Game Ramblings #58 – Assassin’s Creed Origins

More Info from Ubisoft

  • Genre: Action/Adventure
  • Platform: PS4
  • Also Available On: Windows, Xbox One

TL;DR

  • Combat’s is serviceable.  Best part of actual combat is in the capabilities around stealth and distraction-based kills
  • Fantastically gorgeous imagining of what ancient Egypt may have looked like
  • Story serves as an interesting starting point to the lore for the overall story, without the usual distractions of the assassin vs. templar nonsense

So after a year off, I suppose the question became Is this game actually good?  In general, the answer to that is a pretty resounding yes.  However, I also enjoyed Unity and Syndicate a lot, despite them being an obvious step back from Black Flag.  What this one has managed to do is smooth out a lot of the core mechanics in the previous titles, while also shedding a lot of the collection madness that plagues later entries.

The visuals of the game are an obvious starting point. They’re pretty universally fantastic.

I’ll start with the obvious one and keep this quick, this game is up there on the list of best looking games ever.  A lot of this feels like the culmination of a lot of past games.  The water from Black Flag is used here a lot, whether it’s in sailing down the Nile or puttering around the edge of the Mediterranean.  When sandstorm are rolling in they look imposing; when you’re stuck in a sandstorm it’s threatening.  Humans during cutscenes are significantly less derpy than in the past, and now actually do a good job of getting the emotion of the scenes out there, even if hair is still a bit of a struggle.  Even moving into the non-desert areas in the northwest, the plains full of grass and flowers swaying in the breeze are a sight to see.

However, that’s not important in the grand scheme of things.  Let’s get into gameplay.

Climbing and exploring is still a huge part of the game, and pyramids everywhere give you lots of opportunity.

I suspect most people would talk combat, but to me the core of the Assassin’s Creed games that I enjoyed was the exploration and stealth, and that’s still a great thing here elevated to even greater heights thanks to the landmarks you get to climb.

The synchronize points were always a fun distraction in past AC games.  However, it’s another entire level when the point is at the top of the Great Pyramid of Giza or at the top of the Pharos of Alexandria.  These areas have some of the better pure climbing in the game, and the views from up top are always spectacular.  Even better is the fact that any of the historical landmarks you go up to generally have some sort of puzzle-based temple in them.  While these are generally quick hitters, some of them get into some pretty neat use of weight-based physics segments to make sure that crashing a temple isn’t just about climbing in a straight line.

Getting around is easy thanks to autopilot camels.

Exploration is aided by the fact that moving around in the environment just doing random things is generally just really easy and a lot of fun to do.  Origins has had a severe reduction in pure STUFF to do.  Ya there’s still sync points, there’s still side quests, but there’s no longer fluff things in the map like paintings or unguarded treasures.  What this has been replaced by are small areas such as forts, trading posts, abandoned temples, etc that may contain things to collect.  Ultimately this ends up resulting in a lot of time in-stealth either shanking or avoiding enemies, but at least providing some amount of gameplay beyond just walking up to a thousand icons on the map.

The best part of all of this though the process of moving around the world.  At the end of the day, the game feels a lot like Black Flag despite the lack of pirates and sailing, and it comes down to how you travel.  The lack of a distinct singular large city opens up the map.  Sure, you have larger areas like Alexandria or Memphis, but the bulk of the map is small villages with a few shops and people, similar to the smaller forts and villages in Black Flag that were found just in sailing around the Caribbean.

The horses and camels basically become your sailing replacement.  Sure you can move around manually, but the best thing to do is set autopilot and let the horse do its thing.  This combines with the ability to swap to the main character’s eagle, allowing you to scan for resources, look out for enemies, or search for objectives all while your horse heads towards where you want.  It takes a lot of the tedium out of travelling, allowing you to focus on other things as you go.

I can’t avoid the topic of fire. It’s everywhere and always great.

I guess that leaves us at combat.  In a lot of ways it’s definitely the weakest part of the game, but not necessarily because it’s bad.  In general it’s just kind of simple, and feels like the backup for when things don’t go as you want.  There’s both bow & arrow and melee weapons in place.  When going into melee, you can do a shield bash as a parry or a dodge maneuver, both of which can be timed against solid and obvious tells in the enemy actions.  However, that’s about it.  Ya there’s some subtleties in the usage of the attacks, but it’s basically details at that point.  The real strength of the combat systems is when you avoid it entirely.

Pure stealth is still the ideal way to go about the game.  You’ve got your straight stealth kills, which is still an effective way to deal with baddies.  There’s also a number of tools in place to cause havoc.  A couple of the highlights are the ability to set poison traps on dead bodies or the ability to enrage enemies resulting in them attacking each other.  There’s also the little use of fire.  You can have swords with fire, bows with fire, set horses on fire, shoot pots that explode into fire.  Basically, when things go on fire it usually results in hilarious things, even if it’s a bit dangerous to be around.

