Pioneer Project – Page 14 – Video games, UX, Sustainability

Project Zero 4: Mask of the Lunar Eclipse

Post author By Michelle B
Post date January 26, 2010
5 Comments on Project Zero 4: Mask of the Lunar Eclipse

The Japanese Mask of the Lunar Eclipse title screen.

The fact that we’re even able to finally play Project Zero 4 is down to the hard work and dedication of a group of fans, who tasked themselves with translating the latest in the Fatal Frame series not long after Nintendo’s refusal.

As a result booting up this import feels like opening Pandora’s Box, a chance to experience a Project Zero game with it’s original Japanese voices and touches. What is revealed in translation was well worth the wait.

Story and translation

This release will always been benchmarked by the translation project that has enabled the western world to play it. In this regard nothing here disappoints, the fan translation has been completed with the professionalism and flair the series deserves. While game dialogue is still in Japanese the translation team have worked hard to localise all menus, help text tutorials and subtitles, with only a handful of (fixable) mistakes. All that is needed to play is a retail copy of the Japanese game, an SD card and the appropriate patch files. Every step has been made to make the temporary language patch and region free ability as simple to use as possible.
Project Zero 4 continues the series fascination with Japanese spirituality and calamity-preventing rituals. With a new focus on memories based around lunar activity, playing the game feels like experiencing each characters moment of deja vu. The sense of vulnerability that previous games perfected with the Camera Obscura as your only weapon is still extremely palpable, and makes exploring the intriguing kidnapping mystery even more rewarding.

While the translation work on this game is superb, the font used to transcribe the game can often be difficult to read on a standard definition setup. Particulary numbers and text that aren’t in standard colours, or on the story summary screen. As a result playing this game with a component cable is a must or certain text becomes a little too difficult to read. There are occasional problems with the patch itself such as text leaping out of boxes or minor typos, but on the whole nothing that demeans the gaming experience too greatly.
The only negative aspect of the story is the fact that it doesn’t deviate too much from the narrative template of previous games – i.e. striving to understand the spiritual rituals performed by secret groups and the consequences of their actions. As a result its often very easy for veterans of the series to second guess what is about to happen next. There are two huge, primary locations to explore throughout the game, and as such it feels a little smaller than the first two games. Three characters revisit the previous chapters setting seperately, this does mean that occasionally the story may confuse and take a little longer to put together than other horror games.

Misaki stands in Ayako's a golden coloured doll room.

How to play

With a slight change of pace, there are three playable characters for this game, each with a particular interest in the mask rituals, and each out to either find someone or recall their lost memories about the lunar eclipse. The Camera Obscura is back, with an easier to understand combat UI, and quicker, tighter controls that really help with the games trickier (and scarier) moments. The ability to upgrade the your camera-type weapons remains, and has been enhanced further for those wanting to tweak their abilities more.
The game generally rewards you for taking risks and exploring, with some of the better items only findable by taking long routes and exploring empty rooms not covered by the immediate story. This also extends to combat, with the most damaging shots from your camera being a “fatal frame” moment; taking a photo the second before your character is hit for maximum damage, so the fact that you can now combo fatal frames is a perfect addition.

There are a few major bugs in the game left in after the games original release. This can occasionally mean some clipping issues, or a console freeze. These problems are legacy issues left in from the fact that Tecmo were able to fix the issues for release, and Nintendo’s inability to localise the game, while annoying if avoided the game is still perfectly playable.
Upgrading crystals seem to be shared between the three characters leading to some very difficult upgrade choices for your fighting equipment. While the ability to buy healing items and film using your points score is a welcome addition there are often times where allowing the player to improve their camera using spirit points as with previous games will be missed. Waiting on crystals to appear effectively drops the rate at which you can upgrade, limiting players capable of taking advantage the game’s risk and reward scheme of play by defeating more ghosts.

Choshiro stands with a torch at a doorway.

