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For Honor is at the mercy of one’s Internet connection

By Alexander O. Cuaycong and Anthony L. Cuaycong

Videogame Review
For Honor
Ubisoft

<i>For Honor</i> is at the mercy of one’s Internet connection

WITHOUT a doubt, For Honor can be an immersive experience. Boot up the game and marvel as catapult shots fly overhead and arrows zing past you. Armor clinks and swords clash as your chosen knight charges into battle, hacking, chopping, and slashing. You breeze through the first few missions, then move to multiplayer mode, the heart of the game, eager to test your blade against other combatants. You enter the battleground, and your champion tears through the enemy ranks, only to meet his match. Another player steps up to face you in fair combat. You press a button and your warrior salutes. Your enemy does the same. You close in to start your duel, ready your sword — and take a lag spike to the face as your opponent teleports around willy-nilly, defying the laws of gravity. He zooms past you, slices you to bits, and the match is over. The immersion breaks, and you disconnect from the match due to your host rage-quitting. What you’re left with as you stare at the screen in disbelief is a game that sometimes proves to be enjoyable, but all in all can be both frustrating and lackluster.

Let’s get one thing clear: When it wants to be, For Honor works, and works well. The opening cutscenes and the premise of the game all match up to what is standard for Ubisoft releases. They look good and feel good. They show potential.

Gameplay wise, For Honor is both tense and thrilling. Featuring a combat system where players attack and block in three directions (up, right, or left), it plays out like a 3-D fighting game. A stamina meter prevents someone from spamming attacks, and players can chain charges together in sequence to create a combo. Players may also do feints and juke an opponent or dodge an oncoming attack by rolling sideways or backwards.

Combine that with a system where different classes have different fighting styles, and strengths and weaknesses according to their weapon type, and For Honor can show a surprising amount of depth. You’ll be striving to learn the ins and outs of your class. The game even allows you to personalize your fighter to your style by changing his armor and the emblem he wears to battle, letting you connect with him as he treks to the battlefield.

And when you do get to bring him to the fight, it all clicks together. Very well, in fact, For Honor’s multiplayer modes are stellar. The 1v1 and 2v2 aspects of the game — called Duels and Brawls, respectively — are enjoyable and are fought in a best-of-five series. These modes highlight what For Honor wants to be: a fighting game revolving around its unique mechanic. Older players have no advantage over newer ones, and the better player will win the round. Supposedly.

The problem is that while these modes work well, they don’t always work properly. For Honor uses a peer-to-peer multiplayer setup, and weak and unstable Internet connections provide a heavy advantage towards hosts and those near them. A game this heavily invested in multiplayer modes shouldn’t be using this type of connection. Lacking dedicated servers, it relies solely on players hosting their own. And not counting how difficult it can be to get into a match sometimes, it’s highly likely you’ll get thrown into a server too poor or too far from you for you to experience any enjoyment. Add that to the fact that the game becomes unplayable should any connection to the host be lost, and it puts a considerable shadow on what should be For Honor’s greatest selling point.

<i>For Honor</i> is at the mercy of one’s Internet connection

The 4v4 Dominion mode doesn’t fare any better. It feels disjointed with how the game sells itself. Lacking the same care it has in its Duels, it gives a Dynasty Warriors-esque feel where you can cut down respawning AI soldiers with a touch of your button, and yet you’re also all too likely to get ganged up on and killed by people who, ironically, do not have any honor.

“Well, I’ll just go Single Player,” you tell yourself. If multiplayer options are flawed, then surely going solo will let you avoid most of these issues.

Nice try. Single Player still requires an Internet connection; losing the link to Ubisoft at ANY POINT locks you out of your game, and even when you do get to play it, you realize that neither its story nor its gameplay is particularly thrilling or engaging. A lot of the feinting and juking you’ll be doing in multiplayer means nothing against the AI, and the sheer monotony of the campaign makes it more tiring than it should be. For Honor’s Single Player mode feels less like a campaign mode and more like a glorified tutorial.

Add that to its price tag, around P2,500 as of the time of this review, and it’s difficult to recommend wholeheartedly despite how beautiful it can look and play. If a game where Knights, Vikings, and Samurai going all out against each other seems appealing to you, and you have the net connection to handle it, the patience to learn the combos, and the stoicism to accept the multiple disconnection screens you’ll likely be seeing, then it might be worth a look.

Otherwise, as good as it can get, I’d recommend waiting for it to go on sale. Its flaws simply hold it back too much to recommend buying at full price.


