Tuesday, October 8, 2019

Capcom A to Z: Age of Booty


Title: Age of Booty


Platform: Microsoft Windows, Playstation 3, Xbox 360

Release Date: Staggered by platform between 2008 and 2009

Current Status: Defunct

Developer: Certain Affinity

Publisher: Capcom

I have hemmed and hawed about adding Age of Booty to this illustrious blog for a couple of reasons: 1) I have had an incredibly difficult time finding a platform to play it on (in fact I haven't found one), and 2) it is only published by Capcom and not developed by Capcom. This game's servers seem to be defunct and not running anymore, and since this is an online real-time strategy game, not having servers means there is no game to play. So, instead, this will be a small analysis of this curio that has been lost to gaming history. 

Background
This game was developed by a company called Certain Affinity. Now the interesting thing about this company is the fact that they don't seem to have many of their own games (the only other one listed is Crimson Alliance, another XBox Arcade game), but instead they are primarily a co-developer who helps pitch in on multiplayer for big titles. They have worked on the multiplayer components for games like Halo: Reach, several Call of Duty games, Left 4 Dead, and the 2016 Doom. 

Not too much to about Age of Booty's development that you couldn't get looking of the game's wikipedia page. It seems pretty straightforward.

Gameplay
This game plays like a video game version of a board game; I am getting some very serious Settlers of Catan vibes from this game. You control a solitary pirate ship, and the game's goal is to attack neighboring regions and plunder their towns. The goal is to sack the target number of towns in an allotted period of time; the first team to do so wins. Each pirate controls their own regions, and must balance defending their towns with attacking their neighbor's towns. A town is destroyed when it loses all its HP. Towns will also heal your ship when you are in a neighboring region. 
The game map is split into hexagons, that you move between. This seems to be implemented to help increase the speed of play and help streamline some features. For example, when you are in a hexagon adjacent to any enemy structure or ship, you automatically attack the enemy. When you are next to an allied town, you automatically heal. This keeps the game moving at a very good clip, and allows the player to focus on positioning rather than issuing commands. 
The game itself did boast a single player mode of 21 missions, which reportedly were very tough, but the main spotlight of the game seemed to be multiplayer. Reviews of the multiplayer alone were very favorable, with most reviews mentioning it as a fun, pirate-stylized pick-up-put-down fast-paced game. The game did get an iOS spinoff called Age of Booty Tactics, so it must have received some sort of following, but it was not published by Capcom, so for the sake of our blog, who cares. 
In the end...
Seems neat; shame there is no way to really play it nowadays. Till next time folks!

Thursday, September 12, 2019

Capcom A to Z: Adventures in the Magic Kingdom


  
Title: Adventures in the Magic Kingdom

Platform: NES

Music: Yomo Shimomura

Release: June 1990

Whoo! Finally back with an update to this passion project. Today we dig into the start of the many, many Capcom games that were license projects with Disney. While not tied to a specific IP this time, this one is instead tied to the theme park, Disney Land, with appearances by Donald, Goofy, and Mickey. Now the Disney Capcom games usually have a pretty good reputation for quality games that both marry good gameplay with honoring the intellectual property. Some examples of stellar Capcom games include Goof Troop (SNES), Aladdin (SNES and Genesis), and Rescue Rangers (NES). Will this live up to the expectations?

Background
 Upon reading a interview conducted by the website Nintendo Player with the producer for this game, Adventures came about development shortly after the release of Rescue Rangers and Duck Tales. Apparently, the group at Capcom who handled Disney properties wanted to try something a little different, and they pitched to Disney to make a game based on their theme park. There really hadn't been many games of this type (if at all) before this type, and the team wanted to give it a shot, hoping to both impress Disney and audiences alike with something creative and unique.

