Mass Effect: Revelation by Drew Karpyshyn

Drew Karpyshyn’s Revelation is in many ways exactly what you’d expect from a Mass Effect novel. It’s formulaic in just the right ways, as it seamlessly transitions the best aspects of Mass Effect’s interactive fiction into an easily digested, compulsive read for fans of the universe.

In the original game humanity is still the newcomer to the intergalactic landscape. Stung by the unfortunate actions that lead to the First Contact War, humanity still finds itself fighting, trying to earn the respect of The Council, and the races that form it. In Mass Effect, players assume the role of Commander Shepard, an up-and-coming specialist in the Alliance military. Shepard’s immediate superior – and mentor – is one Captain David Anderson, and Revelation serves essentially as the then Lieutenant’s origin story.


Like any good licensed material Revelation strikes the proper balance of new and old. Predominantly the book is written for the fans, and thus, there are specific characters, gadgets and locations the more discerning player will immediately recognize; they provide us that momentary feeling of pride and smugness, assuming the Easter egg was laid specifically for us and no other reader. But, thankfully, these moments wind up in the minority. Working with an established universe such as Mass Effect, Mr. Karpyshyn is able to create a compelling, but also totally plausible, scenario that fits snugly into canon and leads nicely into the first game.

Spanning several star-systems, races and planets, Revelation moves briskly through its tale of subversion and discovery. Although Lt. Anderson remains the primary hero, every chapter shifts the story’s focus onto the shoulders of the other protagonists and antagonists, allowing the reader a chance to understand each character’s motivations fully. The narrative jumps are seamless and easy to follow, allowing off-page characters time to travel, plan or recover. Perhaps though, more importantly, the shifting perspectives keep the nature of the story moving, which echoes the scope of its galaxy reaching yarn and allows the text to span the type of conflicts a fan of the property would expect.


Of course, centering on the actions of the Alliance military means you’ll be reading military fiction. However, those familiar with the source material know that that action is always supplemented by intergalactic political intrigue, interspecies affairs, relationships and good old fashioned deception. Revelation wastes no time whisking its readers from one arena to another, whether it be a remote research facility under fire, a crucial face-to-face with The Council or an uneasy truce between unlikely allies.

The prose is clean and efficient, much like the deadly efficiency exhibited throughout the story. The conciseness of the writing ensures that Mr. Karpyshyn’s descriptions never get too bogged down in the fantastic technical wizardries of the genre, but also restrain the book from truly elevating itself to great science-fiction. The matter-of-fact and to-the-point flow of his words suit the directness of the story and ensure no readers are alienated by needless explanation, but, also limit his ability to get lost in the fiction he’s creating.


The Prologue, however, is the one place Mr. Karpyshyn allows himself a moment to disappear into the universe. A lot of information is thrust at the reader in a short period of time, illustrating the vague workings of the mass relays that allow interstellar travel and setting up humanity’s unexpected arrival on the intergalactic scene – and inadvertently triggering the First Contact War. The Prologue covers man finding Prothean technology on Mars, which of course leads to their relative understanding and subsequent technological leaps in space travel. The short period of time reflected, covering an Earth-bound civilization to wide-spanning Council race, is a clever parallel to mankind’s overall ambition, an unquestionable theme in the Mass Effect saga.

In a way that is why Revelation succeeds, because although fans get to finally see Lt. Anderson’s previous dealings with the Spectre, Saren, the real character is humanity itself, trying to carve out its proper place in the universe. And ultimately, as a people and as individuals, that is what we’re all doing.

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Castlevania: Lords of Shadow Reverie Review

With the Lords of Shadow vanquished, one might hope the Gods would take pity on poor Gabriel, affording him a moment to rest his shattered mind and weary legs. Immediately following his climactic battle, Laura, the child-like vampire cries out for Gabriel’s assistance. Sensing The Forgotten One’s impending resurrection, she decides that she and Gabriel are the only souls capable of putting a stop to the world-ending event.

Reverie adds a thirteenth chapter to Castlevania that spans three stages and begins in the familiar confines of the Vampire Castle. Like Claudia or Zobek for portions of the main campaign, Laura follows Gabriel through the new chapter and assists by zapping enemies with her various lightning based attacks. Unlike his previous helpers though, players are able to take direct control of Laura on a pair of occasions for some light moments of puzzle solving and combat.


Laura plays fundamentally different than Gabriel as she’s incapable of blocking. Her style of combat relies more heavily on hit-and-run tactics, utilizing her teleporting mist-form to evade oncoming attacks and dash – think Nightcrawler. The change of pace is welcome but using Laura effectively becomes difficult with the amount of mist effects that begin to clutter the screen, making it challenging to see the enemies that populate Reverie. Her one saving grace is the ability to grapple weakened opponents and rip into their necks with her fangs, which further weakens the enemy while replenishing her own health. The feeding has an intrinsic risk, which requires the player to dump the body before the last drop is sucked.

The most surprising aspect of Reverie is the high-concentration of puzzles jammed into its three stages. Puzzles played a large role previously, but the abundance and general quality is much higher than Lords of Shadow proper. Many of the new obstacles use the existing principles established in the base game, but there is some clever refinement in place, leaving each feeling unique, rather than arbitrary, or repetitious.


Balancing the DLC out are a handful of the platforming and combat segments Lords of Shadow is perhaps best known for. Although there are a few particularly exciting environmental sequences, Reverie never seems to match the majesty achieved by its predecessor. This is partly because it starts in a familiar locale, but also because it recycles the entire Vampire Castle motif – although the location is technically new, it doesn’t feel that way. The same can unfortunately be said for the creatures you encounter, which primarily consist of packs of small poison spitting enemies, a simple goblin variant.

