Four Wheels Are Fun, But Why Not Add Thrills with a Cycling Game? | Games

I dedicated a week to the quest of saving the universe. Leading a quirky team of seasoned veterans, I launched an assault on an intergalactic tyrant’s base, while also tackling a series of well-crafted tasks aimed at enhancing my warrior magician to vanquish the ancient, malevolent god of hope.

I accomplished this through a straightforward bike race. Sounds absurd? Welcome to Wheel World.

When your joy comes from saving the world by leaping on mushrooms or watching a chatty sneaker-wearing hedgehog, critiquing the absurd plot of video games becomes a mere reflection of the game’s essence. After all, he even led Arbroath FC to the final match of the Championship Manager’s European Cup. Yet, the narrative of Wheel World feels awkwardly jumbled. I suspect 10% of the code could simply be Blu-Tack.

Your bike is accompanied by a spirit resembling a skull, aptly named Skully. That’s just how this game rolls. You must defeat the cyclist who possesses them to recover seven missing pieces of his legendary bike. This allows Skully to access Soul Sewer, ascend Mount Send, conduct a grand ritual, and venture to the moon to save the cosmos. Just entering this plot makes my fingers tingle with its clumsiness; it’s like a lo-fi hipster rap trap. It didn’t have to turn out this way.

10% Blu-Tack…Wheel World. Photo: Annapurna Interactive

The original storyline, initially dubbed ghost bike, featured a roadside memorial commemorating a fallen cyclist. It sounds far more compelling, but was abandoned for a lighter narrative. Now, Mark Essen, the head of Messhof Studio states, “There’s some silly lore out there, the creation myth, and people pray, but it’s take it or leave it.”

What would I think if the game developers didn’t care about the story?

But who even cares? This is a racing game: does it require a plot? It’s all about thrilling excitement and keeping the audience on edge.

Yet, this isn’t the case.

It’s not a dreadful game by any means. While it could easily be likened to Tony Hawk, placed on two wheels with a Jet Set Radio aesthetic, it’s decent and “free” with an Xbox Game Pass. It passed the “sitting and thinking when I’m not playing it” test. However, each time I returned, my enthusiasm was palpably low, not high. There are no weapons or outrageous power-ups, no multiplayer mode, and you can’t force other cyclists off their bikes (it doesn’t involve crashing like in a car). I finished the game, briefly captivated, but it was just gripping enough. It utilized 14 bicycle parts—out of over 170 games available.

Get your skates… Tony Hawk’s professional skater. Photo: Activision

It doesn’t provide enough escapism for me since much of what you can do in this game can be duplicated in real life. Right now, I’m cycling and racing another cyclist, ringing my bell, saying, “Hey, lonely wolves, I challenge you to a race,” just like in Wheel World. In reality, things could be even more exhilarating; other cyclists might retaliate if they feel provoked.

Skip past newsletter promotions

I’m yearning for a game that lets me experience things outside the realm of reality.

I never owned a bike but reveled in Road Rash on the Mega Drive. I can play soccer, yet I can’t replicate the players and tricks seen in FIFA. Apologies for my lack of ambition, but I’ll probably never be a spaceship captain—I cherished games from Elite to Mass Effect.

Of course, not all games revolve around smart bombs and dragons. I grasp the allure of farm, train, and bus simulators. They provide engagement and interactivity. While many people may aspire to be rail operators in real life, spending two hours a day doing so might seem fair play. Just as long as you don’t mind wearing a special hat.

I can’t shake the feeling that we’re overdue for a fantastic bike game. Pedal mechanics can feel inadequate and unrealistic on consoles, but spinning the thumbstick to boost speed, as seen in track and field games, can be quite frustrating (and painful).

What I crave is a Cycle Courier version of Crazy Taxi, or a game that captures the joy of riding a bike as a child. Until then, I’ll have to settle for reminiscing about Dave Mirra Freestyle BMX on PlayStation.

Source: www.theguardian.com

Basilisk Review: A Bold, Experimental Thriller That Thrills Puzzle Enthusiasts

Can Powerful Ideas Cause Physical Harm Through Exposure?

Sumaid Pal Singh Bakshi/Unsplash

Basilisk
Matt Wixey (Titan Books, July 1)

I’m manipulating your thoughts. Just by reading this, I have invaded your mind, as each word travels from my heart to yours. I can even conjure unexpected images in your mind—quickly, don’t think of a pink elephant! Whatever you do, don’t visualize it!

Fortunately, there are limits to the influence of mere words and ideas. But what if those limits could be transcended? Imagine a phrase so potent that it could guide your very thoughts toward your own demise. This is the premise explored in Basilisk, an experimental thriller by Matt Wixey, designed specifically for the minds of readers like those of New Scientist.

This novel features a complex narrative structure, reminiscent of House of Leaves by Mark Z. Danielewski. It follows ethical hacker Alex Webster, who works with a computer security firm, attempting to breach her client’s network while aiding in their defense, a professional endeavor shared by debut author Wixey.

However, it’s not merely straightforward. Webster narrates her experiences through two intertwined threads. First, we unravel how she and colleague Jay Morton stumbled into the puzzle leading to his death. Then, she reflects on that tragedy and processes its far-reaching consequences.

The narrative doesn’t end there. Webster’s accounts are supplemented with footnotes from both her and the detective investigating Morton’s death, interspersed with correspondence from a mysterious figure known as Helmsman, who sheds light on the puzzle they aim to solve.

This book feels tailor-made for my brain—that of a New Scientist reader.

