Donlevy Reviews Hotline Miami 2: Wrong Number -- Beware the Chicken Mask

Hotline Miami was psychedelic insanity and brutality in an inexpensive and replayable package; a stellar example of simple mechanics with intense execution. It's sequel, Hotline Miami 2: Wrong Number, aims to expand on what the original created with new masks, more gameplay and an improved story that tackles even more characters and time frames.
Given the nature of the preceding game it's an ambitious undertaking, but one that, sadly, doesn't come together unscathed. An incredible new soundtrack and expanded narrative don't make up for flawed and frustrating gameplay choices that take away from what made the original so invigorating, even though there are semblances of such greatness to be found.

In Hotline Miami, the player controlled the mysterious Jacket as he went about 1980's Miami slaughtering Russian gangsters in their hideouts at the behest of bizarre phone calls. He could wear multiple masks that would each bestow a trait or bonus that changed how you approached each level. In Hotline Miami 2, the player now controls multiple characters rather than select individual masks, with events flashing between both before and after the first entry. This means the game serves as both a sequel, and as a prequel. The story is divided up into several chapters, made up of various "scenes" each with an intro and ending/results screen. Of the characters, some are allowed a choice of ability or weapon, or in the case of The Fans, four (technically five) different characters with their own traits. Other characters exhibit unique attributes never before seen. Evan, for instance, is the only character that is non-lethal, unless you continue to finish off a downed enemy. Otherwise, he disassembles guns he picks up, and doesn't kill with melee weapons. Alex & Ash of The Fans are a brother/sister duo who wield a chainsaw and gun. They're hard to control, and susceptible to a few pathing issues, but are absolutely memorable.

What makes the Hotline Miami games so immediately striking is two-fold: a combination of the pixel-based ultra-violence and the mesmerizing electronica/house soundtrack. The games evoke a colourful, exuberant 80's landscape through these features, and are stylized with an almost hedonistic flair. In fact, it's in this sense that the games bridge their theme and gameplay; from psychedelic to psychosis. Levels are drug-addled insanity, with a pumping, fast-paced song filling each level, peppered with colours, numbers and blood flying all about, and dozens of bodies in the wake. When the mayhem is done, the record stops and you're left to witness the gruesome landscape before you, as a terrible reminder of your actions.

Because make no mistake, like its predecessor, Hotline Miami 2 is bloody, brutal and utterly, utterly violent. Parents best keep their children away from this one. You take out the faceless, pixel-made enemies in morbid and horrific ways, and Hotline Miami is not above disturbing the player. Guts and gore are commonplace as you achieve your main objective: eliminate each level's opposition. From a top-down view of the level (usually a building), you control the character in any direction, being able to throw punches or use weapons with one button, throw and pick up said weapons with another, and finish a downed enemy or perform a special move with one more. You also have a "lock-on", and a "look" button, the latter of which allows you to see further ahead, and which you'll be using a lot, and the former of which you will likely not use at all, as it is often more trouble than it's worth. You usually can only withstand one hit, or a few stray bullets, so the core element of Hotline Miami is quickly and efficiently taking out every enemy before they get you. Simple, hey? Well, besides the average bat-wielding henchmen, other enemies include gun-wielding henchmen -- the bane of every player -- bigger baddies that can only be killed with said guns, and fast baddies that can only be killed by melee attacks. These folk exist to screw with you, so juggling priorities on who to take out and when is an engaging element of the typical fast-paced nature of the game.

That is of course all well and good in theory. Sadly, a few additions to the game hinder what is already a proven formula. For starters, while the decision to have multiple characters over different masks make for better story and variety overall, it's ultimately more linear because of your restrictions on playstyle. Most of the levels don't feel particularly geared towards a certain character from a gameplay perspective, and the levels where you do have a choice are limited to 3-5 masks/characters/weapons.

Which leads to the most evident problem: the levels themselves, which have been expanded both in length and level size. It's surprising, given that a few key levels are totally unique and delightful only because of their scope. Indeed, those levels evoke classic Metal Gear, except with an unreal amount of blood. Yet they too fell prey to the irony I faced: that even though the levels appear to be sufficiently wider and privy to different tactics, I felt more restricted in my approaches than I have ever been before.

As an example, there's an opening section of a mid-game level that's one large hallway with two slight indents on the north and south side. You don't start with a weapon, and only one of the guards has a gun: and he has a clear line of sight to you in every possible way unless you are essentially in the doorway of the level start. There's absolutely no cover at all. And of course, he patrols alongside a melee-immune enemy. So, you either get shot/hit trying to take out a nearby enemy holding a throw-able weapon (presumably to throw at the guy with the gun), or taken out by his buddy AND shot if you try and get the guy with the gun outright. You know, some might call that a "challenging puzzle," but I say nonsense. You are entirely limited on options, and you'll be replaying such a simple level over and over until it feels like you either cheated your way to the next section or exploited a glitch or "cheesy" solution. That's simply not fun. That's insulting.

And when I said you'd be using that "look" button a lot, I meant it. You'll be making good use out of the feature, so much so that most of the game will be spent in it, which causes problems when encountering enemies at close range where the disorientation usually leaves you dead. Levels at each point in the game practically force you to constantly and consistently use the feature to look for two things: windows, and gun-toting henchmen. Windows, as you might infer, are an immense hazard, and an immense pain. They allow enemies to spot you, AND shoot you, through the glass. Windows are not a new feature, but they've been exploited to an absurd amount, to the point where I'd call the enemy hangouts less "gang den" and more "carnival fun house." With less of the fun.

In fact, the amount of both windows and guns in this game has seemingly been increased by a tremendous amount. And you might be able to tell where I'm going with this. The larger and less timely levels make you a target from across the map by enemies with pin-point accuracy. Sometimes far enough that you'll likely not even see them until they unexpectedly run up to you. This fact, coupled with the partitioned design of the rooms, means that a great majority of your successes will be from baiting enemies to a hidey-spot and eliminating them as quickly as you can, while you sit in a corner and wait. It feels dissimilar to the first Hotline Miami, wherein many levels were quick, calculated, and deliberate rushes to the finish, and your speed and reflexes determined the outcome. Here, too much time is spent in a mock game of hide-and-seek and peek-a-boo. These common occurrences make for what is basically a "camping" simulator. Enter room, sit in corner, fire a shot, wait, kill, peek out, repeat. Don't get me wrong, this was a problem in the first game too, but not in this capacity. And the longer levels make these excursions far more tiring.