If you have never experienced Disneyland before, it is a theme park in the center of Orange County, CA based around Disney Animation Studios. Unlike Disney World in Florida, which is a web of theme parks centered around the main park, Magic Kingdom, the original Disneyland is only two parks: Magic Kingdom and California Adventure (though at the time of this game, there was only the Magic Kingdom). The Magic Kingdom is then broken up into various zones called "lands": there is Fantasy Land, Tomorrow Land, Frontier Land, Adventure Land, etc. There is usually one showstopper ride or main attraction in each of these areas. This is a very basic rundown of the Disney Land experience, and it really can be as deep as you want to explore as a visitor. Disney Land has a very rich history, lore, and rabid fan base who attend the park quite regularly. There are hidden Mickey Mouses, a secret restaurant for member's only, and so many hidden secrets all around the park. I was lucky (or unlucky for some) to live about 10 minutes away from it in my mid 20s, and driving home from work in LA, I would regularly come home around the time the nightly fireworks display was lighting up the night sky.

One of the challenges to the team seemed to be doing proper homage to the actual theme park while at the same time making some of the details a little more vague so that it wouldn't put off any person who had never visited the park before. This led to some details being altered: for example, the Haunted Mansion is instead called the Haunted House, and Sleeping Beauty's castle is instead called the Magic Castle. Yet, at the same time, the world map in this game looks a good bit like the layout of the actual Magic Kingdom, and there are tons of nods to the real deal, such as the Small World ride and the river cruise being present (no stages actually take place there).

 

Story
The story serves more as an excuse to fool around in this virtual theme park. Goofy, being goofy, has lost the key to the Magic Castle, and Mickey and Donald task you, an unnamed boy in a cowboy hat, to find the replacement six silver keys which are located around the park. Five of the keys are located on attractions in the park, while the fifth is with one of the children who are milling about the park. If you can't find the keys, then they can't open the castle gates to start the Disney parade. Zounds!
  The Six Keys

1) One of the keys is not in one of the attractions, but instead tied to the multitude of children inhabiting the park. You can go up and talk to any one of the children, and they will ask you trivia about Disney and the theme park itself. Once you answer the question correct, they will give you the next breadcrumb to find another child in the park. Once you talk with all of them, you get the key. Some of the questions are pretty tough too! You have to know the first Mickey cartoon, what year Mickey Mouse was made, and a bevy of questions about other esoteric Disney lore.

2) In the Autopia attraction (which is in TomorrowLand) you have to control a race car and beat Panhandle Pete in a race around the track. This level sucks. The controls are awful and the race takes forever to get through. The race is super long, and if you die/crash, you start all the way back at the beginning. This wouldn't be too bad if it wasn't for one part; you see, at first it is kind of fun: you can knock other cars out of the way and off the track, with the only hazard being stopping due to hitting a guard rail. Halfway through the race, though, the level goes full Battletoads hoverbike! You have a boardwalk like section where your car can fall off into water, and you have to then hit jumps and land on platforms that are all over the board. With my gaming experience in this blog, in general, any racer that is top-down birds-eye view is usually a stinker. This game's racing is no exception. I was able to beat this, but it was not easy.

3) Space Mountain, also in the Tomorrowland area, is another tough one. This one is more of a twitch reaction sort of level. You are tasked with flying a spaceship; the view is a cockpit view, and you can see outer space as well as a console that will issue you commands. As you fly, you will be given commands to either dodge oncoming meteors, or to fire at enemy ships. If you mess up three times, you're done and you have to play it again. Once again, this level is just kind of tedious. It overstays its welcome, and it demands a very quick reaction time.

4) Big Thunder Mountain is marginally better than the first two levels mentioned. You are stuck on a train track, and you have to navigate your train down the correct path while avoiding obstacles such as boulders. Again, it is a long level, and sometimes it feels a little unfair (boulders can roll in your path with little to no way to avoid them), but I managed to beat it on my second or third try.
5) The Haunted House is a classic sidescrolling level that really manages to feel like you are traipsing through the legit Disney Haunted Mansion. You have the famous ghost in the mirrors, the talking busts, and the dancing ghosts. You spend the whole level chasing a ghost who has run off with the key, and you have to avoid zombies and ghoulies of all sorts. As a weapon, you collect candles from around the level (how Castlevania) and then chuck them at the enemies. Overall, it is not too challenging, with only a few platforming sections giving some headaches. Now, if you have been collecting stars in other levels, you can also use them to purchase extra lives and health in the start menu, which I highly advise doing throughout this level. The only place where this is a necessity is at the end when you fight the ghost. The ghost is super cheap! He chases after you in a medusa-head like arc, and when you jump over him, he immediately turns under you and will catch you as you hit the ground. He is almost impossible to avoid, so you have to spend your stars on health. I checked online to see if I was doing this fight incorrectly, but even speedrunners eat health here.
 
