Writing about worlds of wonder: strategy games, stories, and soundtracks
Since so much of my response to BioShock Infinite is wrapped up in the details of the game’s story, I thought it deserved a short follow-up of its own. As such, there will be extensive spoilers ahead – don’t read this post if you haven’t finished the game!
Ready?
“Bring us the girl, and wipe away the debt.”
The year is 1912. With those words ringing in his ears, Booker DeWitt, washed-up private detective and protagonist of Irrational Games’ BioShock Infinite, makes his way into the flying city of Columbia. On his shoulders lie several burdens: the fate of Elizabeth, the young woman he’s been tasked to bring back to New York. His own destiny, as it becomes intertwined with hers. And lastly, the weight of the BioShock franchise, one of the most acclaimed in gaming.
Not playing much of the previous BioShock games (1) did nothing to water down my expectations for BI, a game whose promised features read like my wishlist. A game that gives players an array of special powers, and rewards them for ingenuity? An original setting, layering vibrant, imaginative mad science atop an underused historical era? A companion character, Elizabeth, for us to like and grow attached to? Sign me up! Read on to find out (spoiler-free) how the game fared against my hopes.
After finishing Tomb Raider, I’m happy with the gameplay appraisal I posted halfway through. This is a title that’s not sure whether it wants to be “the subtle tale of a young woman using her wits to survive… or a summer blockbuster, long on explosions and short on brains.” There is a fair amount of running and jumping and climbing about, as much of a pleasure as it was in Assassin’s Creed; there are puzzles whose solutions made me feel quite pleased with myself; and there is a lot of third-person cover shooting, too much and too repetitive for my taste (and with some downright aggravating ‘watch pattern -> dodge -> counterattack -> repeat’ closed-arena boss fights).
I do want to home in on one word in that last sentence – “cover”. In a game that derives so much of its appeal from the main character’s agility, I am not convinced that cover shooting was the best way to handle combat. Taking cover, by definition, deprives Lara of her agility; and while she has to move from cover to cover (enemies will lob Molotov cocktails or grenades if she stays still too long), a brief scramble to the next waist-high obstacle pales next to the freedom of the game’s non-combat segments. TR does contain a tantalising “what might have been” moment – one particular sequence is a lot closer to old-fashioned run-and-gun shooters, and it’s amazing what a difference that made to my enjoyment. Suddenly I could sprint! Retreat! Climb up and climb down! Fall back to a previously cleared section! Why even stop there? In a game with this many cliffside jumps and ziplines – see the above screenshot – couldn’t Lara have, say, an unlockable ability to aim her pistol in bullet time and shoot while in mid-air (a la one skill in Sleeping Dogs), or while shimmying along a rope? Surely the designers could have done better than the parade of shooting galleries that did make into the game.
Eador: Genesis is a turn-based fantasy strategy game in the vein of Dominions, Heroes of Might and Magic, and Master of Magic. Originally released back in 2009 as the brainchild of one man, Alexey Bokulev, it was only recently translated into English by publisher Snowbird Games. I’ve been playing the game since last week, and while its graphics and production values are… well, what one would expect from an indie strategy game, its gameplay is pure just-one-more-turnium.
The outline of Genesis will be familiar to genre fans. There is a campaign, which I have not tried; all my matches have been on randomly generated maps. Players start with one province and expand across the map, conquering independent provinces, levelling up heroes, and eventually butting heads with each other in tactical battles. The last one standing wins the game. However, Genesis has several distinctive features:
1. Flowing, micromanagement-light gameplay. I think this is half the secret of Genesis’ addictiveness. Most turn-based strategy games, fantasy or otherwise, require constant fiddling from the player – managing multiple cities’ build queues, pushing numerous armies across the map, etc. By contrast, while Genesis offers plenty of choice – look at all the buildings on that construction screen! – at least on small maps, I only have to deal with a handful of moving parts each turn. Build queues? In Genesis, most construction is done in the capital, a la Imperialism – provincial improvements are relatively bare-bones – and in any case, you can only build one building and one province improvement per turn. As for armies, I’ve never had more than two heroes in play. This means there’s relatively little busywork each turn, and few impediments before it’s time for the next battle.
