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#OnThisDayInGaming 🎂

Hexen for the N64 turns 24 today in North America!

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Welcome to the very first episode of the Ranger Report! As Your Gaming Dad, I think it's important to remember where you began, and with this review of Putrefaction 2: Void Walker, I didn't intend to start a brand new video series covering first person shooters, let alone open up the journey to Dadhood. But, rough as this might be, it's important to share our journeys, and to always be aware of how we started. This game is a lot of fun and I did enjoy making this video, so I hope you enjoy watching it!

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Review: THE WITCHER III: WILD HUNT (2015)

The Witcher III is too big.

There. I said it.

Imagine a huge meal. You’ve been thinking about it all day. Steak, baked potatoes, insert vegan options if you don’t eat meat, you know the drill. But you sit down and it’s glorious. Huge. Covers the whole table. A feast fit for a king. And now the insane task you find before yourself: eat the whole thing. No one’s gonna help you with it, it’s just you. A whole table’s worth of food. Eat all of it. That’s your task, eat all of it, or at least most of it, but don’t forget that if you get up from the table there’s still all of this delicious food just waiting for you to devour and going nowhere.

That’s playing The Witcher III.

You probably think I’m saying that in a negative way and that I don’t like the game, but I really do. I actually honestly do. I clocked in 95 hours on the main quest, side quests, and the first DLC Hearts of Stone. Before I played this one, I put in 48 hours on the first game and 35 hours on the second game. Bam, bam, bam, three games in a row, but somehow Wild Hunt is the one that felt the most of a slog. Even the first game, as tedious as it was, didn’t feel like it stretched on so long as Wild Hunt.

It has to be said that this game is a massive accomplishment for CD Projekt RED, or hell for ANY developer making a game of this type. Sheer density of worldbuilding and execution like this simply doesn’t exist in other games. Earlier this year I played Skyrim for the first time as well, and where that game felt like it was living, Wild Hunt felt like it was absolutely real. Ride in any direction and come across a village or a trader or a monster nest that somehow inevitably leads to the video game equivalent of a short story, multiply that by a hundred, populate the world with not one, not two, but three maps in-game, and pepper those alongside the main course which in itself is something like 50-70 hours, and you not only have a world that is easy to get lost in, but one that is difficult not to.

But where the first two games have a clarity of focus in their storytelling -- especially the second game Assassins of Kings -- Wild Hunt seems to wander back and forth between aggressive tension and meandering purpose; a game in which the primary staging is for Geralt of Rivia to go forth and find his surrogate daughter, Ciri, before the otherworldly Wild Hunt get to her and use her Elder Blood Powers to destroy the world, but stops to hunt monsters and help villagers and find treasure along the way. Open world games such as this have always been at odds with themselves when they attempt to tell a story in which the protagonist has a singular goal. Side quests and world traveling derail the intention of the plot. So, too, does Wild Hunt damage itself by providing such a brilliant, open world, one packed to the gills with things to do, and nearly require the player to go out and seek adventure just to level up enough to reach the level requirement for the next quest in the main storyline.

But that’s not to say that it isn’t enjoyable. Far from it: Wild Hunt has some of the most engaging, brilliantly written gaming I have ever experienced. It’s just that there is so much of it that I almost feel like I’ve gotten a little gaming PTSD as a result. Immediately after finishing the main quest, I uninstalled the game (ignoring the other DLC, Blood and Wine), installed Quake, and played through that in a couple days. I needed to run and gun. I needed a Boomer Shooter with focus. I needed to run from point A to point B. When I first started the game, I was in awe of the spectacle, of the scope, of the realization that this was the game that the devs had been wanting to make for years, but unable to because technology. And as I continued to gorge myself on the ever-expanding meal, realizing after a time just how much I was being told to consume, I began looking back at the lean, focused first two games, longing and yearning for their steady hand and dedication.

The Witcher III: Wild Hunt is a masterpiece. An achievement that few will ever come close to accomplishing, one that outshines Skyrim in nearly every aspect. But Skyrim does what Wild Hunt does not: it drops you into a world, free of charge, and says, “Go. Do whatever you want. You’re new here, and you owe no one anything.” Meanwhile, Wild Hunt says, “Look, your daughter is being chased by evil elves, your ex-girlfriend needs reconciliation, every single side character you’ve ever encountered in the other games (if they’re still alive) needs your help, and the emperor himself is watching over your shoulder. You also have monsters to hunt and treasure to find and people to help and witches to have sex with. There’s also exploration. Horse races. Fist fights. Gwent. There’s a lot. Make sure you stay on track. Your daughter needs you, like NOW. But do whatever you want.” 

Eventually, scoring this game became difficult. What began as an easy ten out of ten began to sour over time, unto the point where I wanted to give it an even lower score for simply being TOO much. At what point to we reward developers for oversaturating their games to the degree of them being all-consuming? That being said, I still have to recognize the effort, the achievement, the technical accomplishment, in spite of the game itself being far, far too much for one game to ever be asked to be presented as.

Ironically, I committed myself at the beginning of the year to dive deep into the fantasy genre to test the waters and see if it was a genre I enjoyed or not. Skyrim was the game that convinced me that I did. Wild Hunt is the game that’s convinced me to take a break. Final score: 8/10

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Theory: No One Is Real In Silent Hill 2

At last, for October, I present a Fan Theory nearly twenty years in the making. I’ve been thinking long and hard about this presentation, and for a moment nearly broke it up into a bunch of smaller posts. But where’s the fun in that? So below I present in its thirty-page entirety (I KNOW I’M SO SORRY) the idea that James Sunderland is the only physically “real” human in Silent Hill 2, and that everyone else is a manifestation created by the town. It’s a long, long, detailed long post, so if you’re here for it you have my thanks in advance. Go pee and get something to snack on.

Welcome to Silent Hill!

***

In the world of video games, true genre-defining experiences come few and far between. Often these benchmark releases inspire waves of imitators: some capture the spark of what made these masterpieces so memorable, most end up as cash grabs on a popular genre. Few games have inspired such imitation as the Silent Hill series. Provocative, psychological, and unafraid to tackle controversial content, the series is renowned for preying on player expectations, toying with perceptions of space and time and awareness. Many lesser games have made an attempt at reproducing the same magic, including later games in the same series.

Silent Hill 2 is singled out by fans and critics to be the best of the bunch. Hailed as one of the scariest games of all time, the story tackles the subjects of abuse (both emotional and physical), grief, and punishment. It does so in a very uniquely Silent Hill manner, in which nothing is real, and every step the player takes moves them closer to an abyss of terror. Developed by Team Silent, the group that created the first four titles in the series, Silent Hill 2 is categorized as a “survival horror” game, and the primary means of gameplay is that of tense combat with heavy emphasis on exploration and puzzle solving. Combat is by no means a “run and gun” escapade – the protagonist generally has a variety of melee weapons like a wood plank or a tire iron, and relatively few guns. Ammunition is sparse and requires constant management; the game recommends avoiding as many enemies as possible. Meanwhile, puzzles are mostly logic-based, involving riddles, the combining of objects to create a key, and choosing the proper item for the proper spot. The atmosphere is oppressively claustrophobic, even in its outdoor environments. Truly, this is an experience that is designed to make the player feel alone and isolated.

Despite this, Silent Hill 2 features a memorable cast; each character has distinct motivations and reasons for their journey to the town, but each person is also shrouded in mystery. After all, their purpose is not to tell their stories, but to enhance the journey of the protagonist. While at first it seems a given that these characters are all real – and they are presented as such – it is my belief that they are, in fact, manifestations of the town in order to provide extra torment for the protagonist, and also represent one of the five stages of grief: denial, anger, bargaining, depression, and acceptance. This is a bit of a difficult pill to swallow at first glance, but the evidence is present throughout the game.

Before we dive into the reasons for this theory, let's first examine the story and setting of the game itself, in order to make sense of what is to come.

In my restless dreams, I see that town:

Silent Hill.

You promised you'd take me there again someday, but you never did.

Well, I'm alone there, now. In our “special place.”

Waiting for you.

-- Mary Shepard-Sunderland

In the opening of Silent Hill 2, James Sunderland reads these words, the beginning of a letter sent to him by his wife Mary. This is, of course, an impossible letter, as James quietly states that Mary has been dead for years, victim of a terminal illness. And yet, despite knowing this, James has come to the town of Silent Hill in order to understand how such an impossible letter could exist, and whether or not his late wife could truly be waiting for his arrival. For both the player and for James, this is an ominous way to begin the journey. Players familiar with the series will already know that the titular town conjures scenarios and creatures based on the psyche of the individuals in the town, making them see what it wants them to see. Those with, say, guilty consciences will see monsters and demons – innocents will only see an empty town. James, meanwhile, despite knowing full well that Mary is quite dead, is far too curious to understand what's going on here.

James begins his journey at a rest stop off the highway, above the town itself. This is the clearest view of the surroundings the game will give us until near the end. Forestry, tall trees, and waves of fog between them can be seen, with a large lake in the background beyond the town. Leaving the rest stop, James – and the player – is forced to walk a long path from the rest stop to the town, a full twenty minutes in-game. On all sides, the fog grows thicker, and the sounds of mysterious wildlife roaming the woods can be heard. As James enters the outskirts of Silent Hill, he cuts through a cemetery off the main road. Here he surprises Angela Orosco, who is sitting in front of a headstone, lost in thought. Immediately presented as anxious, cautious, stuttering and shy, Angela is a nineteen-year-old who claims to be searching for her mother – someone she accidentally refers to as “Mama” before correcting her choice of words to “Mother.” James tells her that he's looking for someone also, admitting that she may or may not be there. When he asks Angela if he's headed in the right direction of the town, Angela attempts to warn him off, saying that there's something wrong with the town, that he doesn't want to go there. James cuts her off, stating that he doesn't care if it's dangerous or not.

Returning to his quest, James finally enters Silent Hill. Here the fog is at its thickest, and the streets are clearly abandoned and in disrepair. James, thinking he sees someone walking through the fog in the distance, diverts course until he comes to a small construction site. A radio, blaring odd static, lies beside a dead body. James, cautiously, goes inside to pick it up, and turns around to face a strange, warped creature that looks like a shapeless human wrapped in a straitjacket made of flesh. In self-defense, James grabs a plank of wood and is forced to beat the creature to death. As he leaves, he thinks he hears Mary's voice coming from the radio, but the words can't be made out. He continues on. Now more of these creatures are walking along the streets, shuffling, shuddering, spewing acid from their gaping mouths if he gets too close. James can fight, or he can run, but out here where the enemies are multiple and fast, running is the best course of action.

James understands that his first objective is to reach Rosewater Park, where he and Mary shared an intimate moment during their vacation. But the streets have been cut off, so he decides to cut through the Wood Side Apartments. Inside it is dark, strange, and full of noises off-camera that exists solely to set James and the player on edge. In the apartment complex, he sees a key resting on the other side of some gated bars, which looks like it might be the one he needs to cross from one building to the next. As he attempts to reach through for it, an eight-year-old little girl appears out of nowhere. She kicks the key away and stomps on James's hand, laughing as she disappears into the darkness. This is the first living person James has seen in the town proper, and she has essentially made his life more difficult.

More creatures haunt the hallways of the apartment complex, including one that James sees standing on the opposite side of what look like prison bars in the middle of a hall. Tall, wearing a red triangular helmet and a flesh butcher's smock, this creature is called “Pyramid Head.” For now it merely stands opposite James, staring at him motionlessly. Later on, James will encounter Pyramid Head again, this time as it appears to be sexually assaulting another of the monsters. Hiding, James is forced to shoot at Pyramid Head with a gun he found in the apartments until it leaves on its own.

While searching through the apartment complex, James enters a room to discover Angela lying on the floor in front of a full-length mirror, holding a kitchen knife. As she gazes at the knife longingly, James tries to talk her out of whatever it is she's thinking of doing, stating that there's “always another way.” Angela's response is to compare the two of them, noting that it's easier to run away from their problems. She speaks in slow, exhausted tones, a stark difference from the stuttering hesitance of their earlier encounter. “Besides,” she concludes, still staring at the knife, “it's what we deserve.” James denies this, startled by the implication that he would consider such a way out. They continue to talk, James calmly and confidently holding Angela's attention, before they both admit to each other that neither of them have found the people they're looking for. James lets slip that he wouldn't be able to find his wife anyway since she's dead, which causes Angela to become nervous and animated again, and she gets up to leave. James says that they should go together since her warning about the town proved to be true, but she rejects the offer, claiming she'd only slow down his progress. James asks what she's going to do with the knife. Hesitating, Angela asks if James will hold on to it for her, that she's unsure what she'll do if she takes it with her. But when James reaches forward to accept the knife Angela screams and holds it out in defense. Surprised, James backs away as Angela has a near-breakdown, claiming that she's sorry and that she's “been bad.” She quickly sets down the knife and leaves the room in a flustered rush. James takes the knife, and it is worth noting that the knife cannot be used as a weapon in game, only as an item to be examined in his inventory.

James enters one of the apartments to discover Eddie, a portly twenty-something in an ill-fitting polo shirt and backwards cap, hunched over a toilet, violently throwing up. Eddie found a corpse inside of a fridge out in the living room after being chased in by some of the monsters, and a panicked Eddie became nauseous at the sight of it. In a difficult-to-stomach cutscene, Eddie continues to vomit while James talks to him. Eddie adamantly proclaims his innocence in regards to the dead body, claiming that he “didn't do it” and that he's not from Silent Hill. James, oddly, continues to converse with Eddie calmly, as though he's ignoring the man's explosive vomit. He asks if Eddie knows Pyramid Head. Confused, Eddie says he doesn't know what that is, only that he's seen some monsters that have freaked him out thus far. James infers that something brought Eddie to Silent Hill, but that whatever it is, he should try to leave town as soon as possible. Both men tell each other to be careful before James leaves Eddie to finish his business.

After several puzzles and strange occurrences, James is confronted by Pyramid Head, who is now wielding a huge knife that it has to drag behind it. Forced into a narrow room, the player must guide James back and forth, avoiding Pyramid Head's slow attacks, while shooting round after precious round into the beast. Eventually, an air raid siren can be heard in the distance; Pyramid Head descends a set of stairs that are submerged underwater, leaving James to his fate. The water drains, James follows – and the monster is gone.

Leaving the apartments, James finds the little girl who kicked him in an alley out back, perched on a high wall. Her name is Laura. She's precocious, bratty, and stubborn. James tries to get her to come with him, since there are monsters running around that could hurt her, but it seems as though Laura doesn't see the monsters. During their chat, she tells James that he “didn't love Mary,” and refuses to answer any other questions before running away into the fog.

As very confused James continues through Silent Hill, he arrives at Rosewater Park, hoping that this is where he will find Mary. But instead, James finds Maria, a woman who resembles Mary so much that he notes that she could be her twin. Yet Maria quickly establishes her stark difference from Mary. First, with her clothing: where the game shows images of Mary wearing a conservative pink cardigan and long skirt, Maria wears a revealing purple top and leopard print miniskirt. Her walk is sultry, her demeanor flirtatious, and her gaze holds a mischievous “come hither” look. Even her hair shows the change: where Mary had a darker auburn hue, Maria clearly has bleached hair, her brown roots prominent, a tint of red at the tips. James, taken aback by how different this woman is from his wife, at first decides to leave her be. But Maria quickly requests to come along with, wondering aloud if he was going to just leave her alone in a town surrounded by monsters. Guiltily, James tries to avoid this, but surrenders to letting her tag along. She asks if there's another place that Mary could be, and he realizes that they had stayed at the Lakeview Hotel, on an island in the middle of Toluca Lake. Together, the two of them set off to find a way there.

As the player guides James through the town, Maria follows at a decently close pace. Not quite as fast as James, but not so slow that she can't keep up. The artificial intelligence designed for Maria allows the player to not worry if Maria is nearby or not when running from or fighting monsters. In other games, the mechanics would force the player to worry about their companions, but not so Maria; she always catches up, and no matter how far away she is when James goes through a door into a new environment, Maria is immediately waiting on the other side. This ties in to the theme of Maria needing James to take care of her in the story.

Discovering that the highway leading out of town towards the docks has sunken into the earth, James turns around to seek out alternate means of getting to the hotel. Searching through the town, he comes across the Bowl-O-Rama, and decides to go inside just in case he can find any supplies worth taking along. Maria, notably, refuses to go with, stating that she hates bowling and would prefer to remain outside for him.

