Review - Life is Strange

There is almost too much to be said about Life is Strange, an episodic narrative-driven game developed by Dontnod and published by Square Enix. It pushes boundaries and goes where few other games even attempt, much less succeed. After all, few other games would center on a female protagonist and her reconnecting with an estranged female best friend. Few other games would broach topics and themes more common to dramatic television than typical videogames. Make no mistake: Life is Strange isn't for everybody. But for those open to a game that eschews providing its players cliched power or revenge fantasies and instead delivers a captivating and personal narrative about friendship and the trials of adolescence, Dontnod's followup to Remember Me is beyond memorable. It's magnificent.

-- Review (Draft) - Life is Strange, by wangxiuming

I drafted this paragraph for a review of Dontnod's recently-completed episodic adventure game, Life is Strange after completing Episode 4, in anticipation of a glorious finale in Episode 5 that would cement this thought-provoking adventure as an incomparable piece of art in videogames. And to be honest, while Episode 5 did not exceed Episode 4's narrative climaxes for me, I still would have agreed with what I wrote two months ago ... at least, up until the game presented its final "choice" to me.

Yeah ... I jumped the gun.

That's not to say Life is Strange or its developer Dontnod are without achievement. The game itself, despite the final choice and its subsequent endings, still remains - on-the-whole - a provocative experience, one that is ultimately worth both the time and the money spent on it. It is courageous on many fronts, considering its protagonists, its subject matter, and - at least through most of its five-chapter run - its emphasis on delivering real choice with real consequences.

Unfortunately, while touting its adaptive storyline based on player choice as its greatest strength, the last choice in Life is Strange ultimately serves not to empower player choice at all. Instead, it undermines all of the choices that came before it, and ultimately the entire experience as a whole. It is a tremendous shame, especially when looking back just two months ago, I had been prepared to only heap praise.

Spoilers follow.

Life is Strange centers on Max Caufield, a teenage girl in her senior year at the prestigious Blackwell Academy in the seaside town of Arcadia Bay. Without explanation, she discovers she has the ability to reverse time. The player takes on Max's role and powers - frequently used as a tool for the generous dose of puzzle-solving that is required to progress. Not all is as it seems in Blackwell, and it's up to Max to uncover and connect the mysteries. Her interactions with her fellow classmates and the townspeople will build - or ruin - her various relationships. In turn, many of these decisions have a lasting impact on future events and those subsequent interactions. Kill a man's dog (you monster!) and he'll remember it. Through it all, Max will reconnect with an estranged friend, Chloe, while desperately wondering how to stave off an impending calamity.

It would be impossible to talk about Life is Strange without also talking about Chloe. Max reconnecting and re-establishing their friendship is central to the story, and her efforts to keep Chloe from danger is the impetus that drives the narrative forward. It's enormously compelling to watch them reminisce about old times and catch up with each other lives - especially since Chloe is hardly the same girl Max remembered from before she had to move away. Thankfully, both characters are portrayed beautifully by their voice actors, and so indeed is the rest of the cast. Still, it's Max and Chloe who are the real stars of the show and they are completely believable as two lost adolescent souls, struggling to make sense of what's happening around them and to do the right thing - for each other, as well as for the rest of the town.

And oh the things they'll stick their noses in. Throughout the narrative, Max will have to deal with a plethora of real world problems, not all of which there is an easy fix - or indeed, a fix at all: friends struggle with depression after being slut-shamed through viral media, the sacrifice of privacy in the Academy in the name of security, corruption or despondence in the ranks of authority at all levels, bullying, etc. etc. These are not your typical video-game challenges to overcome, and indeed, not all of these problems can be solved. The game will make you debate encouraging an oft-bullied loner to attend a party where he can potentially stand up for himself but risk more of his dignity, or stay home in the safety of solitude. What choice do you pick? Max's temporal powers only extend so far ... she might not be able to change her mind.

Then again, sometimes she is able to change her mind; rewinding time to the start of a scene can be done in most parts of the game, and it's fascinating to watch things unfold differently based on the different choices you make. Broaching one topic over another in a tense conversation might mean the difference between people ending up shot, and it's not always clear - though the game does leave clues - what option will result in a "best" outcome ... neither is there anything forcing you to strive for that result. Max is perfectly free to live with whatever mess she's stirred up if you so choose ... unless of course, the consequence is her death.

I struggled to find the right descriptor in reviewing Life is Strange when I first started this draft, and I'm still not sure I found it. Courageous, I think, might be the closest thing I can think of, but it's not exactly that. I wouldn't call it innovative either - maybe in its medium, it could be so considered, but it doesn't exactly broach things that have never been portrayed in media as a whole. Regardless, for its subject matter, its embrace of choice and meaningful consequences, and for presenting two strong female protagonists in Max and Chloe, developer Dontnod and publisher Square Enix deserve recognition. I'm even more thrilled that Life is Strange has already become a financial success, reaching 1 million in sales before the release of the fourth episode. The game will hopefully be a herald for other publishers and developers to recognize the market for these types of games, and continue to bring videogaming into the mainstream.

That all said ... I cannot help but feel disappointed by the final minutes of the narrative. A slew of minor quibbles also detract from the experience - minor plotholes that are unaddressed and questions that are left unanswered - but ultimately it was the ending(s) that ruined what was otherwise a thoroughly brilliant game for me.

I should mention it's difficult to discuss this without treading into spoiler territory, but I will do my best.

The last choice the game asks you to make renders almost all the decisions you've made through the first 4.9 chapters null and void, no matter what you choose in the end. I left the game feeling empty, questioning whether anything I did from the beginning up until the last few minutes mattered at all. I was particularly disappointed in one of the endings, which personally I felt could have done a lot to ameliorate that sensation, simply by showing us that Max had gotten something valuable out of the relationships she built from the game.

Instead, Life is Strange detoured into a fatalistic dive off a cliff.

Yes, the endings were different. No, it did not matter... and maybe that was the point?

Could this really be the message behind Dontnod's tale, after spending hours and hours, chapter after chapter, enthralling us, convincing us that what we did made a difference? Is this really supposed to be Max and Chloe's legacy? Is life not strange at all ... but merely the illusion of so being?

Even despite this surely controversial ending, Life is Strange remains a worthwhile experience. On its own, the game is a worthy - if flawed - entry in Dontnod's library. I think it will have to be another title, however, that serves as that developer's magnum opus.

Recommended For:
+ Fans of episodic adventure-narratives AKA "walking and talking simulations"
+ Gamers who want to explore different and real-world themes and storylines
+ Gamers who enjoy/don't mind playing a strong female protagonist and exploring her relationships
+ Fans of story-based games.

