The Last of Us: Left Behind Review

Let me make this easy for you. If you can answer yes to these three questions, then don’t waste any time and download The Last of Us’ only single player DLC – Left Behind:

1. Did you like and finish The Last of Us?

2. Was the story an important part of your enjoyment of The Last of Us?

3. Do you miss The Last of Us?

If yes is your answer three times then you don’t need to read anymore. Yes it is worth it. Yes it is as good. No you won’t like the main game less.

Recently I’ve been making a strong attempt to minimise subjectivity in my reviews and discuss/highlight the objective qualities of a game. I cannot do this with Left Behind. I just can’t. The Last of Us left an immense lasting impression on me. So much so that I haven’t been able to shake it off my mind for nearly half a year now. I have no qualms in making the following statement: The Last of Us is my favourite game of all time. I do not say this lightly, so much so that I have begun a personal crusade to play all of the frequently referenced games in the “best of all time” discussion. Half Life 2, Shadow of The Colossus, A Link to the Past, Final Fantasy VI, Final Fantasy VII, Final Fantasy Tactics, Metal Gear Solid… and I still have a ways to go. I understand all this. It’s a testament to the quality of Naughty Dog’s latest game that it has inspired me to discover the “classics,” so to speak. 

Going back Left Behind. the biggest compliment I can offer is how much it served as a reminder of why I love The Last of Us. The minimalist HUD, a simple user interface that doesn’t get in the way, a live crafting system that escalates tension and sacrifice, scavenging for parts, all of these minutia elevate The Last of Us from great to something special. Choosing black backgrounds to white text may seem like a simple choice in menu design but even this ingeniously adds to the immersion that is so crucial to the experience. And that is by far in a way the word of choice when describing Left Behind. Experience. It pays to adjust your own environment to get more out of the digital one you’re about to dive into. Blacken your room, kick anyone out who’ll disturb you, use the best surround sound headphones you can find and let yourself go.

The headphone part is crucial thanks to the excellent sound design and subtle, melancholic soundtrack by Gustavo Santaolalla, known for his Brokeback Mountain and Babel film scores. The sounds are so abstract you will be hard pressed to pinpoint the instruments incorporated in producing such unique tones. Watching the 90 minute making-of documentary “Grounded” by Area5 TV provides some great insight into how the sounds were developed. This comes included with the Season Pass. At one point I heard rattling and clicking coming from Ellie’s backpack while she was jogging. I had to stop and take in the level of detail I was witnessing. The direction you’re facing in listen mode changes the subtly alters the sound designof the clicking and makes stealth that much more tense. It’s clear no sacrifices were made in quality when shifting from main campaign content to downloadable. 

I value the details Naughty Dog perfected to heighten the immersion, but Left Behind really shines in it’s content, just like the main campaign. You play as Ellie this time, not Joel. If you remember the winter sequence of The Last of Us (which you absolutely will), then you can recall the differences controlling her presented. Though she might not be able to stand her ground and fist fight her way through like Joel, Ellie’s character design presents certain advantages, just like in winter. Her switchblade does not break and unlike shivs has unlimited use. It could just be me filling in the gaps, but due to her smaller size and being more nimble, it felt like Ellie was capable of being stealthier and sneaking was an even more viable option than before. For example it seemed like crouch walking was faster and it was easier to hide behind objects. There were certain points where sneaking through wasn’t an option and Ellie had to eliminate all foes in the area to continue. This brings me onto one of Left Behinds strongest features. There are multiple sections of gameplay that involve pitting Clickers and runners (the infected) against the hunters. This was incredibly satisfying everytime and also surprisingly challenging to pull off smoothly. There was a multitude of strategies to try out and pick from. You could consider alerting the presence of the hunters to the infected and then swing through while they duke it out, or you can create chaos and pick off one of each around the edge. Or you could molatov cocktail a group, or just stab them with your switchblade. Then the choice is who do you eliminate first. one wrong choice and suddenly Ellie is the target of everyone’s fury. I didn’t expect a completely new dynamic that adds a layer of complexity and engagement that wasn’t present at all in the main game. And being able to do this at multiple points demonstrates confidence in the mechanic and I can say that it was almost always fun. I have to mention that towards the climax of the game there was a combat sequence that seemed oddly laid out and involved knowing the environment through trial and error, rather than observation due to the imminent failure if you don’t begin picking off your enemies early. This was different to what I’m used to, and seemed to contrast the rest of the game, though isn’t necessarily a bad thing. If nothing else it reminds me how solid the combat and mechanics of The Last of Us are. Again with the small details: when turning, if your torch I on your neck and field of view alter first and the light follows after, the quick turn mechanic (down and X) speeds up movement, the aim circle decreases in radius when standing still and changes size when you move or turn. Time and time again I find myself playing a game unlike so many others in how it treats me, as a player.

 

 

I really don’t want to get into much of the story. Like I said, if you’ve played the main game you can expect the same level of quality in acting, writing, animation, emotion and pacing. Ashley Johnson reprises her role as Ellie while Yaani King brings Riley, Ellie’s close friend to life. They both do incredible jobs. Ellie feels real. Riley feels real. I don’t see a bunch of pixels changing colour and polygons moving around when I watch them. I don’t know, it’s a level of quality I’ve grown to not expect from AAA games. I think a huge part of this is the design and animation of the eyes of the characters, especially Ellie. Her big, green eyes feel alive. They feel like they carry weight, pertinence and expression. When I see her I’m reminded of Tish from Enslaved: Odyssey to the West, a game I feel influenced a lot of The Last of Us’ excellent design. Quentin Tarantino’s more recent films have had this uncanny ability to toy with your emotions, to make you laugh your ass off then observe the darkest and saddest moments, then rejoice or breathe a sigh of relief. This is how I would describe Left Behind. There is no one thing above all else to look forward to, but know that it’ll be a strange, ultimately dark journey through a teenage girls experience in a decaying world. While she tries to hold onto something that brings her happiness, your knowledge of what’s to come battles with your expectations. It serves as an excellent demonstration of what a prequel should do. You know what’s going to happen, but you still fight it with everything you’ve got. Your heart and mind won’t be sure what to agree on. Even this encapsulates what The Last of Us, and more specifically Left Behind represents. 

