Mass Effect Retrospective 20: Now Hiring for Unknown Position

By Shamus Posted Thursday Oct 29, 2015

Filed under: Mass Effect 218 comments

We’re still playing Mass Effect 2. Still collecting team members. But let’s stop and talk about someone we’re not taking with us:

Liara

I'd go with you, Shepard, but it would take me several days just to get these gloves off.
I'd go with you, Shepard, but it would take me several days just to get these gloves off.

In Mass Effect 1, Liara was a shy, bookish, gentle, polite, socially awkward introvert who specialized in archaeology and geeked out over Prothean ruins. Then we bump into her here in Mass Effect 2 and she’s a tough-talking hard case with her own team of Asari commandos, and she runs some sort of cutthroat information business. That’s not “character growth”. That’s a complete re-write of her personality.

But even if we’re incredibly generous and pretend that this new Liara has simply been transformed by the events of the last two years, this character change feels completely unearned. In the last game she discovered a dire threat to the entire galaxy, killed her own mother, fought in several massive battles, and saved all of known space. It was a big deal and she had a little character growth in the process, but it was nothing compared to this jarring transformation that takes place entirely off-screen.

Worse, this change obliterated one of the most unique personalities in the game. The cast is packed with various flavors of badasses. We’ve got stoic, mercenary, philosophical, military, and berzerker badasses. Liara’s idealism and introversion made her unique. Her Prothean expertise and knowledge of history linked her to the overall plot of breaking a cycle that’s been repeating for longer than anyone knows. Now she’s just another swaggering biotic hardass with a gun.

And now we’re supposed to believe that not only does she have a completely new personality, but she’s changed to a completely unrelated career as an information broker? Somehow she’s even become “one of the best” information brokers on Illium, despite her ignoble backgroundPure-blood Asari are looked down on., lack of experienceBeing socially awkward would actually be a huge disadvantage in a job that involves so much interpersonal wheeling and dealing., lack of starting capitalThere’s a reason “rich like an archaeologist” isn’t a common rap lyric., limited time investmentTwo years is a short time for any career change, and she spent a lot of that time rescuing Shepard for Cerberus., and relative young ageShe’s only 100, on a planet of people who live to be 1,000..

Sure, it’s “possible” for this change to have happened in some fan-imagined side-story, but this is not how you handle characters in fiction. You don’t radically change their personality entirely off-screen, particularly not between works. Especially if it doesn’t even lead to some dramatic flashback, emotional payoff, or something else that serves the needs of the overall story. Especially not in a game that seems to be selling itself so hard on the characters.

Continue reading ⟩⟩ “Mass Effect Retrospective 20: Now Hiring for Unknown Position”

 


 

Knights of the Old Republic EP25: Lore Drop

By Shamus Posted Thursday Oct 29, 2015

Filed under: Spoiler Warning 74 comments


Link (YouTube)

I praised the conversation with the broken hologram guy, but that’s because I have the hindsight of multiple playthroughs. He was actually really irritating on my first trip through the game, which is arguably the most important trip.

The idea of “these details seem dumb at first and only make sense after a later reveal” is a really dangerous game to play. It’s bad enough in a movie, since the audience can lose their trust in the storyteller long before the reveal. But in a game? Players will likely have many hours of gameplay between the seemingly dumb stuff and the payoff. They will very likely have breaks between game sessions to think about what the story is telling them, and thus lots of time to dwell on the apparent problems.

 


 

Good Robot #36: Please Wait, Loading

By Shamus Posted Wednesday Oct 28, 2015

Filed under: Good Robot 154 comments

The more I work with a team of people, the more I’m convinced that having open, accessible game data is the path of least resistance. Why make buggy, lame, proprietary in-house tools when you can just stick all the data into text files and let people use their text editor of choice? Why spend time and effort packing simple data into binary files when you can leave it in plain text? As long as the data isn’t binary in nature (text-based 3D models and sound would probably not be a good idea) then open files are a win for everyone: Easier for coders, more comfortable for the artists, and more mod-friendly for enterprising players.

Of course, I’ve always thought this way, but I assumed it was bias from all the years I worked at Activeworlds, which focused on user-generated content, similar to Second Life or Roblox. I often wondered if I’d gravitate towards obscured data if I ever found myself working on a “proper” game.

But no. But if anything, I’m more pro-“open data” than ever.

But what if the users edit their data files to cheat and give themselves a billion hitpoints?

Yeah. Not a concern. Stopping single-player cheating is a lot like stopping pirates: It can’t be done, but if you’re really creative and determined you can waste a lot of time and money trying.

Early in the project, I had a lot of stuff hard-coded. Certain gameplay parameters were set in stone, and you couldn’t change them without changing the source code and patching the game. That’s basically fine for a one-person team. When I’m working alone, it’s just as easy to change a bit of source code as it is to change some text file of game data. But once Pyrodactyl joined, more and more of the game migrated out of code and into text files the artists controlled.

