Here are my first impressions of Ancestors: the humankind odissey
After six hours of exploration, my clan was decimated by poisonous snakes, sabre-toothed tigers, crocodiles and rotten food. One of the only two babies was crushed before my eyes by a huge boa constrictor. And it was all my fault.
Controls may feel clunky at first, but repeating the actions you get used to them so all the deaths were due to my recklessness, in a perfect Souls style. Now that I know what I need to stop bleeding or to cure poisoning I feel better, but it's just me and a baby now. I have to explore more to find a female, but first I have to build me some weapon, somehow.
A great experience so far.
Animal Crossing: New Horizons (Switch) - Now that I've enticed K.K. Slider to my island, I've hit the endgame in terms of scripted events (thus this impressions piece), but due to new events throughout the year & the updates sure to come, it's a game that can't truly be "beat".
Welcome to Namek, where the people are friendly, and the neighborhoods tightly organized.
Gameplay:
You start out as a new resident on a deserted island getaway package, and after designing your character, naming your island & the like, it's your job to collect resources in order to build tools (which allow you to get even more resources) or sell to fill your pockets.
There are really two main goals. The first of which is to build up your island, which is done by taking on quests given by Tom Nook (the raccoon who invited you to the island), which result in new establishments (such as shops & a museum, which has it's own questline involving donating fossils & any fish & insects you find on the island in order to complete it's exhibits) & villagers moving onto the island. Once things are suitably built up, famed musician K.K. Slider will be encouraged to put on a show on your island, proving your island is now a thriving community.
The other goal is to build up your own home. You start out with a small tent, but once you pay it off you can move into a larger house, and through a series of paying it off and taking out even bigger loans to pay off, you can add to it one room at a time. Of course you can decorate it as you see fit, with flooring, wallpaper, and furniture. Some of which can be created by various crafting recipes (which wash up on shore on bottled messages, randomly given out by balloons, given to you by villagers, bought with Nook Miles, or earned through special events), while others are obtained ready to go (either bought with Bells or Nook Miles in selections that change daily, randomly handed out via balloons, or earned during special events).
There are two forms of in-game currency. The first of which are Bells, the traditional currency of AC and what you'll be using most often. It can be earned by selling things at the store (Nook's Cranny), but can also be earned by playing the Stalk Market (at a certain point you can buy Turnips on Sundays, and you have a week to sell them to the store before they go bad. They sell for a different price each day, and you can make a big profit if they're going for a higher price than you bought them. It is a gamble, though). It's also possible to dig up 1,000 once a day, one of the rocks on your island will drop them (instead of it's usual resources), and they can be randomly dropped by balloons as well. In addition to paying off your loans, you can also buy furniture, clothing, and other goods from merchants with them as well.
The other in-game currency is Nook Miles. These are earned in large amounts by completing in game achievements (and at a certain point are constantly awarded in small amounts just for completing random tasks, such as catching 5 fish). Your first loan can be paid off with them (but only that one time), but otherwise they can be spent on crafting recipes & furniture exclusive to the "Nook Stop" (an ATM like machine in the resident services tent/building). You can also buy Nook Miles Tickets with them, which send you to smaller randomly generated islands that you can use to obtain extra resources (some even have things you can't get on your island, but can import, such as bamboo & coconut trees).
Everything runs in real time (some buildings may take one or two real days to be completed), and this adds longevity to the game as the kinds of wildlife you encounter (and can obtain for your museum) change throughout the year based on their real life activity, plus there are seasonal events (such as holidays) which can be used to obtain exclusive crafting recipes & items which you can only get during those times. You can get around this somewhat by messing with the console's internal clock, and although there's no major punishment for this (any Turnips you currently have will automatically rot, and the villagers will start rumours about you), it'll only get you so far because many of the special events will be added in future updates & can't accessed at all currently.
There's no rush to do any of this though, and you can play at your own pace (it doesn't matter if you pay off your loan a day from now, a week, or even a year), though you may want to upgrade your house at a regular clip, because the larger it is the more storage you'll have for your resources & items you collect. After having everything built up to a reasonable degree you'll probably get into a groove of checking into it just for a bit each day just to do a quick run through of your village to see if the shops have anything interesting & to grab your daily Bell & Nook Mile drops, while coming back more seriously for the seasonal events throughout the year.
Once you do hit endgame you obtain the ability to terraform the island itself, putting in roads, rerouting rivers, cliffsides, and creating lakes as you see fit.
