Tenchu: WoH is an older game for the PS2. It’s one of the classic stealth games in that it has many wonderful stealth elements broken up by horrendous boss fights that make no sense for a ninja at all. The story itself is more an excuse for a series of missions than a real plot, but it does it’s job alright, although if you don’t have any backstory from playing previous games then you won’t get half of the references.
Now, let’s talk gameplay. The controls are intuitive, if a bit easy to mess up on, but one you get the hang of it you’ll be maneuvering your ninja without terribly much trouble. The enemy AI is incompetent to a level that I’ve rarely seen in games from this generation, but that just makes you look more incredible, honestly enough. The items are limited, but this helps you be more creative if for no better reason than you might really need an item later and you’ve got to think, although some of them are utterly useless, like the dog bone. Some of the objectives are deceptively simple and others leave you with a bemused look on your face and a healthy helping of disappointment when you expected something more difficult. In fact the only level in the game that routinely provides challenge is the graveyard because the undead are simply tough opponents with better vision and less area for you to hide.
Also, the fact of the matter is that Ayame is the best character in the game. This is up to some debate and taste will always play a factor, but she is not only faster than the other two, her ultimate weapon poisons opponents, making her far better in boss fights. Still, a talented player can make all of the characters excellent choices.
The only huge complaint I have is the boss fights. It really begins to feel like after a designer had lovingly designed three layouts for a stealth mission with all these cunning ways to get through it his boss came up to him and said, “nice work, now put a badass action fight at the end of the thing so your players don’t get bored since we all know that stealth games suck.” Then the depressed designer put the most ridiculously pointless boss fight in an promptly hung himself by an NES controller. Some of the boss fights are so easy they are more like cutscene bookended fights with normal baddies, while others are monstrously difficult such as the fight against the giant and the witch. Getting tag-teamed by superpowered baddies is not nearly as fun as it sounds when you’re built entirely around being sneaky and cunning and your bloody invisibility doesn’t fucking work against them. *ahem* Sorry… where was I? Right, well I ask you this, does it make any sense for a ninja to walk up to a large group of enemies or his assassination target and announce his presence so that there can be an honorable duel. Hell no, he stabs, shoots, or in some other way kills the opponent without ever being seen. Boss fights in games about ninjas just don’t make sense, sorry.
Now, as for replay value, let me tell you about it. There are three layouts to every level for every character and getting grand master on all of them is not only challenging, it becomes one of those Megaman style “this shit will not beat me” addictions. But hey, getting the best score on every version of every level is too repetitive for some people, right? Well there’s also a multiplayer mode that is quite entertaining just for your ability to play not only as the characters, but also as a host of enemies. It comes in both versus and co-op modes, but the only real problem is that you actually have to have a friend within a few feet of the console that wants to play with you and this is just not always the case. Yes, the lack of modern online multiplayer does seem to be a huge drawback in hindsight, but seeing as this game was made back in the dark ages when games didn’t have fancy features, we’ll have to forgive it. The multiplayer is enjoyable provided two people who genuinely like stealth gameplay reside close enough to each other to play. One thing I should mention though is that the split-screen absolutely blows for ninjas because being aware of your surroundings is vital and the screen is simply too small to see clearly and having your opponent’s screen right next to you is both distracting and way too tempting to glance at, even if you don’t want to cheat.
So, do I recommend Tenchu: Wrath of Heaven to you? Well that depends on what you want from a game. The stealth gameplay is enjoyable, although you have to deal with the boss fights in the story mode. The layouts make for some decent replay value if you enjoy that sort of thing, but the multiplayer is only fun if you have the right kind of friends in close proximity. I like it, but it’s not for everyone.
Visual: 3/5
Gameplay: 4/5
Story: 2/5
Overall: 3/5
17 October 2009
08 October 2009
The First Review
Alright, I'll admit to not beating that many games for someone who is a hardcore gamer. I've played a great deal, but getting to the end of most games isn't that imperative to me. I could be said to be the antithesis of a completionist, but if I get in the right mood I can do what I did to TES4: Oblivion. (I have beaten every single quest like in the game, not counting the miscelaneous quests of which I'm missing maybe fifteen or so.) Still, I have played plenty of games and beaten at least the main quest of several so I'm going to take this chance to review them in no specific order. Some of them are going to be pretty old games, but think of those as a chance to enjoy a few of my old favorites as a pick them apart into tiny pieces of beaten muck.
Without further b/s...
