As anyone who pays attention to me or this infrequently updated site (which is why there’s a twitter feed running and links to all my social media elsewhere), I am a huge Doublefine Games fan. They’ve yet to make a game I haven’t enjoyed even if the genre was not to my liking. Be it Dear Leader in Amnesia Fortnight, Costume Quest, or even Dropchord.
Well they’ve done it again in collaborate distribution with [adult swim] games for Headlander. Lee Petty’s crazy yet simple concept of a man or woman (you can choose your head) who leaps from robot body to robot body to explore properly this extreme weird future in which a huge and brilliant backstory exists. To give it away is to essentially give the game away. That said, there is a section in the game involving a huge action oriented chess board. If done as it’s own separate game it probably would’ve been appreciated. There’s actually tons of little bits like that throughout the game that show a larger world then the game that would be fascinating to explore as mini games, comics, cartoons and more because that’s what the team at Double Fine do when they develop worlds.
I feel it is the script and the design of characters that is the crux of this 2.5 D side scrolling Metroid like platform shooter. It’s a genre I tend to get annoyed and frustrated with. My hand-eye coordination is just not the greatest when it comes to video games, I have to readjust my eyeline (which I’ve become very good at especially in real life); Yet there’s SO much happening on screen it can be quite difficult. It’s done in such a charming, enjoyable, beautiful way though that even when you’re ready to give up you just keep trying it and trying till you beat it.
The music (masterfully written and performed by David Gregory Earl and an amazing soundtrack in its own right) , sound design, visuals, make it all worth it. Just when I just wanted to throw my controller at the screen, I breathed, put it down and felt that need to come back and figure it out. I’m betting so will you if you haven’t played it.
I’m not set up with a rig to do a Let’s Play, so you have to trust my words. You could also go check out trailers and videos online to get your own impressions, but then you’re not listening to what I’m saying which is just go experience it for yourself.
I enjoyed Headlander so much I went and used my limited but still better then most Photoshop skills to design a new avatar for the excellent, supportive and loving DoubleFine Forums.
Double Fine Adventure Documentary now on Steam, 66% off this weekend
The Double Fine Adventure Documentary by 2 Player Productions is now available on Steam, with an introductory 66% off sale price until Monday October 5th!
The collaboration between 2 Player Productions and Double Fine Productions that launched a historic Kickstarter campaign has reached its conclusion! A three-year journey spanning twenty episodes, the “Double Fine Adventure” series chronicles the creation of “Broken Age,” from a germ of an idea in Tim Schafer’s notebook to a finished game and beyond.
Along the way, the team is confronted with production delays, internal strife, and outside controversy in what is the most honest, in-depth look at video game development ever created. Previously exclusive to Double Fine’s Kickstarter backers, now everyone can share in the passion, humor, and heartbreak of this landmark documentary series.
Now available on Steam, the Double Fine Adventure comes with 10 collectable Steam cards featuring art by Michael Firman, 5 Theme Badges, 5 Emoticons, and 4 Profile Backgrounds.
“Double Fine Adventure is the best video game documentary to date”
“A must-watch for those intersted in the art of game creation”
– Game Informer
“Even if you don’t care a jot about adventure games, even if you’ve never picked up a Double Fine game in your life—this is a documentary that demands your eyeballs (and your heart).”
Double Fine Adventure
Regualar price $14.9 – $5.10 until Monday (66% offf)
Double Fine Adventure + Broken Age + Broken Age Soundtrack bundle
Regualar price $44.98 – $15.30 until Monday (66% offf)
It was one of the best p & c demos I’ve played yet. It was an amazing teaser that showed the games mechanics and revealed a clever puzzle thought mover with an epic story.