 

 

There are some key things I’m not going to discuss on purpose. I’m leaving that for you to discover and form an opinion on. Left Behind tries some brave things, all of them culminating to produce one of the only rewarding and worthwhile prequels of any medium. The Last of Us is one of the most complete games I’ve played. I didn’t want anything new to negatively affect my overall feelings towards the game (*cough* Star Wars prequels *cough*). I was anxious to play this add on in fear of that very thing. But Left Behind does not hinder The Last of Us in any way. Instead it provides one of the most touching, rounded and complete side stories to a game ever. Left Behind gives me hope for DLC.

 

 

 

My Score: 10/10

(scores are given in 0.5 increments, in AKA a 20 point scale.)

The Wolf Among Us: Episode 2 Review

The Wolf Among Us Episode 2, marks the latest entry in the 5 part episodic, Point and Click adventure game series. The game is developed and published by Telltale Games, most notable for 2012’s The Walking Dead: The game, which shares a similar structure to The Wolf Among Us and is now on it’s second season. Episodes from the two series are alternating in release. The game is played from a third person perspective and is solely a single player campaign. The Wolf Among Us is a canonical prequel to the DC – Vertigo comic book series: Fables, by Bill Willingham, and can be played on: PC, Mac, PS3, Xbox 360, IOS and Vita. It is 1-2 hours long.

Story:

Telltale are known for their stories, especially those embedded deep with dark and adult themes. The Wolf Among Us follows suit. A story driven game, episode 2 is very much a continuation of episode 1, starting very shortly after the end of the first. Upon finishing, it feels far more like a connector episode, setting things up very nicely for Ep.3, rather than adding significant substance to the overlying plot. For those who didn’t play part 1, you play as protagonist, Sheriff Bigby Wolf (or the big bad wolf from fairy tales) and are investigating a murder in Fabletown, a fictional region of New York City, where fairy tale characters – or Fables – are in hiding. However the less you know about the plot going in, the more satisfying you will find the game. What makes The Wolf Among Us special is seeing a multi-faceted, complex version of characters you have grown up with sharing human flaws. Drugs, prostitution, murder, loan sharks; these are real life struggles facing these Fables and are what make them so easy to connect with. They are interesting now. Observing a ‘princess’ partake in less than noble acts is incredibly jarring and is consistently a slap in the face, a reminder of the extent of the hardships they are going through.

Telltale’s formula of diamond shaped storytelling – everybody starts and ends at the same point, but the route varies based on your choices – is even more effective than in season 1 of The Walking Dead. While in Walking Dead, you undoubtedly played the good guy because you were taking care of a helpless little girl, even if you had to make hard choices at times, in the Wolf Among Us it is a far more viable option to be a badass or ruthless. This route is made more available due to the baggage Bigby carries, in fact the baggage all the Fables share from their reputations back in the Homeland shape a lot of the choices you and the NPC’s make. There are usually four dialogue options, which are more often than not representative of the personalities: blunt, sarcastic, honest/negotiable and quiet. How you choose will shape your path through the narrative.

Gameplay:

The game is a point and click adventure in the traditional sense of the word. investigating objects or people in an environment will unravel the story and keep the game moving. The combat is based on quick time events, though are more involved than those in The Walking Dead and boss battles in God of War. A fail state is rare to achieve, as the combat will keep presenting opportunities to recover however it is possible to lose. In these instances the game restarts from a checkpoint. However the game is very light on combat, with 1 or 2 to speak of per episode. Movement through the environment is not smooth, but the slow pacing ensures time so minimal interactive objects are missed. The camera can be panned approximately 45 degrees left, right, up or down, but only when investigating, not during combat. Interestingly, this is not a crime investigation game, you the gamer are not a detective, you essentially control a detective and the mystery keeps the game moving. The Wolf Among Us is very easy to jump into and requires minimal skill.

Presentation:

Cell-shaded like Borderlands, The Wolf Among Us boasts a very interesting neon art style which allows the characters to be more emotive and emphasises a noir film aesthetic. Yellows, Pinks and purples are all vibrant and pop but a majority black colour pallet emphasises the dark mood. as the game is progressing over the episodes and scenes, the presentation seems to be changing, fluctuating between lighter and darker environments based on the tone of the scene. The biggest, most concerning problem with the game is the framerate. Even on a mid/high rig PC, the game suffers from dropping frame rate and animation getting stuck. I have also noticed this cutting off the end section of dialogue, so that your conversation choices can be presented. This is frustrating.

 

Audio:

The theme song of The Wolf Among Us is memorable and immediately sets the tone. The synthesised soundtrack is mostly understated. If it were to be described in one word, it’d be ominous. No matter the scene you’re in, you know if things are getting more tense because the soundtrack subtly warns you. The voice actors bring the characters to life and represent well known characters in a way that sounds right. There is incredible crossover in voice actors between The Wolf Among Us and The Walking Dead, though most of these go unnoticed, emphasis on most. When you do recognise the voices it can break the immersion but this is often brief and doesn’t interfere with the experience. stereotypical character tropes are reinforced by chosen accents. A scumbag pimp with a northern english accent, a bartender with a think New Jersey accent or a unreliable toad boasting a cocky/east london vernacular, either way it serves to highlight the purpose and role of the character.

Side Note: it must be stated that there are characters in The Wolf Among Us who share very similar designs to characters that are in other Telltale productions. For example, Grant (or Grendel) looks a lot like Handsome Jack from Gearbox Software’s Borderlands 2, which Telltale recently announced they are releasing canonical episodic content on, titled: Tales From the Borderlands. Similarly, Beauty looks a lot like Lilly, from Season 1 of The Walking Dead Game. The third might be more of a stretch, but Telltale also announced a Game of Thrones adventure game, and Jack in the bar looks an awful lot like Jaime Lannister, portrayed by Nikolaj Coster-Waldau in HBO’s Game of Thrones TV series.

 

 

My Thoughts:

The Wolf Among Us: Episode 2 continues the high quality storytelling and graphical design set by previous entries and series. So far I have enjoyed these two episodes more than the entirety of The Walking Dead Game, and I loved The Walking Dead. The mystery definitely is intriguing but I am far more invested in these characters and their intentions than the overlying murder plot. It’s definitely a huge bummer that the framerate bugs out on what appears to be most platforms and most certainly affected my enjoyment of the game, but not by too much thankfully. I really love the art style and film Noir aesthetic, along with the soundtrack and definitely feel like this will hold up a lot better than other games of this generation. I would recommend The Wolf Among Us to anyone who values stories in games, ambigious morality in characters and point & click adventure games. Also anybody who like The Walking Dead owes it to themselves to try this game. DO NOT play episode 2 before episode 1. That would suck.