Psychonauts
Psychonauts is the first game released by developer Double Fine and would most likely be considered an action-adventure game, but genres and whatnot don’t make a game so let’s get down to the facts. First off, Psychonauts is an incredibly imaginative game. You play Raz, a kid who has run away from his family circus to become a psychonaut, basically a psychic secret agent, and the game opens with him insinuating himself in the Whispering Rock Summer Camp for psychics. He has only two days to earn every merit badge, gain all his psychic training, and become a psychonaut. Along the way he runs into a few interesting situations which make him the game’s hero. I’m not going to the give out any of the kinds of spoilers that get popcorn thrown at me at movie theaters, but let’s just say that the game goes in some odd directions.
One of the first things you’ll notice is that psychonauts handles like sticking your controller and hands into a goldfish bowl full of piranhas. The camera can at times be the most difficult opponent in the game, but once you get it under control and learn the quirks you can pull off pretty much any trick the game can think up, which is good because towards the end of the game you’re going to need them.
Ah, yes, the difficulty curve. Psychonauts consists of two halves. The first is a series of little more than training missions where there is nearly no penalty for failure except to try again. Any player with a working limb should be able to take these levels without any problem. Then about half way through the game the difficulty jumps, acceptably. Really the middle levels are not terribly difficult and they are quite imaginative. It is only towards the very end of the game that all the little quirks you’ve had to pick up on slowly over the majority of the game become murderous obstacles. What was once simple can become truly frustrating and I’ll admit I had to put the game down and walk away a few times so that I didn’t start grinding my teeth. Still, if you’ve spent the game mastering the finicky little controls to an impressive point the final levels present an enjoyable challenge.
Yes, I would liken Psychonauts to the old Mega Man games on the NES. There are points where you want to scream at the game and tell it that you hate it and never want to be friends again, but you still come back for another beating when you’ve had a little time to think of that one other way you might try to take the next obstacle.
So really there’s little to say about Psychonauts. It’s a clever and fun game that has more than its share of gameplay issues, but is forgiven of all problems by the fact that you can make seagulls explode with your mind.
Visual: 3/5
Gameplay: 3/5
Story: 5/5
Overall: 4/5
Without further b/s...
Psychonauts
Psychonauts is the first game released by developer Double Fine and would most likely be considered an action-adventure game, but genres and whatnot don’t make a game so let’s get down to the facts. First off, Psychonauts is an incredibly imaginative game. You play Raz, a kid who has run away from his family circus to become a psychonaut, basically a psychic secret agent, and the game opens with him insinuating himself in the Whispering Rock Summer Camp for psychics. He has only two days to earn every merit badge, gain all his psychic training, and become a psychonaut. Along the way he runs into a few interesting situations which make him the game’s hero. I’m not going to the give out any of the kinds of spoilers that get popcorn thrown at me at movie theaters, but let’s just say that the game goes in some odd directions.
One of the first things you’ll notice is that psychonauts handles like sticking your controller and hands into a goldfish bowl full of piranhas. The camera can at times be the most difficult opponent in the game, but once you get it under control and learn the quirks you can pull off pretty much any trick the game can think up, which is good because towards the end of the game you’re going to need them.
Ah, yes, the difficulty curve. Psychonauts consists of two halves. The first is a series of little more than training missions where there is nearly no penalty for failure except to try again. Any player with a working limb should be able to take these levels without any problem. Then about half way through the game the difficulty jumps, acceptably. Really the middle levels are not terribly difficult and they are quite imaginative. It is only towards the very end of the game that all the little quirks you’ve had to pick up on slowly over the majority of the game become murderous obstacles. What was once simple can become truly frustrating and I’ll admit I had to put the game down and walk away a few times so that I didn’t start grinding my teeth. Still, if you’ve spent the game mastering the finicky little controls to an impressive point the final levels present an enjoyable challenge.
Yes, I would liken Psychonauts to the old Mega Man games on the NES. There are points where you want to scream at the game and tell it that you hate it and never want to be friends again, but you still come back for another beating when you’ve had a little time to think of that one other way you might try to take the next obstacle.
So really there’s little to say about Psychonauts. It’s a clever and fun game that has more than its share of gameplay issues, but is forgiven of all problems by the fact that you can make seagulls explode with your mind.
Visual: 3/5
Gameplay: 3/5
Story: 5/5
Overall: 4/5
01 July 2009
Serious Gaming Goof
Right, so here's an issue or three.