6) The final stage (or one of them since you can play in any order) is the Pirates of the Caribbean ride. This is also a side scrolling stage, but here you have to save six hostages who have been taken captive by some Popeye looking pirates. This stage is another not too challenging one, but it is a bit of a maze, unlike the Haunted House which is very straightforward. You definitely feel the limits of your guy's jump here, as there is one really pain in the next jump towards the end in the section of the town that is on fire. I enjoyed the Haunted House more, but this stage is not too bad.


 
Other thoughts...

  • Why does your character look like a grown cowboy on the map? Weird right? And why a cowboy in general. They even play to this motif with the sheriff stars being your collectible currency. 
  • Why is Goofy not returning the silver keys to Mickey himself? He is almost always at the end of each level with the key. What a prick. 
  • This game can be beaten in about 20 minutes, which is nice.
  • Like other Capcom games, you can choose the order in which you attempt the stages.  
Verdict
 This game is super inoffensive and a nice little piece of gaming history. Is it great? No, but it definitely is worth a visit. If you can grind your way past the vehicle sections, then you can beat the rest of the game no problem. 

Tuesday, May 7, 2019

Switch It Up: The Messenger


Title: The Messenger
Release Date: August 30th, 2018
Developer: Sabotage Studio
Publisher: Devolver Digital

*Spoilers to follow*

One thing I like about this style of blog is that it gives me the opportunity to gush about games rather than knit-pick and focus on the faults. The Messenger is equal parts a send-up and homage to the 8-Bit and 16-bit action platformers such as Ninja Gaiden, and more than just a copy-cat of those games, it does enough to innovate to really standout. Some youtubers, game journalists, and those "in the know" even went as far to say that this was their favorite games of 2018, which is saying quite a lot! Let's jump in and find out for ourselves.

Background
Quoting heavily from wikipedia, the game is developed by a Canadian studio known as Sabotage Studio, run by two gaming veterans known as Thierry Boulanger and Martin Brouard. What I find really neat about The Messenger is that it is a game that has been in Mr. Boulanger's mind since he was a kid, and that passion translates into the game very, very well. You can tell that this was a project that is infused with a nostalgic warmth towards the video games from the 80's and 90's; it is one of those rare games where the designers, you can tell, just love video games.

 

The story of the game is delightful nonsense, and mainly serves as a pretext for the gameplay that unfolds throughout the game. It takes place in a world where demons have decimated most of the population, and the only humans left reside on the tiny corner of an island. The humans here train, as ninja, to fight the demons, and wait for the day a "hero from the west" will arrive to save them from the demons. The game begins with an attack from the demons, and the "hero" arrives to give your character, a ninja, a scroll that must be delivered to an ancient temple. And there you have it! Simple goal, simple protagonist, simple story.

The world of the game is really quite well designed. Each area is visually distinct from the others, and the bosses are really imposing and filled with character. The only place I would knock this game is on the enemy design and variety. The enemies never really stand out and they are used over and over again throughout the game.

 
The music, as well, is a very lovingly crafted. The main conceit of the game is that you skip between an 8-bit and 16-bit world via time traveling, and the score of the game reflects this shift in technology as well. Obviously the people who developed this game were in camp Nintendo growing up, as the score is very much a NES/SNES sound chip composed score; it is very reminiscent of the thumping pulse of Ninja Gaiden, or the rock-opera stylings of Castlevania.

Finally there is the gameplay. The other half the the hook for this game is that not only does this game flit between the 8 and 16 bit worlds, it also changes the style of game it is as well. The game goes from a straight action-platformer, with the standard loop of "make it to the end of the stage and beat the boss," and shifts dramatically to a mostly open-exploration Metroidvania (already getting sick of that term), where your character is hunting down lost relics. The main focus of the game is on platforming, and that action is incredibly tight. Your character moves responsively, has a ton of tricks at his disposal, and can easily flit about the room if you can master the basics. The main gameplay gimmick is that if you can hit an enemy or an object, you are allowed a second "air jump." This means that you spend a good portion of each level jumping around in the air. Boss fights can literally go with you buzzing around your enemy as if you are a pesky hornet.

