prizreut – v. to park vehicle for a minimum of 8 hours. Then repeat steps 2 through 12. DO NOT REPEAT STEP 1.
eheuarfa – v. from a stop, accelerating to 104 Km/h (65 MPH). Then decelerate at closed throttle until 64 Km/h (40 MPH) (no brakes). Repeat this 3 times.
tolaraonmuevenraur – v. from a stop and in overdrive, moderately accelerating to 80 Km/h (50 MPH) and cruising for at least 15 seconds. You then stop vehicle and repeat without overdrive to 64 Km/h (40 MPH) cruising for at least 30 seconds. While at 64 Km/h (40 MPH), you activate overdrive and accelerate to 80 Km/h (50 MPH) and cruise for at least 15 seconds. You then Stop for at least 20 seconds and repeat the whole sequence five times.
sotuuee – v. to bring your vehicle to a stop and then idle with transmission in drive for 2 minutes.
ilergnaso – v. from a stop, accelerating to 72 Km/h (45 MPH) at 1/2 to 3/4 throttle. And then repeating that 3 times.
enavitmbe – v. to drive in stop and go traffic conditions, driving at five different constant cruise speeds, ranging from 40 to 72 Km/h (25 to 45 MPH) over a 10 minute period.
godetnaon – v. to cruise at 72 to 104 Km/h (45 to 64 MPH) for 10 minutes (avoid sharp turns and hills)
actituqo – v. to cruise at 64 Km/h (40 MPH) for up to 4 minutes
osunsirde – v. to idle your vehicle for 15 seconds, then drive at 64 Km/h (40 MPH) until the engine temperature is at least 76.7 degrees Celsius (170 degrees Fahrenheit).
musculoir – v. to start your vehicle without returning the key to off.
rylarutan – v. to turn your car’s key on with the engine off. Then cycle the the key off, then on.
eettotsiv – v. to rub medicine on your foot and then immediately scratch your eye afterwards
Branching Paths (2016), directed by Anne Ferrero
Production Company: Assemblage | Length: 83 min || Rating: 9/10
Branching Paths is a documentary that follows the director’s in-depth examination of the Japanese indie game scene. Throughout the documentary, which spans over the course of 2013 to 2015, you’ll see just how diverse it really is; all sorts of different people are introduced in Branching Paths. Of course most are of Japanese nationality, but there is a swath of internationalism that makes its way into the documentary, with westerners creating a foothold in Japan and becoming part of the diverse fabric that makes up the Japanese indie game scene.
The director takes a low-key narrating role when needed. Much of the narrative is pushed by the interviews and text that pops up on the screen saying what event we are at and what the purpose of it is. A series of indie game events occur in Japan during the time span of the documentary, and we revisit the same events in different years, which shows the subtle changes, recurring faces and recurring games to see their progress. Games we are introduced to pop-up throughout the different events: Million Onion Hotel, Downwell, and TorqueL among others.
Much of the interviews focus on the culture and market of Japan as a whole and how North America is the biggest market for their indie games despite developing them in Japan. Because the PC game market in Japan is so small, it is important for developers to make their games available on mobile or consoles, whereas to appeal to the North American market they almost always need to be on PC. Many games are crowdsourced or find their success in the North American market before being able to become successful in Japan. We also see the progression of the promotion of indie games by big publishers such as Sony and Microsoft, carving out spaces at the Tokyo Game Show, and creating an event just for indies in the form of BitSummit.
Interviews with higher profile Japanese indie developers such as Keiji Inafune of Mighty No. 9, Lucas Pope of Papers Please, Dylan Cuthbert of Pixel Junk (Q-Games), and IGA of Castlevania fame also make their way into the documentary. It is interesting to learn a little bit about the similarities between indie developers no matter their origins. There are many other lesser-known/locally known people who add to the composition of the documentary. A segment of the documentary also explores the blurring of the lines between traditional “doujin” (self-published) media like comic books and the indie game market.
We don’t really get to know much about the director herself other than she was born in France, and grew up on Japanese games. It would have been nice to learn a little more about the director during the first part of the movie, but it was obvious they didn’t want to lose focus from what the actual subject of the documentary was. The director is possibly on screen one or two times but her personal journey feels more like a disembodied journey as a result. She narrates two or three times and the last part of the documentary she doesn’t make any other narrations. The quality of the cinematography is quite good, and I was only frazzled by a couple of weird shots they kept re-using, such as focusing in on a person’s top half of their head and not seeing their mouth, or people’s fingers. B-roll like this probably could have been better replaced by more video about that developer’s game or something.
Another thing to note about Branching Paths, is that it is subtitled about 90% of the time. The documentary is interestingly multilingual as you’ll see most interviews in Japanese, a few interviews in English, and the bits of narration done in French. If you aren’t a fan of subtitles, it might not be for you, but you’d have to be gifted in language to enjoy this without subtitles. It would have also been nice if the documentary spaced out interviews a bit at times so as to not have to read subtitles while also having to read titling about events/dates.