1) Does gaming need to be serious to be enjoyable. I'm not talking about the casual gaming can of worms, in all senses of the words, but the big ugly brown and grey words gritty and realism. Why can't the ridiculous and odd be just as good. Well I think they can.
B) no... 2) Can a main character have personality, please? Main characters are almost always cardboard cutouts of people with rubber bands on them so that the player can feel like they're a person. I remember deep characters with real personality, not extinct in today's market, just exceedingly rare. Still, the gravel-voiced, brooding antihero is so old. It's like space marines, good, sure, but way WAY overplayed. Something new and realistic would be nice. Or even unrealistic if at least it's real.
3) or C) or those little iv) If you have a main character who's not aggressively macho and gravelly and a plot that is somewhat irrational does the game have to be for children, old ladies, and casual gamers?
Well, all that to say I love random game ideas. If you don't know what I refer to then look up the work of Tim Schafer.
1) Does gaming need to be serious to be enjoyable. I'm not talking about the casual gaming can of worms, in all senses of the words, but the big ugly brown and grey words gritty and realism. Why can't the ridiculous and odd be just as good. Well I think they can.
B) no... 2) Can a main character have personality, please? Main characters are almost always cardboard cutouts of people with rubber bands on them so that the player can feel like they're a person. I remember deep characters with real personality, not extinct in today's market, just exceedingly rare. Still, the gravel-voiced, brooding antihero is so old. It's like space marines, good, sure, but way WAY overplayed. Something new and realistic would be nice. Or even unrealistic if at least it's real.
3) or C) or those little iv) If you have a main character who's not aggressively macho and gravelly and a plot that is somewhat irrational does the game have to be for children, old ladies, and casual gamers?
Well, all that to say I love random game ideas. If you don't know what I refer to then look up the work of Tim Schafer.
11 June 2009
War
Right, so after a long hiatus from blogging due to finals, graduation, life, etc. I'm back and ready to start being professional.
I think the only thing I can talk about at the moment is some of the new releases which I think are about to tip the scales in the console wars.
InFamous - A brand new title exclusive to the PS3 from Sucker Punch. This game is a sandbox game like few others these days and manages to be incredibly playable and entertaining. This game has been waited for so anxiously that gamers cannot help but flip for it. A heavy hitter for Sony.
God of War III - The third installment in the retardedly popular God of War series and another PS3 exclusive. These games have never been amazing, but have been consistently good and fun, so, from what I've seen, I'd say that the third game will continue this tradition and will put another strong contender on Sony's side.
Alan Wake - A new game from the Max Payne guys and it's going to be PC and X360 only. Another game that looks to be incredibly good and it's on Microsoft's side. Despite my personal issues with the 360 I gotta say it's living up to the hype, gremlins aside. Besides, I can't wait to see what this team is doing. I'll still side with PC, but I have issues...
Left 4 Dead - PC and 360 again, and damn fun. I've only played it on the 360, but the controls are suprisingly intuitive and it feels like a real survival game, not a Resident Evil clone. Also, the AI controlled difficulty is astounding. I really can't survive on my own. The AI can be bloody stupid, especially if you're on a stationary turrett, but then, that's what friends are for.
There are several more games coming out, but these four are the ones I really wanted to mention. Truth is, there is no change in the console wars stalemate. The 360 is still more playable despite it's endless issues, the PS3 is still overpriced and lacking games, and the Wii is still winning because they decided gamers aren't their target audience anymore. The real truth is that they're all good systems, but Sony needs to put out a lot of good games in a hurry if they want to last at all. I fear that PS3 is going the way of Dreamcast.
I think the only thing I can talk about at the moment is some of the new releases which I think are about to tip the scales in the console wars.
InFamous - A brand new title exclusive to the PS3 from Sucker Punch. This game is a sandbox game like few others these days and manages to be incredibly playable and entertaining. This game has been waited for so anxiously that gamers cannot help but flip for it. A heavy hitter for Sony.
God of War III - The third installment in the retardedly popular God of War series and another PS3 exclusive. These games have never been amazing, but have been consistently good and fun, so, from what I've seen, I'd say that the third game will continue this tradition and will put another strong contender on Sony's side.
Alan Wake - A new game from the Max Payne guys and it's going to be PC and X360 only. Another game that looks to be incredibly good and it's on Microsoft's side. Despite my personal issues with the 360 I gotta say it's living up to the hype, gremlins aside. Besides, I can't wait to see what this team is doing. I'll still side with PC, but I have issues...
