In 2010, Enslaved Odyssey to the West made its entrance onto the gaming scene. It wasn’t the most challenging game out there, nor did it bring with it a defining gameplay mechanic, but Enslaved had something that made it stand out: the heart showcased by its characters and engaging story. Just like the recent Black Myth: Wukong, it takes inspiration from Chinese tale Journey to the West, and it’s a story that explores the themes of fear, loss, cooperation, and the changing nature of relationships, which is made all the better as central characters Monkey, Trip, and Pigsy interact with each other so well.

Revisiting Enslaved Odyssey to the West 14 years after its release, and the last time I played it, made me consider whether I’d been seeing the game through rose-tinted glasses. If we really want to be reductive, Enslaved Odyssey to the West is an escort mission spread out over eight hours. At the start of the game, Monkey and Trip, who do not know each other, escape from a slaver’s airship, crashing down into the ruins of our civilisation. The name of Enslaved comes from the very literal enslaving of Monkey by Trip. While Monkey is out cold, Trip crowns him with a slaver headpiece, which allows her to give him commands. It also links the two, so if Trip dies, Monkey dies. Trip is out in the real wider world for the first time, and in her first interaction with Monkey, she saw a musclebound man chasing and shouting at her.

Trip doesn’t enslave Monkey to use him as a tool, but to guarantee her own safety as she finds herself in the company of a man who could quite easily cause her serious harm. She doesn’t know his intentions, and this is the only way she feels that she can be safe. Of course, Monkey is unhappy with the situation but soon accepts his fate and works with Trip to get her home. The story doesn’t follow a typical master and slave theme though. In most situations, Monkey is in charge and takes control, often having to order Trip around to move to places or carry out tasks. There are times Trip makes requests, but they are given as general instructions and not orders.

Despite, the name and the situation, both Monkey and Trip learn that the only way they can survive the world is through cooperation and partnership. The fall of our civilisation is not outright explained, as it happened a couple of hundred years ago, and neither of the two main characters are sure. What we can surmise from all of the mechs running around is that these robots were used in war and either turned on humans or were programmed to turn on them, which led to the majority of humanity being killed while some survivors created smaller enclaves or roamed alone, trying to survive in a world where danger lurked.

It is these dangers that the two navigate, Monkey through combat and Trip through her technical knowledge. She is the one Monkey relies on to operate controls and cause distractions, as well as upgrade his gear, while she relies on Monkey to keep her safe from the mechs that attack. They both later come to rely on Pigsy, who enjoyably looks like a pig and acts like a pig as well, to help them. Pigsy has his own goals but is happy to lend his services, though not without almost getting Monkey killed on purpose and hitting on Trip, who at this point has just found her father dead. Pigsy is portrayed as unlikeable, but at the end of the game he makes a big sacrifice for the others. In his standalone DLC, again Pigsy comes across as an idiot and braggart, but enjoys some character growth as he learns that he had what he needed by his side all that time.

Returning to the combat, and it is very basic compared to the games that have followed in the last 14 years. Enemies attack in small groups, with Monkey wielding a staff that can stun and destroy enemies through melee attacks, or firing plasma. There are a few enemy types and most are easy to take down, and the majority of the boss fights, while entertaining and set in interesting arenas, are quite repetitive as well. Even navigation is straightforward, with climbing points literally glowing and really not possible to miss at all taking away any challenge of finding your way. The camera is janky too at times, moving so focus on enemies is lost, letting them disappear off screen and attack from range. Yet, none of this takes away from the game’s charm. The world and the characters are in some way relatable, each going through their own development and growth. Monkey from a gruff loner to someone who stands up and fights for those by his side, Trip from a scared, lost, and unsure person to having more confidence in her abilities to be able to survive the world.

The final showdown at Pyramid also poses an ethical question: what is the nature of real life? We find that those who have been captured have not been enslaved but placed in a simulation to live lives from the old world, instead of having to survive in the harsh reality of its ruins. Monkey glimpses this world and calls it beautiful, but Trip destroys it all before asking if what she has done is right? We will never know as there is no sequel coming, but a big part of it would have been the fallout from Pyramid’s destruction. You suddenly have hundreds of people yanked from a reality where they had families and friends, and shoved back into the harsh fallen world. This could lead to mass mental trauma and PTSD as people grieve those they have lost, and may no longer be capable of surviving. However, it can also be argued that these people were enslaved to an idea that no longer existed and needed to be pulled out so they could build a new world.

Enslaved: Odyssey to the West is still worth a playthrough now, both for those who played it way back, and for those who have never experienced it. You will come away from the game having enjoyed yourself and a bit let down that plans for a sequel were cancelled.

Each week Sony brings PlayStation 4, PlayStation 5, PlayStation VR, and PlayStation Plus owners new content, add-ons, games, and more. Here is the complete global PlayStation Store update. PlayStation LifeStyle catalogs the PlayStation Store updates for the major regions across the globe. Check back every Tuesday to keep up to date with each week’s PlayStation Store Update.

