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God Of War: Ascension – A.D.P. Review (+Video Review)

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God Of War: Ascension – A.D.P. Review (+Video Review)

When is it time to stop? Call of DutyMadden, and Just Dance don’t seem to get the memo. Other franchises like Dynasty Warriors and Monster Hunter are still going after stacks of sequels, but take long breaks so stagnation doesn’t set in. Other series like Assassin’s Creed and Guitar Hero learned the easy or hard way that you can’t ride the coattails of past successes forever, so after three console and two portable titles, this was the situation God of War was in. What more can you do to retain an iconic formula without straying too far? No matter how fun, do some franchises have seemingly undying longevity whereas others naturally lose steam? Santa Monica Studio’s answer took form with Ascension and proved the latter for the franchise. It wasn’t even a proper send-off according to the general gaming community. I’ve often heard that Ascension is plain unnecessary with a poor story and frustrating combat, so I prepped for the worst with this swan song for Kratos.

Is it truly the worst God of War game? In a couple ways, sure. Is it a bad game? If you’ve paid attention to Santa Monica’s consistent track record, I’d argue the team could never make such an egregious misstep, and Ascension is no exception … but not without issues.

However, I can see why people are quick to judge. I was over the franchise by the time I got to Ascension because I’d had my fill of everything that could be done. From the first game to God of War III, nearly all of my major complaints and suggestions for improvement had been addressed, so any further installments felt ancillary. Ready at Dawn’s contributions avoided this trap with compelling standalone adventures that came in during the series’ heyday. Three years later, Ascension is an odd one out burdened by the weight of expectation, thereby being the product of misplaced focuses and mixed execution. On the other hand, its positive critical reception illustrates my frustrations with people refusing to consider what it does right, arguably heightening some design elements of God of War to their greatest potential. How can this be? As always, I’ll get to that after we take a brief glimpse into its development.

Analyze

Santa Monica was considering new projects after God of War III. It’s only expected since anyone would be worn out working within the confines of the same world and gameplay for a decade, but the team – much like Ready at Dawn with Ghost of Sparta – felt the urge to give one last hurrah by telling the story of how Kratos broke his bond with Ares. After all, the Spartan was in the Olympians’ service by the time of Chains of Olympus, so how on earth did a mortal achieve this? It paved the way for exploring more gods and locations, but the prequel premise didn’t solely drive Ascension’s conception.

There’s been challenge modes in every God of War that haven’t been worth mentioning. They’re brief, fun distractions with unique arenas that give you time limits, limitations, or strange objectives to fight outside the box. The third game had a special arena taking place atop Mt. Olympus called the Challenge of Exile. The trials conclude with a shocking one-on-one duel with Fear Kratos: the black, nebulous version you play as when Zeus forces Kratos to confront his memories and guilt. Lead Combat Designer Adam Puhl is the culprit for this encounter, which got the whole studio wondering, “What if we could turn this into multiplayer?”

The early 2010s were a weird time when single-player developers (or their publishers) became eager to tap into the multiplayer craze. You’d see curious forays into online play with Dead Space 2Assassin’s Creed: BrotherhoodMax Payne 3, Spec Ops: The Line, and BioShock 2, but more often than not, even the surprisingly good takes didn’t have lasting vigor. Just like most gamers, I was disappointed that studios were pulling time and talent away from core experiences to deliver competitive/cooperative modes no one asked for. The same concern broadly categorized the initial response to Ascension. Ready at Dawn actually considered multiplayer for Chains of Olympus and shut that down, but could this game deliver on that ambition? Should it?

It was new ground for Santa Monica that brought the team back to the old, intimidating territory of the unknown they’d faced with the first God of War. Fresh faces were needed with experience in coding, designing, and balancing multiplayer. Old blood had to overhaul and expand upon the single-player mechanics with new weapons and abilities. The team wavered on whether the game should be co-op or competitive up until the alpha build and eventually went for both. While leadership was better regulated, it was detrimentally split between two worlds. Senior producer Whitney Wade and director of internal development Chacko Sonny discussed how game director Todd Papy was caught between a rock and a hard place – when the multiplayer needed focus, the single-player went on the backburner, and then the opposite happened after E3 2012. But who’s Papy?

Todd Papy started his game development career in 1996 as an artist for San Francisco Rush at Midway Sane Jose. He continued with the 1998 sequel Rush 2: Extreme Racing USA and San Francisco Rush 2049 the following year. He became a designer for Dr. Muto: a strange 3D platformer with side scrolling and first-person elements where you transform into various creatures as a mad scientist. You may recognize that game from my God of War III review since director Stig Asmussen also worked on Dr. Muto as a lead level artist. From there, along with a couple other friends like him, Papy came onto God of War a year into its development as a senior designer. He actually made a 15-month exodus to work with Paradigm Entertainment on BattleZone for the PSP before returning to a similar role for God of War II. Like past directors, he rose within his department to become a design director for God of War III and took the director’s chair for Ascension. We’ve had artists (Asmussen and Ru Weerasuriya), a producer (David Jaffe … he’s hard to put a label on!), and designers (Dan Jan and Papy). One of the goals he brought to the table was “to take God of War and distill it down to an essence.” He not only wanted to home in on what made the gameplay tick, but also bring more humanity and quiet moments to this entry. Unfortunately, there’s not much else to go on to see how these principles guided the campaign’s production. Most of Ascension’s internally-filmed documentary was focused on the development pipeline of multiplayer maps and mechanics.

The game released on March 12, 2013 for the PlayStation 3 with favorable reception, but it sold poorly like Ghost of Sparta. Whereas God of War III sold over 5.2 million worldwide, the numbers for Ascension approximate to 2.4 million; God of War III sold over a million during its first month and Ascension around half as much. This is even worse considering how the game had a $50 million-dollar budget compared to God of War III’s $44 million. Fortunately for Santa Monica, the multiplayer was positively received by a small yet committed community. DLC nevertheless ceased production that year in October with ongoing patching that lasted for a little while longer. Todd Papy also left Santa Monica later that year to work on Star Citizen with Cloud Imperium Games as a design director in Frankfurt, Germany. He’s still there today … and Star Citizen is still in development.

Ascension is a fascinating if imperfect anomaly because of its divided approach, and it’d be remiss of me to ignore its stressed multiplayer component, so … yes, I bought the online pass and played a few hours of its modes for the sake of being thorough with my criticism. Besides, I was curious to see if my God of War skills from playing on harder difficulties translated well to this space. Did they?

Diagnose: Multiplayer

There’s nothing quite like Ascension’s multiplayer, so I’m going to walk through it slowly. You’re a warrior that’s been saved by the gods from the imprisonment of the Furies. You align yourself with Hades, Ares, Zeus, or Poseidon to gain exclusive magic abilities and items. Whereas Hades is more suited for a mode like capture the flag since adherents can turn invisible and increase their speed, Poseidon is better for team players since they can bolster defense and restore health. You can switch allegiances at any time to acclimate to the difficulties a mode or opposition poses, but if you stay committed and play well within a role, you’ll receive favor (XP) and skill points from the gods to unlock new armor, weapons, items, magic, and relics. All of these are different across allegiances, such as exclusive versions of weapons like the hammer or sword that have effects attuned to your role.

