The Last of Us Review

The Last of Us is the latest game from Naughty Dog and one of the last big exclusive releases on the PS3 before the next set of consoles are upon us. The Last of Us seeks to avail Naughty Dog of one key criticism of their previous series Uncharted, that of the inordinate amount of enemy deaths with no consequences. But the acclaimed developer wasn't satisfied with simply quelling a few gripes, they felt it necessary to end their development on the PS3 by exponentially raising the bar in every conceivable facet. They have always been master storytellers but The Last of Us is incomparable and impeccably designed, from its graphical prowess, impressive sound design, nuanced mechanics, beautiful score, and outstanding performances and writing. The Last of Us is the absolute height of video game story telling and design, a breathtaking experience that will leave you terrified through its uncompromising brutality and depiction of human depravity.

The world of The Last of Us has been ravaged by a fungal infection that takes control of its human hosts and transforms them into savage monsters. The world has been reclaimed by nature and humanity as on the brink of extinction. The game follows Joel, a man warped by the decayed remnants of civilization, and Ellie who despite being born amid this unrelenting world stands tall and strives to carve her place in it. The relationship between these two characters is one of the games many resounding accomplishments. What begins as a testy and distrusting partnership slowly builds and grows throughout the game, small moments of conversation between Joel and Ellie about the world before its now fractured existence build the fiction while simultaneously strengthening their bond. The two undergo profound character arcs throughout the story. Joel's jaded perspective is chipped away while struggling to course correct his moral compass and Ellie's innocence is shattered as the harsh realities of this world are laid bare. This is not a traditionally enjoyable story in fact I couldn't play for more than a few hours at a time because it was so draining. But the depths to which this game explores the human condition is staggering and fulfilling in ways games typically are not. Naughty Dog deserves immense praise for their depiction of their characters never undervaluing the importance of a grounded portrayal over stereotypes and cliches.

The Last of Us gameplay is hard to categorize, not strictly stealth nor action but a seamless merger of the two. Conflict with enemies is tense and even a small patrol of two or three enemies will have you scurrying for cover, cursing under your breath and hoping they don't spot you. The AI is unpredictable keeping every encounter tense and enjoyable. The mechanics are integrated into the story in way that drives home the heart-rending journey these two characters are on. You scavenge for materials to craft into items oftentimes choosing between a powerful weapon or a health boost. Bullets are few and guns are a last resort reserved for moments of extreme desperation. Describing this as a stealth game is a disservice as Joel doesn't display any proficiency in sneaking around instead hiding from enemies is born out of necessity as you find yourself struggling to escape without using any essential items or losing health. Each of the games enemies are terrifying in their own way, from the savage uninfected Hunters to the frightening Clickers whose advanced mutation has replaced their sense of sight with improved hearing. This game elicits a genuine sense of fear in me, exploring an abandoned college campus filled me with dread the moment the spine chilling sound of Clickers came from the other side of the door, this tense atmosphere is intense and exhausting and all the more impressive for it.

The Last of Us is truly unlike any gaming experience. From storytelling to game design its unflinching depiction of humanity and society on the brink of extinction is unnerving. Yet despite this grim apocalyptic reality filled with brutal violence the game is stunningly beautiful. Not just graphically but emotionally, the lengths Naughty Dog goes to realistically portray these characters is astonishing. These are people you truly care about and the small moments of levity, while rare, serve as a reminder of what's at stake. The realities of survival are a prevailing theme that will have you questioning the lengths to which you would go to survive and the consequences of that singular drive both psychologically and physically. The Last of Us is a profound and harrowing experience with a riveting story that is unfathomably poignant for the medium.

(5 out of 5)

Bioshock Infinite Review

Bioshock Infinite is simply put, one of the most perfectly crafted and engrossing video games ever conceived. I hesitate even writing this review as I feel no words I can string together could possibly encapsulate the sheer wonderment of exploring this world and its grandiose themes that are unprecedentedly profound for the medium. Video games rarely, nay, NEVER touch on topics of much debate; I mean why would they, these are multi-million dollar endeavors that demand exceedingly high sales figures. This is just one of the many ways Bioshock Infinite subverts typical video games, touching on themes such as identity, nationalism, racism, sexism, faith, and belonging with many more than possible to count. It oftentimes looks and even plays like a normal big-budget first person shooter but it quickly reasserts itself and begins toying with the concepts of reality all the while tackling issues that are persistent throughout the in-game world but never overbearing. Bioshock Infinite is a game with grand ambitions but what makes it one of the most remarkable creative experiences is how perfectly realized and crafted every single inch of the game is.