My Score: 8.5/10

(I give scores in 0.5 increments, in other words a 20 point scale.)

Video Game Review Format – Captain Positive Niegro

Taste in entertainment media is probably the most subjective thing since fetishes. “Final Fantasy X is the best Final Fantasy because blah blah blah…” “Bitch you crazy. Did you see Sephiroph stab that girl? It’s another level of…” and so on. If people can’t agree what is the best instalment in a franchise, what makes them any better at deciding what the best game of all time is? What about best game of the generation? Of The Year? What about why a game is bad? That’s all. Why it’s bad. “you should not play this game because ABC…” The correct answer is nothing. It’s subjective. Therefore it’s bullshit and nonsensical to put pen to paper (or hand to keyboard) and write down why somebody should or shouldn’t like/buy something based on your opinions. The logic is backwards. Why do we stick to it? By no means am I saying opinions don’t matter. Shit when you break it down they’re all that matters. But when describing if a random individual will or won’t enjoy a product of art, an opinion is not helpful. There’s too much noise involved. Sometimes you just have to analyse a game for what it is, not for what it does to you.

I read a lot of reviews from a lot of sources on a bunch of different games. Every time I do so I can’t help but find myself getting hung up on that one flaw the reviewer couldn’t get past and, oh crap now it’s taken over my entire outlook. If it’s a game I’m highly anticipating, then that negative suddenly, for no good reason at all, fills me with rage quit rage and overshadows the reviewers opinion from mattering at all (I have a feeling this might explain impulse comments on youtube and messageboards, but that could be a whole other blog.) But in reality what the fuck do I know! the reviewer is the one who has been given early access for and played the game, is hired on the basis of knowing what makes a game good or bad and is providing me with information based on their experience. But in the heat of the moment I’m blind to these facts. lternatively, a game revealed a while back looks interesting, I wait a year or so for review to decide if I should play or not, discover the gameplay mechanics are not spectacularly tight and the story takes turns which the reviewer didn’t particularly like and now I’m turned off from the game. Again, how does this make sense? Why aren’t the positives highlighted and promoted more heavily than the flaws? I won’t find to suck what you find to suck. I like blondes you like brunettes. I like girls you like guys. It’s arbitrary and not effective when describing what a game is and if they should play it. All that matters is what it’s good at. If there isn’t much good to talk about then don’t talk so much and this in itself should demonstrate the quality of the game. If for example the story is exceptional yet the gameplay is kinda janky and just keeps you moving through so you can watch the cutscenes, then talk about how good that story is and describe the gameplay in respect to that story. It’s a more effective way to verbally illustrate who this game is for and if it’s what the reader is looking for.

Thinking about it, what is the function of criticising a games flaws? One answer could be to give your opinion on it so people who match your opinion know what to avoid. Ok… so what about all the gamers who have no problem with that kind of flaw, such as fluctuating frame rate or inconsistent animation, yet see that these features have been called out and now lose a little interest. Not to mention the immense number of reviewers you would need to track to decide which matches you perfectly. What if a review just wasn’t subjective? What if it was based in objectivity? Does the game succeed on a level that should be appreciated (consistent story, enjoyable mechanics, good variety of combos etc) and not on what made the game good for you, the reviewer? Their are obvious exceptions to this format. A broken/incomplete games deserves to be called out and shamed as they are not what they claim to be (a functioning product) and every gamer needs to be warned away. Their are no excuses for selling something that doesn’t work. However in this case a review is almost pointless. All you need is a statement: “Whatever qualities this game may or may not have had, I cannot provide a review as it is fundamentally broken. There are several crashes and errors throughout that inhibit me from proceeding and I cannot justify telling anybody what it succeeds at as there is a chance they will not be able to see. Until a functioning version of this game is unavailable, I will not review this game.” Or words to that effect.

There could be an argument made that the two don’t have to be mutually exclusive. A review that consists mostly of a factual and positive description, followed by a final, personal verdict could make sense. For example: “Enslaved: Odyssey to the West was a game that I loved a lot and found a great emotional attachment to despite not really enjoying the fighting mechanics. However after completion I found that the art design and character interaction was so well done that it defeated any complaints I had about the combat system.” putting a concise opinion such as this at the end would allow the reader to understand how the analysis of the game translates into an individual basis. However if this contradicts what is highlighted as being great in the game, then it is clear that this is a layered game that different gamers will take different things away from. This is a better alternative to reading a detailed description of what an individual liked or didn’t like about something as an answer to if you will like it yourself.

I am laying out my ground rules for reviewing a video game. They are based in the philosophy that a piece of medium this interactive is so subjective in enjoyment and satisfaction, that the review should focus minimally on flaws and opinions that directly relate to the individual. They should in fact concentrate on bullet point aspects of what makes the game good/great/amazing/fun. The review should consist of:

1. A description of the game – this can/should include: genre, approximate length, camera style (first/third person), single player/multiplayer/both, co-op mode, online co-op mode, art direction, platforms it is available on and developer & publisher. This is fundamental information that provides a basis upon which to decide if it is a typical game they enjoy or are familiar with. This also consists of information that directs the gamer into knowing what they’ll be getting into.

2. Story – in this section I will identify:

• if there is or isn’t a story.
• how the story is told, e.g. cutscenes, dialogue during gameplay, environmental storytelling, speech boxes, etc.
• What the premise of the plot is
• Who the main characters are
• Highlight the difference between the story and the narrative (this one could be tricky but it’s important)
• Identify the mood of the game, this is often crucial to understanding the rhythm of the story and game as a whole.
• if the story is a good, interesting, unique. 

That last is the one most susceptible to subjectivity, however I am adamant that a good, consistent and strong plot transcends taste and can almost universally be agreed is worthwhile. Apocalypse Now, Taxi Driver, The Deer Hunter, Fight Club, Memento, everybody who has watched these have slightly differing opinions on them as a whole but there is an agreed consensus that the story being told is good and worth hearing/experiencing. And I will fight you if you disagree.

3. Gameplay and Mechanics:

• I will describe the gameplay – how I interact with that world, how I engage with enemies or objects, how I move and progress and how skills are being judged. 
• I will describe the mechanics – Is movement fluid? How varied are your options in fighting or moving? What are your tools? Do you have control over the camera or is it fixed?
• How does gameplay and the mechanics contribute to the narrative?
• What is the level of depth and learning involved?
• Is it punishing, hard, have a learning curve? Am I eased in?

