Eyes on Antihero

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So, in general terms, an antihero is a bad person who’s really a good person.  It turns out, an Antihero is also a video game.  Who knew?!

Me.  I knew.  Man, I rule.  And now you do too, because I’m telling you about it!

So, Antihero is a turn-based strategy game in which you run a thieves guild.  In said guild, you manage a team of units to help you yank, gank, and shank, all in the name of robbing the rich to give to… yourself.  You’re like half of Robin Hood, here.  To be honest, the ‘hero’ part of Antihero doesn’t really show up in the game.

Antihero is one of those games that’s simple in concept but really solid in execution.  It plays a lot like a board game, honestly.  Except it’s a video game.  It’s a video board game.  Yes.  You play in a semi-randomized section of one of the three types of Englands that show up in fiction (it’s the Sherlock Holmes-type, for reference) and they have you and a CPU or other player facing off against each other, racing to collect enough victory points to win the game before your opponent does.

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One of the things that I really like about Antihero is the way that your strategy has to evolve as you go along with the game.  Each game moves really quickly, and is over in about 15-20 minutes at most, yet there’s a really clear progression in strategy there.  In the early game, you might be able to make a really strong showing of it by denying your opponent access to resources and blocking them from scouting into your side of the board, while you snatch up and burglarize as much as you can.  If you just stick with that, though, you won’t be able to keep up as they start being able to move units through more territory and the places you’re stealing from run out of stuff to steal, so you’d better have built up a solid base of resource generation to keep you going by the mid-game.  And then in the end game, it becomes very difficult to keep units on the board but both sides should usually have enough to keep pumping more out, so it turns into a very aggressive war of attrition, and the guessing game of where to hit them hardest and where to place your own traps ends up ruling the day.

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There’s two major resources to secure; lanterns, which buy you upgrades, and coins, which buy you units.  Upgrades give you access to more units, improve on their capabilities, and boost your resource generation.  You’re not typically limited as far as how much you can get per turn, but every upgrade makes additional upgrades that turn more expenses, and buying units increases the price of other units of the same type.  Another layer of strategy there, sometimes you’re going to be best served by spending your wealth on a number of units, while other times you should spread them out between turns.

I particularly like the way units are designed to deal with the way strategies change throughout the course of the game.  To start with, you’ve got your master thief, who’s basically the queen of the chess board.  This guy/gal is the lynchpin of everything you’ve got going on.  They’re in charge of scouting, stabbing, and stealing.  One of the big strategic keys of the game is working out just when to upgrade their capabilities over the capabilities of the guild as a whole.  Your units can only operate in the locations you’ve scouted, burglarizing is your man source of resources in the early/mid game, and your attack capabilities without the master thief’s contributions has a strict application limit, so a lot of your momentum swings on how you use your master thief.  This unit gets the most upgrades, as well, and you’re able to increase the amount of moves you can make in a turn, the damage they do, the amount of coins you get activities, the types of places you can steal from, etc.  They’ll get progressively more powerful as the game goes on.  And, they retreat back to your hideout at the end of every turn, making it impossible for the opponent to attack them directly.

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Then you’ve got your urchins.  Urchins are pretty much the worker units of other strategy games.  Have them invade businesses, and they’ll get you benefits for it.  Usually that’ll be resources you get every turn, but sometimes it can be upgrades to your units, reduced costs, or even victory points.  They’ve usually only got one application, but it’s one that’s useful the whole game through.

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Your gangs are another one of your backbones.  These are the things that make people hurt.  Got some goons blocking your way?  Give them a good drubbing.  An assassination target?  Send the gangs after them.  They can kick urchins out of buildings, too, paving the way for you to take hold of it yourself.  You get to upgrade them every time they succeed at doing something, building up the damage they do, the amount of urchins they can remove at once, or the amount of money they make when they succeed at something.  These guys are kind of funny, so absolutely vital in the early game, but they end up dying by the droves in the late game, so it’s hard to build them up much then.  Even so, the ability to remove urchins from locations is vital to managing your opponent, and even when they can only do one before dying, it’s still the most cost-effective way of doing so.

Thugs can block off areas.  Neutral thugs will pop up randomly or around assassination targets over the course of the game, but if you want to keep your opponent from scouting out a certain area or reaching a certain resource, you can send a thug of your own to block it off.  They don’t have any offensive capabilities of their own, but you can make your opponent waste some moves in dealing with them, which is crazy effective in the early game.  As your opponent scouts more and more territory, their usefulness starts to wane, but you can always also add them to a gang to boost its health.

