JUST A HEADS UP
Unlike my past reviews, this one contains major spoilers to the game's rebooted story.
If you do not wish to be spoiled on the game's altered plot, please stop reading now.
YOU HAVE BEEN WARNED

Now as I was saying, Star Fox Zero has been completely rebooted and everything in it was re-imagined from scratch. Shigeru Miyamoto has even described it has being neither a sequel or a prequel, so I guess that would be an apt enough description. The game for the most part has the same design as the previous games where you would either fly down a predetermined path and shoot anything that impedes your progress, or have free-range flight where you need to actively hunt down your targets. But an additional level element was added to the game to make it feel a little more cinematic: Target Mode, where the target enemy is always the focus on the TV screen. This is where the game's new control gimmicks come into play.

Unlike Star Fox 64 or Star Fox Assault, Star Fox Zero has a brand new control scheme that tries to take advantage of the Wii U GamePad as much as possible. The GamePad's screen always has a first person view from the cockpit of the Arwing, the radio transmissions from your squad-mates and enemies only come from the GamePad's speakers, and aiming the targeting reticle is primarily done with the GamePad's gyro sensor. In addition to these GamePad gimmicks, the controls were mixed up a bit as well in an attempt to try and emulate the controls of a fighter jet (all steering is on the left stick, thrusters and rolling is on the right stick, and the ship's guns and bombs are on the ZR and R buttons respectively). And if that wasn't enough, there are three vehicles that each have different controls with two of them having the ability to transform which alters their controls even further. With these new controls and gimmicks, it makes the game feel a bit awkward and confusing to play, especially during the Target Mode segments where the camera focuses entirely on the enemy. It all makes it feel not fun...AT FIRST.

You see, this game had a very unusual form of Stockholm Syndrome on me. After I did a few missions in the game (about 2 hours worth) and played through some of the alternate paths, it all suddenly clicked for me and the controls finally started to make sense. From that point on, I was starting to enjoy the game much more than I was previously. The action was fast and exciting, the varied gameplay styles were a nice change of pace, and the environments were creative and colorful. I was even able to finally enjoy the music as well as most of them were remade from Star Fox 64. The amiibo features were also quite fun; playing as the Retro and Black Arwings gave the game a new challenge to it I was hoping for. It's just a shame that after I had gotten used to the controls that there is no multiplayer (local OR online) outside of the local Co-Op Mode (which is basically a Han & Chewie mode where one pilots the ship and the other mans the guns).

Now the story and level progression is where this game takes an unprecedented turn. Unlike Star Fox 64 which is where Zero gets most of its inspiration, the game is mostly linear with branching paths having little to no impact on the ending of the game. This is a rather big oversight as Star Fox 64 had a great reward system where in most stages if you did an unknown additional task during the level such as killing a certain number of enemies before the end or by keeping a certain character alive, you were given the opportunity to take a harder path which would lead to the true final battle and the canon ending of the game. Because that is no longer the case, there is now a lack of motivation to unlock the alternate paths (even though I did it anyway). In addition to this, many of the stages from the original game have been renamed, removed or completely changed to fit the new story. The Nebulae Sectors are now Alpha, Beta, and Gamma instead of X, Y, and Z; Area 6 has been replaced with a new Sector which appears to be a black hole called Sector Omega; Aquas, Katina, Macbeth, and Bolse are completely absent; and the biggest offender, Venom has been reduced to the size of a small moon and remodeled to be a Death Star like device. This last bit right here is why I can safely say that Zero is a reboot and not a re-imagining; it makes the plot of Star Fox Command completely null and void. That being said, I still really liked the level design and I loved the boss fights.

Now the post-game content is probably where a lot of players will get the most enjoyment assuming they stuck around long enough to beat the game. Finishing the main story once will unlock Arcade Mode which is a one sitting play-through of the game with no system map, and only ONE life. You can collect three gold rings to store an extra life for later, but they unfortunately don't stack. That means, one extra life is all you can keep at any one time. This, and the fact that the game keeps track of your high-score and all of the different flight paths you take during a single run is what Miyamoto was talking about when he and Platinum were trying to make the game as replayable as possible. And every time I beat it, I can't help but shed a tear whenever I see that dedication to Iwata in the credits.

All in all, Star Fox Zero is quite fun, but only after you get the hang of the controls. As such, I will not be giving this game a star score like I usually do since it is very much an acquired taste due to the steep learning curve. The remade story completely changed the timeline for the earlier made games, but if Nintendo were to continue the series, I'm sure they could figure out how to reintroduce old characters and worlds. Now the physical version of the game also came with Star Fox Guard as a bonus, but I'll cover that another time. But until then, I'll be seeing you.