North American Update

August’s PlayStation Plus Essential Lineup

• Ender Lilies: Quietus of the Knights (PS4)
• Five Nights at Freddy’s Security Breach (PS5, PS4)
• LEGO Star Wars: The Skywalker Saga (PS5, PS4)

PSVR Games

• Horror Adventure (PSVR2)
• Horror Adventure : Zombie Edition (PSVR2)

PS4 & PS5 Games

• Axe Ace
• Baby Boomer 2: 35 Years Too Soon PS4 & PS5
• Black Myth: Wukong
• Cafe Master Story
• Castaway
• Cat’s Request
• Crazy Goose Simulator
• Dadish 3D
• DUSTBORN
• Friendly Fire
• The Great Fleece
• House of Golf 2
• HUNT: SHOWDOWN 1896
• Hypermarket Simulator Empire 2024
• Lunar Nightmare
• Murder Is Game Over: Streaming Death
• Mute Crimson DX
• Overboss
• Parking Masters
• Phantom Spark
• Pilot Flight Simulation PS4&PS5
• Pneumata
• Rewind or Die
• Rooftop Rascal: The Midnight Cat
• Sam & Max: The Devil’s Playhouse
• Space Explore (PSVR2)
• Street Survival: Homeless Simulator
• SunnySide
• Tiny Pixels Vol. 1 – Ninpo Blast
• Tiny Whaley 2
• Tower
• Tower Hover
• Tribe: Primitive Builder
• Truck Simulator Cargo Driver 2024 – EURO
• Turn to Mine
• Vikings Pinball
• Visa Control: USA Border Simulator
• White Day 2: The Flower That Tells Lies – Complete Edition

Next Page: European Update

The post PlayStation Store Update Worldwide August 20, 2024 appeared first on PlayStation LifeStyle.

I recently had the opportunity to visit Firaxis Games studio in Sparks, Maryland, where I got to learn more about the studio behind the monumental turn-based strategy franchise as well as get a few hours of hands-on time with the upcoming Sid Meier's Civilization VII. It was great to see such a passionate team of developers pridefully showcase the next installment in the beloved franchise. As a Maryland native myself, I've always felt like Maryland game studios simply do things differently, and in a good way. And my roughly three hours of hands-on playtime with Civilization 7 only furthered that sentiment.

History Comes in Layers

Creative Director of the Civilization franchise, Ed Beach, has been at Firaxis Games for over a decade. He kicked off our hands-on preview by telling us about the vision for Civilization 7. Instead of just making "another Civilization" game, the team instead chose a new element of focus: History Comes in Layers. Beach described this vision as akin to what we see in historical locations throughout the world. As new empires laid claim to various settlements and cities throughout the world, they would often simply build over what used to be there, still leaving behind remnants and glimpses of the past while replacing it with new ideas and technologies.

To create that same element of building on the past—history in layers—Civilization 7 features an all-new three-stage Age system: The Age of Antiquity, the Age of Exploration, and The Modern Age. A full campaign in Civilization 7 will expand across these three ages, allowing the player to change their Civilization at the start of each new wave. Oh, and for the first time ever, players will be able to choose their Leader separately from their Civilization at the start of the game. That's right, you can lead an Egyptian empire as Benjamin Franklin.

The four classic Legacy paths will remain throughout each Age. That is Science, Economics, Culture, and Military, which are the victory conditions traditionally available in Civilization. The choices and actions you make in each Age will decide which civilization you can change to as you transition into each Age. So while you may start off as a culture or science-focused civilization, if you find yourself engaging in a lot of wars due to pesky neighbors you may end up unlocking a more war-driven civilization when you reach the next Age.

It almost feels as if each Age will be sort of its own contained game inside a bigger overarching one. That being said, in my limited hands-on time I only got to experience the Antiquity Age, so I never got to see what civilizations I unlocked based on my actions.

Sprawling cities

The History in Layers mantra of Civilization 7 really shines through the progression of your cities as you advance through the game and build up your city. Builders are no longer a unit in Civilization, nor are the pre-defined districts you could build in Civilization 6. Instead, you will have Rural areas that feature the improvements you make to the nearby city, while Urban districts allow you to build up to two buildings per hex.

Of course, the visuals of the city will change as you plop down these new entities, molding your city into its ultimate vision as you continue to add and build upon it as it spreads outwards. Because my hands-on time only explored the Antiquity age, I didn't get to see what sort of changes would happen when moving towards a completely different civilization, but I can only imagine it will further enforce History in Layers.

Another big change that I actually found really promising is that you can choose to keep a Town as a Town, rather than progressing it into an actual City. Doing so allows you to give the town a specific specialization, granting it buffs while focusing on a specific task. For example, a Mining Town will get production bonuses while a Farming Town will get bonuses for food production and growth.

You can then use these towns, and the Luxury Resources surrounding them, to funnel back into your city and boost it even further. It's a unique gameplay loop on expanding which is a big part of Civilization, and I'm excited to see what players who are much better than me end up doing once they've gotten a hold of the new system.

Combat is all about Commanders

Another big change is how Military Leaders, and more importantly experience from combat, work in Civilization 7. In previous entries in the franchise, each unit gained experience after combat. You could then train or purchase various generals that would provide buffs when near certain units, but they would not gain experience.

In Civilization 7, basic combat units no longer get experience. Instead, Commanders gain experience based on the combat performed by units around them. Through experience, they will level up and gain access to buffs that are also then applied to the units around them.

Furthermore, you can link or stack units into a Commander, move them across the battlefield as one single entity, and then deploy the units as necessary on the frontline. It's actually a massive change to how combat will work in Civilization, and as someone who is a more casual enjoyer of the series, I found the change to be a good one both from a quality-of-life perspective and also in terms of gameplay.