Here’s the official text on it:
City of Newton, 2087. CEL agents Charlie Regis and Max Lao are investigating a serial Mindjacker who is tapping into the neural wiring of seemingly ordinary citizens, stealing their knowledge and leaving them dead. An agoraphobic net addict named Latha Sesame might be the next target. But when Charlie’s past comes back to haunt him, he and his partner find themselves on opposite sides of the law, with Latha’s fate in the crossfire. All three of these characters are introduced in the demo, and you’ll get to play as two of them. Blade Runner meets Police Quest in Technobabylon, a slick point & click adventure that blends past and future with its retro-styled pixel art and intense cyberpunk plotline. Technobabylon sets you loose in a world where ‘wetware’ wires people directly to the web, where the cerebral online Trance has replaced almost any need for human interaction, where the city’s omnipresent AI, Central, has eyes on everyone and everything — a world that could someday be ours. Learn more at the official website.
In 1998 I was in third year of college and working hard. I’m not even sure how I found time for video games, but I did and on top of that heap was Grim Fandango. Up to that point I was a Lucasarts adventure game for lifer starting back with Loom. When Grim Fandango came out I can’t really remember the marketing at all, but I knew the Day of the Dead plot and that it was from the mind of the same person who made Day of the Tentacle and Full Throttle and that was enough for me to grab it up for whatever probably outdated PC I had at the time.
Truthfully though I don’t think I ever beat it. I do remember being amazed by the music though. Peter McConnell at that point had cemented his abilities with various LucasArts games but he seemed to become super inspired through Fandango’s mexican jazz and noir influences. That music would stay with me for years past ever actually touching the game. What also got me was that voice acting. At that point the lead, Tony Plana was a pretty established character actor with multiple film and TV appearances and an impeccable voice for comedic timing while still coming across as serious. Equally Alan Blumenfield who at the time was also one of those character actors who fell under the “hey, it’s that guy” was just perfect as the super energetic bounce off Plana’s cool and collected. The rest of the cast was full of known acors as well, but what stood out for me then and NOW was Pamela Segall. That was the coup of the voice casting, she was a former child actor and known cartoon voice actress at the time so hearing that she would be part of Grim was exciting. Honestly though I don’t know if I ever got far enough in the game to actually hear her in 1998. Those tank controls were… well, like controlling a tank. A headache and a half. I don’t care what Tim Schafer thinks… they aren’t fun. They’re a new device never used in an adventure game adding to the difficulty, but they also took away from the fun and ability to enjoy his clever script, engaging puzzles and curious plot.
Thankfully, in 2015 that all got fixed with Grim Fandango Remastered. Over the years I’ve tried using the fan made systems to play Fandango on new windows and even tried the fan made P&c scheme, but it just never felt… right. Multiple crashes and other doohickey annoyances made it nigh impossible to finish… even more than the the old tank controls.
While Remastered allowed me to finally play Fandango from start to finish without having to rely on tank controls even then it wasn’t completely easy. The game is difficult and has certain puzzles that were more annoyances then puzzle solving (ex: the section getting past skeleton tigers, and in the same general area, following an arrow). So it wasn’t the game I loved. In retrospect now as I sit here thinking of the experience, the game is actually not fun… but the acting, the script, the characters really just propel you to go forward. Some of the logic puzzles are equally obtuse as any adventure game, but the way they play out are either funny or justified in a way that made me continue and nod in a “allright, that works”.
What really makes Remastered special isn’t being able to play in a new game style way though. It’s the extras and bonuses. The commentary tracks are amazing and cover so much ground. There are interviews with not just Tim or Peter, but also the designers, the programmers, the casting & voice director and everyone in between. The making of the game is truly explored in fun and interesting ways along with a large gallery of design art including unused cut scenes and a full storyboard. On top of that the amazing soundtrack has truly be remastered and in cases re-recorded using a symphony guided by McConnell. It’s a wonder to hear and behold and makes playing so worth it.
The only thing not included (as far I could tell) was the original puzzle document. Fortunately that wondrous piece is still on the internet. Don’t read it till you’ve beaten the game though.
GRIM FANDANGO Remastered is currently available on PC/Mac and Linux DRM-Free and Steam as well on PS4 and PS Vita for $14.99.
