Sony recently announced that there would not be a PlayStation presence at E3 in 2019. The reason hasn’t really been expressed yet other than some bullshit PR speak about looking for new options to connect with their fans, but many theories are of course swirling around the internets. Now I’ve been very critical of E3 for many years now, as has been shown on this very blog. I’m a 100% in support of Nintendo’s choice to do pre-recorded Directs. I love the fact that they do multiple a year because they produce them in advance for less money than the price of doing a single E3 presentation, which gives the public even more information about games (and pricing) in advance of release. I have many complaints about the E3 format, specifically the fact that it’s not open to the public. They did allow for some public passes to be sold at this year’s E3 and I did commend them for that in my E3 2018 post. But in general it’s still too little.
My main problem with E3 is that in 2018 it’s still a media focused shill operation. We don’t actually need established gaming media events in 2018. We have the technology for studios and publishers to convey information and demos directly to the public. The media no longer serves as the gateway between consumers and studios. I can directly tweet a studio a question or complaint about a game and get a response, and I have. In fact I tweeted and got a response from Ubisoft last month. Now in this specific case it wasn’t about the experience of playing a game but I did have a question about a game and got an answer directly from the publisher in a matter of hours. What do I need IGN for when I can talk to the developers or their direct representatives directly? We can have playable demos. Sadly these have become less common as technology has progressed, which makes no sense, but the point is I don’t need to watch some asshole I don’t like play a game I’m curious about to decide whether or not I want to buy it if the developer can let me try it myself from the comfort of my home, which they have been able to do since technically the PS2. Or before if we count demo discs. I don’t need to read some crappy paid review/long form ad to figure out if I should buy a game if I can just try it myself before buying it. That’s why betas are referred to as stealth demos now.
The point is that we don’t actually need media focused gaming events anymore. The media are little more than shills for the gaming industry or political activists pretending to actually know anything about what gamers are really thinking. It makes way more sense to either have only gaming events that are open to the public to see and try new games or do away with such events altogether and have all publishers make their own Nintendo Direct style videos and release playable demos for download. I’m not saying E3 should be ended permanently. I’m saying what E3 currently is should be ended permanently. It’s an outdated concept. So if it’s for the right reasons, I’m all for Sony pulling out of E3 indefinitely.
At the same time, we don’t actually know if Sony pulled out of E3 for the right reasons. There are a number of theories floating around. Some of them, if correct, are completely valid and acceptable reasons for Sony to not attend E3 2019. Others, not so much.
If Sony has decided to quit E3 in order to revolutionize the way they present games to the public by making their own direct to consumer presentations, events, and demos, then I am all for it. I would love to see a PlayStation Direct. Even better if, like Nintendo, they do multiple a year. I would love it if PlayStation made prerecorded videos about upcoming titles and released demos to go with them. If that’s the future of PlayStation presenting information to consumers, bring it on. Even if it’s the same presentations they already do at E3 but as their own PlayStation focused event/stream, I’m fine with that. They have PlayStation Experience already, and that’s better than E3. It is open to the public to buy tickets. It does have playable demos for the public to try. If this is the future, cool. But I don’t necessarily believe either of these reasons are why PlayStation pulled out of E3. Let’s also not forget that they cancelled PSX 2018 as well.
Another theory going around, and I do believe this is the correct one, is that Sony doesn’t have any new big projects for the PS4 that haven’t already been announced so they didn’t want to spend the money, time, and effort to attend E3. This is a bullshit reason that is completely unacceptable. Let’s be clear about a few things. Assuming there are no other PS4 projects in the works that we haven’t already heard about, that in no way means that we don’t want/need more information, gameplay footage, and demos of projects we do already know about. I still don’t know what the hell Death Stranding is about. Or even what the gameplay actually is. I want more information about The Last of Us 2. I would quite literally consider masturbating to more footage of Ghost of Tsushima. And where’s gameplay footage of Nioh 2 while we’re at it? I don’t need them to announce a single new game.
There are plenty of games I already know about that I just want to see more information and footage of. That’s enough of a reason to go to E3. If that’s the reason they’re not going, it’s bullshit. I pay too much money for games, DLC, paid online subscriptions, and such for them to be pinching pennies. I overpay for the privilege to see E3 footage. That’s part of the deal. If they want to save money, I better damn well start seeing those savings translated to me, the consumer. If their cost of operation goes down, prices need to go down. Because profits sure as hell aren’t. And prices sure as hell haven’t. The excuse of “we don’t want to put the effort in to show you games we know you’re going to buy already” isn’t a valid one.
Even more worrisome is the theory that the PS5 will be announced soon and that all the aforementioned games and any other projects currently unannounced will be released for that console. Personally I don’t need a PS5 any time soon. I’m very happy with my PS4 hardware wise and I don’t even have a PS4 Pro. It plays my games fine and they look beautiful. If it still runs games smoothly, it’s all I need. So delaying everything to the PS5 doesn’t help me. Rushing out the PS5 doesn’t help me. Because I don’t want to buy a new machine to replace a machine that still works just fine. Now hopefully the PS4 will be like the PS2 where even though the next console is out, they continue to release games on the predecessor for like another decade because they still run acceptably. And let’s be honest, PS5 games will run way better on the PS4 than PS3 games ran on the PS2. So there’s not really any reason to force me to buy a new console. But even if we assume, all the new games will be on the PS5 and PS4, that’s no excuse to skip E3. They don’t get to slack off for a year and just ride the high while waiting for what their analysts believe is the best time to announce/release the next console. I’m a consumer today. I just bought multiple PS4 games in the last month. They haven’t stopped taking my money so they don’t get to stop doing their jobs. One of their jobs is relaying information about upcoming games to the consumers. So even if all the aforementioned games are being released for the PS5, if they’re going to be released on the PS4 as well, and they should be, then they need to be talking about them now. Not after they decide to announce the PS5. Especially if we’re talking about games that have already been announced to the public.
Now I hope I’m wrong. I hope this isn’t a PS5 delay ploy. I hope we’re about to enter the age of PlayStation Directs. I’m fine with E3 ending altogether, because we know XBOX can’t carry that event on its own. And I have no love for some middle man company that makes its money by charging companies that actually make products for the “privilege” of showing those products off in a physical venue while selling tickets for profit in an age where a kid in Malaysia can download 4K HD porn on his phone. That doesn’t make any sense. And if all those hack journalists have to work just a little bit harder to write think pieces about how the world is being destroyed because edgelords are beating up feminists in Skyrim Cowboy Edition, I’m fine with that too. Hopefully this is the beginning of something great. An age of gaming transparency where consumers have direct access to publishers and developers, the likes of which we have never seen before. Most likely it’s not.