Prey for the Gods is a game where the scale is you=ants. Action is fast paced, and the world is brutal and unforgiving. Your survival hinges on killing the gods that you pray to.

Prey for the Gods is currently in Kickstarter and is being developed by No Matter studios, a team consisting of only 3 developers and composer Ian Dorsch. So far the game looks absolutely stunning, and promises to play with the tight controls of Bloodborne, the scale of Shadow of the Colossus, and an open world several times bigger than the bosses (I jest of course).

Brought to my attention by the Gods over at Indieformer, Prey for the Gods may very well be the next BIG game (heh). Currently 6k from the 300k goal with 19 days to go and a whole host of stretch goals we might get to see this game get made.

This has been a public service announcement, thank you for your time.

Links:

Kickstarter: https://www.kickstarter.com/projects/802508750/pre...

and for more games in the works;

https://www.youtube.com/channel/UCHFDtPdTc-ymerPwh...

• Unite Hand can turn gears and ignite itself to throw fireballs
• Unite Sword can cut cables, unlock diamond shaped keyholes, repel lasers and act as a lightning rod
• Unite Gun can hit distant and unreachable targets
• Unite Hammer can pound switches, break floors and protect against arial fire
• Unite Whip can be used to swing from certain points and can rip spikes from their mounts
• Unite Claw can be used to scale walls, pry open doors and can occasionally freeze enemies
• Unite Bomb can temporarily slow time to a near standstill in a given radius

Now my favorite part, the Boss Fights. Each of these fights are unique and interesting, sometimes even being dramatically overdone to the point where it keeps trying to top its own wackiness. A couple of these fights even play homage to the Punch-Out!! series of games which amused me to the point of laughing. I just wasn't expecting anything like that at all. All of these fights also start with a cutscene of Wonder Red initiating his suit's Infinity Form which greatly increases his power and endurance for the duration of the fight. Whenever this scene happens, I always find myself mimicking Red's movements. It's just one of those things that made me feel like I was a kid again sitting in front of the TV watching Power Rangers and eating some sugary cereal.

All in all, this game has been an invigorating experience for me. The controls were great, the music was fantastic and each level was extremely well made and had something unique to offer from it. The camera's isometric view might cause some viewing issues during close up shots, but it can be zoomed out in some cases where that happens. Still, I highly recommend you pick up this game because this underrated title has been one of the most fun games I've played in years. But until then, I'll be seeing you.

Score:

What is really unique about this game is that it is played with a special controller called the DK Bongos. Each respective drum moves DK left or right, rapidly drumming will make DK run and both drums at the same time make DK jump. Clapping your hands (or ANY loud click, snap or tapping noise) will make DK clap. This is how you engage in combat with larger and stronger enemies, grapple onto vines, and how you grab bananas. This control scheme works extremely well for how the game is laid out, especially when considering that the game was likely made with the DK Bongos in mind. The control scheme that would have been required for a normal controller would have been very unintuitive and extremely difficult to use.

All in all, this game is probably one of the most fun and unique platforming games I've ever played. It has great visuals which rival even some current gen consoles, the music is fantastic and gets even better when you start to rack up a high combo, and the gameplay is well suited for the controller that was made before it. Definitely worth your time and money, assuming you can find a working pair of bongos. But until then, I'll be seeing you.

Score:

If you liked the fast paced, retro, ultra violent challenges that the first Hotline Miami had to offer then I assume you'll love Hotline Miami 2: Wrong Number even more. Hotline Miami 2 comes with a revamped soundtrack that still holds the style of the prequels music and it gets you super pumped at times. The most notable thing about Hotline Miami 2 is the expansion on the game's lore. In the first Hotline Miami the player was left to make inferences and the only real bit of story occurred towards the game's ending. The story in Hotline Miami 2 gives insight on the first game and expands even more and ends up becoming a crazy existential crisis that leaves you feeling like you just got round housed by your own mother, assuming yo momma is fat. In Hotline Miami 2 the story is in depth and takes place over many different characters, locations, and time periods. The levels are also a lot bigger so if you like challenging fast paced game play Hotline Miami 2 delivers even better than it's predecessor. The story in this game is one of the things that kept me motivated to keep playing. Even after all the dying in each level finding out what came next in the story compelled me to keep trying.

A sample of the awesome soundtrack.

