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Former Blizzard president Mike Ybarra has suggested that tipping culture could benefit games, with some “special” single-player games leaving him wishing he could give more money to developers after completing them. Ybarra noted that “most will dislike this idea,” with many consumers already tired of tipping culture coming to other industries.

Ybarra introduced the idea in a tweet, as picked up by IGN, saying he had been thinking about it for a while as he was playing more single-player games.

“At the end of the game, I’ve often thought, ‘I wish I could give these folks another $10 or $20 because it was worth more than my initial $70 and they didn’t try to nickel and dime me every second,'” Ybarra explained.

“Some games are that special,” he added, listing games such as Horizon Zero Dawn, God of War, Red Dead Redemption 2, Baldur’s Gate 3, and Elden Ring among the games he would be tempted to pay a little extra for.

“I know most will dislike this idea,” Ybarra added at the end of the tweet. “I realize we are tired of ‘tipping’ in everything else–but I view this different from a pressure to tip type scenario many face and give feedback on.”

While some have agreed that it would be a good option to have for some games, most commenters unsurprisingly don’t like the idea of being asked for an extra tip after completing a game. Some gamers pointed out their pockets aren’t deep enough to afford anything more than the price of a game, while some expressed that it would be hard to trust that tips on AAA games would actually go back to the developers who made it.

Tipping culture already exists in some gaming spaces, with game platforms such as Itch.io including an option for tips. It’s also common for makers of fan games and modders to fund their work off tips.

Ybarra’s comments come at a tumultuous time for the industry, with many major companies scaling back–resulting in layoffs, studio closures, and game cancellations. AAA development costs have skyrocketed in recent years, with former PlayStation boss Shawn Layden saying the current state of AAA develompent is unsustainable.

Ori Devs Showcase New Direction With No Rest For The Wicked Trailer

Gunar

April 15, 2024

Moon Studios has released the launch trailer for No Rest for the Wicked, showcasing its art style, gameplay, and story.

What’s immediately apparent is how different the art direction for No Rest for the Wicked is compared to the Ori series. The new game has a more gothic inspiration as opposed to Ori’s more cartoonish art style. Instead of being a 2D platformer and cute creatures like Ori, No Rest for the Wicked is a 3D action RPG from a top down perspective.

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Now Playing: No Rest for the Wicked – Official Steam Early Access Launch Trailer

Looking at the gameplay, players will be able to fight against monsters, big and small, with a variety of weapons such as bows and swords. No Rest for the Wicked is set in the year 841 and follows a member of a group called Cerim, a group of mystical holy warriors with magical powers. With these powers, players must fight against the Pestilence, an unholy plague, and Madrigal Seline, a ruthless church figure who aims to weaponize the plague to prove herself to her god.

No Rest for the Wicked enters Early Access on April 18 on PC. Once the game reaches 1.0 status, both PlayStation 5 and Xbox Series X|S versions are planned for release. While Moon Studios is best known for the Ori series, the third game isn’t currently in development–at least not yet.

All Preowned Switch, PS5, And Xbox Games Are B2G1 Free At GameStop

Gunar

April 15, 2024

GameStop is currently running a buy two, get one free sale on preowned games, and its catalog is filled with over 9,000 titles across Nintendo Switch, PS5, Xbox Series X, PS4, Xbox One, and more. Just about every game launched in physical format over the past few years is eligible for the savings (as long as it’s in stock), so this is a great time to check out recent releases as well as games that may have slipped by you at launch.

Cashing in on the offer is simple. After adding three eligible games to your cart, the cheapest of the three items will be discounted to $0. And if you spend over $79 on your order, you’ll also get free shipping. Depending on your location, your games could arrive within three days. Alternatively, you can order online and pick up your games at your local GameStop store.

Picking up Switch games is arguably one of the best ways to make use of this sale, as first-party titles like Princess Peach: Showtime and Zelda: Tears of the Kingdom rarely see discounts–yet they’re part of GameStop’s current promotion. Older Switch hits as well as new releases are up for grabs, including Mario vs. Donkey Kong, Super Mario Bros. Wonder, Super Smash Bros. Ultimate, and Pikmin 4.

Over on PS5, there are a bunch of sweeping RPGs to check out. If you want three games to sink your teeth into and consume hundreds of hours of your free time, we’d recommend Dragon’s Dogma 2, Cyberpunk 2077: Ultimate Edition, and Final Fantasy 7 Rebirth, all of which earned impressive reviews and give you plenty of content to work through. You could also check out Final Fantasy 16 or God of War Ragnarok if you happened to miss out on these big hits.

It’s a similar story for Xbox Series X, though you’ll also find a few exclusives like Halo Infinite. Beyond this sale, GameStop Pro members can save a few bucks on their Game Pass Ultimate subscription, with a 3-Month Membership discounted slightly to $47.49.

We’ve rounded up some of preowned games GameStop has in stock below. Of course, we’d also recommend browsing the catalog for yourself, as there are thousands of possibilities.

Nintendo Switch games – B2G1 free

PS5 games – B2G1 free

Xbox games – B2G1 free

Star Wars Is Returning To Fortnite At The Most Obvious Time

Gunar

April 15, 2024

Star Wars content is coming back to Fortnite in May just in time for the Star Wars holiday of May the 4th. A teaser video confirms that the latest Star Wars x Fortnite crossover event begins May 3, but we don’t know just yet what content might be included in this newest wave.

“I’ve got a good feeling about this…” reads a line from Fortnite’s announcement post, riffing on Luke Skywalker’s “I’ve got a bad feeling about this” line from the 1977 original movie.

The teaser suggests that the Star Wars event will span Fortnite’s battle royale mode, as well as Lego Fortnite and the Fortnite Festival rhythm game.

Epic and Star Wars previously teamed up for Ahsoka, Anakin, Padme, Finn, Rey, Darth Vader, and Stormtrooper outfits, among numerous others. 2023’s Star Wars event in Fortnite added Force powers and a Star Wars-themed mini battle pass. Star Wars content has made its way into Fortnite since 2019, so it’s no surprise to see the crossovers continue this year.