A few new touches

This is one of the first Wii games to feature torch controls using the Wii remote. The decision to use a mixture of Wii remote and analogue stick was a wise one, as a result the controls feel firmer than previous Project Zero games. Then there are the bonus features; collecting photos of cursed dolls replaces the hidden spirit photos of previous games, with unlockable costumes and extras as rewards. The game rewards people who cautiously investigate each inch of the game with their torch, with items only appearing once the torch light has touched the right area.
There are tons of helpful new mechanics in this game, a clearer ghost direction indicator helps makes the combat a little more manageable than previous games, the ability to avoid ghost attacks altogether with a well aimed remote shake is helpful when it can be mastered. Motion controls are used perfectly in this game, with captured ghosts groaning out of the remote, and the inspired choice to hold the A button to reach out to pick up items rather than a simple button press. This increases the tension considerably, and often leads to an additional shock!

Even with the new mechanisms that Tecmo and Grasshopper have developed for this game, Project Zero 4 may be a little too predictable for veterans of the series, particularly as it lacks as many random ghost fights that happen if too much time is spent exploring, as such the pace is a little slower in comparison to the first three games, but the replay value is at least still there with additional unlockables and extra difficulties revealed once the game is completed.
While Project Zero 4 is definitely a scary game, I didn’t find this one as terrifying as the first two in the series, as they dealt with some genuinely morose ideas that left you feeling not only scared but deeply uncomfortable by the subject matter the game was portraying. Project Zero 4 is often guilty of relying a little too much on the sort of “jump scares” of other horror games, and less on the tension created by the subject matter.

Battling a ghost with the Camera Obscura.

A deeply engaging horror game

Collectively as with the rest of the Project Zero series this is one of the best horror games ever released and a welcome addition to to a group of games that was starting to flag. Project Zero 4 makes the right steps towards invigorating the format of the game, so it is a great shame that we will probably never see a Western release, we should be eternally grateful to the group of fans that have enabled this game to be experienced.

If you can import a Japanese copy of the game to patch then Project Zero 4 is a must-have title for the Wii, and well worth the minimal set-up time.

Video games

Quick Time Events: A gaming menace

Post author By Michelle B
Post date January 16, 2010
10 Comments on Quick Time Events: A gaming menace

Ryo makes the Chawan Sign with four cups and a QTE.

Following on from a previous post about how to improve the gaming experience. If I could choose one mechanic to remove from our pasttime it would be Quick Time Events.

If you have a moment, I’d like to make the case for why they’re a bad idea not only from a user experience perspective but also how they have a negative influence on gameplay and mood.

How it all started

Dragon’s Lair is widely regarded to have one of the first instances of Quick Time Events. With required button combinations needed to be pressed in order to aid Dirk the Daring to his goal – rescuing the voluptuous Princess Daphne. It was a revolutionary idea at the time, and one fit for an extraordinary game.

Fast forward over 25 years however and QTEs are in a vast array of games from an increasing amount of genres. What was once a new and exciting idea has become an gaming mainstay, and I believe it is quickly becoming an unwelcome one.

The timed button controls suited a game like Dragon’s Lair because it was born out of the arcade scene and this new method of control suited the environment of it’s conception. Quick bursts of play, with continuous repetition to reveal more of the game to overcome problems by trial and error, and in doing so allowing others to observe and win using collaborative observation and completion.

In this sense, this age-old use of the QTE has evolved into something else entirely, a secondary and more dangerous use, a ruse to help make the cinematic moments of games more interactive or a moment to increase the tension of a particular scene. Now its not just about controlling adventure games anymore but FPSs (Call of Duty 3’s one on one button mash) Action games (Resident Evil 5’s QTE filled cutscenes) and just about everything in between. The questions I keep asking myself is how long before every game genre makes use of them, and where will developers draw the line?

Why they don’t work

I believe QTE events take the player out of the experience of the game rather than immersing them further. Before QTEs you would instinctly follow a control scheme to complete a goal. With them you’re constantly following directions from the screen, and doing so isn’t fun like similar examples (such as rhythm action games) but tense affairs as you wait for the next moment of QTE to hit.

On a narrative level they often break the forth wall, distancing you from the story on the screen by reminding you you’re playing a game often doing the exact opposite of the intended purpose. Above all Quick Time Events promote reaction speed rather than honest skill. From a design perspective QTEs change the point of eye focus from the entirety of the cut scene to the position of the button flashes, the actual story is often pushed temporarily to the peripherary vision.

