Wednesday, November 30, 2011

EXP IndieCast #9: 2D Literacy

This week on the EXP IndieCast, Scott and I are joined once again by game designer Nels Anderson, who's recent Montreal International Game Summit talk sparked a lively conversation about systems literacy, 2D indie-darlings, old television shows, player expectations, and so much more. Give this elongated episode and listen and let us know your thoughts by leaving your comments below. As always, you can find bonus material in the show notes below.

To listen to the podcast:

- Subscribe to the EXP Podcast via iTunes here. Additionally, here is the stand-alone feed.
- Listen to the podcast in your browser by left-clicking here. Or, right-click and select "save as link" to download the show in MP3 format.
- Subscribe to this podcast and EXP's written content with the RSS link on the right.

Show notes:

- Run time: 1 hour 4 min 44 sec
- "MIGS Slides and Talk Text," via Above49 by Nels Anderson
- Everything Bad is Good for You by Steven Johnson
- Thinking in Systems by Donella Meadows
- House of Leaves by Mark Danielewski
- Music provided by Brad Sucks

Tuesday, November 29, 2011

Assassin's Creep

I don’t know about you, but I was shocked to encounter tower defense elements in my Gears of War 3. To be blunt, I absolutely hate tower defense. Wave after wave of enemies flood into your base at predictable intervals while you stand aside and watch turrets do all the work. Tower defense is a genre made for armchair strategists.

Much to my surprise, the tower defense elements incorporated into Gears of War 3 enhance the game’s Horde Mode amazingly well. Horde Mode, like its tower defense cousin, has sent predictable waves at players since it first appeared in the series. The ability to construct turrets, barricades, and even mechanized suits of armor, naturally extend the genre’s features into the shooter. Many of the features simply act as extensions to the cover-based philosophy in which the landscape defines player behavior. It all makes sense!

But why is there tower defense elements in Assassin’s Creed: Revelations? Here I am, climbing the rooftops of Constantinople, executing Templar guards left and right, stalking my prey from the rooftops, when suddenly: tower defense! Set up barricades, place archers on roof tops, rinse, wash, repeat. The beauty of Assassin’s Creed is, and always has been, its vertical exploration of a rich historical atmosphere. The scenes in which Ezio must defend assassin dens against waves of minions completely abandons the mechanical, aesthetic, and narrative core of the series. Since when does Ezio build barricades? And why can’t the Templars fire rifles or arrows at their rooftop attackers, or climb up themselves for that matter? The tower defense moments make up only a small portion of Revelations. Regardless, Ezio should never have to debase himself with glorified turret placement and micromanagement.

Assassin’s Creed has succumbed to feature creep. Rather than let its mechanics evolve and mature naturally, esoteric pieces of other genres appear hastily forced into the stealth assassin formula in a bid to maintain interest in the franchise. Elaborate bomb crafting also bloats the series, offering players largely uninteresting combat tweaks that explode cracks into the game’s poorly adjusted AI. Enemies may hear an explosion, find the mangled corpse of an ally, and then trudge along their predetermined route anyway, completely oblivious to the proximity bombs littering their path. Worst of all, Revelations forces players to make use of the new features. The level design of certain scenarios demands players either utilize bombs or abandon stealth in favor of hand-to-hand combat (never the series’ strong suit).

The genre feature creep of Revelations seems the natural outcome of a yearly release cycle that threatens to bore players with repetition. We can expect no different next year, when Ubisoft will release yet another Assassin’s Creed title, this time featuring mushrooms that make Ezio grow taller.

Thursday, November 24, 2011

Thanksgiving Break

Experience Points, and PopMatters for that matter, is taking the holiday off. Before Scott and I engorge ourselves on seasonal feasts, we would like to think each and every one of you who frequents the site, reads our PopMatters articles, listens to the podcast, and share your comments with us. We are incredibly thankful to have spent the past three years with such a welcoming community. Thanks a bunch and we will be back next week!

Wednesday, November 23, 2011

EXP Podcast #149: Thanksgaming 2011

It's Thanksgiving time here in the U.S., so Jorge and I decided to get into the spirit of the holiday. In this episode, we each pick a few video game concepts for which we are thankful and chat about the reasons behind our gratitude. We cover everything from Batman to sado-masochism, and we're looking forward to hearing about the game-related things that make you optimistic! Additionally, Jorge and I reveal our new initiative to learn more about a certain sizable, yet often under-analyzed, segment of the video game world and we solicit your help!

Discussion starters:

- What sorts of video game subjects or trends make you happy?
- Is there anything for which you are thankful that you originally disliked?
- What do think we'll find in our adventure into the wild blue yonder?