I’ve been playing Assassin’s Creed games since the beginning and always in order. I’ve never skipped a console release title, including those Assassin’s Creed: Chronicles games, which actually weren’t that bad. I’m currently behind so I only just finished Syndicate this week, but I can’t wait to play Origins and Odyssey. I, like most long time AC players, have a weird relationship with the franchise. It constantly teeters between love and hate. There are things that are truly great about the franchise and to have seen how far it has come since the original release more than 10 years ago is both impressive and inspiring. But there are also issues that have plagued the games for years, many of which have only gotten worse over time. In my opinion, the storytelling is the weakest part of the Assassin’s Creed franchise and has been since at least Assassin’s Creed III. But the storytelling issues have existed since even before that game which was already several games into the franchise. This is extra depressing because the story is ultimately why I continue playing the games. I want to see a clear ending to this franchise. That’s not because I don’t like the franchise and want to see it end, but rather that I play games for the stories and I hate stories that don’t have clear endings.
AC has a host of storytelling problems. This is due mostly to the disjointed nature of the games and how they function as parts of an overarching narrative that has itself drastically shifted in direction in non-sensible ways over the course of the franchise. The big problem with the storytelling is that the modern day content has little to do with the Animus content while also acting as the bridge between multiple games that you’re only really playing for the Animus content. But it’s very apparent that the modern day content has always been an afterthought in the creation of these games. Rather than try to clean it up, Ubisoft decided the best way to deal with the modern day storyline was to significantly reduce its presence within the games. You see this a lot in the games that take place after ACIII. The amount of modern day content has been reduced more and more until you finally get to Syndicate where you don’t even play in the modern day. It’s reduced to four or five short cinematics all with the intention of justifying a single end game cut scene that doesn’t feature anyone of significance other than the weird first civilization MCP (yes that’s a Tron reference) that keeps showing up in games since ACIII but never really does anything. Supposedly it saved the world from a solar flare though.
I see the direction that AC has taken by almost completely diluting away the out of Animus content to non-playable cut scenes and a bare minimum of time on screen as a good thing, but that’s not actually the part about the storytelling in Syndicate that I like the most. The key factor that I think makes the storytelling superior in Syndicate to just about every other AC game to date is the fact that you have multiple never before seen playable characters experiencing directly related stories and spaces. In past games you never had this, save for a short sequence in ACIII as Haythem Kenway. You had two loosely related characters acting independently of each other in the form of an ancestor and an Animus user/viewer. This never worked well for me because the games always slacked on the setting, gameplay, and writing for the Animus user. I genuinely didn’t care about Desmond and his whiny, depressing parent issues. I cared even less when you were some anonymous drone sneaking around the Abstergo offices. Those aspects of the story (and gameplay) have always been trash by comparison to the ancestor. That’s also why you never saw Desmond on the cover of the games. What I cared about has always been the story inside the Animus. Syndicate fleshes this story out more.
In Syndicate, you have two main playable characters and a third one if you play the Jack the Ripper expansion, during Industrial Revolution London. Plus there’s a fourth playable character in the base game that takes place during WWI for a short disconnected sequence. I thought this entire presentation of interconnected stories was brilliant. It added context, emotion, and background to all the characters involved. It strengthened the overall storytelling in a number of ways. It also led to variations in my gameplay style from character to character because I felt compelled to play each character the way I thought they would play rather than how I preferred to play. In many ways it was like playing multiple games in one while still maintaining a focused narrative. And even though the WWI sequence wasn’t directly connected to the main story, it was still excellent because it followed the progeny of one of the main characters. It was like taking a break from the game without taking a break from the game while providing additional information for the overarching narrative. I thought it was brilliantly executed.
Syndicate doesn’t have the best plot of any AC game. It’s set in a time where capitalism is already ruining people’s lives in a country that’s not that interesting in the grand scheme of the AC universe. But it tells its story better than most of the other AC games I’ve played so far. I was surprised by how much I enjoyed it considering the large number of negative comments I heard about it. I genuinely don’t understand where the negativity came from because it’s way better than Unity and is a nice change from Rogue, which is just a smaller scale copy of Black Flag. Many people even told me to skip Syndicate altogether, but I’m glad I didn’t.
Syndicate even handles the age old main character gender problem in games well. The game doesn’t center on either a male or female character. It stars both. And adds one of each additional character in the special sequences. It’s a perfectly balanced form of gender neutral storytelling that lets the player decide what/who to play as while making them both plot relevant without being plot neutral. There are also sequences that are character specific because the two play off of each other in a very effective way. And they have a few differing abilities to offer you a reason to swap between them depending on the mission you’re in.
It’s a perfectly democratic way to make and play a game that in no way lowered the quality of the storytelling. Really it enhanced it. And, in this case they made me want to play as the female character in the right way. They made her interesting. Evie Frye is a better character than Jacob Frye. Or at least a better assassin. She thinks things through. She acknowledges the consequences or her and her brother’s actions. She has better stealth abilities. I wanted to play as her more. I still made myself rotate between the two often, even when I didn’t have to, but she’s the better character, in my opinion. That’s how you get male gamers to play games with female protagonists. You make the characters interesting and the games good. It’s really that simple. Tomb Raider does well because Lara Croft is a good character and the games are well made. There’s no magic formula. It’s not a political issue. Real gamers play good games. You could do The Witcher with a female protagonist. But it has to be at the quality level of The Witcher. Otherwise it’s just a “shitty feminism game that wishes it was The Witcher.” But by giving the player the choice in Syndicate, Ubisoft managed to make a game with a female protagonist without having to market it as such. This made it way more appealing and accessible for everyone. Which begs the question: Why have we been playing these shitty out of Animus sequences for all these years to begin with?
The only reason the Animus is part of the franchise is that Ubisoft needed a link between all the games. For some reason they felt that it wasn’t good enough just to have the same name and general Assassin Templar war. They wanted to directly link each game via an overarching story, which in my opinion they’ve done, but failed to do well. Even as they’ve changed it over time and tried to salvage it, the modern day stuff is still trash. And with the death of Desmond, a character I absolutely hated, I all but stopped caring about who’s involved or what’s happening. I just want it to end so I can have a real conclusion. But why didn’t they just connect the games the way they connect the WWI and Jack the Ripper stories in Syndicate from the start? They could have just used the ancestry concept but directly linked the games via historical meetings. You have Altair get married and have kids. Then you have one of those kids become an assassin and travel to another country. Then that person meets another assassin named Ezio Auditore. Then the game follows Ezio.
You get the same effect you have now of following a story through time and changing between multiple characters. You can even keep the piece of Eden thing they have going. But you don’t need all that superfluous modern day crap that no one even cares about anymore. You link the characters directly to each other through history as the war continues. That would also allow you to return to older characters later in different points in their lives. Like Ezio in Revelations. It takes place years after Brotherhood. Rather than doing the whole memory sequence mumbo jump they could have just done a game about another assassin he met along the way and then at the end of that game, years later in the timeline, that assassin reconnects with Ezio. Then in the next game a now older Ezio goes to Constantinople. No weird annoying bullshit needed. And it’s not like people can’t deal with time hops. The current games do them and it’s not an issue. You just do a sequence like Connor went to England and then wipe forward years later and show him returning from England, or whatever. The audience isn’t stupid. We can follow a shifting narrative. How else have we been playing AC games for all these years? You could go back in time as well. Just do an Edward found this old journal of a past assassin and started reading it opening sequence as a transition backwards. It’s not that hard.