Saboteurs are one time use units that are pretty cheap.  They’re the only other unit other than the master thief that can scout, so if you need to extend your reach but the head honcho is busy, they can at least reveal some more street for your other units to prowl.  Their true utility, however, comes in the traps they lay.  Got a business where you just need to make sure your urchins are unmolested?  This guy can plant a bomb there.  It’ll last for a couple turns, and the first unit that tries to mess with that building will be stunned.  It makes the master thief lose all their remaining moves, and it leaves gangs and truant officers helpless in the streets, waiting to be picked off, all while your happy urchins are still there, unfettered.

And then you have truant officers and assassins.  Both one time use units, the best at what they do.  Both the most expensive units available.  Truant officers will roll up, and in the creepiest way possible, remove all the urchins from a building.  Assassins will strike for a whopping six damage, more than any other unit in the game and enough to slay almost anything except for the later assassination targets, before vanishing.  Both are only available by the time you reach the late game, and the economy on them isn’t great, as given enough time you could have a gang do the same work for much less cost, but smart use of them can really turn the tide for you.

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To win the game, you usually need to secure six victory points.  There’s a bunch of ways to do that, but there’s three that’s available on every map.  You can spend lanterns on bribing someone to get a victory point, although the cost of doing so increases each time you do.  You can fulfill contracts for assassination, taking out random targets with more health than you typically have available at that point, although again, the amount of health they have will increase every time one of them falls.  And you can fill a church with urchins, learning enough from confessions to secure blackmail, but this is the only type of victory point you can lose, so you’ll have to defend those urchins until the game is won.  Scenarios may also present you with other means of scoring victory points, such as by stealing a ship’s cargo, sneaking into a masquerade, or overcoming a palaces security and burglarizing its jewels.

The game has a campaign mode that’ll take you through all of these, as it tells the story of master thief Lightfinger as he ousts all the other thieves guilds from NOT LONDON and establishes his control over the city.  It also has an exhibition mode that I spent a fair bit of time in, and a multiplayer mode that might mean something to me if I ever played these things with anyone else.

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All in all, I want to call back to what I said earlier.  It’s a really simple concept with a very solid execution.  I had a lot of fun with it.  There’s not a whole lot of meat there, though.  The campaign mode will take you maybe 3 hours, and when you’re done with that, you’ve seen pretty much all the game has.  Short games don’t bother me at all, and it’s really good for a quick bit of fun, but if you’re expecting something with staying power, this is not it.  It is really satisfying to get a good strategy going, and although you will probably use the same basic model throughout, the different scenarios and actions of your enemies will require a fair bit of variation to that.  It’s good for my thinking cap, is what I’m saying.

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Analyzing Games the Aether Way

If you’ve read some of my older posts, you probably know that I just love to put too much thought to many of the games I play.  Explore the themes.  Read into the little features.  Even when the developers didn’t intend that to be there.  Especially when the developers didn’t intend that to be there.  You probably also know that I am an amazing human being, and every living human either desires me or desires to be me.  You wouldn’t think that would be related to my tendencies for over-analysis, but to be honest, I don’t know how I make my magic work, so it very well could be.

Maybe you want to be amazing just like me.  You shouldn’t.  You should want to be amazing in your own way.  But if that way involves analyzing video games and other creative works, maybe I can help you with that.  Let’s take a case study, and go over the sort of unconscious method I use to dig into the plots, the settings, the themes, the meanings, the hidden little features of things in a way that makes experiencing them so much more meaningful to me.

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To play along, I ask that you give Loved by Alex Ocias a go.  It’s a quick little platformer, minimalistic, not really heavy on the mind, but it has a lot of features that we’ll be able to apply the following lessons to.  So please, if you have 10 minutes to spare, give that a quick playthrough before continuing on with the rest of this post.

Anyways, let’s get going.  You want to analyze a game?  Here’s how I do it.

1: Understand Your Filters

We’re all on our own lives here.  Every single one of us has our own backgrounds, morals, beliefs, values, set of experiences, and whatnot.  Your family, your friends, your work, all of them will have their own, different cultures.  Every one of us has our own path through life, and have absorbed so many little unique bits into ourselves that make up a huge chunk of who we are today.  And that impacts the way we view our media.

Assuming most of us here are human adults, our brains don’t experience most things in a vacuum.  Rather, our brains will process stimulus by comparing it to what we’ve experienced in the past and basing it on that.  Our past experience color and change the way we have our current experiences.  We have lens.  Biases.  Filters.