Following on from last year’s Gods and Kings, 2K/Firaxis has announced Brave New World, a second expansion for Civilization V. Whereas G&K‘s headline features were religion and espionage, BNW seems to focus on “soft power”: trade, culture, diplomacy, and a new “World Congress” a la the UN in previous Civ games/the Planetary Council in Alpha Centauri. I look forward to finding out more.
If you’d like to read the details, I’ve copied and pasted the press release below, while Rock Paper Shotgun has a full interview/preview up.
For the last week, I’ve guided Lara Croft across an island filled with dangers, both natural and two-legged, in Tomb Raider. This is the first game in the series I’ve played (apart from the Guardian of Light spinoff) – after developer Crystal Dynamics promised both lavish AAA excitement and a story with a heart, I hoped for something truly great. Halfway in, I can report this is good, and often exciting – but so far, it’s not great.
As promised, here’s the Age of Wonders III Q&A with designer Lennart Sas of Triumph Studios!
By way of introduction, Age of Wonders is a high fantasy, turn-based strategy series that has been around since the late 1990s. In AoW, players build up their cities, recruit armies of soldiers and elves, cannons and dragons, and then pit them against rivals in a tactical combat minigame, a la Master of Magic. Fond memories of the earlier games, Triumph’s promise of further improvements, and gorgeous early screenshots all piqued my interest in Age of Wonders III; and it didn’t hurt that the most recent AoW game, Shadow Magic, held up well when I replayed it to prepare for this interview. Sadly I wasn’t able to include every question sent in (I received some separately from the comments to my original post), but I hope this Q&A will address some of what you guys (and I) had in mind. Read on…
Civilization V designer Jon Shafer has unveiled his latest project on Kickstarter: At the Gates, a 4X strategy game that casts the player as a barbarian chief out to pick the carcass of the crumbling Roman Empire. The game sets out to fix one of the biggest problems in strategy gaming, the boring middle/late game, and its promised features include:
1. An emphasis on supply: armies will have only a limited capacity to live off the land, making them reliant on supply trains and friendly cities;
2. A dynamic map: resources will deplete over time (placing players under greater and greater pressure as the game goes on); seasons will affect the map as rivers freeze and food stockpiles dwindle during winter;
3. Asymmetric non-player factions: the Romans are still on the map, play by different rules to the barbarians, and won’t give up without a fight.
This all sounded very interesting to me, and Jon was kind enough to sit down for an email interview. Read on:
(With apologies to every writer, director, and star of the Wild West)
EXT. THE MOJAVE DESERT
The one-horse town of Goodsprings bakes, silent, in the Nevada heat. One after the other, we see several POWDER GANG BANDITS approach, cradling baseball bats and crude firearms. The Powder Gangers are in high spirits, looking forward to the plunder of the town.
POWDER GANGER #1: Pardner, I do reckon that there town be as easy as liquor flowing at the saloon.
POWDER GANGER #2: Yee-haw!
The Powder Gangers laugh, twirl their moustaches. Suddenly, they hear a yell.
An armoured figure – not one of the townspeople, but our hero, THE COURIER – charges out from between two houses. The Courier winds back his arm and for a moment, time seems to freeze. When it flows again, something red and fizzing has landed at the Powder Gangers’ feet.
POWDER GANGER #1: … Is that… dynamite?
FADE TO WHITE.
I’m ten hours into Fallout: New Vegas, the most unique-feeling entry in the venerable Fallout line of RPGs. Its predecessors (#1 and #3 in particular) revelled in their post-apocalyptic setting: their mohawked raiders could have come straight out of a Mad Max movie, and their civilisation was a precarious, hardscrabble thing – ersatz Bartertowns scattered around the wastes, each surviving as best as it could.
The railroad must get through. Chicago must connect to Santa Fe. But I’m almost out of locomotives, my rivals are muscling in, and can I get three cards of the same colour?
Welcome to Ticket to Ride, the PC adaptation of a highly regarded board game (which I have not yet played). In Ticket, players claim train routes by playing cards – six yellow cards to connect Seattle to Helena in the above screenshot, for instance, or five blue cards to connect Atlanta to Miami. Long routes are worth more than short routes, but are correspondingly harder to claim. Furthermore, each player begins with a certain number of “tickets” – routes (Chicago to Santa Fe, in my above example) that reward the player if they are completed, and impose a penalty if they are not. Again, long-haul tickets are worth more – both on the upside and on the downside! – than their short-haul counterparts. Lastly, each route can only be claimed by one player at a time (although the game does provide some duplicate routes). So for example, I couldn’t go Denver -> Santa Fe in the above screenshot, but neither could the other players go Denver -> Omaha, or Chicago -> Pittsburgh, or Pittsburgh -> New York.
