Posts Tagged Game Review

IFComp 2011: The Binary

Two web-based games in a row!  I’ll have to go over the list of games and figure out how many more of these there are.  This one is The Binary, which is set up as kind of a Quantum Leap meets Groundhog Day thing, mixed with some of the Bourne movies and maybe a dash of Minority Report for that PKD dystopian futility.

It uses a custom Javascript engine that is pretty interesting, so let’s check it out!

Spoilers after the break…

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IFComp 2011: The Play

Next up is The Play, an Undum piece by Deirdre Kiai, an indie game developer.  This is the first CYOA-style game I’ve played this Comp, and I must say that the Undum framework — at least the way she’s got it set up — is very, very nice-looking.  The Play apparently deals with a down-on-her-luck theater director trying to put together a shoestring performance of “All’s Fair in Love, War, and Art”, with a cast and crew that are going to require something more than a standard rehearsal to make the performance a success.  Sounds fun!

Spoilers after the break…

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IFComp 2011: Professor Frank

Let me be frank about Professor Frank.  I can’t tell whether this is a troll entry or not.  It’s not a good game.  This is not a spoiler, because you will know it’s going to be not good from pretty much the millisecond you load it.  The game also knows it’s not good, and references that fact during gameplay.  Is it being self-deprecating, being wacky-silly, or taunting the player?  I suspect the latter, but… I can’t tell for sure.

I’m beginning to see the point of Emily Short’s refusal to play Comp games that are not betatested.  I’m trying to give every game a shot and give all authors the benefit of the doubt, but Professor Frank is putting that resolution to the test.

Spoilers (such as they are) are after the break…

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IFComp 2011: Escape From Santaland

It’s nearing Christmas, you’ve got last-minute guests, and you’re trying get get the heck out of the mall and get back home.  Unfortunately, the exit is somewhere beyond the commercial kinderpurgatory known as…

Santaland.

This is the first game I’ve played so far by a known veteran — in this case, Jason Ermer, author of 2006′s Moon-Shaped, a game that I have not played but which did well in the Comp and is highly-rated, so I’m looking forward to this one.

Spoilers after the break!

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IFComp 2011: Cold Iron

97k, written in Inform 7.  That’s a really small game.  And just judging from the well-written introduction I’d guess that we’re dealing with someone who’s done this before.  There’s a pretty sure hand on the narrative tiller, and yes!  Checking the CREDITS indicates that “Lyman Clive Charles” is a pseudonym.  It will be interesting to see if it’s possible to guess who the secret author really is.

The game starts you off in a hut — you’re a farmer who’s lost his axe and thinks that the piskies have run off with it.  So off you go into the woods to recover it…

Spoilers after the break!

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IFComp 2011: The Elfen Maiden

It is a truth universally acknowledged, that a straight, male, single geek in possession of a good job, must be in want of a girlfriend.

It is also a truth universally acknowledged that Elfen Maidens in the popular MMORPG Realms of Realmland are exclusively played by men, so setting up a real-world date with one isn’t likely to lead to a satisfying relationship for the aforementioned straight geek.

Unfortunately, it looks like Jason Watts, hapless exemplar of geekdom — and your owner — is in for such a date unless you, his faithful and long-suffering computer, can do something about it.

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So next up on the randomized list is The Elfen Maiden: A Comedy of Error Messages, by Adam Le Doux.  Adam is apparently another IF newbie, although a Google search turns up some interesting indie game development that would indicate he’s not starting off from ground zero.  The premise of Adam’s game sounds great, and the intro text does a pretty good job of letting us know what we’re in for: a lighthearted, reference-dropping farcical piece, focused on carrot-and-stick prodding of a hapless NPC.  Can’t wait!

Spoilers after the break…

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IFComp 2011: Cursed

Wow!  It’s IF season again, with 38 new games to get through in six short weeks.  This is going to be tough!  I’m going to try to get through all of them, and post reviews as I go.  We’ll see how far I get.  Assuming I’ve done it right, the spoilerish parts of the reviews should be below the cut.