Usually, this is not a bad thing.  These lens can become overpowering, to the point where you’re primed to see something based on almost no indication and you ignore the contrary and deeper points and you end up having big, dumb, easily refuted rants about the deeply offensive targeted political statements of Princess Tutu or something, but most of the time, they’re just a thing to be aware of.  They can be helpful to you, in fact, giving you an interesting and unique way of looking at the media you’re going through.  And these change with time as well, as we all go through life.  Our understanding of the world evolves, and with it, the way we enjoy our fiction.  To make the most use of them, however, you need to know what they are and where they’re coming from.  Knowing what you connect with and why, what’s going to make the most impact on you and how it gets there, is really the prime step in going for a deeper understanding.

So, in the case of Loved, it starts of strong with just its title.  For those of you who aren’t playing along, a) c’mon, seriously? and b) Loved is a simple platformer where the narrator is continuously putting you down and ordering you to do things which are commonly not in your best interest.  Obeying the narrator adds more details to the environment and gives the interactable objects distinct shapes, but leaves the world black and white.  Disobeying adds color to the world, but leaves things as indistinct squares.  There’s only two characters in the game, you and that narrator, and you’re given very little details on either.  Because of the title, you know it involves love of some sort, and it’s clearly an unbalanced sort of love, with the way the narrator treats you, but other than that, the specific impression of the relationship between the two, that all comes from you.  So who were they?  A romantic couple?  Parent and child?  Owner and pet?  The game gives little indication.  Your sense of their relationship is going to come from your filters.

Continue reading

Eyes on >observer_

Between Amazon’s Twitch Prime and the various Humble Bundle stuff I’ve been a part of, I own a ton of games I’ve never even heard of.  I decided to start running my way through them.  First on the list, because I organized it alphabetically, was the oddly titled >observer_.  Looking at its Playstation Store page, I see the game bills itself as a ‘Cyberpunk Horror’, with the tagline “What would you do if your fears were hacked” which is not quite accurate to what actually goes on in the game.  But looking at the guts of the game, what really is >observer_?

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It’s cyberpunk as hell, is what it is.  Ugly technomodifications are commonplace, corporations act more like government, a high degree of enforced social stratification, Rutger Hauer is there, you get the whole cyberpunk shebang.  You play as Daniel Lazarski, one of the titular Observers, members of the corporate-owned police force who jack into the chips in people’s heads to experience their memories in abstract form.  He gets a call from his estranged son in which he seems to be needing help, which he tracks back to the most run down future apartment building you’ve ever seen.  Tracking things down there, he finds a headless corpse in his son’s room, with plenty of evidence of foul play around.  Shortly afterwards, the system detects the technoplague in that building, and locks the whole place down in quarantine.

>observer_ was made by Bloober Team, the same folk who made Layers of Fear, a game I actually own twice but likewise have never played.  From what I understand, though, it’s somewhat similar in gameplay.  It hews close to the whole Environmental Narrative/Walking Simulator thing.  When you’re not forcing your way into people’s memories, you’re pretty much just exploring the apartment building you find yourself locked in, searching out clues to lead you to the killer.  It wouldn’t be cyberpunk if you didn’t have technology to help you on that, and true to form, you’ve got three types of visions to work in there.  Night-vision is the obvious one, but you have a filter that highlights and gives extra information on all the technological objects in your view, and a filter for the biological objects as well.  Using these, you can pick up traces that are otherwise invisible to the eye, autopsy the other bodies you find, get a small degree of specified X-ray vision, and more.  The core of the gameplay is largely linear, you’re just moving along the path, seeing the sights, and picking up bits of information here and there that lead you to the next place to go.

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Things get shaken up quite a bit when you’re breaking into people’s heads.  At least in terms of tone.  They’re still crazy linear, and there’s usually much less for you to figure out and more just walking from place to place, but really that’s where this game shines.  You get into people’s heads and you can see their memories.  But it’s not clear, and it’s not direct, and it’s beautifully abstracted.  It’s where the game gets into the whole spooky freaky stuff it trades on.  The imagery it gets into is rather disturbing in the best of times, even when it’s delivering the more mundane moments in these people’s lives.  Early on in the story, our dear Lazarski, cut off from backup and with his son at risk, jacks into someone under situations that are supposed to be dangerous and harmful, and he actually has to disengage the safeties on his system to do so.  This has horrible effects on him, and those same effects he sees in other people’s minds start showing up in reality as well, as the lines between reality and his own mind start breaking down.  The visual glitches and imagery you see as this state takes hold forms some of the more interesting parts of the game.

