Tag Archives: action

Darksiders 3

When I beat Darksiders, I thought it was the best Zelda game I’d ever played. It’s not Zelda. It’s really a mash up of a lot of good games, but its most obvious influence is the 3D Zelda games. Darksiders 3 most obvious influence is Dark Souls, but it’s not the best Dark Souls. It’s not even the best Darksiders.

The story of Darksiders 3 is convoluted, and it doesn’t help that there’s not much “in the previous games” lead up. The short of it is that you are one of the horsemen of the apocalypse, Fury (not an actual historic horseman, but whatevs), and you have to hunt down and kill the seven deadly sins. They’ve been set free on Earth in the middle of the apocalypse. Now there are demons, angels, and sins to kill.

After release, Darksiders 3 got a couple significant updates to address some of the major complaints reviewers had. One of those was “classic” mode, which was intended to make the game more like the previous two installments. I played the whole game in “classic” mode, and I still felt the Dark Souls influences in nearly every aspect.

In a game where you play as Fury, there’s a dearth of fury shown. Enemies rarely come in groups larger than three, and they’re mostly durable. It has a somewhat slow pace, especially compared to the rest of the series, with a focus on watching attacks and dodging them to counter attack and punish the enemy. I was slightly surprised at how few huge monsters there were, especially considering that huge bosses are staple of the series. The sins themselves are rarely bigger than Fury and follow the same approach as the basic enemies: watch the pattern, dodge, and punish.

There’s nothing really spectacular here. It’s an okay action game that obviously apes a lot of mechanics from Dark Souls. The problem is that Dark Souls‘ mechanics match its world and Darksiders 3 does not. Darksiders is a world of comic book action, heaven versus hell, four horsemen riding, deadly sins running amok. The sins are just bosses at the end of uninteresting dungeons. It mashes in some Metroidvania qualities by adding movement options when you get new weapons, and there’s some degree of non-linearity to the middle game. It doesn’t use the Dark Souls influence to elevate the world, and it never turns down the comic book influence to match the more methodical gameplay.

Darksiders 3 is confused about what it wants to be, and I hope Gunfire Games can sort it out by the fourth game and possibly the conclusion of the series. I’d hate for them to get to the end of it and never overcome the greatness of the first game. Darksiders 3 is not going to do it.


Reference: Gunfire Games. Darksiders 3 (THQ Nordic, 2018)

Source: Purchased from Green Man Gaming

Zone of the Enders: The 2nd Runner – Mars

Zone of the Enders: The 2nd Runner – MARS (ZOE2) is not a new game. It originally came out on Playstation 2 almost 16 years ago. But in the year 2018, Konami saw fit to brush it up again and release it on PC, and that was a great idea. ZOE2 hasn’t lost a single bit of luster.

You are Dingo Egret and you’re on the Jovian moon of Callisto, mining something in a rickety old mech. After some slow walking and clumsy movement, you stumble upon a hidden mech called Jehuty. From there, the rest of the story is anime nonsense, but you can ignore it. The game itself is super fun.

That introduction in the mining mech serves to demonstrate the contrast between the mechs of this game and the Orbital Frames, particularly Jehuty. Those few minutes in the mining mech are painful. It’s slow, unresponsive, and clumsy. Jehuty is like a surgical knife with jet engine. It moves like liquid and it’s armed with a half dozen types of attacks before you even get to the subweapons.

ZOE2 is the anime mech game you dream of. Instead of plodding and counting ammo, you soar through the air, slice up enemies with your sword, light up the air with homing lasers, and augment your attacks with a dozen different subweapons, from a gatling gun to giant laser that takes 10 seconds to charge. The missions span from arena fights against handfuls of enemies, to traditional boss battles, to battlefields full of enemies and allies.

It’s not perfect though. By the time you’ve acquired all of the subweapons, which don’t really build upon each other in power but give you different options, you’re near the end of the game. It’s short, almost to the point of being too short. I had so much fun with it that they could’ve doubled the length and I still wouldn’t have gotten tired of it. Unfortunately, it does pad the time a bit with the last two boss fights, which are significantly more difficult than any boss leading up to them. Out of the six hours I logged in the game, I must’ve spent two of those hours on those last two bosses alone. I died over and over and over again. And they weren’t fun either.

In 2019, I can still recommend a game that was released in 2003. It’s not the looker that it once was, but it’s still sharp and the gameplay itself absolutely holds up. I would’ve preferred if the last two boss fights were more fun, but the rest is so great that I don’t mind. At 16 years, it might be time to call Zone of the Enders: The 2nd Runner a classic.


Reference: Konami Digital Entertainment. Zone of the Enders: The 2nd Runner – MARS (Konami Digital Entertainment, 2018)

Source: Purchased from Humble Store

Assassin’s Creed Origins

I tell people I have a love/hate relationship with the Assassin’s Creed series, but I’m going to be totally honest here: it’s mostly a love/annoyed relationship. I find them to be brainless timesinks, and that’s not really a bad thing. They’re a reliable, often enjoyable 20 something hours of game. I haven’t played all of them, and the ones I have played are often regarded as the bad ones, but I almost always get one when I want to kill time. Assassin’s Creed Origins, however, is better than a time killer. It’s a great game.