So is this a big redeeming game that was worth Ubisoft skipping a year for? I dunno.  It feels like a natural extension of Black Flag, and not something that they spent an extra year doing something groundbreaking.  However, it’s still a pretty solid game.  If you enjoyed Black Flag but were pretty cold on the games since, this is a pretty solid spot to jump back into the story.

Game Ramblings #57 – Super Mario Odyssey

More Info from Nintendo

  • Genre: 3D Platformer
  • Platform: Switch

TL;DR

  • Another great entry in the Super Mario series, with great platforming mechanics, a predictable but fun story, and great world locations to explore
  • Collectathon-style worlds didn’t work as well for me as the more focused Mario 64/Sunshine style individual stars, but the story moons in particular were great
  • New core mechanic of taking over enemies and using their abilities was a great focus for the design, and works fantastically
  • Theme song of the year – go buy it on iTunes or Google Play Music

I’ll be perfectly honest from the start here; I still think Super Mario 64 and Super Mario Sunshine are better games.  While Super Mario Odyssey is definitely a fantastic game on its own, the change to the star collecting mechanic into something more akin to Banjo-Kazooie often felt weird to me with a strange mix of really good focused moons alongside completely incidental ones that you can find in things like piles of leaves.  That said, once I get beyond that change the rest of the game was fantastic and is as good as any Mario game we’ve seen before.

Flick a hat at an enemy and more often than not you take them over, gaining their abilities and strengths.

Since it is the core difference in the game, let’s start with the takeover.  For various story reasons, your hat is now alive and can bind Mario to the soul of his enemies, or something to that effect.  The end result is that you can now become your enemy.  Take over a Goomba, and you can now build stacks of goombas and stop sliding around on ice.  Take over a Cheep Cheep and you can now swim under water without needing to breathe.  Hell, take over a T-Rex and stomp the shit out of everything around you just for laughs.  This even extends to seemingly mundane things like the little traffic cones in the city that you can use to catapult Mario around.

This new core ability and the set of enemy mechanics that come out of it are used to great effect.  A large portion of the boss fights use specific environment and enemy combos to change things from just being your standard 3 butt stomp affairs.  Almost any puzzle solving segment will involve finding the nearby enemy type to use their skill set.  Even just for changing up gameplay a bit, it’s nice to be able to warp into an enemy and use a completely different set of skills than Mario on his own can do.  There’s even a surprise at the end that leads to one of the most bombastic finishes to a Mario game that I can remember.

While most bosses are typical scale for a Mario experience, that wasn’t always the case.

On the boss front, there really was a much wider variety than normal.  There’s a recurring set of bosses that act as this game’s substitute for the Koopa kids, and they’re the normal 3 hit to kill with minor mechanical changes.  However, there’s definitely a few much larger bosses in place.  For example, the New Donk City segment has a large centipede boss that can warp in and out of buildings, and the only way to defeat it is to hat-possess a tank and shoot its weak points.  A later fight pictured above has a very non-Mario dragon boss that ends up being more about attack avoidance than offense, with distinct cooldown segments where Mario can land his damage.

The end result of all this is that both by sheer quantity, as well as mechanic variety, this is the widest set of boss fights that Mario has ever seen, and the game’s pacing greatly benefited from it.  At a typical rate, I was seeing a boss every 30-45 minutes, giving me a nice set of pseudo-open world collecting, followed by a high intensity battle.  The consistency of this pace and the mechanical variety allowed for the game to pump up the action when needed to avoid the slow pace trap that other heavy collection platformers have fallen to.

Little touches like the 2D segments gave a lot of life to the world, and some fun hints at the past.

However, it was that collection aspect that ended up being the strong low point for me in an otherwise fantastic game.  The amount of collection just didn’t make sense, and often times felt like fluff to me.  In a typical world, you’d have 3-5 moons that were mandatory per-story, then the need to collect an additional 15-20 just to power up the ship and leave for the next kingdom.  Out of those, I’d estimate about half were purely incidental; a glowing stump may be a hint at a hidden moon, a music note starts a 10 second run to collect all notes, or hell, just a moon floating out in the open that you have to climb a tree to collect.  Among the ones that required a bit more effort, you’d typically see a segment similar to a simplified hidden shines in Super Mario Sunshine, where some quick platforming or single-mechanic enemy would grab you a guaranteed obvious shine and loosely hidden shine.  While there were certainly a lot of shines to get, it often didn’t really feel like there was much point to a lot of them, and I’d have rather seen a larger focus on expanding the story or hidden-area shines into something more meaningful.

There’s definitely a few other minor things there that didn’t really hit.  The motion controls in particular are pretty terrible, but purely optional.  On the hardware front, I’d recommend playing with a Pro Controller over the Joycons, as I had far too many deaths caused by the signal loss that is effecting them.  Some weird mechanical bugs, such as an unintended quick pivot when using fire flower boosts also killed me too many times in some tight movement areas.  However, they’re not really the types of things that kill enjoyment of the game, at least beyond some grumbling at the time problems came up.