The fundamental issue with Reverie is that it never lives up to the epic feeling of Lords of Shadow. Understandably it’s difficult to replicate that scope in such a short amount of time, but it’s also due to the cheap, incomplete feeling it leaves you with. It introduces a short, interesting narrative through its concept art based cutscenes, but doesn’t ever follow through; Reverie is not a standalone piece of content, but rather a precursor, leading immediately into the yet-to-be-released Resurrection content. This revelation leaves the journey’s overall value in question, as you don’t really feel like you’ve accomplished much of anything, but you’re still compelled to see Gabriel’s ultimate fate.

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Red Steel 2 Review

Playing as a mysterious, nameless hero with a striking resemblance to The Shadow, Red Steel 2 apparently has nothing to do with its predecessor. The game amusingly kicks off with the player dragged behind a speeding motorcycle. The sequence is unexpected and serves as an appropriate introduction to the sometimes high-octane nature of the game. Unfortunately, during this juncture, the Sora katana is liberated from your possession, putting the entire Kusagari clan name in jeopardy.

Following your wild ride, you make your way to the nearest dojo, where you meet Jian, the requisite old master and custodian of all Kusagari techniques. In the first of many, many tutorial segments that are scattered throughout the game, Jian teaches you the basics of Red Steel 2’s swords and shooting gameplay. Swipes and stabs of the Wii remote control your sword, while pulling the trigger fires your pistol. In addition, the Z button locks-on to enemies and the A button dashes. Essentially each and every action in Red Steel 2 is laid on top of these four basic abilities.


Combat is – unsurprisingly – where Red Steel 2 shines. Utilizing Wii Motion Plus, cursor movement for shooting is an absolute breeze, and combined with a soft auto-target makes headshots and other area specific targeting a joy. But, of course, it’s really about the swordplay. Swipes of any direction are easily detected and translated into the game-world, and swinging with more force adds additional damage to every slice. Even at this most basic level, seeing your sword react appropriately is an awe inspiring accomplishment for Ubisoft and one hell of an early hook.

As you dive deeper and deeper into the campaign more and more Kusagari magic, Hidden Slices and guns become available. Appropriately, more difficult, agile and smarter enemies are introduced to combat your hero’s growing arsenal. You see, everything the game throws your way in terms of opposition has an effective counter measure. You see an enemy wearing armor? Use an armor piercing strike, or upgrade to armor piercing rounds. Enemies keep landing unblockables on you? Use ‘The Bear’ to parry the attack and stun them. Every confrontation challenges the player to not only identify the weaknesses of each enemy in a specific skirmish, but to also choose the appropriate abilities to counter them.


Fights are generally quick, visceral affairs that leave you breathless. When one foe is struck down it’s a mad dash to the next, all the while deciding how to cut them down. Occasionally the lock-on that keeps the camera focused on a specific foe can be unwieldy, but generally it works very well, except when auto-locking an enemy attacking from the rear. Theoretically in these instances a quick press of the Z button will spin your camera around, affording you the opportunity to counter the other aggressor, but it rarely works that smoothly. Despite this issue, rear attacks can usually be avoided by remaining on the move. Given the frenetic, exhaustive nature of combat, Ubisoft’s choice for a non-traditional health recharge is a welcome one. Rather than restore health slowly, all your health is refilled once the current room is cleared. This mentality puts a lot of pressure on the player to be aggressive but also smart, and puts a lot of weight on every confrontation; a few wayward slices could lead to your untimely demise.

Using special abilities to vanquish your foes in spectacular fashion nets you extra money. Scattered across the many safe houses in Red Steel 2 are three separate shops that offer a dizzying amount of things to purchase that run the gamut from new guns, new techniques, better armor to tokens that make certain enemy types easier to stun. In addition to combat, money can be found in damn near any random object across all seven chapters. And let me say, there is an absolute ton of destructible objects, as well as hidden tokens, Sheriff’s coins and vaults to be found, which all contribute to your overall haul – as do mission bounties, but we’ll get to that.


The sheer amount of money to collect and equipment to buy is a double edged sword. On the one hand it’s a ton of extra content for the player to chip away at, but on the other, there’s so much crap to buy there’s very little time to enjoy the differences between one upgrade and the next. It also creates this compulsion to destroy every single crate within every single room, and the kicker is every object respawns upon reentry, complete with a fully restocked complement of gold. My concern is it works in direct opposition to what makes Red Steel 2 so much fun, which is running at full speed through herds of enemies with your sword at the ready.

The other problem is the overall mission structure. Almost like a miniature Borderlands, you take missions from a bounty board, wander out into the small hub world, collect, shoot, hack or kill ‘X’ amount of something and repeat. Missions send you from one corner of each chapter area to another, running errands for your peanut gallery of cliché sidekicks. And while there are plenty of engaging fights along the way, the missions feel exactly like busy work, something solely for the purpose of padding your game length, rather than engaging you in any meaningful way.


What aggravates this segmented design choice is that each chapter plays out in the exact same manner: reach safe house, learn new technique from Jian, accept missions from bounty board, rinse and repeat. If that wasn’t enough, expect to see some of the very same missions recycled as many as three or four times. Fortunately, and yet, bizarrely, Red Steel 2 does a 180 and ditches the mission based gameplay towards its conclusion. Level design veers into the linear and you’re left with the simple, lean thrill ride the game should have always been. These final chapters breeze by at a much faster clip than those that precede it, but illustrate the sheer level of fun the game can be when it does what it does best.

Red Steel 2 is a curious beast of a game, as it has one of the most deep, thoroughly enjoyable combat experiences found on any gaming platform. Unfortunately, that combat system is shoehorned into a misguided, bloated mission structure that rewards you more regularly for breaking barrels than it does for progressing the narrative. Still, even with those problems, there’s nothing else like it, and you will feel like a bad ass.

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