A couple months ago, I published a review of my first hours playing Starlink: Battle for Atlas. While I stand by the views expressed in that review, it has come to my attention that it may have been misleading due to information that I was not aware of at the time of writing. So don’t consider this post a retraction of that review but rather a clarification of some specific points.
I praised Starlink and continue to do so. It’s a phenomenal game that I never put down feeling disappointed. But having done more research and now finished the game, my perspective has been altered, or more appropriately refined, slightly. Every play session I had, in the 30 hours it took me to complete the game, was enjoyable. Whenever I stopped playing, I was excited to play it again as soon as possible. While I was playing it, I always felt like there was a lot of content, albeit much of it was repetitive a la the No Man’s Sky formula. It definitely feels like a large amount of fulfilling content tied to a story I found interesting, until I reached the end, which was surprisingly abrupt, even though it was after almost 30 hours of play. While the gameplay can get repetitive due to the farming and planetary take over mechanics inherent to the game/genre, I still think it’s a great overall experience that appeals to players looking for games like No Man’s Sky with more direction. What I was not aware of though is how vastly different my gameplay experience was to that of other players. More specifically to players who don’t also have the Digital Deluxe version of the game.
The review copy of Starlink I received wass the digital deluxe edition on Switch. When I first started the game, I was under the impression that most of the content I had access to was available to all players with the exception of StarFox related content for PS4 and XB1 players. What I learned after already playing 20 hours was that this was/is completely false. Apparently anyone who didn’t buy the digital deluxe edition is playing a completely different game than I did.
My version of the game gives me full, unadulterated access to 10 pilots, 6 ships, 15 weapons (not including the default Arwing lasers), and all the StarFox story content. All ships, including the Arwing, all weapons, and all pilots can be used interchangeably in real time for every single portion of the game. You can even play the StarFox missions without using StarFox. Every pilot, weapon, and ship has independent experience points and can be mastered through use. Each pilot has special abilities and attacks that are useful in specific situations. Each weapon and ship can be modded with four to five mods that drastically affect performance. You can have up to three saved loadouts that can be hot swapped in the menu screen whenever you want, including mid battle. I had full control of my gameplay experience. I could tailor my loadout(s) for each individual enemy to be perfectly suited to take them down.
I needed a ridiculous amount of experience to max out everything, which I didn’t end up doing due to a lack of content, so I was never needlessly gaining XP. The RPG elements of the game were a critical part of my gameplay experience and added to the diversity and strategy of playing the game. For me, Starlink was a robust, multifaceted space fighter shooting game with RPG elements, a solid plot concerning several playable characters, and an arsenal of weapons at my disposal. I do think it was ultimately too short for the amount of pilots, ships, and weapons available though. But this wass not the game many people appear to be playing.
Something that needs to be noted about my version of Starlink is that the content is all seamless. When I was playing the game, I couldn’t tell what was vanilla content and what was deluxe edition content. There are no content walls. There are no purchase this to unlock this moments. There are no separate menus for DLC content. The story doesn’t break apart for each character. The cutscenes aren’t broken up between different characters. Everything in the game seems like it should be there and the game would suffer if any part was removed. Even StarFox content has been almost perfectly weaved into the rest of the game. Other than the differing art style, the characters appear in basically all the group cut scenes, as do all the other pilots. So I honestly can’t even imagine what this game would look like without all these pilots present. Yet this is apparently how the game is for everyone else.
I had assumed that everyone had access to all the weapons and ships but that some of the pilots may be in the story but not playable without those specific toys. What I have come to learn is that actually nothing is available to vanilla physical edition players except the toys that came with their version. Even worse is the fact that the XB1 and PS4 physical starter packs come with less content than the Switch starter pack for the same price, due to the lack of StarFox.
The Switch physical starter pack comes with two pilots, two ships, and three weapons (not including the built in lasers on the Arwing that don’t take XP to get stronger). The XB1 and PS4 versions only come with one pilot, one ship, and three weapons, don’t have StarFox pilot or content, and don’t have a built in default weapon on the ship. All additional pilots, weapons, and ships have to be purchased separately for all versions. This is ridiculous. It’s literally all my fears for gaming brought to life. People have been making EA DLC jokes for years but this is the extreme version of that.
Playing Starlink with only two pilots, three weapons, and one ship would be like paying $60 for Smash Bros and getting only two fighters, one map, and only hammers, hearts, and bombs as usable items with everything else being available as paid DLC. And these physical starter packs cost $75! That’s insane. Especially when you consider that for $60 you can get the vanilla digital edition and start with five ships, seven pilots, and 12 weapons. You are literally getting bent over by buying the physical edition. Expanding your arsenal of ships, pilots, and weapons is also considerably cheaper via DLC in digital form. You could probably buy a second digital deluxe edition of the game and have change left over with the amount of money you would spend buying all the content in physical form. For just $5 more than the physical starter pack you can get the digital deluxe edition and that’s without taking sales prices into account. As I write this, it’s currently $60 on the eshop.
I think this is a real problem. Not only for the game itself, but for the precedent it sets. This is more predatory than amiibo and that’s already bad to begin with. Not to mention the fact that this pricing scheme ruined the image of a perfectly good game that should have been in the running for Game of the Year. It definitely shouldn’t have won, but the digital deluxe edition would have been worthy of nomination if it was the standard edition.
At first I didn’t understand why this game was being ignored. It was old news just a couple weeks after it released. I was having a blast playing it and I didn’t understand why no one else was even talking about it. Now I do. This is a phenomenal game that has everything I wanted from this genre, but the bulk of players are essentially playing a beta version of the game, and that sucks for the developers too. Their game was ruined by greed. And the gameplay experience is ruined for the players who don’t have all the content as well.
The difference in weapons, ships, and pilots is so severe that it’s honestly like playing a completely different game. For example, I have six ships. That means that in any battle I can have my ship blown up six times before it’s game over. I have never gotten a game over even though I played on hard. But if I only had one or two ships I would have been getting game overs constantly. I have 15 weapons to choose from with elemental properties, range properties, and ammo style properties. Some are rapid fire. Some are burst fire. Some are single fire. Some are short range. Some are long range. I have five different elemental types to choose from, all of which were required to solve certain puzzles along the way. I honestly can’t imagine playing the game without all these options. Elements matter. There are fire and ice type enemies. If you only have one fire weapon, one ice weapon, and nothing else, you are basically playing with one weapon against any fire or ice type enemy because using the enemy’s element powers them up.
Of course people aren’t enjoying the game. They’re not getting to play the full game with the entire experience. Every character can max out each ship and weapon plus their skill tree. I’ve mastered some weapons with StarFox, no ships with anyone, and only managed to max out StarFox’s skill tree before finishing the game. But that’s because I played as all 10 pilots throughout the course of the game. Whenever I maxed out something with a specific pilot, I wouldn’t use it with that pilot anymore so that I never wasted any XP. If I was limited to only one pilot, one ship, and two weapons, I’d have maxed out everything long before the end of the game and would have wasted tons of XP. It’s also important to note that every pilot has a skill that enhances all other pilots. That means that the more pilots you have the more benefits, which I did take advantage of with all 10 pilots, you get for the entire team.
I think this whole thing is a real shame and a scary look at the potential future of games distribution. Starlink: Battle for Atlas is a great game. I encourage everyone to buy it. It’s lots of fun and 30 hours of content isn’t terrible by today’s standards. But please make sure you buy the digital deluxe edition, otherwise you’re not only not getting the full game experience. You’re getting flat out conned into spending more money than you need to for not even a quarter of the experience you get with the digital deluxe edition. It’s a shame this game was ruined this way. It’s a shame most people won’t play it because of this system. And most of all it’s a shame that Ubisoft felt like this was an acceptable practice. I hope they patch it so that everyone can at least get the minimum number of pilots, weapons, and ships that the base digital version offers. Otherwise this is just highway robbery.
Again, I don’t retract my original soft review of the game. Everything I said in it was accurate and I do stand behind the game for its graphics, story, and gameplay. But I now have to qualify it by saying that I was speaking specifically about the digital deluxe edition and that’s the only version I endorse people to buy.
As this year comes to a close, I have to say that I have had the pleasure of playing some excellent games. Rarely do I get to play as many new games as I did during the release window in 2018. I was truly impressed by the offerings presented in this year of gaming. The Game Awards for 2018 are highly competitive. I’m sure, like with most years, the games that deserve to win will get beaten out by over hyped genre titles and pew pew FPS nonsense. But 2018 is one of those rare years where I’ll say that my choices for this year are heavily subjective and that it’s genuinely difficult to actually pick the best games of this year. As long as one of several titles takes the awards, I’ll probably have no complaints. The only things that would actually irritate me is if some ridiculous upset wins like Overwatch in 2016 (looking at your Celeste) or Red Dead Redemption 2 sweeps every category. As long as neither of these two things happen, I will probably be satisfied with the overall results.
For this year, I’ve decided to go over each category with a short summary of my thoughts on the nominees as a whole and then give both my pick and my prediction for what will actually win the award. For the purposes of space and time, I’m going to assume you’re actually looking at the list on the official website so I don’t have to take the time to actually type out all the nominees by hand. Click the link and it will take you to the nominees page in another tab.
I’m very comfortable with five of these six nominees. As I’ve already said, it was an extremely competitive year. I actually own four of the six GOTY nominees. I don’t remember the last time that was the case. My only complaint about this list is the inclusion of Celeste. I honestly don’t know how it got there. Let me be clear in stating I’m not saying it’s a bad game. From what I’ve heard it’s a pretty game. But just from looking at it, I can safely say that it wasn’t the sixth best game released this year. It wasn’t better than Detroit: Become Human. It wasn’t better than Starlink: Battle for Atlas. I doubt it was even better than Mega Man 11. So I have to ask, how was this indie platformer, that looks a bit like a Guacamelee clone, nominated for Game of the Year? It won’t win though, so we really don’t need to discuss it any further. I just think it’s sad that there are other games that deserved the nomination and were denied the privilege.