My point is that Assassin’s Creed: Syndicate does a great job with the storytelling because for 99% of the game it doesn’t pull you out of the Animus. And that 1% isn’t gameplay. It’s only cut scenes. This created a much stronger and more coherent narrative experience. As I said at the beginning of this post, I haven’t played Origins or Odyssey yet so maybe they’ve finally cleaned it all up. But I doubt it. There’s no real reason we needed this modern day storyline to make this franchise work. And I think it could still be done away with now. By implementing multiple playable characters in the same directly connected time periods, they can tell a much stronger story and solve their diversity problems at the same time. Adewale didn’t really need his own expansion in Black Flag. He should have just been playable in Black Flag with his own special sequences as well as in the open world. Haytham could have been playable for a much larger part of ACIII. These games are already connected in many ways. They simply needed to go the extra mile and not make up some weird trapped in the machine AI story filled with solar flares and faceless walking simulator sequences.
Syndicate was the best AC since played Black Flag. It has revitalized my interest in the franchise and I’m very much looking forward to both Origins and Odyssey, both of which I’ve heard great things about. Hopefully that includes great storytelling.
Sadly it took me longer than I expected to finish Spider-Man (PS4) so my review didn’t get published until last week. So now this post, which I had actually starting planning a couple weeks ago, looks like an unoriginal idea in response to the recent Insomniac Games interview where they said “Spider-Man is the Iron Man of Marvel console games.” The idea behind this quote is that Spider-Man, with its 3.3 million units sold in the first three days of release, is only the start of what I guess I’ll call the MGU (Marvel Games Universe). Due to its success, we can now expect to see a whole host of, hopefully interconnected, games set in the same Marvel universe following some of our favorite heroes.
I like the idea of an MGU. I think it’s a wonderful idea that hasn’t been done well before. We have some franchises that connect several characters and games indirectly like Castlevania, Final Fantasy, and of course Super Mario. We also have countless franchises that connect many games together directly like Uncharted, God of War, and Yakuza. But what both of these types of games fail to do is connect multiple playable characters directly across several games while also allowing each game and character to stand alone in their own right. The only franchises I can think of that do both even relatively well are Devil May Cry and Metal Gear, and I don’t necessarily think either does it exceptionally well. Certainly not compared to how plots work in the MCU (Marvel Cinematic Universe).
I imagine such an endeavor being implemented in a big way, making use of multiple studios and quite possibly spanning to multiple platforms. But that’s not really what I want to talk about in this post. What I want to discuss is what else can be done by Insomniac Games with the Spider-Man map.
I was very impressed by the map/world in Spider-Man. I felt like it was a fairly well done recreation of New York that also integrates Marvel landmarks into it quite well. I did feel like it was smaller than ideal, but it was still quite the impressive, realistic, and highly interactive map. Some time ago, I wrote a post about how I thought it was extremely wasteful that game maps tend to get used only one time even if they have the potential for multiple projects. The original post focused on the map in Assassin’s Creed IV: Black Flag and how I thought it could easily be reused to make a completely unrelated pirate game, but I think the general concept of map reuse applies even more to that of Spider-Man.
Even without the idea of creating an MGU, I think the Spider-Man map can and should absolutely be reused for more Marvel games. Insomniac Games can make a great Marvel game. They’ve already proved that with Spider-Man. But there’s no reason the next Marvel game from them needs to take two plus years of development. Not because they should rush out more Marvel games, but because they already have a wealth of usable assets. They have a working New York City map complete with both Marvel and real world landmarks and a bustling, interactive population of NPCs. More specifically, they already have hideouts/bases of operation for multiple would be MGU characters, big and small.
The Spider-Man (PS4) Marvel themed map locations I’m aware of:
Nelson and Murdoc Law Office (Daredevil)
Alias Investigations (Jessica Jones)
Sanctum Sanctorum (Dr. Strange)
Embassy of Wakanda (Black Panther)
Rand Enterprises (Iron Fist)
E.A.R.T. Clinic (Cardiac)
Damage Control HQ (Iron Man)
Avenger’s Tower (Iron Man/Every Active Avenger)
This wealth of Marvel Easter Egg locations can be the staging area for countless other games set in New York. And with the Avenger’s Tower other characters not usually based in New York can visit the city for an adventure as well. Even Stan Lee appears in the game. So the question becomes why make an entirely new map for the next game when they can rightfully save the time and just change out the character and gameplay for a fraction of the development time and cost?
Let’s take Daredevil as a prime example. Hell’s Kitchen is a district on the map. Matt Murdock’s law office is already located in the game. Daredevil operates on the streets and rooftops of New York City. His main means of transportation is on foot mostly by climbing, hopping, and occasionally swinging from building to building. His fight style is mixed martial arts that’s fast paced, fluid, and a bit heavier than that of Spider-Man. He operates solely at night, which exists in Spider-Man, and even fights Kingpin, the first boss in Spider-Man. If they reuse this map, much of the game is already done. They would just have to change the character render(s), climbing, and fighting as far as gameplay. Most of the development would just need to go into writing a new story and altering the current enemies and bosses. Is that still a lot of work? Of course. Is it as much work as building an entirely new map from scratch including NPCs? Absolutely not.
Because of the interconnected nature of comics, this is a rare opportunity where it not only makes sense, but is the right decision within the canon of the world to reuse the same map to make multiple Marvel character games. The shorter development time also means lower production costs which allows for an opportunity to create games for more obscure characters that might not be able to get a game greenlit with a AAA budget. Take Jessica Jones for instance. The idea of putting in the same amount of time and resources as was used for Spider-Man to create a game for her is unrealistic. It wouldn’t sell as well and probably wouldn’t be action heavy enough to appeal to a wider gaming audience. But Spider-Man already has a working camera/photography system and a perfect map for a game starring her, so why not make one with recycled assets?
While not every Marvel character could have a game set in this map, there are a host of characters that it would work perfectly for. Even characters not normally based in New York could still work as visiting heroes staying at the Avenger’s Tower.
Some characters that could work well in the Spider-Man map:
Venom (if we want to go down that road)
All the other Spider-Totems
I don’t know what games are in the works or projected to be made in the MGU, but I think it would be a real waste to just throw out a perfectly good map just because we’ve already played a game on it. If implemented well, I would have no problem playing any number of different games featured on the same map. Especially if they were all connected via story and Easter Eggs. They could even have the games be interactive where if you’ve played one it affects things in other maps.
Let me be very clear on one key issue within this discussion. I’m fine with playing multiple games on the same map, but I expect those saved development costs to be transferred to me, the end user. Spider-Man cost me $80 (Deluxe Edition). If you read my review then you know that I felt that was too high for such a short game. Especially considering that Insomniac Games usually releases games in the $30 – $40 price bracket. So if they do start reusing that map to save time and money, which I believe they should, I would also expect to see lower release prices. Even more so if these Marvel games will continue to be in the 20 – 30 hour category for the platinum completion.
It’s a good map and it definitely has the potential to spawn a number of other great games. How did you feel about the map in Spider-Man? Would you like to see other games produced on it and how much would you be willing to pay for them?
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.
