It is important you know that I am from Canada because we spell colour and flavour with a U and sometimes use British vernacular, probably because of Coronation Street and East Enders.
I'm a student in something called 'pre professional journalism'. Whatever that is. I'm a major of Philosophy and a minor in Sociology, mostly because critical thinking and the analysis and understanding of social behaviors makes me horny.
My ambitions include creating a fully animated rotoscoped feature length animatronic musical and to build a 'fusion' reactor in my backyard out of little more than a high power laser and an industrial vacuum. Both of these things are possible believe it or not.
Intrusion 2 is a well put together side scrolling shooter that starts strong and holds the momentum. It can be easily compared to other side scrolling shooters like Metal slug and Contra but it needn't be, even though it is apparent it has used these titles as inspiration it holds up as its own thing.
Within Intrusion 2 there is some very interesting points of exploration and a multitude of powerful weaponry and genuinely entertaining enemies to do away with. It is obvious at the beginning of the first level that you are in for a ride. As the protagonist parachutes into a battle field you get a clear picture of the art style which is a blend of 2D and 3D art.
There is no story to speak of within Intrusion 2. It is in its entirety a simple and well put together side scrolling shooter with some platforming elements and nothing more. The adage, "Do one thing and do it well." applies to this title as there are little to no hiccups in the setup and execution of the action throughout the entire game. The action seamlessly carries you from one checkpoint to the next with little indication of level changes. This is a good thing as much as it is bad thing as you may run the entire game in a matter of only a few hours without having realized how far along you were. To this effect there is a hard mode difficulty setting which I strongly recommend to anyone who has played games of this sort before. For the most part I only experienced one instance of true difficulty which took the form of a bullet-hell type boss that rappelled from one side of the room to the other spraying bullets and dropping rocks from above. If you play this and get to this point - conserve your ammo and wait for her to change her mode of attack, evade as best you can and be patient.
There is some formulaic exploration in the level design which isn't bad but it isn't really inspired either. Exploration consists mostly of getting past the half way mark in an area and back tracking on the roof tops and high wires to reach a hidden weapon or witty remark on a sign. Back tracking does not always respawn enemies but it may and farther along into the game that means machine gun wielding mechs with laser swords come back, be advised.
The sound is fitting to a game in this genre. The sound effects are on point although they are nothing exceptional or unexpected. The music consists of only a few tracks and is on a two minute repeat. The music being slightly repetitive isn't such a bad thing at times as the metal guitar riff track is fitting. With a playthrough running of about 3 hours or so, I suggest your own music, anything electronic or metal would fit.
Intrusion 2 is a very honest attempt and a good attempt at being a short and sweet side scrolling shooter. Fans of the genre may like this honest attempt at the genre. If you haven't checked it out and enjoy the side scrolling type genre you'll probably really like Intrusion 2. Check out the first at the link above, if its to your liking check out the demo for Intrusion 2 and then please consider helping out the talent behind it by purchasing Intrusion 2 from their official site or on steam. You can check out a demo of Intrusion 2right here it is also available for download from the official site.
Without spoiling what weapons or enemies you'll encounter I think its best if you play the demo and play the first one in the series. If you like the demo I assure you this game does not stop its fast paced action, it really carries through the entire game and for that I have to commend the talent behind the title.
There is no better price than free!
If you have an iPad or iPodTouch or iPhone, get this while you can because nothing says time well wasted like a free award winning multiplatform title that's on a mobile device is is actually a video game. If you have a compatible device download it or you a square do-nothing know-nothing who has an iPad just cause'. Not that there is anything wrong with a 'got-dat jus'cause' kind of crowd, but there is something to be said about a person who doesn't accept a free cupcake, when they have friends who like cupcakes. Do you know what I'm saying?
So, let's say I heard a thing and I can't exactly call someone to confirm this because that would be harassment, but I heard a thing. I'd like to head up this rumor with an official statement but when I call the offices of 'Levine and Sons Co.' I get an answering machine, something about fresh fish in New Port. No idea.
What I do know is that Bioshock Infinte is slated for a Marsh 2013 release this date is supposed to be beyond set in stone. Do you think it will be delayed yet again until after E3? Or do you think that it may in fact be delayed all the way until Fall 2013 or perhaps even early 2014?
It's almost insane to think it would come out next year instead of this spring. That's a big step away from what seems to be etched in stone. Someone please - come out of the wood work, official comments on this need to be had.
It seems possible but not likely that this will happen, cross all the fingers.
