“Batman Begins” was taken.

arkhamoriginslogo

I finished up Batman: Arkham Origins over the weekend, and finally figuring out what I was doing wrong with the combat made it a much more enjoyable experience than Arkham City.

I was pretty skeptical that we needed a prequel game at all, but I’m open to admitting that I was wrong there – in fact, I think that being set in Batman’s early career actually made for a pretty interesting story. He’s still fighting gangsters and corrupt cops, with the weirder high-tech and super-powered members of his rogue’s gallery mostly ignored or relegated to side stories and DLC. Gotham is, well, a rather oppressive place, but at least it’s not a battleground just yet.

It particularly scores points with me for the Deathstroke boss fight, which wasn’t terribly difficult but which served as something of a “have you been paying attention?” test of combat mechanics and had some great mid-fight banter, and for the Mad Hatter sequence, which I would have completely missed if I’d been holding to my plan of sticking to the main story quest.

The complaints I DO have about it are all structure-based, and here is where you should probably stop reading if you don’t want to read a bit of ranting.

I am still getting used to open-world game design, so I’m probably not the best person to critique an open-world game, but one of the things I enjoy the most is having a huge quest log and the freedom to work on almost any of the things on it. “Skyrim” is my go-to reference here, and I frequently found myself thinking of AO as “The Elder Scrolls: Batman” while I was playing.

In a lot of ways, it IS very free-form. You find out very early on that there are ten broadcast towers around Gotham, one per neighborhood, and you need to visit each of those. Then you find out that there are also 10 network relays per neighborhood that need to be disabled, and two guys per neighborhood that specifically need to be sought out in order to get the location of twenty collectibles scattered across each neighborhood, and – barring occasionally needing to get new gadgets – you are welcome to tackle these 330 small objectives at any point in the storyline.

There are also case files, typically revolving around stumbling across a recent murder and tracking down the killer through a detective crime scene reconstruction sequence, and “Gotham’s Most Wanted”, a set of side bosses including the previously-mentioned Mad Hatter.

If that wasn’t enough, you have training challenges to do back at the Batcave, and three separate tracks, of 15 challenges each, to tackle in the field. The training challenges are a good way to pump up your experience bar, and the field challenges unlock new gadgets.

Basically, if you like putting check marks on checklists, there are SO MANY CHECKLISTS to check off.

Where it breaks down in spectacular fashion, though, is having many of these checklists only doable in rigid order. A couple of examples are, I believe, needed here.

Apart from a couple of story-related case files, most of the investigation sequences trigger randomly as you swing and glide around Gotham. You’ll overhear some police radio chatter, there will be a new indicator on your map, you go to it and find a dead body and then investigate.

Unfortunately, you can only have one active case file at a time – once you stumble across a trigger, you will not get a new case file trigger until you have followed that case file to its bitter end. I had one instance where I DID close a case file, but the case file closure didn’t “stick” and it was a long time before I looked in my quest log, noticed that it was still at the “Apprehend Suspect” step, and went back to find the guy a second time. As a result, I was stuck on that one case file until nearly the end of the story campaign, and finishing the case file track would have meant ignoring the story campaign and simply running around Gotham waiting for random quest triggers to fire.

As a side effect, since some of the “Gotham’s Most Wanted” quests are tied to completing the case files, I missed out on a ton of those.

Likewise, the field challenges suffered from needing to be completed in a specific order. There are three lists of field challenges, each with 15 objectives, and you can see every one of these objectives from the very start of the game. For example, there’s an objective for “Stop a crime in progress in each neighborhood”, and this SHOULD be terribly straightforward – if only it weren’t the last objective in a list of 15. You can stop all the crimes you want, but the game only rewards you for the ones done once you’re on that 15th step. If you put it off, you are going to be going back to each neighborhood LONG after you’re done with other objectives and hoping that a crime-in-progress event actually triggers in a timely fashion.