4. Presentation – this is without a doubt the most subjective category. It is more important identify what the presentation is and not why you do or don’t like it:

• What is the chosen art direction and how does it make sense in the context of the story being told?
• What is the AI character animation like? e.g. lip sync, random or trigger based movement etc
• How does the presentation develop across the game? is it a static enivronment you learn to be a part of or is it an ever changing landscape you constantly need readjusting to?
• Provide example comparisons

5. Audio:

• is there a soundtrack? what type of music is played across the game?
• How detailed is the sound design and how does this contribute to mood?
• What is the voice acting like?

6. and Finally, how does the games differing features analysed above come together as a unison product? Do they compliment each other. What is this game like in respect to previous entries in the series? Who is this game for?

This is my goal. I aim to prove myself right by following these steps and reviewing games that came out within the past couple of years, DLC and upcoming games. My plan is to review:

• The Last of Us – followed by story DLC: Left Behind
• Bioshock Infinite – followed by story DLC: Burial At Sea
• Infamous
• Infamous 2
• Infamous Second Son
• Metal Gear Solid V: Ground Zeroes
• Assassins Creed IV: Black Flag

This will provide a good mix as I will be testing this style of review on games who have already been extensively judged and share established perspectives, as well as story DLC which is a tricky component to review. Along with this I will review new games to see if the reviews are interesting and helpful.

I hope this is a method that will really get my point across. Stop focusing on and highlighting why something sucks and could be better. Promote the crap out of what makes this thing people have been pouring their souls and more importantly time into, worthwhile. I’m cynical enough most of all the time, I don’t need more when deciding whether or not to have fun.

Man if you read all this I really like you and hope it made sense. Keep an eye out for the reviews. I’ll try to do them proper.

Thank you,

 

Mert Tutkun.

 

My 12 Years A Slave Review:

Hollywood films operate in cycles, the releases of which often show a pattern, tied together by a common thematic thread. There has been a precedence lately surrounding the difficult theme of slavery, particularly the 19th Century American slave trade. Reasons for this can be debated almost endlessly, but what is certain is that patterns will always emerge. Proof of this is 2012’s Django Unchained and Lincoln, both of which share some related themes and a central purpose in addressing slavery, but handled in drastically different ways. Now 12 Years A Slave is out and it is no question the pinnacle of this pattern. The cycle has reached its summit and now must begin anew.

As the profoundly simple title puts it, 12 Years A Slave is the story of free, family man Solomon Northup’s (Chiwetel Eijofor’s) betrayal, kidnapping and consequential fall into slavery. It is no spoiler to say that his time as a slave does ultimately come to an end, however the majority of the film does not focus on his entry or exit of slavery. At its crux, the real story is how the educated mind of a free man must hide away in the body of “a dumb field nigger.” His ability to read, to think and even have humane ideologies such as believing himself an equal, not inferior, to white Americans, all this he must constantly hide. Through body language, eye contact, speech and actions, Eijofor succeeds as an actor portraying a two-sided character while also being the entry point for the audiences experience, as we witness the ordeals that reside within 12 years along with him. At times, Solomon is submitted to horrors, other times he witnesses horrors sometimes more severe. The greatest moment however is when Solomon is forced to partake, forced to harm another slave. Because no matter the cost, Solomon must go on, he must endure, he must survive so that he can live once more.

The film is supported by a star studded cast filled with actors such as Brad Pitt, Paul Giamatti, Bedenedict Cumberbatch, Paul Dano and Michael K. Williams. There isn’t a single unconvincing performance throughout but supporting actor Michael Fassbender deserves special recognition for portraying the particularly despicable, yet deep character of Master Epps. Introduced to the man first through a description, “a hard man,” we see the extent of that analysis coming through in a progressively worsening manner. What does “hard” really mean when slaves our commonplace all around? what warrants the description of hard even by your peers? Fassbender, and really all the actors southern accents are well executed, though an ear used to the Irish accent can just now and then, pick up his original Irish voice coming through. The vernacular of 19th century southern English language used seems so of the time, there are points in which the film can be difficult to comprehend exactly what is being said. Upon rewatching, these moments can be put in context or listened to multiple times to understand to its full.

12 Years a Slave was all filmed on location in Louisiana, and it shows. The visual beauty, both in presentation and scenery acts in stark contrast to the abhorrence occurring all around. Who knew Louisiana was actually beautiful? The juxtaposition of a backdrop of hills and crop glistening in the summer sun is dramatically contradicted by a hanging slave serving punishment in the foreground brings very specific attention to the day to day acts of cruelty going on. That’s the point here. What 12 Years highlights is not “slavery is bad,” because that’s obvious and saying otherwise is ridiculous. The real message and commentary is the specific experiences these men, women and children were subjected to every day and how that tremendous ordeal affects a human beings mind and very existence.

The bible and religion is an interesting, recurring tool used in 12 Years A Slave. Whether to demonstrate the power to oppress that can be summoned by using scripture or the strength to endure and unite that can be drawn from it, the many facets of religion reflected by the characters invokes more questions about what religion is. What does it represent? How can something used to demote a people be used by the same people to stay strong?

This is no ordinary film. Apprehensive, going in I expected a certain depiction, a certain epic defiance centred around a hero fighting the villaineous ‘white devils.’ Spartacus, essentially. Ironically this proved to be an epic underestimation of the quality of the director, the writing and the film itself. There is subtlety at work I have found lacking in a great many recent films. It seems like there is a resurgence for nuance in dialogue and filmmaking in general, as seen at points in the recent American Hustle, Inside Llewyn Davis and now 12 Years. In one scene, a particular employee (Paul Dano) of the master (Benedict Cumberbatch) forces the slaves to clap in rhythm while he sings: “Run Nigger Run,” using the song as a lesson for the consequences of defiance and running away. The visuals then fade to the master himself preaching the bible to the same group with the singing continues in the background. Eijofor is often at the centre of the subtle aspects of the film, all the more reinforcing this as a career-defining performance. Director Steve McQueen’s confidence with long shots and extended moments of silence instils trust in the viewer and atmosphere in the scene and film. Occasionally these moments overstay their welcome, however I would argue there is a purpose for each long shot and all of them add something to the spectacle.

