Mike and Gus talk about God of War, Microsoft’s first party problem, Nintendo’s Labo and Switch cracking, and E3 wishes!
Mike and Gus talk about God of War, Microsoft’s first party problem, Nintendo’s Labo and Switch cracking, and E3 wishes!
The God of War franchise has dominated on the PS2, PS3, and PSP. The story isn’t exactly rich, nor the gameplay redefining, but there were few games that instilled the same sense of adrenaline and awe. Some criticize these games for being little more than mindless button mashers, which is valid to a certain degree. But the success of Santa Monica Studio’s mythological demigod has proven that simplicity doesn’t have to be a negative talking point. Games can be memorable for a variety of reasons, and as long as the complete package delivers more often than not, things will likely turn out for the best.
Unless you’re talking about a remaster, of course. That’s when things tend to go south, as the mere mention of them nowadays make people foam at the mouth. “Grurfrgh! Why do I have to rebuy it again?! JERKS!” Ermm… you don’t. But despite the vitriol these projects draw, the Ghost of Sparta had yet to conquer the PS4, so the devs seemingly thought it would make sense to bring God of War III to Sony’s latest home console.
And despite what some would have you believe, it does make sense. With a new God of War game in early development, porting an established title to the PS4 allows the devs to sharpen their toolset. It also allows the people who jumped the Microsoft ship to experience this game for the first time. Really, the only time I think it’s worth complaining about a remaster or port, is when it’s something nobody asked for (Dead Island, I’m looking at you). Otherwise, weigh your love of a game against how extensive the porting process was (for my in-depth opinion on remasters, click here). At the same time, studios should offer rereleases at an exceptional value, and I’m not convinced God of War III Remastered has done that.
For the uninitiated, the franchise revolves around Kratos, a ‘brawn over brains’ type that commanded the forces of Sparta. Inevitably, his bloodlust lead his army to defeat against a horde of barbarians, but rather than accept his fate, he called upon Ares for aid. The god of war was willing to grant Kratos the power he desired, but at the expense of becoming his indebted servant. He agreed, being the bloodthirsty fool he was, and was provided a pair of chained blades that were imbued with fire. The wielding ends were permanently seared to his forearms, but as promised, they made Kratos an unstoppable killing machine.
Predictably, Kratos got a bit more than he bargained for, as he became a blind ball of rage under Ares’ influence. After one such episode, he was horrified to find his family laying lifeless at his feet. So, in his most ambitious vow of vengeance yet, Kratos went after Ares himself… but that wasn’t enough. After an assault on Rhodes, the gods grew tired of his defiance, so they stripped him of his power and left him for dead. However, Gaia, who has her own agenda in this, saves Kratos from his fate in the Underworld.
And now with God of War III, the epic finale begins with Kratos hitching a ride atop none other than Gaia, as they mount their assault on Olympus with Titans in tow.
Not unlike its predecessors, the plot is bare bones, if not formulaic. Once again, Kratos, seemingly at the top of his game, is smacked down and goes through the wringer to regain all his lost power. There’s a couple of twists that try to lend greater meaning to preceding entries, but they ultimately fail to evoke… well, anything.
Worse, character development is as stagnant as ever. Once upon a time, it wasn’t unreasonable to have a few shreds of sympathy for the demigod, but now? We’re brutally bludgeoned with the idea that Kratos has become the bad guy. This time, the consequences to his actions are literally tearing the world apart, but despite seeing what his vengeance has wrought, he couldn’t care less. Of course, that’s the point. In the end, Kratos was no better than the gods he was thwarting. It’s about tragedy more than redemption. Even so, couldn’t the writers have found a better way to incorporate his loss of self than by making him so one-dimensional?
