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Just a guy who loves video games and music. Also artist on the rise!... maybe!

Wanna talk? I'm friendly. Wanna play? Shore. ESPECIALLY ROCK BAND BECAUSE I LOVE ROCKING OUT WITH MY COCK OUT!!!!!!

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It came at short notice. Not a month before it was to happen, I was informed of available tickets for a certain "Alamo City Comic-Con". Where I would find cosplays, famous faces and, ideally, some generally great times. 

Almost immediately, possibilities ran through my head. Who would I seek out to meet? What panels would I go to? Who would I dress as? Was this all even worth it? Do I BELIEVE THE HYPE? The days leading up to curtain call were exciting on their own, but I had no idea just how much I would enjoy the convention. My very first one.

As anyone will likely tell you, it's an amazing and very unique kind of experience. In fact, it was most fun I've had since early high school and will probably remain that way for quite some time.


To say that it was life-affirming is putting it lightly. Never have I felt more proud to be a total fucking dork. It was it's own little, self-contained world where "abormal" was now fair game and you could express anything as long as it was appropriate. 

On a normal day, if a dude walked up to me, then suddenly crouched into a cardboard box, I would've chuckled and been on my way. At Comic-Con, it was an impromtu stage performance. I pretended to be curious at the box before me that I could swear I saw move. After a few seconds, I threw my hands up and continued my patrol. Just like in that video game!

Every cosplayer knew how to play ball. Every single one was your friend, more than willing to take your shoulder and pose for a selfie. 

Some people describe cosplay as an excuse to be someone you are not. But, if you were not this person, then what the hell is it that you are doing, exactly? That's totally you. You don't literally switch brains with some fictional character. This is simply an environment that encourages your inner most geek and when, if, it's let loose... the fun you have is incomparable. 

I wish I could be this open everyday. 

And then there are the celebrities. If it were just cosplays, vendors and gabbin' with fellow nerds, it would've been more than enough fun and worth the relatively cheap entry price. But, when you see tables set up to feature the likes of Steve Downes, George Takei, Troy Baker, Robert England, Anthony Michael Hall... you can't deny the allure. 

"Is that Vaas?! Far Cry 3?", exclaimed Troy Baker, voice of TLOU's Joel, Persona 4's Kanji, Arkham Origins' Joker, Bioshock Infinite's Booker Dewitt, Resident Evil 6's Jake and MANY others. 

"Why, yes it is!", I answered with a twinkle in my eye. 

I come back a second time and find him chatting with fans like they were best buds. Slamming his fists on the table like an excited teenager, complementing cosplays, talking about video games, whatever. On that second trip, I even managed to negotiate a free few measures of Will the Circle Be Unbroken.


Steve Downes (Master Chief) and Jen Taylor (Cortana, as well as L4D's Zoey) weren't much different. Fans were not a burden at all. Sharing interests, chatting it up and just having a great time. 

Believe it or not, I was this close to shaking Stan Lee's hand. Instead, though, I just silently murmured "Stan Leeeeeeeeeeeeeeeee." and walked off as to not bother him. Or so I told myself. Really, I choked. There's no real way around that. I choked. 


Just when I thought I had seen it all, there was a whole 'nother half a stadium full of vendors next to the other quarter of a stadium of vendors and comic artists. With that much swag crowding my line of sight, I had to buy at least a few things. 

Plushies, paintings, die cuts, costume accessories, even live commisions and... love pillows. And an entire vendor dedicated to My Little Pony. I'm not a man with a right to judge, but that's definitely something. 

Give this dude's figure some props. The perfect Nightwing.

The convention wasn't nearly as empty as I was expecting, if empty at all. Since it wasn't any of the more heavily-promoted Comic-Cons, I assumed it was one of those meager substitutes until the real deals. That it wasn't "cool" enough. That could not have been further from the truth. 

Vendors out the wazoo, dozens of famous faces, displays, events, showfloor panels, just about everything you could imagine was out in full force and nevermind the many many attendees who were usually in constume. There was always something to see or do. 

Heck. You didn't even need to venture towards the celebrity cosplayers to see something on-point and worthy of a total fangasm. Just regular old folks doing it purely for the fun, that's always going to be more impressive to me. 

Those that got creative with their cosplays were even better. We had gangster Deadpool (also see: D Pooly), Wario and Waluigi with karts petruding from their torsos, original designs that were truly something to witness, and genderswaps. Lots of genderswaps. 