I typically often go more into Culture, Science, or Economics when I play Civilization, simply because I've never been a huge fan of the combat. But in the campaign I played, despite choosing an economic culture-favored civilization, I found myself really getting into the combat and for sure would have transitioned towards a military-favored civilization had I reached the next age.

A Promising Step Forward

With a game like Civilization, three hours is certainly not enough time to get a full grasp of the game. In fact, for a casual Civ player like myself, I might have only been halfway or so into the first of the three Ages. But the systems and elements I did get to experience—the new combat experience and Commanders, mixing Civilizations with Leaders, specializing Towns, or turning them into cities—all felt like solid meaningful changes to the Civilization franchise.

In the end, this is still Civilization. The same historical immersion and strategic depth we've come to expect from the turn-based strategy game across its many many hexagons are still very much front and center. But instead of just pushing out a prettier Civ game, Firaxis Games seems to be walking the perfect balance of adding new, impactful features and systems while being careful not to disrupt the Civilization formula that many have come to love over the decades. This was certainly a hands-on experience that left me pining for more, and I can't wait to try some crazy Civilization and Leader combinations to rewrite history in some fun ways.

Sid Meier's Civilization VII is set to release on February 11, 2025 on PC, Xbox One, Xbox Series X|S, PlayStation 4, PlayStation 5, and Nintendo Switch.

Note: I also had the opportunity to interview a couple of developers from the Civilization 7 team at Firaxis which will be going live tomorrow. I asked some development questions, as well as some fun ones like their favorite leader/civ combos, so keep an eye out for that!

The post Hands-on Preview: Sid Meier’s Civilization VII appeared first on Destructoid.

This morning is yet another where we have woken up to the news that the far right continues to riot across the UK, and it is anxiety inducing. For the first time in my 35 years of life, I feel, like many other, unsettled in the country we call home. Disinformation, dishonesty, and dishonourable acts have led to the violent disorder perpetrated by a loud, violent, minority, and it is time that there is a reckoning against all of this.

Growing up, I was told by my family members who were born here in the 60s and 70s, of the violence they faced due to groups such as the National Front, and after decades of hard work to stamp this prejudice out and make our society more equal and equitable, it seems that we are sliding back to those dark times. To see the reports of the far-right and – let’s not beat around the bush here – of racists co-opting a tragedy as an excuse to attack anyone who is not white is disgusting and rage inducing. But we did not get here in a vacuum.

For years, we have seen traditional media, social media, and algorithm-led platforms pushing far-right figures to the fore on a regular basis. This is despite warnings from individuals and groups that doing so emboldens these figures and spreads their message. Challenging them in the social media space does not work, especially if some of those spaces are owned by those that agree with such views. I point to the traditional media groups, both broadcast and newspapers, that have have barely challenged far right talking points, and instead used them to validate their own messages instead. We have seen headlines from the likes of the Daily Mail and The Sun constantly attack those from non-white and non-Christian backgrounds, fuelling hate.  Even the likes of the BBC have not helped in this matter, platforming Nigel Farage a record 32 times on Question Time under the pretence of providing balanced opinions, while ITV featured him in I’m a Celebrity… Get Me Out of Here!, which might have made him seem more affable to some.

All of this has led to massive changes to our society, most significantly propelling us toward Brexit, and now in the most recent General Election, to Reform snatching 14% of the vote, and attracting members of the far-right to it in the process. Even now, reporting on the riots is still being framed as protest across the media landscape, conflating legitimate protest with actual violent disorder and thuggery. Every single reporter and editor in our media should have a frank and open discussion on how they report on issues that affect people from minority backgrounds, and how their reporting over the years has fuelled what has now happened, instead of acting surprised at the result. Will it happen? That is unlikely.

Our politicians have not helped either. Over the last 14 years, all we have really had is culture wars and divisive politics. Asylum seekers have been othered by the very highest of offices, and now are under violent attack. What is worse is a lot of this rhetoric has come from people who are from minority backgrounds, pandering to the far right for a grip on power. They think that moving even further right will get them in the top jobs again. The reality is that once the far right is done with them, they will be discarded and grouped in with the rest of us as an other. Social media is also to blame, allowing constant disinformation to spread faster than the truth and featuring algorithms that push far-right content. On my own Facebook feed I am constantly shown posts from such groups even though I am not a member of any of them, nor do I want to see them. Social media companies need to be held to account and disinformation needs to be stamped out at the source.

Reversing this trend will take a huge amount of effort, and our education system has a large role tackling the narrative that people from minority backgrounds are only recent arrivals to this country or that they are not British. The British Empire lasted hundreds of years and saw people from all over move across it. The first Indian MP elected to the UK Parliament was Dadabhai Naoroji in 1892, something that is not taught in schools. Britain has been quick to show pride that it was the leader in abolishing slavery, while not giving credence to folks like Ottobah Cugoano, Mary Prince, Olaudah Equiano, and Ukawsaw Gronniosaw, all of whom are Black Britons that lived during the 18^th and 19^th centuries. Our education system skips over Empire, ignoring the hard truths that at one stage in this country’s history there was a huge dark period that saw millions suffer, while a few benefited.