Make yourself at home in my humble abode.
Audio/Visual:
It has a charming cartoonish look to it, but it's absolutely packed with little fine details, and almost everything you collect can be interacted with in some way (from lamps lighting up, stereos/record players playing music you collect, and even flushable toilets that have a gameplay element).
I want to give a special shout out to the museum, which is immaculately realized & is a place I'd love to visit in real life.
It has a nice relaxing soundtrack that changes by the hour, and you can buy a variety of tracks for use in your own home (or can be obtained as a gift from K.K. Slider, once he starts playing in town).
Rest up at scenic Kaiju Public Park (the "Godzilla" even breaths fire & roars when interacted with).
Conclusion:
I haven't played anything quite like this before, and it was a pleasant surprise. Despite there being no urgent goals to complete or a world to save, I couldn't help but be sucked in to this charming world, and there's so much here that there's bound to be stuff I didn't even touch on (such as the online features, since I don't have NSO. I believe you can create custom designs for clothes, furniture, and & even terrain to share). It's the rare kind of game where when you're not playing it, you're thinking about doing so & can't wait for your next session/day to roll around. Some things could definitely be streamlined (such as the fact you can only craft things one at a time, which is irritating when you need to craft in bulk, such as fish bait), but it's so charming you can't help but put up with it, lol.
Spend the evening in our rustic Cliffside Campsite (for your own safety, we request you don't venture past the fence).
Currently Playing:
Switch - Blade Strangers
PS4 - Kingdom Hearts III, Tetris Effect (VR)
@RR529 The lack of bulk crafting was a major pain in my rear until I bought the Split Pad Pro and used the turbo button on that to make life easier for myself.
Have you tried planting a money tree, btw? It's another good way of consistently investing your money.
Anyway, nice write-up, and I like the uniquely Japanese flair of your home. Mine is a random assortment of themes, depending on the room (I should probably disassemble my Easter Egg room now that Bunny Day is over, but... I don't have the energy).
@RR529 After you dig up the money in a glowing money hole, bury a bag containing either 1,000 or 10,000 bells in it (other amounts might work, but these are the ones I can personally verify work). When it grows into a tree, it'll yield 3x the amount you buried. So the 1000 bell bad will yield a tree that drops three 1000 bell money bags. The 10,000 bell bag will yield a 30,000 bell money tree.
@RR529 Nice one! Your town looks great. My town (and the interior of my house) is somewhat... less planned and rather haphazard. The game is lovely and such a wonderful change of pace from almost everything else. It's become part of my morning and nightly routine, even if it's just a quick session to bash rocks and dig up the daily quota of fossils. My main criticism would be having to craft using materials from the villagers bag and not what's stored in the house. Around my outdoor workbench there's a ton of sticks, wood, rocks and iron dotted about.
@Ralizah I didn't know you could plant an Amber Rudd style Magic Money Tree™️. Thanks for the tip.
I'm approaching a tower I found in the middle of an obscured map. When I reach it, I'll play a little hacking minigame to activate it, and it'll send out a pulse to reveal secondary objectives and hidden collectibles in its immediate vicinity. The map will come into focus, now covered in all manner of multi-coloured dots.
Stop me if you've heard this one. I sure as heck have, dozens of times before. Sometimes the tower has been a lumbering, tall-necked machine, or the playable character has been a CIA agent, but the basics have always been the same, right?
Only this time, it doesn't matter. This time, I'm having the time of my life.
Because this time, I'm Spider-Man.
September 2018 / PlayStation4 Exclusive
You can imagine that being the ice-breaker which turned a narcoleptic pitch meeting into a barrage of cash being thrown at developer Insomniac Games. After all, not only has the Marvel superhero brand risen to dominance in recent history, but Sony have a vested interest in Spidey himself, part-owning the rights to his various cinematic versions. With these kinds of reputations at stake, bringing the wall-crawler to the PS4 had to be a success. There'd be no room for risk-taking; simultaneously, no corners could be cut. This game was always going to be polished and playable, no question, but it was also going to be somewhat safe.
And that's okay. When you're trying something new, you need to dress to impress, to reel in your audience with something unique. Here, the hook is Spidey himself; a pre-established, known constant who Marvel would demand be handled with care. People would buy PS4s just to play as him, even if they didn't know an X from a cross.