First Aubrey & Maturin sailed into the digital world, and now one of my all-time favourite games, Illwinter’s strategy masterpiece Dominions 3, has finally made its way to digital download shops Desura (edit: and Gamersgate)! It’s also reasonably priced, at $30. Why is it one of my favourites?
1. It brings mythology/dark fantasy alive in a way that so few games – and almost no games outside RPGs – have managed. Elves? Orcs? Balrogs, even? Phooey. Dominions serves up titans plucked from Tartarus, queens of the air with clouds for bodies and lightning for fists, glamour-casting faery knights, and more. And in between scurry the poor human conscripts, so hopelessly outmatched as to underscore just how significant magic — and divinity — are to this world. (If you’d like to read more, a few years ago I wrote a guest piece on this very subject over at Flash of Steel.)
Drox Operative is the latest title from Soldak Entertainment, an indie developer of action-RPGs (Depths of Peril, Din’s Curse) renowned for their dynamic worlds. Drox transports that concept from fantasy into space opera – its galaxy is filled with alien empires, who fight, intrigue, and negotiate amongst themselves. As one of the titular mercenaries, players accept quests from these empires, fight space monsters and rival empires, plant their patrons’ flags over unclaimed worlds – and try to make sure they’re on the winning side.
On paper, this is a wonderful concept, and it’s given me a couple of memorable moments. For example, at one point I wanted to explore a hazardous, monster-filled region of frontier space. To make my life easier, I took a quest to colonise a nearby planet, then stuck around to defend the new settlement. The result: now I had somewhere to repair, and the owner of the new colony was now both stronger and better disposed toward me. And there is a certain dark satisfaction in teaching recalcitrant alien empires why messing with a Drox operative is a bad idea! Unfortunately, these cool experiences have been the exception for me. As an overall package, Drox falls flat for me; while I can quibble with various “micro” aspects of the game’s execution (1), I think my ultimate problem lies with two key aspects of the game’s design:
For one month, you followed me as I played through Firaxis’ XCOM: Enemy Unknown, the successor to one of the greatest games of all time. Now that I’ve finished, I can give my verdict: this is the true heir to the original, both in its strengths and its weaknesses.
At heart, both 1994’s X-COM and 2012’s XCOM are stories about heroism. That is something so many games claim to offer, but so few truly do. Heroism is not a power fantasy. Heroism is not about being the toughest guy alive (action games), or the sneakiest, or the cleverest general (Total War). Heroism is the courage to stand up against overwhelming odds, to endure loss and sacrifice on the road to victory. This is the experience that XCOM delivers in spades. Like its predecessor, XCOM follows a handful of outnumbered, outgunned, and oh-so-fragile men and women in their struggle against a technologically superior alien invasion. They are few enough, and diverse enough in their capabilities, to be distinct: I knew every name and face in my barracks. That makes it hurt all the more when they die – which they do often and permanently. For those odds, at least on “Classic” difficulty, really are overwhelming. On the world map, the aliens often launch three attacks at a time, while XCOM can only respond to one. Once in battle, XCOM operatives will usually die in two or three solid hits. But – and this is key – thanks to the context provided by the game’s strategic layer, that sacrifice never feels in vain. Slowly but surely, those brave underdogs will turn the tide of the war. With each battle, the survivors grow more skilled. With each pile of recovered alien loot, the survivors become better equipped. With each XCOM satellite and fighter plane (their construction funded by that loot), the world takes one step back from the brink. With each act of bravery by your soldiers, XCOM comes one step closer to victory.
