Super Metroid Redesign - Taking It One Step Further

Anyone who knows me or has read my posts knows that I love the Metroid series. To me, the Metroid series is something that deserves more attention from Nintendo, because if you remember correctly, I did play through the awful Metroid: Other M release on the Wii. While it had its moments that I liked, it just didn't do the series justice at all. Sure the beams looked cool as all hell, and fighting some of the bosses such as Ridley and Phantoon as a bonus fight were awesome, but a lot of the core mechanics utterly ruined the game for me.

For one, the Metroid series is all about exploration. Other M does its best to go against that. For example, why in the holy mother of fuck are the upgrades shown on the map? When you reach an area that contains an upgrade, your map will show it. While it does take a little searching to find your way to them, it totally ruins the wonder of finding them on your own. The older Metroid games make you find these upgrades, and while to the hardcore player they aren't necessarily essential for survival, they do make it easier, especially to first time players. Getting your ass handed to you by Ridley because you keep running out of missiles? Go find more missile expansions, or go search for the other energy tanks you haven't found yet.

Other M throws that out the window. There aren't many segments that require backtracking to go get certain items. Some of my favorite parts in Super Metroid involved finding the speed booster upgrade, and then using the shinespark technique to get some expansions you could have missed. It's a cool upgrade that takes some relative skill to use, and feels so worth it when you finally get that last expansion or energy tank.

So worth it

Even Metroid: Zero Mission and Metroid Fusion on the GameBoy Advance were far superior to Other M; with the latter being entirely linear in design. In my playthrough of Zero Mission, I do a lot of tricks to get items you normally can't obtain until much later on such as the Screw Attack, which I get roughly ten minutes into that video using bomb jumps. It's actually a really cool thing, because a lot of items are possible to get based on skill instead of glitches, or you know, playing the game normally.

One of the best things Zero Mission and Fusion did was add the ability to chain together shinesparks. In Super Metroid, if you shinesparked into a surface with a slope, you would just blast past it until you hit a wall. Zero and Fusion however, you would continue running with your charge, and if you hit down, you would keep that charge. That meant long segments of charging, sparking, hitting a slope and continuing the charge, ultimately leading to some awesomely clever secrets and items. It was also fun to pull off, and required quite a bit of skill.

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Enter Super Metroid Redesign, a ROM hack of Super Metroid for the Super Nintendo Entertainment System. Made by a user named Drewseph, this hack takes some of the mechanics of Zero Mission and Fusion, as well as Metroid Prime, and incorporates it into arguably the best Metroid game ever made. It's almost an entirely new experience.

For starters, the map is entirely re-done. If you knew Brinstar and Norfair like the back of your hand, this time you won't. The areas are also much larger, and require use of the game map as well as your own due to the many secret passageways you will encounter. It's absolutely amazing, and brings back the sense of exploration that Super Metroid did so well, as well as the atmosphere that honestly has yet to be matched by any game, save for the Metroid Prime series.

Unlike most Super Metroid ROM hacks, this one changes the game play mechanics drastically, and in my opinion, for the better. Gone are the floaty physics of Super Metroid. Instead, we get a more realistic physics system. Jumps are a lot shorter, and fall time is decreased dramatically, as well as incorporating the need to crouch before jumping to jump higher. This takes some time to get used to, but is required if you want to make it further. Gone are infinite bombs as well! This hack incorporates the Metroid Prime style bombs, meaning you get three you can use in succession, and take time to regenerate. Surprisingly, this doesn't hinder bomb jumpers; it just requires a lot more timing and skill to pull off. To the guys that mastered the incredibly easy bomb jumps in Zero Mission, you have a lot to learn here.

Fuckin A!

As well as the physics being changed, gone are the days of walljumping off whatever the fuck you feel like. In fact, the walljump technique isn't even available until you find it, which is the second upgrade you come across. Redesign makes it so surfaces with a rough appearance are the only walls you can jump off, adding to a more realistic idea. A smooth wall won't cut it. Another change lies in the Spring Ball upgrade. Instead of being seperate, it is now combined with the Hi-Jump Boots. Sweet!

Another serious change from Super Metroid is the Beam Combo upgrade. In Super Metroid, any beam you found would just add to the ones you already found. For example, having the regular Charge Beam and then getting the Wave Beam would make you have a charged Wave Beam. Redesign changes this entirely. You'll be switching beams back and forth until near the later part of the game, and even then two beams are not accounted for. This is cool because you feel like you have three classes of beams. You have the Spazer that can be combo-ed with the Charge and Wave Beams, but not the Ice Beam. The Plasma Beam can't be combo-ed with the Spazer, and then you have the regular versions of EACH. A lot of these combos have more use in certain situations, and are a lot of fun to use.

Redesign brings back the shinespark upgrade, and boy is it a lot of fun. Zero Mission had a lot of segments where you could find a lot of upgrades using this technique, but it required a lot of skill. Redesign uses this A LOT. When you start the game, you'll find upgrades right away that aren't accessible without shinesparking. A lot of them will make you question just how in the hell you get them in the first place. For example, before reaching the elevator to Brinstar, you'll come across a power bomb upgrade, but it's behind a 3 block barrier of shinespark blocks. There isn't even an area around to charge up to get to it. Once you figure out the mechanics of shinesparking however, it becomes obvious. This is actually one of the hardest upgrades to get, because you have to start off in Brinstar, charging shinesparks and making it to the elevator, and finally getting to the upgrade. It's fucking tough.

You'll need to master this technique, as well as others such as the mock ball technique and in-air shinesparking to find secrets and advance through the game. It's tough to master, but so fucking worth it when you do. Those secrets are some of the funnest moments of the ROM hack. It's also crazy to know that Drewseph added it, seeing as how Super Metroid didn't have that capability.

As if there wasn't enough, this hack adds another fascinating feature: an actual mission objective. Throughout the game, you'll come across well hidden Chozo statues. Usually these hold the useful upgrades and expansions, but these are much different. When rolled onto, they disable a security lock on the entrance of Tourian, the last area of the game.

The entrance to Tourian in Super Metroid

In Super Metroid, you had to kill the main bosses to open this entrance up. In Redesign, you'll need to kill the bosses, as well as finding ALL the Chozo locks. There are a lot of them too. It's a rather neat feature because it adds an objective AND encourages exploration.