There were simply too many times where when I finished a level I wouldn't feel gratified, happy, or even victorious; I'd feel relieved. Like I had just finished a burdening test of both patience and willpower. I held no care for whatever final score I was awarded upon the complete tally of my meta time and effectiveness; a complete reversal of my thoughts from the original. Several levels just dragged on, while I continually hoped the next room would be the last. That's not right, man!

On top of all of this, there's recurring glitches and annoyances to contend with everywhere. Doors and doorways are hazard zones, mostly because it's far from uncommon to see a baddie stutter and flicker in the middle of the doorway, sometimes being immune to damage unless it's precise. These enemies can also sporadically fix themselves, and proceed to end the player in the confusion. In a rush, it's also entirely possible to cycle through empty firearms in a feverish bid to save yourself, due to the stockpile of bodies likely in front of you in such a scenario. It's a consistent pain, since you're basically at the mercy of how far apart the weapons happen to be, in which case you better watch carefully. And for one reason or another, it always seems that guns never properly fire through an archway, usually as you try and move and shoot. A strange bit of clipping. You could try the lock-feature, but in that case, I say good luck.

It's unfortunate that for a game with such strong production values, the gameplay can't do it the justice it deserves. The style and themes are endearing and fascinating, and I can not stress enough how great the soundtrack is. I suppose one of the few positives of the long levels is that you have more time to listen to the stage's music! And I do highly respect the tone and art-house feel the narrative provides (the original game listed the movie Drive as an inspiration). It's tough; there are parts of the game that feel like a truely improved sequel, and that energetic rush that defines Hotline Miami is still present in the better parts. Yet the grievances and frustration in the level design are not something so easily put aside. It's fun mayhem, but it's also heavily flawed mayhem.

YAY

• The soundtrack is glorious. Might well be the best part of the game.
• An expanded story that adds different characters and points in time, making for good variety. A thematically fascinating game.
• The additional characters play differently and have unique abilities. The brother/sister duo are particularly notable.
• Occasional exhilarating moments reminiscent of the best Hotline Miami has to offer.

NAY

• Longer levels don't work in the game's favour: makes completing them feel more relieving, rather than satisfying or exciting.
• A few recurring glitches and design flaws make luck a far more common crutch than it really should be.
• Too many levels just become a glorified (and violent) game of "peek-a-boo." Kills the hectic pace the series is known for.

Mass Effect Retrospective: Part 1

Today, March 6, 2015, marks the three-year anniversary of the release of Mass Effect 3, effectively concluding BioWare's epic, space opera RPG trilogy. So I, Donlevy, have decided that a retrospective is in order to honour perhaps my favourite original game series of the last several years, certainly of the previous console generation. Parts 2 & 3 will come, but not immediately. I still need to replay the other two! Hopefully that will encourage me to put more stuff up in the meantime!

The Edmonton-based studio BioWare has been responsible for a legacy of quality RPG releases, from the Dungeon's & Dragons driven Baldur's Gate and Neverwinter Nights games, to Star Wars: Knights of the Old Republic, Jade Empire and the recent Dragon Age series. But before Dragon Age, BioWare released the original Mass Effect on November 20, 2007 for the Xbox 360, and the PC six months later. A version for the PS3 came digitally just over five years later, as a result of the Mass Effect Trilogy compilation.

With Mass Effect, the team at BioWare created an original futuristic science-fiction epic spanning the entire galaxy. In the 22nd century, ruins on Mars are discovered that house the technology of an ancient spacefaring civilization, the Protheans. From this discovery, humanity learns of the phenomenon known as the "mass effect", which through the use of dark energy, allows travel to the furthest stars. Now, 30 years later, humanity is a young player on a galactic stage filled with multiple spacefaring races. As Commander Shepard, you embark aboard the SSV Normandy on a mission critical to the survival of not only the human race, but of every species in the galaxy. As an RPG, Mass Effect lets you make crucial choices and decisions, and affects much of the story. Either redeeming or damning, how you respond to characters and your own actions influences different stages of the game, and a great many choices have repercussions in later games, when you import a completed character into Mass Effect 2 and 3.

In creating Shepard, either female or male, you choose one of three personal background histories, and one of three stories of repute. You also choose between one of six classes: the combat-heavy Soldier, the biotic-specialized Adapt, the technical Engineer, the biotic warrior Vanguard, the sneaky Infiltrator, and the multitasking Sentinel. While the personal histories affect mostly conversations and certain quests, your class (along with however you customized Shepard's facial features) will be the most visible differences during a playthrough. Your class will determine how you act and react during combat, and what you can equip or upgrade throughout the game.

Because, indeed, the galaxy is a dangerous place. Commander Shepard will have bounty hunters, synthetic robots, and other scum and villainy to contend with while exploring planets and completing missions. As is customary with this genre, doing said missions advances the story, but there are many more assignments to find on the side that bring you to other worlds in other star systems, where there is more gear and experience to earn.

The previously mentioned Normandy is your starship; the base of operations where you as Shepard can talk to crew members and plot destinations via a galaxy map. The map shows you whichever planet you're currently orbiting, with the ability to zoom out to a solar system level, further still to a cluster level, and finally to the entire expanse of the galaxy. Obviously you can't go anywhere and everywhere, but the Galaxy Map still features as an exciting part of every Mass Effect game, and really gives a sense of scale to the galaxy at large. Even with restrictions, you are given dozens of systems to explore within multiple clusters, and each solar system is guaranteed at least one planet you are able to land on, with the others being scannable for resources or quest items.

Landing on a planet (or station) gives both one of the best and one of the worst parts about the game. You see, Mass Effect excels at atmosphere and design. Grand structures of intrigue and mystery and starships of intricate and precise craft permeate the game world. It's clear from a design standpoint that Mass Effect has subtle references to other works of science-fiction, but succeeds in making something wholly unique and special. Places look sufficiently alien but also delightfully futuristic, and places like, for example, Feros and The Citadel are unique in both their architecture and their history. And the uncharted planets you land on can range from sprawling dunes to mountainous regions of dangerously frigid temperatures. Sadly, that leads to the bad part: physically exploring these planets. The Normandy houses a land rover called the Mako, equipped with a machine gun and turret, that you use to get around on the planets below.

The Mako is, to put it lightly, quite aggravating.

Controlling the Mako itself is cumbersome and unintuitive, and half the time ground-side you'll be struggling to keep the silly thing level and stable, or otherwise desperately using the small boosters to try and push yourself out of a ditch. Many planets feature hills and mountains, and there is not always a clear way to get up or around these besides just powering up them, sometimes vertically. Most of the time it feels like you're fighting against both the controls and the terrain. And if the landscape doesn't get to you, a rare occasion of a thresher maw rising from the ground and flinging your poor Mako to certain doom most certainly will.