For an extra bit of “Really, guys?”, one of the challenge tracks revolves around performing very specific actions during the game’s “Predator Room” sequences. There are only a few Predator rooms, and they do not respawn, so missing a couple of these challenges early on means that you can’t complete this challenge track in one play-through, even after finishing the campaign and going into Free Roam mode. Playing the story again in the “New Game Plus” mode is the only way to get the Predator Rooms to re-populate with enemies, and that also saddles you with a big boost to difficulty.

So, short version – a great Batman game, with a TON to do, but with some design decisions that will haunt you if you have a completionist mindset and aren’t the sort of person who obsessively refers to a guide during play.

Also, it had the side effect of getting me to load up Skyrim again. This may be similar to the effect playing MMOs has on me, where playing almost any MMO for longer than a couple of weeks inevitably ends up with me re-installing Everquest and losing another few months of my life to chasing the nostalgia dragon. At least Skyrim is theoretically finite.

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On Video Conversion and Film Grain

Like almost every other geek of a certain age, I was blown away by the news of a fan-transferred 1977 version of Star Wars, with all of the slightly-jerky modelwork and matte lines intact, and I went immediately to the dark corners of the internet to find myself a copy.  I would feel guilty about this if I hadn’t bought Star Wars on VHS (twice), Laserdisc (twice again), DVD AND Blu-Ray, but as it is Disney can just deal.

Anyway, it is glorious.  It’s never going to be mistaken for a 2016 blu-ray transferred from the original negatives, but that’s a pipe dream.  It’s a transfer from a multigenerational optical copy with reel change marks and scratches intact, and I firmly believe that it is the best possible way to experience Star Wars as of this moment in time.  It gives me flashbacks to the days of being dropped at the dollar cinema, with stale popcorn, questionably-sticky floors and threadbare seats, while the adults went and did important adult things.

It’s also distributed as an mkv file with an ac3 stereo soundtrack, and this is an issue because I like to have all of my media indexed in iTunes and available on my Apple TV for living room playback, and iTunes doesn’t speak mkv AT ALL and really prefers aac over ac3.

Normally I’d pass a video file like this through handbrake, but I know from experience that handbrake doesn’t like grain very much.  Not to get too technical about it, but the amount of grain present is enough to give it the “screaming heebie-jeebies”, and I’m pretty sure that any video file it gave me would be double the size of the original AND look awful.

Fortunately, the video track was encoded in h264, which iTunes has NO trouble with.

This gave me an excuse to get ffmpeg on my Mac.  I’ve used ffmpeg a ton on the PC for this sort of thing, but my days of needing to do serious amounts of video transcoding are long past and these days handbrake is ALMOST always good enough.

It turned out to be quite exciting, really.  First, I had to get the “brew” package manager, and use that to install ffmpeg, and then fix access permissions on a couple of folders that for some reason were created as owned by root with no access granted to the admin group… you know, the usual sorts of quirks you run in to any time you try to do Unix-y stuff on a shiny Cupertino OSXbox.

On the other hand. once those little foibles were dealt with, getting an iTunes-friendly version was as simple as the following terminal command:

ffmpeg -i starwars.mkv -vcodec copy -acodec libfaac -ab 320k starwars.m4v

This handles the container conversion (mkv to m4v), leaves the video track intact and re-encodes the stereo ac3 audio as aac.

As a side effect, I’m set for the next time a file like this drops into my lap, so big win all around.

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New Insights On Punching

After finishing Arkham City earlier this year, starting Arkham Origins seemed like a reasonable thing to do. It’s not from Rocksteady, but it promised some good times with the “World’s Greatest Detective”, even if the “World’s Greatest Detective” seems to have a really bad “Doing Detective Work” to “Punching People In The Face” ratio.

Arkham City had been stuck in the backlog for several years, because it really did not mesh with me when I first tried it. It seemed like a really unfocused and tedious game, where just getting around Gotham was constantly being interrupted by needing to fight a dozen or two random mooks. I managed to complete it only because I elected to completely ignore side missions and focused on the main story missions, and avoided as many random street fights as I could.

