So I guess I lied about
the last post being the first and only time I used the proper capitalization.
You know, I think I
might have thought of a way to solve Infamous’
recurring problem. Or “problem”, if you
prefer; it’s pretty much built on certain mechanics and conventions, after all,
and some people actually like the way it plays out. Others don’t.
Either way, the key problem is that -- as Second Son shows -- by trying to make Delsin and his game pull
triple-duty to accommodate a good path and evil path along with neutral,
mission-to-mission characterization, overall he’s weakened as a character. I’m glad I got to play as a Good Delsin, but
the moments where I got to see his heroic persona come to light aren’t nearly
frequent enough. What IS frequent are
scenes and dialogue that could have been spoken by Good Delsin, Evil Delsin,
Neutral Delsin, or DmC’s Donte if he
was actually worth a damn.
Yeah. I’m still sore that game exists. Given that Second Son’s story has reopened old wounds, can you blame me? Even good guys have their limits, you know.
It’s probably worth noting that as I type this,
I’m listening to a remix of the Tekken Tag opening. And since that has the infamous Electric Wind
God Fist, that’s a good enough segue for me to declare that there are SPOILERS
incoming.
Is it good enough for you? Okay.
Then let’s go with this one: BRING IT ON, YA ALIENS!
Man, what a cool guy Paul is. And canonically one of the strongest Tekken characters...but that's a given for anyone who's got what fans call the "death fist".
To me, there’s an
obvious solution to the franchise’s problem: just give us multiple playable
characters. One good, one evil, and maybe one neutral. That way, the characterization can stay
consistent from start to finish; those that choose an evil character can see
his/her progression into villainy from start to finish, without any dilution
from a voice of neutrality. It may seem
like that’s taking away from the spirit of the game, but hear me out on this.
The assumption is that
those moment-to-moment choices are going to matter in the long run, or have
some lasting consequence; as far back as the first Infamous, Cole weighed the options of his actions, and whether or
not they’d do harm to himself, others, or the city around him. Those decisions at least threatened to
matter, but Second Son feels like a
step back. If you’ve decided to go all
in and be 100% good or 100% evil (as you likely should, for the best powers),
then why would you bother with the choice to spare or kill Hank? Why does it matter if you corrupt Fetch or
redeem her, considering that the weight of your actions (and hers) is
debatable?
SS -- and the Infamous games
at large -- have yet to completely justify the karma system they’re built
upon. So why bother with them? Do it like Sonic Adventure 2. Give
players the choice to play a Hero Story, and a Dark Story, and maybe a Neutral Story (or alternatively,
a Last Story where it all comes together for a big finish). The obvious choice would be to take out the
choice element altogether, but there might be a way to work it in. Picture this: you play as a heroine with
power over…oh, let’s say plants and trees, a la Poison Ivy. Her
“angle” is all about using her powers to do the right thing, fight crime, save
the people -- typical hero stuff. But as
the game progresses, she finds out the hard way that it’s not as easy as just
punching out baddies.
Remember back in the
first Spider-Man movie when the Green
Goblin made Spidey go through that sadistic
choice? In that case, it wasn’t
about whether Spidey wanted to choose between being a hero or a villain; it was
about him choosing what kind of hero he
wanted to be. Should he put his desires
over others, outweighing the needs of the many?
Should he sacrifice the happiness of even one life and those around her,
just to help people he’s never even met?
Now, imagine that sadistic choice in this hypothetical Infamous -- only it happens constantly (to varying degrees, of
course). It would build upon the
character because it would really show what kind of person she is when the
chips are down. It would define her in a
way a binary good/evil choice can’t. Or
won’t.
And now that I’ve
mentioned the first Spider-Man, I
feel obligated to bring this up.
Ah, yes. That never gets old.
I’m probably going to end
up getting into this later in the post, but for now I feel like I have to come
clean: I really expected more from this game.
I would think that by now, Sucker Punch has to know about the inherent
weaknesses of its major franchise (sorry, Sly Cooper). And with this new console generation -- or
just a new game in general -- I would have thought that this would be the
company’s big chance to start fresh and make a ton of improvements. But I guess I was wrong. There are some improvements, and some tweaks,
but not nearly enough.
