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OnlySP 50 Favorite Games

OnlySP’s Favorite Games #19—Telltale’s The Walking Dead



OnlySP Favorite Games 19 - The Walking Dead

Thanks to the staff of OnlySP, I am inviting you to come on a journey through our 50 favourite games. This week’s game was famous in its first season, which we cover below, and has managed to soldier on despite its developer’s sudden, unfortunate demise.

#19. THE WALKING DEAD, by Sep Gohardani

The first season of The Walking Dead catapulted Telltale Games from its position as an indie developer of adventure game adaptations to widespread recognition for creating something special. As a company, Telltale had already worked on big licences before, with titles including Jurassic Park and Back to the Future, but this game marked a change in style for the company, thanks to a focus on a more cinematic brand of storytelling that put the onus on the player to make vital choices that change the direction of the stories. Now on its fourth and final season, which—to everyone’s relief—will see a conclusion following Telltale’s sudden, shocking demise, the series revolutionised adventure games and had a large impact on the way games can tell stories.

At the beginning, though, uncertainty must have been present. When the focus is on characterisation and story rather than major gameplay elements, ensuring that the story is gripping and the characters engaging enough to make the game worthwhile is hugely important. In the end, these factors were not a worry at all.

Based on the successful post-apocalyptic horror comic book series by Robert Kirkman rather than AMC’s TV show, the game borrows the general premise of the comics and sets itself in the same universe, though it harbours only a loose connection.

The first season managed to take that inspiration and turn it into more than the sum of its parts, telling a deeply touching, powerful, and always engaging story that had many twists and turns, but also felt deeply personal: the relationships between the characters always coming to the fore. The season also made sure that, while story and character took the front seat, you never felt disconnected from events and was directly involved in all major moments, whether that was a bitter argument or a tense escape from walkers.

The way the game involved players in those arguments shaped their relationship with the characters, and while the game obviously hit major plot points whichever path you choose, those decisions have an integral effect on the atmosphere and on what each major plot point means to both the player and Lee as the main character.

Quick-time events are a much-maligned gameplay mechanic, and they are not ideal in every situation, but they were a staple of Telltale’s repertoire for action sequences. They serve a functional purpose in involving players in chase sequences and intense, dramatic moments, to a varied degree of success. Sometimes, the mechanic works well and exacerbates tense moments—especially in the presence of a major threat of failure—while, at other times, they seem more like an excuse to involve the player in a moment where otherwise they might not have been. This disparity has continued throughout the franchise and permeates Telltale’s other games, even if the latest season has made some effort to vary things with an update to some gameplay elements. Nevertheless, the mechanic is perfectly serviceable in this context and serves as a framework for the main attraction of the game.

The main character, Lee, develops a relationship with an eight-year-old girl named Clementine over the course of the first season, which forms the basis for the rest of the game and is a central relationship that will be remembered for years to come. Not only is their developing father-daughter dynamic touching, it also acts as the emotional anchor on which the rest of the game revolves. The dialogue shines here, as players watch Clementine grow up and come to understand the world the characters now inhabit, slowly becoming less and less reliant on her adult companion.

This trait, coupled with the harrowing events they have to come through together (in the first season, Episode 2 and the farmhouse come to mind, as well as the extremely powerful final episode), serve to shape her view on other people and the world. The player is able to affect Clementine’s perspective through dialogue choices, and the consequences of that really comes to the fore in Season Two.

The groundwork laid by Season One makes it the most important and most valuable of all four seasons, but that does not mean that the series did not build on it successfully. The episodic format lends itself to short, sharp, incisive storytelling and makes the player’s involvement truly impactful. That sense returns in Season Two, with the aftermath of the harrowing and emotional events at the end of the previous season, which was one of the most affecting conclusions ever in gaming.

Since the player’s focus shifts squarely to Clementine as the new protagonist, the game does a great job of making felt the consequences of Lee’s actions, and allowing you to decide how Clementine tries to put his advice in to action. The narrative is equally harrowing in the second season and refuses let up at all, filled as it is with tentative alliances and both the best and worst of humanity. The second season is another exercise in excellent writing with a commendably powerful, resonant finale that really drives home what the stark, hopeless environment of a world so thoroughly destroyed by walkers can do to people who were once fast friends and companions.

While the third season is generally regarded as weaker than the others, Telltale’s decision to try something new and change the formula a bit is admirable. This season focuses on a different family for a while, as Clementine’s role becomes more of a supporting one and players experience the world through different eyes. This season maintains an admirably strong level of writing throughout and offers a suitably gripping experience without ever having the emotional resonance of the first two seasons. Nevertheless, it sets up the final season well, and the idea of having a break from the main story is certainly an interesting one that serves to build the tension, rather than provide instant gratification or continue on endlessly like versions of this franchise in other media, (looking at you, TV show).

Luckily, even though Telltale’s demise has led to the cancellation of other much anticipated series, including The Wolf Among Us, Robert Kirkman’s Skybound has saved The Walking Dead’s final season and is allowing this great series to come to a conclusion. Before everyone came to understand the situation the company was in, it had released the first episode of the finale and, at that point, its blend of great storytelling and some new gameplay ideas meant that it felt fresh and exciting, boding well for future episodes.

With Clementine now a carer for a young child, her story really has come full circle, and her struggle to take care of AJ makes up a large part of that first episode, particularly as she comes to meet a new group of children who seem perfectly happy to take them in, even as AJ continues to have behavioural issues that would be challenging at the best of times, let alone in a world crawling with walkers and murderers.

The second episode, which is strong in its own right and serves as an excellent midpoint, for a while looked like being the last ever episode after the studio’s sudden closure. Now, that we are set to receive a conclusion (the third episode releases on January 15), players can now breathe a sigh of relief and be happy in the knowledge that this excellent series, which has helped to change the face of both adventure games and storytelling in the entire medium, will receive the conclusion it richly deserves.