We have to remember that the far-right is loud and often violent, but it is a minority. That lesson needs to especially be learned by those that platform them regularly. Even though they are a minority, the far right has to be guarded against and pushed back against over the long term. This morning I signed up as a member to ROTA – Race on the Agenda and Amnesty International Anti Racism Network, to better educate myself and to get involved in ways to counter the racism that perpetuates across our society. I would ask that, if you are tired of racism rearing its head again and again, you do the same.

A final thing in case any disinformation is spread by the far-right about me. My family settled in the UK 70 years ago. I was born and raised here. I work full time. I come from a Punjabi Sikh background. I am British.

Over the last year or so, I’ve inexplicably joined the ranks of people collecting big, bulky vinyl soundtracks. Albums are enjoying their second coming in a mostly digital era, and initially, I picked up a few with the sole intent of hanging them on a barren bedroom wall. Yet somehow, somewhere along the way, I wound up with a record player listening to the Silent Hill 4 soundtrack. It gives me a sort of haunted, pinky-out ambience.

Anyway, I’ve got no technical reason for it. My vinyl expertise doesn't extend beyond 'that sounds good' or 'that sounds bad' — and I don’t own any albums that could fund my retirement or make them worth all the fuss. Really, I just like how holding the unwieldy discs feels, and I'm especially into the ones that look a bit like vintage splatter art. I like looking at the sleeves, blowing away the dust, and using a medium society had long aged out of by the time I was born.

A lot of people making games seem to share that sentiment, too. I recently spoke with Sabotage Studio president and Sea of Stars creative director Thierry Boulanger, who seems inspired by what drives us to revisit those little rituals with older media. In the interview, Boulanger offered Destructoid a peek into the studio’s process. It's a look into making something both new and retro, maintaining integrity between mediums, and how you decide where Yasunori Mitsuda slots into all of this. 

It’s all about touch

“From the get-go, it was a must,” said Boulanger, in reference to the decision to give Sea of Stars the retail and vinyl soundtrack treatment. The studio released its first game, The Messenger, in the same nostalgic vein back in 2018. They were already familiar with the path to getting something tangible made, and with Sea of Stars, Boulanger says it was always part of the plan. 

“We want there to be intent in everything that we do. We don’t wanna just move plastic. It’s not so much about the units. It’s that we make something people want to touch, they want to own, they want to be able to keep. They want it to exist in their lives, more than the abstract, digital part of everything.” 

The holding, the touching, that’s all part of the retro experience for plenty of enthusiasts. It’s, mostly, a good-intentioned longing for different times or something comforting and familiar. For me, it usually boils down to some combination of childhood favorites and just wanting something a little simpler to manage. However, working within the limitations of yesteryear doesn't merit praise by default, despite what my nostalgia insists, and by no means is the process truly easier.

Sea of Stars gets that, I explained as much in my review, but eschewing what’s needlessly obtuse doesn’t detract from recreating classic RPG designs with modern sensibilities. The limitations, however, still exist when you move between mediums  — like making the jump from a limitless digital library to the more restrained, plastic discs.

Sabotage’s Iam8bit vinyl collaboration is a 2xLP collection, so it doesn’t contain the entire, hefty 200-song tracklist from Sea of Stars. Instead, it has to work as a sampling representative of the OST’s best pieces, capturing the work of composer Eric Brown and his legendary collaborator, Yasunori Mitsuda of Chrono Trigger and Xeno-series fame, in a curated format. It’s a gauntlet of bangers already made within a limited framework, and for the vinyl, they’d have to be culled again. 

“In capturing retro, we do like to work with the limitations because we sort of aim for the type of experience or the type of things that emerge from really harsh boundaries,” said Boulanger. 

“So, any track has to be a two minute loop maximum. You need to have a hook in there in like three sections, you know? You can't do this drawn-out intro into a symphonic thing that just goes on. So it's, it's less of a score and more of a classic soundtrack there. But since we don't have the memory limitations of a cartridge, then we can do as many tracks as we want.”

For Sea of Stars, that meant any important cutscene could have “bespoke audio,” leading to its whopping 200 tracks. It’s not the usual setup for many of the games that inspired the RPG, so that meant the vinyl would get picky. 

“The first thing we did was [say] ‘okay, we’re doing 2xLP, right? So, we’re gonna save one side for Mitsuda, because this collaboration is straight-up legendary.” Boulanger laughs describing the process, but that harsh curation left to the rest of the soundtrack was important to get Mitsuda’s 12 tracks on the physical album. 

From there, Boulanger and Brown worked to sample a selection of its more iconic themes into something that could flow outside the larger, digital collection. They needed the basics, like the town and battle themes, but Brown was left to much of the curation process to ensure the round-up was not only representative but balanced. 

“Eric also put care into the idea of the listening experience, trying to pace everything properly. Of course, you want all the heavy bangers, but you also want to sometimes take a bit of a break. So we feel it flows really nicely, but it was really something [of a process] because when you're doing digital, you're kind of boundless, right? You can just do however much you want to do.

And this kind of brings it back to now, ‘but what if you distill your idea?’ It forces you, it puts you in this mindset of like, ‘what's the nugget? What's the, the crystallized form of it that's concise?’ It was a super fun journey to do that, even though it was a bit hard.”

Moving with purpose

I describe my own recent affinity for vinyl with a bit of annoyance. If anything, I’m mostly embarrassed to be so sentimental about just stuff. I’ve already got an untameable retro collection of cartridges, discs, and guides eating away at a finite amount of closet and shelf space. But there’s comfort in holding something, purposefully removing the cartridge, or smashing a physical reset button. It compels me into keeping a sea of N64 games. 