Ultimately when QTEs are failed they are a signal to the gamer that they are a failure, unable to prevent a negative outcome or in many cases the death of their character. If you mistime a jump in Tomb Raider due to a genuine mistake there is at least an element of logic and more importantly a way to improve. When Lara’s death occurs because of a flippant button press outside of your control it seems more unreasonable.

This creates a sticking point that are a distraction from the momentum of the rest of the game, and such quick failure turn around at the touch of the button increases the frustration of the regular gamer at worse, but they must be even more of a burden to more casual gamers, as they find it even more difficult to make rapid fire decisions between controller and screen.

The progression of QTE’s often follows the progress of the game – with more complicated and frequent patterns occurring nearer the end of a game. This means that they can frequently create spikes of difficulty as the QTE frequency becomes more difficult than the game itself. Even a game that uses them well struggles to find the balance between not enough and too many. If QTEs are made too rare within one game the difficulty often increases as the player struggles with each instance. If they’re too common, then the moment for the player to pause, relax and enjoy during the cutscene has gone entirely.

QTEs are frequently squeezed in to just about every part of a game. Any moments of gameplay are fair game, no moment is safe and its now become harder to take a break or put the controller down, particulary when paired with another gaming bugbear of mine – the inability to pause or skip cutscenes.

The alarming rise of Quick Time Events mean that in order to evolve the idea even more complicated button combinations have emerged including the “shake the controller to survive” scenario This leads to a watering down of what was initially quite a good idea – in moderation. The window of time in which “to succeed” becomes smaller, and varies with every game as mastering button combinations on one game will not protect you from another’s usage.

Come to think of it how many gamers do you know that actually enjoy the premise of QTEs? After all isn’t a game about enjoyment at the game of the day? When did something that so few people can actually properly engage with become not only commonplace but a practice that’s actively encouraged?

My reactions are pretty good, but I will often struggle with the most generic usage of the QTE, so it begs the question of who they are really serving, the gamer or the developer? That’s a tricky conclusion, but there are instances where Quick Time Events can work well.

Why they continue to be used

Ultimately QTEs are a way to force players to sit through cutscenes, this is backed up by the fact that a lot of QTE events often cannot be skipped – even if the player has previously played that area of the game.

They are also trying to address the criticism that certain games have become too cinematic with an overuse of FMVs with little or no gamer participation. I would argue that this is a potential arguement for more in-game cinematic sequences and skippable story.

And while I have been quite negative about QTEs so far, one of the advantages of them is they can assist the player by helping them to avoid tricky moments of combat or adding extra optional bonuses that wouldn’t have otherwise existed. Placing the buttons to press in game can be rewarding if ample warning if given, such as the modern Tomb Raiders use of grapple hook buttons on usable areas.

Quick Time Events primarily add a degree of spontaneity to games, a factor that mixes up gameplay while supposedly making things more exciting. I would argue that it does it doesn’t quite manage this, and leads to more annoying, unintended outcomes. If QTEs must continue to be used there are some best practice methods that I would urge development companies to follow.

How they can work

Allow players to avoid combat

QTEs are extremely useful for dodging tricky situations. At moments where combat or action is overwhelming they can be a brief moment of respite – but only if the QTEs are easier than what you were originally trying to avoid. The first Shenmue game balanced this perfectly, and as a result is widely regarded for popularising the concept.
Make them skippable as part of cutscenes

Often if a cutscene has QTEs in it then it becomes immediately unskippable. There are some notable exceptions; Resident Evil 5 would allow you to keep certain QTEs that have been played before, but others remain mandatory. Ultimately if a game has cutscenes that are skippable then the QTEs should be too, ideally there should be some logic in place on the retry portion of the QTE to determine that you’ve already completed a previous section and let you retry only the one you’re stuck on.
Use in moderation and in the proper context