It seems all over for the crew of the airship Babbling Goldfish. On one side – the enemy, two airships bigger and heavier than ours. On the other – the ruins of a vast, ancient airship, still lodged vertically in the desert sand. Our hull and engines are being ripped to shreds, and the airship wreck blocks the most direct escape. Over voice chat, the consensus sounds in my ears: we’re going down. But manning the helm, I see one last chance. I steer us between towering pieces of wreckage – bare planks to our left, a piece of red-plated debris to our right. And the incoming barrage dies down. Did the wreck hide us from our pursuers? Or did they simply get bored and drift off? Whatever it is, we’re safe for now. Safe to make repairs, and safe to eventually rejoin the fight…
That is one of the stories I have accumulated in my last couple of weeks playing Guns of Icarus Online, a team-based airship combat title from indie studio Muse Games. (You might remember my very brief mention of the game last year, when it was just a trailer and a cool concept.) In Icarus, players take on the roles of airship crew – gunners, engineers, or pilots, with four crew members to one airship. (Note that the game is strictly PVP; while most unoccupied crew slots are filled by bots, each airship must be skippered by a human player.) Matches involve two teams (2-4 airships per side, depending on the map) either trying to score a set number of kills, or hold objective locations long enough to win. Each ship’s captain can choose between six available ship types, each of which can be further customised via choice of weapons – for instance, do I mount a flak cannon (long-ranged and best against the enemy hull), a carronade firing grapeshot (close-ranged balloon-popper), or a Manticore rocket launcher (long-ranged disabler) in my main gun slot? And depending on their class, crew members can choose which repair/buff items, ammo types, and piloting boosts to take into battle. Once in the game, the slow, deliberate combat feels closer to MechWarrior than to the typical FPS – ships take a while to reach their destination, and guns don’t fire that quickly. This changes once the ship takes damage – then it becomes a frantic game of ohnotheengineisred, and Someone fix the hull before we all die!
North America, 1 September 2015. The aliens’ forward base on Earth, the wee hours of the morning. Above the landing bay, a shape appears: XCOM’s Skyranger, followed moments later by a hover SHIV and five of XCOM’s finest operatives. The soldiers rappel down into the base, plasma rifles at the ready. Little do they expect what lies ahead: an anti-climax.
The battle of Melbourne, June 2015, dealt a bitter blow to XCOM. It left us down two countries and five soldiers (four of them amongst our finest veterans), and painfully exposed the inadequacies of XCOM equipment against the aliens’ latest toys. The laser weapons and carapace body armour that had served us so well, just a month or two ago, now look like a joke against Cyberdiscs. The new faces joining the squad are under-levelled marksmen of dubious skill.
But XCOM is a game about fighting back against the odds. This update is the story of how my survivors – a lopsided bunch, with too many snipers and too few heavies and support troopers – make do.
As Part 4 ended, things were going smooth as butter. XCOM’s soldiers were winning battle after battle, and coming home almost invariably in one piece. The strategic layer was under control, thanks to XCOM’s ample satellites and newly ample cash.
As June 2015 dawns, it seems fair to ask: what could possibly go wrong?
And we’re back!
After Part 3’s successful terror mission, the rest of April passes without incident. Dr Vahlen and her scientists finish research on beam weapons, which unlocks laser pistols and laser assault rifles for use by my squad!
Unfortunately, I’m too broke to build more than one of each. Not only do they hoover up cash, they also require precious alien alloys – and my stock of alloys is running dangerously low. Farnsworth gets the laser rifle; LeSquide, our sniper, gets the laser pistol (since he can’t move and fire his sniper rifle in the same turn, he’s the one most in need of a decent sidearm).
At the end of the month, the Council gives us our scorecard and funding cheque:
As feared, the XCOM Project has lost its first two countries: Japan and Mexico have raised the white flag to the aliens. Three more, Argentina, India and China, are teetering. But all is not lost – I have no fewer than three satellites in the pipeline, plus the cash to build more (and their supporting infrastructure). This coming month, May, will be do-or-die. If XCOM can make it through the month in one piece, by its end I should have enough satellites to halt the tide of global panic. More than that, I’ll have so many satellites, and so much funding, that I’ll never have to worry about scrimping and saving again. If, if, if.
Let’s see how I go.
Welcome to the third part of my Let’s Play (Classic difficulty, Ironman mode) for XCOM: Enemy Unknown!