I figured I’d tackle Arkham Origins the same way, and probably would have if Alfred hadn’t made an off-hand comment about how he’d set up my training room in the Batcave, you know, just in case I felt like doing some training.

The first training session has three goals:

1) Land a three-hit combo.
2) After an 8-hit combo, use a special finishing move.
3) Land a 15-hit combo.

“Combo” is an interesting word here, because I’m used to playing character action games like Ninja Gaiden and Oneechanbara, where you have a combo meter on screen and part of the flashy nature of the game involves watching the combo meter build. In those games, your combo length largely comes from always attacking, and the combo meter resets when you’re hit or when you’ve gone a while without hitting an opponent. Oneechanbara lets you extend the combo meter reset time by dashing, so your combo is secure as long as you’re moving around.

I tried this same playstyle in the training room, and it was an unmitigated failure. I managed the 3-hit combo regularly, and even the special finishing move after a dozen or so runs through the training mission, but I could not figure out why I was having so much trouble with it.

Turns out, character action games had given me some VERY bad habits, and I needed to unlearn them.

In the Arkham games, if you start an attack and there’s nobody there to hit, your combo resets. Likewise, if you push the “counter” button when nobody is actually attacking, your combo resets. If you are mashing away at the attack button as fast as you can in an attempt to keep up your current combo meter, you are actually doing precisely the wrong thing – and this is particularly an issue because, while the combo meter in most games is just there for flash, it serves a very real purpose in the Arkham games. Every time you extend your combo meter to 8, or 16, or any further multiple of 8, you get the ability to use a finisher, quickly taking one opponent out of the fight – and, without finishers, the assorted mooks of Gotham’s underworld take a ton of punching to take down.

You also get abilities to reduce the number of combo hits needed to unlock finishers, so fights very quickly become a rhythm of build-up-a-five-hit-combo, use-finisher, repeat.

So, short version, I needed to learn to press a lot fewer buttons in order to fight effectively, and – while I still find myself slipping back to my mashing ways on occasion – I’m regularly pulling off 20+ hit combos with lots of finishing moves mixed in, and combat has gone from an absolute dreary slog to something that’s actually FUN. I find myself going towards fights as opposed to batroping away from any that I’m not forced into, and the side effect is a lot more experience, meaning that I unlock more abilities, meaning that the combat gets easier and more fun, and there you have a pretty nice feedback loop.

I’m actually a little amazed that I managed to get through the previous two games without understanding something so fundamental, but I guess that just proves the power of patience.

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The Lord of the Rings: The Fellowship of the Other Guys

TWO games off the backlog this weekend.

lotrwitn

First, “Lord of the Rings: War in the North”, or “Lord of the Rings: The Fellowship of the Other Guys”, in which you fight a ton of goblins, orcs, those bigger orc goblin guys, and trolls in a variety of funny hats.

Seriously, you’ve got cave trolls, frost trolls, armored trolls, trolls with big flaming axes… The LOTR movies were kind of lacking in enemy variety, is what I’m trying to get at here.

There are also giant spiders and if you are bothered by EXTREME CLOSE-UPS of giant spiders it is probably a good idea to give it a miss.

On the other hand, if you have enjoyed other action RPGs from Snowblind (Baldur’s Gate: Dark Alliance, Justice League Heroes), or if you are the sort of person who knows the names of Elrond’s sons, you should probably check it out.

I called them Herp and Derp because, seriously, elf names.

enslaved

Second, “Enslaved: Odyssey to the West”, a post apocalyptic story based loosely on Dragonball, in which you are a surprisingly limber guy with a staff and a mad on for robots.

As luck would have it, post apocalyptic New York has lots of robots to kill.

OK, I know it’s ACTUALLY based loosely on a book, but I’ve never read the book and I’ve watched two episodes of Dragonball so that’s what I’m going with.

