Cities: Skylines: Parklife - title

Parklife is perhaps the single Cities: Skylines expansion that I have most looked forward to. That is because the focus of the expansion seems to be pulled almost verbatim from my own "Great Outdoors" wishlist. I'm not going to take credit for having designed this expansion for Colossal Order, because I posted that wishlist in February, and the game is releasing in May, so unless Colossal Order is supernaturally efficient at creating expansions, there simply wasn't enough time for them to design and implement Parklife after reading that wishlist. It seems like someone in Skylines design is thinking along the same wavelength as me. But who knows? Maybe somebody did see my wishlist and incorporate some elements of my ideas into the development in progress? It's certainly one heck of a coincidence!

Cities: Skylines - amusement park mods
Much of Parklife's content seems inspired by mods.

In any case, it should seem pretty obvious that I'm pleased to see this expansion incorporate so many of my own ideas and suggestions. While Parklife still isn't going to offer the same degree of freedom and creativity that you can get from mods, having these more free-form park-creation and decorative tools should be a welcome addition for anybody who enjoys adding a little more personal flavor to their city. And honestly, is there anyone playing a city-builder who doesn't enjoy making their city look pretty?

A walk in the park

One of the strengths of Cities: Skylines has always been the way that the game utilizes its space and the natural environment. The mechanical limitations of the terraforming tools means that you rarely (if ever) have the money and terrain available to make wholesale changes to the geography of the map. Even if you have a billion dollars saved up in your city's coffers, the fact that every cubic meter of dirt that you excavate has to go somewhere, and every cubic meter of dirt that you dump has to come from somewhere, means that you can only do so much to modify the map. Starting out with a limited budget, small pool of unlocked buildings, and a relatively small plot of land means that young cities often have to work around environmental and natural obstacles, which made those obstacles part of the character of your city. Well now you can actually formally use those obstacles.

Cities: Skylines - resource options
I now have a more meaningful choice of how to utilize this resource-rich mountain.

Parklife allows you to leverage these features of your landscape as part of your city-beautification plans. That mountain that is too big to level, and too steep to realistically build on, can now be turned into a massive park, complete with hiking trails, lookout points, and so forth. If that mountain also happens to have ore or oil resources under it, then now I suddenly have some meaningful choices to make on how to effectively utilize the resources. What used to be a near-obvious matter of "build some mines" actually has some viable alternatives.

Sure, you were always able to place walking paths in places like that, but the game (and the citizens of your city) never really recognized it as a place they can go for leisure and entertainment. If they didn't have to go to work on the other side of that mountain, they simply wouldn't walk those trails. No matter how beautiful you would make it, that mountain-side hiking trail was always little more than useless dead space.

Cities: Skylines - nature preserve
Areas that used to be dead space that was impractical for construction can now be utilized.

That's no longer the case. Every last square meter of your city can now be turned into useful park space if you feel so inclined...

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God of War - title

Vikings and norse mythology seems to have been a popular concept in games recently. Hellblade: Senua's Sacrifice, for instance, is an excellent hack-n-slash adventure through Norse hell. I've also been playing the Wasteland-like RPG Expeditions: Vikings on Steam (which I'm hoping to review soon). I also have games like Mount & Blad: Viking Conquest and Total War: Thrones of Britannia on my short list of games I'd like to play. And there was also the Viking character in For Honor.

Now, Sony's PlayStation flagship God of War has jumped from Greek mythology to Norse mythology. Having killed all the Greek gods, Kratos has apparently settled down in the mythological Midgard with a wife and son, only for his wife to die and his son be attacked by the Norse god Baldr. This sends Kratos and Atreus on a father-son bonding adventure to spread Atreus' mother's ashes from the highest peak in all the realms, and to learn why the Aesir are suddenly keen on hunting them.

Norse mythology seems to be a popular subject in media lately.

A father-son murder team

Atreus has some of the same problems that The Last of Us has with Ellie. Atreus doesn't feel vulnerable enough to demand protection, and he's rarely relevant outside of combat, except for his running commentary about what you're doing. Because of this, the actual game rarely feels like it's about protecting or escorting Atreus. And even though the game is ostensibly about Kratos teaching Atreus how to fight and be a man, the player never has an opportunity to actually teach the kid or take on any parental responsibility for him. It's just about Kratos throwing axes at draugr, and Atreus occasionally shoots them or jumps on their heads to help you out. The puzzle sections rarely require using Atreus (other than occasionally shooting something with his bow or having him scamper through a small tunnel).

