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Stretch

Saturday 16 April 2022

One final post

 Hello, everyone.


This is Cody.  The artist formally known as Stretch.


Before I continue, here is my new channel:
https://www.youtube.com/c/CodyFullbrook


WARNING:  This Blogspot, and probably the StretchREVIEWS Channel will be deleted soon.


It's been a while, hasn't it?


I finally felt it necessary to make a video wrapping up everything to do with Stretch.  Here it is:

https://youtu.be/LKjE32B6Z04


It's a little brief, and I wrote everything down so I didn't stumble over my words.


Still, I thought I'd write a little something here...


I've been making videos on YouTube since Highschool, well over 10 years ago.  It's definitely been the most prominent thing in my life.  I was so inspired by the internet reviewers of the time and wanted to be like them.  And even though I never made it to 1000 subscribers, I was satisfied that I seemed to have found my own style.  I treated it like a business, even though I was beyond amateur at it.  I went out and bought props specifically for it.  I mention in the video that I was able to talk to Paul Anthony Romero and go to America (twice) because of Stretch.  Just writing this, I'm smiling.  Stretch was very fun and very important to me.  It's impossible to not see the influence it's had on me.  As an example, after stopping Stretch in 2013, I started to do a lot of theatre and eventually wrote a musical in 2018 that involved a long distance relationship between two internet personalities.


And here's where things get serious.


I wasted a lot of time with this endeavor.  It was so much fun, but I wasn't doing much else to build my life.  Stretch wiped out about 3 years of my life.  3 years in which I could have gained more skills, while still doing Stretch on the side.  This may be shocking to you, but I've never considered myself a gamer.  This may be obvious by the fact that I reviewed a very narrow selection of games, but I've never cared about the culture of games.  I played games because I never had much else going on in my life.  I was a kid.  I wasn't even 20.  I never looked to my future, and a part of me is surprised I made it to 29 now.


Here's my advice to anyone who wants to start making online content.  Don't do it to turn it into a career.  Do it because you want the content to exist.  A perfect example is my Kreia monologue on my new channel.  It's a 20 minute long monologue I practiced over the course of months and it only has a couple hundred views.  But, I'm perfectly fine with that because my goal was to make it exist.


I'm not a good enough writer to sum up how important Stretch was to me.  I'll just say thank you to those who watched, read, and were fans.


By the way, I've lost the green tie.

Wednesday 2 January 2013

Year In Review - Best/Worst Games Of The Year


Year In Review:

This year has been a relatively disappointing year for gaming, especially when compared to 2011 which contained such masterpieces as Elder Scrolls V: Skyrim, Portal 2 and Dark Souls, all three of which may just be the three best games I have ever played.  But let’s not get crazy.

2012 started off poorly with games like NeverDead and Resident Evil: Operation Raccoon City, and even Mass Effect 3 had flaws that were impossible to ignore.  But eventually we got great titles like Halo 4, Dishonored and Borderlands 2, and even others I missed such as XCOM: Enemy Unknown, Journey, Transformers: Fall of Cybertron and Far Cry 3 look great and I will probably get around to most of them soon enough.

When I think about this year of gaming, the phrase “Year Of Crummy Endings” comes to mind, and no, I’m not just talking about Mass Effect 3…but I will soon.

·         Darksiders 2 and Assassin’s Creed III’s endings were both depressingly vague, and I’m still not even sure if the main characters are even alive. 

·         NeverDead, Borderlands 2 and Inversion all had long, boring and repetitive final bosses, with Borderlands 2 being the only one I bothered to defeat.

·        Spec Ops: The Line had a climax that seemed a little too serious for its own good, and all I thought was; this guy doesn’t need to go crazy, he just needs to go home, have a shower and take a nap.

·        Halo 4’s ‘end stage’ was a tedious gauntlet of enemies resulting in the pseudo-villain trying and failing to kill you.

·        Pokémon White 2’s ending is almost impossible to remember.