So without ado, let’s randomize and see what we end up with…

OK, so in IF we now have both Curses!, the seminal Inform work by Graham Nelson, and also Cursed, an ADRIFT game by Australian newcomer Nick Rogers.  Based on my cursory web search, the only IF work Nick has publicly released previously was an ADRIFT conversion of the classic Adventure, so welcome to the IF world, Nick!

CREDITS is implemented and shows numerous beta testers, which is a good sign.  The game also has apparently been tested under both the standard ADRIFT Runner and SCARE, which is what I’m using.  That’s a pretty good early indicator that this isn’t going to be a half-baked effort.  The intro text is good in that it’s immediately trying to establish a character, less good in that it’s a bit overwrought for what a person condemned to die in an hour or so would likely be thinking.

Spoilers (some pretty major ones at the end) follow…

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Game Review: Achron

Achron

Developer:  Hazardous Software

Rating:  4/5

Bottom Line:  Achron is a groundbreaking RTS with unique and interesting gameplay mechanics and an extensive campaign, but the lack of modern RTS conveniences hampers the experience to a significant degree.  I can highly recommend this as an experiment, and as an experience, but not as a finished, polished game worth the price.

Introduction and Conceptual Overview

Back in the mid ’90s, a friend of mine and I had a number of conversations about game design.  A lot of ideas got thrown around, but I had two that I thought were particularly good.  The first was for an RTS-style game where you recruited troops, but didn’t actually directly control them.  They would roam around, controlled by their own AI tropisms, and find things to accomplish, gaining skill all the while.

Something very similar to what I had envisioned was produced a couple of years later:  Majesty.

My second idea was for an RTS that involved time travel.  The player would be able to call reinforcements to them from further up the timeline.  This would provide a quick burst of fresh troops, but a matching amount of troops would have to be built and positioned properly in the future in order to jump back.  Failure to do so would cause “paradox storms”, which would inflict increasing amounts of damage to the player based on the magnitude of the temporal imbalance.  I particularly liked this idea because (I thought) it would provide interesting counters to rush strategies — you could focus on economy, block an initial rush with up-time reinforcements, and end up with a substantial production edge over a more militaristic player.

Although it doesn’t map exactly onto my simplistic original idea, an RTS game based around time travel mechanics has just been released:  Achron.  And it’s a fascinating, if flawed, game.

In Achron, you, as the leader of your forces, sit outside the timestream.  Through the “timeline” user interface feature (easily the best-designed portion of the UI) you have access to time periods from about 4 minutes prior to the game’s “present” to 1 minute in the future.  It’s very much like a minimap, but for time rather than space.  At any given time you can click at a point on the timeline and the game will instantly snap to what was happening at that time.  But that’s certainly not all.  You can also issue commands to units in the past or future, at the cost of “chronoenergy”, a resource that is achronal (that is, uncoupled to in-game causality) and which regenerates at a fixed rate in real time.

The upshot is that you can not only observe the past, you can change it.  If you fight a battle and lose, you could jump to a period of time before the battle began and redeploy your forces, or even disengage and move elsewhere.  In multiplayer games, there could be up to 3 other players also manipulating the timestream in this way, so you can see that it could get very complicated very quickly.  If I jump back a minute and tell my forces to take the left fork rather than the right fork, you might jump back a minute and a half and redeploy your forces to again cut me off.  As long as the chronoenergy holds out, there’s no hard limits to what can be done.

The game handles the results of this time manipulation through an ingenious, if imperfect, mechanism:  time waves.  The game cannot instantly propagate changes you make throughout the entire timeframe of the game in real time; that would be computationally prohibitive.  Instead the game uses periodic “waves” of causality that propagate up through the timestream at a fixed rate (about 3 times the normal rate that time passes).  As a time wave advances up the timeline, the game modifies history according to any changes that have been put in play.

This leads to interesting effects when a time wave catches up to whenever you happen to be observing on the timeline — if someone has made a change to the past, your units may move, shift position, or disappear as a result of the changes.  It can be very disconcerting to have the rug yanked out from under you and your forces defeated somewhere in the past.