Atreus is basically just an extra ranged attack.

That being said, I think that God of War makes some strides in the right direction (compared to The Last of Us). The player (and Kratos) can command Atreus to attack a target with his bow, which is one of the easiest and most consistent ways to deal stun damage to enemies, which opens them up to an intant-kill attack from Kratos. It's also a strategy that is pretty much essential on the harder difficulties. This creates a much greater sense of playing in tandem with Atreus, as he and Kratos often work together to defeat foes.

Atreus and Kratos can also break each other out of being grappled or stunned. I've never gotten a "Game Over" as a result of Atreus being defeated, so I'm not sure if that's a possible fail state. Being grappled or stunned only seemed to ever temporarily take Atreus out of the fight and negate the ability to use his bow. Either way, this is an improvement over Ellie from The Last of Us, who (as far as I recall) operated entirely independently from Joel, was never at any risk, and could be completely ignored for most of the player's time actually playing the game.

Kratos and Atreus can break each other out of enemy grapples and support each other in combat.

The important take-away here is that, unlike with Ellie in the combat encounters of The Last of Us, I never forgot that Atreus was there when playing God of War...

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Monster Hunter: World - title

I've been playing Monster Hunter: World off-and-on since it was released (which was a few months ago at this point), and I'm still just not sure that I get it yet. The game just hasn't clicked for me. Maybe I haven't invested quite enough time yet. In the past, I've come around to games that initially turned me off with their tedium and/or difficulty. Demon's Souls is perhaps the prime example, as that game took a few days (almost a week) of banging my head against the walls of the Boletarian Palace before things started to click for me. It certainly didn't take months! Once Demon's Souls started to click, the game almost immediately became one of my all-time favorites.

The Demon's Souls comparison is apt. Corners of the internet keep insisting that Monster Hunter: World is a game that should appeal to the same types of players who love Dark Souls (because everybody keeps forgetting that Demon's Souls did it first and better). Well, I'm sorry, but I just don't see how the two connect.

Yeah, there's the difficulty. But Dark Souls isn't good because it's hard. It's good because all the pieces around that central challenge make overcoming that challenge feel worthwhile. It's the world-building, the lore, the way that the obtuse characters and dialogue builds a growing sense of intrigue about the world, the sense of nervously tip-toeing into a dangerous unknown, the sense of leveling your stats into a character build that perfectly suits your desired playstyle, and that ominous sense of entropic dread that permeates every nook and cranny of the game. Those things make Dark Souls good! Those sorts of things are lacking in Monster Hunter: World.

The JRPG nonsense that usually turns me off of JRPGs

Sadly, Monster Hunter: World is bogged down by a lot of the kinds of JRPG nonsense that has frequently turned me off of playing these sorts of games. While I often appreciate that JRPGs tend to be more story and character-driven (something that I often wish western RPGs would focus more on), JRPGs also tend to undercut the seriousness of the stories they're trying to tell with lots of silliness and whimsy. Sometimes it's charming or endearing; other times it's juvenile or obnoxious.

You can track monsters by following their footprints or by studying their snot and turds.

I can tolerate this game's silly little cat side kicks. Monster Hunter's whimsical fantasy setting works well enough. What is less tolerable is that the game is littered with tedious, grindy, time-killer quests: harvest so many mushrooms, investigate a bunch of dinosaur footprints and [literal] crap, kill however many small monsters, capture yet more small monsters. and yadda yadda yadda. I guess, at a certain level, these activities make a certain amount of sense. Your character is, after all, one grunt in a whole army of grunt hunters being sent out to do the dirty work of the captains. But I have better things to do in real life than to wander around a forest picking flowers for 50 minutes.

Monster Hunter is loaded with grind quests.

Some of these sorts of quests are relegated to little ambient side-quests that you can perform while you're doing other major missions. These are the ones that are tolerable. Others (like the Investigations and other tangential story quests) require you to perform dedicated ingredient-gathering grind missions, in which the sole purpose of the mission is to fight monsters you've already fought and collect a bunch of stuff. Since my character doesn't have traditional stats or levels that improve as I complete these quests, the grinding just never really feels worth it.

I was hoping that I could just power through the main quests and skip all the tedious grind stuff. No such luck. I got to a point where I had to hunt the T-Rex-like Anjanath, and got stuck...