Infinity Blade has been hailed as a serious attempt at making a hardcore mobile game. It uses the Unreal Engine, doesn't require any micro-transaction, albeit those are supported, and the game takes a measure of skill to master.
Toting a $5 price point and delivering on content, it raised the bar for cohesive mechanics and graphic design on a mobile platform. With art direction that stands up to the likes of Dark Souls, the appeal is there. It's dark Gothic atmosphere sets the tone for sword and shield combat.
Infinity Blade 2 is seeing the light of day and in celebration Infinity Blade has become free for a limited time. If you have an iOS device and enjoy eye candy, there is no reason not to download this right now, and you should - because Free is best kind of price. Did I mention its actually a game that isn't pay-to-win? You can play this for more than 20 minutes without it wanting some kind of in-house currency to be re-buffered, ever - at all.
Nothing says desperation like a burst of varying underhanded marketing tactics being thrown at a single title. I'm sure the thought process behind co-op multiplier is that it directly correlates to more single sales of a title so that more people will play together. The counter to this of course is that most online and multiplier experiences are re-hashed, overused, and bland ideas which hold little to no footing for a consistent audience. Because every other title and those titles squeals contain a multiplayer experience and that directly invalidates and dilutes a consistent online audience even further. Dead Space 3 does just that to by directly invalidating the online experience of Dead Space 2, just as Uncharted 3 does to Uncharted 2. Minor improvements over previous installments might as well be swept aside with the overwhelming avalanche to conform and purchase the latest title. However, this criticism is not based on Dead Space 3's multiplayer experience, it is a far more superficial analysis than that. Instead, the purpose will be to direct the attention to disgusting, lazy, and unintentionally horrific details about Dead Space 3 which contrast with such atrocities as the Geoff Keighley Mountain Dew and Doritos incident, as well as the worst most tasteless tri-colour pasta of videogame endings even conceived at the end of Mass Effect 3. Wherein then does this rant fall onto Dead Space 3 and lend itself to previous rants/expositions/editorials about industry trends? This is a forecast of the Dead Space franchise and Visceral Games.
Dead Space 3 is a well sculpted piece of shit that Electronic Arts has special selected out of the intestines of Visceral Games. EA's fist is so far in and so deep into the ass of Visceral Games that over time EA will have worked that companies asshole into a seamless cloaca. Blending the virtues of a penis, a vagina, and an asshole into a single entity capable of being both fucked and sucked synchronously by a single puppeteer arm. This cloaca will piss a scientifically engineered cocktail with which EA sustains itself.
EA is without a doubt enforcing policies and creative control at Visceral Games. There are some interesting changes that go beyond blending more action into the title. Dead Space did well enough to spawn a very well executed sequel. By no means are the Dead Space games a pinnacle of the interactive arts, but they are examples of how a narrative can compel and captivate an audience. Unfortunately to promote a franchise with unique story elements that diversify it from other current titles certain aspects of that story may be engineered into a marketing ploy to make it appear more original that it actually is. A franchise may even become dependent for cliff hangers to be present to establish the facade of a continuation of what was once a compelling or original narrative.
The presentation and quality of Dead Space 3 is disturbing in the most unintentional and stupid of ways at times, laughably so. Elements which are essentially redundant are in place as filler around every corner. Specifically speaking, Dead Space 3 is notorious for offering up moments of uninspired superficial player interaction. There are ladders, elevators, and stairs visible everywhere in Dead Space 3 which may require some running around to get to, power up, or operate. These interactions use every other excuse to invoke some kind of trivial switch box for the player to click on to activate or drop, this is superficial player interaction at its worst and it is rampant throughout the title. Go to X, do X, go all the way over to Y, enemies came back between X and Y take them out, pat on the back by npc, player is made to feel like they did something, get to the chopper, reward for getting back to X, narrative continuation, etc. This is an adventure game algorithm which is setup to deliver an allocated amount of time for a reward system to deliver. If the player spends X amount of time doing Y the reward and the continuation of the narrative should happen at an interval that won't cause boredum or gameplay stagnation and ceases to be entertaining. Basically, it's chunks of gameplay that are in place to make the game feel like a game without delivering anything more than mechanics which have been done in videogames since Quake 25 years ago. It is uninspired and lazy. These moments leave something to be desired of the capabilities of current videogames. As open world games and fps titles become more advanced the players interaction can develop into new types of gameplay. See a door you can't open but you've got a rocket launcher that took five hours to get, blow it up. You hate an NPC because they annoy the shit out of you and are portrayed in a way that irks you, do away with them. Creating situations outside of a linear algorithm is actually very easy as they are mostly fully automated mechanics. So why is it that Isaac can't climb over a guard rail? Why does he need to use a ladder to get up a two foot high blockade? The worst instances of superficial player interaction include the interaction with a four foot ladder, no more than a few inches from the ground, it requires the player to interact with a switch box which is larger and more impractical than the ladder. It does not focus the gameplay experience or narrative it takes players out of the game and says, "This is a videogame." its condescending, but I suppose in the name of branching to a 'wider audience' dumb is the way to go.