To listen to the podcast:

- Subscribe to the EXP Podcast via iTunes here. Additionally, here is the stand-alone feed.
- Listen to the podcast in your browser by left-clicking here. Or, right-click and select "save as link" to download the show in MP3 format.
- Subscribe to this podcast and EXP's written content with the RSS link on the right.

Show notes:

- Run time: 28 min 59 sec
- Our dedicated Experience Points Facebook ccounts:
Jorge's account
Scott's account
- The infamous Minecraft housefire disaster:



- Music provided by Brad Sucks

Tuesday, November 22, 2011

Fusion Feedback

It's the holiday season, which means I'll be joining the hordes of joyful people spreading holiday cheer through the nation's airports. Thankfully, my trusty travel companion, the DS Lite, will also be making the journey. I always get nostalgic during the holiday season, so I decided to play a game with connections to fond memories: Metroid Fusion.

Despite the Metroid Prime series' outstanding accomplishments, I still think of the series as a 2D institution. It's a bit strange, since I'm not necessarily an expert on the franchise: I vaguely remember Metroid, I never played Metroid 2, but I loved Super Metroid. After realizing that Metroid: Fusion, came from the same development team as Super Metroid and that it bills itself as "Metroid 4," I was more than a little excited to check it out. I'm not finished yet, and I thought I'd offer some thoughts that came to me during various take-off and landing sequences.

Metroid Has a Story

Somewhere along the line, the Metroid saga accumulated a surprisingly huge amount of lore. In my head, the game is basically a story-less shooter, but Fusion is introduced as "Metroid 4" deliberately. This is the same Samus we've known since the 1980s, and apparently her many adventures can theoretically be laid along some sort of linear narrative. At times, the plot veers into the realm of cheesy anime with overwrought dialogue and telegraphed plot twists. At this point I'm not quite sure whether I should be as confused as I am regarding all of the talk about X Parasites, Galactic Federations, and SR388s.

Looking back at Metroid: Other M now, I can see that the absurd characters didn't spontaneously appear. Reading Samus' clunky dialog and puzzling through the chain of events that left Ridley cryogenic status on a space station has reminded me that, unlike the Zelda series, the Metroid chronology is openly acknowledged. So far, there's been nothing so poignant as the baby Metroid's sacrifice at the end of Super Metroid, but I appreciate the effort (or foolhardiness?) it takes to try to maintain a consistent character.

Hardware Limitations Matter

Metroid Fusion feels very much like a shrunk-down version Super Metroid, but the transition was not without casualties. Most damaging is the loss of the two face buttons that happens when going from the Super Nintendo controller to the GBA. Without a dedicated button to select alternate weapons, the right shoulder button gets appropriated, which then shifts an aiming option over to the left shoulder button. The practical result is that aiming diagonally while moving becomes very difficult, since it involves using a shoulder button and the control pad to point in the correct direction.

Some limitations, like the loss of a dedicated dash button, lead to logical streamlining. Instead of actively choosing to dash, Samus will automatically pick up enough speed given enough room to run. Still, running sequences are always dwarfed by shooting sequences, and even after several hours of playing, I still find myself reflexively hitting the shoulder buttons to aim and being rewarded by a ridiculously errant shot.

Demanding Difficulty

These little control quirks are irritating, but most of my deaths were nobody's fault but my own. After all these years, Metroid still makes you earn your victories, especially against the bosses. I've seen people laud Dark Souls for similar reasons: the enemies have specific behaviors that can be exploited, but doing so requires concentration and manual dexterity. It's not enough to simply figure out how to beat an enemy, you have to execute your plan.

On-demand Playtime

Metroid: Fusion is creeping up on its tenth anniversary, and its structure shows how much mobile games have changed over the past decade. The game is structured exactly like a console game: you can only save at certain points on the map and any progress made must be hard-saved in order for it to count. Additionally, since it was a GBA game, closing the DS' lid does nothing to freeze the game's state. Choosing to play this game requires a level of commitment that is unheard of in today's DS/PSP/iOS landscape. Rather than conforming to your schedule, the game demands your attention by threatening your progress.

Even so, I'm more than happy to give in to Metroid: Fusion's demands. It has the same emphasis on combining strategic thinking and quick reflexes that Super Metroid possessed. The environments are a bit smaller, but there are still dozens of hidden powerups and secret passageways to seek out. 2D Samus doesn't change much, but there are enough small innovations (you can hang from ledges!) to make players who left their heart in Super Metroid feel comfortable without getting bored.

The game feels like visiting a friend after a long absence: they're essentially the same person, but with a couple of new quirks since you last saw them. In this way, Metroid: Fusion's identity as "Metroid 4" is quite fitting.