Bioshock Infinite begins in an alternate 1912 with you, Booker Dewitt, being given the deceivingly simple task of bringing back a mysterious young woman to wipe away the debt you owe to some very nasty people. But as you quickly discover after quite literally being flung into the floating idealized city of Columbia, this is a world few could ever have imagined thus begins your thrilling and sometimes emotional roller coaster through the city. Bioshock Infinite is developed by Irrational Games, who above all else are masters of world building, sensorially transporting you into a place of their own creation. Columbia is the perfect city as envisioned by Zachery Comstock, a self-proclaimed prophet, and leader of the ultra-nationalist party who worship the founding fathers as if they were gods. But festering under this hyper idealized vision of America is a disturbing drive for racial purity and immigrant slavery to maintain the city's pathological idealist vision of the America that never existed. The game brilliantly and subtly brings up themes of religion, racism, and sexism within the world with out ever stating its standings nor overemphasizing its existence, letting it seep into the players conscience through pedestrian interactions, posters and music. It's one of the many ways Irrational creates a highly detailed and believable world you can truly lose yourself in.

Booker quickly finds the girl, Elizabeth, locked away in a tower and protected by a mechanical beast and with that minor set-up Irrational quickly sets its sights on creating one of the most well realized video game companions. Suffice to say they surpass their goal and with Elizabeth they craft one of the most impressive accomplishments in video game history. Elizabeth is obviously modeled after the classic Disney princesses and between her design and mannerisms she endears herself to you quite quickly. Her sheltered upbringing allows her a unique perspective on the world and her interactions with the city of Columbia and its inhabitants  drive home some of the darker elements of the story. This attachment is an important feat as you will be tasked with guiding her through Columbia as you both attempt to escape from the myriad of forces out to kill Booker and send Elizabeth back to her prison. But this is no glorified escort mission, Irrational knows better and instead makes her a indelible ally in combat who can toss you health, ammo or salts (this game's magic source) in a time of need. As the game develops her proficiency with her powers allow her to access items through tears in the fabric of the universe to appear at a critical moment in combat. Bioshock Infinite is similar to its predecessor in its mix of gun-play and magic use, Vigors take the place of Plasmids but act similarly. These drinks bestow the player with different powers that give you more control in the battlefield, setting traps and tossing enemies around like rag dolls. The combat is perfectly tuned and with this game's variety of enemies and large open area scenarios make it a highly enjoyable experience above the pitch perfect narrative.

Bioshock Infinite goes above and beyond what video games even attempt and delivers an experience that has no equal in the medium. Elizabeth is brought to life in such a magnificent way you'll find yourself truly falling for her as you spend more time with each other. Irrational crafts an extraordinary story that will sink its hooks deep into you so by the time the ending rolls around you'll be hard pressed to recall a more emotionally resonate narrative in a video game. But its the way the story is conveyed to the player that is truly breath taking. The world of Columbia is bursting with an excruciating level of detail in signs, radio broadcasts, civilian conversations, and general level design that reveal an exacting portrait of this world that is at times both beautiful and haunting. The game definitely has some tricks up its sleeves and its ending alone will deservedly spark heated debates, analysis and meaningful conversation for a long time to come. Poetically written, perfectly realized, memorable and beyond comparison, Bioshock Infinite single-handedly reinvigorates and redefines everything video games can accomplish.

