The newly-revealed Project Triangle Strategy is a clear homage to two of my favourite games of all time — Tactics Ogre and Final Fantasy Tactics. After playing the demo, I’m cautiously interested.
The debt to FFT and Tactics Ogre is clearest in the aesthetics. The sprites look just like those in the classic games, right down to the way mages raise their arms over their heads when casting spells, and the character portraits are also gorgeous.
Based on the two levels in the demo, the gameplay seems solid. Positioning, elemental vulnerabilities, and terrain all matter. I cleared the second level by the skin of my teeth, with only one melee character and a few casters left standing. Using terrain, and a spell that created temporary ice walls on the ground, I was able to channel the second level’s boss into a chokepoint where my last melee fighter could stall her long enough for the mages to bring her down. Disappointingly, mounts seem cosmetic — a horseman can climb ladders (?!) and a bird rider doesn’t seem able to fly over obstacles — but that issue is fairly minor.
My biggest concern is the writing. What made the narratives of FFT and Tactics Ogre so great wasn’t convoluted plots or warring lords. What made them great was the themes and character arcs revealed by those plots — what happens when youthful idealists find themselves betrayed by reality, and how those idealists respond afterwards. In the short demo, I saw nothing comparable, although conclusions will have to wait for the full game.
Overall, I liked the demo enough to keep an eye on this game. Release is set for 2022 — hopefully it will fulfil its promise.
Merry Christmas and Happy Holidays, everyone! I hope you’re all safe and well.
This year I played the usual new and new-ish strategy games. XCOM: Chimera Squad, Shadow Empire, and Crusader Kings III were all strong releases. Amongst 2019 games, Age of Wonders: Planetfall was a solid combat-focused 4X and Planet Zoo was a charming and pleasant management game.
My great discovery was the Anno series: I’ve put almost 150 hours into Anno 1800 alone, a game that combines gorgeous production values, engrossing city management, and Paradox-like depth and replayability. On some evenings, I tinkered with coffee production chains or proudly set up new tractors. At other times, I found myself plunged into a city-building version of the Empire: Total War successor I’ve always wanted, as my trading empire fought for its life across multiple continents. Whether trying to inaugurate a World’s Fair, or ensuring that the chocolate must flow, there is always something more to do. And I think the Anno series’ central idea — that society depends on long, elaborate production chains — felt especially relevant this year.
I also replayed many classic strategy games, ranging from the 1990s to the 2010s. These included Supreme Commander: Forged AllianceJagged Alliance 2, and a raft of 4X titles: Imperialism 2, Master of Magic, Age of Wonders III, Civilization IV, and Alpha Centauri.
The standout was Alpha Centauri, which I would argue is still the best 4X game ever made: it has some of the best science fiction worldbuilding in any game, while also shining on a mechanical level. With Alpha Centauri, 1990s strategy game design reached its peak: it offered the player a dazzling range of toys without falling into the pitfalls that afflict modern games, such as bloat or an over-emphasis on “balance”. And it could teach the modern Civilization series how to handle warfare: armies, navies, and air forces are punchy and interesting to use, without either the problems of Civilization IV‘s stacks of doom or the subsequent one-unit-per-tile rule.
Finally, this was the year in which I tried new and different types of games, both on PC and on Switch:
X4: Foundations and the early access version of Mount and Blade II: Bannerlord made me realise how much I love dynamic worlds, where I can set my own objectives and carve out a niche alongside a map full of NPC factions trying to do the same.
I returned to flight sims for the first time since childhood with the beautiful, accessible Flight Simulator. Within a few hours, I was confidently taking off, flying, and landing Cessnas; now I’m sightseeing around the world. Flight Simulator proved to be my gateway back into the genre: I went on to test the waters of combat sims with War Thunder. In the last week, I bought Star Wars: Squadrons and IL-2, and I’m currently eyeing DCS World’s modern aircraft.