Left 4 Dead - PC and 360 again, and damn fun. I've only played it on the 360, but the controls are suprisingly intuitive and it feels like a real survival game, not a Resident Evil clone. Also, the AI controlled difficulty is astounding. I really can't survive on my own. The AI can be bloody stupid, especially if you're on a stationary turrett, but then, that's what friends are for.
There are several more games coming out, but these four are the ones I really wanted to mention. Truth is, there is no change in the console wars stalemate. The 360 is still more playable despite it's endless issues, the PS3 is still overpriced and lacking games, and the Wii is still winning because they decided gamers aren't their target audience anymore. The real truth is that they're all good systems, but Sony needs to put out a lot of good games in a hurry if they want to last at all. I fear that PS3 is going the way of Dreamcast.
22 March 2009
Truly Horrid Design Choices
So I've been gaming quite a bit recently and I have found a few design choices which I don't ever want to see again. It's not that the games weren't good or anything like that, it's just that certain aspects of the game took them from great to decent, and that's sad.
My first example is a simple one which comes from playing Dead Rising recently. It's a fun game for the most part with a relatively intriguing basis, but honestly I get irked because the game expects you to level and die and restart the game several times so that you're a high enough level to really do anything at all. While it is possible to beat the game without leveling up all that much, it really is a murderous difficulty curve, but then, that's something that makes sense for the game. No, the thing which really does Dead Rising in is that you can't do anything so much as hop while using the radio. This leaves your nipples right in prime zombie biting territory without so much as a complaint from you. That combined with the obscenely small text for any and all messages you receive on said radio just becomes infuriating.
Really I suppose this should be a retrospective for all such design choices, see the inventory screen in Alone in the Dark or any number of other examples that have frustrated so many of you. If you have a screen which requires players to give their full attention to it, indeed which sometimes takes up the whole screen, PAUSE THE ACTION! Do not kill your player because he had to do something which is vital for game play and plot advancement. Killing your player for playing the game usually results in broken controllers and pawned games.
Another one comes from the original Star Wars: Knights of the Old Republic. Your AI doesn't need to be flawless, but at least make them competent at the skills they're given. I can't tell you how often I've had my bomb tech step on a mine she went to pick up. It's infuriating. This goes for games like Elder Scrolls IV: Oblivion too. The NPC's that fight with you are true imbeciles sometimes, especially one which you HAVE to rescue by the name of Farwil Indarys. Now, technically you don't have to save him, but you really should, and his friend too. Another is the son of the fighter's guild master. Having NPC's who charge into battle when you're a rogue is one of the most maddening aspects of the whole game. If you make an NPC warrior who needs to survive with the PC, make him competent or don't bother making him.
Lastly I'm going to pull out a game which is one of my favorites for the 360 despite everything. Assassin's Creed is such a terrible game that is so good I can't ever stop loving it. It's gorgeous, it's a fantastic storyline, and it's complete shite in gameplay. I have never been angrier than when I'm chased down by powerful NPC guards because I rode my horse at a speed that will get me to where I'm going before tomorrow. I don't like being made to endure long and tedious travel sequences and while I find the evironment entertaining and pretty I think all designers with gorgeous, expansive environments should take a page from Shadow of the Colossus. Let me ride through it as fast as I damn well please because pretty becomes piss when I can't get where I'm trying to quickly.
I know that's only three complaints, alright three and a half, from a handfull of games, but these three have come up more and more often these days. So let me summarize. DO NOT have elements which make the player defenseless and don't pause the game, DO NOT have retarded NPC's who can't even pick their noses without the PC's help, and DO NOT force gameplay to lengthen so the player can "truely appreciate your gorgeous environment." It's bad design and you will sell less games for it.
Thank you. This rant has been brought to you by the Umbrella Corporation, our business is life itself. (I'll talk about dialogue another time, bloody RE.)
My first example is a simple one which comes from playing Dead Rising recently. It's a fun game for the most part with a relatively intriguing basis, but honestly I get irked because the game expects you to level and die and restart the game several times so that you're a high enough level to really do anything at all. While it is possible to beat the game without leveling up all that much, it really is a murderous difficulty curve, but then, that's something that makes sense for the game. No, the thing which really does Dead Rising in is that you can't do anything so much as hop while using the radio. This leaves your nipples right in prime zombie biting territory without so much as a complaint from you. That combined with the obscenely small text for any and all messages you receive on said radio just becomes infuriating.
