of Eternal Darkness, and I had started on Resident Evil, but never got around to finishing it. When the HD remaster showed up on PSN, I was hesitant to buy it, since I knew that I could just play it on my friend's GameCube eventually.
Best of both worlds at the tip of your thumb
However, something in the previews really intrigued me. And that was the compromise that Capcom found for the never-ending conflict between the tank-style controls of the original PSX game and the analog control of newer games. Since I grew up with Resident Evil, Silent Hill, and other survival horror and similar adventure games, I've never had a problem with tank controls. They tend to be the lesser evil when dealing with static camera angles that change unpredictably (as in Resident Evil), and they are perfectly serviceable for behind-the-back or overhead cameras (as in the outdoor areas of Silent Hill). This ensures that the controls remain consistent during camera angle changes, since they are always relevant to the character rather than the camera.
But apparently, some people hate that control paradigm. They criticize it for making the characters feel too slow and lumbering, and that it lacks precision. The controls have oft been cited as one of the reasons for Resident Evil's declining popularity after Resident Evil 2, and supposedly ditching them was a major factor in the "renaissance" that was [supposedly] Resident Evil 4. But let me remind you that Resident Evil 4 had the exact same controls, and the character was just as slow and lumbering (if not moreso). The only difference was that the camera was moved to behind-the-back, and the gameplay switched to an action shooter rather than a more adventure-puzzle kind of game. So really, your problem was never with the controls...
The original Resident Evil was criticized for how its controls and camera lead to frequent blind corners,
wasted ammunition, and cheap kills. The critics were right, but it wasn't game-breaking...
Regardless, analog control has its own baggage train of problems. Pressing the stick in one direction can cause the character to make sudden changes of direction if the camera suddenly changes. This can be mostly avoided by locking the character's movement as long as the player doesn't release or rotate the stick - and the HD Remaster does implement this. But this still leads to sudden turn-arounds when the player needs to move the character around a corner, since you sometimes have to move the stick to the exact opposite direction that you were pressing. And in cases in which the camera angle changes at the point where a change of direction is required to go around a corner or navigate an obstacle (which happens often), then the character can easily get lost in a cycle of spinning around between the two camera zones.
So there is no perfect solution to the problem of static cameras, but I tend to prefer the tank method due to its guarantee of consistency - even at the cost of some slow turning speeds. In any case, advocates of either paradigm should find exactly what they want in this remaster, since both configurations are implemented in the remastered game's default control scheme! Capcom's clever (and elegant) solution was to simply map the tank controls to the directional pad, while leaving the free analog movement on the analog stick. Players are, thus, free to alternate between whichever control they prefer without even having to go into a menu to change it. You can even alternate between them, on the fly, in the heat of the action if the situation warrants it, because I can definitely see how the analog movement could work well in some of the [rare] larger, open areas of the map (particularly for boss fights).
It's OK to hate these red-headed step-zombies
Most of the changes introduced in the GameCube remake serve to add further challenge. The most prominent display of this is the new "Crimson Head" zombie mechanic. If you kill a zombie and didn't manage to get lucky enough to blow its head off, you must burn its body in order to prevent it from resurrecting later in the game as a more dangerous "Crimson Head". These red-headed zombies are faster and more damaging than their precursor form. They can rapidly run across a room and grab you before you even realize they are there. They are also very well-tutorialized, since most players will probably encounter their first Crimson Head while attempting to retrieve the Armor Key from the hallway trapped with suits of armor on rails. The previous hallway includes a dead body that (if you didn't go out of your way to burn previously) will resurrect at this time. This hall has a system of mirrors in place that allow a tremendous degree of visibility from virtually every camera angle, meaning that whichever door you enter from, you'll have an opportunity to see the Crimson Head coming after you. It's a frantic and frightening moment!
Bodies that you don't burn will resurrect as faster, more deadly "Crimson Heads"
that are difficult to avoid and require a second investment in resources to defeat.
Almost any zombie in the game can potentially turn into this more dangerous form. Destroying their head with a lucky shot or burning their bodies are the only ways to permanently ensure that they can't attack you... [More]
Are you as sick of zombies as I am? They're everywhere. Perhaps the real zombie apocalypse won't be caused by radiation or a genetically-engineered plague; it will be caused by media corporations drowning our brains in zombie entertainment until we all go crazy and start eating each other.