You can still exit the Mako at nearly any point, and from there on foot can explore interior structures, oftentimes leading to combat scenarios. You can direct your two chosen squad mates to an area, or have them use one of their powers, in a way that allows for tactical set-ups. Depending on your class, you'll have varying access to your four weapon types: assault rifles, snipers, shotguns, and pistols, and each can be outfitted with a modification and other forms of ammo, noting that weapons overheat rather than have a finite supply of bullets. Each have their uses, but you can't effectively use a weapon that you're not specialized in. Taking cover is an option, but there is no actual button press to go in and out of cover, rather you simply run up against a wall and hope Shepard will cling to it. Taking out enemies will give you freedom to explore areas and gain loot. Crates and lockers are plentiful, and opening one will give you weapons, armour, amps, or multiple upgrades, usually scaled to your current level. I'd recommend selling excess equipment frequently, as you can quickly reach the inventory limit if you plunder every crate and box around. Hoarders beware.

The combat and action itself is functional and varied, that much can be said. But it is, unfortunately, geared far more towards the use of weapons over powers, and this makes any class other than the soldier feel immediately less effective, at least initially. The biotic classes, ones who use a form of telekinesis to affect objects and/or enemies, are particularly affected. Power recharge rate is atrocious before you can truly level up the abilities, so classes like the Adept or Sentinel are at the mercy of their strongest pistol. It must be said, however, that by the late game the powers of the other classes can become incredibly useful, and even ridiculously strong. The Adept's Throw, for example, simply annihilates groups of enemies at higher levels, especially when used wisely by other objects or ledges. It would be utterly disgusting were it not for how incredibly satisfying it is. If you ever wanted the equivalent of a massive Force Push from Star Wars, that's your ticket.

Yet even with all of that said, to this day the combat of the first Mass Effect is something of a mess. Its sequels improved combat (among other things) by leaps and bounds, so it is admittedly hard to look back on the original gameplay without an immediate comparison. There is something to be said though of overall technical performance in relation to one's experience of the gameplay. Many problems within combat, as well as much of the game really, stem from performance issues and fluidity. The Xbox 360 version is arguably the worst offender in this regard, and it's quite common for the game to stutter and slow down during battle, making otherwise simple tasks a hassle while playing on the console.

Which is of course a symptom of a larger problem: the overall technical and graphic performance of Mass Effect is not great. PC users have far less problems to fix and deal with, but for users of the Xbox 360 version, the game is littered with texture pop-ins, uneven sound effects or complete lack thereof, and glitches involving the world and structures, some of which can even freeze you in place. Such glitches involving the game world are uncommon, but you'll find that the game has almost a fragile feel to it, and I recommend keeping that auto-save on. Preferably while also saving often.

And yet, despite the tech and gameplay issues, Mass Effect still excels magnificently at its other core features: world-building and character development. Opening the start menu lets you view the Codex; a treasure trove of information pertaining to the different races, planets, technologies, and scientific principles that play into the story and lore of Mass Effect. The Codex is just brilliant, and it does a marvelous job of making one invested in the game's universe. A lengthy bit of reading for each section, but worthy reading nonetheless. In fact, invested is the word that can summarize how much one gets out of the overall story of Mass Effect. The game is story-driven, and as such, it pays to invest into learning about the various races and histories. While it may seem tough at first given the extent of the lore, I promise you the pay off is incredible by the end of the game.

And of course, the character's themselves will also likely highlight much of your overall experience. Mass Effect is filled with memorable crew members and squad mates, all of whom have many interesting things to say. Everyone has a history of some sort, and taking time to talk to team members builds upon their individual histories and personalities. Exploring conversation is a staple of the Mass Effect games, and this is done via a wheel that allows you to select responses and actions. Upper choices typically result in a "paragon" action, while the lower choices fit the "renegade" style. This does allow you to govern the path you want Shepard to take, of course, but I do think personal choice should always be considered. The paragon and renegade system is the core of Mass Effect, and the result of your moral choices will change how others perceive you. And as mentioned before, the choices you make have consequences, and affect the story accordingly, with many actions making huge impacts in the sequels: perhaps the hugest draw for playing the first game before 2 & 3. I do hope I'm doing the mechanic justice: it really does affect nearly everything you do, and will do. It is something best played and experienced, rather than told.

And it has to be said that the voice work is excellent across the board. You'll no doubt recognize some voices and their actors. Of course, one can't help but mention how great both Jennifer Hale and Mark Meer are as the female and male Shepard, respectively. Quite notable, indeed. And the soundtrack, oh, the amazing soundtrack! The joint work of both Sam Hulick and Jack Wall is a synth-heavy, electronic score that is reminiscent of space and sci-fi films of the 80's. The soundtrack nails the tone, and combined with the already impressive visual design make for a wonderful sense of place throughout the game.

With all of its elements put together, the original Mass Effect is a unique benchmark. While still suffering from gameplay and technical issues (albeit, with some fixed in the PC version), its lasting impression is one of admiration. Yes, combat is rough. Yes, the Mako is a test of patience. But these problems are vastly outweighed by the sheer amount of combined elements of design, production, and world-building, and the absolutely incredible story it began. Clunky, yes, but memorable in its own way. Mass Effect laid the groundwork for an absolutely outstanding series, and I'll personally always look back on it fondly. This story is just beginning.

Oh and as a bit of foresight: thankfully and mercifully, you will never have to worry about the Mako over the rest of the series!


YAY

• Stand-out sci-fi excellence, and a story worth investing in.
• Visual style and world building replete with care, substance, and detail.
• Incredible synth soundtrack and audio design. Voice acting is superb. Jennifer Hale and Mark Meer provide stellar work as Shepard!
• Quintessential RPG elements that together craft an intricate and personalized story.

NAY

• Littered with visual hiccups and glitches, especially on the Xbox 360.
• Combat is sluggish and messy; doesn't hold a candle to its successors.
• Several instances of repetitive, clunky animations and combat dialogue. 
• The Mako land rover is little more than a gigantic pain in the ass.

Newz. With a Z. -- Various Topics of the Past Week! Donlevy Style. Whatever That Might Mean.

Quite a bit's happened this past week. Let's get to it!

Jon Stewart's Leaving the Daily Show

I should probably start with one of the more depressing news bits of the past while, and that is that Jon Stewart, host of The Daily Show, will be leaving sometime later this year. I've never talked about either Jon or Daily Show, so this inclusion may seem a bit unusual. The truth is however, I have a huge amount of respect and admiration for both. These are strange times indeed when the most trusted news source is in fact a largely comedy and satire-focused program. But The Daily Show made not only legitimate and eye-opening reports, but also made the stranger news digestible for someone like myself: a 20-something Canadian. Demographics be damned, I've always enjoyed the program, and Jon's seamless and fast-paced approach to the ridiculousness of the going-on's in the world. Both are something of an inspiration. Jon's comedy and style has always been grounded and logical, and he always feels genuine. He and The Daily Show have always felt, as conversely as it might sound, authentic.