Though the other five choices were all excellent in their own right, I do believe God of War deserves it. It took an old franchise that personally I wanted to be left alone, completely changed the setting, the tone, the powers/combat, the mechanics of traversing the game, and the main character personality and managed to not only not screw it up, but did a damn great job without breaking canon. That is a tall order that I was sure they were gonna fail at. And they didn’t fail. Not necessarily by a wide margin, but I believe Kratos deserves to take home the crown.
While I do believe the winner should be God of War, I don’t think it will actually win. It will most likely be Red Dead Redemption 2, not because it particularly deserves it, but because it’s still fresh in people’s minds. It’s still extremely strong on the hype train and many people haven’t even finished it yet. It’s not that it’s the best of the year so much as it’s the flavor of the month. Great release tactic by Rockstar. I could also see it going to Spider-Man. This game was extremely well written. It played exceptionally. It has the Marvel hype. It basically revolutionized the comic book game genre, setting a new standard and probably franchise of games. And Stan Lee, who appears in the game, literally died the day before the nominees were announced. A lot of people will vote for the game simply in honor of one of the greatest and most popular men of our time. And while that does sound a bit cynical, it doesn’t mean it won’t happen. I’m still not 100% sure Heath Ledger would have won the Oscar for the Joker in The Dark Knight if he hadn’t of died. Whoever wins though, as long as it’s not Celeste, it will be an excellent game worthy of the title GOTY.
2. Best Ongoing Game – No Man’s Sky
I personally don’t care for any of these games. I’ve played three of them and I wish at least three of them would just die. But that’s OK. I don’t need to like a game or even a category to judge it fairly. In fact my dislike for all these games makes fairer than most people. My pick is No Man’s Sky. I have no love for this game. I have been brutally critical about it on this blog, on Twitter, and to anyone who would listen. I saw it being a total shit show from the first announcement, and at release it was. I actually own the game. I bought it for $20 on Black Friday a year or two ago. I still haven’t taken the time to open it. But I have seen it make great improvements over time. They have patched in a lot. Improvements have been made. And I might have even enjoyed it if I had tried it before Starlink: Battle for Atlas. My opinion is that Starlink is everything NMS needed to be and wasn’t. And I’m still playing Starlink and will be for tens or even hundred more hours. So I have even less motivation to try NMS. But compared to the other games in this category, it has shown the most improvement and for all intents and purposes is a better game to begin with except for maybe Rainbow Six Siege which has been shitting the bed with political bullshit recently.
I’m not fool. I know Fortnite is gonna win. Nothing else needs to be said about that.
3. Best Game Direction – Spider-Man
This for me was a tough category. Because, contrary to popular belief, this isn’t about this best game. It’s about the best direction, vision, and innovation taken by a game. Every game on the list did that amazingly. I almost picked A Way Out, even though I’d say it’s the worst game in the bunch, because in many ways it is the most innovative. Ultimately though my pick is Spider-Man. Insomniac Games has set a new bar for comic book games. It’s also set a new bar for putting realistic modern settings in games. The writing was not only good, but surprising. Even though I knew from the start who the villains were and was going to become one, I was still moved by the narrative. The way they handled the relationship between Peter and Doctor Octopus was just excellent. The costumes and the powers that come with them were comic book relevant, diverse, looked awesome, and made playing the game a more personal experience. While it’s not my game of the year, the direction really was quite stunning.
While it absolutely doesn’t deserve it, I do believe the winner will be Red Dead Redemption 2. Again, because it’s currently the hype title. It has not really revolutionized the genre. It’s still a buggy, glitch filled Rockstar game. It’s very slow. And really we’ve seen everything it has to offer before. From Rockstar even. It’s really just a well-made sequel to an already well liked game. It is not the “game of our generation”. Really GTAV was much more revolutionary. But hype is hype and hype tends to win.
4. Best Narrative – Detroit: Become Human
Best narrative was another tough one for me. God of War surprised me the most. I did not expect to enjoy the narrative as much as I did. I did not expect to identify with new Kratos as much as I did. Because I really identify with OG Kratos a lot. I thought I was going to hate Atreus, and at times I did, but by the end he did grow on me. What I don’t like about the game’s narrative is that it ends on a clear cliffhanger. Not only that but it spends much of the game setting up a conflict that never comes to fruition in the game itself. It plays like a timeless classic and then goes franchise right at the end. And that for me is bad writing. What I love about the original God of War is that it has a clearly defined ending. If they never made a second game, you would have no questions. And yet they also wrote it in a way where a sequel could be made without changing the canon. That’s the mark of a good game. Spider-Man does this exceptionally well. Great story, clearly defined ending, yet left open for future adventures, which it adds with the DLC and will continue to with future games. But each game can and hopefully will standalone. But I have to award this one to Detroit: Become Human. That game is powerful. I didn’t even really want to play it. I hated Beyond: Two Souls. I was done with David Cage. The only reason I even considered this one was how much it was blowing up my Twitter timeline. I did like the demo, but I didn’t love it. Thankfully I was able to borrow a copy. And I’m so glad I did. That game is so emotional, moving, and sad. I felt for those androids. I wanted them to obtain freedom. I felt bad as a human playing the game. It was too real. I platinumed it.
I don’t want to believe that Red Dead Redemption 2 will win this one. I hope it won’t. I have faith in the gaming community that they can at least acknowledge that both Spider-Man and God of War had stronger writing than Yee haw Skyrim. I believe Spider-Man will take it because there is such a large comic book audience in the gaming community and the story is straight out of a comic book. But I would not be surprised or unhappy if God of War takes this one.
5. Best Art Direction – God of War
Let’s be clear about two things. First, there is no way to properly judge this category. God of War, Assassin’s Creed: Odyssey, and Red Dead Redemption 2 all deserve to win this one. It merely comes down to which setting you prefer. Second, Return of the Obra Dinn does not deserve to be nominated. It’s exactly like Celeste being nominated for Game of the Year. This should have had six nominees instead of just five, Return of the Obra Dinn should not be one of them, and any two between Spider-Man, Detroit: Become Human, and Starlink: Battle for Atlas should be among those six. I’m actually comfortable with Octopath Traveler being nominated, but it should not win. My pick is God of War, but again that is a completely subjective choice. All of the games I mentioned are damn beautiful games. And if the standard is simply the biggest open world wins then that’s not really fair or particularly objective.
I believe it will go to Red Dead Redemption 2. I will not say in this case that it doesn’t deserve it, but I will say that the fact that it’s still fresh in everyone’s mind helps it a lot with this particular category among many others.
6. Best Score/Music – Spider-Man
Honestly with this category I wasn’t particularly impressed with any of the nominees this year. I would actually have chosen Detroit: Become Human, which even took the time to add an album section to its menus because they put that much work into their soundtrack. I voted Spider-Man, but I really don’t have an opinion here. I actually do think Celeste could win this one if enough people played it because that genre is usually great for music, albeit repetitive and limited in what that music actually is.
7. Best Audio Design – Spider-Man
This one was close for me between Spider-Man and God of War. Both did an excellent job and either one deserves to win it. The reason I chose Spider-Man is that the number of gadgets, web shots, swinging, and other tiny sounds that were required to bring this game to life just sets it apart from the pack. The setting and audio aesthetic of the game just is more impressive than the other choices. It really just wins by sheer mass. Even the voice acting was impressive in that they recorded multiple takes so that they could make Peter’s voice change based on his current situation. They really just put the work in to earn this one.
I do think Spider-Man will win this one.
8. Best Performance – Bryan Dechart as Connor, Detroit: Become Human
This one sucked to choose. It was like choosing your favorite child. Let me just say that I am appalled that Jessie Williams wasn’t nominated for his performance in Detroit: Become Human. His performance was so good that I left the game thinking I wanted to watch more movies with him in them. Before now, the only thing I’d seen him in is The Cabin in the Woods (2011). He was robbed here. Christopher Judge, a classic actor by all standards that I’ve since Stargate, played an amazing Kratos. And that’s following several amazing performances by T.C. Carson, the original Kratos voice actor. Yuri Lowenthal was a great Peter Parker. It was the way I wanted Peter Parker to be. But I am going to give it to Bryan Dechart as Connor in Detroit: Become Human. He is the only one of the bunch whose character had to make drastic changes in who they were while simultaneously remaining the same person. Connor was an android and he became a human by the end of that game. It was real. Like if I saw Bryan Dechart on the street I could believe he was actually an android simulating a human. It definitely helps that Detroit: Become Human uses motion capture and models that are directly based on the actors, because that really brought them to life. And the game’s setting is super realistic even while being set in the near future. Really he was just dealt the right hand to win this one.
I think Christopher Judge will ultimately win this one for his Kratos. I just hope that the current hype of Red Dead Redemption 2 doesn’t end up handing it to Roger Clark for Arthur Morgan.
9. Games for Impact – Life is Strange 2: Episode 1
I’m actually really disappointed in this list of nominees. Detroit: Become Human should have been nominated here. It’s about so many issues currently plaguing our society right now as well as the ethics of AI, which will have to deal with one day. It’s about racism, classism, sex slavery, agency as a person, defining humanity, and so many other things. Child abuse comes up in it. Identity politics. It really deserved to be nominated.
I believe Life is Strange will win mostly because it’s the most well-known game in the bunch. But I really don’t like the idea of a single episode being able to get nominated because that means it will probably get nominated again next year for an additional episodes.
Chosen because of noise online. Should have been Detroit.
10. Best Independent Game – Dead Cells
I’m going to be honest and say that I haven’t played any of these. I have looked into some of them this year, but none of them interested me enough to buy. The one I’m most interested in is Dead Cells so I voted for that one. I will say though that I don’t agree with the idea of a game being able to be nominated for GOTY and Indie GOTY. The whole point of the indie category is that we’ve agreed that indie and AAA aren’t really comparable. We’ve created a space where indies can thrive and be recognized because they can’t compete with AAA titles most of the time. But if we’re going to include them in the real deal then we should fully include them and do away with the indie category. Now personally I don’t think we should do that. As I’ve already said, I think Celeste shouldn’t have been nominated for GOTY. But if it is going to be nominated for GOTY, even though it isn’t going to win, I don’t think it should be able to qualify for both categories simultaneously. That being said, I do believe Celeste will win this category.
