Tag Archives: DLC

On… The Witcher 3 DLC

Let’s get this out of the way right from the start: the DLC for The Witcher 3 is the best example of the form I’ve ever seen. There have been some good pieces of add-on content in the past (Mass Effect 2: Lair of the Shadow Broker, ME3: Citadel, Oblivion: Shivering Isles, etc.) but they are all trampled into the Velen mud by what CD Projekt Red have produced here.

Beware if you wish to read further: spoilers for the main Witcher 3 campaign as well as Hearts of Stone and Blood and Wine are contained herein.

Released late last year, Hearts of Stone was the first major piece of DLC and features around 10-15 hours worth of content. At first glance it might seem slightly uninspiring, not least of all because there’s no new area to explore. Well, actually that’s a bit of a lie: the expansion does provide new parts of Velen to traipse around in, but there’s no new ‘whole’ map area as such.

What makes HoS so fantastic though is its storyline. Whilst there are, as you would expect, a number of various sub-quests, the main meat of the package concerns Geralt’s encounters with Gaunter O’Dimm. Rather cleverly, this is a character who initially appeared right at the start of the main campaign in a role so subtle that most people (myself included) would have forgotten about it until reminded by the DLC. The character of Gaunter is fascinating – his exact nature never truly revealed, but there are hints enough that he is an incarnation of evil. Your slow re-introduction to him takes place over a series of quests, initially focusing around new character Olgierd von Everec. To begin with, Olgierd seems to be the antagonist, but it soon becomes apparent that instead he’s something of a sympathetic character, drawn too deep into a situation he can no longer control.

HoS in many ways makes for a better campaign than the Wild Hunt itself did: it has the advantage of taking place over a smaller scale, and thus becomes much more involving for the player. Whilst Wild Hunt was very, very good, the need for it to take in the political machinations of Nilfgaard and Redania (amongst others) often lent it a layer of abstraction. HoS has none of this, really, and instead focuses on a small set of characters whose motivations and actions you come to know intimately. Indeed, the most memorable parts of the DLC are perhaps those that deal with the smallest matters. The wedding scene, for instance, wickedly subverts expectations set by the main campaign and external touch-points like Game of Thrones by being pretty much uneventful. Yet it stays with you because of the wonderful character development it employs, plus a fair amount of humour.

By the time HoS ends you have a completely different view of the world it presented than you did when it started, and that’s much to its credit. The character of O’Dimm will stick long in the mind, his cavalier ambivalence and macabre wit making for one of the best villains I think I’ve ever seen in a video game.

Touissant, not in Arizona.
Touissant, not in Arizona.

The second expansion, Blood and Wine, is a different beast. It’s hard to guage the ‘size’ of it, as mileage can vary, but to me it felt a good two-and-half times as big as HoS. This also adds a new map area, the southern duchy of Touissant. A rich, vibrant land with more than a hint of the Mediterranean about it, Touissant is an area vastly different to the war-torn Velen and the beautiful but harsh Skellige.

Due to the nature of the Wild Hunt’s main storyline, Blood and Wine by necessity needs to take place before the former’s conclusion. Thematically, however, the expansion is very much a coda to Geralt’s adventures. I’d suggest, in fact, if you buy the whole game packaged complete with the DLC, that you finish the main story first before tackling this. Not because of any difficulty issues (although the enemies here are tougher than most in the main game), but simply because the story works better.

Ostensibly, the main plot-line concerns a vampiric beast stalking the duchy, murdering a seemingly unconnected group of nobles. As the story builds, though, it touches more obviously on the topics of home, family and belonging. There is a wondrous juxtaposition between the traditional Geralt, perennial outcast, and the homestead vineyard that he acquires and potentially builds up over the course of the expansion. Additionally, whilst the Witcher series has always been in some ways a dark counterpoint to more traditional high-fantasy fare, here the inversions of tropes are laid bare. Towards the end of the expansion’s main story there’s a wonderful segment where Geralt enters a fairytale world, at first glance seeming peaceful before rapidly showing its corrupted side. Seeing Geralt take part in a dark (well, darker I guess) version of Little Red Riding Hood is a complete joy.

