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Showing posts with label playing. Show all posts
Showing posts with label playing. Show all posts

Friday, September 7, 2012

Mark of the Ninja Review

Stealth, befitting of its very definition, sneaks into our games in many forms. Sometimes it slips in under the guise of a role-playing game, such as a no-kill play-through of Deus Ex: Human Revolution. In other instances, it blends with an action title, like the Sam “Panther” Fisher version of Splinter Cell Conviction. And not often enough, it comes in its purest shape, in which you face near-certain death – or at least, extremely long odds – if you’re spotted. The Thief series, quintessentially. Or, in 2012, Mark of the Ninja.

Patience is a virtue, just like your mother said.

Laudably, there isn’t just one trick in Ninja’s bag. Instead, it takes the best ingredients from both new and old examples of the stealth genre and mixes them into a potent knockout brew. The look is gorgeous thanks to the same talented artists and animators responsible for developer Klei Entertainment’s other Xbox Live Arcade series, Shank. Anytime you make an undetected kill, the camera zooms in and darkens the background, highlighting you and your victim as you plunge your blade into him and then toss his body aside or through a grate. You’ll be forgiven if you mistake what you’re watching for an M-rated animated series on Adult Swim.

But gameplay is most important. In a move that’s simultaneously refreshing and familiar, Mark of the Ninja is a 2D stealth adventure that, at first glance, looks a bit Metroidvania-esque. You’ll jump and grapple-hook your way around mostly linear levels (though occasional path choices and backtracking occur), clinging to walls and ceilings, hiding in floor grates, and pressing B to duck behind potted plants or in doorways – all in the name of avoiding detection.

You begin with only these most basic of moves, but as you finish levels and secondary objectives within each mission (such as completing an area without raising an alarm), you’ll earn medals redeemable for new moves that significantly liven up the game and open up your options. For instance, there’s a taunt that lets you string-up your kills in order to terrorize the other guards, a la Batman. Or the not-so-subtle nod to Metal Gear Solid: the cardboard box. Seeing your black-clad hero reach out from underneath the simple disguise, grab a victim, and drag him back under the box while his buddies ignorantly walk by is as sadistically rewarding as it is hilarious.

If you get found out, especially by a dog, you're in trouble.

More seriously laudable is Ninja’s scoring system. While many stealth games claim you can play them how you want (read: lethally or non-lethally), this one actually rewards you with medal-earning XP either way. If you knife every fool, you’ll earn some points. Hide their bodies when you’re done and you’ll net more. Terrorize them and you’ll bag yet more. Or score plenty of points just for sneaking by the bad guys undetected. This is complemented by additional play styles that become available as you go, like “Way of the Ninja.” This removes your sword – thereby making it nearly impossible to kill anyone – but gives you extra distraction tools, such as the aforementioned cardboard box, firecrackers, terror darts, etc. It wholly changes the way the game is played, akin to watching a different director’s cut of your favorite movie.

All of these added perks culminate in the highly recommended New Game Plus mode, in which the enemies get tougher but you’ve got access to your full arsenal of unlocked goodies right from the first stage.

You’ll want to replay the 6-8 hour campaign, though probably not for the story (but oh, those drool-inducing animated cutscenes!). The plot starts simple and never really evolves, though it’s just engaging enough to make you stop and think when you reach its forked ending. Unfortunately, neither choice at the campaign’s climax pays off with a revelation or additional backstory. Or anything, really.

Theatricality and deception are powerful tools...

Ninja’s only other crimes are, first, that its gorgeous animations aren’t showcased enough; there simply isn’t enough variety in the kills. Nearly every fatal scene shows you slicing a bad guy at the neck or through the belly. Even the gameplay side of this could be fresher – you’re always pressing X and a cardinal direction for every fatal blow. We would’ve loved to have seen (literally, with this gorgeous art style) more choice in ways to off your enemies.

And second, Ninja loses its way a bit around two-thirds of way through the game with a mildly frustrating stage packed with platforming puzzles. It doesn’t last too long, but it is the clear weak point of the campaign.

Begone, pesky light bulb!

Still, forget about being among the cream of the Xbox Live Arcade crop – that much is a given. Mark of the Ninja is among the finest stealth games you can currently play. And if you need an extra anecdotal – but almost always dead-on accurate – verification of Ninja’s greatness? Playing it at the IGN office was like shining the Bat signal into the sky. Fellow editors kept walking by my desk, independently inquiring, “What is this?” in a curious tone tinged with pure excitement. The most common quips? “This looks amazing.” “This is from the Shank guys, isn’t it?” “The animation is beautiful.” And, finally: “Wow.”