11. Best Mobile Game – Donut County
I haven’t played any of these and I don’t particularly want to. The only mobile games I played this year were Pokémon Go, Injustice 2 Mobile, Kingdom Hearts Union Cross, and Fill. I am absolutely not going to support the idea of mobile ports winning awards for anything other than best ports so I voted Donut County because it’s the only game from the list other than the phone pew pew BR games that I’d heard about before the nominees were announced. I think Fortnite is going to win though.
12. Best VR/AR Game – ASTRO BOT Rescue Mission
I think the mark of a great VR game is that it has to be in VR to truly enjoy it and get the experience of the game. I’ve played three of the games nominated and I can say that none of the ones I played absolutely had to be in VR. I haven’t played ASTRO BOT Rescue Mission but from what I’ve been told it’s the Mario 64 of VR. Supposedly it revolutionized the platform and cannot be truly experienced on a TV. If that’s really the case then it deserves to win and I think it will win based on what I’ve heard about it compared to the other nominees.
13. Best Action Game – Far Cry 5
This is a shitty list of titles and I think we need to better define action game because there are definitely games that could have been included here that weren’t. I’m also not a huge fan of Action and Action Adventure being separate because this allowed five meh games the chance to win an award while forcing five awesome games to duke it out in yet another category that Red Dead Redemption 2 will probably end up winning simply because of the date it was released. I chose Far Cry 5 because it’s the least mediocre of the list provided but really this category is just an insult to the rest of the AAA relevant categories. I do think that next year it will have some great titles depending on how they split up games like Ghost of Tsushima, Kingdom Hearts III, Sekiro: Shadows Die Twice, Devil May Cry V, and some other already announced titles.
I think COD will probably take it because it disappointed people less than Destiny 2, but apparently people liked Forsaken so it’s anyone’s ballgame.
14. Best Action/Adventure Game – God of War
If we’re focusing solely on gameplay in the Action/Adventure genre it’s God of War with Spider-Man at a close second. Again, Red Dead Redemption 2 hype, but really God of War deserves this one.
15. Best Role Playing Game – Monster Hunter World
Where is Starlink: Battle for Atlas? That game got robbed this year. The one nomination it did get makes no sense and it absolutely deserved to be nominated in other categories, including this one. Now let me be clear in saying the winner is clearly and undebatably Monster Hunter World and it will win. But Starlink deserved to be nominated in this category.
16. Best Fighting Game – Soul Calibur VI
It just is Soul Calibur VI. That’s not debatable. Dragon Ball FighterZ was a nice idea, but people who actually played both games know the truth. Soul Calibur VI will and should win.
17. Best Family Game – Super Mario Party
Starlink: Battle for Atlas shouldn’t have been nominated in this category. I think it was included simply because they realized it is a great game that deserved to be nominated for something so they just squeezed it in here. This actually was a tough choice. I think arguments can be made for both Overcooked 2 and Super Mario Party, as well as Mario Tennis Aces, but Super Mario Party has the most depth as a game that also works well for entire families to play. It deserves to win and I think it will. The only thing I will say is that Overcooked 2 is multiplatform so there is a chance that more voters played it than any of the other games, all of which are Nintendo Switch exclusives. Ignoring Starlink of course.
18. Best Strategy Game – The Banner Saga 3
I haven’t played any of these and I’m honestly not super interested in any of them except The Banner Saga 3 so I voted for that but I withhold my prediction because honestly none of these have been particularly noteworthy or popular so I can’t even really take hype into account.
19. Best Sports/Racing Game – Mario Tennis Aces
I picked Mario Tennis Aces here because I think innovation trumps realism. All the other nominees have done their best to rehash the same formula for the umpteenth time with slightly improved graphics. Mario Tennis Aces is the only game that really innovated the sports genre and tried to make a game that was fun as opposed to just realistic. My prediction is FIFA 19 due to the sheer volume of players though.
20. Best Multiplayer Game – Monster Hunter World
Monster Hunter World deserves it. Fortnite will win it. Moving on.
21. Best Student Game – LIFF
Sadly I haven’t heard of any of these student games. Usually there’s one that stands out from the crowd and gets some real attention but none of these were able to make it to any of my various feeds or new sources this year so I have no opinion. I voted for LIFF because it looks cool.
22. Best Debut Indie Game – Yoku’s Island Express
Yoku’s Island Express is the only game from this list I’d heard of before the nominees were announced so that means it had at least enough hype to get my attention, which is why I voted for it. I predict it or Moss will win.
I’m obviously not going to do the eSports and content creator categories because why would I waste my and your time with that trash? As I said, overall this was a highly competitive year for games. So many titles were excellent and I’m thankful that I was able to play so many of them while they were new. Next year looks amazing too so The Game Awards 2019 will likely be just as difficult to judge. Thanks for reading. Let me know your picks and predictions in the comments.
If you’re reading this it means you survived another Black Friday. Congratulations. I hope that you’re not too traumatized, either physically or mentally, from any of the horrors you might have seen while out hunting for deals. As has been the case for a number of years now, my Black Friday was once again a purely digital shopping experience. It wasn’t all fun and games while I sipped cocoa in my pajamas, but I do miss the thrill of being on the ground hunting in the traditional way like the shoppers who came before me.
Let me start by saying that in general this was a much better Black Friday than last year’s. Black Friday 2017 was as bad as the rest of 2017. This year we had some actual deals and even in a fully digital marketspace, like I had, we had to actually shop around and locate the best prices. I bought double the number of games I did last year because there were just so many great deals between the various digital storefronts I visited. Many stores were changing prices throughout the last week through Cyber Monday, so it was imperative to stay diligent in the pursuit of discounts. This is the way Black Friday is supposed to be.
As far as my personal list going into Black Friday, I managed to snag seven of my hoped for titles. That’s two more than last year but due to the volume of titles in this year’s list compared to last year’s, it’s only a 5% increase in success rate. That being said, I did actually manage to find a couple more titles from my list at the prices I wanted but was unable to get them because of limitations like “in store only”, which I cannot do, or I found the game at/below the price I wanted on the wrong platform. For instance, I wanted to pay $10 for Shaq-FU: A Legend Reborn. I specifically wanted it on Nintendo Switch, for reasons I still can’t summarize or justify properly, and never found the price I wanted. I did end up purchasing the game but I paid $15 for it, which is 50% higher than what I wanted to pay. I found a copy of it on PS4 for $5. That’s a failure on Nintendo’s part for their hubris and mine for my stubbornness. I also found some games at the right price but decided not to buy them yet. Middle-Earth: Shadow of War Definitive Edition is the best example of this. I found it for $20 but chose not to buy it last minute because I haven’t finished the first game yet. Overall though, I managed to pick up a lot of games for great prices.
Crash Bandicoot N Sane Trilogy (Nintendo Switch) – $25
I overpaid by $5 to get the Switch version. I actually did find the PS4 version at my desired price but I really wanted it portable for some reason.
Injustice 2: Legendary Edition (PS4) – $18
I beat my desired price by $2.
Cuphead (PC) – $7
It took some maneuvering but I managed to beat my desired price by $3.
Hellblade: Senua’s Sacrifice (PC) – $15
Shaq-FU: A Legend Reborn (Nintendo Switch Physical) – $15
I overpaid by $5 to get the Switch version. I actually did find the PS4 version at half my desired price after already purchasing but it was an in store only deal.
Just Dance 2019 (Nintendo Switch) – $25
Sonic Mania Plus (PC) – $9.28
I gave up on the Switch version but was able to get the PC version for $5.72 below my desired price by purchasing the game and DLC separately.
I also managed to find South Park: The Fractured But Whole, Middle Earth: Shadow of Mordor, Shadow of the Tomb Raider, Fist of the North Star: Lost Paradise, and Assassin’s Creed: Origins at or below the prices I wanted but was unable to get them or chose not to get them because of extenuating circumstances.
I also managed to find a Garmin Vivosmart 4 Fitness Watch for $99. $10 higher than I wanted to pay but it came with a two year warranty so I felt that it was worth the extra cost in case my girlfriend breaks it.
What is more impressive is the number of games I got that weren’t on my list because of how good the deals were. I bought three times the number of off my list games than I did last year. And I actually wanted to buy more but couldn’t because of in store only limitations and some region locked prices. The one I was most angry about not being able to get was a physical version of The Banner Saga Trilogy on PS4 for $10. Best Buy screwed me with an in store only deal.
Wolfenstein 2-Pack (The New Order + The Old Blood) (PC) – $9.89
The BIT TRIP Collection (Includes 6 games) (PS4) – $0.99
Getting Over It with Bennett Foddy (PC) – $4.79
1 Year PS Plus – $40
While this wasn’t the best Black Friday I’ve ever had, it was a great improvement over last year’s disappointing month of lackluster sales. I’m most happy about the fact that I finally managed to get Cuphead. I’ve been waiting to be able to get that for under $10 since before it released. I had started to lose hope that it was ever going to happen.
One thing that surprised me a lot this year was how vastly different the prices were between the Taiwan and USA digital markets. Because I live in Taiwan but have American accounts that I started when I was still living in the states, I end up looking at both sets of prices for UPLAY, Steam, and a few other digital stores. Taiwan gets considerably better prices. For example, the reason I didn’t buy Assassin’s Creed Origins was because if I had wanted it on PC, which admittedly wasn’t my ideal platform, from the US UPLAY store it would have cost me $39.99 but with the 20% additional discount they were offering for 100 UPLAY coins I could have gotten it for $32. In the Taiwan UPLAY store the starting price was $31.50 and the 20% off dropped it down to about $25.20. I absolutely would have bought it at that price but the Taiwan UPLAY store wouldn’t allow me to claim the additional 20% discount. Issues like this kept me from buying some other games I really wanted as well.
In general, I’m happy to see that Black Friday this year was much better than last year. I saw some amazing deals that were irrelevant to me such as God of War for $17. If I didn’t already own it, I would have for sure purchased it at that price. The Steam sale had a lot of great deals but the store wasn’t organized as well as I’ve seen in past years so I actually missed out on buying some games because some prices were limited time only, causing me not to see some stuff till it was already too late. The PSN sale was fairly decent but the Ubisoft titles, which were some of the most noteworthy in the sale, were not discounted nearly enough.