If there was anything negative I had to say about Hotline Miami 2 it would be that sometimes the rooms within the level are far too big and cause a lot of stress and anger. But with a cool head you can still enjoy the game.For those of you who are new to Hotline Miami I have one tip for you, and that is to not get angry. Dying is a very big part of this game and there's no health bars. One bullet and one hit can kill you faster than you can say, "What the hell was that?" One more thing that slightly upset me would be that the creators of the game got rid of masks and replaced them with the multiple characters. There is still variety, and even more depth to the game because of the new characters, but it still doesn't have the classic Hotline Miami feel without the multiple masks that added more of a challenge to the game and allowed you to mix up your play style. Another thing that let me down personally is that the main character from Hotline Miami 2's prequel : Jacket is only shown briefly and is not playable.

If you do find yourself looking for more of a challenge you can try out the hard mode that unlocks after you beat the game for the first time. Hard mode adds in extra special enemies, and gives them a better reaction time which is harder to get around than it sounds.  Hard mode also flips each levels layout which makes each level feel refreshed and new. There's also an added secret in hard mode that will put things in perspective. For those of you reading who have played Hotline Miami 2's prequel you should keep your eyes peeled for secrets and Easter Eggs to get more of an insight on the game's story line.

A small peek at the game's play style.

All in all I'd give Hotline Miami 2: Wrong Number an 8.5/10  As no other game has made me feel like more of a badass killing machine than this one.

Video Game

This game is fantastically good and a helluva lot of fun, even if the difficulty on the Normal setting is a little unforgiving. The music is fantastic as well and the character and enemy designs are extremely creative and fit the theme of the game superbly. The story can be a little confusing at times, but it all comes together nicely in the end. However, depending on which version of the game you get, it can be either an extraordinary experience, or torture for the eyes. If you decide to get the game, go for the Xbox 360 or Wii U version of the game as the PS3 version is plagued by terrible frame-rate issues making it look awful to watch, let alone play. Plus as a bonus to those that get the Wii U version, Nintendo themed costumes for Bayonetta are also available which alter some minor aspects about the game without affecting the gameplay. All in all though, just avoid the PS3 version.

"The Eyes of Bayonetta" Artwork Book and DVD

Now despite how interesting and informative the artwork books was, the "Making of" DVD actually was what I more interested in. The development process was quite a sight to behold. As it turns out, the main character, Bayonetta, was designed by Mari Shimazaki with the only instruction that she should look feminine. Needless to say that this gave her a lot of freedom and she rolled with it. She wasn't the only one that was given a lot of freedom in her work, just about everyone involved in the game's creative process was allowed to let their imaginative juices flow freely. The way everything meshes together really shows that love and care was put into the game's creation. The DVD is definitely well worth the watch; the dev's personalities show in both their commentary and their work.

Animated Film

Closing Statement

No matter what medium you enjoy Bayonetta in, this first entry in the series definitely had a very strong impact. Bayonetta as a character is probably my favorite female protagonists of all time as well. She is strong, independent, knows that she's sexy and casually exploits that fact in her work, which she also enjoys. If you can get any of these things, definitely go for it, just remember to avoid the PS3 version of the game due to a very shoddy porting process. But until then, I'll be seeing you.

Game Score

Book Score

Film Score

Two Years after the aftermatch of Human Revolution, Mankind Divided throws Adam Jensen and the player into a new world of hatred, prejudice, and oppression. After augmented people were sent into a killing frenzy, the natural world began to reject the augmented and their values. Augmented people and natural people are segregated apart from one another and those with augmented limbs or abilities are treated as second class citizens, and Adam is stuck in the middle of the turmoil.

Our battery acid gargling protagonist, Adam Jensen, is back and just as enjoyable as he was in Human Revolution. Adam begins as an agent for a task force in the Czech Republic that may or may not be controlled by special interest groups. As he arrives in Prague, the train station he stops at is bombed and all the blame is put onto the controversial pro-aug group known as the Augmented Rights Coalition. Now Adam must solve a mystery that could topal entire governments. If that all sounds somewhat vague, then it's supposed to. It's best to go into Mankind Divided with little to no knowledge of the events after Human Revolution.

Perhaps Adam isn't as likable as he was in human Revolution since we no longer can sympathize with him having no choice in augmenting his body. Adam finally embraces the machine he is and it's your job to progress through the story as the nicest guy in Prague or just as rude and abrasive as the Czech state police. Thankfully, you can always pick when you want to be good or bad, but you can also settle comfortably in the middle as well.

Deus Ex: Mankind Divided also focuses on conspiracies much more than in Human Revolution. Often times you will have to choose who to side with during arguments and choose who to give plot important items to. I loved the return of the "this is bigger than all of us" conspiracies. It really helps harken back to the original Deus Ex.

The social commentary was enjoyable and rarely became preachy. Once in a blue moon you'll stumble onto a document or TV broadcast that does seem to be a bit one sided though. The social commentary also isn't forced down your throat either. Besides the Augmented Rights Coalition during the main story, you will only find it in optional newspapers, e-books, and television broadcasts. So if you disagree with everything Eidos has to say or get offended easily, you're in luck.