Not Recommended For:
- People who don't want to simulate walking and talking.
- If you didn't like Mass Effect 3 because of its last moments, I can't imagine you'll like Life is Strange

Review - Remember Me

Will you Remember Me?

In 2013, Developer Dontnod released a captivating setting and immensely personal tale in their debut action-adventure game Remember Me. Uplifted by a memorable protagonist and encapsulated in a story focused on identity, memory, and the relationship between those two central themes, Remember Me resonated with me well after I completed the game. It's a shame then, that Remember Me's actual gameplay is not up to par. Unwieldy controls, lackluster platforming, and excessively restrictive level design ultimately drag down what could have been a superb game.

A world that invites you to explore ...

Remember Me is set in Neo Paris: a year 2084 version of the French capital complete with dilapidated slums, sprawling marketplaces, and majestic skyscrapers. You play Nilin, an "Errorist," armed with the ability to see, remove, and modify other people's memories. It's ironic then that you start off the game having lost all of your memories. Edge, a mysterious ally and constant voice in your ear, helps you get your bearings and then guides you through various mission objectives. Your goals are both to restore your own memories and bring down M3M0RIZE, a giant corporation whose research is threatening the security - and the sanity - of Neo Paris and her people.

The atmosphere and setting of Remember Me is absolutely compelling. Dontnod's version of Paris is simply breathtaking; if there's anything worth remembering from this game, it's the truly beautiful vision and artistic direction. Whether its wandering through the slums, casually infiltrating a shopping district, parkour-ing across rooftops, or ascending the seemingly boundless limits of a Neo-Parisian highrise, the game treats you to a buffet of eye-candy. Meanwhile, the musical score successfully accentuates the action with an energetic techno beat while also managing to deliver poignancy to the game's emotional climaxes.

... but then closes the doors.

Unfortunately, while the game's art style, graphics, and music spark a desire for exploration, the game itself is surprisingly narrow in scope. Too often, Nilin is barred by arbitrary barriers, locked gates, or walls that hinder her movements, forcing her along what amounts to a winding railway with only a few nooks off the beaten path to house collectibles and stat boosts. The last time I played a game so linearly designed was the original Final Fantasy XIII, and while it's somewhat more forgivable in this 10 - 20 hour action game, the sensation did make me feel like I was playing an "on-the-rails" shooter. It's just such a shame in such a intricately crafted world, that we are not allowed to see more of it.

The game is also generously splashed with platforming segments that are uneven at best. Nilin spends much of her time hanging from ledges, gliding along as she tries to navigate the precarious edges of buildings, prisons, warehouses, and various other infrastructure. While I did appreciate the shots of the city you get from these segments, the platforming itself is ultimately uneventful. There's no real sense of accomplishment from successfully reaching the end, as far too often the only obstacle to your progress is accidentally falling, or the game's poor on-screen instructions of where you are allowed to go. The game will generate little pointers telling you where the next ledge you should leap to are located, but it does this unenthusiastically. Falling to your death because you can't see a little orange triangle drains the narrative of its momentum; and yet, this is sadly the most danger the platforming ever presents you with.

Don't mess with an errorist.

When Nilin isn't scaling skyscrapers, she spends most of her time beating up the agents of M3M0RIZE. Remember Me's combat system is simple to learn and yet layered with some depth. You start off with access to simple combos. A dodge button reacts timely - and even in the middle of a combo - and allows you to avoid being hit by enemies, who will conveniently notify you via exclamation points flashing on screen that they're about to attack. Meanwhile, Nilin's punches, kicks, and special abilities are all animated fluidly; it's a pleasure to watch as she wades through a pack of armored M3M0RIZE soldiers and disable them with graceful but powerful martial arts.

As you progress through the game and defeat more and more enemies, you unlock additional combos. All of the combos available to you are customizable with attacks of your choice. Available attacks - called "Pressens" in game - include those that increase damage dealt to your foes, allow you to heal yourself with every successful hit, and reduce the cooldown time of your special attacks. Special attacks range from taking control of enemy robots to launching Nilin into a fury mode that allows her to chain attacks together without limit for a set amount of time.

... like, seriously. Just don't.

These diverse options afford what is ultimately a serviceable combat system. Unfortunately, the controls leave something to be desired. The auto-targeting function is horrendous, and targeting in general is unwieldy at best. These problems are exacerbated for Nilin's ranged weapons, which force you into a first person perspective in the heat of battle. The game also has a tendency to throw waves of enemies at you, causing too many of the battles to feel like wars of attrition.

Even when overwhelmed by staggering odds, however, the combat can feel too simple at times. This is especially true of the Regeneration "Pressen," which allows you to heal yourself with every hit. The result is that Nilin is never truly in danger of being defeated, as refilling your healthbar is as simple as executing a regenerative combo attack. The game attempts to ameliorate this problem somewhat in the later stages of the game with enemies that hurt you with every successful hit you land; even so, I never felt like there was any real risk.

Just another day kicking ass.

While the platforming is otherwise innocuous and the combat manages to be engaging enough, it's the story elements of Remember Me's gameplay that truly capture the imagination. Of particular note are the "Memory Remix" sequences, which task you with altering certain key memories of your target in ways that cause their entire personalities to change. It's utterly fascinating to watch a person's memory, then tweak certain details within - the undoing of a leather strap tying your victim's beloved to a medical bed, or the removal of a safety in a loaded gun - and then see how just these minor changes cause your victim's memory to play out in entirely different ways.

History is in the eye of the remember-er ...

These remix sequences truly beg the questions: do our memories define who we are? Does history change with memory? Dontnod doesn't directly address these questions; indeed, their treatment of Nilin's power is not entirely consistent. In an early section of the game, Nilin's use of the memory remix causes another character to completely change her behavior, but it seems clear that it's only through our protagonist's manipulation that this result is achieved. Nilin knows she's revised history for her target alone. However, in later segments of the game, the remix of another character's memory seems to bring to Nilin a sense of emotional closure, a catharsis, that doesn't quite make sense considering Nilin more than anybody should know that the remixed memory is not in fact reality.

... or is it?

Cue Sarah McLachlan's "I Will Remember You"

Despite its problems, Remember Me is nonetheless a memorable experience, one worth experiencing if only to provoke the questions it brings up for yourself. While parts of the gameplay are lackluster, the story, the protagonist (a woman of color! As the lead character of a game!), and the setting are all well-worth the look. Remember Me is available on Steam, PS3 and the Xbox 360.

Recommended For:
+ Fans of stories in their games
+ Fans who like their games with atmosphere and style
+ Fans of thought-provoking games
+ Gamers who'd like to see more minority representation in games!