When we previously left off, I had two worries. One, whether I could obtain better arms and armour before the game ramped up in difficulty. Two, a rising tide of global panic. And soon, the game does its best to exacerbate (2) by throwing a devil’s choice at me:
Welcome back to my Let’s Play (Classic difficulty, Ironman mode) of XCOM: Enemy Unknown! We finished our last instalment on March 20 (game time), with a successful end to XCOM’s third battle. Following that battle, XCOM earned a new, experienced Heavy named Talorc, and I began construction of the Officer Training School.
But before I can train any officers, not one day after the previous mission, it’s time to sortie again:
March, 2015. We are not alone in the universe. Humanity is under attack from an alien army equipped with technology beyond anything we have seen. The armed forces of the Earth are powerless. All save one – the mysterious international organisation known as XCOM, sponsored by a Council of sixteen nations. It’s up to XCOM’s soldiers, outnumbered, outgunned, but brave and (one hopes) well led, to stop the aliens in the cities and in the fields. It’s up to XCOM’s scientists to unravel the alien technology the soldiers bring home, and up to XCOM’s engineers to adapt it into something the troops can use. And it’s up to me, the player, to give them all direction. Will I succeed, or will humanity be destined to end up as just another course on the alien buffet menu?
Let’s find out.
With the new XCOM game around the corner, it’s time to reflect on the fallen. The First and Second Alien Wars had horrific death tolls. Tens, hundreds, thousands of little pixel-dudes rotated on the spot to face the player, screamed, and fell down to never rise again. Always those brave men and women turned to face the player. We looked them in the tiny pixel-eye as they expired. It was the least we owed them. Heroes, every one.
What were the main causes of death in these brutal, bloody conflicts? Read on…
The First Alien War is UFO: Enemy Unknown, aka X-COM: UFO Defence for the non-Europeans. The Second War is known by the codename Terror from the Deep. The Third Alien War, dubbed Apocalypse, will not feature here as I sat that one out.
For the last three days the Sydney Showground has played host to the EB Games Expo, and that was where I spent yesterday. There I met some folks from the industry, both publishers and indie developers; watched trailers and gameplay videos; observed live play; and last but not least, tried out a few titles for myself! Here are the highlights of what I saw (grouped by publisher):
Banner Saga, a Norse-themed tactical RPG trilogy from indie studio Stoic Games, was one of the early titles to ride to prominence on Kickstarter this year. Now Nathan Grayson of Rock, Paper, Shotgun has posted a monster three-part interview/preview, and it’s fascinating stuff — especially the third part, in which the developers explain how the single-player campaign will work (in summary, “it’s a bit like of King of Dragon Pass meets Oregon Trail. It’s King of Dragon Pass on the road.”) While not quite a full branching campaign a la The Witcher 2, the player’s choices will matter, both from a gameplay and a story perspective. Characters will join or leave the party based on their satisfaction with the player; the player will have to juggle the party’s endurance and morale against the need to stay ahead of an all-consuming wall of darkness (this actually put me in mind of FTL), and there will be multiple endings. If that sounds interesting, it’s well worth heading over to check out the full article.
Meanwhile, we’ll get our chance to evaluate the core gameplay next month when a spin-off F2P multiplayer game based around the battle system, Banner Saga: Factions, is due out. This is one project that I’ll keep an eye on.
I must be one of the few gamers out there not to have played Grand Theft Auto, or any of the other modern-day, open-world, crime-themed games that it spawned. None had premises that appealed to me – until now. Enter Sleeping Dogs, United Front Games’ open-world extravaganza, which casts the player as undercover cop Wei Shen, tasked to infiltrate the most powerful crime syndicate in Hong Kong. This premise has been mined many times before for its dramatic potential, with the most obvious parallel being 2002 Hong Kong thriller Infernal Affairs. However, the key to Sleeping Dogs is that it’s not a homage to thrillers – it’s a homage to action flicks.
Specifically, Sleeping Dogs’ gameplay revolves around two activities: chasing rival mobsters, and pulverising them once you catch up. You chase them on foot (think the opening parkour sequence of Casino Royale) and in cars; you fight with fists, feet, and occasionally, firearms. The typical mission will involve pretty much every variation on these themes: Wei might drive to a target’s lair, disembark to beat up a first wave of guards, grab a gun to deal with a second wave of guards, jump into a car to pursue his escaping quarry, and finally jump from car to car in mid-chase to reach his foe. In between missions, there are other diversions available – special mention goes to a hilarious karaoke minigame (watch Wei during guitar solos, but make sure you don’t have anything in your mouth) – but speed and violence generally dominate the side quests, too.
