Letter Quest: Grimm’s Journey Remastered (often referred to as Letter Quest Remastered) is a word-assembling RPG where you defeat monsters with your vocabulary, your scythe, and bacon.
I was introduced to LQR by two of my friends, who assumed that I would enjoy its celebration of verbal geekery. I’m happy to say that they were correct.
In LQR, titular young reaper Grimm must battle though the foes who are blocking him from his desired treasure … pizza. Battling is carried out by finding words in a board of Scrabble-style letter tiles; your score for each valid word becomes damage to the current enemy, who will then retaliate with attacks of their own. Each defeated enemy and completed quest awards Gems, which you use to strengthen Grimm’s selection of scythes and to buy skill upgrades and equipable books that offer bonuses.
Imagine flying a Wipeout-style ship along the musical ribbon from Vib-Ribbon, while dodging lasers, while playing a twin-stick shooter at the same time, and that almost sums up Aəero.
Aəero is part of a new generation of indie rhythm-action games that has sprung up since the over-saturated -Hero games met their demise and Beat Saber took VR gaming by surprise. It shares two foundations with other experimental rhythm games; a blend of various gameplay styles, and an aim of creating flow-inducing multi-sensory experiences. However, my first few minutes with Aəero felt more like a sensory assault. After reducing my TV volume, lowering the in-game volume to 40%, and lowering the vibration strength to minimal, I could then dive into its challenging and immersive gameplay.
The core gameplay of Aəero is balancing the duelling roles of the left and right analogue sticks. With the left analogue stick, players follow the ribbon of white light that traces out each song’s most salient melody. The ribbon can soar and fall with the singer’s pitch, or swoop and spiral to follow synthesizers and bass. For me, the most challenging songs are the ones which quickly swap between delicate adjustments and larger jumps or spirals. When the ribbon isn’t on-screen, players instead use the left stick to avoid obstacles and fly through narrow gaps in routes interrupted by burning lasers or crushing platforms. The right stick controls the aiming reticle, which players use to target enemies and projectiles, while the right trigger fires the ship’s laser beams.
As Dear Esther begins, the protagonist stands at the entrance to a deserted island quickly revealed as being in the Outer Hebrides. Behind the protagonist is a short concrete path leading into the ocean. I promptly walk them into the ocean (for science, of course). As a result I discover some of the island’s mystery within seconds of playtime. My screen fills with indistinct images and pulses like a heartbeat, while the narrator’s own voice whispers “come back…”, before the protagonist reappears at the starting point. After walking into the ocean again to see if any of the environment changed as a result, and only unlocking an incongruous-seeming achievement for drowning, I start to actually play Dear Esther.
While I’ve played other Environmental Narrative Games before, I’ve somehow never played Dear Esther nor had its story spoiled. So I wasn’t sure what to expect from the game that brought ENGs into mainstream discussions.
Spyro 2: Gateway to Glimmer was the first game I recieved with my PS1, and also my first 3D game, so this is a nostalgic revisit for me. (As it’s named Ripto’s Rage in the Reignited Trilogy, I’ll just refer to it as Spyro 2 here). It was also one of my favourite games – I remember enjoying Idol Springs and Crystal Glacier, and finding the summer and autumn home worlds incredibly peaceful. I don’t think my 7-year-old self ever reached the final third of the original game, as it was mostly unfamiliar. This time, however, I beat Ripto at 98% completion after about 13 hours of in-game time, then reached 100% at about 14 hours (blame the Fracture Hills level for that delay!).
The major difference between Spyro the Dragon and Spyro 2 is revealed in the first cutscene, which shows off a more detailed story taking place across a larger set of worlds and also introduces you to allied characters who need Spyro’s help to take their homes back from antagonist Ripto.
I received Hello World for Christmas along with a few other books, and it was my favourite of the set … I actually abandoned one of the other books part-way through as this one was so much more appealing.
Hello World opens with the famous chess battle between grandmaster Kasparov and Deep Blue. Fry shows how Kasparov’s shock defeat wasn’t caused by Deep Blue’s mechanical power, but by how Kasparov interpreted and reacted to the computer’s actions. The engineers who programmed Deep Blue’s algorithm tactically let it appear hesitant. Deep Blue couldn’t play mind games, but the programmers understood human reactions well enough to make Deep Blue seem like it could, which threw Kasparov off his game.
This example lays out one of the three principles which run through the book – that we often blindly trust algorithms because we see them as infallible machines rather than instructions written by other humans. The other two principles are first that all systems, whether human-led or machine-led, are flawed, and second that algorithms and humans working together creates a better future than either rejecting algorithms or replacing humans with algorithms.
I’ve been taking my time with the Spyro Reignited Trilogy, as I wanted to enjoy each game fully without rushing them and without worrying about getting a specific completion % or making review notes along the way. I didn’t want to ruin my own experience in any way.
After completing most of Spyro the Dragon and Spyro 2, taking a break, then returning a few months later, I reached 120% completion in just over 12.5 hours of playtime. So here are my thoughts on Spyro’s renewed debut.
I didn’t remember much about the original version of Spyro the Dragon, as I played it after the second and third games, and found it less interesting in comparison. I remembered some early world themes, and the general plot of Gnasty Gnorc turning the other dragons into crystal statues, but much of the game was new to me.
The gameplay in Spyro the Dragon focuses on rescuing the crystallised dragons while collecting gems and dragon eggs. 5 dragon homeworlds are hubs that each contain portals to 5 levels: 3 standard levels based on the homeworld aesthetic, a timed flight level where you fly Spyro through obstacles, plus a boss level. The sixth homeworld, inhabited by antagonist Gnasty Gnorc, contains the remaining levels and final boss fight.
The blurb for Because Internet calls it “essential reading for anyone who has ever puzzled over how to punctuate a text message or wondered where memes come from”. But this book is not a fussy “how-to” guide for internet etiquette. Instead, it’s a broader look at how the weird world of the internet has changed how we use English.
McCulloch’s primary point is that writing produced on the internet – from Twitter and Tumblr to reactions and memes – is important because it lets linguists explore the missing piece of a linguistic puzzle.
We use different versions of speech – formal and informal speech – at specific times and contexts. While the same is true for writing, informal writing has historically been nearly impossible to study. McCulloch argues that our current era of internet communication marks the first time that linguists have been able to see people’s spontaneous informal writing in real-time. Positioning internet writing as the key to a previously-inaccessible aspect of studying language is a powerful approach, and this chapter conveys its importance well.