FemLink? Hell yeah. Male Marceline? Would date. Sweet little girl as Blue Knight from Castle Crashers? ADORABLE!

I did see a lot of the same costumes, though. Which was to be expected. Deadpool, Spider-Man, Batman, Finn, Link, and lots and LOTS of The Joker. Also, lots of cleavage. 

You know who I didn't get to see, though? What would've tickled my fancies? Diablo III's Malthael. Nocturne's Demi-Fiend. Just ONE Simpsons character. Nobody brought their dog as Okami and themselves as Sakuya. And most criminal? There was but one Waluigi. 

I should've gone as Waluigi. 

I sort of love these guys in particular.


I could go all day about how amazing of a time I had at Alamo City Comic-Con. I would if it were feasible, with thousands of words and every single one of the 50 or so pictures I took. In my current state, I still need plenty of sleep. It was a workout, walking about for 5-6 hours. 

I leave you all with this: If you have the opportunity, go to one of these. Or any convention. Anime, video games, specific communities, anything. But, especially if it's some sort of Comic-Con. It will be worth every cent. Don't take that as a casual endorsement. If this is a kind of environment you're not used to but interested in, I guarantee you'll be more than impressed. 

I will treasure that Saturday's hours for the rest of my life. That was a day I can take to my grave. "I did that. I totally did that.". At this very moment, I still feel confident in saying that I can die happily.


A little somethin' for Hoffman.

In just two short years, I've played and greatly enjoyed (most of) a whopping 8 Shin Megami Tensei titles. 

Well, actually, that would sound like a lot if there weren't still so freakin' many left to try! I'm scared to Wiki the exact amount. But, to put it into perspective, we have a Persona game coming just a day before my next birthday (!!!), another (hopefully) sometime in 2015, SMTIV is finally releasing in Europe next month, and a Devil Survivor 2 port is in development. 

 I think ATLUS has met their quota, don't ya think? 

This guy still has a

This guy still has a "Fuck you." quota to meet.

One of SMT's standout elements, for me at least, is it's fantastic music. Much of it composed/arranged by Shoji Meguro, who quickly became one of the very very few video game composers I took the trouble to look up and keep in mind for future reference. I had only played Persona 4: Golden, but his work was seriously giving me a hard on. 

What Jonathan Coulton is to folk/geek music culture, Meguro is to video game music culture. He can pump out dozens of tracks per game, with multiple games sometimes releasing within the span of less than a year. Tackling multiple genres, channeling all sorts of vibes, and kicking so much ass. This man's creative juices just don't run dry. 

Here, I will try my best to justify my love. Stop listening to your wubbysteps or your Anacondas or something because I haven't been able to get SMT off my mind for the past week. I need to shove some of that down your earholes. 

"Fierce Battle" - Shin Megami Tensei III: Nocturne

For as much as I praise Meguro, this particular track reeks exstensively of "bahbee's first metal recording". Betting most of your track's hook almost entirely on E to F to A# chords and neck slides to a basic rhythm is about as edgehard as wearing sunglasses indoors. It being the first battle tune you hear in Nocturne and coming straight off of the high quality of SMTIV's battle tracks, it was a grand disappointment. 

At first. 

Now? This is preciously why I love it. It's grown on me to where I appreciate it's cheese factor, and the percussion and jutting chords hit just hard enough that I can't help but punch and kick a few holes in the wall in a fit of air guitar and wavy long hair. With a huge, shit-eating smile on my face. 

"Hunting Field" - Shin Megami Tensei: Digital Devil Saga

I look to my right, then my left. I may imagine myself in a nice bathroom, with tan/white marble floors and walls that sheen with every glance. I walk out to what seems like a lovely hotel, take the pen at the register, state my name, sign in, then walk calmly to my suite. All the while, I would not be surprised to hear a little bit of the Digital Devil Saga soundtrack. There is a surprising amount of very relaxing music for a game as dark and serious as this. 

If I had to place this particular piece within a precise genre of music, it'd have to go with "gloom lounge" or something along those lines. Not quite dark or creepy, just ever so dreary. Soft synth stretches across just about every second, with the heaviest element likely being the guitar chords that spike and then slowly decipate into equally as soft echoes. 

It's an interesting track. If "gloom lounge" is already prominent enough to be an actual genre, I need to hear more. If it isn't, I need to bust out GarageBand and start the next big music movement. 