GOG was a straight disappointment because they really only offered the same sales we’ve now seen countless times. Like The Witcher 3 GOTY for $20. That’s a great game but that price is nothing new. The point of Black Friday is to have the best deals of the year. Not the same deals over and over. And a lot of their prices weren’t even better than Steam and PSN. I was actually going to buy The BIT TRIP collection on PC but the price on GOG for all six games was like three times higher than on PSN. Their price for Runner 3 was way higher than Steam’s limited time promotion for the game and almost three times higher than the Steam Taiwan price.
For physical stores, Best Buy and Amazon had the best deals this year. Best Buy actually had the best deals but because so many of them were limited to in store only, it was impossible to fully take advantage of all their offerings for me. Something I noticed on multiple store fronts, including digital, is that prices weren’t fixed or constantly descending. This is not supposed to happen on/during Black Friday weekend. All prices are supposed to be fixed or continue dropping as demand waivers and supply clears. Some prices went up and that goes directly against the purpose and practice of Black Friday where the main goal is supposed to be clearing stock for the Christmas season and New Year stock.
Of course the most disappointing company for every Black Friday is still Nintendo. Whether it’s physical or digital, their prices are always the highest on the market even with the lowest hardware specs. The fact that I paid three times the value of Shaq-FU: A Legend Reborn is par for the course with them. The only game that was actually properly priced for the Switch was Just Dance 2019 and that only applies to the physical version. The reason I put $25 on my desired price list is not because I was guessing at the price. It drops to that on multiple stores every year and I almost always buy it from Amazon. But I could have gotten the physical version on any platform, including the Wii, for $25 just like with 2018, 2017, and so on. But the digital version on Switch was $28. I’ll never understand why they feel like that’s OK. I had hoped to buy Super Mario Party and possibly even Pokemon Let’s GO Eevee but those prices didn’t move a cent.
I hope this year was the beginning of a trend of making Black Friday meaningful again. Last year was worrying because it showed a continuance of a trend in declining Black Friday deals quality. This year went in the other direction. I hope that continues for Black Friday 2019.
How did Black Friday go for you this year? Did you see any notably great deals? How did it compare to last year for you? Let me know in the comments.
I saw the original Halloween (1978) in 2008. I watched it for a class I took on horror films. Even 30 years later, it still stood up as an excellent slasher film. What I like about it is that unlike many other slasher films of that era, it actually looks good as far as conventional film making practices. Many horror films, both in and out of the slasher genre, aren’t shot particularly well. They often have a very low budget look to them which in many ways became the standard and has since the early 80’s been done intentionally, which I personally think is a stupid genre trope. The original Halloween is responsible for creating and/or normalizing many of the slasher/horror tropes we are used to today and it’s within that context that one should watch Halloween (2018), the direct sequel to the original film.
*Please note that from here on whenever I say Halloween I’m referring to the 2018 film unless otherwise stated.
The first thing that needs to be noted about Halloween is the attention to detail and consistency within the timeline of the franchise/story. The original film takes place on Halloween 1978 in Haddonfield, IL. In the original film, it’s stated that the villain, Michael Myers, murdered his sister when he was six years old on Halloween 1963 in Haddonfield, IL. Halloween takes place on Halloween 2018, exactly 40 years to the day later, with Laurie Strode (Jamie Lee Curtis in both films) facing off against Michael Myers in Haddonfield, IL again. It’s a beautiful coupling of history, canon, and aesthetic that many horror franchises have never and will never get to accomplish. And it makes the film way better. I assume this is even more the case if you watched the original in theaters 40 years ago. Note that this film acts as a direct sequel to the original and disregards all the various nonsense shown in the countless campy Halloween sequels and remakes that have been made over the years.
Halloween is effective in its storytelling because it builds off of the original film’s ideas but modernizes them both in aesthetic and plot. It’s still Haddonfield, IL. It’s still a nice, presumably safe suburb full of happy families, friendly neighbors, and angsty but ultimately harmless teenagers. Though it’s set in 2018, a world full of various issues political, cultural, and otherwise, that’s not part of the film. Though it is commented on near the beginning in a single short conversation, the rest of the world doesn’t really matter here. This isn’t a story about the world or society at large. This is simply the story of maybe 100 people being affected by the actions of one man. You don’t have to read more into it and you shouldn’t. Whether it’s 1978 or 2018, teenagers still go to school, fool around when adults aren’t looking, and live mostly inconsequential, carefree lives. And that’s how it should be. Really that’s what Halloween, in the modern American context, is supposed to be about.
The Haddonfield of today may have some of the modern conveniences that weren’t present in 1978 like cell phones, but really little has changed. It still has a sheriff’s department instead of a police department. People still leave their back doors open. Most people don’t have security systems. It might not be how America is often depicted today in news media, but it’s the America people like to pretend still exists. And in many ways that makes it scarier. The most noticeable change in this film compared to the original and really most horror films of the 70’s and 80’s is that now there are considerably more Black people, with speaking parts, and none of them were the first one to die. #Progress!
The film recreates a similar story where Michael has once again escaped custody the day before Halloween and has decided to return to his hometown to murder people at seemingly random for no explained reason. Really that’s my biggest beef with this and the original film. Michael simply is evil. We never get any insight into why he kills people and why he does it on Halloween. He just does. This movie takes the time to argue that some people just are pure evil. That there’s no explanation or justification for it. Michael Myers simply kills. While I may not like this explanation, it does accomplish two things rather well. First, it removes the need for a legitimate backstory and/or explanation. Often these come off cheesy and don’t necessarily make the film any better. I appreciate their presence in movies, but can admit that most of them don’t make any sense. How did the boy who drowned in the lake come back to life? How did the man become an evil spirit that hunts teens down in their dreams? Explanations justify the plot of the current story, but they often also leave the viewer with more questions than answers by the end of the movie.
The second thing a lack of justification accomplishes is that it makes the story even scarier. Films like I Know What You Did Last Summer (1997) give you a justification for the actions shown. The victims did something wrong and they are punished for it. Many slasher films work this way. Teenagers get killed because of bad behavior. This allows the viewer to not feel as bad for the victims when they get offed and allows them to remove themselves from the story, ultimately reducing the fear factor. It’s really easy to walk out of a theater after seeing a bunch of kids get murdered for covering up a manslaughter charge. You don’t even necessarily feel sorry for them at the end of the day. But if there is no reason for the violence and no specific justification for the victims chosen then that means everyone is a potential target. There’s nothing the characters and more importantly the viewer(s) can do to avoid being murdered. It’s simply a random case of bad luck where you happen to be in the wrong place at the wrong time. It’s a case of weaker writing to achieve a stronger overall experience.
In the case of specifically Laurie, it’s not even fully apparent that Michael had planned to go after her in this film. What it more seems to be is that he was just on a random killing spree and was maneuvered towards going after her again. Multiple characters go out of their way to try to put the two back together in order to see what will happen. This worked well here because it justified the story focusing on Laurie without giving up the original randomness of Michael’s victims. He kills almost indiscriminately based on who’s in his vicinity when no witnesses are present. By the end of the film a great many people had been killed by Michael, but only two of the murders shown on screen happened with other people present. There are a number of little details like this that make Halloween so much more than the original. Almost to the point where I’d be willing to believe that people had really spent the last 40 years planning this almost perfect sequel. I don’t want to go into too much specific detail about the main plot because it’s so tightly written that mentioning most things directly related to Laurie will spoil her story arc. Suffice it to say that they did a story that I didn’t expect but that I really liked. I found it to be a perfect ending to a 40 year struggle that was true to both the main characters.
The cinematography is excellent. It’s a very well shot film that takes advantage of the experience gained over the last four decades of horror films. The lighting, the angles, the cuts, and even the sound all comes together perfectly to create a very stressful yet entirely believable viewing experience. I also really appreciated that there was only one jump scare in the whole movie and it wasn’t done by Michael. It’s expressed intentionally as a Halloween prank within the movie and for me that’s important. Jump scares are the lazy man’s horror technique. I’m glad we’ve pretty much done away with them in horror movies in exchange for psychological terror. One of my favorite shots in the whole movie was when someone, who I won’t name for spoiler reasons, decides to try to turn the fight back on Michael only to get thrown out a window. But at this point the roles have been reversed and the camera expresses this very well. Michael gets distracted and when he looks back at the body lying outside it’s gone. The sequence proceeds to show Michael moving through the house searching for an intruder the way the prey usually is in this genre. It was a phenomenal sequence that humanized Michael. Many other shots and sequences were just as effective in their own ways at telling a great slasher horror story.
While this is in many ways a higher minded slasher film that isn’t simply using gore to impress the audience, it’s still very graphic. Michael is at peak killing prowess and he’s not just using knives to kill people. Stabbing is just one of many ways he murders his victims this time around, but what’s also well done is the murders they didn’t show on screen. Many sequences cut or angle away from the actual violence and then show you the after math, leaving you to imagine what happened yourself. While this may not be the most visceral way to depict a murder story, it’s much stronger for the overall storytelling. You don’t have to dwell on every murder that takes place which keeps the pacing good. The film never drags on with violence even while showing you a slew of bodies left in Michael’s wake. Again, Halloween really shows itself as a high quality modern movie that just happens to be a slasher film rather than the classic low quality film that stereotypes the genre.
The acting was great. Jamie Lee Curtis’ performance has only gotten better with age. You really believed that she had been struggling with the memories of that night for 40 years. But other actors did a fine job as well. Will Patton as Sheriff Hawkins was exactly what I wanted him to be. This movie actually centers mostly on women of various ages and they all gave great performances. The writing definitely plays a role in this because the story was very realistic, thus making it even more believable. It’s not the cheesy somehow Michael is everywhere scenario. The characters just happen to move into his path and are killed as a consequence of that. There are really only two murders in the whole movie that seem completely intentional as targeted victims and Michael targeting them made perfect sense. I will say though that there are a number of classic dumb horror movie character moments that take place. They’re believable, but they continue the stereotype of people (in this case me) wanting to yell at the screen because why would you run into the woods when a psychopath is trying to murder you when you’re already on a road that cars drive on? The movie isn’t built on these moments, but a number of them occur and as a Black man I had to do everything in my power not to yell at the screen. What was great was that there actually is a Black kid in the movie that basically does this for one sequence. He tells the two older white kids what not to do, they don’t listen, and bad things happen to them. So kudos to you David Gordon Green for acknowledging your audience and for casting a hilarious Black kid.