Double Fine Adventure was what turned me into a Kickstarter fiend for a few months. The only thing that ended that fun was a mix of finances and seeing certain projects I funded just take way too long. Still I pledged $100 to DFA with trust in what Tim Schafer and Nathan “Bagel” Stapley coming together and combining their efforts to create a modern point and click adventure based off the strength of Tim’s previous work and where it’d lead had he not had to move on to things such as Psychonauts and Brutal Legend. This is not a commentary on those games, but more to explain my views of what became BROKEN AGE and my feelings towards it versus how certain reviews and opinions have formulated based on preconceived expectations based on misunderstanding and lack of comprehension on the part of the backers.
Being a backer meant that for the last two weeks I have gotten to playtest, look for bugs, analyze the game and prepare for whatever post release onslaught could be coming. The fans on the boards who were negative… and I mean NEGATIVE and I can understand most of their issues. Yet, those issues are mostly based in falsehood expectations that they had. Not one of them have I heard complain about the story or the art. Many of them have complained about length and character, but the second is to each his own. Some people love Natural Born Killers, others hate it, the same with True Blood, My Little Pony, Ben 10, Batman and many many other things. One person will say the character was full of emption and I could really relate and another person of the same exact character can say they had no emotion and could not relate at all. These are things that happen with every creative piece of art ever made and BROKEN AGE truly is a piece of art and it is a game.
It is is not an interactive story, or an animated children’s book which you can press buttons on. It is the perfect example of an adventure game that exists as it would’ve had if when Double Fine was created did nothing but point n click games. This is how they would evolve. They wouldn’t just be retreads of Day of the Tentacle or Full Throttle or even Grim Fandango, but the next step, following the path that gaming has taken from going casual, back to hardcore, a return to casual and then reaching a happy medium that isn’t exactly a perfect balance and definitely won’t please all, but would allow for something fun, creative, purposeful, enjoyable, engaging and for some challenging, while others truly easy. For those who find it too easy though they would be getting something that no other game possessed. A special kind of charm, a witty humor, a sense of logic and story building that only Tim Schafer and a team he helped hand select could create.
My personal largest issue is people saying this is not what they expected and yet their expectations are all based on their own personal nostalgia and conception of what a Tim Schafer game is instead of the reality of it or at least to sound less biased, that there is another view of that and that the most important one is Tim Schafer’s. I will leave this argument and focus more now on the game itself and a couple of facts on the history of Tim Schafer games and Double Fine.
I feel to look properly at BROKEN AGE we must skip Monkey Island, as those were mostly Ron Gilbert games in which Tim got input but did not show us what type of game he would make. Day of the Tentacle is the first place when one sees the type of game Tim would make. Something that would take the genre to the next place. While multiple characters had been used in Maniac Mansion, finding a way to have those characters work together was new. DOTT was not as hard as people seem to remember though. Dave Grossman co-directed it and lots of his work which would be seen later on Moop & Dreadly and the Telltale Games catalog was definitely in place here… and they were equally Tim’s. Simplifying things to extract humor and thoughts but not making things so hard. The same can be said with Full Throttle, a game that was much more about fun, humor and story then trying to make things hard or complicated. It was short and balanced and even combined a difficult but not impossible action sequences, the first hint that Tim felt the best way to expand the genre was to simplify puzzles and add different types of gameplay. Full Throttle also showed Tim’s great and intriguing choices in voice casting and focusing on getting performances that would really show off his hilarious quips and really thought out storytelling. Mark Hamill, Maurce LaMarche, Tress Macneille, all inspired choices who at the time were established actors known to animation and genre fans worldwide. Then with Grim Fandango he flipped EVERYTHING upside down and made a 3D game with difficult controls, an abstract plot and even more abstract casting with voices everyone knew… Tony Plana, Maria Canals, Alan Blumenfeld and Pamela Segall-Adlon were all established actors with careers. It was an indication that if Tim could he’d really reach as far and as wide to get performances above and beyond that of a normal video game. The kind of performances we have all slowly now gotten used to, but back then… not even close to the norm.