This is not a flaw.
What Sleeping Dogs does best is recreate the excitement – and yes, over-the-top destruction – of good action movies. There are deeper dedicated brawlers out there – tapping or holding one button will run Wei through predefined combo moves; tapping a second button will counter enemy attacks; a third will allow Wei to grapple enemies and, often, finish them off with a spectacular use of the environment, such as throwing them into the water, slamming them into fuse boxes, or even impaling them on swordfish. There are deeper shooters out there: Wei’s options largely comprise hiding behind cover, popping up to shoot, or vaulting over an obstacle in order to enter bullet time. And while I’m no expert on racing games, I would be very surprised if there weren’t games with deeper driving models. But while each component is straightforward, the game (and the individual missions) string them together into an overall experience greater than the sum of its parts.
The same holds true for the game’s story. Some sequences are laugh-out-loud funny, though they tend to be merely the comic relief between far darker events. On a deeper level, while the game is a long way from Shakespeare, it understands the importance of theme and character arc. Without them, I doubt I would have seen Sleeping Dogs through to the end – after 28 hours, I was getting a little bored of beating up gangsters and detonating their cars. With them, Wei’s adventures became a coherent, satisfying narrative filled with characters I cared about – characters who acquired depth through their different responses to one of the game’s central ideas, the lure of crime. I wanted to see how their stories would end, and that desire propelled me through an increasingly explosive (in every sense of the word) plot all the way to the credits. Far more ambitious games have done far worse.
Lastly, I should give a shout-out to the game’s soundtrack, which did so much to convey a sense of place. There are quite a few songs available, but my favourites by far were the (often instrumental) Chinese tracks. Motoring around the game’s version of Hong Kong, with the rain pouring and the car radio pumping this into my ears, wasn’t just atmospheric and relaxing. In its own small way, it was an experience I could not have gotten from another game.
At the end of the day, I couldn’t have asked for a better introduction than this to the modern-day open-world genre. Sometimes hilarious, sometimes horrifying, often exciting, and always entertaining, Sleeping Dogs is a very good game, well worth my money. I look forward to seeing what UFG does next.
We hope you enjoyed this post! To quickly find this post, and our other reviews, click the “reviews” tab at the top of this page.
Resources
An interesting take on the game’s story (some spoilers) (WSJ)
Buy Sleeping Dogs from Amazon (US)
The basis of my review
Length of time spent with the game: 28 hours.
What I played: The entire story, and many of the game’s side quests.
What I didn’t play: The remaining side quests.
The best way I can describe FTL: Faster than Light, the new indie title from Subset Games, is to say it lives up to the very simple promise on its Kickstarter page (emphasis mine):
FTL is a spaceship simulation roguelike-like. Its aim is to recreate the atmosphere of running a spaceship exploring the galaxy.
To get a sense of how the typical game of FTL plays out, I refer you to my Let’s Play series – linked at the top of this post. In summary, players start at one end of the galaxy, progress through seven increasingly dangerous sectors, and finally take on the final boss at the end of sector eight. Each sector comprises a randomised mix of encounters – shops, text-based, multiple-choice quests (think King Arthur: The Roleplaying Wargame, or maybe a much simpler Space Rangers 2), hazards such as asteroid fields, and most of all, hostile spaceships. Combat is a frenetic homage to movie and TV space battles, as you juggle power between shields and engines and weapons, order your crew to fix hull breaches and extinguish fires, target enemy subsystems, and oh god Mr Chekov will you knock out their missiles before they kill us all?! (Since the game only gives you one save slot, you cannot reload if you die unless you back up your save file, aka “savescumming”.) Afterwards, you use scrap from your enemies’ hulls to upgrade your ship and buy fuel and repairs. Ultimately, you escape to the next sector one step ahead of your foes, and begin the process again. The typical game takes about an hour or two to play, and for most of that time – specifically, for sectors one through seven – it is a delightful roller-coaster of excitement and panic and elation.
Where FTL falls down is its endgame, sector eight, which finally trips over the line between challenge and frustration. The end boss suffers from several related problems:
1) The boss isn’t merely more difficult than anything else in the game. It’s an order of magnitude more difficult.