"Battle Beat" - Devil Survivor 

Devil Survivor is the one game out of all the SMT titles I've tried thus far that I haven't liked, falling into what usually deters me from most JRPG's early on. Competent dialogue or characterization seems to be surprisingly rare for games that focus so heavily on story. 

I mean, I get it. You created a sqealy, ditzy young girl who's one gimmick is to form almost everything as a question and to bicker at her inability to understand anything as a "plot device" to consolidate the player in case he or she ever got confused. It's not subtle or enjoyable, it's just annoying. 

Thankfully, the music fares much better. Battle Beat, specifically, vaguely reminds me of one of my favorite Megadeth tracks, High Speed Dirt. Similar rhythm, two-note chords rooted in A galloping away, etc. It's solowork may not be anywhere near as impressive, but it's still a great representation of a thrilling battle. Naturally, making it a nice battle theme. Really comes together towards the end where the harmonizing solos especially shine. 

I swear, I keep half-expecting Mustaine to burst in by the end of every few measures and sing about demon summoning and penis beasts. 

"Basement" - Persona 3

I don't think I remember this track from my many many hours of Persona 3: FES, but it must've come up at some point. The tragedy with video game music is that, sometimes, the story or gameplay grabs so much of your attention that it's easy to forget that there's probably some nice sounds alongside. 

There's a LOT going on with this track. It's the perfect backing to someone holding their head and screaming out in paranoia. Fast and varied percussion, jolting guitar sampling, horrific string and bit melodies, everything layered so damn well and always staying interesting. It's almost criminal that tracks this good and complex are usually looping after only a minute to a minute and a half. 

"Main Theme" - Shin Megami Tensei IV

SMTIV probably has my favorite of the SMT soundtracks I've experienced thus far, so believe me when I say I understand picking the main theme is unambitious and that are plenty more awesome tracks that don't get the attention they deserve, but this theme track is goddamned epic. I don't use that word lightly, "epic". It is most definitely is. 

At first, I found it dull. But, much like how Fierce Battle eventually grew on me, I've come to love this track. Just not in any sort of ironic sense. The frightening and powerful piano strikes, those crunching pick slides that almost sound like demonic moaning, that howling synth melody towards the end, I just love how every single element of this track perfectly suites the atmosphere and general tone of SMTIV. Grandiose, dark, and desperate.  

As I explained with P3's Basement, tracks this good I usually want more and more out of. But, SMTIV's theme tune is so perfectly-paced that I can't complain. It doesn't leave me wanting more, rather.. it leaves me satisfied. There's nothing at all missing from it. Frankly, it's fookin' perfect.


"Your Affection" - Persona 4

Ahhhh. The game that started it all. Well, the game that started my love of SMT at least. 

There's something to be said about someone who can successfully tackle both metal and J-pop. Who do I have to sell my soul to for that kind of feat? Eh? Jesus, Meguro. You're #based as FUCK. Can we, like, take a second to appreciate that? That takes more talent than most might think. 

Those sexy bass rides under what is a great use of the typical *high-hat, snare, high-hat, bass, repeat* sort of beat, and the beautiful melody that doesn't go for too many intense highs while remaining just as soulful... it's about as solid, dignified, and enjoyable as pop can get. Pretty much sums up all of Persona 4's pop tracks, really. "Catchy" is such a great quality when it's not exploited through a song that's lackluster as heck otherwise. 

"Virtual Art Gallery (Cave)" - Shin Megami Tensei: Devil Summoner: Soul Hackers

Have you ever gotten anxious or nervous from the sound of slowly dripping water? That's literally all this track is, outside the ominous sounds of wind echoing through a cave and that single cello note that repeats throughout. 

This is not necessarily a legitimate entry for this list. Just a cool little Pavolovian-esque experiment. Personally, about 5 seconds in, my heartrate began to rise. Guess it's sort of like those suicide myth's surrounding Pokemon Red/Blue's infamous Lavender Town track. Immediately sets you off. *shudder*


"Ebony" - Persona 2: Eternal Punishment

Sans your Isley Brothers' Greatest Hits CD... that which is now only but a Spotify playlist, nothing will get you and your significant other in the mood quite like this track. Or, if you're by yourself, that's okay too. Somebody's doin' somebody. 


Interesting how tracks like this might be just as prevelant to Meguro's resume as pop or metal. I can't get enough of that MIDI acoustic. Such an innocence to it. However, this is in serious need of some love-makin' lyrics. The saxophone, the slow drums, the keys, the snappy synth bass, it's perfect RnB fodder. That's my lone criticism of this track: Something's definitely not right when I have nothing to sing to myself, bumpin' this as I browse FurAffinity or Gelbooru.