Inside, James hears two voices talking to each other: Laura, and Eddie. The scene cuts away from James, and focuses instead on these two characters. This is significant in that this is the only time in the game where two people who are not James are having a conversation, and their topic is significant. Laura mocks Eddie's weight, calling him a “gutless fatso,” and asks why he's running away from the police, why he can't just apologize for what he's done. Somehow he's gotten hold of some pizza, which he gladly eats while Laura sits beside him. Eddie states that he would never be forgiven for his transgressions, and continues eating. Laura mocks him for being a coward. Again, this is tellingly the only conversation in the game that James is not a part of, nor does it exist for his benefit in the game. It's only for the player to see and understand.

After this cutscene, James enters the bowling alley and finds Eddie. He asks Eddie if he's alone, which Eddie cautiously admits that he isn't. Laura rolls a bowling ball their way to get their attention, which causes James to see her briefly as she leaves the building. James tries to get Eddie to follow, but he declines, stating that Laura already said she was fine on her own, and that she claimed “a fatso like me would only slow her down.” James, in disgust, says, “Forget you!” before chasing after Laura. Outside, Maria tells James that she saw Laura headed towards the hospital, and they shouldn't leave her alone with the town being the way it is.

James follows Laura to Brookhaven Hospital at Maria's behest, and after Maria stops to rest in one of the rooms he goes on alone. Maria, it should be noted, has claimed to be hungover, but has developed a nasty cough and is taking pills from a prescription bottle. James, pressing on, eventually discovers the little girl playing with teddy bears. Laura is at first shocked to see James, but he assures her he is friendly and isn't going to hurt her or be angry. He just wants to know how she knows Mary. Laura, it turns out, shared a hospital room and nurse with Mary – only the week before. Hearing this, James shouts that Laura is a liar, which she brusquely receives, but she claims that there's something for James from Mary in the hospital and leads him to another room. Once inside, James finds himself locked in with a group of monsters hanging from the ceiling, tricked by Laura. James is knocked unconscious and awakens in an alternate form of the hospital to find Maria.

Maria is less than pleased that he left her alone, demanding comfort as she runs into his arms. But their reunion is short lived: as they attempt to flee the hospital, Pyramid Head appears and pursues them down a narrow corridor that leads to an elevator. James makes it, but the doors shut before Maria can get inside too. She is able to reach her arm in and flails for help as Pyramid Head stabs her to death. Grief stricken at watching Maria die, the woman who looks exactly like his late wife, James sees Laura running away through the front window, he decides to push himself onward. It's telling that as he exits the hospital, the town has changed from day to night, enveloped now in darkness as well as fog. After leaving the hospital, James attempts to find a way to cross Toluca Lake to get to Lakeview Hotel on a nearby island and find the last potential “special place.” In doing so, he discovers a hidden entrance to a strange underground prison beneath the Silent Hill Historical Society. Before this, however, James finds a painting in the historical society of an executioner surrounded by bodies in cages – the executioner looks exactly like Pyramid Head.

After a terrifying descent through impossible spaces – vertical hallways, vast drops into abyss-like blackness – James emerges into the underground prison. Eddie, somehow, is there as well. However, his aloof demeanor has been replaced with a chilling lack of empathy. Sitting on the ground brandishing a revolver, Eddie flinches as James shines his flashlight on him. He proceeds to smile vacantly, stating, “Killing a person ain't no big deal. Just put the gun to their head – pow!” He mimes shooting himself in the head as he does this. Lying on the table beside Eddie is a dead body with a head wound; Eddie claims it wasn't his fault, that the person was looking at him funny. James tries to rationalize with Eddie, telling him he can't just kill someone because of how they look at him. Visibly confused, Eddie asks why not, before continuing to reminisce about a “stupid dog” who'd also had it coming. After this, Eddie chuckles nervously, claiming everything he said was all just a joke, and that he needs to get going. As Eddie opens a door to go deeper into the prison, James asks, “You're going out there alone?” Eddie replies enthusiastically, “Yeah.”

Questing through the prison, James is shocked to discover Maria sitting on a chair inside one of the cells. Confused, James tries to speak to her, but her demeanor is odd: she talks about things that only Mary would know, including a videotape the two of them made together while at Lakeview Hotel. Stunned, James asks if she's actually Maria, to which she brusquely responds, “I'm not your Mary.” She implies a sexual reward if James finds a way around to unlock the cell, but by the time he discovers this path, Maria's body is on the cell's bed, bloodied, dead once again. Struggling with this, James forces himself to move on.

Angela appears in the prison labyrinth as well. Walking through a hallway, James finds scattered newspapers all over the ground, and if examined, reveal a news story about a lumberjack named Thomas Orosco, found with his throat slit in his own house. Moving onward, James hears Angela's voice scream: “Daddy! Please! No!” Rushing through a nearby doorway, James comes across a terrifying sight. Before him is a room made of fleshy material, with a television and makeshift furniture. Lining the walls are mechanical pistons which pump constantly and out of sync with each other. Angela is on her back, desperately trying to get away from a monster. Unlike anything else seen up until now, the monster resembles a person lying on top of another person in a bed, covered by a topsheet of flesh, and a twisted mouth emerging from the front. It shuffles forward on two legs with insidious humping movement. According to the game, this monster is called the “Abstract Daddy.”

James protects Angela and kills the monster; once this is done, Angela leaps to her feet, kicking the creature over and over before picking up the television and crashing it down on the Abstract Daddy, finishing it off. James tells her she can relax, but she screams at him, telling him not to tell her what to do. She accuses him of only wanting “one thing,” and that if he does, he should just force her and beat her, “like he used to do.” As she says this last part, she points at the dead Abstract Daddy, and breaks down, crying and dry heaving. When James tries to comfort her, she pushes him away, saying he makes her sick. She calls him a liar for claiming that Mary died from her illness. Departing with a sneer, she implies that James probably wanted to be with someone else.

Eddie's final appearance comes just before the end of the prison. James enters a cold storage room to discover Eddie standing over yet another dead body, but his mood here has deepened into something far more morose and morbid. James asks if Eddie killed this man as well; Eddie starts to shout about how it was deserved, how the man always called him a fat piece of shit, among other instances of verbal abuse. “It doesn't matter whether you're smart, dumb, ugly, pretty, it's all the same once you're dead!” Eddie shouts, concluding that “a corpse can't laugh.” James asks if Eddie has gone nuts; Eddie decides that James is just like everyone else, laughing at him behind his back, and points his gun at James. The player takes over, forced to fight Eddie, and after a few minutes of action Eddie retreats deeper into the meat locker.

The next room where Eddie has retreated is dark, foggy with cold air, and full of large meat slabs hanging from the ceiling. The meats are all wearing pants with suspenders. James proceeds cautiously as Eddie taunts him from the shadows. Eddie asks James if he understands how it feels to be made fun of just for how he looks. Eddie continues, ranting about how he'd shot a dog because it taunted him, before shooting the owner – his personal bully – in the knee. He laughs about how difficult it would be for the man to play football after that. James tries to tell Eddie that he needs help if he thinks it's okay to kill people, to which Eddie scoffs, telling James that the two of them are the same. After all, he says, Silent Hill called to James as well.

Eddie pops out of the shadows, and the player takes over for another battle. This time, once enough hits are landed, James kills Eddie. Once Eddie has fallen, James rushes over to his dead body, and shows remorse, shameful that he's killed a human being. From here, James leaves the prison and finds a dock with a rowboat waiting outside. He uses it to cross Toluca Lake and get to the hotel.

Startled in the hotel lobby by a loud noise, James finds Laura at a grand piano, having just struck a loud chord to get James's attention. Here they finally have a conversation about their purpose: Laura is here to try and find Mary based on a letter that Mary left for the girl, in which Mary says she's sorry for leaving and is in a beautiful place now. Mistaking this to mean she is in Silent Hill, Laura has come here to find Mary. Also of note in the letter is that Mary tells Laura not to hate James for being “surly” and for not visiting the hospital much, claiming that James is very sweet deep down. Mary specifically says that she had hoped to adopt Laura. James, learning Laura's age and recent interaction with Mary, is forced to admit that Mary couldn't have been dead for three years, and in fact may still be alive.

Upstairs however, James discovers the room he and Mary shared, as well as their videotape. It's a home video of a sickly Mary saying how much she loves Silent Hill before succumbing to a coughing fit. The image changes to one of Mary lying in bed; James leans over her, kisses her forehead, and then smothers her to death. It's this point in the game where both James and the player are confronted with the truth. All around the hotel there have been various video and audio cues that imply the nature of James and Mary's relationship during her final days: a tense, abusive atmosphere in which Mary constantly lashed out at James in anger due to her own negative self-worth, only to adopt a pleading, loving tone after fighting. James, bitter from years of slow decay and sexual frustration, opted to end Mary's pain. Was it a selfish act, or an altruistic one? The story leaves that to the player to decide. James is shown to be in torment over his actions, the memory of which he either repressed on his own or was altered by the powers of the town.

Contemplating the truth of his repressed memories after viewing it, James is found by Laura. He confesses his actions to the girl. Laura screams at James that she hates him, wanting to know why he did it, demanding James bring Mary back, telling James he never really did care about Mary. Filled with sorrow, James can only tell Laura that he's sorry, and that the Mary she's looking for isn't here. Laura leaves without another word. James is spurred on to keep searching for Mary when he hears her voice come from the final, static-filled moments of the video tape, calling for him, saying she's waiting.

Angela's final appearance is in the Lakeview Hotel. James enters a hallway that is engulfed in flames – something odd as the previous area had not been. Angela is here, standing at the bottom of a staircase, staring up into the fire that is consuming the hotel above her. At first she confuses James for her mother, and Angela is excited to see him before realizing that who she's seeing isn't real. She apologizes and thanks him for saving her before, but wishes that he hadn't actually done so. She says that her mother had told her once that she deserved the things that had been done to her, and when James refutes that, Angela simply asks for him not to pity her. After all, she says, what is he going to do? Love her? Take care of her? James doesn't answer. “That's what I thought,” Angela replies. She then holds out her hand and demands her knife back. James, showing genuine care for her, says he won't. She accuses him of holding onto it so he can use it, but James states that he would never kill himself. Hanging her head in sadness, Angela turns and begins to walk up the staircase, fire burning up part of the stairs behind her, effectively cutting off James from following. “It's hot as hell in here,” James muses. Angela's final words are, “You see it, too? For me, it's always like this.” Then she turns and ascends into the inferno.

Leaving the hotel, James finds a room with not one, but two Pyramid Heads, each holding a long spear. Maria is suspended upside-down on a rack, begging for James to help her, but the Pyramid Heads execute her in front of him. Up til now, James has slowly found more and more evidence of the town having supernatural properties, of the myths and legends surrounding it. Realizing that his entire journey has been placed before him by the town, he admits to his need for punishment and faces down the Pyramid Heads. Knowing that their purpose is complete, both Pyramid Heads execute themselves. James then climbs to the top of the hotel to discover one of two outcomes: Mary or Maria, waiting for his arrival. And, depending on his actions during the game, his ultimate fate.

This is an exploration of the psyche unlike any in gaming. Each place he visits holds clues to what is happening both to the town and to his fragile psyche, in the form of strange creatures and the humans he meets. At the end of his quest, James discovers that he has been searching for punishment for his actions this entire time, which has been granted by the strange power of the town itself. Established in the previous game, the town of Silent Hill has the ability to warp reality around those who are drawn towards it, people who are usually tormented by something horrific in their past. How this can be so is never really explained, only hinted at, particularly with the information that the land used to be a sacred place to native tribes that used to inhabit it. Previously, it had manifested a scenario based on the pain and suffering of a powerful psychic girl who been horribly burned as part of a ritual of the town cult. In this scenario, the Silent Hill has taken James's need for punishment and provided it tenfold, but because James is unsure of exactly what he feels he deserves, it also provides multiple angles with which to torture him. Even the outcome of the game itself is open-ended; based on the player's actions during the story, one of four endings will commence with a finale befitting James's decisions. None of the endings are considered the “true” ending by the developers, leaving players to define for themselves what should – or should not – happen to James. These decisions are based solely on items and characters James interacts with. Each decision is subtle, never overt, and first playthroughs often end with James leaving the town in peace. But each finale is very specific, and I believe is represented by each of the four characters James meets in the town.

MARIA

If, during the course of the game, the player has James spent significant time with Maria – including returning to the rooms she's either sleeping in or being held in to check on her – and if the player is careful to ensure Maria takes no damage from the monsters of the town, James will get the “Maria” ending, which is one of two endings that directly relate to one of the other characters.

This is the only ending in which James actually finds Mary at the top of the hotel. Realizing that he'd rather be with Maria now, he confronts Mary. Angered that he's choosing a lesser woman, Mary transforms into a monster, forcing James to kill her in response. After he does, he returns to Rosewater Park where he first met Maria, to embrace her once more and leave town together. As they walk back to James's car, the rest of Mary's letter is read aloud: Mary details her sadness at her stay in hospice care, her sorrow for being so terrible and mean towards James, and assuring him that their relationship was something she'd cherished over the years. She assures James that he had made her happy, and for James to live for himself and do what he needs to do to live.

After the letter is read, James and Maria arrive at his car. She begins to cough, much in the same way the player has seen Mary coughing in flashbacks. Ominously, James has this to say: “You'd better get that looked at.”

Through the events of the game, it is heavily implied that Maria is a construct of the town's powers, an idealized version of what James had wished Mary had been. Despite sensing this, James still chooses her in this ending. After his initial quest to find Mary, James, it seems, did not hold enough devotion to his late wife to see it through to the end. Knowing now that she's dead and gone and that nothing can bring her back, he has resorted to bargaining. He spent so long during Mary's sickness frustrated at being unable to have his life, that with the attractive option of Maria he has once again taken an easier way out – a way that he feels he deserves to have. “What if,” he must think, “I can have the Mary I always wanted without having to deal with Mary's death?” Yet, with the final moments foreshadowing a similar fate for Maria as Mary had, it seems as though the town is not as merciful as it might appear.

What further fleshes out this idea is a bonus chapter for the game that initially only came with the XBOX version before being added to the PlayStation rerelease. Titled “Born From A Wish,” the player assumes the role of Maria before she meets up with James at Rosewater Park. During the short chapter, Maria comes to understand that she was created for a single purpose: to try and entice James into being with her. She wrestles with this notion, even going so far as to put a gun to her head as her only option of getting out. After all, what if he rejects her? Will she be forced to stay in this town forever if that's the case? Finally, Maria accepts her fate and her purpose, and she begins her walk towards the park to meet James.

With the confirmation that Maria was manifested by the town in accordance with James's unconscious desires – even going so far as to reveal that Maria's look was based on a dancer at the local club Heaven's Night – this now opens the door to the possibility that the other characters in the game have also been manifested by the town to aid in James's torment. What's different about Maria is that it is explicitly stated in the game that she was created by the town, where it is naturally assumed by the player that the other characters are in fact real, and have been called to the town for various reasons.

Now that we have some details of the plot and the understanding of how these manifestations work out of the way, let's focus on the individual details of the other characters in the game.

LAURA

In many ways, Laura is a metaphorical hook on the town's fishing pole, bating James into going deeper into the town to discover the truth behind Mary's letter.

After viewing the videotape in the hotel, Laura is not seen again unless the player achieves the “Leave” ending. There are a few key actions one must take in order to get this. First, the player must examine the letter from Mary that James has been carrying since the beginning of the game. This item stays in James's inventory during the whole game, and can be examined multiple times, as it should be to ensure this ending. It's worth noting the fact that, late in the game, examining the note again reveals a blank piece of paper; there never was a letter written by Mary asking James to come to Silent Hill. He made it up in his head. Or, perhaps it was the town's influence.

James must also keep his health meter high throughout the course of the game, consuming items to keep his health from going too low, demonstrating a desire to live. Also necessary for this ending is listening to a lengthy conversation between Mary and James – a memory – that plays as James walks through a long hallway towards the rooftop. It's mostly dialogue from Mary; she is heard yelling at James for bringing her flowers, claiming to be disgusting after the effects of the disease and the medication keeping her alive, shouting at him to go away, that it would be better for her if the doctors just killed her. Then, the turn: crying, Mary begs James to stay with her instead, to tell her that everything will be okay. The player can ignore this conversation if they run quickly through the hall before the dialogue is finished, but in order to get the “Leave” ending, they need to listen to the whole audio. After fulfilling these tasks, James has demonstrated his devotion to Mary and his remorse for killing her.

When he reaches the hotel rooftop, he discovers Maria dressed as Mary, and he confronts her, telling her he doesn't need her anymore. She transforms into a monster and James is forced to kill her. In the cinematic that follows, James finds himself in Mary's sick room. Mary tells him that she wanted the pain to end and James tells her that's why he killed her, to take away her suffering. But, he continues, he admits that she'd said she didn't want to die, and that his actions were selfish. Mary sees the sadness in his face, and tells him to move on with his life, to live and to be happy.

