I love a good boob as much as most (I even love a bad boob if it’s got character), but there are other things in the world that I can love as well. For example, avocados are nice. Let us also not forget the pleasure one gets from a game of badminton. All these are things that can get a rise out of me. However, if I were to ready myself for a tasty avocado treat and it was just an avocado — I’m talking just an avocado — I wouldn’t be upset (I don’t think) by its lack of cleavage. Indeed, it might make me suspicious if it did. “Where’d this avocado get these boobs?” I’d ask.
What I’m trying to say is I was just playing the game The Saboteur on my PS3.
Continue reading The Saboteur: What’s With All the Tits?
What is the defining feature of Super Mario Brothers? Not in the boring terms of cultural cachet, but in the actually interesting terms of game design? What is it that sets SMB apart? We talk and wave our hands about, and mumble words of “gameplay” and “level design”, but what is the core, the glue, the absolute center around which they revolve? Does such a center even exist?
I propose that it does, and that it has a real name: Clear Visual Language.
Continue reading Space Giraffe: The Final Frontier
Michael Campagnaro and I sat down to play an hour of X-COM: UFO Defense, the 1994 alien invasion cult classic for PC. The point of it was to kick off a Let’s Try to Understand series with a game that neither of us had played and know little about, but that has many devoted fans. Because X-COM is a unique brand of strategy and because it was designed 18 years ago, it seemed like a good choice. We strapped on our tinfoil hats and settled into our commander’s chairs in an attempt to fumble our way through saving the world, reconvening one hour later to talk out the trauma of intergalactic warfare as conducted by total newcomers.
Continue reading Welcome to Erf: X-COM: UFO Defense
I’d argue that strategy games appeal to a lot of people for one pretty simple reason: they allow their audience to play god in a way that other genres don’t. Ino-Co Plus, developers of the forthcoming (impenetrably named) Warlock: Master of the Arcane get this. They know that the person sitting at their computer, ordering tiny little armies to wage war and tiny little builders to construct settlements is attempting to exert control over some part of their lives, that their careful forethought and desire for virtual conquest stems from the need to own something, no matter how intangible that something may be.
That, or I just have the pessimistic view that everyone in the world is a megalomaniac.
Continue reading Impressionable: Warlock: Master of the Arcane: Semicolon
Put simply, God Hand is the reason I stopped liking videogames. But that doesn’t even come close to reaching my editor’s Demanded Word Count™!
A Big Thing with videogames these days is difficulty. Difficulty is an especially poorly explored topic, because most videogame critics and designers+ suck at videogames++, and ESPECIALLY at videogames that have Actual Difficulty. Actual Difficulty is a unique beast; it doesn’t rely on memorization, or on setting you back far from where you were+++. It relies on intricate patterns, robust interactions, and strong knowledge of the underlying system mechanics. Actual Difficulty arises solely from strong design, constant testing, and the type of genius that only years of experience can create.
God Hand has more Actual Difficulty in the first level than most designers can fit into their entire game, and all of it comes from constantly varied scenarios that require a mastery of the absurdly robust combat engine Clover Studios birthed.
Continue reading The Word of God Hand
The Shin Megami Tensei series is unique in that it combines the common tropes of Young Adult literature with something only video games are capable of: it places the player in a situation and asks them what they want to do. Some of the series’ games tend strongly towards the mundane (Persona) while others go off the deep end (Nocturne), but they all feature regular people in insane realities.
Devil Survivor, though, manages to blend the tropes of YA post-apocalyptic literature and the Megami Tensei series’ twisted view of the mundane. You embody a normal high school kid, and the game tells you demons are real, the city of Tokyo is locked down, and you’re going to die tomorrow. It tells you that and watches how you react.
Continue reading So You’re Going to Die in Tokyo: Devil Survivor
There’s a healthy amount of debate occurring in games criticism right now about how far the concept of gamification* should be implemented into our daily lives. It’s a rich topic that is as much about human psychology as it is about videogame theory — and one that much smarter people than I have already spent a lot of time intelligently discussing.
I’d rather try to look at it in a different way.
Not very long ago, sex was one of the big taboos in mainstream games. Although hyper-violent titles were slapped with an M rating and sent on their way to be readily devoured by audiences, trying to implement sex was frowned upon in general. This isn’t surprising. The North American entertainment model has always been quicker to accept violent content than sexual material, and videogames, a younger medium, have unfortunately followed suit. But as the main demographic of game players has moved away from kids and teenagers to a wider audience made up of varying age groups, the viability of sex as a game element has grown. This is just fine — except, sex in games still isn’t being handled properly.
Continue reading Taking Some of the Game Out of Videogame Sex