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Monday, 3 February 2020

Zombie Army 4: Dead War Review

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Did you catch that just a couple of weeks ago, Valve came out and said that in no uncertain terms that there will absolutely not be a Left 4 Dead 3 anytime soon? Well, what’s terrible news for many is awesome for Zombie Army 4: Dead War, which couldn’t have hoped for better timing. It’s here to follow in those four-player co-op footsteps – except its zombies are also Nazis, and sometimes when you kill them you get a super-gross slow-mo kill. It definitely scratches the itch, though the handful of new ideas it injects don’t really reinvigorate the genre that Bill, Coach, Zoey, and Francis built.

It may feel overall familiar, but Zombie Army 4 does manage to separate itself from the already sizable horde of cooperative zombie shooters in a few enjoyable ways. For starters, the story is delightfully absurd, with occult forces bringing the Nazi army back from the dead, seemingly from the literal bowels of Hell. Its roughly eight-hour campaign ends with a ridiculous and surprising final confrontation that is worth seeing unspoiled. A simplified Horde mode exists as well, if you just want to stick to one location and see how many waves you can take on while experimenting with different weapons. I prefer the variety and forward momentum of playing the full campaign, but Horde offers plenty of opportunity for intense shootouts and last-second victories. [ignvideo url="https://www.ign.com/videos/2020/01/07/zombie-army-4-dead-war-co-op-campaign-gameplay-4k-60"] The alternate-WW2 setting is disgusting and full of gore, but in a creative way where I was eager to see what I would be fighting next. I enjoyed confronting powerful enemies like flamethrower zombies with explosive gas tanks on their backs, zombie Nazi generals whose hearts must be removed in order to prevent them from spawning more enemies, and bosses like tanks that reveal giant ribcages when their armored sides are blown off. And it's made all the more exciting by an excellent soundtrack that feels like it comes straight out of the 1985 George A. Romero zombie film classic, Day of the Dead – my only complaint about the music being I wish it were mixed louder and piped in more often. [poilib element="quoteBox" parameters="excerpt=There's%20a%20layer%20of%20strategic%20dismemberment%20to%20the%20mindless%20slaughter."]There’s a little more to it than running and gunning because the way you shoot zombies encourages you to confront the walking dead in a more nuanced way: Getting a certain number of kills unlocks special abilities, like overpowered sniper shots or hyper-fast shotgun reloading, but you also get a chance to recover health by pulling off up-close kills. Killing a certain number of zombies from a distance to earn the right to run in and recover some health adds a layer of strategic dismemberment to the mindless slaughter. On top of that, there’s clearly some Doom inspiration here that helps keep the action moving, with certain zombies offering up ammo, grenades, or health packs if you stomp them after they’ve been defeated. This led to some great moments where I recovered from being cornered by taking out a huge wave, healed myself with up-close fatalities, and then stomped enemies on the ground to recover ammo before rushing toward the next objective. Where it had seemed like I was done for just moments earlier, I found myself maxed out and ready for whatever came next without so much as an ammo cache pitstop. [widget path="global/article/imagegallery" parameters="albumSlug=best-zombie-games-of-all-time&captions=true"] The layouts of Zombie Army 4’s eight levels (and the smaller, final confrontation) are designed well and do a good job of contextualizing why you need to make it from point A to point B beyond basic survival. Sometimes you’re exploring an abandoned zoo, other times you’re getting fuel for a boat so it can make its way down a canal, or you’re gathering up pieces of a bomb to combine at the end of the stage. The levels don’t look radically different, but they all have interesting layouts that are fun to explore and are creepy and unsettling in their own way. The objectives are simple enough where you and your friends will never be confused about what to do next, but interesting and varied enough that it doesn’t quite feel like you’re always doing the same thing. There are never moments where co-op play is required – you could easily play through solo if that’s how you roll – but the more players join the action the higher the difficulty automatically scales and the more important teamwork becomes. [poilib element="quoteBox" parameters="excerpt=You%20could%20easily%20play%20through%20solo%20if%20that%E2%80%99s%20how%20you%20roll."]I like the mad sprint to complete those kinds of objectives, but was less excited about the areas where you have to hold your ground for a certain period of time. These defensive scenarios aren’t all that common, but oddly Zombie Army 4 is constantly offering you landmines and electric tripwires that aren’t all that useful when you’re on the run instead of preparing for an onslaught. And even during holdout objectives when you have time to lay out traps, they’re all pretty much gone after the first wave and it’s back to standard shooting anyway. [widget path="global/article/imagegallery" parameters="legacyId=20097969&captions=true"] The upgrade system is also rewarding – up to a certain point. The persistent character progression lets you level up across the board, so whether you’re in Horde mode, playing the campaign alone, or with friends, you can add new abilities like better defense or faster landmine placing, among others. There aren’t enough options to allow you and your friends to branch off and occupy classes with wildly different and synergistic abilities, but growing your abilities level to level is still worthwhile. [poilib element="quoteBox" parameters="excerpt=Why%20would%20I%20use%20a%20machine%20gun%20when%20my%20shotgun%20electrocutes%20zombies%3F"]The gun upgrade system, however, is initially exciting but can hit a wall. The Trench Gun is a personal favorite: by the end of the campaign I had sped up my reloading, boosted damage output, and added bonus electricity damage. I added similar upgrades to my sniper rifle, but after awhile I ended up with a load of gun upgrades for weapons I had no intention of using. Why would I take two steps backward and start using a machine gun when my shotgun electrocutes zombies? Because there aren’t any classes, I didn’t feel a reason to return to square one and change things up. It’s a nice touch, though, that when you die you turn into a zombie and watch, with no control, as your character ambles into the crowd and becomes another obstacle for your friends to overcome. Once they kill you, you can respawn (as long as they don’t die before then), so it works as a fun handicap to prevent instant respawning – and let’s face it, it’s also fun to kill the zombie versions of your friends. On the technical side, I didn’t run into any connection issues, but I did have some general bugs. On more than one occasion I ran into a scenario where zombies were arriving endlessly, even though the goal had been completed, forcing us to restart. I also had a couple of times where big black bars would appear, obscuring my view of ammo reserves and when my special abilities would be available. It was pretty annoying.