If anything, Boulanger’s enthusiasm for that sensation offers a far kinder look at the type of person hoarding a stash of CDs to unlock creatures in a decades-old PlayStation game. 

“There is this understanding, there is a commitment to being in the moment. If you're just playing some playlist on Spotify or whatever in your Bluetooth speaker, it's like, yeah, you just go back 10 seconds to keep getting the dopamine hit of your favorite spike in the melody, or you hit next the second you're not like 100% vibing with the current track or whatever. 

Whereas when you have a vinyl, it's kind of like, in a way,  it's a presence. It's not just a thing that you consume. And just all the steps that you have to do to even get it to play, I feel like, your entire body understands that you are committing time to listening to music more mindfully.”

It’s a process he sees as almost meditative, or at least shares roots with the grounding, purposeful steps involved in physical media. While there’s no shortage of stories from the director rooted in childhood nostalgia that leads to the creation of games like Sea of Stars, he seems just as compelled by the little processes. “For me, a vinyl is that, I’m going to actually sit down and listen to music. Not on the side, but that's my activity this afternoon, I want to listen to music fully.”

I grew up using CDs, but I’m incredibly nostalgic for the physicality of the whole playing-a-record process. It’s certainly far more cumbersome to pull out the Silent Hill 4 vinyl and listen to 'Room of Angel' on a device drastically bigger than my phone, but I just brood better that way. I’m more emotional.

Ultimately, there's always a more critical read of my desire to buy another SNES game at a pawn shop or order more pieces of plastic to stack on a shelf, and I get it. I don't necessarily need every piece of digital media I own as a tangible, physical item, but there's value in that very purposeful, involved way an old concert or vinyl setup makes me interact with it. It's certainly a commitment, as Boulanger described, and in the attention economy where focus is a constant struggle, I appreciate the occasional game or album that demands I slow down.

Sea of Stars launches its retail edition worldwide today and is available on PlayStation 4, PlayStation 5, Nintendo Switch, and Xbox Series X. The exclusive edition with a retro game manual, digital game soundtrack, poster, and other collectibles launches in Q2, 2024. The 2xLP vinyl soundtrack is available for pre-order now and is scheduled for release in Q3 2024. A digital download code with the full soundtrack is included with the vinyl.

The post Sea of Stars creative director talks crafting physical game releases and our craving for the tangible appeared first on Destructoid.

The origins of Tales of Kenzera: Zau are unusual. It’s developed by a new studio called Surgent Studios, which was founded specifically to make this game not by a game designer, but by a voice actor.

Abubakar Salim is perhaps best known as the voice of Bayek, the protagonist of Assassin’s Creed: Origins. Following the death of his father, Salim sought out a way to deal with his grief through fiction. Thanks to childhood memories of playing Genesis games with his father, video games became the medium in which he chose to tell his story. Surgent was born, and with it came Tales of Kenzera: Zau.

This backstory is important to understanding what Tales of Kenzera: Zau is all about. Much like the real-life inspiration, the game focuses on someone dealing with the loss of his father. Zau, a shaman within the fictional land of Kenzera, is devastated by the recent passing of his Baba. Out of desperation, he calls upon Kalunga, the god of death, to bring his father back. Kalunga issues a challenge to Zau: seek the three spirits of the land and solve the associated trials, and he will grant his request.

Each of the game’s acts focuses on the quest to find one of these spirits, and along the way the spirit’s story echoes Zau’s own struggles. They each exist to impart a little wisdom on how to deal with the tough emotions that come with losing a loved one. It feels a lot like a series of fables, each designed to pass on a lesson. The setting adds to this feeling, inspired by folk tales from Salim’s Kenyan heritage, told to him as a child by his father.

From the description of the story, you’d be forgiven for thinking this was a pure visual novel or adventure game, focused mostly on story. Instead, Tales of Kenzera: Zau is a Metroidvania, inspired heavily by Ori and the Blind Forest. This influence is heavily present, with fast movement and abilities that gradually culminate in Zau being able to traverse the world as if the floor was made of lava. Which, to be fair, in some parts of the game, it is. There are even large-scale chase sequences, clearly inspired by similar sequences in Ori and the Will of the Wisps.

Moving around Kenzera is a joy. You get a double jump and a dash right out the gate, along with two modes of combat, based on which shaman mask Zau is wearing. Wearing the Mask of the Moon gives Zau a projectile attack and a quick melee move that can be enhanced to bounce projectiles back to enemies. The Mask of the Sun is a pure melee build, where Zau has a short combo of light attacks or a juggling heavy attack. You can switch masks with the press of a single button, and every part of combat feels fluid and responsive. It’s so fun that it did disappoint me there was no style meter like in Devil May Cry, because it absolutely feels like it could use one.

Platforming is also a blast, with each area built as a series of parkour obstacle courses. You’ll hop off walls, air dash over dangers and slide under low-hanging door frames. Each new ability you get adds to this, with a grappling hook, a directional dash, a glide and a way to turn waterfalls into new walls to jump off. Most of the game involves you dashing through platforming challenges that feature a natural flow that’s incredibly satisfying to pull off.

