Ruts vs. Battlespire: The Many Deaths of Cahmel

By Rutskarn Posted Wednesday Oct 5, 2016

Filed under: Lets Play 37 comments

No full LP today; I’m having some (nonserious) health issues and a few unexpected obligations have sprung up. For Patreon backers, “The Letter” is nearly complete and still on schedule to launch October 7th. For everyone else, we’ll get back to the Battlespire later in the week and my other post will go up Saturday.

But I’d rather not leave the spot empty–and I know a few of you have inquired as to level five’s actuarial table. What has been killing Cahmel lately? I’m not looking to turn my LP into a serial obituary, but since we’re taking a break anyway, we might as well take a closer look at what’s causing the most trips to the save menu.

I kept very accurate accounts of my fatalities–for a while. Since about hour six I’ve kept sharp objects away from the desk, and in consequence, my records have grown a bit shaky. But this breakdown should be more or less accurate.

Of the roughly twenty times I’ve had to reload so far:

Continue reading ⟩⟩ “Ruts vs. Battlespire: The Many Deaths of Cahmel”

 


 

This Dumb Industry: Lost Laughs in Leisure Suit Larry

By Shamus Posted Tuesday Oct 4, 2016

Filed under: Column 126 comments

Heads up: This post is going to have some rougher language than what I normally post. We’re going to be talking about the kinds of things teenagers type into videogame text parsers, which means we’re going to get into some naughty words and otherwise unusual subject matter for this blog. I don’t know why I’m warning you. I know you’re going to read it anyway. But it seems like the polite thing to do is to give people fair warning when you’re going to transition to a more graphic type of content. If you’ve got sunglasses you wear when you’re worried about seeing the word “fuck”, then now is the time to put them on. Actually, I guess you’re a sentence late. Shit, sorry about that.

A few years ago I read a review of Leisure Suit Larry. The review was by a youngCompared to me, anyway. person who probably wasn’t around when the original game came out in 1987. The review was about as negative as you can get without declaring vendetta against the developers and their families. It basically dismissed the whole thing as ghastly, ugly, unfunny trash.

Screenshot of Lefty's Bar from the 1987 original.
Screenshot of Lefty's Bar from the 1987 original.

Leisure Suit Larry is an adventure game classic and I have many fond memories of it, so I dismissed this person as a crank who doesn’t appreciate a good dick joke – the kind of person who has decided to cultivate a sense of smug superiority in lieu of a sense of humor. But reading the review put me in the mood to play it again, so I picked up the 2013 remake and gave it a go.

What I discovered when I returned to the game in 2013 is that the reviewer was basically right. Maybe they were trying a little too hard to be offended by things and maybe their ignorance of old-school adventure game mechanics hampered their ability to understand the puzzles, but it was pretty hard to argue with their conclusions regarding the humor. The game wasn’t nearly as funny as I remembered it. It’s a strange sensation to revisit a joke that made you howl with laughter 30 years ago and find it doesn’t even cause you to move any of your facial muscles. Not even the potent forces of nostalgia could salvage it. It just wasn’t amusing or fun.

So what happened? Why did Larry stop being funny?

Continue reading ⟩⟩ “This Dumb Industry: Lost Laughs in Leisure Suit Larry”

 


 

Diecast #170: Luke Cage, Event[0], Nuka World DLC

By Shamus Posted Monday Oct 3, 2016

Filed under: Diecast 104 comments



Hosts: Josh, Shamus, Campster, Mumbles. Episode edited by Rachel.

Show notes: Continue reading ⟩⟩ “Diecast #170: Luke Cage, Event[0], Nuka World DLC”

 


 

Rutskarn’s GMinars CH8: So Which is Right?

By Rutskarn Posted Saturday Oct 1, 2016

Filed under: Tabletop Games 27 comments

For the last few posts I’ve discussed the difference between objective games and story games. One uses its mechanical framework to create challenges, immersion, and a logical deterministic resolution for fiddly and hard-to-visualize things like combat and horse racing. The other uses the mechanics to guide, enhance, and empower the player’s creative expression. As a new GM, you’re naturally going to wonder which game is better for your group.