I’m not going to say there haven’t been other great pure American slasher films in the last 10 years, but I will say that I can’t recall any. It’s not my favorite genre so I haven’t devoted time to actively seeking them out, but in my opinion horror as a genre has moved away from the slasher idea. Halloween does the genre justice. It’s not just an excellent slasher film. It’s an excellent film that I might even argue is better than the original both in how it presents the genre and circumvents many of the tropes of the genre 40 years later. If you enjoyed the original film, this is a must watch. But even if you didn’t see the original and aren’t a fan of the genre, I still think you’ll enjoy this movie quite a bit.
I was unsure about Starlink: Battle for Atlas going into it. The marketing was good but kind of vague. I was getting some No Man’s Sky vibes from it, which isn’t a compliment, but I was also getting some solid story based gameplay vibes from it as well, which is the greatest of gaming compliments. If I’m honest I have to say that the main selling point for me was that Star Fox is in the Switch version. You have to understand how much I love Star Fox and how long I’ve been waiting for a good Star Fox game. Having played every home console Star Fox game on its original release console, including Star Fox Guard and Star Fox 2, it’s my opinion that a good Star Fox game hasn’t been made since 2005. Star Fox 2 is good, but that was made in 1996. I hated Star Fox Zero. It had some good ideas but the controls were terrible to the point where I struggled just to finish the base game and haven’t played it since. So the prospect of a good Star Fox game was very appealing, but not enough to get me to buy Starlink day one, because this wasn’t made in house by Nintendo. Thankfully I received a review copy and I’m glad I did.
Let me be very clear in saying that I’m only about three hours into Starlink: Battle for Atlas at this point. I plan on playing it a lot more and after the three hours I have played, I can already say that I will absolutely finish this game and possibly go for a 100% completion. But I wanted to write something about it now while it’s new so people who are on the fence can get a better understanding of it so they can make a more informed purchasing decision. That’s why I’m leaving this review unscored and I put “Early Impressions” in the title of the post. I also want to make clear that I haven’t looked at the non-Switch versions of the game at all. I don’t even know how they compare graphically so be aware that this review is only talking about the Switch version unless otherwise stated.
Before getting into the finer details of the game, there are two main things that need to be said about Starlink before anything else. The first is that this game essentially took all the good ideas from No Man’s Sky, layered them over a The Legend of Zelda: Breath of the Wild foundation, and then decorated it with Star Fox paint. That’s what this game is in a nut shell. They took the No Man’s Sky open world, resource management, space exploration concept, added an actual story, dialed back the map to that of large, but not infinite, and allowed players the ability to play an open galaxy space fighter game as Fox McCloud with his crew along for the ride. In other words, they did what people actually wanted rather than try to be overly experimental for the sake of grandeur.
The second thing that needs to be said is that this is not a Star Fox game. The PS4 and XB1 versions of the game don’t contain the Star Fox team. They were added into the Switch version similarly to how Link was added into Soul Calibur II (2002) on the Gamecube version of the game. The difference though is that Fox and crew have been added into Starlink with great care and effort. It’s not lazily done last minute. It’s not a few added cutscenes and no direct interactions. From what I’ve seen so far, Ubisoft took the time to weave Fox, Peppy, Slippy, Falco, and it seems Wolf directly into the plot of the story. There are cutscenes where the Starlink regular characters and the Star Fox team interact directly. Fox and crew enter the Starlink team’s ship during cutscenes and interact with them in dialog during normal gameplay. The point is that while this is not a Star Fox game, you’re able to play the Switch version like it is one, and that’s intentionally how I’ve been playing it so far. In a lot of ways, that might be the future of Nintendo games and if so, I’m looking forward to it.
Visually speaking, Starlink is very good, but it’s still a Nintendo game. I do believe it could look better on a more powerful machine. That being said, in true Nintendo style they’ve crafted a game that isn’t trying to look realistic so it’s fine that it doesn’t have super PC Master Race 4K graphics. The graphics are by no means bad though. The landscapes are beautiful and fairly well detailed. Fox and crew look great as far as finer details go, but they don’t really fit into the art style of the rest of the game. And the game runs very smoothly. The cutscenes look surprisingly good. Or at least the present day ones do. There are also some flash back cutscenes that are hand drawn comic strip style art. They look good for what they are, but they don’t match the rest of the game, that I’ve seen so far, in tone. Mostly though it’s one of the better looking games I’ve seen on Switch. It’s up there with Xenoblade Chronicles games. There are definitely some things that I believe are scaled down from what they would look like in the PS4 version, but not so much so that I feel like I’m being cheated playing on this platform.
What’s nice about this galaxy is that it’s both diverse and lived in. There are a lot of different settings and landscapes, even on individual planets. It’s not just dessert planet, lava planet, water planet. One planet, of which there are several, has multiple habitats. Wild life is native to certain regions and not others on any given planet. There are abandoned cities, skeletons littered across deserts, active settlements, roving bands of outlaws, and ancient ruins. It’s not a world(s) that exists for you. They just exist and you happen to be there.
There’s a lot going on in the full HUD. I haven’t turned anything off yet, but I’ve already considered it. It’s all useful information, but it just takes up so much of the screen. Depending on what’s happening, there are times when like 50% or more of the screen is covered in HUD data. Thankfully, you have the ability to toggle off and on each individual part of the HUD and two of the options can be set to appear only at specific times. I like the menus. They’re very simple and easy to understand. They have a very space age tone to them but they still come off very Nintendo. Smooth edges, interactive pictures, and easy to read text. I also really appreciated that you can set the subtitle text size, language, and backing opacity. You can even set the temperature readout to Celsius, Fahrenheit, or Kelvin. I don’t know if I’ve played any other games that have Kelvin as an option. Enemies, target objects, and bases all have floating life bars as well, so you can always see the status of things. This is really helpful and I’m glad it’s there, but it also adds even more HUD to the screen. I guess the best way to describe Starlink overall is that it looks the way it’s supposed to. I don’t think I’d change anything about it visually other than giving it more power so the details could be even crisper in the landscapes.
The sound is solid. The effects are limited to user interactions, which is a bit of a disappointment, but you don’t usually notice it during normal gameplay. What I mean is everything you do has a sound effect, but only certain things you do things to have a reaction sound. For example, if you shoot a canister that’s meant to be shot, you will hear your weapons fire and you will hear the canister explode. But if you shoot a wall, that’s not meant to be shot, you will hear your weapons fire, but the wall won’t make a sound. Essentially there are a limited number of sound profiles and interactions in the game. But again, most of the time you won’t notice this unless you’re actively shooting things you aren’t meant to shoot. Your ship has sounds for everything from boosting and jumping to changing out weapons. And the things you’re supposed to interact with all make sounds as well. The quality is clean and mostly clear, but it can get drowned out by your weapons fire. You do have the ability to set separate volume levels 1 – 100 for speech, SFX, music, and ambient sounds as well as change the audio mix between three sound profile options.
The dialog audio is good. There are many different characters that speak in this game and they all have their own voices. That includes NPCs like shop keepers and outlaws. All speaking characters, including outlaws, have individual names and their talking avatar shows up on your screen during dialog. You will never see any characters walking around though. Every sentient being is in a ship at all times. Only wildlife and enemies are just walking around the landscapes. The wildlife have their own sound profiles as well, which is always a nice touch.
The gameplay takes some getting used to. It’s essentially an all-range mode fighter plane game that takes place both in space and on the ground. You have the option to free fly between space, the sky within a planet’s atmosphere, and at ground level. You are always in your ship, but the way you move is determined by the flight mode/space you’re in. In general, the controls are fairly straight forward. You have up to two weapons mounted at any time, which you control with the triggers. You can boost, shield, jump, and interact with the four buttons (A,B,X,Y) on the right joy-con and you use the shoulders and arrow buttons for special commands. When in ground flight mode, you have a lot more control and don’t have to worry about altitude. But you also have limits to how high up you can jump. What is interesting though is that the game seems to have dynamic jumping, meaning it tends to make you jump as high as you need to go rather than having a limited jump height. There is a max limit though before you have to change to flight mode, which you do by holding the right shoulder. My biggest complaint is that the buttons aren’t customizable. I wish I could swap the boost and jump buttons and make the shield a different button as well. I pretty much never shield during combat because of where the button is placed.
The fact that you’re always in your ship is a good thing. It makes for a more streamlined experience. You travel around planets and mine for resources, among other tasks, but things don’t require as much nitty gritty work. Boxes are scattered around the worlds that contain Electrum, the equivalent of gold/money, mods, and other useful things. You just have to shoot or blow them up to open them. The items contained within the boxes are automatically collected. This saves you so much time. At first I didn’t realize collecting was automatic so I went up to every box and manually collected things. But once I realized I didn’t have to I started sniping boxes from far away and saving tons of time farming. There are also resources that need to be mined from nature like plants and metal ore. These do need to be picked up manually. They can be sold at outposts for Electrum. NPCs will often task you with collecting things for them as well a number of other types of tasks like deliveries, scouting/exploring missions, and hunts for enemies and objects. You use Electrum and special resources to upgrade the main ship, your general skills/perks, and outposts. Your weapons and fighter ships are upgraded through perks rather than individually. But each weapon, ship, and pilot has their own experience gauge and leveling, so it pays to play with various loadouts so you’re developing your entire crew as opposed to just one set. I will admit though that I haven’t been good about that myself just yet. I’m pretty much only playing as Fox in the Arwing and I tend to use the same two guns a majority of the time. In the long run though I will change them once I max them out, otherwise it’s just a waste of XP.