Not Recommended For:
- People who blaze through stories
- Fans of challenging or difficult games

Review - Dragon Age: Legacy

Let's cut to the chase. If you played Dragon Age 2 then you either hated its guts or liked it - with the exception of a few specific problems. There's no denying that the game had its missteps, the most egregious of them being the atrocious amount of map-recycling and the tedious "wave" combat mechanic that turned every battle into one of attrition rather than tactics. I lay out most of the flaws (while not forgetting that the game had its highlights as well) in my review from a few months back, but this post isn't meant to rehash these old criticisms of Dragon Age 2. This is a review of its first story-based downloadable add-on, entitled Legacy.



So I'm happy to report that Legacy has - thankfully - avoided these two monumental design errors of its parent game. The DLC features a brand new area to explore outside of Kirkwall. Your adventure brings you to a Grey Warden prison in the Vimmark mountains, an area which turns out to be darkspawn-infested fortress. The dungeons - while not mindblowing - are a refreshing change of pace from exploring the carbon copy cutouts that were Dragon Age 2's map designs. The atmosphere is suitably sinister, and the DLC brings a healthy dose of interesting story content to boot. An ancient darkspawn is breaking free of its chains, and as you delve deeper into the depths of the prison, you uncover startling secrets concerning the nature of this threat. The story is engaging, and some endgame revelations are quite satisfying.

While you're spelunking through foreboding caverns and ancient halls, you'll encounter both old and new enemies. As usual, it's up to you and your gang of ragtag misfits to put these beasts down. Enemies no longer assault in monotonous waves, and tactics do play a more crucial role in the game, especially on the harder difficulties. Still, while the "Wave" mechanic is gone, the DLC doesn't quite perfect the combat formula. On normal difficulty, the enemies seem too easy to overcome, while on the hard difficulty, they seem just a bit too hard. It was particularly annoying to find that the game had spawned multiple encounters that featured a dozen archer mobs, all of them shooting painfully accurate arrows into your pincushiony body. The final bossfight - while epic in theme - is at times grating as well, requiring you to perform several monotonous tasks over and over in order to advance the battle.



Thankfully, combat isn't all that there is to do within the add-on. Some puzzle minigames and some new loot round off the DLC and provide a fun diversion from the inconsistent combat. Of particular note is the additional armor set you'll unlock only through Legacy, and the new weapon you obtain through the course of your adventure is upgradable with some new effects that I haven't seen on any other weapon.

All of this amounts to about 3-4 hours of additional playtime. The pricetag for such an adventure seems a bit high at $10.00, but if you have the cash and enjoy the world, I would still recommend checking it out. Bring your in-game sibling along if you can, and while you can technically do the quest at any point in the game, I would recommend waiting until at least Act 3; the epilogue will really jerk at those heartstrings then.

Dragon Age: Legacy is available on Xbox Live Marketplace, PSN, and PC.


Recommended For:
+ Dragon Age 2 Fans
+ Fans of Dragon Age Lore
+ RPG enthusiasts itching for a quick fix


Not Recommended For:
- Dragon Age 2 Haters
- People expecting Legacy to solve all the problems of Dragon Age 2

Review - Bastion

Overview

I've blogged a bit about Supergiant Games' Bastion previously, and discussed most of its most prominent features; for those who still don't know much about this Xbox Live Arcade downloadable, well, let's just say it's an action RPG infused with style, atmosphere, and just enough poignancy to make the trip feel worth both your time and your hard-earned dollar. If there is only one XBLA downloadable game you get this year, you can bet Bastion should be one of your top choices.

Story

The game is set in a post-apocalyptic fantasy world, brought to its knees by what's referred to as "the Calamity." Your character, "the Kid" must navigate through a world filled with crumbling infrastructure and hostile humans and monsters alike. Along the way, you pick up remnants of the old world and unlock levels that provide you with a backstory to the Calamity's survivors. Between each level, you return to your home base, called the Bastion, a sanctuary of sorts that houses its own unique mystery.

Hope the kid doesn't roll around while he sleeps...

The story isn't told through cutscenes or cinematic movies; rather, your tale is told through the haunting baritone of a mysterious narrator that you meet within the game. It's a unique concept, and while there was a potential for this gimmick to become annoying rather than enlightening, Supergiant Games has done a truly stellar job in its implementation of the narration. The narrator will comment on almost everything you do, much of it to sarcastic and witty effect. Falling off ledges, slaughtering enemies, just pounding the destructible environment, and main plot events are all told to you with dramatic bravado. Even better, the story is integrated almost seamlessly into the gameplay; you'll never be forced to slog through long-winded paragraphs of tiny text.

Gameplay

Bastion is an action-RPG, a rarity on the XBLA market. You control the "Kid" throughout the entire game, stabbing, shooting, flame-throwering, or blasting the multitude of enemies that appear to impede your path. You're also equipped with a shield that -if timed correctly- allows you to counter attacks. When you're surrounded, the Kid can perform a handy somersault to leap out of harm's way, or use a special skill activated by the right trigger that generally does damage in a wide radius. The controls are smooth for the most part (though some of the ranged attacks are hard to target and the auto-lock on feature leaves a little to be desired). Along the way, you'll gain experience and collect spirits with which you can upgrade your arsenal of weapons. Level ups provide passive bonuses that afford you such improvements as additional potion slots, or increase your critical chance or damage.

Dogs may be man's best friend, but this shield is definitely the Kid's.

Your weapon selection is one of the best parts of Bastion. The game features around a dozen unique weapons - each that plays distinctly from the others. Unfortunately, you can only hold two weapons at a time, and when you discover a new weapon, one of your selections is automatically overridden with the new item. Still, this is a minor annoyance at worst. It's fun to experiment with all the different types of weapons. On top of that, as you progress through the game, unlockable challenges for each weapon also become available, rewarding you with different bonuses depending on your performance with said weapon.

I found the game to host just the right amount of challenge - not so hard that you feel frustrated for dying, but not so easy that your accomplishments don't feel satisfying either. When you successfully clear a mission or attain the high score on one of the weapon challenge levels, you'll know that it was your skill and perseverance that paid off, rather than simple button mashing. If this level of challenge is still too easy for your liking, however, you'll find that the game integrates additional difficulties smoothly into the actual game. During the story mode you'll eventually gain access to a Shrine within the Bastion, and by invoking the collectible totems of different deities, you can ease or ramp up the difficulty to your liking. Different totems have different effects (such as increased health for enemies, enemies that do more damage, or causing enemies to explode upon death). With each invocation, you also increase your XP rewards; just be careful you don't kill yourself. I learned it the hard way not to invoke too many totems at the same time.

Slash people to ribbons with the Kid's machete ...

There's also a treat for players who beat the game; completing the final mission gives you access to the coveted "New Game+" mode, allowing you to carryover experience, weapon upgrades, and unlocked items, easily making the game quite replayable.