BaW is a campaign that deals with endings, of a sort. Whilst none of us can lay claim to living the life of a Witcher, the questions the game asks regarding where we wish to settle, literally and figuratively, are ones we can all empathise with. At its conclusion you feel as if Geralt’s story is complete. Okay – there could be extra adventures put in if needed – but all the pieces of the jigsaw have been put into place.

Narrative aside, BaW astounds as well because of the sheer generosity of the content it offers. At £15.99, the expansion contains more hours of gaming than most standalone, full-price titles. There are sub-quests galore, additions to character development, new gear sets, and so on. Also, it looks absolutely amazing.

I mean, seriously, it's lovely, isn't it?
I mean, seriously, it’s lovely, isn’t it?

All of this gushing probably makes it obvious that I can’t recommend Witcher 3’s DLC sets highly enough. They take everything that was great about the main game and simultaneously condense it whilst expanding on it. The only word of warning I would give is that, given the length of the main campaign and the DLC, it might not be a good idea to attempt it all in one go, for fear of burning out. I took a break of several months between finishing the main game and approaching both DLCs, and at the end of Blood and Wine I did almost wish I’d had an extra hiatus before it. Still, it seems rather petty to complain about having too much.

The addition of Hearts of Stone and Blood and Wine probably make The Witcher 3 the best computer RPG ever. I’ll admit it’s not my favourite (Mass Effect and Baldur’s Gate II top it), but as an achievement of narrative, technology and scope it is, quite simple, untouchable.

On… Assassin’s Creed Syndicate: Jack the Ripper DLC

WARNING: Spoilers for Assassin’s Creed Syndicate and the Jack the Ripper DLC below!

Ever wanted to play as a deranged serial killer who enjoys disembowelling and mutilating prostitutes? If you answered ‘yes’ then, firstly, it may be worth talking to a therapist and, secondly, the Jack the Ripper DLC for Assassin’s Creed Syndicate might just be the expansion you’ve been waiting for.

Yes, you too can play as a crazed serial killer!
Yes, you too can play as a crazed serial killer!

Taking place around twenty years after the events of the main game, Jack the Ripper sees the series’ best assassin since Ezio, Evie Frye, investigating the disappearance of her brother which is intertwined with the killing spree of the infamous Victorian serial killer. This being an Assassin’s Creed game, obviously this is all mingled in with the story of the Brotherhood of Assassins. Thankfully it doesn’t transpire that Jack is a Templar, but rather an Assassin who has gone a bit fruitloop. As ever, some liberties with the historical setting are taken, and in this ‘reality’ Jack has pretty much taken over the entirety of London’s underworld. He also wears a sack over his head for the whole campaign. It’s never made clear why. It’s not even a very nice sack.

The story takes place in the boroughs of Whitechapel and the City of London, with the rest of the environment from the main campaign blocked off. There are a couple of new settings, a snow-draped mansion and some prison hulks, the latter of which is a very interesting and well-designed locale. In terms of gameplay, there are around seven or so main missions plus a number of ‘associate activities’. Some of them, such as the Cargo Hijack, are pretty much identical to those in the base game, but others – such as Slow Carriage Escapes and the Ripper Letters – offer a bit of a spin on the standard themes. Unfortunately a few too many of them are reliant on the utterly awful ‘kidnapping’ mechanic that Syndicate introduced, making them frustrating and less than fun.

Crap like this still happens.
Crap like this still happens.

To be honest, there’s not an awful lot here that you can’t get from the main game. There is a new ‘fear’ mechanic whereby certain new weapons and QTE-based ‘brutal takedowns’ allow you to scare some enemies, which is useful for large-scale crowd control. It’s not great, though, and I couldn’t help feeling that it would have been better if they had implemented more items or moves that you could use at a distance. You never feel in control in the same way as you do, say, in the predator encounters in the Batman Arkham games. All too often an attempt to use a fear mechanic devolves into a simple scrap with enemies that are by now so underpowered compared to your character that they don’t put up much of a challenge even in large numbers. It also all feels a little… bolted on.