Summary:

THE GOOD:

  • Great multiplayer (when it works)
  • Good degree of customization
  • Easy to learn, hard to master (so it’s easy to pick and play from the get-go, but has a learning curve to keep you interested)
  • Looks amazing (Polished and immersive)

THE BAD:

  • At its heart, offers only three multiplayer modes (1v1, 2v2 and 4v4)
  • Peer-to-Peer Internet connection results in varied user experience
  • Boring to mediocre single player mode
  • Requires you to be online all the time (even for fights against bots or practice mode)
  • Longevity relies solely on multiplayer modes

FINAL RATING:

9/10 if you have a fast and stable Internet connection

7/10 if you don’t

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Fourway

By Noel Vera

I REMEMBER watching Takaw Tukso (directed by William Pascual, written by Armando Lao) in a wretched 16 mm print years ago: the film would skip and skitter, and jump (it seemed) entire scenes. Had the vague notion that Boy (Gino Antonio) married Debbie (Anna Marie Gutierrez), and later Nestor (Julio Diaz) married Letty (Jaclyn Jose); also had a notion that Anita Linda played Boy’s mother Aling Conching, but just what happens to her by story’s end I was not all that clear.

Fourway
Gino Antonio / Anna Marie Gutierrez / Julio Diaz / Jaclyn Jose

What was clear was four extremely attractive people lusting after each other, husband for wife and vice versa — though not necessarily husband for his legally married wife (or vice versa); four young men and women coupling in a variety of combinations and positions, scratching an itch they can’t quite reach. By the time of the film’s violent climax (at least I thought it was violent — the print wasn’t very legible by this point) I came away with the impression of a compelling chamber drama, set in a house beside a small auto repair shop in one of the less affluent neighborhoods of Manila — Bergman transposed to Southeast Asia, all sweaty and squalid and begrimed.

Having again seen the film in reasonably complete form, I can’t say my impressions were off the mark, just incomplete. It’s a marvelously nimble little melodrama touching on the social rules among and between the sexes back when we recognized only two; on the natural trajectory of people subject to the pressure-cooker conditions of the lower middle class (with their accompanying expectations, aspirations, affectations) — in a word: unhappy. Bergman, I imagine, would have approved.

I’d also call it a clever little study on how the human character works out its problems under differing circumstances. Debbie is a spoiled brat, unhappy with her at times tyrannical, at times selfish mother (Eva Darren), who vaguely sees her (when looking at her at all) as a potential sexual rival (shades of Brocka’s Insiang, only Lao’s script moves quickly moves past the initial similarity); Boy is equally spoiled, lackadaisically studying for his commerce degree with his tuition paid for by his mother — at first glance the newly married couple seem perfect for each other, until Aling Coching makes it clear that she hates Debbie for entrapping her son, and expects the young bride to do much, if not all of the housework.

Aling Coching supports her son but holds unspoken affection and respect for Nestor, the nephew she adopted who has become the shop’s best mechanic. Nestor is the eternal outsider looking in, envious of Boy’s relatively higher social status (the family was comfortably middle-class until the father’s death), grimly conscious of what he earns day by day, with each head lamp bulb replaced, each valve scoured, each engine painstakingly reassembled (he even on occasion collects the payment for repairs).

Letty is arguably even more of an outsider — poor and a woman. She loves Nestor, but Nestor is dating Debbie; when Debbie, after a spat with her mother, runs away with Boy, the two are hurriedly married, with Nestor in the uncomfortable position of living in the same house with his former girlfriend, now wife of his employer, cousin, best friend. What does poor abandoned Letty do? Get impregnated — by Nestor no less. The four live under Aling Conching’s roof, in a tense little dance around past and each other, the severe tin-and-concrete walls encircling them physically and emotionally.

Pascual enhances Lao’s script by having the camera come close in, emphasizing the cramped quarters (production design by filmmaker Dante Mendoza); when couples make love the women are often backed into corners while the men surge forward, brown buttocks pumping away. The few times a couple has sex outdoors it’s night and we see them in long shot, the surrounding darkness (shadows and light provided by cinematographer Joe Tutanes) a blessed liberating relief.

As Debbie, Anna Marie Guiterrez is all arched brows and elfin mischief; her scheming after Boy when she’s dating Nestor is what started all the complications in the first place, and, alas, when she realizes marriage only elevated her to the status of glorified housekeeper, she goes on scheming, manipulating, prodding others this way and that, trying to find the right mixture of people and circumstances that will allow her that impossible moment of perfect happiness in her life.

Fourway
“…two widows whose lives have been so inextricably, bitterly linked with literally nothing to say to each other.”