Graphics & Sound

Despite its cartoonish theme, Bastion features some of the most gorgeously drawn sprites and backdrops I've seen. Style permeates the entire game, and the environments feel organic thanks to some nice particle effects and just a generally high level of detail and polish. The animations are not always the most sophisticated, but that doesn't prevent the gameplay from being fun, and in no way detracts from the astounding level of atmosphere.

... or blast them to smithereens with his shotgun!

Working in tandem with the art style, the sound quality is undeniably impressive. The narrator was well cast, his voice work some of the best I have heard in any game, let alone on XBLA. Ambient sound and music all serve to further draw you into the game's post-apocalyptic realm, simultaneously bringing you a sense of wonder and danger. The soundtrack is phenomenal. If Supergiant Games releases it, I would not hesitate to pick it up. The three tracks with vocals are particularly poignant.

Final Thoughts

Bastion is Supergiant Games' first release ever, but if its any indication of this fledgling developer's work quality, we can expect some great things in the future. Bastion is an action-RPG that does not disappoint in any sense, and the 10+ hours you can spend on the game is well worth its pricetag of 1200 Microsoft Points. Get it! Play it! Love it!

Recommended For:
+ Action RPG fans
+ Fans of games with style
+ Fans of immersive, story-based games
+ Anybody with an Xbox360


Not Recommended For:
- People with no souls.

Review - Captain America: The First Avenger (Warning: Spoilers)

Beware: the following review contains spoilers.

Captain America: The First Avenger succeeds more as a two-hour prequel for things to come than it does as a standalone film. It features an abundance of over-the-top action sequences, a series of convoluted plans that test the limits of your disbelief suspension, and a tacked-on romance that very much feels like it was added just so the producers of the film could claim to potential female movie-goers "hey, we have smoochies along with the punches!"

Review - A Dance with Dragons (No Spoilers)

It's been six long years since George R.R. Martin's last entry in his A Song of Ice and Fire series. Since that time, he has been the subject of much speculation, both positive and negative. The HBO adaptation of A Game of Thrones certainly helped to thrust the author into the limelight and most certainly helped to broaden his already large readership. It's probably no coincidence that his publisher chose to release the novel soon after the conclusion of the first season of the show. However, through all of this success there have been whispers of uncertainty; people began to suspect that Martin was losing steam, growing tired of writing the series. Doubt was forming - doubt that Martin would be able to wrap up his truly tangled web of intricate storylines.

A Dance with Dragons will not alleviate any of that doubt.

What the fifth novel in the series will do, however, is to continue Martin's tradition of rich prose and stylized writing. Martin weaves a truly breath-taking and vivid world, complete with social, political, economic, and religious undertones that has carried over from his first four books. Westeros and its world are a truly captivating canvas, and Martin paints details to life with the artistry of a master. Fan-favorite characters have returned after an extended wait: we see Tyrion, Danaerys, Jon Snow, and Bran all pick up their stories where we last them, almost 10 years ago. It's good to see these characters back in the novel, especially after A Feast for Crows introduced a slew of new ones that were difficult to relate to.

In terms of pacing, however, A Dance with Dragons seems to fumble in comparison to its predecessors. A lot of time is spent traveling by many different characters, all of them trying to reach places that they inevitably fail to reach. As I read chapter after chapter, I began to wonder - as I did in A Feast for Crows - if perhaps all of these chapters were really necessary. It seemed at times that page after page would pass by without either progression of the plot, or any significant character revelations. Instead, characters would march towards Mereen, or sail towards Mereen. And yet barely anybody actually reaches Mereen. In between all the marching, characters spend a lot of time composing inner monologues commenting on how they're reminded of other places, and new places, or old tales that seem like they ultimately have no bearing on the actual story; while some of these are interesting, they do seem to fluff out a book that seems too long to begin with.

Dance - similar to Feast - is also overly burdened with too many POV characters. For those of you familiar with Martin's series, POV is Point of View. Basically, each chapter is written from one out of as many as 16 perspectives. It's a necessary evil, I suppose, that Martin has been continuously adding perspectives; it's necessary because major POV characters are killed off in almost every novel. However, in A Dance with Dragons, it has become increasingly difficult to care about these new characters' perspectives, and I wonder - again - if they are truly necessary. 

Most stories do encounter a lull at some point, where progression and pacing seem to taper off for a bit. Perhaps A Dance with Dragons is just that - a necessary tedium that sets up the final two novels in the series. Ironically, Dance left me both wanting more and wishing Martin's editors had done a more generous job with their edits. The novel is not as strong as the first three novels, but for any fans of Martin's previous works, it is still a must-read.

Recommended For:
- George R.R. Martin Fans
- Readers invested into the Song of Ice and Fire series
- Historical Fantasy Fans
- Fans of San Guo (Romance of the Three Kingdoms - you know who you are)

Not Recommended For:
- Readers who have given up on the series - Dance will not change your mind.
- Impatient readers - you will most likely not be able to speed read through this novel
- People who think George R.R. Martin is going to die before he can finish the series.

Review - Harry Potter and the Deathly Hallows, Part 2

Ostensibly, a movie review is supposed to provide some input to its readers about whether or not to go see a particular movie. Considering Harry Potter and the Deathly Hallows Part 2 is the finale to a ten-year film franchise, I think I can safely say that most everybody has already decided whether they're going to watch this film or not. I'm gonna go out on a limb here and say it's doubtful that any review would be able to persuade you to or dissuade you from seeing this film at this point.

Review - Dungeon Siege III

After the debacle Bioware experienced with Dragon Age 2, I think Obsidian Entertainment might be bracing themselves for a similar fandom backlash, especially considering how much they changed Dungeon Siege III from its predecessors. While a solid game in its own right, I almost hesitate to call the game Dungeon Siege at all - essentially the only thing that has been retained in this third entry to this popular PC game franchise is the massive amounts of loot you'll find and the story lore. And frankly, the lore was one of the weaker aspects of the first two titles.

Overview

Dungeon Siege III is a third person action role-playing game developed by Obsidian Entertainment, a company practically known for taking over other people's game series. With titles such as KOTOR II, and Neverwinter Nights 2 (and corresponding expansions) under its belt, Obsidian has a reputation for making deep, engrossing sequels filled with interesting characters and topped off with intricate plots.

With Dungeon Siege, this fan-favorite developer has stepped outside of familiar territory; most of their games are pseudo turn-based RPGs - Dungeon Siege III is their first fully real-time action RPG. DS3 tries to combine fast-paced action with Obsidian's renowned storytelling and for the most part it succeeds. Operative words being "for the most part."

You glow? I smash.