Mary's letter is read aloud again, this time over a shot of the cemetery outside Silent Hill. It should be noted that the same letter is read aloud over each of the endings, taking on a different meaning with each scenario. As the reading ends, we see Laura walk confidently through the cemetery, following by James, and together they walk into the distance until they are swallowed by the fog.

“Leave” is considered by many to be the closest to a definitive ending for the game. James has faced his actions, committed to atoning for his sins, and finds redemption in the innocent girl who also came to find Mary. Since they are leaving together, it's reasonable to assume that James intends to adopt Laura in the same way that Mary had intended to. Or had she? Considering the manifestations of the town, and the fact that Mary's “letter” turns out to be blank by the end of the game, it's very possible that Laura's letter was also blank, something for James to see what he – or maybe the town – wanted. Laura represents moving on, similarly to how Maria did. But with Laura, James sees a piece of his late wife in the little girl, the daughter that they'd never gotten the chance to have together. According to the developers, Laura is a real person who came to the town, hinting that she'd hitched a ride with Eddie. The official novelization of the game follows Laura for a brief segment, seeing the town through her eyes. But this shouldn't stop us from considering that Laura is a manifestation of the town. After all, Maria told James multiple times that she was “real” and had a personality and memories of her own. Laura is also presented as an eight-year-old girl who somehow left the hospital she was staying in and found her way to this abandoned town, and is running around happy-go-lucky without a care. Even if we accept that Eddie gave her a ride into town, it still doesn't explain how a child so young could possibly have reached this place by herself without any other means. And let us consider Laura's role, drawing James deeper and deeper into the town to uncover the truth of his sins. Where Maria is happy to distract James and take him away from Mary, Laura's actions throughout the story are the catalyst for him to continue. She kicks the key out of his reach at the apartments, forcing him to find a new way around and encounter Pyramid Head. When she leaves both the bowling alley and the hospital, James follows her. Inside the hospital, it is here where James is first forced to consider that perhaps Mary hasn't been dead for as long as he thought, and after this Laura locks him in a room with monsters that forces him again to confront Pyramid Head. This is culminates at the hotel, where her words push James towards the truth, and her letter implies that Mary would have wanted to adopt this young girl. Finally, she judges him after viewing the tape, saying she hates him, and that he never loved Mary. She wants Mary back, and if James finds the “Leave” ending, it turns out that he does, too – but he can't have her. Here is where he must find acceptance. This spark of redemption, this eight year old girl, will have to suffice. Except she is just as false as the rest of the manifestations of the town, a fake promise of hope and happiness. James might believe he has found redemption, but at what cost? Notably, in the ending cutscene, Laura is the one leading James as they leave the town, as she has been leading him the entire game.

ANGELA

Utilizing symbolism and a “show don't tell” quality, this next story is one that the game trusts the audience to infer, but with enough detail as to make what is unsaid unmistakable. So, in order to understand the true meaning behind the “In Water” ending, we look to examine the story and interactions with the first character James meets on his journey: Angela Orosco.

Angela's knife is a key item for receiving the “In Water” ending of the game. James must examine the knife in his inventory at least once in order to trigger the potential of the ending, more times to ensure it. James must also let his health meter run into the red, staying at a fairly consistent – and dangerous – level close to death. This shows James's lack of care whether he's alive or not, which falls in line with the suicidal implications of Angela's knife. Maintaining a good distance from Maria and listening to the audio cues from Mary in the hotel are important. There is also a diary on the roof of Brookhaven Hospital, detailing the suicidal thoughts of a former patient there, that must be read. If these conditions are met, “In Water” will happen.

On the hotel rooftop, James discovers Maria dressed as Mary. Just like with “Leave,” he tells Maria that he's done with her, causing her to transform into a monster and he kills her. Once this happens, James finds himself next to Mary's sick bed, just as with “Leave.” But the dialogue here is different: James again admits that he didn't kill Mary to only ease suffering but to get his life back, however this time Mary doesn't bother pointing out James's sadness. Instead, she simply tells him that he killed her and now he's suffering for it, and that's enough. Mary begins to violently cough before dying once more, and a grieving James picks her body up off of the bed and walks off with her.

The screen turns black. We can hear the sound of footsteps, and a car door open and shut. James speaks aloud, a monologue, saying that he finally understands why he came to this town, wondering why he was so afraid to face it. In the background, the engine kicks over, revving to high speed. James admits that without Mary, he has nothing. The car is heard speeding down the road, growing louder and louder with intensity – before it abruptly cuts to silence. “Mary,” James says, “now we can be together.”

Mary's letter is once more read aloud, but this time over an underwater scene. Light from the surface can be seen, air bubbles rise past. It appears as though James has taken Mary's body back to his car and driven into the lake. There is no sight of him leaving, no further words from him, only the somber silence of the water and implication that James, after all of his confidence that he would never kill himself, has finally gone and done just that. It is one of the darkest and most melancholy endings to a video game ever written.

Now, we must examine the ties that Angela has to “In Water,” and what presents the notion that she is a fictional manifestation of the town rather than a real person. Firstly, it should go without saying that the theme of suicide is the most obvious tie. Angela wants to kill herself rather than face the trauma of her past, and so too does James. One of the implications hammered home over and over is that Mary was verbally abusive towards James near the end of her illness, something she addresses in her letter at the end of the game. She understands what she has done to him, and that he may hate her for it. James, for his part, admits that part of him killed her because he hated her, because he wanted his life back. Angela, too, did the same thing, only for her it was an act of survival. We can easily come to the conclusion that her father was physically and sexually abusing her based on the creature design and Angela's words. The sexual nature of the room where James fights the Abstract Daddy – with the pistons pumping in and out of the fleshy walls – brings this to a head. Killing her father, much like James killing his wife, caused a break in her. Wandering through Silent Hill to find her “Mama,” a source of matronly solace, is the opposite of James searching for his own wife, a woman who never had the chance to be a mother.

Reflections and opposites are what define the relationship between James and Angela, and I believe seals the notion that she is a manifestation. James has blonde hair, Angela has dark brown; James wears a dark grey polo under a green jacket with blue jeans, Angela wears a light grey turtleneck and red pants. When James and Angela meet in the apartments, most of their conversation takes place in a reflection. As she lies on the floor in front of a full length mirror, the camera primarily focuses on her, with James captured in the reflection. One shot in particular is telling: the camera looks down from the ceiling, Angela on the right, her reflection on the left, taking up equal sides of the screen, as she gets up off of the floor to turn to James. Before this scene, it's worth noting that Pyramid Head, James's own personal punisher, had been seen carrying no weapons whatsoever. But after Angela hands over the knife to James, when we next see Pyramid Head it is possessing a blade so large it has to drag the knife behind it. It's even referred to as the “Great Knife.” Angela provided James with more fuel for his own punishment, just as Laura led him closer to the hidden truth, just as Maria tried to pull him away from it.

For most of the game, James sees the town as water damaged from the fog. He sees wet environments, dripping water. The theme of water is present throughout the course of the game, except for one glaring instance: Angela's hallway of fire. For her, the world is always aflame, burning, the heat of her trauma a constant reminder. James, on the other hand, is always surrounded by water and drowning. At the end of their stories, when each of them decide to commit suicide, Angela does so by walking upwards into the flames, and James goes downward into the water. James has spent most of the game staunchly denying any desire or ability to commit suicide, but Angela has always known; in fact, she's embraced it. They are opposites in every capacity, down to gender identity, which is particularly of note in that Angela is the only female identifying member of the cast who has no relation to Mary. When we first meet James, he is introduced to us staring at his reflection in a dirty bathroom mirror. And when James and Angela first meet? She attempts to warn him away, to not go into the town, but James's reaction is exactly the opposite. He's going to the town to find what he wants, danger or no. Somewhere, a part of him was trying to get him to turn around, to run away, and that piece manifested in Angela's words.

It should also be noted that the game's creators have confirmed that from the opening of the game Mary's body is in the back seat of James's car. Her death is incredibly recent, within the last couple of days or hours. Perhaps James brought her here with the intention of committing suicide the entire time, having succumbed to the trauma of killing her, to the intense feeling of depression that he now carries.

But even if the previous evidence of opposites and reflections in the two characters has not been enough to convince you of their relation to each other, consider this: each of the first three Silent Hill games features a portrait of the main character on the front box art. Silent Hill 2?

The face on the cover is Angela's.

EDDIE

Up until this point it has been a relatively easy task to link the previous three characters to the endings of Silent Hill 2. Showing the relation of Eddie Dombrowski to the hidden “Rebirth” ending is a little more difficult considering both his story and the events necessary to unlock this ending. And yet, there is enough compelling evidence to demonstrate how this seemingly buffoonish man is essential to understanding the final ending to Silent Hill 2.

What's interesting about Eddie's story is how similarly it follows James's. While Mary did not bully James over his looks, she did verbally abuse him over a long period of time before he finally gave into his torment and killed her. So, too, did Eddie spend years being tortured verbally by those around him, the football player in particular, just because of his weight. Over a period of time, this harsh treatment turned the mild boy into a violent man, finally giving in to his urges and killing the bully's dog before shooting the bully in the knee. This is the event that Eddie was referring to in his conversation with Laura, saying that no one would ever forgive him for what he'd done; James no doubt felt much the same way after killing Mary. James laments his actions, aghast that he has killed a person. It turns out that Eddie is not his first murder, nor is it the only one done in “self-defense.” After all, with years of abuse stacked up, James wanted his life back and to not feel hurt anymore. In self-defense of his own emotions and life, he killed Mary, convincing himself that it was to end her pain as well.

But, unlike the other three characters we've examined, James's interactions with Eddie do not directly lead to one of the game's four endings. “Rebirth” is not an ending one can even achieve on the first playthrough of the game – it is only on starting up a new game after completing the story once can the player discover the necessary items to unlock “Rebirth.” There are four: the White Crism, the Obsidian Goblet, the Book of Lost Memories, and the Book of the Crimson Ceremony. Each of these items are found in locations scattered across Silent Hill, and without all four the Rebirth ending will not occur. If all of them are in James's possession, it will not matter what he did during the course of the game, or what ending was being led up to. “Rebirth” will take over, assuming James has been pursuing this course of action all along. As usual, James will find himself on the rooftop of the hotel, confront Maria disguised as Mary, battle her, and kill her. But then the player is treated to something unusual out of these endings: there is no scene of reconciliation with Mary on her deathbed, and Mary's letter is not read aloud. Instead, once Maria has been killed, the game fades in to James rowing his boat across Toluca Lake through the fog, with what appears to be a body in the boat with him. James narrates over the visual:

Mary. Forgive me for waking you. But without you, I just can't go on.

I can't live without you, Mary.

This town, Silent Hill...

The Old Gods haven't left this place...

And they still grant power to those who venerate them...

Power to defy even death...

As James speaks, the camera slowly pulls up and away from the row boat, which becomes more and more difficult to see in the swirling mist. But as it does, it reveals that James is rowing towards a previously unknown island in the lake. It is small, covered in trees, and has a dock for tying a boat to. As James approaches, he sighs, “Ah, Mary...” before disappearing behind the island, out of view of the player, the island the last thing we see before the credits roll.

What's chilling about this ending are the implications it delivers. First, is that the powers of the town are not simply metaphoric or metaphysical, but extend beyond the veil of the natural world. The first Silent Hill dealt with the cult who lived in the town, and their obsession with the Old Gods, but Silent Hill 2 chooses to focus more on the psychological horror of the town and the effects on the mind. While each of the monsters in the second game have horrific visuals, they can all be traced back to the trauma impacting James from his time during Mary's last days. Even Pyramid Head is explained through a painting found in the Historical Society of an executioner that bears the creature's image. But here, with this ending, Silent Hill 2 at last announces the connection to the first game in the sense of the Old Gods and the dark forces that inhabit the town. James is now crossing those lines, once a victim of them in his mind, now rising to the understanding of how to manipulate those powers to his benefit...if he venerates the Old Gods.

Secondly, this ending implies that James has been on this journey more than once. We can infer this from the simple fact that the ending can only be unlocked after any one of the previous endings have been seen. There's also the disturbing evidence left behind in the shape of the various bodies James finds along his journey. Both in the streets of Silent Hill and in the apartment complex, James finds bodies that wear clothing eerily similar to his own: black shoes, blue jeans, green jacket. Only the faces are bloodied and torn apart as to be unrecognizable. We could, of course, posit that this is just the town's way of predicting James's fate in the same way that interacting with Angela does. In fact, there are multiple ways in which the town predicts James's demise. One of them is found inside Neely's Bar (or, as it's listed in the game, Bar Neely's). A message written in what looks like blood reads “There was a HOLE here. It's gone now.” Later, when James returns to the bar after leaving the hospital, the message has changed: “If you really want to see Mary, you should just DIE. But you might be heading to a different place than Mary, James.” In multiple, subtle ways, the town is directing James towards one of multiple conclusions. It creates Maria, and pushes her in front of him as a means to have back a form of the woman he's lost. It creates Laura, who would have been Mary's adopted child with blessing, and with whom Mary implies she wants James to find reason to move on. It creates Angela, whose state of mind reflects his torment, who James sees is slowly preparing to die, and takes inspiration from. But it also creates Eddie, and Eddie's answer denies all three other routes. Once Eddie's method is chosen – the route which leads to a resurrection – then the story still unfolds, but refuses any other conclusion. Because the women in the game are there to add to James's torment, to force him to face his past and come to the conclusion of how best his punishment must be meted out. But Eddie, the only other male identifying presence in the game, represents what James has been doing before the events of the game: denial.

Eddie changes his story about his past multiple times. When we first meet him, he's vomiting, cowering, appears weak and harmless and denies doing any harm to the body in the next room. Next, he's having a pity party while confessing to Laura, however slightly, that he would be unwelcome by others after what he'd done. Again, remember that this is the only conversation in the game that doesn't involve James – Laura, the icon of moving on despite the past, and Eddie, the icon of denial. Eddie's denial deepens in the prison, when he claims that “killing a person ain't no big deal,” but then jokingly assures James that he was just kidding about causing violence. But his denial only goes so far: in our final meeting, Eddie has accepted the violence he's caused, but focuses the blame on those around him who made fun of him, who “had it coming, too.” Eddie has been hurt, his anger is justifiable, but his means cannot be so. It is extremely telling that the slabs of meat hanging from their hooks are all wearing pants and suspenders. Eddie has been pushed psychologically to the point where he sees the people around him as little more than meat. He understands what other humans are capable of, and has reached the point where he refuses to sit back and take it anymore. His gun, an oversized revolver, is symbolic of his power. James, too, has been pushed to the point of retaliation, but he still denies himself the truth, just like Eddie in the beginning. James is constantly pushed further and further into the realization that he has killed Mary, that he has done wrong, and that he must come to terms with it. In three endings, he faces this wrong. In the final ending, he simply denies the wrongdoing. He's been through this before, he's justified himself, he searched through his mind and come to the conclusion that he was justified in his actions. But how can that be? Well, James has searched through the town on his quest for redemption. He has searched high and low and discovered certain things about the history of the town that he didn't understand before. Books and information on certain items of mystical power. So perhaps when he eventually reaches his conclusion as to what he feels his actions require, a second thought forms in his mind. Perhaps he makes his way all the way back to the parking lot where he left his car – and Mary's body – behind. Maybe Laura is with him, or Maria is with him, or he goes to drive into the lake. As he goes to leave, he thinks, “This doesn't feel right. This isn't what I deserve.” Because he just wants Mary. He can't go on without her. But now he understands how to get her back.

So he turns around and heads back to town, but the town wants him to feel it all over again. He has to earn his wife back. And as the town resets all the players and the pieces, it knows it will get what it really wants: a new servant, someone willing to perform rituals to the Old Gods that have not performed in far too long. And James, calm, peaceful, finally comes to terms with himself as he rows out to the island where the ritual must take place.

Because when you can resurrect someone, killing a person ain't no big deal.

***

With video games, sometimes there are multiple endings one can achieve based on their actions during their playthrough, just like in Silent Hill 2. But oftentimes, the developers will state outright which of the endings is the “true” ending so players can have a sense of satisfaction knowing how the story truly ends. However, in Silent Hill 2 every ending is canon. Developers Team Silent have stated that it's up to the players to determine which ending out of the possible four is how James Sunderland's story actually ends. There are, of course, two joke endings that the developers wisely have ensured remain in the realm of satire, leaving us to wonder and marvel at how one game can present so much ambiguity, while still remaining a concrete experience.

