#oneaday, Day 340: Blogrollin', Like They Do In Canada

I was going to write this post yesterday but then I got all wrapped up in the whole next-year thing, which you should read about if you're interested. It's the entry before this one. Which means it's after this one on the page. Which… oh, be quiet.

Anyway. To the point. I reorganised my blogroll yesterday. No, that doesn't mean I hung the toilet paper with the sheets hanging down the other way to normal, it means I sorted out the links in the sidebar. I nuked the lot and started again, because there were a bunch of defunct places that some people hadn't updated for ages and a few sites that just didn't exist any more.

Then I put out the call on Twitter for anyone who wanted to be included. I figured it'd be a good opportunity for me to have a chance to check out some other people's work, too. When you're writing a blog for yourself (particularly if it's a daily one) it's very easy to focus entirely on your own work and never pay any attention to what anyone else is writing. So, let's rectify that right now, shall we? Here's a bunch of the links I added yesterday and what they're all about.

First up, the fellow #oneaday survivors, who are well on their way to finishing their first year on the "job". You should check out all of 'em, since they've all got a veritable plethora of content for you to read and enjoy now. Like this dusty little corner of the Internet, all their blogs have evolved and changed over time, and hopefully they've all got something out of the experience, whether or not they intend on joining us next year.

So, in no particular order, then:

Game Design Scrapbook—Krystian Majewski's account of the trials and tribulations of developing an actual proper game that you'll be able to actually play and everything.
Halycopter—The daily blog of Jen Allen, editor of the slick and awesome Resolution Magazine, featuring candid thoughts on all manner of subjects.
Mat Murray—The man with the fastest Retweet finger in the West. He got married a short while ago and also takes nice photographs.
Mr. Writer—The #oneaday blog of Ian Richardson, veteran of Staffordshire (we salute you), motorsports enthusiast and aspiring journalist.
The Mirrorball—Daily blog of Mike Grant, Bristol-based writer and novelist.
Worthless Prattle Makes the World Go Round—Play Magazine's Ian Dransfield sets the world to rights with a variety of amusing posts and a classic Gran Turismo 5 tutorial video.

Next up, here's some of my friends, many of whom are members of the Squadron of Shame.

4X.Scope—Alex "Unmannedpylondronecommandsomethinglikethat" Connolly's blog, which hasn't been updated for a while but since he and his wife have been busy having a kid, I think we can excuse. Alex writes detailed, in-depth commentary on a variety of interesting games that you probably haven't heard of, and also draws rather well.
Alternate Course—Chris "RocGaude" Whittington's site, which he promises will provide a veritable cornucopia of audio-visual-textual entertainment in the coming year. Oh yes indeedy.
Cerebral Pop—As the name implies, this is a site that covers the more cerebral side of pop culture, run by a wide variety of delicious-smelling gentlemen, many of whom also frequent Bitmob (which I think I've been capitalising incorrectly for time immemorial).
First Time Flowing—Andre Monserrat's blog, deserving special mention for buying me a copy of Baldur's Gate today along with being a formidable opponent at Carcassonne.
Nice Guy Gamer—Cody Winn is the nicest person on the Internet. He likes video games, knit caps and kittens and writes about them here. Pay him a visit.
Press The Buttons—Matt Green is another ex-Kombo refugee and runs this gaming site with podcasting contributions from the sexygorgeous Brad Hilderbrand and Joey Davidson. Check in for some well-written commentary on games and the industry.
Rhymes With Chaos—Jesse Bowline's blog covers all manner of arty, musicy, gamey, geeky thoughts and opinions and is well worth your time. But what rhymes with "Chaos"?
Starfuckers, Inc.—The online home of Ashton Raze, formidable writer-about-games, man-about-town, hat-wearer, champion of DEADLY PREMONITION's cause and starfucker.
We Clock—Ian Scott appeared in my Facebook friend requests one day with a mutual friend, so I added him. His blog covers a variety of topics, from general geekery to eye-opening slice-of-life stuff. He's also an active member of the GOG.com and Reddit communities, so is a fountain of information on old games and Internet memes.

If I missed you, it's 'cause you didn't get back to me on Twitter. I know there's a couple of you out there but you're escaping me right now. Give me a poke in the comments and I will add your links to my sidebar (and this post) post-haste!

For now, enjoy all the hot and spicy content these fine folks have conjured up for you and I'll see you tomorrow.

#oneaday, Day 335: My Synapses Are Cold

I think it's pretty much a given now that I'm a fan of creative indie games, particularly ones that put unusual twists on established formulae. There's one I haven't really talked about here yet, and I feel I should rectify this forthwith.

My brother (John Davison of GameSpot, for those three of you who haven't realised that yet and are now going "Oh, yeah!") mentioned on Twitter the other day that asynchronous multiplayer was "multiplayer for grown-ups". Or specifically, multiplayer for people with little to no free time. Eminently suitable for those with jobs. Or those with families. Or those who simply suck at action/skill-based multiplayer titles.