One of my favorite segments of the game is the famous "Hell Run" in Norfair. In Super Metroid, you have the Varia Suit by the time you go into Norfair so you can deal with the extreme heat. Redesign said "fuck you" and makes you run through an intense series of brilliant level design. To begin with, you can't even enter Norfair until you have 3 energy tanks, and that's still cutting it! Without the Varia Suit, your energy is constantly being depleted at a rapid fire rate, so you need to fucking hustle. Not only are you dodging enemies, but there are morph ball tunnels that need to be navigated with perfection, and a section where you must kill respawning enemies with missiles to gain more energy to make it the rest of the way. It's one of the most intense sequences in the whole game and it's also one of the hardest. The best part though? You have to get the Ice Beam at the end of it, and make it back to go get the Varia Suit.

There's a save point halfway through the Hell Run, with a missile station and energy station, and thank fucking God for that because you will need it. This segment renders save states useless, because you don't even have a second to waste saving it. It can get frustrating after a few attempts, so patience is needed. However, this doesn't even compare to Maridia, which is a water themed section much later in the game.

In Super Metroid, you have to go through the Abandoned Ship and fight Phantoon to get the Gravity Suit before going to Maridia so you can move freely in the water. Redesign makes you go through Maridia without it, and not for a small period of time either. On my first playthrough, I spent almost two hours navigating this section. Not only are you seriously limited in movement, but you'll be facing a lot of tough enemies, including two golden space pirate minibosses. It's fucking hard as shit. There are a lot of ways you can go, but eventually you end up finding the Gravity Suit, and it just feels so rewarding as you go back through annihilating everything and finding more expansions. This hack always makes it worth the frustration.

After trekking through Maridia, which is more or less one of the hardest parts of the game, you'll come to the Lost Caverns, which is a total change in atmosphere from Maridia. It's a little creepy at first, seeing as how your map will show a blank spot for this area, because it's the only area that requires a specific way to get through. If you keep running right, you won't get anywhere. Instead, there's a pattern, and it isn't easily noticed at first. To get past, you need to follow stalagmites. Yes, you need to follow fucking stalagmites. I won't spoil it, but it is a pretty neat section and doesn't feel out of place. Think of Death Mountain in the original Legend of Zelda, but much more complicated. Ultimately though, it leads to Phantoon, and is so much more fitting than the Abandoned Ship in Super Metroid. It's fucking creepy.

To anyone that has beaten Super Metroid, and I hope you have because you're seriously missing out if you haven't, you'll know that the fight with Mother Brain is epic and the escape sequence is intense and equally as awesome. Redesign said screw the 3 minute escape sequence, and opted for a fucking 25 minute escape sequence.

Think I'm joking? Here's the whole sequence done by a first time player. Yeah. 25 FUCKING MINUTES to escape. That means you're going through a shit load of the game just to make it to the end, and every minute counts. You won't make it back to the ship with 15 or 10 minutes to spare no... more like 2 or 3 if you're really fast. That's absolutely insane. For the first time player that's quite a daunting task, and failure means fighting Mother Brain again, which is kind of shitty. I honestly prefer the original versus Redesign's fucking 25 minute escape sequence. It's short and sweet, and feels a lot more intense as the clock gets lower and lower. After 15 minutes, you just want to get the fuck out. However, for the first time player, it can be exciting because you're not sure at first what to expect. A great bonus would have been an extra boss, like in Metroid Fusioin where you fight the Omega Metroid before boarding your ship.

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In the end, is Super Metroid Redesign worth it? Abso-fucking-lutely. It adds and changes so much of the game, but in positive ways, and ultimately ends up being something entirely different while still offering the fun and wonder of what made Super Metroid great in the first place.While it's much harder than Super Metroid ever was, it's still a blast to play. Out of all the numerous ROM hacks for Super Metroid, this one is my favorite. The features it adds and changes it makes just blows me away. It brought back the enjoyment of when I first played Super Metroid, and that's something I haven't felt in a very long time.

Want to try it for yourself? Get the ROM hack here.

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BULLSHIT BONUS!

Oh come on, you think I'd stop talking about Metroid now that I'm on a roll? I've got one more ROM hack for you! Let's take a quick look at Metroid on the Nintendo Entertainment System.

Enter Metroid LUA on the NES. Using FCEUX to emulate, this ROM hack makes use of the implemented LUA scripting to vastly improve the original Metroid.

For starters, you now have the mini-map that came standard in later Metroid games. To anyone who played the original Metroid, navigating the world was a bitch. A lot of areas look the same, and the map is pretty big for a NES game. This LUA script assists you with that. Another nifty feature is having a map screen as well, with labels for Brinstar, Norfair, and others. It's a really nice feature.

It also adds an equip screen in place of the pause screen. Yes, for the first time in the original Metroid, you are free to equip or unequip your upgrades. This makes exploring a lot of areas much easier. On top of that, you also get text boxes to let you know what upgrades you've found. Instead of the famous tune that plays when you find an upgrade, you get a small text box that shows what it is, just like Super Metroid!

And if that wasn't enough, there's a secret boss. You can now fight Crocomire from Super Metroid in 8-bit glory. You can thank me later.

So, that's a look at two awesome ROM hacks for two of my favorite games. I suggest checking them both out. It's absolutely worth the time.

Samus is always worth your time

All Things Big and Small

Jesus it's been awhile since I've written anything here.  Oh well, let's get this underway.  I want to talk about the importance and need of both Indie and AAA studios.

I know a lot of people want to shit on both of these types of games, but just hear me out.  I get that to some, indie games can come off as pretentious or as non-games, and that some AAA games are simply akin to popcorn films, but why do we say these like they're bad things?  After all, would cinema be better off without your Die Hard's, Rambo's or even your Godfather's?  It takes all kinds to build a medium.

First up, let's talk about the positives of indie games.  Indie games are where you will see some of the most unique game ideas ever.  The premise for Portal came from a small team's project called Narbacular Drop.  Indie games don't have the same boundaries that AAA games have, due to fewer expectations and fewer restrictions from Publishers, Shareholders, and the like.

Indie games are useful not only for the unique genres and gameplay mechanics, but often, indie games handle more intricate and nuanced subjects.  Where they fail though, is that some of these games that tackle heavy issues, don't have a good game surrounding it.  It acts more like an interactive experience that focuses strictly on the narrative, at the expense of everything else.  This would be your games like Dear Esther, and the Stanley Parable.  I love the Stanley Parable, but there are times where you wish that this content was in something with more meat on it.

On the flip side, you have your AAA games.  The games that can cram content onto a disk.  In this context, content isn't just "stuff to do", it can be music, graphics, physics, etc.  There's just a certain level of polish and shine you get with most AAA games.  Assassin's Creed II had a great city to explore.  It was alive, large, and overall fun to explore.  These games are what push the mainstream.  If you want to get a point across, this would be the size you wish you could reach.