·        Pokémon Conquest’s final boss wasn’t necessarily annoying, but the fact the villain had both Zekrom and a shiny Rayquaza is ludicrous.

·        Mass Effect 3’s ending was just weird.  I LOVED the sense of finality it had, but it felt so rushed, unexplained and too simple.

Nothing has caught my interest in 2013, except Lost Planet 3, but hopefully we’ll see some new and original ideas spring forth this year.  Anyway, time for my personal best and worst games of last year.

Top 5 Best Games Of 2012

5.  Dishonored

I’m surprised I don’t utterly despise this game.  I’m not much of a stealth enthusiast, it looks and plays a lot like BioShock and Might and Magic: Dark Messiah Elements, two games I hate, and the latter was actually a game Arkane Studios worked on.  But Dishonored is a very solid gaming experience, with masterfully balanced stealth and combat, with dynamic powers that make the game an overall joy to play.

My main complaint, and why it it’s only number five, is that the enemies are pitifully inept at noticing your presence.  There was a moment when I was in an apartment building, standing near the doorway of a room with two guards inside.  Just as a test, I got out my knife and smashed the glass of a nearby cabinet, without the guards, located about 15 feet away from me, noticing.  Idiots.

4.  Halo 4

Like Dishonored, Halo 4 is just a generally fun game to play. 

Even though Bungie isn’t driving the series now, it really does feel like a Halo game.  The scenery is beautiful, with lovely open maps, and your ammo is surprisingly limited, resulting in you switching between varied weapons during missions or even single battles.  There isn’t much else to say about Halo 4 except what I said on the Game Out Loud podcast (that nobody can hear because the audio got corrupted apparently):  I recommend it to anyone who wants a fun and colourful shooter for the weekend.

3.  Mass Effect 3

Mass Effect 3 is one of four games this year that I actually played again after reviewing it, and it’s the only one I actually finished twice in the same year.

I really needed a second go to see how much detail and love has gone into ME3, as well as the series as a whole.  Characters you probably forgot about are referenced here and even show up, with Thane and Mordin’s appearances, and inevitable disappearances, being more heart wrenching than I ever could have imagined.

The combat is arguably the best it’s ever been, although I found my Warp and Throw Powers 10 times more useful than using weapons, so combat became a little too ‘magical’ for my liking.  Yet the guns and Powers are dynamic and display excellent graphical animation and force, with the downright flawless sound design wrapping the game play together into one beautiful package.

However, there definitely was a lot of failed potential when it came to the idea of The Reapers, with the only display of an appropriately Armageddon-y scenario appearing at the tail end of the entire damn game.  The Reapers were supposed to fall onto planets like gargantuan rain drops and shoot out putrid black smoke like Sovereign’s first appearance in the first Mass Effect.  Instead, you only see what feels like four actual reapers (The smaller ones you fight on Tuchanka and Rannoch don’t count for obvious reasons), and they don’t seem to be doing anything except stepping around the place and randomly shooting ships, buildings and even vacant pieces of ground with their lasers of conveniently varying power.

But, it’s impossible to disregard the quality shown in Mass Effect 3, and is easily placed on my list of best games this year.

2.  Spec Ops: The Line

At the very least, Spec Ops: The Line is a very functional and engaging cover shooter that cleverly utilizes team members allowing you to tactically kill enemies in relatively varied and intense situations.

At the very most, Spec Ops: The Line is a disturbing and provocative look at the idea of murder and the effects war has on somebody.  When compared to a game like Mass Effect 3, Spec Ops: The Line is fairly standard as far as character development and story goes, but the player experiences the story so gracefully that it makes many other shooters look downright boring.

1.  Borderlands 2

Where do I begin?

The landscapes are gorgeous and massive, with surprisingly different locations such as an icy tundra, an underground mine, desert, city (I guess) and bandit fortresses.  It makes the prequel look like a grain of sand, and even though the area is a little too ‘set out’ to feel truly alive, Pandora sure is a fun place to blow stuff up in.