Side quests are also much more dynamic and satisfying to complete than in Human Revolution. Most times, you will stumble out of a building and see a commotion off in the distance. Investigating further will likely activate a new side quest to complete. My personal favorites were The Harvester and Last Harvest side quests. In those quests, Adam becomes a bit like a consulting detective when he helps an ignorant detective solve a string of murders upon augmented people. The revelation is great and is written in a way that makes the world feel so three dimensional. That not everything is about you and your adventures.

All is not good in Jensen town though. The story has major issues. For starters, new characters to the series are never properly introduced. They just sort of show up out of nowhere and help advance whatever quest you're doing. Adam clearly knows them and has a past with them, but they weren't in Human Revolution so my only guess is that these characters were introduced in a secret game set in between Human Revolution and Mankind Divided that was never released. The only logical explanation is that Eidos got too close to the illuminati with this middle game so they made Mankind Divided and just advanced the story a few years. Or they were probably introduced in the midquel novel and we're expected to buy that too.

The main story has issues too. I can easily look past its serious pacing problems, but what really bothers me is the blatant sequel bait cliffhanger ending. With Human Revolution, it could have easily stand on its own as a prequel to the original Deus Ex. But it seems Eidos Montreal is getting cocky and probably plans a trilogy of to tie into the original game. It also doesn't help that the main story only clocks in at about 12 - 15 hours. Side quests add about another 5 or 6 hours though. Which is a let down compared to Human Revolution's 20 hour main story and 10 hours of side quests.

"If it it ain't broke, don't fix it" is and isn't true in Mankind Divided's case. Not only is it clear that Eidos Montreal took fan complaints about Human Revolution to heart and remedied them, but they also built onto the established gameplay to make Deus Ex fresh again. What does that mean? Well the overall clunky feel from Human Revolution is gone, but it also doesn't devolve into generic first person shooter territory either. Combat, stealth, and ghost gameplay have been improved on dramatically.

Now no one approach to a situation is anymore viable than they others. Want to stealthily navigate around your enemies to get to your objective? Look around your environment. There is often a door or a vent conveniently placed near you to avoid frontal assaults. Are you one to tackle your problems head on? Loud combat approaches are made all the more enjoyable with a larger arsenal of weapons at your disposal as well as a much needed overall to the controls.

After meeting up with the ghost of Prince, Adam learns that he has unstable experimental augs hidden away in his body that can be activated at a cost. That cost is overclocking his own body causing overheating and severe glitches. This is actually a nice and believable explanation to addition of new augmentations that does eventually tie into the main story. The balancing of your experimental augs is actually well done as well. To ensure that you can use those augs with serious side effects, you have to temporarily shut down another branch of augmentations to cool your system. This can be overridden with a plot device about half way through the game though so you can use everything without consequence.

Augmentations are just as fun to use in Mankind Divided, if not more so. All the augmentations that could be unlocked in Human Revolution return with some new friends. New additions include remote hacking, titan armor, nanoblade, and a few more. Augs are all the more fun to use with the return of Biocells. Instead of having to recharge your bio meter with random foods and drinks, Biocells can be used and are now craftable, buyable, and findable. For those who don't know, this is an item that was absent in Human Revolution, but found in the original and Invisible War (although under a different name).

Weapons also have gotten an overhaul since Human Revolution. Darting between cover and picking off targets both lethally and non-lethally has never felt better. Guns feel much more in line with usual first person shooters and that's thanks to the new control options. Now you can choose between classic Human Revolution controls, new Mankind Divided controls, and typical FPS controls. Your augmentations weren't the only thing that got upgraded. Guns have always been customizable in Deus Ex, but now you can customize to your heart's content on the fly. All you have to do is hold down the reload button/key and Adam will hold his gun out and allow you to change attachments, rate of fire, and even the ammo type. It's a bit like Crysis, if that makes sense. None of the gameplay really feels streamlined from Human Revolution. It just seems that Eidos fixed the problems people had and added more to the game. More developers should take notes.

Unlike Human Revolution that featured multiple decently sized city hubs, Mankind Divided instead opts for one large city hub where the majority of the game takes place. Many main missions and side quests are played out in the Prague hub, but a few missions are played out elsewhere like Golem City, an augmented ghetto. While Prague isn't a bad place for a city hub, it just isn't as memorable as Detroit or Hong Kong from Human Revolution. The samey grey buildings do get tiresome after hours of exploring. Perhaps this was a design choice to make landmarks like The Red Queen stand out more, but it still doesn't make that "been there, done that" feeling go away.

