Zombies often herald the end of all things, but for Frank West, their reemergence marks a
new beginning.Frank, former photojournalist extraordinaire, has been off the radar since the first Dead Rising a decade ago, and this third Christmas-themed sequel finds him eking out his days as a college professor teaching novices his craft. But when the dead come, he again finds life. Even in Frank's opening nightmare in which he knocks back zombies like a wrecking ball, there's a sense amid his snarky complaints that he wants this. And even though Capcom's approach here stumbles here in parts, I was surprised by how much I wanted this as well.
When Dead Rising 4 works, it's because it steadfastly refuses to take itself seriously. Frank is 16 years older now and looks and grumbles (thanks to a new voice actor) a little like Joel from the PS4's The Last Of Us, but even though he journeys back to fictional Willamette, Colorado with student Vick Chu, the lightweight but enjoyable tale is never weighed down with musings on surrogate fatherhood and hope. Neither is it entirely dismissible, even though it largely dumps the main conspiracy premise a handful of chapters in, as it handles its characterizations well. Frank drops lines about setting his balls on fire and other wisecracks, but there's enough gravity mixed in with the goofiness to make the relationships seem believable.
Still, this is a tale about blasting zombies with a gnome-capped staff called the "Gandelf" and gleefully plowing through literally hundreds of zombies in a city park with a lawnmower. It's about strapping on hulking (and rare) exosuits after zombies overrun the Willamette Memorial Megaplex after Black Friday and cutting down them with an electrified battleaxe or using blueprints to make quirky weapons like an "Ice Sword" from scattered items like liquid nitrogen and machetes. The melee controls are satisfying and intuitive, although the removal of throwable melee weapons stings bitterly and ranged weapons suffer from poor aiming. Never before has the series tossed the undead at you with such relentlessness. I'm inclined to believe there's no way a town like Willamette was home to that many people in the first place, but the crowds make the yuletide slaughter consistently enjoyable.
Frank's ability to handle those swarms comes with a price. Dead Rising 4 is never difficult, and even in a toque blanche and chef's whites I could shrug off piles of the undead about as well as Overwatch's Reinhardt might fend off a pack of yorkies. When I died and had a chance to check out the generous checkpoint and autosave system, it was only because I'd stepped away and forgotten to pause. There's not even a way to ramp up the difficulty besides sticking around for New Game+ or a separate multiplayer mode that's confined to a specific setting and steadily increases the difficulty. But even in the New Game, Frank can handle himself just fine. If you're specifically looking for a single-player combat challenge or any degree of tension, you won't find it here.
But you might find cause to stick around if your interests lie elsewhere. Capcom removed much of the series' previous urgency by ditching the timer, which frees up Frank's time to track down a sleigh's worth of blueprints and assorted collectibles, as well as stopping off from time to time to save survivors stranded in the undead sea. So heavy is the sandboxy exploration emphasis that Frank doesn't even have to head anywhere to craft his sometimes silly murder devices: he can cobble together firework-shooting crossbows or electricity-shooting go-karts right there in the field. The approach works well because the small-town setting is so well-realized, partially thanks to its Christmas theme that infects the core 10-hour story as thoroughly as the sickness infects the zombies. The holly jolliness adds a touch of flavor to exploring parts of town beyond the mall that might come off as boring during any other season.
There's so much to see, so many parts to use for an impressive variety of weapons, and so many combos to build that I usually had a cozy sense that I was in a zombie-themed take on Just Cause, taking similar pleasure in causing mindless mayhem with weapons and vehicles to the tune of "O Tannenbaum" and "Auld Lang Syne." Frank's camera even adds to the fun, not only by taking great shots to build a few extra experience points, but by stopping to take goofy selfies with the shambling corpses. It all makes for a nice change of pace, but I could never shake the feeling that Dead Rising had sacrificed much of its identity in the process.
Weirdly, there's no co-op option for the campaign, thus robbing the series of a big degree of its former fun. Gone, too, are the cutscenes that uses to boot up before what used to be called the "psychopath" minibosses. Capcom calls the psychopaths "maniacs" now, and they're sadly essentially irrelevant, being almost exclusively limited to sidequests and usually involving little more than regular zombies with big health pools tromping around in exosuits or Santa costumes. Sometimes I found welcome surprises in the form of fast, newly turned zombies, but most of the time the thousands I killed were as indistinguishable as bricks in a wall.