(5 out of 5) 

Dead Space 3 - Unfinished Review

I have been pressed for time for awhile now and haven't had time to sit down and write up a proper review. So this is a work-in-progress that I don't have time to flesh out just yet, and probably wont ever get around to finishing, unfortunately. But I decided it was still worth putting up my thoughts on Dead Space 3 as well as an an insight into my process. What you will see below is my version of notes; when I am reviewing something I typically write random things down like evocative words, descriptive sentences, anything that comes to mind while in the review process. I generally leave the sentences scattered throughout the write-up and pick and chooses from my collection of thoughts. Oftentimes they are reworded to fit a different flow or even torn apart to get to the germ of the idea and sometimes they are completely discarded as they are minor problems that are addressed or are simply unusable ramblings. So enjoy and feel free to question my process. *I never completed the game so my final thoughts are TBA.

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Hokey writing

Combat against enemies with guns is new for Dead Space but it quickly justifies itself by varying up the challenge between the hoards of necromorphs.

Dead Space 3 continues with the series tradition of well-tuned combat that is immensely fun and satisfyingly challenging without being aggravating. (seems a bit easier though)

The game looks fantastic at times, the zero-g exploratory sequences are a real standout.

Predictable, contrived, forced-sequel

Carver is hilariously blunt

Dead Space 3 displays a soap-opera level of storytelling that is baffling and eye-roll inducing, but above all else completely unwarranted and disturbingly coy, as if to let the player know its a joke, but then why even attempt such a ridiculously cheesy story.

Weapon customization is a ton of fun but oddly under-explained, encourages experimentation which complements the great combat which is largely unchanged from the previous game.

Infuriatingly, character motivations and feelings change at the drop of a hat. All in service of a painfully written, melodrama soaked narrative that has no place in a Dead Space game.

Uncharted-lite, over the top but lacking ingenuity

The lack of inventive and memorable set-pieces that its predecessor had in spades is sorely missed. In its place are overlong combat sequence that while engaging feel like padding.

The game also seems eager to stretch for time, oftentimes sending you through the same areas multiple times to retrieve separate items that could have just as easily been rounded up in one trip.

Optional Missions as the game calls them are sometimes interesting divergences that flesh out minor events that occurred before Issac and his team turned up. These vignettes are oftentimes more eerie and well told than the main story line and a welcome addition if not entirely unnecessary.

Dead Space 3 maintains the series supremely high quality standard but overall falls short with a handful of poor design choices.

There were moments of pure unfettered joy to be had while playing Dead Space 3 but they were all times where I was blissfully unaware of the ongoing story, but I promise that those joyous moments of narrative brevity were magical.

Dead Space 3 doesn't do much for the franchise as a whole, but its a superbly well made game that is, at times, one hell of a fun time.

3 or 4 out of 5, can go either way (fuck this story is terrible)

Tomb Raider Review

Tomb Raider attempts to reinvent Lara Croft and tell an origin story that justifies how she became the badass archaeologist from the classic games. Unfortunately Crystal Dynamics gets sidetracked making an action thrill ride which apes from far more successful games and more often than not betrays its initial ambitions of telling a more grounded story. Lara and her journey is the most compelling aspect of the game and watching her go from apologetically killing an animal for food so she wont starve to in the final act of the game actively edging on her enemies is the most satisfying aspect of the entire game. Tomb Raider fails in some respect in appropriately charting Lara journey from naive skeptic to heroine through inconsistent writing and convenient storytelling but it maintains a break-neck pace that anyone will have trouble putting down.

Tomb Raider take place on the island of Yamatai which as legend explains was ruled by the shaman queen Himiko the "Sun Queen". Lara and her cohorts find themselves stranded on this island after a horrible storm, and they quickly realize that they are not alone on this island and the legends of the queen's undead feudal army may be true. The game opens up fairly large areas to explore regularly but is overall quite linear, there is never any other route other than the one the game specifically lays out for you. But some "Metroidvania" type elements of hidden secrets that you need to return to with better equipment makes scouring the island quite fun. The lack of actual tombs is unforgivable given the title of the game with what amounts to a total of 6 roughly 3 minute long tombs that test all the mental capability of a rodent in their simplicity. But what the game lacks in the traditional exploratory aspects it makes up for with one of the most well tuned combat experiences in recent memory.

