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Showing posts with label Sony Computer Entertainment. Show all posts
Showing posts with label Sony Computer Entertainment. Show all posts

Twisted Metal 2 - Retro Reflections

Twisted Metal 2 by developer SingleTrac and publisher Sony Computer Entertainment—PC retro reflection written by Hamza.

Estimated reading time: 4 minutes 


David Jaffe has always been the man for chaos and destruction. Before he swept the world and put his name firmly on the video gaming map with God of War and its sequel, he was known as the genius behind Twisted Metal. Simply put, Twisted Metal is Unreal Tournament with vehicles. The first title in the series has aged considerably — though with dignity — and remains a classic of the vehicular combat genre, so much so that it's often the first name to roll off the tongue at any mention of it. But it is perhaps Twisted Metal 2 that is most fondly remembered by fans of the series. What makes this installment more attractive is straightforward: whatever problems and limitations were present in the original have been rectified in the sequel. There is more to destroy, more space to roam freely, and an unprecedented sense of openness that is almost too vast to take in all at once. The graphics, too, are a step up — sitting snugly somewhere between comic-style and cel-shading. The signature humour is intact, as is the wacky, often punishing gameplay. In short, David Jaffe delivered a sequel that stayed true to everything Twisted Metal had proven itself to be. All he did was turn the power up to 11.

 

The core of the game is engaging in a twisted version of destruction derby and being the last driver standing — or rather, still driving. The backstory goes something like this: following a tragic accident that cost him his wife and daughter, Calypso — in true Shao Kahn and Heihachi Mishima fashion — established an annual tournament called Twisted Metal, where head-to-head competition is taken almost too literally. From a roster of rough-and-tough drivers, you select your particular maniac of mayhem and enter tournaments across arenas that range from farm fields and snow-capped mountains to the depths of Hell itself. Scattered throughout each arena are power-ups and upgrades to use to your advantage, allowing you to dispatch your enemies with greater efficiency. Your primary weapon is a sub-machine gun with infinite ammo — your most reliable companion in the arena — though it quickly becomes a tired old workhorse once the rocket launchers and other ballistic weapons enter the picture.

The standout feature of every Twisted Metal game is the vehicles. Inventive and iconic in their own right, they resemble a cross between Hot Wheels and Carmageddon, but stripped of the grandeur and fitted instead with mounted weapons. The series' most iconic vehicle — Sweet Tooth, the ice cream truck — is sadly absent from this entry and can only be unlocked via a cheat code. Its exclusion is somewhat compensated for, however, by the introduction of two new vehicles: Twister and Axel. The former boasts a hurricane special move that can pull you out of tight spots while also serving as a formidable offensive weapon when things get too hot. The latter is a two-wheeled contraption with the driver positioned in the middle — think of it as a Segway fitted with monster truck wheels. In my opinion, Twister and Outlaw 2 — an LAPD police car — are the two best choices for newcomers, being quick and sturdy enough for the player to get real mileage out of them early on.

 

Regrettably, the game loses its momentum all too quickly. By the third arena, you're all but fed up. It is only the trademark darkly humorous endings that keep the player going through at least one full playthrough. Playing with different vehicles, uncovering their weaknesses and unleashing your own strengths is fun and engaging the first time around, but on a second run the fun is steadily consumed by repetition.

In conclusion, though the series has seen a fair amount of tweaking and improvement over the years, it is the original two entries that still stand out as the best — with Twisted Metal 2 being arguably the most balanced in terms of exciting gameplay, satisfying combat and good old-fashioned fun.


Note: Screenshots from all platforms that were available at the time can be found here at Moby Games.

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Desert of Lost Souls | God of War | Level Up

Desert of Lost Souls | God of War by developer Santa Monica Studio and publisher Sony Interactive Entertainment—Sony PlayStation 2 feature article written by Hamza.

Estimated reading time: 7 minutes


Everything about God of War is epic. The story, acting, characters, boss battles, mini-battles, powers, music, animations, cut-scenes. God of War games are so filled to the brim with awesome moments that anytime you think the imaginative and epic apex has been reached, another moment comes and blows you even further than the one prior had done. After having your jaw dropped to the ground several times by the many impossibly sexy moments, you just let it lie there. Known for generating interest in Greek Mythology amongst younglings, God of War on release was a sleeper hit, and quickly established itself as one of the dominant forces available on the market. Each successive game bought bigger thrills, longer boss battles - but the absolute grand-daddy of them all has to be The Desert of Lost Souls.