Besides that, though, I can't really say much else. It's just a pretty darn chill piece of music. 

"Jakyou Manor" - Shin Megami Tensei

Being super familiar and fond of the SMTIV version of this track before setting up this blog, I decided to take a trip through video game music history and dig this little number up. 

I will admit, I haven't touched the original SMT. I just love this song and hearing it compressed into a bit track is definitely something else (in a way, I think it sounds better). It never gets boring, arrangements are always changing and surprising you while not going overboard as to have it suddenly feel like a different song. That it only consists of a church organ and keeps me engrossed like that is also impressive.

Would probably suit as some pretty nifty studying music!

"You In Wonderland" - Persona Q: Shadow of the Labyrinth

And finally, a little surprise for those who weren't aware of the fact, but Persona Q's soundtrack has been out in it's full glory for about a month. However, just a few hours ago (as of typing this), the soundtrack has begun uploading song to song by user Bandpuffs, making highlighting You In Wonderland that much easier. 

I have yet to hear anything resembling a tune like this within SMT, so this was very interesting to witness as I was attempting to breeze through every track in the bulk upload video. Accordians, now? Pretty much completes the musical repertoire of this franchise. 

Quirkier tracks like this usually loop fairly quickly, but this is surprisingly fleshed-out. Complete with orchestral breakdowns towards the middle point and contrasted next to the "big top" accordian melodies, it's a fun and interesting piece that gives me plenty of hope for the rest of the PQ soundtrack. More stuff like this and the battle themes, please! 


In a couple short hours, I'll be heading off to the Alamo City Comic-Con! I'll be showing off my Vaas cosplay, hanging out with fellow geeks, and hoping to meet some famous folk. Especially hoping to find Troy Baker and get him to sign my copy of The Last Of Us: Remastered. I would have Steve Downes sign my Halo 3 LE Master Chief helmet, but that'd be a burden to carry around. 

I'll hopefully have a blog about that coming soon! Really really excited!

I needed a break from the, sometimes, slow-burn collectathon that is Kirby: Triple Deluxe (it's so FUCKING CUTE, though!), and that break wasn't to be spent playing more video games. Perhaps I've had enough for today. 

But, what else is it that I do besides play video games? Why, talk about them of course!

It wasn't until a couple or so years ago that I started to really think critically about video games. Get in to the mindset of what our very trustworthy reviewers find themselves in when they just wanna have fun

That's the key point there. Before then, I thought having fun with a video game was almost just appreciating it in passing, not thinking too much about it, while experiencing whatever bombastic, thought-provoking or downright sexual splendor it had for me to experience. Thinking too much about the fun you were having would be to miss the point! STFUAJPG!

Then I began to appreciate video games in so many more different lights. 

What was once "I liked the gunplay in Halo. It felt visceral." was now "The enemy design and AI factor so greatly in to your movement around the almost arena-like battlefields that you'll naturally find yourself thinking on the fly, in the moment, and using the environment and your weapons to your advantage in a way you thought were almost lost to shooters of old. You're honed in. The gunplay is polished and said gunplay is put to such great use. 

It's alright. Tenouttaten."

Sometimes, I no longer had to dig deep to find a game's fatal flaw. New standards arose, for better or for worse. That was when, I think, my journey for a favorite game truly began. 

And now, sometime later, we're here. What is my favorite video game? 

Really? I don't fucking know yet. 

I first thought back to Saints Row 2. It's vibrant and exciting open world is still amongst the best you'll find despite it's lackluster art and graphical design, which is really all that needs to be said. It's gunplay and driving meet just enough averages that the act of playing it, generally, doesn't get in the way of appreciating it's design beyond.

The open world is, naturally, one of the most important aspects to any open world game, and I love SR2's updated Stilwater (one 'l', people). It's many indoor areas and extensive underground locales, it's nooks and crannies, it's architectural variety, and let's not forget the soundtrack (indirect as it may be, it has at least some baring on your enjoyment of Stilwater). Is it great? Well, it has Down Under and Gangsta Bitch a few flips away from eachother. How's that for perspective? 

In theory, it's still my favorite game.