You’re protecting a woman who goes by “Trip” and who helps you solve puzzles and can fit through tight spaces and is in every way a somewhat hotter version of the girl from Ico, with the exception that the girl in Ico didn’t wire your head to explode if she dies.

Your name is “Monkey”, by the way, and I mention both of these character names only to contrast from the Lord of the Rings game, whose characters included “the dorf”, “the ranger”, “the elf”, and the aforementioned Herp and Derp.

Post-apocalyptic New York, and here I deliberately hyphenate it to emphasize the fact that I did not previously do so, is extraordinarily pretty.  It’s like the designers looked at every work set in the After The Vaguely Defined World War period and said, nah, that’s too much brown, let’s green this puppy up a notch.  It’s worth the play solely to look at some very nice vistas.

Note a lack of screenshots of Trip’s butt here. I am proving that occasionally I can write a post without channeling my inner 7th grade boy.

They are both also refreshingly short.  LOTR: The Other Guys clocked in at a shade over 14 hours, and Enslaved took 10.5 by Steam’s timer, which includes the times when I paused the game and went and cooked breakfast and did dishes and a few other chores.

I’ll go ahead and give it my unqualified recommendation here, because I loved the action bits and the dynamic between the main characters and there are no spiders to worry about.

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That makes four for 2016

This is almost starting to become a habit.

GravityRushPlat

Mind you, I have been sticking to platinum trophies for games that (a) I quite like and that (b) are on the easy side.  There are a ton of games that have straight-up insane trophies, and I will be leaving those lie.

Because the Remastered version of Gravity Rush came with all the Vita DLC content, I still have a few – probably four or so – story missions to knock out before putting this on the shelf.  Still, this is a pretty good feeling, both because (a) it’s a pretty neat game and I’ve really enjoyed playing it on the big screen and (b) because the PS4 has actually been getting some decent use of late.  I pre-ordered the thing roughly 5 minutes after the Big E3 reveal, but it spent most of its first couple of years waiting for games to play on it.

 

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A Long And Vaguely-Formed Rant About Video Game Accessibility

I ran into an interesting article over the weekend, in which the author talks about wanting to play Skyrim but being held back by the controls.

It struck a chord with me, because I had many of the same problems when I tried to come back to console gaming in the mid 2000s, and it’s taken me a long time to feel comfortable.

The vast majority of games these days take their control schemes from earlier games in the same genre or from the same console, which is a great boon if you’re familiar with those earlier games. It means that someone who has played any of the Halo titles can pick up the majority of first person shooters and probably play them without a ton of  tutorial required. The leftmost button will be “reload”, top button “switch weapons”, bottom “jump”, the right trigger will shoot whatever weapon you’re holding, and those controls will probably get you through the entire game if you’re playing on a lower difficulty setting. The other buttons are seldom as universal, but at the worst you are learning half a controller, not the entire thing.

It took me a VERY long time to figure this out, because I didn’t play any of the Halo games until 2007, when Halo 3 came out, and then I played through the entire trilogy over the course of a few weeks. I didn’t realize that I was being taught how to control other games in the process until I went back to games that I had previously put aside as impossibly hard.

It took me a few more years to realize that there were quite a few other standard control schemes, though it’s harder for me to pin down the genesis of some of them. The near-universal third-person action scheme of “leftmost and top are light and heavy attacks, rightmost button is a ranged attack, bottom button is an evade or jump” probably came from a PS2 title, but I didn’t start to realize it was a THING until I followed up a Ninja Gaiden Sigma binge with a play-through of Remember Me and realized they used the same basic controls. I’m likewise not sure exactly where WASD+Mouselook came from as a standard for PC gaming, but getting used to it took a lot of trial and error.

Anyway, nine years after my little epiphany, I feel pretty confident in my ability to adjust to whatever control scheme a game throws at me these days, and my new hurdle is learning “progression philosophies”, particularly with open-world games where you’re given a fair degree of freedom in how you get from opening logo to ending credits.

