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God Of War: Chains Of Olympus and Ghost Of Sparta – A.D.P. Review (+Video Review)

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God Of War: Chains Of Olympus and Ghost Of Sparta – A.D.P. Review (+Video Review)

The safest way to bring a grand console franchise to portable platforms is to water down its gameplay, visuals, and scope. A typical route for console action-adventure series is to make them portable side scrollers with a few mechanics pulled from the full-fledged experience. Batman: Arkham Origins Blackgate and Assassin’s Creed Chronicles are prime examples that more or less get the job done. It’d be great to always have one-to-one conversions that you can play on the go, but hardware limitations are an understandable roadblock, which aren’t limited to the technical sort. Remember this ridiculous add-on for the Nintendo 3DS? Simplified button layouts can pose issues.

As always, there are developers who crave to fit the square through a circle hole. There should be more losers than winners because of this ambition, but more often than not, examples like Assassin’s Creed Liberation, Kingdom Hearts: Birth by SleepResident Evil: RevelationsKillzone: Mercenary, Metroid Prime: HuntersUncharted: Golden Abyss – these turn out to be decent at the least (even better in rare circumstances) compared to their home console counterparts! It’s a testament to developers’ ingenuity to push boundaries and create within constraints like Naughty Dog and Guerilla Games. Another name that should pop up more often is Ready at Dawn Studios.

The team was truly put on the map with their “cinematic” third-person shooter The Order: 1886. While level design and encounters left much to be desired (not to mention the boss fights), the game gets too much of a bad rap for its short length. It remains one of the most gorgeous titles on the PlayStation 4 with a fantastic setting and art direction supported by weighty, satisfying gunplay. You could say the game’s bells and whistles pick up the slack for its lack of substance, so I’d love to see the team return with another big project someday.

However, The Order: 1886 isn’t where Ready at Dawn first proved its talent. The team came out of the gate rolling with the Jak and Daxter PSP spin-off Daxter. It was received well and showed how the studio could replicate and expand upon the original vision of existing IPs. Ready at Dawn solidified this reputation with two God of War spin-offs titled Chains of Olympus and Ghost of Sparta. They’re made of the quality I’ve come to expect from the franchise, so when I say they hold up as comparable experiences to the main trilogy, that should already tell you something. I’ll be covering both in this review, but first things first – when did the developer peak over the horizon?

Analyze

The first God of War’s creative director David Jaffe said his position rarely existed in game development in the early 2000s. He had to make a case for the role’s validity to guide the production and vision of his projects with Sony from Twisted Metal to God of War. With developers growing larger along with the games they’ve made, it’s laughable to imagine a studio not having a creative director today. I mention this because the informality of high-profile game development is a wonder to witness in retrospect. Ready at Dawn’s formation is a textbook illustration, so let’s rewind the clock a bit.

Ru Weerasuriya was originally going into car design. When he showed off his portfolio near the end of his academic pursuits, he had an unexpected guest (Nilo Rodis-Jamero, who was an art and costume designer for Star Wars and Star Trek films) point him to the game industry. Ru already loved Blizzard Entertainment’s Warcraft, so he sent in a resume, did an art test in front of the team, and got the gig. He worked on vehicle designs for Starcraft and contributed his talents to Warcraft. He left after several years with teammate and software engineer Andrea Pessino, who encouraged Ru to join him and Didier Malenfant (an ex-Naughty Dog programmer) to start their own studio. Because of Didier’s prior work, he had the connections and approval to pitch a Jak & Daxter title for the recently announced PSP in 2004. The nameless, ragtag bunch of devs approached Sony’s Shuhei Yoshida with a modest design doc and some concept art and … well, the rest is history. They decided that the studio’s founders – Ru, Andrea, and Didier – would form the initials of their name: Ready at Dawn.