Jaclyn Jose as Letty has the less showy yet braver role, as Debbie’s undesirable ugly-duckling best friend (though calling her “undesirable” and “ugly” is a stretch, she is a skilled actress) with the near-impossible challenge of making Letty’s simple unalloyed love for Nestor interesting. She does so with an intense, open directness.

Julio Diaz as Nestor keeps his balance between heedless libido and watchful caution: on one hand he wants what he lost, now tantalizingly within reach, on the other he’s wary of his position in the household — despite Boy’s trust and Aling Conching’s affection, he knows what their reaction would be if he should ever turn on them.

Gino Antonio’s Boy is perhaps the simplest character with the most interesting twist: a passive weakling who, when faced with pressure (in this case unpaid bank debts), buckles easily; he’s never had to stand on his own, and his unthinking response only leads to disaster. How then, Lao carefully poses the question to us, might Boy react to the prospect of infidelity?

I see two main weaknesses to the film: the 1980s convention of slow leisurely sex with a saxophone playing in the background hasn’t aged well; Pascual apparently hasn’t bothered to integrate some of these sequences into the film’s dramatic arc (not that I mind — far from it — but viewing the narrative as a narrative and not an excuse to string a series of softcore sex scenes together, it’s distracting). The second weakness I find more serious: the film fails to find that extra something — a motif perhaps, or an overall look — to elevate it beyond being a well-made visualization of an excellent script.

The climax (skip this paragraph if you plan to see the film) happens suddenly, the way most violent confrontations go… but there’s sudden and then there’s sudden — a slow-motion sense of impeding disaster as you pump your brakes uselessly and your wheels skid sideways vs. a surprise collision with little impact because you haven’t been adequately prepared. The film’s climax seems to be of the latter sort; while you know Boy is capable of violence (to Debbie for one) and you know he’s aware of Nestor’s betrayal, you’re not sure why he chooses that particularly moment to confront Debbie, nor have you been persuaded he can be violent to Nestor (a cousin and friend from childhood — and a man capable of defending himself). Pascual redeems himself considerably (if not completely) with what follows: the camera roving over the desolation that was the repair shop, accompanied by a tolling bell, later the women meeting at the graves of their respective husbands, two widows whose lives have been so inextricably, bitterly linked with literally nothing to say to each other. Presumably the censors board had insisted on adulterers and murderers being punished (while allowing us to enjoy all the sex and violence they commit) — the same censors that had insisted on changing the ending to Mario O’Hara’s Bagong Hari (The New King), released earlier that same year.

That said, the fact that one feels the film’s failures keenly actually speaks well of Lao’s script, the cast’s performances, and Pascual’s overall directing — that it’s so good you want it to be perfect (again that impossible moment!). One of the best films of that decade, Filipino or otherwise.

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Your Weekend Guide (April 21, 2017)

PERFORMANCES

Top street dancers from all over Asia will perform in Japan Foundation, Manila’s Dance Dance Asia: Crossing the Movements on April 28, 8 p.m., and April 29, 3 p.m., at the Teresa Yuchengco Auditorium, De La Salle University, Manila. For details, visit www.dancedanceasia.com.

Ateneo Blue Repertory presents a re-imagined and revamped version of Kung Paano Ako Naging Leading Lady: The Musical by Carlo Vergara at 8 p.m. on Thursdays to Saturdays, and 3 p.m. matinees on Saturdays and Sundays until April 30, at the Rizal Mini Theater, Ateneo de Manila University. Quezon City. For ticket, call 0956-845-2030 or reserve through bluerepertory.org/tickets.

This is the last weekend of performances of Repertory Philippines production of Sarah Ruhl’s In The Next Room or the Vibrator Play at the Onstage Theater, Greenbelt 1, Paseo de Roxas, Makati City. A comedy set in the 1880s, it revolves around Dr. Givings’ invention of the vibrator to relieve “hysteria” in both men and women. Directed by Chris Millado, the play is for adults only. Tickets are available at TicketWorld (891-9999, www.ticketworld.com.ph).

Twin Bill Theater Productions presents WIT, directed by Steven Conde, from April 20 to May 3 at the Trinity University of Asia, E. Rodriguez, Sr. Ave., Quezon City. The one-act play, which won the 1999 Pulitzer Prize for Drama by Margaret Edson, stars theater veteran Tami Monsod as a cancer-ridden literature professor whose last days are framed by the poetry of John Donne.

ART

Alliance Française de Manille and Fundacion Sanso present an exhibit of works by Juvenal Sanso entitled The Triumph of the Spirit: a healing inspired by the coast of Brittany at the Alliance Française de Manille Total Gallery. It runs until May 26.