Mode 7 Games' Frozen Synapse caters for this crowd, specifically the subset of it who wish that they could pull off a headshot at a hundred paces but no longer have the reflexes of a twelve-year old with too much sugar and caffeine in their system. Frozen Synapse is, at heart, a team-based first-person shooter, albeit one represented from a top-down view played in turns by only two people. So not a lot like a first-person shooter at all, really.

Except that it kind of is. For the uninitiated, Frozen Synapse features a wide selection of different game modes, many of which will be familiar to players of shooty-shooty-bang-bang games. The simplest is Extermination mode, which simply tasks one team with killing the other team before five turns are up.

Each turn represents a five-second period of time, during which your little people can run, walk, duck, crawl, aim, shoot and focus on specific targets. It's your job to set up a plan of action for them by setting waypoints and actions, then testing your plan to see where they'll end up after five seconds, then committing your plan. At the same time, your opponent is also doing this, and when both of you have committed your plans, the outcome is shown, and it may not be what you had anticipated.

The cool thing about it, though, is that you don't both have to be online to play. It's essentially play-by-email, with the game sending a message to your opponent when you've taken your turn and it's time to check out the carnage. This means that you can have a whole bunch of games on the go at the same time, and be able to rattle through them all in a matter of minutes. It's a great idea, and it's awesome to see this kind of idea work in a setting other than a game with With Friends in the title.

Best of all, the game plays well and it's not even finished yet. The final product promises a single-player campaign mode, puzzle mode and all manner of other goodies. Those who are keen to support the game can pre-order and play the beta version right now, though, and you get a free copy to give to a friend, too. Which is nice.

Even better than that, the game is 30% off until Christmas. So if you're the slightest bit interested in the unusual concept—and it genuinely does work really rather well—I'd encourage you to support the hard-working three-man team that is Mode 7 and pre-order a copy now.

If you do, be sure to send me a challenge. I cordially invite you to the turn-based bloodbath.

#oneaday, Day 332: Fire The Canon... He's Not Pulling His Weight

What are those games you have to play?

The answer, of course, is none at all, but there are plenty of people out there who believe that you can't call yourself a "true gamer" (whatever that means) unless you've played this game or that game. And for sure, at one point that was true, simply because the volume of games being released was such that it was easy enough to keep up to speed on at least all the big releases, if not absolutely everything that was available.

Nowadays, though, gaming is such big business that it's impossible to keep up with triple-A releases, let alone delve into the increasingly-awesome pool of independent and/or smaller titles out there.

Rather than this being a frustrating thing, though, this is a very positive sign. Speak to someone who's a film snob and they will probably turn their nose up at the prospect of a Michael Bay film, yet there are plenty of people out there who go and watch various childhood-raping movies that ensure you can never look at Transformers in quite the same way ever again.

And it's the same with gaming. There is no one set "canon" of games that you absolutely must play. I've come around to this idea, having had it first mooted by my good buddy and fine, upstanding gentleman Calin. There are games that are important to the history of gaming, sure. But they're not things that everyone has to play. If everyone plays all of the stuff from history that is supposedly "important", they'll never get to anything from today. It's a balancing act.

What I've been wondering is if it's possible for someone who is a full-on gaming enthusiast to spend their time playing nothing but non-triple A titles. Surely there are enough indie and "cheap-fu" titles out there now to enable someone to have an enjoyable experience without having to spend $60 a time for the privilege? And yes, I'm using dollars to illustrate my point because I'm in the States. When in Rome and all that.

This approach isn't for every gamer, just like watching only foreign and/or arthouse movies isn't for everyone who purports to "like movies". I love ASCII-based roguelike Angband, for example, and have sent any number of heroic @-signs to their death now, but I don't expect everyone to find that sort of experience palatable. I can certainly play that game and find it enjoyable, however, and there are times when I'd pick playing that over something like, say, Halo. I'd certainly always pick it over Call of Duty.

But there are people who feel the opposite too. And it's pretty cool that we've reached a stage where we can say that about the gaming industry. The only difficulty that comes with this territory is the fact that the gaming press is not able to cover everything that is out there, meaning some spectacular stuff can get completely overlooked, or sell poorly, or be unfairly judged.

This is where word of mouth comes in. You found something awesome you think friends might enjoy too? Tell them. Don't keep it to yourself. I know that I've convinced at least a few people to play Recettear: An Item Shop's Tale since I started banging on about it a few weeks back, and I'm sure there are others out there who might be interested in trying other things I've mentioned. Similarly, my obsession with Persona 3 and 4 can be entirely attributed to a blog post my friend Mark wrote extolling the virtues of Persona 3, a post which was enough to make me think "I have to play this game."

We're in an age of active involvement and active socialisation. The gaming press still certainly has a place—I should hope so, anyway, since I'm involved in it—but there's just as much importance, if not more, on word-of-mouth recommendations and discussion.

Think about the last game you played. Was it something you played because reviews were good? Because people were talking about it? Or something you took a chance on and then felt like telling everyone how good/bad it was?