It's a strange game for the series, as it subtracts something for everything it adds, making it unlike anything we've seen for Dead Rising until now. It's the kind of design that might scare off veterans but bring in fresh zombie killers into the fold. But it's one that I generally enjoyed, even though it's marred with a first-launch crash bug that Capcom warned us about, but which it still hasn't fixed. For some players, though, I imagine that bit of bootup trouble won't prove as annoying as the fact that you can currently only download it for PC from the Windows Store. A Steam version is supposedly in the works, but by the time we see it, Dead Rising 4's cheeky Christmas theme will likely be long out of place. But now? 'Tis the season.
The Dwarves, a new realtime tactical RPG based on Markus Heitz’s German fantasy novel series of the same name, is an uneasy adaptation. As an RPG, Dwarves wants you to make choices to explore the world of its characters, but as a slavish recreation of a well-known book, it is constantly taking choices away from you. It’s a novel stuffed into an ill-fitting RPG suit, straining at seams held together by threadbare patches of tactical combat.
There are a few different problems going on here, but if I smelt it right down to the base ore, The Dwarves has two main failings: its RPG doesn’t give you any freedom to make choices or grow, and its combat is spammy, tiresome, and not very fun.
Only a few minutes into my adventure—playing as Tungdil Goldhand, the young dwarf on a quest—I came across the first of many times that the plot of Heitz’s novel stomps on my fun. I’m travelling across an overhead map in the style of a board game, with pieces moving along a gridwork of paths and roads. At each grid intersection, a chance encounter, town, or event pops up.
On this occasion, the encounter window tells me I’ve found an abandoned camp and fire ring. Do I want to start a fire and bed down, or should I be extra cautious and climb into a tree? Not seeing any reason why I should be paranoid enough to sleep in a damn tree, I sack out. The next window informs me that an orc stabbed me in my sleep, and I am now dead. No ceremony, no preamble. Dead dwarf, game over.
I had to load my most recent save because, according to a friend who has read the series, Tungdil sleeps in the tree in the book. It may be faithful to the source material, but if I played D&D with a DM who concluded a short introduction with “...and a piano drops on you and you die; let’s start again,” I would not hang around that game for very long.
After reloading and sleeping in the tree, Tungdil wakes up to see an orc warband (surprise!) set up camp below him. After they leave, an encounter window gives me my options: climb down, or wait up in the tree to make sure the coast is clear. Well, you don’t have to stab this dwarf in the gut more than once to teach him some caution, so I wait in the tree. Nothing happens, says the encounter window. Do I want to wait some more?
I chose the option to wait in the tree a dozen times, waiting for something to happen. Nothing ever does; the plot didn’t move on until I climbed down. These false choices are everywhere: maybe saying hello to a traveling caravan will give me an opportunity to buy some supplies; maybe meeting a character in that caravan is absolutely critical, and walking past it is game over. An RPG is a game about choices, yes, but Dwarves is a game in which some choices are meaningless and some choices are momentous, and there’s no telling which is which. I found myself quick-saving every few minutes.
For being so devoted to the plot of the book, sadly, this is a rendition of The Dwarves that did absolutely nothing for me as an introduction to this world. Names washed over me, signifying nothing, as though I was making introductions at a friend’s family reunion: Vraccas, Tion, Girdlegard, Bo?ndal, Älfar. A narrator delivers some pretty talented voice work, including what sound like direct dialog quotes from the book, but not being able to understand the references pulled me out of the game. The whole story wraps up in about 11 hours, reminding me again and again that I was playing a Wikipedia-level summary of a much more interesting story.
When Tungdil isn’t clicking around, exploring this and that and getting quests to here and there, The Dwarves spends a lot of time in combat. It’s a standard party-based tactical RPG set-up: overhead camera, pause at any time, give orders, deploy special skill attacks set to cool-down timers. This design is serviceable in a lot of other games, but it stumbles badly here.
The members of your party automatically attack the nearest enemy and pound them steadily with a basic attack until you give an order to use a special skill, which is actually pretty nice to see. Unfortunately, the basic attacks are useless, so the special skill attacks do all the heavy lifting. After some trial and error, I discovered that using basic strategy and smart party placement isn’t nearly as important as making sure that all of your fighters use as many of their special attacks as often as possible. The best way to make it through a tough fight is to pause often, switch characters constantly, and throw around those special attacks the instant their timers expire.
If any party characters die, that’s game over (because the characters have to participate in the plot, of course), so it’s a real pain in the leather that there are very few ways to heal during a fight. This made difficulty spikes a real issue for me. Even on the easiest difficulty, I came up against several seemingly impossible battles, randomly placed before or after another fight that I found effortless. My success or failure depended entirely on how many bad guys level designers decided to spawn for that battle. If they added too few, I had an easy time. If they added too many, I had a horrific grind.