GameSpot will report back on this year’s Star Wars content in Fortnite as it’s announced. In February, Disney invested $1.5 billion into Epic Games to create a Disney universe within Fortnite.

May 3 is also the day that The Phantom Menace returns to theaters to celebrate its 25th anniversary. On May 4, theaters will show the entire nine-movie, 20-hour Skywalker Saga. Presumably there will be more Star Wars news to come on or before May 4, so keep checking back with GameSpot for the latest.

Game Reviews

Children Of The Sun Review – One Shot

It only takes a single bullet to burn down an empire. That’s the ethos behind Children of the Sun, an excellent supernatural puzzle-shooter from solo developer René Rother and publisher Devolver Digital. Like many of the games in Devolver’s vast library, Children of the Sun is wonderfully stylish, violent, and built on a unique gameplay hook; think Sniper Elite mixed with Superhot and you’re on the right track without quite telling the whole story.

You play as a protagonist known simply as The Girl, a one-woman wrecking crew waging a vengeful war against the eponymous cult that ruined her life. As one cultist after another is turned to mincemeat behind the vindictive crosshairs of your sniper rifle, you gradually make your way up the food chain until coming face-to-scope with your true target: The Leader. While embarking on this blood-soaked killing spree, hand-drawn flashbacks reveal tidbits about the atrocities committed by this mysterious cult and The Girl’s reasons for seeking revenge.

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Now Playing: Children Of The Sun GameSpot Video Review

There’s no dialogue during these cutscenes; instead, the narrative is intentionally minimalist, bombarding you with unnerving memories that are both terse and chaotic. This scattershot approach makes it difficult to glean all of the available information–perhaps deliberately so–which means you might feel lost and slightly detached from the story at times. It’s all complemented by a discordant soundscape of ambient white noise that matches the game’s striking art style–composed of deep purples and vivid yellows–and gritty, surreal tone. The game’s arresting aesthetic paints a picture of a brutal world of saturated filth, where cultists defile seedy motels, gloomy forests, and derelict apartment buildings, spreading their deceitful disease like plague-infested rats.

For as evocative as Children of the Sun’s story, visuals, and music are, it’s the innovative gameplay where it truly shines. At the beginning of each level, you’re able to move The Girl either left or right on a predetermined path. Sometimes, you can navigate around a level in a full 360-degree circle, while other times, you may only be able to move a few yards before being impeded by a fallen tree or steep riverbank. From here, you can get a lay of the land, mark enemies, and determine the best position to fire from. Once you’ve aimed down the scope and pulled the trigger, the camera snaps to the crown of the bullet as it hurtles through the air. Blood spatter and disintegrated flesh usually follow, but the catch is that this is the only shot you’ll fire for the duration of the level.

The Girl’s backstory pulls from a classic fiction trope where a young girl discovers she has latent supernatural powers once she reaches puberty. Each time a bullet is propelled through a cultist’s skull, time slows down to a crawl, and The Girl’s psychic abilities let you take control of the round and re-aim, allowing a single bullet to cleave through an entire enemy compound in one fell swoop.

Initially, you can only move the bullet in a straight line from one enemy to the next, ping-ponging between them like a murderous pinball machine, and this makes your first shot the most crucial. From that initial point of impact, you need to chart a course through every other enemy until none are left alive. This is easier said than done, of course. While some enemies remain stationary, others are walking around, circling the entire map in a car, and sitting out of view of your initial vantage point. Considering all of this, you might have to finish a level by ensuring that the penultimate kill provides a clear sightline of the final cultist, who was hidden until now. There are wrong ways to do this, but there isn’t a definitive right way, so experimentation is incentivized and rewarded.

Children of the Sun is wonderfully stylish, violent, and built on a unique gameplay hook; think Sniper Elite mixed with Superhot and you’re on the right track without quite telling the whole story

As you progress through the story and more enemy types are introduced, you’re given additional powers to counteract the likes of shielded and armored cultists and the increasingly elaborate environments they’re inhabiting. The first of these powers lets you take direct control and gently curve bullets like James McAvoy in the 2008 film Wanted. This is useful for firing over walls and bending the shot so it lurches downwards and hits the cultist on the other side, or simply tweaking the bullet’s trajectory to guarantee it lands on-target.

Another ability reveals enemy weak points, which, when destroyed in a hail of slow-motion blood, grant you the power to redirect the bullet in mid-flight. Using this, you can fire past a shield-wielding enemy and then spin the bullet around to nail them in the back of the head, entirely negating their bullet-proof protection. Other times, you might use this technique to escape a building and re-enter it elsewhere or fire into the sky to provide a better view of the area and uncover a previously elusive enemy.

Armored cultists, meanwhile, provide an altogether different challenge. The only way to penetrate their thick armor is by using a power shot–achieved by holding down the trigger for the duration of the bullet’s flight. These shots necessitate a large enough distance between targets to build up the requisite velocity needed to blow through armor, so figuring out how to remove these enemies is a unique problem. Doing so is always a thrill, though, as you get the gratification of seeing the bullet reach supersonic speeds before blasting through the cultist’s now-useless defense.

Finding a solution to each level’s grisly puzzle is immensely satisfying, especially when trial and error is abundant. Your first few attempts might revolve around tentatively exploring to find where all of the cultists are located and then figuring out the best way to carve through each one. You can sometimes use the environment to your advantage, too, shooting vehicles’ fuel caps and gas canisters to eliminate multiple enemies in one vehement explosion. You could blow up a car just to attain a better angle or snipe a pigeon flying overhead to gain a bird’s eye view of the area. I wish there were more opportunities for environmental kills besides destroying vehicles and explosive barrels, but restricting how you can interact with the world around you adds to the challenge and sense of achievement when you emerge victorious.

