Good Robot Postmortem #2: Gameplay

By Shamus Posted Tuesday Jul 19, 2016

Filed under: Good Robot 139 comments

My original design for the game was “2D Descent”. That was the core inspiration for the project: Bright colors, electronic music, shooting lasers at crazy robots in caves. But this design wasn’t working. I didn’t know how to fix it and I was worried I was too close to the project to be able to analyze the thing objectively.

Lots of people offered advice. I had a dozen different, completely contradictory suggestions on how the game might be fixed. Everyone was happy to tell me how to fix the game by making a completely different game, but if I couldn’t realize my own vision then I probably wasn’t qualified to build theirs either. My original vision didn’t work out, and I didn’t know where to go next.

One of the key problems was that I’d never really worked out a proper fail state for the game. I had the moment-to-moment stuff down, but the win / lose states were undefined. If you died you’d just respawn, BioShock-style. It’s not that I thought having a game with no lose state was a good idea, it’s that I’d just never settled on a particular system.

How should death work? Maybe like Borderlands, where you’re taxed 10% of your money / XP when you respawn? Maybe like Dark Souls, where you drop all of your money / XP when you die, but can recover it? Maybe like Pac-Man, where you have a fixed number of deaths before a game over? Maybe like a modern game, where death reloads the last checkpoint? I fiddled with all of these and a few other ideas, but none of them really jumped out as the “correct” solution.

I guess early in the project I sort of assumed the answers to these sorts of questions would become obvious as the game took shape. I expected mechanics to “click” into place, but that never happened. I had a dozen different directions the game could go in and I didn’t have a good sense of which way was best. I was paralyzed by choice. I realized I could spend the rest of my life prototyping stuff without ever moving any closer to my goal.

And so the project stalled.

Continue reading ⟩⟩ “Good Robot Postmortem #2: Gameplay”

 


 

Review: Chime Sharp

By Shamus Posted Monday Jul 18, 2016

Filed under: Game Reviews 23 comments

You might remember that back when I was still doing comics for The Escapist, I was really, REALLY into Chime, a music / puzzle game from 2010. It’s perhaps the only game where I’ve ever posted top scores on a worldwide leaderboard. I’m not saying this to peacock about being good at the game, I’m saying this so you can understand just how obsessed I was with this thing. I usually played it until I was forced to take a break due to carpal aching.

It’s been six years, but we finally have a sequel. It was a long wait, but the sequel vastly improves on what was already an exquisite game.


Link (YouTube)

The Original Chime

(To be clear, while I’m going to describe Chime here, all the screenshots in this review are for the sequel.)

If you missed the original, it works something like this: You’re given pentominoesBasically “Tetris pieces”, except made out of five blocks instead of four. to place on a grid. You fit them together as best you can. As you form rectangles, they will vanish and you’ll be awarded points based on surface area. Since you’re building rectangles out of irregular shapes, you’ll frequently have some leftover fragments scattered around once the rectangle is removed. There’s a beatline passing over the grid in time to the music. Every time the beatline hits one of these fragments, the fragment decays. If it decays completely, then it vanishes and you lose your current score multiplier. The only way to prevent this is to clean up the fragments by incorporating them into more rectangles, which will leave behind more fragments to clean up, etc.

Building a rectangle would “claim” that area of the grid and give you extra time. To avoid running out, you needed to constantly build new rectangles over virgin territory.

The white piece is about to expire. When the beatline hits it in a few seconds, it will vanish and I'll be penalized. In timed mode, you lose your multiplier. In Sharp Mode (pictured) you lose one of your 10 hitpoints, shown at the top.
The white piece is about to expire. When the beatline hits it in a few seconds, it will vanish and I'll be penalized. In timed mode, you lose your multiplier. In Sharp Mode (pictured) you lose one of your 10 hitpoints, shown at the top.

The original game had six songs. Each song had a unique board shape, a slightly different pace, and a different collection of pentominoes to work with. As you filled in the board, the music would progress to a new bit. The pieces and rectangles all make sounds in tune with the music to keep the whole thing groovy and holistic. The only reason I lost interest in the game is that there were only so many dozen hours I could listen to the same few songs.