It’s at this point that I would spend some character points beefing up that basic attack or spend some gold improving my gear, but Dwarves doesn’t have even those basic RPG elements. There are a few inventory items, like enchanted pendants and such, but no way to upgrade armor or loot new weapons. The only way to grow a character is by advancing along a very simple, one-path skill tree (skill stick? skill line?) with half a dozen special moves to unlock.
After all the whining I’ve just done about this poor, battered game, it hardly seems worth mentioning, but: I had a lot of technical issues with The Dwarves, too. I only crashed to desktop once, thankfully, but there were other problems. My frame rate plummeted in every battle when a lot of enemies showed up, and moving around the map interface brought on screen tears and texture-pops. In combat, the camera is a real nuisance; I paused to find a camera angle free of tree branches and terrain almost as often as I paused to give combat orders. On one occasion, a corrupted saved game loaded to show a permanently frozen, motionless dwarf in the foothills around Blacksaddle. I returned to a previous save and started again.
Between the rocky difficulty curves, the linear progression, the forced petty choices, and insta-death penalty for veering away from the dictated plot—everything in The Dwarves made me feel like I had no real control over my journey across Girdlegard. I lacked any real agency as a player, and even for a short RPG adventure, that sucks. I wanted to go on a journey, but I ended up just watching a pretty good book as read by someone else.
If the Walking Dead TV show can’t decide whether it wants to be a dark, maudlin drama or a schlocky, gory thrill-ride, Telltale’s interactive adaptation has established a more consistent voice that allows room for a bit of both without leaving you suffering from tonal whiplash. Its problem is that between the comic books, the TV series and the games, the cyclical nature of its narrative has become ever more apparent. Still, if a riff is catchy enough then it can bear a certain degree of repetition—and though some of its scenarios are familiar, Season Three opens with a double-header that shows The Walking Dead at its best, with characters you can care about, a couple of genuinely shocking surprises and a clutch of well-staged set-pieces.
It certainly helps that Telltale’s new engine finally feels fit for purpose. While Batman still had its share of performance issues, there’s little to grumble about in Ties That Bind: everything runs that much smoother, with snappier transitions that give the action sequences a greater sense of urgency. Press a button to jab a sharp object through a walker’s skull and the only delay between tap and squelch is in the swing. Better lighting and superior cinematography enhance the visual storytelling, too: episode one’s terrific opening offers a shivery reminder of the time the dead first started coming back to life, following a wonderful corridor shot with a jittery handheld camera to heighten the growing unease.
It’s here that we meet new protagonist Javier Garcia, a disgraced former baseball star who quickly moves from absentee son to surrogate father as his story picks up a few years later. He’s now on the road with sister-in-law Kate and her two stepkids, the sullen Gabe and the more immediately likeable, level-headed Mariana. Theirs is the kind of dysfunctional family unit we’ve seen before, but there’s some solid character work here—and a winning line in gallows humour—that establishes the bond between them. Even as they snipe at one another, there’s a clear affection behind the barbs.
Then, of course, there’s Clementine. A few years have passed since the end of Season Two, and she’s now significantly more hard-bitten and distrusting than ever—albeit still fundamentally decent enough to let Javier hang onto an item of emotional worth. It’s startling to see her like this, but we soon come to understand why, via a pair of playable flashback sequences across the two episodes. The first draws a firm line under last season’s events, and for at least two of the possible endings resulting from your pivotal choice in the finale, the outcome here is especially grim. It’s a reminder that your decisions can only really shape your journey rather than its destination, but in a world where surviving is an act of defiance, there’s something to be said for a choice that lets you spend a little longer with someone you care for.
These moments are slightly more problematic in light of the main narrative. As players, we want to know what happened to Clem between then and now, and so it makes sense for Telltale to fill in the gaps. But this isn’t an ensemble piece where each character’s perspective is explored; outside these flashbacks, the story is told exclusively from Javier’s viewpoint. Taking time out to explore the backstory of someone he’s only recently met feels strange, and it also leads to a certain disconnect in terms of your decision-making. We all know Clementine, but Javier doesn’t: though Telltale steadily establishes an uneasy alliance between them, there are key decisions we’re invited to make as Javier with knowledge he couldn’t possibly have. There’s a similar problem in a later scenario. After arriving at a new settlement, it’s not long before Javier indirectly causes a crisis, and yet characters are all too ready to trust him over companions they’ve presumably spent a good deal longer with. Still, that’s an issue from which the TV show also suffers, and at least Javier seems a less impetuous and unhinged leader than Rick Grimes.
