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Oceanhorn: Monster of Uncharted Seas Review – Breeze Botherer

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Picasso once said, “Great artists don’t borrow, they steal”. Without wanting to overstep any boundaries, it is safe to say that Cornfox & Bros., the makers of Oceanhorn: Monster of Uncharted Seas are master thieves.

To the uninitiated, Oceanhorn may appear as little more than a Legend of Zelda clone, but such an approach to classification of the game would be remiss. Rather, it is a Frankensteinish  patchwork of systems lifted from Nintendo’s long running franchise and cobbled together in such a way that the fairy god mother of fair use and the inability to copyright rules have kept it safe from the legal hounds of Nintendo.

Oceanhorn borrows the look and structure of 2D Zelda games, but shifts the viewing angle slightly, utilising an odd isometric perspective, that while Zelda-esque, is not quite the same top-down viewpoint as Nintendo’s classic 2D adventures. The game also pinches the islands and sailing mechanics from The Wind Waker, along with the on-rails boating sections of that game’s handheld sequel, The Phantom Hourglass. Instead of a wide-eyed protagonist and cel-shaded artstyle, however, Oceanhorn adopts a style that sits somewhere between Twilight Princess and Skyward Sword (which is where are the developers also pinched the game’s stamina system from). Meanwhile, combat feels like a cross between those systems found in original Zelda and Ocarina of Time. It may not be particularly original, but Oceanhorn captures the spirit of The Legend of Zelda so well that it feels like the closest gamers will ever come to seeing the adventures of Link on a non-Nintendo console (though recent developments may see him on mobiles in the near future).

The story of Oceanhorn follows a young boy’s search for his father, who has gone missing while hunting a mysterious monster known as the Oceanhorn, an elusive sea beast left over from a dead civilisation. In order to find his Pa and defeat the Oceanhorn, the nameless, mute protagonist must travel across an archipelago of varied islands, fighting monsters, exploring dungeons full of puzzles, and finding new gear that helps him in his quest.

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Oceanhorn is a skilfully crafted homage to all things Zelda and as such, fans of the latter series will feel right at home in the game’s dungeons, which feature plenty of block puzzles, targets that need shooting with arrows, moving weights onto switches and culminate in an inevitable boss battle. Sadly, those boss battles are not based on properly utilising your latest gadget, so much as defeating them with whatever is to hand. Outside of dungeons, meanwhile, are numerous side quests and secret areas that reward players with life-extending heart pieces. Furthermore, cash, hearts, and ammunition can be found in breakable pots or by cutting clumps of grass.

Long-term fans of Zelda should feel right at home with Oceanhorn’s controls as they are basically identical. The left thumbstick moves the character, one button attacks, another defends with a shield, one dashes, and the remaining face buttons are tied to usable items and spells. One nice twist, though, is the ability to quickly cycle through your inventory using the D-pad to equip different items and spells easily.

Despite being an enjoyable romp, Oceanhorn sticks a little too rigidly to the Zelda blueprint. Although the narrative stands on its own two feet for the most part, the gameplay shackles itself a little too tightly to the traditional Zelda formula. As such, the game lacks any sense of surprise; players will typically know how to tackle a particular puzzle or enemy as most bear more than a passing resemblance to something previously introduced in Nintendo’s venerable series. In this way, Oceanhorn feels like a missed opportunity by Cornfox & Bros. to add to the genre and stamp their own identity upon it.

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One thing that does stand out is the game’s superb soundtrack, featuring a score composed by Nobuo Uematsu (Final Fantasy, The Black Mages) and Kenji Ito (Secret of Mana) (possibly working together for the first time since SaGa on the Gameboy). Mixing bombastic, adventurous beats for overworld traversal, with more delicate and sombre tones while exploring the game’s dungeons and caves, the soundtrack frames the on-screen action perfectly, and is a beautiful orchestral score that can easily be listened to by itself.

Oceanhorn: Monster of Uncharted Seas is the kind of loving homage that makes one wonder how it has not been the subject of a lawsuit. It may never feel original, but that hardly matters when the source material is of such a high standard. By pillaging the tombs of Zeldas past, Cornfox & Bros. have created a wonderful adventure that fans of the series are bound to enjoy, and those that always wondered what The Wind Waker would have been like had it dropped the cel-shading and been a bit more like A Link to the Past will certainly want to check out.

Oceanhorn: Monsters of Uncharted Seas  was reviewed on PS4 with a copy provided by the publisher.