Chime was a game that was split between two opposing goals. You needed to push into new areas in order to feed the clock, but if you wanted to keep your score multiplier up, then you needed to clean up all the bits you left behind. Which way do you go? Do you fill the board as fast as possible, or keep the board as clean as possible?

I loved the game, but I loved one half of it a lot more than the other half.

Continue reading ⟩⟩ “Review: Chime Sharp”

 


 

Diecast #159: Huniepop, Ghostbusters, Civilization

By Shamus Posted Monday Jul 18, 2016

Filed under: Diecast 178 comments

Bad news: No Spoiler Warning this week. Good news: I just opened a box of coconut macaroon cookies. They’re pretty awesome.



Direct link to this episode.

Hosts: Josh, Shamus, Campster.

Episode edited by Rachel.

Show notes: Continue reading ⟩⟩ “Diecast #159: Huniepop, Ghostbusters, Civilization”

 


 

Shamus Plays LOTRO #21: Combe Over

By Shamus Posted Sunday Jul 17, 2016

Filed under: Shamus Plays 9 comments

Sooo… the town of Combe.

Art nitpick: This feels too spaced out, which makes it look bland. We need either more buildings, or less open space between them. This is not a fun space to traverse, just because there's SO much open space with so little to look at.
Art nitpick: This feels too spaced out, which makes it look bland. We need either more buildings, or less open space between them. This is not a fun space to traverse, just because there's SO much open space with so little to look at.

Since arriving in town I’ve discovered that the inhabitants can be divided into two groups:

1) Idiots
2) Me

And since I’m working for people in group #1, it’s entirely possible that there might be some overlap between the two.

This is not the best job interview I've ever given. Unfortunately, I got the job anyway.
This is not the best job interview I've ever given. Unfortunately, I got the job anyway.

I’m working with one of the town’s outstanding group #1 representatives, Ellie Cutleaf. She used to work with the brigands and claims she can give me directions to their hideout. She helped them cross-breed dogs with a warg, which is like mating goldfish with sharks. You might argue that it’s unfair to label her an idiot if she’s able to get those two things to mate. But I would have to say that taking a job raising ravenous dogs for people who are trying to kill you has to go pretty far towards getting you elected mayor of idiot town.

A warg is basically an orcish murderhorse, and it kind of seems like cheating for the brigands to keep stacking the odds when they already have us out-numbered and out-brained. Then again, it’s rather sporting of them to sub-contract the warg-breeding to one of the locals. Nice of them to stimulate the local economy before they come in and kill everyone.

My supposed goal is to get Ellie to help me take apart the brigand forces, but that’s just a cover for my secret goal to find Amdir, which is just a cover for my real, actual goal, which is to make enough money to buy clothes that will make people die of envy.

Ellie wants me to go in and kill off all the half dog / half warg things she helped them raise.

It seems like it would be a lot easier to send the person who raised the dogs in the first place. She could walk right up to them and strangle their stupid fluffy asses while they wonder what they did to anger mommy. Nobody would even get hurt. (Except the dogs, who would die horribly, filled with a sense of confusion and betrayal. Which is fine.) But instead she’s sending in a bite-sized stranger.

Trips to Chetwood: 2

Continue reading ⟩⟩ “Shamus Plays LOTRO #21: Combe Over”

 


 

Ruts vs. Battlespire: Intermission

By Rutskarn Posted Saturday Jul 16, 2016

Filed under: Lets Play 27 comments

Battlespire is catstrophically broken, inarguably mishandled, forgettable at its best and never more than two inches from the border of Creepy. I bought it with the intention of incorporating my thoughts on it in my Elder Scrolls retrospective. I barely outlasted the first room. The same berserk spirit that impelled me to finish all five core games in about a month didn’t survive an hour’s contact with nesting bags and glitching jumps.