In my case, the last two games I played (Recettear and DEADLY PREMONITION) were the latter two. I took a chance on Recettear and adored it. And I couldn't not play DEADLY PREMONITION after hearing some of my closest friends discussing it in appropriately reverent tones. I actually can't remember the last time I bought a game purely on the strength of a review.

#oneaday, Day 325: Interactive Fiction

There's a lot to be said for interactivity (or at least the illusion of interactivity) in storytelling. It allows things to be done that are simply impossible with non-interactive media such as books, TV and film.

I spent a couple of hours this afternoon playing Digital: A Love Story, a wonderful game set on the desktop of an Amiga "five minutes into the future of 1988". If you haven't played it yet and are intrigued by the premise, I suggest you play it before reading on, because I'm probably going to spoil some things about it. I'll try not to be too explicit.

At the outset of the game, the player is the proud recipient of a brand-new "Amie" computer with a built-in modem. Your benefactor also provides you with a phone number of a BBS that you might want to check out. And so the story begins with the player dialing into the BBS, complete with terrifyingly authentic-sounding dial and modem tones screeching from your computer's speakers. The player quickly gets friendly with a person named Emilia and things develop quickly in a manner that will be immediately familiar to anyone who has ever had an online relationship.

All is not as it seems, however, and the player, through a bit of investigation, discovers that there are strange things at work. The BBS crashes, and there is no way of getting in contact with Emilia. Just prior to the crash, she said she was "leaving home" and "getting out". Thus begins a quest across several BBSes, ARPANet and Sprint's long-distance calling-card system to track down Emilia and discover what happened.

The game is completely linear. Things happen in a set order, right up to the ending, when the player is faced with an inevitable conclusion that there really is no way around. At this point, we reach one of the most powerful things that gaming can do, and ironically one of the least interactive things about narrative games.

Offer the player the opportunity to do two things: do something, or walk away. Walking away is usually not an option, though Heavy Rain managed to convincingly offer this as an alternative at several points throughout its narrative. Digital: A Love Story, however, makes it abundantly clear that there is only one course of action open to you, and it's an unpleasant one. Given the great pains that the game has taken up until this point to make you "feel" for the characters involved, despite being based around screens of text, it is difficult to make that final mouse click.

This is something you just can't do with a book. Stopping halfway down the page and printing "Turn the page to see what happens next" is not an established literary convention, nor should it be. Same with TV and film; with those media, we're just along for the ride. It's the reason very few books save the Fighting Fantasy and Choose Your Own Adventure series are written in second-person perspective.

But with a game, the player has been driving the story all along, even if there is only really ever one thing they can do at a time to advance the plot to the next "event". That illusion of interactivity allows the player to be all the more invested in the story, as if they're part of the game world. This is further aided in titles such as Digital: A Love Story, which don't break "character" for a moment. As far as the player is concerned, they're using an Amiga… sorry, "Amie". They're not playing a game, they've been transported back in time to 1988, a land of 320×200 graphics, questionable multitasking capabilities and scanlines.

The ending of Digital: A Love Story is bittersweet and if you've engaged with the game up until that point in the way it is intended to be engaged with, you'll find it genuinely emotionally affecting. It's always interesting when a title which looks so unassuming can actually end up being more powerful than self-consciously "epic" CG cutscenes and over-the-top orchestral music with people singing in Latin.

So, if you remember 1988, if you ever had an Amiga or you remember the golden age of the BBS, check out Digital: A Love Story. It's free, and well worth your time.

#oneaday, Day 316: Pity The Poor Shopkeeper

The poor shopkeeper doesn't have it easy, whatever form they take. If they're a retail monkey working for minimum wage in some sweaty hell-hole where chavs repeatedly come up and ask if the nearly-black garment they have in their hands is available in black, then they're probably losing the will to live by the second. If they're working in a, shall we say, "premium" retail environment they're probably having a better time but rapidly growing sick of the fixed grins they're forced to wear, not to mention the stock phrases that spew forth from their mouths like some form of verbal effluvia.

And then there's the poor, downtrodden RPG merchant, forced to sell all manner of crap, apparently only to adventurers, who then helpfully restock them with an endless supply of boar intestines, bits of wood, crystal chippings and used swords that they don't need any more. It must be a difficult life. And frequently a tedious one, as anyone who entered the online world of Ultima Online with lofty ambitions of owning a huge retail empire will attest.

It's this odd premise that quirky Japanese indie game Recettear: An Item Shop's Tale (available on Steam, as well as directly from the distributor's website) decides to explore in great depth. Playing the role of Recette, an adorable young girl with an absentee father, it's the player's job to help her run a successful RPG item store and make enough money to pay off the debt her father left her with. She's not in it alone, of course. She has a fairy assistant named Tear. Tear works for the financial institution with which Recette's father took out the loan, "because fairies are good at administration" and is there to help Recette pay off the debt she's been saddled with. The two become friends quickly, but should Recette be unable to make any of the weekly payments she's required to, Tear will quickly repossess her house and leave the poor girl living in a box.