The amount of detail, be it large or small, is incredible. From Adam quickly switching the safety on when holstering his gun, to enemies calling out your location and what weapon you're using in real time. Segregation is a theme and Mankind Divided, and it shows when you board a "Natural Only" metro car. Other passengers will glare at you and the state police will warn you not to do it again once you get off. I hadn't even realized what I did wrong at first when I stepped off the Natural Only metro car and got scolded by the police. I assumed that the segregation areas were just for show, but there were actual consequences for stepping over the line. It's clear that a special amount of love and care went into Mankind Divided that may be overlooked by many players looking for cheap explosive thrills instead

Even for 2011 standards, Human Revolution still looked a bit dated compared to other AAA releases at the time. Mankind Divided on the other hand looks downright beautiful thanks to the Dawn Engine. Clothing, faces, and weapons all look as if you could reach out and actually touch them. Bright neon lights reflect off of objects and NPCs. Rain will stick and drip off of Adam's well toned augmented body. Mankind Divided is candy for the eyes, for the most part.

Some textures don't get the same treatment. Textures such as certain walls, miscellaneous objects scattered around the world, and the little foliage that can be found are often incredibly basic textures that made me wonder if I was even supposed to be looking at them. But the biggest issue regarding the graphics is the frame rate. I played through Mankind Divided on the PS4, and I found an abundance of frame rate dips. "Dips" doesn't even begin to describe the problems with the frame rate. "Frame rate plummets" is a much better description. Even the act of walking down a lonely alley way can result in the frame rate tanking like the Titanic in a tsunami. Thankfully, the actual story missions stay at around 30 frames per second the entire time.

Besides the frame rate, the most noticeable issue with the graphics are the idle animations and lip syncing. Lip syncing ranges from serviceable to just plain bad. Outside of prerendered cutscenes, characters look like dogs when they have peanut butter in their mouths, filmed it, and then the developers just looped dialogue over that. Now what about animations? Well combat and takedown animations are great to watch and even seamlessly transition back into gameplay. Idle animations are another story. Often times characters will flail their arms about and shake their heads when they didn't say anything that would warrant that.

But by Philip K. Dick's ghost, that cyberpunk atmosphere though. Where Human Revolution was overflowing with cyberpunk cliches and a yellow and black color palette that often overstayed their welcome, Mankind Divided instead goes for a more nuanced approach to the cyberpunk genre. Much like the original Deus Ex. That doesn't mean Mankind Divided is any less cyberpunk than it's predecessor either. Neon still soaks through subtlety, especially in the red light district. Synthesizers still plays perfectly to the situation you're in. Whether you like to be bombarded with cyberpunk visuals and jargon or prefer or more realistic take on the genre is a matter of opinion.

If you thought Human Revolution's soundtrack was great, you're in for a magnetic treat with Mankind Divided's score. Following the gameplay's "if it isn't broken, don't fix it" mindset, the score in Mankind Divided is an orgasmic ensemble of synthesizers and cyberpunk good times. Expertly switching between slow and somber for depressing moments. Then ramping up the energy in each track as you go guns blazing after a botched stealth approach. If the atmosphere and story weren't cyberpunk enough for you, then the soundtrack is what you need.

The sound even factors into the gameplay. Just walking around a building that you're supposed to infiltrate can lead to wondrous discoveries. Many times I began to overhear idle chit chat between two NPCs discussing the building or location they are outside of that lead to me figuring out alternative paths that were pretty well hidden. Footsteps also make a welcome return. Nothing is more infuriating than a stealth where you can't hear your enemy's footsteps. Footsteps echo off of different materials and even your own footsteps are affected by the type of floor you're walking on and how fast you're moving. Thankfully, Mankind Divided remembers its stealth roots.

Elias Toufexis is back as Adam Jensen, but Stephen Shellen does not return to voice David Sarif. And that's a shame too. Shellen's performance as Adam's aggressive boss was one of the most memorable elements of Human Revolution. While Sarif's new voice actor does a more than serviceable job, it's still a shame that we won't hear "ADAAAM" in the right voice again. I'm not personally Czech, believe me I checked, so I can't comment on the authenticity of the accents of the Prague NPCs, but they sound believable enough. Almost every character has an accent so I hope it's authentic.

No game can be this good without an ugly sore hidden somewhere. That sore comes in the form of Breach. Breach is the incredibly unnecessary multiplayer mode for a single player centric game. Those who have played the original Deus Ex know that multiplayer isn't exactly new to the series, but not like this. Take the single player from Mankind Divided, neuter the gameplay, add actual microtransactions that forms a pay2win business model, neuter the gameplay even more, and bam: Breach mode. It isn't worth your time at all. Especially with new game plus for the base game. Luckily it can be ignore altogether.