Without going into all of the abilities (items, magic, and relics), let’s just say they accommodate the roles of each allegiance, which prompts you to switch to, say, Zeus or Ares with free-for-all and Poseidon or Hades with cooperative modes. It’s overwhelming at first with all of the options presented to you, but if you take time with each allegiance, you’ll quickly know how to best serve yourself and teammates. One thing for sure is that players who are higher levels have clear advantages with increased stats and late-game abilities. Having any hope of climbing the ranks (with one allegiance, mind you!) would take a good dozen hours, especially with internalizing combos and particular kits that work best.

There are legendary weapons to purchase that I initially thought were pay-to-win, but thankfully, you can acquire every set through play by completing “labors,” which adds incentive to replaying certain modes, assuming particular allegiances, and so forth. What’s there to do? You’ve got deathmatches (team-based and free-for-all), capture the flag, and two unique co-op modes. The first is Favor of the Gods, which functions like domination modes where you have to capture and control points around a map to win. However, kills and opening chests contribute to your team’s score as well. That way, players aren’t avoiding each other but oscillating between objectives and player hunting to get the edge they need; it encourages moving around beyond capturing points to keep players tense and occupied. I didn’t get to experience this mode with the scant player base (the exclusion of bots is disappointing for those who want to practice or play solo), but from watching matches, I think it’s a great blend of deathmatch and domination with maps scattered across locations from the saga, such as the Labyrinth and Bog of the Forgotten. Every arena has unique environmental hazards, platforming, portals, and even background enemies that can disrupt combat if players get too close. You could say the small joys in solving puzzles is transferred here in the form of springing traps on hasty foes – a clever way to capture a feeling from the core experience in a new way. There’s a level of craft and attention put into these levels that make it plain why Santa Monica abandoned ship. They’re densely packed with layouts that come across more like playgrounds of death that are fun to explore and exploit.

 

Favor of the Gods is the greatest attraction that invites several playthroughs with each of its five, big maps. You can also play on (some) of the same maps and different, smaller ones with Trial of the Gods. This mode pits you against waves of increasingly harder enemies either solo or co-op. It’s Ascension’s answer to the lack of a challenge mode for those who love them, so it follows that once you beat them all, there isn’t much reason to repeat them ad nauseum unless you’re just starting out or desperate for XP. Favor of the Gods is where it’s at, but if you’re looking for a simpler time, the free-for-all and competitive team modes are a good test of your skills and ability to work alongside friends. I didn’t stand a chance in the short matches I played because I would open myself up once only to be caught in an endless combo. It’s similar to what happens with players who slip up in fighting titles, but it can be annoying since God of War has always been about constantly being on the offensive and recovering quickly. Perhaps an unavoidable consequence. Nonetheless, these modes are fun for a time with quick spars if you can master an allegiance.

Combat is similar to single-player gameplay with a far broader range of abilities to toy around with. Differences include the inclusion of sprinting and a more classical take on the Rage meter that allows you to use your grappling hook as a powerful weapon for a short time. What makes the multiplayer difficult is how rolling and parrying will leave you vulnerable to punishing grapples and heavy attacks, so you can’t be spamming these moves like you would against AI. There’s never been greater risk or deliberate intention to combat as there is in Ascension’s multiplayer, but the gameplay’s accessible, simple nature means that fights start to blur together and feel shallow, which doesn’t work in this particular game’s favor.

Still, the multiplayer is an ambitious, commendable conversion of God of War’s gameplay. Half of its modes lose their luster after completing them, but the Favor of the Gods and deathmatch options can easily provide a couple dozen hours of fun if you could get a group of friends together that are craving classic God of War. Honestly, I think the idea would prove successful today as a standalone multiplayer game. If Santa Monica ever considers returning to the old formula, I would be all over an experience designed from the ground up that actively provokes strategy and cooperation. Can you imagine combos that can be executed in tandem with a teammate to take down NPCs and players? A deeper parry system and more weapons to switch to? Competitive QTEs even more fleshed out than Gears of War’s simple button-mashing chainsaw fights? I can see why people still play Ascension to this day, and I’d wager the team (maybe Ready at Dawn?) could deliver on its original ambitions. Maybe set before humanity’s disappearance in Midgard where players fight on behalf of the gods across the nine realms? Oh, the possibilities.

Now that you understand how much of an investment in resources and time this mode took for Santa Monica, how much might it have adversely impacted the campaign?

Diagnose: Campaign

Six months. It’s been half a year since Kratos unwittingly murdered his family. Ares realizes that he may have been mistaken in believing the Spartan could be his greatest warrior, so he tasks the Furies to soothe his paralyzing grief with illusions. These Primordial beings are supposed to be servants of Hades but have pledged their loyalty to the god of war so they could bring an end to Olympus together. The Furies’ purpose is to eternally punish those who make and break oaths to the gods, but under Ares’ sway, they condoned his decision to deceive Kratos. It was an offense to the justice they were supposed to uphold that Orkos couldn’t stomach. He decides to secretly help Kratos break free of his mothers’ influence and start him on the path to freedom from his father. Yep, Orkos is their son – a failed attempt to create the warrior that Ares desired before he discovered Kratos.

But this isn’t how Ascension starts. If I thought Chains of Olympus was an unusual style of story, Ascension takes the cake with a plot structure that jumps from the past to the present up until the end. The journey Kratos embarks on eventually lands him in captivity by the Furies, and like the first God of War, this end is the beginning. Kratos breaks free from being chained up and tortured by one Fury that he chases and fights through her sisters’ nightmarish prison built into the huge, multi-armed Aagaeon: the first oath breaker. It’s a setup that attempts to build suspense and falls short with revelations that feel unnecessarily held back. God of War had the best kind of mystery because the opening shot of him committing suicide doesn’t reveal any spoilers. After Athena assigns you to kill Ares, you wonder if he failed or not. Why have the gods abandoned him? Did they take away his guilt or do something worse? The questions pile up when you realize Kratos has a colored past with Ares and Sparta. Why did the gods choose him to kill the god of war? Who murdered his family? Even though these mysteries are important, they don’t distract from the present journey or make it confusing. There’s plenty of reason and clarity to your current objectives, so the flashbacks add on top of the suspense for Kratos’ seemingly doomed yet uncertain fate. Even though the dialogue is campier than other entries in retrospect, it remains an engaging, well-structured narrative. On the other hand, cutting from the present to the past is awkward in Ascension. It’s hard to follow why Kratos doesn’t assume his family is dead if all he sees are visions of them. How are the Furies not aware of where Kratos is if they’re casting illusions on him throughout the experience? It sounds stupid to dwell on plot holes with a series as over-the-top as God of War, but that doesn’t mean suspension of disbelief still can’t be broken.

 

It would’ve been more effective to tell the story in a linear progression with Kratos being mentally and emotionally manipulated by the Furies. Illusions are rare and only come in the form of some enemies and cutscenes, even though Kratos confusingly remarks, “How can I defeat the Furies when all I see is illusion?” It would’ve been fitting to integrate his fight back to reality throughout gameplay as you progressively break free of their psychological shackles, making revenge all the more sweet. One of the greatest moments is when Tisiphone (one of the Furies) pits you against Spartan soldiers! There’s also a boss battle where you kill her … only to discover you’d bested a doppelganger. Even in combat with the Furies, there’s no actively shifting environments or trickery, yet bosses like Zeus and Perseus made use of these neat ideas. My point is that that the story tells you about Kratos’ illusion while your experience with him paints a different picture. In other words, illusion is a periphery matter compared to simply breaking the blood oath to Ares, when the frustrations and dangers of it should be the driving force behind why you want to pummel the Furies. Only at the very end does Ascension peak into the enthralling madness of being in the illusions Kratos speaks of.