Thanks again for voyaging back to great games past with us. Do you have a favourite season of a Telltale series or another episodic adventure series you would like to share? By all means do so in the comments, and we will see you back here next week for another of OnlySP’s 50 favourite games.

OnlySP 50 Favorite Games

OnlySP’s Favorite Games #17—Castlevania: Symphony of the Night



Thanks to the staff of OnlySP, I am inviting you to come on a journey through our 50 favourite games. This week’s game is a classic—a founding title in a genre loved by many to this day.

Castlevania Symphony of the Night gameplay screenshot 4


Castlevania: Symphony of the Night is truly a special game. Few titles within the industry can be labeled as a work of art, and Konami’s Castlevania: Symphony of the Night is, without a doubt, one of them. Being born of an ideology that a new direction could be what was best for the series after three iterations  of the same style, Symphony of the Night took a leap of faith for the franchise, and looking back on its success, players will have no question that the leap paid off.

Castlevania: Symphony of the Night takes place five years after the events of Castlevania: Rondo of Blood, where Richter Belmont traversed Castle Dracula to take down the main man himself and once again reset the Castle’s reappearance cycle .

What is interesting about Symphony of the Night was that  the game begins as Rondo of Blood ends: with the climactic battle of Richter and Dracula in the throne room. Once the battle is complete the game transitions and players are now reintroduced to Alucard, Dracula’s half-vampire son with a human woman. This game is the first time players had seen Alucard since Castlevania III (1989), and this time he is the primary playable character.

Castlevania Symphony of the Night gameplay screenshot 2

Alucard’s introduction within Symphony of the Night as the playable character created a whole new dynamic for the player to wrap their head around. Since Alucard is not a vampire hunter nor a member of the Belmont family, he does not use a whip to slay monsters. Instead he uses a variety of weaponry that players can discover throughout their journey into the castle. Interestingly, the game starts the player off at what is essentially Alucard’s peak performance, as he is able to slice and dice his way through any enemy before him—that is, until Alucard is reunited with Death, who strips him of his abilities and gear forcing the player to start their adventure empty-handed.

The developer ’s choice to start the player completely fresh and weak contributes nicely to the game’s new direction. Unlike previous playable characters, Alucard can equip different armor, weapons, and abilities to further aid him while traversing the castle. Ultimately, Alucard’s goals are to figure out why the castle has reappeared only five years after being destroyed, and locate the missing Richter Belmont. Despite a narrative that captures player attention  immediately, Symphony of the Night proves that its new gameplay direction is what will ultimately steal the show.

As a revolutionary new direction for the Castlevania series at the time, Symphony of the Night was the first entry that did not end after a stage completion or boss fight . Instead, Symphony of the Night surprised players by simply continuing forward. In previous games, after completing a stage, the player would be taken to a map screen to select the next area of play; however, in Symphony of the Night, the map can be toggled with the press of a button and only indicated areas that were visited by the player, with everything else nonexistent until discovered. This promoted exploration and returning ventures to familiar areas, allowing the game to really showcase its roots  and establish a formula that would usher it into the history books.

In addition to the new approach to level design for Symphony of the Night, what is most surprising about the game, and perhaps what solidified it in most gamer’s memory, is the fact that after what would seem to be the final boss fight, the castle would then invert and could be played entirely upside down. For this event to conspire, the player would have to complete specific tasks before and during the boss encounter, and whether or not those tasks were done would determine if the game ended there or continued with the Inverted Castle. As a truly remarkable feature, Symphony of the Night‘s Castle Dracula was designed to look just as beautiful upside down as it was during the normal playthrough. Not only was the aesthetic of the castle perfectly preserved in its inverted state, but it also played just as seamless as it did right-side up.

As a testament to the wonderful art and craftsmanship by the developer for this title, the gothic horror atmosphere combined with the excellent sound design of the game only attributed to how incredible Symphony of the Night‘s Castle Dracula was. That the artistic integrity of Symphony of the Night has withstood the test of time is truly astonishing. At a time when the industry was shifting to 3D models, the team behind Symphony of the Night chose to go against the grain and create what feels like a swan song for the 2D gaming genre.

Recently, director Koji Igarashi released the long-anticipated Bloodstained: Ritual of the Night, the spiritual successor to Castlevania: Symphony of the Night. OnlySP had the privilege of reviewing the new game, and although it exceeded our expectations and presents itself as a worthy successor, it cannot replace or recreate the zeitgeist that was Symphony of the Night. The 2.5D graphics of Bloodstained: Ritual of the Night are outclassed by the 2D pixel art  of its predecessor. A style decision, yes, however one cannot help but wonder what the final product would have looked like with a 2D template.

Of course, Symphony of the Night cannot be truly praised without mention of its greatest contribution to the industry. Without this game, players would have never known that man is a miserable pile of secrets. Thanks to Symphony of the Night’s original intro battle, the industry will always remember the significance surrounding Dracula’s rhetorical question of “What is a man?”

Castlevania: Symphony of the Night is a stylish love letter to fans of the series. More importantly, however, is the game’s contribution to the industry and the Metroidvania genre as a whole. To this day, Symphony of the Night is recognized and referenced as one of the greatest, if not the greatest, Metroidvania game of its generation.

From the outset, players might question how this game could come with such accolades, but the easiest answer is more often than not the simplest one. For one to understand what makes Castlevania: Symphony of the Night so great and worthy of a spot on OnlySP’s 50 Favorite Games, all they need to do is play it.

Thanks for joining us as we take a look at one of the founders of the Metroidvania genre. Join us next week as we look at a very different game from a different genre—but one that has remained inspirational for years nonetheless.

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