Both of these points follow the other. QTE’s work in moderation if the action that you are performing matches the context of the game. It it in some instances logical for a button press to mean the avoidance of danger or an optional benefit, but QTEs will frequently be squeezed into any scenario. If you find yourself asking why you’re having to finish a QTE to do something then the designer has failed.
Simple button combinations

Ideally QTEs should remain a single button press or direction on the d-pad, at worst a combination of two buttons which are next to one another. Other actions such as shaking the controller should be avoided if at all possible
Bigger margins of error

This is a huge problem. There needs to be bigger and better time limits for the correct button combination to be entered. QTEs should be more forgiving in every instance giving gamers the best possible chance to succeed.
Make QTEs completely optional

If QTEs must continue to exist then hopefully more developers will acknowledge the annoyance surrounding their use and provide an option in-game to turn them off from the offset, this would allow the player to view the cutscenes as intended without disruption. Alternatively QTEs could be used for additional or optional content providing a rewards for those that tackle them.

So, in my perfect world we’d have a QTE amnesty, but I do appreciate there are games that do use this mechanic well. I’m just struggling to think of any at this point in time. Care to suggest any?

Currently playing

Left 4 Dead 2

I’ve made no secret of the fact that I didn’t think Left 4 Dead needed a sequel, and yet a copy has made it’s way towards me, and rather like the proverbial zombie crowd, it feels like something I can’t ignore.

If you take Left 4 Dead 2 for what it’s worth – simply a continuation from where the original left off – it may just surprise you, just perhaps not by a massive amount. Given the pedigree of the first game however that could be a good thing.

Better focus on narrative

There is a greater emphasis on the myths surrounding the zombie threat this time around. In particular the governments attempt to contain the outbreak and CEDA’s underwhelming solution. Structurally everything feels more tied together right from the opening cutscene. Each scenario continues on from the last making the campaign seem less disjointed. Then there are the little touches in the quieter moments, the insightful survivor graffiti is back and Ellis’ hiliarious stories within the safe room are a welcome addition that add character.
This time around the Director AI controlling the infected seems more finely tuned, and able to detect when you’re most vulnerable by calculating a devasting strike. The original did this with mixed success but this game does it with aplomb, requiring all four of you to work together far more than the previous game. As a result Left 4 Dead 2 feels like a tighter, more challenging game. Success hinges on teamwork to an even greater degree, and the new realism mode only extends this.

A huge part of this game’s allure is simply the fact that there are new environments to explore, while progress has been made to the mechanic, I don’t think there’s been enough of a leap from the revolution of the Left 4 Dead 1 to warrant such minor improvements in the sequel.
It’s difficult to feel as passionately for the this set of survivors as for the original cast, Left 4 Dead’s biggest narrative failing is simply the fact that the zombie scenario simply isn’t as impactful as the first game. Proposed DLC to introduce both casts to one another could bridge this gap as well as adding new gameplay elements.

New gameplay elements

The new melee weapons take some getting used to, but are a brilliant addition to the formula of the game, providing a second infinite ammo weapon choice, which requires you to get even more up close and personal with the zombie horde. Some of the weapon choices are exotic, such as the guitar and frying pan, making obvious references to to survival horror staples. Surprisingly once you’ve gotten used to them each melee weapon is extremely useful, allowing you to damage zombies or decapitate them altogether.
The new special infected put you on your toes once more. Jockeys ride on your back, and take control of your character pulling you off ledges or into dangerous crowds. The charger is like a mini-tank which smashes you to the ground until saved. Of the three, the spitter is often the most lethal, as it shoots out a wide-reaching acid AOE which can quickly incapacitate you or your team. Then there are the uncommon infected such as riot police and haz-suit zombies which are unique to each area.

While the new gore effects upon defeating a horde are impressive, they have lead to problems with censors in some regions which the original game did not suffer from, it’s a great shame that such en entertaining and well designed game has been swept up in such a controversy.
The witches are now a force to be reckoned with again, and while it is nice to see them used like a genuine threat. While fun at first, they quickly appear with ridiculous frequency, punctuating certain scenarios making avoiding them extremely difficult. The combination of moving witches and a greater number of devious special infected are a deadly combo, which will either please or infuriate.