Instead of only relying on a few cutscenes and the final boss fight to convey this struggle, it should’ve been an integral part of puzzle-solving and platforming. For example, the Eyes of Truth are an item you obtain within the last hour that disrupt illusions hindering your way, but it would’ve been better had this been given to Kratos from the get-go to slowly subvert and master fiction in conjunction with reality to progress. All I can think of is how The Evil Within did this masterfully to put the player in a constant state of exciting unease. Can you imagine the horror of navigating an alternate reality of Hades at random as you explore a Grecian village that forces players to confront intense enemies, timed platforming, and grotesque puzzles? This is the earliest time in Kratos’ life, so even though he shrugs his shoulders at the god of the underworld by God of War III, I think circumstances like this would have been perfect to break down Kratos and unveil the underlying insecurity and fear that motivate his rage, perhaps in conversation with Orkos as they work out their shared experiences and feelings. I tell you what, I honestly might have teared up after the credits rolled if they had developed a believable, deeper friendship.

On top of that, there’s the use of characters from his past during cutscenes that show how Kratos had a more soft-spoken, tempered side. It’s effectively jarring in light of who he is now, but these moments are few and far between and come at the expense of action that starts to wear on you towards the end. It’s a strange thing to admit with God of War, but it’s also hard to imagine some of the stunts he pulls off as a mortal here. Not to mention how I wanted to see more of his faults exposed with more naturally occurring, quieter moments that Ready at Dawn pulled off rather well.  Wade and Sonny wrote about how the story’s execution was hard to figure out: “As we closed in on finishing the game, we decided to retain our primary focus on the game’s biggest moments –those ‘epic’ moments and set pieces. Unfortunately, this came at the cost of narrowing our story-telling vision. We’re proud of so many moments in Ascension, but the finished game did miss many of the storytelling ambitions we had hoped to deliver to both ourselves and our audience.”

Even though there are some cringey line deliveries and cutscenes with the introduction of motion capture, I do like the characters in themselves. Orkos is a genuine, upstanding guy who plays a tragic yet compelling role in Kratos’ life. As I mentioned above, I sorely wish he had been more present since he’s not only an original invention of Santa Monica, but also one of the only friends the Spartan shows genuine respect and compassion for. Since he was despised by his parents and replaced with Kratos, he could’ve also had an internal conflict of jealousy to stand for what he believes in (helping Kratos) or prove his worth to his parents (betraying and fighting Kratos). I also love how the Furies clash in their goals, but again, there are missed opportunities to delve into their hatred of Olympus and involve Ares in the plot. After all, there has to be a reason why he doesn’t pursue Kratos to the ends of the earth after breaking his bond. What stops Ares from killing him? Maybe he fears Kratos from a hypothetical encounter? Perhaps the Olympians became involved with this whole debacle, which led to Zeus’ rule that the gods weren’t to fight each other? I’m practically writing out how this game could’ve been done and it’s heartbreaking that none of these ideas come to fruition. That’s why Ascension is far from pointless with its rich premise and characters, but it squanders them all nonetheless. As a side note, I will say the music would’ve fit right in with a better story. There’s a great assortment of beautiful and heart-pumping pieces from composer Tyler Bates. His score has a noticeably slower tempo that tones down the stereotypical bombast, but he definitely retains the heavy male choirs and percussion that musically define God of War.

 

Ascension is also a contender for having the best combat! It faces a similar problem like Chains of Olympus since Kratos can’t be going around touting a godlike arsenal. Santa Monica commits to that with nothing besides the Blades of Chaos. Instead of worrying about the ever-present issue of weapon balancing, they removed the problem entirely … for better and for worse. The absence is rectified with the rather innovative idea of picking up swords, spears, hammers, shields, and slings scattered throughout the world (one of the most obvious influences of multiplayer). I like how you can wisely use them to soften up particular foes quickly or toss them out to stun huge ones that you can use to your advantage. Despite these strategic affordances, it’s a shame the weapons are one trick ponies instead of being ones you can switch to with different combos until they break or something. It’s a clever idea that I just don’t prefer replacing more complex weapons that stay with you, but this makes way for emphasis on the Blades like never before.

Santa Monica extracts the latent power of the Blades with the tethering mechanic. It’s mapped to R1, which has only been devoted to environmental interactions (like opening chests) and shoulder bashing across titles. This time, Kratos can throw out a Blade like Scorpion, so instead of having enemies get over here, he gets to them. It doesn’t possess the same dangers as tackling enemies in Ghost of Sparta or grabbing one up close to ram others in God of War III because it’s fast. You can even execute simple attacks with your other Blade while tethered! The mechanic also removes the need to sprint or roll toward enemies to grab them, so the Blades are more practically applied beyond juggling grunts during combos. This is Kratos’ iconic weapons at their most satisfying, and even though the tethering can be a crutch to exploit during fights with lesser foes, it’s fun to assess the battlefield and use it when the time’s right since you can toss enemies, sling them around like a bludgeon, and more.

The grab mechanic is a melee now that lets Kratos briefly stun encroaching enemies with a punch or kick. It’s a good change to stun enemies up close, but one change I don’t like is how parrying is akin to Dark Souls. Instead of pushing the button just before an attack, you have to bring up your defense and press X before the blow lands. This makes parrying in the thick of a combo or group of enemies impossible because there are two steps rather than one (not to mention more enemies to pay attention to at a much farther distance than in Dark Souls). This small design choice is much more detrimental than you’d think for combat flow because if you’re about to take a hit, you have to absorb it with L1 and wait for an opening with a follow-up attack. The first God of War provided a small way to parry attacks with a late-game move called Hades’ Revenge. It was poorly implemented then, but it was something to gently lessen the constant game of stop and go. In Ascension, tethering invites you to dive into the fray. Heck, enemies – though lower in quantity than usual – are more aggressive with bigger pools of moves. The devolution of parrying violently works against these advances. There’s even this bizarre animation where Kratos falls and gets back up from certain attacks, which occurs often and costs precious health since you’re needlessly exposed. It’s equally frustrating.

Magic returns to its roots with Kratos being blessed with the power of gods. Zeus, Poseidon, Hades, and Ares bestow Kratos with their respective elements of lightning, ice, soul, and fire. Instead of themed, special moves alone that take up magic, the elements also add small foils to combos and yield different orbs. For instance, lightning accumulates blue orbs (magic) and can shortly stun targets, whereas soul grants green orbs (health) and sends out small amounts of, well, souls that inflict residual damage. You can do a move that sends out a ball of electricity or two devastating waves of soul energy, and I’m still not done! The rage mode has been changed to a meter that builds depending on your performance. If you don’t get damaged for long enough, you can activate another magic ability to send out a five-second stream of lightning (similar to the Eye of Atlantis in Ghost of Sparta) or spawn a flurry of souls that eat away at foes. Technically, there are eight magic moves total, two for each element, which makes this game feel like a thorough upgrade of the first God of War’s magic system. Did I mention none of the aforementioned moves take up any magic? Only these massive AoE attacks expend magic, which may just be simple button presses, but they feel exciting to pull off in the midst of overwhelming odds, as if Kratos gathers all his power and screams, “Enough!” All of these things sound great, but there’s not much reason to switch elements with the exception of AoE attacks because enemies aren’t weak or immune to particular elements. It’s another puzzling oversight because some enemy types seem made for weaknesses. I still switched often for the magic abilities, but did so more out of whimsy than intent.

