Friday, October 24, 2014

The Labyrinths of P.T. and The Shining

Jack also encourages you to play.
In my latest PopMatters piece I revisit the twisting halls of The Shining and P.T..

By sheer coincidence (or via the machinations of an unearthly hand), I recently rewatched Stanley Kubrick's The Shining and immediately followed it with the excellent documentary Room 237. After PlayStar here on Experience Points mentioned it in relation to P.T., I couldn't help but spiral into theorycrafting around the game and its relationship with the film.

Now I want to take a moment to dispel some of the criticism unfairly targeting Room 237, and this is important in regards to P.T. as well. Room 237 is not entirely a film about The Shining. Yes it exclusively includes theories about the film, but it's far more about the act of searching for meaning in film period. Importantly, all of the theories, from the hoaxed moon landing to the psychosexual themes in the move, are given equal weight in the film. It's not a documentary judging these individuals and their expression of obsession over the movie. Indeed, they don't even appear physically in the film! Instead, their ideas are shown expressed across the provocative visuals of The Shining, many of which are repeated again and again.

Somewhere in Room 237 it becomes easy to accept some of the weird ideas about The Shining. Sure, maybe Kubrick didn't make it about Indian genocide, but there sure is a lot of symbolism around the subject. Maybe there is some subtext there. Or maybe you catch a theme the others haven't and you start coming up with your own ideas about what being locked in a food cabinet could mean. Room 237 opens the door for spinning your mind in the search for meaning, something we humans so love to do, and it makes the space safe for you to really reach and strive for that.

In its complexity and demand for crowdsourced solutions to its puzzles, P.T. does the same thing, and it's brilliant.

Wednesday, October 22, 2014

EXP Podcast #299: Hidden Last-gen Gems

Nothing can stop Boy.  Image from Giant Bomb.
Your digital library might be limitless, but your entertainment center only has so much space on it.  At a certain point it’s time to box up your old consoles and join the next generation.  Before that happens, it’s worth taking a time to look back on some of the games that probably won’t make the generational leap.  Even in today’s environment of cross-platform releases and remastered releases, there inevitably be experiences that will soon be lost to the sands of time.  This week we talk about a few of these games and make some predictions about what will fade away as the sun sets on the PS3, the Xbox 360, and the Wii.

- Here's the show's stand-alone feed
- Listen to the podcast in your browser by left-clicking here, right-click and select "save as link" to download the show in MP3 format, or click play below.

Show Notes:

- Runtime: 35 mins 05 secs

Thursday, October 16, 2014

The Mundane and the Magical in 'The Vanishing of Ethan Carter'

Noting more peaceful than the great outdoors...
This week, my PopMatters column is about one of the most pleasant surprises of the year full of pleasant surprises: The Vanishing of Ethan Carter.

Every once in a while a game comes along that I just want to root for.  Ethan Carter tackles fairly non-traditional subject matter, making it more akin to Gone Home rather than BioShock in the world of first-person immersive sims.  The developer, a group of folks called The Astronauts, previously worked on games like Bulletstorm and Gears of War: Judgement, so it's nice to see them branching out.  They also have a great website where they post about everything from their technical approach to the YouTube influence on game sales.

What I like most though is Ethan Carter's juxtaposition of the natural and supernatural.  The world feels quite normal until a portal to another dimension opens up.  This portal is rendered with just as much care as any of the game's trees, giving it a sense of magical realism that few games have.  Odd as it sounds, I don't think many games take advantage of their innate ability to insert unexpected events into simulations of the real world.  It's either full on fantasy or a slavish devotion to verisimilitude.  Ethan Carter does a good job of mixing the mundane and the magical in a way that reminds me of Papo & Yo, one of my favorite game's of 2013.

I don't want to say too much more because experiencing it is very well worth experiencing the game without a lot of foreknowledge.  The game boldly declares that it won't hold your hand within the first few seconds and this ends up being a great thing.  It forces you to pay close attention to the world, which makes its magical elements all the more impressive.

Wednesday, October 15, 2014

EXP Podcast #298: Eating Through Games

Kirby: The best chef in video games.
On your lunch break? Starving for a mouth-watering podcast to sink your teeth into? Look no further! This week on the EXP Podcast, Scott and I head to the kitchen to discuss food in games. We round out the podcast at our usual thirty-minute mark, but there is a bounty of food topics to discuss in games. What are your favorite hunger mechanics? What are the most effective examples of eating in games? What is your favorite game that features food and why is it Chronotrigger? Let us know in the comments below!

- Here's the show's stand-alone feed
- Listen to the podcast in your browser by left-clicking here, right-click and select "save as link" to download the show in MP3 format, or click play below.

Show Notes:

- Runtime: 30 mins 23 secs

Tuesday, October 14, 2014

The Long Dark: Survival Challenge

The Long Dark Alpha is out, so the relatively spooky month of October continues with a journey into the frigid north. How long will it take before Scott and I try to eat each other? Find out below!

Thursday, October 9, 2014

Getting Physical with Board Games

Transparent cards in Gloom. Steal that idea!
And now an ode to cardboard in this week's PopMatters piece on the physicality of board games.

This past weekend, I went to the first ever Tableflip Conference, a tiny little mini-con dedicated to board game design chats and play sessions. This is where I first played Forbidden Desert, Matt Leacock's  successor to Forbidden Island, which I discuss in the article above. I am a huge fan of Matt's work, so it was a pleasure to hear him talk about his games and his approach to autonomy among players. The "alpha gamer" problem is always a risk in the design of cooperative board games, I genre I adore, and you can see a clear improvement through his work into Forbidden Desert in particular. The physicality of the game plays a significant part in mitigating the problem, largely thanks to a shifting board state that makes optimal decision making difficult for one player.

I want to emphasize how unique a shifting board state is among board games. Yes, the play space change in importance as little pieces move around a table or cards are played, but few games ever consider having entire pieces of the environment fall off or rotate out from under you. These are games that aim to reach the interest of a younger audience, which is why I think Leacock gets away with some of this clever physicality.

In fact, there are plenty of games that use physicality and art to interesting effect. Dixit's art-interpretation puts interesting emphasis on creative storytelling that could easily be wrapped up into games of that ilk. Gloom uses transparent cards to stack visual components to both mechanical and comedic effects. Why don't people make more games with transparent cards? It's so cool. Fantasy Flight's X-Wing miniatures game includes asteroid fields players set before each match, letting players take turn creating the board state before every game. How neat is that?

Next time you play a board game and take all the pieces out of the box, ask yourself if the designers really used the physicality of the medium as thoroughly as they could have.