Developer: Cornfox & Bros. | Publisher: FDG | Genre: Action/ Adventure | Platform: PC, PS4, PS Vita | PEGI/ESRB: 7+/E10 | Release Date: September 7, 2016

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Review

RAGE 2 Review – Glorious Guns but a Shoddy Structure

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RAGE 2 gameplay screenshot 5

A Conflicted Beginning

The opening moments of RAGE 2 are reminiscent of little so much as Killzone. A gravelly voice gives a stirring speech about superiority and the need to quash the rampant spread of lesser humans. The speaker is General Cross, a bald, deformed head—Scolar Visari transplanted across the years and franchises—atop a robotic body. Furthermore, like Killzone, such charisma and character are reserved for the enemy faction, here known as The Authority.

Players quickly get the choice of either a male or female Walker before being tossed into a high-octane battlefield overrun by cyborgs and mutants alike. Armed with only a few basic weapons, Walker is an effective killing machine in this first conflict, and the gameplay experience is as satisfying as they come. The guns are responsive and feel powerful, while the level design invites the kind of non-stop strafing and perpetual motion popularised by classics such as Quake and DOOM.

As veteran gamers might expect from past experiences, the battle goes badly. The heroes are killed, and Walker’s hometown is razed. In using this premise RAGE 2 attempts tired pity-me story beats to invest the player (at this point, unsuccessfully). The hometown hero (and Walker’s mother figure) is slain in the battle, which begins a quest that combines personal vengeance with the global desire to do what is best for the world: stop the monsters.

Before that, players must first expand their skill set, and so the sublime first-person shooter gameplay is joined with RPG mechanics that promise immense depth to the gunplay out in the Wasteland, though the first of these so-termed superpowers is underwhelming, providing the ability to dash out of harm’s way.

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With the story set up, the game shifts gears, putting players into an armoured vehicle, and the grippy handling feels as good as the gunplay. The vehicle physics are decidedly arcade-infused, caring little for such nuances as terrain. Instead, all that matters is putting the pedal to the metal and tearing off towards the first objective (and trying to not get too sidetracked in the process).

Despite all of this—the satisfying gunplay, the competent (if so far unspectacular) story, the pleasurable vehicle controls—something feels missing in RAGE 2, a certain spark that will make everything just click.

Gunplay To Die For

Shaking the dust of the ruined Vineland from Walker’s boots for the first time is a bit like bungee jumping. Although the player’s time in the village has been short, they have become acclimatised to a certain po-faced tone and blazingly fast gameplay. Suddenly, though, the security of familiarity drops away as Walker freefalls into the wasteland.

Three story-focused questlines are provided as immediate options, but every path is peppered with distractions and side missions that beg to be roughhoused. After only an hour’s random exploration, the overworld map is littered with icons denoting all sorts of miscellaneous activities.

The Arks, in particular, call for attention. In the fiction, they are similar to Fallout’s Vaults in their stated purpose of repopulating the world post-apocalypse, but they serve primarily as a means of increasing Walker’s abilities. As enticing and—importantly—useful as the Arks are, they highlight a problem about the open world that manifests quite quickly: almost every Ark is blocked by a cohort of enemies, with another set arriving once Walker has acquired her newest skill.

Indeed, most of the activities scattered about the world amount to combat challenges against ever more dangerous foes. Occasionally, random NPCs will offer races, but these are not frequent enough to offset the sheer number of bullets that players will fire both on foot and in their vehicles. Thankfully, many of the enemy outposts, bandit dens, and bounty hideouts feature bespoke, open designs, meaning that players are never at liberty to settle into a single pattern of clearing these challenges.

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Further adding diversity (though not nearly enough) are the different combat proclivities of each faction. The Goons and The Shrouded will be the most familiar to gamers, each showcasing a combination of pop-n-shoot gunplay, explosives, and close-range attackers. The mutants are more animalistic, preferring melee. Meanwhile, The Authority uses brute force and high firepower to wipe out any opposition. Although players need to be aware of the unique tactics and skills of each faction, none force the player to change their strategy; the best approach is always to move fast and keep pulling the trigger and, eventually, every enemy breaks down into scattered giblets.

The ever-expanding suite of options, compelling gunplay, varied level design, and satisfying difficulty all ensure that these encounters are never boring, but these traits are not enough to prevent a growing sense of tedium. In many ways, venturing unstructured through the wasteland feels as though the developers had a hammer of a gameplay loop, so every problem had to be a nail.

The bungee jumping analogy, then, comes full circle. After the thrill of freefall, the cord snaps back and the jumper, before too long, arrives back on terra firma. RAGE 2 follows this pattern, as the freedom of tearing across a vast environment always reins itself in to fighting.

