In this week’s episode, Joel Goodwin of Electron Dance and I don’t play, we talk about the Side by Side games of yore that we’ve since changed our minds about, and why. Sometimes, you just need more time (and friends) to stress test a multiplayer experience and reveal things that perhaps weren’t so obvious initially.
In the first episode we take a look at SplitSide Games’ Fling to the Finish, a zany duo-tethered racing platformer currently in development following a successful Kickstarter back in June.
I’d love to tell you more about Control, the eagerly-awaited Edge magazine coverbait from Remedy Entertainment, the mad Finns who brought us Max Payne, Alan Wake and Quantum Break. I’d love to. And I feel… I guess sort of qualified to do so, since I have played Control for a few hours. But I’m not going to. To heavily paraphrase a trademark opening line in the (delightful) Girlfriend Reviews videos…
This is not a review of Control. This is a review of what it’s like to wish Remedy would fix Control.
I remember being at a game conference – E3 in 2010, if memory serves – when Final Fantasy XIV Online was announced. My thought at the time was: yikes, actually, that game looks like crap. It turns out my instincts were correct. It was absolutely crap! This resulted in a complete rework of the game. The developers practically destroyed the original FFXIV, subtitled it as A Realm Reborn, and fixing its many problems.
Not many people have good memories of whatever vanilla FFXIV was. But some of my friends have been playing ARR for a long time now, and all of them recommended it to me. It finally became too difficult to resist the temptation when the rabbit-woman Viera race was added to the game. I could ignore the siren song of sexy catgirls, but now I could become an Amazonian warrior bunny? All right, SquareSoft, you finally got me.
This is a review of A Realm Reborn and A Realm Reborn only. This is what it’s like to be me, a noob, playing FFXIV: ARR, in 2019.
MomoCon in Altanta took place last week, with record crowds for the event peaking 39,000 attendees, in 95 degree heat.
I went to MomoCon last year on accident: I happened to be in the neighborhood, and followed a line of cosplayers to the event the way a hungry cartoon character floats on the scent of a cooling pie.
This year, I flew to Atlanta on purpose. I knew I had fun with my short time at the event the previous year. Critically, I wanted to attend the Devil May Cry panel at the con on Saturday, since the series evolved from a casual interest of mine into an obsession, at a pace that would give you whiplash.
This is a trip report.
“Variations on a theme” is a phrase I’ve employed to describe the games of Hidetaka Miyazaki, but it’s all a bit more complicated with Sekiro: Shadows Die Twice. It shares ample DNA with the games that made Miyazaki famous—Demon’s Souls, Dark Souls, and Bloodborne—but it’s also much more distinct. Any particular SoulsBorne game is unique, but looks and plays basically like the others. Sekiro doesn’t. The result is a game that revels in its surprises while nonetheless feeling familiar as an old shoe, or a loyal dog that bites. Hard.