So far, so Animal Crossing, you might say. And you'd kind of be right. Except not. There really isn't another game quite like Recettear out there. There are games which focus on individual elements of the game, sure. But none which blend together such peculiar and diverse elements with such successful results.

The game is split into three main sections. Firstly, there's the item shop itself. Recette can dump anything from her inventory onto the shelves in the store. Stuff in the window is likely to attract customers. If she chooses to open the shop, she has to deal with a flow of customers coming in and asking for things. If they're on display, all she has to do is agree a suitable price with the customer. If they agree, cha-ching. If they disagree, Recette has one chance to make a more reasonable offer before they leave.

Simple enough. As the game progresses, though, more elements are added to this formula. For starters, in true RPG tradition, people start selling stuff to Recette, too. This can be a good way for her to build up stock, as she can often get stuff for knock-down prices with a bit of shrewd haggling. Then people will place special orders, requesting that she deliver, say, three hats in two days' time. Recette has to not only make sure she has the hats in stock but also remember to have the store open when the customer plans to return. And finally, some customers will come in not quite sure of what they want, and Recette will have to make recommendations from the stock she has on display and in her inventory.

It's a straightforward mechanic, and you soon get to know how much certain customers are willing to pay over base prices. A few twists come in later with a news ticker informing Recette of increased or decreased prices in the market, but it's mostly a case of buy low, sell high.

If Recette chooses to leave the store, she can wander around town and occasionally bump into the people who frequent her store. These come in the form of random townsfolk and adventurers. Completing requests for adventurers will sometimes net her their Guild Card, which enables her to make use of them for expeditions to the local dungeons.

Yes, there are dungeons. Because sometimes the local markets just don't have the things people want to buy. When that's the case, Recette is free to pop down to the local Adventurers' Guild and hire one of the guildies she's made friends with. It's then into an action-RPG dungeon crawler to kick monster booty and gather lots of crap that people might want to buy.

It works, brilliantly well. The item shop stuff occurs quickly enough that it never gets tiresome. The storytelling scenes feature attractive artwork and a truly excellent localisation from the Japanese. And the dungeon-crawling, while simplistic, is fun and satisfying, broken up by regular boss battles and in-dungeon special events.

The whole game is distinctly adorable, but deceptive. The artwork, music and squeaky-voiced Japanese girls make it look like something which should be incredibly embarrassing and cringeworthy to play. But in fact, there's a distinctly acidic sense of humour underneath all the sweetness, and a large number of the dialogue exchanges are genuinely laugh-out-loud funny. The kawaii presentation coupled with fairly sophisticated, intelligent humour and a wonderfully self-aware nature reminds me a lot of the Disgaea series.

I'm probably about halfway through the game now, having made two of Recette's repayments successfully. There's the hints of a bigger plot at work, and a bunch of new characters have been introduced, most of whom will presumably end up being playable adventurers for the dungeoneering sections.

If you're after something that is both comfortably familiar and quite different to any JRPG you've ever played, then Recettear: An Item Shop's Tale is well worth checking out. I fully intend on posting a full review somewhere once I've beaten it.

#oneaday, Day 314: In Which I Spoil The Crap Out Of DEADLY PREMONITION

I beat DEADLY PREMONITION tonight and made the confident announcement that it was, barring any last-minute wonders, very much my Game of the Year for 2010. It won't be everyone's Game of the Year for 2010 by any means, for various reasons. But personally speaking, it's very much the most satisfying gaming experience I've had all year. Which is nice.

Throughout the course of this post, I am going to spoil the crap out of the game, so if you haven't beaten it and are intending to, you may wish to skip this one. If you have no intention of beating the game, feel free to stick around. And if you have beaten the game, you're probably in a similar position to me right now.

I can pin down DEADLY PREMONITION's appeal to me on a personal level very simply. It takes elements from two of my favourite game series of all time—Silent Hill and Persona—and blends them together to produce a game which skitters precariously along the boundary between madness and sanity and somehow doesn't ever completely fall into the trap of "indecipherable nonsense".

First, the Persona angle. DEADLY PREMONITION's world of the town of Greenvale is a well-realised one. As you progress through the game, you get to know the layout of the town and the routines of its residents. You also get to know each and every one of the residents throughout the course of the story. If you choose to take on the 50 "side missions", then you get to know many of the characters very well indeed. This is just like Persona's Social Link system: optional material which fleshes out the game world and its characters enormously. If you take your time to enjoy this material, then events which occur later in the story take on much greater emotional significance as you really "know" the people concerned. It also means that when the time finally comes to say goodbye to Greenvale at the end of the game, it's a difficult thing to do.

Next, the Silent Hill angle. It becomes very apparent early in the game that protagonist Francis York Morgan is not all he seems. For starters, he spends a huge amount of his time conversing with someone you can't see named Zach. For much of the game, it seems that "Zach" is a cypher through which York can communicate directly with the player. Indeed, it certainly seems that way when York asks a question of Zach and it's up to the player to choose Zach's response.