Daxter’s development was hellish for the 25-person team (which would grow to around 40 later on) with the mass of content they produced coupled with the PSP’s limited, changing specs, but as I mentioned before, they delivered a spin-off that stands tall amidst the main series, so they set their eyes on a new challenge. They contacted Santa Monica Studios after being amazed by the first God of War during Daxter’s development. It turns out the team was already thinking about expanding the franchise and loved the idea of Ready at Dawn creating a side scroller version of God of War, but this is Ready at Dawn we’re talking about. The team convinced Santa Monica they could make a true God of War experience on the PSP. They made mistakes early on by altering Kratos’ established moveset to change gameplay for the sake of change (which led to Ru becoming creative director to hone the studio’s focus), but like Daxter, this game proved to be a success with its critical and financial reception. It took two years to make and released on March 4, 2008, breaking the top 10 best-selling games for that month with around 340,500 units moved and over 3.2 million worldwide sold to date. It remains the highest-ranked PSP title on Metacritic, surpassing the likes of Grand Theft Auto: Chinatown Wars and Metal Gear Solid: Peace Walker.

You’re probably expecting an equally storied history for Ghost of Sparta, aren’t you? Unfortunately, there’s not too much to go on because Ready at Dawn didn’t film any illuminating, transparent documentaries during development like Santa Monica. What I did find out is that Ready at Dawn washed its hands of God of War after Chains of Olympus. The studio heads often make the point that they don’t like doing the same thing twice, so they sent back the team’s PSP dev kits upon completing Chains of Olympus to consider options with the PlayStation 3 and Xbox 360.  However, focus tests and Sony’s persistence motivated Ready at Dawn to return and push the PSP to its maximum while deepening Kratos’ backstory. The latter can be attributed to God of War II’s creative director Cory Barlog, who penned the story near the beginning of his prodigal tale after leaving Santa Monica for several years.

Ru stepped down as creative director and let Dana Jan take over. He’d been a lead level designer for Chains of Olympus and worked on World of Warcraft before joining Ready at Dawn. The team started production during August 2008 and released Ghost of Sparta on November 2, 2010, which sold half as much as its predecessor worldwide, though it still comfortably ranks among the most well-received PSP titles. In addition, both games were remastered in-house with the PlayStation 3 God of War Origins Collection that came out a year later, and no, this isn’t like your usual “remaster” fare. Ready at Dawn took games that were originally running at 480p and brought them up to 1080p. This included doubling the frame rate to 60 and quadrupling the assets’ texture resolution. Even the cutscenes were re-rendered frame by frame. It’s no wonder these remasters exceed their PlayStation 2 predecessors on a technical level, but artistically? Narratively? Design-wise? Let’s see how these games stack up in the God of War pantheon.


Diagnose: Chains of Olympus

You can tell when something was originally made for a portable device. No matter how much a developer polishes or enhances the visuals, the intrinsic design and scope of environments tell all. Freeing up the inputs for a traditional controller usually shows how the original title had constraints with movement and action, too. What makes the PlayStation 3 port of Chains of Olympus fascinating is how it feels and looks so close to its PlayStation 2 brethren, and you can tell from the start since you’re treated to an over-the-top sequence typical for God of War that would’ve floored me years ago on the PSP. The premise is set in the middle of Kratos’ decade-long service to the Olympians. He’s been sent to fend off Persians from seizing the city of Attica. Kratos slices his way through their king’s henchmen and not only slays their leader, but also their rampaging, serpentine basilisk. Kratos looks at his work and accuses the gods of sending him on petty errands. Then, as if in immediate response, the sun crashes to the earth, casting the world into an unending darkness and the gods into a deep slumber. Kratos goes to where the sun crashed and realizes it’s actually Helios’ chariot. He’s the god of the sun and has somehow been abducted, forcing the reluctant Spartan on a case to find out where Helios has gone.

