Far Cry: Primal - title

I've never played any of the Far Cry games. I possess a copy of Far Cry 4 because it came bundled for free with my PS4, but I've yet to actually insert the disc into the console and try the thing. I was intrigued by Far Cry Primal because it looked like it might explore a novel subject matter that games have kind of ignored for as long as I can remember. Apparently, Far Cry 4 had a bit in it in which you play as a primitive human riding around on animals during a drug-fueled hallucination, and Ubisoft decided to adapt that concept into a full game.

The last time that Ubisoft had done something like this, they had taken the naval combat from Assassin's Creed III (the completely dissociated highlight of an otherwise boring and stupid game) and converted it into Assassin's Creed IV: Black Flag. And I loved Black Flag! So I was optimistic that Ubisoft might have another novel treat in store for me. I've played dozens of first person shooters, but I've yet to play as a caveman in 10,000 BCE, so let's give this a go, shall we!

The game begins by showing the date 2016, with modern ambient sounds, apparently intended to make the player think that the game might have some kind of present-day framing device (similar to Assassin's Creed). But then the clock starts ticking back to 10,000 BCE, and the game begins. I wonder if this was intended to mock Assassin's Creed and subvert possible player expectations.

Stone age shooter

This game got off to kind of a rough start for me. I was killed by the mammoth in the tutorial because it charged at me before the game displayed the tutorial tip teaching how to attack with a weapon. So that seemed like a cheap death, and gave me a bad first impression. Fortunately, the next few hours of play didn't have any similarly sloppy design, and I was rather enjoying myself.

Far Cry: Primal - tutorial death
I died in the tutorial because the mammoth charged me before the game taught me how to use my weapon.

It didn't take long, however, for the novelty to wear off. Combat has a focus on melee combat with clubs and spears, which leads to a problem similar to other first-person hack-n-slash games: the constrained field of view makes situational awareness very difficult. Without the option to toggle to a third-person view, it's difficult to tell exactly what is going on immediately around your character, and close-quarters combat with mobs frequently degraded into just spinning around mashing the attack button. Fighting animals can be even worse, as many of them (such as dholes and badgers) are small and fast and incredibly difficult to actually hit. The problem is mitigated somewhat as the game goes on, as new utility abilities are introduced, but I was saddened that Ubisoft didn't really do anything particularly interesting with the basic combat.

And it doesn't really get much better when the utility abilities are introduced, as they mostly just involve simply sicking your tamed beasts on the enemies and hoping that the beast doesn't die. In the regular gameplay mode, you'll also have access to overpowered one-hit kill attacks and bombing runs with your owl that act similarly to an air strike or artillery bombardment in other games. These attacks are so overpowered that the Survival Mode disables them entirely. If you have a powerful enough wolf, bear, or saber-tooth tiger beast, you can often just get away with commanding it to charge a group of enemies while you sit back and watch.

Far Cry: Primal - bow and arrow
This is one game in which a bow and arrow actually makes sense as a primary weapon.
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Resident Evil 7: Biohazard - title

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.

Resident Evil 7 - main hall
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.

Resident Evil 7 - the family
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. 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...

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The Last Guardian - title

Being the follow-up to a masterpiece is no small order. Being the follow-up to two masterpieces is a Sisyphean task. Ico is a masterpiece of its time. Fumito Ueda and SIE Japan managed to follow that game with Shadow of the Colossus - a masterpiece of even higher order. The bar was set tremendously high for the team's third project: The Last Guardian. Multiple delays, a change in platform from PS3 to PS4, and Fumito Ueda's departure from Sony squashed a lot of the hype for the game. Might the game turn into vaporware? Or might it release in a condition analogous to Metal Gear Solid V?

On the surface, The Last Guardian comes off as being a mash-up of Ico and Shadow of the Colossus. Superficially, it's much more in-line with Ico: you play as a small boy who must guide a companion through a maze of environmental platformer obstacles and adventure puzzles. The catch this time around is that the companion happens to be a giant animal that you can climb and ride on.

The Last Guardian - riding Trico
The Last Guardian share more with Ico, but your companion is a giant creature that you climb and ride on.

The big difference though, is that The Last Guardian is sort of an inversion of the gameplay of Ico. In Ico, the player character had to guide a helpless (some even speculated she is blind) princess through a castle and defend her from shadow monsters that try to drag her away. In The Last Guardian, however, it is the player character - the boy - who is mostly helpless. True, you have most of the agency and are guiding Trico through the maze. But Trico is the one with all the power, and your progress is often dependent on Trico getting you past obstacles.

This point is most hammered home by the game's combat mechanics - or rather, its almost complete lack thereof. The boy can't fight off the stone knights that hunt him down. You can only run away, or let Trico smash them into dust for you. If they catch you, they drag you off to a nearby mysterious blue doorway (a parallel to the smokey portals that the smoke monsters dragged Yorda through in Ico), and all you can do is mash buttons to kick and squirm. Ico and Shadow of the Colossus experimented with player agency by making the player question the motivations of the character and wonder if maybe you're doing more harm than good. The Last Guardian toys with agency in other ways. In this game, you, the player, are the helpless tag-along character in an escort quest. You get a glimpse through the eyes of Yorda from Ico or Ashley from Resident Evil 4.

The boy can't fight back, he can only kick and squirm - much like Yorda from Ico.

Not entirely though. The player and Trico make mutual contributions to progress, and their contributions are shared much more than Ico and Yorda. Much like how Yorda could occasionally open the magically-locked doors, the boy in Guardian also has to pull levers and open doors for Trico to pass from room to room. The boy also has to destroy glass eye murals that mesmerize and terrify Trico to the point of paralysis. The boy also hunts down barrels of [supposedly] food for Trico to eat whenever Trico is tired or wounded. But then there's also parts of the game in which the boy simply hops on Trico's back, and Trico leaps away to the next puzzle area without the player having to do anything...