Problem is, the actual technical performance doesn't hold up at all. Whether it's PC or consoles. And after a solid two years of 45-60fps gaming on my notebook, performance has become a real sticking point for me. It's buffet of activities and side distractions, it's awesome open world, it's great campaign, it's endless customization... almost seems like nothing amidst regular frame drops at an otherwise 30fps cap. Get too much on-screen and I'm actively forcing myself to find the fun in playing with what's essentially a slideshow. 

I know, in many ways, I can still have plenty of fun with it, but I'm not sure I'd still truly consider it even amongst my favorites. 

Well, if we're going to apply a similar line of thinking to other open world games, shouldn't I absolutely adore GTA IV? Because while many do have good reason to dislike it (especially coming off of a game as expansive and eccentric as GTA: San Andreas), it's open world is literally the best

It is PACKED with painstaking detail and oozes passion for visual and architectural design. Every goddamn alleyway is a brand new adventure. To this day, I'll pop it in just to walk around for a tick and I'll usually find something new every session. Like a competently-sized cemetary, complete with civilian mourners. Just... tucked away in the corner of one of the islands like it's no whoop. 

Civilians banter and animate realistically, weather effects and day/night cycles bring all sorts of thick atmosphere, it's varied and very appropriate soundtrack echoes through the heavy traffic, and it's physics systems are still impressive. It's a genuinely immersive and fun to explore place, GTAIV's Liberty City.

It's a shame there's almost nothing to actually do in it outside of lukewarm takes on bowling and pool, the horrendously drawn-out campaign, or forcibly making your own fun with the police chases. As much as I want to make physical love to every corner of this great virtual city, I gotta say the brakes slam fast when there's not much fun outside impromptu walking/driving simulation. 

The open world might, arguably, be the most important aspect. However, it's definitely not the only important one. 

To not drag this blog out to an ungodly degree, let's say we get faster and more IN YOUR FACE. What about the more likely candidates?  

Guitar Hero 1 and 2 are what got me way more heavily into music and even playing guitar, and I've had literally thousands of hours logged across every Rock Band (even LEGO... which I love!) iteration. Harmonix, as a company, I owe a great deal of the better parts of my life to.

And I really... really don't wanna think about all that money I've poured into DLC.

Important factors to consider, so what about one of those games?

The inspiring amount of creativity put into platformer Super Mario Galaxy is hard to deny.

Even at it's most dark, Galaxy is so darn bubbly. Everything makes me want to either squish it, eat it, or rub up against it. Outside of Kirby, modern 3D Mario is about as happy as gaming can get. It's a feeling so infectious that it's hard to complain about it's lack of challenge, and it's design is even quite awesome despite. With each "galaxy", you're not retreading tired ground, you're jumping into a whole new playpen of fancy powers, whimsical platforming, and stupid Goombas. 

Some minor padding aside, it's a lively, soulful and breathtaking experience that I can play over and over and over. Even if I may be playing as a sociopathic beast of badden.

Any game that good and worth playing endlessly is bound to mean something?

Fresh off of a new IP starring a super douche now turned superhero, Insomiac graced you and me with Ratchet and Clank: Going Commando

Seriously. In just a single short year, they totally trumped the original in every way and then some. Back in the day, man. When that was totally doable as long as you had a team dedicated enough. An insanely extensive campaign with a wide array of locales, a polished up and now totally satisfying combat system, competent racing and space combat to break up the usual shooter gameplay, a wonderful sense of humor, etc. 

Gaming doesn't get much more simple, while far from monotonous, than this. More than Dynasty Warriors or Earth Defense Force, Going Commando is my therapy. BLAM BLAM KABOOM! 

... maybe Going Commando is my favorite? 

I've already sung my bard's tale of praises of Alan Wake in another blog. In retrospect, it was a bit hyperbolic, but my thoughts are practically the same as ever. It's not gaming's best narrative and it's not amongst a master class of game design, but it's a game I cannot stop thinking about. I am completely invested with it's universe (moreso than with ones as fleshed out and exciting as Mass Effect or Elder Scrolls) despite it's potential holes and "just the tip" cliffhanger (you're killing me here, guys). 

Fuck. I wanna play it right now. For a third time. It MUST be my favorite!

Our forgotten brother Jim Sterling's review of Deadly Premonition says it all, really. But, to recap: DP is the business. You're dealt it, you don't know what to make of it, it may've even hurt a little along the way... but, you know it's fucking great. It's as close as gaming's gotten to perfection in "so bad it's good". What's not to love in that? It was innocent yet ambitious, fun as hell, and a little tragic in it's lack of mainstream success. 

