In recent years, few games have generated more bad press than Kingdoms of Amalur: Reckoning. The epic role-playing game began life promisingly, if in an unusual way - the brainchild of former pro baseball player Curt Schilling, the game had worldbuilding provided by the fantasy author R.A. Salvatore and art direction from Todd McFarlane, the creator of Spawn. In time, however, the project became mired in legal, financial and even political controversy. Much of this related to a huge $75 million loan provided to Schilling’s company by the state of Rhode Island.
Shortly after the game was released in 2012, 38 Studios abruptly folded - in its first three months, Kingdoms of Amalur had sold around 1.25 million copies, but the company was crippled by debt and by Schilling’s poor business decisions. 38 Studios had been left unable to pay its staff or make loan payments, and the ex-baseball star said that he had blown his whole $50 million fortune on his dream RPG. Mass layoffs and years of financial and criminal investigations were to follow. In retrospect, it was a near-miracle that the game ever saw the light of day; even more surprising was that such a chaotic and doomed development process produced such an excellent final product.
Kingdoms of Amalur was originally published by EA, but in late 2018 the rights to the series were bought by the ever-acquisitive THQ Nordic, as part of their seemingly endless spending spree. Eventually in 2020, a light-touch remaster with the two existing DLC packs included was released with the subtitle Re-Reckoning, seemingly mostly to give THQ Nordic a means to sell the game. It also gives Kingdoms of Amalur a chance to emerge from the shadow of its own chaotic, ruinous development process and stand on its own - and there is a huge amount to enjoy about this sprawling, but surprisingly accessible fantasy RPG. To illustrate that, here are ten key reasons to try Kingdoms of Amalur: Re-Reckoning.
In the glut of World War II shooters that followed in the wake of Saving Private Ryan and Band of Brothers, it could be difficult for a game to be distinctive. With their first original project Brothers in Arms: Road to Hill 30, Gearbox Software used an increased focus on realism and small-unit tactics to help them stand out from the crowd.
Today, the tight focus of Brothers in Arms and its strong emphasis on commanding troops helps the game overcome its dated technology and some clear shortcomings in its story and setting. Thanks to the success of the game and its sequels, Gearbox gradually outgrew their status as a developer-for-hire and became a major studio in their own right. Without this game, their subsequent projects like the blockbuster Borderlands series would likely not have come to pass. Whatever your feelings about co-founder Randy Pitchford, Brothers in Arms makes a good case to be a highlight of the original wave of World War II shooters.
I’ve recently released a new mapset for Doom II. Sucker Punch 2 features nine small, single-player maps and is a sequel to the original Sucker Punch, which was released back in 2018. A second release candidate is available to download and play now.
This project has been a long time in coming - while it was made over about three months, it has been three years since I released any Doom maps. One of the factors which helped to end this hiatus was the OTEX texture pack made by Ola “ukiro” Björling. A monumental contribution to the Doom community, this pack contains thousands of new graphics for mappers to use and has really helped to fire my imagination.
In February 2006, EA released Command & Conquer: The First Decade. Rarely, if ever, have more important and worthwhile games been put together in one boxed release. On one DVD, EA had assembled every Command & Conquer game released up to that point. From the original 1995 game which popularised the real-time strategy genre to 2003’s Generals, the set was a remarkable document of what Westwood Studios had achieved. EA had owned Westwood since 1998, and the developer was one of their most prized assets - a proven money-maker with a share of around 5% of the whole PC games market. By using the phrase “the first decade”, EA seemed confident that much more success was still to come.
It didn’t quite work out like that. Today, EA are usually vilified for their actions towards Westwood and the C&C series following the release of The First Decade. The usual line is that the Las Vegas-based developers were “destroyed” by their corporate overlords, in the years after they were absorbed into EA Los Angeles in 2003. The games released in the series’ second decade have very little of the iconic status enjoyed by the products of the early years. Eventually, the series became a shadow of its former self, with EA overseeing a mixture of catastrophic failures like Command & Conquer 4: Tiberian Twilight (2010) and a string of misbegotten, cancelled projects. A series that had spearheaded the explosion of RTS popularity in the 1990s now consisted of dumbed-down browser and mobile games, when projects were completed at all.