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>observer_ does explore a lot of the ramifications of the cyberpunk setting it’s using in interesting, albeit generally shallow, ways.  You see the effects of people getting addicted to VR, what happens as body modification gets more extensive, the idea of people choosing to go without implants and being thought of as fringe for it.  Most of it is explored in brief conversations, so again, you don’t get to go super deep into it, but you do get some really interesting ideas coming through there.

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Some places call >observer_ a horror game.  Some stick with thriller.  I find it a little hard to place.  The game wants to be scary.  If it was a movie, what it does might have succeeded.  Not so much as a game thought.  Part of it might be how limited it is in scope.  It feels a lot like it was built under limitations, like a game jam or a NaNo thing.  They had a set amount of time and/or resources they were wanting to keep this within, and they stuck with that.  There’s not a whole lot of assets here.  In fact, there’s only two NPCs that you see outside of cutscenes, two enemy types (of which one is only in one scene), with nearly all your interactions taking place through communicators or beyond doors so you don’t actually interact with much more than voices.  You have to stealth by the enemies, but the main enemy is incredibly simple to get by once you learn the rules it operates with, and it becomes clear some time after they’re introduced that there’s nothing that’s going to happen to you outside of those enemies.  Granted, game overs are really bad for maintaining a horror environment, because they completely ruin immersion, but there has to at least be the threat that the bad things are going to do bad things to you, and the monsters here are so disconnected with anything that they don’t do it.  It ends up being a scary game without much in the way of threat to it.  It can get very tense, but that lack of threat keeps it from being very frightening.

It’s also not a very clean game.  Your eyes are robotic, which gives it an excuse to be throwing a lot of visual glitches at you, many of which can be somewhat headache inducing, to be honest.  Problems come in when there’s plenty of actual glitches as well.  And it’s hard to tell what’s a real glitch and what’s an in-story glitch.  There was a point in time where I used up all the ‘stop freaking my eyes out’ medicine I had to no effect, then continued on, frustrated at the designer’s choice, only to find out later that it was something that wasn’t really supposed to be happening.  Some time later, I spent a good ten minutes in a completely black room trying to figure out what to do, before checking out a walkthrough and figuring out that the game just failed to load.  Kind of put a damper on the whole thing.

Overall, I’d say I had a decent time with it.  Especially knowing nothing about the game going into it, it was a very interesting experience, and you see some real bursts of creativity there.  It’s probably worth saying that, judging by online reviews, the people who like this game really like this game.  I didn’t quite go that far, but if you’re into cyberpunk and environmental narrative spookiness, maybe it’s your cuppa.

The Tabletop Critique-Ticket to Ride: First Journey

I’m not positive, but I’ve heard that some people out there have these things called “children”. From what I’ve been told, they’re a type of parasite. They hatch out of eggs inside people’s bodies, then progress to devour their hosts’ time and money as they grow. Oddly enough, people seem to like having these children around. And so they purchase products specially made to appease them.

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Our subject today is one of them. Ticket to Ride: First Journey. As you might guess from the name, it’s based off of a larger, slightly more complicated game that’s made for grown ups, which is what I’ve been told children become when they exit their larval stage and develop muscles and body hair. Now, I’ve never played the original Ticket to Ride, but I’m guessing that this is something of a simpler version of the original. Less rules, less pieces, and some more colors and happy faces.

But in any case, let’s take a look at how the game stands on its own.

So, Ticket to Ride: First Journey is a competitive game about trains. You’re in control of a train company, trying to outperform your competitors by buying and establishing transportation routes between key cities. Specifically, each player is given specific cities to connect with each other. If your routes can take someone from one city to another, you get a ticket. First player to six tickets win.

I’ve heard a lot of very positive reports about the original Ticket to Ride. Apparently it’s the height of easy to pick up hard to master-ness, featuring some simple gameplay with some deceptively complex resource management and predictive strategizing behind it. Ticket to Ride: First Edition definitely maintains that simplicity. The game is pretty easy to work through. So easy, it feels like you just go on automatic, sometimes. It does not seem to have much depth or complexity to it, though. It does have some element of strategy to it, particularly when you have more than two players there and the board starts getting crowded. So skill does make a bit of play. But it doesn’t seem that you have much room to exercise it. Which, you know, you’re playing a kid’s game here, so you shouldn’t be going into it expecting a masterful hardcore tabletop gaming deal, but you know, just saying. It strikes a really good balance, though. It’s enough thinking that your engaged, so you’re having a good time, but not so much that you really have to be planning things out, if you’re not up for plumbing the limited depths there are here.

