Recent reviews by DaNCeSWiTHBuLLeTS

Assassin’s Creed III follows Native American protagonist Connor Kenway as he seeks revenge on those who destroyed his tribe. While seemingly simple and generic, the brilliance of the plot comes from how it is incorporated with real events and individuals of the American Revolution. Players will get to (virtually) relive the Boston Massacre, Tea Party, and many famous battles in the course of Connor’s journey. However, the narrative gets all sorts of convoluted and as someone with little knowledge of history, I found the game failing to convey important details and distinguish the supporting cast. Fortunately, Wikipedia was there to clarify any and all of my confusion.

The campaign takes place across three locations: colonial Boston, New York, and the frontier. Each of the former two is divided into three districts which can be liberated from the British via side quests. Liberating a district earns Connor an Assassin recruit and a skill. Unlike previous games in which the recruits were nothing more than killing machines, the new skills now allow them to act as body guards or set up ambushes. Standing in contrast to the bustling city life is the frontier, a mixture of lush forests and sprawling plains populated by wildlife. Describing it with mere words won’t do it justice, but I will say that upon finishing the main story, I found myself compelled to revisit the wilderness just to explore.

Other new game mechanics include the ability to whistle around corners and participate in naval battles. The former must’ve been nice conceptually, but its execution was extremely poor. Its purpose is to lure guards, but frustratingly enough, it doesn’t always work. On the plus side, the naval battles are easily my favorite addition to the series. These side missions allow players to commandeer a warship and sail the Atlantic Ocean, defending merchant ships and fighting British vessels. The sounds and visuals when blowing up enemy boats are extremely gratifying. Also worth noting is the quality of Connor’s character animation. Everything he does, from combat to swinging from tree to tree is graceful and hypnotic. The animators at Ubisoft Montreal have really outdone themselves!

Two of the most glaring faults I’ve encountered are with the controls and multiplayer. Very often, I found my character doing stupid things like climbing up the wrong object, jumping off something in the wrong direction, or incorrectly assassinating people in a crowd. The bottom line is that the controls just don’t feel as smooth or responsive as they should. From what little time I spent in the multiplayer, I found it to be extremely imbalanced and this is coming from someone with plenty of experience in Brotherhood and Revelations. The broken matchmaking system often grouped the novice players together against experienced ones. Some of the level requirements to unlock useful skills are ridiculous, giving newcomers an extreme disadvantage. This stands in contrast to the previous titles in which skills were unlocked in custom order as long as the player could afford it.

I feel as though I’ve barely scratched the surface of what this game has to offer. I had planned to say much more, but Steam’s recommendation limit prohibits me from doing so. I’d like to note that by the time I finished the game (40 hours), I came to the shocking realization there were at least a handful of features I hadn’t even touched. As with many ambitious games, this one also has many flaws. But the one thing that separates the Assassin’s Creed titles from everything else is their potential educational value. It’s a solid and expansive game that, to me, is more than just a piece of mindless entertainment.

Grade: 5/5

Of the two major releases I’ve played from Klei Entertainment (Shank and Shank 2), both felt extremely underwhelming. It was by chance that I stumbled onto Mark of the Ninja and having noticed its surprisingly high review scores, I made my purchase with cautious optimism. It was marketed as a stealth game, standing in stark contrast with the action-packed gameplay familiar to the Shank series. If Shank was so mediocre, that had to be a good thing, right?

By any previous indication, Klei Entertainment never seemed to have a strong sense for storytelling. Fortunately, they managed to pull through this time around. Mark of the Ninja revolves around... well, a ninja. But in a paranormal twist, he is endowed with supernatural powers derived from his tattoos. But like things awesome, there is a catch! As it turns out, the markings will drive its bearers insane and thus, they are fated to commit seppuku once their services are no longer required. The plot follows our unnamed protagonist as protects his village from militants while questioning his fate. There are several surprises that keep the narrative interesting, but by no means is it revolutionary.

Even though the story can stand proudly on its own, it’s still overshadowed by the innovative gameplay. It should be known that this game strongly encourages a stealthy and tactical approach to all situations. It’s rarely, if ever, advised to tackle enemies head on. With that said, there is still an enormous variety of ways with which the player can accomplish his or her tasks.