 Story:

Unfortunately, the story of Dungeon Siege III falls a bit short of Obsidian's previous titles. The series was never really known for its storytelling, and Dungeon Siege III boasts equally lackluster lore. Because you are forced to select a character that was created for you, the game loses the sense of being a personal story that the first two DS games held (even if those two games did so with the flimsiest of grasps). What you're left with is four characters who you don't really know that much about, each only tenuously attached to the main plot. There is never a sense of character development; rather it feels distinctly like your selected character is just a medium for you to slaughter as many enemies as you can. And while there are plenty of lore entries scattered throughout the world, I was never motivated to read them as I was when playing Dragon Age. In short, the world of Ehb is definitely not as well-developed as Thedas.

Four awesome character designs ... that I feel absolutely no emotional attachment towards.

The main plot is equally forgettable - and short. While certain plot points were mildly interesting, for the most part the game was very generic. I found myself skipping through a lot of the dialogue, simply because I couldn't bring myself to care about what was happening. The main villain is discussed at length, but never really resonates as an antagonist worth all the ho-hum (in fact, she doesn't even appear until the penultimate chapters of the game).  Fortunately, Dungeon Siege games were never really about their stories.

Gameplay:

While Obsidian may have chosen to opt for a completely new style and design for the game, at the end of the day, DS3 still plays fluidly and is - for the most part - pretty fun. You select a pre-designed character out of four available options at the beginning of the game, move through the game world and by the end of the game become an avatar of destruction. The action is fast-paced, the controls (on the gamepad) were sufficient and responsive, and leveling up was always a blast, especially after you've unlocked new tiers of abilities.

Level-ups provide you with talent and proficiency points (and every so often new abilities). There are 9 total abilities you can activate in combat (split among 3 different stances which you swap with the left shoulder button or the block button). The abilities are diverse and feel unique - there is no sense that older abilities are replaced - you will use them all throughout the game. The drawback is that it is the selection of abilities you get is quite limited compared to the previous two games. While you can assign proficiency points to your individual skills to augment them and talent points to your character to strengthen him/her, it doesn't quite make up for the distinct lack of choice you're given.

Lucas engages two ogres in a ... dance-off?

One criticism of the first two games was how they could almost play themselves. DS1 was known to need very little human interaction; while DS2 somewhat mollified that feeling, Dungeon Siege III has fully escaped that ill-repute. There is no question now that DS3 requires human action for you to progress forward. Fights are just the right amount of challenging, requiring you to employ all of your abilities strategically. At some point during the game you'll develop a sweet rhythm for facing enemies, making you a nigh unstoppable powerhouse. Watch out though: every once in a while the game will throw a curveball at you in the form of a new enemy or a particularly tough boss - defeating these challenges is especially satisfying.

Oh, and you can't forget the loot. There's so much loot, it's not difficult to imagine becoming a millionaire within the game. The only downside is I wish there was something for me to spend all my gold on. Most of the shops' inventory is filled with equipment I could easily have found just adventuring. Still, it's good to know Obsidian kept at least this one piece of Dungeon Siege heritage in DS3.

Graphics & Sound:

The game is visually quite attractive; while not as technically impressive as the Witcher 2, Dungeon Siege 3 still looks and sounds quite competent. It manages to maintain a distinct style all its own (and while it doesn't recall the previous two games, it is at least pleasing to the eye). The dungeons and towns are gorgeously designed, if a bit linear, and all the dialogue is voiced. Don't expect Bioware style cinematic conversations, however - most characters seem to be cursed with having only one bland expression, and there were multiple instances where I felt the voice-acting was forced. These are all minor complaints; DS3 still impresses with a level of polish that most players probably wish KOTOR 2 and NWN2 were blessed with.

Other Notes:

With Dungeon Siege III, Obsidian has departed from its typical game development cycle. What is perhaps worse, is that it chose to also depart from certain staples expected of the Dungeon Siege series. Gone is the vast and open world ripe for exploration, stripped down in favor of a decidedly linear string of plot and sidequest objectives. Gone is the ability to create and customize your own character and choose what abilities and talents you pursue. Gone is the PC focus of gameplay - Dungeon Siege III is clearly a game designed for the consoles. The demo Obsidian released two weeks prior to the official release of the game was met with cries of outrage at just how terrible the PC controls were. Similarly gone is the ability to manage multiple characters, though this is replaced with a lackluster multiplayer component. Joining a game does not allow you to earn XP or raise your skill levels on your own campaign, making it somewhat less enticing to play with friends.

Purple Bullet Power, Activate!

Final Thoughts:

Despite this betrayal of the other games in the series, Dungeon Siege III can ultimately still be an enjoyable experience and is still worth at least a quick look for any action RPG enthusiast. What it lacks in story and originality, it makes up for in good old fashioned hack and slash fun. If you're willing to forgive the character selection and development choices, pick up a gamepad (but definitely not a mouse & keyboard) and start sieging those dungeons (for the third time)!

Recommended For:
+ Fans of Real-time Action RPGs
+ Fantasy RPG Fans
+ Dungeon Siege Fans with open and forgiving minds
+ Gamers with Friends - as long as you don't mind not being able to retain the XP and loot you gain while playing in someone else's game.

Not Recommended For:
- Obsidian Fans expecting a deep and engrossing storyline
- PC Gamers without a gamepad
- Dungeon Siege Loyalists

*This review was completed using the PC version of the game. Dungeon Siege III is also available on the XBOX360 and the Playstation3.

Review - Game of Thrones, Season 1

WARNING: Minor Spoilers to Follow.

Overview:

After two or three episodes of jolting twists and betrayals, the first season of HBO's Game of Thrones came to a (mostly) subdued close last night with dozens of plot threads still left hanging. But you can't really fault the show for that; the season ended almost exactly as the first novel did, covering almost exactly what the novel covered. It is in fact such a faithful adaptation of the books, that long-time fans of George R.R. Martin's series will always know exactly what's going to happen next. For those who haven't read the novels, however, Game of Thrones serves as an excellent introduction to this compelling historical fantasy.


Story:

Game of Thrones, adapted from "A Game of Thrones" by the aforementioned author, is set in the fictional land of Westeros, a world where seasons last for indeterminate periods of time and dragons were once used as war machines to subdue entire nations.. Despite this and several mentions of sorcery and witches, viewers should be aware that this story is in fact very magic-lite. Don't expect Harry Potter or even Lord of the Rings - there are very few flashy effects - magic in Game of Thrones is subtle, more metaphorical than mythical in its application.

Arya wonders what she's doing at a Lord of the Rings convention.