I'd love for these two things to co-mingle. I'd love to see a game with the moral and discussion about freedom of choice, like a Stanley Parable, but frame it inside something substantial.  The question of free will could easily be a subplot in any major game.  You could say that the David Cage games might fall into this category, with Indigo Prophecy and Heavy Rain.  Those games though, suffered from similar effects.  They were close to being great, but Heavy Rain was mostly an interactive cut-scene with many Quick Time Events.

For an example that does this right: Spec Ops: The Line.

Advanced warning, I haven't played this game personally, and I'm going off second hand information from various places.

We good?

Ok.

It handles the reality of war, and actually made people feel bad for what they were doing.  The game carried weight with it, while being a major release, within the Spec Ops franchise.  Granted, Spec Ops isn't the most popular of IP's in the world, but it's been around awhile.  It's a First Person Shooter, a genre that's been saturated with Power Fantasy, a definitive foreign bad guy, and bombastic set pieces over the last few years.  You could even say that the modern War FPS genre is oversaturated of late, with Annual Call of Duty releases, Battlefield coming out every other years, and then games like Medal of Honor clinging to the sides.  So, it's a popular genre that ended up telling an impactful story, which surprised the hell out of a lot of people.

Also...

Are you...

Detecting

A Pattern

Here?

Now, I know I'm picking on Call of Duty and Battlefield with these images, but it proves the point that this is a populated market, and most games within it are seen as interchangeable for the most part, which again, made Spec Ops the Line so surprising to people, because they just expected another Call of Duty/Battlefield-esque First person Shooter, from a smaller studio, that was going to be mediocre.  

So, it can be done.  AAA games can bring mainstream attention to serious issues, but it takes the buzz on the indies to make them viable.  I may not like games like Dear Esther, or ... what was that interactive story-game about lesbians that made so many people's... GONE HOME.  That's what it was.  I may not like that sort of game, but I can see that it has value, just as much as a Call of Duty game, or Assassin's Creed game.  The indies will drive the direction for the content of our games in the future, but the AAA's are the ones who need to see that the risk isn't as great as they thought, and can wrap an interesting concept in fundamentally sound mechanics.

Now how to wrap this mess up...

I suppose with a game recap.  I recently finished up the main Story in Pokemon Y, so I'll be moving onto Shin Megemi Tensei 4 soon.  Pokemon Y: Pokemon but More and Improved.  ALso been bouncing between Okami HD, and DmC: Devil May Cry on PS3.  Okami should be played by as many people as possible.  Clover Studios did something wonderful with that game, and I highly recommend it, especially if you enjoy classic Japanese art styles.  DmC is the reboot of the Devil May Cry franchise, and I'm not sure how I feel about it yet.  There was a boss fight that had a gratuitous amount of swearing in it.  Hell, I curse some, but when every sentence in their dialogue exchange had some form of expletive, it got real old real fast.  Gameplay is really solid for it, and chaining combos together is hella satisfying though.

Also, PayDay 2 on PS3.  Basically the perfect formula for a sequel.  Take the core gameplay from game 1, tweak it, and make more of what made the first game great.  A review of Payday 2 may come in the future.

Morndas, 13th day of Morning Star, 3E 2014 - A Rant On The Elder Scrolls Series

It's been a hell of a long time since I wrote on here. What can I say? Life is always keeping me busy, especially with the holidays that just flew by. Christmas promptly kicked my ass and took all my money.

Merry Christmas motherfucker.

But that's what the holidays are for right? I'll tell you what it's not about: playing the ever loving shit out of not one, but three Elder Scrolls games. Yes, you read that right. THREE. FUCKING. ELDER SCROLLS GAMES.

THE INSANITY

In case you haven't gotten the hint, that could be a combined total of 800 FUCKING HOURS OF GAMING. And that's not even the best part! I'm going to go into detail of the three games I've been playing, starting with the one I played first:

THE ELDER SCROLLS IV - OBLIVION

Expecting maybe Morrowind, or Skyrim here? Not quite. The funniest part about this game, is that I've owned it four times over a period of four years, and maybe played a good half hour of it. Why is it here you may ask? I've gotten the RPG itch it seems, despite hating RPGs with a passion. Maybe it's the invisible dice rolls, the calculations of all the stats playing out in the code, blind to the human eye. This game is different.

For one, it's all real-time combat, which makes it playable for me. If I had to wander around in first person, and have to stop for some elaborate turn based combat system to start, I would have forgot this game the first time I sold it. Thankfully, the combat is straight forward, swing-a-sword-until-something-dies affair. It's also one of the only RPGs that gives a shit about starting you off to a good pace with a clear fucking objective.

Oh, the irony...

It helps that the graphics are on par with what I expect things to look like. We will get to that more later... but Oblivion is definitely a pretty game. It also helps that this game makes your objectives easy to engage. You get a quest, your next stop is marked on your map. You can either walk (or take a horse) to said location, or use the Fast Travel system, which basically just teleports you to a location marked on the map. Do not confuse those two. Yes, you can add a marker to your map. No, you cannot fast travel to it. It works by showing locations you have found in the world, such as dungeons, towns, landmarks, etc. It's very easy for me to do quests without feeling lost or bored from having to trek long distances.

 

Long time fans of the series hated this apparently. Well guess what? I'm not a long time fan. This is my foray into Elder Scrolls, just like most people. I enjoy my generic fantasy setting. I enjoy easy and engaging combat. I enjoy easy to follow quests. I ENJOY BEING ABLE TO PLAY THE FUCKING GAME.

I'm yelling at this point, and for good reason. The next game I'm going to list will start our shallow journey into the great fucking Elder Scrolls debate that the internet loves soooooo much.

THE ELDER SCROLLS III: MORROWIND OMG TEH BEST EVER MAED

Yeah, that's the internet equivalent to describing this slow, unforgiving and absolutely boring game. It's on everybody's top games lists for some divine reason. I've had this game more than Oblivion, and have tried on multiple occasions to get into it and see where the shit ends and the game starts working in all the right ways, BUT IT NEVER HAPPENED.

Why? Because this game shows no mercy or lends a helping hand EVER. You create your character, and you're thrown into the game world with a vague objective. That's it. You're on your own after that. Okay, so you're thinking, well surely you can ask NPCs for help, at least some directions right? Sure, if you enjoy reading a wall of text after choosing over EIGHT things to ask.