The campaign spans through a dozen brilliantly designed levels, each filled with numerous passages to any one location. Aside from the obvious paths, players may also traverse through sewer ducts, rooftops, and vents. There are walls you can scale and ceilings you can swing across. Even without the array of gadgets and skills at your disposal, each map alone offers numerous ways to travel, allowing the player to differentiate each replay as he so chooses.

But even more astounding are the combinations of outfits and skills available. There are six unlockable outfits, each with their own unique statistics. The game also offers a sizeable selection of distraction items such as smoke bombs, poison darts, and more! And if that weren’t enough, there are upgradeable passive skills such as reduced movement noise and the ability to assassinate while in cover. Despite being limited to stealth gameplay, Mark of the Ninja still maintains the freedom for players to choose how they want to play.

Other notable features include the game’s art and animation, hidden puzzles, and “sound mechanic”. Of the three, it is the latter two that I’d like to briefly gloss over. Hidden in each level is an entrance (depicted as a gong) to a puzzle stage. These puzzles task the player with reaching an item by moving boxes around in order to thwart traps and open passages. While an unnecessary addition, these segments are a welcomed break from all the sneaking around. Lastly, the game visually depicts sounds using emanating circles. This allows players to both gauge how noisy he is being and predict enemy movement. It is this mechanic that makes the game feel so consistent and accessible to casual players.

I’m not certain if Klei Entertainment has hit their stride or if it was just a stroke of luck. Nonetheless, Mark of the Ninja is worth every penny of its asking price and I sincerely hope its successors will be too.

Grade: 5/5

I’ve nothing but fond memories of the Hitman series which was first to turn me into a fan of the stealth genre. Having beaten Blood Money years ago, I counted down the days until I’d see a sequel. Six years later, Eidos finally managed to deliver, but was it worth the wait?

Hitman: Absolution doesn’t demand that you play its predecessors but it does add emotional depth to our protagonist, Agent 47. By itself, Absolution tells an isolated story of one man’s quest to protect an innocent girl. The storytelling is far from masterful as its sole purpose is to give the player one target to kill after another as cohesively as possible.

The campaign spans across a dozen plus missions (20 are listed, but some are just cutscenes). Each mission is composed of 3-5 maps following a unified theme: a hotel, factory, suburb, etc… While there is no shortage of stages, many are poor in design. One major feature of any great stealth game is availability of options: multiple places to navigate and multiple ways to kill. Unfortunately, Hitman severely lacks the former. Often times, a stage will offer three different routes to a target with two being heavily guarded. Consequently, the player is strongly encouraged to take the remaining path. Such imbalance discourages exploration and experimentation, two vital components to any stealth game.

New to gameplay are the cover system, Instinct mode, and a redesigned disguise system. Like other modern third person shooters, Agent 47 can now take cover behind walls. He can also enter Instinct mode which slows down time, allowing the player to mark and execute enemies (like Splinter Cell: Conviction). Instinct points are earned by killing enemies, hiding bodies, and completing objectives. The new disguise system allows NPCs wearing the same outfit as 47 to see through his disguise. This mechanic forces the player to change into different outfits based on his or her surroundings.

The biggest faults of these new features are their inconsistencies. While in cover, 47 can execute a takedown. However, this might not always be an option, even when enemies are inches away from you although some enemies can be attacked from an arm’s length away. Even more frustrating is how easily 47 can be accidentally moved out of cover. The rate and chances of NPCs seeing through disguises also feel inconsistent, preventing the player from fully taking advantage of their behavior. As mechanics which you’ll be using many times throughout the game, these are huge issues!

Absolution’s saving grace is its Contracts Mode, the closest a Hitman game has ever come to multiplayer. Here, players from around the world can create custom contracts by personally selecting up to three targets on any map and challenging other players to assassinate them under specific conditions, but not before the creator can prove it can be done himself. Contract completion is rewarded with currency used to buy and upgrade weapons. It is this mode that will keep fans coming back for more long after they’ve finished the campaign.