If all this sounds overwhelming, Basilisk may not be for you. Personally, piecing together the multifaceted narratives exhilarated me, making my mind race with possibilities.

Helmsman’s correspondences themselves adopt various formats, from bureaucratic emails and scientific reports to conversational dialogues. They tackle numerous topics typically found in New Scientist, covering psychology to artificial intelligence, and I appreciated the precise references to scientific literature. Helmsman details attempts to cultivate a “basilisk,” a concept that can inflict harm merely through exposure, named after the mythical creature said to slay with a glance.

Matt Wixey’s Basilisk centers on “Ethical Hacker” Alex Webster

Basilisks are, as far as we know, fictional, yet the concepts they embody are increasingly compelling. Science fiction author David Langford has explored such ideas in his short stories. Basilisk presents the notion of images that may ‘crash’ the human mind akin to deceptive computer code.

A notable example is Roko’s basilisk—a baffling proposition suggesting that all-powerful future AI will punish those who fail to ensure its creation (a more thorough explanation isn’t wise). The latest series of the anthology Black Mirror also references this concept.

Basilisk represents a subset of broader cognitive hazards, which span topics from nuclear weapons to organized religions.

While reading Basilisk, sleepless nights drove me to read yet another chapter, prompting me to question if the book itself qualifies as a cognitive hazard. I found it difficult to stop thinking about even after finishing. Now that you’ve read this review, perhaps you’re at risk, too.

Please proceed. Dive into the book. Wouldn’t you want to discover what unfolds?

The Art and Science Behind Writing Science Fiction

Embark on a journey into the realm of science fiction writing this weekend, dedicated to creating new worlds and artistic marvels.

Topics:

Source: www.newscientist.com

Discover the Thrills of Prince of Persia: Lost Crown – Conquer a New Gaming Empire

FA gigantic statue, frozen at the moment of destruction, is fixed above the entrance to Mount Kahu. In mid-autumn, fragments of shattered granite heads hang. In the castle’s intricate, trap-filled hallways, some characters haven’t aged a day in 100 years, while characters who arrived hours before you have already died of old age. Time does not follow normal rules in the Fortress’ cursed halls. If you want to complete Prince of Persia: The Lost Crown, you’d better learn that lesson quickly.

These quirks of time lend themselves well to a game that reimagines and combines multiple generations of a series dating back to 1989. Developer Jordan Mechner’s original Prince of Persia was his 2D platformer that had you navigating a castle filled with fake floors, guillotines, and swords. -Swirl the guards around to fight the Grand Vizier. Meanwhile, in the hands of developer Ubisoft, later reimaginings of the series saw the titular hero gain the ability to control time, suspending and reversing time to solve puzzles in 3D worlds, and more. I was able to avoid the trap. With The Lost Crown, Ubisoft returns to the side-view perspective of early games while incorporating the time-lapse powers of later titles, creating a vast labyrinthine world littered with enemies and traps to overcome. is created.

Labyrinth…Prince of Persia: The Lost Crown. Photo: Ubisoft

You play Sargon, one of Persia’s legendary defenders, as you hunt down Prince Ghassan and his captors. You follow the group up to Cuff Mountain. The kidnappers aim to force the prince to abdicate there. You must reach the prince before they do. Sargon can jump through holes, swing from pillar to pillar, and jump between the walls of narrow shafts to climb the levels of the Calf, but even this athletic ability only allows him access to a small portion of the fortress. In many cases, you will be faced with gaps that are too large. Ledges too high to jump, ledges too high to grab, locked doors too far to attack with your sword. But as you discover the secrets of the mountain and defeat more bosses, you learn how to run through the air, double jump, and fix your body to a point in space from which you can teleport back. Combine these powers and you’ll be able to perform intricate aerial acrobatics and explore all-new districts of Calf.

The Lost Crown is a reimagining of Prince of Persia as a Metroidvania, and the series feels at home in the genre’s ever-expanding universe. You repeat the same areas of the map over and over again, discovering new secrets in old rooms thanks to the powers you acquire. Treasure chests that were previously out of reach will fall into your hands, locked doors will open before your eyes, and bosses that were too fast or too strong will also become vulnerable to your attacks.

That said, The Lost Crown has a tough difficulty curve, with later platforming sections and bosses requiring you to memorize tough attack patterns and develop the reflexes to pull off complex combinations of jumps, dodges, and parries. is required. Hitting these skill walls can be a frustrating experience, especially in a game where the joy comes from putting together uninterrupted acrobatics and combos of attacks.

However, the moment you encounter a frustrating blocker, you can explore other parts of the calf. Finding new power usually opens up opportunities across the mountain, not just one area. You can also upgrade Sargon’s weapons to make them more powerful, purchase health potion upgrades, and change the configuration of your amulet. These unlockable items allow you to enhance your hero’s abilities, for example increasing his health when he is at low health or reducing the damage he takes from poison attacks. If you find a boss that you can’t defeat, it’s comforting to know that you can make the fight easier by replacing some of the amulets you bring into battle.

Prince of Persia: The Lost Crown is not a sequel or prequel to other games, but a new journey for the series, and its first step is a leap of faith. Not only are the most notable elements of the series’ various iterations (setting, traps, time forces, combat) all naturalized in this new form, but they are also the best of the newly selected games. That means you can play it like one of the games. This genre is as good a game as Metroid Dread or Hollow Knight, not an imitation of them. It’s been 13 years since the last completely new Prince of Persia game. If this is a new direction, I’m excited to see where it lands.

Prince of Persia: The Lost Crown will be released on PC, PS4/5, Switch and Xbox platforms on January 18th for £50.

Source: www.theguardian.com