There are numerous simple considerations; story games are designed for self-contained sessions and objective games are designed for long-term campaign play, typically. Story games are the result of a modern renaissance, representing recent improvements and collaborations within the medium, while the most famous objective games are classic self-contained enterprises from the days before this hobby was big enough to support a renaissance. Story games seek to reward with drama, objective games seek to reward with drama and accomplishment. But beyond these simple considerations is a central question, one I haven’t addressed very much–a deceptively simple way to figure out what game is right for you.

What doesn’t your group want to worry about?

Continue reading ⟩⟩ “Rutskarn’s GMinars CH8: So Which is Right?”

 


 

Fallout 4 EP42: Double-Dinged

By Shamus Posted Friday Sep 30, 2016

Filed under: Spoiler Warning 76 comments


Link (YouTube)

Due to what I can only assume is an editing error, Josh has accidentally put the audio from our eventual Mandkind Divided series on the footage for Fallout 4. I’m going to talk to Rutskarn and Chris about their flagrant efforts to make the show topical and relevant instead of focusing on their mandate of beating a dead horse.

Rutskarn calls the proliferation of flavors of Nuka-Cola “the most Bethesda thing in the game”. Allowing for the fact that somehow every part of the game is the most Bethesda part of the game, I have to agree. The further we get from D-day, the greater the variety of pre-war sodas. It’s like anti-worldbuilding. Instead of rounding out the world with detail and depth, they latch onto a few key elements and intensify them, hyper-flanderizing the entire setting in the process.

Q: 210 years after the world was consumed in nuclear fire, what kind of society would emerge from the ashes? What kind of challenges would they face and what kind of conflicts would arise from these challenges?

A: Uh… I bet they would drink a lot of pre-war soda!

 


 

Fallout 4 EP41 Butt Skarn

By Shamus Posted Thursday Sep 29, 2016

Filed under: Spoiler Warning 104 comments


Link (YouTube)

Look Bethesda, it’s simple: If you don’t want to give the player absolute power over the story, don’t claim they’re the “general” of an army of peons. If you want them to be constrained by the limitations of your prefab plot, then just leave them as an underling / hireling of whatever questgiver is making the decisions.

But if you ARE going to have someone promote you to “general” and then continue to give you orders, then at least deal with that conflict within the story. Have it be a joke between these two characters. Or make Preston Garvey a lunatic. What we have here is several different varieties of wrong. It magnifies our lack of agency, it makes Preston’s character even more ridiculous, it makes no sense, and it does all of this for no reason. Making the player character the “general” of the Minutemen doesn’t aid the story or lead to any kind of payoff.

The cast complained about the teleporter feeling a little out-of-genre. But as others have pointed out, Old World Blues had a teleporter. Here is why I think it works in one and not the other:

  1. In OWB, the teleporter is part of the super-science, which is central to the themes of the story. It’s supposed to be exotic and “out there”. In Fallout 4, you build the teleporter yourself with minimal fuss. Yes, I can accept that the Think Tank and The Institute can build teleporters in their secluded science base. I’m less accepting of wasteland rubble-farmers making a teleporter out of recycled desk lamps and automobile tires.
  2. Old World Blues was optional DLC that didn’t really feel like “Fallout”. That’s okay. We often give DLC a bit more thematic wiggle room. In contrast, we expect the central plot of a Fallout game to stick to the Fallout tone.
  3. Old World Blues is fantastic and Fallout 4’s story was written in crayon. We’re a lot more accepting of stuff if it leads to a fun payoff, and we’re a lot less tolerant of stuff that seems to bend the rules or tone of the world for no good reason.