What kind of Mario game would it be without Bowser’s Castle? It’s seen some upgrades this go around.

That said, while the collectathon may prevent me from ever doing a 100% run, it certainly didn’t stop me from really enjoying the hell out of what I did play.  End of the day, the core mechanics of the game are just too good to miss out on.  The platforming is as fun as it’s ever been and for the moons that push for depth, it’s more important than ever to be on top of my game.  Even just the act of running around the worlds to get to the next objective is fun to do due to the much larger inclusion of vertical elements and enemies to takeover to traverse them.  While it may not hold up to me like 64 or Sunshine, this is still a game worth getting a console for, and that right there says a lot about the quality that’s in place.

Game Ramblings #56 – A Hat in Time

More info from Gears for Breakfast

  • Genre: Platformer
  • Platform: PC
  • Also Available On: MacOS, PS4, Xbox One

TL;DR

  • Great riff on the Super Mario Sunshine game loop with some clever mechanics to avoid feeling too samey
  • Solid core platforming mechanics held back a bit by some auto activated actions

Back in the Yooka-Laylee write up I wrote “I’ve seen a lot of people saying that this game proves that 3D platformers are dead, but I’m not convinced.”  A Hat in Time is proof of that.  While it’s far from a perfect game, it picked a great game to start with and moved in its own direction to give us a classically-inspired platformer that doesn’t fall prey to the nostalgia trap that others have.

The nods at Mario games aren’t hidden, even down to the last dungeon being a take on Bowser’s Castle.

It’s obvious right from the start that the team behind the game loved Super Mario Sunshine.  The core game loop is 100% there.  Each world has some common theme with a bunch of different missions, replacing shine collection with a time piece.  After finishing a bunch of the individual segments, you get a spectacular boss fight, then on to the next world.  Secret levels are scattered throughout to test your platforming skills and give more time pieces as you earn different abilities.  Rather than FLUDD, you get a bunch of hats and badges as helpers, but the helper effect in puzzle solving and combat is similar.  It’d be easy knock the game for being so close, but once you get past the basics the game starts bringing in some unique pieces to make the game feel unique on its own.

Each world has its own theme, whether it be the mafia-filled restaurant island or a haunted forest where you lose your soul.  More importantly though, each world plays different.  As an example, one world involves the travels through an active movie studio.  Rather than going with the open level pattern that Sunshine uses, you instead go through parallel movie sets actively helping in film some movies.  Another instance has a true open-world taking place in a set of sky islands, where you never drop out of the world after collecting a time piece.  In doing this, the gameplay feels familiar, but the actual pace of world completion changes enough to feel fresh throughout.

Boss fights are always colorful, always entertaining, and as usual a music theme only helps.

The breadth of powers available in hats and badges also opens up the gameplay a lot more than the Mario source.  In the badge department, some of these purely exist as helpers, whether it’s a collection magnet or a radar to find treasures in the world.  Some of them add practical moves, like a hookshot or the ability to quick-charge hat powers.  Still others are just there for fun, like the one that replaces voiceovers with mumbling.  Hats are more direct in their use, allowing for things like slowing time or creating platforms out of specially marked areas.  The important thing is that you’re limited in what can be equipped at a time to one hat and eventually up to three badges.  This lends an important strategic element as swapping out your gear in the middle of a fight can be a big hazard, so the planning element of figuring out what gear you want can be the difference between life and death.

That’s not to say that this game entirely avoided all the common pitfalls of 3D platformers.  When the camera is free to move, there’s still a lot of areas where the camera either gets in your way, or the need to move it causes havoc in tight platforming areas.  There’s also a number of auto-activated moves that like to cause chaos.  The wall run in particular had a habit of activating when I was just trying to platform near a wall, often causing me to catch over a gap and fall to my death.  Generally speaking though things worked as well as I expect out of the genre, and problems I had were minimal enough to not cause me to want to shelve the game out of lack of patience.

There’s also a bunch of secret levels which unsurprisingly take the form of similar levels out of Sunshine.

If there’s anything I’d really say here as a wrap up note, it’s that nostalgia-based platformers probably want to be careful of where they pull their source.  Yooka-Laylee took inspiration from slower Banjo-Kazooie collectathons and joke-focused writing, much to its detriment.  In going with something like Super Mario Sunshine, A Hat in Time was able to take a game loop that is much more immediately satisfying to the user, and write a light, but still solid story that didn’t need to lean on in-jokes to try to get laughs out of the audience.  By then adding its own spins to both the move set and world flow, it was able to do something unique to itself to avoid feeling like a carbon copy of the original.  With Super Mario Odyssey just a few days away, I’m pretty confident that we’ve yet to see the end of this genre.