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Cities Skylines: Natural Disasters - title

Cities: Skylines has always been a game that takes some different approaches to city builder gameplay. The base game explored how a city's geography can influence the development of the city, and also put a particular emphasis on designing efficient transit infrastructure by allowing the player incredible freedom to construct your own roads, highways, and interchanges, rather than relying on prefab ramps and over/under passes. None of these concepts were new to city builders, but Skylines added nuance to them and made them much more active elements of gameplay.

Its newest expansion DLC, Natural Disasters, follows suit. This is a very difficult expansion to review because its content - by its very nature - is random and unpredictable. Natural disasters aren't new to city builders. Disasters were a popular component of the old SimCity games, as many players enjoyed building up their beautiful metropolises only to unleash earthquakes, tornadoes, meteor impacts, and even alien invasions and dinosaur attacks and watch it all burn. Now Skylines has support for this fan-favorite SimCity feature, but it takes this commonplace feature in some new and interesting directions.

Cities Skylines: Natural Disasters - warning system
Installing early warning and detection systems will give you advance notice when a disaster is imminent.

Most notably, Cities: Skylines' take on disasters puts emphasis on preparation for disasters, rather than on the chaos of the disaster itself and the clean-up in its aftermath. Like with its SimCity forebears, disasters are something that you can toggle on or off in the game's menu, and you can also adjust their frequency. When enabled, you'll encounter disasters of various flavors ranging from forest fires to lightning strikes, to tsunami and meteor impacts. You'll have to make sure that your city is protected by preventative measures, and that it's protected against these eventualities.

Early-warning systems like firewatch towers, weather radar, and space telescopes can warn you about forest fires, storms or tornadoes, or even incoming meteors (respectively), and can mean the difference between your citizens having enough time to evacuate, or half your population being buried under rubble. You'll need evacuation shelters for you citizens to escape to, and each shelter needs to built long enough in advance for it to be stocked with supplies of food, water, and other essentials (which must be pulled from your city's economy or imported). And lastly, you'll need radio towers to warn your citizens to get to their designated shelters.

Building emergency shelters, stocking them with supplies, and planning evacuation routes will protect your citizens.

You can also create planned evacuation routes similar to bus routes that will pick up residents and take them to a shelter. I had some trouble getting these routes to work properly though. The fact that the buses are dispatched when an evacuation is activated means that they often create a log jam on your roads as they all funnel out of the shelter. I also had issues with the buses apparently not picking up people who were at more distant stops on the route, since the areas along the route that were far from the shelter never managed to evacuate. Maybe there's some trick to getting these routes to work properly that I just haven't found yet. But this does highlight one problem with the expansion: its new systems are not very well documented or explained...

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Dark Souls III: Ashes of Ariandel - title

FromSoft has a pretty amazing track record with the DLC expansions for its Dark Souls and Bloodborne games. Heck, the Crowns Trilogy expansions basically save Dark Souls II from being completely dismissable within the Souls library. Needless to say, expectations for a Dark Souls III expansion were pretty high. Maybe they were too high, as FromSoft sadly seems to have really misfired with Ashes of Ariandel.

Is this mid-game content, or end-game content?

My primary problem with this expansion is that it has wildly erratic difficulty. It breaks with the tradition of having a very obscure access point, and so it's very easy to access very early in the game. It's basically un-missable. There are no arcane hoops to jump through this time, nor is it so obscurely-hidden that From needed to include a dialogue box to tell you where to go. Instead, there's simply an NPC in an area of the game that is accessible fairly early in the game. Talk to this NPC, and he'll transport you to the Painted World of Ariandel.

Dark Souls III: Ashes of Ariandel - developer hint
The developers recommend facing "the depths of Lothric Castle" before playing the DLC.

Once you enter Ariandel, you'll find a pair of developer hints. One reads "Before one faces the painting, one should face the depths of Lothric Castle.", and another claims that only the mighty will survive. So clearly, this area is intended to be late-game content (as you're recommended to have already beaten Lothric Castle and/or Oceiros' Garden). But take a few steps into the DLC, and you'll find some pretty simple basic enemies. The followers of Farron are easily beatable by any mid-level character. Some of them can throw spears at you while hidden behind the blinding snow while you're dealing with their comrades in melee. I didn't have too much trouble dealing with this though, as the melee enemies can be easily kited away from the ranged ones.

The wolves are pretty weak and are only tough if the whole pack gangs up on your or if the camera wigs out while they are jumping around. A level 50 or 60 character would probably have little trouble with these enemies. To From's credit, these wolves are actually pretty fun to fight. They aren't nearly as obnoxious as the dogs that have driven me nuts in previous games.

Dark Souls III: Ashes of Ariandel - pack of wolves
Most of Ariandel's enemies are pretty easy for mid-game characters
as long as you don't let them swarm and overwhelm you...

But then there's the Millwood Knights and Corvian Knights, which feel like they require the player to be closer to the 80-100 range. Seriously, there's like a 40-level difference between the enemies that you'll encounter in this level, and that's pretty ridiculous. Some of the Millwood Knights guard some fancy optional weapons and an optional area, but the other Millwoods and the Corvian Knights are placed along the necessary paths of progress. You have to fight them. Or at least try to run past them.

The Corvian Knights are a particular pain in the ass...

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Welcome to Mega Bears Fan's blog, and thanks for visiting! This blog is mostly dedicated to game reviews, strategies, and analysis of my favorite games. I also talk about my other interests, like football, science and technology, movies, and so on. Feel free to read more about the blog.

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