It’s a head-scratching shame that Microsoft chose to give Ninja an atypical Friday release date, and with seemingly no promotion to boot. So let me do you a favor and shine a guiding light on this shadow-dwelling hero. Play it. You’ll thank me later, I promise.

Ryan McCaffrey is the Executive Editor at IGN Xbox. He used to own a DeLorean, which is weird. Follow him on Twitter, on IGN, catch him on Podcast Unlocked, and drop-ship him Taylor Ham sandwiches from New Jersey whenever possible.


Source : ign[dot]com

Friday, August 24, 2012

Gearbox: Why Borderlands 2's Story Won't Suck

Gearbox Software knows where the first Borderlands fell short, and in working on Borderlands 2, Lead Writer Anthony Burch can pinpoint precisely why. 2009’s role-playing shooter “feels comparatively lonely because you just don’t have a lot of dialogue pushing you forward and explaining why you’re doing what you’re doing,” Burch says. “Every time an objective changes in Borderlands 2, somebody’s there saying a line of dialogue, explaining why you should care, telling you what you should do next.”

Consequently, the script for Borderlands 2 is five times larger than the first.

Burch is positive about the original Borderlands – a game he had no creative involvement in – but says “there were lots of cool stories that could have been told.” Players responded well to a lot of the side characters, like T.K. Baha, but without reading each piece of mission text they’d never get a full understanding for the substance or subtle humor surrounding them. “There was a lot of good stuff there, but maybe it wasn’t delivered to the player as obviously as it could have been,” says Burch. With a laugh, he continues. “Plus, the ending sucked, and we’ve admitted that a bunch.”

So what’s in that gigantic new script that makes Borderlands 2 so much better?

“Pretty much every new character we have,” he says, giving nods to Tiny Tina and Ellie. “We gave them three to five sidequests to say what their backstory is, what their personality is.” This is especially true of the returning characters – in particular, the Vault Hunters from the first game. “You spend a significant amount of the main plot getting to know who they are now,” says Burch. The Borderlands heroes were about their class, not their character, and most players remember their skill trees more than their personal qualities.

“We have this scary opportunity to give them personalities and have them play off one another,” he continues. Burch and Gearbox spent “a great deal of time” considering “what are their relationships like with each other? How do they treat each other? What have they been up to since the first game ended?”

Communicating with the player using these character interactions, audio logs, radio transmissions, and environmental storytelling is crucial to strengthening Borderlands 2. “It makes you feel like you’re part of a story rather than checking off a bunch of things on a shopping list that are free of context,” Burch explains.

Ultimately, though, Burch would be totally content if you ignored the story and just enjoyed the game. “There's sort of two types of audience member that I have in mind, that I want to satisfy in different ways,” he explains. One of course, is someone who has an emotional response to Borderlands 2. Ideally, that’s awe during an epic scene or laughter at the lighthearted and comedic bits. Burch mentions the recent run of Doctor Who as the touchstone for what he wants to accomplish.

The other audience member “doesn't give a s—t about the story, never gave a s—t about the story in the first game, still continues to not give a s—t about the story. I hope he can go through the entire game, ignore every single line of dialogue I've written, come out at the end of this thing and say, ‘Wow, that game was awesome.’

As long as they don’t “come out saying, ‘Wow, that story ruined the game and I was doing stupid things because the story was taking precedence over the game,’” Burch says, “Then I'm happy.”

Mitch Dyer is an Associate Editor for IGN's Xbox 360 team. He’s also quite Canadian. Read his ramblings on Twitter and follow him on IGN.


Source : ign[dot]com

Friday, July 20, 2012

Inxile Releases Wasteland 2 Screenshot

Developer inXile Entertainment teased its Kickstarter-funded post-apocalyptic role-playing game Wasteland 2 with a screenshot showing off a fight with a Scorpitron.

Studio founder Brian Fargo said in the update on the game’s Kickstarter page, “please keep in mind that we have not put in the particle effects and post-processing which will have a dramatic effect on the scene, and this represents just one of the various environments for Wasteland 2 so expect to see other quite different locales. Also, this particular camera angle is on the low end of a range that the player can adjust upwards to a much more top-down view, for those who prefer that style during game play.”

Environment art director Koy Vanoteghem added, “we will continue to develop the style and look of the game, undoubtedly that is something that will evolve as we move forward and branch out with other environment types. As we become more familiar with our new found friend Unity, and the technologies that are available to us for lighting, shadowing, and material set-up/execution, we hope you'll enjoy seeing it evolve along with us.”

While active, the Kickstarter for Wasteland 2 amassed slightly over 2.9 million USD in pledges, exceeding its original funding goal.


Source : ign[dot]com