For example, I’m playing “Gravity Rush Remastered”, a PS4 game that is a remake of a Vita game I finished a couple of years back, and I’m having a much easier time on this play-through. Some of the boss fights on the Vita were absolutely grueling tests of endurance, and I particularly wasn’t looking forward to the final boss, which comes with a countdown timer of the “when this hits zero, you lose” variety, but I barely noticed the boss fights on the PS4 version, and the last boss took its final dirt nap with more than half of the clock remaining.

It turns out that what made the game so much more difficult the first time was my habit of avoiding challenge missions, which unlock as you play through the game’s main story but which can be completely ignored. I didn’t do any of them when I played the game on the Vita, electing instead to stick to story missions, and it turns out that this was exactly the wrong way to go about things. Even very poor showings in the challenge missions mean that your character is showered with the currency you use to purchase upgrades, and you wind up being hilariously overpowered after a few of them.

The irony of “challenge” missions making the game easier should be lost on nobody.

Of course, I know NOW to do the challenge missions because I had great success playing the side missions in Rise of the Tomb Raider, and I did a ton of messing around in Rise of the Tomb Raider because doing side content in Skyrim was so rewarding, and it took Disney Infinity’s playsets to really bring home the difference between required story missions and optional side missions, and all of those are games that I played in the last 12 months. Considering how long “open-world” has been a THING, I took a long time to catch on to how it’s supposed to work.

And, to be fair, I’m not 100% sure I understand Disney Infinity.

Anyway, I’m not entirely sure where I’m going with this rant, so it might be best if I make some vague comments here about gosh wouldn’t it be nice if more developers put in proper how-to-navigate-in-3D-space tutorials and then kind of stopped abruptly.

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The Shotgun Was Better This Time

One of my few complaints about the 2013 Tomb Raider reboot was that the shotgun seemed pretty terrible. It’s a silly thing to get worked up about, but I like it when video game shotguns pack some OOOOMPH, and that one just didn’t have enough oooomph.

The shotgun in Rise of the Tomb Raider brings ALL the oooomph, and you can eventually take a perk that lets you shoot incendiary rounds. I’m not sure if real-world shotguns have the option to load ammo that lets you set things on fire, but Mossberg should get right on that if they haven’t already.

There’s obviously a ton more to the game – lots of clambering around on vertical surfaces, a very Tomb Raider plot of the sort that starts off in the realm of the plausible and takes a hard turn into the supernatural near the end, nine “challenge tombs” that serve the narrative that you are actually an archaeologist and not just a mass murderer, a wonderful array of gadgets designed to encourage revisiting earlier story areas as your traversal abilities expand, a regrettable tendency towards writing run-on sentences… but trust me on the shotgun part.

According to Steam, I’ve played ROTTR for 42 hours, starting last Thursday evening, so that’s 42 hours over five days. I finished the main story, went back for all of the collectibles, bought the “Baba Yaga” DLC, finished the DLC story, hunted down all of the DLC collectibles, and even mucked around some in the game’s “Expeditions” mode, where you replay levels for score. I don’t usually buy games day one – I typically wait for the inevitable $20 price point on Steam – but getting that much out of a game makes me not regret it too badly. I lucked into a 25% off deal on the preorder, anyway, so even with the DLC I’m still under MSRP.

Considering that, in December, I was standing in a Best Buy holding an Xbone bundle and desperately trying to justify it to myself, I think I did pretty well to hold off for the PC release.

Sadly for PS4 owners, this one is still stuck in exclusivity deal hell until the end of 2016, at which point it probably will get lost in the holiday release barrage. I do hope that Squeeenix made enough money off Microsoft to justify further sequels, because I doubt the overall sales are going to do the trick.

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OK, that’s enough Lara for now

rottr100

I did need to resort to a guide once I started working on hunting down the dozen or so documents and relics that I’d missed, and for help with the challenges in a couple of zones.  I couldn’t find a decent Lost City guide, however, so I wound up spending a good few hours on the challenges and collectibles there.

