Reviews of games new and old, discussions of games and game design, and looking for those hidden gems you might not know about.
Monday, December 16, 2019
[Game Review] Dino Crisis
Dino Crisis is an easy sell on paper: what if Resident Evil had dinosaurs instead of zombies? To sweeten the deal, what if it was created by the same team that made Resident Evil? Fans will balk at this simple description that has (debatably) plagued Dino Crisis since its inception, but its more true than it isn't.
Dino Crisis got its start as an alternate take to Resident Evil's "survival horror" genre. For Dino Crisis, the team at Capcom wanted to make something called "panic horror", where instead of the terrifying, lumbering zombies that compartmentalized Resident Evil's Spencer Mansion, you were constantly being hunted by aggressive, intelligent dinosaurs. Mechanically, the difference is that when you are injured you would bleed on the ground if you didn't use a specific health item to stop it. Bleeding on the ground would allow dinosaurs to find you if they were in an adjacent room. Certain dinosaurs, such as the raptors, could open doors, making running through rooms quickly avoiding enemies no longer as safe as it was in Resident Evil. When played, it isn't really all that different. Dinosaur AI and health is certainly more intimidating than Resident Evil's zombie enemies, but that doesn't mean it is enough for all-new genre classification.
The most notable thing about Dino Crisis outside of its kinship with Resident Evil, is in how good it looks. Rather than using prerendered graphics like its sister series, Dino Crisis boasts actual polygonal environments and some rather impressive lighting for a game from 1999. Because of the live rendered nature of the environments, Dino Crisis also boasts panning or dollyed camera shots that further the impact of certain set pieces, such as an extremely intense scene where you are tasked with running away from a lumbering T-Rex while on a roof. On a technological level, Dino Crisis is impressive, although I found insubstantial visual glitches to be relatively common.
Mechanically the game works well for a survival horror game. Ammunition and health is relatively scarce throughout, making every dinosaur encounter incredibly tense. Dino Crisis introduces a mixing mechanic, where you will find blue items that are useless on their own, but can be mixed together to produce things like knockout darts and health packs of varying strengths. In a way, this can make the game a bit too easy, but since your inventory is so limited (not as much as Resident Evil, thank God), this ease is mostly dependent on how close you are to a given lockbox with what you want at any given time. The game introduces lockboxes that are unlocked using plugs, which can be found in the environment (almost always behind some moveable shelf). The lockboxes are replacements for the dimensionally inconsistent save room box from Resident Evil. Where as in Resident Evil the save room box was accessible from any save point, lockboxes are independent of one another, meaning you have to find the one with what you want in it. Likewise, these are rarely in save rooms, meaning you may be accessing them with raptors hot on your tail (an intense situation if what you are trying to grab is ammunition or health). Another complexity to them is that they are color coded: green for health items, red for ammunition, and yellow for a mix of the two. While this doesn't wildly change the game from Resident Evil, it did make me feel a bit more spread out and stressed, unsure of what items I had access to across the various lock boxes and worried I had wasted too many resources to continue with the game. It is to the game's credit that this never seems to be true, but the feeling was there nonetheless. That said, if I did know of something I wanted from a particular box, getting there could be a chore.
The environment in Dino Crisis is pretty dull. The story goes you are Regina, part of a covert military team sent out to an island to retrieve a researcher who has been labeled deceased. Your team has intelligence saying that his death was faked, and that the island is host to a secret military facility experimenting on a new form of energy. How this leads to dinosaurs I'll let you figure out yourself, as it and the story as a whole is not very interesting or good (but it is serviceable enough). Thus, you spend the entire game in a research facility. Resident Evil's final area - a research facility - is debatably that game's worst. Likewise this is true for Resident Evil 2, and likewise the location theme fairs as well here. There just isn't much enjoyment in looking around the research facility the way there was in the Spencer Mansion, which in turn makes several of the puzzles much less interesting to figure out. So much of the location is just random computers and desks that don't really invoke anything outside of banality, with the occasional super computer that feels standard by the late PS1 era. My theory here is that Dino Crisis was intended as a blend of several popular things from the late 90s: Resident Evil, Jurassic Park, and Metal Gear Solid. There is a cinematic quality to Dino Crisis that reminds me of a much less skilled version of Metal Gear Solid, and its location feels like it speaks to that. It is admirable in a lot of ways, but in execution it feels like it gets in the way. Puzzles require a lot of backtracking, reading files and interacting with computers, some of which look no different from the computers you can't do anything with. Without an interesting space to explore, backtracking feels much more of a chore than it should have, and while there is at least one puzzle I thought was rather inventive that has you rewriting an ID card early in the game, most puzzles virtually require you to find a room with a file in it and remember the code written within. To be totally fair, the game has other puzzles like the DDK discs which are fun, but finding these discs can at times require backtracking, or solving puzzles that themselves require backtracking.