There are issues with how all this comes together, however. Some combat challenges, particularly late in the game, rely too heavily on bombarding you with enemies that require specific strategies to defeat. Trying to concentrate on one tactic for one enemy often leaves you open to attacks from another, which does occasionally get tiresome.

Progression is also a little too linear. Metroidvanias typically have a sweet spot between linearity and open-endedness. While I’ve recently criticised Biomorph for being too open, Tales of Kenzera swings too much in the opposite direction. You are often on a fixed path for most of the game, with many of the typical genre concessions focused on one or two extra collectibles within a given area. While it was not generally an issue because of how much fun the game is to play, it did remove a lot of the fun of exploration. Mostly because it barely existed.

There are also occasional moments when controls aren’t quite as fluid as they could be. While most games will allow you to hold a direction as a cutscene is coming to an end, allowing you to get moving immediately, Tales of Kenzera does not, leaving multiple moments where Zau simply didn't move. The automatic ledge grab can also sometimes get in the way while navigating tight spaces, particularly when breaking through walls in later parts of the game. Whether this was a quirk of the review copy that will be fixed for the final release remains to be seen.

However, these flaws end up being forgivable for how deeply personal this game feels. There’s a moment at one of the game’s various meditation spots where Zau reflects on the last night of his father’s life. Unsurprisingly, Abubakar Salim voices Zau himself, and in this moment, it feels like he is recounting his own father’s final moments. The performance is powerfully raw and intimate, like he’s confiding in us during a quiet moment. Salim built an entire studio to make this game, all to deal with the grief of losing his father. While the game may have some flaws, moments like this show the passion behind the whole project. This game is not only a success for its creator to deal with his own emotions, but to hopefully help anyone else dealing with similar circumstances see themselves in Zau’s struggles.

Tales of Kenzera: Zau is a beautiful little game. Fun platforming and a setting we rarely see in games both support a genuinely moving story of grief. While it is a game about the acceptance of death, it’s also about the joys of life. And just like life, it’s a little rough around the edges and can be frustrating, but ultimately worth it.

Tales of Kenzera: Zau will release on the PC, PS5, Xbox Series X, and Switch on April 23, 2024.

The post Review: Tales of Kenzera: Zau Is a Deeply Personal Metroidvania appeared first on Siliconera.

Within any traditional Final Fantasy XIV party, there are three roles to fill: one Tank, one Healer, and two DPS in a light party or double that in 8-man groups. For a long time, I checked that last box as a strictly DPS-only player. It wasn't until years into my adventures that I'd stray from my comfort zone, thrust headfirst into tanking.

I’ll never forget my first proper tanking experience in FFXIV. My FC (Free Company) mates at the time, whom I will honestly never forgive but always be grateful to, insisted I give the role a try. They promised to go easy on me and promised I’d be fine. Reluctantly, I agreed. I was among friends; it couldn’t be that bad, right?

Wrong. But before we get into that, let me explain something. I had tanked before, but never with actual people. I’d clawed my way through the levels using Duty Support and a seemingly never-ending list of side quests and, eventually, by avoiding people in Eureka, the Bozjan Southern Front, and Zadnor. My Tank Job, a Paladin at the time, sat comfortably at level 80, and I was happy never to never reprise the role until the call of peer pressure.

Then, the leader of our ready-made light party dropped us directly into Paglth’an. Honestly, it’s one of my favorite dungeons of all time now, but back then it was a horrifying hellscape that I was quite happy never to visit again. When I tell you that I tanked that dungeon while screaming both internally and externally, shaking like a leaf and almost hyperventilating, I am not exaggerating. It was, in equal measure, the most enlightening and terrifying experience I’ve ever had in FFXIV. I was horrified at the thought of leading the party in that way.

For a while, I refused to jump back onto Paladin. I never wanted what felt like so much responsibility again, at least not with other people who would need to suffer through my mistakes. But then I saw the blasted Amaro mount, the reward for reaching level 80 in each class. 

The Amaro is, to this day, my favorite mount. I call mine X-Wing and it ties me irrevocably to the one main story character who has touched me most deeply in my journey throughout Eorzea — Ardbert.

So, of course, I had to have it, and that meant I had no alternative but to pick up a sword, axe, and gunbladeto get there. This was the start of my deep dive into tanking, and through this, I’ve become a tank main. I overcame that miserable tanking anxiety, and it wasn’t easy, but it’s taught me so much. Mostly thanks to X-Wing, but helped along by the tank titles and rewards. They gave me something purposeful, something actionable I could work toward to feel a little proud of the baby steps there.

I threw myself in with full force, learning a laundry list of important MMO skills — like the importance of frank communication. I lost count of the number of times I immediately announced that I was new to an instance, asking for a little patience and grace. Sometimes people just dropped without saying a word, which I understood to mean they didn’t want to play with a rookie tank. I can’t say I didn’t take it personally at times, but I pulled up my pants and gave myself a pep talk while we waited for a replacement.

Most of the time, though, people were unbelievably understanding. They’d give tips, tell me I was doing a good job, and help me along the way. It’s this kind of behaviour that kept me going. It’s also this kind of behaviour that drove me to become a mentor, to help others with those same anxieties.

When I met my fiancé, I strove to help him try other roles one and only Job — Summoner. Not against his will, I should add. Summoner had just been completely overhauled with the Endwalker expansion, and he was complaining that he was bored. After my own experiences, I was already getting a knack for teaching, and now he's got a full roster of level 90 jobs, including Tanks, and mains Healer. Yes, we’re the dreaded healer-tank couple, but try not to judge us for it. 