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Sunday, 2 February 2020

The Outsider Episode 5: "Tear-Drinker" Review

The latest game news from IGN - one of my fave channels ever - check it out Warning: Full spoilers for The Outsider's fifth episode follow... [poilib element="accentDivider"] The Outsider's melty-faced doppelgänger man/creature -- El Coco, if we want to settle on a name -- took a few malicious measures to try and put a stop to Holly and Ralph's meddling investigation this week in "Tear-Drinker," which was a stronger episode than last week's as it created a much better balance between Holly's road trip and Ralph's stay-at-home hauntings. The Outsider is now walking a nice line between its main characters figuring things out and us as viewers not getting too far ahead of the tale. Holly's now fully on board with this entity being a supernatural predator, as we all were a few episodes back, so there wasn't much more for her to learn this week aside from discovering that it liked to remain close to the tragedy it creates so as to soak in the sorrow. The biggest strides, however, happened down in Georgia, with Ralph, as he started to buckle a bit under all of the uncertainties. From his wife Jeannie's nocturnal visitor to her drawing of the hooded man to the crime scene barn being right next to Terry's grave - it's all ganging up on his psyche, which isn't built to handle unexplained things. [widget path="global/article/imagegallery" parameters="albumSlug=the-outsider-fish-in-a-barrel-gallery&captions=true"]