Not only that, but The Daily Show has procured numerous amazing talents like John Oliver, Jessica Williams, Samantha Bee, Asaif Mandvi, and of course Stephen Colbert. And if you look into the roster of former correspondants, you might find several familiar high-profile folk. The Daily Show's proponent to foster talent is one of the standout features of an already impressive program. Because of this, I feel that when the unfortunate time comes to choose a replacement, there's definitely a large pool to draw from.



Spider-Man

While it had long been rumoured following the lacklustre performance of Amazing Spider-Man 2 and the Sony leaks, it's now official: SPIDER-MAN'S COMING BACK TO MARVEL! Yes, in an utterly crowd-pleasing move, it was announced that Marvel and Sony will now effectively share joint-custody of my favourite superhero, Spider-Man, after more than a decade of Sony's ownership. This...will probably seem confusing to those unfamiliar with comic book licenses and such. After all, Spider-Man's already part of Marvel, right? Well...yes and no. Marvel has always kept the rights to Spider-Man in print and merchandising, but not in film.

See, long before Marvel would helm its own film company and create the Marvel Cinematic Universe, many of the film rights to their characters were sold off. This is why the X-Men and Fantastic Four movies are distributed by Fox, and why Sony Pictures has been responsible for Spider-Man since the early 2000's. But now that Marvel Studios is in full swing of the MCU, there's bound to be conflicts and problems with licenses and such, due to character crossover from the original comic material. Case in point, the thorny issue of Quicksilver -- a character both in Fox's X-Men: Days of Future Past, and the upcoming Marvel Studios Avengers: Age of Ultron. It's...strange, to say the least. See, Quicksilver is both the son of Magneto, and thus a mutant (X-Men)...but also an Avenger (MCU). So what does this mean? Well they're both played by different actors, for one. In the case of the Fox movies, he has a different backstory. No Avengers association. In the Marvel movies, Quicksilver, and his twin sister, Scarlet Witch, also have different back-stories, and are not called mutants. Rather, they are referred to as miracles...or in the future, Inhumans, if I had to venture a small guess...

Way off topic. My bad. Anyway, this has meant that Spider-Man, normally a big player in any Avenger's storyline in the comics, has been unable to interact with any other character outside his own series. But now, this new partnership between Sony and Marvel means that Spider-Man can now be in MCU movies, have his own standalone movie (yes...another one), with plans to include characters from the MCU in such a movie. Sony ultimately still has a final say in the matter, creatively, but now Marvel's brought in their talents to finally help out with the struggling series. One of the worst kept film industry secrets, which the Sony leaks helped prove, was that Sony Japan was royally pissed at the poor performance both critically and commercially of Amazing Spider-Man 2, and practically begged the overseas film section to strike a deal with Marvel, who have thus far proven themselves more than capable of handling superhero-based movies. In the end, it's a win-win for both studios. Sony still gets a cut of the action, and Marvel gets Spidey back.

And, personally, I am very happy with that!



New Studio By Ex-Rare Employees!

The UK based studio Rare was once the greatest second-party developer of its time. Then known as Rareware, the studio created numerous masterpieces on the Super Nintendo and Nintendo 64 such as the Donkey Kong Country games and Donkey Kong 64, Banjo-Kazooie, Perfect Dark, Killer Instinct, Conker's Bad Fur Day and more. The Golden Age of Rareware is possibly my most nostalgic period of gaming, and easily one of the most memorable. The story of Rare is worthy of its own devoted piece, but for now, all you need to know is that in 2002 Microsoft outright bought Rare, and from there the Golden Age dwindled away. The Rare that was once a centrepiece of quality has been relegated to Kinect Sports titles, having lost many of its original members and becoming a shell of what it once was.

However in September of 2012, a Twitter account called MingyJongo (from a character in Banjo-Tooie) was created by several former Rare employees to gauge interest in a brand new game from the minds that inhabited Rare's Golden Age. Sadly at the beginning of 2013, several of the members told the gaming press that such a task was no longer possible, because of current jobs and logistics. The dream was, for a time, dashed.

But on December 21, 2014, a full two years after the account had been last active, the MingyJongo account tweeted a cryptic "*Ctrl*", before following with "*Alt*" and "*Del*" in the following days, before issuing a new tweet on Jan 24 of this year, 2015, with "Installing update 0x1D597". Finally, after several more similarly cryptic tweets, on Feb 10 the account was renamed Playtonic Games, now with an active website, which currently showcases bio's of several former Rare employees -- who are now fully committed to making a spiritual sequel to the Banjo series.

OH. MY. GOD.

So a rough road, yes, but wow! The excitement!! While the hopes of a literal sequel to the Banjo games (Nuts & Bolts doesn't count) is now effectively moot, something akin to what Mighty No. 9 is to Mega Man is a thrilling thought.


Bethesda's E3 Conference

Now this is interesting! Bethesda, the publisher and developer responsible for the Elder Scrolls games and Fallout 3, among others, has announced that they will be hosting an E3 conference of their own when E3 begins later this June. To be clear, Bethesda has never hosted their own conference before, and this has lead many to assume that there will be some particularly big game announcements and reveals--chief among these, the long awaited - and unannounced -  Fallout 4. It's only February, and excitement for E3 has already begun brewing!

E3, the Electronic Entertainment Expo, is a yearly event that focuses on video game companies and their selections of software and hardware. It's arguably the biggest game-related event of the year, where developers and publishers show off their new software and hardware to the eager press. E3 consists of press conferences of the big companies, followed by several days of event coverage of roundtables, and the show floor, where games ready for demonstration can be played or observed. The press conferences that Bethesda is now a part of consists of Microsoft, Sony, Nintendo (via their, rather smart I might add, Nintendo Direct), EA, and Ubisoft, and since press conferences are held to showcase multiple games and demonstrations, I don't think it's a stretch to assume that Bethesda has something big up their sleeve! What better way to make a memorable debut conference?

I do hope a Fallout 4 is among the titles, but apart from that, several games expected to make an appearance include the new and rebooted Doom (YES!), Battlecry, a free-to-play multiplayer game, and I suspect, a possible update on The Elder Scrolls Online. But June is still a few months away yet, so in the meantime, let the speculation begin!

Donlevy's Top 10 Games of the Year: 2014 Edition!