In other words, getting Spidey right is as important as making a good game. Fortunately for us, Insomniac didn't forget either goal; they nailed the first one whilst (mostly) managing to stick the landing with the second. They worked safe in the knowledge that a compelling narrative, likeable characters and a healthy dose of fanboy / fangirl / fanperson wish-fulfilment can carry anybody through any minor shortcomings in gameplay design. That's probably how we ended up with those tower-hacking, map-revealing minigames... and how I ended up loving them, despite their unoriginality.
Spidey-Sensible: Insomniac's characterisation and interpretation of Peter Parker, a.k.a. your friendly neighbourhood Spider-Man, is an immediate, compelling and crucial victory.
To its credit, the game goes to a lot of effort to include variety in what could've easily been cookie-cutter busywork. Some tasks are simple (tidying up discarded backpacks, for example, or surviving wave-based brawls at gang hideouts) but others stay fresh from beginning to end. Research Stations might appear to be a rinse-and-repeat map marker at first glance, but they're all unique, serving up some charming and enjoyable brief scenarios for Spidey to undertake, complete with plot context and everything. This approach is also reflected in the combat; on the surface, we're talking about a very familiar Arkham-style punch, kick and counter system here but, as things progressed, I ended up having access to 20% more moves, options and gadgets than I'd initially expected (many of which went untouched and un-upgraded as a result). Those minigame puzzles I mentioned before? Even they come in four different flavours.
Does Whatever Sudoku Can: Why waste money on brainteaser books, when you're almost guaranteed these silly little equivalents in your big-budget games nowadays?
But perhaps originality isn't as essential as execution here. Triple-A gaming has refined itself into a corner, but it must've done so for a reason, right? And this, indisputably one of its best champions, is a rampant joy to pick up and play, so it can't be all bad, can it?
Insomniac's Spider-Man looks every pixel an expensive game. It's glorious to behold, impossibly pretty and packed with mind-boggling levels of detail hand-crafted by a talented, well-resourced team. The virtual NYC around which you fling yourself feels alive, with planes in the sky and people on the streets going about their daily business. As such, you'll welcome the moments after major missions where Spidey says "Well, nothing to do for now. Guess I'll go on patrol." Finally, a chance to just soak it all in! Digital tourism at its finest. Off you swing, and you'll invariably find something of interest a few blocks away. Then, and only then, as if deviously waiting for the worst possible instant, your phone will ring. Hello! It's your next objective calling.
Hey, such is life. I get that Spidey is an extraordinarily busy guy (it's his character's whole schtick) but it seems a shame that the idea of exploring NYC ever evolved much beyond its bulletpoint at the brainstorming stage. It's a tricky balance to strike; leave the unfolding tale on the backburner too long and others might've complained that the pace felt slow.
The city is still there, and will remind you of its well-realised reality regardless. It pesters you with random, procedurally-generated crimes in progress, at times intrusively so (especially when they have an annoying habit of cutting off any story-related phone calls as Spidey passes by). As the third act thunders towards the end credits, it also becomes a far more dangerous environment and, no matter how beautiful Insomniac's momentum-based webplay might feel, traversal simply isn't cool when you're constantly being bombarded with heat-seeking missiles and sniper's bullets.
With Great Processing Power... NYC is a tremendous achievement, both from a distance and up-close, but this means it can occasionally be overwhelming.
I guess what I'm trying to convey is that, whilst Spider-Man is most certainly a product of modern gaming trends, it might be representing too many, all at once. It's a breakneck game, throwing everything at you because the PS4 is a powerhouse that can, not because pretending to be Spidey is an experience that should.
Particularly when you consider that this is an older, established Spidey we're dealing with. Wisely, this is not an origin story; this is the web-swinger in his early 20s, not his late teens. He's still spinning a lot of life plates, as he's always supposed to, but he's one of the more confident incarnations in recent years. The masterful Yuri Lowenthal plays his dream role with aplomb, coming over charming and goofy without ever being immature or irritating. He effortlessly carries the whole thing; the rest of the cast are terrific, no faults here, but he's truly exceptional.
That aforementioned third act is the hectic end result of a complex crescendo of coincidence and contrivance, but the way in which its layers were carefully built up beforehand prevent it from becoming confusing. In its early stages, the game seems nervous about committing to proper boss fights but then, suddenly, they become every other objective. Helps that they're all excellent (one specific encounter, played out above a power plant, gave me some of the most dramatically spectacular thrills I've ever gotten from any game). To those fixated on gameplay balance and pacing, this flurry of activity may come across a bit rushed, but it makes story sense for Spidey in the context of unfolding events. It also makes for an unforgettable, rip-roaring finale, bursting at the seams with twists both obvious and shocking.