The game lets you change your loadouts, including ships and pilots, on command. At any time, including in mid-battle, you can just go to the menu screen and change your load outs. Ships and weapons also have mod slots, which matter a lot. Mods can affect a number of things like base damage, elemental damage, healing speed, movement, and so on. You have a limited number of slots for each piece of gear, but these can be expanded a finite amount with general upgrades. The ability to change loadouts in real time is useful because you can create loadouts for multiple scenarios and hot swap them based on the situation rather than having to re-spec your ship for every encounter. Loadouts matter because different mods and weapons work in tandem for the best results. For example, using fire and ice weapons concurrently results in a “Thermal Shock” damage scenario. You freeze enemies susceptible to ice damage, causing them to literally freeze in place and sometimes fall over. Then you burn them with fire ammo. The resulting reaction between the two types of ammo causes additional damage and effects to enemies. There are several types of weapons combinations that have special effects. This is why preparing multiple layouts is so useful.
The Ubisoft Club rewards for Starlink are some of the most useful I’ve seen in any Ubisoft game. The four rewards give you a collection of strong mods that will greatly enhance your performance. I don’t know if these mods will be that useful down the road once you’ve started finding higher level stuff and creating your own via mod merging/crafting, but early on the rewards mods are extremely valuable. I recommend buying them right off the bat if you have the Ubi coins to spare. And since the game has more coins to earn than to spend, you still make a net gain if you complete all the rewards tasks, many of which are pretty easy.
The game, at least at this point, is not too difficult. That’s not to say that it’s easy, but more that it’s fair and rewards you for playing both smart and dynamically. If you just sit in one spot and fire away you might win, depending on the difficulty, but chances are you will struggle. To master the game you need to understand how weapons combinations work, which enemies require which weapons, which the game helps you with, which mod combinations work the best for your play style, and you need to master maneuvering. You also need to pick the right pilot for you. Each pilot, of which there are at least 10, some of which I found later in the game, has their own strengths, weaknesses, and special moves. Fox, for example, summons Peppy, Slippy, and/or Falco to battle. They only stay for the duration of the battle, but it’s a useful technique. You can do this at ground level or in space. Once you get the hang of the game, you will push yourself to harder challenges. I started at normal, but after only two hours in I changed it to hard. I haven’t tried very hard yet. You can also turn friendly fire on or off. I keep it off though personally.
Enemies have levels and you aren’t aware of how big a difference those levels can be until you challenge something way out of your league. My Fox is level four and I haven’t struggled much, but I have had a ship blow up a few times in the normal course of play. But when I discovered a level 16 special enemy, it whipped my ass. Something to come back to later. That’s the nice thing about the game. There are things you know you’ll want to come back to later. The death system is interesting in Starlink. I think it works well for the type of game it is. Your ship has a life bar that heals automatically after a certain amount of time without taking damage, but if you take too much damage too quickly your ship will blow up, but this isn’t game over. You have a total of at least six ships. Each one has its own stats as one of four classes that I’ve seen so far. When you lose a ship, you can just swap out another one and use that one for as long as you want or until it also blows up. Then the next time you get to a repair shop you can spend Electrum to repair all your damaged ships. This system is really convenient because it means you rarely have to stop play even if you got a ship blown up. This also means that there is no stoppage in normal play. You can get hit with multiple battles back to back. Outlaws can attack at any time. You can fly into a nest accidentally. When you go to the menu the game is paused so you don’t have to worry about dying while trying to re-spec. But you never truly know what you need to be prepared for.
There are also a number of mini-game and puzzle mechanics scattered throughout the game. Some are quite simple like pulling/plucking things. When you want to harvest plants or open doors, you have to grab them with your ship’s cable and then pull. But you have to pull the right amount. There’s a meter that you need to fill with enough pull pressure before the object will release. You aren’t allowed to over pull it though. It has to be properly measured or the object will remain attached. It’s hard to explain in text form, but as you find more important items, the pull min-game becomes harder. Some puzzles involve shooting targets with certain types of ammo or in a certain order. There are door puzzles that require you to figure out a sequence of locks in a specific order. I also really enjoy the ways you can interact with wildlife. You have to scan them to add to your database and learn more about them. Scanning one isn’t enough though. You need to find and scan three or four of the same species to get full data about it. You can also help animals, which I really like. Sometimes you find animals that have infections and you can help remove them. This will make that particular animal act friendlier towards you. To be honest I have yet to see any wildlife act with hostility towards me unprovoked, but I have had them show fear. The game is so much more than just flying around, collecting, and shooting.
While Starlink is a story driven game, it’s also an Assassin’s Creed style open world game. There are tons of side activities, special requests, hidden treasures, and random encounters you can seek out. You can spend a seemingly unlimited amount of time developing your team and resources without touching the main quest. It’s like No Man’s Sky with the option of meaningful gameplay. Overall, I’m very happy with the gameplay experience. There are some control issues you have to get used to and as with all resource games, mining will most likely get old. But as a whole, this is a great experience that I’ve only scratched the surface of.
As I said, I’m not super far into this game yet. Less than four hours total. So my understanding of the story is still very limited, but I can say that unlike with No Man’s Sky, this is a narrative driven open world(s) game. And that includes Star Fox’s role in the game. You are actively pursuing narrative based goals. You meet characters and develop relationships with them. Outlaws have grudges against you and/or members of your team that they’ve had past interactions with. You’re not just flying around space collecting resources so you can build better ships. The game does have lots of mining opportunities and developing/upgrading your ships and other things in the game are a core part of the gameplay, but this is a single player, story driven experience with a finite amount of content. That more than anything is why I like this game and was almost completely disinterested in No Man’s Sky at release. The story is what makes the game worth playing.
The writing works. It’s not Naughty Dog level storytelling, but it’s a fairly large cast of characters, real social interactions between them, developing relationships, villains, heroes, mysteries, and side characters that you grow fond of. Now again, I’m still very early in. It’s quite possible that this is all just strong foundation to hook the player in early and then it will eventually devolve into a boring mining collectathon with little story. But it doesn’t seem to be going in that direction at this point in the game. So far I’m happy with the characters, I’m happy with the plot, and I’m especially happy with the fact that all the Star Fox team members are an active part of the story, even though they were added in later.
I’m not gonna speak much on the replay value of a game I’m only three hours into of this seemingly high amount of content. What I will say is that there appears to be quite a bit of content and I assume there will be some future DLC as well. Because of the way the game is structured, there are multiple ways to play and approach things, which means there is the potential to want to replay the game using different pilots, load outs, and tactics. You also have four different difficulty levels. But because you can change difficulty, loadout, ship, and even pilot at a whim, I see no reason to replay the entire game at this point. It makes more sense to just change things around as you play your first playthrough fairly often and make the most out of a well-rounded experience. So at this point, I can’t say whether or not the game makes sense to replay, but in general there appears to be a lot of content anyway so that’s fine for me.
I’m really happy that I’m playing Starlink: Battle for Atlas. I’m not far in yet, but I’ve enjoyed it a lot so far. I’ll admit that my bias towards Star Fox plays a factor. It’s the game that I think many people wanted No Man’s Sky to be with the tradeoff of a finite amount of content. Finite doesn’t mean lacking amount though. A game doesn’t have to be infinite and in my opinion shouldn’t be. I enjoy the fact that the game has a lot to do but still has defined end goals. As I said, I’m not going to score this game so early in my experience with it, but I do recommend it for people who like open worlds, space fighters, and customization options in games. You can also check out some gameplay on my YouTube channel. I’ll be streaming the game via Twitch on weekends as well.
I went to see Venom because I watch every Marvel and DC movie in theaters. The only one I’ve missed to date since seeing the original Blade (1998) is Fantastic Four (2015) and that was only because I was in the process of moving and literally did not have time to see the movie in theaters before it was removed. So I was always going to see Venom in theaters even though I had low expectations from the very first trailer. The things I’d heard about the movie since it released just a few days prior to me seeing it did not raise my hopes for the movie either. Now that I’ve seen it myself, I can say honestly that Venom is a bad movie. But it might be the best bad comic book movie I’ve ever seen.
There are two types of bad movies. There are those that are bad and shouldn’t have been made the way they were if at all. Suicide Squad (2016), The Spirit (2003), and Superman Returns (2006) are examples of this. They are not only bad movies in terms of plot and often film making conventions, but they also don’t even really entertain past surface level visuals. They simply aren’t even good enough for hate watching. But there’s another type of bad movie. Some movies are bad, but good. Maybe you’d even say they’re so bad that they’re good. R.I.P.D. (2013), Spider-Man 3 (2007), and Batman & Robin (1997) are all great examples of this type of movie. They aren’t good by any conventional stretch of the word. They’re riddled with questionable film making decisions, lackluster writing, often terrible acting, and sometimes dialog so bad that it becomes iconic. This is where I put Venom.
Let’s first remember the reasons why Venom was made and the space it exists in within the larger Marvel and comic book film landscape. Venom, the character, was originally created in 1988. It came to be after a stint as just “the Symbiote” merged with Peter Parker/Spider-Man. When Parker finally separated from it, the Symbiote found Eddie Brock and became Venom. Venom started out as an arch nemesis of Spider-Man and was only that for many years. Down the road he eventually became an anti-hero similar to Frank Castle/The Punisher but that was way later. Even today, most people still think of Venom, and his host Eddie Brock, as a Spider-Man villain. Many would even say the best Spider-Man villain. That’s the character in the world of comic books but that’s only kind of relevant in the real world of business. Venom was made because of an annoying longstanding contract agreement between Sony and Marvel (now owned by Disney). Sony has to make a new Spider-Man universe film every few years or the Spider-Man IP rights will automatically revert back to Marvel. This pretty much guarantees that Spider-Man themed films from Sony will keep being made rather frequently as long as they make money. And since the original Spider-Man (2002) they have. This is also the reason they rebooted the franchise and did The Amazing Spider-Man (2012) so soon after finishing the Tobey Maquire run. Sony literally had to churn out another Spider-Man movie of they would have lost the IP rights. And those rights matter. Not just for that film money but for everything. Toys based on the movies, cartoons, merchandising. Even the recently released Spider-Man game exclusive to PS4 from Insomniac Games falls under the purview of Sony’s contract with Marvel.