For example, the first person I see I talk to him. He introduces who he is, and the game shows me some topics to click on that I can ask him. Every time you click one, you get a paragraph or longer of text which more than likely will add more things to ask. I just want to know where the silt strider is, which is the equivalent of a bus in Morrowind. He tells me it's in a certain direction in the town I'm in. Asking about which town I'm in presents me with yet more topics. This is the first guy I've talked to and its starting to be fifteen minutes into gameplay.

Also, I got 80 gold to help me do the first quest, which involves delivering a package. The first thing I figure I have to do is get a weapon. So I ask the fucking guy where the shops are, and which ones are which. I find the shop, deal with the clunky and ugly interface which takes me five minutes to buy a fucking dagger, and finally I figure out where this silt strider is. But guess what? Remember that 80 gold I got earlier? It's not for weapons or armor. It's the fee for the silt strider to take me to my first objective.

Okay, so now that I can't use that method to go to my objective, I have to walk. Walking in Morrowind is the equivalent of crawling in real life. Yeah, it's that fucking slow. So off I go using the map to find Balmora, the city where my objective is. Along the way I encounter a flying monster. I pull my dagger out and start clicking away to slash at it, but nothing. Absolutely nothing. This is where the end of the line drew for me. There's a fucking random number generator happening behind the scenes every time you attack. The game does not make this appear to be so. You look to be slashing the monster, I mean how could you NOT when he's in your FUCKING FACE, but you aren't hitting it because your stats aren't high enough in the right places.After clicking endlessly, I realize this thing has drained almost all of my health, so I start running from it but it's no use. This thing is just on my ass the whole time, and kills me before I can get ten feet away.

ABSOLUTELY FRUSTRATING.

Fuck that. I'm hoping that when I get to Balmora and deliver this package, maybe things will pick up. I start all over again, this time taking the silt strider. I arrive in the small town, separated by a river. After searching around for the guy I need to deliver this thing to and finally finding him, he gives me massive amounts of text and another objective more vague than the last. I honestly have no idea what to do. So I try joining one of the guilds. The Molag Tong guild seems cool, a bunch of assassins and what not, so I go there. Turns out the guy that takes new members in isn't even in this town, so there goes that idea. I can't go to Vivec where he's at to talk to him because I have no gold to use the silt strider, and I have no weapon to defend myself with if I walk. Fuck the weapon, I don't have the fucking stats to battle a damn worm!!!

Quit. Done. This game is too unforgiving in the beginning. Yet, it remains a favorite among fans. For what fucking reason? Is that kind of complexity a niche market for some gamers? I don't understand how anyone got past the beginning of this game without being bored to tears or being so fucking frustrated. I cannot understand why Bethesda thought the combat was acceptable enough. Even when you do hit something, you don't get the feeling you did, or that it took skill to do it. In Oblivion, I have to dodge attacks and make sure my sword hits. That is non-existent in this game. The number gods decide if you can hit something. Agility isn't high enough? Oh well, guess you're only going to hit that bat every 100 clicks and do FOUR points of damage.

Yet this is where Morrowind fans will bash Oblivion, stating it had the same system, you just didn't do a lot of damage when you start. Yeah, that's true, but at least I'm doing SOME kind of damage, and it FEELS like I'm hitting something. UGHHHHHHHH. This game just pisses me off to no end, in every single category. The music and story are pretty cool from what I've heard and read of it. It's just sad to say that I've played this game so many times and never got farther than that. It's too fucking hard and too boring for me.

Which leads me to another surprise in this post.

 

THE ELDER SCROLLS II: DAGGERFALL

This is the granddaddy of the series. It should be known that Bethesda themselves said the game map is as big as Great Britain. No, that's not an exaggeration or a joke. Just fucking look at this:

Don't let the size of that boat fool you. It's horribly exaggerated in size. All that land and water you see is totally explorable. Every province and kingdom has over a hundred locations EACH. Think I'm lying?

That's just the province of Daggerfall. You may recognize its shape on the first map above. All those dots on that one province are places you can go to. Just think about that for a second. Now think about the fact that this game was released in 1996. What a fucking feat Bethesda accomplished back in the day! The scope of this game world is absolutely gigantic. And to think reviewers marveled at Grand Theft Auto V.

Where Daggerfall is less impressive however, is that it is all randomly generated. Everything keeps the same layout and name and what not, but loot and enemies are random. Dungeons are randomly generated in layout and loot, so they are never the same. That is awesome, but can be frustrating when you consider that the size of these things are gigantic.

Being archaic as it is, Daggerfall is not very user friendly. For one, the controls suck. It's DOS days though, so what can you expect? It's interesting though. You have so many features. For one, you can swing a weapon using the mouse. Swinging in certain directions makes your character do certain attacks, each having their own damage and chance to hit. I almost cringed at this, but when you fight you actually feel like you can hit things! Yeah, it's all random numbers being generated in the code, but at least the game makes it seem like you are making progress. Morrowind would play the same whiff sound over and over. Daggerfall adds clangs and clashes, and has a distinct hit sound when you do hit things. It's not as ridiculous as Morrowind either. You CAN hit things right off the bat, save for a monster in the starting dungeon if you don't start with the right weapon, but you can skip that monster. You don't have to fight it. And if by some chance it attacks you, you can run away and live.

THANK FUCKING GOD

And that's just the combat. You can run, crouch, jump, and fucking climb. If you get locked out of a town, fuck it, just climb the gate or the wall. Or get your jumping skill up and just jump over it. You can dual wield weapons. You can cast all kinds of magics and almost all of them are useful. Morrowind has a lot of spells, but there's only a handful that are actually useful. Daggerfall has every spell you need, and at some point you will need to use. Or want to use it. It's just that cool.

The best part is after escaping the first dungeon and making it to your first town. Navigating is much harder than Morrowind, but it's definitely worth it. Within ten minutes of being in my first town, I bought a new set of armor, and a fucking horse! As soon as you leave the store, you can ride it! Hell fucking yes!!! There's a certain degree of freedom in every choice you make in this game, and it's amazing. Want to steal from the armor shop? Pick the lock and sneak in. Or try to steal it off the shelf in broad daylight. Or just bash the door in and take it. Any of those options are possible. That is amazing.