If it weren’t for Contract Mode, Hitman: Absolution would be relegated to a game just slightly above average and deserving of a score no higher than 3/5. The thrill and excitement of a stealth game is still there, but it’s difficult to recommend Absolution when there are other games just as effective and (arguably) even better. While Absolution isn’t great, I suppose it’s still worthy of the Hitman series.

Grade: 4/5

Readers looking for an in-depth review of Black Ops II’s multiplayer, I’m sorry to disappoint. My knowledge in that area is minimal and as far as I’m concerned, nothing’s changed since the last iteration (save for some new weapons and maps). It’s still a fun and solid experience rivaled only by few others, but my true qualifications as a reviewer lie mainly in single player.

Despite Black Ops II’s static multiplayer component, the game still shows effort to break new ground through its ambitious campaign. As usual, the plot involves some conspiracy to incite global warfare, but this time, it’s one worth revisiting even after the credits have rolled. Since the first Black Ops, Treyarch (one of three Call of Duty developers alongside Infinity Ward and Sledgehammer Games) has shown a knack for storytelling. Their talents are still clearly visible here through their complex narrative cleverly woven together by events of the Cold War and Treyarch’s vision of the year 2025.

For the first time in Call of Duty history, the campaign offers branching storylines that are shaped by missions with multiple endings (determined by whether or not objectives were achieved) and choices made by the player. In the case of the later, decisions don’t boil down to choosing from a list, but are made with gameplay mechanics, be it interacting with the environment or choosing which limb to shoot. Often times, you’ll play through these moments without even realizing that alternate options existed and that’s what makes Black Ops II great - it encourages players to reconsider their actions. Ultimately, the secrets found and choices made will determine which of the five ways the game can end.

Also new is a tower defense-like mini game in which the player must direct troops against waves of enemies in bird’s-eye view. At any moment, the player may assume first person control of a friendly unit on the battlefield and play as normal. These missions, known as Strike Force missions, serve as supplements to the main story, unlocking themselves when certain conditions are met. They’re a welcomed addition and help immensely to vary the gameplay.

As proud as I am of Treyarch, especially for their contributions to the single player, there’s still plenty of room for improvement. In vehicle segments, handling feels extremely sluggish and the unrealistic physics breaks all immersion. The script is filled with clichés and the absurdity of some missions should have been toned down. Stages set in 2025 introduce several game-changing gadgets with promising potential that never reappear. But the biggest culprit of all is the fact that Black Ops II feels like a glorified game of Whack-a-Mole where enemies repeatedly pop out for you to shoot.

Multiplayer and single player aside, there’s still the topic of Zombie Mode. The new features here are a separate campaign and a new 8 player game type. While Treyarch’s efforts are appreciated, the final product is all but satisfying. The “campaign” merely consists of ordinary survival maps strung together by cutscenes and fighting zombies with an army makes an already dull experience even duller.

It’s refreshing to see a developer cater to the single player fans for a title with a track record for being predominantly multiplayer. In doing so, Treyarch has raised the bar for first person shooter narratives. Regardless of what comes from Infinity Ward next year, I can honestly say that I eagerly await Treyarch’s next release, knowing very well that they aren’t one to shy away from being different.

Grade: 4/5

Telltale Games have always been known for their above-average storytelling but lackluster gameplay. Their latest entry, The Walking Dead (based off the comic of the same name) is no exception. And like its predecessors, this title is split into five episodic installments, each running for 2-3 hours in length. But with such a stagnant and predictable formula, is The Walking Dead worth a purchase?

As a warning, all you zombie fanatics should be fully aware that the undead are NOT the focus of this game. The same can be said of the comics and the television series, but I digress. These monsters only serve as a backdrop for the real centerpiece – human behavior in a post-apocalyptic world. If you were expecting to gun down hordes of zombies, you WILL be disappointed, so read no further and go pick up a copy of Dead Island instead.

Like previous Telltale titles, the gameplay remains deeply rooted in the point-and-click adventures of yesteryear. Situational puzzles arise in the form of locked doors or supply hunting which requires the player to resolve by interacting with the environment. Some players, myself included, will find this tedious. Fortunately, the puzzles are not too difficult and can be solved with logical thinking and as much as I dreaded these moments, I understood their importance to the narrative’s pacing. Each “dull” sequence made the next conflict much more impactful and that is a worthwhile tradeoff.