The combat is explosively engaging, and the guns are crazy as hell, though the flawed Fight For Your Life mechanic means you’ll often resort to brandishing a shotgun and crudely throwing yourself into a cluster of enemies no matter what class you chose.

I’ve probably played Borderlands 2 for at least 60 hours now and it still feels massive and creative, among other things, and has everything that made all the other games on this list great.  The game play flows as well as Dishonored and Halo 4, and the almost uncomfortably good story definitely gives Spec Ops: The Line and Mass Effect 3 a run for their money.  Crap final boss though.

Top 5 Worst Games Of 2012

5.  Inversion

Inversion certainly has its perks.  There are several moments where the gravity idea is pulled off very well, with some awesome looking visuals, and the plot twist, if you can call it that, is surprisingly interesting and has a huge amount of potential.

Sadly, the rest is just a standard shooter in virtually every way.  Even fighting enemies while in zero gravity lacks the freedom it should have and feels far too linear, like pulling yourself along the lane ropes in a public swimming pool instead of swimming around in the water.  That may just be the best analogy ever.

The bosses are the only thing stopping Inversion from just being standard.  They all have monstrous amounts of health and are an overall pain to encounter, making Inversion the 2nd most infuriating game I played this year.

4.  NeverDead

It’s actually quite hard for me to hate NeverDead, and it’s not just because of the awesome soundtrack.  NeverDead was the first game I reviewed on Bag Of Games, terribly mind you.  I think I actually took up about ¼ of the page just to list two things I liked, man, why did I do that?  Anyway…

The combat is repetitive, not helped by constantly re-spawning enemies, and Bryce constantly splitting apart like a piñata.  Enemies are all generically demonic, though some creature designs are pretty cool, and playing through the game is just generally dull.

Like Inversion, there was loads of potential here, with Bryce starting to grow on me a little, but there just wasn’t enough ‘juice’ for me to get invested here.

3.  AVSEQ

I had oddly high expectations for AVSEQ.  A colourful and simplistic casual game with no sense of story or context?  Move over Tetris!  But, no.  There really isn’t anything good about this game.  It’s just clicking a circle of a certain colour and then clicking another circle of the same colour.

AVSEQ has as much excitement as dusting some dirt of your shoe, and isn’t worth anybody’s time.  Stick to Tetris.

2.  Resident Evil: Operation Raccoon City

RE: ORC contains every flaw 3, 4 and 5 has all in one experience.

The story is vague and the overall experience is ‘hypnotising-ly’ boring, involving characters with virtually non-existent personalities and most enemies being boring soldiers and zombies.  Some enemies take huge amounts of damage to take down, most notably a big mutant guy with a machine gun that you need to shoot to death, despite me using literally every gun and grenade in the room on him without him giving off any animation to let me know I was even supposed to be attacking him at all.

RE: ORC is flawed is pretty much every way, right down to something as simple as gun power and ammunition.  Definitely give it a miss.

1.  Dragon’s Dogma

Dragon’s Dogma is more than just bad.  It’s wrong.  Wrong for gaming and wrong for fantasy in general.  Levelling up, choosing a class, customizing your character, exploring the land, the story and even the tactics of defeating enemies feel hollow and lack any semblance of creativity.

Your character, and every other character now that I think about it, is totally vacuous, and everything about Dragon’s Dogma lacks energy, especially the idea of Pawns which just comes off as a way of having party members without going to the lengths of giving them a personality.  Game play is beyond repetitive, with multiple fireballs and lightning strikes failing to take down a single bandit, and my “teammates” battle cries have nearly driven me insane. 

I honestly could come up with dozens, if not hundreds of flaws Dragon’s Dogma has, but I’m getting really depressed now, so I’ll just end it here.  Oh, the lip synching sucks too.