But the wonderful thing about DEADLY PREMONITION's story is that we get to know York very well as the narrative progresses. It becomes apparent that he is scarred mentally by something terrible which happened in his past—his father killing his mother, and then himself. As the investigation into the murders in Greenvale proceeds, it becomes apparent to York why this incident took place. He accepts why his father did it when he is put into the exact same situation—the person he loves is "soiled" with the red seeds the murderer is so obsessed with. With this acceptance, York also admits who he really is—he is Zach, and York is the dual personality he invented to deal with the situation, not the other way around.

York's mental scars show themselves in other ways, too—any time he begins profiling the killer and tracking down clues with which to determine what happened, he lapses into a dark "Other World", much like Dark Silent Hill. It's never explained exactly why this happens, but my belief upon beating the game is that the things seen as York and Zach aren't to be taken literally. We can tell this by the fact that Zach fights a giant, monstrous version of Kaysen at the end of the game as the town's iconic clock tower lies in ruins, yet when everything gets back to "normal", the clock tower is perfectly intact. Similarly, after fighting George as a giant, muscular "immortal" monster, he dies as a normal man. My guess is that York and Zach view these monstrous people simply as monsters, perhaps to distance him/themself from their "humanity". This is also borne out by the fact that when York visits Diane's art gallery with George and Emily and Greenvale apparently becomes "Other Greenvale", they don't comment on it at all—because they don't see it.

Of course, a question is raised when Emily has to rescue York from the clock tower—she sees the Other World and the creatures. Why? Is it because she has come to understand and love York and is seeing things the way he does? Perhaps. The fact that this isn't explained may be unsatisfying to some people, but I like the fact that there are some questions which are open to interpretation.

I could be wrong about all of this, of course. I'm sure there's plenty of interpretations all over the web by now—I haven't looked at them yet. But the fact that a game offers such scope for discussion and interpretation is admirable.

Deep part over. Let's also talk about some of the quirky things that make DEADLY PREMONITION such a memorable game. For one, the music. There are several points throughout the game where the only rational explanation for the choice of music is to be as inappropriate as possible. Take, for example, Emily following the dog Willie to track down the missing York. This sequence is accompanied by what can only be described as Latino J-hip-hop-electronica. Somehow it works.

By far the most striking use of bizarre music, though, is a flashback sequence where the player controls the Raincoat Killer, who is running through the town of Greenvale slaughtering anyone who gets in his way with a gigantic axe. The musical accompaniment to this scene? A really quite beautiful version of Amazing Grace. The juxtaposition between the music and the horrors taking place on screen actually ends up being profoundly emotional, and sets the tone for the last part of the game, which is a veritable rollercoaster of drama and emotion.

I think my favourite thing, though, is that despite the fact the game appears to be a horror/crime story, there's a convincing love story element to it, too. The growing feelings between York (or, specifically, Zach) and Emily throughout the course of the game is handled incredibly well. The love story reaches its peak just as Emily is killed, making what could have been a ridiculous scene—she pulls a whole tree out of her stomach, for heaven's sake—one with considerable impact and shock value, and one which spurs the player, York and Zach on to see the whole debacle through to its conclusion. It's also refreshing to see a game which isn't afraid to end some of its story threads in tragedy for principal characters.

I could rabbit on about this game for hours, but at a little over 1,000 words I'll end that there. Several members of The Squadron of Shame are interested in recording a special DEADLY PREMONITION podcast at some point. If you've beaten it and you're interested in joining us for some discussion (I'm looking at you, Raze, Schilling) then let me know and perhaps you can be a special guest. You can also drop by the Squawkbox and share your thoughts there, too.

So with that, then, it's back to Fallout: New Vegas as the next entry in the Pile of Shame, I believe I said.

#oneaday, Day 313: The Pile of Shame, November 2010 Edition

We're coming up on holiday season. If you're American, it's already started with Thanksgiving. And you know what that means if you're a gamer: Steam sales.

Steam sales are terrible, awful things in the most wonderful way imaginable. Top quality games up to 90% off their regular price. Bundles of games a fraction of the cost of their individual components. And, of course, the resignation to the fact that your Pile of Shame will inevitably be getting bigger, because after all, you'd be stupid not to purchase these games while they're so cheap, right?

Right. Glad we're on the same page. With that in mind, and with my broke-and-unemployed status in mind, I thought I would attempt to list my current Pile(s) of Shame in an attempt to convince me that I don't really need Assassin's Creed: Brotherhood, despite the fact that I'd very much like to play the multiplayer with the Squadron of Shame.

All right. Here goes. Let's start with the least-depressing part of the list:

Games I'm Currently Playing And Intend To Finish Before Playing Or Buying Anything Else, Dammit

Deadly Premonition (Xbox 360) – fantastic game, and contender for Game of the Year 2010 in my eyes. Definite contender for "most memorable protagonist of all time" and "best ensemble cast". And "worst use of next-gen graphics technology", but that's really not the issue here.