The game doles out skills, weapon, and traversal upgrades in such a way that maintains a balance between a vulnerable and incapable Lara and one who is fed up with her predicament and is dishing out payback in brutal fashion. There is an odd discontent between the gruesome levels of violence and abuse that Lara is subjected to as well as dishes out that doesn't align with the story and character arch that is supposed to be unfolding. The game takes a much more action focused route which makes more a fun roughly 10 hour experience but never amounts to anything memorable. The games most impressive moments are long  enjoyably challenging segments of traversal that show off the impeccable graphics and its a shame the game never delves deeper into the puzzle solving adventure the series was known for. Tomb Raider is a supremely well made game and at times its pitch of a watching a survivor being born in the midst of this island comes to fruition but it too often indulges in action game cliches that flys in the face of its more intimate character developments.

  (4 out of 5)

Mass Effect 3 DLC: Citadel Review

Here we are, at the end of an era as they say, as Citadel marks the absolute last piece of dlc for the Mass Effect Trilogy. It's been six years since the release of the first game and while its truly sad to see this dlc signal the end of an era, BioWare could not have gone out on a higher note. Citadel stands as the true end-cap to the series, not the cobbled together extended cut that fan outcry forced out of BioWare. This dlc was truly crafted with fans in mind. All along the way BioWare winks and nods to the series's past going so far as to reference memes from popular fan-fiction and internet communities. The add-on is supremely well written with one-liners and pop-culture reference being thrown out in a fury of delightful reverence. This was the send off the Mass Effect universe deserved and it was an absolute delight to go on this victory lap disguised as dlc even when it gets cheesier than it can handle. But as much as I feel like gushing about this last hurrah let me state with absolute clarity, this dlc will only have the impact as I've described it if you are a die-hard fan. If you love this universe and the characters that inhabit it as much as I do this piece of content will leave a massive smile plastered across your face for the duration of its endearingly wacky run-time.

I should probably describe the dlc as that is typically the approach a "review" would take. Without going into too much detail as the many surprises in store for prospective players is a large chunk of your overall enjoyment, Citadel involves a conspiracy that aims to usurp the now legendary Commander Shepard and end his life. But while the structured missions allow for an excuse to return to this universe and revel in the 6 years of history and fan adoration its the small things that make this dlc the single greatest thing to come out of BioWare in a very long time. Suffice to say everyone involved in the development of this add-on is talking directly to fans with a story-line so cheesy there isn't a cracker in the galaxy that could support it. It's all in good fun though, and its a blast to revisit this world in a more jovial fashion. Everyone comes back for this final farewell, unless they have been killed previously (narratively or as a result of shitty player decisions) and they all get the treatment they so richly deserve. If one of your favorite parts of Mass Effect 3 was the sniper competition on the Citadel with Garrus than you will absolutely adore this dlc. The real meat of this content is in the social interactions you can have with all your current and past squad mates. I will simply state that just when the story raps up the party is only just beginning. The dlc has a lot more to offer than is initially made clear, but a little exploration reveals more social interactions than the entirety of the trilogy. All of which culminates in a surprisingly poignant ending that had me on the verge of tears as I realized this was truly the last time I would see all these characters I have grown to love over the past six years. 

Fans = (6 out of 5) 

Literally Everyone Else = (2 out of 5)

Saga Vol.1 Review

Now this is a first, huh, a comic book review. Now now, don't go running for the hills. I may have never done a comic book review on this blog before but I would like to think I'm well versed in the medium. For reference on my expertise I can tell you I know Superman's other weakness besides kryptonite is magic, I know the name of every Robin (yes, there have been more than one), and I can recite the Green Lantern oath. I would type it but that wouldn't really validate anything as you would just think I looked it up and pasted it here. You'll just have to trust that I'm a non-discriminating all encompassing nerd and I'm obnoxiously proud of that fact. But anyways, I'm sitting here on a Sunday after having just spent roughly 4-5 hours studying for a Law and Ethics class and since this blog is only partially a diary I figured I should review something and this is the only thing I've recently enjoyed and would like to tell more people about. This review will cover the paperback collection of issues 1-6.