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One thing I really have to give the game credit for, it is snappy as nothing else. The game moves fast. Even when you’re playing with kids, it is a swift game. It helps that you only do one thing each turn, and you’ve only really got two options. You either get more resources, or use your resources to buy a route. It’s pretty easy to choose what you’re going to do. Even if you’re one of those kid things. This makes it feel super active. It’s not one of those games where you have to wait like ten minutes for the other player to figure out their move because the game never bothered putting in a time limit and your fellow players don’t care about anyone else having a good time. Man, freakin’ scrabble. No, here, you’ve barely finished your turn and it’s your turn again. Same thing for everyone else. It moves fast. Like, cheetah speed in SimCity or something.

The game is pretty rife for abuse, as well. Making plays that, although perfectly legal, are not exactly sporting. For example buying up routes for the express purpose of denying other people easy access between Chicago and Washington DC, or buying worthless routes solely to run out of trains so you can end the game early when you’re ahead on tickets but behind on resources. The rulebook says that you shouldn’t do that, but what is it going to do? Give you a paper-cut when you’re tasting the sweet, delicious, brutal victory? This might be taken as a flaw in the game, a gap in the design. Really, it’s not a bug, it’s a feature. This opens up the opportunity to reveal to this ‘children’ the valuable lesson that the world is a horrible place and everyone you trust will take advantage of you if given a moment’s chance. Sure, they may cry in the moment, but think of how better they’re going to be set up to move forward in life.

You know, I wonder if that’s why I don’t get asked to babysit so much. It seems parents would rather just leave their children weak.

So yeah, Ticket to Ride: First Journey. I really wouldn’t recommend that you play it with a group solely made up of ‘mature people’. I actually had a good time playing it with kids, though. It moves quickly, it’s easy for them to pick up on their own so they don’t need me planning out their moves for them, and when you’re working on that level, it’s pretty fun. I didn’t play it long enough for its lack of complexity to wear thin, although that’s a definite possibility, but hey, if you’ve got some of those childrens in your life and you’re looking for something new to do on those slow Tuesday nights, Ticket to Ride: First Journey is really solid. I had some good times with it.

The Tabletop Critique-Cards Against Humanity

I’m just going to guess you’ve heard about Cards Against Humanity by now. Because, really, chances are. It’s gotten a little bit of attention. On the interwebz. I hear some people like it.

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Right, so, if you don’t know about Cards Against Humanity, it’s basically Apples to Apples, except it’s intended to be played the way everyone really played Apples to Apples. The game is played by someone throwing out a statement card. Everyone else plays the cards in their hands that finish up the statement in the most humorous or awful way. Whoever gets the biggest laugh wins, then it all starts over again.

Also, the cards, they tend to be a little… brusque. Dirty jokes and black comedy. That’s part of the charm. Don’t play this game with your mom.

So yeah, game’s simple to play, so there’s not much analysis of the mechanics here. Let’s get down to the judgment here. Is the game good? In the right circumstances, it’s a great time. You have to enjoy this type of humor to have a good time with it, but if you do, yeah, it’s good. It’s pretty dependent on having a good-humored crew playing with you. Larger groups do seem to make it more fun, but the big key is that they have a sense of humor that aligns with yours. I played with a group that did, and had a great time. Played with a group I didn’t know so well, whose humor was more about alluding to baby murder as quickly as possible, and it was a lot more hit or miss. I played it drunk in a party, and it was like I found a new reason for living. I played with my mom, and we ended up having a long conversation about Jesus and my eternal soul.

Blazes, this is the quickest post I’ve written in a long while.

The Tabletop Critique-Magic the Gathering: Arena of the Planeswalkers

Despite my best intentions, Christmas happened again this year. Sorry about that. A man can only do his best, and although my best is considerable, it takes some time to efficiently bring Christmas to a close. Until then, I suppose we all have no choice but to suffer through it.

In the meantime, that means presents, from people. To me. They try their best. This year, me and mine seem to have gotten a lot of tabletop games. It’s been rather a year for that. A lesser man may simply play them, and leave it there, but I’m much more than that. Instead, I shall use this opportunity to enlighten the world! And you’re welcome.

Right. So with all my traditional self-absorbed pompousness out of the way, I got a lot of new tabletop games this holiday season. I’m going to review them. Sound good? Good.

