Better Late than Never -Endless Legend

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I return from the abyss! To commemorate, I wanted to return to a genre that I have a great deal of love for. While I tend to call it the Civilization genre, I’m pretty sure that the actual commonly accepted term for it is the ‘Explore, Expand, Exploit, and Exterminate’ (4X) genre. Personally, I think I’ll just keep calling it ‘Civlike’, because we call a bunch of things ‘Roguelike’ that don’t have anything to do with Rogue, and I like consistency in my genre naming.

But anyway.

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Bonus Turn – Final Fantasy XIV: Heavensward

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So, about a year and a half ago, I reviewed Final Fantasy XIV: A Realm Reborn. I was trying it after coming off of two other MMOs that I had been reasonably impressed with, because it was on sale and because I knew other people who played it and found enjoyment in it. I came away from FFXIV also being reasonably impressed with it, though, at the time, less so than I had been with other games. In all fairness, I attributed part of this to MMO burnout, but even then I had pretty much made the decision that FFXIV was a game I was going to put a couple months into, maybe level a character up to the maximum level, finish the main plot, and then leave it in favor of something a bit more single-player.

Eighteen months later, I’m still playing it.

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Life is Strange: Choices and Consequences

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Every so often a game comes along that presents a series of choices to me, the player, that I absolutely agonize over. This isn’t completely because of the immediate consequences of those actions, which are usually pretty obvious, but more because I know that the choices are going to have an additional level of unforeseen consequences much further down the line. Games like this make me sit there on the dreaded ‘branching choice selection screen’ for an embarrassing number of minutes because I know that no matter what decision I end up making about my character’s immediate future, I am going to regret it in some manner down the line.

It’s interesting to me, then, that as rare as it is to have a game do that to me, I have managed to play two of them in quick succession. One of them was from a very expected source. Dragon Age: Inquisition was a game that I always expected to provoke this reaction, this choice-anxiety in me. Player choice in narrative is kind of Bioware’s thing, after all. It’s what they do. Even if no other part of the game lived up to my expectations of it, I had been confident even without playing it yet that Inquisition would give me personal narrative by way of selecting exactly which part of my emotional gut I wanted to be punched in.

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Opening Turn – Catlateral Damage

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Video games have a long, storied history of allowing a person to step into the shoes of some of the worst people imaginable. Sometimes it’s by design, such as in the case of the psychopathic crime simulator Grand Theft Auto or in equally psychopathic archaeological crime simulator Uncharted. Sometimes it’s by choice, such as in Mass Effect where you can make the conscious decision to be a jerk. And sometimes it’s by complete accident, as in pretty much any game that doesn’t take into account the law of unintended consequences. For example, I’m certain that in the process of throwing all those fireballs around, Mario has probably caused a forest fire or two. Or even in something so completely oddball as Katamari Damacy, you’re basically dealing with someone being a jerk on a large scale by being one on a smaller scale.

Anyway. Catlateral Damage is just one more game where you play as the worst asshole possible. Only this time you are also a cat.

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Opening Turn – Shovel Knight

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Ah, the 8-bit era of games, that weird and wonderful time when neither the plot nor premise of a game had to make any kind of sense whatsoever. This was the era of plumbers doing mushrooms and throwing fireballs at turtles with abduction fetishes. This was the era of speedrunning porcupines, of bubble-spitting dinosaurs, of a game in which one boss was literally a fried shrimp. All that is to say that I have very fond memories of this era, as these were some of the first games I ever played.

Lately, there has been a resurgence of interest in creating games that pay homage to that era, or to update those games for a modern audience. The past couple of years have seen remakes of games like Ducktales and Teenage Mutant Ninja Turtles, as well as retro-themed games like Mercenary Kings and Retro City Rampage, among many, many others. We’ve even got books like Ready Player One that actively celebrates retro gaming culture in all its forms. What I’m saying is, there’s no shortage of games and other media specifically designed to ‘take you back’ to that area. So what does it take to stand out in that crowd?