To answer the opening rhetorical question: Mankind Divided proves that Human Revolution wasn't a fluke and the Deus Ex franchise has a bright future ahead of it. If you liked Human Revolution, you'll love Mankind Divided. It isn't exactly the definitive cyberpunk RPG, nor is it even the best in the Deus Ex serious, but it gets damn near close.

First time you start up the game you are greeted with a bright light and an audible voice calling out to Link, the player. Now even though it was confirmed quite a while ago that the game would have voice acting, it still was rather jarring to hear actual spoken dialog in a main series Zelda game. You are then presented with a simple, generic tutorial of the game's controls such as movement, climbing, and jumping (yes there is a dedicated jump button in this game) so you can properly traverse the world. Then you meet an old man outside of the cave Link was sleeping in, and he gives you a general idea on how the game works, but that's it. That's right, this game gives you no more than the information you absolutely need at the beginning, and then leaves you to fend for yourself. The last time Nintendo did something this drastic in a Zelda game was during the NES era, AND I LOVE IT.

Just about everything you find in this game from food and materials to weapons needs to be found during your time exploring as shops are few and far between, and not a single one has an infinite amount of stock. And to make matters even more interesting, weapons and shields are not indestructible, and you have a finite amount of inventory space. Fortunately though, your inventory can be upgraded through the use of Korok Seeds of which there are 900 to collect. In addition to the insane number of Korok Seeds to find, there are also 120 shrines to discover and each one provides a challenge that rewards the player with a Spirit Orb which can be redeemed for a Heart Container or a Stamina Vessel for every four you collect.

Now one of the biggest changes in the formula that was made to this game was the complete absence of items and tools which were used in past games to solve puzzles in dungeons and to improve Link's mobility; not so this time. Instead of collecting the items gradually throughout the course of the game, the first four shrines within the first hour or so of gameplay present you with four runes for your Sheikah Slate (Remote Bombs, Stasis, Cryonis, and Magnesis) that will be used for the entirety of the game. By giving everything that you will ever need at the beginning, it makes all of the future puzzles entirely reliant on your ability to problem-solve without hints being thrown at you every five steps you take. It forced me to experiment with what I had and I felt a much greater sense of accomplishment when I figured out the puzzle on my own.

Now my favorite thing about this game would have to be the world of Hyrule itself. From the things I've read here and there, Hyrule is roughly 360 km² (Skyrim by comparison, which is known for being quite large, is roughly 37 km²), and I believe it. The fact that Nintendo packed so much stuff into this world and put in so many collectibles and hidden stuff in it, it is rare to ever find yourself with nothing to do. You can hunt, mine for ore, do side quests, fight rare and/or giant monsters, play mini games, the list goes on. I myself have spent many an hour just walking around aimlessly and taking in the scenery. Everything is just absolutely beautiful.

Now this review may seem a bit short when you consider how big the game is, I'm afraid that is all I can say on the matter as compared to past games in the series, everything about it is EXTREMELY open ended: The story is in pieces and must be found by exploring key areas in Hyrule, the map is also in pieces and fills in when the Sheikah Tower in that province is activated, almost all music in the game is of the ambient variety instead of it sounding exploratory, you can complete any dungeon and shrine what whatever order you want, all combat is very action oriented (as opposed to past games where you would just wait for an opening and then strike) with all enemies having a tell to their attacks, and the introduction of upgradable armor sets makes this game feel much more like The Elder Scrolls, The Witcher or Dark Souls lite than your standard Zelda affair. I'm not saying this is bad, I happen to like this format a lot and wish to see it as the new standard. What I'm saying is that it is different than what I (and a lot of fans) have been accustomed to for the past two decades, but this change to the formula was SORELY needed.

So needless to say, after spending roughly 100 hours in this game in such a short amount of time, this installment in the series is definitely my favorite entry thus far. While the world is quite expansive, the fact that each shrine doubles as a fast travel point is very nice, the ambient soundtrack is very soothing and exciting at the same time, the graphics are complimented by the lighting very well, the lore and societies within the kingdom of Hyrule are very interesting to learn about, and the freedom to do whatever I want, whenever I want to do it is thoroughly liberating. So now if you'll excuse me, I'm off to farm for more Lynel guts so I can upgrade my barbarian armor. So until then, I'll be seeing you.