The only downside is…

Continue reading ⟩⟩ “Good Robot #36: Please Wait, Loading”

 


 

Half Time CH5: Cut Short

By Rutskarn Posted Tuesday Oct 27, 2015

Filed under: Lets Play 39 comments

“I should tell you,” says the games official, “that you can’t actually ask a question so many times that I invent new league rules.”

“But–look. Does the idea that we’re starting the league all over again because some paperwork got misplaced not strike you as just a little bit stupid? Suspicious? Fraudulent?

“Paperwork is important. Without it, how do we know who won a match?”

“I personally have no problem remembering that. I actually remember who wins our matches before we’ve had them. But what I’m getting at here is–because the paperwork is mysteriously misplaced, the elf coach gets to field a brand new team?”

“He can’t start the season with two dead players, can he?”

“They’re dead because I killed them! I worked very hard to do that!”

“I know, and we appreciate heart and pluck as much as the next multinational corporation. Wasn’t that the whistle just there?”

My teeth grind like keystones on a halfling barbecue smoker, but I make for the stairs. Halfway up I turn and say, “Can I ask you something?”

“I would love that.”

Wood elves? You’re supposedly impartial–should I be nervous?”

“Normally I’d say yes, that wood elves are formidable adversaries and you should be nervous.” He spits his tobacco. “But for a halfling coach like yourself, I ask this rhetorical question: are wood elves a brisket?

Continue reading ⟩⟩ “Half Time CH5: Cut Short”

 


 

Experienced Points: SOMA is Something Unique in Gaming

By Shamus Posted Monday Oct 26, 2015

Filed under: Column 32 comments

My column this week is on SOMA.

The other thing I didn’t talk about in the column is how gorgeous the game is. Well, assuming you think, “Lavishly designed ruins of an undersea base in a bio-mechanical future” sounds like something you might call “gorgeous”.

The worst parts of the game are when you’re dealing with monsters. They’re not scary, but they are frequently time-consuming. I’m not sure how to fix this. Removing the monsters entirely would take away a lot of the atmosphere. It’s the threat of monsters, not the presence of monsters that makes the world feel tense and interesting. If they were removed entirely, you could sprint and bunny-hop around the place and it would feel a little too carefree.

I think the problem is that a few of the monsters overstay their welcome. A three points in the game I found myself trying to solve a puzzle while a monster hovered nearby.

  1. Your goal is to repair a keypad on a door, which is a multi-stage process. The monster patrolling the area is supposedly blind, but he’s also a cheating bastard that makes a beeline for the keypad as soon as you approach, even if you do so in complete silence. You can’t distract him by throwing some noisy junk in the distance and working on the keypad while he investigates. Instead, you need to do one step of the puzzle, run away, and wait a minute and a half for him to give up looking for you. Then return to the keypad and repeat.
  2. Another monster just stood over a required item. I think she was bugged. I could only get past her through exploiting glitches, which is about the most tedious, un-scary thing you can do.
  3. There is one monster near the end of the game that has a moving patrol route, so you need to evade him multiple times. Around the sixth time, the magic was gone and I felt like he was just deliberately wasting my time.

Basically, the worst parts of the game are the parts that self-consciously tried to be too much like Amnesia.

Still highly recommended.

 


 

Diecast #126: Fallout 4 Hype, Spoopy Houses, Mailbag

By Shamus Posted Monday Oct 26, 2015

Filed under: Diecast 99 comments



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

Show notes: Continue reading ⟩⟩ “Diecast #126: Fallout 4 Hype, Spoopy Houses, Mailbag”

 


 

The Altered Scrolls, Part 12: Violence is Bad

By Rutskarn Posted Saturday Oct 24, 2015

Filed under: Elder Scrolls 111 comments

Can you see what's going on here? Yeah, me neither.
Can you see what's going on here? Yeah, me neither.

Combat in Arena means the player flicks the mouse to roll a die. Combat in Daggerfall is that, but bafflingly clunkier on top of being both reliant on and very poorly served by the player’s lukewarm mouselook. In Morrowind the graphics are just good enough to show you that you shouldn’t be missing all the time. At the time of Oblivion‘s development, combat had been been both a staple of and pretty consistently the worst part of the franchise. It was clear something had to be done.

Oblivion was the first Elder Scrolls game to introduce a clean action-oriented combat system where attacks hit where they’re aimed and do set amounts of damage. The game introduces special moves, attack rhythms, active blocking, and staggering mechanics with the goal of creating something that wasn’t just functional and modern, but a genuinely engaging, immersive set of play mechanics.

Oblivion has the worst combat in the series.

Continue reading ⟩⟩ “The Altered Scrolls, Part 12: Violence is Bad”