It's not uncommon for a game's narrative concept to change mid-way through development. Story is just one of many factors that go into a title's creation, after all, and is probably the most malleable. Alterations to the game mechanics from the original plan often crop up during the creation process, and the story is adapted to reflect them. Other times, a new intellectual property will be merged into a proven franchise in order to create instant brand recognition. Before it was a celebration of all things Nintendo, Super Smash Bros. was "Dragon King: The Fighting Game." Star Fox Adventures started out simply as "Dinosaur Planet."
Such is the case for the newest installment in the Castlevania series. Lords of Shadow was originally the title, not the subtitle, and had no real connection to Konami's classic series. It also went through a few of those oh-so-common story adaptations. It was originally pitched as a remake of the original Castlevania's tale of Simon Belmont, but eventually became the series reboot released last week. And a reboot is something many would say Castlevania sorely needed: five attempts at a 3D installment of the series ended with five instances of mediocrity, and it's obvious that some fresh perspective would help, here provided by relatively unknown developer MercurySteam.
The game found its way into my mailbox last week, courtesy of GameFly. I'm a noted Metroid-vania fanatic, though my time with Lament of Innocence a short while ago was largely underwhelming. Does the reboot take the polygonal half of the franchise a step in the right direction?
The Playstation 3 was a tough sell for Sony back in 2006. Nevermind the console's infamous $599.99 US price tag; it simply didn't have any must-have games in its launch window. Much like the PS2, the system's first year was mostly without a killer app. Even worse, adoption of the Blu-Ray format wasn't nearly as fevered as the PS2's prominently-featured DVD drive. It was once said that the best-selling game in the PS2's first year was The Matrix on DVD: people ignored the lack of games, they just wanted a DVD player, and PS2 provided a cheap solution, which the $600 PS3 was anything but.
Perhaps Sony's first true hope for a must-have game, Heavenly Sword was released in November 2007, a full year after the system launched. The game was marketed heavily, taking top slots in Sony's E3 presentations and making appearances on television months before it was to launch. When Heavenly Sword finally descended onto store shelves, reviews averaged out to a positive mark, though the range of praise spanned from "Perfection" to "disappointment."
As a bit of a 3D action game buff, I've always had my eye on Heavenly Sword, but I'm only just now playing it for the first time. I've got specific tastes in the genre: even God of War managed to disappoint me on some levels. Let's see if Heavenly Sword cuts it.
History lesson #1: the ancient Greeks were crazy. Sure, they essentially laid the foundation for western society, but they also worshipped more gods than anybody could possibly remember, all of whom led lives with more dramatic twists and turns than a daytime soap opera. I doubt Days of Our Lives ever featured a giant man made of rock who married his sister and ate his kids, after all.
History lesson #2: in 2005, God of War tore its way into the still-beating hearts of PS2 owners with its brutal take on Greek mythology. The game introduced us to Kratos, Spartan servant of the gods and the kind of pitiless killer that most actual Spartans probably strived to be. God of War sold bajillions of copies, spawned equally-successful sequels on the PS2, PSP, and PS3, and even had its own terrible SpikeTV special for rabid fans to embarass themselves in front of the world. Not bad for fanfiction, is it?
History lesson #3: the action-packed start to God of War II is actually responsible for the creation of The First Hour. The game certainly started with a bang, thrusting the player into an intense situation right off the bat that dropped jaws to the floor. Does God of War III have the same inspirational power?
Quick Time Events. Ever since God of War and Resident Evil 4 exploded
onto the scene with button-prompt sequences of gore and horror, the
industry has shown its sheep-like nature and incorporated these Gotcha!
moments into games without thinking about how they make an
interactive experience better. Many gamers have adjusted to the fact
that every cutscene now has an awful series of play buttons throughout, but I
personally would like to cram all the QTEs in the world into a space
shuttle full of cobras and launch them directly into the sun if it meant
I'd never have to see another one again.
That said, it's not impossible to come across decent use of QTEs. Indeed, before Resident Evil 4 set the standard at the advent of 2005, the mechanic was most prominently-used by the Dreamcast's crown jewel, Shenmue. In fact, it was Yu Suzuki, that game's director, who coined the term "Quick Time Event." Suzuki put the gimmick to good use throughout Shenmue, allowing protagonist Ryo Hazuki to do everything from tossing drunkards around in bar brawls to saving little girls from incoming soccer balls. One of the reasons the game is so beloved today is that it allowed the player to engage in such a wide variety of scenarios, many of which were supported with smartly-designed QTEs.
Good QTEs didn't end with Shenmue, however, even though sometimes it seems that's the case. Like God of War, other Playstation heavyweights have managed to use QTEs to enhance a game experience. I think it's only fair that we look at a few of those, as well as some alternatives to these timed button-prompts for cinematic flair in games.
Quick Time Events. So many games have used them to some extent in the last five years that just about every gamer has an opinion on them. Mine is that they are the worst gameplay gimmick to take the industry by storm in a long time, and I wouldn't mind seeing them all packed into a burlap sack filled with leeches and thrown into the depths of a volcano. They're tacky, they're unintuitive, and their attempts to engage players in cinematic animations backfire and break the sense of immersion one has with a game. And unfortunately for me, they're just about everywhere these days.
Two behemoths let loose in early 2005 can be thanked -- or blamed -- for the salvo of games that have featured QTEs in the last five years. The first, with a January 11 release date, was Resident Evil 4. The game was extremely well-received: it won many Game of the Year awards, offered a fresh take on the aging Resident Evil formula, and gave Gamecube owners a third-party exclusive worth bragging about. The other member of the gruesome twosome that brought us into the era of QTEs is known as God of War. Released just two months after Resident Evil 4, the game received just as many accolades and turned heads back to the PS2 as quickly as they'd been lost to the Gamecube's horror hit. Is it any wonder that the industry went in the direction it did when two such monumental successes as these both prominently featured a relatively unused gameplay gimmick?
Today we'll take a look at how the smart use of QTEs helped put these two games on the map, and watch a few examples of QTEs gone wrong. And trust me, there was a huge pool of resources for the latter.
Some games are unforgettable. After forking over our birthday money at K-Mart, we bounce all the way home in the backseat of the station wagon, wrestle the plastic wrap away from the box, gingerly place the game in the system, and steady our feverishly shaking hands with an anaconda grip on the controller. We don't let go for hours. And when the credits roll, we tear up a little, knowing we'll always cherish that first time through.
And then there are games that are largely forgotten weeks after release. Niche appeal, scathing reviews, or even just lack of hype can doom a game to obscurity and the Target bargain bin. But even these games deserve a second look...sometimes. Every once in a while, a kernel of brilliance can be found within these steaming piles of mediocrity. The purpose of this feature is to sift out some of these conceptual gems and put them under the microscope.
Today we'll take a look at how the Checklist Grids in last generation's Kirby Air Ride add a special something to one of the current generation's biggest innovations: the Achievement.