Thawing AND healing allies using fireballs? Yes please.
In my review of Divinity: Original Sin I mentioned that you could thaw your frozen allies with fireballs, if they had the HP to withstand such a harsh treatment. Well, guess what? In Divinity, you (and enemies) can have more than 100% resistance to something, which means that you actually heal when “damaged” by that element or damage type.
So my co‐op partner upgraded/found some gear that gave him more than 100% fire resistance, and now I can throw my mightiest fire spells his way and instead of waking from a frozen wasteland to a burning nightmare, he’ll wake from a frozen wasteland to a sunny beach with a warm summer breeze in his hair and a team of masseuses attending to his sore muscles.
Divinity is a really good game. It just forces me to make a few compromises I’d rather be without.
I’m currently co‐oping1Divinity: Original Sin Enhanced Edition. It’s a fun game, with lots of attention to detail and thoughtfully implemented gameplay mechanics. But some poor choices on my part have left me wanting more here and there, and I’m not sure I’m willing to replay it to treat it more fairly. So here’s a kind‐of‐review that’s most likely a tad bit more critical than the game deserves.2
The “why” of my no‐nonsense guides to help you get everything as soon as possible while playing Zelda games.
In games, I like to get some mileage out of my gear. On the occasion of the imminent release of Twilight Princess HD, I have just released an interactive, mobile‐friendly equipment walkthrough for Twilight Princess (both HD, Wii and GC) that you can use as a quick reference to get all the items and equipment as early as possible. The descriptions are short, concise, and clear enough that you’ll actually spend your time playing, not reading. Similar guides are also coming for Ocarina of Time, Majora’s Mask, Skyward Sword, and Wind Waker HD.
Lara Croft’s origin story ends up being appropriate, just not the way the developers had envisioned.
Lara Croft’s origin story is supposedly one of survival. The introduction shows an innocent female archaeologist and her friends heading for adventure and fame. Circumstances quickly deteriorate, and the first Lara does in the game is to set herself on fire, fall several meters down onto a metal pin, and brutally pull it out from her side. The sequence is emotional and well executed, the subtext being that this hurts Lara mentally as much as physically. Before the credits roll, the screen fades to white and the text a survivor is born appears in bold, rough letters. And it might have worked. She has undoubtedly become tougher and more experienced. But she has also become a cold‐blooded, psychopathic killer.