Far Cry 4 – EIW

The protagonist Ajay Ghale travels to Kyrat, a fictional region of the Great
Himalayas, to scatter his mother’s ashes. But, by fate, he finds himself in the service
of the Golden Path, an army of Rebels founded by his late father. They’re locked in
a brutal civil war with Pagan Min, the cruel ruler of Kyrat, and it’s up to Ajay, the
prodigal son to free it from his tyranny. It’s a neat twist on the usual Far Cry setup.
You are, as in the earlier games, as a tourist stranded in an beautiful, dangerous,
alien place, but now you have a more personal reason for being in Kyrat.

Pagan Min is a colourful villain, and is similar to Vaas Montenegro, who was in Far
Cry 3 one of the best highlights of the game. Pagan once had an affair with Ajay’s
mother, and as a result has taken a special interest in him. To hammer the fact that
he’s a deeply evil character, an early scene sees him wetting his finger, dipping it
into her urn, and tasting her ashes. But like any good old Bond villain, his charisma
and eccentricity means you’re kept between wanting to kill him and see more of him.

Ajay doesn’t say much, which instantly makes him an improvement over the last
game’s endlessly punch able boy hero Jason Brody. Really, though, Min is the real
star of the game, and Ajay feels more like an empty vessel for the player than a
meaningful character. But you still care about his story, because he’s propped up by
a memorable cast, including the two leaders of the Golden Path, Amita and Sabal.
Both have totally different opinions about how to take Kyrat back from Pagan’s
clutches, and you’ll have to occasionally to make their decisions for them, which
affects the way certain missions play out.

A lot has been written about Far Cry 4’s setting, its psycho villain, and its ride-able
elephants, but they’re all secondary to the fact that, at its primary, this is just a
brilliant, well-designed shooter. The weapons feel great, there’s genuine
opportunities for creativity, and it all takes place in a dynamic world where random
animal attacks are common. There are some boring scripted missions to endure in
the story, but the aim and variety of Kyrat more than makes up for it.

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Far Cry 5 – EIW

In rural county called as “Hope County”, Montana, an extreme Christian cult
has been slowly decaying the power of the state. Its charismatic leader, his
body tattooed with religious symbols and his hair styled in a man-bun, has
amassed an army following that believes that he can do no wrong. Sent in as
member of a team of United States marshals to arrest Father Seed, you can
feel the tension as you walk through his jeering followers and into his church;
it’s as though everything is hanging by a thread, and soon enough, it does.
Before you can even get into the air with the handcuffed Seed, his followers
have shot your helicopter down and dragged your teammates away. After a car
chase through the fierce night as you try to escape the county, you’re rescued
by an old survivalist, handed a gun, and told that you are now part of the

The opening is a high note for Far Cry 5. It introduces a charismatic villain, the
timely premise of saving forgotten America from the brink of danger, and the
kind of action that video games are made for. Afterwards, the sense of purpose
quickly changes in a epic journey to liberate the county’s three regions from
gun-toting cultists, and the game soon reveals that it is very confused. The
story missions, centring around Seed and his siblings, are aggressive and
extremely violent, with Gory graphic scenes of torture, indoctrination and
religious frenzy; after a while, it gets used to. Meanwhile, when you’re roaming
free in Hope County, you’re clinking beers with hillbillies, tearing down a
mountain on a quad bike accompanied by blaring hair-metal and fireworks,
hunting down crazed moose or collecting things for a food festival called the
Tasty Feisty

There are great moments in Far Cry 5. The action is mind-blowing, its
unpredictable world creates daring stories of accidental heroism, and when it
leans into the whole red-blooded American patriotism, it’s mostly funny. It
doesn’t always come together as well as it should, sometimes forcing the player
to work around the game rather than within it – but the wildly vacillating tone
is the bigger issue. It’s is disorienting and noncommittal. Hence,this is an
extreme cultist of modern America that says pretty much nothing about it.

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Assassin’s Creed: Syndicate – EIW

Assassin’s Creed Syndicate is—must buy—an Assassin’s Creed game, with all that
that implies.

It’s a really good Assassin’s Creed game, mind you, my favourite since Assassin’s
Creed II took us to Italy way back in 2009. We’re in Victorian London this time, in

  1. As with most games in the series, Syndicate shifts between the present and the
    past to follow the convoluted and conspiratorial struggle between the Assassins and
    the Templars, who are fighting over two artefacts. You climb the famous and not so
    famous buildings, use your Eagle Vision to find the targets in a crowd, and
    assassinate them.

In keeping with this tradition, the historical setting mixes painstakingly accurate
architectural renderings of things like Big Ben and Westminster Abbey with fun
campy and counterfactual cameos from figures like Dickens and Darwin. One series
of side quests is dubbed, simply, “Karl Marx’s Memories.” There’s an Edwin
Drood joke. A late-game mission is named “Driving Mrs. Disraeli.”

Awarding another Assassin’s Creed convention, those missions are wildly uneven,
with exhilarating set pieces like a clamber across London’s Tower Bridge juxtaposed
with unimaginative pixel-hunting, during segments in which the player is asked to do
little more than make sure the avatar hits its marks.

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Assassins Creed Origins – EIW

Ubisoft just released Assassin’s Creed Origins. It is in some ways the most
ambitious Assassin’s Creed game ever made, and in other ways noticeably less
ambitious than its predecessors. In the months since then, Origins has become
considerably more interesting.

Join me now as we sync into the Animus and travel back in time to the world
inhabited by our distant ancestors, the people who lived in the fabled era of October,

  1. From there, we’ll embark on a journey through our exciting first six months
    with Assassin’s Creed Origins.

In Origins, players turn back the clock to 49 B.C.E. and jump into the shoes of
our protagonist Bayek of Siwa, a Protector of egypt aka Medjay which in
the game is a sort of regional Police. Following a emotional tragedy, The
protagonist swears revenge against a shadowy cult called the Order of the
Ancients, whose tactics, political connections, and rhetoric all bear a strong
resemblance to the series primary villains, the Templar Knights. From
there, Bayek and his equally capable wife Aya become elite spies for
Cleopatra, eliminating members of the Order and turning the tide of an
Egyptian civil war.

As medjay, Bayek explores Egypt’s vast open map, helping the several people who
asks. Origins drops you right into the action and falls into a understandable, soothing
rhythm: you reach a new area, and take in the sights. You look at your map and find all the
side quests in that area. One after the other, you complete those quests, each of which
involves some variation of sneaking, assassinating, or fighting. As you continue, your
level will steadily climb, your gear will steadily improve, and you will unlock better abilities.
After sometime, you’ll go to a new area with higher-level enemies.

Assassin’s Creed Origins is ungainly and uneven, beautiful and frustrating, expansive and
unexpectedly conservative. It will challenge the palate; rather, it is a prime example of video-
game. It’s here to be slowly enjoyed, offering a endless supply of gorgeous locations and
steadily-filling progress bars. If Ubisoft is a digital travel agency, Origins provides one of the
most sweeping, beautiful destinations they’ve yet given. Come here and stay for the
beautiful recreation of ancient Egypt

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