Chains of Olympus is one of the only God of War games without a central, clear antagonist. You’re led to believe that Morpheus, the Primordial god of dreams, has something to do with Helios’ disappearance since his minions surround Helios’ chariot and he made the Olympians fall asleep. You discover that Morpheus only took advantage of the situation since the Titan, Atlas, struck down Helios. But why? When Kratos is led into the Underworld for answers, the ferryman of the River Styx prevents him from moving forward with his quest. How deep does this rabbit hole go? Who’s pulling the strings of this masterplan? Most of the games gauge your interest with exciting backstories, grand action, and simple revenge, but Chains of Olympus carries you along with its shifting winds of mystery. It’s an unusual type of story for the series that results in hitting roadblocks here and there for the sake of a prolonged pace, like when Charon casts Kratos into Tartarus, which has you climbing back up to him for two hours to continue where you left off. However, Ready at Dawn strikes a good balance of keeping things moving without lingering in one place for too long with this narrative approach.

Who’s behind Helios’ capture? None other than one of the best villains resulting in one of the best boss fights in the God of War saga: Persephone. It’s a crying shame that her role is limited to the last half hour because she’s a rich, meaningful parallel to Kratos. As the queen of the underworld, she protects the pure souls in her paradise, including Kratos’ daughter. She tricks the Spartan into giving up his power to be with her, then revealing her plot to destroy the pillar of the world and bring down Olympus with the power of Helios in Atlas’ hands. She will stop at nothing – even suicide – to exact her revenge on the gods who ruined her life. She doesn’t mention how she can be partially blamed for her situation by secretly enjoying her marriage to Hades and breaking her vow to eat anything in the underworld until she returned to her mother Demeter (there’s some extra Greek mythology for you). Nonetheless, Hades’ forced kidnapping of her and Zeus allowing it to happen is terribly tragic. She’s like a mirror to Kratos with her life story. Her actions are understandable yet wrong, resembling the troubled cycle of mixed responsibility that led to Kratos’ path of world-ending revenge.


Would you mind holding this for me?


I wish Persephone had played a pivotal role from the start, perhaps secretly recruiting Kratos to free Atlas under the pretense of lies after saving Attica. On the Spartan’s journey, he’d be pulled left and right by Persephone and the Olympians in a contest of allegiance and search for truth. The Olympians would remind Kratos of his servitude and Persephone’s true intentions while she would encourage his hatred for and distrust of the Olympians with her own circumstances. It’d culminate in a betrayal that would feel all the more rage-inducing and surprising. Even still, Persephone plays a brief yet compelling part, leading into one of my favorite moments in the franchise where you’re forced to push away Kratos’ daughter to stop Persephone. The mechanic that draws Kratos closer to enemies for glory kills suddenly morphs into one where you’re forced to separate him from one of the only people he ever loved.

The moment comes across as a bit contrived, but takes Jaffe’s love of fusing interactivity with storytelling in a minor way, as seen in God of War’s powerful scene where the player hugs Kratos’ family to keep them safe from his evil doppelgangers. Ru said, “Adding that moment with Calliope was always something that was going to stir debate, with some people being affected by it and others not caring one bit,” Ru said. “But that was the challenge of trying to make people play their emotions rather than just see events being played in front of them.” Afterwards, you kill the pure souls of Elysium to gain back Kratos’ power, which is a small yet illuminating metacommentary on Kratos’ character. His power is synonymous with evil; he cannot be good if he is to be powerful. I think that says even more about his character, solidifying my point that Chains of Olympus holds your attention with an unexpected, engaging plotline that, somewhat regrettably, holds out some of the saga’s strongest punches for the very end.

Since we’re dealing with a younger, pre-god Kratos, his basic moveset would be closest to what you’d find in the first God of War. All of my prior critiques of the combat stand here, and really, Ready at Dawn’s team should be commended for replicating the rhythm and feel of the core gameplay while styling the animation in their own way, which is arguably less stilted in-game and (especially) during cutscenes compared to Santa Monica’s earlier work. Chains of Olympus may not surpass God of War II’s combat (maybe on par with storytelling), but I’d say it possesses an equally compelling batch of puzzles. This is notable within the first couple hours in Helios’ chariot, where there are lots of great sorting puzzles with more layers than usual. Puzzles actually trail off in depth as the game lengthens with one section solely devoted to combat for an hour, so while this suggests the game would feel lopsided, it doesn’t come across as such in a bad way due to its short length.