Look out, it's that time of the year again! No not a holiday, silly, 'tis the season of opinions! The time where the vast hoards of the internet gather 'round to list off in an orderly and redundant fashion their favourite video games of the year. So what am I doing differently?

Very little!

Many sites have their awards, and the rest have their lists. So I'm doing a little of both! 10 of my most wholeheartedly adored and favourite games of the year, plus several honourable mentions with their own special and not-yet-trademarked Donlevy Awards! How many people will disagree with my choices? Probably everyone! But it is, as always, my completely subjective list. And of course, I sadly didn't have the chance to try every game this year, so if you don't see a favourite on this list, I might have not played it yet!

[And just for the record, popular and acclaimed games I have not played this year include: South Park: Stick of Truth, Donkey Kong Country: Tropical Freeze, Far Cry 4, Dragon Age: Inquisition, Bayonetta 2, a bunch of 3DS stuff like Pokemon and Bravely Default, This War of Mine, Transistor, and several others...]

Good. Now onto the one's I have played. Beginning with the Honourable Mentions!


Donlevy Award for First Rage-Quitting Card Game:

Hearthstone: Heroes of Warcraft

I really, really wish I was better at Hearthstone. Alas, I am not. Despite my lack of skill, however, I have to give props to Hearthstone for its accessible, free-to-play nature with a vibrant and easily manageable interface, and for its addicting and deep gameplay.


Donlevy Award for Lion Around:

SMITE

I must admit that, despite some very lingering issues, I find SMITE to be the only MOBA that I can actually enjoy. Its use of third-person action is more engaging for me, and the aesthetic is strong indeed, taking multiple gods and goddess' from different cultures and giving them a big dose of tongue-in-cheek personality.


Donlevy Award for Terrible Horrible Nightmare Inducing Images of Despair and Disgust:

The Binding of Isaac: Rebirth

A "rouge-like" dungeon crawler with a very...unique aesthetic. The original Binding of Isaac was released a few years ago as a Flash version, but Rebirth improves upon every aspect of what made Isaac so memorable. Loads of new content and an updated engine make Rebirth quite a fun package, with randomized items and dungeons that make for a consistently fresh game.

Donlevy Award for The Game That Was Ripped Off Multiple Times and Everyone Played Inferior Free Versions Of:

Threes

If you haven't played Threes, you might have played 2048, or something like it, instead. Threes was the very original, and I believe the best one. Unlike similar knock-offs, Threes has a delightful and charming aesthetic that makes for a relaxing little brain game. By swiping together numbers to create larger numbers, you aim to make the largest set of numbers possible while maintaining the space to do so, with limited movement. Threes was my mobile addiction of the year.

Finally, on to the Great List That Is The Top 10 Games of the Year!



Number 10:

Five Nights at Freddy's

The first on the list goes to a game that I think might actually be equal parts fun to watch and play. The now infamous Five Nights at Freddy's puts you in the role of a security guard tasked with the night shift at Freddy Fazbear's Pizza, where the animatronics are out to stuff you into an empty animatronic suit. How pleasant! You must manage camera feeds and doors in order to stay alive the five nights, all with a limited power supply. Failing to carefully account for each animatronic will result in a jumpscare and a game over.

Five Nights at Freddy's not only quickly becomes a fast-paced test of both management and reflex, but of your own anxiety and composure. There's an eerie and unsettling atmosphere that only amplifies the experience. And before you really learn the game, jumpscares can seem like they appear out of nowhere, and when you do finally recognize patterns, it becomes all about how fast you can work under pressure of an impending jumpscare. It's really a simple game at its core, but I bow to its execution. Watching others play this is also a particular highlight.

Number 9:

Wolfenstein: The New Order

Easily the most enjoyable shooter I played this year (if you don't count Shadow Warrior, which technically came out last year), Wolfenstein: The New Order is damn good at what it does, and has a great art design and surprisingly strong narrative to top it all off. Nazi-killin' doesn't get much better than this, with Wolfenstein smartly improving or foregoing conventional shooter tropes of the past few years and looking back to more over-the-top iterations of yore. It's rare that a game can manage both stealth and action the way it does, but New Order does it with glee, sometimes doing so as a giant middle finger to mediocre and dull modern-day shooters. Wolfenstein: The New Order is a fine example of a game that combines shooter tropes both new and old, with great results.



Number 8:

Octodad: Dadliest Catch

I didn't really know what to think about Octodad: Dadliest Catch right away...but it certainly doesn't take long to grow on you! Octodad is one of those games where the challenge is in the controls -- on purpose (like Surgeon Simulator). It's an amusing and comical game with plenty of in-jokes to catch (no pun intended), and it is very inviting in its charm and oddball humour. And fighting the controls make for some surprisingly gratifying and satisfying moments! It can certainly be infuriating at times, and it might not be the longest game on this list, but for a budget title Octodad: Dadliest Catch is a fun, notable and memorable little game!



Number 7:

Middle-Earth: Shadow of Mordor

At its heart, Shadow of Mordor is really just a simple, sometimes generic action game that borrows elements from both the Arkham and Assassin's Creed games, with a story that is largely hit and miss. And yet...Shadow of Mordor implements everything in a stunningly efficient and engaging manner, wrapping everything together with the excellent "Nemesis System." It's both incredible and baffling that Shadow of Mordor could solve so many of the issues plaguing the Assassin's Creed series in one fell swoop; issues that AC has been struggling with for years. I intend to go more in-depth with an actual review for the game, but for now, know that it's the "Nemesis System" that puts this game on the list. The many uruk-hai that scatter the open-world of Mordor form a sort of hierarchy of power, with Captains making up superior ranks, and the Warchiefs ruling over Captains. Each uruk is unique and wonderfully portrayed, and how you interact with them make up the best parts of the game. Orcs can change positions from either dying or if generic-action-guy Talion (your character, of whom a Wraith inhabits) is killed by one. They will remember you, and adapt with strengths that can make for some tough fights. But there's plenty of options available to you in regards to uruk hierarchy, and the breadth of options from a rewarding and fun in-game infrastructure...and ultimately a great overall game.

And let's be honest here: everyone should play this game as Lithariel. She's awesome!



Number 6:

Mario Kart 8

I don't believe an explanation of Mario Kart is in order; it's freaking Mario Kart! It is a wonderfully accessible and enjoyable series that anybody can enjoy. It's also a nostalgic series for sure, and one that has only altered its formula in a handful of ways over the years. But damn if that formula doesn't just work like a charm! And of all the entries (really, there isn't a bad Mario Kart), Mario Kart 8 is certainly one of the best! The game looks absolutely gorgeous in full HD, and runs smooth as butter. The addition of the anti-gravity feature, in combination with the gliders from MK7, makes for some stellar and memorable track design, and the many kart combos is really something. Sure, I wish there were more characters who weren't babies, and the lack of a good battle mode hurts, but I can't honestly say that Mario Kart 8 feels like it's limping in any other department. Just fantastic production values and presentation, and strong-as-ever gameplay!