The main problem for Sony now is that they lost the Spider-Man in Spider-Man films. Because Disney really wanted Peter Parker to appear in the MCU, they paid a king’s ransom to get those film rights back “temporally”. But that didn’t actually change the terms of the original contract. This leaves Sony in a very peculiar place. They need to make Spider-Man movies without actually using Spider-Man. And let’s be clear that by without Spider-Man I mean specifically Peter Parker. They could easily put out movies about Miles Morales, Spider-Gwen, or any other Spider-Totem characters. But that’s easier said than done. Making a movie isn’t as simple as writing a script, hiring some actors, and buying a camera. It’s quite expensive and has to be deemed potentially profitable or it could destroy the IP and even the brand. And in the current climate it might not sound like such a great idea to Sony stockholders to put out a movie with a Black or female Spider-Man/Person. Especially when also having to compete with the MCU and the much loved Tom Holland as Peter Parker. And that’s just the stuff we know about. For all we know Disney contracted for control of Miles Morales and Gwen Stacey as well. There are references to Miles Morales in the MCU such as Donald Glover playing a character who is most likely his uncle in Spider-Man: Homecoming (2017).
When understanding all this background information, it becomes clearer why Sony decided to do something that literally no one asked for and made a movie with Venom as not only the main character but not a Spider-Man villain. And when I say not a Spider-Man villain I mean Spider-Man isn’t even mentioned in the movie. Given all that context, now let’s actually discuss how the movie was.
Venom is not a good movie, but it sure is an entertaining one. It’s cult film good. There are numerous problems with it, but I don’t for a second regret seeing it. My girlfriend, a diehard Marvel movie fan with a less than even casual background in general comic book lore knowledge, laughed for pretty much the entire duration of the movie. And really this might be the best space for Venom, and Sony Marvel films as a whole, to fill. They can’t compete with the MCU. They don’t have the planning, time, or access to characters that the MCU does. They don’t have the available casting choices that the MCU does because of so many roles already taken by phenomenal actors. So in a lot of ways it might actually make more since for Sony to intentionally try to fill the comic relief niche of comic book filmmaking. Because there’s almost no competition for that spot. It’s pretty much just Dead-Pool at this point. And with Disney’s inevitable absorption of the FOX Marvel universe/characters, that leaves pretty much no real competition for the comedy comic book movie throne. Disney isn’t going to let the MCU collapse in tone and style for one character and the brooding DC film universe simply isn’t playing for comedy, granted Shazam seems like they might be trying to break-in to that genre. My point is that in many ways it was logical for Sony to make the film they did with Venom than the film people think they actually wanted to see.
The acting is bad. Specifically Tom Hardy, who I am generally a fan of, gave a really cheesy performance. Think Nicolas Cage in Kick-Ass (2010). That’s not to say that Tom Hardy is a bad actor. More that his depiction of the character was very different from the Eddie Brock I expected. I’d say he came off a bit too geared towards a modern millennial audience. The Eddie Brock I’m used to is brooding, hot tempered, and narcissistic. This Eddie Brock was very whiny and seemed more like a victim of his circumstances than an active player. What I find interesting is that Hardy also voiced Venom, who is a wholly different character than Eddie Brock. His voice and demeanor are considerably altered. I spent the entire movie thinking Venom was being voiced by a different actor. That being said, this Venom is super campy. He’s essentially the douchebag frat boy to Eddie Brock’s whiny loser. The pairing makes for a hilarious on screen dynamic. I will say though that this Venom’s voice was clearly inspired by the 90’s Amazing Spider-Man cartoon. Some of the other actors in the movie gave stronger performances, but nothing to write home about. Riz Ahmed as Carlton Drake was the most noteworthy for me. He was exactly the way I would have wanted that villain to be. He truly believed in his cause and delivered his lines with authenticity and controlled passion.
The visual aspects of the film aren’t particularly good either. I took the time to go back and look at Venom in Spider-Man 3 and I have to say that it looks better. The symbiote forms, like the voices, come off super campy in Venom. They look like something from Spawn (1997). What I think it’s important to note is that this Venom is super authentic in how it recreates the source materials, both from the comics and 90’s cartoon, in terms of handling the transformation(s). They do it the way it was originally intended with the Symbiote taking over Brock’s body from behind and completely layering over him. That being said, it looks pretty cheesy in real life. It’s the Wolverine problem. Hugh Jackman would look odd actually running around in yellow spandex with that black blue/black mask and eye holes. Having the Venom suit engulf Brock looks odd in real life. The way they handled this in Spider-Man 3 was by going the werewolf route where Brock literally changes into a Symbiote merged form with actual fangs developing from his teeth. They also made it a point of not showing too many direct shots of his face during transformation. This is not authentic and it’s certainly not cool. But it does look better in live action. At the same time though it’s also quite limiting. Venom does some interesting scenes with Brock and Venom that could only work with them being two separate beings inhabiting the same body as opposed to one fully merged being. So I will give them that.
My bigger complaint about the way Venom looks is that he’s way too big. All the Symbiote human merged forms are too tall and too buff. Riz Ahmed goes from Edward Norton’s Bruce Banner to nearly the Hulk in seconds. That’s not authentic to the source material. The Symbiote makes people stronger, not buffer. Part of Eddie Brock’s development as a character is that he goes from being an average sized dude to a bulky muscle head because he wants to improve his physical prowess to be a more effective Venom. In this, Tom Hardy is a normal looking guy and Venom is huge. It might look more epic but if they’re trying to build a franchise, which they absolutely are according to the credits sequence, that aspect removed a key developmental plot point of Eddie Brock as a character. It also doesn’t help that the one time another character becomes Venom they don’t also get super bulky and muscular, so there’s a real lack of consistency there.
The effects are also noticeably low quality at times. I’ve seen a lot of action movies and I have to say that I rarely spot stunt doubles. In one particular motorcycle scene, I very clearly saw Tom Hardy’s stunt double. It was like that scene in Space Balls. Well maybe not that ridiculous but still quite noticeable. The CGI effects for the unmerged Symbiotes were quite good. They did a fine job of portraying them as living beings even though they were just undulating puddles of goo. Overall the visual quality of the film lands somewhere between Green Lantern (2011) and X2: X-Men United (2003), with the latter of course being the better looking film.
The sound quality, though less noteworthy, outside of voice acting, than in many other comic book films I’ve seen, was quite good. There wasn’t much noticeable in the way of music though. In fact, I can’t recall a single song from the movie other than in a specific scene that was specifically about the song and the end credits song by Eminem, which I’m sorry to say isn’t great. I do think the general lack of external sound was intentional though because sound plays an important role in the film plot wise as well as making sure you can hear the symbiotes talking to their hosts.
The writing is probably the most notable part of the movie as well as the hardest to judge. I spent the whole movie teetering back and forth between cringing and being generally impressed. I will say that I laughed pretty much the whole time though. But my laughter was mostly because the dialog is in your face and often terrible. It’s not authentically funny the way Tony Stark is in the MCU. It’s more like Seth Rogan in The Green Hornet (2011) where it’s bad dialog but it makes you laugh in the way Family Guy does. The dynamic between Eddie Brock and Venom is funny. It reminded me of Star Kid (1997) if the kid and the suit had both grown up to be depressed comedians. Even though the dialog wasn’t written particularly well, the relationship and how it develops between Brock and Venom is quite good. I liked the way they actually became friends and grew to understand each other. At first they’re at odds and both seem to be fighting for control but by the end they’re working together with a genuine desire to help each other. I also really liked that the dialog took the time to explain the symbiotic relationship between host and symbiote casually over time as opposed to just spelling it out in one explanatory conversation. At the same time, there are a lot of inconsistencies about what Venom actually knows from the start. Sometimes he asks questions as if he genuinely wants to learn about something he doesn’t know and other times it seems like he automatically has access to Brock’s knowledge because of their merger. A good example of this is how he magically knows how to drive a motorcycle like a badass presumably the first time he rides one.
To say the film is well written would be a gross misrepresentation of what it actually is. But I also wouldn’t say the writing is absolute trash like I would for The Spirit, which I genuinely hope you’ve never seen because it truly is that bad. What isn’t up for debate though is that the writing is entertaining. You laugh for the bulk of the movie. You care enough about the plot not to check out. Even though Venom is a selfish, immature monster that spends most of the movie complaining that he can’t eat people, you still sympathize with him by the end. Even though Eddie Brock, like Venom, puts his own desires and beliefs before those of everyone else, even to the detriment of both his job and his relationship, you still want to see him win in the end. Venom isn’t written to be a high minded quality film that’s going to change the way we view comic book movies. It’s simply a movie to watch and enjoy and it accomplishes that just fine.
Overall I’d say I enjoyed Venom. But I enjoyed it in the way I enjoy bad films like Zombeavers (2014) and The Pink Panther (2006). It’s not a film you watch to be impressed. It’s a film you watch when you just want to be entertained. And if Sony can maintain that tone through an entire franchise of sans Peter Parker Spider-Man films without them becoming stale and unfunny, then I think that’s OK.
I think this might be the first game I ever reviewed after I had already achieved the platinum trophy. Not the first game where I’ve finished the campaign, but specifically getting the full completion. Certainly the first open world game. For the record, I got the game day one and had acquired the platinum less than two weeks after it released. It just took me an extra week to get the review prepared. That’s short for any platinum. Much less an open world game. But length is not the only important factor when it comes to judging a game so while this is an important detail to consider, there’s a heck of a lot more to say about Marvel’s Spider-Man by Insomniac Games.
I was not actually planning on pre-ordering Spider-Man. I literally made the purchase just two days before it released and the only reason I did was because I happened to roll into some extra money that day and I wanted the collector’s pin for preordering the digital deluxe edition. Otherwise I would have absolutely waited for a price drop. And after having gotten the platinum, I would still recommend waiting for a price drop. Mostly because of how short it is. That being said, it was quite the entertaining experience, short or not.