Towards the end-game of AC: Syndicate I felt that I was consistently battling against or exploiting the mechanics of the game, and Jack the Ripper just carries on that. The AI remains laughably dumb at times: you can murder a guard, the body of whom is stumbled upon by their colleagues who go into ‘alert mode’ for a bit. But then, when it’s over, they just go back to their pre-defined patterns, leaving their former friend’s corpse to rot on the floor. Whilst I appreciate that some of this is done for game-play purposes, having played Metal Gear Solid V with its much more ’emergent’ AI, this all seems a bit of a retrograde step.

Also, please, Ubisoft, please: whatever you do next for Assassin’s Creed, make sure you get rid of the ridiculous ‘you must be anonymous to continue’ stipulation that applies to so many of the mission objectives. Just because a guard spotted me five minutes ago does it really mean that I can’t now open this particular door merely because a cut-scene lies behind it?

Gameplay issues aside, what really urked me about Jack the Ripper is its subject matter and the way it deals with it. There are a couple of instances where the game mentions the brutality of the crimes committed, but for the most part we get the sensationalistic claptrap that typifies the lower-grade approaches to this segment of history. What makes it worse is that there are three portions of the DLC where you play as the Ripper. I’m sure this seemed like a good idea to the people who were writing the feature bullet-points, but let’s be clear about this: you play as a psychopath who – by the game’s own admission – gets his kicks by brutalising women in the most inhumane of manners. This wouldn’t matter quite so much if the Ripper playable segments dealt with this in a meaningful way, but the truth is that they’re just the same as the normal game except that mission objectives are displayed in a ‘crazy’ font with a weird screen-effect to accompany team. Honestly, it’s all a little distasteful and adds next to nothing to the game.

In its favour, the DLC is sizable and worth the money if you’re not too burnt out by the main Syndicate campaign. For me, though, it was just too much of the same, with the extra bits not really being substantial or well-implemented enough to make it worth the while.

On… Dragon Age Inquisition DLC

Thanks to the recent EA sale on the PlayStation Store, I’ve just about got around to playing through the major bits of DLC for Dragon Age: Inquisition. I’ve been a big fan of Bioware’s stuff ever since the original Baldur’s Gate, and really enjoyed Inquisition. Okay, it suffered from too much filler and a annoying lack of codas to most of the sub-quests (I lost count of the number of times I picked up a seemingly random item only to find that I’d completed a quest I didn’t even know I was doing), but it seemed a great return to form after the somewhat weak Dragon Age II.

In terms of the DLC, aside from all the various equipment packs that cost about £2.50 and give you weapons with +10 damage versus horse armour or whatever, there are three major expansion packs: Jaws of Hakkon, Descent and Trespasser. In the traditional form, I shall take a brief look at each of them in order. Obviously, there are some spoilers here for the main game and all of the DLC, so avert your eyes if you don’t want to read them.

Some professor bloke in Jaws of Hakkon.
Some professor bloke in Jaws of Hakkon.

Of all the three, Jaws of Hakkon feels the most like content that was cut from the main game. It offers a new area – the Frostback Basin – that I was expecting, given the name, to be a slippy-slidey ice world but is actually a jungle-esque place filled with spiders and treehouse complexes that would make the Yolkfolk proud. The Basin contains a number of sub-quests and, yes, more shards to spot and collect. These can either be used in the Solasan temple in the main game or in a mini-version within the Basin itself, which is quite handy but still doesn’t make jumping around after the sodding things any more fun than it was before. The main questline concerns itself with the Avvar, who I seem to remember vaguely as being some barbarian-esque tribal group. A faction of these chaps/chapettes calling themselves the ‘Jaws of Hakkon’ (presumably because it sounds a bit cool) are causing some trouble-and-strife. Alongside this, an academic from the University of Orlais believes he has found the final resting place of the last leader of the Inquistion, Ameridan. As you might expect, before too long the plot-lines converge and you’re kicking some barbarian butt.

