Something tells me the chances of us seeing officially licensed Dishonored LEGO are slim. Rats, murder, prostitutes... I don't think it's quite LEGO's thing. But hey, where LEGO misses an opportunity, custom builders are always there to come through with the goods.
Nathan Proudlove built this Dishonored "Tall Boy" walker, a unit in the game that spends its time trying to kill you while at the same time trying to not trip over the slightest bit of debris.
This, though, will just spend all of its time sitting on a shelf. Safer for everyone, really!
Dishonored LEGO [Proudlove, via Super Punch]
You don't realize just how good a gaming year it's been until you look back at all of the games you actually played. From physics puzzlers to ninja simulators, 2012's library was full of interesting, creative, unique experiences.
I played a lot of games last year. A few were bad. Most were good. Some were great. Those are the ones I'll remember: the games that stood out from the pack in memorable ways. So here are my ten favorite games of 2012. Presented in no particular order:
My personal game of the year, Virtue's Last Reward kept me up for many hours, many nights in a row. Though some—like Kotaku boss Stephen Totilo—have found the game's opaque puzzles and overwrought dialogue to be rather tedious, I enjoyed every moment of Aksys's chilling visual novel.
A wonderfully well-written role-playing game with pleasant British voice acting and combat that taught me how to enjoy running around and smashing the A button, The Last Story (not to be confused with Hironobu Sakaguchi's other work, Final Fantasy) is the year's best JRPG—if not the generation's.
I've written a lot about how Dishonored is a stellar experience, but really, all that matters is the Blink spell. There are few abilities in a video game as satisfying, as empowering, as totally game-breaking as an ability that you can use to teleport anywhere at any time. The world and art direction are just dismally gorgeous icing on the delicious Blink cake.
Let me sum up my feelings toward Persona 4 with an anecdote. A few nights ago, I was fighting one of the game's final bosses. After a solid 45 minutes of battling, I had taken him down to something like 10% health. I was following the same patterns: buff, attack, heal, rinse, repeat. I was ready for it to be over.
He uses one attack. Bam. My main character instantly dies. Game over. Time to start again.
If I was playing any other game, I might have quit and moved onto something else at this point. Instead, I went and killed monsters for an hour to make my characters stronger. Persona 4 is the worst. (Also the best.)
Rhythm games are fun, Final Fantasy music is fantastic, and there's something really special about a game that combines the two. Even when you're repeating the same songs ad infinitum, it's hard not to love the addictive, frenetic tapping of Theatrhythm. The name, on the other hand, is very easy not to love.
I enjoyed every minute of this first-person puzzler, wonky physics aside. I wish the ending had been more satisfying, but the journey was totally worth it.
Funny that the year's best Diablo game wasn't even called Diablo.
Forget the snappy controls and smart interface; the best part of Mark of the Ninja is that every stage feels like a puzzle with multiple solutions. Would you like to choke out that guard from behind or throw a smoke bomb so you can get past him without being seen? Ninja is a smart, tight, remarkably enjoyable game.
It's easy to complain about the "annualization" of video games—how companies like to milk a series cow for yearly sequels until the teat has run way too dry. But when it comes to Layton, I say bring it on: the professor's charming puzzle adventures just seem to get better and better every year.
Because shooting down pirates, running into the forest, finding myself face to face with a giant tiger, getting the hell out of dodge, finding a hang-glider, and using it to soar across the skies to safety was one of my most enjoyable gaming experiences in 2012.
This isn't an exquisite 3D render of Corvo's mask from Dishonored. It's an actual mask, put together by the team at Technically Magic Effects.
Sadly, it's not available to buy—it's a one-off made for a competition—but that only makes it that much more of alluring.
The accuracy is a result of the source material: developers Arkane shared the actual 3D models used for the mask in the game, meaning that, technically, this is no different to Corvo's actual mask.
Except you can actually touch this one.
Corvo, DISHONORED [Technically Magic Effects, via The Omega Nerd]
I've been having a lot of fun with Dunwall City Trials, the first downloadable add-on to October's fantastic stealth game Dishonored. I've beaten the core game almost two times now, and while it's such a brilliant bit of design, I'd found myself hungry for new, different challenges.
It's always felt like the game would benefit from an extra mode in addition to the single-player story, one that let us really put the game's many enjoyable systems to the test. Dunwall City Trials, which costs $5 to download, adds just that.
It's a collection of 10 challenge maps that put players through a gauntlet of stealth, combat, and puzzle challenges, each one designed to stand on its own as a leaderboard-focused trial. Master those, and you'll unlock five more 'expert' maps that make the existing challenges even harder.
The DLC, while perhaps a bit slight, feels like just what Dishonored needed. While the ten challenges are great, I can already tell that I'm going to want more of them.
The stealth challenge "Mystery Foe" puts you into a "Lady Boyle's Last Party"-type scenario, where you'll have to sneak about a party undetected and gather clues about who your target is before taking him or her out. The fewer clues you need to take down your target, the higher you score. The best bit is that the target is randomly selected each time, making the level feel a bit like something out of Hitman: Absolution's smart Contracts Mode.
"Burglar" has you robbing a house (that floats, awesomely, in the same dream-zone in which you meet The Stranger), and remaining undetected. There are wave-based attack challenges, too, as well as one of my favorites, "Kill Cascade," which has you chaining those oh-so-satisfying aerial kills together as quickly as possible.
I've only played an hour or so of Dunwall City Trials, but it already feels like a solid add-on for anyone who liked the core game. It's hard not to wish for a couple more stealth challenges, as those are the best of the bunch, but each challenge offers a welcomely stiff challenge and some good optional objectives, and certainly feels worth five bucks. As with the challenge rooms in Batman: Arkham City, the trials are a fun way to stress-test Dishonored's systems without worrying about your chaos level or which powers you've chosen.