The thing is, I love survival horror games, and so I enjoyed my brief time with Dino Crisis. That said, I don't necissarily write these reviews to my own bias, and I know that if I were given a pick of survival horror games to play, this just wouldn't rate very high. I understand the appeal of this game's approach to the genre, dinosaurs being a fun and often underappreciated idea in games these days, and I would most certainly buy a remake in the style of Resident Evil 2 (2019), but an idea can only get you so far - especially one that's silly like this one - and the game just doesn't quite hold up its end of the bargain. It is firmly worth a play if you are a fan of this sort of thing, and it is impressive in its own technical right, but it pales in comparison to other heavyweights in the genre.
6.5
Thursday, December 5, 2019
[Game Review] Riven
Myst was a massive success when it was released. It was a major influence in the adoption of the CD-ROM drive, and would keep its status as greatest selling PC game until The Sims passed it in 2002. The game was frustratingly difficult and slow paced, but atmospheric and mature in its expectation of patience and attention to detail out of the player. Its pre-rendered backgrounds were technologically impressive for the time, helping to give the game an immersion that most other games weren't accomplishing with adults. Naturally, a sequel was well anticipated.
Riven took what Myst did well and improved on it in just about every way. The story was improved to give the world of Riven a better sense of place and weight, something accentuated by the massive improvement in soundtrack and pre-rendered visuals. The puzzles were significantly more difficult, but given better tip-offs to their various components than in the original (anyone remember the submarine sound puzzle from Myst). With this expanded difficulty, however, comes a far lower finish rate for this much improved sequel, which may be a con more than a pro depending on how well you liked the original Myst.
Riven is one of my favorite games of all time, and my favorite of the Myst series. The pre-rendered backgrounds of the original felt like very early computer graphics, with a hodgepodge of different styles littering the island in a way that may have looked nice for the time, but was ridiculous if you were trying to consider this a believable world. Riven is so much more impressive on this front that it could be more of a spiritual successor if it didn't continue off from the first game. There are games that have an atmosphere all their own, where that game feels distinctly their own (think Halo, Metal Gear Solid, or Bioshock), and one of the forgotten masters of unique atmosphere must be Riven. The world is absolutely dripping with this abandoned wonder, a world of icons and religious significance, mysterious mechanisms, and haunting visuals. I have yet to find a game that has quite the same feeling of isolation and history that Riven does. In all of my favorite worlds, there is usually a hint of this: Breath of the Wild, Shadow of the Colossus, Dark Souls. Yet still, there is something invoked out of that meeting place where Riven's soundtrack, visuals, and world construction cross into one another that has yet to be replicated.
But Riven isn't just atmosphere, as much as I would pretty well be satisfied with that. Riven has devilishly tough puzzles, but of a certain type. Rather than the spacial complexity of Stephen's Sausage Rolls or physicality of Portal, puzzles that probably better fit the "puzzle" genre than any of the Myst games, Riven requires you to learn the world's iconography and sense of space in order to proceed. Riven often requires you to go down a path to find one part of a puzzle, only then to ask you to backtrack and pay attention to doors opened, levers pulled, or lamps lit or unlit in order to recognize that, more than likely, multiple paths exist where only one was obvious. Riven's puzzle structure is aligned with the puzzles' complexity. Your first task, despite the presence of puzzle pieces scattered around before you on the starting island, is to find the multiple paths from island to island. There are five islands in total, four of which are interconnected whose connections must be found or unlocked. As you solve the puzzles required to open up these pathways, each of the islands present their own island-centric puzzles. These can sometimes require traveling to other islands in order to find the missing information connecting the independent parts of the puzzle (such as the number-ball puzzle on the village island, which requires in part going to two different islands for two small pieces of information nearly required to solve the puzzle). When these are completed, you enter the final stretch where you must solve an island-spanning puzzle, pieces of which you've picked up in or through the other puzzles. The game comes together incredibly well, even if these puzzles can be somewhat demanding. The ball puzzle of the village island, for example, not only requires remembering the sounds of animals that you may only see once in the game, but also learning a new base-5 numbering system that the people of Riven use (disclaimer: I love having to learn a minor language or numbering system if its done well, as it is here). And once you've gotten that under your belt, there is still one of the balls that requires going to another island to find the ball which has been taken out of its slot, and then going to another island to get the proper perspective on where the ball is in order to finally solve it. It's the only puzzle in the game I felt might have been a bit too opaque, although I wouldn't say it was unfair.
Riven has dated, for sure, but it is surprisingly immersive and challenging today, and more than a worthwhile play. I can't think of any game of this type that is as challenging or patient as Riven, and if the Myst series or Myst-like genre is a gap in your classic PC gaming history, then you owe it to yourself to play the reigning classic of the genre.
10
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