The limit to all this temporal manipulation is the fact that the farther back in time you go, the more chronoenergy you use to issue commands.  At some point in the past, the energy required to issue a command is greater than the maximum chronoenergy you can accumulate.  That point is the threshold of the “unplayable past”.  Points previous to this may be visible, but can’t be further changed.

But the time travel mechanic isn’t limited to issuing orders in the past and future.  It’s also possible (with the correct technology) to “chronoport” units through time.  Send a squad of tanks three minutes into the past, and you now have additional forces earlier in the game’s timeline.

Time travel inevitably leads to time travel paradoxes, and the game’s time wave mechanic provides a means, albeit imperfect, to resolve them.  The “grandfather paradox”, where a unit travels back in time to before it was created and kills the building that produced it, is pretty trivial to set up in Achron.  The way this plays out in the game is that successive time waves alternate between states of the paradox.  On one pass, the building will be present with no unit.  On the next, the unit will be present with no building.  Whichever state obtains when the event falls off the “past end” of the timeline is locked in as the permanent state.  As you can no doubt imagine, all sorts of weird abuses are possible with these temporal tools.

It’s worth pausing here a moment to, well, bask in the glow of the amazing time travel mechanics Achron implements.  Mostly because when I get into the details of how the game is constructed, that glow will fade quickly.  So let’s take a moment to acknowledge the genius design and tremendous work behind Achron‘s temporal mechanics….

Ready?  OK, on with the review.

Single-Player

The single-player campaign is extensive, consisting of four parts:  one for each race and one final campaign (that I haven’t gotten to yet).  Most of the early levels are devoted to teaching you basic RTS skills, followed by the temporal mechanics.  There is a fairly detailed, serviceable backstory, involving a coordinated alien assault against human colonies.  You are alternately playing either one of the human commanders or his suspiciously-powerful AI, while political infighting, treachery, alien slavery, and the sordid history of the human military’s relationship with AI entities provides the dramatic motivation.

The missions move pretty slowly if you’re used to a standard RTS like Starcraft 2.  In addition, the missions are a bit different than RTS standard.  For one thing, they’re a lot more finicky; you must almost always keep certain units alive, which can be quite difficult at times.  This isn’t as bad as it could be, however, as if they die you can simply jump back in time and change history to ensure they survive.  If you fail repeatedly, however, the escalating cost in chronoenergy can make it more and more difficult to retry as you are forced farther back on the timeline, and losing due to an event receding into the unplayable past after multiple failures can be incredibly frustrating.

Multiplayer and Skirmish

I’ve played very little in the way of multiplayer — a couple of skirmish games.  But I’ve seen enough to show me that multiplayer Achron is a different beast than the single-player campaign.  First of all, you’re always playing against an opponent who can counter your temporal maneuvering, which is very fun.  Several times I started firing on an enemy unit only to watch a time wave go by and the enemy unit disappear, presumably rerouted at an earlier point.  Several interesting strategies are possible in Achron that are not possible in other RTS games, such as a “race-switch”:  since your faction choice is selected in-game, it’s possible to jump back in time and select a different starting race, potentially throwing off early scouting by your opponent.

There are three races in Achron, roughly analogous to the three races of Starcraft.  The humans have the best firepower, the Vecgir have integrated teleportation in their vehicles, and the Grekim have an inherent chronoportation ability (albeit one that costs so much that it’s not as useful as it sounds at first).  Their tech trees are somewhat different, but the units each faction has, when boiled down to essentials, are very similar.

Unfortunately, the victory conditions can be somewhat of a trial.  I don’t know if it’s the only way to win in a multiplayer game, but in my skirmishes you had to completely eliminate the enemy forces and production facilities at the earliest point on the timeline.  When playing the computer, this meant that I had to kill everything I could find, and then sit around for five minutes while the timeline scrolled those deaths off into the past.  I started messing around with chronoportation to kill time, until finally receiving the “game won!” notification.  A human opponent would likely concede, but a griefer could tie you up for quite a bit longer in Achron than in something like Starcraft 2.