Branching Paths is an interesting look into a niche market in the overall gaming industry. A lot of focus has been put on indie gaming and mobile gaming in the past few years, and focusing on this area is a unique subject. Most of what is learned in this documentary may be more interesting for people who aren’t particularly sensitive to the nuances of gaming culture/markets, but even I learned a few things from this documentary. It held my interest throughout and didn’t really drag at any point. Branching Paths is available on Steam for $9.99.
A trailer for the documentary can be seen below:
Developer/Publisher: Desert Owl Games, LLC. || Overall: 6.0
There are things in life that just seem inevitable. First and foremost are death and taxes, but, besides that classic example, the list doesn’t end there. A clear runner up would be emotions like happiness, sadness and anger, which are things that nothing short of a specific lobotomy or mental condition could prevent. Then we have other people, which are impossible to avoid because, according to how I know babies are made, we all start out coming out of a person. There is also disappointment that often comes when the starry-eyed optimism of youth gets a dose of the cold hard reality of adult life. Just like your very next breath, there are just some things that cannot be avoided… like movie tie-in games…
In the long tradition of movie tie-ins, Huntsman: Winter’s Curse sets its sights on your PS4’s storage data. Taking place in the Huntsman universe and serving as a sort of side-story to the events in the film, Huntsman: Winter’s Curse describes itself as a “adventure RPG with collectible card game elements” and for the most part gets that right. Though whether it can avoid the curse of a terrible movie tie-in game is another thing entirely.
Huntsman: Winter’s Curse quickly establishes a rhythm and then staunchly refuses to change it. Every bit of story is followed by an encounter, every encounter is then followed by a change of location, and every change of location then brings about more story. Along the way, a boss fight occurs and eventually after a few repeats of the established sequence, the game will end. While this may seem like the standard structure of most RPGs, it’s not so much that it uses a fairly common structure, it’s how Huntsman: Winter’s Curse handles it. The whole process is far too structured and leaves very little room for player agency. Every location has a set number of encounters and doesn’t allow for any exploration on the player’s part. Visiting a different location only requires scrolling over the desired location and then pressing “X” to go there. There is no actual walking or exploring to speak of. To add to that, all loot is tied to those encounters and there is no real way to get more. There are a few side quests, but even those are structured in the same way, where the encounters and loot are predetermined. If there is any attempt at giving the player agency, it can be seen in the choices the player is allowed to make throughout the story, but even those seem inconsequential in the long run. More often than not, the story ends up taking the same route regardless.
As far as the story goes, Huntsman: Winter’s Curse is a fun little side-adventure that isn’t too bogged down by the details of the movie. This makes it something that a person who has never seen the movie has a possibility of enjoying the story. Mentions and some cameos do exist, including a battle with the title character himself in all of his Chris-Hemsworth-Playing-Not-Thor glory (Inevitable!), but this story exists as a standalone within the universe.
The story is a familiar tale that pits our plucky and strong female protagonist and her roguish male companion on a quest through the Huntsman universe in search of her brothers. Of course, things are never that simple and she quickly finds herself on the opposing end of a powerful witch. This same fairy tale esthetic also bleeds into the presentation. The characters are drawn much like they were in some elaborate picture book and each part of the story is separated into a “book” that denotes each story arc. The characters speak in a fancy tone that can feel like they are hamming it up at times, but overall fit their character and circumstances. There are also enough twists and turns to keep the player interested, as long as they are able to get past the feeling of being led along by the wrist at every turn.
Another positive point is the combat. The system closely resembles the Active Time Battle system used in some Final Fantasy games but with the added benefit of having actions that can alter a character’s turn. Turn order is displayed above the action with a line that scrolls forward with the combatants represented by a portrait on it. Once the portrait reaches the end, that character is allowed to act. Where it gets interesting is in the cards that let you push back your opponents turn. Some allowing you to push a certain character’s action several turns back to either land a few hits or set up another combo with your cards.
Though, no matter how much fun I found the combat, it did nothing to make parts of the game feel any less half-baked. There are a number of bugs that I encountered, ranging from the annoyingly constant button lag to a frustrating glitch that didn’t allow me to change the equipment on my second character unless I exited the game. There is also a lack in variety among the cards available. I found myself with the exact same card across multiple equipment more often than you would think. Lastly, I just couldn’t shake the feeling that I was playing a glorified mobile game. Everything from the combat to the way you change locations and even the presentation screamed that this was originally intended for the mobile market instead of being a full-fledged console release.
All in all, Huntsman: Winter’s Curse is a noble attempt at a movie tie-in game that fails to impress. The combat and story is intriguing but the way the game handholds the player through the story can be annoying. And that still fails to address that the ample number of bugs in the game are grating, and the lack of variety when it comes to the cards can be no less a detriment to the experience. If you are interested in a game set in a Huntsman universe and don’t mind a bit of linearity, give it a try. On the other hand, if you are looking for an open experience with more variety, I’d recommend something else.