Then I started this Let’s Play when a few other games fell through. I had absolutely no plans for it–I didn’t know how far I’d make it or long you’d tolerate it. And now that I’m sixteen posts in, I think I’m ready to confirm:

We’re going all the way.

I knew nothing about this game before I started. Out of self-defense I’ve since developed a pretty comprehensive knowledge of the game’s more arresting glitches, surprises, and pitfalls, and I can already tell it’s not going to get any easier to play. Quite far from it. There might be segments of the game where I’m stuck for a few weeks at a time, which hopefully I’ll have the buffer and wit to condense into something entertaining.

But I can’t walk away from this thing for two reasons. The first being, I can’t seem to go an hour without something happening that’s so bizarre or inexplicable or busted that I have to share it with someone just to confirm I’m not going crazy. This game is frequently terrible, but even when it’s boring, it’s not [i]boring[/i]. How am I going to stop when I know (for a fact at this point) that there’s even weirder stuff to come?

And secondly–when I did my retrospective, I’d thought it was such a shame that much of Bethesda’s history, its earliest forays into open-world gaming and its first sleeper hit, was forgotten. I wanted to share their origins with people who didn’t have the know-how or money or time to play them. In my own very modest way, I thought I was reviving obscure elements of gaming history. And then I found this. It’s like discovering Vincent Van Gogh not only painted cartoons of clowns farting, he earnestly and passionately painted them and tried to market them to the world, and absolutely nobody will talk about it–much less ask, “Is this an evocative cartoon of a clown farting?” It’s an incredible nugget of gaming history and I feel weirdly privileged to be the one sharing it with you.

So thanks for reading. We’ll be back to it Wednesday with an extra post on Friday, plus my RPG series restarting Saturday. See you then.

 


 

Fallout 4 EP21: We Are All Reginald

By Shamus Posted Friday Jul 15, 2016

Filed under: Spoiler Warning 140 comments


Link (YouTube)

I feel the need to apologize beforehand for this one. Somewhere in the middle of talking about tits and theorizing about what it would be like to have sex with various Star Wars characters, we got sidetracked and briefly discussed Fallout 4.

Like I said in the episode: I liked the “critical” system in this game. I like having attacks in the tradition of a Final Fantasy limit break, where you can save up a big attack for that special someone. My only gripe is that it shouldn’t be called critical.

Okay, “critical attack” is a valid term for it in the sense that it’s roughly synonymous with “severe attack”. But the term critical has come to mean “random multiplier applied to attacks at random intervals”, and I don’t think that’s something you should mess with. I mean, a ledger of goods in a warehouse is called an “inventory”, but if you hit the inventory button in a game and got a ledger of stuff you don’t don’t have on your person, it’s just going to confuse and annoy people.

 


 

Fallout 4 EP20: Bye Kellogg

By Shamus Posted Thursday Jul 14, 2016

Filed under: Spoiler Warning 159 comments


Link (YouTube)

We talked about building magazine racks for the comic collection you can build in this game. This is the largest my library ever got:

Collected during a hardcore permadeath run. That's not as hard as it sounds, since I also have a mod to take the level restrictions off of perks.
Collected during a hardcore permadeath run. That's not as hard as it sounds, since I also have a mod to take the level restrictions off of perks.

The scene where you’re railroaded into picking a fight with Kellogg is a disaster. A farce. A sad mockery of every possible definition of “roleplaying game”.

So Bethesda gives us a voiced protagonist, but then refuses to give them a discernible personality. So we have a… voiced blank slate? Then they put us into a conversation with a character where THE OTHER PERSON is willing to make peace, but after weeks of dicking around punching radroaches and building shacks for Preston Garvey, our no-personality character is overcome with bloodlust. Our avatar insists on picking a fight while surrounded, after giving up the element of surprise. But it’s not enough that our character is an incoherent, tactically inept dipshit. We’re made to participate in this stupidity by initiating the fight from a four-options-but-only-one-choice dialog wheel.

Here are some options that the player might want to consider if this were an actual roleplaying game:

Continue reading ⟩⟩ “Fallout 4 EP20: Bye Kellogg”