Assassin’s Creed Origins takes the history-skipping game way back to ancient Egypt, in the times when Cleopatra’s brother occupies her throne, and he’s propped up by a Greek army. You play as Bayek, a Medjay, and you’re hunting down the people who killed your son. This mission will take Bayek all across Egypt and lead to uncovering a greater conspiracy.

Origins bins a lot of hallmarks of the Assassin’s Creed series. In doing so, it becomes a much more enjoyable game, and probably a more accessible game, but it loses some of what makes Assassin’s Creed unique. Origins presents a huge, sprawling Egypt, that you’re free to explore and engage with on your terms.

Origins took a lot of, let’s call it, inspiration from The Witcher 3. It’s very much about having a lot of stuff to do, and letting you do it in whatever priority you want. Often, you can even run off in the middle of a quest to do something else and then come back and pick it right up. While the quests aren’t quite as well written as The Witcher 3, and they rarely do that thing where it acknowledges when you’ve already solved a step in the quest ahead of time, they are competent. They don’t feel like a waste of time. Bayek himself, along with the rest of the cast, is also well written. Compared to some of the rest of the Assassin’s Creed series, this is the best it’s been.

What is loses is the strict focus on stealth. Bayek can get into a lot of fights and leave most of them alive, where most Assassin’s Creed protagonists would wilt like a flower. Additionally, if you do find yourself in over your head, you can simply run away and it’ll almost always work. This is in stark contrast with other games in the series, where enemies are almost omniscient and ever-preset to the point that being spotted means reloading a checkpoint. Add in that you no longer have the ability, or much need, to blend in with crowds, nor much need to run along rooftops to avoid being seen, means this Assassin’s Creed feels least like a game in this series. If it weren’t in a historical setting, with a single “assassinate” button, and good climbing mechanics, it’d be a different game entirely.

Some people aren’t going to like this shift; I’m not one of those people. I loved it. Like The Witcher 3, it hooked me early on and I spent a lot of long stretches of time playing it. Unplayed games notwithstanding, this is the best game in the series. The extra time Ubisoft put into its development clearly paid off; they made an Assassin’s Creed that I just loved.


Reference: Ubisoft Montreal. Assassin’s Creed Origins [Ubisoft, 2017]

Source: Purchased from Steam store.

Brigador: Up-Armored Edition

GREAT LEADER HAS DIED. SOLO NOBRE MUST FALL.

Neon lights, an authority violently overthrown, and buildings that crumble like they’re made out of ash under your mech’s stomping feet, all to a synth soundtrack. Brigador knows exactly what it wants to be. The good news is that it mostly achieves its vision, with a couple hiccups.

You play as a mercenary collecting a paycheck by completing missions in support of the Solo Nobre Concern. They’re offering a ticket offworld if you can help them overthrow the factions controlling the city of Solo Nobre. You’ll do this in an isometric action game from a variety of mechs, tanks, and anti-grav vehicles with dozens of weapons.

At first look, Brigador might remind you of the classic Strike series (Jungle Strike, Desert Strike, Nuclear Strike, etc) of helicopter action games, due to the vehicle selection and third-person isometric perspective. That’s not a terrible comparison, but Brigador offers a lot more. Not only is there more vehicles, weapons, and pilots, but more depth to the combat.

You’re armed with two weapons, and an auxiliary ability. Each weapon has its own fire rates, and their own behaviors. There are the standard machine guns and cannons, but also mortars, lasers, and shotgun-type weapons. Your mouse controls not only set the direction of fire, but also the range of fire, so you can launch mortars over walls, spray smoke canisters in semi-circles or lines, and shoot over or past enemies. This is cool in a lot of ways for the level of control it gives you over the destruction you’re going to rain down, but it complicates what is otherwise a fairly simple action game. Instead of just pointing in the direction of the bad guys and firing away, you’ve got to actually consider their distance and aim so that you’re not shooting in front of or over them. If you can’t get this and just treat it like any twin-stick shooter, you’re going to have limited, frustrating success.

The campaign mode offers a couple dozen missions with premade pilot/vehicle/weapon combinations that are fun, but it’s kind of training wheels for the operations mode, which is much more freeform. Operations mode lets you select any pilot, vehicle, weapon you desire, and go on a multi-map romp with an open set of objectives and building difficulty. Early options and low level pilots offer easy difficulty and a couple maps to stomp through, but unlocking high level pilots will greatly increase the resistance and later operations become endurance runs to see if you can manage to keep up your health and ammo count across several sprawling maps.

The music of Brigador is also notable for perfectly pairing this dystopian mech action with Vanity and Makeup Sets synth sounds. It’s a beautifully drawn game with a moody soundtrack that comes together very well. However, some of the weapon sounds could use some work. In particular, big cannons don’t really sound like the size they are. They nail the whirring sound of very large machine guns though, which is great.

Brigador is a great action game after you’ve figured out its quirks. It’ll frequently overwhelm and stomp on you, but rarely to the point of frustration. Your implements of carnage come in a large variety, so there’s a ton of action to be had. It’s only slightly marred by disadvantaged by doing more than action games of this nature normally do when it comes to weapon control, but that’s a gift once you’ve got the hang of it.


Reference: Stellar Jockeys (developer). Brigador: Up-Armored Edition [Stellar Jockeys, 2016]

Source: Purchased via Steam