High Points

  • While this game certainly hearkens back to the age of NES thumb-busters and difficult games, it is a much more forgiving affair. The game has no real penalty for death other than a "try again" from a checkpoint, a taxing of future currency, and some delightful ribbing from a character named Quarble. The game is challenging, but you are given so many chances to just try to repeat and learn that it never feels punitive. The game is littered with checkpoints too, so you are usually only taxed, at most, 3-5 screens of progress when you die. The bosses are mainly patterned based, but there are really fun and intuitive strategies available that you can use to just tear through them if you are skilled enough to try. Finally, in the open portion of the game, the game is willing to offer very direct hints and locations of key items for a very small price. Bottom-line, this game is very accessible, even to those who are neophytes to these "retro" style games. 

  • The game's writing is top-knotch and honestly one of the funniest games, based purely on writing, that I have played. Some examples include the shopkeeper and Quarble. The shopkeeper is where you buy your upgrades, and he will also give hints about the areas and bosses you will face. He has a very wry wit, and they do some very interesting stuff with this character as far as the narrative is concerned. Most of the fourth-wall breaks, as well, come from this character, but they do a good job explaining this characters seeming omniscience. Always, if given the chance, ask the shopkeeper for a story, and keep trying to open up his cabinet. Quarble is a "greed" demon who will continually save you from what would be fatal mishap, but at the cost of about 50 gems that you collect in the future. Each time he comes to "collect" though, he roasts you for your stupidity and poor playing skills. There are a good many responses that generate, and it seemed like a good half the game before they started to repeat.
  •   
Low Points
  • Most reviewers have seemed to favor the second half of the game over the first half, enjoying the Metroidvania elements over the straight platforming. I actually disagree: I feel the game loses a lot of its momentum at this point, and the well paced and written script seems to all but evaporate. It reminds me a lot of the inverted castle from Symphony of the Night: conceptually, it is really neat, as you get to explore the world in a new and exciting way. Execution-wise, though, it is very sparse on content: some very simple and easy boss fights (even the last boss is rather simple), and a bunch of errands across the map with some really annoying backtracking. The 8-bit to 16-bit mechanic doesn't change up the game-play in any truly meaningful way, either, as you are pretty much the same ninja just with a different skin. The first half of the game, though, is hyper-focused, the writing is super strong, and I think a much more enjoyable journey. 
  • The Temple of Time (or whatever its called), is really tough. It is built to be a test of your skills up until that point of the game, and it is arguably the toughest area, even the Hell area. This was the one part of the game I almost rage-quit. 
Verdict
This game is really good! I would highly recommend it, especially with DLC coming down the pipeline this summer. 

Sunday, April 7, 2019

Capcom A to Z: Ace Attorney Investigations: Miles Edgeworth

  

Title: Ace Attorney Investigations: Miles Edgeworth

Release Date: May 28th 2009 (JP), January 16th 2010 (NA)

Genre: Visual Novel, Point and Click Adventure

Director: Takeshi Yamazaki

As much as I enjoy the Phoenix Wright games, I always dread sinking my time in to one of them. One reason for this is because the games take a great deal of focus and time to complete; the characters and the stories are usually pretty fun, but when they say that these are visual NOVELS they really aren't kidding. They are huge time commitments; sometimes their stories go on for so long that by the end of a particular case you feel worn out. Playing them all in a row can be quite onerous, and some trials really drag.

Now this is a spin-off title: instead of the sweet punching-bag defense attorney that is Phoenix Wright, you instead play as his rival, the no-nonsense gentleman prosecutor that is Miles Edgeworth. This game, as a spin-off, changes the formula up a bit, but not seemingly to a great degree.

Background

This game takes place after the initial Phoenix Wright trilogy. In the world of Phoenix Wright, the justice system in Japan has been overhauled to favor expediency, where the accused criminals have three days to prove their innocence; any more than that then they are officially guilty. This has led to law being a cutthroat and busy affair, where most lawyers patrol crime scenes, collect evidence, and talk to witnesses themselves.