Looking back, though, there are things to be unearthed from the wreckage of C&C’s mostly inauspicious second decade. Chief amongst these hidden gems is what may be one of the best games in the whole series to play today - the gloriously tongue-in-cheek RTS experience with real lasting appeal that is Command & Conquer: Red Alert 3.
“I’d like to play more games, but I don’t have the time these days.” It’s a familiar refrain for players of my generation, who once sank whole days into management games, but now actually work in management, who once defeated bosses but now sell their every waking moment just to please them. The games that are most likely to fall by the wayside are role-playing games. Due in part to their origin in vastly overlong high fantasy novels, RPGs are some of the most time-consuming videogames that have yet been devised. Cash-rich but time-poor players are likely to have seen the beginning of many RPGs, but will have glimpsed the end of very few.
It’s one reason why Shadowrun Returns is such a refreshing game. The product of a hugely successful crowdfunder in 2012, it’s a hybrid cyberpunk-fantasy RPG which can be played to completion in something like 12 hours. After this length of time, many other games will barely have freed players from the torment of fighting hordes of rats with a wooden sword. RPGs tend to be bloated with myriad fetch-quests, wild-goose chases and shaggy-dog stories which greatly inflate their length and complexity, in a misguided attempt to replicate the capital-E “Epic” style of some long-forgotten Lord of the Rings knockoff.
RPG players tend to clamour for “depth” in games, but in practice this can mean the mass-production of identikit quests and locations which artificially bulk out or complicate the experience. To be sure, there are exceptions to this rule, but even in excellent RPGs a large proportion of the - to use a terrible term - content is rarely seen. For example: today, just 7.5% of those players who own the enhanced edition of Neverwinter Nights have the achievement for completing the game’s first act. There’s something to be said for an RPG which is actually modest in its aspirations, and which aims to be completed, not just dipped into. There is a case to be made for an RPG which is not deep, but actually shallow - an RPG like Shadowrun Returns.
With Tomb Raider: Legend, Crystal Dynamics had brought Lara Croft into the 21st century with a smoother, more cinematic experience. With its prequel Tomb Raider: Anniversary, they had given a fresh look and feel to the traditional gameplay from the series’ 90s heyday. With Tomb Raider: Underworld - which would prove to be the last game in the series prior to another reboot - the developers sought to combine the best aspects of the two previous releases. Built on a graphics engine written specifically for it and released on the new consoles of the time, Underworld aspired to be nothing less than the ultimate Lara Croft adventure.
The fact that the Tomb Raider series went for five years without another main game, and that the next instalment was a reboot, should indicate that Underworld did not accomplish all that it set out to do. However, the game is notable for a number of reasons. It represents a final outing for a particular vision of Lara Croft, one that was followed with a disheartening and predictably “gritty” take on the character. It is also an interesting test-case on what happens when a developer tries to fuse the best aspects of two radically different past instalments in a series.
While it has a number of frustrating issues, Underworld is a compelling finale to the second era of Tomb Raider games. It has the best visuals of any game seen in the series up to that point, and when its gameplay truly comes together it provides some genuinely gripping and memorable moments. While hardly the first Tomb Raider game to spring to the mind of fans today, Underworld is an intriguing experience and an effort by Crystal Dynamics to bring their first take on Lara Croft full circle.
With Tomb Raider: Legend (2006), developer Crystal Dynamics and publisher Eidos had achieved their objectives. The reboot of the venerable series had secured strong sales coupled with good reviews, and had gone a long way to reviving the reputation of Lara Croft. As they had been in the 1990s, Eidos were eager to see a follow-up. They tasked Crystal Dynamics with two parallel projects - one, a direct sequel to Legend which would see release in 2008.
At the same time, they resuscitated a concept from the Core Design era - a remake of the original Tomb Raider game from 1996. Eidos instructed Crystal Dynamics to begin work on bringing the project to completion. The next Tomb Raider game then became a product with two purposes: to act as a loose prequel to Legend on the one hand, and on the other to serve as a belated marking of ten years since the series began. For this reason the game was titled Tomb Raider: Anniversary and saw release in June 2007, only 14 months after Legend.
Anniversary represents a unique fusion of two eras of the Tomb Raider series. While preserving some of the smoothness and new mechanics of Legend, it also brings back the solitary, atmospheric adventuring and strong emphasis on puzzles from the 1996 original. The result is a game which is strikingly different to the one that preceded it and which has more of a niche audience - but which also shows just far the Tomb Raider series had come in its first decade.