Number 5:

The Wolf Among Us

As much as I enjoy Telltale's Walking Dead games, I actually found The Wolf Among Us to be something a little more my style! Based on the Fables graphic novels, Wolf Among Us serves as a prequel, with you in control of one Bigby Wolf, otherwise known as the Big Bad Wolf himself. The setting and characters of Wolf Among Us are based on various fairy tales from the years, but now put into a modern noir setting...and it's terrific! Telltale does such a great job of breathing life into a game world and its characters, and everything about this game hooked me from the start. Like other Telltale games, you are given plenty of choices (and quick-time-events) and situations that can affect the outcome of the chapter or story, and so Wolf Among Us is entirely replayable multiple times. I don't know if there will be another "season" of Wolf Among Us, but I definitely intend to locate the graphic novels the game is based on. No question about that!

Number 4:

The Legend of Korra

Oh I'm sure this is one I don't think anyone expected, but...I had an undeniably large amount of fun with The Legend of Korra! If I start talking about the show the game is based on (and the predecessor show, Avatar: The Last Airbender) I won't shut up, and this post will go on forever. So. I will say this: I love the shows. Love them. So when I heard that the amazing PlatinumGames Inc., responsible for MadWorld, Bayonetta 1 & 2, The Wonderful 101, Vanquish, and Metal Gear Rising: Revengeance, were going to be developing a game based on the phenomenal Legend of Korra? You bet I was on board!

Playing as Korra feels great, and the tight and responsive controls make for excellent and satisfying combat that I know fans of the show could get a kick out of. The graphics do a good job of emulating the art style of Korra, and there's even some new animations! While you can't really explore the different locations so much outside the beaten path, their presence is really appreciated, and it's just cool to see these places realized in such a way. The different "talisman" you can equip change how you engage in combat, and makes for a neat tactical edge before a chapter. There's lots of things to either find in the levels or buy at the shop. Even Naga, Korra's polar bear-dog companion has a part, and her sections are neat little diversions that, while sadly on-rails, give a nice sense of speed, and will test your reflex. And when you complete the story for the first time, you even unlock a cool Pro-Bending mode! Honestly, for what it is, I'd say the game is stellar! If you can temper your expectations (it's not a full priced game) I think fans of the show in particular would love it.

I must say though, this kind of game does make me want a full-priced, open-world kind of title in the Avatar universe. I think that would be awesome! Ah, but what do I know.



Number 3:

Hyrule Warriors

Come on guys, Hyrule Warriors was bound to be on the list! It's brilliant combining of The Legend of Zelda and Dynasty Warriors makes for a fantastic and content-rich experience. I stand by with what I said in my review: it's not for everyone. But screw that, this is my list! There's so much personality and tribute found in Hyrule Warriors, and what a lovely thing it is to play as so many Zelda characters, each one unique, and some with entirely different weapon styles! I have not yet gotten bored of the combat and gameplay, I can say that with certainty. It's still as engrossing and satisfying as the first time I played it. And with new downloads still on the horizon, and not one but two Adventure mode maps I have yet to complete, I have no doubt I will be playing Hyrule Warriors for a long time yet!



Number 2:

Super Smash Bros. for Nintendo 3DS & Wii U

Yup. You can't argue with Smash Bros.! Seeing not only one, but two Smash games this year is quite a feat! Having Smash on the go for the first time is a completely new and welcome change of pace, and it pulled it off rather well, despite the limitations of a handheld. Of course, the main course is undoubtedly still the Wii U version, and it's packed with content! A new Smash Tour board game mode, returning stadium modes now with co-op, the Orders modes, insane custom Mii Fighters and custom Characters, and an intriguing (but limited) Stage Builder make up the bulk of new features, but then there's also amiibo integration, returning Classic and All-Star mode (also co-op), new Events Mode both in solo mode and co-op, and tons of Trophies, equipment, and music to unlock. Damn! And of course, there's your unadulterated core Smash experience, now better than ever. The gameplay is completely refined, making a balance between the speed of Melee and the slower-paced Brawl to fantastic results. There's loads of characters to play as, and every one feels cleaned up and improved in noticeable and substantial ways. And it looks gorgeous. I tell you, Smash Bros. is still one of the best couch multiplayer games. Like Mario Kart, the core formula may not have changed too much, but the refinement in gameplay truly leaves a lasting mark of improvement. Getting friends and family together to Smash it out has never felt better, and this version has already proven to be a hugely popular one.

Also: MEGA MAN.



Number 1:

Shovel Knight

THE UPSET!

Ah...but really, it shouldn't be. Shovel Knight is a wonderful, wonderful game. And more than that, it's a game that makes me smile at the mere mention of the title. It's a game that I am so, so happy was made by such a talented group of people. Yacht Club Games made something absolutely special in Shovel Knight, and damn if it isn't my favourite game I played this year.

So much about Shovel Knight feels like a clever homage to the side-scrollers of old, and at the same time the game forges (erhm...shovels) its own path by not only embracing classic-style gameplay, but learning from it. You can feel the Mega Man, Castlevania, and Super Mario here, but you also feel something distinct and unique, and this glorious blend is what makes the core of Shovel Knight shine bright. Controls are tight and responsive. Challenge is paced well and relies on the player, rather than a reliance on cheap tricks. The aesthetic is simply delightful, and that soundtrack by Jake Kaufman (with collaboration from Manami Matsumae!) is amazing. The flow and progression make for great pacing. The unique and adoring humour is totally welcome. And the game boasts some downright superb level and stage design. It's an astoundingly well-rounded game, and I'd recommend Shovel Knight to everyone.

Shovel Knight is simply brilliant. My game of the year.

Donlevy Reviews The Hobbit: The Battle of the Five Armies

We come to it at last -- the end of an era. The Middle-Earth saga is (essentially) complete with the third and final entry in the trilogy of The Hobbit films, The Hobbit: The Battle of the Five Armies. It has certainly been a long road to get here, not the least of which has been making three movies out of a single book. I've had a mostly positive outlook on such a choice, as I feel the reasoning was sound in fleshing out additional characters and stories, but even I knew after the announcement of a third movie and the eventual name change what to expect. The Battle of the Five Armies is exactly what it sounds like: a giant effin battle. It's maybe a testament to how padded out the movies have become to make an entire film out of the last few chapters of the book, but while Five Armies certainly feels like the most stretched of the trilogy, I found it to be no less satisfying. Indeed, the battle that is the film's namesake is one hell of a battle, and despite a lingering overall feel, Battle of the Five Armies does just enough right to send off the movies in a proper and dramatic fashion, even if it doesn't reach the heights of something like Return of the King.