This we know: if all endings are canon, if it's truly up to the player, then anything goes. This essay, after all, is a fan theory. At no point have the developers ever hinted that anyone other than Maria is not real. The official novelization shows backstory for some of the characters, and even goes into their heads. Based on this, why extrapolate information to support a theory that has obviously been shown to be quite the opposite? Because – and here's the fun part – Silent Hill has always been a series about misdirection. Illusion, hallucinations of visual and audio types, and concealed intention. Disguises abound in Silent Hill, in each game. Team Silent demonstrated that Maria is absolutely not a “real” person by any means, but still thinks and feels like one and has memories because the town created her to have them. She is presented as the only person in the game who understands who James is, what he's done, and her role in the story. It stands to reason that the town could have created these other characters, but simply not given them the awareness of their role to play. And, as I have hopefully detailed well enough, the compelling evidence linking them both to the town and to James is unmistakable and undeniable. Whether or not you, the reader, choose to support this theory yourself, well, there are many endings to this tale. Just as all of them are equally correct in their canon.

But the next time you play Silent Hill 2, perhaps you'll be invited to look a little closer, pay attention a bit harder, consider ideas that you hadn't considered before. One of the most beautiful things about this abstract masterpiece is that it opens itself to observation as well as deduction, and when a game this detailed and well-thought-out is kind enough to allow for this, it is only good of us to indulge.

Thank you all so much for your time.

[ranger-report]

Opinion: DC and Marvel’s Multiverses Are Crucial To The Future of Superhero Film

Alright, buckle up kids, this is going to be a long one. Get some soda and some popcorn, or some green tea and avocado toast.

Back in the long-distant year of 1989, a little film called Batman released into theaters and became the film of the Summer. Directed by Tim Burton and starring Michael Keaton and Jack Nicholson as Batman and the Joker respectively, it was a cinematic triumph that heralded a new wave of superhero films taking their source material seriously. Followed up in 1992 by Batman Returns, a sequel which increased the fantastic elements but was criticized for its darker tones, Batman’s role in movies was cemented in place by continued success. Of course, Keaton and Burton would leave to be replaced by Val Kilmer as Batman with Joel Schumacher directing for 1995′s Batman Forever, with George Clooney stepping into the cape and cowl for 1997′s Batman and Robin, a wild disaster of a film which nearly destroyed Batman’s chances in movies. But then, in 2005, Christopher Nolan brought a gritty realism to the caped crusader in Batman Begins, and continued this successful experiment with 2008′s Best Film Of The Year, The Dark Knight, and 2012′s The Dark Knight Rises (which was....fine). By this time the DCEU was beginning to get started, so a new Batman was cast for Zack Synder’s 2016 Batman v Superman: Dawn of Justice, and this role went to Ben Affleck. He reprised the role in David Ayer’s Suicide Squad and Joss Whedon’s Justice League, but bowed out of the opportunity to write and direct his own solo Bat-flick. So director Matt Reeves was tapped to direct a new Batman film starring a controversial choice of Robert Pattinson as Batman. With all of this, the question of the past 30-odd years is: which is your favorite Batman? Which one was the best? And how do these films fit into an increasingly convoluted canon in which a film series is rebooted every ten years or so?

What if the answer is: they’re all great and they all fit into canon?

Now, before we think too hard about that, let’s take a look at Spider-Man’s cinematic installments, which is almost more convoluted and in a more compressed amount of time. Beginning with 2002′s Spider-Man directed by Sam Raimi and starring Tobey Maguire, the amazing wall-crawler enjoyed a fantastic amount of success on the big screen, followed up by one of the best superhero films of all time, 2004′s Spider-Man 2. But Spider-Man 3 in 2007 took all of that goodwill and smashed it into the ground with a failure almost as bad as Batman and Robin a decade earlier. Plans for a Spider-Man 4 were scrapped, and eventually in 2012 director Mark Webb and star Andrew Garfield would bring a brand new Spidey to life with The Amazing Spider-Man, and The Amazing Spider-Man 2 in 2014. Both films were lively and energetic, but criticized for trying to stuff too much into their films -- especially the second one. Sony Pictures was attempting to ramp up a cinematic universe much like Marvel Films was doing at the time, but it was too much too fast. 2017 brought another reboot of the moviefilm version of Spidey, this time directed by Jon Watts and starring Tom Holland, with Spider-Man: Homecoming, this time under Marvel Film’s banner (thanks to backdoor dealing), and another cinematic triumph in 2019′s Spider-Man: Far From Home. But, unlike Batman, Spider-Man’s dealings behind the scenes are nearly as convoluted as his series. Sony Pictures owned the rights to make Spider-Man flicks for years, until Marvel managed to make a ludicrous offer after Amazing 2 failed to catch on the way producers hoped. So Spidey came to the MCU under a joint production, which is how we got Homecoming and Far From Home, but also maintained a different universe with the Amazing films, and then 2018′s Venom, and a little animated motion picture also in 2018 by the name of Spider-Man: Into The Spider-Verse.

Class, this is where I would like to direct your attention to the origin of the extraordinary events we are discussing today. Or is it the origin?

Into The Spider-Verse successfully proved that not only is the idea of multiple universes all connecting on screen a good idea, it’s an Oscar winning idea. Spider-Verse is hands down the best animated superhero film ever, and one of the best superhero films period. But here we must take note of certain ideas. The film provided much setup for a world where young Miles Morales begins to emerge with spider powers, but then Spider-Man is killed right in front of him before he can learn how to use them. Enter a Spider-Man from a slightly different parallel dimension, who not only turns Miles around, but find himself inspired to realign his own life. Spider-people abound through the film, all of them having equal weight and the possibility of spawning their own franchise without having to worry about impacting the canon of other universes. This is something comic books have done for literal decades, but Spider-Verse did it with such care and devotion that it won Best Animated Picture and became a mainstream smash hit. Marvel and Sony both sit up at attention; could this work with the major mainstream films they’ve been producing? So the experiment begins: we have a teaser trailer for Morbius, based on a vampiric Spider-Man villain, which features a cameo from the Vulture character first seen in Homecoming. And after dropping hints that Tom Holland’s Spider-Man could cross over with Tom Hardy’s Venom, Jamie Foxx recently posted about being cast as Electro -- a role he played in Amazing Spider-Man 2 -- for the third Tom Holland Spidey flick. Pictures went up on his Instragram seeming to confirm that not only was this the same Electro, but that all three previous Spider-Men -- Maguire, Garfield, and Holland -- would team up for the film. Multiple universes collide, a live action Spider-Verse, where everyone is crossing over with each other. Now, this lines up perfectly with Marvel’s MCU plans, as Doctor Strange has established in his film that multiple universes exist, and his announced sequel is even titled Doctor Strange in the Multiverse of Madness. It’s here. It’s happening. Every Spider-Man film is canon, they’ve all happened, and we don’t need to worry about which of them make sense or belong. They all make sense.

But just before this announcement, a month or so ago DC let slip that their plans for an upcoming Flash movie are taking cues from the Flashpoint comic books, in which Barry Allen goes back in time and accidentally creates a brand new timeline that he has to correct. Michael Keaton has even been cast as Bruce Wayne, the same Bruce Wayne that he played 30-odd years ago, a casting choice many fans have been clamoring for for years. On top of that, once word was put out that Keaton’s role would be similar to Samuel L. Jackson’s role as Nick Fury in the MCU, Ben Affleck was reported to be joining the picture as Batman also, a team-up no one saw coming. Even Christian Bale is being courted to join the universe-spanning flick, but reportedly only if director Christopher Nolan gives his blessing. Multiple Batmen teaming up together in a Flash movie to combat crime? Of course I’ve already bought tickets. Batman is the biggest box-office draw outside of The Avengers. And this concept opens up plenty of opportunities for DC, who’ve done Elseworlds stories in the comic for years. Joker with Joaquin Phoenix proved that DC films not directly tied to the DCEU can and will do well on their own; The Batman with Pattinson will no doubt further confirm that. But now Batman Returns is once again a viable film mixed into a comic book cocktail of wonder and excitement? And what’s wonderful is that this isn’t DC’s first big attempt at this. Slowly and surely, The CW’s Arrowverse TV shows -- Arrow, The Flash, Supergirl, Legends of Tomorrow -- have been doing multiverse crossovers for years, building up to 2019′s mega-event Crisis on Infinite Earths, which saw Brandon Routh reprise his role as Superman from 2006′s Superman Returns, which itself is a sequel to Christopher Reeve’s Superman and Superman II. And for one wonderful scene, TV’s Flash, Grant Gustin, got to interact with the DCEU’s Flash, Ezra Miller, confirming that these TV and film universes are indeed one big cocktail of parallel lives and dimensions that all interconnect while still being separate. Hell, we even saw Burt Ward, Robin from the 1966 Batman show, alive and well an in his own little world. Batman ‘66 is part of the wider DC Multiverse! How crazy is that? And we even got a small tease that Batman ‘89 is part of all of this as well, when we got to see reporter Alexander Knox look up to the Batsignal in the sky as Danny Elfman’s iconic score played. In one fell swoop, in as few as a casual couple of cameos, DC made all of their live-action properties canon in the multiverse, meaning no matter which version you like the best, they all work together and work from a franchising and audience standpoint. The 1978 Superman and the 1989 Batman both existed in worlds that ran sidecar to 2019′s Joker and 2011′s Green Lantern. It’s wild, unprecedented in cinematic history, and wonderful for fans of all ages.

Why is this the future of superhero flicks, though? It ought to be simple: no matter what movies come out, no matter how wild or crazy or outside “canon” they seem to be, they all can work and they all can coexist without having to confuse fans. Many people were feeling the reboot fatigue as early as 2012′s Amazing Spider-Man, and while there was a huge tone shift between Batman Returns and Batman Forever, the Bat-films were considered all part of the same line until Batman Begins started all the way over. Now we have Batman 89 and Returns in one world, Forever and Batman and Robin in another (which was already a fan theory, mind you). Sequels that don’t line up with their predecessors can just be shunted into a hidden multiverse timeline and left alone without the convoluted explanation of having to “ignore” certain sequels. Superman III & IV were ignored when Superman Returns chose to connect only to the first and second films, but now we can say that they definitely happened....just somewhere else. There is now a freedom of ideas and creation that can once again occur when making big-budget films based on superheroes. No longer do creative minds need to be restrained to the canon and timeline and overarching plots defined by studios years in advance; “creative differences” don’t need to drive frustrated directors away from characters or stories they truly love. Possibly -- just possibly -- good ideas can become the gold standard once again for comic book films, not just ten-year plans for how to get Captain America from scrawny Marine to Mjolnir-wielding badass. Remember when filmmakers decided to make Joker the same person who killed Bruce Wayne’s parents? Or when they decided to give Spider-Man the ability to shoot webs from his body instead of technology? That certainly wouldn’t fly these days; studio mandates would require adherence to previously established guidelines, or at least what has been seen in the comic. What if now we could get a three-episode limited series on HBO Max of Gotham By Gaslight? Or a big-budget adaptation of Marvel’s 1602? Simply trying to wedge old comic book storylines into existing Cinematic Universes no longer need be a thing! We could get some of the wildest interpretations of superheroes this side of Superman: Red Son. At least, that’s the hope, anyway.

When comic books can step away from canon for just a few minutes, worlds open up and expand. An entire multiverse of ideas can become a feast of entertainment for many. And when there’s already so many beautiful, well-told stories set in alternate universes as comic book precedent, so too can there be beautiful, well-told stories set in alternate universes for film. And the best part? Now they all matter. And I think that’s the future.

[ranger-report]

Review: AMONG US (2018)

I emerge onto the spaceship, a list of tasks and busywork given to me so that I can do my part to get the ship underway again. Briefly, the ten-person crew stand around the central table of the cafeteria before we spread out, roaming the halls on our various missions. Tension fills the air; someone among us isn’t who they say they are, but we can’t know for sure yet who it is. I scan myself in medbay to be sure -- yep, still me, medically confirmed. As I step off the scanner a green-hued spacesuit approaches me for their turn. We cross paths. They pause just a little too long for comfort. A moment of panic rises because we’re alone here, so chances are higher they could kill me if they’re the imposter. The moment passes as we do and I gleefully make my way down to the reactor, thanking my lucky stars that Green is not the imposter, or if they are, they’ve given me space to not suspect them.

That’s when I find the body: torn in half, one single bone sticking out as it lies on its side. I don’t hesitate. I hit the report button and the alarm goes out:

BODY FOUND

Speculation. Inquisition. Accusation. Who is sus, who isn’t. Back and forth we talk, but three people are already dead out of ten. The imposter is making short work of us. We need to vote, because if we skip voting, this one could make even shorter work between now and the next body found. But who to vote for? Green was acting kind of sus now that I think about it: they’d come from the direction of the body I found, they’d lingered a little too long in medbay, perhaps weighing if they could get away with killing me. I present my evidence. Green denies it. Everyone concludes that my argument is pretty strong. We vote; Green is voted the most suspicious and is tossed out into the cruel void of space.

Green was not the imposter.

Quite possibly the most damning line in the entire game is “[color] was not the imposter.” Venting someone into space is harsh as it is, but to get it wrong? That’s a shitty feel and also a terrifying reminder that some people are really good at hiding and lying. Every single time the imposters win, I lose faith in humanity just a little bit more. That is, until I get to be the imposter, which is ridiculous fun. I got to kill my brother and my daughter during one amazing imposter experience, which had me cackling to the point that my partner informed me that she would now always know whenever I’m up to something.

Among Us is a very simple premise: John Carpenter’s The Thing meets Secret Hitler meets Survivor. Run around, someone dies, people have a minute and a half to discuss and vote during a meeting, and someone either gets ejected or voting comes to a draw and no one gets ejected. The game lets you know if you got it right or not, and if not, you’re expected to get back on those tasks. Fix the ship, you beat the imposter. Correctly vote out the imposter, you beat the imposter. But if you can’t narrow it down to who it is or incite your fellow crewfolk to task up, the imposter can lie, cheat, manipulate, and sneak their way to victory. Those victories can be incredible; they hold weight. Sometimes, there can be more than one imposter among the crew -- up to three out of ten crew could be an imposter! Fortunately, the game lets you know up front. And there’s no talking between meetings, so it’s entirely up to your negotiating skills to save the day. Then again, most chat room style meetings lead with “where” (where’s the body?) and end in “sus” (suspicious).

I can’t even begin to get into how addictive this is. Among Us is available on PC via Steam and on mobile (but only for Android users; suck it, Apple), supporting cross-play. Sometimes when it’s slow at work I bust out my phone and play a quick round or two. Servers are hopping, games are happening all the time. I’m going to do that right now while I’m writing this. I died twice (each time feeling like a betrayal), and both times the killer was eventually found out. However, in the first game, the imposters left the game as soon as they were discovered; rude shit indeed, creating sore losers and games over far too quickly. Addictive doesn’t even begin to describe the mad scramble to get tasks done (involving a variety of simple interactive games, from a Simon Says segment to connecting wires) -- even when you’re dead, you still exist in the game as a ghost, only able to talk to other ghosts during meeting time, but you still have the opportunity to finish your tasks. Capitalism exists even beyond the grave! But in games with multiple imposters, dead imposters also turn into ghosts, and while they can’t kill, they can still perform a task unique to the imposter role: sabotage. Sabotage turns off important ship functions, such as the reactor or the oxygen or the lights, and crew need to get their asses down to the right sections to fix these issues within a certain amount of time or everyone dies. Imposters can also crawl through the vents of the ship to move around faster, and quick-eyed crew can catch them in action and point it out during meetings. Simplicity is the name of the game, as it’s always the same setup of Task, Body, Meet, Vote. Or, if you’re the imposter, Kill, Meet, Vote.

Friendships crumble. Betrayal is everywhere. Hilarity ensues. Somehow, developer InnerSloth have conjured magic. And there’s only three people who worked on creating this game! And it also came out TWO YEARS AGO! That’s right, this little gem caught online fire over the last couple months after two years of being online. And it’s caught so much fire that plans for a sequel were canceled so that InnerSloth could make this game even better instead. Which is great, and timely, as hackers and cheaters galore threaten the structure of the game systems. Popularity breeds success which breeds people who want to cheat. It’s unfortunate and insidious, but also a sign that the game is on to something grand. No one cheats at shitty games.