Events prior to the start of the series see the Seven Kingdoms crown King Robert Baratheon, a rebel who successfully defeated the mad-Emperor Aerys Targaryen. The story begins just as political and civil unrest begin to sweep the land once more. The Hand of the King (the King's chief advisor) has just died under uncertain circumstances, and King Robert summons his old friend Eddard "Ned" Stark to replace him. Ned's wife, however, suspects that the Hand may have been murdered by none other than the Robert's wife, Queen Cersei Lannister and her House. Across the sea, Viserys and Danaerys, last surviving heirs of the Targaryen Dynasty, seek to raise a barbarian Dothraki army to reclaim their homeland. In the North, a sinister threat rises to engulf all of the world, with only the dwindling force of the Night's Watch and the Wall to defend against it.

Confused yet? Don't worry - this is only the most simple of background summaries. A whole mess load of other characters and plots are introduced throughout the series. Though the plot of the show follows the novel closely, there are just a few snippets of new scenes embedded into what is overall an unfailingly loyal tribute to "A Game of Thrones." These new scenes provide additional insight into characters and don't distract from the overall plot, but rather add depth and layer to already compelling storytelling. Alliances are forged, honor is tested, and backs are stabbed, all to varying degrees of success but indubitably high levels of entertainment. 

One wall to belittle them all?

 
You would think that the story might become incomprehensible, but it surprisingly does not. Part of the show's (and novel's) success derives from its ability to weave all of these plots together into a fascinating tapestry. While the first episode or two is a little overburdened with exposition (introducing dozens of characters, locations, and cultures in the span of 50 minutes), what follows is a deep, complex tale that is just plain fun to watch.

Writing and Acting:

Despite the seemingly countless faces, the characters are all memorable, with several that are quite easy to root for and a few more that you just love to hate. Some of these characters include Arya Stark and Tyrion Lannister. Arya is the youngest daughter of Ned Stark, a tomboy often scolded for her penchant to play swords rather than sew dresses. Tyrion (played by Peter Dinklage) is a dwarf, an embarassment for the other-wise perfect House Lannister, but he makes up for this deficiency in size with a quick wit and sharp intellect. The Crown Prince Joffrey, on the other hand, is a total douchebag to the 50 bajillionth degree. You can't help but want to smack him upside the face every time you see him, and its a testament to his child actor that he is able to pull off such a instantly despised role.

Jon Snow, Sam Tarly, and Guy whose name I don't remember.

The rest of the cast do not disappoint either; Sean Bean (Boromir!) serves as a wonderful Eddard Stark, and Lena Headey (who fans might recognize from Terminator: The Sarah Connor Chronicles) plays a wonderfully manipulative Cersei. With such a large cast, the show is surprisingly adept at spotlighting each character just enough to both give viewers a good understanding of each one, while also allowing them room to develop and grow.

Bitch, please. Don't make me go get my terminator.

Production:

Game of Thrones does not disappoint technically, either. The production values are simply amazing, with realistic sets, costumes, and weaponry joining together to really immerse viewers in the Seven Kingdoms. The barbarian Dothraki language created for the show is particularly impressive, and the various actors who have to speak it do so with a smooth fluency as if they were indeed foreign savages. The cities of King's Landing and Winterfell also deserve particular praise for their attention to detail and distinct styles.

King's Landing, capital of the Seven Kingdoms

Warnings:

This is not a show for minors (which, being an HBO original program, is probably self-evident). Still, if you have any qualms about brutal and gruesome deaths (I'm talking throats being slit, violent stabbings, and people being burned alive), then this might not be the show for you. There's also quite a bit of squick factor, including but not limited to rape and incest, so please - don't watch this with a minor! Finally, the series tagline is: "You Win or You Die" - don't be surprised when characters - even beloved characters - are suddenly snuffed out.

Don't say I didn't warn you.

Please also note that the first season does feel a little bit like a long prologue. The season finale in particular is also a bit anticlimactic after the penultimate episode's events; you're left with more questions than you began, for sure. Still, given the fact that the show is based on a seven-book epic, we can at least be hopeful that seasons 2 - 7 will sate our thirst.

I wonder if actress Emilia Clarke knew how often she would be getting naked on this show. Oh, now you're going to watch it? Pervs.

Final Thoughts:


Overall, Game of Thrones impresses as a compelling political drama splashed with just the right amounts of action, intrigue, and fantasy. Fans of the novel series would do well to give the series a look; you won't be disappointed with how well the novel comes to life. Fans of the genre should definitely take the time to watch this show. Despite some long-winded exposition, and a season finale that resolves very little, the series is an easy recommendation for any adults who enjoy a good epic tale. You win, when you watch Game of Thrones.


Recommended For:
+ Fans of George R.R. Martin's "A Game of Thrones" from the "Song of Ice and Fire" series of novels.
+ Fans of historical-fantasy.
+ Fans of political thrillers.
+ Anybody who enjoys a good story.


Not Recommended For:
- Children/Minors. Don't let them watch this show!
- People who only care about action - there is a fair amount of fighting and combat, but it is definitely secondary to the plot and story.
- If blood, violence, or squicky squick is not your thing (See the Warnings subsection).
- People who think George R.R. Martin should be working on his next novel rather than working on the TV Show. Two more books still left to be completed in the series. At the rate he's going, the tv show will be done before the novels.

Game of Thrones has been renewed for a second season. Watch the title sequence from the first below, which animates a map of the Seven Kingdoms and gives a good impression of all the major locations within the first season.

Review - Child of Eden

Overview:

Developed by Q Entertainment and published by Ubisoft, Child of Eden is a first person shooter. But it's also a game unlike almost every other first person shooter out there. Dazzling visual and audio effects, brilliant level design, smooth controls, and a catchy technopop soundtrack form a solidarity with which Child of Eden rises to greatness.

Story:

If you haven't heard of Child of Eden, the game is essentially an on-the-rails first person shooter. The story is set in a distant yet near future, where space travel has been accomplished and the internet is referred to as "Eden." The first child to be born in space, Lumi, is saved into Eden's archives. Centuries later, scientists attempt to recreate Lumi from her record in Eden; to their dismay, Eden becomes corrupted (by futuristic spyware ads?). As the player, you are tasked with purifying Eden of this viral intrusion and saving the new Lumi from being destroyed.

Review - Green Lantern (2011)

WARNING: Minor Spoilers Follow

So ... lucky me, I have a friend who works at WB, and she graciously invited me to attend an early screening of Green Lantern. If you're like me and have been cautiously scanning rottentomatoes.com for early reviews, you'll know it hasn't exactly been impressing people as the best comic book movie adaptation. The general consensus is that it's quote "noisy, overly produced, and thinly written, squandering an impressive budget and decades of comics mythology."

I don't agree.