The film picks up immediately after the events of Desolation of Smaug, with said fiery-breathing-Cumberbatch-voiced dragon descending upon Lake-Town to exact vengeance. Battle of the Five Armies literally wastes no time getting straight to the action, and it's quite a move to resolve the aftermath of Desolation in a very dramatic and exciting way before the opening title even shows up. With Erebor vacated, Thorin and his company take control of the city and its riches. Both the people of Lake-Town and the elves of Mirkwood stake claims on parts of the great treasure, but Thorin is overcome with a sickness of the mind from the treasure hoards, and becomes paranoid, obsessed, and near-mad. Strife looms overhead as the nearby city of Dale is occupied by the men and elves, who prepare for confrontation unaware of the threat of the orcs led by Thorin's nemesis Azog closing in.

Gandalf's side of the story in Dol Gulder from Desolation is also concluded right away, where the White Council comes to his aide in one stellar and crowd-pleasing scene. I mean, Saruman O.P. Oh and Galadriel don't take anybody's crap. And Elrond is just a badass. Really, it's quite a fun scene! Although I have to be honest, I'm not sure how I feel about that entire story arc. Yes, it's a nice way to connect to Lord of the Rings by showing Sauron returning, but at the expense of basically sidelining Gandalf until he can reunite with Bilbo and the dwarves. I...understand why it's the case, even though it is primarily fan service.

And speaking of fan service, goddammit Legolas! Alright, I think it's fairly safe to assume that Legolas is included primarily as another popular connecting character to Lord of the Rings that isn't Gandalf or the White Council. You know something though? I'm, personally, fine with that. I am perfectly and totally fine with that. Legolas is and always has been an audience favourite, and at the very least, it makes logical sense given he's the son of Thranduil. A minor thing I love too (SPOILER ALERT), he provides an awesome way for Thorin to get Orcrist back after being captured by the elves in Desolation. It makes for an excellent, little scene near the end of the film (END SPOILERS). Legolas also serves as a sort of proxy between Thranduil and Tauriel, and with Tauriel being a character entirely unique to the film trilogy, I was eager to see how her side of the events would unfold. Tauriel's confrontations with Thranduil prove quite interesting, and serve as a notable contrast between her eagerness to help and Thranduil's reluctance to sacrifice the lives of his kin.

As is the namesake of the film, yes, there is a battle. A large battle of which involves fewer than six and more than four armies. The action involving and surrounding the battle itself is, indeed, quite excellent. There's lots of sweeping landscape shots and up-close scenes of the armies doing battle both on the fields and in the city. I must say what a joy it is to finally see a Dwarf army do battle, as apart from the beginning of Unexpected Journey, not even Lord of the Rings featured the race in such a large number. Finally seeing them contrast (and throw insults at) the elves is a definite highlight, especially given what comes right after!

This does, however, function highly into my disdain of the overuse of CG. Particularly in Dale, there's an awkward combination of CGI and characters that interact in oft-putting ways. It makes some scenes in Dale and elsewhere simply feel too artificial. It's an issue I've had with the entire trilogy, really. CGI just doesn't do some scenes the justice they deserve. But otherwise, it all generally works. It likely won't age well, but for now it's a petty grievance, and hardly destroys the film.

Despite the CGI issues, the one-on-one fights between characters are still pretty great, and Thorin's in particular is resoundingly satisfying (yes, even with the silliness of that scene. You know the one.). I found Thorin's arc, extending from the two previous films, to be fairly gradual, and quite well done! What a wonderful comparison it is to make between Thorin and his treasure, and Bilbo or Frodo with the One Ring. It's fascinating and interesting watching Richard Armitage give Thorin such a menacing feel, and makes for engaging scenes with Thorin and either the elves, or his company. And it's certainly enjoyable watching Thorin try to fight his own sanity, and the aftermath.

There is no doubt in my mind however that Battle still feels like the most padded of the three movies. It's obvious having three movies of one book feels awkward already, but the trade-off of having added material is, well...having added material. For instance, there's a great deal of talk about the forces of Angmar to the North that Thranduil, Legolas, and Gandalf make mention of. Okay, great, I love that their talking about Angmar! It's a substantial series of events to allude to. But...this is the last of the three movies! Why must you bring it up only to have such a plot subside nearly immediately, only made mention of once more during the final scene with Legolas?

I don't agree though that other additions have the same problem. I genuinely found that other additions to the movies over the books, such as the confrontation between Thorin and Azog, paid off in a surprising and profound manner. It's more in the context of character interaction, and expanding roles rather than sidelining them. Thranduil and Bard are good examples, where the situation in Dale prior to the battle is a part of the book, but is given far more visual cues and context in the film. And having Gandalf and Bilbo there too is a plus.

By the end, Battle of the Five Armies delivers on a satisfying and emotional level, that much can be said. No, it doesn't reach that epic feel of Lord of the Rings, and Battle certainly feels like the most stretched out, with silly moments and an over-abundance of CGI and fan-service souring the experience. And yet, the film resolved everything between narrative and action in a gratifying and substantial way; a way unique to the film trilogy. It may be a sort of give-and-take scenario here, where for every enjoyable scene there's a scene of fluff and fan-service to go along with it. However, Battle has the added benefit of being the concluding entry in a trilogy, and as such has far more weight to every scene. So, I feel it's a classic case of the good outweighing the bad. Far from perfect, and yet, surprisingly successful in concluding a trilogy, and providing closure and a full-circle to the Middle-Earth saga.


YAY

• You certainly get a battle; exemplary and gratifying action. Gets right to it!
• Most additions made to the movie from the book pay off surprisingly well.
• Narrative is wrapped up with emotion and satisfaction. As good a conclusion as could be hoped!
• A final, excellent score from Howard Shore (and excellent credits song by Billy Boyd!).
• Enjoyable crowd-pleasing moments that make for fun times! However...

NAY

• ...some of those moments feel arbitrary and silly. There's an over-reliance on fan-service. 
• Some scenes use far too much CG, and make for awkward interactions with characters.
• The most visibly stretched and padded of the trilogy.

RPG Week 2014 Day Five: Final Fantasy IX

While Dragon Quest VIII was a monster of a game, no RPG this year left as much of a lasting impression on me as Final Fantasy IX did. As such, it's fitting to me that we close out this year's RPG Week with what has essentially become one of my favourite games...of all time. I knew from the moment I heard that opening theme that this game would be something truly special.