 

Well, that’s 2012 done.  Thanks to those who stuck around and to anyone who bothered to read all of this instead of just seeing what I listed as my best and worst games of the year before closing the window.  I’ll be back this year with more…whatever it is I do.  (EDIT 07/10/2013:  Don't hold your breath)

Sunday 11 November 2012

Top 10 Best Video Game Music Of 2012

Firstly, I know it's not even December yet, but because my computer is going crazy and the only game I may review for the rest of the year is Call Of Duty: Black Ops 2, I'm going to make this list now just to get it out of the way.

Secondly, yes yes, this is all opinion, blah blah we know.  I'm sorry if I left out one you liked.  I'm sorry...I can't play and listen to EVERYTHING.  Anyway, let's begin with the worst of the best, and forgive me if I don't know the exact titles.

Halo 4 - Jet Flying Music 

Yeah, that's not the real title.  I couldn't find the right one.  Get used to that happening from now on. 

This is only number 10 because, honestly, at this point in the game, I was actually trying to find good music in Halo 4, and I guess I settled for this.

Nonetheless, this music, though fairly generic, is surprisingly triumphant and uplifting.  It actually reminds me of the credits music to Lost Planet 2 which is not only one of my favourite pieces of music in general, but is definately my favourite 'credits music' ever...ever.

Nothing too bombastic and obnoxious is happening in the score which makes the situation feel less hectic and more personal, focusing more on what Master Chief's goal is rather than the inevitable battle.

Also, this moment in Halo 4 reminds me of Lylat Wars.

Halo 4 - Haven

No it's not all Halo 4 music!

This track surprised the hell out of me.  After the first few hours of the game, I had given up all hope of expecting something 'alien' to happen with the Prometheans, excluding getting sucked into a big blue circle in space.  However, this track, while losing some impact by showing up too late, doesn't really sound like it would come out of a Halo game, and is as delightfully 'alien' as Halo 4 got for me...unfortunately.

Haven compliments the shifting architecture of the Promethean structures and sounds both alien and regal, oddly enough, like if an alien choir were using theremins.

Halo 4 - Credits   (3:54)

Okay, this is the last Halo 4 one, I promise!

This is the only track in this list that gave me goosebumps, that I can remember, and I'm not even a fan of Halo.  But, I grew up with the Halo games (I'm 20 :) ), and this is the best thing for 343 Industries to put at the end of Halo 4 to make us think they care about the series and their worthy addition to it.

I'm not entirely sure, but I think this music, remixed in Halo 4's credits, is in every Halo game.  And even if it's not, it's probably the 3rd or 2nd most recogniseable piece of music that came out of the series.  The first being the operatic main menu of the original, obviously

Bitter sweet and grandiose, Halo 4's credits is exactly what it needed to be.  Halo.

Darksiders 2 - Guardian Boss Fight

While the game was severely disappointing, it's impossible not to acknowledge the magnificence of Jesper Kyd's score in Darksiders 2.

Unlike number 10 on this list, Guardian Boss Battle is mighty, magestic, and neccesarily 'big' to suit the giant stone creature you're shooting while on horseback.

Nothing much else to say except "This.  Sounds.  Awesome."

Mass Effect 3 - An End Once and For All

While the ending to Mass Effect 3 was bloody stupid, this music at least makes you think that it was important.

Unsurprisingly, this score is very delicate and almost depressing, highlighting the finality of what Shephard is doing...whatever it is he did.

It also echoes the melody of a track lower on this list.  Oh...did I ruin it?  Nah, you've already looked at number 1 haven't you?

More Pokémon ganes need music like this. 
Bouncing with adventure and delightfully Japenese-y instruments, Map Theme 2 is undoubtedly the best track from Pokémon Conquest, and I will fight anyone who disagrees.
The melody and pounding drums in the background gives me images of hiking through the mountains of Japan, which is pretty much what the map is. 
NeverDead - Sangria

NeverDead is a pretty crummy game, but has amazing music.  The best, or the only one I could find on YouTube, is what plays during your somewhat tedious fight with Sangria.