Bloodstained: Ritual of the Night is my first real experience with Metroidvanias (I played Symphony of the Night many years ago but didn’t get far). Now that I’m nearing the end, I see why people love this genre! The blend of combat and exploration reminds me of a much easier, 2D version of Dark Souls — I love working out where to go next, based on the latest ability I’ve unlocked — and its goofy, over-the-top cast and setting are far from what the ominous title suggests.
Assassin’s Creed: Odyssey was my first Assassin’s Creed game since AC4: Black Flag. Its much better, more mobile combat and gorgeous depiction of Classical Greece won my heart. I just need to play more…
The cheerful, colourful Slime Rancher benefits from being in first person and in 3D. This gave it a satisfying physicality when puttering around the ranch or exploring the wilderness — something I found missing in top-down games such as Stardew Valley. It’s also very, very cute.
After casually playing Mario Kart games for years, and never doing well on anything faster than 100cc, this was the year in which I set out to master Mario Kart 8 Deluxe. Along the way, my admiration grew for how well-designed MK8 is — its balance of skill and luck, its charm and character, how well it eases the player into a state of flow. MK8 also became the first game to get me back into online multiplayer since Eugen’s Wargame series, years ago. Just don’t ask me to do well on Rainbow Road…
Nintendo has the knack of making me try even genres I don’t normally play: Mario Galaxy is delightful, although I’m still at the button-mashing stage in Mario Tennis Aces. Animal Crossing: New Horizons offered a pleasant experience that easily fit into my Switch routine.
My most notable Switch release of the year was a third-party game. Hades combines fast-paced action with good writing: the more I played, the more I realised how cleverly it blends a modern interpretation of Greek myth with the original themes. I cleared it for the first time on my 17th attempt, and narratively this is just the end of the beginning.
Amongst other third-party games, Two Point Hospital was an excellent port and a good game, albeit one that dragged on slightly too long. I enjoyed improving my virtual swing in Golf Story — while practicing for the final course, I revisited every previous course and consciously made an effort to use every tool the game placed at my disposal. Finally, the delightful A Short Hike was my favourite short-form game in years.
Best wishes to all of you for 2021, and I’ll see you next year.
A Short Hike is a brief, delightful experience: what you would get if you took Breath of the Wild’s emphasis on verticality and exploration, and channelled them into a rather different story about exploring a park, having fun, and making friends. The objective is to climb to the top of a mountain; the joy is in exploring branches off the trail, stumbling upon hidden sights, and discovering what else there is to do. The world is warm and inviting; the NPCs are friendly and kind; and the mechanics are solid, whether climbing a cliff-face, gliding down, or trying to hit a ball. And it can be completed quickly: I finished in a couple of hours, although I seem to have missed a fair bit of side content. It left me smiling, laughing, and at the end, wanting more.
knives — In an ideal world, I
wouldn’t have split my forces. But faced with multiple objectives — rescue
civilians, spread around the perimeter of the map; recover treasure chests; go
after the boss — I’ve had little choice.
My party is split across the entire map: some straggling through a thicket
towards the boss, others flying on pegasus- or wyvern-back towards the
civilians, one man on horseback battling his way up a narrow lane. And now, a
powerful optional boss has thundered onto the field, trailed by several
lackeys. Fortunately, my strongest character is close enough to intercept.
Unfortunately, her best backup – the two people who can hard-counter the new
arrival – are on the wrong side of the map.
It’s time to improvise.
like Fire Emblem: Three Houses’
mission design. The game’s rules are fairly basic: most
battles are won by defeating all enemies or the boss; and enemies usually
activate when someone gets too close. By itself, this produces an optimal way
to play: be cautious, cruise across the map in a giant blob, and pick off
enemies a few at a time. What the game does well is adding extra layers of
complexity, such as mission-specific twists and optional objectives. Here are a
Three-way battles offering a reward if you can defeat more characters than the other two factions, or a race to defeat a specific character to claim a treasure.
Optional bosses with rare drops.