"...y'know, I guess one person can make a difference... 'nuff said."
All of this wonder is why those trivial frustrations I mentioned earlier don't matter. Heck, I've got more; to defeat a shielded enemy, Spidey's animation is a slide followed by an attack, so why is the input attack, then slide? Why did all the sound effects disappear during one of the most crucial cutscenes? Why does the gadget wheel sporadically refuse to select the gadget I'm selecting?
None of these questions need answers. They're just not that important, not when I can leap from the top of a skyscraper and hear John Paesano's note-perfect score kick in to herald my heroic swing, brushing past the tops of yellow cabs and NYPD police cruisers with a digital inch to spare. You can get as picky as you want with the faults of modern gaming (and, at certain times, it's right that you should) but when the immediate, visceral delight of being a happy-go-lucky superhero is this unconstrained by technological limitation... gosh darn it, when it's this pure, only the most cantankerous of critics would want to.
Insomniac's Spider-Man may have started life an awkward assemblage of tired old tropes but, in web-zipping itself to rise above the sum of its parts, it demonstrates that there's still some originality to be squeezed from the unoriginal.
And so, if this is the path contemporary, Triple-A gaming is currently walking, I'm more than happy to be crawling along the wall beside it.
Periodically pausing to hack a tower or two, of course.
***
***
Post-Credits Scene The City That Never Sleeps DLC Mini-Review
The phrase "more of the same" is often meant as a criticism; in light of the above, you might already see where I'm going with this, but hey.
Were the core of Insomniac's Spider-Man a Hollywood blockbuster, then the three instalments of its expansion pass would be episodes of its TV spin-off; you've got the same characters, the same general story beats, but they've been condensed into easier-to-digest bitesize chunks. Some would argue that this analogy extends to the production values, as the entire DLC boasts few sequences that come close to matching the outlandish indulgence of the main game, but it does well enough with its premise (a mob resurgence revolving around the villain Hammerhead, who is less important to the proceedings than those he battles against).
Each episode starts and ends strong, with cliffhangers to tie everything together, but their mid-sections can sag somewhat (again, just like serialised television). Events aren't as personal to Spidey this time around, and are more focused on his trilogy of female frenemies, but that isn't to say that he's a plot passenger. There are more phone calls with his ever-changing family, many of which help lay subtle groundwork for the inevitable sequel, and one key character ends with ambiguity over their ultimate future. Having said that, I was satisfied to see the central machinations wrap themselves up at the end of the third (and longest, most detailed) episode. It would all make for a useful primer, come the next game.
Webhead's Webthreads: Expanding on Spidey's impressive wardrobe, the DLC also adds nine new costumes, some of which are definite highlights.
In spite of its budgetary limitations, there's once again a welcome effort to soften the blow of repetition, with new types of randomised crimes thrown in (my favourite of which involved using the adorable Spider-Bot to crawl around under cars, locating and defusing bombs). There are also new enemy variations, although these can cause an unnecessary headache when they bundle in on an already-crowded fracas. I just about got the hang of hitting them by the time I'd cleared each episode, which tells me that they could've been a fraction more forgiving.
There were also some small glitches in the early stages of its inaugural instalment, with audio cutting out and map icons failing to materialise, and whilst I didn't mind most of the hyperactive Screwball challenges, I can imagine most folks being allergic to her particular brand of "social media sociopath" personality.
So, that makes the DLC an entertaining, well-made experience, with a handful of minor issues easily overlooked because of the base-level fun on offer.
Sound familiar? Because it sure sounds like more of the same to me!
"We want different things, Crosshair. That doesn't mean that we have to be enemies."
@RogerRoger Another ace review! Agreed with all your points If we take out Spider-Man and his unique characteristics the game wouldn't be doing anything particularly unique as an open-world game. We've seen it many, many times over. But that web swinging and combat is just exquisite and elevates it to a whole other level, allowing us to look past those flaws. For me open world games often hover a fine line between tedium and therapeutically ticking a virtual to-do list off the map, but Spider-Man is the right length and ticks a lot of boxes in the same way Horizon does. Really looking forward to the sequel and where it takes certain characters!
@RogerRoger Excellently written review, as usual. It's always apparent when you've been deeply enjoying something, but I appreciate how, even in the midst of your enthusiasm, you take the time to soberly discuss design limitations within the experience, even if those ultimately didn't do much to dampen your enjoyment of the game.