Describing 12 Years A Slave as being one of the best films of 2013 doesn’t do it justice.12 Years is one of the best films I have ever seen. It is a work of art and I mean that by it’s very definition. Every time I view the scenes and moment to moment acts, they will change in meaning and purpose, yet the driving essence of the film will always leave an emotional and thought-provoking impact. A cinematic masterpiece, nobody should subject themselves to missing out on this experience.

Masters of Sex: Season 1 Episode 1 Review

Showtimes new television drama, Masters of Sex presents itself as a fresh take to the subject of sex as a plot line, however this also serves a secondary purpose of legitimising frequent nude scenes, which no doubt will attract a lot of attention and viewers. This has the potential to make Masters of Sex an empty shell of a series, similar to what happened to Spartacus. However, based on the first episode, I am confident that as long as the show keeps the premise of a 50’s doctor destroying the taboo of sex and female orgasms as its focus, then it has the potential to be great.

There is no subtlety that Masters of Sex echoes the success of Mad Men, as it is definitely being positioned to run on the momentum of a 50’s/60’s setting AMC’s show re-energised. Beginning the series as a drama focused on the confinements of it’s period, with an emphasis on a building full of secretaries, egotistical professionals, and an abstract, brilliant protagonist definitely brings Mad Men to mind. However it’s clear after finishing the episode there is enough unique content for the show to stand on its own and not live under that shadow. No doubt this will be done by the lead himself, Dr William Masters.

Michael Sheen’s portrayal of Dr Masters is excellent. This is obvious from the get-go. Original, precise and ambiguous, Sheen demonstrates how to play a character with a possible dark nature inside the shell of perfect demeanour. Perhaps commendable for the writing, which is on point for the most part, Dr Masters is hard to nail down. Clearly egotistical and proud, yet revolutionary and compassionate, Masters as a character is set to provoke opinion and toy with emotion. Across the first episode alone: he saves a woman’s life, promotes science over conservatism  and tries to influence the fertility of his wife, but counteracts this with lies, slightly disturbing sexual habits, repeatedly watching others engage in coitus and his dramatic announcement towards the end. This is all supported by unforgiving facial expressions that leave you question the reasoning and morality of his decisions which of course is to the credit of the writing and Michael Sheen’s performance. After 60 minutes, I am already extrapolating Dr Masters to become one of my most thought about characters. But sadly there is a ying to every yang and a Dr Ethan Haas for every Masters.

Nicholas D’Agosto’s depiction of Dr Haas is not necessarily a bad one, but it is riddled with overused portrayals and frustrating moments. Playing the role of an annoying and brash, yet handsome and gravitational character is an irritating TV cliché, and one this show could have done without. Unfortunately this show could have done without a lot of its cliché’s: the boss refusing to change his ways in fear of his reputation, the perfect wife struggling because she can’t give her perfect husband the perfect child they perfectly want, and the new girl in town with a fresh attitude contradicting stale social traditions through confidence and feminism. That being said, Lizzy Caplan’s role as Dr Master’s newly-hired secretary, Virginia “Ginnie” Johnson is very entertaining and at times captivating. She does emanate the presence of a cross between Mad Men’s Megan Draper and Peggy Olson and her relationship with the lead does little to shake off the comparison.

There is also a slew of interesting side characters such as Betty DiMello, a lesbian prostitute-for-men with a dark, dry sense of humour, as well as Dr Austin Langham, a promiscuous doctor willing to ‘perform’ in medical sex tests, along with a few lighthearted moments involving comical secretaries. These people made me laugh out loud and immediately wonder about their background after just a few lines.

There are a lot of cliché’s already in the show but at the core lies an untouched and potentially gripping premise, one that looks to make sex more open than it is even today and is doing so by reflecting on how the taboo was tackled 60 years ago. There is also a persistent theme of the show checking itself and keeping to the realities of the times its set in. Whenever Ginnie is acting as an equal to her male counterparts, another character will remind her who she is; a woman. Whether it’s Barton Scully turning his back on Ginnie to emphasise cutting her out of the discussion or Haas’ comments in bed, these moments root the show with believability which then increases the value of its message.That is what will make Masters of Sex special.

Score: 7.5/10

I Tried The Oculus Rift, And I Liked It

Oh boy, the magical Sci Fi of virtual reality is here, almost

This years Eurogamer Exposition in London brought me face to face, or rather eye to eye with the illusive Oculus Rift and immediately after the strap was fastened my reaction was: “man, this is blurry.” Something I did not expect, the intense pixel visibility could apparently be attributed to either: the optimisation of the space warfare shooter I was playing to the Oculus Rift, the game being in beta or the prototype nature of the hardware, if the man guiding me through the experience is to be believed.

That being said it was still incredible. My unfamiliarity with a joystick compared to a controller did nothing to hinder the wonderment of what was happening. I tried out all the tricks the device has to offer: looking down into my cockpit, up into the stars, even over my shoulder as I was pulling my ship back out of combat. This presented a far more immersive and ‘realistic’ simulation of the game. While the game itself did nothing for me: it’s lousy gameplay, visuals and joystick input, the Oculus Rift more than made up for its downfalls. The game experience became far more a point of reference to imagine what genres and games would truly make the most of this capability.

It almost goes without saying that first-person gameplay is pretty much a necessity. A particular button on the joystick I accidentally pressed suddenly took me out of first person to show that my ship was in fact a giant robot. This sounds cool but in reality the functions of the Rift were essentially muted by the act. Aside from being able to look around for sightseeing purposes, there was no way to assault other spaceships in third person. For that reason I cannot imagine much support from third person heavy games like Mass Effect or Grand Theft Auto. On the other hand, fantasising about gazing at Columbia in Bioshock Infinite or the eerie mansion of Gone Home is truly exciting. The only exception to the rule that comes to mind in terms of third person ineptitude is the new brand of emotion and experience heavy games such as Journey.

The other potential benefit that seems to be overlooked in previews is the use it could have in twitch based gameplay. The Oculus Rift was extremely responsive, far more than I imagined. A quick glance to the right immediately brought that whole area into vision without any lag. What I could see was dependent on the speed I moved my eyes and neck, not how fast I would move my right thumb. For gamers who cannot play first person shooters on ridiculously high sensitivities either because it’s disorientating or too fast, this is a far superior alternative that feels natural and results in greater immersion. The obvious scenario and perhaps most desired game incorporation is Titanfall. Parkour, mechs (titans, sorry) and fast-paced multiplayer combat would all become far more badass moments if it were our eyes and head moving instead of a thumb.

 So what about the disadvantages? There are always disadvantages. Yes. There are.