The Grief Eater

Last week, Ralph fiddled about with old video footage and didn't do much else. And on that front, he still wants to investigate Claude, the strip club owner, for reasons even he himself can't understand. Just a hunch. And Claude, as the new scratch victim, is acting out of sorts for sure. In "Tear-Drinker" though, Ralph's doubts about the case and grief over his lost son became the focus. Not only did we get another quick flashback to the time Ralph was drinking heavily after young Derek's demise, but in the end he was visited by Derek, in a dream, and told to move on. But...was that a dream? I still have a few questions about why El Coco isn't trying to contact Ralph directly, as his hooded form, like he did with Terry's daughter and Ralph's wife (hell, it even gave Hettienne Park's Tomika a good scare about her baby in a "dream"). Instead...did it come to Ralph in the form of his son? Can it even do that? In both established cases, it came to the intended as itself, whether it was hooded or looking like Terry Maitland. It would be a completely new power if it could appear before Ralph in the form of someone it never even met or scratched. Regardless, Ralph is seeing a pattern emerge and he doesn't know how to cope with it. And Yunis isn't helping matters by telling him that dreams are more than just random cerebral happenings. Yes, Yunis thinks dreams mean something profound. The story overall is also much better with Mare Winningham's Jeannie in it. She was absent last week but returned in "Tear-Drinker" for a handful of crucial scenes. Even before she was visited by El Coco, she thought (and we briefly thought) he was lurking in her counseling waiting room. Yunis and his belief in the supernatural might not get through to Ralph, but Jeannie might be the way he starts to buy into whatever explanation Holly's about to bring back to them from Ohio. Also, with Jeannie, we basically got confirmation that El Coco is appearing "in person" and not inside the character's mind. She wasn't dreaming when she cut her foot on the glass and had that ominous conversation with him. [widget path="global/article/imagegallery" parameters="albumSlug=midseason-tv-2020-34-shows-we-cant-wait-to-watch&captions=true"]

Jack the Pawn

El Coco's shadow tactics against Ralph and his team of "concerned citizens" took a new form this week. Sure, the creature continued its nighttime cameos, laced with wicked warnings, but it also decided that Marc Menchaca's Jack should be used for more than just gathering supplies and carcasses. He should get himself on the inside of the investigation by apologizing to Ralph and trying to make amends. Which is kind of perverse twist since Jack is, of course, ripe for a redemption but here's he's forced to go through a (somewhat) fake one just to gain Ralph's trust. Not that Jack doesn't feel bad about himself and his situation. Naturally, he hates being controlled by a monster, and all the pain it brings, but the entire crucible also seems to be making him take stock of his life. His refusal to hold Tomika's baby was out of concern for the child. The question here though is "Will Jack ever get to a point where he's forced to do something truly heinous?" And if so, will he be strong enough to refuse? For example, what if he's made to do what the poor bastard in Dayton had to do...

The Other Jack

So it turns out that what El Coco is doing to Jack right now isn't case-specific. It's part of the monster's M.O. In Dayton, it had a different Renfield: A young man who it drove into a "suicide by cop" situation right at the end. A man somehow connected to the Heath Hofstetter case. Holly spotted him at Heath's grave, while also noting nearby nest potentials for El Coco in the form of creepy dilapidated structures. Was this man's hostage scenario at the end meant to somehow stop Holly? Was she supposed to get caught in the crossfire somehow but didn't because of her engine trouble, or was it all just to delay her? This dude went out the way he did because El Coco commanded it, but what was supposed to happen ultimately? Holly's car busted down while she was stuck in the traffic caused by the incident. Was that enough? That she now has to find a new way to get to Georgia? I guess I'm wondering...why not just have the guy kill her? Maybe El Coco is trying to not kill anyone who might raise ultimate suspicion. Everyone else it kills off is swept under the rug because the deaths are technically accidents and/or suicides. Also, El Coco seems to be close to moving on. According to Holly's page of notes (the one Andy found) it might be ready to "do its business" in three or four days. Which would explain why Claude's feeling so unwell at the moment. Do all the victims of the copying feel out of it, like Claude, before they're duplicated? Did Terry feel like this? What did you all think of "Tear-Drinker?" Is the mystery building at the right pace for you? [ignvideo url="https://www.ign.com/videos/2020/01/31/a-quiet-place-part-2-official-big-game-teaser"]

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Saturday, 1 February 2020

My Hero Academia: Season 4, Episode 16 Review

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This review contains spoilers for My Hero Academia Season 4, episode 16, "Win Those Kids' Hearts," aka episode 79 overall. To refresh your memory of where we left off, check out our review of MHA Season 4, episode 15.

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Until now, Season 4 of My Hero Academia has neglected some of its most endearing protagonists in favour of focusing on the villain Overhaul and the hero duo of Deku and Lemillion. While there is nothing inherently wrong with that, it’s refreshing to finally have the spotlight shine on Todoroki and Bakugo, arguably the two most compelling members of Class 1-A. This excitement makes it all the more disappointing, however, when “Win Those Kids’ Hearts” turns out to be a slow and uneventful mess.