The original Tomb Raider was released in 1996. A pioneering game, it did for the third-person action genre what Quake did for the FPS - showing what could be achieved with fully-3D engines and setting the stage for numerous imitators. The Derby-based developer Core Design would rise to become a British success story and the game’s protagonist Lara Croft would go on to become a gaming icon, and one of the industry’s few household names.
Inevitably, publisher Eidos were hungry for more. Over Core Design’s protests, they demanded a new Tomb Raider game each year. The studio wanted to pause, to develop a new engine and prepare Lara for more genuinely fluid and engaging adventures. Instead, they were forced by Eidos to push their engine and increasingly aged gameplay further and further each year, in pursuit of more profit. Core Design went as far as to kill Lara off in the fourth game The Last Revelation, only to be forced by Eidos to revive her. The situation came to a head with the disastrous Tomb Raider: The Angel of Darkness in 2003. The sixth in the series, the game attempted a flawed new direction and was pushed out by Eidos in an unfinished state.
While the resulting damage to the Tomb Raider name was largely the fault of Eidos, it fell to them to try to find a way to rejuvenate the series. In 2004, they made their fateful decision and pulled Core Design from the franchise - a move which ultimately led to the studio’s demise under new ownership in 2010. Instead, another studio owned by Eidos was given the task of developing a bold reboot for the series. Crystal Dynamics, based in California and known mainly for the Legacy of Kain series, became the first American studio to handle the British icon that is Lara Croft.
Japan, 1974. It’s early spring, and the cherry blossom explodes with colour. At the golden hour, the evening sun bathes the tarmac of a road in golden light. Halfway up majestic Mount Akagi, a Lancia Stratos rally car powers up the mountain road. At the critical moment of entering a hairpin, the driver applies the brakes with perfect timing and the car - a wedge-shaped masterpiece of Italian engineering - drifts around the corner with angelic grace. As the route straightens out, the precise application of power sends the Stratos further down the ancient mountain, while a torii gate at the roadside marks the transition from the mundane to the sacred. It is poetry in motion; a momentary religious experience; an automotive encounter with God.
There is a grand tradition of rally video games, stretching back into the 1980s. Released for a host of platforms, they have varied in their approach to realism and their relationship to official championships. Art of Rally is a genuinely unique take on this venerable sub-genre of racing games. Developed by Canadian outfit Funselektor Labs, it recognises the things that make rally unique and special - the mastery of its delicate technical skills, the sense of being alone against the elements and the clock, and the euphoric experience of getting a corner just right.
At its best, there’s something almost mystical about rally videogames and Art of Rally reflects and augments this with its distinctive aesthetic. The game doesn’t aspire to the mud-drenched hyper-realism of the big, triple-A rally sims. Instead it has a low-poly, highly-stylised, and beautifully colourful look. The many and various stages in Japan, Italy, Norway, Germany and Finland don’t precisely replicate real places but have an almost dreamlike quality, allied to an excellent electronic soundtrack. The near-spiritual euphoria that can come from mastering a challenging corner is not lost on Funselektor - one of the first things seen upon starting the game is a car encountering a monolithic statue of the Buddha.
Nothing looks quite like Amid Evil. Released from the murky ambiguity of Early Access into the sunlit uplands of actual completion in 2019, the fantasy shooter by developer Indefatigable has a genuinely unique aesthetic. Even moreso than its eminently solid gameplay, it is the visuals and level design of Amid Evil which elevate the game into being one of the best examples in the recent retro shooter boom.
Fantasy shooters have always been few and far between, and this means that Amid Evil is condemned to lazy comparisons with Raven Software’s games Heretic (1994) and Hexen (1996). Indefatigable’s game deserves better than to be categorised with these shooters, which have dated poorly and which did little more than port Doom into a hackneyed high fantasy setting.
That’s not to say that Amid Evil has particularly groundbreaking gameplay itself. Its movement and weapons in particular will be familiar to anyone with a cursory experience of ‘90s shooters. The game is broken up into seven episodes, playable in any order as was standard for a number of games from that era. The story, too, is barely there - the player takes on the role of the nameless “Champion”, and is tasked with cleansing seven realms of the evil that has corrupted and subverted them. It's the way the developers built these worlds that gives Amid Evil the touch of greatness.