But really, these are minor complaints in the grand scheme of things. People don’t play God of War for the finesse of Shakespearian writing, but for action so big it puts major motion pictures to shame. Well, this game accomplishes that feat and then some. That ride on Gaia is no mere cut-scene, but the first playable portion of the game. Upon taking control of the series’ protagonist, you’ll be on the earth-mother’s arm, hacking and slashing your way through enemies as it tilts and sways. Before long, the camera zooms out to show her fending off watery tendrils summoned by Poseidon, and as she does, Kratos must dispatch foes as he dangles by his blades. Eventually, Poseidon calls upon Hippocampi, powerful monsters with horse-like heads, arthropod-inspired limbs, complete with the body of a serpent. Once it’s clear that Gaia is fighting a losing battle, Kratos steps in. As a result, we’re treated to an epic battle of god vs. demigod.
And that’s just the opening act.
This entire game settles for nothing less than tossing Kratos from one massive set-piece to the next. It was nonstop spectacle at its finest upon its initial release five years ago, and there hasn’t been a game that’s topped it since. If there’s one area this game DID revolutionize in, this is it.
Of course, all the ‘oohs’ and ‘ahs’ would mean nothing if the controls were crap. But the gameplay itself, while not perfect, does a great job of making us feel like an extension of Kratos. When those chained blades are swung with surgical precision, it isn’t long before that feeling of epic badassery swells from within. You’d be surprised how long you can keep the same basic combos rolling off your fingers before they begin to feel tedious. However, to keep things fresh, Kratos earns new weapons and abilities throughout. Some add to the game’s ‘wow factor’ – you can make it rain arrows when in a pinch – but for the most part, there’s only a couple of enemies or puzzles that require their use. Furthermore, your primary blades become overpowered long before the end credits roll, so the other goodies feel more like bells and whistles than essential companions. Still, I can’t say the option to change things up wasn’t appreciated.
After all is said and done, God of War III is the undisputed king of gratuitous action. If you’ve never played this game for whatever reason, now is absolutely the time to buy.
But, what if you’ve already got a last-gen copy sitting at home? It was probably the best looking title on the PS3, so is it worth upgrading?
I’m a huge fan of the franchise, so I, personally, don’t regret spending the 40 bucks. The increased resolution of 1080p adds a touch more in the way of color and contrast, but the best part of this Remaster is its buttery smooth framerate. Not once did I experience a perceptible loss of frames.
That said, I can’t in good conscience recommend a purchase.
God of War III REMASTERED? Gotta love marketing and how it messes with consumer psychology!
This is a port. Nothing more. I know it’s still an arduous effort for the devs – especially since the game was originally designed for the PS3’s cell architecture – but a remaster, this is not.
Nor does it represent great value for its asking price, and ultimately, other studios have offered better. The Halo: Master Chief Collection delivers 4 games – or 5 if you were eligible for Halo 3: ODST – for $60. The Final Fantasy X collection has 2 games for $40. Saint’s Row 4’s port came with all DLC and an expansion for the same price. Even the Ultimate Edition of Gears of War comes with digital copies of the entire franchise… also $40, and it’s a true remaster, at that. So why didn’t Sony Santa Monica go above and beyond for the adventures of Kratos? Ascension could have been ported, not to mention the first couple of games which were already given an upscaled treatment. Hell, even the option to own – a term I use loosely – these games via PSNow would have sufficed. I understand this studio is hard at work on another game, but asking $40 for what’s essentially a straight port is a hard pill to swallow.
In order to justify a purchase, you either have to be a huge God of War fan, or someone who’s never played the third installment… which, to be fair, is the intended target audience anyway. However, if you fall somewhere in-between on the spectrum, you’d be wise to wait for the price to go down a bit at your local retailer.
You’re sitting at your PC, playing the latest game… and that’s when you feel it. The earth shaking beneath your feet. You tell yourself it didn’t really happen, because you live in a part of the world that rarely experiences seismic activity… but you feel it again. More than that, you hear a faint thud, as if in the distance. Tilting your head, you realize things have become uncomfortably quiet. The birds have stopped chirping, and the bugs have stopped buzzing. There’s just… nothing. All you hear now is your breath as you gently allow it to exhale. BOOM. It’s closer now, and a box of cereal left lazily on the edge of the counter falls to the floor. The icy fingers of paralysis – undoubtedly induced by fear – grab hold of your spine, but curiosity compels you to shake its grip and head for the door. Before you know it, you’re standing on your front lawn, looking in the same direction as the rest of your neighbors. You finally see what’s been shaking the earth, and it scares you enough to one again succumb to the grip of fear. It’s… it’s…
ATTACK OF THE REMASTERS!