All these cool things come with a price though. The game is super buggy, even after patches. It's prone to crashing and doing all sorts of fuckery. It's also just like Morrowind in that it throws massive amounts of text at you. However, the freedom and choices offered in this game is just too awesome. For example, I can't find one of the inns while I'm waiting for my armor and weapons to be repaired (which takes two in game days to repair) so I decide to just sleep behind the shop. I get arrested for vagrancy instead. I'm asked to resist, or accept. I accept my arrest, and I'm presented with a court appearance. I can plead guilty and pay gold and hurt my rep with the law, or I can say not guilty. I say not guilty, and I'm presented with yet two more decisions. I can plead my case by debating it, or I can lie my way out of it. Both choices can be used successfully, since they are both governed by certain skills. Debate will test my Etiquette skill, while Lying will test my Streetwise skill. Either way, you can use both to get away.

FUCKING AMAZING. It really is. It's even better that, say I join a guild, for example the Dark Brotherhood assassin's guild. If I am arrested and tried in court, they might threaten the judge to let me out. I AM NOT FUCKING LYING ABOUT THIS. This can seriously happen. It pays to have connections, and that means almost everything you do in this game is worth the trouble.

BADASS

So yeah, it's safe to say that I like Daggerfall more than Morrowind. I shouldn't, because it has a lot of the same annoying features, but it doesn't make me feel helpless, and that's what matters. Who wants to feel helpless in a video game? It's okay to feel that way for a little bit, but giving up because it doesn't feel like it's going to end? That's just bullshit. Daggerfall just seems to use its features much better than Morrowind. The only problem I really have is that the graphics can be borderline ugly. Scrolling through my inventory and seeing shapes instead of actual things is annoying. Thankfully, there's an Info button that tells you what it is. Indeed, that thing that looks like two potatoes is actually leather greaves. Good to know.

Doing quests is the same as Morrowind unfortunately. Someone will tell you to bring this gem to so and so, and you have no idea who that person is or if he's even in the same fucking town. Mind you this game has over 700,000 NPCs wandering around. Yes, 7-FUCKING-THOUSAND NPCS. But that's alright. You can venture out and do so many other things that it doesn't even matter. No matter what, you feel like you have control over something in this game, where as Morrowind will leave you fucked unless you know what you're doing.

Maybe someone will prove me wrong. Someone will show me how to play Morrowind someday. Maybe I should just follow a guide, but apparently part of the magic of that game is not having any help. True, Daggerfall is the same way, but at least I can do other shit while I figure it out. I'm afraid to leave town in Morrowind. Maybe I need some mods or something. Who knows.

Anyway, I wanted to rant about this series because I have been sinking hours upon hours into Oblivion and Daggerfall, and I've realized that these games are pretty great after all. One day maybe I will feel the same way about Morrowind, but I'm not holding my breath. I want to like it, but it forces me not to. Oh well.

Vinyl Report: Arch Enemy - Black Earth

Before I go any further, let me just do the standard introductory drivel. Vinyl Report is a new article series devoted to reviewing albums as well as the quality of their pressings as vinyl records. So pretty much, it's just me ripping off Metal-Fi wholesale. LET'S GET TO IT.

Original year of release: 1996

First vinyl pressing release: 2002, Regain Records (1xLP, Black Vinyl, 33⅓ RPM)

Version used for review: 2010, Back On Black/Regain Records (1xLP, Clear Vinyl, 33⅓ RPM)

I could just open this review with all the standard ranting about how Arch Enemy was so much better before they switched vocalists and replaced songwriting with tits, but for the sake of this review, I'll just stick to this album on its own merits. Back when they first formed, Arch Enemy was something of a melodic death metal supergroup, with Michael Amott (guitarist of Carcass), his brother Christopher (making his debut appearance on this album playing guitar alongside Michael), Daniel Erlandsson on drums (having previously played on In Flames' seminal EP, Subterranean) and Johan Liiva (of Carnage, another band he performed in with Michael Amott) on vocals. With all of this previous experience, you couldn't really go wrong, and for the most part, this album succeeds on that front. It's a solid melodeath release that still holds up today.

The biggest issue that some listeners will hold with the album are Liiva's vocals, which, admittedly, take a bit of time to get used to. There's points on the album that his vocals are just "uh what", like his laugh-inducing outburst of "OH" on Idolatress, or his out-speeding the verse riff of Transmigration Macabre, leaving an awkward period in the middle of the verse with no vocals. Ultimately, though, the music itself surpasses these occasional screwups. Memorable riffs and hooks, accompanied with great solo-work courtesy of the Amotts is a constant throughout. Black Earth is a good album on its own, and is a great debut album for Arch Enemy, such as they were until the 2000s.

Black Earth wasn't pressed onto vinyl upon its inception, with its first release being in a limited run on standard black vinyl by Regain Records back in 2002. Since then, Back On Black has repressed the album (including a Japanese bonus track and two Iron Maiden covers) onto clear vinyl, with a gatefold sleeve including lyrics. I've always had a sweet spot for clear vinyl (and how can you not?), and this release, although a bit barebones, is relatively slick looking. The production of the album shines on the LP as well, with the guitar tone sounding extra crisp and the bass being more audible, as one would expect from a good vinyl pressing. Despite supposedly being a limited pressing, you can find this release going for around $15 on Amazon, which is shockingly cheap for the product. If you like good ol'-fashioned melodeath, you won't regret picking this one up.

NOTE: Century Media is pressing a 2xLP edition on black and yellow vinyl that includes the same tracks as this release, as well as a second LP of a live performance in Japan from 1997. This release is supposedly "remastered" and features new artwork, but given Century Media's idea of "production", I'd take a more cynical standpoint towards it until the final product is released.

Board Game Corner: Epic Spell Wars Of The Battle Wizards: Duel At Mt. Skullzfyre

This is a real game.

Honest.

This is most certainly a real thing.

First off, this game is not really a children's game.  While bright and colorful, the game also has some humorous, over-the-top gore involved.  In fact, the art style of this game is very reminiscent of the art style of the show SuperJail.  Continuing on with the whole "Not for children" thing, this is the first paragraph of the rules booklet.

Once upon a time, there was a world filled to the brim with radical magic.  And not pussy magic, like rabbits in hats or shit like that.  No, it was kick-ass magic, where one guy blows another guy's head off with like, a fireball or something!  You know, BALL-ROCKING MAGIC!

The background of the game goes on for a few more paragraphs, but you get the idea.  While yes, some would think this kind of violence and language is juvenile, well, they're probably right, but it's still presented in a way that made me laugh out loud while I read it.  A rule book for a game has never done that before.

The premise of this game is pretty simple... Construct a spell from cards in your hand, and kill the other players.