As for platforming, what’s nice is how more annoying bits have been removed with no ropes to shimmy across or beams to balance on. Nothing is added to or improved upon though, so the platforming, while competent, remains stagnant and feels more like a regression to the first game’s traversal.


Persephone is downright manipulative. She hugs and comforts Kratos to go be with his daughter in the middle of the boss fight, and you have to continue rejecting this desire or she’ll kill you with it.


With the absence of a rage mode and less weapons and abilities compared to God of War II, the same stagnation could be said of combat, given that Kratos has no new tricks with his Blades of Chaos. However, what new abilities there are along with a stellar extra weapon make up for the decrease in features. The abilities consist of a small yet perfect array of powers for varied situations. The Efreet is a Persian demon Kratos summons for a fiery AoE attack (which is also the first and only time a deity outside of Greek mythology appears in the God of War saga); Light of Dawn is derived from Helios’ power to hurl balls of light, which can swipe pesky harpies from the sky or down archers from afar; Charon’s Wrath is an incredibly useful corrosive that eats away at tough armor that’d take too long to destroy with anything else. Ready at Dawn also finds a way to ret-con another shield into Kratos’ arsenal, which would have been sorely missed since it remarkably improved the flow of combat in God of War II.

As for Kratos’ next new toy, it’s an appropriately heavy-hitting, slow alternative called Zeus’ Gauntlet. I didn’t use it much since it shows up three-quarters through the story … and because I became lazy and ignored upgrading anything else besides the Blades. Besides, I found it too slow for my liking. But in spending more time with the gauntlet, I truly sold myself short by letting it gather dust. It’s incredible for closing distances on enemies with a devastating punch, getting them up in the air with an uppercut, and blowing back surrounding baddies with a ground pound. Whenever I was overwhelmed or close to taking out enemies (some of which were annoyingly programmed to take exact turns), I began naturally switching to the gauntlet after softening foes up with the blades. It not only has a bigger moveset and more distinct purpose than Athena’s Blade in the first game, but is also a more fully-fledged weapon than the Barbarian Hammer or Spear of Destiny from the second title. I hate how late the gauntlet comes into Chains of Olympus, but it shows how Ready at Dawn poked at better weapons before Santa Monica finally got it with God of War III.

As a side note, Chains of Olympus only has three boss fights, and while all of them are good (especially Persephone’s scary moveset), it would’ve been nice to see at least one or two more minor ones. Though, in a roundabout way, the short length of the game means you fight one every two hours, so the low amount feels like a good balance … but two wrongs don’t make a right, if you will.

I’m going tear down your monument and take that, thanks.


I already mentioned how you can tell that environments have simpler backdrops (though not in all cases!) to accommodate the PSP’s capabilities, and I know it’s a vague critique, but there’s a “softness” to the graphics that looks a bit off. Other than that, assets in the near backgrounds and foreground are more than detailed enough. Like the first game, the settings are rather dull in totality with a mix of grays, browns, and reds, but that’s not speaking for their intrinsically good design sense combined with impressive lighting, effects, and animation. The music and voice acting is acceptable, but I will say the sound quality remains impressive considering this was for the PSP.

Prescribe: Chains of Olympus

Chains of Olympus is pure God of War with no unnecessary comprises. That’s more than I was expecting, which contains points of excellence that rise among its peers with a premise that sounds uninteresting, but unfolds with formative events that culminate into what might just be my favorite finale in the saga. While some aspects of gameplay aren’t fleshed out and even stripped in some ways, the new tools and breadth of puzzles bring life to what could have otherwise felt like a retread of prior games highlighting a boring side mission in Kratos’ mortal servitude to the Gods, but it’s much more than that, easily shining a light brilliant enough to demand attention.

With Ghost of Sparta taking place after Kratos’ ascension to Ares’ throne, it stands to reason that the experience should be more godlike on all counts. For the most part, it is.