Read any message board, and this is the scenario people are painting. Why? Because many believe the increasing number of remasters are destroying the industry. People want new exclusive IP’s, they want fresh ideas from third parties… basically, they want everything to be as pure as unicorn shit. They want it all, and they want it now, and there’s absolutely zero room in their plans for games they’ve already played.
Or, you know. Something like that.
Hyperbolic ramblings. That’s what it amounts to. And they’re unfair ramblings, at that.
Don’t get me wrong. I have loads of empathy for those who feel the pangs of remaster/rerelease fatigue, because I feel them myself. I mean, when it comes to the current generation of gaming, take a look at how many titles have been released, or have been confirmed for release in the near future:
Tomb Raider, The Last of Us, Diablo III, Saint’s Row IV, Grand Theft Auto V, Rayman: Legends, Borderlands: The Handsome Collection, God of War III, Halo: MCC, Final Fantasy X/X2, Batman Arkham Asylum/Arkham City, The Walking Dead Seasons 1 and 2, The Wolf Among Us Season 1, Resident Evil, Grim Fandango, Metro: Redux, Dark Souls II, DMC, Ultra Street Fighter IV, Limbo, The Legend of Zelda: Majora’s Mask, and more.
Of course, mere speculation ends up clogging the headlines, too: Beyond-Two Souls, Kingdom Hearts 1.5 and 2.5, the Mass Effect Trilogy, Alan Wake, collections for Uncharted and Gears of War, and hell, Call of Duty fans have even petitioned for a port of Modern Warfare 2.
So yeah, I get it when people say this is the ‘generation of remasters’… but again, is that fair? Should that mindset really determine which video games are allowed to transcend their original platform?
Of course not.
People are certainly entitled to their opinions, but more and more, they’re being presented as demands. Many who say they’re sick and tired of remasters are really saying there’s no place for them in the industry, which simply isn’t true.
The most common assumption is that remasters are hindering the progression of new games. Eh, not really. In reality, a number of these projects are handed off to smaller studios, which is a solid win for everyone involved. The parent company gets to plug away at a new game without distraction, and the studio handling the port gets more experience and exposure.
And speaking of experience…
At the beginning of any given console generation, developers need time to acclimate. Simply put, they’re not going to learn how to fully utilize a new machine on their first go. They’ll do the best they can, but there’s little doubt that certain games weren’t as impressive as they could have been, all because they were subject to that period of transition. That’s one reason why porting an older game to the current generation makes so much sense. It allows developers to sharpen and upgrade their toolset, which in turn helps the next new project become what it should be.
Despite such reasoning, the kneejerk response from many has been, “Pfft. Yeah right. It’s a simple cash grab and you know it!”
Who’s arguing that? Of COURSE it’s a cash grab. Unless the gaming industry has collectively become a chain of charitable organizations overnight, I’m pretty sure that’s the intent behind everything they do. To make money. If spending the time and money to port an old game to a new platform makes sense for them financially, why wouldn’t they?
More importantly, why shouldn’t they?
There are tons of people who never played these games upon their initial release. Maybe they didn’t feel like adding to their backlog, or perhaps they never owned the console they originated from. Either way, they’re more likely to jump into a franchise if they can play from the foundation, up. After all, devs/publishers can’t expect every newcomer to feel comfortable jumping into the middle of a story. Remasters will bring the uninitiated up to speed, and potentially groom them into future customers, at that.
Likewise, returning players can use them as refreshers. Sure, they can play the OG version if they have it, but if there’s a newer, shiner version out there, it’s a viable, if not attractive option (depending on the person).
So… what’s the big stink?
People often overlook the fact that remasters/rereleases aren’t exclusive to the video game industry. Film, for example, has not only asked enthusiasts to double-dip with each successive format, but multiple times throughout each format’s lifespan (you’d never believe how many times I’ve dipped on Evil Dead II). The music industry has also made a point of remastering/rereleasing things at every opportunity. So, when it comes to video games, people need to accept that regardless of their personal preference, there IS a market for this sort of thing.