Gallery

At around three hours in length, Children of the Sun is a relatively brief experience. Usually, this would be a blessing in disguise for a game that doesn’t diversify from its core conceit too often, yet I still found myself desperate for more. Fortunately, replayability is rife, as the game’s scoring system encourages you to go back and replay previous levels to achieve a better rating. Headshots are scored differently from leg wounds, just as you earn more points for better timing and efficiency, while leaderboards create a sense of competition. Completing a level also reveals an excellent snapshot of the flight path of your bullet, which the game makes easy to share on social media for some extra fulfillment.

Children of the Sun’s unconventional approach to sniping is consistently thrilling and wholly satisfying. It might be full of gruesome blood spatter and cracked skulls, but it’s also the thinking person’s shooter–more of a delightfully macabre puzzle game than anything else. It’s admittedly short, and the game’s longevity will largely depend on how hard you fall for its inventive and bloody puzzles. That shouldn’t be a problem when it’s so difficult not to. And even if it’s relatively one-note, Children of the Sun plays that note with such morbid aplomb that it’s easy to recommend.

Gunar

April 9, 2024

Star Wars: Battlefront Classic Collection Review – Fire Away

I spent many a weekend afternoon playing the first two Battlefront games back in 2004 and 2005, my friends and I sinking hundreds of hours into our repeated efforts to conquer the galaxy, recreate battles from the Star Wars movies, and theorize why the video game version of General Grievous was so much stronger than his movie counterpart. Heck, my hope that we’d one day see a Clone Wars animated series that focused on exploring the clones’ individuality was born from Battlefront 2’s wonderfully narrated 501st Journal. Now that I think about it, much of my love for Star Wars can be traced back to the first two Battlefront games. But that doesn’t change that their dated mechanics and the unbalanced nature of their unrewarding tug-of-war matches don’t hold up two decades later. And Aspyr Media does not address these issues in Star Wars: Battlefront Classic Collection, a collected pack of the two games, leaving them feeling like relics of a bygone era that aren’t worth playing in this shape today.

Pandemic Studios’ Battlefront and Battlefront 2 (not to be confused with EA DICE’s 2015 Battlefront and 2017 Battlefront 2) are both shooters that focus on Star Wars’ Clone Wars and Galactic Civil War periods, seeing you step into the boots of ordinary soldiers who participate in the conflicts. Mechanically, both games play very similarly to one another, though Battlefront 2 adds to the first with space battles, playable heroes (who are notable characters from the Star Wars movies like Yoda and Darth Vader), and a more story-driven campaign that ties into Revenge of the Sith.

The 501st Journal is still great.

Each army features four standard soldier archetypes. You’ve got your assault rifle-wielding standard trooper, long-range sniper user, heavy-hitting rocket launcher demolitionist, and a support soldier who excels at short-range combat and fixing up vehicles. Beyond those four, each army has additional special units–the Republic Clone Army has the jetpack-equipped Jet Trooper, for example, while the CIS has the roly-poly Droideka. Because the main units all handle the same for the most part, you don’t have to learn entirely new mechanics for each class, while the more specialized troopers add a bit of distinct flair to each army. I like it–it makes it easy to pick up both games while also ensuring the gameplay doesn’t grow stale quickly.

The collection includes six maps that were added as post-launch content to both games (one for Battlefront and five for Battlefront 2) as well as two playable heroes in Battlefront 2 who were previously Xbox-only DLC (Kit Fisto and Asajj Ventress). Beyond that, there are some changes to the gameplay, such as to Hero Assault, a Battlefront 2 game mode that sees all the playable Star Wars heroes face off against the villains. In the original Battlefront 2, this mode could only be played on the game’s Tatooine map, but the Battlefront Collection makes the mode available on all ground-based maps. In addition, the collection adds cross-gen multiplayer support (but no cross-play, unfortunately) and increases the number of players per match to 32v32.

It’s those improvements that irk me, as they’re evidence that Aspyr Media did make efforts to change and improve aspects of the original games. And that’s good! Great, even. But this decision throws what wasn’t adjusted into stark contrast and highlights how outdated Battlefront and Battlefront 2’s gameplay is. It locks the Battlefront Collection into this weird space where it’s neither a good remaster nor a completely accurate preservation of the original games.

Both Battlefront and Battlefront 2 really show their age in Classic Collection.

But even without that observation, it’s clear that what was once great gameplay for a console shooter has lost its luster after 20 years. Battlefront 2 fares a tad better than the original game, given how it was able to make improvements to the first Battlefront’s mechanics back in 2005–soldiers can sprint, the details of characters are sharper so it’s easier to discern targets from further away, and maps are larger so firefights are more spread out. Plus, Battlefront 2 just has a more compelling campaign. Even if the story is no longer part of the Star Wars canon, witnessing the rise of the 501st Legion during the Clone Wars and subsequent transformation into Vader’s Fist during the Galactic Civil War is still a compelling viewpoint for the Clone Troopers’ view of the Star Wars movies, strengthened by the chilling narration of actor Temuera Morrison (Attack of the Clones’ Jango Fett, The Book of Boba Fett’s Boba Fett). His monologue of the troopers’ silence as they march into the Jedi Temple to execute Order 66 is still one of my favorite moments from any Star Wars story, and 20 years later, it hasn’t lost its impact.

Even if the story is still interesting to experience, however, the act of playing through it isn’t all that fun. Movements are sluggish and aiming isn’t precise, promoting the use of soldiers armed with automatic weapons over the others. The other classes are serviceable, but the gameplay clearly pushes you away from them, making every firefight feel increasingly the same. There’s no incentive to branch out and master the other classes–victory is achieved by whittling down the other team first, so killing as many people as fast as you can is ideal, and that’s just easier with an assault rifle or minigun than a sniper rifle or pistol.

