Last time I decided to do a “look back at” videogame music of a previous year was mostly due to how big the wave of 80s inspired synthwave and like was and mostly to check just how prevalent it was in videogames. This time, I’m doing it because I feel like last year just had several truly amazing soundtracks that became an integral part of my main music playlist.
Tag: great soundtrack
Disapprove: The Incredible Adventures of Van Helsing: Final Cut
Almost 5 years ago a completely unexpected action RPG came out. The genre was back on the rise after the success of Diablo 3 and Torchlight 2, but people wanted to see it evolve even more. Add more little weird touches, more curious takes on the same basic mechanics and gameplay loop. Darksiders 2, an action adventure at core, had lots of action RPG elements to it and Borderlands were a huge success at mixing FPS and action RPG. So there was The Incredible Adventures of Van Helsing, from rather unknown NeocoreGames, who had previously released rather mediocre series King Arthur: The Role-Playing Wargame. And the game was surprisingly fun. I mean, it wasn’t stellar, it didn’t revolutionize the genre or anything, but there were small touches that made the game work a bit closer to how a story driven action RPG would, like The Witcher, yet it remained at its core a pure monster killing loot gathering aRPG in all its simplicity.
But it was meant to be the first of 3 games. And the games that followed… well… Let’s just say, I’m not exactly sure the Final Cut of the series, that mixes all 3 games into one, is the cut I would’ve went with.
Read more“Disapprove: The Incredible Adventures of Van Helsing: Final Cut”
Happy about: Zero Escape Trilogy
I’ve been curious about what became Zero Escape Trilogy for a while now. Original 999 (Nine Hours, Nine Persons, Nine Doors) was released back in 2009 on Nintendo DS to very positive reviews on how it tackled the mix of visual novel and “escape the room” puzzles, while also using it’s branching narrative, common for visual novels, as a plot point for many worlds interpretation influenced plot. It was also one of the first attempts, to my knowledge, to bring the Cube (the movie) ideas to video game format, mixing horror, thriller and mystery novel and becoming somewhat of the “What if Cube, Saw and Agatha Christie’s “And Then There Were None” were anime”. Virtue’s Last Reward followed 3 years later on PS Vita and 3DS, and then in 2016 Zero Time Dilemma was released as a final chapter of the plot on the same systems, but also on PC. However, it wasn’t until Zero Escape: The Nonary Games release last year, that updated and re-released the first two games in one package, that I finally had a chance to check on them.
Disapprove: Prey (2017)
Prey went through some really troubled development times. Original game of the same name has been one of the longest games in development, announced originally in 1995, and finished in 2006, retaining a lot of the original ideas and a lot of core 90s FPS values (and if you can get it, get it, by the way). Then, a sequel Prey 2 was in development as a more action adventure-type game, closer to Deus Ex or, probably even closer, The Darkness in the mentality and design approach, by Human Head Studios. Yet, after years of development, it was quietly cancelled before being re-announced as Prey, now developed by Arkane Studios. And being a completely different game, highly influenced by “Shock” games and immersive sims. Still taking on the topic of alien invasion, but now from a more psychological thriller angle, similar to the cancelled XCOM FPS title (later completely remade into mediocre The Bureau: XCOM Declassified).
It set out to be something amazing – a very freeform “Shock” title, with all the metroidvania/survival horror exploration focus and even more on top, with interesting setup, with aliens who can look like normal items, with multiple approaches to everything, with nicely written small NPC stories and with the music by Mick Gordon. If only all of this worked.
O tempora: System Shock 2
O tempora is a series of retrospective posts where I play games from ages before to see if they stood the test of time.
This has been a long time coming. I’ve attempted to play System Shock 2 ever since 2001, when I first got my own modern (for the time) PC. And even back then, just few years after the game release, it already worked with issues. After that for the longest all games on this in-house game engine made by Looking Glass Studios, along with the Thief 1 and 2, were borderline unplayable on most PCs. Until one day a mysterious person (often believed to be one of the ex-Looking Glass employees), released an updated version of the source code of the engine, which made things work again. Ever since then, all 3 games on the Dark Engine have been receiving updates and fixes making games not just playable again, but often better than they were originally. And several years since I had a chance to replay all the Thief titles and a year and a half since I’ve first experienced the innovative undying beauty of the original System Shock, I finally had the chance to finish System Shock 2. And I can sum up my experience in a very short review: Wow…
For more in-depth analysis, read on. :)
Disapprove: Mirror’s Edge Catalyst
Mirror’s Edge was a complete surprise when I first saw the trailer for it back in 2008 or so. My imagination on the concept pictured it as a highly non-linear adventure, where you follow the bag as different Runners grab it. So you would play levels as different characters, crossing paths with characters you followed before and seeing glimpses of some interesting character lives. No one made game stories like that, to my knowledge (hell, even not a lot of movies attempted this). While I was wrong about that, I actually also had a game idea at the time, which was different overall, but one aspect of which was incredibly close to that of Runners and the movement in Mirror’s Edge, so I was excited to see someone attempt to implement that in a real game. And while it certainly wasn’t great due to numerous frustrating flaws, I loved it and still do, occasionally replaying it. And then a reboot was announced…
Thoughts on: Grey Goo, as a story
As usual for the genre, let me preface by saying that I suck at strategy games, but I like when they have interesting worlds and stories, and play them for that in the first place. Grey Goo is a game by Petroglyph Games, ex-alumni of Westwood plus other talented people. So when they promised a classic RTS experience, even I got interested. Because classic RTS usually meant some good (even when silly) stories. I cannot say that didn’t deliver on the promise.
O tempora: Command & Conquer series, as a story
O tempora is a series of retrospective posts where I play games from ages before to see if they stood the test of time.
People who read me for a while now know that I tend to preface my strategy game post with clearly outlining that I absolutely irredeemably suck at those. Yet, there are several franchises that I love, even if I play on easiest difficulties or outright cheat while playing them, just for the sake of their stories, their worlds, the music the style and everything that isn’t gameplay I just fail to be interested in. And for a while I planned to revisit one of the most influential and creative franchises that are no longer with us, because EA. Anyway, I just wanted to take a look at how the series evolved in style and story, with few mentions of gameplay, through its 3 separate sub-series with One Vision, One Purpose.
Thoughts on: The Sexy Brutale and Epistory – Typing Chronicles
Sometimes it feels like the best gaming ideas are never getting re-explored despite being amazing. Sometimes some game developer thinks the same and re-explores a cool game idea. The Sexy Brutale and Epistory – Typing Chronicles are perfect examples of games that we should have more of.
Read more“Thoughts on: The Sexy Brutale and Epistory – Typing Chronicles”
Thoughts on: Sylvio 2
Original Sylvio was a game that came out of nowhere and charmed me with its very unique approach to horror-themed action adventuring. Being centered all around the EVP (Electronic Voice Phenomena) it went against the usual horror expectations – focusing almost entirely on terror, unease, tension and it was almost exclusively audio-based in how it evoked these feelings. Rare (and, to be fair, clunky) encounters with “enemies” weren’t horrifying and didn’t make you jump. Most things usually made you stop, slowly back away while trying to comprehend what you’re seeing and hearing. And while the action adventure elements with those rare action parts and physics-based puzzle solving, or the open map exploration weren’t always good and felt clunky, they added something very special to the game. The game wanted to be much more than it could, being a budget one man team product, but what it achieved was still good, unique and memorable.
Imagine my surprise at the fact that Sylvio 2 ditches everything but the basic audio analysis and exploration.