The first game on the Tabletop Critique chopping block is this little number here.

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Magic: The Gathering holds a special place in my heart. I was super big into it as a cub. Well, as super big into it as you can get without actually owning any cards. See, I had those types of parents who thought that anything their children enjoyed was a tool of the devil, so, I had to rely on borrowing stuff from friends. Still, there was a time in my life where my thoughts were constantly on Magic. Beyond just the game itself, the stories, the world-building, and the lore had a really strong impact on me, kickstarting my imagination at a formative stage in my life in a way that little else did. It may be a little odd, but Magic was where I first started playing with storytelling, using the cards as setpieces to craft my own tales to tell myself, which built into one of those good old lifelong passions.

Eventually, I did start picking up the card game itself, then lapsed out of it, and now generally only play on special occasions. I still do have a lot of fond memories for the flavor and the world, however.

Which I suppose is where Arena of the Planeswalkers comes in. It’s a competitive miniature-based tabletop game. I know absolutely nothing about Heroclix, so I feel completely comfortable assuming this game is exactly the same but with a different flavor and a major twist to the mechanics somewhere. Each player controls one planeswalker figure and a collection of critters associated with them, then uses this squad to attempt to conquer all the other players who are doing the same.

In keeping with the source material, you’ve got five colors to work with, each with their own planeswalker, creatures, and spells. Each comes with their own strategic focuses, strengths, and weaknesses, giving you the tools you need to craft your tactics in taking the other teams down. Combat takes place on a game board that can be set up a couple of different ways, with a few obstacles and terrain features to present risks and opportunities. Each creature and planeswalker has different stats and traits, each spell card affects the battle in different ways, you get the picture.

Arena of the Planeswalkers isn’t very flavorful, but mechanically, it does carry the Magic the Gathering feel about as well as you could expect when turning the card game into a board game. The mechanics of it are quite simplified, but the functions carry over into the new format quite well. Summoning creatures plays much the same role as in the card games, and well placed spells will twist the flow of the game in exactly the same way as they can in the card game. In terms of mechanical feel, the game has built it’s similarities with the CCG with unequivocal success. Continue reading

Rose-Tinted Gaming

I had cause to look for my old PS1 memory card recently.  Well, I had lost the card, and wanted to play a PS1 game.  That’s about about as deep as the ’cause’ goes.  Anyways, that set me looking through the house, uncovering all my old stores of games and game supplies.

I’ve got quite a few of them.  Back when I was a youngling, I tended to finance the acquisition of new consoles by trading in everything I had for the old, but every since I got my Nintendo 64, I’ve hoarded all my games and systems jealously.  Adding to that my efforts to regain the games I once had and the various old-school gifts I’ve gotten over the years, my collection now takes up several boxes, most of which currently lies in safe storage in my closet.

Breaking into those boxes brought a wave of quiet nostalgia over me.  Most of these consoles haven’t even been turned on in years, yet the craftsmanship of those days was such that I’m almost positive they all still work.  The games themselves, well, the graphics are nowhere near the level of today’s efforts, the experiences may not be as polished, and the interfaces may not be as user-friendly, but I’ve got a lot of games in that collection that still stand strong in terms of entertainment, and lots of games that have well earned their place in video game history and paved the way for today’s blockbusters.  These were boxes filled with masterpieces, untouched for so long.

It struck me then that the way I approach gaming has changed over the years.  I make my own money now, and don’t have my parents on my back, so I can both buy as many games and play for however long as I think is appropriate.  Yet, though I don’t have those limitations any more, I don’t have such strong memories for as many modern games as I do for these older ones.  Hell, I still remember where I got most of these classic games.  Donkey Kong Country, purchased used at a friend’s garage sale after saving my money up for months.  Mischief Makers, bought at the department store down the mountain, then spending the next week being almost constantly played by a friend and I.  A beat up SNES, a gift along with a Japanese copy of Shin Megami Tensei to keep me occupied for the year I spent as a full-time volunteer.  I can’t even definitively state where I got half the discs in my library, but I have such vibrant memories of most aspects of these games.

Several years ago, I was worried that I wasn’t really appreciating my games, that I had too many that I wasn’t getting the full value out of, and so set out to replay all my games in full, generation by generation.  I’ve been going strong and am currently up to the PS2/GameCube/Xbox gen, but now I’m wondering, with these games being stuck in my closet for so long, if I haven’t been working in the wrong direction.

If you’ll excuse me, I need to go play some games.