In the main trilogy, Miles Edgeworth grows from antagonist, to friendly rival, to outright just friend of Phoenix Wright. He is supposed to be a calculating and excellent prosecutor, with powerful logic and reasoning skills. He starts the series as the prosecutor who never loses, hell-bent on keeping that reputation due to personal convictions surrounding his own tragic backstory. After the events of the first game, Miles does some soul searching, and pops up to help out every so often. This game takes place after another one of these soul-searching quests, as Miles returns to his office in Japan to find a murder has taken place. This uncovers a conspiracy within the justice department, and Miles is at the center of it.

The game shakes up the traditional formula by taking place completely on the crime scene. There are no trial scenes in this game, and Miles instead conducts interviews with witnesses and suspects right on the scene. Miles will gather evidence, makes logic connections to open up new dialogue options and clues, and can even analyze evidence Resident Evil style to find new clues. Unlike in the main games, which take place in first person POV for the investigation segments, this game takes place on a diorama like set, with Miles being able to actually walk around his world.

Other than the aesthetic changes, the game is pretty much a Phoenix Wright game: you still cross examine witnesses, look for holes in their testimony, present evidence to match contradictions, etc. The bad guys are super obvious and have wacky personalities, it features almost all the cast from the original trilogy, and the drama is cranked up to 11.

The Story
 The story, this time, follows a conspiracy. It is one of those, "all these cases were connected the entire time" kind of deal. It follows a smuggling ring that is trying to steal evidence to expose corruption, blah blah blah, and each case deals with one of the many crimes of the smuggling ring. Overall...the story is okay. I would say better than Phoenix Wright 2 but not as good as the original or the third one.

Sometimes the logic doesn't quite make sense. You can sail through a case, and suddenly there is some logic jump the game expects you to make that just doesn't make obvious sense. A good example is in the first case: you have to prove, logically, that the security guard couldn't have been the murderer due to the fact she would have no reason to rob the office. Makes sense, but the game offered no real evidence that this was a premeditated murder. I banged my head against this over and over and had to look up what to do in a walk-through. Apparently the game expects you to use the wall safe as evidence, as only the person who owned the office would know about the safe, and thus a lowly security guard wouldn't know to look there. To be fair though, this is kind of part and parcel for the Phoenix Wright games, where the clues don't always make it out of translation.

Verdict
 Look to be honest you either love this series or it is not for you. I don't want to talk more for fear of spoiling the game. The game is a game you play for the story and the charm of its writing and characters; the gameplay does not carry this one. It wears its faults on its sleeves though, and makes no apologies for them.

So bottom line, if you are a fan of the series, then you already know what to expect and should give this game a try. If you aren't a fan of the series, then avoid this game, it won't change your opinion. If you want to get into this series, I recommend starting with the initial trilogy; it shouldn't be missed! If you don't like anime styled games either, I'd probably avoid this one too.

 

Wednesday, March 13, 2019

Switch it Up: Enter the Gungeon



I have recently been so inspired by the wealth of gems on the Nintendo Switch to start sharing some of my finds here. Now this will probably be another blog that infrequently updates and replaces my normal content (and believe it or not I have a fourth one planned), but since this is pretty much being shouted to the empty void of the universe anyway, who really cares!

So to inaugurate this new blog, I am picking my favorite go-to gem on the Switch, Enter the Gungeon. Now this is a game that is on a wealth of other systems (PS4, XBOX One, PC), but I think it is most aptly suited for the Switch. This is the perfect pick-up and put-down game, and it has been so dutifully and faithfully updated over the years since it has been released that it has evolved from a curiosity into a must-have for any system. This game is easily one of my top 25 all-time games. It is my stress relief game, my "I have 30 minutes to kill" game, and the ultimate Everest to try to topple. It is a game that has a little something for everybody, and will turn even the most neophyte gamer into that "get gud l33t" maverick.