This is all quite enjoyable, though I couldn’t never quite escape the impression that it was something originally planned for the main game but then excised for some reason. It’s a shame as well that the motivations of the Jaws of Hakkon aren’t explained fully; there are some lore documents lying around the final dungeon that go some way towards it, but mostly I felt as if I were fighting a faceless enemy. Still, the penultimate boss fight is a good one, requiring you to think much more about location and placement than normal. For my relatively high-level party (I think I was about level 23 when I started it) playing on standard difficulty, it wasn’t too challenging. There were a couple of random encounters with giants and the local wildlife that caused me some strife, but mostly it was straightforward.

For the few pounds I paid for it, I was happy enough with Jaws of Hakkon. It isn’t essential by any means (though you do get a rather nifty unique ability by playing it, which definitely helps in the later DLC) but worthwhile picking up. Perhaps it was also more enjoyable for me because I’d stopped playing the full game around a year earlier, so wasn’t burned out when I cam e to it.

For those of you who’re interested in seeing me finish off the game’s final boss, there’s an utterly unedited video here:

DLC number two is Descent, and is utterly different in form and scope to Jaws of Hakkon. Rather than being presented with a new overland area, you’re sent off to the Deep Roads to investigate some earthquakes because, well, you’re the Inquisition and that’s how you roll. Those of you reasonably well-versed in Dragon Age-lore will know that the Deep Roads are a former underground empire (but not the underground empire) which is now swarming with hordes of Darkspawn and other unsavoury types.

The marketing for Descent didn’t appeal to me: it sounded a bit too much like a dungeon crawler. In reality, whilst this is true to an extent, it offers so much more. This really did feel like a full extension to the main game, providing a brief new base of operations and new expeditions to carry out. The lack of civilization and the relatively emptiness of the maps (once you’ve cleared out the Darkspawn, at least) does make you feel that you’re treading where no-one has been for a very long time. There’s also a fairly massive addition to the lore of Thedas which you hope will be touched upon in future DA games.

An Emissary, not exactly the most lovely-looking of creatures. It must go through nail-files like nobody's business.
An Emissary, not exactly the most lovely-looking of creatures. It must go through nail-files like nobody’s business.

Descent isn’t perfect. Some people will complain about the linearity, though that didn’t bother me. The ending felt a little undercooked, and – similarly to Hakkon – the enemies you encounter are pretty faceless. You start off fighting Darkspawn, and they don’t have any kind of archdemon or broodmother controlling them that you come across. Along the way you do encounter what I think is a new breed of Darkspawn, the Emissary. These seem to have been modelled on the Architect from Dragon Age Origins: Awakening, but they don’t actually provide any dialogue. Just after the mid-way point of the DLC you find yourself under attack by an mysterious group called the Sha-Brytol. As enemies go they’re quite interesting, what with their rat-a-tat-tat bolt attack and earth-shaking. Unfortunately they don’t have a leader, and you never find out an awful lot about them other than some relatively cryptic allusions in cut-scenes. It’s a shame, really, as there was some potential there for interesting antagonists. Perhaps, though, I’m being a bit hard on Descent in this respect: the problem with the anonymous enemies is one that afflicts the whole series. Even the main Inquisition game had issues in this regard, with Corypheus never feeling to me fully fleshed out.

Some special mention must be given to the fight that occurs halfway through Descent which is the toughest I recall encountering in the whole of the game thus far. With only about two supply caches nearby, you face off against a horde of Darkspawn that will keep regenerating until you defeat a certain set number of enemies. I found it a little annoying that the game didn’t make it clear that you had to go to certain areas of the map to find these enemies. As a result, it took me the best part of 75 minutes to get through the whole thing, and a fight against an Emissary Alpha who kept putting up a heavy-duty magic barrier made me have to drop the difficulty down for the first time in the whole campaign. I just couldn’t face dying and having to do the whole thing again. Maybe if I were more savvy about picking out the right places to attack the right enemies it would’ve been quicker, but first time round it was a massive slog. Fun at first, but after three quarters of an hour it just felt like a war of attrition. Still, it’s an interesting change of pace in the game.

Again, for those few of you who are interested, here’s me finally managing to defeat the Emissary Alpha:

Finally, Trespasser. I know I’ve said it already but, please, if you don’t want any spoilers for the main game as well as the DLC please immediately avert your eyes or smear them with jam so you can’t read on.