Then… Tim Schafer stopped making point and click adventure games. Psychonauts had puzzles, but it was also an action platformer and one that took that genre into new directions with a heavy emphasis on conversations, visual cues, great storytelling with depth, and amazing acting performances. There was some really interesting casting on it with Armin Shimmerman, Josh Keaton and Tara Strong. He also proved a dedication using a lot of the talent from Throttle and Fandango. Then came Brutal Legend, turning the entire third person action adventure game in new ways and at times trying to do also way too much by adding Real Time Strategy. Yet, inspired casting, dialogue and story really leaped and showed Tim’s true talents as a director. Jack Black, Brian Posehn, Tim Curry, Jennifer Hale, Cree Summer and of course getting those legends of Rock.
After Brutal Legend and how it fared though Double Fine went smaller and Tim became a department head, while other voices in Double Fine showed how equally awesome they were. Costume Quest, Stacking, Iron Brigade, Middle Manager of Justice were all brilliant and definitely Double Fine games which also felt like Tim games even with Tasha Harris, Lee Petty, Brad Muir and Kee Chi as directors.
All this brings us to BROKEN AGE and I’ll start with this. I love it, I understand any negative reviews and complaints but respectfully disgaree with them and I think this is something all gamers who want a new experience that at the same time feels old. Tim’s handprint is all over this thing. The jokes are aplenty and funny. Some are easily missed if you don’t experiment at illogical things, but there comes the real fun of adventure games. This is the linchpin of everything for me. Tim has created something that is funny, heart warming and full of depth. Are the puzzles easy? I guess. I’ve seen plenty of people also stating they were stuck in places and actually turning to a walk-through or asking for a hint, so I think the balance has been hit. A delicate balance that any game of this type will have had trouble juggling. I believe they have done so successfully. We also really get everything we’ve gotten from Tim in the past, innovation, the next step. This is the game he’d of made in 2014 as an adventure game especially if Psychonauts and Brutal Legend were point and clicks if he had complete control without publishers and never turning to Kickstarter in the first place. Turn to Kickstarter he did though and that created a whole different setup. Because this might not be the game he would’ve made under a publisher. A publisher would’ve maybe given him that little amount asked for and then he’d make a game and publishers would complain instead of fans. All this could be wrong, but it’s what I feel and isn’t that what reviews are, feelings?
I think the biggest thing that makes BROKEN AGE special is twofold.
Firstly, taking the evolution of casting to the next level. Tim brought in a ton of old friends along with him, including the folks with him since Day of the Tentacle and even bringing back Jack Black, as well as Cree Summer and even recruiting Wil Wheaton again. It’s the NEW people that are so exciting though. In the leads Elijah Wood (yes, that guy!), Masasa Moyo (best known for Team America: World Police and Young Justice), and David Kaufman (Danny Phantom and animated Jimmy Olsen); joining them in minor roles are major voice actresses like Hynden Welch and Grey Delisle with a final extra special appearance by the creator of Adventure Time & Bravest Warriors (and the voice of Spacy Lump Princess) Pen Ward. It’s like the greatest cast ever in forever for anything.
Secondly is the art style. No game has ever looked like this, because no game has ever tried to look like a painting by Nathan Stapley (well other than the Flash game on Double Fine.com based on his comic book). While he’s been an employee at Double Fine for a long time and was previously at Lucas Arts, his personal work is something special and other worldly. His palette and style has a frenetic energy that has not been seen by many… not even his occasional mate and fellow Double Fine employees Scott Campbell, Levi Ryken or Lee Petty. “Bagel” is a very special artist and that comes through every image in the game. While Peter Chan and the other artists I mentioned had a major part in the concept art, the final look of this thing is still all through the eye of Nathan. Words really do it no justice, so here’s two screen shots. One from the “fantasy” world and one from the “space” world. Both have all the artistic influences in here and really show off how absolutely beautiful this game is.
The final word from me is you need to get BROKEN AGE. Be it now (released February 28th, 2014) off STEAM to experience the awesomeness of ACT 1 and marvel at an amazing Part 1 or waiting for the whole game off of Humble and other sources. I say play it now… as you get the entire game. Also grab the soundtrack.