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Immune to Silence: Refining the Classics

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Everything old is new again.

This old idiom, while applicable to a great many things both artistic and not, has a much deeper meaning for those whose musical passion lies in the revitalization of old video game music. For these musicians, it isn’t so much that trends move in cycles, but rather that they are playing an active role in interpreting old music for audiences in new and interesting ways. Whether through the preservation of the original styles or by the creation of new and novel interpretations of classic game tracks, it’s clear that the growing interest in the video game music community is exceeded only by the amount of talent that those in the community draw from.

Enter The Returners, a band whose name (on top of the obvious reference) literally means ‘the ones who bring something back’. In two years since the band’s inception, they have made a name for themselves playing sets at Nerdapalooza and its spiritual successor Orlando Nerd Fest, as well as an impressive number of shows at smaller venues in and around their home base in Austin, Texas. Most recently, they played at PAX South, opening for The OneUps and Paul and Storm. The combination of high profile conventions and several local shows has succeeded in earning them a growing fanbase and a similarly growing anticipation for their first recorded album.

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Just a Minute: Wake the Cat

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So, what is the most necessary and adorable thing in the world? That’s right, cats. Wake the Cat is the result of the Internet being obsessed with all things fluffy and adorable, compressed into a puzzler that revolves around physics. Of course, the temptation is too great to let a sleeping cat sleep–the entire premise of the game is based on this. As such, it is your solemn duty to send a ball of yarn spinning over to the precious feline and wake her up. No cats were harmed in the making of this addictive game.

Wake the Cat certainly seems like it was built with fans of LolCats and every click-hole corner of the internet in mind, by focusing on the internet’s lowest denominator: cat cuteness. It is the creation of Halfpixel Games and published by Chillingo, and can be purchased for both Android and Apple products. Credits to Andrey Galkin and Kirill Altunin for publishing and designing this adorable timesink. Art and animation were overseen by Georgy Notyag, while music is composed by Mikhail Kotov.

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Better Late Than Never: Star Command

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For anyone who grew up watching Star Trek, having a tablet is kind of a window into the future. Or, maybe that is just me and my inherent dorkiness–you know, whatever spins your warp drive. Anywho…

Star Command is a tactical role-playing game for iOS, Android, and PC. You control the crew of a starship by taking on the role of a captain. This pixelated isometric wonder is all about exploration and keeping your ship flying and your crew alive. It is the player’s job to make the necessary upgrades to the ship to keep on flying, and train up the best crew to fight hostile alien forces.

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Opening Re-Turn – Diablo III: Ultimate Evil Edition

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Normally, I don’t review multiple versions of the same game. These days, if a game comes out on multiple platforms, a) those versions aren’t terribly different from each other, and I’ll note any differences I do know about in my original review, and b) I usually only have time to play a game all the way through once. It’s only in a very special kind of circumstance when I play the same game through more than once on more than one platform.

It does happen though, and this is one of those times. I happened to come across a copy of Diablo III: Reaper of Souls: Ultimate Evil Edition for Playstation 4 (which from here on I will just call Diablo III  for ease of conversation). I knew that the game was different now than the original was when it launched, so I was looking forward to seeing just what those differences involved.

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Opening Turn — Sentinels of the Multiverse

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Super heroes against dastardly villains? That’s pretty much a resounding ‘I’m in’, from a whole lot of people. Sentinels of the Multiverse is a wildly popular tabletop card game that has gotten so much traction in the gaming world, that it had successful Kickstarter to bring it to the digital stage. Greater than Games, in collaboration with Handelabra Games, has made this a reality. Available for Android, iOS, and PC via Steam, this game is one with high expectations from a rabid fan base.

Sentinels of the Multiverse is a cooperative game in any iteration, and on mobile device, it can be played through ‘pass and play’ to continue that legacy. Want to fly solo? No problem, as all you have to do is hang on to your tablet to make that a reality.

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