The things that were done with physics and space ships in "Star Wars: The Force Unleashed" was as fun to interact with as it was to watch. The ability to use the environment in a way that impacted gameplay in a positive way was everywhere. Gameplay interactions which impacted the environment in a way that benefited the gameplay and narrative and could have been done with ease in Dead Space 3, instead it appears almost as though intentional steps had been taken to add as much stiff filler gameplay moments as possible. With the incredible plethora of tool available why can't metal bars and doors be melted or destroyed? At times its less like you are playing the game and more like EA has its hand up your ass playing you saying, "This is how the game is meant to be played." while also saying implying that if you want to express individuality to express it by creating inefficient weapons, it is literally the only way the player can actually express themselves in some way in this game.
There is nothing worse than an overarching story which spans books, movies, and videogames to have conflicting story elements between mediums. Retroactive continuity and continuity problems effect a medium in a lot of ways, for the most part it stops you from enjoying it. A little thing like a blue cup turning red or perhaps entire set pieces like islands or buildings disappearing between shots in a movie can disturb and actually subconsciously distort an audiences perception and make them less receptive. A lack of continuity or even a spelling error in a book may even create deep feelings of doubt and dread. A lack of continuity can alienate fans, as a producer you never want that to happen. This is one of the reasons why the “The Last Air Bender” movie fell apart, the director fucked up very badly.
A lack of continuity can be as easy as writing dialogue for a character and having a misstep in what that character may think or feel in a given situation. When Isaac had a needle pierce his brain through his eye he didn't shout, “A goat made of pudding killed my girlfriend and lick my asshole she drowned. Whores!”. It wouldn't have been realistic or relevant for that kind of dialogue. The sequence was exceptionally well done, the animation on Isaac's face perfectly reflected the tense situation. If the fourth wall were to be broken during the sequence I'm sure Isaac would have been muttering, “Don't fucking kill me, don't fucking kill me.” but because the sequence is so well done, nothing needs to be said. You understand how tense the situation is each time you try and manipulate that needle into position. The sequence is exceptional and is an example of how interaction between narrative elements, gameplay, and digital performance can consume a player in the atmosphere of a videogame and truly captivate them.
In Dead Space 3 after Isaac and Elie's ship is ripped in half, he has a blank face. His character looks clearly not animated at all. Ellie's face on the other hand had been distorted and exaggerated beyond recognition. Ellie in this scene is adorned with a low cut red top and for the most part her chest remains clearly visible as fire and debris scatter around. I'm sure Ellia was originally written to maintain her persona and really her entire character from Dead Space 2 and that during this scene she was meant to die. Ellie comes back latter on to serve as a superficial love interest with two cardboard cutouts for antagonists trolling behind her. What's with the low cut top? Why does she have to be a love interest? If it's so easy to find a spaceship, why doesn't she just get into one and fly home? What in the fuck is she even doing?
The story elements take a turn for the worse when Isaac reffers to himself as the 'marker killer' at which point I'm sure many fans of Dead Space face-palmed a little bit. In the first game Isaac was a voiceless nobody with nothing but tools at his disposal. Not only did his character work well in Dead Space but he was actually developed as a character when he took on a voice in Dead Space 2, it was an addition which also helped players to care about the character so that in desperate moments players wouldn't be just be thinking, “I don't want to die and have to start over.” but that they would also take into consideration Isaac as a character and not want to watch him get killed. Isaac had been through some hard times between the first and second installments if you cared about the story it would be second nature to really feel as though Isaac Clarke, an unsuspecting engineer who went to fix a radio, became hunted by the decomposing irradiated remains of people he may have known. Not to mention he was uncertain about his girlfriend being alive and was dealing with conflicting psychological issues revolving around her disappearance. On top of that in Dead Space 2 the introductory gameplay is a cross referencing of other canonical material from books and two side-story games. It's a full circle of material that continues to develop throughout and then suddenly contrasting to all of these developments Isaac looks and acts like a douche and talks funny. The fuck Visceral?