At the start of each round, each player draws to their hand limit, which is by default 8 cards.  They then set one, two, or three cards face down.  There are three main types of cards in this game that'll be in your hand: Source cards, Quality cards, and Delivery cards.  When you play your 'spell' of cards, you can only play up to one of each.  So a spell can contain an S, Q and D, or just a D, or any other type combination.

You play the D.

The turn order is determined like this: The player who played the fewest cards plays first.  Any people who've played the same number of cards determine the order by the number on the Delivery, in this image, 16.  That's your initiative.  If you don't play a Delivery, you have an initiative of 0.  A 0 of two cards though is still faster than an initiative 0 of three cards.

We'll take two example spell here from the internet...

Sir Lootzor's Mysterious Dragon-Horde.

Hagatha the Heifer's Crushazorian Godstorm.

This game sounds like it could be used to create a metal album...

Anyways, in these two examples, we see that all three cards share the same glyph typing.  The glyph is the symbol in the lower left hand corner.  So this means, that for each power roll, you get a die for each card that share a typing with it.  For for the Godstorm, you get the one minimum, and you get one for each of the other two cards.  If you flipped the delivery in the two spells, you'd only get one die per delivery, since no other cards in the spells share a typing with it.  Wit treasures, and added cards to spells through effects, the maximum number of dice you can roll on a power role is four.  

The cards are all designed so they  reasonably fit together design wise.  You always resolve from left to right as well.  Now before, when i mentioned initiative, I said that there's a way to get 0 initiative with your delivery, which is normally never the case.  There are cards though, that act as wildcards.  They're called Wild Magic cards.  They can take the part of a Source, Quality, or Delivery.  If used as a delivery, they're considered initiative 0.  What you do then, is reveal cards from the top of the deck until you reveal the part of your spell the Wild Magic is replacing.  Then resolve the spell as normal.  

The Sir Lootzor card above mentions treasures, so let's dive into those next.

Why yes that's a Shit Wand.  Yes, it IS terrifying in game.

So we're going to look at these three.  The middle one is actually pretty scary, despite it's name.  If you're playing with just one other person, it's pretty useless, since, well, once they die, the match is over.  But in a larger game, you could be adding +2, +4, +6, or even +8 to your power roles.  If you're rolling two dice or more, that's a guaranteed max damage or effect on your delivery.  Another important treasure type is the shoe category of treasures.  There's one shoe treasure for each glyph type (Arcane, Nature, Elemental, Dark, Illusion), and the shoe treasure acts like an extra glyph in all your spells.  This means, if you have the Dark shoes, and a spell of three Dark glyphs, you get 4 dice.  If you have a card that says "Deal 1 damage for each different glyph in your spell", it counts as an extra glyph, and thus extra damage.  The effects vary but almost every treasure is useful.  One of my favorite treasures gives all your spells +10 to initiative.  Now, the highest, naturally occurring, initiative is 20.  Normally, stronger spells have slower initiative scores, so having this treasure could jump your initiative 2 spell to an initiative 12 spell, which could mean the difference between you getting blasted and you wiping out a few pesky opponents.

The last card type is called the Dead Wizard Card.  These cards don't affect the current match, but the next one.  When you are killed, you draw one of these.  Each time a new round in the match starts, all the dead wizards draw another Dead Wizard Card.  The point of this is to give you a handicap for being killed.  The longer you've been dead, the more of these you accrue.  The effects of them are things like starting with more HP, drawing a treasure at the beginning of the next game, adding a Wild Magic Card to your hand... or even having nothing happen.  There are only a few cards that go into spells that let you draw Dead Wizard Cards, so they're usually reserved for the deceased.

When I play, normally we play to 3 wins before declaring a victor, but you could almost play this game as long as you felt like.

The game ran me $30 at retail at a local gaming store, and I got the above Hagatha spell as a promotional extra.

All in all, the game is tons of fun, and something that has a decent balance of skill and chance to keep it interesting.  If you have any more questions about it, feel free to leave a comment and I'll try to answer as best I can.

The Deus Ex Effect

This post is going to be twofold.  First, it's going to be an in-progress review of Deus Ex: Human Revolution.  Following that, it's going to be a small expansion on one of the main themes in the game.

First off, I'm going to say that I'm a huge fan of the Deus Ex games I've played, those being the original, and now Human Revolution.

"What about..."  No.

Smarmy jabs at Invisible War aside, the series has always been great at a few things: Alternative paths through levels, options to fit a vast array of play styles, and absolutely nailing their setting.  

So, for the uninformed, the Deus Ex series is a hybrid First Person Shooter Role Playing Game.  The original released in 2000, and is a graphical mess by today's standards, but it was an ambitious game at the time.  When I play Deus Ex games, my first playthrough is always as a hacker who opts for non-lethal takedowns, and tries to stay out of view.  Granted, sometimes I fall on my face in the attempt, but you get the drift.  The main setting of the series is a dystopian future, where cybernetic augmentations are all the rage, and conspiracies are abound.  

The timeline goes Human Revolution > Deus Ex > Invisible War, so the prequel is what I'm in the midst of playing now.  

So far, what I like about the game is a few simple nods to how the technology will advance in the series.  In Deus Ex, all grenades can be tossed or thrown as normal, or they could be affixed to walls or floors and become mines.  In Human Revolution, the grenades have to be combined with a mine template in order to be used as a mine.  Second, we get to see the rise of augmentation in the series, as it played a plot point in the original.  In the original, you play a new type of Augmented soldier.  You are more biomechanical then mechanical.  By that I mean, you don't have gaudy metal limbs, and you look more human than machine.  Because of this, other members of the military organization, UNATCO, despise you because of it.  In fact, when you fight those two older edition cyborgs, you can defeat them using their deficiencies instead of in straight combat.  

The augmentations in Human Revolution are very obvious, yet they are extremely practical.  I don't the augments in Human Revolution are more advanced than the ones in Deus Ex, but I suppose some continuity issues must be accepted for gamplay changes over ten years.  

The biggest hiccup I've come across in this game has been the boss fights.  Now, in the original Deus Ex, there were usually some alternatives to figuring out how to beat the bosses, but in Human Revolution, the first Boss Fight I've come across was purely a single's combat with a huge mercenary with a giant assault rifle.  This forced me to do more cover shooting that normal, but this guy wasn't completely stupid.  He could throw 1, two, or even 3 grenades at once from his apparently inexhaustible supply of them.  Because of my habit for playing shadow-lurky, hacky, non-lethal takedowny character, I had some issue here.  It took me about 10 attempts to finally get a plan that worked (which was exploding gas barrel followed up by a few grenades), but getting around the room to get all that stuff was really difficult with his eagle eye.