The disorientation caused by the headset has been discussed to the level of nauseam the device itself causes, however I would like to quickly give my thoughts. I did not experience it. Not even a little bit. Of course there are many factors to consider: the difference in game (generic spaceship simulator instead of mech simulator in Hawken), the short 15 minute length of use or the fact that I was too preoccupied being in awe but the fact is I was absolutely fine. I would wait to have a far longer session to be definitive but my experience leads me to believe that the nausea will vary from person to person. What’s far more obvious is the distance between your eyeball and screen. Even after a short while I did feel a slight soreness. This is worrying when thinking of playing hours on end. I suspect there will be consistent warnings and precautions suggesting frequent breaks, which could suck when the purpose of the Rift is enhanced immersion.

It’s TV for your eyes! Add headphones to this picture and now you have no idea what is going on around you (the real around you, not the game). That could be dangerous. If you’re in a location you don’t trust implicitly or aren’t alone, anybody could sneak up on you and if you have siblings, good luck. It may be an important factor in a lot of gamers decision to buy or not. Finally, the price. From my moment in paradise it’s pretty safe to presume this will not be a cheap addition to your gaming setup. As far as I am aware Oculus Rift has not released an official price, or a release date or even a final model so who knows what it’ll be like in the end. Perhaps they will go the apple route and have a premium version and a cheaper version but either way I do not see this being a common peripheral hardcore gamers, let alone the casual market will adopt.

It’s exciting. Very exciting. Perhaps the best part of the Eurogamer Expo apart from holding the phenomenally improved dualshock 4, it certainly made the event. I have to hope the pixelation is an anomaly that will be fixed by the time games are being made for the device and the entry price will not be too absurd but, with everything taken into account, you can believe the hype.

Who Will The Steam Box Be For?

Valve can do no wrong. Half-life, Team Fortress, Left 4 Dead, Portal, Counterstrike, DotA are all great game series developed and published by Valve Corporation. They’ve earned the trust of the video game community because they’ve arguably never put out a bad game. Hence the consensus regarding their infallibility but perhaps none of these are what they are best known for. That honour now lies with Steam.

Steam is a video game platform primarily on PC, initially serving as a central source for purchasing video games digitally which went on to become more. Steam evolved into a hub, supporting a vast community of gamers, friends, groups as well as offering reliable cloud-based saving and access to user generated content (mods) through Steam Workshop. Your game purchase and saved data are no longer linked to your local drive but to your Steam account, assuring security in the event of hardware failure. However all this is very PC centric, so Valve’s three announcements across the week of 23rd September 2013 focusing on bringing Steam to the living room is very intriguing. For those unaware, Valve on Monday announced Steam OS, on Wednesday a Hardware prototype and Friday a very special looking controller. All of this is part of their initiative to permanently establish their platform in the living room to presumably compete with Sony, Microsoft and Nintendo’s home consoles.

The Steam Universe is Expanding

But who is this for? That is the biggest question at the moment. As IGN’s very own Justin Davis put it: “I don’t understand who Steam Machine’s appeal to“. it’s true. It’s very hard to appreciate the market a Steam Machine would be targeted at. The PC community won’t need it because they obviously have functioning PC’s. Console Gamers have their consoles and if they wanted to play PC games, why not just get a PC? However I believe there are a lot of people that need the existence of this box and can form a substantial consumer base. Their reasons may be different but essentially it boils down to the same thing –  a simple access point to both gaming experiences in one place.

1. being a PC gamer generally means you have a costly Windows machine that can upgrade components independently. It does not necessarily mean you use that technology for anything outside of games. Stripping away all the additional parts of the desktop setup you do not need such as Windows OS, Microsoft Office, a display and peripherals is a substantial cut in cost. A linux based operating systems is also more powerful than other OS’s so lower performing tech can match the power on a windows machine for a proportion of the price. If all you want from a PC is the gaming aspect, instead of upgrading your rig it would make more sense to purchase a Steam Box instead as it is also upgradeable. It’s cheaper and directly streamlined for your desires. 1. You want a PC only to play PC games, so why buy a Desktop for more when you can buy a Steam Box for less?

2. Sharing a personal computer at home could mean you do not have access to it at all times. Here’s a potential scenario (my scenario). My dad, as a software engineer works 8 days a fortnight 8am-6pm from home. The vast majority of the day I do not have access to PC games. Instead of buying my own desktop setup, I could either purchase a low end steam machine and stream from his computer while he’s working or buy a higher value Steam machine and not be dependent on my fathers PC at all. All other functions I have access to with my cheap laptop or Ipad or even Iphone. It’s only the games, or more importantly Steam that I’m after. On top of this I get to play on a big TV instead of a smaller display. This situation can be extrapolated to siblings, couples or roommates. If one has other priorities outside of gaming that prevent the other from doing so, the Steam Machine is a perfect get around. 2. If you share a PC, instead of buying your own one, get a cheap Steam Box and stream directly.

3. Big Picture is a colossal argument against the purpose of Steam Machine. “Oh you want to buy a steam console? you got a PC? Then here you go: (hands over HDMI cable.)” Sure this point has been made over and over but there are some important aspects to big picture that prevent it from scratching the same itch. If your computer is upstairs and living room TV is downstairs, you’re going to need a damn long HDMI cable exposed across stairs and corridors in order to access big picture. Not only is that unsuitable, it’s down right dangerous. Even if the PC is in a study or another room, big picture is not accessible. There are a lot of gamers that also report issues with frame rate when using Steams big picture. A pop up or notification can bring you out of your game, needing you to get up and go to your PC to deal with it. Needless to say it’s not perfect. It’s just hassle a low priced Streaming box from Valve would avoid. 3. Gaming PC owners who simply cannot put their computer in the same room as their TV.

4. “I just want to turn my console on, grab my controller and start playing.” How many times have you heard this from a console gamer with regards to PC gaming. Heck that’s what I kept saying until this year. Well if the Steam Machine can provide that low entry-barrier, then it could potentially steal them away from Microsoft and Sony. Though it might seem improbable, I would argue that a well designed, simple to use console from Valve would get huge attention from console gamers. Steam sales, better specs, previously unavailable PC games all contribute to attracting the attention of a console gamer. You can buy AAA games cheaper, download and install that game after one purchase on any Steam Machine, there will be INSANE sales every day and even more insane sales every six months and this is a better device than both the Xbox and the PS4 that can be upgraded whenever you want. Add to that Steam Family Sharing, allowing you to access to 10 friends gaming libraries with no cost, this becomes a no-brainer when directly compared to the HD twins (or I guess triplets now). 4. Compared to other consoles, The Steam Box is just better. If it’s not complicated or too expensive, fanboy-ism aside why wouldn’t a gamer switch?