The new scenarios

The five new areas are a joy to experience and have been soundtracked appropriately with their Southern setting. The best new feature is the fact that they often deviate from the straight forward point A to point B navigation of the first game with difficult areas forcing you to rethink how best to play. All of the levels are genuinely atmospheric, requiring you to avoid areas that will slow you down or reduce your visibility, meaning everyone will have to change their playing style frequently while communicating changes and problems to one another.
Left 4 Dead 2 has trickier finales that are a genuine challenge, requiring you to perform a task while defending yourselves. As a result completing one feels like a genuine pleasing achievement. it is no longer a matter of holding out a set amount of time, and escaping by completely fluke, but through sticking together, planning and co-operation.

Playing with the character AI often feels like a handicap rather than a help, so try to play with others if at all possible. Even one AI on your team can easily get lost or take too long to help you when incapacitated. The improvements to the Director AI are cheapened by why what is frequently an idiotic computer help.
It’s a minor point but why think about changing the Left 4 Dead box art for the UK? While a two fingers sign is indeed an insult in this country (comparable to the middle finger), if you think back to it’s original meaning (to show genuine defiance in the face of adversity) isn’t that completely what the tone of the game is about?

Retro gaming

How to fix the Sonic franchise

Post author By Michelle B
Post date November 30, 2009
7 Comments on How to fix the Sonic franchise

Sonic leaps down from the sky with the Death Egg in the background.

I was pretty much raised on SEGA games, and playing the New Super Mario Bros. game on the Wii this week has been a bit of a minor revelation for me – it’s a fantastic game, and it got me thinking why hasn’t Sonic team pulled out all the stops and made the next gen Sonic game we’re all waiting for.

I don’t hold out much hope for Sonic anymore like many others. But if Sonic Team is to have any chance of winning over us old school fans, they have to tap back into what made Sonic great.

A likeable cast of characters

And by cast of characters I mean Sonic. All other characters are largely superfluous. Tails, Knuckles and Robotnik work because in previous games new characters had a purpose. Tails became the personification of the new multiplayer aspect of the series (an aspect that foreshadowed the latest Mario game by some 17 years) and he positively improved the dynamic of the Sonic series in doing so. Knuckles became the classic anti-hero and a contrast to Sonic’s speed, a direct result of complaints that the Sonic was all speed and no brain.

And Dr. Robotnik was a proper badguy, power mad but deeply inventive, the embodiment of the changes that the Sonic levels go through, from dazzling casinos to scrapyards all popping out of his need to invent his way around his hedgehog menace. This allowed Sonic to go above and beyond the elemental and season based level designs of other platformers, because behind the scenes there was a crazy but insanely bright evil genius preparing your next hell-sent obstacle course.

A developer to die for

Over the years Sonic Team have created a wealth of well-regarded games. But when they started out Nintendo had a major headstart, so Sonic the Hedgehog became the masterpiece that would allow this tiny new developer to stand shoulder to shoulder with Nintendo’s Mario. Creating the first Sonic game was a labour of love and the results of that first creative struggle are obvious. The first Sonic game was not only a technical marvel, but a deeply engaging platformer which could be sped through or completed fully by carefully collecting each of the six chaos emeralds.

But recently Sonic Team has struggled to maintain gamers attention in a vast ocean of big platforming talent. The various fractures of the team working in two different regions (America and Japan) over the years may have taken their toll, as has the pressure to create more and more successful games franchises. Despite several key members moving on to pastures new, Sonic Team still proved a capable developer creating unique and engaging games right up to the late 1990s, titles like Phantasy Star Online, ChuChu Rocket!, and NiGHTS Into Dreams.

Based on the calibur of games that Sonic Team has made in the past, there’s no real reason why they couldn’t pull out all the stops and give Sonic a reimagining similiar to what Nintendo have achieved. The 2D/HD remake idea is starting to catch on as developers start to tap into gaming nostalgia in a big way. The Zelda series played with this idea with Four Swords Adventures on the Gamecube, mixing 2D fun with beautiful up-to-date 3D moments. Most recently Komani’s Rocket Knight seems to be following a similar route only with the action taking place in HD.