 

There are two items as well! Both of them run on cooldown timers (no item bar) and are very useful. The Amulet of Uroboros slows down time around a target and the Oath Stone of Orkos summons a clone of Kratos that briefly fights alongside you. I don’t have as much to say about their application in combat as I do their wonderful part in puzzles. I can say without a doubt that Ascension has the most varied, thought-provoking puzzles in the saga, even if they don’t fold in the use of illusions that I suggested earlier. Good, mechanical puzzles are a dime a dozen, but you’ll be manipulating cool, complicated machinery and devices throughout this game. The items play into the puzzles so well since you can heal or decay objects to adjust one part of a device to pave the way for fixing another part. You need to think carefully about timing and placement with the Oath Stone since you can have your clone hold levers for you or stand on platforms in your stead. Puzzles come across as deeper and bigger than usual with one that requires you to move around and backtrack through several rooms. There’s more backtracking to the point where I realized Santa Monica finally took its original inspiration of Legend of Zelda to heart. The puzzles don’t match the sprawling, complex dungeons of a similar competitor like Darksiders, but Ascension shows the level designers at their best. The same can be said for the platforming … sort of.

The game takes a page from Ghost of Sparta and throws in the sliding mechanic with obstacles and cool camera angles to involve the player more. Opening the Temple of Delphi is one of the best examples of the platforming as you activate and ride across three giant, mechanical snakes to turn this massive gear. There’s a ton of suspense and action happening here, but the actual platforming isn’t as diverse and, on the bright side, removes fluff like climbing across ropes and beam balancing. Even the series staple of wall climbing with the Blades isn’t present, which has been switched to hand climbing that automatically moves Kratos across walls with the occasional jump you have to initiate, similar to Uncharted and Assassin’s Creed. It’s an unneeded change with how platforming works, but I’m okay with it. Sometimes platforming will come to the forefront in splendor. Other times it recedes into the backdrop of gameplay until I almost forget it was there. It’s a strange beast to put it mildly.

I have confused thoughts with the art direction. I was in awe with exotic areas like Delphi that has a captivating clash of verdant trees and waterfalls amidst snowy mountains that you get tours of by riding those mechanical snakes. I also talked about how the puzzles are more mechanically minded, and this applies to their appealing visual design as well. All the contraptions you come across are gorgeously assembled marvels. There is unexpected, wild opposition like anthropomorphic elephants and Amazonian warriors, too (and if you’re wondering how elephants can be in Greece, it’s because much of the game takes place in or close to Persia). There’s a greater focus on more saturation, realism, and letting go of constraints for the sake of fantasy. I like what lead environmental artist John Palamarchuk had to say: “Doing research, we discovered they didn’t have arches back in Kratos’ time. That means no circle architecture. Visually it’s more interesting [to have arches], so we made a decision to have them because they make stuff look better.” As a result, the artists really shine in this entry with the places you explore.

However, these settings fall prey to the remnants of the accursed brown plague of late-2000 games. I’m reminded of Chains of Olympus since browns, tans, and blacks dominate environments with only a couple anomalies like Delphi. The impressive detail gets lost in the bland color palette, including Kratos during several combat and platforming sections. That brings me to the camera work. I’ve never had a problem with the programmed cinematography. Ascension gets it right more often than not, but there are unforgiveable zoom outs that had me fuming. Some design is at its best when it’s not noticed, and this is the first time Santa Monica fumbles with its otherwise perfect camera record.

 

As for bosses, this game actually starts with a Chronos-like battle with the Aagaeon. Isn’t he supposed to be dead with a prison complex integrated into his body? Well, one of the Furies brings him to life with these parasitic bugs that transform his appendages into monsters. What ensues is the most insane introduction to any God of War game where buildings are morphing and fighting against you. You have to see it to believe it, and while I didn’t find its execution as memorable as Chronos, it’s filled with exciting moments where you’re tossed and turned all about. Other than that, evidence of skimping because of multiplayer is evident since there are only four other bosses. One of them is more of a sub-boss, but the remaining three are some of the most complex in the franchise with my favorite being the conjoined pair of Pollux and Castor. This unusual pair seems to have no end to the tricks up their sleeve since they teleport, cast magic projectiles, and alter the floor you’re dueling on. You’ve got to give your undivided attention to this busy fight, and the same goes for fighting two Furies at once twice. I was getting Ornstein and Smough vibes with how they protect each other and make you cautious about making moves. These fights are nowhere near as punishing or methodical, but in God of War’s scope, they’re among the most unique and surprising in the saga. It’s no question these words define Ascension as a whole, but should they be framed in a positive or negative context?

Prescribe

One thing I’ve had to learn as a critic is to know when personal fatigue conflicts with objectively fine video games. A stellar example is Black Ops III. Sledgehammer Games’ WWII scratched a nostalgic itch for boots-on-the-ground gameplay that kept me around for much longer than usual, but just because I think Treyarch’s next multiplayer project seems like a watered-down expansion to Black Ops III that will bore longtime fans, I’d heartily recommend it to newcomers since the gunplay, operators, modes, and maps capture the best parts of the third game without becoming a gymnasium of wall-running and double-jumping. I think this critical approach is found lacking in hasty judgments of Ascension that even colored my own attitude settling into it.

After playing through five games in two months, I could feel the same fatigue that many players must’ve felt in 2013. You can tell Santa Monica was stretched for time and creatively spread thin for an addendum to their supposed finale, too. The story is ill-conceived and unsure of itself despite a phenomenal premise and cool characters to work with. The concept of illusion is a painfully missed opportunity to bring a memorable edge to platforming and puzzles. Elements of combat are also dragged down with new parts and changes that shouldn’t exist. It’s almost like you can feel Santa Monica was getting tired of God of War as well, but even if that’s true, there’s a lot to love about Ascension. The flaws that mar combat obscure how Kratos’ Blades have never felt better to control with the brilliant tethering mechanic and rehauled magic system. Illusion’s lack of influence over puzzles may be a sad waste, but they’re easily the most challenging and fun in the series. Other than these obscured positives, Ascension boasts an acceptable assortment of exciting boss fights, grand set pieces, and decent platforming you’d expect. Oh yeah, and there’s a whole multiplayer mode that’s actually worth taking a spin with for a spell. Ah, there’s so much to say because Ascension is a perplexing whirlpool of God of War elements at their best and worst. Fortunately, the former wins out in a hard-fought battle because, even at its lowest point, Santa Monica is incapable of delivering a bad game. Ascension is anything but that in spite of its scars.

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Review

http://www.arlindmorina.info Explores Innovation and Expertise

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http://www.arlindmorina.info Explores Innovation and Expertise

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Review

How Call of Duty: Ghosts Can Transcend Its Predecessors

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This article was originally published as a user blog post on Game Informer.

Part 1

Sooner or later, a lot of good things come to an end. Enjoyable periods in life, friendships, and our favorite TV shows either abruptly halt or gradually fade away into history and our memory banks of nostalgia. The same applies to video games in a more-than-average way. Franchises and series that thousands upon thousands of fans love have died out or remained in a cryogenic, sleep-like state for years. Spyro The Dragon and Crash Bandicoot – crazy, fun 3D platformers with memorable worlds and characters – got stuck in the dreaded mess of being handed around by mediocre developers until their original creative vision and charm was lost (and no, I personally don’t consider “Skylanders: Spyro’s Adventure” a true revitalization of the Spyro games I loved as a kid). Mother 4, Half-Life 3, Beyond Good and Evil 2, and Star Wars: Battlefront 3 are only a couple of other games that gamers desperately want to experience, but will probably never be able to due to difficult developmental cycles and/or reality’s sting.