Saga is the latest glimpse into the genius mind of Brian K. Vaughan who previously gave us Ex Machina and Y: The Last Man two of the most revered comic book series in the industry. The two series earned him 13 Eisner Awards and a Hugo Award the highest honor of works within the science fiction and fantasy  realm. An award shared by The Watchmen considered by many to be the single greatest and most important graphic novel ever conceived. So when Vaughan got started on his latest creation my interest was peeked especially since he expressed an interest in telling a story that spanned a greater length of time on a massive scale. I picked up the first issue and was blown away, the sincere emotion and subtle humor Vaughn is known for is on full display emphasized by the indescribable insanity that is the design of the world and its inhabitants. Fiona Staples demands a lot of the praise as well as her art is jarring and demands inspection it also very humanly expresses subtle emotional nuances, an important feat in a book littered with so much insanity.

Saga tells the story of the newlyweds Alana and Marko as well as their recently born daughter Hazel as they traverse the galaxy dodging mercenaries and side-stepping an all out war between the inhabitants of the planet Landfall and its moon Wreath. There is a lot of back story and while at first it may appear overwhelming it is doled out slowly enough with emphasis remaining on the new parents making it easy to follow. The story is sometimes cleverly narrated by Hazel as recalling the story in the far off future. The series is supremely well written with sharp naturalistic dialogue and a deep history and lore that further fills out the world as each issue delves a little deeper into this odd universe. Staples art is also something to behold, especially given how strange some of the things she has to draw are from a ruthless aristocrat who happens to have a television for a head to a femme fatale spider assassin. Saga is still early in its life and only time will tell if the inventiveness and engaging familial drama keeps up but as of the first volume (issues 1-6) it's looking like another modern classic from Vaughn. I highly recommend Saga for those interested in a comic that's comfortable in left field and doesn't mind reveling in some of the weirder idiosyncratic elements Vaughn so often brings.

(5 out of 5)

Community S4E1 "History 101" Review

Community has finally returned after an extended hiatus due in part to NBC's complete lack of control and astounding ineptitude in running a television network. As well as the seemingly left field announcement of showrunner Dan Harmon's departure after disagreements with Sony and NBC executives. Fans remained nervous about the shows future under a new writing staff and pair of showrunners leaving the season four premier with a lot to live up to. Unfortunately it seems the show we knew and loved is gone. Cynically replaced with a less alienating tone and sharp wit instead focusing on broader humor with more obvious and in turn lazy cultural references. I'm sorry to say it but it seems Community is officially dead, making NBC's half-assed attempt of fooling loyal fans that the current heartless carcass they are trodding out is even remotely the same show we had last year more aggravating and insulting.

Don't let the picture fool you, Community has lost its wit.

The experience of watching the season premier is nearly indescribable. It was at once, depressing, infuriating and maddening, ok so it seems I could describe it fairly well. Anways. I will try to reserve some semblance of reservation as to the shows eventual quality after a few more episodes, but suffice to say if this premier is any indication this is going to be a slow agonizing death of a once great show. But to shine a bit of light on what was missing and why I'm already breaking out the tissue for the death of another great show let me simply state that in the entirety of this episode I smiled once. This entire episode gave me less of a response than a single look Abed would give to Troy in any episode last season. The Hunger Games reference is so half baked and desperate in its attempt to prove the shows relevance its depressing. Community was great because it didn't make any bones about who it was for, anyone who didn't "get it" could go watch Two and a half Men. The show was filled with jokes that took a second to sink in, and only went for sight gags when they were in service of a more thoughtful and oftentimes hilarious character moment. This new botched incarnation of Community flattens its characters into stereotypical roles. Annie in particular has seemingly digressed immensely from her previous development.

This doesn't appear in the episode but it distract me from the sadness

One of the plots in this episode has Abed regressing into his happy place which is a television fantasy version of the real world. The concept is neat in theory but the shows mocking of television cliches are unironically used throughout the episode, relegating all snarky commentary moot. You can't insult typical television tropes and then follow through with them yourself, it makes the show appear like it doesn't even understand whats funny about the thing they are making fun of. Ugh, it's infuriating. *exhale* Look I'm willing to give the show a chance, its very possible this season could have some great episodes down the pipeline, but as of right now I am openly sobbing at the demise of one of the very best comedy shows on television. #sixseasonsandamovie(?)

(1 out of 5)