This is what Steam Machine looks like. Get it?

5. The Controller! Did you see that thing? If not, look down. Very few people have played with it yet but if what Valve is saying is true and it can function as effectively as a mouse and keyboard, then this is a huge factor to consider. Take me for example. Why do I play games on my dads PC? Three reasons. 1. Cheap, awesome Indie games. 2. Steam Sales and 3. Real Time strategies. One of my favourite gaming series of all time is the Total War’s. I would never buy a Total War game on my PS3 even if it were available because it would be the impotent, castrated version thanks to the dualshock. You need access to that many buttons, quick drag of the mouse and accuracy in pointing for it to be as compelling and fast paced as it is during the real time battles. Same thing applies to Starcraft, Company of Heroes and really every Real Time Strategy. Very few have been successful on consoles because of the limitations of the controller. If I could play these games on a console like Steam with a controller designed with this function in mind, I wouldn’t need a PC. I wouldn’t even look back. I prefer playing on the PlayStation for everything apart from RTS’s despite the drop in quality because I prefer that relaxed and easy setup. I believe there are a lot of console gamers and PC gamers that would migrate to the Steam Machine if it was a true midpoint between the two. Access to the entire console as well as PC library with a crazy hybrid controller could marry the previously independent worlds. It’s also very new. There hasn’t really been anything like it before and this will attract attention if only for the novelty of it. Then if it’s good the attention will stick. 5. If Valve’s crazy killer controller is as effective as they say it is, it will entice console gamers to play PC games on Steam Box. Also it’s cool and new.

Steam Controller

Everybody is right. It is just a PC. But that’s what makes it great. It’s a computer for my TV that doesn’t need a desk and a desk chair and windows and a mouse and a keyboard and blah blah blah. No, this takes what makes PC gaming great and removes the limitations. If it is everything Valve is promising I see a future where the primary gaming experience is the Steam Box, then Microsoft and Sony are left to adopt the Nintendo approach of being the secondary console due to it’s first party games library. However Microsoft does not have an exclusive library large enough to sustain itself as a number two machine. Not to mention Steam’s OS will be capable of most multimedia streaming.

Playstation Network and Xbox live are not competitive at all with the value offered on Steam. The only thing keeping them going is the divide in gaming location, i.e PC-TV and exclusive games. A Steam Machine would officially remove that gap. Though it may be a slow grind, gamers are not stupid and will switch to the platform that is treating them better, treating developers better and not forcing your experience to match the vision of the console publisher. Valve is pushing how open everything will be. Linux is open source so Steam OS is open source, the hardware is hackable, the controller is hackable, Steam Workshop allows user generated mods to be played and put up. Everything is open to the benefit of the gamer. Going back to my starting point Valve has earned the trust of the community and up to this point has done no wrong.

Steam’s 2013 Summer Sale

So who is the Steam Box for? Essentially it will become for everyone. initially it will appeal to the enthusiasts that just want everything, then to console gamers who want PC games but not a PC, then to PC gamers who want to carry on playing PC games but do not want to continually update and maintain a more expensive, unessential setup. After that it has the potential to merge the two markets and be the central gaming experience for all gamers. That is who the Steam Box is for.

The next few years just got exponentially more interesting. Valve has officially thrown themselves into the ring. Three huge companies, all far larger than Valve are already fiercely competing with each other and just launched or are about to launch brand new consoles. They will likely do everything they can to keep another player from joining the match.

But hey, everybody loves an underdog.

 

Mert Hussein

What Have Sony’s First Parties Got in Store for PS4?

 

At E3 2013, Sony announced that their first party studios are collectively working on 20 Playstation 4 titles for release across the initial year of its cycle; 12 of which will be brand new IP’s. On top of this, Sony Worldwide Studio’s President Shuhei Yoshida announced that every single first-party Sony studio is working on PS4 titles. This is ambiguous. It could mean: parties are working collaboratively, working on PS3 ports or helping out other developers release their games. Below is a list of what has been confirmed from each of these 12 studios and what else is likely. Please note the speculations in brackets are purely my opinion, however I believe them to be solid predictions.

 

 

1. Guerrilla Games – Killzone: Shadowfall
2. Evolution Studios – Driveclub
3. Sucker Punch – Infamous: Second Son
4. SCE Santa Monica Studios – The Order: 1886, Everybody’s Gone to the Rapture,Hohokum, Unannounced Title
5. SCE Japan Studio – Knack, Unannounced Title, Unannounced Title
6. SCE Bend Studio – Unannounced
7. SCE San Diego Studio – Unannounced (Probably MLB 14: The Show)
8. SCE London Studio – Unannounced (Probably Singstar or Playroom)
9. Guerrilla Cambridge – Unannounced
10. Naughty Dog – Unannounced (Probably Uncharted 4)
11. Polyphony Digital – Unannounced (Probably Gran Turismo)
12. Media Molecule – Unannounced

 

 

As for the 20 first-year, Sony internal games, this list is incomplete and we are still waiting on more information from Sony. Also there are “games” that are open to interpretation as games and exclusives. More explained below:

 

1. Killzone: Shadowfall
2. Driveclub
3. Infamous: Second Son
4. The Order: 1886
5. Everybody’s Gone to the Rapture
6. Hohokum
7. Knack
8. Playroom
9. Singstar
10. Planetside 2
11. DC Universe Online. From here on out these are predictive speculations:
12. MLB 14: The Show from Sony San Diego
13. God Of War title from Sony Santa Monica
14. Uncharted title from Naughty Dog
15. Gran Turismo from Polyphony Digital
16. The Last Guardian from Team Ico which is a sub-team from Studio Japan
17. A new IP or title from Project Siren which is a sub-team from Studio Japan
18. A new IP from Guerrilla Games
19. The Dark Sorcerer from Quantic Dreams
20. Lily Bergamo from Grasshopper Manufacture, uncertain whether or not this will come to the west.

