Thank God. I am reborn.
I played Brothers: A Tale of Two sons over a month ago. I sat down on a Saturday afternoon, looking for a break helping my kids cram a month’s worth of science project research into a single weekend. I had no clue what kind of experience I was in for. I thought it was just a cutesy game about two brothers, which you control simultaneously, where you spent a few hours overcoming obstacles, got a happy ending, and then forgot about the game forever.
About three hours later I sat, dumbfounded, as the credits rolled. I don’t know precisely how to frame what this game is, but I do know there is no other game of any kind or length that had me from the word go and wouldn’t release me until it was finished with me rather than I with it. Forgettable it is not.
The question becomes how to describe what makes it so unique and so special. The game, at its core, is horribly manipulative. It’s also heartfelt and full of wonder and sad and note perfect. I’ve put this post off for weeks because I simply do not know how to write about it. I don’t know how to do justice to what Starbreeze Studios has concocted.
After the break, I take my best shot in a deeper, rather spoilery dive…
Everybody Wants to Rule the World, according to a well-known song from a band hailing from my home town. Well now you can experience ruling a small part of it, at least, with Democracy 3.
The new game screen gives you a choice of western nations to choose from, but it’s deceptive: your pick has very little impact on the game. Curiously for a game with this title, the actual different models of democracy like first past the post and proportional representation aren’t modeled at all. Rather, this is a game about the act of governance itself, of raising and spending revenue for the good (or otherwise) of your citizens.
It was the blind cruelty of mathematics that got me in the end.
Shelter is a game which aims unapologetically for your hearstrings. From the outset where you, a badger mother in charge of five cubs, must help a sick cub before you can leave your flooding burrow, it tries to make you fraught with the responsibility of caring for these helpless little bundles of fur.
Last night I knocked off an inch-think layer of dust from the PS4 to start playing Red Barrels’ Outlast, newly released for the can’t-say-no price of free for PS Plus members. As you may or may not know, I’m a huge fan of horror anything but my tastes run more to stuffy old Hammer horror films and smarty pants spook shows like Rosemary’s Baby than to gore, torture porn and graphic violence. That means, more or less, I’m usually screwed when it comes to getting my horror show kicks through the video games medium. (more…)
I picked this up as part of a Humble Bundle that contained two games I wanted to play; FTL and Fez. I’d never even heard of Mark of the Ninja, yet it’s become the most-played title in the little selection I secured.
It’s a stealth game and I’m not generally a fan of stealth games. My experience of them is creeping through dark corridors in first or third person, waiting an apparent age for a guard to wander over to an area where I think he can’t see or hear me, followed by a cautious move forward revealing he can, in fact see me and then my untimely demise. Repeating this semi-random process ad nauseum does not a fun game make.
On this week’s JtS, Brandon and I talked a lot, in spoilery details, about the first episode of Telltale’s adventure game, The Walking Dead Season 2. We both like it, but where I cannon-balled into this opening chapter, Brandon though it not as strong as the pilot opener for season 1. It occurs to me that the main reason we differ comes down to the notion that our DNA in these things is entirely different. In season 1, Brandon liked entering a world full of characters he’d never met, getting to know them and their histories and developing Lee from an entirely blank slate. I get that. I think that’s how a majority of players are. Or maybe it’s a question of introvert and extrovert tendencies? Being very much the former, I’ve never been big on discovery. Oh sure, once I discover something and like it, then I wrap it around me and live in it like it were a comfy blanket. So warm. So soft. I am home. And safe.
It’s just very tough for me to get to that point. This is true whether I’m playing games, watching movies, or reading books; especially so when reading books. Part of the reason I used to bury myself in fantasy series like Riftwar, and Wheel of Time and Song of Ice and Fire is because I could live in those worlds for so much longer than I could in your typical modern day work of fiction. There was always another book and I didn’t have to spend time figuring out who everyone was and what they were like. I could just jump in and let the adventure continue. It’s the same reason, when confronted with a Netflix list chock full of movies I’ve never seen, that I’m more likely to seek out a sequel or something by a writer or director I already like, or even something I’ve already seen, than to take a risk on something wholly unknown. And so it is that Season 2 of The Walking Dead plays right into my tendencies.
Even with the past set of character largely absent, the central character of Clementine, the one I am to inhabit this time around, is a character I already know. She’s a character that I’ve already journeyed with, protected, and molded. I know who Clementine is and so, when Telltale tells me it’s time to walk a mile in her shoes, I already know how to do that. This makes season 2’s opening chapter much easier to get into. And what an opening chapter it is. (Modest spoilers to follow.)
As the token Brit on NHS, it’s obviously my remit to drink copious quantities of tea, discuss the vagaries of the weather and get typecast in Hollywood movies as the villain. However I also take it upon myself to bring you occasional snippets of news from the UK games industry.
Here’s the latest: a kickstarter for a new British game, made in Britain starring British people and full of typical self-deprecating British humour. It’s a point and click adventure entitled Her Majesty’s SPIFFING and you can back it at the usual place. Take a look, have a think about it. We’ve fallen a long way since the 8-bit glory days, and frankly, we could do with the business.
Knock-Knock is the latest game from Russian developer Ice Pick Lodge. That may mean nothing to you: it meant nothing to me when I first downloaded the game. Some of their previous titles did chime a little as names I’d heard now and again – Pathologic or The Void. However I soon came to understand that for those more familiar with this studio and its titles, the name presages a unique combination of inventive gameplay and jarring oddness.
Almost everything you need to know about Knock-Knock can be gleaned from one brief anecdote. About halfway through the game I spent one level wandering aimlessly around a darkened house, turning on lights and began to grow pretty bored. Then I opened a door, walked through and found myself in a dank corridor which I had to wander up and down through a series of more doors before discovering I was back at the start of the tedious level again. Infuriated, I wanted to stop. But I kept on playing.
Last week I found myself in a twitter conversation about Amnesia: A Machine for Pigs which lead on to the previous game from its developers, Dear Esther. I offered two statements about Dear Esther, first that it was full of faux-intellectualism and second that it wasn’t particularly “deep”, both of which my conversant challenged. I couldn’t really answer properly in 140 character bites, but I think there are some interesting enough questions around this to merit wider discussion.
First, let’s talk about Dear Esther. If you haven’t played it, it’s a first-person experience in which you wander around a small island, triggering a selection of different voice snippets that hang together into a maddeningly incomplete narrative. There’s no enemies, no puzzles and you’re largely on rails, although there are occasional opportunities for exploration. So that narrative, which draws from a very large selection of passages and is different on each play through, makes up much the game’s value.