Thursday, November 17, 2011

Overstaying Its Welcome: The Place of 'Uncharted 3' in the Medium

This week's PopMatters post is about Uncharted 3's existential crisis.

That sounds a bit pretentious, but I can't think of a better way to describe the position the game finds itself in. On one hand, the Uncharted 3 is an elegant roller coaster: beautiful set pieces, excellent writing, and substantive characters funnel the player along a meticulously designed track. On the other hand, Uncharted 3 is a surprisingly traditional video game: it is unforgiving of mistakes during crucial action scenes, it's combat attempts to create dynamic situation over lengthy battles, and progression is marked by contrived difficulty spikes. The game goes to impressive lengths to craft a brisk, unique plot, but its arcade-like difficulty and repetitive environments give the gameplay a retro feel. It's as if you're playing an updated version of a sidescrolling brawler, with all the frustrating deaths those games entail.

Clearly, Naughty Dog loves the Indiana Jones series. Uncharted 3 is basically a love letter to Raiders of the Lost Ark and The Last Crusade Flashback that shows the childhood origins of the protagonist? Check. Scenes where the protagonist runs towards the screen, away from giant environmental hazards? Check. Caverns full of creepy crawlies? Check. Fist fights with freakishly-large enemy bruisers? Check. Chasing a jeep caravan through the desert on horseback? Check. The list goes on, but you get the idea.

Richard Lemarchand, co-lead designer of Uncharted 3, has stated that they wanted to make the video game version of a summer blockbuster. From a visual and tonal perspective, they are clearly on the right track. However, the gameplay violates key tenets of good action movies: the game is repetitive and it allows us to fail. Indy only runs away from one boulder, only encounters one cavern of snakes, and he only fights one huge brute. Things get dicey, but he never fails. In Uncharted 3, we play through the same basic action sequences (and climbing sequences, for that matter) multiple times, we repeatedly encounter supernatural spiders, and we fight gigantic dudes every couple of levels. Before too long, the mechanics lose their novelty. Waves of enemies, unexpected obstacles, and good old fashion cheap deaths detract from Nathan Drake's image as action hero who always makes it out of even the most helpless situations. Ultimately, Uncharted 3 commits the biggest mistake action movies can make: it gets dull.

Uncharted's cinematography and storytelling is the best in the business. It's become so outstanding that it has become incompatible with some of the most important traits of the video game medium. Games are excel at providing settings that allow us to experiment, challenge ourselves, and learn from failures. Repetition and iterative learning environments are what make games special, but action movies don't work that way. We don't want to see Indiana Jones fail to jump out of a burning building in time or spend half and hour shooting two-dozen faceless guards; we want to see him succeed. The same goes for Drake: seeing him repeat the same challenges and slogging through multiple botched firefights doesn't play to the game's strengths.

I think Uncharted 3 demonstrates that the series needs to move on and shed some of its more traditional game-like qualities. I have a number of ideas as to how this could be implemented (which I hope to share in the future), but for now I'll simply say that not all video game traditions are appropriate for modern titles.

In many ways, the Uncharted series is experimental: it pushes technological boundaries, explores the line between cut scenes and interactivity, and makes a huge effort to develop its characters. I think it's time for the series to bring this innovative spirit to the gameplay: shed the notion that a game needs to have so many levels or that mechanical challenge necessitates fail-states. I hope the next installment charts a course away from traditional shooters and game mechanics. If any series is in the position to explore the possibilities of "interactive experiences," as opposed to "games, it is Uncharted.

Wednesday, November 16, 2011

EXP Podcast #148: Uncharted 3 Debrief

Naughty Dog's latest cinematic achievement can finally wow players with a heaping load of spectacle and a fair bit of Nolan North charm. Scott and I get in on the "taste for adventure" this week while we discuss Uncharted 3: Drake's Deception. In this longer-than-normal episode, we discuss a range of issues, from the game's gun-play to its lauded story to the future of our witty treasure-hunting hero. If you have joined in on Drake's adventure, we would love to hear your thoughts in the comments section below.

Discussion starters:

- What are your thoughts on the slightly revamped combat system in the latest Uncharted addition?
- Where would you like to see this franchise go?
- What are your thoughts on Naughty Dog's multiplayer pay wall?

To listen to the podcast:

- Subscribe to the EXP Podcast via iTunes here. Additionally, here is the stand-alone feed.
- Listen to the podcast in your browser by left-clicking here. Or, right-click and select "save as link" to download the show in MP3 format.
- Subscribe to this podcast and EXP's written content with the RSS link on the right.

Show notes:

- Run time: 57 min 10 sec
- Music provided by Greg Edmonson via the Uncharted 3: Drake's Deception Original Soundtrack (from the tracks Nate's Theme and Second-Story Work)