Tag Archives: XBox Series X

Prey (2017)

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For all that it’s five years old, Prey is one of the best games I’ve ever played, and certainly the best one I’ve finished in recent memory[1]. (I need to get back to Pillars of Eternity. And also Horizon Zero Dawn.)

It is approximately like, what if Half-Life, but extremely modern and therefore with the ability to have and track quests and side quests, and the survivors you meet are actually able to, on occasion, take care of themselves a little bit instead of solely serving to keep you in a somber mood. You can play guns blazing, or extreme stealth, or anything in between, while being as kind or cruel or unconcerned as you prefer. In a different world where I didn’t have an infinite number of massive games I wanted to play, nevermind the smaller ones, I might be inclined to play this again with a different focus. I happen to know there are things I never saw because I played differently than what would have allowed me to see them.

As far as the plot: go in as blind as you can. All I knew was a) praise and b)… actually, I can no longer swear what I knew about b), so it would be unfair to say anything, wouldn’t it? But the game starts off on your first day joining your big brother in the family business. Wake up, get ready, fly across town in a helicopter while the credits roll, then take the evaluation tests you need to pass to go up to the space station where the real magic (by which I mean science) happens. Only, the tests don’t really make even a lick of sense? And why is that table running around, and why are the alarms going off? And then things get weird.

In conclusion, I liked it really a lot. The plot twists never really stopped, no matter how far into the game you think you’ve gotten. I am uncertain about the expansion? But I would play the hell out of a sequel.

[1] “Okay, but what about Hollow Knight?” It’s like this. They are both exemplars of their respective types of game, but Prey has the better plot. HK has the better mood, if that makes you feel okay about things.

The Gunk

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For the first time in probably literally ever, I have played a new game, to completion, within a fortnight of its release[3]. Even accounting for its being a relatively short game, my counterpoint is that I didn’t play it for about a week in the middle, what with Christmas and having a child and all that this entails. My points are a) wow and b) look for this to never happen again, like, ever.

The Gunk is the story of a pair of… long haul truckers? junk traders? if I’m being real, what they actually do is not perfectly laid out, except that they for sure do it in space and in the future. But then they pick up an energy reading from an otherwise dead planet, and the idealistic exploratory character (as opposed to the hard-bitten cynical character or the helpful, low-vocabulary character) insists on checking things out. What follows is an exploration platformer game where you quickly discover that there are these piles of purple, bulbous, well, gunk all over the place, and that if you hoover it up using your power glove[1], all of the plant life recovers from a dormant state, and weird pools of energy that are for sure some portion of what the readings were and which have additional uses in the moment are also revealed.

And then you explore around, trying to figure out why and what everything is, and not incidentally make some money along the way, due to your semi-apparent day job overlapping with this kind of discovery. Later still, there are conflicts.[2]

As this kind of game goes, it is clearly not as good as your Marios and your Banjos-Kazooie for the fact of the game play and collectiony bits. But it has probably a better, more engrossing plot than those have, and also only plays for like six to eight hours rather than sixty to eighty. Those facts may be related, come to think of it. But also, they don’t handhold you. I thought I explored everywhere, and I certainly tried to, but even though I got the scan everything achievement, I could not manage the build everything achievement.

I’d play a sequel game with these characters, though, so.

[1] Where it ends up is not particularly a topic of interest to the game writers, who, to make two points in one footnote, were clearly enamored of but never owned a certain late ’80s NES accessory.
[2] What??? I know, right.
[3] And then forgot to post for nearly another week. *sigh*

Hollow Knight: Voidheart Edition

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I still don’t understand why games that are roguelike are named after the original game of that style, Rogue, while games that are Metroid-like (ie, exploration-platformers with boss fights and power-ups) are named after more than a decade later when Castlevania did the same thing, and someone decided they were equivalent and everyone else agreed. It’s just not right.

All of that to say, Hollow Knight is a Metroidvania in which you play a silent[1] protagonist come to the dying city of Dirtmouth above the dead-but-treasured-filled kingdom of Hallownest, and also everyone is bugs. And that’s it, that’s the whole plot as presented. Everything else you learn on the way. Questions like “why do I have such a shitty weapon? why are some of the bugs cool and chill and want to sell me things or discuss philosophy, but some of the bugs just run at me to kill me, but some bugs do both? why is this referred to as a platformer when I can barely jump at all?”

There are three important things to know about this game. The first is that, if you are okay with the genre, with having to go back and forth and remember where you left things to do later and explore until you find places you can’t go but trust that you’ll be able to later and until you find fights that you cannot win but trust the same thing about that, if you’re okay with these things: this is a spectacular game. Arguably the best one of its kind ever made.

The second is that it’s incredibly long. I played for 83 hours to get the credits, and there are still a number of things that I know are left undone, not counting that there are probably things I don’t know also.

The third is a corollary to the second. It is 97% melancholy, with only the briefest of divergences from this theme, and those countered by moments of much stronger sadness to still balance out at 100% adjusted melancholies. And there’s nothing wrong with a melancholy game! Most walking sims are, and I play lots of those. But here’s the thing: 83 hours of melancholy is a lot to get through, even for a truly amazing game.

Oh, and also Voidheart Edition is because there were eventually several small expansions, and all of them are included in the Game Pass version. According to the meter, I got 106% completion out of an implied possible 112%. Almost all of what’s left are harder versions of things I’ve already done, which makes it hard to feel like I should practice my ass off to accomplish them. Plus the melancholy.

In the unlikely event that I do more, and that the more I’ve done changes my impressions significantly, I’ll report back.

[1] I mean, yes, most video game protagonists outside of dialogue-tree RPGs and shooter cutscenes are silent. But the other characters in this game make a point of noticing your silence.