Some Elven ruins in Trespasser.
Some Elven ruins in Trespasser. They like their trees and green magic stuff.

Unlike the other two expansions, Trespasser only becomes available after the main storyline has been completed. Starting the DLC fast-forwards the timeline by about two years and removes you from Skyhold and any content you haven’t yet completed. As per the strongly-worded warning the game gives you, once you start Trespasser there is no going back. At the start you are taken to the Winter Palace in Orlais, which looks very palace-y but not, it must be said, all that wintery. The palace is playing host to the Exalted Council hosted by Divine Victoria (who I believe is either Cassandra or Leliana, depending on your choices in the main game) who are convening to discuss the future of the Inquisition. Now that the threat of Corypheus and the breaches have subsided, people across southern Thedas are beginning to question why the Inquisition still exists and why they have so many swords and other metal pointy things. I found this element of the story to be quite interesting, because it’s not often in a game that you get to see what happens after the happy ending. It always struck me as a tad odd how the great nation-states of Thedas just seemed to very quickly accept the resurrection and growth of the Inquisition during the main storyline, so it was good to see that, once the dust had settled, people were expressing their displeasure.

It’s not long however before the Council is thrown into disarray by the arrival of a distinctly-dead Qunari. A quick bit of trellis-climbing by the Inquisitor later reveals that the Qunari had arrived in the Winter Palace by means of an eluvian, those Elven magic-transporting-mirror-things seen towards the end of the main game. Without much concern or forward-planning, the Inquisitor dashes through the eluvian and ends up in some mysterious Elven ruins.

Throughout the main beats of the story, it also becomes clear that the Anchor (better known as the green swirly mark thing on the Inquisitor’s hand) is starting to become more troublesome. Again, this is quite neat as the main game never really dealt fully with the question of the long-term effects to the Inquisitor of having a big magical boil in their hand. This bleeds into the gameplay as well, since the increasing instability of the mark coupled with its exposure to ancient Elven magic causes you to gain access to some rather nifty additional abilities and increased focus gain. Part of me suspects that this is to help lower-level players get through some of the battles in the DLC’s campaign. By the time I got to play it at the maximum level 27 it was challenging in places but nothing too harsh, especially in comparison to some of the big battles in Descent. I’m not sure how it scales, but I can imagine if you were a few levels lower it could be quite hard-going.

Of course, the main allure of Trespasser is that it promises to finally bring some closure to the ‘oh-my-word’ rug-pulling teaser at the end of the main game, where it was revealed that Solas was actually Elven trickster god Fen’Harel. The Inquisition remains oblivious to this, and it isn’t until almost the end that it is revealed to them. In honesty, it did strike me as somewhat unbelievable that despite being continually called ‘Agents of Fen’Harel’ but the Qunari, nobody in the Inquisition had made the connection to Solas, particularly given that most of the Elven ruins that are explored contain murals paintings in exactly the same idiom as he decorated Skyhold. It’s a shame that you don’t actually stumble upon Solas himself until the very end, but it does at least make for a rather interesting narrative dichotomy where you as the player know you’re chasing after him for the entire campaign whilst the player characters don’t.

Trespasser is a fitting end for Inquisition, and – probably in response to the furore that exploded around the release of Mass Effect 3 – provides conclusions of sorts for all the games characters. It very much marks the ending of the Inquisitor’s story, at least in terms of adventuring. As a result this truly feels like a ‘proper’ expansion to the game. Whilst it may not be as big as ‘real’ expansion packs (such as Dragon Age Origins Awakening) used to be, it offers sufficient additional story, location and characters to be a thoroughly worthwhile purchase. It also provides hints as to where the series might go next, and a number of the decisions you make in the DLC will presumably have some impact on future plays.