You're right that it's not always important for games to be daring with how they're designed. Especially in the case of something like a licensed superhero game, it's more important to properly capture the essence of the character and, to whatever degree possible, make it fun to inhabit their skin for a while. And it sounds like Insomniac has largely done that. Even if the design of the game itself is fairly unadventurous, proper care being paid to the presentation, controls, and gameplay mechanics can lead to it being a blast. Just as there's a time and a place for game developers to blow apart design norms and forge new philosophies of play interaction, there's a time and a place for game developers to draw from a safe, well-established toolbox of design fundamentals in order to craft a properly excellent vehicle for a beloved pop culture icon.
I'm not sure when I'll get around to Spider-Man, but it's good to know the game should be properly fun when I do so.
Wolfenstein: Cyberpilot (PSVR) - VR Wolfenstein FPS with a focus on mech gameplay.
Gameplay:
It's a singleplayer FPS set across 4 missions (it'll last you only a few hours, unless you want to play it on the harder difficulty settings), each of which puts you in control of a different piece of tech (except the fourth, which has you jumping between the three to complete it).
Each mission is split into 3 segments. The first of which being in a lab/workshop setting where you have to tinker with & reverse engineer that mission's mech (captured from the Nazi's). These are stress free segments which provide a nice break from the action and make good use of the VR play space, albeit are a bit clunky with a Dualshock, as the camera can easily lose track of the light bar when you move the controller to the side to grab an object. It's not a major issue & I learned to adapt, but these segments probably play better with the freedom afforded by the Move controllers.
The second part of a mission (at least the first 3) is a brief tutorial on how to control that mission's mech. From here on things play out much more like a standard FPS, and using the Dualshock isn't an issue. Each mech has two weapons (one fired with L2 & R2, respectively), an emergency weapon/action (activated by an in game button just to your left that you have to hit with a forceful "smashing" motion of the controller), and health regeneration (activated by pressing R2 after slotting the controller into a device just to your right, so you can't heal & attack at the same time). You move & control the camera with the analogue sticks, and aim via motion tracking.
The third and largest segment is the main mission proper, where you use what you've learned to make your way through it.
The final mission mixes things up as it (sort of) abandons the lab, and doesn't feature a tutorial segment, as you hop between all 3 mechs on your way to completion.
Audio/Visual:
Being a "cockpit" style game it makes general good use of the VR perspective, especially given the fact that you're controlling machinery of varying sizes, with the Zitadelle being the traditional power fantasy mech that towers over your average soldier, and the Drone being exactly that, where every man is an oppressive obstacle to be approached cautiously.
It has a cool retro sci-fi setting, with detailed environments (with many objects being destructible, particularly in the larger machines), where you're treated to helicopters & zeppelins flying overhead, and mechanized enemies explode with arrays of sparks & embers (I particularly like the way enemy Panzerhunds are reduced to molten metal when defeated).
Of course such detail does come with a caveat, as although it shows the potential of a VR world with the backing of a larger studio, it's pressing on PSVR's upper limits (at least on a slim PS4), as the environment can get quite blurry with some texture pop in too. It depends on distance & segment (the tutorial segments take place in 80's style computer datascapes and look great, as does anything in your immediate vicinity such as the interior of the cockpit, and even the drone missions hold up well as they take place mostly indoors, but it's pretty noticeable outside. It was never so bad that it got in the way of the gameplay however, and is still mostly a cool experience (even at it's worst it still looks better than anything on Switch's LABO VR, for example). I imagine it's really cool on a Pro.
Story:
Set in an alternate history where the Nazi's won WWII, you're a "cyberpilot" with the French resistance who pilots captured advanced Nazi war machinery for liberation. It's not too long before you discover the Nazi R&D lab (where they're developing even more advanced ways to kill people), and set out to destroy it.
It's not the most original setup, but it gets the job done, and it actually has a pretty cool twist at the end.
Conclusion:
It may end just when it feels like it's finding it's groove & pushes PSVR to it's graphical limit, but it's a cool & fun experience while it lasts and does some interesting things (and offers a nice array of experiences based on the different mech types).
@RogerRoger, Fantastic Spider-Man review. It's the game that started me on my PS4 journey, and it was great. As you touch upon, it doesn't really do anything new, but it's polished to perfection & it's simply fun being Spider-Man.