> CONNECT host:www.hacknslashthegame.com port:80
> SEND ApplicationData
>> GET /download/hacknslashannouncement.txt HTTP/1.1
>> Host: hacknslashthegame.com
HTTP/1.1 200 OK
Server: Apache/2.2.15 (CentOS)
DOUBLE FINE ANNOUNCES PUZZLE ACTION GAME HACK ’N’ SLASH
Former Amnesia Fortnight Prototype to Launch in First Half 2014, Supported by Indie Fund and friends of Double Fine
SAN FRANCISCO–December 10, 2013–Double Fine Productions today announced that Hack ‘n’ Slash, a hacking themed puzzle action game for Windows, Mac, and Linux, will release in the first half of 2014. A version of the game debuted during Double Fine’s Amnesia Fortnight 2012 internal game jam. It was selected by the gaming public to be turned into a two-week prototype, after garnering more votes than any other Amnesia Fortnight pitch.
In Hack ‘n’ Slash, a young elf uses her computer hacking skills to cheat her way through a classic action/adventure game. The game was funded by Indie Fund, Humble Bundle, Hemisphere Games, make all, AppAbove Games, Adam Saltsman, The Behemoth, Morgan Webb, and Rob Reid as part of a two-game deal that also includes Spacebase DF-9, which released in Early Access Alpha and recouped its investment within two weeks.
“I’ve always loved games with lots of secrets in them,” said Hack ‘n’ Slash project lead Brandon Dillon, “and when I first discovered a hex editor in an emulator, it dawned on me that I could be a kind of digital treasure hunter—no game could keep even its deepest secrets from me if I adventured long enough in its code and memory.”
By subverting old-school gaming tropes with unique hacking mechanics, Hack ‘n’ Slash allows non-programmer players to experience that same sense of mystery and discovery.
“Look, I’m going to be honest with you here: I don’t really understand what’s going on inside this game’s code,” said Double Fine president and CEO Tim Schafer, who claims to possess a degree in computer science. “I believe it contains ‘algorithms.’ But I know what’s going on inside my heart when I play it. And that is joy.”
“We’re psyched to be helping with Hack’n’Slash because Amnesia Fortnight projects are about empowering individual creators,” said Indie Fund partner Ron Carmel, who definitely possesses a degree in computer science. “And I can confirm that this game’s code does contain algorithms.”
Hack ‘n’ Slash will be released for Windows, Mac, and Linux on Steam and DRM-free in the first half of 2014. It will include algorithms.
When things end, especially serials we hope that even if they end with room for more, they offer a satisfying ending. One we can contemplate and understand what has come and what may come. With so many series recently ending in ways that have left me scratching my head I am glad that COGNITION: An Erica Reed Mystery has concluded with an open ending that brings a MORE than satisfying conclusion to its whole and that its final chapter answers any and all questions developed through the first three chapters.
I had previously written about those first three chapters here on The Spectrum and stated how excited I was for the final chapter. It delivered and in spades, but not completely as expected and with surprising moments and changes that actually make a second playthrough not just good for the acting, music and story but that decisions you make will actually create a different ending.
This new factor the game was fascinating and it’s played through a great mechanism. Through dialogue trees, how you respond to certain questions and sequences will change how a character feels about you. There is no wrong or right answer in these cases, they will just decide which direction the ending will bring you. They are not a solution to a puzzle but an extension of nuanced game playing and upping the ante of play styles that have built through the first three chapters.
The puzzles this time actually do take a part of the pattern that I really didn’t like in the end of chapter 2, but this time around they weren’t as complicated and felt like they fit right into the fact that we are the final complex chapter of this dense mystery with characters who can see the past, the future, read minds, shoot guns and solve complex puzzles without any powers even.
Amazingly one of the most interesting and exciting parts of this final chapter is the tutorial section that delves deeper into some history that reveals the motivations behind the lead characters relationship with an important side character. It really sets up the game well too, guiding you to remembering how the supernatural powers combined with actual detective work really go hand in hand and make Erica Reed a special character.
I must also applaud the acting in this particular chapter. It seemed to be a bit of a step up even though it was the same actors as previous chapters, by the end it really felt like Raleigh Holmes had found a voice for Erica that really is its own. It made me feel sad that this might be the last we see of the character for awhile actually.