Really I suppose this should be a retrospective for all such design choices, see the inventory screen in Alone in the Dark or any number of other examples that have frustrated so many of you. If you have a screen which requires players to give their full attention to it, indeed which sometimes takes up the whole screen, PAUSE THE ACTION! Do not kill your player because he had to do something which is vital for game play and plot advancement. Killing your player for playing the game usually results in broken controllers and pawned games.
Another one comes from the original Star Wars: Knights of the Old Republic. Your AI doesn't need to be flawless, but at least make them competent at the skills they're given. I can't tell you how often I've had my bomb tech step on a mine she went to pick up. It's infuriating. This goes for games like Elder Scrolls IV: Oblivion too. The NPC's that fight with you are true imbeciles sometimes, especially one which you HAVE to rescue by the name of Farwil Indarys. Now, technically you don't have to save him, but you really should, and his friend too. Another is the son of the fighter's guild master. Having NPC's who charge into battle when you're a rogue is one of the most maddening aspects of the whole game. If you make an NPC warrior who needs to survive with the PC, make him competent or don't bother making him.
Lastly I'm going to pull out a game which is one of my favorites for the 360 despite everything. Assassin's Creed is such a terrible game that is so good I can't ever stop loving it. It's gorgeous, it's a fantastic storyline, and it's complete shite in gameplay. I have never been angrier than when I'm chased down by powerful NPC guards because I rode my horse at a speed that will get me to where I'm going before tomorrow. I don't like being made to endure long and tedious travel sequences and while I find the evironment entertaining and pretty I think all designers with gorgeous, expansive environments should take a page from Shadow of the Colossus. Let me ride through it as fast as I damn well please because pretty becomes piss when I can't get where I'm trying to quickly.
I know that's only three complaints, alright three and a half, from a handfull of games, but these three have come up more and more often these days. So let me summarize. DO NOT have elements which make the player defenseless and don't pause the game, DO NOT have retarded NPC's who can't even pick their noses without the PC's help, and DO NOT force gameplay to lengthen so the player can "truely appreciate your gorgeous environment." It's bad design and you will sell less games for it.
Thank you. This rant has been brought to you by the Umbrella Corporation, our business is life itself. (I'll talk about dialogue another time, bloody RE.)
15 March 2009
The line?
So I was working on a story for my portfolio game and it came to me that, since it is primarily a psychological game, I wanted to really give the PC a strange past. I wanted him to be sympathetic and yet not a saint. He needed to have something dark, something that would make his divorce understandable and still not make him out to be a victim in everything. My fiancee was helping me come up with ideas for things that he could've done in his past and we started thinking, well what's too dark for a game? What is the line that's going to make people put the controller down and say, no, that's too far, I'm done?
So I want to ask, which, if any, of the following do you think is too dark for a game of a mature type to delve into. I say mature because it's intended for adults and really doesn't belong in the hands of kids, not because it will be graphically explicit.
1) Murder, especially the mindset behind it
2) Rape in any form
3) Molestation of children
4) Torture
5) Psychological torture or manipulation
6) Violent occult
7) Religious beliefs in a dark way (ie - the antipope or something like that)
8) alcoholism and substance abuse
9) spousal abuse
10) adultery
11) brutality towards animals (I mean really, REALLY bad stuff which I won't describe here)
12) abortion, miscarriage, etc...
Also, if you have anything that you'd like to add as something that's too far or you think seems too far, but might be a good idea to delve into, then please feel free to comment on that.
This all came out of a very serious question. I believe that video games are an art form, a storytelling medium which should not be censored, but I also realize that there is the point of audience to remember. Just like in a movie, if you show a person who rapes, tortures, and finally murders a child your audience will want him strung up, hung, drawn and quartered, and shot six times with rusty bullets before you're done. People are not forgiving and playing with these things in a game can alienate your fan base. I'm wary of including a great number of things listed above in my game despite it being a firm placement in the psychological horror genre which has allowed such games as Silent Hill already. I suppose I'm just being timid here, but I really feel this is an issue which should be considered. As I said, censorship is wrong and any storytelling medium should be able to deal with all aspects of real life no matter how dark or horrible they are, but as a form of entertainment, what is too far? It's a difficult question and is very much a person to person basis, but I'd like to get a consensus from the good and loyal interwebs. Thank you for participating in our survey.