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OK, sure, the creatures in Naughty Dog's latest adventure game, The Last of Us, aren't actually "zombies", they are humans infected with a fictionalized variation of Ophiocordyceps Unilateralis. But they're functionally the same thing. The "infected", as they are known as in the game, are mindless, mutated monsters that shamble around and eat any human they become aware of. And if they bite you, you become infected and the fungus takes over your brain, turns your flesh into spore-producing tendrils, and makes you a cannibal.
[LEFT] An ant infected with cordyceps.
[CENTER] A moth infected with cordyceps.
[RIGHT] A human infected with cordyceps, as depicted in The Last of Us.
The game takes place 20 years after the sudden outbreak of the human cordyceps infection that leads to the death of the protagonist's daughter. Society has collapsed into ruin, with the surviving 40% of people (including the protagonist, Joel) concentrated in quarantined ghettos in the remains of major cities. Joel is working as a smuggler, bringing food, weapons, and supplies into the Boston quarantine zone to be sold on the black market, and he is tasked with escorting a young girl, named Ellie, to a research lab out west. Ellie is unique in that she seems to be immune to the cordyceps infection. She was bitten weeks ago, and has suffered nothing more than some ugly skin lesions near the bite; whereas, everyone else begins to turn into a zombie within hours of being infected. This, of course, makes her survival paramount, and Joel must do whatever it takes to ensure her safe arrival at the lab so that the researchers can hopefully study her to find a cure or vaccine. [More]
Wearers of glasses beware: the Wii U is determined to give you eye strain!
I got a chance to sit down for a while with a friend's Wii-U tonight. I managed to make an avatar and sign up for the Nintendo network, as well as try out an hour or so of ZombiU. I have to say that I was not impressed with either the hardware or the software.
First and foremost, the controller, despite its size, is actually pretty comfortable to hold. It is lightweight, and the cradles nicely in the hand. The screen is bright and vibrant; and sound is clear, but probably better with headphones. Button placement on the right side felt a bit awkward for me. It might just be my familiarity with PlayStation and Xbox controllers, but I didn't like having the buttons below the right stick, and they seemed a bit too close. I frequently missed the 'X' button (the top button), which was annoying because it was the most commonly-used button in the game I played.
I really wasn't digging the screen on the controller though. The avatar creation and network sign up screens annoyed me because most of the data input is done on the controller screen, but the TV screen presents a lot of information. The password screen was particularly annoying, since all the messages were displayed on the TV, and I just didn't see them because I was focused on the controller screen.
I like survival horror, but I'm so sick of zombies...
On top of that, even a brief time with the system exposed me to a glaring problem for myself (and likely many people): I am nearsighted. I need glasses in order to see at a distance. I'm not blind to things that aren't directly in my face, but after about 6 to 8 feet, things start to get fuzzy, making reading text or discerning other very finely-detailed information hard. I wear glasses, but I don't like to wear them to look at things up close. I often take them off when using a laptop, using a cell phone, reading a book, looking at a computer monitor, writing or drawing, and other "point blank" activities. Wearing my glasses for such things often causes my eyes to strain and gives me a headache (and probably further degrades my vision).
I can already tell that games that require the player to constantly shift between focusing on the controller screen and the TV screen will be very uncomfortable for me, since I'll either have to keep taking my glasses off and putting them back on, or I'll have to deal with the eye strain when looking at the controller screen. Perhaps Nintendo needs to release Wii-U-branded bifocals! [More]
Ladies, perhaps you can help me:
Is Lollipop Chainsaw a smart, funny commentary of the sexist treatment of women in video games? Or is it a stupid, offensive piece of sexual exploitation? I honestly can't tell, and based on the lack of maturity in the humor and visual styles of both Shadows of the Damned and Lollipop Chainsaw, I'm leaning more towards "stupid". I can say, however, that if you are a 13-year-old boy, then you shouldn't bother reading any more of this review, because this game has a hot, blonde cheerleader in it that kills zombies with a chainsaw, and you will love it! But don't get too excited: despite the notice for "partial nudity" in the ESRB ratings label on the box, you won't see anything that you couldn't see on a pixelated beach.
As for me, a ditzy, busty, blonde cheerleader isn't going to be able to overrule my discriminating tastes and single-handedly carry the game alone on her well-endowed chest. If the gameplay doesn't hold up, then even the best character design and cleverest wit won't save the game from a mediocre review.
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