Released on the PlayStation in North America on November 13, 2000, Final Fantasy IX marked a striking departure from the two previous Final Fantasy games on the PS. While VIII had opted for a more realistic  feel evolved from FFVII, FFIX instead looked back on earlier games and embraced, for one last time, the Fantasy of old. It's apparent from the designs of everything in this game that FFIX is truly a fond look back, and a memory of what Final Fantasy once was. The idea of crystals that shape the world returns, as does the four member battle system. Airships and kingdoms scatter the land of Gaia, and the denizens are made up of more than just humans. The world of Final Fantasy IX is vastly different from VII and VIII, and I know that fans of those games might look upon FFIX with confusion. But I was, and still am, utterly enthralled by the world, and really all that Final Fantasy IX is and represents.

Hiroyuki Ito, the original creator of the Active Time Battle System, returns as director as he was with the critically and fan adored Final Fantasy VI. Nobuo Uematsu is back with his ninth consecutive score, and Hironobu Sakaguchi himself takes a place in the writer's chair. Final Fantasy IX revolves around several characters brought together and shaped by an encroaching war, and the sinister events taking place behind the scenes. You follow the thief Zidane Tribal and his group, the Tantalus Theatre Troupe, as they attempt to kidnap Princess Garnet from the Kingdom of Alexandria. In the midst of the encounter, Zidane meets the young black mage Vivi, along with Garnet's stalwart protector Steiner, before learning that Garnet had in fact wanted to be kidnapped, so she could escape the confines of her mother, Queen Brahne, who's erratic behaviour has caused destruction across the world. The four journey far and wide in an effort to stop the mad Queen, meeting the gourmet Qu chef Quina Quen, the Burmecian dragoon Freya, the young summoner Eiko, and the bounty hunter Amarant.

Of the most magnificent parts of FFIX, the characters and their stories are my favourite. Each character exhibits a unique theme about them, and throughout the game each of the characters must come to terms with their own struggles. For example, Freya must deal with loss, Steiner must fight between his duty and his compassion, and Vivi must contend with his own mortality. There are strong and philosophical themes at play here, and there's a true and great sense of progression in the characters as you go through the game.

And the character and world designs are indeed so very inviting and varied. The translation of such designs to everything in-game is a testament to how far the series has come in a few short years since Final Fantasy VII. Character models and animations are vibrant and fluid, and the models of the buildings and sights within the game blend seamlessly together to create an almost storybook fantasy setting. And I must surmise what must be one of the greatest and emotional soundtracks of this day and age. Uetmatsu, as if there was any doubt, created an outstanding and masterful soundtrack that not only has various wonderful nods to the original Final Fantasy, but several high-profile and emotional punches of its own.

Those familiar with gameplay of previous Final Fantasy games will generally know what to expect from this entry: a huge world to explore with many modes of transport, a range of side activities to partake in, and many battles to be fought. There are many people in the world that offer you items or other rewards for simply talking to them, or for completing a certain task. FFIX also features a unique game-within-a-game of its own, in the form of the collectible card game Tetra Master, which unlike Triple Triad from FFVIII, is required to play at least once in the main story. The lovable bird creatures Chocobos make an expanded appearance in this entry, and an entire mini-game involving your Chocobo can be played where you dig up treasure in a set amount of time for a reward. This mini-game also levels up your Chocobo so it can traverse more terrain and find more treasure on the overworld as you ride it.

The Active Time Battle System, once again, makes an appearance now with four party member instead of three. As before, a meter for each character slowly builds, and when full allows a character to attack. The meter fills faster or slower depending on a characters speed, and the enemy can attack at random points during the battle. Characters are put on either the front or back row, with the front row able to deal and receive more damage, while the back row is the opposite. Limit Breaks are sadly gone, replaced by what's called Trance mode. A separate gauge fills as damage is received and can be carried over between battles. When full, a character enters Trance, where they deal more damage and are able to perform a special action. In Zidane's case, he has an entirely different set of attacks while in Trance. I confess that I miss the Limit Breaks, but I believe the Trance system is far more visible and easier to manage.

Characters can apply abilities via a limited number of Ability Points, and can swap out different abilities (with different required AP's) outside of battle, and can learn new ones by using certain weapons, armour, or accessories that contain one or more abilties. While they use the equipment, they have access to the ability in question, but cannot use the ability without the equipment until the ability is levelled up through experience gained in battle. It's an easy, manageable system that's also a far cry from the Junction system found in FFVIII. For those who played Tales of Vesperia, the system is quite similar. On that note, characters now embody specific "classes" as they did in several of the original games. Zidane is a Thief, and Vivi is a Black Mage, for example. As such, equipment, abilities and how you manage each character is dependent on your strategy, rather than just picking certain characters and giving them every spell under the sun. Such a feat is now impossible, but I am perfectly fine with that. It gives your party members, and how you utilize their specialties, much more focus. Final Fantasy IX can be quite the challenge at times, so it's important to know your party members well. Yet another reason for the welcome emphasis on characters.

Believe me when I say that I had every intention of going out with the best for RPG Week 2014.

I love Final Fantasy IX.

It is a masterpiece, in my eye. One of the greatest games ever created.

I have been waiting to talk about this game for months, and much like Chrono Trigger last year, I stumble with words to perfectly articulate this game to those who have never played it. I can only express in small ways what this game means to me, personally. I experienced this game during a period of uncertainty and strife in my life, and no words could be offered that might explain why I feel such a connection to it. It simply floated into place, like a puzzle piece gently settling in to complete a picture. I played FFIX immediately after Final Fantasy VIII, and while VIII surprised and delighted me, I simply was not prepared for how much I got out of Final Fantasy IX. It was the first game, out of ANY game in a long time, that I genuinely felt complete as I watched the credits roll after more than 60 hours exploring the game. Final Fantasy IX left me with a satisfaction reserved for some of my absolute favourite games and series. To find another game and series capable of such a feat is truly, truly wonderful. This game; the themes, the characters, the world, the story, it all just clicked. Melded together in a brilliant harmony.

And so ends another week of RPG awesomeness.

Thank you for reading if you chose to do so, and I hope you play some damn good games come the new year! I know I hope to. And I hope you play some fantastic RPG's, there's a lot of my favourite genre out there!

As a sendoff, I leave you with the incredible ending theme to Final Fantasy IX, "Melodies of Life," sung by Emiko Shiratori (who sang it in both English and Japanese). Here's the song, but if you don't mind spoilers, I'll leave a video with the song and cutscenes from the game here as well.

Enjoy! :D