Battles in the offline campaign and online multiplayer also suffer from imbalance–once one side takes the lead, they almost always win. It’s clear there’s meant to be some sort of tug-of-war element to each match, as each side fights over command posts, but it rarely plays out that way. Your side can only spawn from command posts your side has captured, so once one side has more command posts than the other, it’s easier for that side to pressure the losing side as the number of places where the losing side can spawn shrinks. This creates a slog where it becomes quite clear about halfway through a match which side is going to take the win, and you’re just left playing out the rest of the time to witness a conclusion that you saw coming. Heroes alleviate this a bit in Battlefront 2. If a player does well enough before being killed, they can spawn as their army’s hero for that map, and certain heroes can change the tide in an instant (especially the villains on the CIS and Empire, who are all around stronger than the good guys for the Republic and Rebellion). This would be a great counterbalance to the uneven nature of Battlefront 2 if heroes could be summoned more regularly but, as is, they’re just too tricky to unlock if you’re on the losing end of a battle. It’s hard to do well when the enemy is closing in around you. This issue is even worse in the original Battlefront, which doesn’t have playable heroes.

Why do the bag guys get all the cool powers in Battlefront 2?

The moment-to-moment gameplay of each match isn’t all that fun either. Firearms aren’t very precise, relying on a generous auto-aim feature that feels like it’s rewarding me for pointing my gun roughly in the right direction instead of actually landing a precise shot. When I was a kid, I was always just happy that my friends and I won, but now as I see the “victory” message splash across the screen, all I can wonder is how it happened. I can’t point to what in my performance led to my team winning as opposed to losing, leaving little opportunity to think back and improve. There’s an uncomfortable amount of luck associated with victory–more than I want in a shooter.

The space battles in Battlefront 2 don’t feel much better. It’s telling that the campaign still lets you skip them outright if you want, like an admission that they aren’t very fun (which is true). Though the concept of manning a starship and flying out to meet the enemy, whittling away at their capital ships or flying into their hangar to sabotage their systems from the inside is initially thrilling, it very quickly loses its appeal once you realize all matches play out pretty much the same. There’s next to no variety to Battlefront 2’s different space maps, so your strategy for one tends to work on all of them–you don’t have to adapt, leaving the gameplay feeling stagnant. Plus, the starships in Battlefront 2 don’t handle very well, making it frustratingly tricky to maneuver through dogfights.

The biggest detriment against the Battlefront Classic Collection is that we’ve had more Star Wars games since their release that all improved upon what Battlefront and Battlefront 2 did. EA DICE’s two Battlefront games have sharper shooting mechanics that better reward precision and huge battlefields that prevent one side from quickly surrounding and destroying the other. 2020’s Squadron’s aerial dogfights are huge improvements over Battlefront 2’s space battles, with more responsive controls and greater variety to the maps. Sure, Battlefront Collection brings these elements together, but not in a way that’s strong enough to make this a more compelling experience than what’s already out there.

Star Wars: Battlefront Classic Collection is ultimately just disappointing. It’s unclear whether it wants to be a remaster or a collection that preserves two major games from Star Wars’ history, but in both instances, it fails. This is neither an accurate representation of what Battlefront and Battlefront 2 were, nor does it make enough adjustments to bring two decades-old games into the modern era. The result is a collection that’s not really fun to play, and well worth skipping.

Gunar

April 2, 2024

Open Roads Review – Quick Trip

I once read in a very profound article published in a very prestigious magazine (okay, it was a TikTok) that “daddy issues” make artists while “mommy issues” make writers. I can’t attest to the science–or lack thereof–behind this statement, but as a writer born into a long line of guarded women who wielded pens as weapons, I can absolutely relate.

As such, I have a particular fondness for mother-daughter stories and the catharsis they can offer. When I heard the team behind Gone Home would be tackling the subject in their upcoming game Open Roads, I braced for a beautiful cross-country journey that would inevitably hit too close to home. However, while Open Roads has moments of relatability that are powered by solid dialogue, charming characters, and nostalgia, I was ultimately left underwhelmed by the walk-and-click exploration game. With a runtime too short to truly pull players in and an abrupt ending that leaves things feeling hastily resolved, Open Roads feels more like a pit stop than an adventure.

That’s not to say the game’s premise isn’t interesting. Open Roads begins shortly after the death of the Devine family matriarch, Helen, and follows her daughter Opal and her granddaughter Tess as they cope with loss and what to do next. Throughout the entirety of the game, we play as Tess, a 16-year-old high school student who is every bit as strong-willed, cheeky, and hopeful as most 16-year-old girls are. On top of her grandmother’s death, Tess is also processing her parents’ recent separation and the loss of her home, as she and her mother lived with Helen but were not given the house upon her death.

While cleaning out her grandmother’s home, Tess and Opal stumble upon a suitcase buried within the attic walls and find what appears to be evidence of Helen’s secret life and a passionate love affair. With a week to go until the house is sold and an empty agenda, the pair set off on a series of short trips to get to the bottom of Helen’s mysterious life.

At each of the game’s handful of locations, you walk around as Tess and interact with objects from different time periods ranging primarily from the late ’60s to the early 2000s–the time the game is set in–that are sure to be familiar to many American millennials. Occasionally you’ll be able to pocket the items to use later, adding a slight puzzle element to what is otherwise a game driven by simple exploration, though these moments are few and far between. Certain items will also prompt you to call for your mom, who will chime in, add context, or mull over your findings with you. All this makes for straight-forward gameplay that can, unfortunately, start to feel a bit dull as the game goes on.

Outside of exploring the game’s dusty abodes and dimly lit motels, Tess spends most of her time riding shotgun in her mom’s late-’90s sedan. There, she’ll have the chance to cycle through mostly static-filled radio stations, chat with her mom, or use her trusty flip phone to text her father or best friend. Yet for a game titled Open Roads, your time spent on the road is extremely brief and only happens a handful of times, which ultimately takes away from the road-trip experience and doesn’t help to break up its repetitive gameplay.