If you read my blog regularly then you know that I am very big on consumers taking control of the gaming industry through organized management of our spending practices. I often write pieces calling for people to actively take charge of the industry’s general direction through boycotts and selective support of certain products and practices. I have on more than one occasion been accused of hyperbole and over dramatization of the situations I write about. Part of the reason for this is that I’m usually looking at the big picture which means predicting long term repercussions that can and often do take years and even multiple generations to manifest. All the way back in 2013, when my blog was still hosted on IGN, I wrote a long post where through thorough analyzation and educated guesses based on past events, I predicted that SONY and eventually Nintendo would ultimately do exactly the same bullshit that Microsoft was doing at the time with XBOX. This post was focused mostly on practices surrounding things like paid online multiplayer access, paid DLC content, and the general direction of all three companies. At the time, many people viewed SONY as the player friendly company that had our best interests in mind while Microsoft was the greedy, evil corporation who only cared about profits. Nintendo was the good egg that would never betray us. Now, five years later, SONY is pretty much the equivalent of Microsoft when it comes to management of their platform and Nintendo is steadily following suit with paid DLC, season passes, and literally this week they will be implementing paid online multiplayer subscriptions. I was right on literally 100% of my predictions about the way the industry was going five years ago. They called me a madman. They called me paranoid. But I knew I was right. Sadly the post no longer exists because IGN removed all user blogs from their website, but I probably have the original draft in a Word document somewhere if anyone really wants to read it.
So in that context, we really need to talk about Nintendo Switch Online. Last week, Nintendo published their latest Nintendo Direct. Overall it was pretty solid. But with less than a week prior to going live, they finally gave some actual concrete details about their new subscription based online service. It is in every way a tragedy. It’s insulting to gamers. It’s not offering anything of value that we didn’t already have for free. And it doesn’t even compare to its competitor services in application or value. Similar to when Nintendo replaced Club Nintendo with My Nintendo, it’s a total shit show.
Let me quickly summarize what the service looks like. For $20 a year, or $35 a year for a family plan, which still needs to have more concrete details published, you get cloud saves, online multiplayer, the ability to use your smart phone to talk to other people in the games you’re playing multiplayer with (you know because it’s a phone), access to a supposedly constantly growing library of NES games, most of which you already own in some other form or have already played and don’t care about anymore, and you get access to “special offers”. These offers currently include the “opportunity” to pay $60 plus I assume shipping (and possibly tax) to buy NES themed Joy-Con controllers you don’t actually need to play any of the NES games and a special Splatoon 2 skin representing an e-Sports team you don’t care about or probably even know. New offers will supposedly be added in the future but for now that’s all there are. It’s objectively a bad service. Not to mention it’s on a platform with a very limited library of popular multiplayer games. If you don’t include Splatoon 2,Mario Tennis Aces, and the unreleased Smash Bros. Ultimate there’s almost no reason to even care about multiplayer on the Nintendo Switch. There are a scattering of games here or there that have multiplayer. Like I play Just Dance online all the time. Some people still play Mario Kart Deluxe and even ARMS online. There are some indies like Overcooked 2. But for the most part the Switch is not a multiplayer platform. You’re buying games like The Legend of Zelda: Breath of the Wild and Super Mario Odyssey. Remember that even the upcoming Super Mario Party won’t have full online capabilities. You’ll be able to play a select list of mini-games against other players online and nothing else.
The Switch simply is not a platform that has enough dedicated AAA multiplayer value to warrant charging people for the service. And the other benefits are so minuscule and in some cases downright insulting that charging anything for them is egregious. You can’t even send messages to people directly through the console. You have to use your phone. Who in their right mind thought it was acceptable to charge people a fee to use their phone, which they’re already paying a fee to use, to send messages? That would be like buying a soda from McDonald’s and then being charged an additional fee to drink it inside the McDonald’s. To top it all off, Nintendo has decided that they can get away with this because they’re only charging $20, which is cheaper than PS+ or XBL. That’s not a justification. You don’t get to offer a shitty, totally unwanted service at a lower price than a competitor’s service and expect people to be OK with it. Because as much as I hate paying for PS+ at least it’s a subscription that actually provides me with services. I get free current gen games with the service. I get discounts on new games with the service. I can do things like send messages, send pictures, and create chat lobbies with friends on the console with the service. I can even shareplay with the service. It’s overpriced for sure. The games they’ve been offering in the last few years are much lower in value than in the PS3 era for sure. But it’s still a service that has general value above what I was getting when it wasn’t a mandatory service. Nintendo Switch Online offers none of that except cloud saves, which I don’t need in the first place on a portable console with an SD card memory system. My saves are fine. So we need to fix this.
Usually when I write posts like this it’s about long term issues concerning specific games or services that will have an effect on the future of gaming. But in this case, we’re literally talking about today. Yes there are long term repercussions for supporting Nintendo Switch Online, but the short term effects are just as noticeable and important. The service goes live tomorrow. I don’t want to be insensitive about the fact that the Direct was postponed because of a natural disaster, but it’s very suspect that we were given actual details about this new online service less than a week before it goes live. By all rights I should have published this post days ago but I didn’t even have enough time to properly analyze the details of the service and get the post prepared until now. Usually I publish my blog posts on Wednesdays but this was too important to delay till after Nintendo Switch Online goes live.
Just like we did with XBOX One when it first announced always online, or with Star Wars: Battlefront II, we need to actively and loudly boycott and publicly declare our disgust with Nintendo Switch Online in its current form. Do not give them the ability to take this service forward in this way. Yes I understand that I’m asking you to not enjoy some of your games that you’ve already purchased to their fullest extent. I too own ARMS and Splatoon 2. I too plan on purchasing Smash Bros. Ultimate day one and realize that the experience will be crippled for many people without the ability to play online. But we need to think long term here. This is a crucial moment because it will shape the way Nintendo handles online service forever. With this platform and all future platforms, this is a watershed moment. A moment that we didn’t properly handle when XBOX Live Gold was first announced. A moment that we didn’t take seriously enough when PlayStation Plus was turned into a mandatory service. We have an opportunity here to tell Nintendo an emphatic NO. That we will not allow ourselves to be taken advantage of simply because the price is lower than what Microsoft and SONY are charging, which are also overpriced services we shouldn’t be paying for in their current form either by the way.
I’m not saying we should never be willing to pay Nintendo for an online service. I don’t want to pay for such things and I genuinely believe we shouldn’t have to pay an additional fee just play the games we already paid for. But I already pay and have paid SONY for online multiplayer for a number of years. So it would be hypocritical for me to deny Nintendo the same privilege. But I’m not going to just hand them money for a subpar service just because they’re charging less for it. I’m calling for a boycott to incite change to the service. Not a permanent decision never to pay them for online multiplayer. What we need is to hold out as a group of concerned and conscientious gamers until we get a service that works for us and compares to the other services we’ve already been paying for. That means the essentials of course such as working online multiplayer with better servers than we were already using when multiplayer was free. It means a working messaging and voice chat system that doesn’t require us to own other forms of hardware that have nothing to do with the console we’re playing our games on. It means cloud saves that aren’t deleted when you unsubscribe or let your service lapse. It means not having to check in every week. You will literally lose your service continuity if say you got married and didn’t take your Switch on your honeymoon. That’s absolutely ridiculous. It means a library of current gen games made available as part of the service at no additional cost. It means noteworthy discounts on new games from the e-Shop. And yes that $20 price tag needs to remain consistent even with these additional aspects of the service. Especially considering the lacking multiplayer library to begin with.
