game opinion

For me Shadows of the Damned achieved a sublime mix of creative talent. If I were to compare it to the classics I would see it as a mix of Shakespeare, Mozart and Da Vinci coming together for a production. To my Japanese centric mind, with a propensity for horror and narrative, the pool of creative talent EA pulled together was breath taking. Suda 51 brought his spin to the story, with Shinji Mikami handling game play and Akira Yamaoka on drums… I mean writing the score. Honestly there is nothing in this mix that could possibly go wrong. Right? Well, in theory yes, but as I proved one time when I made ramen with a beer and cheese, sometimes the whole can be far less than the sum of its parts.

Meet Garcia 'Fucking' Hotspur and his faithful friend Johnson, the talking and conveniently transforming skull.

I will confess before I begin that absolutely Shadows of the Damned IS better than beer-ramen with cheese topping, both in flavour and overall experience. Every member of the Japanese trio that had me so excited certainly delivers on their promise, with the outlandish plot, supported by solid gameplay and music that is both evocative and unique. But it is hard to ignore the feeling that none of the group are on top form. That, similar to the England football team, each of them was brought in at the top of their game and then became unable to produce their best performance.

To shed a little clarity for those unfamiliar with Shadow of the Damned it is a grind house inspired trip to the Underworld with the fantastically named Garcia ‘Fucking’ Hotspur (not sure if that is his real middle name but he seems to like to). Garcia is a demon hunter out to liberate his girlfriend, Paula, who had been captured by the king of the Underworld, Fleming, who is repeatedly killing her to teach Garcia a lesson for killing all of his minions. This may not sound too odd when I explain it, but I promise it is with all of the odd flourishes that Suda 51 is famed for making an appearance to make you utter befuddled and amused sounds constantly.

A light and dark mechanic allows somethings to only be hurt when in shadow, unfortunately this also hurts Garcia.

Supporting Suda’s story is more than slightly familiar game play, as Mikami reverts to his Resident Evil 4 roots, and a score that thanks to Yamaoka oscillates between appropriately odd and out right peculiar.

It should all add up to my dream title, but the amalgamation just never quiet meshes. Every time the team comes close to the harmonious chorus I long for it goes wrong. There is always a distraction from total enjoyment; a strange music choice here or a loose camera movement there; there is always something elusively that stays just outside my perception, distracting from my enjoyment. Perhaps it was that each of the creative minds involved work better when not constrained by others creative diversions, truly a case of too many cooks spoiling the broth.

Here is the girlfriend, Paula, being killed by Fleming hundreds of times seems to be taking it toll.

Of course there could be dozens of reasons Shadows of the Damned not reaching the lofty heights I had hoped for. A troubled development, difficulties in any number of areas, time restraints or simple lack of inspiration could have all contributed to the game’s underperformance. None of this changes the end result however, which is that Shadows of the Damned does not meet my (unreasonably?) high expectation. None of this is not to say I don’t like it, just where I was expecting a cheese board with a nice red wine I instead received a hearty ploughman’s with a pint of Stella, and I am not that keen on Stella.

Unlike my usual failure to live up to my promises of DoFuss content this time I have a legitimate reason for recent inability to produce, that is that I have a job. As of last week I have been pounding the streets to raise money for charity, not out of some sense of altruism but from a need for cash. The downside to this arrangement (for me) is that it is 100% commission based with means for the fifty-two hours I worked last week I earned a total of £17.60. With a friend visiting on top of this I had little time to study for my design course, or edit my articles.

Zelda, a game I know I can be confident in my opinion of.

That said I have still been writing (even if most of my work was done on the train) and my course has had to take a quick hiatus anyway, while they renegotiate the licence for the course software (currently I am half way through a game with no way to make things explode). So I took Sunday out to edit some articles and, hopefully, have a good chuck of content ready to go up over the next week. Fingers crossed.

Proving even more of a challenge in this equation is keeping up with my writing for other sites, but I do at least have a backlog to keep me going until I get to grips with my new employed status. The timeliest posting of one of these reserve reviews has been that of the The Legend of Zelda: Ocarina of Time.

When rating a game I have to check my opinion carefully and match it to the site it will appear on's scale.

Following on from my opinion piece here on DoFuss, the review’s posting could not have been planned better. It obviously echoes the piece here, and adds review scores that I feel truly confident about. My usual lack of confidence in my scores does not come from uncertainty in myself, instead they stem from the scale I find myself rating on.

It is a truth that I have become depressingly aware of on a number of sites I have written for, sometime the PR gods have to be sated. This is not the case on every site, but on some fan driven sites that thrive on hand outs, it can be an issue. It creates a false economy, games have to exist on a scale between 6-10 and remarkably few manage to muster anything above 9. There is nothing wrong with this in some respects, it’s a scale after all… and one I guess most gamers are aware half exists, but it relies on our audience knowing the specific metric of the site, and one which is wasteful of the accuracy that could be present in the scale.

To be fair it is rare that an editor has changed a score on my behalf. Knowing the scale most publications work to I adopted a similar scale (not my own crazy idea that 5 is an ‘average’ title). When ratings have been changed however it throws my scale in to question. Were the games I only gave a 7.5 really worth an 8 if the 5 I gave became a 6? There is no answer to this in truth, but I do know that I have no doubt in my score for Ocarina of Time because once I get over 9, things get a lot more certain.

I admit I had my worries going revisiting such an iconic moment of my past. While it doesn’t sit as my favourite Zelda title The Ocarina of Time was none the less hugely significant to me. It opened up new opportunities of what the new third dimension of gaming could do and, perhaps more importantly, it was a magical adventure. Now, as a jaded adult, I feared that a rehash of the classic title would lose what made it so special.

How could a fifteen year old game remain relevant today?