However, novelty is not that not-quite-identifiable thing that lurks just beyond reach. Even moving from vehicle to foot changes things up, and the ridiculous amount of options in combat keeps things perpetually fresh.

A Story Lost Amidst the Bombast

The claims about story being a focal point of RAGE 2’s development ring hollow. A forgiving estimate of total narrative-led play time would clock about six hours—a realistic estimate, four. The disappointment spans more than just the brevity, however.

Walker is exactly the kind of faceless, figureless protagonist that has plagued the shooter genre for years. Her bland, no-nonsense demeanour is a dampening lens through which to view this madcap apocalypse, and it undercuts the otherwise energetic tone. Whether interacting with the dour John Marshall or the despicable Doctor Kvasir, Walker remains unflappable, the consummate professional, and that is to the detriment of the whole game. Indeed, her personality—or, rather, the lack thereof—is a clear demonstration of that missing something that has proven so elusive. More on that later, though.

With the story being so short, the lack of impact should come as little surprise. The invasion of Vineland in the opening moments is, by far, the most interesting plot point of the entire game. Such narrative necessities as momentum, surprise, and emotion are jettisoned in favour of a straightforward quest for revenge. Unfortunately, the story is so comprehensively forgettable that nothing else is worth saying about it.

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To return now to that something; Walker may want for a personality, but the game does not, and this juxtaposition highlights a central shortcoming: a lack of cohesion. RAGE 2 feels like a Frankenstein’s monster of conflicting visions. The remarkably tight combat and hand-crafted locations are designed for the most frenetic of shooters. However, the wider world makes the gunplay feel like just one part of a design that incorporates meaningless RPG progression and purchase mechanics and a considerable amount of driving from one location to another, with regular pit stops to clear enemy hubs (until that process becomes more tiresome than it has any right to be).

Even the world feels disparate, the map stitched together out of box-ticking biomes. To be fair, the deserts, jungles, waterfalls, and canyons all bear the same breathtaking beauty, but they all blend together into a meaningless mish-mash, with the gameplay locations instead being primarily industrial warehouses. The natural environment is wasted, which makes the open world seem like nothing more than padding—another area where mismatched design principles lead to a game that wants to be everything and suffers because of that ambition.

A Slipshod Structure

Bethesda has already laid out a roadmap of post-launch support for RAGE 2, and that has raised fears among the community that the game adheres to a service model. Such concerns can safely be laid to rest. Although the storyline leaves much to be desired, RAGE 2 is plump with content, as evidenced by the dozens—maybe even hundreds—of markers sprinkled across the map.

Unfortunately, the game suffers too much from its freeform design. Players are immediately free to hunt down the Arks that unlock new abilities. As such, every skill and weapon can be unlocked within a handful of hours, which is disastrous for pacing. Even more troublesome, the RPG mechanics serve no real purpose. Players need never purchase a single upgrade to succeed, and the sheer number of different currencies make doing so a chore anyway.

Because of this lack of structure, a game that could still be interesting 30 hours in can also feel worn our within a dozen, and that suggests the post-launch support will likely only appeal to a dedicated fanbase. The challenges, vehicles, and events scheduled to arrive in the coming months will likely not change up the core gameplay structure all that much. Instead, judging by the little information already available, they may simply give dedicated fans more of what they desire.

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On a completely different note, but equally as concerning as the game structure is the enemy design. Beginning with General Cross and extending across the Goons, mutants, and other factions, RAGE 2 seems to take a perverse pleasure in vilifying the Other, the outsider, the disabled, the religious. Even Doctor Kvasir, as a former Authority scientist with questionable morals, is a deformed being. By contrast, the undisputed heroes are all healthy and whole. While problematic in some respects, this subtle and most likely unintentional subtext is easily overlooked and unlikely to affect the enjoyment of most gamers.

Simply put, RAGE 2 is a strange beast. Perhaps that was inevitable as the follow-up to a middling first effort developed across two very different studios. Perhaps that shared production is also the reason for the lack of unity. Whatever the reason, RAGE 2 is clearly best suited to a particular kind of player. The game offers an often-beautiful environment combined with easy, enjoyable traversal mechanics. Comprising the bulk of the experience is some of the finest and most diverse gunplay combat to be found gaming today. However, these charms are let down somewhat by the lacking story and structure and a general feeling of a tonal mismatch between the bland protagonist and the madcap world.

OnlySP Review Score 3 Credit

Reviewed on Xbox One X.

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