Diagnose: Ghost of Sparta

It’s intentional that Ready at Dawn stokes nostalgic déjà vu with Ghost of Sparta’s introduction. Sometime after Kratos became the new god of war, he began having visions of an old woman crying out to him from her secret imprisonment in Atlantis. Alongside them came Kratos’ memories of his younger brother Deimos being captured. The Spartan isn’t known for being the passive type, so he sets out with a legion of ships to assault Poseidon’s kingdom, and it all starts out with a part-leviathan and part-octopus monster tearing the fleet apart until Kratos reaches Atlantis’ shores. It sounds familiar, but it’s a good kind of familiar.

The game comes close to matching the exotic variety of the second game. Atlantis is a sleek, opulent kingdom caught in perpetual rainfall, and then Kratos’ battle with the sea monster takes him to the heart of these mines in a nearby volcano. Other locations include the nearby island of Crete: a city under construction that’s been devastated because, well, Kratos set off the volcano. You’ll then journey to the snowy mountains of the Aroania Pass, which was likely inspired5 by 300’s iconic scene of Leonidas fighting the wolf. These demonstrate how the settings and scope are an improvement over Chains of Olympus, and that goes for character models, cutscenes, weather effects, and minor touches like water and powdery snow flowing and drifting across things. Ready at Dawn promised to push the PSP to its max, and this remastered version delivers with visual ambition that couldn’t run on a PlayStation 2.

Just like Chains of OlympusGhost of Sparta has more freedom to deepen Kratos’ motives in relation to his straightforward, earth-shattering antics in the trilogy. Whereas the former game gave validity to the Spartan’s impatience and grief in the first God of WarGhost of Sparta explains Kratos’ bloodlust in the second title. He talks about how Athena and Zeus betray him after he mindlessly tears apart other Greek cities with his Spartans, but he absolutely deserves it for misdirecting his revenge against innocents. It’s the ultimate temper tantrum, unlike his partially justified yet foolish killing of the Olympians elsewhere. Rather than awkwardly finding ways to make Kratos’ rampaging against all of Greece a reasonable act of revenge, Ghost of Sparta homes in on Kratos’ apathy and blind anger by having him undergo further emotional trauma.


Oops … did I do that? Come on, guys, I gotta save my brother! Civilizations crumbling in the process is morally justifiable!


He’s forced to kill the woman he saw in his visions, his own mother, after she tells him that Zeus is his father (which doesn’t make sense because he seems oblivious to this when Athena tells him in God of War II, so yeah). When Kratos discovers his brother is alive and finds him a broken man, he watches him die and carries his body to rest (a controllable sequence reminding me of a certain scene from Brothers: A Tale of Two Sons). His daughter and now his mother and brother were all thought lost, only to die soon after Kratos realizes they weren’t. The game even delivers more on the theme of distrust I wish had been more present throughout Chains of Olympus by having Kratos discover the Olympians not only kidnapped his brother, but also lied to him about it. Ready at Dawn excels in allowing players to sympathize with such a terrible antihero. There’s plenty of small yet great moments that contribute to the universe as well, with my favorite being the exploration of Kratos’ relationship with Sparta through several soldiers and visiting the city at one point.

Interestingly enough, Ghost of Sparta is like a reversal of my thoughts with Chains of Olympus in some ways. Whereas the latter has memorable puzzles that shine from the start, the former doesn’t have many that made me pause in thought with the exception of two or three. Most of them consist of one-step problems with immediately apparent solutions. Others, if you can call them puzzles, deal with platforming, which is, surprisingly, among the best the series has offered. While some questionable means of traversal return like climbing across ropes and beam balancing, swinging around and grappling have been drafted in from God of War II. There are entirely new features like sliding down cliffs with directional influence, leaping across chasms directly onto other ledges or ropes, and using the Blades’ chains to pull Kratos through underwater currents. There are a couple timed, intense sections as well, so all in all, the platforming is some of the most thorough and well-integrated in the series.