Here’s to hoping Phoenix Online Studios decides to work on a followup to Erica’s new mission, there’s plenty of story to be told and so many more intriguing ways to delve into the powers that were actually only touched upon in this final chapter.
COGNITION: The Cain Killer is now available on STEAM, GOG and the POS website and if you act fast you can catch some great sales on the POS website.
This first time I tried out BEATBUDDY was a long time ago, or least a year. They had a pre-alpha demo on STEAM that was designed to literally just get you excited and it did. It looked really cool right away and was fun with awesome music.
I devoured every news tidbit that came in as the game went into full flung production. From the first trailer designed for PAX EAST 2013 to the announcement of the stunningly beautiful and brilliant writer Rhianna Pratchett of Heavenly Sword, Mirror’s Edge and the extremely well written 2013 game Tomb Raider joining the team to help out. The fact that Austin Wintory had provided music for the game had also made me excited.
They released an almost finished preview copy of the final build and that blew me away. Yet then I got my hands on a finished review copy of BEATBUDDY: TALES OF THE GUARDIANS and that is when problems started rearing their head. I am ignoring any and all bugs I encountered and just focusing on the overall difficulty. This game just amps its difficulty more and more but doesn’t really ever give you chance to get better before the difficulty hits. One second it’s smooth sailing, suddenly you’re having to zoom down with enemies hitting you, avoiding spikes and trying to grab a key at the bottom of a pit with the door you need to open at the top of the pit and all the while the pit has a spike ceiling which is coming down at you.
There’s another section where you’re in a ship and another ship is coming uo behind you. Your job is to protect this ship, but this ship can take hits and you can’t. Yet there are obstacles the whole route and the ship keeps trying to get ahead of you, so if you don’t destroy those obstacles or get stuck behind and then, well, death. This could be fixed in the final build, but it was the most headache time I had the whole game. I only beat it because of a bug which suddenly that ship I was transporting disappeared completely, so it was easy.
SIDE NOTE: The final released version of the game fixes these glitches I discovered, but obviously doesn’t fix the difficulty, that’s still pretty damn high, but that’s part the course for action platformers.
When the game isn’t being impossible than it’s absolute joy with charming visuals, a story that makes you feel compelled to continue and some of the coolest sounding music ever in a game. In terms of praise there’s very little more to say… I mentioned the writer, one of the musicians and that the game looks great. If difficult action platformers that are beautiful is your thing, you can’t go wrong.
One of the best things that THREAKS, the company that made BEATBUDDY did was it’s campaigning of the game. They were open creators, answering questions, and being just a fun company. On top of that early preview copy they released a year prior, they kept fans up to date with press releases AND if you really followed along? You got your hands on a Beat Buddy plush. Beat buddy is so damn cute, I could’ve hated the game and I’d still love him. You should play Beatbuddy just to LOOK at Beatbuddy and listen to the music because who doesn’t love cute and music? Well, somebody, but no body that I like.’
If you still aren’t sold though there’s a demo available of the first two levels on Steam right now.
One of the biggest things that have become a regular part of life over here at Pop-Culture Spectrum is mobile gaming. I’m grabbing my iPhone and playing things like Robot Unicorn, Whale Trail, Punch Quest, Middle Manager of Justice, Eyelord and even Angry Birds. What we haven’t done though is discuss these games and that stops NOW with the following.
The Game Bakers have made three awesome, intriguing, cute and fun games. These three games are not without their flaws, but as mobile games trying to give the feel of what mobile and touch is truly capable of they have surpassed their goals each time. With their first two games SQUIDS and SQUIDS: Wild West they combined RPG with pull physics to create something very unto itself and yet infinitely playable with a quest, bosses, story and lovable characters.
In their latest they seemed to go a new path, gameplay was the main focus here, although story and character still shine. The new game is COMBO CREW. Inspired by 80’s arcade games like Final Fight and Streets of Rage in which the longer you can hit without getting hit the higher your combo score goes up and the better points you they’ve delivered something just as fun as those games and yet equally as frustrating.