The plot is a page straight from any generic zombie flick in which everyone just wants to survive. Each of the five episodes will put the player in twisted scenarios, but it’s how the events play out that really makes The Walking Dead shine. Characters, including the protagonist, will find themselves in morally ambiguous situations that will challenge the player’s resolve. Would you kill someone who you SUSPECT is bitten? Who would you feed when there’s not enough food for your camp? These are choices you make and rarely will they be simply black or white. It’s these moments that make The Walking Dead so believable, but they’re also why the game falters.

Players are frequently reminded that the game will change depending on the choices made. Having read the “alternate” outcomes, I can honestly say that this is not quite the case. Keeping track of divergent stories can be difficult and for this reason, each episode will funnel players back into the same situation, regardless of the route taken. For example, supporting characters all have an expiration date. If they are bound to die, they WILL die. Your decisions might delay their deaths, but they’re still fated to meet a grisly end. Knowing this strips away most of the magic and wonderment, but perhaps Telltale’s definition of consequences aren’t the ones we’ve come to expect. It is the supporting characters’ reaction to you that are ultimately being shaped and while the changes aren’t grand, they’re realistic.

There’s a reason why The Walking Dead is declared as 2012’s game of the year by so many. It is easily Telltale’s most mature title and perhaps the most mature game I’ve ever played. It’s made me feel sympathy and abhorrence. It’s made me grimace and to my surprise, it’s also made me cry. So kudos to Telltale for taking a risk by putting players in uneasy situations that no one else would dare to, for pushing the boundaries of immersion, and for showing that a great story will go a long way in making a game successful. While The Walking Dead may have its flaws, I predict that its undeniable influence and impact will still resonate for the years to come.

Grade: 4/5

I consider myself to be an open-minded individual and as such, you will rarely (if ever) hear me say that you're playing a game "wrong." But as tasteless as it sounds, I'm willing to make an exception for Arkane Studio's Dishonored. There is indeed, in my humble opinion, a wrong way to play this game.

Dishonored is a tale about revenge. The player assumes the role of Corvo Attano, the bodyguard of an empress presiding over the fictional city of Dunwall. Upon returning from a long trip, Corvo finds himself caught in a conspiracy in which he is framed for the empress’ murder. The plot, which is as generic as they come, follows Corvo as he exonerates himself by removing the corrupt government now in power.

Not only is the plot an idea taken from many other works in the medium, but it is also extremely predictable. The mid-game twists can be guessed right from the get-go. Clearly, storytelling is not Arkane's strong suit. As a bit of a forewarning - don't pick up Dishonored if you're expecting anything revolutionary in the way of narrative.

On a different note, the atmosphere surrounding the plot is rich and engrossing. If players really take their time to read every book and listen to every audiograph scattered throughout the game, they'll learn that Dunwall has a surprisingly deep and tragic history with even darker times ahead. The world of Dishonored truly feels fleshed out, and if there is one thing I can be sure of, it is that there are more tales to be told.

But above all else, the gameplay needs to be thoroughly discussed. It is, after all, what you'll be doing for hours on end, and the core mechanics are what determine the overall quality of the game. Fortunately, Dishonored excels in this area with flying colors. This here is not a linear game devoid of options. Dishonored is an open-ended affair, filled to the brim with gameplay choices. For those who are looking for a title that tailors uniquely to how you want to play, there is no better match than Dishonored.

There are only nine missions in the game (making it a very short one--but more on that later), and only eight of which take place in open maps. Each of those maps is extremely well designed, allowing for multiple paths to any one objective. You can take the direct route (bursting through the doors!) or a discrete one (gallivanting on the roofs or through the sewers!). You can even possess a rodent and travel through tiny vents. The possibilities, while not limitless, are certainly abundant. Which brings me to my next point...