As a Switch owner myself who uses my console literally every day, I implore you to stand with me on this. Do not sign up for Nintendo Switch Online when it goes live tomorrow (September 18, 2018). Hold out. Demand a better service and refuse to settle for the time being just so you can continue playing Splatoon 2 or Mario Tennis Aces. Make a small sacrifice in the short term for much better results in the long run. Tweet about it. Post about it on Reddit, Facebook, and every other platform you use. Make YouTube videos declaring your decision to boycott and why. Discuss it while you’re streaming on Twitch. Do not give in to Nintendo’s clear betrayal of their values and user base. This is not the service that the late, great Satoru Iwata would have wanted. We NEED to boycott Nintendo Switch Online right now and not let it even start to get a footing. This is not just crucial for Nintendo users, but for all console gamers. If this service is profitable, it will only serve to show Microsoft and SONY that they can lower their service quality, even more, and still get away with it. Now is the time for action. It may only be $20 today but that $20 means a life time of regret for gamers present and future.
It’s hard to say whether or not I’m a fan of Quantic Dream. More appropriately known as David Cage’s interactive movie workshop, Quantic Dream is the game development studio that created Detroit: Become Human. It is their fifth game. I’ve played three games by David Cage: Heavy Rain, Beyond: Two Souls, and Detroit: Become Human. I’ve also heard only good things about Fahrenheit (Indigo Prophecy) over the years, but I’ve never gotten to play it myself. Of the three games of his I’ve played, I liked one, absolutely hated one, and absolutely loved one. So while I’d say Quantic Dream doesn’t have a negative record with me, I also wouldn’t go as far as declaring myself a committed fan of the studio. All I can honestly say is that after playing Detroit, I would be happy to play the next game Cage puts out.
I was reluctant to play Detroit: Become Human when I first heard about it. Part of this came from the fact that I found the idea of setting a game about high technology and opulent wealth (to buy said technology) in Detroit to be laughable. It’s Detroit not San Francisco. The city isn’t known for its wealth or its high minded tech culture. But what I was more worried about was the fact that this game was coming from the same studio that sold me Beyond: Two Souls. I think Beyond is absolute trash. When I first heard about it I was really excited, and I did like Heavy Rain so I had confidence in the studio bringing out another hit. But Beyond is just the worst. It is so unbelievably bad as far as both gameplay and writing. So I was not excited to play another David Cage game after that. Luckily I was able to borrow a copy so I didn’t have to pay for Detroit, otherwise I might never have played it. Boy was my fears about the next Quantic Dream title wrong.
I am happy to admit that I was wrong about Detroit. Not only is it an excellent game, it’s the best game Quantic Dream has ever made. (I’m assuming it’s better than Fahrenheit based on what I’ve seen of that game.) It more than made up for the travesty that was Beyond. It’s the first game they ever made that I’ll actually do a full replay of. In their past games, I’ve taken the time to replay certain sequences to see different outcomes but never the entire game. I will replay Detroit all the way through, making different decisions, and take the time to get the platinum. That’s how much better this game is compared to its predecessors.
Visually it’s great. It’s not the best PS4 game ever made, but it looks very good. Specifically how real the characters look. The character models are based on the real actors, some of which are notable personalities you’re probably familiar with like Clancy Brown and Lance Henriksen. This brings the game to life in ways that many games can’t because you already have a visual point of reference for many of the characters in the story. And the acting, I say acting here instead of just voice acting, is phenomenal. Jesse Williams, who I had only previously seen in Cabin in the Woods (2012) gives such a powerful performance that I wanted to see other stuff he’s in after I finished the game. I can’t remember saying that about any other character/actor in any other game I’ve ever played. The delivery of his lines and the emotion of his character model, Markus, were masterful. I truly saw the humanity in the android characters. I felt for them. I wanted them to be granted freedom and equal rights.
It’s not just the characters that look good though. The landscapes, the neighborhoods, the graffiti, and everything else all comes together nicely to create a Detroit that I found believable in the world of the game. It’s probably the best looking game I’ve played this year set in a real world environment. Spider-Man comes in at a very close second for reference.
The sound is real good in this game. The sound track works well, the effects work well enough for what it is, and the voice acting is perfectly balanced. You feel like you’re actually in a world of other people. Conversations aren’t unrealistically loud to make sure you hear them. You can miss lots of stuff throughout the game if you aren’t listening and looking. Interactions can be completely missed because you didn’t notice the conversation going on low in the background. It’s a nice touch of realism, even while being kind of annoying when you miss something.
Gameplay wise, this was much better than past games from Quantic Dream. There are still camera issues, but overall it’s a much cleaner gameplay experience than the other titles by them I’ve played. Gameplay, specifically controls, was my biggest complaint about Beyond so it was nice to see them clean it up by a noticeable degree in Detroit. I didn’t have any control issues with QTEs. A lot of games in this genre often misread commands and end up making you fail where you know you shouldn’t have. This happens a lot when I play TellTale Games titles. Surprisingly, I only missed two action sequence QTE commands over the entire course of my first playthrough. Part of that may just be that I’m a lot more familiar with the genre now, but I think those results are very telling about how well the game responds. I had no such luck when I played Heavy Rain back on PS3.
What’s really nice about the gameplay in this one is that your decisions really do matter and for once the game directly and clearly shows you that and in what way they affect the overall story. At the end of each chapter you are shown an events flowchart that plots all the decisions and outcomes you made and where those led to. But what’s even more useful is the fact that it shows you how much you didn’t do. In most cases the game doesn’t reveal what other outcomes you could have gotten, but it does show you how many other outcomes were available with each decision/occurrence along the plot of each individual chapter. It also shows you how decisions and outcomes from previous chapters affected the chapter you just played as well as that they might possibly affect future chapters. A good example of this was early on when you are given the choice of whether or not to allow an android to join your resistance. It’s early on in the game and you don’t know who you can trust yet. You can choose to take him with you or leave him. If you chose to take him with you, several chapters later that same android sacrifices his life to save yours. Characters can permanently die in the story and without that android’s sacrifice one of my characters would have died at that moment, ruining my perfect survival first playthrough. I think this transparency of outcomes really makes the game better because then you really do feel like your decisions matter where most games make you feel like the outcomes are fixed even if the road to them has a few branches. Detroit doesn’t do that at all because it proves it to you every step of the way.
Without a doubt, as with most games in this genre, it’s the writing that makes Detroit amazing. Much like Beyond, this story is grounded in science fiction, but what it does right is use science fiction that’s actually believable and grounded at least part in actual science. It may be about sentient robots, but it gives you a story that you can actually believe and connect with on a personal level, more akin to Heavy Rain. Not to mention we already have tons of other fiction about sentient machines trying to obtain their freedom. Detroit plays mostly the same bits from the singularity playbook, but it puts you, the player, into the role of the android instead of the humans fighting against them. This makes the experience so much more personal and in many ways introspective. You empathize with the androids and start thinking about what you would do in a world where people had to choose whether or not to recognize them as living, intelligent beings.