Apart from that gripe, the game is absolutely absorbing.  I find myself reading emails that have no bearing on anything, I read some of the materials that are just lying around, like the newspapers and eBooks.  This does a great job of making the world feel lived in.  You see emails for maintenance work, or ones about inboxes being full.  You see actual employees wandering a building and carrying on work, and personal conversations.  It doesn't feel like people are spouting the same two lines over and over automatically.  

So that's the review portion of the game.  You should play it, if you're a fan of engrossing worlds and a fairly fun plot.

I really want to talk about human augmentation though.  Throughout the course of the game, you'll find people are split on the issue if human augmentation is either the next step of human evolution, or that it's an abomination to the natural order of things.  You can kind of see that happening in reality too, if augmentation technology advanced.  You can even see this a little bit today.

For example, in the last Summer Olympics, there was a sprinter who had prosthetic legs.  Oscar Pistorius had both of his legs amputated below the knees when he was a child.  The issue with him running with people who have natural legs, is that studies showed that his prosthetic legs provided an advantage to him over other runners.  His legs used less energy than a meaty limb would use, and part of that was attributed to less vertical movement when he ran.  You know when you run, your body bobs up and down a little, with the lifting and falling of your legs.  With his legs, he didn't have to use that extra energy, so his endurance went further.  

Now, some people supported him because he was this inspirational story that someone disabled and who suffered a tragedy when he was young is beating able bodied people.  Others feel like his running with other people isn't as impressive, because his limbs give an advantage.  Some people might even be worried that if people with prosthetic are allowed to use these technologies with non-augmented people, that it could lead to a slippery slope where people are cutting off their own limbs to get more efficient limbs for athletic competition.  

It's a fine line to draw, between how much of your performance is due to the person's skill, and how much is due to the technology.  This is a predominant issue in sports, but imagine it like this.  Imagine if you're working a data entry job, and you can type about 40 words per minute.  Somebody gets hired with a prosthetic hands that can type 90 words per minute.  If your typing speed is the sole basis for your performance, then you would be obsolete.  

I really can't say which is the right answer, because there's merits in both.  Do we make separate leagues for augmented athletes?  Do we prevent people with them from working certain jobs?  If we do that, will they be able to press discrimination issues?  if the augs aren't affordable enough many people to get them, then it just becomes another way for the rich to become more powerful, in a sense, than the poorer.  I'd like to hear some more opinions on this interesting topic, if anyone is willing to share.   

Warning: Disturbing Content - Silent Hill

Whew, back to vidya games. It feels good man, it really does. Been playing a lot of video games lately. Not like it makes a difference I guess, but I've been playing them a lot more than usual. Going back to Marvel vs. Capcom for the arcades, to Spider-Man on PSX, Castlevania... Some off shoot PC games like I Wanna Be The Guy, which if you haven't played it, you should. Sadists would love it instantly, being mind-numbingly difficult as it is, but there's a certain addictiveness about it that keeps you coming back for more, even when it becomes so frustrating that you'd rather nail your hand to the wall.

No, there's no picture for that. I'd rather not check.

Anyway, I remember part of my childhood just getting into playing Resident Evil: Director's Cut on PSX, and being terrified of it for months. It was something I had never experienced before. The atmosphere of the old mansion was perfect, and hearing any kind of noise made me jump like a little girl. I played the sequels after adjusting, and still, every time, those games would find a way to creep the living shit out of me. Eventually, I got used to it and bested those games because FUCK YEAH I KNEW I COULD!

Fuck. Yeeeeeaaahhhhhhh.

Until I rented Silent Hill.

I wish I had known at my tender age of 9 that this game was not meant for children. It's incredibly scary, and not in a "there's a scary monster down the dark hallway hurry up and shoot it" way, but in the "what the fuck i don't even" way. I honestly don't know how to describe the fear I felt experiencing that game from start to finish. It's definitely nothing normal and not something a 9 year old should be playing.

But my mom didn't give a shit. She rented it for me and single handedly fucked me up for life. Maybe that was her plan. Maybe my mom is evil. MAYBE MY MOM IS SILENT HILL. How fucking creepy would that be?

Well, if you haven't played any of the games in the long running series, then you wouldn't know. I'll start with the first entry, and hopefully I'll retain my sanity throughout this writing. Hey, did you hear something?

Silent Hill - Playstation - 1999 - Please end this madness for Christ's sake!

Am I being too liberal with titles already? Anyway, Silent Hill marked Konami's entry into the Survival Horror realm that had long been dominated by Resident Evil, and boy did it really put it's ugly foot in the door. Resident Evil had a cheesy plot, cheesy characters, cheesy dialog... it was just cheese. As revolutionary as it was at the time, Silent Hill came and took it so many steps further.

For starters, the game doesn't use a fixed camera and pre-rendered backgrounds. It's all rendered in glorious, blocky 3D, courtesy of the Playstation's limited hardware. However, for the time the game was pretty amazing. It's one of the first games I know of to use dynamic lighting, and do it incredibly well. One minute you're in the foggy daylit streets, and the next minute you're in engulfing darkness with a flashlight illuminating the way. I CANNOT STRESS THAT ENOUGH. The atmosphere that little flashlight builds is absolutely crazy. It really makes you question what is around the next corner.

Yep. 9 years old right here.

 

Building to the atmosphere, we have the radio. Basically, it emits white noise when there are enemies around, but it's enough to make you stop in your tracks. It starts as a small little noise, but as you get closer to your enemy, the fucking thing starts going crazy, getting louder and louder. It's one of the reasons this game still scares the living piss out of me. If I ever saw one in real life and it started making that noise I would probably die from shock. It's just one of the mainstays of this game and one that would go on to the later games in the series.

If Resident Evil is the king of horror games, then Silent Hill surely takes the cake for psychological horror. It explored new avenues that made it stand out. Fans still theorize about the game's story, but the general consensus goes something like this:

Silent Hill has a way of summoning people to it. In this case, it happens to be Harry Mason and his adopted daughter Cheryl. While driving to Silent Hill, a girl appears in the road and causes Harry to swerve off, crashing somewhere into the town. Cheryl goes missing, and Harry sets off to find her, meeting a few characters along the way. I say summoned because, 7 years before this all takes place, um, fuck this I'll just paste the wikipedia entry:

"Harry Mason had woken up in a cafe and meets police officer named Cybil Bennet--an officer from Brahms, the next town over. Cybil Bennett and realizes that Cheryl is missing. Silent Hill is deserted and foggy, with snow falling out of season^. Harry also meets Dahlia Gillespie, who gives him a charm she calls the "Flauros"; Doctor Michael Kaufmann, director of Silent Hill's Alchemilla Hospital; and nurse Lisa Garland, who worked at Alchemilla^.