Need for Speed: Hot Pursuit (Xbox 360) – one of the most entertaining driving games I've ever played, and looking likely to be the second driving game I ever beat, after Split/Second. I would beat this much quicker if the stupid Autolog "YOUR FRIEND BEAT YOU BY 0.02 SECONDS! DON'T YOU THINK YOU SHOULD GO AND BEAT THEM?!" thing wasn't in place… but that's part of the fun.

Pac-Man Championship Edition DX (Xbox 360) – You can't "finish" this, unless you give up on it after getting all the Achievements, which you will do after approximately 30 minutes of play. But it's worth noting that this is perhaps the perfect retro reimagining. It's Pac-Man, but not Pac-Man. It has the perfect blend of frantic gameplay coupled with some modes that actually force you to think quite a bit.

Games I Stopped Playing When I Got Deadly Premonition But Intend To Go Back To When I've Finished Deadly Premonition, Dammit

Fallout: New Vegas (Xbox 360) – Controversial to some, but I was enjoying this a bunch more than Fallout 3. I'm a particular fan of how much the main quest appears to branch.

Castlevania: Lords of Shadow (PS3) – Epic is not the word. A stunning soundtrack and the most gorgeous graphics I've seen since Uncharted 2. Looking forward to getting back into this one.

Games I Think I Should Probably Play At Some Point But Don't Own, Dammit

Assassin's Creed, Assassin's Creed II, Assassin's Creed: Brotherhood – I played a bit of the first one and enjoyed it, but traded it in when something better came out, as I recall. I'd like to go back to it and play through the whole series, up to and including Brotherhood. The multiplayer in Brotherhood is a lot of fun, for sure.

The Mario Galaxy series – I have not played a mainline Mario game since Sunshine, which I didn't like much. I hear the two Galaxies are rather good, though.

Games I'm Not Sure If I Want But Think I Might At Some Point, Maybe When They're A Bit Cheaper, Like After Christmas, Dammit

Gran Turismo 5 (PS3) – I said on Twitter yesterday that I probably wouldn't bother with this, but I've since watched a few videos and read a few bits and pieces and it sounds potentially interesting, if a bit flawed in its current state. I like cars, too, though I don't know anything about gear ratios and whatnot, apart from the fact my friend Woody and I once got some Mitsubishi thing up to over 300km/h in the original Gran Turismo by playing with gear ratios and not really knowing what we were doing.

Fable III (Xbox 360) – I really enjoyed Fable II, late to the party as I was, and I was impressed with Fable III's initial showing at the Eurogamer Expo. But reports of it have been far too mixed for my liking, coupled with the fact that you can exploit the game's main "moral dilemma" by simply leaving your console turned on overnight for a couple of days. Still, I like the voice cast, I like the concept and I do like the Fable world, so perhaps I'll come to this one very late like I did with Fable II.

And now, the main event(s). I'm going to split this into several lists to be less depressing.

Games I Own And Haven't Played At All Yet And Feel A Bit Bad About, Dammit

Steam

And Yet It Moves
Gish
HeXen II
Jade Empire
Jolly Rover
King's Bounty: The Legend
Multiwinia
Puzzle Agent
Recettear: An Item Shop's Tale
Sam & Max 105, 106, 201, 202, 203, 204, 205
Time Gentlemen, Please!
Unreal II
Unreal Tournament 2004
Unreal Tournament 3
X-COM: Terror from the Deep
X-COM: Apocalypse

Console

killer7 (PS2)
Resident Evil 4 (PS2)
Metal Gear Solid 3: Snake Eater (PS2)

Games I Have Played Before (Maybe A Few Times) And Enjoyed, And Intend To Go Back And Finish Sometime (Probably Restarting From The Beginning… Again) Because They Were Rather Good, Really, Dammit

Steam/PC

Aquaria
Darwinia
The Elder Scrolls III: Morrowind
King's Bounty: Armored Princess
Left 4 Dead
Left 4 Dead 2
Mount & Blade
Peggle Nights
Plants vs Zombies
Torchlight
TrackMania United
Trials 2
Unreal Gold
Vampire: Bloodlines
The Witcher
World of Goo
X-COM: UFO Defense
Baldur's Gate II
Icewind Dale
Ghost Master
Realms of Arkania
Myst
Riven
URU
Martian Memorandum
Mean Streets

Handhelds

Professor Layton and the Curious Village (DS)
Kingdom Hearts: Chain of Memories (GBA)
R-Type Command (PSP)
Ratchet and Clank: I Forgot The Subtitle (PSP)
Final Fantasy Tactics (PSP, though I have beaten the PS1 version)

Xbox LIVE Arcade

Castle Crashers
Lode Runner
Peggle
Perfect Dark
Puzzle Quest
Rocket Riot
Shadow Complex
Splosion Man
Super Meat Boy