I played Dead Space[i/] without really knowing what it was. Finding out it had an intesting corporate and religious subtext present in its story I really felt there was some depth to it. When EA noticed Visceral Games was amassing a bit of a following it was like watching Chris Hanson asking them to take a seat like they'd done something wrong. There was something reserved about the press material presenting itself near the [i]Dead Space 2 launch. Like some EA QA analysts sat down and verified that the product would make money, giving EA the go ahead to send in some foot soldiers to oversee the development of the third installment. Then rumors about taking some of the horror out of the game surfaced which presented questions like, 'If you take the horror out of 'Survival horror' what kind of game do you get?” And then a co-operative campaign was announced and that Isaac would have a partner who looked like a Gears of War COG reject. Fans across the internet intensified their worries exclaiming that if the narrative was still in place everything would be fine. Then the biggest bomb dropped before release, micro-transactions. EA probably had a lot to do with all of these design decisions probably more than anyone at Visceral Games would like to admit. I'm sure they had something to do with the low cut top, the mobile game pay to win formula seeing an inception into a multiplatform title, I just tell myself Isaac's face in that scene where that ship is getting torn apart is the expression of a metaphor. The metaphor a separation from a company and its creative license and control over something it worked so hard to create.
And then it get's reincarnated with breast implants and suddenly everyone around you is mental handicapped and nothing makes sense.
The boss is a moon.
I don't care anymore.
Please don't buy Dead Space 3, you'll only be supporting the problems with underfunded and overstaffed development projects. It leads to mass layoffs and the destruction of beloved stories and characters. Not to mention, if you purchase Dead Space 3 it will only provoke EA to seize even more control over the development process and cause the senior staff at Visceral to mail-it-in so hard that it'll make shit worthy of a Andres Serrano exhibit. I loved Dead Space, I have the zappy gun flashlight happy meal toy and everything. But what it was is dead. I'm not saying this because I'm a purist. Too much evil is taking place between EA and its partners and the masses appear to be supporting their idiocy and manipulation. I can't support microtransactions and the condescending mediocrity that comes with it.
If you want a review score it's:
A sign of entrenched mediocrity out of two micro-transactions.
Playing this game got me thinking, this could be an entire genre of video games. Imagine, the struggle to get a glass out of a crowded cup cupboard with the objective of not breaking any, or having to take exactly three squares of toilet paper from the roll without ripping them somewhere down the middle and then trying to stuff that square between your legs or around your legs and then wiping without getting shit smeared on the hand. It would be fucking glorious. Other games could include:
- Open The Door *get keys from pocket which has a pocket knife, and some tissue and candy wrappers. Throw it all away and hen you have to fumble with the keyring.
-Turn your PlayStation/XBOX/WiiU On *plug the fucking thing in, pick a game to play, take it out of the case, get that thing in the console and get it to run
-Take a Piss *open the toilet lid, lift the seat, unzip your fly, GOGOGO, don't hurt yourself, - flush, wash your hands, don't be a douche, wash your disgusting hands - Future DLC: Take a Piss Girl; undo that button, unzip that fly, pull those pants down, address your panties like a real lady, and do your business, centered on the toilet, wipe so you don't get AIDS, pull em up, do em up, flush, unlatch the door, wash up - chunky DLC WORTH THE BIG $$$$
-Open The Bag of Chips *OLD DUTCH - fucking box of chips, open that shit, grab a bag, open that fucking bag, eat a fucking chip, and another, until you eat the whole bag, then you crumple the bag and throw it across the room at your garbage bin/can/corner.
-Make Tea *boil water, grab a tea bag, place it in the kettle or the cup, don't be a douche, pour some creamer if you're a douche DLC: Loose leaf tea, in a a clear glass bot with an infuser, this DLC requires the Drink a Beer full version with the Get a Drink DLC to operate
-Drink a Beer *get it from the fridge, get the bottle opener magnet off the door, open that shit without spilling it DLC available at launch; Get a Drink aka the cup-from-a-cupboard-DLC
-Pick Your Nose and Don't Die Doing it Pick a winner! *get in there and don't kill yourself
-Sign for Your Parcel *signature required, sign for it, take the package, close your dorrs
-Do the Dishes *holy shit why
I COULD GO ON
IF YOU CAN THINK OF ANY LET ME KNOW IN THE COMMENTS
I will gladly be the designer for these titles.
I will accept if asked because I am a professional who brushes and flosses.
Unfortunately I'm probably going to change my life and career path soon. So professionally I will be stuck being pre-professional, but as long as I think, feel, and act like a professional, I am professional.