 

I guess there’s a DLC campaign?  Oh dear.

 

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A Quick Thought on Rise Of The Tomb Raider

I had the following error message pop-up on me this evening:

rottr crash

And I thought, huh, I guess I have been playing for a while, so that sort of error isn’t that weird, how long HAVE I been playing anyway?

It turned out that I’d been playing for twelve straight hours without even really noticing, hunting deer and looking for challenge tombs and doing optional missions and occasionally advancing the story.

I don’t think I’ve gotten this sucked into a single player game since, maybe, Skyrim?  It’s so dang good.

Also, benefit of playing on launch weekend while most people are still focusing on the story mode, I got to cheese my way to the top of a leaderboard.  I will almost certainly be dethroned as of tomorrow, but for now this makes me feel all warm and fuzzy inside.

rottr leaderboard

A second benefit:

rottr achievement

My only achievement ever with a 0% global completion rate, so it’s something that less than 0.1% of players have, um, bothered to do.

That sounded a lot cooler in my head.

Anyway, good times all around. 🙂

 

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I Probably Shouldn’t Call This My “Diva Cup”

diva_plat

For a guy who claims to be above all that silly trophy nonsense, I certainly do seem to be spending a lot of time going for Platinum trophies in my Vita games this month.

In this case, it’s a side effect of a new policy.

Put simply, I’m not allowing myself to buy any games unless I am going to start them immediately, I finished Warriors Orochi 3 Ultimate a couple of days ago, and I’ve pre-ordered Rise Of The Tomb Raider.  That comes out Thursday,  I wanted something to fill the gap, and going back to Project Diva f seemed like a good gap filler.

When I stopped playing, back in March, it was because I’d finished all of the songs on Hard mode with a rating of Great or better.  That got me a pretty mediocre 30% of the game’s trophies, because very few of them are actually about playing the rhythm game portion of the game.  The vast majority of them are related to grinding up Diva Points – the game’s currency – and buying items from the in-game store to give to the Vocaloids to make them like me better so that I could buy new stuff from the in-game store to…

Yeah.

Anyway, I reasoned that the act of grinding currency was justifiable as “actually playing the game”, so I did quite a lot of that, and it was going pretty slowly, so I started using some of the challenge items.  These do things like start you off with half health on a stage and prevent you from regaining health (that one is good for a 2x earned Diva Points) multiplier, or ones that make it so that any notes that aren’t perfectly timed actually hurt you (4x multiplier).

Much to my chagrin, I discovered that the absolute best song for grinding Diva Points on – because I could reliably get a perfect rating on it – was the single solo song by the pretty-boy Vocaloid.

diva_kaito

Hi, Kaito.

I saw a lot of Kaito.  I didn’t do ALL of my grinding on his song, because I desperately needed variety, but I did play it a lot.  This particular screenshot was when I was only using a 3x multiplier item – when I used 4x, it was good for rougly 43200 DP.

You need about 3 million DP to buy everything.

It took a lot of grinding, but eventually I owned all of the outfits, and furniture, and room themes and other nonsense.

In addition to getting Diva Points, I needed to make all of the Vocaloids love me, and there are a few ways to go about this.  You can play games with them, pet them on the head, give them musical instruments, or feed them.

I stuffed Miku with so many cupcakes that she should have looked like a highly-sugared version of one of the more gruesome murders from “Seven”.

diva_cupcakes

PACK IT IN, MIKU, THERE’S ANOTHER TWENTY COMING.

…ahem…

Anyway, eventually all the characters loved me and we had cake together and I got a shiny new trophy.

The End

PS: I won’t be doing this for f2.  That game is just as nuts about needing to buy stuff and build friendships with the characters, but it also halved the rate at which you gain Diva Points AND introduced cooldowns to how often you can force-feed the Vocaloids.  If the internet is to be trusted, it’s a good sixty hours of tedium, and I’m already not too fond of that particular entry in the series.

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