A reward for keeping waves of spawning pirates out of a village, even as your main force presses on to defeat the boss.
A map populated by fast, powerful roving enemies … and a treasure chest in the middle.
This pushes me to vary my tactics, and adds
challenge even when my party is over-levelled. It has also delivered memorable
set-pieces, such as the one at the top of this post.
Firaxis’ XCOM makes an interesting contrast — I think giving the player a risk/reward
decision in Three Houses works better
to shake up playstyles, compared to a hard cut-off such as XCOM 2’s controversial mission timer. The XCOM series itself has been through several approaches — Three Houses is closer to picking up
MELD in XCOM: Enemy Within, although
with greater variety (granted, Three
Houses has the advantage of hand-crafted missions, whereas the XCOM games rely on random generation).
Comparing these three games, I would argue that carrots work better than
Uh oh. I’ve overcommitted. This map has enemies
positioned in a “U” shape, with the party starting on one map edge and the
enemy lining the other three, and I’ve gone for the aggressive approach —
charging straight down the middle. Now I’ve pushed several of my characters too
far ahead — and I’m playing with permadeath on! The mighty Princess Edelgard,
so capable in a clash of arms, has met her match in an enemy mage. Then Petra
the swordswoman goes down, targeted by multiple enemies. Argh.
Rewind one turn. Try again. The advantage of
going down the middle is that I’m fighting along interior lines, and now I rush
characters from one flank to shore up the other with their healing magic. I
pull back my most exposed party members, weather the storm. And lesson learned,
I push onto victory.
tactical RPG so far. I’m 10-15 hours
into Fire Emblem: Three Houses, or up
to the start of the game’s fifth chapter. As a lapsed series fan who walked
away in frustration from Fire Emblem: Radiant Dawn on the Wii, I was cautious about Three
Houses. Instead, it’s exceeded my expectations. I am having a great
time with Three Houses’ turn-based
battles, the bedrock of the Fire Emblem
series; I appreciate the new, anti-frustration features; and I like the new Persona-style explorable hub.
intelligent turn-based combat —
Fire Emblem veterans (and XCOM players) will be familiar with the
basic rhythm of each turn: a patient, methodical exercise in determining where
to move each character, who should attack whom, and in what order. The trick is
to minimise incoming damage, both from counterattacks and on the enemy’s turn.
This might include:
Using a ranged character to soften up a melee enemy so a melee character can safely finish them off.
Eliminating enemies before they get the chance to move and attack.
Sending forward one character as bait to lure enemies into range.
Positioning characters where the fewest number of enemies can reach them.
And because this is an RPG, individual
characters’ strengths and weaknesses matter. If there are three magic-users
ahead, then it’s best to bait them using someone with high magic resistance.
Conversely, magic may be the best option when attacking a heavily armoured
knight. Attention to detail is important!
mitigate against frustration —
There are two: the ability to rewind to an earlier turn (similar to Tactics Ogre’s Chariot system), and the ability to see which characters
will be targeted by which enemies when previewing a move (a little like Into the Breach). They serve different
Rewinding time is a safety net. I play with perma-death on, so being able to rewind a turn or two is much, much better than having to replay a battle from scratch.
Seeing enemy attacks in advance is a planning tool, making it easier to take calculated risks.
leaf from Persona was inspired — Three
Houses benefits from adding a hub area, where the player can explore and
interact with NPCs between battles. Like Persona,
this runs on a calendar system, with a finite number of actions available each
week. I like this for a couple of reasons:
First, it adds another layer of decision-making — I have to prioritise which characters to recruit and which skills to train.
Second, a large part of my enjoyment of games comes from puttering around well-designed worlds.
vigour. So far, I appreciate both Three
Houses’ execution and its new features. The game has breathed new life into
the series for me — I look forward to playing more.
Since my last update, I’ve been lucky to play
three excellent (and very different) games, all Game of the Year material: Total War: Three Kingdoms, Rule the Waves 2, and Dragon Quest Builders 2. I also reread
an old favourite, Lord of the Rings,
and ploughed through a new favourite, the works of CJ Cherryh.
