A Weekend in, "The Outer Worlds" (Obsidian, 2019)

I just spent a fun few days with Obsidian's The Outer Worlds.  I was hoping for a game similar to Fallout: New Vegas, and Obsidian has definitely delivered.  I don't think it's fair to call the game Fallout In Space (especially given the limited scope of each individual world, the more overt political messaging, and the overall aesthetic), but those looking for a game with similar DNA will definitely find a home in The Outer Worlds.  Here are a few of my initial impressions.

Things I Like:

• There are lots and lots of ways to play & roleplay
• As an aside, this can also lead to option paralysis.  I found myself reloading a save more than once to get what I considered to be the, "best," possible outcome.  Then again, that may be my issue as a player, not the game's fault.
• Character customization is in-depth without being overwhelming.  One such example is that you occasionally have the ability to take on a flaw (like fear of dogs) for an additional perk point.
• I've enjoyed the characters (and the variety of skin tones, ages, etc), the world-building, and the aesthetic of the game a lot.  There is definitely a lot to like here.
• BUT: there are still basically no chubby people, though, which is a disappointment.
• Sassy ship AI ADA is a stand-out, as her dialogue options typify the game's humor
• I like the variety of weapon types, and the fact that so much of the game can be approached with no weapon at all.
• The world is suitably dystopian.  It is fun and funny to watch the game lampoon the most absurd excesses of capitalism and corporations.

Things I Don't Like So Much:

• I am playing on PS4 Pro, but the load times can still be killer. 
• Seeing the same companion animations over and over gets repetitive.  I wish there was a way to turn off said animations (or that there were more attacks for each companion).
• The button mapping took a touch of used to at first (ie that L3 is sprint and not crouch, for example)
• There are also a few bits of UI weirdness (like the fact that it is impossible to unequip a companion's helmet after you put one on, and the fact that it is very difficult to holster your weapon and keep it away).
• The game is easy on normal mode, especially with companions.
• This is a nitpick, but I haven't really found an armor I liked the look of.
• I'm curious to see if the game can, "stick the landing."  In other words, it is quick to portray an extreme, distorted view of capitalism, but will it also be able to provide meaningful alternatives?
• I get that this is a video game and not a philosophical text, but if the game is going to purport to be, "about something," then I want it to follow through on the promise.

I can already tell that there are plenty of choices I would change if / when I play though the game again.  It remains to be seen if the game is short enough to allow this, but other reviews have implied that it is possible.  

"Medallion Status," by John Hodgman

Part travel-log, part memoir, John Hodgman's Medallion Status: True Stories from Secret Rooms is sure to be a hit with fans of his previous work, Vacationland: True Stories from Painful Beaches.  This work focuses primarily on his acting career, with particular attention paid to the people, places, and odd situations he found himself in as a result.

Pros:

• Hodgman's affable, if self-effacing style returns in Medallion Status.  While I wouldn't call any of the jokes, "gut busters," this work does provide a steady stream of laughs.  His writing and presentation style reminded me a touch of Andy Rooney in the way that he reflected on his life, fame, and career trajectory.
• I can't say any essay hit me as hard emotionally as some of the essays from Vacationland, but it was still enjoyable to spend a few hours with John Hodgman. 
• No individual chapter is longer than 45 minutes, and each of the chapters are reasonably self-contained.  This means that it is easy to digest the book in smaller bites if you so wish.  

Cons:

• I don't consider it a con, but fans of the current presidential administration will likely not be a fan of a few of the later chapters.
• I could see how some may tire of John's self-effacing attitude and the honesty with which he appears to present his neuroses.  For me, I found they made him more relatable as an author, and my reaction to said neuroses never rose to the level of frustration that I felt with Marc Maron's Attempting Normal.
• (Nitpick) While I understand and respect Hodgman's withholding of the location of his home in Maine and the name's of the town's residents, this same withholding makes less sense to me with regards to the airline referenced in the title of Medallion Status.  Hodgman himself points out it is just an internet search away and reveals the name at the tail end of the book (spoiler alert: it's Delta). 

Conclusion:
This book is much more focused on Hodgman's career and fame than Vactationland.  I appreciate that it can balance the serious, the absurd, and the funny parts of celebrity (and its waning).  I applaud Hodgman for his approach to comedy, which includes both a conscience and an awareness of the privilege associated with being a straight, white, wealthy man.  Finally, I am excited to see what Hodgman will come out with next.

Final Score:
9/10

Cadence of Hyrule: The Crypt of the Necrodancer feat. the Legend of Zelda (Switch)

From the Manufacturer:
Keep the beat as you play as Link or Zelda to explore a randomly generated Hyrule and procedurally generated dungeons. In the latest rhythmic action-adventure from Brace Yourself Games, you can enjoy the gameplay of Crypt of the NecroDancer in the setting of The Legend of Zelda series. As Link—or even as Princess Zelda—you'll explore the randomly generated overworld and procedurally generated dungeons on a quest to save Hyrule. Every beat of each remixed Legend of Zelda tune is a chance to move, attack, defend, and more, so stay one step ahead of each enemy and boss…or face the music.