In summary, I’ve been pretty pleased with the DLC for Inquisition all in all. If I had to pick a personal favourite I’d go for Descent, which is odd as that’s the one I thought I’d like the least. Having said that, if you’re only going to buy one of them you probably need to go for Trespasser, since that’s the one that adds the most to the overall narrative and provides the coda to the whole game. A great effort by Bioware all together, though. Hurry up Dragon Age 4…

On… Arkham Knight: A Matter of Family and the Problem With DLC

Potential spoilers for Batman: Arkham Knight – A Matter of Family DLC follow…

I finally got around to playing the A Matter of Family DLC for Arkham Knight yesterday. For those who don’t know, it’s a story-driven add-on for the main game that centres for the first time in the series around Batgirl, specifically the Barbara Gordon version of the character. Set at some point prior to the events of the original Arkham Asylum game, it revolves around Batgirl – assisted mostly ably by Time Drake’s Robin – attempting to rescue her father from the clutches of the Joker.

Barbara Gordon as Batgirl, looking suitably Bat-ish and girl-ish.
Barbara Gordon as Batgirl, looking suitably Bat-ish and girl-ish.

When it came out a few months after the release of the main game, AMoF came in for a fair bit of criticism. In some respects it’s easy to see why: it’s short and, for an add-on that’s meant to be story-focused, doesn’t really have much of one. There’s no real explanation given as to why Joker has kidnapped Commissioner Gordon. There are some mutterings about him trying to provide a ‘Valentine’s Day present’ for Batman by killing Batgirl and Robin, but that would seem to suggest that Joker at least knows who Batgirl is, and I didn’t think that he did. And aside from the fact that it makes for an interesting environment, it’s not clear why Joker felt the best place to keep Gordon is in an abandoned theme park.

Playing as Batgirl was quite interesting, though in truth she’s very similar in style of attack to Batman, albeit slightly more vulnerable and with fewer gadgets. There’s supposed to be more of a focus on hacking, which makes sense given that Barbara eventually goes on to become Oracle. Unfortunately again this seems a little undercooked, as apart from a neat bit involving a fibreglass octopus and a giant skull, all you really do is exchange some passwords and move a couple of cranes.

The DLC is short: I completed my full story playthrough in a little over two hours, and doubtless someone who is less incompetent with a controller than I could do a lot better. I wasn’t that bothered by the length, though. The DLC only costs around £5, which does seem worth it to me. I think the problem a lot of people have with DLC is that they compare it in price to the full game, where invariably it pales. If you’ve paid £40 for a game that’s provided 30 hours of entertainment, another £5 for an additional two hours seems a little mean. Still, you’d pay double that for a DVD film that lasted only 90 minutes. It’s all relative, I guess.

My real issue with AMoF was just that it didn’t do enough to differentiate it from the main game. As already noted, Batgirl plays very similarly to Batman, and the missions involve the same mix of random bad guys to beat up and predator encounters. They’re as fun as they ever are in the Arkham games, but you’ve done it all as Batman before. There are a couple of neat tricks you can pull with hacking devices to ‘frighten’ criminals and make them more vulnerable, and these are good but since they’re used so sparingly in the short campaign they don’t register a lot. It’s a real shame, as it’s obvious a lot of work has gone into the DLC. The theme park setting is neat and very well realised, fitting nicely into the Arkham style (though given how grotesque some of the exhibitions were I doubt Disneyland was ever worried about the competition). Equally, Batgirl’s animation and design are wonderful, really making me hopeful that we might get to see more of her sometime. It’s also neat seeing Harley Quinn in a costume that’s much more reminiscent of her original look in Batman: The Animated Series than the rather hypersexualised outfits she’s had in Arkham Knight and City.

The Joker and Harley Quinn in her 'Animated Series' costume.
The Joker and Harley Quinn in her ‘Animated Series’ costume.

Speaking of which, the final fight between Batgirl and Robin against Harley and the Joker is a lot of fun too. It’s over rather quickly, and won’t be much of a challenge to anybody who has beaten the main game, but it’s emphasis on the ‘tag-team-combat’ that Knight introduced and only used in a handful of occasions makes it great fun.

So… would I recommend this as a purchase? Yes, but only if you’re happy to accept the short length and still consider it worth your money. I don’t regret buying it – I did have fun playing it. However, it could have been so much more.