The AI itself doesn’t seem too strong, even for someone of my modest skills, but I’m not sure I’m playing at it’s highest level.

Production Values

This is where Achron‘s conceptual brilliance most obviously yields to muddled execution.  Sound in the game is generally good — the effects are fine, the voice acting for some characters is a bit over-the-top but not annoyingly so, and the music is quite nice.  Unfortunately, the same cannot be said for the graphics.  Units are rather generic and hard to tell apart, animation is sparse at best leading to a poor sense of responsiveness from the controls, and the cutscenes, although they do their job in terms of communicating the setting and backstory, look really crude, even for an indie game.  Maps are bland and drab, and do nothing in terms of establishing a sense of place.  A complete reskin would be a great fan project, and would do wonders to improve the game.

This is, of course, an indie game, but one with a split personality.  Achron costs $30, well above the standard amount for an indie title.  Even though you get two game keys for this price, it’s still steep for an indie impulse purchase.  On the other hand, it’s got a lot of content and obviously aspires to cover all the bases of a full-fledged, major-release RTS.  By indie standards the production values are acceptable, but the price is high.  By the standards of major releases, the price is great but the production values are really weak.  Trying to straddle this line has resulted in a game that doesn’t really fit in either world, unfortunately.

One overall mitigating factor I should mention is that the game is designed with moddability in mind.  Undoubtedly, over time, mods will be released to tune up the maps and models and give Achron the graphical polish it deserves.

Mechanics

Compared to a AAA+ title like Starcraft 2, it would be unrealistic to expect that Achron would be able to compete on fluidity of mechanics.  But even given a lower level of expectation, there are a number of mechanical and interface features that Achron implements really badly.

Pathfinding and unit movement is deficient on a number of levels.  Although I believe the pathfinding algorithm is close to where it needs to be, there are still some spectacular failures from time to time.  Exacerbating the problem is the fact that units won’t shift to let allies through their position, which causes huge pile-ups that have to be resolved manually — potentially at a high cost in chronoenergy (hint: play Vecgir.  Built-in teleportation means you can avoid most of these problems).  Most maps don’t have very many obstacles, and teleportation is used by two of the three races as a key movement mechanic.  Both of these factors help, but wrestling individual units to get them to walk across the map is the antithesis of fun.

The other major mechanical problem is in the implementation of group command and organization in different time periods.  The game assumes that when you issue an order to a unit in the past, that you mean to add that order to the unit’s existing queue, leaving later orders intact.  In a few cases this might be correct — if you jump back and tell your unit to cloak, for instance, you may still want it to move, fight, etc. like you will order it to later in the timeline.  But in a large — very large — subset of cases, you want to completely override previous orders (such as when you decide that attack-moving into your enemy’s base wasn’t such a good idea after all).  In such cases, you either have to issue a “cancel orders” command before issuing the new command, or watch your units follow your new order for a while only to reverse and start heading back the other way when the timeline catches up to the original order.

Achron‘s system is flexible, yes.  It covers all situations, but it’s clunky and adds annoying micromanagement to what should be the most fun part of the game.  Similarly, chronoportation has a number of limitations that make it hard to use properly.  Normally giving a command to a group leader will cause subordinate units to follow along.  This is not true with chronoportation, however.  To chronoport, each unit must be explicitly given the order to chronoport.  This is generally not a problem, unless you forget and just order your group leader to time travel, in which case you’ll watch him head off solo, leaving his bewildered subordinates behind.  Once you fire off a chronoport (regardless of the number of units involved), the ‘porter has to recharge, which means you either need to wait to send the rest of the units, or back up time, clear the original order, select all the units, and re-chronoport (if you have enough chronoenergy to pull off the retroactive command).  Again, it kludges up the fun part of the game.  I’m sure the reason for doing this was to close off some weird paradoxical exploit, but it’s still frustrating.

Other, more standard mechanics are implemented well.  There’s unit production queuing, order queuing, a form of hierarchical grouping (actually pretty sophisticated), hotkey control groups, and pretty much all the basic RTS interface conveniences are in place and function as expected.

