Andy Laub

I’m sorry. RAGE wasn’t on my list of games to play, but I was desperate for something to fill the gap between Forza 4 and Gears of War 3 and I had a very good reason for skipping the new Deus Ex game (because I forgot about it).

So I ended up with 3 discs of overwhelming under delivery. Based on the box and title, RAGE (all caps, but for good measure picture an anarchy symbol instead of the “A”) seems like it should be a high-energy hybrid of Borderlands and Fallout, both games that I really enjoyed (ahem… eventually). The premise certainly sounds familiar: lone wanderer emerges from facility where he was isolated from society for decades due to impending apocalypse and is greeted by post-apocalpytic world containing bandits/mutants/evil overwatch.

Of course you immediately turn into peoples’ errand boy. Listen, game developers, I understand that this is the mechanic for 99% of games out there, and there are even times here when it works. Want me to take those supplies to a neighboring camp or go talk to some guy for you? I can do that, just let me know when and where! Oh… you want me to plow through an entire gang of bandits with a pistol because you don’t like them? That’s… okay, what?

There’s a thing called context, and this game doesn’t have it. I’m not a super soldier who descended from the heavens to save the world. I’m just some random guy who stumbled out of a vault spaceship that had to be saved from those same bandits about 10 minutes ago – giving me a pistol doesn’t suddenly make me your conquering hero. But this is a thing that just keeps happening. Go wipe out [enemy group] in [location]. I won’t say the combat is bad, but it doesn’t seem to have any real meaning. None of the groups you fight ever go away; you just end up getting distracted by different groups.

As the game progresses you hop from person to person, doing what basically consists of that same mission over and over. I think there is only one location that you actually visit twice via the story missions, but the side missions of the game generally seem to send you to the exact same place you just were again instead of introducing anything different or interesting. Later in the game you inevitably meet a resistance group that does what any good resistance does in games like this: sends you, the guy they just met, on a bunch of “critical” missions while they hang out in their secret base (pro tip: that airship dock may be a giveaway as to the location of your hideout).

It is at this point where I wish games like this had a “fuck you” button, because I could press it and the game would eject itself and walk its sorry ass back to the video store so I could go back to doing something worthwhile. Because no such invention yet exists I finished the game and, to quote myself when I was telling Abe, “it was a bunch of bullshit”. RAGE had a solid chance to make up lost ground on the second disc (how a game that has less than twenty hours of gameplay in a mostly linear environment can require two discs is beyond me). They tease with some information about how overwatch has had a hand in creating the mutants, but you never resolve that. And there are tiny snippets of the game where you actually end up fighting alongside others for the same purpose, whether it be clearing out bandits, escaping from prison, or capturing a power station, and those are the parts I wanted more of. That’s what the endgame should have been.

Instead the final missions are solitary and feel inconsequential. You fight some stuff, and then watch an impossibly short cutscene (HOW IS THIS GAME TWO DISCS) in which the game halfheartedly tries to convince you the world has been saved because you’ve sent a signal to all of the other arks to “awaken” them. It’s not like anybody who already came from an ark was almost attacked by bandits or abducted by overwatch. I’m sure they’ll be totally fine.

As if it’s not abundantly clear, I’m apparently back in the proverbial video game saddle, as they now consume a good portion of my free time. My Fallout 3 mania has pretty much run its course and has given way to a couple of other distractions, in no particular order:

• Fallout: New Vegas
• Red Faction: Guerilla
• Rock Band 3

I’m not going to talk about Rock Band right now, except to say that when played as a game it’s on the unfun, grinding side of the spectrum, whereas when played as a diversion (that is: with people) it remains one of the best things ever. And while I’m sure I’ll eventually have a lot more to say about New Vegas, I’m only about an hour into it so that’s best left on the back burner for now.

So let’s talk about Red Faction. It’s one of those weird games that kind of clawed its way to the edge of my radar and just hung there, refusing to leave until I gave it the attention it felt was deserved (see also: Indigo Prophecy). My initial take after playing the demo was “Saints Row on Mars” given that the developer and scope of the game are the same, just with a different setting and protagonist. To be fair, I prefer the controls of Red Faction to those of its ghetto brother in that it uses the triggers for driving instead of one of the face buttons.