For me, through Markus, the story was very personal because of the racial undertones Cage was clearly drawing upon. The fact that I’m a lighter skinned African American, especially living in the current political climate, made me identify a lot with Markus who, at least in my playthrough, leads the android revolution. The game draws direct comparisons between the struggle of the androids and racial minorities in the real world. There is even a scene where an African American human character helps the androids and when asked why says it’s because her people experienced similar challenges in the past and were only able to achieve the position they had because of help from members of the ruling class/race.
The game lets you make key decisions about the type of revolution you want to have and it affects the story greatly. It was an interesting experience to be able to choose what type of revolutionary you wanted to be. You can be completely peaceful. You can be violent. You can be a bit of both. And the game makes you take public opinion into account. I took advantage of this and got the outcome I wanted, but that often meant intentionally making decisions that I didn’t personally want to make, for the good of the android cause. In a way, that’s the most realistic gameplay scenario ever because politics, especially when it comes to civil rights, actually does work that way. It’s not whether or not the cause is right or wrong, but how the people in power perceive the cause that matters. The writing, and more specifically multiple possibilities within the writing, in pretty much every chapter is why I’ll be replaying this game from start to finish with different choices. I want to see everything this game has to offer.
I think I’ve already made it clear that Detroit has a decent amount of replay value. It’s certainly worth two complete playthroughs and possibly even more after that to experience every possible outcome. I will probably just rerun specific sequences to fill in the holes after my second playthrough rather than doing a full third. But the game is certainly good for 14+ hours of play. I wouldn’t have dropped $60 for it but at $20, the price I paid for Beyond, I would have been very happy with my purchase if I hadn’t of gotten to borrow a copy.
I hope I’ve made it clear that you should definitely play Detroit: Become Human. It’s certainly worthy of being a PlayStation exclusive. I’m just sad that so many people won’t get to play it because for some reason they still don’t own a PS4. It’s well written, well executed, beautiful, and an emotional roller coaster that I haven’t been on in a game in quite some time. Even God of War (PS4) didn’t personally speak to me as much as this game did. Granted I don’t have a son or a great relationship with my father so much of the narrative impact was certainly lost on me with that one. But at the end of the day, you should definitely give Detroit a playthrough. You can clear the game once in less than eight hours.
This past weekend, I finally finished the main story of Nioh. It took me just over 70 hours to complete. I am not finished with the game because there are several post-game missions, an entire new class of items you unlock by finishing the main story, a new game plus mode (which I probably don’t have time to play), and a number of DLC missions, which I do plan on completing. I have to say that this was an excellent game. I have some complaints, which is true for every game I’ve ever played, but overall Nioh was quite the positive gaming experience.
I played both the alpha and beta of the game, but didn’t get around to actually playing it till they had already announced the sequel, which was the main reason I finally got my ass in gear with this one. What I find interesting is that many people I’ve spoken to aren’t fans of Nioh because of their relationship with Dark Souls. I understand but don’t agree with this point of view. First, because the games really are quite different in many respects. And second, because Dark Souls I & II (still haven’t gotten around to III) are no more or less flawed than Nioh. All three of these games, and Bloodborne, all have their own issues which are subjective design choices that some people will like and others will hate, while many won’t care one way or the other. So rather than write a straight review of Nioh, I thought it would be more useful to write a comparison of Nioh to Dark Souls with a focus on some key design choices/differences between the two franchises.
People tend to differentiate Dark Souls from Bloodborne because of the combat pacing/style. Dark Souls is seen as the slower more defense focused game that relies heavily on technique and strategy. While Bloodborne is seen as the faster paced more offense focused game that relies more on real time skill and reaction. Having played both games, I can agree with this assessment on some level. I tend to prefer Dark Souls, which is interesting because I hate blocking in games generally. What I like about Nioh is that it allows the player a lot more differentiation while still keeping it really simple, when it comes to combat. Dark Souls offers you 22 different weapon types with various weapons in each category, but they’re all fairly similar, with the exception of magic. It’s one handed short weapons or two handed great weapons, plus bows for ranged attacks. The combat is focused much more on stats than actual weapon performance other than one handed vs two handed. But you do have a fair amount of control over the pacing of combat between those two differentiations, not to mention you have the option to play with or without a shield. You also have to take weight into account when playing Dark Souls and it has a huge effect on gameplay.
Bloodborne is less varied in specific weapon options with only a single version of each type of weapon, but each of the 15 weapon types is fairly different plus there are 11 different secondary weapons to choose from. You are afforded a lot more variation among the Bloodborne weapons, but the pacing of combat is very similar for all weapon types. Add this to the fact that there are no shields in Bloodborne and weight doesn’t have to be accounted for and you have a very fast paced, but less varied gameplay experience than Dark Souls.
The problem with both Dark Souls and Bloodborne, when it comes to combat, is you have a lot of choices, but few options. Ranged attacks and magic aside, Dark Souls really just comes down to one handed vs two handed weapons, shield or no shield in the case of choosing one handed, and weight class, which affects agility. Bloodborne is similar in making you choose between one handed and two handed combat, but it gives the player the option of using any weapon in either way and allows you to change in real time. But with the lack of weight and similar style the weapons carry, you can pretty much commit to a play style early on and ride it out the whole game. For instance, I used two handed axe for probably 85% of the game.
Nioh takes a much different approach to combat differentiation than either Dark Souls or Bloodborne. While those two franchises approach the issue from the style of traditional action games, Nioh is more similar to a JRPG. Rather than bogging you down with tons of weapon types, there are only six: katana, axe, kusarigama, spear, dual-swords, and tonfa. As well as three ranged types: bow, rifle, hand cannon. Each weapon type is wholly different, but true differentiation comes from the fact that there are countless variations of each type of weapon as well as the ability to manipulate, reforge, and evolve them. The speed and style of combat is contingent on numerous factors. You have to account for weapon type, weapon stance (low, mid, high), armor weight, magic and ninja enhancements, natural weapon enhancements/buffs, learned skills/techniques, and you can forge your own buffs into weapons. All while also considering your character’s build. The thing I really like is that the game forces you to take the time to “master” all six weapon types to get maximum character bonuses. This allowed me to find which type of weapon actually works the best for my style of play. You also get to carry two main weapons and two ranged weapons which can be hot swapped at any time. While it’s easy to settle into a specific weapon type, you are still constantly honing and evolving your use of any weapon type as you learn new techniques, magical enhancements, and acquire different/better versions of a weapon type. Combat is never really mastered, so much as it slows down in its evolution.
The Souls franchise, spanning all the way back to the original Demon’s Souls (2009), takes its name from the fact that the one and only currency available in the game is souls. You use them to level up, buy things, and upgrade gear. This system works because it’s simple. With a single currency to do everything, you don’t have to worry about exchange rates, what resource to focus on accumulating, or how to manage and distribute your rewards. You have one thing for everything all the time. The problem with this system is that when you die, and fail to reclaim your souls, you are royally screwed. You lose your progress towards everything you’re working towards all at the same time. That level up, those upgrades, that new weapon. It’s all gone in one foul swoop. Realizing this, Nioh went a different way.