Otherwise, there’s much to admire here, from a darkly amusing exchange between Javier and Clem about their different terms for the dead (“What do you call the ones that run?”) to a torchlit tunnel escape that concludes with a tense confrontation and a choice that threatens to have serious ramifications for the next episode at least. An optional DIY surgery scene is every bit as squirmingly grisly as Clem’s wound stitching in last season’s opener, while an appearance from a familiar face will delight fans of the comic and/or TV show. It’s clear that the 'graceful exit' imagined by one character isn’t going to happen any time soon for The Walking Dead, but Ties That Bind makes a surprisingly convincing argument for it to keep shuffling onward.
Last year's Wolfenstein: The New Order came out at a time we really needed it. The next generation consoles were less than a year old and were in dire need of games. New Order (the game, not the eighties post-punk/electronic dance band) was an old school twitch shooter that returned to the style we loved from the past. It took inspiration from first person shooters like Doom, Quake and of course the first originalWolfenstein 3D from way back in 1992. The critics loved it, but for some reason it was unloved and unnoticed by the gamers.
Well, now we are all getting a second chance to show the love in the form of its prequelWolfenstein: The Old blood. This stand-alone expansion is set right before the events of last year's game and promises eight-plus hours of gameplay at a budget price tag. What's not to love... well, the fact that there is no online multiplayer but let's just forget that and move on.
You return to the shoes of American brick sh*thouse William "B.J." Blazkowicz as he infiltrates the Third Reich and escapes the infamous Castle Wolfenstein. It is a giant love letter to the originalWolfenstein 3D right down to the main character remaining shirtless for the first half of the game. It's a little camp, but a cool nod to the box art from the '80s original.
It's gory AF as you blow giant chunks out of soldiers and dismember wave after wave of Nazis. The speed is break-neck and your reflexes are the only real difference between life or death. At times, it tries to change up the gameplay by introducing stealth tactical sections. The option to take out radio operators to stop alarms being tripped is a welcome mechanic to keep enemy numbers down, but more often than not it's just more fun to Rambo kamikaze it and hope for the best. The recent Wolfenstein series continues its trend of having some of the best villains in the business and the supporting cast is incredibly well written. You can feel the game is trying to lend a helping hand of seriousness to the proceedings and to place a human face to the horrors of war. Unfortunately all of this is washed away with the introduction of giant mechanised robots, dinosaur sized killer K9s and one hell of a "jump the shark" moment that happens later in the game, which I'm not going to spoil here. This is as dumb as science fiction gets and makes the game infinitely better for it. The only real down side I can see is the first half of the game suffers from "haven't I been in this room several times already?" symptom, with the first few chapters feeling like carbon copies of each other and showing a true lack of diversity. Thankfully by Chapter 4, things start opening up and the pace picks up to a satisfying finale. I just wished Wolfenstein: The Old Blood embraced the grandeur of its big brother and had more set pieces to bring the wow factor, but if you consider the budget price and the fun to be found here it's well worth your time, just remember to turn off your brain first.
Those of you who have been around from the 1960's through the 1990's will remember the vibrant live music scene in almost every starred hotel in India. Those were the days when you walked into a nightclub like 'Rendezvous' at The Taj Mahal hotel and 'Supper Club' at the Oberoi Sheraton in Mumbai to see curtains going up on a band that was the prime focus of these outlets. Every seat in these restaurants allowed an unobstructed view of the band that performed every night on resident contracts. Today all this has disappeared thanks to some ridiculously high entertainment taxes on live music. Today, non off these hotels have complete bands playing save for a few that feature small duos or solo singers. The Lodhi in New Delhi, recently listed among the world's best hotels, decided to step in and rewind to the good old days. They got Goa's premier jazz quartet 'Jazz Junction' to move to Delhi on a resident contract and the decision has paid off in terms of footfalls generated by the band. Jazz Junction featuring singer Daniella Rodrigues, pianist Tony Dias,
bassist Colin D'Cruz and drummer Angelo Colasco began playing at The Lodhi in June 2018. Four months into the contract the band generated a sizeable following, with quite a few high profile guests choosing to celebrate their special occasion at the Elan bar where the band performs. Against all odds the rewind option proved to be a huge success and hopefully other properties around the country takes the cue to trigger a whole new revival of live music.