We really should be
past this stage, new console generation or not.
Moving from the PS3 to the PS4 shouldn’t automatically drop all the
devs’ talent and knowledge to Level 1, and certainly not their common sense. But here we are, with a next-gen title, and
the third installment in a half-decade old franchise, struggling -- struggling to give itself some
weight. Some lasting appeal. Something for the player to take away when
the console’s turned off, and the disc is back in its case. This shouldn’t be that hard. It just shouldn’t.
Well, I’m in the
perfect mindset to start talking in earnest.
Let’s get to it, yes?
THE POWERS!!
They’re pretty cool!
I’m going to have to
mirror Yahtzee’s sentiments and say that at face value, the powers are iffy,
lame, make no sense, or any mix of the three.
What IS the difference between power over “smoke” and power over
straight-up fire, especially considering that Delsin’s melee attacks turn his
chain into a red-hot whip? What exactly
makes “video” even remotely capable of hurting people if it’s just a bunch of
data? And when did “neon” become
synonymous with “laser”?
I guess it’s supposed
to be one of those things you’re not supposed to think about, because in all
fairness it’s fun to use the powers (though concrete’s kind of a dud, if you
ask me). In an effort to make a game you
can play your way, it’s nice to know that you can specialize in -- and become
fond of -- certain powers instead of others.
Scientific explanations aside, I’m a fan of neon; it was my go-to power
for open-world travel, and it doesn’t take much to upgrade it into THE
non-lethal power of choice. Put in some
points and you can enter bullet-time to aim for an enemy’s weak points (one on
their legs, one on their head). Shoot
their legs, and you can subdue them from afar without any messy kills or
collateral damage…assuming your aim is spot-on, but the intent is there. And it’s more than appreciable.
…But they’re distressingly similar
The problem I had with
the other Infamous games was that
instead of giving Cole plenty of insane tools vis a vis his lightning powers,
the devs just gave him electric versions of the usual video game armory. SS tries
to fix that…by making it so that each power has access to only one “gun”
each. Smoke = pistol/shotgun. Neon = rifle.
Video = machine gun. Concrete =
submachine gun. Plus each power has its
own “rocket launcher” via R1 (with a limited stock), and Circle is your
dedicated movement ability. There are
differences, of course; instead of L1-mapped grenades available to smoke and
neon, L1 + video = temporary invisibility.
And smoke…isn’t nearly as versatile for travel as you’d think.
But what kills me is
that even if there are differences, it’s impossible to shake the feeling that
the four powers are just built around the same basic power: shooting
lasers. The biggest shake-up comes from
the fact that each power has different particle effects (I guess that’s where
all the effort went into making this a “next-gen experience”…even though
different particle effects have been on full blast since Kingdom Hearts 1); in making the powers more versatile, the also
made them less distinct. And the sad
thing is that it could have been different, and vastly so. Why couldn’t video be the dedicated stealth
power if it gives you an invisibility cloak?
Why not make neon the speedster’s choice, or something geared solely for
sniping fans? Sure, those options are
there, but they’re not pronounced enough.
You don’t get the
concrete power until the last boss (and don’t get to explore it until you clear
the game). I played around with it for a
few minutes, but I had no interest in going any further down its empty upgrade
tree. “I’ve got much better options, so
why should I bother with this?” I asked myself.
There’s something wrong with the game if it comes to that.
Also, I REALLY have to
thank the game for forcing me to use
concrete, AKA a completely-underleveled power, for the final boss fight against
a giant rock scorpion. Boy, did my input
matter when tailoring my skill set!
THE COMBAT!!
It’s airtight, and might have some hidden
depth!
So I think this game
might have combos.
Remember earlier when I
mentioned the bullet-time you can get with the neon power? Well, when it’s not upgraded it runs out
pretty freaking fast, and activates automatically whenever you’re zoomed in to
line up your shot. But as it turns out,
there’s an upgrade that lets you refill your BT meter after you do a light
speed dash (i.e. just hit Circle to move, and make Delsin streak over
surfaces).
So in theory, it’s possible
to shoot guys until your meter runs out, dash t refill, shoot, and repeat to
build up a solid rhythm mid-battle.