If the basic setup of this very basic game doesn’t pull you in, then nothing will. Cartoonish graphics belie very complex gameplay, relying on people’s innate ability to fuck over their fellow humans in hilarious and terrifying ways. By making the game about the unpredictable nature of human beings, the game becomes unpredictable. Just because you have to run around and do the same tasks over and over doesn’t make it banal in the slightest; you have no idea how many of those tasks you’re even going to get through. And turning to become the Hercule Poirot of Among Us could potentially backfire, putting more suspicion on you, leading people more likely to vote you out. How do you keep one eye on everyone while simultaneously focusing on doing your work? I’m not sure yet. But when rounds can last anywhere between five and fifteen minutes, I’m going to keep trying and keep playing until I can find that sweet, sweet balance and note who’s sus and who isn’t. At least until someone stabs me in the back again.

Final Score: 9/10

[ranger-report]

Review: SPELUNKY 2 (2020)

Few things in the Year of the Apocalypse have brought us joy; once upon a time back in February, there was something about a Sonic the Hedgehog movie that people actually liked, and then we went full-on deep into madness. From there it was disappointment after disappointment; even an unstoppable giant with hype, The Last of Us: Part II fell apart under fan scrutiny despite huge critical success.

But then, there was light: Fall Guys, a true underdog of a game, released and swept the internet and gaming as a whole with excitement. Joyous, colorful, wild, aggravating, Fall Guys single-handed brought catharsis to a series of unfortunate events, followed by a masterpiece of deception, Among Us. Also capturing colorful characters in the most unlikely of situations, Among Us is the game of Secret Hitler that nobody knew they wanted, ruining friendships along the way -- a game I plan to do a write-up on soon. And yet, we still have another gem to consider now, one which is seven years in the making, and against all odds is just as good -- if not better -- than it’s predecessor: Spelunky 2.

Once upon a time, a developer named Derek Yu released a pixellated exploration game that was a love letter to Pitfall and Indiana Jones. Dubbed Spelunky, it followed the trials and tribulations of the Spelunky Guy as he dove headfirst into a series of ever-changing caverns as he explored mines, jungles, icy caves, and Egyptian ruins to discover the City of Gold. It was released free online, and was well-received enough for Yu to work on an upgraded version, Spelunky HD. Gone were the retro pixels, replaced with detailed cartoon art and vibrant atmosphere. Telling the same story with the same levels, only now realized in higher quality and deeper secrets, Spelunky HD helped create the roguelike genre, in which players start at the beginning of a game with nothing, slowly make their way through the game amassing items and weapons to assist them, but death takes them all the way back to the beginning pockets empty. Then, the game randomly generates a new series of levels for the player to try again, ensuring no two runs are ever the same. For some this is frustrating, for others an endearing challenge. Many have spent hours diving deep into the game, searching over and over for its most hidden secrets, discovering hidden paths and endings only achieved through insanely difficult methods. With that game cemented as a bona fide masterpiece, it seemed daunting to even consider a follow up, but Yu and development team Mossmouth have done it once more with Spelunky 2, a game that feels tighter, plays looser, and somehow holds even more secrets than the first game, partially due in part to the sequel having actual lore to follow and a story that literally is out of this world. Here the protagonist is Ana Spelunky, daughter of Guy Spelunky (the titular Spelunky Guy....the game is full of dad jokes like these), as she followers her adventurous father and mother to the moon as they have disappeared there. Turns out the Olmec guardian defeated in the first game also has a presence on Earth’s satellite, and the Spelunkys have vanished in their quest to research this. So Ana, full of spunk and vigor and dog Monty in tow, steps into the spotlight on a completely new adventure, along with completely new friends.

Where the first game gave players options to discover and unlock new characters during the course of the game, Spelunky 2 treats these side characters as actual companions. A base camp at the start shows life and livelihood where everyone beds down and preps for the next expedition, where shortcuts to different stages can be traversed (once properly unlocked) and dialogue can be had. There’s a simple joy just to stand around and see everyone you’ve unlocked hanging out, walking around, as more and more beds occupy the camp. It’s a very subtle way of showing player progress that is both incredibly rewarding and relieving. And for the most part, it’s the same essence of gameplay. Explore levels filled with creatures out to kill you, while collecting gold and rescuing animals. Gold can buy resources from the shops located in the levels, animals give you a kiss for extra health, but only if they make it to the end alive. Meanwhile, the areas are loaded with traps, bombs, hidden monsters, jars filled with any number of surprises, and bonus areas that can be unlocked with the proper use of a rope or a bomb. But tarry too long and the ghost that haunts this world will reveal itself, slowly stalking you until either you reach the end of the level or there’s nowhere else to run.

Differences with the new game come in gentle shocks: for starters, where the first game had a linear progression this one has multiple pathways that can be taken to get to the end. And minibosses! Journeying through the opening caves, divided into four sections, leads to a confrontation against a giant caveman named Quillback in World 1-4, which leads to a pair of doors, one on either side of the level. First time playing through might lead to discovering one of the doors due to the way they’re split apart, but casual exploration to the opposite side reveals the truth: a whole new world. One door leads to Volcana, the underground mining operation in a volcano, the other leads to the Jungle, which has received deadly upgrades from it’s previous life. Spelunky 2 is littered with these gentle shocks as I mentioned above: golden idols still set off traps when picked up, but the traps now vary from falling pillars to explosive lava to spiked walls. Beyond the Jungle and Volcana lies a boss fight with Olmec, making a surprise appearance early in the game. And from here the game moves ever onward, revealing new areas, new characters to unlock, new surprises. And the surprises are telegraphed even better than they were in the first game. For example: unlock a special box with a golden key in the Caves to gather the Eye of Udjat, which lets you see through the floor. But the Eye can also be used to start up the Drill in Volcana, the only way to power it. What happens when you use the drill? Gentle shocks, indeed. New ideas also include mounts to ride (once tamed, which can leave you vulnerable for a moment while you wait for the ride to settle), each one having a different attack or special ability, and brand new shops which can let you into their back rooms to loot...unless you have a skeleton key and you want to risk pissing them off by breaking and entering. But pissing off a shopkeeper usually results in guns blazing your direction, and the imminent threat of death.

Death is in abundance. The game knows it, you know it, the characters know it. With a premise around the idea that death is impermanent while inside the tunnels of the moon, it becomes eventual that the characters get in on the act. Turning the page in Ana’s journal on the game over screen reveals little thoughts of hers on this leg of the journey: from base facts such as when she first took damage, to giggly details like “I was vegan” (referring to the fact that she didn’t eat any turkeys or -- god help us -- cavemen for extra health), the game brims over with character aplenty. Even certain guardians refer to Ana as “Reborn” nodding to the endless cycle. And, in fact, it is endless: it keeps going and going and going until eventually there is the final level and the escape from the moon. But how long will it take to get there? What sacrifices must be made to make it that far? How many loops, deaths, rebirths? As always with Spelunky, there is gold both figurative and literal to be mined from the ruthless exploration. Secrets are deep and wide, surprises await around every corner (was that a LEPRECHAUN and did it drop a FOUR LEAF CLOVER??? And did that ghost just sPLIT into FOUr???), and all of it is rewarding.

It can be difficult to review a game that I haven’t finished. A lot of Spelunky players have never finished the game. There’s a certain finesse to it, watching speedrunners bounce through levels undaunted, gathering miracle items to assist them. Then there’s players like me, that bumble and stumble their way into lucky runs and slowly earn shortcuts to different worlds. It’s a gamble every single time, and sometimes I wonder why I do it, but the charm and the fun and the fist-pumping feeling of success against all odds is what makes this game so much fun. And to think that Mossmouth not only captured the feeling of the first game, the majesty of it, and renewed all of that magic with the second. Someone made a blood sacrifice to craft this game, that much is for sure. As of this writing, the Playstation 4 version has been out for a few weeks, and the PC version for only a few days. After playing both I can confirm that they are precise, concise, and play exactly the same, although I do feel I had slightly better control response times on the PC. That said, online co-op is not yet available for PC, as Mossmouth is going over that aspect with a fine toothed comb. Having playing online day one for the PS4, I can say that the hiccups experienced then will be best served through Mossmouth’s attention first. Online play has become much smoother since, but players deserve the best experience off the jump.

Spelunky 2 is mana from heaven in these trying times, and I’m gobbling as much of it as I can. And when a game like this is is this deep and wide, there’s a lot to gobble...and all of it is tasty.

Final Score: 9/10

[ranger-report]

Review (In Progress): THE WITCHER 3: WILD HUNT (2015)

The third and final (so far) game in The Witcher trilogy is big. Very big. Massive. Supermassive. Maybe I’m just a little intimidated by the depth and width and density of the game, but as of this writing, I’ve clocked in 62.4 hours on the game. That’s compared to the 48.1 hours of The Witcher and 31.5 hours of The Witcher 2. I’m closing in on the point where I’ve played Wild Hunt more than the first two games combined. From where I sit, there’s no end in sight, either; I have yet to complete the story, in addition to multiple sidequests, witcher contracts, and treasure hunts, not to mention the jawdropping expansion quests Hearts of Stone and Blood & Wine, which combined supposedly equal the length of the main story quest itself. Throw everything in a blender and pour it out, and I’ll be surprised if I eventually finish everything I’ve a mind for in under 150 hours. This is a big game. This is a dense game, packed with content every couple of miles or so, in a world where you can’t walk into a town without stumbling onto someone -- or something -- in need, and that’s ignoring the contracts on notice boards. People walk, talk, argue, cough, stumble around drunk, and get into fights with you. Oh yes, run afoul of local gangs, and they will come for you. Meanwhile, the vast open world is teeming with monsters to battle and loot, from the continual presence of drowners to the new griffins and basilisks. An overwhelming amount of content in a series that already packs plenty of content into each game. It would be far, far too much and monotonous if it wasn’t for one thing: developers CD Projekt Red write compelling material, and they know how to write a damn good story.

When the game opened up, it looked just like any other open world game I’ve ever played, and immediately I felt a pang of disappointment. I’ve done Far Cry 3, Horizon: Zero Dawn, Grand Theft Auto V, Assassin’s Creed: Origins, and like many of my gaming generation I get what to do. Seek out loot, checkpoints for fast travel, towns, fight things to get xp, ignore the “pressing” main story in favor of side quests for cool shit, yadda yadda yadda. Considering the first two Witcher games felt like original experiences in what they were trying to do, to walk into such a generic open-world framework was such a let down.

At first.

But then, something strange began to happen: I settled in. Two random quests twisted and convoluted into a connected thread, which was followed by a third main quest which circled back to this thread and elaborated on it. Suddenly a character who just seemed off her rocker was now a fearfully sympathetic human being, now seen in the light of someone else’s story. CD Projeckt Red hooked me, hooked me bad, and now this wide wide world was no longer a series of performances, it was the lives of people in this world and how Geralt affects them -- just like in the previous games. Only here, it’s bigger and wider and seemingly less connected, but it still all comes back together. Choices matter. People matter. The world itself twists and winds according to you, the witcher, and who you side with/fight for. Every other open world game I’ve played has had Things To Do, and this is no exception, but now suddenly it feels like everything matters. Before, everything I did felt like it was to further a progression percentage, to get trophies and upgrade items and simply arcade my way through a sandbox which promised “openness” but really was just all the levels of a video game laid out side-by-side so you could see them all at once instead of having to press through to get to the next one. This is the first time where I’ve really, honestly felt like I was walking through a living world, and to say that it’s captured me is an understatement. Where once I would have rolled my eyes at sidequesting in the face of a main quest where the point is to track someone down or save someone because it is incredibly important, now it feels like the most natural thing because the main quest requires you to go through some shit first. Every contract and quest met along the way furthers the main quest in some way or another, particularly when you open up new quests AFTER helping old friends, friends who now desperately need your help again, and what would happen if you weren’t there? Combine all of this with exceptional voice acting, talented writing, detailed animations, and we have compelling content literally around every corner. And that’s even when you’re just out searching for treasure or diagrams to make better witcher armor! Stories pop up everywhere, all of it interesting, even the slightest of things, and it truly crafts a distracting world to be enveloped by.

A living breathing world would be one thing all on its own, but thankfully Wild Hunt features the best-looking graphics in the series to date. I was genuinely worried that my old rig wouldn’t be able to handle a massive open-world game from 2015 without some tweaks (my desktop is old, shut up), but for the most part I’m running everything on high and it is breathtaking. Weather effects, god rays, BLOOM jesus christ I’m appreciating bloom in a video game for the very first time and I hate that I am but god fuck the first time you see the moon behind clouds in this game with bloom on, and I’m talking a full moon so it is BRIGHT and BEAUTIFUL and just. But I’m getting ahead of myself. Detailed textures and character models, the best in the series so far, a wide palette of colors (which sometimes makes the game look like a living painting, in the best of ways), absolutely masterful work. There’s the odd object-poking-through-something-it-really-shouldn’t, or the glitchy human being moving/acting/dying in ways they shouldn’t be, but that’s also a staple of both open world games and this series in general. Jank happens, especially in a game this size. It’s not as breaking as it has been in certain aspects of the first two games, and it’s mostly Bethesda-level charming. What matters though is that it doesn’t kill the experience, nor does it happen so often that it feels like the game is bugged or broken.

Combat, meanwhile, is still not perfect but it’s the best it’s been in the trilogy. Fast and furious, yet rewarding for those who have more patient skills, swordplay is easy and comfortable and versatile. Similar to the second game, one needs only turn the camera towards whichever enemy they want to attack and Geralt automatically goes for whichever monster or human is highlighted. Sometimes this can be fraught as the game will erratically highlight a different character than the one you’re facing, or will transfer the highlight to a different enemy if the one you were facing dances out of sight due to a roll or dodge or other maneuver. But it’s only frustrating sometimes; this was a flaw far more prevalent in the second game than here, and the lock-on mechanic is a godsend when paired against high-level creatures. With patience and tactics I’ve been able to competently square with beasts far too high level for me to tackle, and actually come out the victor, an idea that would be absolute suicide in the first two games. But now strategy versus simple number rolls can prevail, provided you are prepared and/or willing to have the patience to chip away while dodging for your life.

Wild Hunt is one of the few game worlds I’ve entered that feels stunningly alive. Whenever I start up the game, I am transported. Taken away. Breathlessly in awe of how real and vibrant the physical presence of the visuals on screen are. What a strange gift to behold. And, yet, aggravatingly, it frustrates me that most opinions I have encountered are that players don’t need to play through Witcher 1 & 2 in order to play this game. You certainly can, but so much context is lost. Geralt’s relationships with Triss and Yennifer and the struggles between them (that is, should you decide to romance Triss); the nostalgia and heartache of coming back to Kaer Morhen and revisting the other witchers; the friends and former alliances who pop up under vastly different circumstances; the paths taken and decisions made which impact where and how you begin this story. Wild Hunt is the culmination of a near-decade’s worth of storytelling, and the rewards for having played through the previous two games are plentiful. Nilfgaard’s invasion has extra oomph knowing where they were before, and walking through Vizima’s capital now occupied by Emperor Emhyr is especially chilling and devastating. I have no doubt that someone could pick up this game and play it and get the jist of what’s going on without playing the first two games. But will it mean as much? I daresay no. It is absolutely essential to play the first two games to truly feel the depth of impact that this story -- this world -- has to offer.

At this point in time it seems I’m coming upon some kind of resolution to the story. I’m off in search of allies to help combat a vicious foe, meaning it’s time to wrap up any side quests I still have in my ledger. There’s a lot to do. Once I’ve reached the conclusion of this game, this story, I’ll provide a wrap-up review. For now, this deep and still ploughing through, The Witcher 3: Wild Hunt is not only the best of the trilogy, it makes me want to go all the way back to the first game and play through the whole series again with different choices, for different outcomes, if only to see the roads I did not take and who was left behind. This is an amazing experience with literally hours of content to take in, and I am eager to devour the remainder.

Score (So Far): 9/10

[ranger-report]

Opinion: Don’t Buy HOGWARTS LEGACY, Harry Potter Needs To Step Back A While

Sony’s recent Playstation 5 livestream event brought some interesting news to the gaming world. First and foremost was the reveal of the PS5′s price and release date, but also reveals of new games coming for the system. Final Fantasy XVI, Five Nights At Freddy’s: Security Breach, God of War: Ragnarok, among some other impressive titles. One, however, is garnering controversy for doing nothing other than being associated with the creator of the universe it’s based on, and that is WB Games’s Hogwarts Legacy, an open-world game set in the Harry Potter universe created by JK Rowling, author and noted TERF (Trans Exclusionary Radical Feminist). Yes, we’re going to get the elephant in the room out of the way with early: Rowling is transphobic, she continues to hammer home this point, and is losing points with fans because of it. It’s been happening for some time, to the point where WB Games has issued an FAQ on their website for Legacy noting that Rowling is not involved with the creation of the game. Others, including website Inverse, have issued a rallying cry stating that the gaming world shouldn’t let Legacy suffer as a result of Rowling’s continued efforts to bury herself in a mire of her transphobia. When a game has to distance itself from the creator of the universe it is set in, you know things are bad. Not simply bad like “Oh we disagree with her statements,” but bad as in “We spent money on this and now we’re really hoping that you will too even though JK Rowling is a TERF.”