So I want to ask, which, if any, of the following do you think is too dark for a game of a mature type to delve into. I say mature because it's intended for adults and really doesn't belong in the hands of kids, not because it will be graphically explicit.
1) Murder, especially the mindset behind it
2) Rape in any form
3) Molestation of children
4) Torture
5) Psychological torture or manipulation
6) Violent occult
7) Religious beliefs in a dark way (ie - the antipope or something like that)
8) alcoholism and substance abuse
9) spousal abuse
10) adultery
11) brutality towards animals (I mean really, REALLY bad stuff which I won't describe here)
12) abortion, miscarriage, etc...
Also, if you have anything that you'd like to add as something that's too far or you think seems too far, but might be a good idea to delve into, then please feel free to comment on that.
This all came out of a very serious question. I believe that video games are an art form, a storytelling medium which should not be censored, but I also realize that there is the point of audience to remember. Just like in a movie, if you show a person who rapes, tortures, and finally murders a child your audience will want him strung up, hung, drawn and quartered, and shot six times with rusty bullets before you're done. People are not forgiving and playing with these things in a game can alienate your fan base. I'm wary of including a great number of things listed above in my game despite it being a firm placement in the psychological horror genre which has allowed such games as Silent Hill already. I suppose I'm just being timid here, but I really feel this is an issue which should be considered. As I said, censorship is wrong and any storytelling medium should be able to deal with all aspects of real life no matter how dark or horrible they are, but as a form of entertainment, what is too far? It's a difficult question and is very much a person to person basis, but I'd like to get a consensus from the good and loyal interwebs. Thank you for participating in our survey.
02 March 2009
this appeared as a moral dilemma
Right, so I know it's been a long while since my last post. I have no excuse for myself and I'm tired of talking about my ineptitude when it comes to updating regularly. Needless to say, I'm here now.
So the subject of this particular post is one that I know has been discussed before, but I feel needs a little fresh blood. Games in recent years have taken to giving players a "moral choice," but the problem is that there are really only ever two ways to go. Either you're the pinnacle of right and justice or you're the darkest being ever to draw breath in this world. Nice in theory, and works for Star Wars and it's ilk, but for games with any degree of character depth, this is just rather pathetic. How can all of our actions be boiled down into two extremes? I don't like the saint or Satan approach to morals in life, so why would I enjoy it in games. Now, I did just admit that I'm okay with the simplistic moral axis in games like Star Wars, most specifically the Knights of the Old Republic games. Still, I think that having a little gray area would benefit this game just as much as it would benefit any other.
Now, why would I bother bringing this up. It's a fact of gaming, just like random, pointless quick time events. I cannot change it any more than I could reach up and take my place among the Olympians. Well, that's just it, I think we need to figure out a few ways to make the morals of a game as gray as it's modern graphics; predictable joke. Let us say for the moment that we have a game which we'll call The Adventures of Timmy. Timmy, obviously our protagonist, will have a moral choice system in the game. The norm of the day is that Timmy will be given a series of dialogue interactions in which he will respond with obvious good or evil consequences. For example, Bertha: Oh, my Timmy, you have grown so quickly. Timmy: A) Oh, thank you. Yes, I certainly am getting tall now. B ) Fuck off, wide load, I need to get outta this place. This is an extreme example, but then, a lot of games are quite extreme in this regard. Now, let's play this same scene out again, this time with a legit dialogue. Bertha: Oh, hello Timmy. You're getting so big these days. Timmy: A) Yeah, I'm already 6'2". B ) I guess. What've you been up to? Now where in this was the moral line? Some might say, oh, it's obvious, in one he agreed in the other he didn't, but didn't he act relatively nicely in both. I don't think not having an opinion is an evil act. Perhaps not polite, but are all impolite people evil? I doubt it greatly.
There are some solutions to this sort of thing. We could try to pull a Fable 2 and have more than one moral axis. In Fable 2 there is a purity/corruption axis and a good/evil one. This works to a degree, but I think it's still a little too obvious and extreme. All of my roommates and friends played Fable 2 and they all decided on their alignment on both axises before they'd even begun playing, generally because of the physical manifestation of the alignments.
How do we get past this. Well, one thing that I've thought about is not letting players know their alignment. Certain actions will be obvious, of course, like killing innocents, but some could be much more subtle and still affect the alignment. What's more, players can't just pull up a menu and see how good or evil or whatever they are. I think if you combine multiple axises with the hidden alignment there could be a lot more variation. Still, I think there should be no more than three axises. I really just think any more than that will become both redundant and confusing for players and programmers alike. Will this be effective, I really don't know, but I'm hoping so. I'm still working on my portfolio game, but under Zac's suggestion I'm looking into a simpler game to start off our little partnership with.