Gameplay

Balance seems fairly straightforward, since the three factions are very similar in terms of the capability of their units, and I didn’t notice one side feeling particularly overpowered compared to another (although Vecgir teleportation, as mentioned earlier, is very handy).  Generally technology research costs way more than production facilities or units.  Unfortunately, I don’t have enough of a feel at present as to whether rush tactics are viable or if the game requires a more economic opening strategy.  It did seem difficult to build up a quick rush, but that might just be my ignorance of proper strategy.

The real gameplay sophistication comes from time manipulation, of course.  The Achron wiki reads like a cross between a quantum mechanics textbook and a medieval grimoire, with page after page of detailed analysis on the intricacies of various time travel strategies, including one ritual designed to permanently clone units that’s effectively a NOT logic gate capable of sending information to the past.

In general units tend to move pretty slowly on the map, although you can always put the game into fast-forward to make the units move more quickly.  If you get ambushed when speeding through things, you can always jump backwards and take care of the problem.  And really, for a game where you control time, it does seem like you spend a lot of time just waiting for time waves to propagate and the resultant stuff to happen.  Again, this could just be my low skill level….

Conclusion

Although there are a lot of aspects of the game that fall short of perfection, Achron is absolutely unique in what it does.  No other game has tried anything as ambitious as a 4-way real time strategy game where any and all of the players can make changes at any point in the game’s timestream.  When you think about it, it’s just amazing that Dr. Hazard (the perfect name for a mad-scientist game developer) and his team managed to pull this off as well as they did.

With the benefit of hindsight, I wish they’d have scaled back the game, focusing on a more limited set of RTS features, and doubled down on the time travel.  Achron‘s hook is time travel — they would have been better served to go all in.  With a game that was more of an intriguing temporal puzzler, focused on using a few units rather than building bases, the concept could have more fully explored the ramifications of time travel, and not gotten bogged down in all the details of implementing a full RTS.

All that said, however, I really recommend you check out Achron.  Hazardous Software deserves kudos and support for making such an amazingly groundbreaking game, and even if Achron is not the absolute best RTS ever produced, it’s still well worth checking out to see what it’s all about.

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The Fruits of My “Research”

I recently took what ended up as a 2 1/2 month break from interactive fiction development.  Most of that time got spent on Dragon Age, but I also played through Left 4 Dead 2 due to an offhand comment by Zarf on rec.arts.int-fiction.  In addition, over the Easter weekend I traveled to my in-laws for the holiday and also to celebrate the birthdays of a niece and nephew.  While at Chuck E. Cheese for the latter event, I found an interesting game called “Let’s Go Jungle”, which in addition to sounding like something my daughter might say, incorporated an interesting gameplay mechanic that adds interest to what is otherwise a garden-variety rail shooter.

So to rationalize to myself that I didn’t just flush the last couple of months down the toilet, here’s some of the musings I drew from my “research”:

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Game Review — Left 4 Dead 2

While gearing back up for some more interactive fiction development after my two-and-a-half-month detour through Dragon Age, I made a comment on rec.arts.int-fiction to the effect that the Drama Manager in Blue Lacuna, Aaron Reed’s XYZZY Award-winning interactive fiction title, was unique in my knowledge in terms of providing an auto-adapting pacing mechanism for gameplay.

Zarf (Andrew Plotkin) responded with a link to a design postmortem presentation for the game “Left 4 Dead“, by Valve Software, which talked about their use of procedurally-generated content to provide dramatic pacing for that game.  Now, Left 4 Dead is substantially different from an interactive fiction title, but I like a good FPS as much as the next guy, and was intrigued by the paper.  In a coincidence that was happy for my wallet but not for my productivity, Valve was having a half-price sale for Left 4 Dead 2 right after this exchange, so I was able to pick up the game for just $25 and give it a spin.

The premise of the L4D series is that there’s been some sort of contagious infection that is turning people into zombies.  You play one of the four Survivors, humans that have proven immune to the contagion.  The goal is simple — escape the zombie hordes before your brains are eaten.  To do this, you have to work together to protect each other and carve a path through the ravening hordes of zombies to reach an extraction point at the end of the level.