Powers! There are a number of collectibles (runes) littered throughout each stage. Collecting grants player points to invest in new powers, of which there are about a dozen. Some of them are passive (such as increased vitality or speed) while others need to be triggered (possession, time bending, teleporting, and summoning swarms of rats to do your bidding). Whether or not you’ll be playing lethally or non-lethally, each ability will come in handy in their own unique ways.

With so many ways to approach Dishonored, one might wonder, “How can you play the game ‘wrong’?” The simple answer would be: by playing it only once. With so many options available, you won’t be getting your money’s worth unless you are willing to investigate every avenue. Play through the game without killing or being detected and you’ll feel extremely skillful. Play through the game slaughtering every moving creature and you’ll feast on the stylishly animated kills. If you put Dishonored aside after witnessing only half of what it has to offer, it’ll not only be an affront to the developers, but a tragedy for you.

Grade: 4/5

Nightmare in North Point takes place in the aftermath of Sleeping Dog's narrative. Protagonist Wei Shen, now in a stable relationship, finds his world turned upside down when the dead begins rising around Hong Kong. The plot follows Shen as he races to rescue his girlfriend from the malicious, supernatural forces.

There is not much in the way of gameplay variety. Each mission is primarily a series of hand-to-hand combat sequences strung together to get you from point A to point B. If you weren't a fan of the fighting system in the original game, nothing here will change your mind.

Much of the new content comes in the form of aesthetics. There aren't new locales to explore, but there are new enemies, combat animations, weapons, cutscenes, and dialogue to look forward to.

As a fan of the punch, grapple, and counter mechanics in the core game, I found myself thoroughly enjoying this brief revisit to Hong Kong. It was short enough to avoid repetitiveness, but long enough to eat away some spare time in a fun way.

Grade: B

XCOM will probably be the only game I review without having actually beaten it. Why? It's just too damn hard. But, believe it or not, that's a good thing.

XCOM puts the player in the role of a commander controlling a squad of 1-6 (typically 4) troops. In turn based fashion, each soldier can be directed to move, take cover, shoot, or utilize any ability unique to his class (Assault, Sniper, Heavy, or Support). Objectives vary between eliminating hostiles, rescuing civilians, or escorting VIPs.

At its heart, XCOM is a game of balance. With little to no guidance, players alone must decide on how to distribute resources, which countries to save, and when to tackle story objectives.

For the most engaging experience, players are recommended to play in "Ironman Mode". Here, everything is permanent, from the choices made to the deaths of soldiers. Consequences have never felt more real.

XCOM offers an unparalleled experience rich with freedom and filled to the brim with tension.

Grade: B+

Sleeping Dogs is a welcomed addition to the list of games that I deem masters of their genre. Much like the sandbox games before it, Sleeping Dogs offers a lively world decorated with numerous quests from racing to chasing criminals, all tied together by a coherent plot. However, simply mastering these core concepts don't necessarily translate to a great game.

If there are two things unique about this title, it'd be its combat and narrative. Unlike the gunplay which many may be accustomed to from GTA or Saint's Row, Sleeping Dogs emphasizes melee combat consisting of counters, grapples, and light/heavy attacks.

The plot is intricate and engaging, even often times successful in instilling the sense of paranoia that pervades our hero's mind. Unfortunately, the story distances itself too much from the audience. When the protagonist must balance life as a cop and criminal, the final alliance should be an open choice. Alas, it is not.

Square Enix should've taken more risks.

Grade: B

I would like to preface this recommendation with the following comment: Due to the similar and short nature of the Quantum Conundrum DLCs (about 2 hours per), I will be writing only one review for both. With that said, let's get down to the nitty-gritty!

For those who've beaten the core game, you may be disappointed to learn that none of the DLCs will expand on the abrupt ending. There's no indication of when and where these extra puzzles take place, but that doesn't detract from the quality of the content.

The Desmond Debacle and IKE-aramba each offer six new levels (twelve total) that will rigorously test the player's creativity, reaction, and patience. Each puzzle typically starts with three or four powers already unlocked, widening the player's options on how to tackle any given obstacle. Because the game is now less direct, it's also a bit harder.

Monetarily, you could be doing a whole lot worse than $3 for six new and challenging levels. This here is DLC done right.

Grade: B