Consoles

ICO (PS2)
Shadow of the Colossus (PS2)
Project Zero (aka Fatal Frame, PS2)
Psi-Ops: The Mindgate Conspiracy (PS2)
Persona 3: FES (PS2)
Grand Theft Auto: San Andreas (PS2)
Final Fantasy XII (PS2)
Darksiders (PS3)
Final Fantasy XIII (PS3)
3D Dot Game Heroes (PS3)
Silent Hill: Shattered Memories (Wii)
Zak and Wiki Make A Porno… wait, that's not right, whatever it was called (Wii)
Demon's Souls (PS3)
Disgaea 3 (aka The Game I Always Forget I Actually Own, PS3)

Games I Own But Will Probably Never Finish Even If I Kept Playing Them Non-Stop Until The End Of Time, Either Because Of Immense Difficulty Or Sheer Volume Of Content Therein But I'm Still Glad I Played Them, Dammit

Alien Hominid HD (XBLA, difficulty)
Braid (XBLA, difficulty, overratedness)
Forza 3 (Xbox 360, volume of content)
Trials 2: SE (Steam, difficulty)

Games I Own And Have Finished But Would Like To Go Back And Replay Or 100% Or Achievement Whore Them, Dammit

Dragon Age: Origins (Xbox 360, would like to play Awakening too)
Bayonetta (Xbox 360)
Canis Canem Edit/Bully (PS2, though I'd like to try the Xbox 360 version)
Persona 4 (PS2)
Star Wars: Knights of the Old Republic (Steam)
Gabriel Knight: Sins of the Fathers (PC)

Sooo… maybe I don't need to play the Assassin's Creed series just yet, huh.

#oneaday, Day 297: Read This Or I'll Punch You In The Balls/Face

The latest episode of The Squadron of Shame SquadCast is currently uploading. In it, we discuss the ever-present topic of video game violence. Is it really destroying our children and turning them into violent assholes?

Well, you'll have to listen to the podcast for our group conclusions, but here's my take on the whole thing. Video game violence has now been around for some time. In fact, it's been around for quite a bit longer than some people realise. A couple of the guys brought up Forbidden Forest on the Commodore 64, a game which, while laughable now, was pretty shocking and gory for the time. I know that certainly five-year old me would have been freaked out by the big-ass spiders.

One side-effect of the violence issue being around for so long is that it's now somewhat taken for granted. Whether or not this is "desensitisation" per se is a matter of opinion. But the fact is, violence in video games is very rarely shocking these days. Shoot someone in Call of Duty and it doesn't carry much in the way of emotional impact, because you do it so much. Shoot someone in Heavy Rain, though, and it carries much more gravitas due to the context, and the fact it happens less.

But desensitisation to violence in the video games medium doesn't mean that we as a culture are desensitised to violence as a whole. I've played a ton of games that involve ultra-violence, dismemberment, heads exploding, that sort of thing. One of my favourite games in recent memory was Bayonetta, which features a huge range of over-the-top violence and implements of extreme torture. But if I saw something like that happening in real life, I would be horrified and disgusted. I see a photograph of something violent and I feel sick. And anything involving eyes—even if it's just on a TV show or a movie—ugh, count me out.

So it's clear, then, that video games haven't desensitised me, personally, to anything except video game violence, which is something much more akin to cartoon violence than anyone else. I doubt there's anything that can adequately prepare you for real-world violence and gore, save being immersed in it for some time by being either a psychopath or a soldier on active duty. And neither of those things are particularly desirable.

What I have observed, though, is a knock-on effect from some of these games, and it's not necessarily the violence itself that is to blame. Back where I used to live, a lot of kids used to play in the streets rather noisily. Nothing unusual, you might say, until you heard the language they were coming out with. It became abundantly clear to me from listening to them, and the fact I had played through Modern Warfare 2 relatively recently, that they were re-enacting something they'd seen in a video game. And the parents didn't seem to care that their kids—aged between about 5 and 10, I'd wager—were out in the street, yelling "MOTHERFUCKER!" at each other and threatening to blow each others' legs off.

"Kids will be kids," is the easy response, of course. But these kids picked up on this material from somewhere, and obviously hadn't had a discussion with their parent(s) about what was appropriate to be shouting in the street, and what wasn't.

I don't envy the task that parents have these days. There is so much crap out there that kids can access easily. So the challenge is not to stop them from seeing it at all—that's an impossible mission that grows more impossible by the day—but to help them understand what is and isn't "appropriate" in certain contexts. And some parents, it seems, just can't be bothered to have those conversations. And, as a result, assholes beget assholes.

It's a big topic, far more than just one blog post can cover. Want to hear more? Then check out the latest episode of the SquadCast, which will be up online very soon. Head over to the Squadron of Shame Squawkbox in the meantime to debate the issue.

#oneaday, Day 296: DEADLY PREMONITION Must Always Be In Capslock

Ahh, all you people out there playing Call of Duty: Black Ops. I hope you're having a good time. I seriously doubt you're having as good a time as me. Because I'm playing DEADLY PREMONITION, a game so remarkable it insists on its title being in capitals whenever it announced you're playing it on Xbox LIVE.