 

So there’s your 20. A lot of these are cheats or technicalities, i.e: DC Universe Online, Planetside 2, Playroom and Singstar. However Sony will certainly use these technicalities to boost the appearance that they are supporting their new platform by personally releasing numerous titles. Some of these are not even first party but will probably be published or supported by Sony Worldwide Studios. Across: E3, Gamescom, Pax Prime and now Tokyo Game Show Sony has been and will continue to steadily stream out their PS4 game announcements. We still have at least 5 more first party announcements to be made, especially that of Naughty Dog and Quantic Dream. However what must be stressed is that these should be big spotlight announcements and will be overshadowed by the release of the console itself. More likely is that these will be revealed at an event post console-release such as at the Video Game Awards or the next E3.

 

Needless to say this is an exciting time. With a bunch of third party AAA games coming out as launch day titles such as Assassins Creed IV: Black Flag and Watchdogs, First party games releasing across the next year and still more games to be announced, the next console cycle looks like it will get off to a good start.

 

Let the future hold more parallels to the wonders of the past.

 

Mert Hussein.

 

Man, Spec Ops: The Line is Awesome

So after constant reminders that Spec Ops: The Line is not as it seems (a bro-shooter clone) and when the game becoming free with Playstation Plus, I finally decided to give this bad boy a go. A little back story here, I’ve been having very annoying health problems lately and ended up in hospital again. This time it was only 3 days compared to my previous 3 weeks. To anyone who has never been in hospital, something happens while you stay which makes your brain go numb. Perhaps it’s the repetition of the day or staring at the plain white walls but as soon as you leave, you feel incapable of focusing on anything for extended periods of time.

That’s where Spec Ops came in. After a nice long shower I sat down in front of my TV and started scrolling through my backlog. Nothing really spoke to me as it would be a waste to commit to these epic story driven games without my concentration being at its fullest. So I went with Spec Ops, for what I thought would be a nice, simple, third-person shooter I could mess around with until I was ready to dive into Mass Effect 2. For the first hour or so, that was pretty accurate. Then the story kicked in and boy was it good.

I’ll try to avoid spoilers as much as I can but know that 2K Games saw the story Yager Development was going for and trusted them. As you plough through the sandstorm infested desert of Dubai in search of victims and answers, your player, Captain Walker discovers Dubai, the war and most importantly his mission is not as it seems. Voiced by Nolan North, Martin Walker is an intriguing Commander of Delta Force, consisting of himself and his two men; Lugo and Addams. The conversations that ensue between these three men throughout the game are never wasteful filler and always contribute to the moral justification of your quest. Although Spec Ops presents choices that don’t affect the story per se, they are often morally ambiguous and difficult to choose, forcing you to think about it personally and not just as a player.

The combat is fluid and satisfying. You control a single player but also give orders to the other two, such as:  “take out that sniper” or “flash bang those men.” Lugo and Addams are also competent AI that support your assault or defence. Lugo is an effective long shot while Addams resembles a demolition man with heavy weaponry, leaving you to choose your arsenal to fill in the gap. The trio offer a dynamic play style which isn’t repetitive and is relatively flexible. I truly felt part of a tight team while playing.

The game also looks beautiful. The glossy buildings, infinitely stretching desert and artificial intelligence design all make the play through an enjoyable experience. While the lip sync seems consistently off, the voice acting is spot on and very compelling. Yet another great performance by Nolan North. The soundtrack is also complimentary to the story and is presented interestingly through the radioman, who chooses what you will hear. The game avoids many war music clichés, except Ride of The Valkyries, by Wagner during a helicopter attack, made popular in Apocalypse Now. After this I was almost waiting forCreedence Clearwater Revivals: Fortunate Son but fortunately, it never came

Watching your team go through hell and become progressively rougher brought back memories of the first Die Hard movie, wherein you could visually notice John Mclane’s vest getting dirtier and dirtier. But there is no expectation for everything to turn out well. This game is dark, unexpectedly so. It’s also very brave, as you will shoot “innocent” people and a lot of American troops and other details I will not go into as you should experience it for yourself.

Spec Ops: The Line is truly an underrated gem which deserved peoples time and attention. The developers clearly put a lot of effort to make this a unique shooter experience through its story. Unfortunately the title is terrible and doesn’t resemble the game at all. All footage of the game also demonstrates simple shooting mechanics and guns instead of focusing on what is special about this game, it’s narrative. I would recommend this title to anyone who looks for great plots in video games and also enjoys third person shooters.

Here’s to hoping for a sequel with a better title.

Xbox One launches November 22nd. How does this change things?

Microsoft has announced the Xbox One will launch synonymously on November 22nd 2013, across 13 territories, including North America.

Sony previously announced that its PlayStation 4 will launch November 15th in North America and November 29th in other territories. This means the PS4 will be out 7 days earlier than its competitor the  Xbox One in USA and Canada, however both consoles will be available at least a week before the all important Black Friday.  On the other hand, Microsofts decision to launch simultaneously in Europe, Australasia and South America means the Xbox One will be available a week before the PS4 elsewhere.

Microsofts decision to do this may seem illogical due to their home ground clearly lying in the United States and Canada, however releasing before the Playstation 4 in Europe and Australia can be attributed to their approach towards winning these markets. Microsoft launching every European Xbox One pre-order with a digital copy of Fifa 14 supports this theory. Since the early days of the first Playstation, Europe has consistently been Sony’s playground and Japan its home market but this approach by the American giant could be their first real attempt to change this status quo.

By launching in 13 territories instead of Sony’s 32, odds are Microsoft will be better prepared to meet demand in these markets, and perhaps even supply in larger quantities than Playstation 4’s. doing so for countries such as UK, Germany, Italy and other European launch countries could sway gamers console choice when they discover which is in fact available on the day.

As for North America, it seems Microsoft is confident with Sony leading the next-gen wave, allowing them a weeks head start. This could be a reflection of Xbox’s dominance in that market. Perhaps the mindshare of Xbox is so powerful, the earlier launch will not affect their own performance. Alternatively, the importance of Black Friday and to launch before this date, November 29th, is far more urgent than beating any competition. The idea behind this being buyers will wait until the Black Friday sales to purchase and also the core gamers do not have to compete with general consumers for access to a console, thereby satisfying both groups.

With each new decision and each new conference, the competition between the next generation of console gaming increases in intensity. While Sony won gamers hearts early on with their strong February reveal and E3 conference, Microsoft has been carving their way back into gamers minds. Small factors such as launch days and bundles may affect some purchase choices but ultimately it comes down to games. Titanfall, Infamous Second Son, the Order 1886, these will shape the sales of these consoles and win gamers over.