This is a recurring issue, as the game in its entirety is too brief to effectively address everything it sets up or fully establish a deep sense of relatability and emotional connection. This is a shame considering the underlying plot is interesting and the game’s characters are very endearing. Though Kaitlyn Dever and Keri Russell might be known for their live-action careers, the pair bring a lot of personality to Tess and Opal respectively. Even Helen, who has no speaking parts and appears in the game only through grainy photographs, has a lot of personality. In fact, her vivaciousness is a frequent subject of discussion between Tess and Opal, who both exhibit her more free-spirited behavior, albeit in different ways. This is another aspect of the game I really enjoyed, as it’s all too often that mothers are written as protective, worrisome, uptight, and relatively flat–Open Roads avoids falling into that trap.

However, I also think Open Roads pivots a bit too far away from this mother-daughter tension. Sure, Tess and Opal do have their spats and Opal frequently expresses frustration towards some of her late mother’s actions, but for a pair going through grief, divorce, major life transitions, and betrayal, there’s a lack of drama that turns into a lack of evolution and catharsis. Between its overall brevity and hesitation to dig into messiness–humanness, even–Open Roads puts up a bit of a wall between the player and its story. As a result, I found I liked its characters, but I didn’t feel much towards them. While they were relatable enough, I didn’t find myself in them.

Sure, not all mother-daughter relationships are contentious or imitate Lady Bird, but in shying away from the emotional, you lose, well, emotions. For example, even with all the big plot points unraveling around them, the most impactful conversation in the game, to me, was the one Tess and Opal have after Tess accidentally leaves her phone at the hotel and demands they go back. As an adult, you’re able to see the situation rationally: It makes sense to finish up the drive and grab the phone on the way back–it’ll only be a night without it, after all. But Tess’s dialogue options are limited and a bit more intense than usual–she needs her phone. And despite being 30 years old, I still felt that desperation.

It’s clear that Open Roads wants to have meaningful conversations about generational trauma, the oft-dismissed complexity of mothers, and how humans have different ways of showing love, a fact that can lead to pain when misunderstood, and I wanted to have them too. Yet it doesn’t offer the time or vulnerability to dig into these interesting topics. And while some of its story beats are unique, or offer at least a slight variation on ones we’ve perhaps seen before, all of these stories end somewhat abruptly and without much fanfare or introspection.

Where the game does succeed in storytelling, however, is in its environments. Presumably thanks to the studio’s pedigree and history of working on exploration games like Gone Home and Tacoma, you can tell there is an understanding of how to make locations nostalgic without pandering, interesting but not overwhelming, and immersive but not disjointed. Though I’m slowly discovering that a lot of first-person exploration games make me a bit nauseous (definitely a “me” problem here, so I don’t fault Open Roads), I really enjoyed walking around the environments the studio created. There were so many objects and pieces of decor that reminded me of the ones I grew up with, and it was interesting to note how these objects–and the memories attached to them–moved me more deeply than a lot of the game’s conversations.

At every location, there were little reminders–be it newspaper clippings, a Blockbuster copy of Clueless, or a CorningWare-style casserole dish–of the time that had passed. Sure, this sense of place is aided by some of Tess and Opal’s conversations–I particularly loved the one in which Tess admits to her less-computer-inclined mother that her idea of a wild Friday night consists of pizza rolls and The Sims, because same–but a heavy amount of lifting is done by the artistry and detail put into creating these locations.

I also really enjoyed Open Roads’ character art, which feels inspired by the animated films ’90s kids grew up watching. The style stands out against the more realistic-looking environments and works well with the game’s voice acting, though the lack of proper lip-syncing did feel awkward at times. More awkward, however, was the game’s sound, which felt almost incomplete. I had expected to hear songs and sounds that would take me back to 2003, yet they were noticeably absent. While I wasn’t expecting to hear “Stacy’s Mom” or “Hey Ya!” pop on the radio, having multiple radios and TVs that you could interact with that did effectively nothing was a bit of a letdown.

It’s unfortunate that “letdown” and “underwhelmed” are words I’ve used multiple times when talking about Open Roads because there’s still so much about the game that works. The overall narrative touches on some meaningful topics, there’s a fair amount of intrigue, plenty of well-crafted dialogue, some interesting characters, and a lot of heart. Yet most things fall frustratingly short or are cut off far too early, making the whole experience slightly lackluster. Despite being a game about a mother-daughter road trip, the game doesn’t go too far and that relationship is left only slightly altered rather than meaningfully examined and changed.

Gunar

March 28, 2024

Pepper Grinder Review – Short And Spicy

It only takes a glance to understand Pepper Grinder’s inventive gimmick. A small girl named Pepper–a pirate by trade–wields a drill named Grinder that’s roughly the size of her entire body. The gear allows her to grind through soft surfaces with ease, complete with the ability to launch out of the surface with a leap. That might have been enough to carry the game by itself, but what’s most surprising about Pepper Grinder is its sheer variety. Though it’s short, that brevity helps to make the campaign a no-filler thrill ride that continuously pushes the boundaries of its central mechanic.

It turns out Grinder is a pretty versatile tool, even regarding its most basic function. You can burrow through the ground, which immediately feels natural and smooth. At the same time, you can’t simply turn on a dime with an instant about-face like a typical platformer–you have to handle turns by curving an arc out of your drilling path. Additionally, when you pop out of the surface of the dirt, you won’t gain much distance unless you jump just before breaking through. Those little touches give the core mechanic a sense of finesse, imitating the feeling of a playful dolphin–or at least, a dolphin video game like the classic Ecco.

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Now Playing: Pepper Grinder GameSpot Video Review

Once you get the hang of it, drilling through soil and leaping out of the surface in a perfect arc, only to catch another piece of soft ground in the distance and continue your digging, feels thrilling and acrobatic. The drillable surfaces are nicely differentiated from hard environmental pieces, so you quickly learn to read a level and see the path through it, evoking a feeling similar to performing a great run in Tony Hawk. Collectibles like gems are scattered strategically throughout the stages to both subtly guide your eye along the path, while also sometimes setting traps for your greed.