This episode is not without its merits, with themes that are intriguing and worth exploring. Todoroki and Bakugo are on their provisional hero licence training course, with Endeavor and All Might watching over them. A group of delinquent and out-of-control kids have been let loose, untamed by their teacher, and it is up to Todoroki, Bakugo, and a few members of Shiketsu High School to get through to these kids and, as the title explains, win their hearts.

[ignvideo url="https://www.ign.com/videos/2020/01/03/top-10-most-anticipated-anime-of-2020"]

This premise is solid. It leans into what My Hero Academia does best: show the multifaceted aspects of heroism and what it means to be good, to be a worthy and successful hero. Todoroki and Bakugo are both students who struggle with self-expression, with promoting confidence and assurance. They are two very different characters with similar flaws: they might be heroes with noble intentions and aspirations (yes, even Bakugo), but they don’t have a brand; an image. As pro heroes, they would not inspire faith in the citizens they would be duty-bound to protect.

And so, their task of getting through to a class of delinquent, vindictive, and wayward children is an intriguing one that should really lend itself to some interesting hurdles. And getting over those hurdles could lead to some great character growth that will take them one step closer to true heroism. The problem, at least for this episode - since there’s still more to come, is that all we have right now is that premise. It is slowly and clumsily set up, with dialogue and plotting that make it unclear exactly what is happening. And when the episode’s events get properly underway, it suffers from near cringe-inducing pacing issues.

It’s an episode that isn’t particularly eventful. But that shouldn’t be an issue; My Hero Academia often excels at still making its slower and more introspective episodes pack an emotional punch and feel like they’re worth your time. This episode lacks any of that. Instead, it seems to be paranoid about its own uneventfulness, and so relies on constant dizzying cuts that shift the action from character to character for no reason and for fear of having the audience become bored. It also suffers some dreadfully lazy comedy and corner-cutting animation throughout.

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“Win Those Kids’ Hearts” is an insecure episode, despite having a really excellent concept that it just fails to execute on. The idea of learning to be a layered and complex hero who must be able to inspire trust in people is a great one. It’s reminiscent of how, in Mockingjay, winning the war proves to be as much about propaganda as it is about actual fighting and strategizing. Being a hero here is about how you tackle ordinary people as well as villains and monsters. It’s a great approach to storytelling that amounts to nothing in its execution. But there is still more to come, so here’s hoping this plot thread finds its groove.

The presence of Endeavor is a stand-out aspect to this episode, however. The theme of hero branding is heavy-handedly but effectively doubled down on in the episode’s crowning moment: a discussion between Endeavor and All Might in which Endeavor admits that, even though he is now in the number one spot and he is stopping an enormous number of crimes, the frequency of criminal acts is still rising because the “symbol of peace” is gone. It’s Endeavor coming to understand that heroism isn’t merely about actions, but also about ideas; about branding and spreading a philosophy that permeates the very culture we live in.

All Might was the number one hero not because he was the strongest but because he was an embodiment of purity, goodwill, honesty, truth, justice – all of the things which the average person respects and admires in a hero. Endeavor coming to understand that at such a late stage in his career is a powerful emotional blow that really lands, and, in many ways, it saves the episode. It reinforces the theme and makes it clear to us what the stakes are for Todoroki and Bakugo. That said, pretty much every other scene in the episode still feels awkward and lazy in its execution.

[ignvideo url="https://www.ign.com/videos/2019/11/08/my-hero-academias-best-and-worst-quirks-ranked"]



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Netflix's Locke & Key: Season 1 Review