And those are the key words: Personal preference.
Like everything else, nobody is forcing us to buy remasters. I’ve seen people argue that this somehow punishes the early adopters, but nobody forced them to buy the original release, either. Even casual gamers understand that prices drop quickly, and special editions with more content will be released in time.
Simply put, it’s up to us to weigh our options and decide how to spend our money.
If you don’t feel like double-dipping, then don’t. If you’re sick of remasters, don’t buy them. It’s that simple.
If, however, the prospect of remasters tickle your loins, it’s worth noting that every rerelease is not created equally. Some are rushed out the door with little more than a higher output of resolution and framerate. Others are given a smidgen of polish. A select few are given major overhauls. What’s worth your time and money? That’s up to you.
The simplest advice I can offer is this: Weigh your love of a game against how extensive the porting process was. If a title didn’t manage to swoon you the first time around, a masterful, technical boost isn’t going to make it any better. On the opposite end of the spectrum, if there’s a game you’re absolutely nuts about, then even the most minute changes in detail will probably be worth the price of admission…
That’s the thing with most console remasters/rereleases: They’re just not appropriately priced. Last generation, we’d routinely get 2, 3, or even 4 games at a discounted price… but now? With 4 games under its hood, I feel the Halo: Master Chief Collection justifies its $60 asking price, but that’s an exception to what’s otherwise become the rule. It can be argued that porting these games takes valuable time and resources, but that doesn’t explain why a single year old title should cost $60 (Grand Theft Auto V), or why a five year one should cost $40 (God of War III). Money is the reason, of course, but I’d imagine lower prices would help ease hostility towards remasters, increase units sold, produce longer term interest for any given franchise, and possibly inflate sales for whatever sequels follow in the coming years.
But again, the choice is yours. You can buy these games, or not… but keep in mind that just because YOU’RE not interested in remasters, doesn’t mean there isn’t a place for them in the market. Trust me: If remasters/rereleases prove to be a financial bust, they’ll go away. If they do well, they’ll thrive. That said, our job as consumers is to decide for ourselves, and NOT for everyone else.
I didn’t get to play this game until months after its release, and not for a lack of interest. No, my poor PS3 had died in 2012, and with a kid at home and all, it was difficult to acquire the funds for a replacement. It’s a good thing I waited though, because I was able to nab the God of War (red) edition of the PS3, which included the God of War Origins Collection (the two PSP games via download voucher), God of War Collection (God of War 1 and 2), God of War 3 and God of War Ascension. The console itself came with a 500gb hard drive, and I got it all for the sweet price of $300. Yep, it was a sweet, sweet deal (steal?).
Yes, I’m a die-hard God of War fan. I know many regard it as a mindless button masher, but is that necessarily a bad thing? It’s infantile to dismiss an entire genre, based solely on its gameplay style. What matters most is how well the devs take advantage of that gameplay, and when it comes to God of War… it works. BOY does it work. For a ‘mindless button masher’, it’s offered some of the most action set-pieces gamers have ever seen. Even if you’re not a fan of the franchise, you’d be a fool to deny as much. I mean, entire levels played out on beasts that were larger than mountains, and you were tasked with taking them down. Granted, controls for God of War were nothing special – as they mostly required you to endlessly beat your attack buttons – but nobody has ever used such a simple mechanic with such satisfying results. God of War and the sequels it spawned were all pinnacles of the ‘mindless action platformer’… and for a franchise that only demands you turn off your brain and enjoy the ride, nothing has ever come close to surpassing it. You want to talk about a killer app? God of War helped move more Playstation 2’s than a guy who got arrested for beating a prostitute moved Sham-Wow.