Aside from being a traversal tool, Grinder is also your primary and often only weapon. It’s not enough to simply run into most enemies with a spinning drill, though–they often have their own specific approach to defeat them, like beetles with a hard upper carapace who need to be stabbed from the underside by burrowing underground. The main enemies, a breed of vicious narwhal-like creatures with horns on their head, are just as capable of hurting you with a head-on collision as you are of hurting them. None of the regular enemies are terribly tough by themselves, but they introduce new ways of approaching stages and obstacles as you need to get around them or through them to continue on your path.

A platformer with a standout hook like this one probably could have coasted on it, but Pepper Grinder doesn’t rest on its laurels. Instead, it consistently introduces new elements to master. These either integrate with your balletic burrowing or provide a change of pace from it. Grabbing a key with your drill will make it turn a lock, and you can use the kinetic energy to power machines. You’ll also shoot from cannons, drill holes into the bottoms of ships to make them take on water, carve through skyscrapers to make them collapse as you traverse through, and even pilot a giant mech. What appears at first to be a simple tool gives way to constant delightful little surprises.

A series of boss battles ramp up the difficulty nicely, taking the skills you’ve learned and putting them to the test. The first is relatively straightforward, as you dodge projectiles by moving through the soil and wait for the opportune moment to attack from the underside, while the second severely limits the amount of soft ground available and challenges you to leap high into the air to do damage. They progress from there, including one tough encounter with another human-like character that has roughly your size and agility. All this leads to a final boss encounter that is one of the most tense and difficult retro platformer bosses I’ve seen in a long time, which felt satisfying to overcome.

And on top of all this, Pepper Grinder carries itself with a cute, pixel-punk personality. Pepper’s diminutive sprite artwork has a charm to it, like how she revs up her trusty drill threateningly when coming face-to-face with a boss, or how she raises her pirate flag to declare victory in an area. The enemies can sometimes be seen doing their own pirate duties before you crash their party. And though story sequences are few and far between, they were just enough to explain what was going on with mimed, dialogue-free action. A short story sequence just before the final boss even made me laugh out loud.

This gentle giant is one of the fantastical creatures in Pepper Grinder.

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At such a breakneck pace of new ideas, Pepper Grinder doesn’t last very long, which is to its credit. I finished the campaign in roughly four hours, which is a relatively short playtime. Every stage also has a time-trial option, and there are still collectibles and cosmetics to unlock like stickers and hairstyles. The most important collectibles are Skull Coins, a limited resource–five per stage–that can be used to unlock special bonus stages in each of the four worlds. These are used to further explore gameplay concepts that had been introduced in the main stages. The first one, for example, takes the cannon mechanic to its logical conclusion with an entire stage built around ping-ponging from cannon to cannon, which felt pleasanlty reminiscent of Donkey Kong Country’s famous barrel stages.

Perhaps because of its brevity, I enjoyed every minute, and I appreciate the rare instance of a game that doesn’t overstay its welcome. Rather than slog through filler stages to pad its length, Pepper Grinder is bursting with new ideas for exactly as long as it can sustain that momentum. There’s something admirable about approaching its length with that level of confidence. I would have loved to play even more, if it could have sustained that pace, but this felt like a conscious choice to let the best ideas shine.

Pepper Grinder is here for a good time, not for a long time. Every piece, from the core drilling mechanic itself to the various ways it manifests with cannons and mechs and more, feels meticulously engineered to teach you a new concept, wring the fun out of it, and then move on to the next. That sense of propulsion makes every moment fun and engaging. It’s a great little gem of a game which, like its heroine, may be small in size but makes every bit count.

Gunar

March 28, 2024

MLB The Show 24 Review – Base Hit

A lot of people will tell you that Hank Aaron is the greatest to ever play the game of baseball. Bob Kendrick, President of the Negro Leagues Baseball Museum, is one of those people, and it’s easy to see why. You only have to look at Hammerin’ Hank’s stats–755 home runs and 3,771 hits in Major League Baseball–his outstanding consistency across 23 big league seasons, or the fact that he achieved all of this after such humble beginnings. Growing up, Aaron had few opportunities to play organized baseball. In fact, he had few opportunities to even use the right equipment. Instead, a young Henry Aaron would take his mom’s broomstick and use it as a makeshift bat to hit bottlecaps–it’s no wonder he ended up being so good.

I knew of Hank Aaron’s incredible career, but supplemental details like this are part of what makes Storylines such a captivating and enlightening experience. If last year’s game was all about introducing this brilliant and groundbreaking new mode, then MLB The Show 24 is more about fine-tuning the existing framework. This isn’t an uncommon approach for annual sports games, and while Sony San Diego’s latest baseball sim might not seem as fresh or exciting as last year’s offering, it still plays an excellent game of baseball while possessing a tangible reverence for the sport’s rich history and inherent romanticism. Players are more than just stats and numbers, after all.

This is where Storylines comes in, and it’s once again the highlight of the whole package. Like any good TV series, MLB The Show 24 returns with a second season of The Negro Leagues, exploring an era of baseball that has often been overlooked and forgotten. At launch, there are four stories to play through, shining a spotlight on the aforementioned Henry “Hank” Aaron, as well as Josh Gibson, Walter “Buck” Leonard, and Toni Stone, with more set to arrive in forthcoming updates.

MLB The Show 24

Bob Kendrick’s charismatic and insightful narration brings these tales to life, aided by slickly produced videos that weave in historical photographs, original artwork, and archival footage to paint a portrait of these players and their profound impact on baseball and American culture. In between these video packages, you’ll play through pivotal moments from each player’s career, from Aaron’s first hit as a member of the Milwaukee Braves to Josh Gibson’s decimation of MLB pitching in exhibition games–where he batted a ridiculous .426. Perhaps the most interesting collection of episodes focuses on the career of Toni Stone, a true trailblazer who became the first woman to play for a professional baseball team when she took Hank Aaron’s roster spot after he departed the Negro Leagues for the MLB.