With it's ferociously chaotic melody and heavy chords it sounds like what the devil would play on the guitar, and also suits the battle that takes place in a church...I think...it may have been a museum...I forget.

Pokémon White 2 - Route 23 

I loved this music the second I heard it.

After leaving the cavernous Victory Road, your ears are rewarded with this joyous and triumphant track, carrying you to the entrance of the Pokémon League.

I've seen people say that it contains segments from Pokémon Ruby and Sapphire, and sadly, I just don't hear it, which is mind-boggiling since Ruby was the first handheld Pokémon game I played, and I have put 700+ hours into.

After hearing this I want to go for a run.

It's back baby!
The Team Plasma Battle music from Black/White 1 was head-bangingly awesome, and, thankfully, the remix doesn't change too much, if really anything.
The melody is catchy as hell and sounds fairly 'evil' for the villains of the game.
Daaaaaaa-da-daaaaa-da-da-dadada-newnewnew-nerrrrr!
Awesome...
I admit, Mass Effect 3 was a disappoitment, but this music...this music.

I get so sad hearing this, and not just because of the song itself.  With the beautiful piano and deliciously abrupt and powerful horns, I can see how amazing Mass Effect 3 could have been if it didn't treat itself like filing paper work.

This track perfectly encompasses the tragedy and power the Reapers are bringing to the galaxy, while the rising 'beeping' of the "melody" allows small amounts of hope to spill into an overall depressing piece of music.

I love it more than the game.

Thursday 13 September 2012

BOG: Game Out Loud Podcast #2


I was brought back for the second episode of the Game Out Loud Podcast.  I think I'm getting better at...you know....talking...

http://www.bagofgames.com/2012/09/bog-game-out-loud-episode-2/

Wednesday 5 September 2012

BOG: Game Out Loud Podcast #1




This is the first episode of the Bag Of Games: Game Out Loud podcast.  It was just called Game Out Loud but then Bag Of Games allowed them to host it at the site.  Anyway.

I, along with Ryan from Bag Of Games, were asked to join in on the first episode.  So here it is.  excuse me if I'm extremely quiet, nervous and stutter-y....it's because I am.

Tuesday 31 July 2012

A Dark Souls Response

Recently I received a very nice comment on my Top 5 Worst Moments In Dark Souls article on bagofgames.com.  The commenter, Van Hammersly, responded to a few points I made but I was unable to respond because the 'reply' button stops working after a certain amount of times, apparently.  So, I'll respond here.  It's very unlikely that Van will ever see this, but hopefully anyone else reading will find this interesting.  You could find the article with the comment I'm responding to here
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First, Van responded to my phrase "A game is there to entertain the player, not assume the player will automatically care about everything it has".  He says that that sentence insinuates that there is only one way for a game to entertain the player, and that Dark Souls itself rewards the player for being patient and 'practicing' within its world.

The latter I completely agree with, and what makes Dark Souls a better 'practice game' than something like Another World is that virtually every 'trap' is never hidden from you.  For the most part, the only reason you would ever die in Dark Souls more than once (I'll get to that later) is that you're not trying hard enough, and many player, including myself, have revelled in its challenge and engaging gameplay.


Yet, I really don't see how my quote could mean that there is only one way for a game to entertain a player, and it's certainly not what I meant.  I'm just saying that a Video Game's primary purpose is to entertain with the components that make it a Video Game.  Them being a game that is displayed with video...of course.
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He then responded to my description of the Crystal Cave area.  I explained how the falling crystals didn't do a good enough job of showing the player the path to the other side of the cave, resulting in a boring and tedious road block in the game's progression.

Van called this particular moment of Dark Souls to be particularly tense, as the game gives you a necessarily vague idea as to where the path is, keeping you unsure as to where to go.  This, he says, stays consistent with the 'feel' of Dark Souls.