The right perspective

While I am not a huge fan of the 3D games, I imagine this is where a lot of Sonic fans lost their way. It wasn’t just the change from 2D, but changes to the character design and platforming structure that put some gamers off. The original Sonic games used perspective carefully, limiting 3D elements to special zones or bonus levels where the change in viewpoint had a context.

And now the increasing focus on speed make the more famous level design choices in Sonic rather obtuse. The spiral rings and jumping sections made rather redundant by the changes in camera angle. Despite the impressiveness of Sonic’s first foray into 3D, it has become increasingly more difficult to notice any massive improvements that each new 2D Sonic game added to the series.

For me Sonic works best with the old formula of the original games; two or three zones with a boss, with each zone becoming progressively more difficult. Saving wasn’t an option until Sonic 3, so you had to rely on the most part on skill and repetition to improve enough to master your personal best. Maybe that’s where the more recent games have fallen down – increasingly rewarding players for speeding through zones quickly rather than learning how best to actually play them.

A decent soundtrack

There’s simply no beating the 16-bit Sonic soundtracks. Each one is instantly recognizable and conveys the message of each zone perfectly. The music that the Sonic composers were able to tease out of the limitations of the Mega Drive is nothing short of astounding, and this is where I think the modern Sonic games have fallen down the most. So much of that original music was open to interpretation, a reminder of the fun you were having just as the games were beginning to tax you. The Sonic music did so much more than accompany the level, it emulated the mood of each zone, and established the sort of pace you should tackle it at, as a result Sonic games quickly become very flat without the right music.

Newer Sonic games seem to deviate from this using music with lyrics for the key points of the games. While the new music is catchy, soundtracking a game in this way gives a target audience to the sound moving it away from the universality of the 16-Bit tunes. This is the main reason I don’t think voice acting works particularly well for the series either, with silent protagonists the developers had to work that much harder to create ways to indicate how characters were feeling, and it mostly worked, just look at Knuckles’ badass introduction to the series in Sonic 3, it was quite clear that a serious vendetta was forming and it developed without a word being spoken.

Not losing sight of the USP

It’s easy to forget Sonic’s special ability simply because it is so well known. If recent Sonic games are to be considered then apparently running at the speed of sound just isn’t exciting enough anymore. In the last few years Sonic’s name has been associated with sports events, racing games and he’s even had a curse to deal with. While the 1990s were full of spin off Sonic titles they were seldom at the expense of Sonic’s reputation. I’d like to see a new Sonic game make continued use of the characters best asset: his speed, and only his speed.

And this means knowing when it is appropriate to use it. Following the Sonic franchise of late means playing a game of mixed signals, including design decisions that seem to reek of profiteering, darker plots that aim at older gamers, with confusing side-stories aimed at adolescents. Losing all of these cutscenes and gimmicks would get the series back on track helping to move the focus of the franchise away from telling a story and back to creating an enjoyable, memorable game filled with dynamic zones and imaginative badniks, more like the sort of Sonic games we’re used to.

Invention not reinvention

Most of all I am tired of the reimaginings of Sonic – the endless takes on his character designs and that of his nemesis Robotnik. The numerous changes to gameplay in order to fit in another tenuous link to another new game world. Dr. Robotnik’s inventiveness allows for grander and crazier game designs, but instead we seem to get endless promises about the next great Sonic game and not much of a reward for waiting. Suspending our disbelief based on the games that Sonic Team have made in the past has led to increasingly more disappointing current gen titles. While other developers learn from the mistakes made from deviating too much from the style guide, Sonic Team just seems to be doomed to repeat each critical failure by trying to throw too many ideas at the problem.

The next Sonic game could be a return to form, the proper Sonic game we’re all waiting for or more likely a quick disappointment. Sonic was a great series but somewhere along the line they made it a pastiche of itself, doomed to embody the mediocre platform market that it once soared above.

Sonic Team needs to go back to basics, back to those wondrous colour palettes, the captivating music, the perfectly-paced 2D arena and make a game worthy of being sold next to the newest Super Mario Bros. game. There are no major reasons why this Sonic era can’t be one we can look back on and laugh at, because let’s face it that’s the only situation in which the Sonic series should be a laughing stock.