Attacking and dodging, mixed into one.
I didn’t have the dexterity to pull it off -- there might be a delay
that keeps you from linking them together instantly -- but it may be
possible. If it is, then this might be
one of the few games to include “shootcombos”.
That’s a word, and I’m sticking to it.
What’s really
interesting is that the game actually works the karma system into your
combat. If you’re hitting weak points
with neon, then blasting legs from afar to subdue will give you points toward
good karma -- and more importantly, gives you fuel for your Karma Bomb super
attack. Sounds simple enough, yes?
However, if you screw up and
shoot someone in the head, or kick someone while they’re down, then you’ll lose
that stocked karma and your Karma Bomb in one fell swoop -- not to mention
tarnishing your record and progress toward the next karmic level. The game gives you a reason to play your
best, whether you play a hero or a villain; there are benefits for doing well,
and consequences for messing up. You never
know when you might need to trigger your Limit Break.
…But there’s absolutely no reason to explore it
Except you don’t really
need to trigger your Limit Break unless A) you’re totally overwhelmed, or B)
you don’t feel like dealing with DUP goons.
And you probably won’t in some cases, because you’re just trying to get
from one mission to the next, and you’ll draw aggro over a two-mile radius if
you even tap Circle.
I don’t have a count on
the number of times I died in my playthrough, but it’s a lot less than it
should be. This game is a long way from
difficult; things can get hairy at times, but it never reached a point where it
felt like there was a genuine challenge from the enemies -- even with the occasional
damage sponge of an elite. I would leave
it at that, but again, the design choices get in the way; it’s possible to get
into a good rhythm with the combat and get in some good shots, but that rhythm
is constantly getting disrupted because you have to run and hide while you wait
for your health to regenerate.
And with this game distinctly lacking in chest-high walls,
you’ll usually have to go well out of your way to find a safe spot to
regenerate. Sure, you can restore health
by sucking up energy in the field (smoke from a vent, or neon from a sign), but
I never felt like that was the best option.
Not when you have to find it out there, get in position, come to a stop,
and let enemies open fire on you.
Thankfully (or not),
Delsin’s a damage sponge in his own right, so you can reliably take plenty of
hits even when you’re in a danger state.
But worse yet (and what’s distressingly become par for the course),
Delsin’s arsenal stacks the deck incredibly far in your favor. If you upgrade smoke, you can throw smoke
grenades that leave enemies stunned and vulnerable to a close-range subduing --
which may as well be an instant-kill.
So
what’s the point of shooting if I can tap a button to stun droves of enemies at
once, then run up and mash Triangle to take them out without a fight, and gain points for my alignment, AND
fuel a Karma Bomb? Sure, you have to
aim, and some enemies are resistant to smoke grenades, but you have to aim less once you drastically upgrade the
radius, and the enemies that are immune don’t show up nearly as much as those
that aren’t. And that’s setting aside
the fact that if you’re playing the way you like, you’ve got the ultimate
deterrent in a Karma Bomb.
*sigh* So much for
shootcombos.
THE EXPLORATION!!
You can speed through Seattle!
I can’t say I feel any
envy for devs and programmers working on games with parkour in them. Making a game world is probably hard enough,
but they want to compound that by making sure there are billions of ledges and
surfaces to climb onto? Those people must
sleep for five minutes a day.
Parkour is one of the
central conceits of the Infamous games
(and Assassin’s Creed, and Remember Me, and Brink, and Prince of Persia, and
Mirror’s Edge, and…), so it’s only
natural that it shows up here again.
Each power gives you access to a different type of movement ability;
smoke gives you dashes and air dashes, and lets you travel through vents to
reach rooftops. Neon -- as stated -- is
probably the most useful, since it lets you dash along the ground and up
buildings almost without stopping. Video
gives you wings so you can boost up buildings in an instant, glide briefly
through the air, and launch yourself via satellite dishes. Concrete lets a rock-armored Delsin run along
the ground, and summon platforms to let him levitate…and probably sucks the
most out of the four, given that you lose all momentum if you run into anything
while armored. And you don’t even have a
Karma Bomb.
It’s almost as if the
devs ran out of time and gimped concrete just to push the game on
schedule.