Score

First of all, once the game is started it just throws you right into it without pomp and circumstance. You are introduced to a cutscene of Mario engaging in fisticuffs with a sharply dressed King Bowser Koopa as he is abducting Princess Peach in order to force her to marry him. Mario loses and lands unconscious in the monochrome town of Bonneton in the Cap Kingdom and is greeted by a ghostly being resembling a white top hat named Cappy who is in a similar predicament in which someone he cares for, his sister Tiara, was kidnapped by Bowser to be used for his sham of wedding to Peach. He and Mario team up, which grants Mario the ability to possess certain objects, animals and enemies with an action known in-game as "capturing," so they can find a working airship that can chase after Bowser, defeat the wedding planners that Bowser hired known as the Broodals, and rescue Peach from his clutches as he commits grand larceny in several kingdoms so he can obtain only the best quality items to be used in the ceremony. Seems like a lot to take in all at once right here, but trust me it is much easier to follow the plot in the game than from reading my explanation here.

Now as to be expected from a 3D Mario game, Mario has a ton of movement options, but with the addition to his normal running and jumping techniques that have been a staple since Super Mario 64, Mario can also roll into a continuous somersault which can be linked into a long jump and back again, and he can throw his hat to be used as a temporary platform that can be jumped on. All of these movement options coupled with such fluid and responsive controls makes it feel REALLY good traversing the massive kingdoms that Mario must explore in order to find Power Moons, the game's chief collectible and fuel source for the Odyssey, Mario's top hat-shaped airship, and he will need a lot of these moons to power his ship so it can get to new kingdoms. Luckily each major kingdom has more then enough moons to find usually having around 30-50 moons each. In addition to the sheer number of moons, each main kingdom also has either 50 or 100 regional purple coins to collect that can be spent in a Crazy Cap store for special costumes or souvenirs for your ship. Not necessary for finishing the game, but needed for 100% completion.

Compared to some of the other 3D Mario games, this one has one major change that completely changes how the game is approached; There are no more 1-up mushrooms. Instead, every time you die you lose 10 coins and considering that coins are much more important in this game than in previous entries, those unnecessary deaths are much more of a problem now. Luckily though you will never see a game over screen no matter how long you've been playing; no 1-ups means no way that you can run out of lives. In addition to this, coins no longer restore health. Instead, if you are low on health then you will need to find and collect a heart to restore one portion of his 3-HP meter. These new mechanics make the game feel more modern and makes collecting coins fun again without devaluing them considering they are no longer a source of health.

Now my biggest fear before I started the game was thinking that a good chunk of the kingdoms would just once again be rehashed ideas that have been used in many Mario games before. Thankfully, Odyssey only follows this trend to a bare minimum instead using those old design tropes as merely guidelines and greatly expanding on those and turning them into their own thing. Instead of a regular water-themed area, you have Lake Lamode of the Lake Kingdom which is heavily inspired by Greek architecture and French fashion designs; instead of plain lava area, you have Mount Volbono of the Luncheon Kingdom which is all bright colors and low polygonal models; and my personal favorite and what could possibly be considered a fresh twist on the jungle-level trope, New Donk City of the Metro Kingdom: a vertically impressive urban jungle modeled after what could possibly be Times Square of New York City and the classic arcade game, Donkey Kong. Needless to say, I never found myself bored from exploring as there is so much detail in even the smallest things and there is a lot of stuff to do, and it is all condensed into an impressively small 6gb package.

There are just too many good things that can be said about this game. The music is fantastic, it feels really good to collect all of those power moons, the 8-bit 2D segments are a great nostalgic change of pace and don't break up the flow of the game too much, the capture mechanic is ingenious, and the worlds are so unique despite them mostly being the same old stage tropes from past entries. I only have one real gripe about the game, but I'll save that for another article; let's call that one part 2, but until then, I'll be seeing you.

Score

Before I even begin, I already know the first complaint that will be made about The Surge. "It's just Dark Souls, but in the future." And while that's right, it's also wrong. It's right in the sense that Dark Souls is also a hack and slash RPG with an emphasis on patience and difficulty, but Dark Souls, nor Demons Souls, were the original pioneers of that subgenre of video games. They merely popularized it. The cherry on this bad comparison sundae is that The Surge having an original story and setting already sets it leagues above a generic medieval dungeon crawler with its only gimmick being that it's difficult.

As Warren, you arrive at CREO, a robotics company desperately trying to reverse the effects of climate change, for your first day on the job. You quickly learn that your character, Warren, is paraplegic. Now how are you supposed to play an action RPG as a guy in a wheelchair? Well, luckily for the player, the position Warren has signed up for at CREO needs him to undergo a painful operation that will give him the ability to walk again as well as giving him near superhuman strength. The catch is that, in doing so, he must agree to have a metal exoskeleton surgically bound to his body.