The premise of Red Faction is certainly intriguing: you’re a demolitions expert (I guess?) on Mars, helping a group of rebels overthrow the corrupt and abusive government. So far it’s nothing that hasn’t been done before on a million other planets, but this game’s novelty comes from its completely destructible scenery. Smashing some buildings around with your hammer is pretty neat. Also blowing them up.

But after that, the game becomes a chore. A minority of the missions are enjoyable, but for the most part I often found myself asking “why me?” I’m some random guy who just came to Mars to keep a low pro with my bro bro my head down and live with my brother. Then my brother gets killed up and suddenly I’m the savior for this entire guerrilla movement that I wasn’t even aware of until five minutes ago. I have no special qualities but the Red Faction is sending me, alone (generally), on missions that nobody in their right mind would expect one person to be able to accomplish.

I’ve had this feeling before and it’s usually found in sandbox games – even the mighty Grand Theft Auto series is guilty of it to some extent. But it stands to reason that you probably wouldn’t send some random new guy out on what you’re telling me are incredibly crucial missions for your cause without any backup whatsoever. That… makes no sense, and that’s what made the game such a drag to play through.

There are some side missions that involve you capturing or defending a checkpoint from/against the bad guys, with a little gauge on the top right that shows you how many people are left on either side. Those were fun, and felt truer to the spirit of the game than anything else, core missions included. Unfortunately, that little slice of enjoyment wasn’t able to compensate for other annoyances:

• Your max ammo count through the entire game is pathetically low. I can carry a rocket launcher around but a few extra clips for the assault rifle is too much to ask for?
• Buildings don’t always collapse when they should. That three-legged structure will surely fall after I destroy two of the legs, right? Right? Couple this with the fact that one of your main goals is to destroy certain buildings, often under heavy fire, and you have a recipe for disaster.
• The enemy solders are obscenely well-armored, further exacerbating the ammo issue.
• The guy giving you missions is the same guy from Crackdown, where he was equally annoying to listen to.

But even despite these nagging issues, I slogged through the game. I don’t know why I do that to myself; I’m sure my blood pressure goes through the roof in situations like this but I feel that because I have it I should finish it for my own sanity (see also: Dead Space). Now that I’m done, I just have two words.

I didn’t mention it in my last post, but I am pretty comfortable putting the Fallout franchise on the same level as Mass Effect in terms of how well-developed the universe is. It’s a pretty good indication of my appreciation for the franchise if I’ll spend hours on their respective wiki’s just, well, absorbing, even after the game has ended.

Fallout is particularly interesting because the future as envisioned there (2277 in this case) requires a significant departure from our current universe beginning in the 1950’s, while ME (set in the late 2100’s) is an imagination of where we as a society could go from where we currently are.

Because of the sheer amount of stuff offered by both universes, the series’ are both ripe for downloadable content. And while usually the DLC I acquire is done so with the intent to do things (additional missions in Borderlands, or wanting to drive more, newer cars in Forza), the DLC in these games was appealing because it offered a chance to see more of the universe, even just a small slice; and that’s what this post is really about. Without trying to sound too dismissive, the Mass Effect team likely has a much easier time with DLC, since they can add a new planet, or a new location to an existing planet, and not have to worry about it fitting to deeply into the context of the current game.

Fallout, on the other hand, has a somewhat less range to work with (you are in the DC area, on foot, with a finite number of different “factions” to deal with) and yet it manages to skirt those limits on more than one occasion. This creativity is welcome, but also makes for an inconsistent experience across the five different expansions. That doesn’t mean they’re not fun; they are, just to varying degrees:

1. Operation: Anchorage was the first piece of DLC for Fallout 3, and basically takes you out of both DC and 2277 by putting you in a simulator where you repel the Chinese invasion of Alaska in 2066. It’s kind of a cheat, but still quite enjoyable. Interestingly, it felt like Call of Duty as imagined by Fallout – that’s not to say it wasn’t fun, but it removed a lot of the attributes of combat that I had been used to up to this point (weapon degradation, scrounging for ammo and weapons, super mutants). Still interesting, but very sterile.
2. The Pitt, then, is practically the opposite in every way. Where Anchorage is bright and clean and always daylight, Pittsburgh has been cast into a reddish darkness, illuminated only by the flames from surrounding smokestacks. Upon arrival you’re stripped of all your possessions and must work your way out of slavery. Of all the DLC, the pacing on The Pitt felt the weirdest to me, though I’m willing to accept some of the blame for that because I spent a lot of time in the steelyard collecting ingots.
3. Broken Steel is easily the best of the bunch. Most notably, it allows you to continue playing after you complete the core story, something not formerly allowed. It also boosts the level cap from a measly 20 to a majestic 30 (sorry, nerd-talk), and adds some additional enemies for you to worry about (and I mean that sincerely – they’re badasses). As if that’s not enough, it is the only expansion to lengthen the core story and get a taste of life after the initial game’s climax. This is far and away the one I’d most recommend, but the general consensus is that features it adds should’ve been there in the first place.
4. I was most skeptical of Point Lookout, which takes you to a swampy wasteland along the coast of Maryland. For the most part things played out pretty normally (considering the context), but I will give it credit for introducing one of my favorite side missions of the whole game — one in which you follow the trail of a Chinese spy stationed there before the bombs fell. Point Lookout (the place) is also the largest and most diverse area to be featured in any of the DLC.

That said, I’d still recommend that anyone looking to play the game look for a deal on the Game of the Year edition, which includes all five add-ons (the fifth, Mothership Zeta, sounds intriguing but I haven’t yet played it), but if you are just looking to add to your existing copy, don’t rush to the Xbox Live Marketplace (or the Playstation Store) just yet – Op: Anchorage and The Pitt are available on a physical disc, as are Broken Steel and Point Lookout.

This is notable for one reason: physical games are available used, which means you may be able to get the four mentioned above for significantly less than you’d have to pay to download them. Had that not been the case I probably would’ve skipped the first two altogether, even though they were interesting. I’ll likely pass on Mothership Zeta for now, opting instead to prepare for the imminent arrival of New Vegas in my mailbox.

This is a post about Fallout 3. It is a highly-acclaimed video game that came out almost exactly two years ago for a multitude of platforms, and one that I purchased on its release date.

It’s also a video game that, somewhat indicative of the time, I picked up only briefly and then almost immediately gave up on. Oh sure, I made it through the prologue and into (out to?) the wasteland, but from there the game became so overwhelming in so many ways that I just didn’t feel like dealing with it.

A year later, or somewhere thereabouts, I tried it again, made some incremental progress, then likely got distracted by something else and continued to write it off as “not for me”. Despite certain insistences that is in fact very good, and I should give it another chance, I couldn’t commit.

But New Vegas pushed me over the edge. Maybe. You see, after what basically amounted to a one-night stand with Splinter Cell, I was looking for a game I could settle down with for awhile and really get to know. All the hype about New Vegas rekindled my interest in the Fallout franchise, and I vowed that I would give Fallout 3 an honest-to-God second chance.

And this time, it just clicked. Much like my picked-up-and-put-down experience with Mario & Luigi: Superstar Saga, I opted to start over from scratch and basically just not be such a pansy when it came to fighting this time. I also took advice from the internet and chose my skills a little more carefully, as I didn’t realize how critical certain abilities are when I started the game before.

I had also previously described Fallout 3 as “Borderlands, but much more lonely and dismal.” While that holds true somewhat, there is still a sense of humor woven into the game that keeps it enjoyable versus depressing. And while the loneliness is somewhat overwhelming at first, after awhile I wouldn’t want it any other way. Put another way: there are opportunities throughout the game to acquire a follower, but I’ve avoided them. Mostly this is because I don’t want to be responsible for their deaths (which are, logically, permanent), but also I’m kind of a badass so I don’t need their help.