2) The sheer length of the boss battle. Most battles are in the game are over in 2-3 minutes. However, the boss’ defences are so strong that all up, it took me something like 40 minutes to beat! The game’s combat system is built for short, sharp fights, and it bogs down when it takes that long to get through one opponent.
3) The need for luck to beat the boss. This manifests in two ways. First, since equipment, and shop catalogues are random, it’s possible for a player to reach the boss without the tools needed to win. Second, as my experience in part 4 of the Let’s Play showed, the length and difficulty of the boss fight increase the odds an unlucky hit will scupper all your work.
4) The inability to save/reload, which becomes a liability here. If things go wrong 80% of the way through the boss fight, get ready to replay aaaaaall the way from sector 1.
Net effect: I feel absolutely no shame over savescumming to beat the boss, and while I could replay the game (unlocking and then trying out different spaceships, attempting different builds, etc) – I don’t want to. There are players who feel motivated to defeat that final boss over, and over again. I am not one. And that is a real disincentive for me to spend any more time with FTL.
Still, while FTL lasted, it and I had a wonderful ride. As with 2010’s Recettear, FTL is short, sweet and clever. It’s not perfect, but the core mechanics for 80%-90% of the game are sufficiently strong to outweigh the annoyance and tedium of the remaining 10%-20%. Well worth checking out, and I look forward to seeing what its creators do next.
We hope you enjoyed this post! To quickly find this post, and our other reviews, click the “reviews” tab at the top of this page.
Resources
The basis of my review
Time spent with the game: I estimate 8-10 hours.
What I played: Four playthroughs on Easy (one won), using the Kestrel.
What I didn’t play: Normal difficulty. The other spaceships in the game.
I should preface this with three comments. First, I can’t opine on XCOM‘s maligned keyboard+mouse interface, as I played with an Xbox 360 controller. Second, I edited the game’s configuration files to dial the difficulty up to “Classic” — this is how — so I also can’t comment on the demo’s default difficulty (which was apparently set to the lowest level). Lastly, as the demo only comprises two battles (the tutorial and one “proper” mission), it didn’t give me the chance to assess the game’s strategic layer, or the progression of tactical battles over time.
With that out of the way, I had a great time in the demo. Combat felt tense, fluid and atmospheric. I played slowly and very carefully, and for most of the mission, this worked — I didn’t take a single hit. Then suddenly, it didn’t. The last alien — the last alien! — on the map one-shot-killed my poor support trooper with a lucky critical. As Jake Solomon would say, “that’s XCOM!” Neither did I experience technical problems. Using the 360 controller, I found the UI fine, and after setting the graphics to “medium”, the game ran comfortably on my 2010-vintage notebook (Core i7, 8GB RAM, Mobility Radeon HD 5730).
All in all, what I saw has only heightened my anticipation for the full game — due out in two weeks’ time. Stay tuned for my Let’s Play! Until then, you can watch my gameplay video of the demo mission below:
Half-Minute Hero, a remarkably clever and fun Japanese indie indie-esque (correction: its imaginative concept, general feel, and price tag are all incredibly indie-ish, but I don’t think it meets the technical definition) game, has now landed on Steam!
I played the original Half-Minute Hero on the PSP last year; its conceit is that each level is an entire 8-bit RPG, boiled down to fit a 30-second time limit! In that time, you have to grind, buy better gear, recruit NPC allies, and leave enough time to make it to (and beat!) the boss. (In practice, you have a little longer than that, since you can buy increasingly expensive extensions from the Goddess of Time.)
The original game was a fast-paced, funny homage to the RPGs of yesteryear; I’m not familiar with what may have changed in the PC version apart from the title, which has expanded to Half Minute Hero: Super Mega Neo Climax Ultimate Boy. That moniker should give you a clue as to the game’s mood! However, if the gameplay has remained the same, the Steam version will be well worth $10 (and especially worth the current discounted price of $9).
