PAX Prime 2013: The PlayStation Jubilation

ovember 15^th is fast approaching folks. Soon, the final cornerstones to the new market of hardware will arrive and with the PS4 having a head start and the flock new titles hitting the Vita—I figure I’d give a rundown of the games I played available at the Sony booth on the PAX Prime 2013 show floor that’ll be out for the buying come launch.

Knack is a strange beast in a variety of ways, especially when it pertains to the PlayStation 4. Platformer titles have mostly fallen to the nuances of indie developers who continue an endless campaign to reinvent or expand the timeless genre, while triple A developers simply invest in just remaking classic titles to cash in on the Neo Retro craze that’s still so hot right now. Knack, an original 3D platformer set for release at the launch of next-generation hardware, seems like a strange move. But after spending some time with it, it’s clear that Japan Studio is shaping Knack with all of the whimsy and idiosyncrasies of 3D platforming with visuals and charisma that could compete with any Pixar film you could name.

The first stage had me maneuvering the eponymous character in his strongest form. I rampaged through the stage with perspectives fluctuating around angles and corner ways that capitalized on that movie monster craze it was clearly emulating. The presentation throughout Knack delivered a general appeal of charisma with the same kind of spectacle that’s delivered in modern family movies, yet sorely absent in the modern game market and genuinely portrayed throughout my play with Knack. Though light with the jumping mechanics, this stage emphasized the combat mechanics more. Swinging the personified collection shapes wildly about against the goblin menace, the animations were simple yet solid in execution as I hacked and slashed away.

As I continued playing, the combo structure unveiled into something deceptively deep, earning new moves revolved around collectible while special super attacks from meter that built up from energy collection through clusters of crystals. Knack has an array of moves that also changed when he grew in size by collecting shapes.  Attacks were different in both strength and technique anytime I grew the hero in size, and visa-versa with an old school sense of duality that hasn’t really been revived since the 16-bit era. Each hit of damage Knack took, he slowly dwindled away with each falling block. The physical display of Knack’s wellbeing versus some gauge or HUD measure, the emphasis on animation is what makes Knack stand out. Though the familiar mechanics aren’t groundbreaking, just simply refined—Knack’s real charm is in its presentation and child-like whimsy, playing with the kind of genuine sensibilities of an NES game that was released back in the eighties with the PS4 tech of today.

During the E3 Sony presser, the same folks behind Motorstorm were showing off their latest endeavor with Drive Club. Their pitch was a racer that emphasized more on the camaraderie of racing rather than developing a purist car affair the like of Gran Turismo or Forza—Two races in, and it’s sorely evident that the game would’ve benefited more had it received more attention towards the latter.

Before I would even set the terms surrounding the race, the game immediately demanded my portrait via the PS4 camera. Complying with the goofiest shit-eating grin I could express before the countdown, I was handed the gauntlet of beating the highest ranked time attack record from a fellow PAX attendee—the personal touches of credibility and rapport were some nice touches as I associated my desire to conquer a hurdle with a face. But then, the actual game started.

Choosing an Aston-Martin with automatic shifting, the screen immediately proceeded to the starting line. As the race started, there was an immediate sensation of disorientation involved with the driving physics. The car is known for its luxury and performance, with a stock twelve cylinder engine build and competent handling and maneuvering with unique chassis support within the suspension of the frame. And yet, the moment I pulled on R2, I went from zero to "holy shit" with a time frame that I could compare to three parsecs. The unrealistic velocity in my acceleration was one thing, but turning all together required me to forget everything I knew about racing physics because it would do me no good in Driveclub.

Drifting through lead offs on the gas pedal didn’t register remotely close to the way that it should have, regardless of whether you choose to compare to the likes of Forza or Cruisin’ USA for reference. The consistency of braking was the worst offender, and gradually applying pressure to L2 to break almost brought me to a screeching halt, while slamming them during tight turns just jammed sideways without the common courtesy of even fish-tailing me. The argument in play though slowly went from “this doesn’t drive like an Aston Martin would” to “What the hell kind of driving logic is this?”

Being a part of a community with all of the enmities to support ideals and sportsmanship are fresh and The visuals were everything and more as far as expectations go, and stand out among its peers with some of the sweetest eye candy that game behind the wheel can offer. The trouble is the part that involves you behind the wheel, and how junked the execution feels; Driveclub is shaping out with the stigma of being one those launch titles unless it gets some heavy retooling before then.

Media Molecule has always had this weird sort of penchant for crafts whether it stitching or stickers. The dudes and gals have always expressed their love for the tools and material of all those embrace that D.I.Y. spirit. The latest venture from the team takes some cues from its Little Big cousin, but to a completely aesthetic level -- one that focuses on delivering charm in the most token approach it can in Tearaway. The sights of a papered landscape portrayed this sort of stop-motion feel to the animation, and then when I did see the stop motion in play, it was done with such a care that modernized a near-dead art from of cinematography in the mainstream, into a quirky venture that would make Ray Harryhausen proud.

The focus on the rear touchpad was one of my main concerns upon initial play. I understand the novelty of having that rear access for some kind of quirky mechanic, but to assign such an important dynamic like jumping in a platformer-ass platformer game, no less, was a little alarming — I was wrong.  The ability to jump isn’t inherent in your little character, (which by the way, having the option to choose between a male or female avatar was a heartening surprise), but instead seems contextual with certain spots and surfaces in the stage, decaled with the same patterned look of the rear-touch pad. Identifying these areas sprinkle around, and the different manner in which they can be used slowly built my reflexes to respond to them at first sight. Whether it was puzzle that involved moving apples, or pinball ricocheting the little sheeted dude around the map, the illusion of the world reacting to what I was doing without seeing my fleshy digits do all the inputting in front of me, sucked me into trying to be as precise as possible. The reliance on feeling versus sight may sound like a handicap, but the process was immensely gratifying.

The gimmicky features of the Vita being used through my play in Tearaway didn’t feel gimmicky, from opening gifts off of the touchscreen to taking pictures of the show-floor around me to use for in game side quests I happened upon, Tearaway is inspiring example of how a game can utilize different functions to craft a genuinely fresh romp that leaves quite an impression that stays with you after you leave it.