Spider-Man is a beautiful game. Not Naughty Dog beautiful, but for a comic book game, it looks very good. What I really liked about it was the character renders. I could see the real actors in the characters and because I recognized a number of them, that impressed me. At the same time, the filler NPCs are kind of low quality. They aren’t generic, which is nice. They do look, dress, and sound different. You can even interact with them on a minor level as individuals. Because it is a comic book game, it looks like what a game based on a comic book should look like rather than actually looking like a comic book or trying too hard to look like real life. It hits that visual balance almost perfectly. The world looks great as well. I’m not from New York, but I have been there and I was very impressed with all the landmarks the game has. I have heard a number of New Yorkers complain that things are missing or flat out removed from the map. But I guess that’s to be expected. What’s really cool is that they’ve also layered in a bunch of Marvel Easter Egg locations. This includes places like the Embassy of Wakanda, the Sanctum Solarium, and the Murdock & Nelson Attorneys at Law Office. If I have to explain to you what any of those are then you’re not a Marvel Fan and it will be lost on you anyway. It is a very nice map, but it’s also very small. The whole thing is made up of only nine Infamous: Second Son style districts, none of which are particularly big.
This is a very fast paced game. Think Arkham City on steroids. You’re moving quickly with just about everything you do. Fighting is fast paced and often includes 15 or more enemies on the screen at one time. Swinging, probably one of the most enjoyable aspects of the game, is extremely fast, free roaming, and variable. By all rights it should be a blur, but no such issues occur. The game truly handles like a dream. Even playing on an original PS4, I experienced no lag or other graphics related performance issues. The loading is a little slow, but not ridiculously so. The menus look really nice as well. They’re very simple. Not overly stylized or extremely detailed. But they present everything you need in a clean and clear manner that’s very accessible at a glance.
The Spidey suits are without a doubt the most impressive visual aspect of the game. The level of detail is unreal for some of the 28 costumes available. The tips of the fingers. The fabric threads. The metal plating. It’s immaculate. The costumes look so good you can almost feel the fabric on some of them. But there are also a number of little things that really bring this game to life. Pedestrians in the streets. Planes flying over the city. The sunlight beaming on the water at dusk. Overall it’s a beautiful looking game.
The sound is expertly done in Spider-Man. It’s cartoony but practical. You hear the whooshes of his webs firing. You hear every punch and kick landed. The only thing that would have made it better was if little comic book style onomatopoeia appeared during fights. The voice acting is quite good. Each character was distinct. Many were played by actors you’re familiar with which really helped bring the audio visual experience to life. The music was good, albeit a bit repetitive, as is the case in most open world games. All in all, I was very happy with how the sound was handled in this game.
The gameplay excels in a number of places but falls way short in others. The swinging is phenomenal. The best I’ve seen in any Spider-Man game, though I haven’t played them all. What’s good about it, albeit annoying at times, is that Insomniac Games really tried to create a realistic swinging experience. You have to take into account things like distance. You can’t just swing wherever you want. If you’re above the buildings, you have to wait till you fall beneath them so you have something to web to. You can swing upward but your speed will decrease due to drag and loss of momentum. Swinging and traversal is truly an art form. But at the same time they added a number of fail safes to make the experience more manageable for amateurs. You can move in and out of swinging to parkour and wall running instantly. Spider-Man will automatically pass through, under, or between things like fire escapes and water towers when you swing into such confined spaces. It was made to be fun, not unruly. At the same time, this game sadly has terrible wall crawling mechanics. Wall running outside is great. It’s smooth and easy to control. But climbing around the inside of a room is just trash in this game. Simple maneuvers like crawling from wall to wall or wall to ceiling are so difficult. Spider-Man will do everything in his power to avoid changing between adjacent services. It’s easier just to jump off a wall and climb up the other one than to crawl between them. This was really depressing for me because what’s Spider-Man without wall crawling?
Fighting is real smooth. The pacing is fast but manageable. You have an arsenal of eight gadgets to choose from by the end of the game and they all do something quite different. What I also really liked was that when you run out of stock of a specific gadget the game will automatically revert back to basic web shooting. This is very crucial for a smooth gameplay experience. Chaining combos is really smooth and easy to do in this game, and that’s what makes it so fun. Combining gadgets in different ways makes it an experience all your own. One thing I really appreciated was that the game never stops moving. If you’re in the middle of a fight and you go to change gadgets, a gadget wheel pops up in true Insomniac Games style. But you can still get hit while it’s up. Time slows down while the wheel is up to give you time to think, but you can’t just stand there indefinitely. This balance between Dark Souls where you have no time and Ratchet & Clank where you have unlimited time worked really well for a Spider-Man game and felt very appropriate. But aiming certain gadgets and special techniques can be a real pain. You have auto aim but it mostly focuses on the nearest enemy in sight. Sometimes that’s not who you want to hit. In general though, the game plays and controls very smoothly.
Probably the worst aspect of the gameplay is its repetitive nature. The gameplay is really solid, but so much of the game is just busy work to level up your stats and gear. The game’s development system is dually based on XP and tokens. XP is gained through basically everything. Fighting, hitting milestones like distance running on walls, completing objectives, and locating special items. You can hit a maximum level of 50 and then continue to level up in a prestige way where you remain at level 50 but your stats continue to go up every time you earn a certain amount of points. Leveling is automatic as far as stats are concerned but you do have to spend skill points to learn new skills and techniques. Some skills are extremely useful and will become the cornerstone of your gameplay style. Others you’ll mostly ignore. By the time you hit max level, you can learn all the skills and still have five points to spare. The other means of development comes from tokens. There are six types you can earn. Tokens try to be more variable than XP but in the long run they just seem more repetitive. Crime tokens are a good example of this.
In each of the nine districts on the map, random crimes can happen at any time that you’re not in a mission/challenge. Dealing with crimes is optional and successfully stopping them nets you one to three crimes tokens. These tokens, when used in combination with other types, can be used to unlock suits and develop/unlock gadgets. Each district has you stop 20 crimes to get 100% completion. There are only a few types of crimes committed by four separate groups of criminals. You have to stop five of each. Almost all the crimes are the same. You fight a group of enemies without dying and you get your tokens. Occasionally you have to take out some snipers, locate a missing person, or stop runaway vehicles, but mostly it’s just win a fight. That’s nearly 180 random fights to deal with for a full completion. Plus chasing them down when they randomly appear on the map. It gets old. All the types of tokens work similarly. You do the same things over and over in order to unlock gear. There are little bonus objectives in each of these token missions/challenges, most of which you ultimately need to complete to get enough tokens to unlock everything, but after a while it all becomes a grind. It’s artificial additional playtime and many of the challenges aren’t even fun. Especially the challenge token missions. Some of them are just terrible and you’ll replay them over and over to try to get the gold completion for the additional tokens.
The story missions are great. I’d say 90% of the main campaign missions are absolute gold. Sometimes you have to play as people other than Spider-Man or Peter Parker and that can be boring and annoying at times, but all the story Spider-Man stuff was great. The boss fights. The stealth missions. The chase scenes. I was happy with all of it. Even the photography missions were pretty fun once I got used to them. The side missions are pretty good too. Really if the game wasn’t padded so much and was priced around Insomniac Games usual stuff, it would be a shorter but ultimately stronger game overall. The gameplay is great for the most part at a mechanical level, but the full completion gets old. The fact that you can hit level 50 (max level) well before the end of the game without mindlessly grinding says a lot about how much padding is in such a small map.
This was one the best written comic book games I ever played. The writing is the way a comic book game should be. The villains are justified while also being over the top. There are multiple villains that show up over the course of the story and they all make sense. They aren’t just popping up to give you something to do. The story weaves them all together very well. The way they wrote Otto Octavius was just amazing. If you know the characters you know he’s going to become a problem later on, but the way they developed him over the course of the game was MCU quality writing. I was so impressed by the campaign narrative in this game. But it’s not just the plot that’s well written. This is a Spider-Man game. That means dialog is everything and the dialog is strong. The quips are funny and cheesy. JJ Jameson is a radio host who randomly appears on your feed while swinging around the city and he’s hilarious. Modernizing him away from newspapers and into podcasting was the right touch.
What’s really important to note is that this game isn’t just about Spider-Man. It’s also about Peter Parker, Miles Morals, and Mary Jane Watson. All of them play major roles in the plot of the game and act as playable characters at some point in the narrative. It’s not just a story about heroes and villains. It’s a story about people. And even some of the villains get some real character development, which is a good thing. The relationships and interactions the characters have with each other, including the villains, is what really makes this a great comic book experience. Probably the best game Insomniac Games ever wrote.
Defining the replay value is a bit tough with this one. Especially having gotten the platinum in a single playthrough that took only 30-ish hours, which as I’ve said is short for an open world game in my opinion. The truth is that if you get 100% completion there are still some things you can do, like try to get golds in all the Task Master challenges and finish all the base challenge objectives, but you don’t gain anything from doing it. You do continue to get stronger by collecting XP even after you hit max level, but you don’t really need it by that point. Now of course the difficulty you play on will also play a factor here. The game has no difficulty based trophies and lets you change the difficulty level mid-game whenever you want. I played through the whole game on the hardest difficulty so there’s no reason for me to play it again. But if you didn’t play it on hard, maybe you’d want to do that in a second playthrough. But honestly, having unlocked and completed everything, I don’t really have any interest in playing through the game again. It was a great one and done experience with nothing left that I feel the need to do. Especially since I unlocked all the costumes and gadgets already. There will be a New Game Plus mode added soon, but I really don’t see any reason to play it after having gotten the platinum. DLC is on the way, so there’s that, but that doesn’t factor into replay value and probably won’t add enough content to justify the $80 price tag for the deluxe edition.
On the other hand, this game has without a doubt the best, most addictive photo mode I’ve ever seen. It’s an amazing experience. It’s not perfect. There are definitely limitations with it that shouldn’t be there. But it’s genuinely one of the most entertaining parts of the game. You have so many filters, frames, and stickers at your disposal. You can take pictures anywhere, including cutscenes. And they can be manipulated in so many ways. I almost took the time to make my own comic book with screenshots created in the photo mode. And you really could. I took literally more than 3,000 pictures over the course of the game. Which I’m still not finished sorting as I write this, by the way. That does add quite a bit of value and length to the overall experience. Especially when you consider the 28 costumes you can take pictures in.
Overall I’m very happy with how Spider-Man turned out. Insomniac Games did a great job. It’s not a flawless game and I think it was a bit overhyped with all the 9’s it received, but it’s definitely one of the top games I’ve played in 2018. I would absolutely recommend playing this game but I will also say you can stand to wait for a price drop.