That being said, I was highly skeptical of God of War: Ascension. God of War III was a spectacular action platformer that was backed by insane visuals, and it finally completed Kratos’ trilogy of rage. Knowing full well it would have been downright silly to further a completed plot line, the devs wisely decided on a prequel. Now, I wasn’t against the idea of a prequel per se, but I was convinced they wouldn’t be able to top the action from God of War III. After all, that was Kratos’ endgame, so it wouldn’t have made sense for this game to feel larger in scale. So, where this game really needed to excel was its story. Unfortunately, it failed to deliver.
Why? There’s a missed opportunity here, for starters. As an origin story, we really should have started amidst the battle where Kratos’ army was slaughtered to no end. We could have fought our way through the madness as men all around us were being skewered and dismembered, until Kratos finally decides to offer his services to the God of War. But no, the story begins AFTER Kratos has killed his family, cursed to wear their ashes on his skin forever. What’s the point of having a prequel then? I don’t think I’m the only one who hoped to play through Kratos’ origins, and I’m honestly shocked that the devs missed such a golden opportunity.
Anyway, at the beginning of our tale, Kratos still shows signs of humanity – He’s confused and conflicted, and his destiny isn’t quite set in stone just yet. He could forge his temper to a manageable point, or he could give in to the rage that’s swelling inside… we obviously know which path he’s chosen. The seeds of revenge have already been planted, and their vines – as black as night – are beginning to sprout and corrupt his soul. Kratos has already made the decision to break his oath to Ares, and the Fates – quite possibly the most disappointing villains in the franchise – have imprisoned him as a result. Kratos breaks free and sets forth on a quest to ‘put down’ the Fates so they won’t be able to intervene in his assault against the Gods. It’s a decent setup, but getting from point A to point B feels empty, somehow.
The Fates are the ultimate tipping point for Kratos, pushing him from a man betrayed to a man blinded by his anger, but I didn’t see this play out with natural progression. More often than not, it feels like Kratos is getting angrier ‘ just because’. Furthermore, other than the weak ‘Fates holding Kratos captive’ storyline, there’s literally nothing to bridge this adventure to the big picture. It doesn’t add anything, or do much to preface the things to come.
So, the action doesn’t top III, and the story seems like an insignificant one-off, much like the PSP titles. None of this really comes as a surprise however, but that’s precisely the problem. The devs really shouldn’t have pushed forward with another installment unless they COULD surprise us, but they did anyway because they had to milk their money maker. Don’t get me wrong, I’m not saying that Ascension is a BAD game, because it’s most certainly not. The fighting gameplay feels familiar, if not identical to what we’ve been treated to previously… which isn’t a bad thing. As I said before, if it works, it works, and in God of War’s case it most certainly does. The devs added some switchable powers for Kratos’ blades, all of which harness unique abilities. They’re mostly useless, except for fire, but I definitely appreciate the options. Also, a big addition to the series was the use to manipulate objects through time – Come across a bridge that’s been demolished? Use this newfound ability to have it go back in time, until it’s reconstructed itself block by block. This comes into play with more than a few puzzles, and it’s always fun to experiment with. Last but not least, the game offers some jaw-dropping set-pieces. It’s expected at this stage of the game, and I was actually impressed that they were able to deliver something that felt fresh and new – the large mechanical snake ride through the skies and mountains comes to mind – while continuing the tradition of massive monster battles. Still, when compared to the likes of God of War II and III, most everything else is forgettable. Even the new time-shifting gameplay mechanic, as cleverly implemented as it was, isn’t new to gamers. Hell, Prince of Persia did the very same thing some years back, and other franchises years before that.
Despite all my bitching, I’ll say it again – God of War: Ascension is a decent game. If you’re a fan of the God of War style of gameplay, then you’re going to enjoy most of what this game has to offer (outside of the story, that is). Personally, for me, it’s the weakest game between the PS2 and PS3 iterations, but I’m still glad I played through it. It didn’t knock my socks off, nor did I want to claim it as ‘game of the year’, but it was still God of War, through and through. Here’s the only caveat – If you’re unfamiliar with the franchise, don’t make this game your introduction. Do yourself a favor and pick up the God of War Saga collection, and start from the beginning, working your way through. Once you have an appreciation for the series and all it has to offer, Ascension will likely become more enticing.