What is it?
This game is a mash-up of so many genres, and it works! It is a twin stick shooter, bullet hell, rogue-lite, dungeon crawler, with platforming and RPG-lite progression. It has branching paths, optional levels, optional bosses, unlockables, secret endings, 100s of new guns, synergies, and the list goes on and one. This game is one of those games you can sink as little or as much time as you want into it, and still feel fulfilled in the end.

Okay so here's the premise: you are a "Gungeoneer," a warrior with a troubled past who comes to the "Gungeon" in order to find a way to, literally, shoot the past in the face and change your life for the better. The "Gungeon" is a Giant bullet that has crashed into a planet and been turned into an ever-shifting, ever growing dungeon by a nefarious entity known as the Gun-Lich. Those who enter the gungeon are cursed to be trapped there until they can eventually "kill" their past, living and dying over and over again. To kill the past, the gungeoneer must make it to the depths of the Gungeon, make the "bullet that killed the past" out of materials on each level, slay the Dragun that guards the lowest level, and use the Gun that kills the past to send themselves back to the moment their personal history went awry. Now, it is practically impossible to do these goals all in one run, so you must loop over and over again, slowly amassing an arsenal of guns, unlocking people who can help you on your run, and learn the patterns of each and every enemy, mini-boss, trap, and boss that gets in your way.

It is a really rich world filled with a mythos that doesn't get in your way at all, but is played like a tongue and cheek Dark Souls where the lore is there to mystify and delight you if you look for it. As far as design, everything in this game revolves around guns; like literally, everything. Everything is made of guns, bullets, or some permutation of them. Think of Dungeons & Dragons but every NPC you come across is either a sentient bullet or is at least armed to the teeth with nefarious weapons.

Background
The amazing thing about this game is that it was a passion project of four employees who used to work for Mythic Entertainment. The game was designed by Dave Crooks, programmed by David Rubel and Brent Sodman. and the art was completed by Joe Harty. The music was composed by an indie hip-hop artist named Doseone.

You can tell that there was a lot of tender, love, and care put into this project, as this game just oozes passion and charm. The detail work and complexity of this game is, simply put, astounding. There are layers upon layers of gameplay styles, choices for players to make on a room by room basis, and possible paths for the player to choose from at any given moment, and it never feels overwhelming or obtuse. I am putting this commendation in this segment because it is clear that this was all meticulously planned by the development team.

How do you play it?

Here is the standard gameplay loop of Enter the Gungeon.

1. You start in your hub area, known as the Breach. Here you can choose your character for your run: each gungeoneer has their own strengths and weaknesses and come with perks for your run. The Marine, for example, starts with an extra armor and has better aim, while the Pilot has poor aim, but is able to charm shopkeepers into lower prices and can pick locks. It is here you can also purchase items that might appear in later runs, access shortcuts you unlock, or continue NPC sidequests.
2. You enter the gungeon. In the base game, you start at the first level "The Keep of the Lead Lord." The layout of each level is completely randomized, with the player traveling through a series of "rooms" each having its own mix of enemies, traps, possible treasures, etc. Once the player enters a room, he is locked in until all enemies are defeated. Enemies can drop money (which in this case are spent shells), keys to open doors or chests, ammo for weapons aside from your base guns, health (which are Zelda style hearts), or even treasure chests.
3. On each floor there is always a shop, where you can purchase items if you have enough shells. There is also always a boss room at the end, and a guaranteed two chest room. There is usually one bonus room of some kind, this might take the form of a second vendor for goods, a statue that you can pray to for a buff/debuff, challenge rooms, mini-games, and usually at least two hidden rooms on each floor that have some sort of bonus. Now each of these types of rooms have their own variations as well. For example, sometimes the shop is well stocked; sometimes it is sparsely stocked. Sometimes, there are items in the store you can only afford if you rob the store. The treasure rooms, as well, might have a bomb that goes off and destroys the treasure after a certain time, or the chest might turn out to be a mimic that attacks you mercilessly.

Sometimes you will even find a key that drops from one of the enemies. This key is golden and winks at you. This is a key that unlocks a cell. This cell will contain an NPC who will then start to show up either in the breach or in the gungeon itself. Depending on the NPC, they might be another vendor, they might offer you a quest, or might even change gameplay as some of the later NPCs do.