Anyway, I digress. What I’m trying to get at is that Call of Duty will eventually die out like anything else. Sure, it’ll take a long time, but it will very likely be due to oversaturation and “fun factor” stagnation. The yearly releases of this franchise with the formula largely remaining the same will eventually grow old to consumers. I have a friend that believed he wouldn’t get tired of Call of Duty only about a year ago, but he’s shocked to find himself feeling this way about it now. I talked about this growing problem in my first blog post, so you can check it out for my full opinion on this matter. My main point in it is this: Treyarch and Infinity Ward need to strike that difficult chord between innovation and familiarity. Make Call of Duty something that’s recognizable each year, but implement some big changes once in a while. How about a different approach to the style of gameplay (in terms of going from heavy action to an emphasis on stealth) while keeping the mechanics the same? How about branching out to a different genre like Third Person Shooter? At least Treyarch has attempted to do this to a noticeable degree and succeeded in some ways with their takes on Call of Duty. Black Ops 2 contains their most obvious experiments: Real-Time Strategy elements in the gameplay of some campaign missions, multiple story pathways with moral consequences, and a revamped Create-a-Class system for the multiplayer. However, these still aren’t and haven’t been enough to get me to come back to Call of Duty multiple times throughout any given week like I used to do. What needs to be done?

With the recent unveiling of Call of Duty: Ghosts, I think it’s the perfect time to address what the next installment in this gargantuan franchise could do to stand out as a truly unique and innovative title in comparison to its predecessors. I have a few things I’d love to see in the campaign (part 1), multiplayer, and a third mode different to or expanding upon Spec Ops and/or Survival Mode (part 2). Without further ado, let’s unmask my thoughts…

THE CAMPAIGN

1. Diverse Missions Primarily Driven by Stealth Tactics, Equipment, and Settings

Some of my all-time favorite missions from the Call of Duty campaigns are the ones involving stealth. “All Ghillied Up” from Call of Duty 4 and “Cliffhanger” from Modern Warfare 2 are packed with tense scenarios to keep out of the sight of enemies while having to also surgically take them down. However, these sorts of missions make up a small percentage of all the campaigns because Call of Duty is primarily known for explosive, unbelievable shootouts. But what if Ghosts switched gears by having a majority of stealth missions with some epic shootouts here and there? This would surely make for a change of pace that offers up a myriad of new possibilities for Ghosts’ campaign. For starters, new mechanics could be added to the solid FPS gameplay that give more control to the player, such as being able to control where the player wants his teammates positioned, commanding who to kill, and which equipment to use in a given situation. This would be something similar to what Tom Clancy’s Ghost Recon: Future Soldier and Brothers in Arms have done and I believe it would bode very well with Ghosts (as exemplified in the RTS gameplay in Black Ops 2).

The equipment possible for a stealth-themed Call of Duty is absolutely awesome in concept. I don’t know where to begin with the possibilities! The CornerShot would be an awesome gun to see in the Call of Duty arsenal, as well as plenty of new attachments for other stealthy weaponry. Camouflage for soldiers is a given, and something like “Octocamo” and “FaceCamo” from Metal Gear Solid 4 could open up for plenty of new opportunities for missions. What if there were moments that required precise timing to blend into the environment? The amount of nerve-wracking situations that could result from this alone could craft the campaign into an exciting, edge-on-your-seat experience that doesn’t require explosions and close-shaves from utter destruction.

Last, but not least, Ghosts could have the most breathtaking environments out of any of the Call of Duty games. I can see it now: watching a sunrise on red mountaintops and desert valleys; crouching down in a midnight storm through a thick jungle; sneaking through an old, seemingly abandoned factory of cold, rusted steel; wandering through an underground network of caves with waterfalls, stalactites, and perilous drops. These are simply a few suggestions; Infinity Ward has the chance to use time of day, unexpected locations, and massive scope to blow away gamers in the visual sense. When everything is blowing up and there’s no time to slow down, nothing can be appreciated to its fullest extent. That can change for Ghosts if it takes a stealthy approach, especially since it will have a new engine.

2. A Grounded Story with Relatable Objectives, Twists and Turns, and Depth

Most of the stories of Call of Duty have the simplistic, typical plots you would expect from a military shooter: bad guys have powerful nuclear weapon, so good guys must stop them. However, this would be an unfair description of Treyarch’s games. The Black Ops series has the most developed story in the franchise, which has great characters like Sergeant Reznov and Alex Mason, unexpected plot twists, and a surprisingly compelling narrative. I want Infinity Ward to learn from Treyarch’s work and make it better.

Each story needs an introduction, and Ghosts will be no exception. It’s a “new chapter” for the franchise according to an executive producer at Infinity Ward, so I will be expecting a breakdown on what’s been going on, what needs to happen, why these things are happening, and who’s who. Many games like Call of Duty make the mistake of briefly describing what’s going on followed by immediately jumping into the middle of the action without a cohesive goal or reason to care about what’s going on. Everything we do is backed up by beliefs, values, and motives. For example, the end of Modern Warfare 3 is one of the most potent levels in the whole trilogy. Captain Price is on a personal vendetta that’s absolutely relatable, and it explodes into an adrenaline-pumping mission that isn’t just exciting due to the action, but because of the objective itself. Therefore, reasons for combat should be understandable, clear, and effectively introduced throughout the entire story of a video game that requires this, and I believe Call of Duty is one such game. Once this is out of the way, the story should be bolstered with a logical pace; let the player have freedom of choice for the combat and/or story outcomes (Black Ops 2 was a large step in the right direction); create goals for the characters and outcomes for their decisions that are worth caring about, and throw in a couple of unbelievable, emotional plot twists that make sense. The list goes on, and I’m no storywriter, but I know a good story when I see one. If Ghosts can do this – and I know it’s possible – then we’ll be in for one of the most shocking surprises later this year.

3. Relatable Characters with Backstories, Unique Personalities, and Humanity

One of the biggest challenges facing any video game developer is trying to build a connection between players and a character(s). Examples I can personally conjure up that succeed in this regard are The Walking Dead (by Telltale Games), Final Fantasy X, Kingdom Hearts, and Journey. How do these games manage to do this? Common threads I see woven together in this area include believable, relatable backstories. Characters that have a history instantly become more interesting to anyone. They can be surprising, horrifying, ordinary, or mysterious as long as they’re meaningful because they can bring out the curiosity and emotion of gamers. Likewise, personalities are a key strength to strong characters. What would be the opposite of this when it comes to Ghosts? That would be serious, battle-hardened soldiers that shut up, follow orders, and crack some quip or corny phrase every now and then. Uh, how about no? Look at military films and TV shows like Black Hawk Down, Saving Private Ryan, and Band of Brothers. They show that soldiers have diverse personalities, strengths, weaknesses, differing views, and most importantly, humanity. This is true for soldiers in reality, and there’s no reason that this can’t be emulated to some effect in a game. You need only look to The Last of Us and Beyond: Two Souls, which are posed to have some of the strongest characters in any game yet (the recent Bioshock: Infinite is another example too). No one should have to search for and try hard to care about someone. It comes naturally to all of us in life, and fiction has the uncanny ability to connect us with the imaginary in all sorts of ways. Although we’re talking about Call of Duty, the potential is there for Ghosts to accomplish this.