Once the balance of terror vs. curiosity shifted in my favor, the game became a lot more fun and interesting. I didn’t worry about stumbling into the “wrong” place, because such things are encouraged and rarely lethal if you’re prepared. There’s still an ever-present threat of not having enough ammo (merchants only have finite amounts) and the degradation of weapons and equipment (which are repairable but not without some hassle), but it doesn’t feel like tacked-on difficulty; instead it really does fit with the overall theme: if you don’t succeed, this could very well be the fall of humankind and the decay of everything associated with it.

Whoa.

Miscellany

• V.A.T.S. (the combat assistant) takes some getting used to, but it is tremendously useful when you figure it out.
• Maps and fast travel are lifesavers.
• I am using the Fallout Wiki probably way more than I should.
• The Broken Steel add-on is crucial.
• Dead Rising, on the other hand, was not better the second time.

I was extremely happy to reach the conclusion of Dead Space for a number of reasons:

1. No more monsters jumping out of vents
2. I can play another game without feeling guilty

I had initially started playing Far Cry 2 while in the midst of Dead Space, and all the freedom it offered had the interesting effect of making me long for the more structured missions of the very game I was avoiding. I managed to put about five hours into it before giving it up and returning to the land of linearity.

And so with the conclusion of Monster Zombies in Space™, Far Cry was forgotten in favor of a new contender: Metal Gear Solid 4. I’ll be honest; I didn’t have high hopes. I’ve played games in the series before and not done overly well, but given that this is the flagship game for the PS3 and beat out my favorite game ever for GameSpot’s Game of the Year, I expected that it would at least provide for an interesting and entertaining experience.

I was not wrong.

Like other games in the Metal Gear Solid line, MGS4 has a healthy serving of dialogue and cutscenes to accompany the gameplay – there’s a pretty good chance you’ll be watching just as much as you’ll be playing. But the Metal Gear universe is so deliciously convoluted that every bit of dialogue becomes important to understanding just what the hell is happening. Before playing through I had only a passing knowledge of the series, and even I wasn’t completely confused.

That’s not to say it’s brilliant or clever; more appropriate descriptions would be weird, or twisted, or just plain crazy. Still, it’s definitely interesting and keeps you intrigued. And you’re rewarded for your wait with some really good gameplay. Metal Gear games have always relied heavily on stealth elements, and while this one certainly is no exception, you’re provided with adequate firepower from the get-go that will make the occasional skirmish less of a punishment.

There’s not much else I can really say about this game except that it’s really fun, and you should play it if you have a PS3. After a stream of averageness, this is the first game I’ve played that really gives me hope for the console.

On Christmas day, I found myself with a conundrum: four games with great potential, accumulated at various times leading up to the holiday season, sat before me and I had to figure out which one to play. I made Abe choose for me, and that’s why I am playing Dead Space, a survival horror sci-fi spaceship 3rd-person shooter thing with an emphasis on “strategic dismemberment combat.”

Why did I buy this game in the first place? I am not sure. I hate horror anything. I dislike being scared. Playing through Bioshock was a stretch for me. And yet, I elected to spend money on something that I knew – knew – would not be a good fit for me. The problem is, the game is good, both technically and creatively. It’s so good at what it does that I don’t want to play it anymore.

I am trying to force myself through at least a chapter a day (I started out strong, hitting the first 7 chapters on Thursday and Friday, and I’m up to chapter 10 now), and then when it ends I can finally play something I actually want to be playing. Everything about the game is too stressful for me. I’m not a fan of scary alien combat. I’m not a fan of not being able to find enough ammo. And I’m definitely not a fan of non-regenerative health, which shouldn’t even be allowed in a shooter in this day and age.

Seriously, give me a damn break. I am stuck on this mining ship, 600 years in the future, wearing what is some sort of incredibly advanced armor that allows me to store a ridiculous amount of weapons and ammunition (if I can find it) without weighing me down, but the same suit can’t restore my vitals over time? To me that just smells like an arbitrary way to make the game harder – it doesn’t really add any enjoyment or value. Alternatively, as you upgrade your suit throughout the game, make it an unlockable ability. But really, health packs? So 90’s.

So yeah, Dead Space – once it’s done, it’s done.