So that's all I've got in me this day. Let me know what you think about my thoughts on this one.
So the subject of this particular post is one that I know has been discussed before, but I feel needs a little fresh blood. Games in recent years have taken to giving players a "moral choice," but the problem is that there are really only ever two ways to go. Either you're the pinnacle of right and justice or you're the darkest being ever to draw breath in this world. Nice in theory, and works for Star Wars and it's ilk, but for games with any degree of character depth, this is just rather pathetic. How can all of our actions be boiled down into two extremes? I don't like the saint or Satan approach to morals in life, so why would I enjoy it in games. Now, I did just admit that I'm okay with the simplistic moral axis in games like Star Wars, most specifically the Knights of the Old Republic games. Still, I think that having a little gray area would benefit this game just as much as it would benefit any other.
Now, why would I bother bringing this up. It's a fact of gaming, just like random, pointless quick time events. I cannot change it any more than I could reach up and take my place among the Olympians. Well, that's just it, I think we need to figure out a few ways to make the morals of a game as gray as it's modern graphics; predictable joke. Let us say for the moment that we have a game which we'll call The Adventures of Timmy. Timmy, obviously our protagonist, will have a moral choice system in the game. The norm of the day is that Timmy will be given a series of dialogue interactions in which he will respond with obvious good or evil consequences. For example, Bertha: Oh, my Timmy, you have grown so quickly. Timmy: A) Oh, thank you. Yes, I certainly am getting tall now. B ) Fuck off, wide load, I need to get outta this place. This is an extreme example, but then, a lot of games are quite extreme in this regard. Now, let's play this same scene out again, this time with a legit dialogue. Bertha: Oh, hello Timmy. You're getting so big these days. Timmy: A) Yeah, I'm already 6'2". B ) I guess. What've you been up to? Now where in this was the moral line? Some might say, oh, it's obvious, in one he agreed in the other he didn't, but didn't he act relatively nicely in both. I don't think not having an opinion is an evil act. Perhaps not polite, but are all impolite people evil? I doubt it greatly.
There are some solutions to this sort of thing. We could try to pull a Fable 2 and have more than one moral axis. In Fable 2 there is a purity/corruption axis and a good/evil one. This works to a degree, but I think it's still a little too obvious and extreme. All of my roommates and friends played Fable 2 and they all decided on their alignment on both axises before they'd even begun playing, generally because of the physical manifestation of the alignments.
How do we get past this. Well, one thing that I've thought about is not letting players know their alignment. Certain actions will be obvious, of course, like killing innocents, but some could be much more subtle and still affect the alignment. What's more, players can't just pull up a menu and see how good or evil or whatever they are. I think if you combine multiple axises with the hidden alignment there could be a lot more variation. Still, I think there should be no more than three axises. I really just think any more than that will become both redundant and confusing for players and programmers alike. Will this be effective, I really don't know, but I'm hoping so. I'm still working on my portfolio game, but under Zac's suggestion I'm looking into a simpler game to start off our little partnership with.
So that's all I've got in me this day. Let me know what you think about my thoughts on this one.
11 February 2009
You gotta fight for your right to tell stories...
There is a new group out right now which I have to support. As I've mentioned before I am a writer who loves games and video game writing is the field of choice for me. One of the things I've been watching very closely recently is the argument over video game content. Now there is a movement for federal regulation of video games. Twelve courts in the past six years have already named this unconstitutional at the state level and yet they persist. We are protected by the same rights as any other media and it's time that people take a stand for this new media for art and expression. I for one love watching games mature and grow into a wonderful storytelling medium. A few years ago games like Final Fantasy XII simply could not exist. It is only really since the advent of home gaming has this media grown, but it has grown quickly. Now sweeping, adult storylines are vital to a game's success. More and more developers are recognizing the need to hire people, such as myself, for writing exclusive positions. So check them out, here's the link. VGVN
31 January 2009
A Simple Post
Alright, so I've been rather busy recently and yet I still find time to not get my work done, impressive, ne? I have, however, finished typing a short WIP introduction to one of my longer stories. This is actually a rewrite of an earlier story titled Magic For Dinner Guests and I've decided, for the moment, to keep that as my working title. It deals primarily with a young woman who is dragged into a fantasy world and must decide what person she wants to be. A very strong theme that I've been working with recently, namely independence and personal choice, that I feel is important, especially with young women today. It is a rough opening and it's not even a full chapter, but I've posted it for all to critique and enjoy here.