4. An Electrified, Gritty Soundtrack with Tensity and Spine-Chilling Beauty

Hans Zimmer may have been the helm of the Modern Warfare 2 soundtrack, but I’ll never forget Harry Gregson-William and Stephen Barton’s score for Call of Duty 4. Or more specifically, the main menu theme he composed for it. It has this sense of quiet severity brought out by eerie, heavy strings and odd echoing sounds. This is how I would imagine the majority of Ghosts’ soundtrack. The bombastic orchestral songs from most of the Call of Duty games are great, but they shouldn’t be the prominent type of music in Ghosts. Soundtracks like the ones for the Metal Gear Solid series invoke the vibe I’m looking for. After all, being stealthy is a scary, risky, and nerve-wracking thing to perform, so the music of the game should define it to enhance the immersion of Ghosts.

5. Significant Improvement to the Engine, AI, and Realism

It’s been quite a while since Call of Duty has changed its game engine. In fact, the Call of Duty 4 engine has been used for over 5 years for each game with small adjustments and improvements. This streak is finally ending with a supposedly new game engine coming to Ghosts. This will hopefully be accompanied with significantly updated graphics that improve important things like textures, lighting, and physics. Another area people have always wanted to see improved is the Artificial Intelligence. Instead of enemies normally hiding behind cover and sticking their heads out in ridiculous ways, there should be more strategies for them to execute. They should have some unpredictable movements, truly try to defend themselves instead of running out into the open, and react with one another in creative ways. All of these things in consideration contribute to enhancing the realism of Call of Duty, which could be applied to every area of Ghosts. I know that people laugh at the idea of an FPS (let alone Call of Duty) being realistic, but at least games like Battlefield 3 and Medal of Honor: Warfighter have accomplished this goal to certain extents. The former excels in visual, equipment, and vehicle realism, whereas the latter attempts to show the emotional and personal effects that war has on soldiers and their families.

I concede that this is some major wishful thinking, but the “realism” I’m hoping for isn’t impossible. Developers will never be able to replicate reality (or not for a very long time, at least), but that doesn’t mean they can’t imitate it in the best way that games are capable of doing.

6. Campaign Co-op and DLC Missions

Not a lot of developers attempt to add DLC to campaign experiences that would benefit from it. However, Dead Space 3 and Bioshock: Infinite are two recent examples of games that are going against the curve. Call of Duty has always had the potential to do this as well, but simply never has. If Modern Warfare 2 and Black Ops had DLC missions that centered on their prominent characters (like Ghost and Reznov, respectively), I would have been all over them. The reasons why are that they could have expanded on the Call of Duty stories or even offered alternate timelines in addition to new vehicles, weapons, and locations to use. And I’m not just talking about a 30-minute/one hour-long mission every couple of months, but one mission every month in the form of episodic releases like The Walking Dead. The exciting anticipation that would come with this kind of release strategy for campaign DLC in Ghosts could be something ingenious.

Multiplayer DLC may offer new maps to play online, but campaign DLC would be a new and fresh addition to Call of Duty that many people would be more than willing to try out. And not only this, but it could entice players that only play the multiplayer to dive into the campaign, especially if it could be played cooperatively like World at War’s campaign. It may not have been a popular feature in that game, but with DLC and a squad of main characters (as indicated by the reveal trailer), Ghosts would make for the ultimate return of co-op (maybe even up to four players) for the campaign…and why not?


I will try to return with my suggestions for the multiplayer and third mode (Part 2) in a week or two. I didn’t expect to rant for so long on the campaign, so I hope this doesn’t come across as being spread out too thin. Other than that, what are you hoping to see in Call of Duty: Ghosts? If you were in charge of the franchise and could do anything with it, how would you alter it? Do you currently like Call of Duty, enjoyed it in the past, or were never fond of it? Shout out in the comments below, and please ask any questions you may have about my points (it was hard to get them right!). Thanks for reading!

Part 2

Gamers around the world know that the crowning jewel of the Call of Duty franchise is the multiplayer. It has not only been the reason why it is the most successful entertainment franchise in history, but it has also contributed to transforming and molding the game industry ever since the groundbreaking Call of Duty 4 was released in 2007. While there are a majority of people that consider the franchise to be an epidemic that’s degrading the quality of many AAA games and negatively influencing the business practices of the game industry’s big publishers (and I can’t say I disagree in some respects), no one can or should deny the progress and evolution of the spectacular multiplayer that Call of Duty boasts. However, as a long-time fan of the multiplayer, I’ll admit that it’s gotten a bit stale over the years. Although there have been signs of significant progress (such as the excellently revamped Create-a-Class in Black Ops 2), I’ve found myself truly invested in the multiplayer for only a couple of months, whereas I used to consistently play it until the next release from Call of Duty 4 up until Modern Warfare 2. For the growing amount of gamers like me in this situation, what needs to be accomplished to reinvigorate an already excellent multiplayer formula with new ideas? That’s an extremely difficult question to answer.

A little over a week ago, I discussed a couple of things Infinity Ward can do for the campaign of Call of Duty: Ghosts that could rejuvenate this slowly waning franchise for everyone. To my surprise, the Xbox One conference confirmed that a significant number of my suggestions are indeed being addressed (better character development, diverse environments, improved graphical fidelity, etc.). Although I found the emphasis on canine companions to be a bit odd (albeit this has potential to spice up the gameplay in interesting ways), color me more impressed than I thought I would be!

I was also shocked to see a sneak peek at the multiplayer, which has always had separate reveals from the campaigns as far as I know. Thankfully, not much was revealed to the point where my suggestions on it would be irrelevant now. Only two major additions to it were announced, so I will discuss them both later on (even though one of them was one of my original suggestions). I will also be addressing the third mode, which will include my thoughts on improving the established Spec Ops mode and possibilities for a new mode. Let’s go ahead and jump in.

THE MULTIPLAYER

1. An Interactive Create-a-Class System with Meticulous Customization

Medal of Honor: Warfighter’s multiplayer – despite being mediocre – has a customization system called “My Solider” that I’ve always wanted to see in Call of Duty (albeit lengthy, this video shows it off). Instead of providing pictorial visuals to navigate through weapons and what not, Warfighter does this in a first person view. The soldier interacts with the equipment the player chooses to select and (obviously) provides a 100% identical perspective on how it will look on the battlefield. But why not take this a step further? Instead of having to practice with configurations after creating them in real or private matches, why not provide a training area to test attachments and weapons that can be accessed instantaneously? Tom Clancy’s Ghost Recon: Future Soldier does this (as demonstrated by its impressive unveiling with Kinect), and with the little time I spent with the multiplayer, I found it convenient to experiment with my classes on the fly. Back to Warfighter, it also shows a group of soldiers that represent a player’s classes. Although customization in terms of armor and cosmetics is not possible in this game, it will be in Ghosts (as confirmed by the Xbox One conference). What’s better is that it could take the same visual approach as Warfighter, but with full 3D rotating of soldiers for easy customization. In fact, this is very similar to what Black Ops did for its Create-a-Class system. Here’s hoping that Infinity Ward’s take on it will be the snazziest and deepest one yet.

How about the actual system itself? What could be altered to further perfect it? Black Ops 2 already has a fantastic system that is one of the greatest changes to the multiplayer formula, and I would like to see it carried over to Ghosts. The “Pick 10” concept really shakes things up for making classes. Two sniper rifles with a load of attachments and no perks? No weapons at all with six perks? These options and countless others make Create-a-Class a more personal, creative, and fun way to experiment with classes. I think Ghosts should simply expand on this with an increase in options, such as a new perk tier, more attachments, actual modifications to weapons that change all sorts of stats, etc. When it comes to killstreaks, the only thing I would change is that individual classes should have their own three (or perhaps four due to a new perk?) killstreaks to choose from. Modern Warfare 3 got this right, but Black Ops 2 did not. I’d love to see this return for Ghosts.