Harry encounters a symbol marked throughout Silent Hill; Dahlia tells him that the girl from the road is a demon spreading the symbol, and urges him to stop her to prevent the darkness spreading with the symbol, and thereby save his daughter. Harry later encounters Cybil, who is possessed and attacks him. The player may be able to save her if they retrieved a particular item earlier, but if not they are forced to kill her or die.

The girl appears again, and is put under Dahlia's control by the Flauros. Dahlia arrives and explains that she manipulated Harry into trapping it, since only he could approach it. It is a phantasm of her daughter Alessa, who possesses vast supernatural powers. Harry awakens in a logicless void known officially only as "nowhere". He encounters Lisa, who realizes she is dead and begins bleeding; Harry flees, horrified. Her diary reveals that she nursed Alessa during a secret forced hospitalization of the latter in Alchemilla.

Harry soon finds Dahlia along with the apparition of Cheryl and Alessa, charred. Seven years earlier, Dahlia had conducted a ritual that impregnated Alessa with the cult's deity through immolation; Alessa survived because her status as the deity's "vessel" rendered her immortal. Alessa's resistance to the ritual caused her soul to be bisected, preventing the birth^. One half of her soul went to baby Cheryl, whom Harry and his wife had adopted. Dahlia then cast a spell that would draw it back to Alessa. Sensing Cheryl's return, Alessa manifested the symbols in the town to prevent the birth. During the endings in which Cybil survives, Dahlia reveals these symbols to be repellent^. With Alessa's plan thwarted and her soul rejoined, the deity is revived and possesses her."

 

...Did you get all that? Can we agree that Silent Hill goes much farther than Resident Evil ever has? And guess what?! The game has 5 endings depending on what you do. While Silent Hill certainly doesn't please in the voice acting category, it still does it much better than other games at the time did. All the characters sound the way they should; Harry being the "everyman", he sounds like it. He's clumsy, he's soft-spoken, and he says "Huh?" a lot. The more devious characters, again, sound perfect for their roles. It's a pretty well-crafted game for a first release.

But damn is it fucking twisted. There is gore, and lots of it. Silent Hill takes gore to a new level. When the world changes and goes to what fans call the "Otherworld" is when the game really shines. Walls turn to rusty, bloody, fecal (?), fleshy counter-parts of their regular forms. The floors change to rusted steel chain link fencing, or something else that isn't right. Here's a video of it, happening at only 5 minutes into the game!

You will also notice the music, if you want to call it that. It's more of an ambient rhythm. Sometimes you will have music, but most of the time it's either silence (hur hur hur) or some kind of heart-pounding, disturbing... ambiance. I don't really know how to explain it. All I know is it freaks me the fuck out. It took me until I was about 17 years old to play this game from start to finish because of all of this shit. It just fits together in a nice visceral package. It has to be played and experienced. It begs you to play it.

 

If you can handle that sort of thing.

Silent Hill 2 - Playstation 2, Xbox  - 2001 - Turn the mind fucks up to 11.

A Spinal Tap reference in this kind of post? How dare me! Anyway, released 2 years later on the much more powerful Playstation 2, Silent Hill 2 returned to once again scare the living fuck out of gamers worldwide. Except the Japanese. Nothing scares the Japanese. They probably play Silent Hill 2 when the family is all there, like a little bonding moment.

Silent Hill 2 doesn't continue the first. If we were to piece the games in chronological order, you wouldn't be able to. The first and third games go together loosely, and the second and fourth games go together loosely. THE SERIES ARE IT'S OWN MINDFUCK. Anyway, Silent Hill 2 stars James Sunderland as he travels to Silent Hill to find his dead wife Mary. Sounds pretty sketchy already doesn't it? Well, that's for you to find out as you play along.

Silent Hill 2 is a classic. It's even better than the first one. Not only are the graphics much improved to make the experience that much more real, but it's story is much better. You'll meet a new cast of characters this time around, and they all have their own issues that go much deeper than the first game. For example, the first person you meet is a girl named Angela. She seems pretty shy and a little afraid at first, and explains she's there to find her parents.

Why is this relevant to you? Because you find out that her father raped and abused her numerous times. There's even an enemy that hints towards this. And the place you fight this enemy?

SEX. EVERYWHERE.

Those holes? Yeah, a metal rod goes in and out of them. Notice the fleshy textures of the walls and floor. That's just a little taste of what you can expect from Silent Hill 2. It's that fucked up and it doesn't hesitate to let you know.

And lets not forget Pyramid Head, the game's villain. If ever there was a fucked up design for a monster, this one certainly takes the cake:

Wait a second, do I really need a picture? Everyone knows who he is! Even if you haven't played this game or watched that shitty movie. He's the ultimate punisher. He wields the biggest knife I've ever seen. He's just plain creepy. Oh, and he rapes a monster. Yeeeeaaaahhhhhhhh........

Graphically, the game is gorgeous. The locales this time around are much more sinister. The sound department did a great job in making you jump out of your seat as well. Here's what you can expect from this game. Little moments like that fill this game, and are bound to make you uneasy, or just frighten you to death.

The music is also something to behold. Silent Hill 2 is widely recognized for it's soundtrack, which is just excellent. You'll find some eerie tunes as you explore a hospital, a hotel, and an apartment building, and all of them are so unsettling that you'll want to escape as fast as possible.

All in all, from the atmosphere, the locales, the characters, and the best graphics yet, Silent Hill 2 marks the go-to title if you want to mess with your own head. It also has 5 endings that fans have argued about, and still do to this day. Just reading about the theories behind them is interesting and extremely disturbing in itself. A must for any gamer. It's that damn good. Also, it has a side scenario which adds to the story, and it's pretty interesting too.

Being one of my favorite franchises, Silent Hill still manages to make me uneasy. Just having me explain this to you doesn't do it justice; you need to play these games and find out for yourself. Think of creepypastas you've read, or whatever thing that scares you the most. Silent Hill evokes that feeling and does it so well. Just talking about it is making me uneasy here in my dark, quiet, empty house....

I just heard that noise again....

I'll be talking about more Silent Hill in the future. Don't worry, I'll cover three and four, as well as the newer ones!