Currently playing

Borderlands

The premise of Borderlands is simple. Set in a relatively open game world, you and up to three other players can join up to explore the wastelands of Pandora, completing numerous quests to try and establish the location of the mysterious alien vault.

While the story of the game is a little tentative, the really interesting part of Borderlands is the decision to mix two very different genres to create an exciting new hybrid.

FPS v.s RPG

The chance to play a combination of RPG and FPS creates an addictive game experience combining frantic firefights with level gains and exploration of the game world. Each character can be levelled up to a maximum of 50 levels, leading to some very careful choices about how to develop your character throughout the game.
Borderlands features 4 playable characters which each compliment one another in battle. The AOE and elemental specialist (Siren), the all-out tank and damage dealer (Beserker), the gunslinger and ranged expert (Hunter), and all-round gunner character (Soldier).

Greater character customisation would have been a plus. Such as the ability to customize your character more (or provide female versions of every character and vice versa). The option to only spec out only half of your skill-tree is a frustration, but hopefully this will be addressed by an increase of the level cap in future DLC.
Because Borderlands is striving to please two very different crowds the story can sometimes get lost in the action – particulary towards the end of the game. But a humourous and indeed very intriguing story is available for those that want to unpick it.

Inventory and weapons

There are hundreds of thousands of different weapons available in the game. In truth there are the same types of weapons with varying stats and advantages such as the chance to inflict an elemental effect onto each attack. Nothing on a weapon comes as standard so you’ll be comparing weapons as you go.
The modifications for grenades are a nice touch, allowing you to improve your damage or tactics at a moments notice. But the class mods offer the most flexbility, providing many brilliant advantages per class, either benefiting you solely or the team as the whole. e.g increased ammo regen or elemental chance up. These can be swapped and changed depending on your situation, and are reflected by a change in your character’s title.

The inventory system leaves a lot to be desired, mainly because of the sheer amount of items you have to compare and swap. You will eventually get used to how best to use the menu to your advantage, but the clumsyness of it at times does create a steeper learning curve.
The game really suffers from a lack of a storage facility. Borderlands encourages you to collect tons of items on the one hand, but gives you few ways to protect items you aren’t quite ready to get rid of. Quests to improve your inventory size, or gain the ability to handle multiple weapons will become your first priority.

Questing in Pandora

Pandora is beautiful, and Gearbox’s dusty dystopia feels like an utter pleasure to explore. The chance of getting bigger and better items, combined with the well-paced quests (which offer experience rewards upon completion) means that levelling up is seldom a bore. In fact Borderlands really comes into it’s own upon the second playthrough, as you begin to master your character type and join up with others online.
While the game is extremely enjoyable in single player, it really starts to come into it’s own with another person or three. The options to drop in and out of online co-op are handled extremely well, with the forces of Pandora growing stronger as more players enter the game, with higher and lower levels characters able to play together due to the benefits of doing so. The option to return to play after death by killing an enemy (second wind) is a extremely welcome feature and will probably appear in other games, as it makes each actual death feel totally fair.

While Gearbox has created a beautiful, cell-shaded world it’s clear that some variations the level design are missing. While there is some variation in the wastelands and junkyards, some lusher environments would have been nice. However the light brownish hue of the game does make the objects and characters that are in the game that much more exciting.
Unfortunately there are a few too many glitches and bugs remaining, it’s a little too easy to get momentarily stuck on objects at a difficult time, or for the in-game indicator to lose track of where the quest items are. Framerate issues are an occasional issue reminding you of quite how much is going on on the screen at any one time.

My game of the year

Out of the many games I bought this year Borderlands was a complete impulse buy. The quiet little game that I knew nothing about at the beginning of October but the one that I was completely obsessed with by the end of it. If you like FPS and you’re starting to grow tired of RPGs you’ll wonder why it’s taken this long for a game like this to be made. It’s just a shame that it’ll get largely swamped by larger releases this Autumn – but regardless – you should pick this game up and become instantly enamoured by the world of Pandora… and the loot.