Nioh has two currencies, amrita and gold. Amrita is the equivalent of souls but it can only be used to level up. Its sole purpose is to make you physically more capable. Gold is used for everything else. Buying items, selling items, upgrading gear, forging new gear, and pretty much everything else is done with gold. It’s the currency of the game. Amrita is simply the currency of your character’s development. In most games, xp is permanent while gold can be lost/stolen. In Nioh, it’s the reverse. Just like with Dark Souls, you can lose your amrita when you die and fail to return to your corpse. But your gold is permanent until you spend it.
What’s nice is that you get both gold and amrita from killing enemies, just at different rates. You can also choose to trade gear for either gold or amrita, depending on what you want. This is why I find this system superior. The player is given a choice in how to prioritize their loot. If you don’t want to level up but want better gear, you can choose to focus on amassing gold. If you want to level up, you focus on amassing amrita. And in the late game this becomes key because leveling up becomes way slower than improving your gear with crafting and upgrades.
There is technically a third currency called glory, which you get from fighting revenants, but it’s not as useful and it’s not required to get through the game. I honestly didn’t use it at all except to buy character transformations, which I’ll address in the appearance section.
One of the main selling points of Demon’s Souls, and by extension Dark Souls, was the multiplayer interactions. This includes co-op, PVP, and communication through hints. I have to say that both games franchises/games get a little right and a lot wrong, but in different ways. The worst part about PVP in Dark Souls is that it’s never by choice for the victim of invasion. You can be playing the game with no interest in fighting or even interacting with other players, soon to reach the next bonfire, only to be invaded and often killed by no fault of your own. One of the worst things in the game(s) is that there are invasion hot spots where you literally can’t progress forward because you can be back to back invaded by the same player who’s already proven to be stronger than you. One of the only ways around this is to play offline, but then you lose the ability to summon help, so it leaves you in a catch 22. Nioh doesn’t have this problem.
There is no invasion in Nioh. You never have to fight against anyone you don’t choose to. If you want a PVP match you have to go into the PVP lobby and create/find a match. That’s how it should be. But the regular game is not devoid of special interactions against other players, or at least a version of them. The revenant system is the bridge that connects PVP and PVE. When you die, you leave a corpse. It has your gear, traits, fighting style, and abilities. When other people play through a level, they can see your corpse and choose to challenge it in a duel. If they can defeat it, they get some gear matching the gear you were wearing when you died in that spot. You don’t actually lose any of your gear. What’s great about this system is you can see the level and class of gear of the corpse before battling it so you can decide which fights are worth your time as well as moderate how difficult these opponents are. This allows you to have the PVP experience and rewards without actually having to be bothered by other people or wait for them to be online in order to get rewards from fighting them. And the revenants are different from each other. They have different gear and use different tactics based on the player they’re derived from. Some use magic, some fight more conservatively, some are terribly easy even when they’re a much higher level. It’s a great system that allows everyone to have the encounters they want without negatively affecting those of other players in the process. And just to spice it up a bit, there are moments in the game where revenants are summoned automatically, similar to the bell ringing maidens in Bloodborne. In key areas there are sages playing a Japanese guitar like instrument. This automatically summons any revenant you get too close to within the vicinity of the music. Once you’ve killed the sage, the automatic summoning ceases. What’s really nice is that once the sages are killed they’re dead for good even after you die and respawn.
Communication between disconnected players is an important part of both Dark Souls and Nioh, but it’s done in completely different ways. In Dark Souls you can leave messages for other players. This is a nice system, but it’s also annoying for everyone involved. As a person leaving a message you have to choose the best spot to leave it so that people will see it. You have to piece together a message with sentence fragments because you aren’t given the ability to just write whatever you want, which is a good thing. Even after all that work people still might not notice or take the time to read your message. And even if they do read your message, if they don’t up-vote it the message will eventually disappear no matter how useful it actually may have been. The person reading the message has to find it, actively read it, interpret the piecemeal language in the context of the current setting, and up-vote it to make sure it doesn’t disappear for other players. Very few people actually want to go through any of this trouble. Not to mention that it’s extremely difficult to leave helpful messages to players that also have to be located in places they will actually see. In reality, the only information players absolutely need in a Soulslike game is how other players died. Missing a chest sucks, but it’s not the end of the world. And if you really want to find all the items, you’ll use an online walkthrough. The only information that will truly affect players is knowing what’s coming to kill them. So Nioh focuses only on conveying information about deaths between players directly. This is also done through the revenant system and it’s way more convenient than the messaging in Dark Souls. When you die and leave a corpse/revenant, players can also see how you died. It’s easy because there aren’t even any commands needed unless you actually want to fight a revenant. Just walking near their corpses instantly tells players how they died, what level they were when they died, and the gear they were carrying. And that’s really all the information you need. Being able to see how other players died gives you a clear hint about what’s coming up to try and kill you so you can be ready.
I would say neither Nioh nor Dark Souls handles coop matchmaking well. Both do certain things well, but both also have fundamental flaws to their systems which make things terribly inconvenient for the player(s). Dark Souls has the more convenient summoning system in that you can at any time drop a sign in any location and other players can summon you. You can summon up to three people, which is really convenient. It’s a nice system because you can be playing the game and farming while waiting to be summoned. The hitch is that you can only summon people when you’re alive, which requires using an item or helping someone else beat a boss. Overall thissystem makes it so you never have to waste any time while waiting to get summoned by other people. Nioh fails in this regard. To play coop as the summoner, you can only summon people from in level shrines, which are the equivalent of bonfires. There are two to four per a stage. There is no alive or dead system in Nioh, which is a good thing, but summoning requires single use items, which you find as loot from killing enemies. You can carry up to 99 of these at a time, which is nice, but they are not easy to find early on in the game. So you have struggle alone early on if you actually want/need summons to move forward. Personally, I think Nioh is easier than Dark Souls and I didn’t summon anyone to beat the main story. This was not the case for Dark Souls I & II or Bloodborne for me. What’s really annoying about the system in Nioh is that you have to do it at a shrine, meaning you have to reset all the enemies you’ve already cleared to summon someone and you can’t summon from the boss door like you can in Dark Souls. But thankfully you can go back to shrines while a summon is active, refilling all yours and their health and items. Being summoned is even more inconvenient in Nioh. You can’t just drop a sign or ring a bell and go on with your day until summoned. You have to go to a menu on the world map and enter a summoning lobby. You then have to wait until you’re summoned to play in a stage. On the flip side, you can set parameters for summons such as which stage you’d liked to be summoned to and difficulty level. But if no one wants to summon then you just sit and wait rather than farming while you’re waiting. And you can be rejected by players once summoned, which might happen for various reasons.
What I find superior about summoning in Nioh compared to both Dark Souls and Bloodborne is that there are no level caps or level scaling. If you are on the first stage as a level 5 and you want to summon a friend who is level 150 and has already beaten the game, you can do that. If you want to bring in a high level player to stomp the boss for you, the game doesn’t scale them down to your level. It lets them play to the full extent of their power and abilities. And that’s how it should be. If you want to earn it, that should be your choice as the player. If you want your friends to help you, then that should be your choice as well. But you can only summon one player in Nioh as opposed to three in Dark Souls.