I hope that, as Bethesda releases more DLC for the game, we get to see another slew of challenge rooms in addition to whatever else they may be planning. Dishonored deserves even more of this kind of thing.
2012 was a banner year for stealth games. From January up through December, we got to play a healthy variety of games involving dozens of different types of sneaking, skulking, lurking, and sklurking. (It's a thing.)
You could say that these games… crept up on us.
We really… didn't see them coming.
Jason and I have already talked at length about why we love stealth games. While many video games set a series of systems in motion and toss you into the middle, stealth games operate a bit differently. They're about staying outside of those systems, creeping about the periphery while poking here, prodding there, and deciding how to engage. You really play with stealth games, and that's what lends them their unique rhythm and makes them so satisfying.
It's also why we come away from stealth games with such great stories. Every stealth game I played this year, I came away with a handful of stories, moments that captured the best (and sometimes, worst) sorts of stealth-game unpredictability.
Rather than just run down all the stealth games that came out this year, I thought it might be fun to share some stories, then open the floor for y'all to share your own tales. Here goes:
Klei Entertainment's Mark of the Ninja was interesting because it was both a tight, polished stealth game, and something of a treatise on stealth games themselves. Helped along by its two-dimensional design, the game gave clear visual feedback for every aspect of sneaking—footstep audio burst visually outward from the protagonist, while lights illuminated exactly where they were pointing. There was never a question whether you were hidden or visible, and the enemy artificial intelligence clearly signaled its status and intent. My moment from MotN comes from early in the game, when I was tasked with sneaking through a building and freeing several of my captured compatriots. I decided I was going to do the entire bit nonlethal, and that was where I discovered the most rewarding way to play Mark of the Ninja: Without killing anyone at all. As I freed the final captive without being spotted, I felt the kind of satisfaction I rarely feel by playing nonviolent in sneaking games.
No, seriously: There were so many stealth games in 2012 that even Journey had a stealth segment. This marks what I think of as the "low point" of the protagonist, the darkest, tensest hour. As the robed wanderer fights its way across a snowy field, it is hunted by those terrifying flying fish-golem monsters. I've rarely felt such unexpected dread, and even replaying the game, I fear this section.
I don't think I felt more uneasy about stealth than I did in Ghost Recon: Future Soldier. As I mentioned in my review, the game is at its best when you're pulling off carefully orchestrated stealth-kills with your entire team, slipping through an area undetected. But no game has made me feel as uncomfortable. Particularly during the early Africa levels, as my stealth-cloak enabled cybersoldier squad wiped out wave after wave of ill-equipped third-world junta soldiers, it became clearer and clearer that this battle was horribly uneven. So, it's not so much an emergent stealth moment that I remember, more a feeling of how totally overpowered my team and I were.
It is very difficult to pick a single stealth moment from Dishonored, a game in which I've forgotten more classic moments than I experience in most games. But one comes to mind: In the mission in the Golden Cat brothel, you're tasked with taking down a couple of n'er do-wells located at various points throughout the building. One of them is holed up behind closed doors near to a body of water, and there are a number of ways I could sneak in to get him. But the way I chose was a doozy: I possessed a fish, swam through a small passage and into the room, then slowed down time and burst from the water in slow-mo before stabbing the dude in the neck. It was one of those moments that you see in movies, and yet I got to do it myself. In real time. Pretty much my Ultimate Dishonored Moment.
Here's a game I liked more than some, but I'm still playing it to this day, and still enjoying it quite a bit. If there's one thing I retrospectively could have talked about more in my review, it's how Absolution does feel different from Blood Money in many of its levels—it's much more of a traditional stealth game than its most recent predecessor. That said, there were still so many times when I felt that old Hitman groove—particularly during the mission "Shaving Lenny." Outside of Lenny's BBQ, I snuck over to a storage shed and took out the guard inside, before slowly but surely taking down guard after guard, and returning to the shed to stash them all. Over the course of the next twenty or so minutes, that shed became my macabre base of operations, the place NPCs went to decompose.
This game is the one to get a mention due to bad stealth. Perhaps chief among the many ways Assassin's Creed III disappointed me was the fact that the game's stealth was, for lack of a better word, busted. Two memories stick with me, and both involve bushes. The first involved failing the George Washington eavesdropping mission for the umpteenth time, entirely because for some unknown reason, Connor stood up for a moment while prowling in the bushes. The second involved taking out Pitcairn during the Battle of Bunker Hill. The infuriating thing about bushes in the game is that the moment you've been spotted, you simply can't crouch down again. The game ejects you from cover, and you have to find another way. This works okay in some sequences, but is a disaster in others, particularly if detection means failing the mission. The sneaking bits were tense, but for the wrong reasons. I wasn't worried I'd get spotted, I was worried Connor would do something dumb of his own accord and fail the mission for me.
More than perhaps every other game on this list, Far Cry 3 is a game that inspires stealth stories. I have a bunch: The time I lurked outside an outpost, luring dudes away one by one using pebbles, in an attempt to get my second no-alert outpost clearing, only to fuck it up at the last minute and get spotted by a roving patrol, have them trigger the alarm, and get killed. Or another time, when I shot the lock off of a tiger cage and had it immediately charge straight for me (and shortly afterward, managed to get a bear to clear out an entire outpost for me). Or the time, as I shared at the start of my review, when I hang-glided in behind enemies and snuck in to take them down, only to have everything go wonderfully wrong. Far Cry 3 was, as much if not more than Dishonored, a stealth game that was at its best when things went awry.
Those were my most memorable moments of sneaking in 2012. What were yours?