As you read last week, Charissa is in the British Isles. Filling in at Fanning Out this week is video game expert Nick Rose.
With the release of Transformers: Age of Extinction upon us, I thought it necessary to look at a set of related Transformers media: the “Cybertron” video game series. While the first two installments were not directly related to Michael Bay’s previous films, which had their own exclusive video game tie-ins, the next installment in the “Cybertron” series, Rise of the Dark Spark, acts as a sequel to the previous games while also tying into the upcoming film. Confused yet?
Let’s be honest here. 2010’s War for Cybertron and its 2012 sequel Fall of Cybertron were marketing ploys. Aware of the commercial success of Bay’s films, High Moon Studios developed games that might serve as loose prequels to the films while also giving fans some gun-toting, wheel-spinning robot action in a different medium. This article is part-review and part-retrospective of the first two games. Ultimately, the “Cybertron” series differs from the films in that the critical debates over loyalty to a particular continuity are not as important as having a blast … literally.
War for Cybertron (WFC), as its title suggests, begins by thrusting players into the civil war that is an integral part of several Transformers incarnations (take your pick). Though most sources will agree it fits best with the “Aligned” continuity family, conventions from “Generation 1” are also present. The first half of the campaign is from the Decepticons‘ point of view, covering Megatron’s harnessing of Dark Energon to defeat current Autobot leader Zeta Prime and eventually corrupt the very core of the planet. While Megatron is undoubtedly the head honcho, his rivalry with fellow Decepticon Starscream is given significant attention, sometimes to laughable effects. Each robot may carry two weapons and possesses a special combat ability. A simple press of the joystick sends your character effortlessly twisting into his vehicle form, be it a weaponized Cybertronian car, truck, or jet.
The campaign’s second half puts you on the other side of the action. The Autobots, their capital city in ruins after the defeat of Zeta Prime and gargantuan defender Omega Supreme, struggle to halt Megatron’s plans. When they learn of their planet’s fate, all efforts are devoted to evacuating the planet while still mopping up any remaining Decepticon threats. An added bonus comes from original Optimus Prime voice actor Peter Cullen reprising his role. Longtime fans will certainly appreciate the confident eloquence he brings to the character. Other popular Autobots like Bumblebee, Ironhide, Warpath, Ratchet, Jetfire, and Sideswipe make appearances as well, most of them playable. The winner of best game sequence goes to an action-packed later mission in which Jetfire leads an assault against a Decepticon orbital weapon that transforms into the game’s final boss, Trypticon.
War for Cyberton‘s story ends inconclusively, most definitely leaving things open for a sequel. For those who tire of the campaign, WFC introduces what has become another staple of the series. In the online multiplayer mode “Escalation”, up to five players must survive against increasingly difficult waves of enemies.
In WFC, Trypticon is produced from the planet’s infected core. Photo source: Gameinformer.com
Two short years later, Fall of Cybertron (FOC) was released. To switch things up from last time, players now begin as Autobots and pick up with the Decepticons later. As with most sequels, the cast is expanded in this outing. Two additions hyped by the game’s reveal trailer were that of Decepticon Bruticus (formed by the Combaticons) and the fan favorite Grimlock for the Autobots. The campaign’s structure is more varied as well, placing you in control of about a dozen different characters by the time the end credits roll. Everything about FOC is bigger, louder, and oh-so-glorious in its execution. New enemy types like the Decepticon Leaper or Guardian challenge players, but the formula to defeat them is easily executed after a first try. A reformatted weapons system allows players to carry one primary and one “heavy” weapon for tougher enemies. Once blueprints for these weapons have been recovered, players can access them from an in-game store.
Cinematic trailer for FOC. Video source: YouTube
Fall of Cybertron’s biggest improvements come in the departments of sound and mechanics. Transforming is just as simple as in the first game, but vehicle movement is superbly more fluid. High Moon made sure to include more areas that require players to navigate in vehicle form. The opening of chapter 3 sees Optimus being escorted by the massive Metroplex through Iacon city’s ruins. Danish composer Troel Brun Folmann’s score for the second game definitely channels Steve Jablonsky’s work from the live-action films. Key moments on both sides of the campaign are complemented by the music’s epic feel, especially in the explosive final battle that bounces between faction perspectives. The adventure concludes with the Autobot’s escape vessel, The Ark, being sucked through a space bridge.
Impressive and enjoyable as they are, both games are not without their respective downsides. As third-person shooters, they are not groundbreaking in any way. Players expecting anything cerebral or challenging beyond the occasional boss fight might be disappointed. Also, both games encourage cover but lack the sophistication to perform it properly, à la Gears of War. None of these drawbacks ruin the overall experience, and I recommend them to anyone willing to shut off their brain for hour or five.
Megatron fights against the Autobot’s mightiest defender, Omega Supreme, in War for Cybertron. Photo source: IGN.com
I suppose the bulk of my enjoyment stems from the fact that the “Cybertron” games seem to possess a meta-knowledge of what they are. They’re two more installments in a media franchise inspired by toys. Are we meant to take more seriously Optimus’ and Megatron’s philosophical banter on freedom and destiny, even if it is expertly performed? Is a tear to be shed when Metroplex sacrifices himself so his Autobot allies can escape their crumbling home world? Maybe a little. Not to downplay storytelling in games, but it seems many fans feel those deeper considerations toward theme, story, and “accurate” characterizations are better suited for discussions of Bay’s films.
Rise of the Dark Spark, released Tuesday for both current-gen and previous-gen consoles, will merge the formerly stand-alone “Cybertron” universe with that of Bay’s films. Screenshots and trailers suggest that its game design and physics with be very similar to Fall of Cybertron’s “Havok” engine, with developer Edge of Reality taking over for High Moon. Early reviews range from mediocre to downright negative, unfortunately, I’ll reserve judgment until I play the actual game, but all signs point to Dark Spark as a rush job that may potentially tarnish this game franchise’s otherwise decent reputation.