In other news, not much to report. I would like to suggest the novel Guilty Pleasures by Laurell K. Hamilton to anyone who likes a very modern detective story with a vampire/supernatural twist. I may be the last man on this particular boat, but with the sheer popularity of Twilight I felt that some other works deserved at least marginal attention.
In other news, not much to report. I would like to suggest the novel Guilty Pleasures by Laurell K. Hamilton to anyone who likes a very modern detective story with a vampire/supernatural twist. I may be the last man on this particular boat, but with the sheer popularity of Twilight I felt that some other works deserved at least marginal attention.
27 January 2009
Some News Concerning Writing
Alright, so first thing's first. I've completed a story which will be submitted for publication in mid-Feb. with the Baylor University writer's annual, The Phoenix. It is up currently on my DA for all to enjoy, but I will provide a direct link for those of you who do not wish to go the long way. LINK This story has been in the works for only about four or five months, but it is in it's more-or-less completed form. I would love any advice or critiques I can get as I can always grow as a writer.
In somewhat related, or maybe I just wish it was, news the man who I believe is the single greatest contributor to the art of writing since the invention of the craft, Neil Gaiman, has officially received the Newberry Medal for his newest children's story, The Graveyard Book. You can hear everything he had to say on the matter as well as learn all about his work here.
My own writing aspirations are advancing steadily and if anyone has any suggestions for publication avenues I would greatly appreciate them. I currently have the submission guidelines on my desk for Realms of Fantasy, Weird Tales, and Science Fiction & Fantasy. All three are SFF magazines and all three I am familiar with, though Realms of Fantasy most of all.
Well, that should just about wrap up what I'll be posting for now, but I'll attempt to have more up as it is completed and as always, keep writing.
In somewhat related, or maybe I just wish it was, news the man who I believe is the single greatest contributor to the art of writing since the invention of the craft, Neil Gaiman, has officially received the Newberry Medal for his newest children's story, The Graveyard Book. You can hear everything he had to say on the matter as well as learn all about his work here.
My own writing aspirations are advancing steadily and if anyone has any suggestions for publication avenues I would greatly appreciate them. I currently have the submission guidelines on my desk for Realms of Fantasy, Weird Tales, and Science Fiction & Fantasy. All three are SFF magazines and all three I am familiar with, though Realms of Fantasy most of all.
Well, that should just about wrap up what I'll be posting for now, but I'll attempt to have more up as it is completed and as always, keep writing.
20 January 2009
To write is to live
I think that this blog has suffered greatly from outside duties and that makes me think very hard on a subject that has become particularly important in my final semester of college. Any writer who has ever actually tackled the unanswerable question of "how to write" has said the same thing. Write, write a lot, write every day, write until your hands fall off. This is certainly a valid point, but lets talk straight for a bit. We all have an obscene number of demands on our time, for those of you who do not I offer my endless spite, and so it is quite difficult to pull out the time to write something, and if we do write something, we often don't want to write for EVERYTHING that we are obligated to write for. I know when I write my assignments and work on a story I really don't feel like blogging anymore. It often becomes just easier to be enraptured by other people's stories so I spend the time I probably should be writing for this blog that I did intend to commit myself to playing video games or reading. Now, there's nothing wrong with reading and any writer should spend a good amount of time reading. Reading teaches just as much about writing as writing does, honestly. The point here is writing, however.
The truth is that anyone who really wants to write should write a great deal in whatever form possible. Get with a system, like writing a certain amount of pages a day or for a certain time. I'll admit I have a bad tendency to not follow through on this myself, but I honestly tell you it's true.
For those of you who, like me, have difficulties with this I suggest things like writing groups or Nanowrimo. (National Novel Writer's Month) Even if you just meet your buddies in the pub for a few hours one night a week, you're writing.
The truth is that anyone who really wants to write should write a great deal in whatever form possible. Get with a system, like writing a certain amount of pages a day or for a certain time. I'll admit I have a bad tendency to not follow through on this myself, but I honestly tell you it's true.
For those of you who, like me, have difficulties with this I suggest things like writing groups or Nanowrimo. (National Novel Writer's Month) Even if you just meet your buddies in the pub for a few hours one night a week, you're writing.
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