Currently Playing:
Switch - Blade Strangers
PS4 - Kingdom Hearts III, Tetris Effect (VR)
@mookysam Thanks; glad to see we agree! Also glad to know it wasn't just me who got swept up in the character and world-building, particularly since I have a penchant for easy, superficial games. I'm with you, the sequel will be a day-one purchase for me now!
@Ralizah Most kind, thank you. You'll doubtless see me posting elsewhere on the forums that this has been the "best game ever" and is my new current-gen favourite, but those are my personal opinions and, whilst I wanted to include them, I also wanted to remain objective. Kept things spoiler-free specifically for you, as well, as you'd mentioned before that you'd yet to play Spider-Man and, despite this being a two-year-old exclusive we're discussing on a PlayStation forum, I didn't wanna give anything away. When you get around to it, I hope you enjoy it as much as I have!
And you're right, there's a time and a place to tear down convention. This is the glossiest of glossy games, so there's a degree of indulgence in playing it, but it isn't the same corporate, cynical gloss or shareholder self-indulgence you'd get from a Call of Duty or an annual sports game (generalised stereotypes, apologies, but they're for illustrative purposes only). There's a sense that everything's in aid of pure fun, plain and simple; makes it much easier to tap into.
***
@RR529 Cracking review of Cyberpilot there; I was curious if you'd write one up (and thanks for the praise of my own piece, by the way). Being unfamiliar with VR, it does sound a little stop-start and clunky at times, even without considering your comments about the DualShock probably being inferior to the Move controllers. It also sounds like authentic Wolfenstein, though ("Here's a big gun, there are some Nazis... go make the introductions.") and that's always fun on an immediate, visceral level. Glad you enjoyed it overall; I do wonder when we're gonna start seeing full-length VR games, and move on from these three-to-four-hour diversions. Might make more people invest.
"We want different things, Crosshair. That doesn't mean that we have to be enemies."
@RogerRoger I enjoyed the reviews, especially the deep dive into the DLC which, although I played every inch of the main game, I never indulged in the extra add-on content. At this point I probably won’t get the DLC, but it’s good to know it’s there if I get a hankering for the same web-slinging feeling. Spidey 2 is likely to be out sooner rather than later to satisfy the urges, but with all these delays, maybe it’ll be longer than expected. Also, the DLC sounds like it actually has semi-important story beats, which I didn’t realize. Hopefully Insomniac will fill in the gaps in the sequel for those of us who haven’t played the DLC.
“We cannot solve our problems with the same thinking we used when we created them.”
@Th3solution Thanks; I deliberately addressed the DLC separately because I gather a lot of folks won't have picked it up. It's an odd one, and difficult to wholeheartedly recommend one way or another, as I reckon its plot sits in a middle-ground between "easily skippable" and "absolutely essential" to the forthcoming sequel. I'm sure Insomniac wouldn't deliberately leave any gaps in people's understanding but, without a "previously on..." recap right at the beginning, there might be a few Arkham Knight moments (which you never finished, so you won't get that reference, sorry).
The season pass is frequently on sale, though. Was a fiver a couple weeks back, apparently. Maybe worth keeping an eye on because, for that kinda price, you can't really go wrong.
"We want different things, Crosshair. That doesn't mean that we have to be enemies."
@RogerRoger Arkham Knight... man, I gotta get to that. 😅 I was exceedingly close to booting it up a week or two ago and went with the Telltale Season 2 Batman “bedtime story with button prompts” (still love that moniker 😂) instead. Now I’m knee deep in Assassin’s Creed Origins so I’m at my ‘open- world’ limit.
But yeah, I’ll keep an eye out for a possible sale on the Season Pass. I’ll have to swallow my pride since my policy against pre-planned DLC is getting very outdated now. It’s just simply part of the gaming landscape whether we like it or not - like fetch quests, day 1 patches, and Call of Duty.
“We cannot solve our problems with the same thinking we used when we created them.”
@Th3solution Oh, if that was your moral objection to it... hmm, I didn't know it was pre-planned (or had forgotten that it was, at any rate). I suppose that's why Insomniac used it to build things up for the sequel. Don't compromise your position, buddy; wait until it's as cheap as possible or heck, just watch a story-only supercut on YouTube. That'd probably be enough.
Best of luck with AC: Origins, as Arkham Knight sure isn't going anywhere!
"We want different things, Crosshair. That doesn't mean that we have to be enemies."
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