That was two and a half years ago, and it’s hard to believe it’s been that long since Endwalker dropped. But now here I am, a Dark Knight main, and I can’t DPS without getting bored. Of course, I’m going to level everything after Dawntrail releases, but I will always go back to tanking. 

Tanking did more than teach me a new role, too. It gave me perspective on fights I didn't have before. I get why and when a Tank will move so early in some boss fights, so it doesn't catch me off guard. I see the importance of a wall-to-wall pull in certain dungeons and how much time the DPS have to light the mob up before, well, the mob lights the tank up.

That’s not to say that I’m a perfect Tank. I’m pretty far from perfect. I forget my tank stance more than I’d like to admit, I still manage to lose aggro on stragglers in a big pull, and I still get a little annoyed when I’m watching the other Tanks battle it out for aggro during an Alliance Raid, but I’ve learned not to take it too seriously. 

What’s the worst that can happen? We wipe? That’s not so bad. If someone else wants aggro in an Alliance Raid, I’m happy to give it to them and turn myself into a blue DPS. If I forget to turn on my Tank stance, I laugh it off and send a quick “well that could have gone better” in chat. Humor helps, and people seem to appreciate it. 

Believe me, I know how petrifying Tank anxiety, or anxiety over any role, can be. Even if it's not in the Job description, your party often looks to you as a de facto leader, and that comes with pressure. But if you’re unsure about it, or feel like you can’t do it, I’m here to tell you that you can. It may not come easily at first, but communicating your fears and inexperience is part of venturing out of your comfort zone on a new Job. Laugh it off; people are, usually, more understanding than you think. Give it a few runs, and I promise you'll not only be a better player for it, but maybe you'll pick up a new main Job, too.

The post Overcoming Tank anxiety in FFXIV made me a better player (and a Dark Knight main) appeared first on Destructoid.

While no live-action film of Final Fantasy VII has been announced, it's not hard to imagine Hollywood doesn't at least have an overly eager eye on it. Depending on perspective, that's either a threat or delight to muse over, especially when you consider Square Enix isn't too shy to flirt with the big screen — looking at you, Spirits Within and Advent Children.

For better or for worse, I often find myself musing over ideal actors for the inevitable, like Zelda or Shadow. So, in case Hollywood goes for it, I'm shouting out my choices now. In honor of Final Fantasy VII Rebirth's launch, here are my picks for a live-action FF7 cast that I think, if made now, would be worthy of such a classic legacy.

Cloud Strife - Cody Christian, Darren Barnet

As one of Final Fantasy’s best protagonists, Cloud deserves someone who can understand him and his complexities. So who better than Cody Christian, Cloud’s current VA? The transition wouldn’t be too jarring, as his resume’s mainly live-action, being in Teen Wolf and All-American. Plus, he's proven himself to play the ex-SOLDIER quite well. 

If Hollywood wants more stardom, I offer up Darren Barnet. Striking success with shows like Never Have I Ever and Blue Eye Samurai, he’s done video games and adaptations, including Immortals of Aveum and Gran Turismo. He can grow into the role, much like Cody has been. It’s a tough role but I'm confident Darren could carry the Buster Sword and rock spiky yellow hair.

Tifa Lockhart - Britt Baron, Jessica Henwick

Who doesn't like Tifa? She has a heart of gold and kicks (and punches) some serious ass. You’ll need someone skilled in combat and not afraid to get their hands dirty. Britt Baron, Tifa’s VA, stars in many live-action projects including the wrestling-oriented show GLOW.

On the other hand, there's Jessica Henwick. She's portrayed many badasses on-screen in projects like The Matrix Resurrections, Game of Thrones, and Iron Fist. Whoever they go with, Tifa will be in good hands (or fists in this case).

Barret Wallace - Colman Domingo

The gun-armed Barret strikes fear into the hearts of Shinra yet has a heart of gold. You want an actor who can balance it with finesse and poise. That's where Colman Domingo comes in. His award-winning work in Euphoria and Rustin and his badassery in Fear the Walking Dead prove he has the chops. It's the perfect duo that I can't help wanting to see come to fruition.

Aerith Gainsborough - Hailee Steinfeld

As the last living Ancient, Aerith is a key figure in FFVII’s narrative beloved for her carefree and brash personality. I'd go with Hailee Steinfeld to deliver on all fronts. While she's done action-oriented roles, projects like Arcane, Dickinson, and True Grit show her versatility as an actor to handle those sincere moments with wit and ease. If anything, it proves she can blossom as the beloved flower girl.

Zack Fair - Xolo Maridueña

Being Cloud's mentor and the protagonist of Crisis Core, Zack is as charming as he is audacious. For the role, you need someone who exudes infectious energy and fierce determination. Enter Xolo Maridueña. His starring roles in Cobra Kai and Blue Beetle nail Zack’s qualities with precision aim, with the latter even letting him conjure a Buster Sword to use. It's practically asking for Xolo to become the SOLDIER we all know and love.

Yuffie Kisaragi - Karen Fukuhara, Stephanie Hsu

Energetic and vivacious, Yuffie brings more than her Materia and ninja moves to the party. The character requires someone not afraid to embarrass themselves and step out of their comfort zone. Enter rising stars Karen Fukuhara and Stephanie Hsu.