Alongside these eye-opening tales, MLB The Show 24 also expands on the Storylines concept by adding a series on legendary New York Yankees shortstop Derek Jeter. By using a New York subway motif as the backdrop for Jeter’s story, the former captain recounts important moments from the first few years of his storied career as you travel along the tracks from 1996 to 2000. Starting with his first steps as an unheralded rookie to achieving legendary status as the Yankees won three consecutive World Series titles, Jeter gives you an insight into his and the team’s mindset during this monumental run. There are also three side stories that center on the other members of the Yankees’ Core Four: Mariano Rivera, Jorge Posada, and Andy Pettitte. These stories are brief, consisting of a single video package, but completing each additional mission unlocks their player cards for use in Diamond Dynasty.

As a Yankees fan, I enjoyed Jeter’s retelling of the era’s events, along with being able to recreate moments like his iconic jump-throw and a number of his clutch hits. Admittedly, however, it’s not the most interesting collection of stories. This is a team and player that won four championships in five years with little to no adversity, while Jeter himself was relatively drama-free off the field. It doesn’t make for the most compelling narrative, but the inclusion of Jeter’s Storylines does at least set a precedent for the series where we’ll hopefully see more engrossing tales in the future, whether the focal point is on a single Hall of Fame player or an entire team.

MLB The Show 24

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Road to the Show, meanwhile, lets you create and play as a woman for the first time. There are specific video packages that differ from those in the male career, with MLB Network analysts embracing the historical significance of a woman being drafted by an MLB team. A separate narrative based around you getting drafted alongside a childhood friend also differentiates the female career from the male side–which lacks any kind of story–while considerations like a private dressing room add an element of authenticity. The majority of cutscenes play out via text message, however, replacing the series’ previous narration with a hackneyed alternative.

The only other new addition to Road to the Show is the return of the Draft Combine, which gives you three games to improve your draft ranking by playing well against other prospects. While it’s good to see the combine back, it’s a fairly superfluous addition for those who simply want to choose which team to play for rather than leaving it up to fate. It also doesn’t take into account starting pitchers, dropping your draft stock because you’re only able to play in one of the three available games. The inclusion of women is a positive one, but Road to the Show is still in desperate need of an overhaul to its tired loadout system and bland presentation.

Franchise remains mostly the same, aside from one new addition with the potential to completely alter how you engage with the mode. Custom Game Entry Conditions is a setting that lets you simulate games until certain conditions are met, at which point you’re able to take control. You can customize these conditions based on how critical the situation is by tinkering with a situation-importance slider that ranges from low to very high.

You’re able to pick the earliest inning you’re willing to enter games, and can also ensure that you’ll always jump into player-highlight moments, such as finishing off a potential no-hitter or extending a batter’s hitting streak. With this setting, you might decide you only want to enter games during high-leverage situations in the ninth inning or play from the seventh inning onwards in tight games. This alleviates the grind of a full 162-game season while keeping you invested and making sure you have an impact on games that might mean the difference between making the playoffs or missing out on October baseball. The one side-effect of this addition is that Road to October and its truncated seasons now feel obsolete, but improving Franchise makes this a worthy trade-off.

Diamond Dynasty, the card-collecting and squad-building mode, is also not too dissimilar from last year’s game. The implementation of Sets and Seasons has been tweaked, with longer seasons giving you more playing time with season-limited cards. The amount of top-rated cards attainable at the beginning of a season has also been reduced to give you something to build towards.

Cards will now gradually escalate in power over the course of a single season so you won’t be rocking a 99-rated team after a single week. These are positive changes in what remains the most approachable of the many card-collecting modes in sports games, such is the ease with which you’re able to acquire great players without spending a dime. The plethora of single and multiplayer modes is also a feather in its cap.

MLB The Show 24’s on-field action remains stellar. For the first time, new rules like the pitch clock, slightly larger bases, and limited pick-off attempts have been implemented. Impact Plays, a new addition that emphasizes great defense, are also new, reinforcing the impact of spectacular diving catches and difficult throws. Impact Plays are possible anytime you’re player-locked, such as in Road to the Show. If there’s a possibility for a highlight-reel play, the game will slow down and task you with completing a quick-time event. How you perform here determines how successful the play will be. It feels great each time you’re able to rob a batter of a base hit by plucking the ball out of the air moments before it touches the ground or firing a laser beam to first base to beat a runner. I only wish Impact Plays were more frequent and were included as an option when controlling a full team.

The continued absence of an online Franchise mode and the stale nature of Road to the Show are disappointing aspects of this release, but MLB The Show 24 still maintains the series’ commendable output with fantastic gameplay and another collection of fascinating stories exploring The Negro Leagues and its players. A journey through the exalted career of Derek Jeter might not be quite as gripping, but it builds on Storyline’s established framework and lays down an exciting blueprint for the mode’s future. The addition of women in Road to the Show is another positive step, further reinforcing the overarching theme that baseball is for everyone, while the ability to customize how you play Franchise mode makes it a much more palatable proposition for those embarking on a 162-game season. MLB The Show 24 might not swing for the fences, but it’s still a great way to spend the looming summer months.

Gunar

March 27, 2024

Princess Peach Showtime Review – Drama Teacher

Princess Peach, the prototypical video game damsel in distress, has had limited success with her own solo adventures. On the rare occasion that she’s playable, she has typically been a sidekick in a larger adventure, like Super Mario RPG. Though she did land a starring role in Super Princess Peach, the game and its core mechanic—in which her powers were defined by wild mood swings—were a miss. Princess Peach Showtime is the latest attempt to make her own story, with nary a Mario or Luigi in sight, and this time she has come more into her own as an adventurer. More importantly, this solo outing seems primed at introducing new players to a wide variety of game genres. While veteran gamers will likely find the pacing too lethargic, it’s nice that Nintendo is making such a clear overture to welcome new players.