Developer: Tuque Games | Publisher: Perfect World International || Overall: 8.5
Google needs a new name. As our eventual AI overloads, the name Google doesn’t have the required menace for when the program finally decides to go rogue and that mankind can no longer be left to its own devices. It’s just a hard name to respect as our robot betters. Imagine being gunned down by the “Google Drones” or being forced to work for the “Google Internment Camp”. Wouldn’t you rather a name like “Ocelot Corp” or “Gigadyne” be the starting point for the age of machines and the fall of mankind? This is where Cyberdyne Systems had a good idea and stuck with it. They knew that if their program ever decided that mankind worked better as target practice, it had the proper name to take them down with. A name that could be feared and also respected; not a name that could qualify as a toddler’s first words.
It’s a robot-on-robot war for the fate of humanity and you’re smack-dab in the middle of all its top-down shooter glory. Publisher Perfect World and Developer Tuque Games are set to bring the robotic apocalypse to your PC with Livelock. Livelock sends you on a mission to shoot your way through hordes of robots to save humanity. With its guns locked and loaded, it hopes to not shoot any blanks.
Livelock takes place in a post-apocalyptic future where humanity is a distant memory and robots have taken their place as inheritors of earth. To that end, the world of Livelock is wonderfully realized. Most stages are barren wastelands where the remnants of humanity mix in with the discarded corpses of other robots that have fallen in the robot wars that followed mankind’s destruction. A fact that can be commonly seen in the way the art style treats the robots and the world they live on. The newer robots shine with a metallic brilliance while the rest of the world is diluted by dull hues to give a clear distinction on what’s old and new. To that effect, the weapon effects and explosions also light up the screen with a dazzling pop as the player violently weeds their way through their enemies. All this makes it clear to me that Livelock took some care when developing its art-style and graphics.
The story in Livelock continues to play with the duality of old and new. Mankind was given ten years before their eventual destruction, three human minds were downloaded into brand new robot bodies in the hopes of resurrecting humanity at a later time. Though the plan seems perfect, mankind fails to properly gauge the destruction and the time-table is set back by a few hundred years. Our three robot saviors are then resurrected by a satellite AI and are introduced to a world where three robot factions are fighting for dominance over the Earth. With the world in turmoil, the satellite AI informs them that the only way to save mankind is to stop the current war. This sends the player and the robots with human minds on a path of destruction for a chance to bring mankind back. It’s an intriguing narrative that blends the lines between robot and man to bring you a tale about perseverance and survival. Overall, it is a competent story with a satisfying ending even if it can be a tad predictable at times.
The gameplay can be best described in one word and, thankfully, that word is “fun.” At any moment there is a variety of things that can be happening on the screen and it’s the player’s job to properly balance out all the robotic bits. There may not always be a constant stream of enemies on the screen, but when Livelock decides to ramp up, it doesn’t really hold back the carnage. The player is almost constantly besieged by a variety of enemies both weak and powerful that require skillful uses of each robot’s three primary weapons and its varied abilities to survive. Furthermore, there are upgraded versions of every enemy that are beefier, stronger and, oftentimes, bigger than their normal version and require their own strategies to defeat.
The only real shame here is the fact that Tuque Games didn’t decide to diverge from the three most common classes when it came to the core robots. Putting it in MMO terms, the three robots fall into DPS, Tank and Support roles (or as I like to call them Shooty McShooterson, The Big Guy and The Red Cross). Though what they lacked in creativity, they make up for in execution as each gain an enjoyable number of weapons and skills to do away with the machine menace. Those skills can then be equipped, along with a variety of weapons, to build different setups for your robot. This means that there is a low chance that two robots would end up the same way, even if the same one is chosen.
And you’ll get plenty of chances to see those builds with the multiplayer. Overall, it’s pretty great. Any lag is hardly noticeable and the difficulty ramps up to a point where it is necessary to use your team to its full advantage. Thankfully, they also fixed the earlier connection issues and the multiplayer seems to run fine now.
Lastly, the variety of enemies is worth mentioning. Each robotic cluster has its own theme and the enemies you face play to them. Whether it is the hive-like structure of the Noesis cluster or the human-like appearances of the Praetorian cluster each robotic faction the player faces come with their own design and strategies. This not only keeps the player on their toes but also lends to the world building of the story. Each faction harbors its own desires and they play out throughout the course of the story to lend some life to the dead planet the story takes place on.
Livelock seems to have a bullet in every chamber. The story is competent, the gameplay is fun, the multiplayer works great and mixing and matching the different abilities and weapons is a treat. It’s also obvious that the developers took care and effort when developing the graphics and art-styles to fit the game’s setting. As of right now, Livelock’s chamber is full and locked and loaded for some fun.
When not implanting his human mind into a robot body as Unnamedhero, Eduardo Luquin can be reached at Unnamedheromk13@gmail.com.
*This review has been edited to reflect that multiplayer has been fixed upon launch.*