2. Desirable Challenges That Enhance Replay Value With Enticing Rewards

Call of Duty 4 and Black Ops stick out in my mind when I think of multiplayer challenges. The former has challenges for achieving a certain amount of headshots to acquire a colorful variety of camos, which I remember feverishly striving for to earn. The latter had daily challenges that rewarded players with “CoD Points” for completing them in a specific timeframe. Both of these features should return for Ghosts in their basic forms because were motivating goals that I enjoyed pursuing. However, I’ve still ignored most of the challenges because they offer nothing of importance to me. Each Call of Duty has had sections full of them to complete for XP…that’s simply not enough. If I’m going to extirpate, oh, say, 50 enemies by using a specific environmental hazard, I’m not doing that just for an emblem/callsign and XP. How about a unique accessory for a specific weapon/attachment or a new item to decorate my solider with (maybe even “limited edition” items that can only be earned in a certain timeframe)? Let’s imagine something entirely different. What if there was a currency system specifically designed for challenges that unlocked a plethora of items ranging in price and, therefore, desirability? Earning all sorts of unlockables that convey worth and certain statuses give something for players to aim for after going through all the weapons and leveling up; it’s a list of objectives that could be fun to earn and talk about with friends.

3. A Few Creative, New Modes That Focus On Teamwork and Strategy

‘Free-for-all’ naturally connotes the concept that a person is to fend for themselves against other opponents with the same objective. Unfortunately, this leaks on over to team-based modes in plenty of games, and Call of Duty is a prime example. It’s not like I have always been trying to encourage this either. The multiplayer can be easily played alone in almost every mode, so what can remove this roadblock to cooperation? To be honest, I don’t believe it can be done due to the intrinsic ‘lone-wolfness’ of Call of Duty…but it can be improved to some extent.

Not only is this ‘lone-wolfness’ natural to fall into, but encouraged as well. I’d rather play solo than associate with the overwhelmingly immature, vulgar perverts that play the multiplayer (with their incessant swearing, obscene profanities, and what have you). However, there’s the smaller amount of close-knit friends that want to have a good time, work together, and make fun memories, and they’re the kind of people (such as me and my friends) that this point is aimed at. As for what I have in mind, I’ll firstly suggest something similar to Counterstrike’s “Hostage Rescue” mode, which charges one team with retrieving a group of civilians held captive by the opposing team.  What would make this unique in Ghosts is that the opposing team keeps the hostages in a large building/area that they cannot leave. Therefore, the rescuers must find a way to distract the other team from the outside (where they spawn), infiltrate the building/area, and escort the hostages back to base. However, every player only has one life, so playing wisely is key. This could be viewed as a hybrid of Capture the Flag (strategy) and Search and Destroy (nerve-wracking pressure). Another mode I’m interested in is a “Capture the Leader” mode, which is well known from Gears of War. For Call of Duty, I think the mode could be altered to be like this: both teams are individually tasked with protecting one of their players (leaders) that has slightly better armor, weapon damage, speed, and overall stats than his/her teammates. However, if one of these leaders dies, it’s game over (I can see this lasting for four rounds in one game). This could result in some tense moments, especially if respawns are timed (probably ranging from 5-10 seconds). This would push players to stick together with their leader, but would also force them to be strategic in how they attack their enemies.

You can see the kind of pattern I’ve established with modes I would enjoy seeing in the next Call of Duty. Do you think the ones I’ve specifically addressed are appealing? Please add to my thoughts with your own ideas in the comments!

4. Exciting Cutscenes to Begin Matches, End Matches, etc.

This is more of a personal thing I’d like to have in the multiplayer. It’s inconsequential in the grand scheme of things, but rappelling down a rope from a helicopter; emerging from a jungle, or even parachuting down from a mountainside would be neat scenes to behold that play out while players wait for a match to start. And the same goes for ending a match, which could go out with boarding a jeep while fist bumping squad mates, riding away on motorcycles as a team blows the map up with C4, etc. I understand this is a silly point to include, but it’s nevertheless something I’ve always wanted to happen before and after matches in Call of Duty.

5. Interactive and Destructible Environments

I was originally going to only talk about destructible environments, but the Xbox One conference confirmed that multiplayer maps are going to have elements that allow players to exploit their surroundings in creative ways. In the gameplay trailer, a hefty bundle of tree trunks on the side of a hill (assuming to be triggered by a player) came crashing down on anyone unfortunate enough to be below. What if a player could set a wrecking ball loose on an abandoned construction site? Or how about irritating a nest of killer wasps (by shooting or damaging it in some way) as an enemy unsuspectingly walks by? Options like these make environments more pivotal to the player; a map is no longer just a place to be on, but partly becomes a weapon that can be used to someone’s advantage. This, in turn, could make the multiplayer of Ghosts a bit more immersive.

Destructible environments could increase this immersion a tad more as well. Battlefield 3 proudly shows off that its engine is capable of this, so why should Ghosts be an exception as a next-gen title? Wooden doors and concrete walls should eventually give way to prolonged fire, which would force players to stay on their toes at all times. Airstrikes and small explosives should weaken small buildings or structures that alter the flow of a battle and mix things up in unexpectedly new ways. Since Call of Duty’s multiplayer maps are relatively small, more chaos in this regard is exciting in prospect.

6. Gore

I know it may appear morbid that I want gore in Ghosts, but let’s contemplate on why I do before we jump to the conclusion that I have a sadistic side. First: a question. What happens when a grenade blows up under someone’s feet, a 50-caliber bullet penetrates through a skull, or a shotgun is fired at an arm at close range? Well, the only logical conclusion is that the appendage or vital body part being assaulted will either – so to speak – disintegrate into nothing or fly right off. Strangely enough, World at War is the only Call of Duty to incorporate gore like this. Sure, it’s not necessary, but when an AC-130 rains down missiles and bullets that can tear or obliterate a man into pieces in real life, observing characters’ bodies fall down completely intact (no matter how they die) in every other Call of Duty is ridiculously incongruous to what should be happening. I’m not advocating that the more gruesome violence there is, the better the game is. What I’m saying is that it should be realistically portrayed (but not to the point of being immaturely excessive) in a video game that’s attempting to be realistic in many ways. This is one area that’s absolutely possible for Ghosts to add, and it’s not like the developers haven’t wanted to do it (Treyarch has specifically said that they’ve been limited by disk space). And for those who are turned off by strong violence, then there should be an option to turn it off if possible. However, once again, this is an issue that doesn’t really impact the multiplayer experience. It’s simply something I would like to see return for Ghosts.


That’s all I got for the multiplayer. I could certainly point out a couple more things, but what I’ve covered already is what I’ve primarily been thinking about. This leads on to my final thing to cover: the third mode. Ever since World at War, every subsequent Call of Duty has had “Zombies” or “Spec Ops.” The former is a massively successful mode that became a surprise hit with Treyarch’s games, and I haven’t gotten tired of it. The latter, while fun to play with friends in Modern Warfare 2, lost its luster (specifically for me) in Modern Warfare 3. Although this was dampened by the addition of the “Survival” mode, it wasn’t enough to keep me coming back. It felt like more of the same thing from the second game, and I (including my friend) became disinterested in Spec Ops after the first few missions. I’m hoping that Ghosts will not send players on more random missions and uninspired survival quests this time around.