Truthfully part of me hoped that playing The Ocarina of Time would inspire bile in me, that it would draw from me some hateful vitriol of how Nintendo lazily rehash their old titles, and how this one didn’t even have the decency to pretend to be a new game. I wanted my years of tolerance at re-buying the Kyoto based giant’s classic titles to finally reach breaking point, to snap with an amusing display of anger that this was a shameless cash in on the nostalgia of the weak willed. And I could, I could find all the reasons here to justify the rant, to completely tear this remake asunder but I don’t want to, because it is still wonderful.

It is just the right mix of old and new. Updates to the game’s visuals are clear for anyone to see, and to be clear the system’s 3D capability is the least of these improvements. Graphically the game manages to look almost exactly as I remember it, which is to say it manages the truly remarkable trick of looking like something that never existed. Years have coloured my memories, making the game seem far more than it ever was. I project my emotions on to the characters, stretch and morph their blank faces in my mind in to something that was never there, breathing more life in to them than the N64 ever could. But on the 3DS it exists, the expression and emotions that were in my head (along with details to the environment) bloom in to life, erasing the possible disappointment of reality clashing with memory.

Every second felt as fresh as the first time I experienced it.

Improvements to the controls and the navigation are also present, adding just enough convenience to the old system of constantly switching inventory items to prevent menu navigation feeling clunky. Originally the Zelda The Ocarina of Time achieved a lot with its control, camera and lock-on systems. It is testament to the quality of the games original design that still the camera controls still hold up well and that many titles continue to crib from the games lock-on. If there were to have been any Achilles heel it would be the menu navigation, due to the many advances that have been made in the last fifteen years by so many other titles. Ocarina of Time manages to dodge this issue though by making use of 3DS’s second screen. By adding bindable ‘soft buttons’ to the lower screen short cuts can be created allowing fast access to more items, alleviating limitations that may have existed and allowing the game a contemporary (if not cutting edge) feel.

It was the music that really touched me and caused the memories and emotions to come rushing back.

But it is not really what has improved that plucked at my heartstrings (or I more accurate blew through my heart’s holes) it was the music. My lack of musical aptitude is well noted within the contents of DoFuss, I couldn’t even tell you if changes have been made to Ocarina’s audio, what I do know is that it is how I remember it. Heart warming, evocative and beautiful, just hearing the Bolero of Fire sent me back to the first time I heard it and to the feeling of excitement and joy it inspired. Sound is primitive, instinctive, and in this case perfect.

It is hard for me not to lavish praise and love on Zelda The Ocarina of Time 3DS. It isn’t because of its history or it’s importance to gaming, but because every second I play this game, even now at thirty-one years old, feels as incredible as when I played it at sixteen years old.

Going in to Call of Juarez: The Cartel to review for Play Devil I was expecting very little. Having previewed it already for another site it sounded like a somewhat soulless attempt by Techland to move their Western shooter to a modern setting and cash in on its broader appeal. What I was met with was something far more surprising.

The Cartel throws you straight into the action with a car chase and shoot out.

Before I begin to tell you why I enjoyed Call of Juarez: The Cartel, I feel it is important to point out that it is not a great shooter. It feels unfinished, characters pop in to and out of existence constantly, it has a colour palette that makes enemies impossible to see, there are visible cracks in the environment and the whole experience is so linear that there is literally a dot that guides you (often poorly) through the game. Indeed if I were to assess this on purely a technical level then I would be inclined to say that it is the worst first person shooter I have played this year. But, and this is a big but, I really like it.

There is a lot Call of Juarez: The Cartel does that is rare to see in a game of this nature. Each of the games three protagonists has their own back-story and agenda and while they work together it is a strained alliance. A revenge obsessed LAPD officer (with a penchant for hookers), an FBI agent who wants to protect her gangbanger brother and a DEA agent who is up to his eyeballs in debt and suspected of betraying an investigation it to the eponymous Cartel. These disparate personalities are all thrown together to form a task force, and the seeds of mistrust are instantly sown.

Despite being tasked with the same goal, each member is self serving and distrustful of the rest of the team.

It is the mistrust and ulterior motives that the game immediately capitalizes on. As a game designed for three-player cooperative play, each of the characters is instantly charged with spying on the others. This means attempting to complete any objectives outside the taskforce’s own must be done in secret. These tasks are generally quite simple (picking up a wallet for example) but offer important experience points to gain extra weapons, if caught however it is the others who are awarded prize. It doesn’t really work in the AI controlled single player game, but it adds an interesting dynamic to the multiplayer that pulls in the narrative’s distrust.

These different objectives and levels of play are equally present in the main tale. At times a character is sent away from the main team. In the story while separated their actions play in to the other’s suspicions, but when playing co-op this leads to some nice asymmetry of play, such as one player offering sniper cover to the others as they make their way through a crowded club.

Though horribly linear the game does manage to create an interesting journey as the three agents move towards Mexico.

The Cartel also does some bold things with its pacing. I could sit here and bemoan gaming for its lack of options for interaction, shooting is all too often all they offer. But while The Cartel is undoubtedly gun heavy it does add a lot of variety to what could easily have been a mindless shooter. Interrogation, escapes, escorts, tailing suspects, questioning, fist fighting and undercover work are all dotted through out the story, never in enough measure to get dull but always building on the narrative to give texture and a sense of connection.

As I said, Call of Juarez: The Cartel is far from perfect, in fact at full price I would struggle to recommend it to anyone, but when the price drops this is going to be a title you should give serious thought to returning to. There are undoubtedly better examples out there, but with its theme and all of its twists and turns, there are distinct similarities to be drawn with The Wire. True it is feels like it is a rejected story arch from the HBO series, and one that has for some reason been cowboy themed, but it is still surprising and offers a far more engaging plot than most of its peers.