Total War: Three Kingdoms is the Shogun 2 successor I’ve awaited for the last 8 years, and the best Total War game to date. Everything I loved about Shogun 2 is back: the challenge, strong execution on both the campaign and battle layers, and a beautiful aesthetic. The challenge hit me very early on — playing Cao Cao (the recommended starting character!), I crashed and burned twice before succeeding on my third try. Even with that experience under my belt, it took me two tries to win as the Ma clan of Western China.
The campaign layer is immersive and well-designed. Each province is distinct, so geography matters. AI-controlled warlords play like believable characters: they have distinct personalities — Liu Bei will stand by his friends, while Yuan Shu is a treacherous opportunist — and act sensibly, for instance, by bending the knee to stronger powers. Interface improvements make even large empires manageable.
The same attention to detail is visible on the battle layer. Each individual battle feels like poetry in motion; even one-sided battles made me consider how I could best win while minimising casualties. Siege battles are interesting and dynamic for the first time in the series’ history. (Granted, after a certain point the challenge mostly comes from the campaign layer — the computer prefers recruiting cheap early-game troops, no match for a late-game human army.)
And Three Kingdoms is the best-looking Total War game since Shogun 2. Gone are the dark, muddy graphics of the Rome 2 generation, in favour of vibrant colours. The battle music is good (if not quite “Jeff van Dyck at his best”), and the strategic layer music is lovely and relaxing — the best in the series. I love this game, and I’m so happy that the developers did this period justice.
At the other end of the strategy spectrum is Rule the Waves 2, an indie game covering naval warfare between 1900-1955. What makes it so brilliant is how it captures the essence of strategy — reconciling objectives to limited resources. You are in charge of a Great Power’s navy, whether that be mighty Britain or nearly landlocked Austria-Hungary: you design ships, build them out of a finite budget, and command them in battle, a bit like an oceangoing version of a space 4X game. But unlike a 4X, you are not the leader of your nation. You cannot control world politics, or the rise and fall of international tensions. You cannot control the nation’s economy: the US will always be larger and wealthier than, say, Italy. You cannot control the government, which tweaks the naval budget, makes demands, and if you do badly enough, sacks you — the “game over” condition. You can influence these things – for example, ostentatiously warning of war will give you a bigger budget at the cost of higher world tension – but at the end of the day, it is up to you to make the most of what you are given. I’ve had spectacular results as Austria-Hungary, frugally upgrading my ageing battleships, focusing my meagre budget on fast, modern destroyers trained for night actions, and only picking fights I could win. I’ve had an equally spectacular rise-and-fall as France, building up a proud oceangoing fleet and dominating the Mediterranean, only to be crushed by enemies out of my league — first the British and then the Germans. I was a big fan of the first Rule the Waves, and its sequel has lived up to my expectations.
Dragon Quest Builders 2 illustrates what’s possible by combining the structure and narrative of one genre, the RPG, with the verbiage of another, the builder game. Like an RPG, it’s an epic voyage that takes the heroes across many lands. Like an RPG, you progress by solving NPCs’ quests in each location. But unlike an RPG, those quests typically involve gathering material and building towns.
It is a pleasure to make each area come to life with homes, workshops, kitchens, dining areas, and defensive walls. Add a localisation brimming with puns and wordplay, and the result is a blend of creativity with charm. I don’t have much experience with the builder genre — beyond bouncing off Terraria years ago — so this has been my pleasant surprise of the year.
A few months ago I re-read The Lord of the Rings,
accompanied by the Extended Edition movies, and rediscovered my appreciation
for Tolkien. Intricate, mythic, and at times moving, LOTR is a masterpiece. It is a
book that could only have grown out of its author’s lived experience. It makes no pretensions to realism; yet has
something important to say. It richly deserves its status as the foundational
text of the fantasy genre.