Yes, the background is laid on a bit thick; the opening narration bombards you with exposition meant to quickly catch non-comic book fans up to the setting. Sure, the story is befuddling at some points. There were 2 or 3 moments in the plot where I thought flat-out "this does not make sense." No, I can't deny that some of the characterization is a little weak and some of the plots are a bit derivative. Hal Jordan (played by Ryan Reynolds), for example, doesn't seem to know if he wants to be a wisecracking jackass or a soldier of honor and duty, fluctuating between the two just a little too quickly to be believable.



But who are we kidding? You're not going to a movie about a man who can create "hardlight" green energy with an alien ring for a thoughtful plot and deep characters. Green Lantern doesn't try to be anything other than what it is: a fun, action-packed and exciting adventure. And for the most part it succeeds.

Green Lantern is the story of Hal Jordan, a jet pilot whose prone to giving up for fear of failing (sorry, had to do it). When an alien spacecraft crashes onto earth and its occupant informs him that he has been chosen to be part of what is essentially an intergalactic police force, Hal rolls with the punches and joins up quickly. What he soon learns is that the personification of Fear, named Parallax, has escaped from its ancient prison and now threatens the universe. What follows is Hal's journey to discover the strength inside himself to overcome Fear, and save the cosmos.

Yes, it's corny. Yes it's sometimes hard to swallow. No, it's not completely faithful to the comic book origins. But is it fun to watch? Fosho.

Ryan Reynolds serves as a capable Hal Jordan. Mark Strong is absolutely what I envisioned Sinestro to look like in real life. I couldn't shake Blake Lively from her role on Gossip Girl though. Isn't she in high school? Why is she romantically involved with a 30+ year old Hal? Squick factor level increased.


I'll admit the plot is essentially a thin narrative device for us to see the action, but I have to say the action was pretty spectacular. As a Green Lantern, Hal Jordan is able to conjure up emerald energy into whatever shape or form he wishes, limited only by his imagination. He does so with spectacular bravado in the film, conjuring swords, machine guns, fighter jets, race cars and energy balls, all to different - but useful - effect. The visual and special effects are breathtaking; Oa, in particular, is a vibrant world rendered beautifully - simultaneous alien and still entrancing. Parallax is similarly animated.

I suspect had the film been released before Thor and X-Men: First Class, it might have garnered more forgiving reviews. I can't deny that Green Lantern doesn't quite capture the human and emotional aspect of cinematography as well as the two Marvel Comics blockbusters did earlier this year. Still, for what it was trying to be - a light-hearted action adventure sprinkled with just the right amount of humor - Green Lantern does a fine job.


Finally, I'll go ahead and admit right now that I may have gone into the screening with very low expectations. Do yourself a favor and do the same. Don't go in expecting the next entry in a deep, emotional film filled with social and political commentary. Go in expecting an easy-to-watch action-flick and you'll be pleasantly surprised.

Recommended For:
+ Green Lantern Fans open to a few mythology changes
+ People who don't mind suspending disbelief
+ Like Stunning CG and Visual Effects? Watch it just for that.
+ Scifi/Fantasy Action Adventure Fans
+ Ryan Reynolds. Blake Lively. Need I say more?

Not Recommended For:
- Green Lantern Loyalists
- People expecting X-men: Second Class or for lord knows why, Schindler's List 2
- People who don't like Scifi, fantasy, comic books, or action movies - what are you even doing here?
- People without suspension. Suspension of disbelief, that is.
- Ryan Reynolds. Blake Lively. Need I say more?

Movie-goers be warned. The screening I attended was for 3D, but I hardly noticed any 3D effects at all. Save yourself a few dollars and go to a regular showing.


Green Lantern Feature Trailer From Trailerpulse

Review - Dragon Age 2 (DA2)

Overview:

It is perhaps impossible to review Dragon Age 2 without making comparisons to its predecessor. Dragon Age: Origins was a stunning achievement in late 2009, winning multiple game of the year awards and lauded as one of the best RPGs of the generation. Considering the daunting tasks that the game had to achieve and how well it succeeded - creating an immersive setting, establishing a fun and tactical gameplay system, and building a strong fanbase for future games to capitalize on - it's no wonder that the game took 5 years for the RPG veteran Bioware to complete.

Comparatively, Dragon Age 2 was released in March of 2011, less than 1.5 years from the release of the original in November of 2009.

That was probably the first clue that something was wrong.

Admittedly, a large part of the effort that went into making Dragon Age: Origins was completed with the first entry in the series: establishment of lore being the main part. Still, 1.5 years is a short turnaround for an epic RPG series, and I was worried that the brief development time might impact the quality of the sequel.

I was right to be worried.

Story:

Dragon Age 2 throws you back into the immersive and wonderfully-crafted world of Thedas, a world where perhaps only 1.5 years ago you were playing a Grey Warden fighting a seeming hopeless war against the Blight. While your warden's adventures took place mostly in the nation of Ferelden, Dragon Age 2 focuses on your character's life in Kirkwall, a coastal city to the north of the blight-stricken Ferelden. This time around, you're forced to play a human (gender and class selectable) named Hawke, and the story largely follows your escapades in becoming a champion of the city.


The overall plot of the game is told through a framed narrative: An NPC named Varric recounts your tale to an enigmatic Seeker trying to uncover how exactly Hawke rose to power in Kirkwall. The gimmick is an interesting one, though it's employed too sparsely to have any meaningful impact; essentially, the game is divided into three major acts and a brief prelude over a 10-year period, with Varric narrating the intermissions between each act. In a 40-50 hour game, the plot device seems tacked on at best, though it does boast excellent voicework and some good humor.

The individual acts succeed (for the most part) on their own storytelling merits, with some throwbacks to your previous decisions (and if you import a DAO save, your Warden's decisions in the first game). Where the story falls apart is trying to tie those loose threads together: Dragon Age 2 doesn't have the same epic feel that Origins so proudly bore; years pass between each act and it's difficult to see how exactly the pieces of the story fit together, largely because they don't. The end result is like playing through a disjointed sequence of events, rather than a tightly constructed tale. While the tale of Hawke's rise to power is still an interesting one, you realize Hawke rises to Champion not because you saved the city or amassed a fortune: Varric simply tells you it happened during the 3 year time jump.


Gameplay:

When Varric's not telling your story, you take control of Hawke and - depending on your class - maul, backstab, or blast your way through the multiple main and side quests. The core of the gameplay is combat, and here the sequel really shines. While DAO's combat was exciting, it also had a very plodding, almost lazy feel to it. When I watched Alistair slash enemies, he did so with such methodical slowness that it felt almost as if he was trying to move through molasses.