It’s a cooperative first-person shooter game — even if you play alone, the game spawns three “bot” players to help you.  And it’s a good thing it does, because the gameplay depends on close cooperation between players.  If one person gets separated from the group, it’s very likely they’re going to get killed before too long, because certain of the enemies — the “special Infected” — can pin or otherwise incapacitate lone Survivors.  If one of your friends doesn’t quickly kill whatever’s on you, you’ll watch helplessly as the zombie rips you apart.

A big chunk of the magic of this game, as the paper I read indicated, is in the pacing.  L4D2 generates loot and enemies procedurally, depending on where you are and what your calculated level of “emotional intensity” is.  If you’ve been fighting hard, with lots of zombies on you, the game will hold at that level of intensity for a little bit and then back off to give you a breather.  If you’ve had some downtime, the game will slowly start spinning up more enemies and eventually subject you to a “horde”, where a mob of common Infected rush you, trying to overwhelm you with a human wave attack.  And every so often you get a special Infected or boss Infected thrown into the mix.

These special Infected are by far the toughest part of the game.  Each of the specials has a powerful ability it can use to wreak havoc on a team of Survivors.  Spitters can spit globs of caustic saliva, causing damage and potentially cutting off escape routes.  Chargers can sprint into a group, grab someone, and carry them along in a straight line until they reach a wall, both damaging and separating them from the group.  Jockeys can jump on your shoulders and force you to run away from your friends, and can even force you off ledges.  The dreaded Tank can absorb a ridiculous amount of firepower, and does amazing damage and knockback if you are foolish enough to let it close to melee range.

The complement to the dynamic pacing is the atmosphere.  Level design is excellent, with decaying architecture, weather effects, low-light areas, and close quarters all serving to keep the tension heightened.  The music used on each level is different, and thematically matched to the play environments.  Hordes and bosses all have special theme music, which is again different depending on the level you’re playing, and it wasn’t uncommon for me to start getting twitchy and panicky when I heard that horde theme start up again while I was stuck hip-deep in swampwater.

Your fellow survivors have a great deal of scripted conversation that is triggered in certain circumstances; you definitely get to know their personalities as the game goes by.  In addition to the level-specific dialogue, there are a lot of coordination comments they use, from alerting you to weapons nearby to reporting their imminent death.

I guess a good illustration of the intensity of the gameplay is my reaction to the weapons available on each level.  You always start a level in a “safehouse” — an impregnable room with a selection of health packs, weapons, and ammunition.  You can choose a single heavy weapon (such as a rifle or shotgun) to take with you, and you can’t change it until you find either another safehouse or a hidden stockpile of guns somewhere in the level.  And since the levels are procedurally generated, you don’t always get the same selection of guns on every playthrough.

In most first-person shooters I have weapon preferences — in Half-Life I’m a pretty big fan of the shotgun (if I don’t have the gravity gun) — but if I can’t get my weapon of choice, or if I’m out of ammo, it’s not a big deal.  I’ll just use one of the other ones.

In L4D2, if I don’t get either the AK-47 or the M-16 (on levels where that tier of weapon is an option) I feel naked and exposed.  It’s very uncomfortable not to have the precise weapon I’m most skilled with, and it’s just nervewracking and not very fun to play the game until I find an acceptable gun.  I think this more than anything else is the triumph of the Left 4 Dead series — that they can control pacing and atmosphere to such a degree that they can give you that “character in a horror movie” feel, just from your expectation of what’s coming next.

I’ve really only played the single-player campaign, so I don’t have the experience of going out and playing with three other guys using voice chat.  They do have several player-vs-player variants, including a very fun one where two teams of four alternate being the Survivors and the special Infected and then see which team can make it farthest through one of the levels.  It seems there’s a lot of replayability here, and I’m looking forward to giving some of those other modes a shot.

Even the single-player experience, however, was well worth the $25.  As an illustration of how procedural, dynamic content can serve the gaming experience, and as a darn good FPS game itself, L4D2 is well-worth playing if you have any taste for first person shooters — or zombie movies.

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