Joking (but not really)
aside, it is nice to be able to move around the city in style. As a neon user, it’s easy to chain dashes and
long-jumps together to clear huge amounts of distance in a matter of seconds. And since neon lets you run up walls, it just
gets that much easier to make it up to some towering rooftop and see what’s
up. Maybe check out the sun on the
horizon, and the waters splashing in the distance. Or maybe just jet around and see the sights
of a Seattle brought to (virtual) life.
Not having been there, I can’t say if it’s a faithful recreation or not,
but I’m willing to believe that some hours have been put in to make it
happen.
Even if it’s not a
complete one-to-one comparison, I’d have to assume that if I were to play SS again, it would be for the sake of
zooming around Seattle. I’ve pretty much
gotten my fill on the story (and I’m tempted to add quotation marks to that),
but I wouldn’t mind doing a little sightseeing on my way to the next round of
assholes on rooftops shooting at me.
Yeah. That’s still in this game. Don’t ever change, Infamous.
…But it’s not as satisfying as it should be
I’m starting to think
that we’ve reached parkour critical mass.
When a game or two does it, then it still manages to keep that air of excitement
and wonder -- that feeling of being able to go anywhere, and do anything. When every
game does it -- and I’m pretty sure there are a lot more that have
done/will do more of it besides those listed above -- then parkour ceases to be
something special. And SS, despite adding superpowers to the
mix, doesn’t fill me with confidence.
When you can zip up buildings effortlessly in a matter of seconds,
what’s the payoff? Where’s the sense of
accomplishment when you’re climbing EVERY building just to get from A to
B? What’s the point of appreciating the
sights when the sights could just as easily be spotted in a Google image
search?
Believe it or not, I
can’t help but find myself thinking back to Grand
Theft Auto V -- a game with NO parkour, but paradoxically walks away
stronger because of it. Yes, there have
been times where I wish I could jump just a little bit higher and a little bit
farther with Franklin so I can reach some right-there ledge. But here’s the thing: if you climb up on
something you shouldn’t in GTA, it’s
because you earned it.
In most cases, getting
any sense of verticality is a struggle (stealing a helicopter opens up its own
set of problems). More to the point,
you’re actually in danger if you screw up and fall. You could die from a steep enough drop, or
take a tumble down a mountain if you misstep.
That vulnerability is important…and it’s completely missing from Infamous, because you can fall from any
height without a second thought, and make it back up in the same amount of
time. Unless your name is Kirby’s Epic Yarn, you can’t draw much
satisfaction from a game when there’s no challenge to put victory out of your
reach. Danger brings opportunity. Opportunity shouldn’t bring more opportunity.
Even Spider-Man 2 got that right, in spite of
also featuring a playable
superhero. Mess up one of your web
swings or send Spidey off a building, and he’ll take a big hit to his health,
or even drop dead. But I can’t think of
anything quite as thrilling as leaping off a skyscraper, falling so fast that
the wind and buildings blur around the web-head, and then sending out a line at
the last possible second to swing just inches above the streets of the Big
Apple. Conversely, once you get the
video power and start gliding around (and even upgrading that glide), things
never mix up again. You can pretty much
fly, and that’s pretty much it.
Why does it feel like
I’ve got more ammo in these negative points than the positive ones?
THE AESTHETICS!!
It looks pretty cool!
I guess I should pay at
least a little lip service to the visuals in Particle Effects Demo SS. Fair warning, though: scrutinizing
graphics isn’t my forte, so I’m going to keep this brief.
It’s not just a bunch
of brown and gray, that’s for sure -- and there are some varied enough areas
littered through the city, so that’s a plus.
There are more lighting effects, too, and I guess more textures?
Some of the music is
good, too.
There. Brief.
…So, uh, why is it that
in the backstory spews, everything switches to a different and
significantly-more interesting art style?
Why can’t the game at least try to look like that? Wouldn’t that be much truer to the comic book
roots? Wouldn’t that set the game apart
from competitors?
Also, why is it that
when Reggie dies and Delsin goes into rage mode against Augustine, it doesn’t feel
nearly as powerful as it should because it’s extremely likely that whether you
play Good or Evil the scene and the boss fight likely plays out exactly the
same way? Do you have any idea how
jarring it is to put effort into building a good character, only for the game
to require you to punt Augustine like
a football at least three times?