And when I say that there’s no Mario or Luigi, I mean at all. Nintendo’s most iconic characters aren’t even present in the intro, when Peach receives an invitation to come see the Sparkle Theater in a land occupied by Theets, little yellow creatures with bulbous noses. Upon arrival, the theater is taken over by a sorceress named Grape and her Sour Bunch goons, who kick out Peach’s loyal Toad companions, misplacing her crown in the process, and proceed to corrupt all the plays. Peach finds a guardian of the playhouse, a fairy named Stella, who accompanies peach by taking the form of a ribbon in her hair. (When Peach puts her hair up into a ponytail, you know it’s getting serious.) Stella is Peach’s default weapon, letting you use a whip-like motion to magically change objects and enemies in the environment, and it’s also the enabler for Peach’s various transformations.

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Now Playing: Princess Peach: Showtime! – Transformation Trailer

When Peach steps into a corrupted play, she finds a spark that lets her take on the role of its hero. These are broad archetypes like Swordfighter, Cowgirl, and Detective, and the 10 costume types allow for a broad range of different gameplay types. Once you’ve found your costumes in the first version of a stage, future stages of that type will start you with it already equipped. Each floor has four plays to conquer, after which you’ll fight a boss and gain access to the next floor. It’s all very easily understandable and flows nicely.

Since every stage is a sidescroller, I found that the plays felt most natural and familiar when they hewed closest to familiar sidescrolling action game mechanics. But even within those, there was some variety at play. The Swordfighter plays are modeled after a very traditional action game, light parry system included. The Cowgirl, on the other hand, is focused more on ranged attacks with your lasso, and the Kung-Fu stages included some lightly rhythmic fighting game mechanics. My personal favorite was Mighty Peach, a cute take on the henshin hero genre like Ultraman, in which Peach gets a robotic-looking power suit that she uses to fly through the air, take out invading UFOs, and lift buses over her head to throw at enemies or use as makeshift bridges. Those stages played almost like a shoot-em-up, with a unique focus on ricocheting ships and aliens into each other.

Some stages are less combat-focused but still handle like simplified platformers. The Ninja stages are centered on stealth, letting you hold up set dressing to blend in with the grass, or duck underwater and breathe through a reed while sneaking up on enemies. The Dashing Thief is focused mostly on a grappling hook as you run across rooftops. Other stages stray further from the platformer formula, like the Figure Skater stages that let you glide gracefully across the ice as you hit icon-coded stunt points to grab collectibles and ultimately defeat the evil Sour Bunch figure skater rival. The Mermaid stages take place almost entirely underwater and consist mostly of directing your siren singing voice–either to direct a group of fish where to go for solving puzzles, Pikmin-style, or to collect special singing-note fish to compose a song. They’re all variations on a theme to some extent, but they have enough slight differences to act as a rudimentary introduction to disparate game genres.

Then there are the costumes that stray furthest from traditional platforming mechanics, to mixed results. The Patissiere (pastry chef) stages are modeled after timing-based cooking games, as you bake batches of cookies or carefully apply frosting to cakes. These are a nice change of pace that really show the flexibility of the concept. The same can’t be said for the Detective stages, which are the weakest of the bunch. These consist almost entirely of walking around, talking to Theets, and then holding a button to point out an inconsistency with some object in the relatively small room. Even keeping in mind that these mysteries are aimed at younger children, the pace of these segments is particularly dull. From your movement speed to tracking something with your magnifying glass to holding the button to call out an inconsistency, everything feels just a little slower than it should be.

That said, the Detective stages, like all of the stages, carry an excellent eye for set design. Princess Peach Showtime works on two levels, as you have to both visually understand the goals and mechanics of the stage itself, while also taking notice that these are ultimately supposed to be stage plays. Many of the props and backgrounds are designed to look like stagecraft, and moving parts like Mighty Peach’s alien enemies or your Cowgirl’s trusty steed are made to look like puppetry, with seams and barely-visible strings. It’s a lovely, subtle touch that really sells the worldbuilding of the Sparkle Theater. The boss designs are equally inventive, as they’re built to look like pieces of behind-the-scenes stage pieces that have been cursed into fearsome beasts, like a massive snake made out lighting rigging to make up its segmented body.

Purrjector Cat is one of the stylized bosses based on stagecraft.

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As you proceed through each stage, you’ll find coins, as well as sparks that are ultimately used to gate access to each boss. These are plentiful enough that I never had to backtrack for more, which is a welcome change from other recent Nintendo games with similar gating structures. Your coins, meanwhile, can be used to purchase additional dress designs for Peach and ribbon colors for Stella. This isn’t very impactful, given that most of your time is spent in plays where Peach will be changed into her stage-appropriate costume, but it’s nice to see your customized Peach when she’s exploring the main floors of the theater at least. As you progress, you’ll also unlock special stages to rescue Sparklas, the Theet embodiment of each of the play’s characters, as well as elements like timed challenge stages. These serve as the culmination of the individual stories, and while they still aren’t very difficult, they are among the most challenging parts of the game. That should be enough to give the target audience the sense of a difficulty ramp. Plus, all of these collectibles means there’s plenty to do for completionists, but the gating isn’t so aggressive that it’s likely to frustrate players–especially the younger players who seem to be the target.

And just as Mario games have never been known for their strong stories, Princess Peach doesn’t escape that issue in her own solo outing. Grape is a typical evil cackling villain with a barely-stated plan or motivations. We never even get a clear idea of whether she intended to attack the theater while Peach was there, or if that was happenstance. This is too bad because the final confrontation is a gameplay highlight, ending on a high note that would be even better if we’d been given a more compelling villain to defeat. If anything, the stories in the individual plays themselves are often more interesting, thanks in part to some great, so-goofy-it’s-fun writing and animation work.

Princess Peach Showtime is a friendly, inviting game that’s made to be easy to digest. Some of the genres work better than others in this format, but none of them are too tricky or off-putting, and most of it will come down to personal taste. None of these stages are fleshed out enough to support their own game, but they’re an invitation for novice gamers to explore a bunch of different game types, with a charming (and apparently polymath) princess offering her gloved hand to welcome them in.

Gunar

March 21, 2024

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