The problem here isn’t that the teleporter exists in this story, it’s that the whole thing is just way too perfunctory. You show the plans to a guy who so far hasn’t shown any technical aptitude above the level of your average auto mechanic. He glances at it, says he can build it, and then does. This should be something that the player earns. Maybe he could send you to talk to some eggheads for additional help. Or maybe send you after some books. Or some exotic parts in a ruin. Each time you returned, another stage of the teleporter would be complete. This would create a sense that this project is a major undertaking and that you were pushing the boundaries. I know Sturges sends you to get “supplies” for it, but I think the main hurdle to be overcome isn’t the raw materials, but what to do with them.

Anyway, Chris needs to get mad more often. His anger-based analysis is way more incisive.

 


 

Final Fantasy X Part 15: Monster Arena

By Shamus Posted Thursday Sep 29, 2016

Filed under: Retrospectives 108 comments

Our heroes escape the city through the power of cinematic editing, appearing in the forest outside the city.

Well, That Was Easy

Boy, we sure did escape that heavily fortified, technologically advanced city where everyone knew where we were and had orders to kill us on sight. Let's make sure to never speak of this again.
Boy, we sure did escape that heavily fortified, technologically advanced city where everyone knew where we were and had orders to kill us on sight. Let's make sure to never speak of this again.

There’s another conversation like the one under the lake, where characters process what’s happened, clarify their motivations, reaffirm their goals, and otherwise make sure everyone’s dramatic arcs are nice and clear.

For Yuna and Tidus, this takes place in a personal heart-to-heart. Yuna is tempted to give up the pilgrimage. She’s been branded a traitor. She’s alone with her crush. It would be easy to run off with her man and leave the whole “saving the world” thing to others, particularly since there are still other summoners on the path and the world is now against her. But instead she decides to set aside her love and march off to die for the people who have rejected her. It’s a hard road and she might not get any glory at the end, but she’s doing it because it’s the right thing to do.

This is the moment that makes her the hero of the story, even if she’s not the “main” character. She sacrifices the most, and her decisions drive the plot more than anyone else’s. Tidus is a catalyst for change and his actions often drive the story, but his investment is so much smaller than hers.

The next morning the party moves on to…

The Calm Lands

This is probably the first spot in the game where you can be killed by a random encounter. The Malboro monsters can ambush you with an attack that confuses and poisons the whole party, and then defeats them without you ever getting to take a single turn. It kind of sucks.
This is probably the first spot in the game where you can be killed by a random encounter. The Malboro monsters can ambush you with an attack that confuses and poisons the whole party, and then defeats them without you ever getting to take a single turn. It kind of sucks.

The Calm LandsCalled such because this nice big empty wilderness is a good place to battle Sin. Hence, this is where the Calm begins. is an unusual location in the game, inasmuch as it’s kind of a throwback to the days of FFVII where you could wander around in open areas. Your route through FFX has been very linear up until now. Not only must all areas be done in a particular order, but there’s usually just a narrow path for you to follow. Your only choice is to go forward, or… not go forward yet.

To put it another way, your only meaningful decision is to decide how long you want to grind in a particular spot before moving on. That’s still technically the case here, but now you’ve got a vast open expanse in front of you and multiple points of interest to discover. Far to the northwestThere’s no real compass when you’re on foot, so when I say “north” I just mean, “the way the camera tends to point”. there are a few people to talk to and some goodies to get. To the east is the passage to the Monster Arena. Right in the middle is a little outpost. To the northeast is the passage to the next area. And there’s a hidden temple to the southeast, although you can’t reach it right away.

It’s actually kind of daunting. The Calm Lands feel vast in a visual sense, and it can take a good long time to cross them if you’re fighting monstersIn the remastered version, there’s a hotkey to turn off random encounters, which makes crossing the Calm Lands take just a minute or so. In the original game this could only be accomplished by acquiring special items that only became available in the late game..

This is where the story puts on the brakes. We’ve just gone through some pretty serious story beats, and now the storyteller is cutting the player loose. “Okay. That’s enough story for now. Go level up, or play some blitzball or something.”

The big attraction here in the Calm Lands is… Continue reading ⟩⟩ “Final Fantasy X Part 15: Monster Arena”