THE THIRD MODE:

1. Spec Ops Missions That Delve Into Campaign’s Characters’ Past Missions With No Recycled Maps (For The Most Part)

If I’m going to play an entirely separate mode from the campaign, I shouldn’t expect a majority of recycled places from it. It would be much more enjoyable to explore new areas of locations I’ve already been to or entirely new environments. Unless the reasoning behind a recycled area makes sense (such as playing as soldiers that cleared out a building for the player in the campaign), there should be different locations to traverse in Spec Ops. Some cutscenes that don’t pull away from the gameplay would be a nice addition to the quality of the missions as well. And for good measure, why not tie some of them into the campaign’s story? Let’s say a character recalls a battle he participated in with some sort of emotional reaction in the campaign…wouldn’t it be cool to play through it later on in Spec Ops? Further delving into the past of the cast of Ghosts would be far more interesting than playing as random soldiers pursuing an objective for the sake of, well, explosions and stuff. And since the game takes place after devastating events leave the USA in shambles, why not have some missions that explain the story and explore the environments that precede the campaign? There could be so much more meaning behind the game’s content here than from previous installments by Infinity Ward.

2. Four-Player Survival Mode With Large, Unique Maps, Equipment, and Canonical/”What if?” Stories

In Part 1 of this blog, I mentioned how the campaign has the potential to allow up to four players to play together, which opens up the enticing opportunity for campaign DLC. Imagine being able to go through this with a group of friends that not only provides new locations and weapons, but even a story that could add to the anticipation of waiting to see what happens next. If this were not to happen (or, better yet, if it’s additionally possible), I would also like a true expansion on the survival mode introduced in Modern Warfare 3. Not two players, but four. Not recycled maps from multiplayer, but unique ones designed exclusively for this mode. Not random survival, but survival with a basic purpose, or, in other words, a little backstory behind it. A “What If?” story that shows an alternate timeline branching out from the campaign would be interesting (revealed through dialogue and thorough analyzing of maps, like in Treyarch’s Zombies mode). Perhaps the story could be canonical…focusing on a completely different squad of soldiers to show another side of the world that Infinity Ward is creating for Ghosts.

3. A Mode Based on a Different Game Genre

Treyarch cleverly added a shockingly good mode called “Dead Ops Arcade” to Black Ops, which is a top-down shooter with waves of zombies to defeat. Once a certain amount of them has been killed, the player(s) can progress to other areas and continue to unlock special abilities, earn currency, and use special weapons along the way. What if Ghosts had something eccentric like this? How about a 16-bit side-scrolling shooter or a third person shooter? I’d easily welcome Call of Duty in new forms like these as small modes. They’d sure be interesting distractions from the main content of the game!

4. No Third Mode at All

This may seem like a ridiculous or shallow point, but I honestly think this wouldn’t be a bad idea. After all, Call of Duty 4 only has two main modes (campaign and multiplayer), and it still stands as one of the best games in the franchise. The reason why is that – to use a cliché – quality trumps quantity. So, instead of the common 7-10 hour campaign for Ghosts, Infinity Ward could dump the third mode and create a 15-18 hour-long campaign instead (thereby resolving one of the biggest complaints about Call of Duty: the campaigns are way too short). More maps could be made for the multiplayer and (hypothetically speaking) an effort could be made to pump out substantial campaign DLC on a monthly basis. In perspective, this point isn’t as crazy as it might seem. This sacrifice could make the other parts of Ghosts even better and hopefully worth the trade-off.


I hope you have enjoyed my thoughts on the multiplayer and third mode for Call of Duty: Ghosts. But enough from me; the multiplayer is a social experience, so what do my fellow Gameinformer members want to see in it? Any particular modes, weapons, mechanics, or changes you think would suit the game best? What about the third mode? Would you like to see the return of Spec Ops, something completely different, or maybe even nothing (in exchange for more depth in the campaign and multiplayer)? Post a comment below with your ideas, and thank you for reading the second and final part of this blog!

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Review

The Last Guardian And The Fruits Of Patience (Gamechurch)

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The Last Guardian opens with a creature named Trico roaring in your face. It’s wounded, chained, and starved—not the best time to befriend it, but you’re left with little choice since you’re both trapped in a pit. You’re then prompted to remove its metal leash and the spears stuck in its body. You feed it barrels filled with an energizing, blue liquid as well. Trico remains hostile by kicking you away twice, but once it stands up and shakes away its cumbersome shackles, the creature stares into your character’s eyes as its feathers float around the room. It’s hard to convey how, but the eyes seem to say, “Thank you.”

The Last Guardian confronts us with our own self-centeredness and challenges us . . . to give rather than merely take.

This is how the game establishes a rapport between you and Trico. While the story is linear, your experience can be profoundly unique compared to another player’s session. It relies on your reception to the game’s message about practicing patience.

Because The Last Guardian is a video game, you’d assume Trico should be designed to impeccably carry out commands and go wherever you  desire, much like D-Dog in Metal Gear Solid V: The Phantom Pain or chocobos in Final Fantasy XV. However, Trico is unruly and unpredictable. It can refuse your demands and hesitate to offer help with platforming and puzzle challenges.

This rare AI companion throws a wrench in our accustomed expectations: Trico is intentionally irrational. Creative director Fumito Ueda said, “This creature isn’t like the cute pets that exist in other games, or an ally that’s really useful. The role of the creature is ambiguous; that’s something we wanted to express in the game, and it doesn’t always do what you ask it to do. That’s one of the themes of The Last Guardian” (Edge Magazine, July 2016, p. 66).

 

Ueda invites players to think about how they treat Trico. Is this creature a pet that you console, feed, and give attention to? Or is it a self-sustaining companion who exists to do what you say without a hitch? Do you roll your eyes at Trico or cater to its curiosities and fears? Just as “The Lord is merciful and gracious, slow to anger and abounding in steadfast love” (Psalm 103:8) toward us, Trico tests our capacity to act similarly toward others.

In his book Respectable Sins, the late Jerry Bridges describes impatience as “a strong sense of annoyance at the (usually) unintentional faults and failures of others.” He believes this arises out of “our own attitude of insisting that others around us conform to our expectations.” It’s a natural response we unfairly attribute to Trico since we expect video games with flawless companions, but the creature’s designed limitations should give us pause about our irritability and the reality of raising a wild animal.

Just as “The Lord is merciful and gracious, slow to anger and abounding in steadfast love” toward us, Trico tests our capacity to act similarly toward others.

Depending on how Trico is treated, it will actually improve in its responsiveness and behavior. It is uncooperative if you don’t alleviate its hunger with optional barrels or pull spears from its body. Should you do these things, it will start predicting your commands and be more affectionate. This shift is antithetical to its base nature, making your bond even more precious as your kindness and love slowly displace the beast’s instincts and savagery.

My relationship with Trico reminded me of the curious nature of redemption for animals that C.S. Lewis outlined in The Problem of Pain: “Now it will be seen that, insofar as the tame animal has a real self or personality, it owes this entirely to its master. If a good sheepdog seems ‘almost human’ that is because a good shepherd has made it so.” In that sense, The Last Guardian confronts us with our own self-centeredness and challenges us to endure, build trust with Trico, and give rather than merely take. Our patience not only grows, but is also evident in Trico as you learn to labor in love for each other.

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