Dragon Age 2 has sped up combat significantly, and it really feels much more fast-paced and alive than its predecessor did. Combat animations are flashy and impressive, and no longer do enemies and allies suffer from "shuffling" syndrome - combat abilities are executed immediately and with ferocious intensity. The introduction of "cross-class combos" also adds a distinctive tactical flare to the game, and a critical element to take advantage of on the harder difficulties. All classes are able to use certain abilities that inflict various status effects on enemies, opening them up to receive further punishment from your allies. Pulling off a cross-class combo is deliciously satisfying, and this feature combined with all the other changes really improve the overall flavor of combat.


Leveling up is a fun experience too. Gone are the single-line of talent points from the first game: instead, players now use a tiered and chained set of talent trees. Various selections unlock new abilities and players can also choose to improve their existing abilities rather than to diversify. The improvements are significant, so no talent point feels like it's been wasted. By the end of the game, Hawke truly is a formidable master of his craft with dozens of spells and fighting talents at his disposal. The one questionable change from the original game is the removal of skills. Previously, skills such as persuasion and pickpocketing could be improved with each levelup: these skills have all vanished, for no apparent reason. Overall though, the game remains a lot of fun to play.

That said, there are a few changes from the original series that are baffling: first, the overuse of exploding enemies. Enemies vaporize into chunks of blood and gore at the mildest of whacks, smacks and tiffs, and it definitely removes the sense of gritty realness from a game that otherwise is deeply immersive (this has been remedied in a recent patch, to my knowledge). Second, and perhaps more glaring is the removal of the tactical camera present in the PC version of Dragon Age Origins. DAO's tactical camera on the PC version of the game was really a godsend, enabling players to get a wide view of the action and plan their battles accordingly. The removal of that camera is an inexplicable loss.


If only those changes were the only ones to mar Dragon Age 2's otherwise polish. Unfortunately, the short turnaround cycle shows very early on exactly the toll it took on DA2's presentation. First, the encounters - while the first Dragon Age was filled with hordes of evil monsters and darkspawn trying to devour your party, each encounter was carefully crafted and allowed room for tactics to make a difference. Dragon Age 2, unfortunately, relies on what has become infamous as the "wave" mechanic. You first encounter one wave of enemies and engage them; just as you defeat the last one, you realize that literally out of nowhere, new enemies have fallen from the sky or popped out from the earth to swarm you once again. Just as you think you're done mopping up the last of these, a third wave hits you. Mind you, these aren't flying birds or burrowing worms that are attacking you - bandits, undead, darkspawn, and even guards appear out of nowhere to ruin your careful positioning and artificially increase the difficulty of the battles. The result is always a battle of attrition, and a test to see which side can keep their health bars going the longest. Dragon Age 2 employs this tactic for almost every fight in the game. No, I'm not exaggerating; it almost ruins the fun from the new combat flow.

I suppose that the wave-system of enemy encounters might be chalked up to a poor design decision, and in no way related to the constrained time frame between game releases, but there can be no question about my next issue with DA2's design. Recycled Areas. Forums are ablaze with people lamenting Bioware's decision to reuse areas for quests that are supposed to represent different locales. The first Mass Effect also suffered from this problem, but it was a minor nuisance in that game at best: it only really impacted the smallest of sidequests in that game. In Dragon Age 2, the recycled areas cover not only sidequests, but main-plots as well. Every single cave, dungeon, sewer, or estate is literally an exact copy of the one before it. The effect is totally immersion-breaking and an unbelievable misstep for a developer that is lauded for its storytelling skill. Setting is an important part of storytelling; if the setting never changes on the screen, your story will suffer.


When you're not tackling the main quests or being assaulted by endless waves of enemies, Hawke can also pursue (in standard Bioware form) romances among the many companions he'll get to know along his journey. Gay and Straight options are both available, and there's even an option that is doomed (*cough* Aveline *cough). For the most part, these romances are deep, engaging, and have that poignant quality that makes you go "Aww" despite the fact that you're staring at fictional characters animated through lines of code.

Side quests litter the games multiple acts with various degrees of quality, though most are forgettable fetch and deliver quests. Interestingly enough, Bioware actually streamlined the fetch and deliver system so that you don't even need to be asked to find something anymore. Side Quest items are automatically marked for you and Hawke is magically able to identify trash without any knowledge of its significance or its owner. It's somewhat amusing to hear Hawke muse "I hear you've been looking for this," and then hand over random junk to an NPC he's never spoken to and has no connection with.

I suppose it does cut down on the backtracking though.

Graphics & Sound:

Dragon Age 2 features revamped art style, in an effort to distinguish the franchise from more generic fantasy tropes. For the most part, these art style changes have been a hit or miss. The race of Qunari, for example, have absolutely been improved from the original game, where they looked essentially human. Now, they have their own, unique look that easily identifies both the race as well as the Dragon Age game. Darkspawn, on the other hand, seem to have been dumbed down from the horrifying terrors they were in Origins to albino zombies.


From a technical standpoint, Dragon Age 2 serves competently (though it can't compete with games like the Witcher 2). On my average rig, I experienced no major bugs or glitches, and animations and models were done superbly. The environs were adequate, though they quickly became stale, especially with the recycling of maps mentioned previously.


DA2's voice work continues Bioware's tradition of excellent acting and cinematic storytelling. Every character and line was delivered with skill, and I really liked the way Hawke's tone would change based on your play style - Diplomatic Hawke was definitely different from Aggressive Hawke. Other characters are competently voiced as well, and the actor who plays Varric - as both the narrator and comic relief - does an excellent job.

Inon Zur returns to score the sequel to DA Origins and his soundtrack features more memorable tunes that are interesting in their composition and just fun to listen to. Several romantic scores wiggle their way into an otherwise combat-heavy musical experience.

Final Thoughts:

I can't help but feel Dragon Age 2 could have been so much more. Some of the design decisions are hard to question. If more time were spent developing new areas instead of redesigning the art style for one. Or if more time was spent implementing unique encounters rather than dumping loads of forgettable side quests onto the player. Hindsight is 20/20, I guess.

It's interesting to see Metacritic's score for the game - professional reviewers average out around 80 while user reviews average at 45 (PC version). Is there some sort of professional conspiracy happening? Not really - Dragon Age 2 by itself is really a good game. It's just that in comparison to the glow of its predecessor, good just doesn't cut it.



Recommended For:
+ Fans of Dragon Age willing to be open-minded about some of the more obtuse design choices.
+ Fans of RPGs
+ Gamers who Don't mind Deja Vu (Recycled Maps, Forgetabble Side quests)
+ Fans of Bioware Storytelling
+ Gay Romance Points

Not Recommended For:
- Dragon Age Loyalists
- Baldur's Gate Loyalists
- People who think other people talk too much
- Homophobes

*This game was reviewed on the PC. Dragon Age 2 is also available on Mac, XBOX360 and the PS3.