Lastly, this promotional video is worth a watch:
http://www.youtube.com/watch?v=qh4dcTTy94A
From the blog of Vic Davis, of Armageddon Empires, Solium Infernum and Six-Gun Saga fame:
Ok I’m in the home stretch on The Occult Chronicles. The famous last 10% that feels like the final turn on the 400 meter sprint. The bad news is that I won’t be making the October 31st release date that I had hoped for. Right now I’m shooting for January or February. So I’m having a sale to raise some funds to finish off the art for the project. Kickstarter seems a bit too much for something like this and I’d like to save it for a TBS or maybe a mega expansion pack for this game. I’d like to ask any longtime supporters to spread the sales news around in any way that they can. Tell your forum buddies, post on your blog or get a soap box out and stand on it at a street corner etc. You can get 50% off any games that I sell for the next 10 days. Just enter the coupon code OCCULT when you go to check out. The deal doesn’t apply to the SI & AE bundle but you will get a better price by adding them to the cart separately and then using the code.
A few months back, I called Armageddon Empires “one game I think every strategy aficionado, and certainly every strategy designer, should play“. Ten bucks for a game of that calibre is a screaming buy. If you like strategy, head over to the game’s official website and give it a look!
Captain’s log, starship Kestrel
Stardate 2012.09.22
Sector Seven: Zoltan Homeworlds, Continued
When we left off, I was debating which piece of equipment to leave behind in order to pick up a shiny new hull-smasher laser. In the end, I ditch my unused anti-ship drone. I have only limited power available for the drone control unit, and I want to focus on the life-saving defensive drone.
We make it to the end of Sector Seven without incident.
Sector Eight: The Last Stand
This is it, the cusp of the final showdown. This is what the sector looks like. The Rebel flagship is the ominous red shape just visible at the far left:
On the way to fight the flagship, we come to the rescue of a beleaguered Federation squadron under attack by the Rebel:
This time I remember to turn on the defence drone at the start! The Rebel does little damage as a result, and the grateful Federal survivors hand me some supplies. I back up my save again, and carry on. A second Rebel is just a speed bump, and then it’s onto the flagship.
Here we go.
The fight is long (my Dxtory recording comes to over 30 minutes!) and, to be frank, a bit tedious once I’ve destroyed most of the flagship’s weapons. At this point, I just have to wait for my weapons to do enough damage. However, the tipping point comes once I use my Mantis boarders to whittle down the flagship’s crew, at the same time I use the fire bomb I purchased back in sector 6 to set the flagship’s med bay alight. This prevents the crew from simply running away from the Mantes, healing up in the med bay, and running back to pick off my weakened boarders. Even then, it’s chancy – I lose my second crewmember this game, Mansvik the Mantis – but his sacrifice isn’t in vain. Eventually, most of the flagship’s crew is dead, save for one gunner in the forward compartment. Mopping up is easy after that.
At the end of the fight, the battered flagship jumps away. I back up my save yet again, and prepare to give chase.
… and die horribly when my cloaking device – the key to my survival! – gets knocked out by an unlucky hit. This is why I backed up the save, because I’m not starting this LP (or playing that half-hour flagship battle) again.
Let’s try that one again.
This time it goes much better. A quick barrage of firebombs, and Sem the surviving Mantis, take care of most of the flagship’s remaining weapons. I dust off my anti-boarder drone, and that takes care of the boarding drones the flagship sends my way. The cloaking device stays intact, and I can survive the worst the flagship throws at me. Soon the battle is over. I back up my save once more, spend the last of my scrap, and head off to fight the third and final phase of the flagship.
I have to reload twice – this time, the flagship carries Zoltan shields that prevent me from quickly disabling its most dangerous weapon, a triple missile launcher, with my boarders/firebombs. In the time it takes me to lase the shield down, the flagship pulverises me. Cloaking barely helps, as using the cloak against the missiles meant it wouldn’t be available against the flagship’s special attack, and vice-versa. But on my third attempt, I pull it off! Eventually I bring down the flagship’s shields, and soon after, the missile launcher. Once the launcher is out of commission, it’s smooth sailing.
The high score table looks like this. The duplicates are the result of my savescumming (somewhat disappointingly, winning the game doesn’t confer extra points; oh well):
And that’s it for this playthrough! For players who want to try saving the Federation again, beating the flagship unlocks a new ship type, the Federation Cruiser. (There are nine ships, plus variants, in the game – so there is room for completionism.) But for now, I think I can rest on my laurels and proclaim myself done with FTL. Thank you for following along, and I hope you had as much fun as I did!