Here’s the problem: supporting Hogwarts Legacy isn’t just supporting the developers of the game, it is supporting JK Rowling and the continued use of the Harry Potter universe as a franchise, and we really just need to get off of that train for a while.

Look, JK Rowling already has her money. Let’s face it. With a former net worth of close to $1 billion, now resting somewhere around $60 million due to many charitable contributions, Rowling is not in want or in need of money anytime soon. She continues to write, is involved in the Fantastic Beasts films (a third film of which is in suspended production due to COVID), and is set to release a new book under the pseudonym Robert Galbraith. PS: Robert Galbraith is also the name of the real-life person who invented conversion therapy. And her new mystery novel under that name involves the hunt for a cross-dressing serial killer. But we were talking about her money.

Yes, JK Rowling has money, so how would essentially boycotting Harry Potter have any sort of effect on her? After all, wouldn’t the developers of Hogwarts Legacy be most hurt by this? True, these devs are collateral damage in a war that they did not ask to be a part of, but like all boycotts we should not look at the ground floor, but the top. Supporting the ground floor means supporting the top. And Rowling is the very top floor. Despite not being involved in the creation of the game per se, Harry Potter is still her intellectual property. Warner Brothers no doubt paid a hefty licensing fee to be able to publish this game among others, as it did to pay for the rights to the Harry Potter films. Money goes to the top. Supporting the games for the developers doesn’t make sense when they’ve already been paid; yes, hopefully they’ll receive residuals, but they’ve already been paid where WB Games stands to actually be making money on sales. And if WB Games makes money, they’ll spend more money to make more Harry Potter games, meaning JK Rowling makes more money. You can’t simply support the bottom rung without that support going all the way up the tower. It just doesn’t work that way.

But as we’ve said, her net worth is established, so why not spend money on Legacy and have the game we want to have? Legacy looks like the kind of game Potterheads have been salivating for, a deep dive into Hogwarts in the 1800s, the ability to fully explore the Wizarding school, learn magic, it seems simply delightful, albeit engineered. Let’s put money aside for a moment. Do you want to support a transphobic human being? If the answer is yes, good luck and godspeed on your way out the door. If the answer is no, then you shouldn’t buy Legacy. Or, to that effect, anything from Harry Potter, at least for a while. Supporting Harry Potter with your dollars means supporting a human being who is a TERF. That’s the end of the debate. You can’t support the bottom without it going all the way to the top. Companies pay millions every year to make products to sell to the public. Creators like Rowling earn millions from companies who want to license their intellectual property. Purchasing the product creates a demand for more, meaning Rowling’s ideas will continue to generate interest from companies, who will continue to pay her for the rights to do so, etc. You cannot just purchase something with it putting money into the hands of the person at the top, and when it comes to Harry Potter, unfortunately a transphobic woman is the person at the top.

No one likes thinking about this. Harry Potter is a worldwide phenomenon. It is a cultural touchstone, a part of millions of people’s childhoods. It brought us together in ways that hadn’t been seen since Star Wars. The idea of not buying or supporting Harry Potter is akin to not buying or supporting Star Wars. But if George Lucas hated gay people, would you be okay with purchasing that Death Star LEGO kit for your kids?

WB Games and Portkey Games are doing their damnedest to not lose money on Hogwarts Legacy. And I can’t blame them: this is a game that has been rumored to be in development since 2018, possibly earlier, before the majority of Rowling’s views were fumbled out onto the internet, but during the controversy of her defending Johnny Depp’s casting in the Fantastic Beasts film. A lot of money has been invested into Legacy, so of course the publisher and developers are going to try to save face by stating and restating that JK Rowling has nothing to do with this game. But the truth? She has everything to do with this game. She created the universe. Someone paid her to make movies of it. Then someone paid her to make video games out of it. Then someone paid someone to actually develop the video game. Now the people who paid to make the game are hoping to get a return on their investment. Rowling has been paid; she stands to make more on royalties as well. WB Games looks to take the loss if the game doesn’t sell. But if they don’t see a return, they’ll have to consider how profitable it would be to continue to make Harry Potter games. If they don’t see a return, JK Rowling is looking at not seeing future returns for her IP. At some point, the films won’t bring in the returns necessary to continue making films, either. Maybe at some point Rowling will pull a full George Lucas, sell Harry Potter completely to one company, and walk away with her money. Then she can settle into her grumpy chair and tweet about how women are women and something else transphobic while fading away loudly, ignored by people who can finally purchase Harry Potter again knowing that their money -- and support -- doesn’t go to a known transphobe.

We can only hope for that day. But it starts by boycotting Hogwarts Legacy.

One final note: fuck TERFS and fuck JK Rowling. Trans women are women.

[ranger-report]

Thoughts On: HERETIC II (1998)

Just over one year after the release of Hexen II, Raven Software published the final game in their dark fantasy series. Set apart from the Serpent Rider Trilogy of Heretic./Hexen/Hexen II, Heretic II told the tale of Corvus Corax, the elven hero of the first Heretic, and his journey to return home after years of wandering the Outer Worlds. See, defeating one of the Serpent Riders resulted in his being thrown far far away from his origin world of Parthoris, and left to his own devices, he had a bit of a time attempting to make his way back. Marking the first time in the series that id Software had no involvement in the release of the game save for providing the modified id tech 2 engine (AKA the Quake 2 engine), this release was published by Activision under their purview. Moving in the direction of a third-person adventure with first-person shooter mechanics, Raven made it clear that they were going to take inspiration from wherever they could, including a popular little title called Tomb Raider. While garnering favorable reviews, Heretic II would ultimately be lost in the holiday shuffle of PC gaming as it had the unfortunate circumstance to be released one week after a particularly groundbreaking first-person shooter from Valve Software. You may have heard of it: Half-Life. As a result of the unfortunate coincidence and the lackluster response from fans due to the series changes, Heretic II was a commercial flop. But, with all that said, how does Heretic II stack in the lineup of the series it brings to a conclusion? And why has there been no further entries in the series since?

To begin with, the decision to make Heretic II a third person adventure was controversial amongst fans of the series. Yes, the style was popular and gaining traction, and Raven was nothing if not innovators, so the decision to a degree made sense. Why not take their dark fantasy world and put it through the wringer, especially since the main plot of the first three games was now over? Going into this title, I knew I was in for an adjustment period, but I had no idea it would be as shocking as it was. Slow, unintuitive camera movement coupled with clunky, lackluster controls make the game much more of a chore to play than the original games. Gone is the fast-paced combat, replaced with deliberately paced enemy encounters. Picking up heavily on the Tomb Raider inspiration, Corvus can leap, flip, roll, and somersault his way around the maps. Points for inspiration. But man’s -- er, elf’s -- reach exceeds his grasp, and while this sounds well and good on paper, molasses-like reaction times feel more like directing Corvus through waist-high water instead of the nimble acrobatics the game shoots for. Animations, graphics, sound design, everything on a technical level is top notch stuff. Corvus himself has a modeled backbone to allow for more fluid animations, shown off in his running, fighting, and even idle cycles. It’s impressive stuff that the gameplay just can’t seem to live up to on an engaging level. Heretic II feels like an attempt to return to the form of the first Heretic, but through the lens of a team who’s never played the first one. Rather than using different types of mana for ammunition, green mana is reserved for offensive spells, blue mana for defensive spells, and most weapons have unique ammunition types. Gone, too, is the inventory system of carrying items and objects for future use; instead, Corvus automatically uses any health or magic pickups he comes across, something which is bolstered by shrines which either completely refill mana, health, or armor points. When it comes to story, one must wonder which direction the intent was headed. Perhaps the original vision of Hecatomb was to come full circle with Corvus and face the final Serpent Rider after being outcast from the realms. The scattershot nature of the plot here doesn’t seem to suggest it, however.

As Corvus progresses, he returns to his home of Parthoris to discover a strange disease has taken over the land, changing the elves into diseased, violent versions of themselves. After being attacked, Corvus himself is infected, initiating his quest to discover a cure, and stop the mad magus Morcalavin. On an interesting note, it turns out that Morcalavin has collected the Seven Tomes of Power to aid him in magic use, but one of the Tomes is a fake and is the cause of the infection -- Corvus has been carrying the seventh Tome with him since Heretic. A bit of revisionist history considering that Tomes of Power have been consumable items since Heretic, and there were many more than seven. Noting this change to lore, Corvus simply needs to replace the fake Tome with the true one, and that should reverse Morcalavin’s corrupted power. Another noteworthy change is that the hub system of the previous games is also gone, replaced with a similar map progression to Heretic. Some maps are linear exercises in traveling from start to finish, others require moving about the many layers of the map to collect and bring together keys and objects. This is one of the largest departures from the previous games -- this story is far more intimate, more structured, more character-driven with cutscenes, dialogue, worldbuilding not seen in prior entries. Before, we were simply nameless warriors moving through dark fantasy worlds, kicking ass, taking names, killing gods and monsters alike. Here, we get to know one of said warriors by name and history. Yes, before now, Corvus was never actually named in his first appearance. He was simply “The Heretic” which was FAR more badass, although Corvus Corax is up there on the list of great fantasy names with ease. But, rather than a ride, this game wants to tell a story, watering down the experience. Whether Raven can tell a good story in other games is besides the point; here, the slipshod nature of the shoestring story attempting to provide a bit more theatricality feels tacked on, an oddity. Sure, perhaps the evolutionary nature of progression is where Raven felt the need to provide an actual factual story with their action game, also again from the inspiration of Tomb Raider slipping in, but it doesn’t hit the mark, nor age well in particular. Here we can see the beginnings of action games moving forward out of simple exercises in running and shooting, but telling stories with cinematic flair. Half-Life did the same, but with striking results, and far less awkward dialogue. And then, furthering the frustratingly bland story is the abrupt ending, in which the villain is cleansed of his corruption and ascends to godhood the way he intended, but leaving behind his power to Corvus in order to protect the world. So the bad guy....wins? But has become a good guy?

So, the question must be asked: what happened? Where Hexen II showed little of the changes that Raven were forced to make when new owner Activision mandated that they split the Heretic and Hexen series into separate entities, this game bears the unfortunate weight of that departure. As previously mentioned, the planned third game in the Serpent Rider Trilogy, Hecatomb, was divided into two games post-mandate, the ideas of which also went in two separate directions. John Romero has made frequent commentary in the past about the separation of the games as products vs a proper trilogy. He’d been involved with Hecatomb until his departure from id Software, which was also around the time that Raven was purchased by Activision. The publishing giant, he notes, split up the Raven team who had worked on the Heretic/Hexen games, further increasing the divide of the products. According to one of his accounts, one team worked on all three Serpent Rider games before the split, at which point that team was divided amongst the three in-house developing teams that already existed. While Brian Raffel, the mind behind the game series, was present and active on Heretic II, not everyone who’d put their passion into the rest of the series was there for the creation of this game. This shows in the final product. 

With that in mind, it seems a little unfair to judge this game as harshly as I am. Perhaps we should be examining it, looking at the interesting bit of gaming history it represents. It marks a point in time where Raven, having experienced fair success on their own through working with technology giant id Software and other publishers, has become a corporate-owned entity. This is, in fact, the first game by Raven to be published exclusively by Activision. Eventually, Raven Software would be conscripted by Activision into the Holy Trinity of Call of Duty developers, rotating in and out making new COD games so they can come out yearly. What legacy, then, does this particular game leave? There is a mark here, a brand, a scar, a sign of things to come. Mandates from above demanding two franchises instead of one, an ironic analogy of the division of Raven from id Software -- Heretic II may have been published and distributed exclusively by Activision, but id Software published the previous games, and held publishing rights to those games. Meanwhile, the transfer of copyright went to Activision, putting future games into a pickle. Activision no doubt has little interest in creating new games in a series when they can’t make money from previous entries. Furthering problems is that Heretic II does not exist in digital format, probably again due to Activision unable to profit from sales of the prior games; a casual copyright search for Heretic II in the public record comes up with zero results, effectively placing the game as abandonware. With Raven owned by Activision, and id owned by Bethesda (formerly Zenimax), establishing cooperation between the two giants may seem difficult to impossible at this point.

What a shame for the final entry in what began as such a promising series to end limping across the finish line. In my research I found quite a few people who were glowing with nostalgic praise for Heretic II, and why not? In the opening level of Silverspring, we’re greeted with a run down town disparaged by the rampant virus. Flies zip back and forth and Corvus slaps his neck to be rid of them; children cry in the distance, dripping water echoing reminds of the empty nature of this place. All the environments in the game are rife with audio and visual treats that literally drip with atmosphere and character. There is a strange amount of life here, in a living world that feels interesting and worth exploring. But the controls and story fall flat, alongside the abysmal decision to make the game a third person adventure instead of the first person shooters of the previous entries. Whether or not we’ll ever see a proper new entry into the Heretic/Hexen world is, unfortunately, something that remains to be seen. Spiritual successors, such as AMID EVIL and the upcoming Graven reap the fields which were sown of Hexen’s seeds. Activision and Bethesda may never see eye to eye on the subject of reviving Heretic or Hexen or maybe even the fabled Hecatomb, but one thing is clear: regardless of the corporate greed which aborted the lifespan of this wonderful series, the first three games of this series live on as passionate exercises in dark fantasy, examples of how to push the FPS genre forward while remaining firmly grounded in what makes it work. Heretic II is the Crystal Skull of this series -- many will find themselves better off forgetting it ever happened. Activision certainly has. And again, how ironic is it, that the very mandate which they laid down in order to spawn new sequels and twin franchises led to the death of them.

[ranger-report]

Review: Minecraft Dungeons (2020)

Picture this: an isometric action-RPG in which you play as one of multiple intrepid warriors, gathering loot and rare weapons in order to steadily progress through multiple worlds in order to stop a maniacal tyrant from ruling over a terrified land. What game am I talking about? If you picked any number of games, from Gauntlet to Baldur’s Gate: Dark Alliance to Diablo, you’d be right on the money, but this time we’re talking about Minecraft Dungeons, Mojang’s first foray into a non-creative Minecraft experience. Yes, there was Telltale’s Minecraft: Story Mode, but that was Telltale’s baby through and through. This dungeon crawling experience is all Mojang, with a little help from developer Double Eleven, and while the results are somewhat of an uneven experience, it’s a thoroughly enjoyable experience the further you get into it, ultimately to the point of obsession.

Let’s call it Baby’s First Dungeon Crawler. The game is as simple and straightforward as possible. You create your character by choosing their “skin” (read: skin tone and clothes all mixed into one), then dress them up with armor and weapons picked up on a daring quest to save Minecraft land from a vile king called the Arch-Illager. The Illagers are evil versions of the standard Villagers who populate the world, and they’re a little pissed at having been kicked out of good standing just for being themselves. Story means little in this game, a series of events strung together to create a sense of progression, and maybe there’s something here based on Minecraft lore, but to me it felt simply a means to an end: you need to know why you’re on this quest. Here you go. As villains go, the Arch-Illager surprisingly succeeds, a nasty little Napoleon of a ruler who somehow gained a magic wand from the Nether (Minecraft’s evil alter dimension) and so was able to rise up against the Villagers. He pops up at various points to conjure hordes in ambush, shouting “Nyah nyah!” annoyingly to the point where his juvenile taunts come to feel downright abrasive. You want to kick this guy’s teeth in, and it feels so good once you finally do...depending on the difficulty. But that’s getting ahead of things.

Opening up with a basic tutorial level explaining controls, Minecraft Dungeons then introduces Camp, where you and one of up to four heroes make your base between running through levels. Here you can practice your melee weapons and ranged weapons on straw dummies to see how they work before committing to a style. You can also purchase random weapons and gear (called artifacts) which you can equip. Weapons and artifacts can also be found during adventure, always at random Borderlands-style (right down to the Common, Rare, Magical, and Epic tiers), which is one of the most maddening aspects of the game. There’s no way to outright purchase gear that you actually want, meaning as you slog through level after level, gaining hundreds of emeralds to spend at camp, there’s a strong chance you’ll be abandoning a strong weapon in favor of something that’s simply at your actual level rather than what you want to be using. Minecraft Dungeons is an exercise in Letting Go Of Shit, in which you’ll be constantly switching up your play style because your gear, not your preferences, demand it. Adding to this is that weapons and armor can be enchanted, adding bonus stat effects. Higher level gear unlocks multiple enchantment effect slots, each slot allowing your to choose a stat to upgrade -- but again, each enchantment is randomized. Some gear have fantastic stats, which picking up higher level gear afterwards can result in terrible enchantments compared to what you’re currently using. Madness. Chaos. Dice rolls dictate what you pick up, how well they work, how they work, and whether or not it’s worth it to you to equip it.