Ayala Museum’s ArtistSpace presents Vintage Beauty by Baguio-based artist Art Lozano until April 23. Meanwhile, ARTURO LUZ: First Light is on view until June 11 at the Ayala Museum, Makati Ave. corner De La Rosa St., Greenbelt Park, Makati City.

THE BenCab Museum in Baguio presents SinEaster, paintings by Olan Ventura, at the Gallery Indigo, and Philippine Religious Engravings (18th to 19th century prints) at the Print Gallery until June 11. The museum is at Km. 6 Asin Road, Tuba, Metro Baguio.

MARIANO CHING and Yasmin Sison present Traveling on the Edges of Lost Maps from April 22 to May 21 at MO_Space, 3rd level of MOs Design, B2 Bonifacio High Street, 9th Ave., Bonifacio Global City, Taguig City.

NAICHAYU: An Architectural Exploration of the Kalinga Tattoo is on view at the 12F of the School of Design and Arts, DLSC Saint Benilde School of Design and Arts until April 29. Meanwhile, Apichatpong Weerasethakul’s traveling exhibition The Serenity of Madness is on view at the school’s Museum of Contemporary Art and Design.

RUSS Ligtas’ Another World, his first solo exhibition in seven years, is currently on view at the Bulwagang Fernando Amorsolo at the Cultural Center of the Philippines (CCP) until May 14. Also at the CCP is Lying In State: Cesar F. Legaspi, ongoing until June 4 at the Bulwagang Juan Luna.

MAPPING of the Philippine Seas, an exhibit of rare antique Philippine maps and sea charts, is on view until April 29 at the Tall Galleries, Metropolitan Museum of Manila, Bangko Sentral ng Pilipinas Complex, Roxas Blvd., Manila.

MAYIE DELGADO’s Poetic Images, an exhibit of photos featuring landscape images in New Zealand and Iceland, is currently on view at the Globe Art Gallery at the Globe Headquarters in Bonifacio Global City.

PANG Hui Ba Ho Public showcases a private space that is made public, specifically a toilet shared by multiple users with varying private routines. The group exhibit runs until April 24 at the Post Gallery, Shop 7 of Cubao X in Araneta Center, Cubao, Quezon City.

JEWELRY, art, furniture, couture, and objets d’art are on view in Wynn Wynn Ong: Redefining Boundaries (A Retrospective) until June 15 at the Yuchengco Museum. Also on view is Naoko Tosa’s Digital Dimensions. The museum is at the RCBC Plaza, corner Ayala and Gil J. Puyat Avenues, Makati City.

THE group show LIGALIG: Art in a Time of Turmoil is on view until May 27 at the Ateneo Art Gallery, Ateneo University Campus, QC.

THE Korean Cultural Center presents a Korean media art exhibit, Eternal Light, featuring 15 works and installation art by Korean artist Han Ho, at the KCC Exhibit Hall, Taguig City until April 28.

ARTINFORMAL has three ongoing exhibitions: Eugenia Alcaide’s See, Rene Bituin’s The Earth Doesn’t Need Us, and Micaela Benedicto’s Paths of Invisibility. The gallery is at 277 Connecticut St., Mandaluyong City.

FILM

There will be a free screening of Lamrag: Stories of Hope and Inspiration in the Time of a Changing Climate — short films made by young filmmakers from Eastern Visayas who participated in a filmmaking workshop initiated by Greenpeace Philippines and SINErangan in November 2016 — on April 22, 3:30 p.m., at SM Megamall Cinema 12.

EVENTS

Instituto Cervantes celebrates Dia del Libro on April 22. This year, discounted books from top bookstores and publishing houses will be made available at the Ayala Triangle in Makati City, and free books will be given away by Instituto Cervantes. Every book purchase entitles the buyer to one free rose. There will be many activities throughout the days. Admission to all Dia del Libro activities is free. For details visit http://manila.cervantes.es or Facebook page, www.facebook.com/InstitutoCervantesManila.

The National Book Development Board is celebrating the World Book and Copyright Day on April 23 at the Promenade, Quezon City Memorial Circle (near the Peace Monument). There will be a free workshop on erasure poetry and on-the-spot comic book making. For details visit www.booksphilippines.gov.ph.

Art Exchange, which gathers artists, crafters, and enthusiasts for capsule workshops and free demonstrations, is ongoing until April 25 at The Gallery, Greenbelt 5. These include workshops on basic calligraphy, lettering, watercolor techniques, and florals. For details, visit artexchange.thecraftcentral.com.