Pros:

• The pixel art is crisp, and detailed enough that each enemy type has an individual attack cue
• I like that you can choose to play as either Link or Zelda.  I chose Zelda for my first play-through, though I did play as Link in the demo. 
• Minor Spoiler: in time, you will be able to swap between characters and play as Cadence.  Also, as I suspected in my initial impressions, they don't play terribly differently (though they do have slightly different modes of defense can use slightly different weapons). 
• I enjoyed the music.  Granted, I think this was more due to the stature of LoZ's library of music than because of the remixes on offer in Cadence.
• I appreciate the randomly generated overworld and dungeons.  Procedural generation does not work with every game, but I think it works here to add a touch of both interest and replay value since no two runs are exactly the same. 

Cons:

• The gameplay gets much more of its DNA from Necrodancer than from the Legend of Zelda.  This isn't a bad thing per se, but it is important to mention so that expectations are set appropriately.  In other words, the game strikes me more as a LoZ skin for Necrodancer than a something entirely new.
• I felt the game reported that I, "missed beats," even when I didn't.  This doesn't happen often, and it could have been that I was off.  Then again, I was also able to experiment and get way off the beat (to my own ears), and still be considered on-beat at other times during my play.  Weird.
• NOTE: This happened much less often after I turned off latency adjustment (from 30-ish milliseconds to 0). 
• The story isn't groundbreaking, especially for the LoZ canon.  It's serviceable, but it is little more than the standard, "good triumphs over evil hero's journey." 
• The isometric POV means it is sometimes difficult to parse out the structure of multi-level terrain in the game.  This is most prevalent in the overworld, and is rarely a problem in dungeons. 
• The game was easy for me, and it was more-than-possible to defeat enemies and bosses with little to no strategy (especially after acquiring bottles / health potions and a broadsword).  Once I had a winning combination of weapons tools, the game did little to encourage me to, "mix it up."
• This also applied to the final boss of the game (who I will not name); I beat said boss on the first try.
• The various characters don't play particularly differently, save minor differences in how they defend and what weapons they can access.

Conclusion:
I liked Necrodancer in its "vanilla," incarnation, and I like it again with this coat of paint.  It is a less punishing version of Necrodancer, though, since the penalty for death is much smaller (you maintain all your weapons and items, for example, and the overworld map does not change).  Ultimately, if the premise sounds interesting to you, or if you enjoyed the original iteration of Necrodancer, this one is definitely worth a look.

Final Score:
7.5 / 10

"The Mystwick School of Musicraft," by Jessica Khoury

From The Publisher
Humor, heart, and a symphony of magic take center stage in this middle-grade fantasy, perfect for fans of Nevermoor and The School for Good and Evil series.

Amelia Jones has always dreamed of attending the Mystwick School of Musicraft, where the world’s most promising musicians learn to create magic. But then she botches her audition and her dream comes to an abrupt and humiliating end—until the school agrees to give her a trial period. Amelia is determined to prove herself, vowing to do whatever it takes to become the perfect musician. Even if it means pretending to be someone she isn't.

Between a teacher who really dislikes her and a roommate who wants to see her expelled, life at Mystwick is harder than Amelia thought it would be. And that’s not even counting the mysterious something that’s starting to make the teachers worry. When supernatural powers threaten the school, can Amelia find the courage to be true to her herself, save Mystwick, and prove once and for all where she belongs?

Pros

• I found the main character and her supporting cast (Jai and Darby) to be likable.    
• Though there are a number of well-worn tropes at play in the plot, the author adds just enough of her own spin to keep the book from feeling contrived.  Beyond that, the book was interesting enough to listen to from start to finish.  I would even consider listening to another book in the series if one was written (and there are certainly enough loose plot threads for the author to write the book if she so chose)
• The message of self-acceptance at the heart of the book is a welcome one

Cons

• It also bothers me that music seems like such a huge part of daily life, but there are people who don't actively use it.
• There are a fair number of magical school YA tropes at play (the 4 schools, the magical games, etc), and broader story structure tropes, too (hero's journey, 3 act structure, etc etc
• A lot of the 7th grade class is disposable, and exist in name only
• 100% of the music is from the public domain (surprising no one, I'm sure)
• The plot contrivance to get the MC into Mystwick is pretty grisly (though the author may just have something to say about it before the book ends)
• There is an undercurrent of class consciousness (i.e. Amelia's rural upbringing versus the life of money and privilege of her classmates) that is hinted at but never paid off in a meaningful way (beyond "accept yourself").

Conclusion
For an Audible freebie, this one was easily worth the price of admission.  I even think that it is worth its asking price (of approximate $6 at the time of writing).  There are plenty of tropes to go around, but the likable characters, interesting setting / world-building, and message of self-acceptance mean it is sure to be a fun read for the young and the young at heart.  As long as you set your expectations appropriately, you are very likely to enjoy this book.

See more reviews at: https://quinnreviewseverything.blogspot.com/