One of my biggest issues and problems with those old arcade smash em-ups was being fast enough to hit the counter while in the middle of a combo. The same issue exists in COMBO CREW. As my chosen character is unleashing a combo on an enemy I get warned that another enemy is about to attack but I’m either not fast enough OR the game is not fast enough to recognize my tap to stop the attack. Not always, but when it happens I get tempted to throw my phone across the room. I would never do that, because… it’s just a game. A good game that when you die and get a game over make you go “ARGHHH!” but just a game. No worries about this argh happening in public either. I’d almost be scared to play it in public with the furious finger swiping it takes.
The game has a co-op but being a solo gamer means I’ll never experience that, but the idea of it is pretty good.
In terms of replayability it has it in spades, as you’ll automatically get better with time, you’ll score higher and unlock more combos and additional characters.
There’s two modes as well, a “story” mode and an endless mode. Once unlocked endless can help you in story to get stronger, faster, better to get to the top of the tower.
In terms of developing something that really was made for the idea of touch, Game Bakers has succeeded again immensely and this is one of those games that if you have an iPhone, iPad and yes, even an Android. Of course if you don’t have one of those and only have a PC you’re out of luck!
Yet, you can still experience some Game Bakers with a PC version of SQUIDS.
Through three chapters the saga of Erica Reed, a paranormal detective in the series of COGNITION has grown in amazing ways. In episode three brand new developments to gameplay as well as story bring things to amazing climax which in the end will have any fan (new and old) salivating for the final chapter.
As an FBI agent focused mostly in serial killer investigations, Reed tends to find herself in dangerous situations and unfortunately for her years ago, a serial killer chose to attack her family. This killer was never caught and years later this event seems to be a constant to everything happening to Reed within the confines of the games narrative.
Working as a traditional point n click, COGNITION is all three episodes is just as good as any, with good dialogue, well thought of puzzles and plot structure that pushes the game along. Yet when Erica Reed’s power of the mind comes into play the game takes a solid turn at being something different.
In the first game the basics of being able to see into the past give you clear understanding of the mechanics without anything being too complicated or overwrought. Sometimes it even seems like your hand is being held, but with such a new game mechanic in place to this type of genre and the very intense, gory, and distressing story it tells this was necessary.
In the second chapter all seems fine, the hand is let go, your training wheels are removed and off you go flying trying to put together the puzzle pieces and solve the mystery before time runs out, even in some cases time has run out for everyone. It’s smooth sailing till the final puzzle, when the game falls off the rails and takes a detour into “Hey, I know you just learned how to ride a bicycle, but here’s a unicycle, also juggle these flaming bowling pins”. It’s a deep turn of puzzle difficulty which while it does not break the game nor deter you from wanting to finish it does put a damper on things. Nonetheless you are compelled to move onto the third chapter.
This third chapter takes things to another level adding to your power abilities as well as adding a second playable character. To fully explain this would create major spoilers, but it works really well and to the plot of the game, the way it has progressed and such. I will say story structure wise that if you are used to paranormal mystery stories nothing really comes as a shock or surprise here. If you’re one of those this is more about getting to read a well crafted, although as cliched as ANY of them and really, they’re ALL cliched… betrayal, unfocused love relationships, people not appearing to be who you thought they were, all these stories are exactly like COGNITION. What makes COGNITION different is the fact that not only is it a game, but a well made game.
It’s not just the gameplay though. The art is superb, between the 3D esque normal play and the painted cut scenes everything shines. The music composition really shines, swifting you through the tale with just the right emphasis and notes, but what really makes the game is the lead voice acting by singer/actress, Raleigh Holmes, who is also coincidentally step-daughter of the game’s consultant Jane Jensen. Okay, not a coincidence, but Raleigh would be right for this part even if she didn’t already have a connection to it. There’s just something about her accent, her gruffness, her delivery that adds a gravitas to the entire game and makes it a must play.
I’ve said before in this blog that I look forward to the next chapter and once again, there is no mistaking I look forward to seeing what the final chapter The Cain Killer brings to COGNITION and how they decide to twist things again gameplay wise to keep it all interesting.