The Boys’ Karen Fukuhara’s very much capable of taking on the Wutai warrior with comedic finesse (as well as kicking ass). The same can be said for Everything Everywhere, All at Once's Stephanie Hsu, as her background in musicals and comedies fits the lovable ninja precisely. Either of these actresses can make Yuffie just as fun as she is in-game.

Red XIII - Max Mittelman, Regé-Jean Page

An experiment of Hojo's, Red XIII aids AVALANCHE on their quest to stop Sephiroth. Like others, I’ll throw in current VA Max Mittelman for the role. His performance is extremely impressive for someone who knows him as Ryuji from Persona 5. I also nominate Regé-Jean Page. Known for his roles in Bridgerton and Dungeons and Dragons: Honor Among Thieves, his voice and range is pretty close to Red's tone now.

Cait Sith - Ewan McGregor

It's a magical Scottish cat. Need I say more to justify Ewan McGregor? Despite being a respected actor (and Obi-Wan Kenobi), he's not afraid to experiment with genres. Cait would be fun for him to do outside of Star Wars and various ventures. If anything, it'd showcase Ewan's versatility as a voice actor, something he hasn't done much of.

Vincent Valentine - Hayden Christensen

Many characters claim to be edgy but none come close to the immortal gunslinger Vincent Valentine. So, of course, I picked Hayden Christensen to play him. Known for Anakin Skywalker in the Star Wars prequels, he's due for a vengeful comeback. Vincent would be a great character for Hayden to strut his stuff.

Cid Highwind - Bradley Cooper

Chain-smoking mechanic Cid deserves someone who knows their way around things. Luckily, there's one fit for the job: Maestro's Bradley Cooper. Sure, given his resume, it’s a rich pick, but I don't think anyone could do the role justice like he would. His charisma and nailing of a Southern twang is a major draw (or drawl) for me. While a surefire blockbuster, Cid is right up his alley.

Rufus Shinra - Taz Skylar

Nepo baby Rufus Shinra needs someone who can nail his cockiness. I vouch for Taz Skylar. His role as Sanji in Netflix’s One Piece radiates a sort of charm that makes him enjoyable to watch. Plus, given his recent foray into Hollywood, this would be a great way to make an even bigger name for himself.

Tseng - Andrew Koji

As the leader of the Turks, Tseng is intimidating and precise, so it requires someone who can command a room and kick ass. So, I turned to Andrew Koji. He's wrecked people in Warrior and wants to play Jin Sakai in the live-action Ghost of Tsushima. While he hasn't had many dramatic performances, Tseng may provide a good character for Andrew to spread his wings with.

Rude- Kelvin Harrison Jr.

Rude is a tight-laced Turk of few words, opting for results rather than reason. An actor I think would knock it out of the park is Kelvin Harrison Jr. Starting from 12 Years a Slave, he's gained traction in Hollywood, leading films like Waves and Chevalier. Rude, while not as musical, is a role that can shine if done right. Kelvin may be the actor to do just that.

Reno - Brandon Perea

The funny man against Rude, Reno is quick to crack both a joke and your bones. While he's seen as comedic relief, he's pretty ruthless given his hot-headedness. With this, I chose Brandon Perea. He's new to acting, but his performance in Nope convinced me to choose him. He's witty, brash, and prime for another scene-stealing role. He's just the type of actor that'd make Reno as fun a character as he is.

Sephiroth - Robert Pattison

Sephiroth needs to be played by someone menacing and fierce. May I present to you Robert Pattison. Yes, I think the Twilight and The Batman actor would be a good Sephiroth. He's got insane range and can bring in lots of newcomers. Also, Robert’s a huge FFVII fan, calling it one of his favorite games. His portrayal as the perfect SOLDIER can strike plenty of chords with audiences. Also, he hasn't done many villain roles, so Sephiroth would be the best character to take a stab at.

The post If FF7 ever sees the live-action treatment, here’s who we would cast as Cloud and the gang appeared first on Destructoid.

"Baba…help me Baba…I need you Baba…." So says protagonist Zau at the start of Tales of Kenzera, his voice shaking. That's the voice of Abubakar Salim (Assassin's Creed: Origins), who founded Surgent Studios to create this game as he deals with the loss of his own father.

When he says those words, it doesn't feel like he's acting.

It's this raw, personal edge that lifts Tales of Kenzera above the usual influx of indie metroidvanias. The game's reveal at last year's The Game Awards was one of the more memorable moments of the show as Salim shared the poignant story of playing games with his father. It's this personal history with gaming that's inspired Tales of Kenzera and its paralleling father-son relationship. Playing the demo as part of Steam Next Fest is a striking experience.

Read more

"Baba…help me Baba…I need you Baba…." So says protagonist Zau at the start of Tales of Kenzera, his voice shaking. That's the voice of Abubakar Salim (Assassin's Creed: Origins), who founded Surgent Studios to create this game as he deals with the loss of his own father.

When he says those words, it doesn't feel like he's acting.

It's this raw, personal edge that lifts Tales of Kenzera above the usual influx of indie metroidvanias. The game's reveal at last year's The Game Awards was one of the more memorable moments of the show as Salim shared the poignant story of playing games with his father. It's this personal history with gaming that's inspired Tales of Kenzera and its paralleling father-son relationship. Playing the demo as part of Steam Next Fest is a striking experience.

Read more