I’ve also finally become a CJ Cherryh fan, after previously finding her books (Downbelow Station) too dry and dense.
Her specialties are alien cultures (in both senses of the word) and driven,
desperate protagonists; both themes run through my recent reads. The Morgaine
saga follows a woman on an obsessive quest, seen through the eyes of her loyal
companion. The hero of Merchanter’s Luck is a traumatised
space smuggler pushing himself to the edge of endurance. The Faded
Sun trilogy tells the story of two tradition- and taboo-bound aliens
searching for their homeworld, and the human veteran who helps them. I’ve just
picked up another of her series (The
Dreaming Tree), have another on my shelf (the Chanur trilogy), and saved the final Morgaine book for later; I look forward to digging in.
Hello! Since it’s been a while since
I wrote about games, I wanted to cover off the notable titles that I’ve played
in the last few months. Some of these are new releases — Wargroove, Steamworld Quest.
Others are old favourites — Firaxis or Paradox games, benefiting from recent
DLC. With much of my gaming moving to Nintendo Switch, I’ve broken out Switch
and PC games — in general the PC games have focused on strategy, while the
Switch games have been more varied.
Wargroove was probably my standout game for
the first few months of the year, with its combination of elegant mechanics, a
charming aesthetic, and a generally well-designed campaign. A map can be
finished in an hour; but that hour can see quick land-grabbing dashes, a
meticulous dance as you yield ground or search for weaknesses in the enemy
line, and the final decisive moment when your dragons swoop on the enemy
stronghold, or you manage to trundle your trebuchets in range. The game is held
back by poor skirmish AI – which limits replayability and makes one of the
three gameplay modes, a series of linked skirmish maps, rather pointless – and
I do wish the last couple of campaign maps offered depth instead of artificial
challenge. Overall, though, it succeeds both as an Advance Wars spiritual successor and as its own game – I will be
very interested in any DLC or sequels.
Meanwhile, Steamworld Quest has
turned out to be very good. It’s built around one of the best turn-based RPG
combat systems I’ve come across, both well-designed and well-executed. I think
I’m about two-thirds through, and I have a longer blog post half-written, so
Temporarily on the back burner is the
Donkey Kong DLC for Mario
+ Rabbids: Kingdom Battle (I finished the base game last year). It’s
more of a good thing, and often laugh-out-loud funny; presumably I’ll return
after playing more Steamworld Quest.
I have mixed feelings about Bomber
Crew, a game sometimes compared to FTL. Individual missions are very
good: enjoyable, often frantic, in the same way as FTL’s encounters. The
problem is the overall structure. FTL playthroughs were short: if you died, it
was back to square one, but you didn’t lose much time. Bomber Crew is more like
XCOM, and not in a good way. There is an ongoing campaign and if you are shot
down, you continue with a new plane and crew – the problem is that they will
not have their predecessors’ upgrades. I don’t like grinding to re-upgrade the
plane and re-level the crew, and I don’t think it makes for a good loop.
Finally, Worms: WMD is a solid
franchise game – while the basics remain similar to previous 2D Worms games, I like the additions —
vehicles and crafting. The vehicles’ destructive power is classic madcap Worms, while crafting gives the player
extra options during a match.
Perhaps the recent standout has been Hearts
of Iron IV: first the Man
the Gunsexpansion, then a brief return to the Kaiserreich mod, before moving onto a Fallout: New Vegas total conversion mod, Old World Blues. In
general, HOI4 becomes steadily better
with each version — Man the Guns and
its accompanying patch are solid, without the AI problems that dog the most
recent version of Stellaris, and
while the new naval system takes a bit of work to set up, I like the power and flexibility
that it allows. I doubt any expansion can address several problems with HOI4’s underlying design – the flawed
transition between peace and war, the lagging and grindy late game – but for
all that, this is a game that’s provided me with significant enjoyment over the
last three years.