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Stellaris - title

Last year, after my initial enthusiasm for Civilization VI began petering out (until the announcement of the expansion), I went on a bit of a space-4x bender. I spent some time with the rebooted Master of Orion. It was good, but I was underwhelmed by its limited scale and casual depth. I also planned on hitting up Endless Space 2. I played the first Endless Space briefly off-and-on, and I liked it, but kept getting diverted to other games and projects and never really allowed myself the time to get comfortable with the game.

But first, before diving into Engless Space 2, I wanted to tackle a game that's been in my library for over a year: Stellaris. This is an epic, space 4x strategy game developed by Paradox Interactive -- the same developer who brought us the infamously complex and detailed Europa Universalis and Crusader Kings series.

A gentler learning curve than Europa Universalis

I was hesitant to try Stellaris because of its relationship to Europa Universalis (and its notorious complexity), but I was surprised to find that Stellaris has a bit of a gentler learning curve. Instead of starting you out "in median res" with a developed European kingdom with armies already mobilized, alliances and rivalries already in place, and wars already in progress, Stellaris starts you out in control of a single planet in a single star system, with just a small fleet of corvettes, a construction ship, and a science ship at your disposal. You send your science ship to explore the other planets in your system, then on to the nearest star, and slowly explore from there at a much more comfortable pace that is akin to a game like Civilization or Master of Orion. Unlike with Crusader Kings and Europa Universalis, I didn't feel like I needed to sit down with a history textbook in order to know what was going on at the start of my game.

You start the game with a single science ship to explore your own star system, and work your way out from there.

Don't let this initial apparent simplicity fool you. Stellaris is still quite deep, quite complex, and the galaxy that you'll explore really does feel vast. While the Master of Orion reboot has galaxies with a mere dozens of stars (very few of which contain more than one or two planets), Stellaris features a default galaxy size consisting of hundreds of stars, most with their own planets, which might (in turn) contain moons.

There's still going to be some trial and error, as you'll make a lot of mistakes and miss a lot of opportunities in your first few games. If you left the "ironman" mode disabled, then you'll at least be free to re-load earlier saves and try to play better if anything goes horribly wrong. However, Paradox throws a bit of a curve ball at players by disabling achievements if you disable ironman mode. You won't stumble into achievements in your learning game(s) or by save-scumming; you'll have to earn them in the Ironman mode!

You also won't be able to manually save while in Ironman mode. You have to wait for the game to perform an auto-save (which I think happens every few in-game months, or maybe every year?). This can be very annoying if you don't notice the "saving game" popup and don't know if the game has saved your most recent actions. It's fine to include a single save file for this mode, but they could at least include a "Save and Exit" option in the pause menu!

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What Remains of Edith Finch - title

The Finch family is, as we are told, cursed. It's not a spoiler to say that every member of the family dies a tragic, premature death. The family tree in the sketchbook tells you as much at the start of the game.

We play, ostensibly, as 17-year-old Edith Finch, the last surviving member of the Finch family, but also an expecting mother. Her son will carry on the name and legacy of the family. She returns to her childhood home to learn the stories of all her cursed relatives, as she debates internally with whether to share these stories with her son, or to let the past (and its myriad tragedies) fade away and die.

The Finch family is cursed by tragedy.

The house itself, is a whimsical generational home in which each member of the family is given his or her own unique room. As more members of the family are born, new rooms are added onto the house, including a towering structure on the top that makes the house look almost like a castle. After losing both of her sons, Edith's mother began sealing off everyone's rooms so that Edith (and any future children) would not become aware of how the others died. But, each room has alternate ways in and out, including some secret doorways and tunnels.

Despite the whimsical, fantastical nature of the house, everything feels surprisingly real and lived-in. The house is cluttered with the paraphernalia of the family (since they were apparently also hoarders), and each room has a very distinct personality. Even the shared spaces that do not belong to any one individual still exhibit a sense of personality to them. This is a family that takes great pride in their history and the connectedness that they have towards one another.

The Finch home is a whimsical, generational house.

As she learns about these stories, Edith questions whether the family members should know about the stories of their relatives and the supposed curse? Or does that knowledge make tragedy a self-fulfilling prophecy? Should she share these stories with her unborn son, at the risk that the knowledge may cause him to also fall victim to the curse? Or is he cursed either way, and has a right to know it?...

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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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