If we're judging my favorite game based on how much it has brought a smile to my face, Deadly Premonition would be it. I just don't think the magic would be there a second time. Another playthrough in order, perhaps? 

As my first foray into the core SMT franchise, Shin Megami Tensei IV was an adventure I will remember fondly for the rest of my life. 

My sense of wonder and awe was second to no other game I have played. Every boss demon had me wide-eyed and intimidated (some had my mouth agape or even had me straight-up terrified by their mere concept), every other demon encounter tickled my interests, the gameplay (while easy to fall into a groove with after a while) was never not about as satisfying as turn-based combat can get... 

Though I did absolutely hate the Tokyo overworld map design, sometimes making backtracking and exploring a temporary Hell. But, hey, *SPOILERS* you can directly influence your player choices into creating an ending that destroys all life within the entire universe for all enternity. Uh huh. 

That pretty much seals the deal? 

With that said, across my 18 hour journey through The Last Of Us: Remastered, I experienced a tale far more epic than most 50-100+ RPG's. 

Alan Wake may include some of my most favorite gaming lore, but The Last Of Us' narrative strength is in it's characters. Not to overstate things, the performances are fucking outstanding and real as the clothes on your back and butt (unless you're naked reading this) with dialogue equal in quality and subtlety. Whether it's in the way a character's expression quivers or morphs under pressure, the way someone may move their body, or just in the total lack of delivery. 

You're not beaten over the head with EMOSHUN, you're not left hanging at the end, it a simple A to B story told brilliantly at a near-perfect pace. To say nothing of the tension and unadulterated brutality to be found in the gameplay on it's Grounded difficulty mode, The Last Of Us is one hell of a package with only minor quibbles holding it back. 

Jesum. The Last Of Us MUST be it!

Point is, I think it's too early to tell. Gaming being the passion it is for me and given my curious and observant mind (*wank wank wank*), back and forths are bound to happen. 

At the very least, I'm always on the prowl for new favorites. Critique has become something I look forward to as much as actually playing the game, which might be why it's so impossible to pick an absolute favorite. Every one of my most-treasured gaming experiences are special and gnarly in their own ways. 

Would probably be that much easier if I could feasibly chunk in a few military shooters. 

Some of you nerds play Pokemon. I'd wager a lot of you, actually. 

A big part of the appeal of Pokemon (whether it's the cards, in the game, the figurines, the plushies, ANYTHING) is in the collection mentality. It definitely wasn't the first franchise to entice children to empty their parents' wallets on fancy promises and little more than stupid plastic or a convenient addiction-in-a-cart (and it won't be the last), but it's one of the most popular to this day. 

Are you so easily able to ignore the marketing hype of "Collect 'Em All!"? 

Back in the day, for me, it wasn't so much the games. No. Something far more expensive (sorry, Mom!). It was between the cards and figurines. A surviving relic of that time resurfaced last December during the move to the new house and is now nestled safely in my closet. Slightly better than collecting dust in the corner of the garage for weird insects to pick away at my rarest Pikachu's. I wonder if thick paper tastes like delicious chicken to them?

Whether it does or not, we'll never know. Unless we invent a machine essentially able to reenact The Fly. That sounds equal parts terrifying, dangerous, and awesome. 

Oh. Here's my collection. 

All (First Light) in-game shots taken by me via Photo Mode!

inFAMOUS has been a franchise I've wanted to see do incredibly well. In that respect, it's been a little hard for me and the 5 year-old IP (and, to think, we've had a whopping 5 standalone releases in just that short time).

The first inFAMOUS was a world not quite ruined, not quite post-apocalyptic, but hanging by a thread with power struggles on several sides. Between the decrepit, grey, though detailed scenery, people near or completely dead on the sidewalks, the many TV broadcasts, and the rest of it's citizens either running rampant or desperate for food and protection, there was a lot going on attempting to pull you into the experience. 

Genuinely immersive with an extensive campaign bringing solid as hell mission design, inFAMOUS was a brilliant and original comic hero adventure. Unfortunately, though, it was heavily-barred by it's technical issues. It's sometimes abysmal framerate stutters are not exactly easy to go back to. 

inFAMOUS 2 fixed every possible issue from the original, while creating new ones. What were once the reasons I continued through inFAMOUS were now the reasons I found myself wanting to quit. 