4. Each floor ends with a boss. Now, this is a good time to talk about the gameplay itself. The gungeoneer has a base pistol and the ability to maneuver around the bullets, explosions, lasers, and projectiles that the enemies throw at him. The player is also able to dodge roll which, like Dark Souls, allows the player to jump through things that would otherwise damage them. Each enemy encounter, then, becomes the player delicately weaving through the various patterns of bullets and projectiles, dodge rolling where needed, and trying to consistently damage the enemies.
 
The bosses, though, are pure bullet hell sections. You have to consistently damage the boss while also dodging through hellacious patterns of bullets. The bosses start reasonably enough, but by the end of the game the boss fights can truly be brutal, with really sophisticated attack patterns, bullets filling the screen, and attack patterns that move at a blistering pace.  

Once the boss is beaten, though, you are rewarded with a chest and HEGEMONY credits, which look like little Hs. The hegemony credits serve as your overall game currency, so that you can buy guns, shortcuts, or charms that will help with future runs back at the breach.

5. Advance to the next floor, rinse and repeat until you are killed or you defeat the Dragun on level 5. Once you die, you lose all your progress, get booted back to the Breach, and you have to start your run over again. None of your guns, charms, etc. come with you from run to run. You always start from square one.

Other little alterations or extras to the run...

A. There are secret bosses, secret levels, secret endings with secret bosses, so on and so forth. There is so much to explore.

B. The choices during runs are bountiful. Do you pick up that shotgun, even though it is cursed and can lead to more powerful endings? Do you use your keys to access the secret level on floor one, or do you save them for chests and other items down the road? Do you clear the entire floor, or do you beeline straight for the boss?

C. Eventually you can add challenges to each run by paying an NPC named Daisuke, or even switch the game to turbo mode to move the speed of bullets up. There is even a boss rush mode, and a speed run mode.

D. Recently added were synergies, which allows guns and artifacts of different types to give each other boosts depending on what else is in your inventory. It might be a damage boost, or change how a gun fires, or something even more unique. The crazy thing is that each gun or item has almost four or five different synergies.


High Points

  • The music in this game is superb; like easily soundtrack of the year material. 
  • The art and design of the game is charming, from the happy-go-lucky bullets that make up the Cult of the Gundead, to the cartoonishly monstrous bosses, to the aesthetic and character of each floor of the Gungeon. It is a true world that the game creates, itself as much of a character as the person your player controls.
  • The game has a great sense of humor. Each gun is a reference to another video game, movie, a well known gun from history, or just a random and crazy gun. You can play with Samus's gun arm, Mega Man's blaster, Earthworm Jim's gun, a gun that shoots Sail Boats, a paper airplane gun, a rock and a sling, and even the Cerebral Bore from Turok 2. The item descriptions are pretty damn funny too. My favorite is the "Nanomachines" item, which description simply reads "son."
  • The game rewards perseverance and mastery. If you fight a boss without taking damage, you get a Master Shell, which adds another heart to your life, and can be used to open up shortcuts later. Most accomplishments in the game also reward you with guns or items. This extends to end-game content as well, with the "Past" bosses for each gungeoneer serving as tough super bosses (you get all your good guns stripped from you and your life returned to a smaller amount). There is even a true final boss in the form of the Gun Lich, who takes you to the true final area (aptly named Bullet Hell) after you kill the pasts of all the gungeoneers. Defeating him in a super hard final boss fight allows you to unlock a map of each gungeon. 
  • The variety and randomization is insane. Like I have not had two runs that were anywhere near each other in terms of how they were played or experiences. It really keeps me coming back to play it. 

Extended Thoughts?

Well with some games I really like to break down the mechanics, and here I am going to focus on the first two levels themselves, and the boss fights by level. I think it will give you a good picture into the structure of the game. 

Level 1: Keep of the Lead Lord

This level itself serves as a good introduction to the gameplay without blatantly telling you how to play the game. The enemy types and mixes per room are simple. You have the basic bullet enemies, perhaps some shotgun enemies, and a few middle of the road enemies, such as the Grenade enemies, or the Gun-Knuts (the giant Iron Knuckle looking enemies). There are little to no traps, very few pits to fall in, and generally a basic layout with few surprises. 