Here in Europe, we're late to the DEADLY PREMONITION party, of course, but at least the game finally made it over here. And at a knock-down price of £24.99, too. This is very much a Good Thing, though I'm concerned that within a few weeks the game will have disappeared without trace, never to be seen again. As such, I decided that I should probably pick up a copy before that happened. I did the same with 3D Dot Game Heroes a while back, and still haven't got around to finishing that. One day.

DEADLY PREMONITION, though, I decided to make a start on tonight after Fallout: New Vegas decided to throw a wobbly earlier on. So here, then, are my first impressions of a game I knew pretty much nothing about prior to tonight, save the fact that it's supposedly "so bad it's good" territory.

The first thing that will strike you upon firing up Deadly… I mean DEADLY PREMONITION is that it looks like ass. Coming off a game with sparkly hi-definition graphics like Fallout: New Vegas, or Vanquish (which I reviewed this week for The Big Pixels… go check it out) it's a jarring change to see muddy textures and that weird "sparkly texture" effect that we used to see all the time on previous-gen consoles. But after a few short moments it ceases to matter. And if anything, so far I am feeling that the shoddy graphics are, in fact, part of this game's charm.

The second thing which is striking about the game is that it is genuinely atmospheric. Some good use of creepy sounds, reminiscent of Silent Hill, coupled with some ugly, horrifying enemies that remind me somewhat of Fatal Frame (aka Project Zero) make for a nerve-wracking walk into town. I haven't got very far yet, so I couldn't say for certain if this atmosphere continues throughout. But I'm certainly impressed with the feeling of dread which the game is producing so far.

Controls are initially clunky but you soon adjust to them when you remember that this isn't supposed to be a fast-action shooter. Yes, being rooted to the spot while aiming a gun is a pain. But it forces you to think a little bit more carefully about getting into a suitable position to fire rather than spraying bullet fire around randomly. I'm certainly fine with it, though it would be understandable for some people to hate it.

In fact, that last statement pretty much sums up what I'm expecting from DEADLY PREMONITION as a whole: something which I'm going to enjoy a huge amount, which other people will probably hate, loathe and despise for various reasons. Some may be immediately turned off by the graphics (whores that you are). Some may be put off by the control scheme (which is easier for me to sympathise with). And others simply would probably rather play something like Call of Duty. Which, as I said yesterday, is absolutely fine by me.

Me? I'll be exploring Greenvale and trying not to get chopped up by the "Raincort Killer" [sic], as the European box would have it. And I wouldn't have it any other way.

#oneaday, Day 255: The Big Pixels are Here!

Ladies and gents, it's my great pleasure to reveal The Big Pixels to you.

You may recall some days ago that I was mourning the loss of Kombo. Kombo's still not dead yet—feel free to drop by and support the remaining writers—but, to be frank, it's probably only a matter of time. It's very sad to see the end of something which has clearly had love, care and attention poured into it over the last few years, and I'm happy that I was part of the experience for a short while.

But this post isn't about mourning the past; it's about celebrating the future. And that future begins with today's launch of The Big Pixels.

The Big Pixels are a group of friends first and foremost, video game writers second, and we decided to band together to produce something that we'd want to read ourselves. Intelligent, thought-provoking games writing. No flamebait. No traffic-whoring. Just the kind of thing that gets people stroking their chin and going "Hmmm", and hopefully provoking some discussion. Those of you who follow The Squadron of Shame will undoubtedly dig what we're doing. And those of you who are tired of the same old news stories posted everywhere day after day will surely enjoy our work, too. It's an N4G commenter-free zone!

We're there to have fun and build a community, not to chase page hits. So the important thing for you (yes, you!), the reader, is that you enjoy it. Read our work. Tell us what you think in the comments. Feel free to share any pieces you find particularly interesting or entertaining. And help us to build up our own unique little corner of the internet; a home away from home for those who are sick of "Top Ten Tuesdays" featuring boobies, guns or any combination thereof, or people who are sick of seeing the same picture of Michael Pachter on every article where he says something contentious and/or stupid.

Since you're reading my blog, I'm going to draw particular attention to my own posts, of course. I am nothing if not a whore, after all. So while you're over there, feel free to check out a "reprint" of my article on game development's gender divide (featuring much-appreciated assistance from the very lovely Mitu Khandaker and Lauren Wainwright), a companion article to the most recent SquadCast on video game music, and a discussion of adult gaming. I hope you like them; and be sure to check out my buddies' work while you're over there. And don't forget the Looney Bin, receptacle for all manner of game-related crap that we've encountered in our journeys around the web.

It's been an interesting journey over the last few days, and it's only just beginning, for sure. Stay tuned to The Big Pixels, as we'll all be pushing out a wide variety of articles on all manner of game-related subjects every week. Follow us on Twitter and/or Facebook for the latest and to make us look popular and awesome.

Also, our review scoring system has a rainbow unicorn pixel in it. And there is absolutely no way you can say that isn't the most amazing thing you've ever seen. Unless Maru is your cat.