While the original inFAMOUS didn't have god-tier storytelling, it was a fun little romp with charming, if not purely inoffensive, character personalities and arcs. The second inFAMOUS, on the other hand, turned Cole from casual gruffman to snarky Norman Reedus. The latter may sound more interesting in theory, but I couldn't dig into this new take on an established character. This wasn't some alternate universe tale, it was official canon, making it very hard to take seriously. 

At one point, I decided I no longer cared about doing any good because I now gave no shits about the story or protecting it's characters. Instead, I began crafting my own story. A story where Cole had been slowly becoming an arrogant, power-hungry fuckwit over the last couple years. Once Nix became a prevalent figure, she became my muse and we wrecked New Marais from here to there. 

Sadly, that only carried me on just a bit further.

The mission design was also more lackluster, possibly due to the addition of the (granted, highly functional) mission editor giving the developers a bit too much slack. As far as the city, it was now more set dressing than a character in it's own right, with far less interesting contrasts in color and tone. 

However, it played and ran considerably better. I will give it that. 

Enter inFAMOUS: Second Son. A new inFAMOUS for a new generation, featuring a story with more awesome facial and motion capture than you could shake one of those silly ball suits at. 

Rather than create new problems or greatly improve on it's foundation, it was a happy equalizer between the original and inFAMOUS 2. The entirely new and creative powers made you truly feel like a super human, the game's antagonist was a highlight with prowess only matched by the industry's best, the mission design was generally solid and even occasionally awe-inspiring, and while it's city wasn't too interesting, thanks to the PS4 it was incredibly detailed and looked very... VERY pretty. I'm also a sucker (punch!) for 90's grunge/rock, so it's ambient music tracks really hit me in the good spots. 

In many ways, it was the best inFAMOUS yet. So, far be it from me to miss out on this particular DLC, which I have just finished a couple hours ago. 

To finally start with the actual bloody review, Fetch is easily the most interesting of inFAMOUS' line of playable characters. Nevermind that we don't get nearly enough sister/brother relationships in video games (I seriously kept mistaking them for bf/gf... which is not to say the game is laden with incest), Fetch's story ends up being the most sympathetic and personal. 

Beginning with Fetch being held captive by the DUP, recalling events leading up to her capture, then quickly bursting into events leading up to right near the beginning of Second Son proper, it's a satisfying tale in structure and quality. Despite knowing the gist of what goes down beforehand, it vastly improves on what little characterization we got from Fetch in the vanilla campaign.   

In fact, the most central aspect of First Light's story, Fetch's struggle to reunite with her brother Brent, is told excellently. 

To Fetch, Brent is not only a brother that she dearly loves, he is what keeps her level-headed. Given the many burdens of her unfortunate past, Fetch may not be crazy-crazy, but she's definitely unhinged a few gears over time. Whenever she is stressed and without Brent, rather than relapse, she looses control and gains a new power, cleverly contextualizing what was just "sap enough juice" in the original Second Son.  

If you choose to take part in side distractions, you may happen upon the graffiti tagging. Made shorter and more intuitive for those that somehow disliked what I thought was a really neat use of the Dualshock 4, most of the tags are tributes to Brent that effortlessly invoke a soft "Awwwww.". However, even early on, it's established that their relationship is very important and it is most certainly felt on the player. 

That "breakout" feature I mentioned in the title? You might assume I'm talking about this DLC's addition of various Survival modes. While those are most welcome and good ways to get a lot of milage out of Second Son's fantastic core gameplay, that isn't even the best part of all this. 

The story's climax made me, honest-to-goodness, tear the hell up. 

To not give too much away, if you've played The Last Of Us, think back to that scene just before the intro credits roll and you have some sense of what this particular scene is like. I don't think I've ever witnessed such a convincing emotional breakdown within this medium. All things considered, it comes fast and surprisingly, and I can't help but continue to think about it. 

With all that said, I'm sad to find that much of what I was looking forward to seeing with Fetch's prequel, being her and her brother's compromising addiction to street drugs, has been relegated to short comic strip scenes. I can't praise the sister/brother story we do have enough, but I have to wonder how much better it would've been to get a more fully fleshed out campaign which included those sections in-game and with motion/facial capture. 

Regardless, in short, the story is easily this DLC's best quality. 

What you get otherwise is, more or less, a primer and fresh coat of paint onto the original Second Son.

Fetch may only be able to use Neon, but it's been retrofitted to play a bit like a combination of Smoke and Neon. Close-quarters feels just as viable as long range, and her Neon skill tree can be dug into quite a bit once it opens up after the story is finished and you continue with free roam and/or Survival (something I'm always happy to see in open world titles). 