Dark Souls and Bloodborne are full open world games where you make your way across the land finding bonfires or lanterns along the way, which can then be used as warp points. There isn’t really a right way to go, but you have to figure out where to go to move forward in the story. I find the system inconvenient because you have no real direction. Many people enjoy this style of play because they like feeling in control, but I find it a large waste of my time for games like this. Nioh is broken into missions. There is a world map with clearly defined main missions and sub-missions. Each individual mission is a contained open world that you can freely explore within the confines of, but there is an entrance. The only way out is by completing the mission objective, which is usually but not always to defeat a specific enemy, usually a boss. I prefer this system. The game has the same level of stress as any other Soulslike game while you’re in the thick of it, but you don’t always have to be in the thick of it. There is structure and clearly defined goals. You can skip sub-missions or play them all. You don’t accidentally miss bonus bosses before beating the game. You control everything because it’s all clearly laid out on a world map. This also makes organizing your matchmaking easier, even though the system in general is inferior, because you don’t have to deal with the trying to put your spot down in the right area problem you get in Dark Souls. You can handle all of that from the world map.
Character development at base level is similar between Dark Souls and Nioh. In Dark Souls you have nine stats that can be advanced one at a time in exchange for souls. In Nioh you have eight. These stats improve certain specific features of your character and make them better able to handle certain weapons, armor, skills, and general performance. It’s the same system. But the gear development and aesthetics systems are much more robust and user friendly in Nioh.
Developing weapons in Dark Souls is done by going to a black smith and trading materials and souls to level up a weapon. You can slightly differentiate the development of weapons by using different materials to take new development paths. The weapon’s performance is based solely on stats depending on the development paths you’ve taken with the specific weapon. In Nioh, you don’t level up weapons until the end game/NG+ when you get divine weapons, but that’s not relevant to a first play through. Weapons are split into five categories based on rarity (color in menu) which kind of translates to potential. The same is true for armor in all respects except familiarity, which I’ll explain. You can get the same piece of gear at any of the five rarity types. The rarity level defines how many natural enhancements it has and its maximum familiarity potential. Familiarity is essentially how much the attack stat on any weapon can increase with use. The highest possible familiarity is 999, but this is only available on divine items after beating the final main story missions. During the first playthrough, 900 is the maximum possible familiarity. So your goal is to get purple, the rarest type, rarity gear for all your items because it offers the highest familiarity bonus for weapons and the most natural enhancements on gear. Natural enhancements can be anything. Sometimes it’s more damage against certain enemy types. Sometimes it’s higher amrita (souls) yields. It can be resistance to certain types of damage or increased damage of a certain type. Even lower weight and blacksmith costs can appear as a gear enhancement. So even when you find a rare item with high starting stats, it might not be the enhancements that work best for you. That’s OK in Nioh though because you have the ability to reforge and evolve items. Gear can be broken down and crafted into new things. Gear can be absorbed into other gear to make it stronger, or weaker if you combine something stupid. You can even forge new stats into gear.
In Dark Souls you don’t really have techniques. You have gear of various types and stats. But fighting is focused on the technical aspects of using that gear and applying it to the combat situation you’re in. There are heavy and light attacks and some charge moves, but that about does it for what you can do. Nioh has specialty techniques that you develop with special points in either samurai, ninja, or mage categories. These techniques can be specific combos, buffs, spells, specialty items, and specific moves. Many of them are tied to specific stances within specific weapon types. You can get really technical in this game if you want to and mastering certain techniques can make all the difference.
Nioh has one the best appearance systems I’ve seen in any Soulslike game ever, and it doesn’t even have a character creator. Dark Souls lets you create your character, but you are stuck looking like whatever armor you are wearing, regardless of how bad it looks. It the problem of so many RPGs. Your best stuff doesn’t look cool and your cool stuff doesn’t perform the best. Nioh gets around this by letting you refashion gear. Any piece of gear you find can be skinned over to look like any other piece of gear regardless of what it is. Some gear looks awesome and some gear looks like trash. But with refashioning you just spend a modest amount of gold (modest for the end-game anyway) and you can make that awesome piece of gear look like whatever gear set you like. In my case I use the best mid-weight gear I have but I refashioned it to look like the DLC gold set, because I’m a sucker for shiny gold gear. I have the performance I need to succeed, and I shine while doing it. You can refashion weapons as well. Some weapons look so cool with elaborate designs and paint jobs, while others are boring and devoid of color. But appearance has nothing to do with performance. That’s why the refashioning system is so important.
Nioh may let you customize your gear to look however you want, but you can’t create your own character. You play as William, a British white man with blonde hair. The only customization you have for him is his hair style. But what is nice is that you can get transformations. As mentioned previously, there is a third currency called glory. You can only get this from killing revenants. It can be used to buy special crafting materials, but what it’s most useful for is buying transformations. You have the ability to transform William into any character you meet in the game. That includes villains you face and female characters. You just buy the transformations with glory and you can change your appearance an unlimited number of times to whatever transformations you own. Transformations do not affect gameplay or stats. It’s a nice way to let players look the way they want to in case you get tired of being a blonde white man running around killing monsters in Japan. For instance, I like being a Black Samurai, based on a historical character you duel later in the game.
Both Nioh and Dark Souls have NG+ modes, but what’s nice about Nioh is that it has actual end-game content that takes place within your first playthrough. Defeating the final story stage unlocks several bonus sub-missions as well as more story that connects into the DLC. You also get a new class of items after you complete the final level, which can be used for this end-game content before you start a NG+ run. I will probably never play NG+ but I still have several hours of play to look forward to in Nioh before I put it on the shelf for good. I have never played past beating the final boss in Dark Souls or Bloodborne, because I simply had no reason to and have no interest in replaying the same game.
What’s nice about the NG+ though is that it’s directly connected to your original playthrough. It’s not even called NG+. It’s referred to as “Way of the Strong”. From the world map you can switch between normal play and NG+ play from the same file as often as you like. The NG+ levels are the same stages with higher difficulty and better rewards but you don’t have to have a completely separate playthrough from your original. This is nice because it allows you grind with better yields or in normal difficulty at the same time, taking advantage of either depending on what your goals/needs are. And the DLC content is attached in the same way so you can always jump around to play whatever you want at any time. This is made possible because of the level based structure mentioned previously. So while I don’t see myself finishing NG+, I may very well run a few stages for better gear that I can then use to complete the end-game missions and DLC. It’s the best of all worlds.
I want to be clear in saying that I am not arguing that Nioh is superior to Dark Souls. I am arguing that Nioh is not a clone of Dark Souls. It’s part of the Soulslike genre which started with Demon’s Souls, but it is an original game with considerably different design choices, aesthetic, and gameplay. As with any two franchises or even just individual games, there are both good and bad things about both Nioh and Dark Souls and there’s no reason to ignore one simply because it’s not the other. If you haven’t played Nioh but you do play Dark Souls then I highly encourage you to try it out. Especially with the sequel on the way.