Wasn’t this point
supposed to stay positive?
…But it doesn’t look cool enough
I don’t think the
technology is there on the faces just yet.
I know I’ve said this
before, but again, another game that opts for photorealism ends up missing the
mark and plunges into the uncanny valley.
Delsin looks all right, but my brother and I agree that Reggie looks
kind of off -- like a decade-younger Brad Garrett with a slightly-inflated
head. Augustine did a kamikaze dive into
the valley, though; I couldn’t tell if she was showing a creepy lack of emotion
because she was supposed to be that kind of villain, or because her model
bugged out. I would say more about
Eugene, Fetch, and Hank, but they don’t show up enough for me to have a clear
memory of them. Though as long as I’m
talking about them, it’s worth noting that Delsin, Reggie, and Fetch are Vincent, Johnny, and
Catherine, respectively. Reunion
show!
Also, I love how there
are about ten times more references to Sly Cooper when the most recent game --
one that Sucker Punch didn’t even make -- didn’t even break the 500k mark in
sales, and couldn’t even pass up Sonic
Unleashed. Or the rerelease of the
original Sonic the Hedgehog. Probably should have used more than PlayStation All-stars to advertise your
franchise instead of just sending it out to pasture, eh Sony?
THE END (BUT NOT THE ENDING)!!
You’re gonna have fun with it!
So this is what it
comes down to.
I know I’ve said this
already, but I’m going to go ahead and say it once more: the PS4 isn’t going to
be just a spiffy electric-powered brick forever. Eventually, it’s going to get a library that
proves its worth, and games that prove that, yes, games have taken that next
step into being something great. It’s
inevitable. Compare what was done at the
start of each generation with what’s been put out at the end, and the
difference is staggering.
So while SS is not that revolutionary step
forward, it’s still competent. Pop it
in, and you’ll be able to enjoy sending the Delsin of your divine (or dark)
designs out to do battle with enemy soldiers and vault across the Seattle
sky. If that’s all you want out of the
game, then you’ll be happy. And you’ll
be even happier when you see the personal struggles and triumphs of these
characters. In spite of all my
complaints, the ending -- the
Good Ending that I earned -- gave me just what I wanted to see. And the moments that led up to it as a result
of my chosen path were plenty rewarding as well. Those glimpses and those rewards for the
player make the game worthwhile.
Are there flaws? Sure.
But name me a game that doesn’t have flaws. Any given game out there, even the best of
the best, is “good enough” in some capacity.
SS is no different. For the moment, maybe those glimmers of
potential are all I really need.
…But you’re gonna be disappointed
And yet, this is what
it REALLY comes down to.
SS is good enough. But it
could have been so much better. So much better. What could have been -- what SHOULD have been
a bold step forward, and a confident announcement of the superiority of the
company and the console, isn’t much more than the fanfare of a handful of
kazoos. I can’t think of a single thing
in this game that couldn’t have been improved.
The gameplay needs work, the core mechanics are still flawed, only two
characters get the time they deserve, and the only reason the story doesn’t
have me foaming at the mouth is because I’ve already seen the worst via DmC.
I cannot accept that I
should excuse the game’s problems just because it’s in the early stages of the
PS4’s lifetime. And why the hell should
I? What’s going to improve most five
years from now is likely going to be the graphical quality -- and that’s likely
to take the focus away from the game, AKA where the work NEEDS to be
applied. And it needed to be applied
here, but for reasons I’ll never know, they weren’t. Or is this just a sign that development is
making them buckle under the pressure already?
How am I supposed to look forward to Infamous
4 when the latest and “greatest” game is so full of holes? When the fundamentals threaten to take a step
backwards? When my goodwill is getting
close to its limit, because I'm getting forced to deal with crap like this on a regular basis?
I don’t know. And right now, I can’t bring myself to
care. If good enough is all we’re going
to get from droves of devs, then I guess I’ll have to look to those who aren’t
satisfied with “good enough”. The way it
should be.
See you guys
around. I’m gonna go play Spider-Man 2.
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