But what makes this tolerable is that, as Minecraft Dungeons progresses, scalable difficulty can make or break your hardiness. From the opening, there’s three Play Modes: Default, Adventure, and Apocalypse. Each play mode has difficulty you can adjust at the beginning of each level, which will let you know what xp level it’s designed for. It will automatically ratchet up as you progress, but maybe you’ve got a hankering for a challenge, or for higher-level gear sooner than you’re getting to it. Minecraft Dungeons will happily and frequently kick you ass if you ask for it. That is not a sentence I ever expected to type, but it’s true. Beneath the simplistic design and free-for-all gameplay, this happy-go-lucky kids game is vicious and smart. Upping difficulty not only adjusts how potent enemy attacks are, but which enemies you run into, and how often. Just when you think, yes, I’ve got this, I can kick this game up a notch, it jumps you. There are moments when the game point-blank overwhelms you if you ask for it, and if you’re not prepared then you’re dead. Of course, the game is generous: you get three chances to make it all the way through the surprisingly huge, sprawling levels which are full of secrets (and can unlock secret levels), and this can make for sublimely tense moments of gameplay where you’re doing your damnedest to utilize every stat and weapon you’ve picked up just to stay alive long enough for your healing item to regenerate so you can safely pick away at the huge mob of skeletons, zombies, mages, golems, and so forth that are piling down on you. Herein lies the beauty of Minecraft Dungeons: play. Play and get good. Get good and go higher. Go higher and die. Try again. Deeper into the game and difficulty and you’ll be picking up even better tier weapons and armor, which really highlight the sweet shit you can do. Suddenly the huge mobs mean nothing in the face of your lightning rod or corrupted beacon, your crossbow that shoots five explosive arrows at once which all shoot out five more explosive arrows in all directions upon impact. Players can become ridiculously powerful as they progress. Beating the game on Default unlocks the aforementioned Adventure mode, which ups the ante by a large amount, and beating that unlocks Apocalypse, where there is no difficulty scaling -- there is only the game.

Some minor performance issues abound. Playing local co-op sometimes felt a chore trying to get other controllers in, with my PS4 not recognizing that someone was trying to play. Graphical glitches pop up here and there, the most notable being bright colors covering the whole screen whenever someone would exit their inventory. Hopping back into the inventory and hopping out would make the colors disappear, but how they got there in the first place is a mystery. And while the game itself plays well enough, the button to loot items/revive other players is the same as the attack button, and the game would have a hard time discriminating between what I wanted to do whenever I was just a little too close to an object. Am I trying to pick it up or swing my sword? Oftentimes, that which I wanted to do was not what I was actually doing. And in the chaos of multiplayer gameplay, it can become confusing as to what is on the screen, so when I suddenly couldn’t attack because there was a person I needed to revive that I didn’t see, I was flummoxed.

At the end of the day, Minecraft Dungeons does not reinvent the wheel. If anything, this is a game that many have played, and played better, in several other games. Getting into the game from the beginning can feel like a chore, a kid’s game, something that you can hit the snooze button on and wake up a little later in having missed nothing. But go deeper, find the good weapons and armor, scale up the difficulty, and suddenly this isn’t just for the kids anymore. Suddenly you’re on the edge of your seat wondering how the hell a goddamn kids game is pushing you back. You’re picking up epic gear with wild stats that give you a giggle as you jump back in, ready to face the mob. What would make the game more worthwhile would be if it introduced many of these elements sooner, rather than teasing them for a second or third playthrough. Many players above the standard Minecraft age group will be turned off at first, and will turn away. But for those who stick around -- and I do urge you to -- there is a hefty dungeon crawler beneath the hood that, for its flaws, succeeds at being a wild party game and a grit your teeth one-more-try experience. 

Final Score: 8/10

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OPINION: Stop Making Batman Games

With the weekend came the DC FanDome event, in which Warner Brothers and DC Comics held an online event specifically for their fans in order to generate hype about certain franchises and media they produce. While most of what was shown received positive responses -- the first trailer for The Batman is the clear highlight -- there’s been a little bit of apprehension surrounding two of the video games receiving mega hype treatment: Gotham Knights, and Suicide Squad: Kill The Justice League. Gotham Knights opens up by telling us Batman has died, and he’s left a message for his former sidekicks: protect Gotham City at all costs. Meanwhile, the Suicide Squad is seen in a battered Metropolis, tasked with assassinating what looks like Superman Turned Evil as an alien invasion rages around them. Both trailers offer massive, open-world co-op action featuring some of DC Comic’s finest B-grade heroes. Sure, Harley Quinn is on the rise and is arguably an A-list hitter now, but when it comes to bankable characters, Batgirl, Robin, Nightwing, Red Hood, Deadshot, King Shark, Captain Boomerang, they’re not big stringers. But they do have something in common:

Batman.

While Gotham Knights is clearly the more obvious game between the two to draw from the Dark Knight’s influence, Suicide Squad has heavily featured Batman as a character and influence over recent years. Harley Quinn is a Batman character, the Caped Crusader appeared in the Suicide Squad film played by Ben Affleck, and developer Rocksteady -- who is making the SS game -- reached infamy for developing the Arkham Trilogy. Suicide Squad: Kill the Justice League has even been confirmed to be set in the Arkham universe (surprisingly, Gotham Knights is not, despite the premise based on a dead Batman, something which happened at the end of Arkham Knight). Kill the Justice League even goes one step further by setting the game in Metropolis, battling Batman’s usual heroic foil. This looks to be for all intents and purposes like a treasure trove for dedicated DC gamers, but it’s my opinion that they simply look -- and feel -- incredibly tired.

Once upon a time, Rocksteady was rumored to be developing an open-world Superman game. We haven’t gotten one of those since 2006 with Superman Returns, whose XBOX version was regarded with decent praise. But instead they’ve turned their sights to the Suicide Squad. Granted, Warner Brothers is doing their best to make the Squad A Thing, considering the first film and now the upcoming I’m-Not-A-Sequel-I’m-A-Reboot-But-Also-A-Sequel The Suicide Squad which is being directed by James Gunn, who made the Guardians of the Galaxy A Thing. Desperation plays poorly in hindsight, which all of WB’s mandated edits to both Batman v Superman and Justice League have wrought. Hell, even the first Suicide Squad film had its guts wrangled about, prompting many to request an “Ayer Cut” from director David Ayer the same way they’ve been hounding for the Justice League Snyder Cut (which looks amazing, btw). But regardless of intent, what’s clear is that WB Games isn’t ready to let go of the Batman Influence, and instead of taking risks like making a goddamn Superman game, they’re going with what feels like the next evolution in Batman gaming: Sidekicks and Spinoffs.

I hear you, I hear you. Maybe I’m a little bitter. Maybe. But since 1986 there have be 41 Batman-starring video games, not counting those released in which Bats had either a supporting role or a cameo. Since 1979, Superman has starred in a mere 17. Batman also features heavily in the recent Injustice fighting games from Netherrealm (creators of Mortal Kombat) which features, strangely enough, an evil Superman. So now we have two new WB Games which either rely on Batman’s influence or feature an evil Superman which needs to be stopped.

Guys. Come on. Just. Just fucking stop.

Where’s the open world Superman game which promises the experience of playing the Man of Steel, protecting the city -- nay, the world -- from an incoming alien invasion. One which could not only spell the destruction of the human race, but also cause significant damage to the Man of Steel himself. Juggling protecting the Earth and keeping himself alive, Superman is tasked with handling this invasion, featuring a number of notable cosmic villains in DC Comics. The player has to manage a health bar for Metropolis, ensuring the city receives as little damage as possible, or aids in rescue work around the city helping citizens and saving lives. Between this, Superman handles incoming warships and invaders, who can zap him with powerful beams. Yes, he can take a lot of damage, but they’re dealing a lot as well. Superman will not go down easily. But being Superman has never been about protecting himself; it’s about protecting others.

Think about it! Skip the RPG leveling system where you upgrade powers and abilities! You’re already Superman, you already have the powers! Now you just need to use them, balance them, combine them to weaken enemies or strengthen the city. The opening chunk of the game introduces you to Metropolis and how it works. Imagine flying through the city at high speed, listening, searching, helping, just being the Big Blue Boy Scout, and then without warning there it is: lights in the sky. You fly up out of the atmosphere to tackle the problem, but the problem is so big, it’s everywhere. Now the game opens up: it’s not just Metropolis, but the whole world at stake. Zoom between major cities as hubs, with large maps for each one. Metropolis is the stand in for New York, but also London, Moscow, Egypt. Imagine zooming over the Great Pyramids battling alien invaders as the Man of Steel defending not just America, but the entire fucking world from the greatest threat ever since to humanity. Throw in a few Justice League cameos! It writes itself!

But we get two new Batman-related games instead.

Fucking hooray.

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My daughter Ren has her own podcast that updates periodically, and this particular episode has her recording solo while playing Spelunky Classic. Think of it like a Let’s Play with no video. Chock full of witty commentary, snarky remarks, and well-timed deaths, Ren narrates her 69 actual deaths while playing Derek Yu’s instant classic game. You can also find her on Twitter by following @renillabean

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Opinion: CUTIES (2020) Might Actually Be A Decent Film, But The Marketing Is Killing That Chance

You’ve heard of it. Your Twitter followers have heard of it. Aunt Gail on Facebook has heard of it. Netflix recently has come under fire for an upcoming film titled Cuties, which is about a group of preteen girls coming together and discovering themselves as part of a hip-hop dance crew. It’s being accused of sexualizing 11-year-old girls and enabling pedophilia. Let’s read the full description:

“Eleven-year-old Amy lives with her mom, Mariam, and younger brother, awaiting her father to rejoin the family from Senegal. Amy is fascinated by disobedient neighbor Angelica's free-spirited dance clique named "Cuties", a group that stands in sharp contrast to stoic Mariam's deeply held traditional values. Undeterred by the girls' initial brutal dismissal and eager to escape her family's simmering dysfunction, Amy, through an ignited awareness of her burgeoning femininity, propels the group to enthusiastically embrace an increasingly sensual dance routine, sparking the girls' hope to twerk their way to stardom at a local dance contest.”

At best, this sounds like the forgotten YA novel someone read in their junior high days that helped them come to some sort of awareness of their bodies but was generally admonished by parents because (GASP) it talked about girls bodies. At worst, this is going to attract every Jeffrey Epstein with a Netflix account to watch the premiere and further the sexualization of young girls in film and across media. If you’ve seen the Netflix ads, you’d be forgiven for assuming that it’s the latter. But what, exactly, is going on with this film?

Cuties is written and directed Maïmouna Doucouré, a French director of Senegalese descent. It’s her first feature-length film, and it won the Directing Jury Award at Sundance, which praised the script. Right off the bat there’s some merit behind the camera. A woman of color exploring themes that appear relevant to her own history and culture. So far, so good. On paper, this again seems at worst like said YA novel, or now film adaptation of such. Maybe some people might find it mildly offensive because it deals in girls’s bodies and their own agency over them.

But, oh. Netflix. Your marketing.

Look at this poster:

We’ve got some problems here.

This does not, in any way shape or form, indicate that we are getting the kind of film that is in the official description above. This looks like Magic Mike for the Babysitter’s Club. This is bad. This is abhorrent. On top of that, the film itself is getting a TV-MA rating on the streaming platform, which doubles-down on the shadiness of using sexual imagery of young girls. And, that being said, this is killing the film’s chances overseas.

Let’s be kind for a moment and say that this is a well-made coming of age film. It sure doesn’t look like it, but let’s roll with it. Maybe young Amy gets to challenge her family’s strict culture and comes to better terms with her parents as a result of it. Maybe the dance routines aren’t as hyper-sexual as the poster makes it appear, and is maybe more like a high-energy Step Up version of Sparkle Motion. Problem is, now that we’ve seen THIS poster, there’s no way we’re going to see this film as anything else. The marketing has effectively killed that possibility. Already there is a petition urging Netflix to take down the film from its platform, and why not? Look at that poster! It’s almost as if Netflix was courting controversy by design.

But what about the film? Well, I haven’t seen it. Part of me wants to now, just so I can see just how different the final product is from the obvious male gaze of the marketing. It’s difficult to believe that a woman behind the camera would fill her coming-of-age story with hypersexual imagery of eleven-year-olds, but that fact should not give the film an immediate pass. This is cautionary territory. We’re living in a world where the aforementioned Epstein was killed before he could point the finger at members of his inner circle who traded in young bodies for sex, where conspiracy theories abound over celebrity sex trafficking as a means to distract from the upcoming election, and somehow Michael Jackson is still revered as an artist despite the continual acknowledgement that he was most likely a pedophile. All over media, images like the poster for Cuties drive home the image that young girls can and should dress, pose, act, and become far more sexual at a young age than they should. But what if this film navigated around that? What if it actually spoke to young girls who are beginning to discover themselves at this early age, leading up and into the teen years as changes are happening to them and they’re beginning to understand how their bodies work? Well, “what if” may not apply here anymore. The marketing has given this film a scarlet letter. Approaching it from any angle is akin to dealing with the devil. Defending it as a work of artistic merit could get one slapped with defending pedophilia. Trashing it as a work of trash could discredit the legitimate filmmaking and storytelling quality within. And it doesn’t matter that it seems to be playing well in France, where it’s been out since April. What matter is that here, in the good old U S of A, judgement has already been passed thanks to a brutally disastrous and frankly disgusting advertising campaign.

Netflix has bent over backwards apologizing for the inappropriate marketing that doesn’t reflect the film itself. The trailer for the film online has 77 likes....and close to 3000 dislikes. The trailer itself appears benign, like Bring It On for eleven year olds, again like the lost YA novel everyone loved reading in their bedroom late at night understanding that someone got what it meant to be dealing with these changes and their strict families. But if that’s the film actually on display, Netflix has killed it. Botched marketing can make or break a movie, and now Cuties is simply about underage girls dancing inappropriately and there is nothing the streaming platform or the filmmakers can do about it. Which is sad, because the trailer seemed to promise a genuine story of a young torn between freedom of self, and the dedication to family. Unfortunately, like many films in the past, the terrible marketing has destroyed whatever quality film may lie underneath, and its chances of possibly being seen in that light are effectively over.

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Review: THE WITCHER 2: ASSASSINS OF KINGS (2011)

With the first Witcher game under my belt, I decided to plunge straightaway into the second game in the series: The Witcher 2: Assassins of Kings. Expecting little beyond improvements in graphics and controls, I was very curious to see how the game delivered on the cliffhanger ending of the first game, in which Geralt of Rivia defended King Foltest of Temeria from a would-be assassin, only to reveal that the killer was also a witcher. I’d had a decent time with The Witcher: Enhanced Edition, particularly in the storytelling aspects and the choose- your-own-adventure narrative, but had found myself frustrated by dated game design and graphics and lackluster combat. Still, it was, by the end, an arresting experience that had captured my intrigue enough to make me want to go back and replay it to see what paths I could have chosen. Choice is truly the number one aspect of The Witcher, in that Geralt generally chooses not to choose sides, but is often found forced into doing so. Choice is also the highlight of The Witcher 2: Assassins of Kings, so much so that by the end of the game I was nearly horrified with how all of my decisions, ambient though some of them were, had stacked into a neat pile of awful fuckery. If you want to feel good about what you’ve done by the end of a game, The Witcher series might not be for you. But if moral ambiguity and robust, branching paths are what you seek, then read on dear reader, because things are about to get immediately messy in what is some ways a vastly superior sequel to the first game, but in other ways falls short of the narrative potential established by its predecessor.