Easy Boss- Bullet King: Each floor has an easy boss, middle of the road boss, and a super tough boss. You most often get the easy boss, sometimes get the middle boss, and rarely get the tough boss. The Bullet King is arguably the easiest. His attacks are all pattern based spread shots. He alternates through his attacks at generally set intervals, and just lazily floats around the room after you. He mainly teaches you how to maneuver these patterns, how to not get cornered by bosses, and basic DPS. 

Medium Boss- Bullet Twins: These are two larger bulletkin who look like a good cop/bad cop. They both have basic attack patterns: one has a shotgun, the other an automatic pistol, and both will charge at you if you are far enough away. The challenge of this fight comes in the fact that they move and attack independently of each other, and at random. It is a basic fight to teach you adaptability. It gets complicated further when they summon smaller bulletkin, as well as go into an enrage mode when the other dies. 

Hard Boss- Gatling Gull: Basically a giant roid-rage crow carrying a Gatling Gun. I love this guy, but he doesn't really fit the aesthetic of the rest of the game. He is consistently the toughest boss of the first level, as he is a mix of patterns and randomness. His biggest challenge is that he is constantly trying to corner you. He will move towards you and blast at you with his gatling gun, either putting his bullets out in an even spread, or shooting them completely in random directions. If he corners you, you are practically guaranteed to take damage. Now the other two bosses you can get away without using the dodge roll, but this fight requires you to have at least a working knowledge of how to implement the maneuver. To spice things up, the Gull will also fire missiles at you, and other forms of projectiles as well. 

Level 2: Gungeon Proper

This is where the game throws a proper "dungeon" at you. It is challenging, but not overwhelmingly so, and the game adds the layers that will be consistent through the rest of the game. Now you have a thorough mix of various types of enemies, ranging from small grunts up to mid-boss enemies. You also have rooms that have various traps and pitfalls ready to be unleashed on the unsuspecting gungeoneer, and there are now plenty of pits to dodge roll into. This is where the game will also start giving you choices. Do you sacrifice a life to gain shells from the blood vampire? Do you pray at the altar and raise your curse so that you can gain an extra shield? Do you conserve your ammo for your special guns for the boss, or do you use it to breeze through the floor? This is where the game really rears its ugly face with its more intense gameplay. 

Easy Boss- Gorgun: This is a medusa wannabe with two uzis. She is actually easier than the gatling gull and the bullet twins in my opinion. More like a second refresher to be honest, but she throws in some new tricks. She can give you status affects: poison and stone, which are relatively new. She also has a full on desperation move at set points in the fight, where she will unleash a web of bullets around her and you have to carefully weave through them. 

Medium Boss- Beholster: Another riff off a classic D&D monster, the Beholster is a master class in juggling multiple attacks at once. The Beholster throws a lot at you, and forces you to DPS your way through the fight. He is a very big run-ender boss. He has a large spread laser you HAVE to dodge roll through, homing missiles you have to shoot down, adds that will harass you as well, and smaller projectiles too. It is an intense, but fast paced fight.

Hard Boss- Ammoconda: This boss is the toughest so far, but not unmanageable. He is a snake who can fire projectiles from any of his segments. He moves around the room randomly, and will constantly fire off a pattern of some time. I found this boss really hard until I realized that each attack is based off something "snake-like;" one attack moves like the snakes from the video game of the same name, another "falls" like shed skin from the snake, and floats towards you. This fight is all about constant movement and mobility, and more than any fight before it, giving constant DPS. This is the first boss that can replenish its health by eating his little cronies, so you have to deal constant damage.

Now the rest of the game follows a similar formula. Each level ramps up the difficulty from the previous, and the fifth level only has one boss. Now this layout can be changed, as you later have the ability to start at different levels. The drawback here is that you start with only one special gun that usually is terrible. You can also elect to go to the special stages as well (of which there are now FOUR) in the game. 




Verdict

Please play this game! So good! Like really really good. 

A (for now) goodbye and a sincere thanks

Hello everyone! A short update blog post. This blog has been a weird exercise for me, starting as a passion project with a clear goal but a ...