Now my problem with the Crystal Cave is one based on personal experience, yet still has followed me on my two other playthroughs.  Simply, the crystals just don't fall frequently enough, or at all.  There were several moments where I just stood on the invisible path, waiting for a crystal to land onto an area in front of me...but never did, leaving a big gap that may or may not be safe to step on.  There was never a chance for me to pay attention because there wasn't anything to pay attention to.

Also, he says that my tactic of 'running off the path and memorising the layout of it' to be the wrong way to tackle the area, but he goes on to say that a 'leap of faith' is something he found appropriately stressful, even though it's exactly what I was doing.  I also don't think that is something the game should make the player do, which is something that really annoys me about many of Dark Souls' areas, especially finding Blacksmith Vamos in the Catacombs.

He also praised the ability for online players to leave messages on the invisible paths to 'mark' them, showing other players where to go, which I find very unfair to those who don't go online...like me.
-
Van then commented on my opinion of the first encounter with Seath The Scaleless, being (spoiler) the number 1 worst moment in Dark Souls, according to my list anyway.

I said before that I admire Dark Souls for always giving the player a chance to survive, and if you die, it's your own fault.  But the encounter with Seath breaks that idea, creating a trap that automatically kills you without any warning.

Van said that it perfectly suits Dark Souls, as dying is a 'core' part of the game, and the fact that Seath kills you should be seen as one of the many traps Dark Souls has.

Now, I've played Dark Souls about 2.5 times, resulting into well over 100 hours of play time and I can't think of a single trap that 'imprisons' you and automatically kill you.  There are traps that severely hurt you like the statues in the Catacombs, but that isn't the point.  The point is you can't stop Seath from killing you, which wouldn't be so bad if you weren't then given the punishment of dying.

The first boss of Demon's Souls killed you but you kept the souls you earned.  It didn't make any sense, but at least the game didn't swipe away your 'hard work' without warning.  But here, you have NO way of knowing that Seath is going to kill you, at least not until the fight is already happening, and even then it's probably too late for you to equip a Ring Of Sacrifice.

Van also said that the only way it could be unfair and cruel is if Seath sent you back to the last bonfire you rested at, which raises my next problem with this moment.

It was established in Dark Souls' game play that you would return to the last Bonfire you rested at  if you died .  So why is it that you get, or even CAN be, put into a prison next to a Bonfire you haven't used yet?  Do you stay as a corpse when you die?  How do you get sent back to Bonfires in other situations?  How do Bonfires respawn enemies?  Why do some monsters respawn and others don't?  It's these kinds of questions that really makes me dislike a lot of Dark Souls' vague and unexplained ideas that many people lazily call 'interpretive', as if the game they love is perfect in every conceivable way, and if you don't understand...'think' harder!

And finally, Van responded to a sentence I used in response to another commenter.  The sentence was: "Exploration should never be mandatory".

Van said that exploration is a big part of Dark Souls and that your journey can feel aimless at times.

I completely agree with that, but a journey feeling aimless doesn't make it explorative.  Just because you don't know where you're going doesn't mean you're exploring.  And really, you don't know where you're going in Dark Souls, most of the time.  You're vaguely told by some random warrior to ring two bells.  One is up and one is down.  Sure, your path is revealed to you at the same time your character is seeing it, but you're still progressing through the story because you're still travelling down a linear path, and Dark Souls' story can still be completed without exploring at all.

An example of exploration in games is getting an objective in Skyrim but deciding to disregard it and venture off into an unknown area for the sake of it.  That is exploring because you're essentially disobeying the game's requests.  In Dark Souls, you may not know exactly where you'll end up, but you're still pressing forward.  A man who is walking down a corridor isn't instantly exploring if he suddenly becomes blind.  Really, the only explorative areas of Dark Souls is The Great Hollow and Ash Lake because you can finish the game without even knowing they exist.

And that's pretty much it.  I'd like to thank Van Hammersly for his thoughtful and, most importantly, civil comment.  Sorry if I'm talking about Dark Souls too much...I have another article about it coming out in the next few days...you're welcome.