From the start, Witcher 2 is once again a big game of Choose Your Own Adventure. Opening with a prologue establishing Geralt’s involvement in a political assassination, the player is continually given agency over where Geralt is going, what he wants to do, and how he is going to do it. This is at once the game’s biggest strength. Just as in the first game, Geralt’s choices have domino effects that tumble down the slippery slope of lesser evil decision making, affecting what characters do and whether or not they might appear elsewhere in the game. And, furthering the CYOA aspects, certain portions of the grander story are hidden from sight should Geralt choose to go down a different path. Maybe some characters will have happier endings than we see them get if Geralt decides to help them instead of quest elsewhere -- maybe not. Perhaps the biggest departure from the previous game’s style is that the entire second chapter of Witcher 2 is different depending on which side of a conflict you choose to enable. This, of course, is also all based on whom you’ve sided with previously, with deft moments of quick situational judgements, some of them timed. Give the elven rebel his sword so he can defend himself, or push him to the side so you can leap into the fray yourself? Not every decision is placed in front of the player as a monumental choice; some of them are as simple and clean as whether or not you pick up an object in front of you, knowingly saving someone’s life. This makes the world -- and the story -- feel surprisingly alive, vibrant, always on edge as though the lightest touch in any direction will spell consequences for some and reward for others. This does, however, create a shorter gameplay experience overall. Where my full playthrough of the first game was close to fifty hours, I clocked in just over thirty hours here, but this is partially because the full content of the game cannot be seen in only one playthrough. There’s a massive amount of game to be held, but the unfortunate reality is that it can only be seen piecemeal. It’s like getting to the end of an actual Choose Your Own Adventure novel, only to realize there’s a vast amount of pages left unread because you didn’t take the roads less traveled...or simply traveled differently. For better or for worse, the first time through this game will leave the player with the sensation that there is a lot that they didn’t get to see, despite the freedom of branching paths being thrilling and adventurous. And the story itself isn’t nearly as investing as the previous game. Geralt’s adventure in clearing his name of wrongdoing and tracking down his memories are at the forefront of his story, but in the background is a complex, political plot that simultaneously is and isn’t important to follow. Decisions made by Geralt heavily affect what’s going on, even as Geralt himself is constantly growling about how he wants to track the kingslayer and a missing friend. But the game and the characters populating it continually drag him back to the fray because they need him, dammit, and if he wants the means to his ends then he’ll have to endure everyone else’s shit. Perhaps that’s the point: Geralt’s actions continually change the entire world around him, whether he wants to be a part of it or not. That said, the straightforward narrative is defiantly strong here, partly because the branching system demands it need be. This is a Story with a Purpose, the Purpose being to establish a series of unfortunate events happening around Geralt, if not to Geralt. But when it’s as bland as it is -- save for the bits where Geralt is trying to clear his name -- it can be difficult at times to maintain a steady pace. And the entire third act takes place in a ruined elven city which is a chore to navigate, nearly ruining the momentum and the whole of the game’s experience; there’s two disasterously difficult combat engagements to wade through as well as a grating boss battle with a large beast, not to mention a magical puzzle which demands navigating the labyrinthine ruins if you want to discover what it is. And yet, by the end, the house of cards comes tumbling down into the awful realization that everything behind the scenes has been doing its utmost to raise the stakes high enough to win the whole pot, and depending on Geralt’s actions, it does so to varying degrees. I sincerely doubt there is anything close to a happy ending in one of the alleged 16 conclusions the game contains; if anything, it can only go from shitfucked to fucked-with-hope-on-the-horizon. And, despite the sometimes slog, that’s effective.

Gameplay has seen a heavy upgrade. Gone are the original title’s point and click controls, replaced with a more intuitive interface that relies heavily on action and exploration. Similar to Arkham Asylum’s Detective Vision, Geralt can use his medallion to scan the world around him for interactive elements or objects to search through. Neat in concept, but oftentimes the execution is lacking; it can be incredibly difficult to find objects on the ground left by corpses without always using the medallion, as they can get lost in the surrounding scenery. Upgraded, too, is the combat, which is thankfully no long a boring fucking exercise in clicking at the right time to string together combos. Geralt rolls, swings, magics at the click of a button, using the WASD and mouse camera to keep an eye on the action. The triple division of combat styles -- fast, strong, and group -- are replaced with a fast and strong attack bound to the two mouse keys, and upgrades can make it so Geralt’s attacks can hit multiple people. Blocking is integral, but Geralt needs vitality for a block to be effective, or it will chip away his health. I both enjoyed and did not enjoy the new combat system. It’s functional, but I couldn’t help but feel out of control in tense moments, attempting to roll or dodge or block or use signs between sword strikes. Geralt only swings at whoever he is targeting, not simply in front of him, so if you accidentally turn the camera to the wrong angle while trying to attack he will swiftly turn and swing at someone else entirely, leaving him open to devastating counterattacks from behind. Frustration can mount quickly, as it seems that Geralt is a whole hell of a lot squishier this time around than in the first game. Sure, the first Witcher had plenty of moments where getting overwhelmed could happen in the blink of an eye and Geralt would turn into fresh meat, but Witcher 2 makes every sword fight feel like an exercise in dodging just to stay alive. Maybe I wasn’t playing with enough patience, but it felt like I spent more time rolling and running to regain health than I did connecting with satisfying blows. Sometimes, quicktime events pop up during major boss encounters, which are devastatingly difficult in needless ways. Just like in the first game, Witcher 2 will absolutely dial up the volume on the difficulty knob without warning and around an unseen corner, to an extent where I found myself pained by exhaustion and anger at yet another GAME OVER scene. This is compounded by the strenuous camera, which is awkward at best in outdoors environments, frustratingly awful in close quarters hallways. Making things even worse is the game’s departure from the previous healing methods in The Witcher: where potions could be downed on the fly, and food eaten to regain mild portions of health, now the only way to heal is potions while meditating, or simply by meditating. Without the ability to heal in the middle of combat the thoroughly aggressive enemies will stymie even seasoned players as they watch their health bar helpless disappear with no respite.

Graphically speaking, this is leaps and bounds better than the original. High-detail, crisp textures, far draw distances, I very rarely had any stuttering or framerate issues. At worst, there was minor pop-in and fade in, some seams showing where textures were laid out, and jittery models here and there. Also, motion blur and bloom were turned on by default. Never fun. It was an absolute job to take in the world on hand, with the variety of monsters and humanoid characters to encounter, lovingly rendered with tons of color and flair. Outside of the story, this is where the game truly shines. Before there had been low-res models being reused left and right, but here nearly every character model (outside of factory-line soldiers) feels unique enough to recognize in and out of combat. It’s really a fucking wonder to behold. It felt the same as the graphical leap between Uncharted and Uncharted 2, with nearly an overwhelming amount of detail in the world to take in, dizzingly put together in a way that is breathing and living.

That said, is the game actually an improvement over the first title? Well, yes and no. Graphically, interactively, yes, to an extent. The branching narrative is bold, but feels like there is so much you’re missing out on once you’ve chosen a particular path. For example, there’s a dragon that exists in the game, and its origins are shrouded in mystery. I only discovered them based on a trophy I got at the end of the game, which felt like a huge cheat to learn that way. If the game had told me something about the dragon’s nature, even down the path I took which actively led me away from the dragon, then I wouldn’t have felt disappointed, but it didn’t. I learned the answer through a trophy. And in many ways, while this game does things better than the first game, it’s only to slight degrees, and while I do want to go back and play this again, it’s difficult to do so after a somewhat disappointing first run. Geralt’s story was excellent, and kept me on the edge of my seat whenever it came around, but everything else that happened felt largely disconnected from what was driving Geralt this time around, and ultimately only served as setup for the third game in the series. Again, perhaps that’s the point: perhaps Geralt will have to face the weight of his decisions, that which defines the world at large whilst he maintains a selfish lean towards his personal goals. Geralt of Rivia both is and is not the most important person in this story -- he is but one man who is forging a path towards his wants and needs, but maybe he’s crumbling kingdoms along the way, intentionally or no. While I’ve heard nothing but Game Of The Year praise for The Witcher 3: Wild Hunt, I’m keeping my expectations tempered based on this sequel, which is fun and daunting and clever, but the drawbacks are hefty, saved only by the draw of the lead character and the living story itself.

Final Score: 7.5/10

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Thoughts On: HEXEN II

After developing two fantastic games utilizing the id tech 1 engine -- also known as the DOOM engine -- Raven Software found themselves once again at the forefront of technological advancement when their neighbors id Software released a little game called Quake. Using a brand new, fully 3D rendered engine, Quake revolutionized first person shooters and PC gaming graphics. After the successes of Heretic and Hexen, Raven was deep in the throes of developing a third game in their dark fantasy series, this one titled Hecatomb. Sadly, this game never came to pass, as John Romero (who’d had heavily helped develop the previous two games) left id Software to found his own company, abandoning Hecatomb in the process. At this point, Activision Publishing acquired Raven and the rights to distribute future games they developed. Activision told Raven that they wanted to see the Heretic and Hexen games split into two separate franchises as both games were different in gameplay styles. So rather than a final third game to wrap up a trilogy, ideas from Hecatomb were then split between Hexen II and Heretic II. While this yielded mixed results, we’ll look first at Hexen II, a game that was highly anticipated upon release, and whose legacy is an uneven yield.

The story this time around is that the third and final Serpent Rider, Eidolon, has taken over the word of Thyrion. Separated into four lands, Thyrion is infested with Eidolon’s minions, and it’s up to one of four warriors to take him down: the Crusader, Assassin, Necromancer, and Paladin. What’s neat about this premise is that each of the warriors comes from one of the four lands --  Blackmarsh, Mazaera, Thysis, and Septimus, respectively. And each land has a different cultural theme -- Medieval European, Mesoamerican, Ancient Egyptian, and Greco-Roman, also respectively. Also very interesting about this setup is that each land is being ruled by one of the Four Fucking Horsemen of the Apocalypse -- Famine, Death, Pestilence, and War also also respectively. Off the jump there is a lot going on here, a lot more detail than the previous two games about the worlds and what is happening. This works to the game’s credit in attempting to set up a distinct world for this entry in the game series, but somehow, it falls a little flat. In previous games the player encounters a variety of monsters and enemies that all carry over from hub to hub, level to level, giving the player a chance to learn their attacks and be aware of how to defend themselves. There’s also overarching aesthetics that maintain a steady, immersive feel to the worlds presented. Hexen II’s decision to split the hubs into unique lands works against it, as each land as its own unique enemies and aesthetic and architecture. Just as the player has a chance to get used to enemy tactics and tricks (thanks to some stellar AI work), those strategies are abandoned as the next world is loaded up with new enemies and new look, throwing the player off and breaking the immersion. As much as I tried to get into it, what it ends up feeling like is the standard issue Water World, Fire World, Sand World, etc of old NES platformers. This is not to say that the worlds aren’t good looking, however -- Raven modified the shit out of id tech 2′s textures and polygonal aspects, crafting a still-gorgeous game which takes full advantage of the technology.

Progression here is also slightly different from the previous Hexen, but is a very welcome course change. Each character class has different skills and abilities, and as you play through the game, you’ll gain experience and level up. Returning from the previous game are the fact that each class has their own four weapons, using 1) no mana ammo 2) blue mana 3) green mana and 4) both mana. As usual, the fourth weapons need to be assembled from pieces in order to be used, but what overpowered destruction they bring. My favorite class is Crusader, whose skills and weapons focus on defensive measures, but his ultimate weapon is the Light bringer. It fires a steady stream of what can basically be called pure light, burning through any enemy in a matter of seconds, and the drain on Mana is negligible. It’s possible to reach the max level of 12 through the game, and each character receives a new passive ability at levels 3 and 6. It’s always nice to notice that you’ve gained a level during the adventure, but it usually happens well after the fact. I had a difficult time hearing the audio cue to let me know that I’d leveled up and now had extra health, or new ability. I had to go into the revamped inventory screen, which now shows key quest items as well as the current items in your pocket.

In fact, Hexen II’s biggest immediate suffering is that there seems to be a lack of feedback. There’s little in the way of gratifying sound or feel whenever your attacks land, which is doubly frustrating when most attacks are ranged and as far away from the very deadly monsters. Up close and personal melee attacks seem to have a weird range, sometimes being able to hit at different distances, but it’s hard to know exactly how and when that’s going to happen. The inventory system is fine, objects work they way they’re supposed to. Most of the problems come from the early usage of id tech 2. Quake is not a game designed around interactivity, despite Hexen II being the exact opposite. id tech 2 takes away the Action button, so you walk into panels or switches to operate them, no button mashing required. There’s also no minimap, so navigating become a trying issue. But projectiles in this game don’t seem to have an impact; there’s no oomph to it, similarly to Quake’s monster who rarely stagger when hit. This is a problem because multiple times will occur when you’re firing rapidly at damage-sponge enemies, wondering if you’ve hit them enough to count, counting each shot, watching your steadily diminishing mana fall away, waiting hoping praying that this isn’t another time where you’re going to be forced to use the melee weapon, and then they are suddenly dead and you didn’t know they were close to death. It’s not as frustrating in the early levels, where you’re Level 1 and Everything Hurts and Everything Takes A Lot To Kill. But by Level 9, there are bigger, badder, more horrifying enemies who soak up so much damage that it feels like a Thoroughly Epic Duel every single time. This, perhaps, is meant to make up for the fact that -- unlike Hexen which sent waves of hordes of squads of monsters at the player at once -- Hexen II lobbies much fewer enemies at a time. In fact, I’m hard pressed to remember any time I fought more than five at a time, and even that is a generous number. But since each of the enemies are so much more resilient, anything more than three becomes an exercise in dodging and weaving and running for cover in order to get in a few shots and quaff a drink from a healing elixir, because these fuckers hit, hit hard, and hurt harder. Especially the Four Horsemen, who are so intense and difficult that I was convinced for a moment that the game was building up to a boss run near the end that would have been insurmountable. Fortunately, thank fuck, there wasn’t. And yet, while the increased difficulty of the enemies comes with the bonus of impressive AI (most notable in the Were-Jaguar warriors, who leap and roll and attack like real human opponents), it also comes with the downside of empty stretches of pathfinding. Where in Hexen enemies would respawn with abandon in an effort to wear down the player, Hexen II seemingly keeps a limit on the number of enemies involved on a map. Once they’re dead, they’re dead, which then makes wandering around afterwards an exercise in frustrated boredom searching for clues and hints to the puzzles.

Speaking of which, while feedback and aesthetics are weak points, if there’s anything that the game truly bounces players out of the game, it’s the puzzles. Blackmarsh is host to one of the most infamous puzzle glitches in the series, possibly in all RPG gaming, the solution to which is based on how your character enters a particular courtyard. Depending on which turn the player takes, this will then spawn a clue in one of three locations based on your entry point, along with the necessary quest item in one of three locations after gathering the clue. However, the clue itself can be accidentally destroyed. It can also be missed entirely, and if you don’t find the clue you can’t go directly to the quest item location knowing the solution -- it can only be solved in the order of clue, location, item. So if you somehow miss or even destroy the clue itself -- and Hexen II is rife with destructible items holding hidden mana and health so chances are you’re breaking a lot of shit -- you’re out of luck. I discovered this far, far too late, and had to start the whole game over because I didn’t have a recent enough save file that I could utilize to go back to. Thankfully, this was fairly early on in the game, but it serves as a brutal low point that comes back to haunt the player in the Egyptian levels, where a maddeningly opaque puzzle involving time travel and astrology nearly drove me to a walkthrough and early onset baldness. Elsewhere, puzzles are item-based rather than key-based like in Hexen, which revolve around gathering items, transporting them to a location, and then receiving either a new item or a key. Sometimes these items need to be altered or transmutated; the game is questionably vague about what is necessary sometimes. Fortunately, despite the veiled hints, most fetch quests are simple enough to solve. But the lack of enemies giving way to empty hallways and corridors makes those fetch quests empty and tedious, moreso than they ought to be.

Hexen II isn’t a bad game by any means. It’s very much a product of 1997. New technology, advancements in PC gaming, experimentation with new control schemes and movements, a lot of games at the time featured both innovation and frustration in equal measure. Hexen II is a solid game at its core, with great direction from the returning team, a great soundtrack, fantastic graphics and sound design, and RPG progression. But all of these upgrades come at the cost of a more simplistic version of Hexen that is somehow trying to have the straightforward run-n-gun gameplay of Heretic and the brutal dungeon crawl of Hexen. Puzzles suffer, shooting mechanics suffer, and immersion suffers. What it ends up being is Hexen Lite, not as good as the original, but fine on its own. Would I go back and play it? Sure, at some point I’d love to, but it didn’t draw me in the same way that Hexen did, not even as much as Heretic. But it’s a Quake engine game (which I’m a sucker for) and a 1997 game (which I’m a sucker for, goddammit), and despite its flaws it represents a moment in gaming which I can’t help but be nostalgic for. Your mileage may vary, but be advised that there are other, bigger, bolder versions of this experience that Hexen II has inspired, and while this may have inspired quite a few, it hasn’t aged as well as its predecessors.

Next up: we close off the Thoughts On series of Heretic/Hexen games with Heretic II. And if Hexen II was a different experience in order to differentiate itself as a unique series, Heretic II goes above and beyond to set itself apart....for better and for worse.

[ranger-report]

Look at this beautiful copy of Hexen II! I’ll be doing a write up about this entry in the series soon. What a find!

Found my old copy of Hexen II.