"Show, don't tell" seems to be the motto for The Surge's story. Similar to many games that follow this narrative style, you enter CREO's facility after it has already gone through hell, and your main goal is to survive the mad house and get out. Just the environment alone does a great job of visually telling you of what happened. It also doesn't hurt that there are occasional audio logs and survivors scattered around to help put the pieces together. While told in a way that has been proven to be great time and time again, the story itself isn't anything special and merely serves as a backdrop for the vastly superior gameplay.

While nothing entirely special at first glance, the visuals of The Surge are quite impressive for a middle market game. From the highly detailed combination of the flesh and metal textures on Warren's newly modified body, to the sprawling, seemingly lived in, facility of the CREO complex, The Surge is a testament to the fact that you don't hundreds of millions of dollars to make a pretty game.

At this point, we're all familiar with combining light and heavy attacks as well as occasionally blocking and dodging to overcome hack and slash gameplay challenges. So what does The Surge bring to the table? Instead of needlessly adding arbitrary gameplay gimmicks or complicating systems that were fine the way they were before, The Surge chooses to refine already tried and true gameplay as well as putting a twist on some to make it its own.

Normally this is the part where I would say something along the lines of, "if you're familiar with Deck13's previous hack and slash outing, Lords of the Fallen, you'll be right at home with The Surge," but that would actually be wrong. If you did, by chance, play the criminally underrated Lords of the Fallen, then you would remember just how slow and deliberate it felt. The Surge is not at all like that. While it's still just as, if not more, deliberate as its predecessor, it's also much, much faster. Think of the nature evolution from Dark Souls to Bloodborne in terms of speed, and that's one of the only Dark Souls comparison that can be made here.

It's the little things that have a place in my heart. Something as simple as targeting seems like something that doesn't need to be improved on or tampered with in anyway, right? Well The Surge does just that and now it's how I want targeting to be in every game I play from now on. There's many things you have to pay attention to in The Surge, and enemy's armor is one of them. The Surge allows you to target individual body parts in real time and make decisions on the fly of where your attacks should land to inflict the most damage.

"Cutting" was, by far, my favorite feature in The Surge's. To cut, you must first build up your energy level by successfully chaining together light and heavy attacks to perform an instant kill. The benefits of cutting also go beyond just an instant kill. Say there's an enemy with a weapon you want. Simply target the body part that the enemy is holding the weapon in and cut it off. The successful cut will result in the enemy dropping said weapon and allow you to pick it up and use it. This also works for armor, so mutilating your enemies is greatly rewarded.

Just having light and heavy attacks is so 2011. Why not have vertical and horizontal attacks as well being able to combine those with light and heavy variants? With the addition of cutting individual body parts, having the ability to choose between vertical and horizontal attacks was definitely a needed option, and we got it. You wouldn't want to swing downwards when attacking someone's legs, you'd want to swing from the side.

Killing enemies rewards you with experience points. Take those experience points back to the designated safe area to level up, but if you die before you make it back to the safe area, you drop your experience points and have to pick them back up, and returning to these safe areas respawns all the enemies. Sound familiar? Well it should be to anyone that's played this kind of game in the last 5 or 6 years. There's nothing inherently wrong with this formula because many developers in the past have proven it to be effective. The problem The Surge has with it though is that it spreads these safe areas out thinner than Assassin's Creed's premise. There's only one or two safe areas, or "MedBays," per level, and these levels are huge. So you're either going to have to trek all the way back to the only MedBay in the level or pray to God that you can make it all the way through to the next level. Having more than one MedBay wouldn't have hurt the difficulty, Deck13.

Starting on the outskirts of CREO's facility, Warren must delve into the heart of a robotics lab in order to escape. As far as level design goes, The Surge offers enough to serve its intended purpose, but still nothing to write home about. The levels go far beyond the samey grey corridors and interiors that you would initially expect from a fictional facility like this, and they even feel lived in, as if they were designed with an actual purpose other than mindlessly murdering enemies scattered around, but nothing ever really stood out to me; or gave me that "wow" moment.

I also couldn't help but feel somewhat let down with the sound department. Now don't get me wrong, whether it's a chainsaw tearing through flesh and metal or bludgeoning unsuspecting crazy people to death, The Surge elevates the sound of death to an art form, but the music is seriously lacking. You would think that a cyberpunk action game would be a great excuse for the developers to throw in some fast, hard hitting synthwave, but with the exception of some occasional ambient tracks and a single Stumfol track, your ears will be treated to musical stylings of nothing ft. nada.

While not exactly the greatest game Focus Home Interactive have ever published, The Surge is an incredible experience and worthy of standing among the greats such as Dark Souls and Bloodborne. The soundtrack and level design leave much to be desired, but I'd be lying if I said that wasn't all made up by the beautifully refined gameplay. The Surge is a win for Deck13, Focus Home Interactive, and anyone fortunate enough to play through this game of the year contender.