Kratos’ Blades receive a couple minor adjustments compared to Chains of Olympus. Rather than counter with a shield, he can directly do this with follow-up attacks with the Blades. Grapple attacks are brought in as well, but since the basic moveset doesn’t demand change, what merits discussion is how there’s a charge ability where Kratos sprints a small distance to pin his enemy to the ground. From there, it functions similarly to the grab in that you can attack a foe in three different ways. What makes it special is how you pummel enemies with your fists for as long as you like until they expire. It can be a risky and almost unnecessary move to make in tough circumstances, but if used right, it’s a fun move by getting up close and personal, so you can bet I ended most combat sequences with this move.


Seeing Kratos barrel toward you at full speed is a downright terrifying thing to imagine. I’d also be concerned if I had red orbs popping out of me with every punch.


There’s a hybrid of the traditional Rage mode and God of War III’s ability meter here called Thera’s Bane that grants Kratos a temporary power boost to his Blades as they erupt in fire. It’s made useful by taking down hefty enemies or those with armor, but what I don’t like is how the ability recharges too fast, making the limitation uselessly frustrating half of the time. I would’ve preferred a great increase in its power and time to recharge to make its application more satisfying, while throwing in some special, devastating combos similar to that in God of War II with Titan’s Wrath. I would’ve also liked Thera’s Bane to have been integrated with one of the coolest weapon sets Kratos ever acquires – his old Spartan spear and shield from his military days.

Unfortunately, the Arms of Sparta feels more like a gimmick for killing enemies that can’t be reached. In terms of power, range, or feel, they don’t bring enough to the table to compel switching, especially due to the weapon’s slower delivery of hits. I like the idea of being able to throw spears to varying effects and moving while defending (the only time in the franchise where you can do so), but this weapon combo – despite some flashy moves and integration with traversal (like God of War III’s shallow attempts with some weapons) – isn’t quite as fun or useful as Zeus’ Gauntlet.

Ghost of Sparta steps up to the plate with two more boss fights compared to its portable predecessor, and I’d say they’re equally entertaining. Much like Chains of Olympus’ final boss, I think fighting Ghost of Sparta’s version is one of the series’ best because of how emotionally engaging it feels in relation to the story. You really want to destroy Persephone after she baits Kratos into leaving his daughter, and the same passion guides you while fighting Deimos’ captor, the god of death, alongside him. It’s the only time you battle with an ally in the saga, and you could say it’s an emotional rollercoaster as the fight ramps up.


“A Spartan never lets his back hit the ground. Right, brother?”


There are some new foes worth mentioning like elemental variations of harpies and the bizarre Geryon: a multi-armed monster crackling with electricity and a teleporting ability that teaches you to react quickly. There’s also the Automaton, which is wholly mechanical and can only be damaged using Thera’s Bane. It’s the only enemy that makes that ability’s otherwise tame limitations feel challenging as you dodge and wait to slowly topple it. One enemy I particularly despised is the Keres Wraith. I’ve always groaned with wraiths since they’re a powerful, elusive force only made tolerable in God of War III since you could rip them from the ground. However, this game’s variant is unrelenting. They can swiftly leap across an entire area and catch you mid-dodge in a nasty QTE event. They’re hard to see and react to, and even when you can, you’ll endure blade attacks that spawn underneath Kratos and incapacitate him for a good two seconds, leaving plenty of time for others to pounce. They were frustrating for the wrong reasons, but besides this lone enemy type, Ghost of Sparta has a steady, mixed flow of old and new enemies that never grow tiresome over the game’s 10+ hour length, which speaks for its larger breadth of levels that address the prior game’s notably low playtime.

Prescribe: Ghost of Sparta

Ghost of Sparta rounds out with equally good combat in contrast to Chains of Olympus, but takes steps forward to be an even better experience in every other way. The story of loss and lies contributes much to God of War II’s setup and Kratos’ complicated life. The platforming is literally and figuratively leaps and bounds above most of the game’s peers, also boasting astonishing graphics in light of the PSP’s capabilities and Ready at Dawn’s laudable PlayStation 3 remastering. The game may not go beyond with its combat or puzzles, but Ghost of Sparta was a herculean effort on the developer’s part, and it shows with an outstanding sendoff more than worthy of the success it should have known eight years ago.

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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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