By the time you reach The Desert of Lost Souls, the game has had several great levels / moments: the opening Hydra battle; rooftops of Athens; first encounters with Minotaur in the Gates of Athens chapter; Medusa boss battle. While these are all great, unforgettable sequences with unparalleled production, they all quickly pale in comparison to the chapter in question here. And while this chapter is less than an hour long if you know what you're doing, the impact it leaves upon the player is deep. Calling The Desert of Lost Souls the pinnacle of God of War’s experience is somewhat risky, but it definitely can be used as a great example of how when God of War decides to go big, it spares no expense.

https://youtu.be/F3-GSyu7-Ek

After traversing the magnificent sewers of Athens and scaling its many fantastic spiraling staircases, your puzzle-solving will eventually unlock a rather large set of doors. When you enter through it, you will be greeted by a statue of Athena. The immediate cut-scene that follows is still arguably one of the greatest in all of video games. The swooping camera work is to be noted - but the icing on the cake is the one brief shot of the Titan, Cronus, crawling through the endless desert on all fours, the legendary Temple of Pandora chained onto his back. The camera stays just long enough for the doomed Titan to give an anguished glance to the player... before carrying on with his punishment. In the Greek Mythology, Cronus, or Kronos, was the leader of the Titans; before being overthrown by one of his sons, Zeus, and imprisoned in Tartarus (a prison for immortals). The Cronus that appears in the games, just like the rest of the game, is loosely based on his Mythological counterpart.

The gist is this: seek and destroy the three deadly Sirens to open the door of the ruined temple that sits in the middle of the desert. In it resides the Lesser Horn, which further opens the pathway to the Summoning Horn. In Greek Mythology, Sirens were beautiful yet dangerous half-women, half-birds who resided on small islands and lured sailors to their deaths by their seductive singing voices. The Sirens that appear in this game however, are drastically changed in appearance - they have busty bodies and deformed faces - but retain the alleged sonorous musical voice from the Mythology (and with it, a penchant to scream like a banshee to scare you silly). The idea behind this level is to locate the Sirens via following the trail of their hauntingly operatic song.



The implementation of a rather different approach to discovering an enemy before you tackle them, along with the challenge that comes from the extreme low visibility due to the perpetual sandstorm, makes Desert of Lost Souls, although a piece of the same puzzle, a little more intimidating and attention-worthy than the rest put together. Imminent danger notwithstanding, the desert itself looks pretty spectacular - especially when you encounter hints of a once thriving civilization: majestic dilapidated statues, building wrecks, broken down wells. The production of Deserts is simply superb. It takes inspiration to pull off something like this, but true genius to turn it into something this memorable.

When the three Sirens have been dealt with (and the occasional Minotaur defeated), the door of the aforementioned temple opens, granting you access to the Horns. Once inside, you come across a conveyor belt of sorts with a rotating spike grinder at one end and a high wall at the other. This puzzle doesn’t require too much thinking, but since I’m no Aristotle, it never once occurred to me to destroy the killing contraption. Doing so would have eliminated one danger and I would then be free to tackle the endless spawning Undead Legionnaires while pushing the crate towards the wall. Once this is achieved, you come across the Lesser Horn.


https://godofwar.fandom.com/wiki/Lesser_Horn?file=Lesser_Horn.jpg

Activating it creates an aperture through the ceaseless sandstorm, leading straight to the Summoning Horn. As soon as you approach it, it disappears and a horde of Sirens appear and attack you. Unlike the three fought previously, these Sirens don’t pose that much of a threat and can easily be taken down with simple combo attacks. When the last Siren is defeated, the Horn re-appears; and when you activate it, a lengthy cutscene follows, showing Cronus crawling towards your position and Athena narrating how Kratos scaled the Titan for three days to reach the top of the Temple of Pandora.

Here ends The Desert of Lost Souls. With a great introductory cutscene, thrilling and at time scary gameplay, and one fantastic production, Desert may seem outdated and rather nondescript in front of the series’ other grand-scale moments - but here in God of War, it is nothing less than a watershed moment and the first true example of great things yet to come.




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