There’s a moment about three-quarters of the way through V when following a particularly gruelling shootout Nathan Drake and his long-suffering better half Elena stop to engage in some mild bickering about what has come before. Eventually, they sign an uneasy peace and get in the car to drive off elsewhere. What follows is 30 seconds to a minute of Naughty Dog at their best. The music rises and as the beautiful landscape flies past you can sit back and appreciate what they’ve created. It’s the giraffe in The Last Of Us all over again.
Like 37 million other people I spent this weekend immersed in the Mushroom Kingdom and tapping my finger along to Super Mario Run. Nintendo’s first foray into mobile gaming has attracted praise and controversy, with many pissed off at them having the gall to ask for money for their work and others annoyed at the need to be always online.
I don’t know if you’ve noticed, but Pokemon has kind of become a thing again. The game that many of us put hundreds of hours into in our childhood (and a few of us continue to do so in our adult lives) has suddenly become culturally relevant again. And not just for those clicked into the video game nexus. Odds are your mum has even heard of Pokemon Go and the various amusing stories that have come around because of it.
Nostalgia is a powerful thing. You only have to look at the legions of adults suddenly remembering their favourite Pokemon to see that. What’s interesting though is when you go into something intended to tickle a bit of that nostalgia buzz with none of that nostalgia to bask in. All of which brings us nicely to Ratchet & Clank.
There were two key moments in my play through of Life is Strange. The first came early on in the game when I was exploring the grounds of Blackwell Academy, the school within which a lot of the game is set, and I realised that I – in the form of central character Max – was nervous about approaching certain characters. To put it simply ‘the popular kids’. I knew that Max wouldn’t do that so why should I? And besides, what if they were mean to me?
I have never understood Bethesda games. I played Oblivion but ended up rushing through it just to get it over and done with while I have bounced off Skyrim and Fallout 3 more times than I count. I appreciate the vast worlds they create but there is just too much, and I quickly got bored of walking through them and killing things. That is until Fallout 4.
Superhot has had its name out there for quite a while, generally in a loud and commanding voice. Originally created during a seven-day game jam, the prototype they launched online was praised to high heaven and one successful Kickstarter campaign we finally have the full game. So can it live up to the hype?
Keeping up the Tolkien inspired posts, I have just finished Shadow of Mordor, a game by Monolith Productions, which takes place between the time of The Hobbit and The Lord of the Rings. It tells the story of Talion, a Ranger of Gondor, who is killed, along with his wife and son by the, Black Hand of Sauron. However, he is brought back to life when he is merged with the wraith like spirit of Celebrimbor, an Elven lord.
After a short break from talking about games, we are back with LUFTRAUSERS which actually came out this year, possibly making it the newest game I have talked about. It was a game I picked up in a Humble Bundle and decided to have a go at this week while waiting for the new Football Manager to drop (more on that later). LUFTRAUSERS is an update of a free Flash game and was developed by Vlambeer. It’s one of the many indie games that takes on a rather retro art style and it is also incredibly good fun.