Old World Blues deserves a highlight for several reasons. First, there’s its sheer ambition: a whole new map, tech trees, and custom factions. Second, I love New Vegas’ setting. And third, it’s functioned as something of an expert-level class in HOI4. For instance:
I’ve usually found supply to be trivial in HOI4, except when fighting in remote areas such as the Andes or Central Asia. It is not trivial in Old World Blues. The awful infrastructure of the post-apocalyptic West Coast, unless upgraded, imposes severe attrition on massed troops – a problem when playing as the NCR, a “quantity over quality” faction.
Similarly, playing this mod made me realise that historical hindsight let me paper over the gaps in my knowledge of HOI4 mechanics. Yes, a long-ranged escort fighter is a good idea. Yes, armoured divisions should be built around combined arms. Yes, there’s something to these newfangled aircraft carriers. Without this advantage, I’ve struggled. I know the difference between a P-51 and a B-17, but should I build NCR salvaged power armour or Protectron robots? How important is the “Breakthrough” stat? How are supply lines calculated? I think I need to pay more attention to the underlying numbers – and that will make me a better base-game player as well.
Meanwhile, I’m currently nearing the
end of my first Civilization VI: Gathering Storm run – it’s been enjoyable,
even without making much use of the new features. Sadly, I don’t think I’m
going to win! I also made several unsuccessful attempts as Dai Viet in Europa
Universalis IV – I think I’m out of practice after not having played
for several expansions.
A few non-strategy games stare at me
from my Steam library. Yakuza 0 and Assassin’s Creed: Odyssey,
both picked up on sale last year; the former unplayed, the latter barely
scratched. Heaven’s Vault has beautiful art, and I love its premise – you
play a science-fiction archaeologist and the gameplay seems built around
dialogue and deciphering alien languages – but I haven’t quite been able to get
into it. Next time…
Super Mario Odyssey bursts with charm. Nintendo has always done colour and whimsy well, and Mario Odyssey is no exception. Filled with an imaginative array of creatures and clever little touches, it’s one of the most cheerful games I’ve played.
Super Mario Odyssey bursts with charm. Nintendo has always done colour and whimsy well, and Mario Odyssey is no exception. Filled with an imaginative array of creatures and clever little touches, it’s one of the most cheerful games I’ve played.
I can pinpoint the moment when Mario Odyssey won my heart. In the first hour of the game, I came across a sleeping Tyrannosaurus rex lying on a small hill in the Cascade Kingdom, a colourful island of waterfalls and soaring cliffs. By now, I’d encountered the island’s hostile creatures — spiky little swarming monsters; big, snarling Chain Chomps — and down the hill from the T-Rex, there were more Chain Chomps up ahead. The game’s “capture” mechanic had already been introduced — Mario can transform into other characters by throwing his hat at them. So I took control of the T-Rex.
Mario’s hat and moustache appeared on its face.
The T-rex roared.
This was going to be good.
A vivid and varied cast. Each level of Mario Odyssey is full of weird and wonderful inhabitants such as the snoozing dinosaur; while some are hold-overs from previous Mario games, many are new. For example:
A stronghold modelled after Japanese castles is defended by jingasa-hatted warrior birds – you need to capture the birds, jab their sharp beaks into walls, and vault upwards to climb the walls.
At one point you need to compete against rotund racers who bounce up and down along the course.
Little touches seal the deal. There are the local outfits Mario can acquire as he travels from level to level, ranging from samurai armour (pictured below) to a pin-striped suit:
There’s the conceit behind the level maps — they’re not just a convenience for the player, they’re taken from in-universe tourist brochures. And there are the tourists themselves — check out the screenshot below, featuring a group of visitors to the desert level.
A treat for all ages. While Mario Odyssey is mechanically satisfying, what kept me coming back was how much I enjoyed its world. I enjoyed exploring each level; I enjoyed dressing Mario up in new costumes; I enjoyed wandering around in the post-game, seeing what had changed. Here’s to Nintendo, and its sense of joy.