Speaking of which, the main story missions may provide you with a few minor twists and surprises over it's approximate 3-4 hour length (my favorite mission being an attack on six drug shipments towards the end, which escalated very well), but much of the mission design is, sadly, even more akin to tired formulas than what was found in Second Son. Glorified Neon "turret" sequences, introductory side challenges, as well as the to-be-expected (though considerably scaled down) shoot/beat 'em up sequences. 

It's a condensed Second Son experience, without much of the added flair. It's pretty good, but only truly worth seeing through again because of the excellent narrative. I already own what is essentially it but far better. 

I also must call into question the "Lumen" side races. There are far too few, considering that each only last a mere 5-10 seconds. Some of them are even as dull as total straightaways with no payoff other than "Now I have another skill point to spend, I guess.". Honestly, I was more enthralled with the Where's Waldo-like security camera searches from the original Second Son (which have, actually, gotten a minor upgrade in First Light as "Police Drone" searches). 

Only having half the open world to explore was understandable, but also disappointing nonetheless. Though, if it's any consolation, what you do get to explore is still big enough to where the Neon speed boost "clouds" come in handy. 

You can also still get into DUP/gang fights, rescue civilians from random hold-ups, and collect "Lumens" (basically this game's rendition of the Crackdown orbs, always an addicting little feature).

And, of course, you can take part in the game's pretty darn great Survival modes as Fetch or (if you have a Second Son save file) as Delsin. Quickly jumping between characters in this mode really makes their different playstyles standout. Fetch is clearly faster, without any of the hassle of optimizing her output by constantly absorbing new powers. Delsin is slower and more complex (convoluted?), but his wide array of attacks and sheer power balances things out. I didn't think much of the differences between Fetch and Delsin until playing more Survival, and I now appreciate that Fetch isn't just Neon-only Delsin. 

As I've said, if you're into that sort of thing as much as I am, there's no telling many hours you'll be getting out of Survival alone. 


All in all, it may have it's issues, but First Light is one of the good ones. DLC has gotten a bad rep pretty much ever since Gen 7 began, but releases like First Light are competently-priced and will hold you over for a good amount of time if you're the kind of person into seeing what all an experience has to offer. 

Now I can finally get back to playing (even more) Diablo III: Ultimate Evil Edition. 

I can still hardly believe it
The industry has done something amazing
Kojima and del Toro on a new Silent Hill
In awesomeness and delight, I am bathing

But, there's more to this reveal
A demo, not just a trailer
Say what you will about the name
But, "P.T." is anything but a failure

Topped search results
Thousands and thousands have downloaded
It's no surprise that this teaser
has already been decoded

Despite it's relevance passing
I've decided to give it a shot
It's short, and it's free
My undivided attention, it has wrought

That was one erroneous loading screen
But, it seems it's finally ready
I do some walking and some camera zooming
Though, honestly... eh, it's not that scary

Then I hear someone knocking
Some rustling behind this door
And this room is clearly familiar
I could swear I was here before

Suddenly, my usual path is sealed
"So a door shuts, and you expect me to cower?"
But, that knocking from a minute ago
is definitely getting louder

I pass by that, now, ajarred door
hearing a baby's crying call
I peak through for a looksee
Some undead gal shuts it closed, but that's all

Wait, what the FUCK is THAT thing?
I'm not going near this!
I'm pretty sure it's not out
for a hug and/or a kiss

But, what else can I do?
So, I slowly shamble forward
The monster then disappears
Into a dozen cockroaches scampering around the floor

Yet again, on through the back of the hall
With my grit officially broken
Now things are getting interesting
That ajarred door is now completely open!

In here, I find a flashlight
Behind me, the door slammed closed
Oh and here's this friendly fetus
Ripped of flesh and unclothed

That's nice.

After some light inspection
someone toys with the knob
First frantic, then calm
At this point, the demo is definitely doing it's job

I focus more in on the mirror
Pondering my distorted reflection
It shows the door slowly opening
It seems those actions had some connection

The room and halls are now dark
My nerves totally wrecked
I look to the right and then the left
That there is nothing actually has an effect

Through the back once more
Not quite the same song
It's even darker
And, to add to that, the radio's back on

I creep up to it's table
The DJ, mostly static, then gets clear
"... I said, look behind you."
What do you mean? There's nothing he-