The latest game news from IGN - one of my fave channels ever - check it out Note: This is an advanced, spoiler-free review for Netflix's Locke & Key, which is set to premiere on Friday, February 7. If you would like to jump straight to our verdict, check out our condensed Season 1 review in the video above. While we touch upon certain basic plot points that have already been established in the trailers and marketing, we are avoiding discussing any major revelations here. [poilib element="accentDivider"] After nearly a decade of failed attempts to bring a live-action version of Locke & Key to life, Netflix has finally delivered the goods, but was it worth the wait? Based on the graphic novel of the same name written by Joe Hill and illustrated by Gabriel Rodriguez, the series centers on the Locke children, Tyler (Connor Jessup), Kinsey (Emilia Jones), and Bode (Jackson Robert Scott), and their mother Nina (Darby Stanchfield), who move to their ancestral home of "Keyhouse" after the family's patriarch, Rendell (Bill Heck), is murdered. Fans of the comic book's graphic violence and creepy visuals may be a bit disappointed that Netflix's version leans more into the whimsical aspects of Hill's narrative and less on the terror and bloodshed. Having read the comics myself, it is difficult to ignore the changes in tone and lack of adult content, however, if the streaming giant's goal is to appeal to a larger audience, then I think the series succeeds with some terrific set-pieces, aesthetics, and performances from the leading cast that make Season 1's 10-episode arc a worthy binge. One of the standout characters in Locke & Key is not an actual person, but the house itself. Big props to the production designers (Rory Cheyne and David Blass) for creating a location that truly feels alive. Every room is meticulously detailed with fascinating little trinkets and decor that add a layer of mystery to the story, and may even cause you to pause on particular scenes just take in all of the details. Keyhouse is home to several magical keys, each with their own unique abilities. For a better look at Locke & Key, check out the trailer below: [ignvideo url="https://www.ign.com/videos/2020/01/08/netflixs-locke-key-season-1-official-trailer"] While siblings Tyler and Kinsey do have their own adventures with the keys, it's their younger brother Bode who has the most fascinating encounters with their magic in Season 1. Since this version of Locke & Key is a little more family-friendly than the comics, Bode's youthful exuberance after discovering each key is palpable and honestly infectious. Scott portrays Bode with just the right amount of innocence and wonder without ever making him too precocious. Tyler and Kinsey's adventures in the first half of the season (when they're not teaming up with Bode) are less pivotal to the overall story and are usually relegated to high school dramaaaa like using the keys to get revenge on "mean girls" or trying to impress a potential love interest. These high school hijinks occasionally make the show feel more like a CW teen drama than an ambitious mystery, and Locke & Key feels far more engaging when it leans into its fantastical elements. One particular standout on that front is the "Head Key," which enables the series to get creative with its visuals, while also playing with body horror. The key is inserted into the back of someone's neck to literally open the door to their mind, which then allows a person to relive important memories, or add bits of information they might want to remember at a later date. Everyone's mind palace looks different depending on their life experiences; Bode's is like a large playground/arcade, while Kinsey's is a giant shopping mall. Even better, the Head Key gives the viewer insightful glimpses into the history of the Locke family. [widget path="global/article/imagegallery" parameters="albumSlug=locke-key-season-1-gallery&captions=true"] One of the most emotionally stirring aspects of the series is its effective use of flashbacks, which allows the audience to see the kids interacting with their father, adding believable weight and grief to those relationships. These scenes are great character-building moments for the kids and are so well-realized, it's easy to forget this is all happening because of a magical key. This confident blend of fantasy and real-world drama is Locke & Key's greatest strength. Where the series gets into trouble is when it tries to tackle too many narratives at once. The series is simultaneously attempting to be a compelling family drama, supernatural thriller, murder mystery, and high school dramedy throughout Season 1, and by attempting to serve several masters, it never completely feels like a cohesive whole. While the family storyline and the fantasy elements involving the keys work well, other aspects of the plot aren't quite as memorable. One example of this is Season 1's villain, Laysla De Oliveira's Dodge, a mysterious figure who torments the Locke family in the hopes of taking possession of their keys. The Canadian-born actress has an incredible on-screen presence that can be alternately charming or menacing, and Oliveira can flip that switch in an instant, giving the character a welcome sense of unpredictability. Her performance isn't the problem, but the character's progression suffers from the way the story has been changed from the graphic novel to appeal to a broader audience. As the central villain, you'd expect Dodge to be a truly terrifying figure, but even when she kills someone in a way that should be shocking in any other situation, the show often leans into the absurd humor of her actions rather than ramping up the tension, undercutting some of the show's biggest scares. As much trouble as the Locke kids get into, it's difficult to imagine something horrible happening to them, even with an antagonist like Dodge lurking in the shadows. [ignvideo url="https://www.ign.com/videos/2020/01/10/why-netflixs-locke-and-key-should-be-on-your-watch-list"]

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