The perfect game to unwind. In the last few weeks, PicrossS2, the latest in a long-running family of puzzle games, has become a regular part of my gaming. It is relaxing and at the same time, challenging enough to keep me entertained. Each puzzle is an iterative process, beginning with a few clues. The numbers on the sides tell me how many squares should be filled in each row or column. At the start, there’s enough information to identify the first few squares that I should (or shouldn’t) fill in:
After marking the relevant squares, I can use this new knowledge to identify the next set of squares, and repeat. This is the same puzzle, almost complete:
Manageable, and manageably bite-sized. Most of the puzzles I’ve played take around five minutes to solve. There are several ways to increase the challenge: turning hints off (as I did in the screenshots), trying different game modes, and playing larger, more complex puzzles. So far, I’ve been content to gradually work my way up — I prefer my puzzles on the soothing side!
And it is soothing. There is logic to this game, and routine, and the knowledge that those routines will ultimately solve the puzzle. I expect this to be my “quick break” game for some time to come.
A magical experience. Here is what I accomplished in a little over an hour with Legend of Zelda: Breath of the Wild: I soared over a desert, and swam a lake. I explored a desolate mesa, and followed the path of a shooting star. I plucked a scale from a dragon, and battled past monsters to offer it up at a shrine. And I did all this in one session.
Easily in my top-ten list. After playing Breath of the Wild for the last five months, my appreciation is undimmed. The game sets overall goals and leaves it up to the player how to achieve them. It encourages exploration, whether to gather resources, find the next objective, or simply marvel at the game’s world. And it backs up its design with strong execution, from game mechanics to worldbuilding and story.
A much-anticipated treat. The Nintendo Switch is a technological marvel: docked and connected to a TV, it offers the power of a traditional console; unplugged, it offers the flexibility of a portable device. I’ve kept an eye on the Switch since before launch, and when I saw a good Boxing Day deal from Amazon Australia, I pounced. So far, I am delighted, both with the Switch and the two games I’ve bought: Mario + Rabbids: Kingdom Battle and Zelda: Breath of the Wild.
Mario + Rabbids: Kingdom Battle is a colourful, charming tactical RPG. The game is an odd beast — developed by Ubisoft using the Mario IP — and at first glance, the influence of Firaxis’s XCOM is clear, as Mario peers from behind cover and runs up to take flanking shots. Two things distinguish Mario + Rabbids. First is the importance and ease of movement: characters can dash into enemies, extend their movement range by trampolining off allies, and traverse large distances by diving into pipes. Second is the sense of joy, as pronounced as in any Nintendo first-party game: the world is bright and vibrant, and the animations are delightful — right down to Mario’s exaggerated, panicky body language when an enemy flanks him. So far the game has been easy; I understand that it becomes much harder later on. I look forward to playing more!
Zelda: Breath of the Wild captures the majesty of exploration — and the danger. Unlike other open-world games I’ve played, which revolved around combat, Breath of the Wild is about exploration for its own sake. Combat, quests, and NPCs do exist, but so far, in limited quantities. Instead, my time has been mostly spent roaming the wilderness, solving the odd puzzle, and using my wits to survive. I’ve used my powers to cross a lethal, fast-flowing river; cooked up (literally – there is a crafting/cooking system) dishes to protect against the cold — and ran from monsters until I found a decent weapon. I’ve also marvelled at sunsets, climbed up trees to pluck apples, and stood at a campfire experimenting with recipes. As a child, I loved Zelda: Link to the Past; over 20 years later, Breath of the Wild has brought that magic back.
Some interesting releases set for 2018. I’m particularly interested in tactical RPGs, of which at least two are due out this year: Valkyria Chronicles 4 and an unnamed Fire Emblem game. I’ll also keep an eye on RPGs (including 16-bit JRPG homage Project Octopath Traveller and Shin Megami Tensei 5) and a turn-based strategy game (Wargroove). Between these and the games already out, I expect my Switch to get plenty of use this year.