2326: Purpose

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In response to the WordPress Daily Post prompt for June 2, 2016.

Purpose is, I am told, that little thing that lights a fire under your arse. Trouble is, finding one's purpose and then being able to actually, you know, follow it somewhere constructive is a bit harder than just lighting a match beneath your hairy, sweaty ringpiece and hoping for the best.

I don't think I've found my purpose yet. This is probably self-evident to those of you who have either been following this blog for a while or who know me in real life. It's not through lack of trying, mind you — I've tried all manner of different things, but none of them seem to have quite worked out in a way that is any way satisfactory. I've either found myself realising that no, I don't really want to do that thing after all — or in the few cases where I've found myself actually enjoying something that I'm doing, I find the opportunity snatched away from me through circumstances entirely beyond my control.

The closest thing I feel I have to any sort of purpose is to write. About what? I don't know. Games obviously spring to mind, as I do a lot of writing about those from various perspectives, and indeed one of the writing projects I'm finding most enjoyable at the moment is the production of in-depth studies of games over on the sister site to this blog, MoeGamer. I'm currently into my third month of producing work of this type, and I've even managed to attract a few people to my Patreon to support me financially in appreciation for my writing, which is nice. Not enough to live on, by any means, but a bit of pocket money each month, if nothing else.

What else do I feel qualified to write about? Music is another thing; music may not be as much of a focus in my life as it was when I was at school, but it will always be a big part of who I am, and I feel pretty confident both talking and writing about music — and indeed teaching it.

On the subject of music, I have a curious (and probably not all that interesting) anecdote to share. I tend to find that my subconscious often reflects things that are at the back of my mind or causing me anxiety through my dreams, and one recurring dream I seem to have is that I'm back at my old school, I know that there are orchestra and concert band rehearsals going on — these are both groups that I was a member of throughout my entire time at school — but I deliberately choose not to attend them, nor to participate in the regular school concerts. In the dreams, I often run into my old music teacher Mr Murrall, one of my absolute favourite teachers in the whole school, and he's extremely disappointed in me for not attending. Perhaps this is some sort of subconscious signal that I should try and do more with my music once again — question is, what?

That annoying question "what?" is the thing that I feel holds me back most from finding a purpose. Whenever I look for a job, I get hung up on what I should be looking for. Whenever I consider offering private services such as music teaching, I wonder what I should be charging and offering. Whenever I consider training myself up in a new field to try and find a new career, I stall on what I should be studying. What, what, what.

What should I do? I don't know. But hopefully the answer will come to me at some point, otherwise I'll just find myself staggering into middle- and old age feeling like I've not really accomplished anything along the way. And that's not a prospect I'm particularly happy about.

2325: Science Club

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I've never thought of myself as particularly "scientifically minded" — I always felt like I hated maths at school, although thinking about it I did end up doing reasonably well at it at GCSE level, and I did actually genuinely enjoy science lessons — but in the last few years in particular I've found myself very interested in TV shows that deal with scientific principles, preferably in an entertaining sort of way.

There are a few shows I have in mind for this sort of thing which if you, like me, are interested in generic sciencey things but perhaps don't have the opportunity to study them as a career (or as a hobby), you might want to check out.

First up is Brainiac, which I'm pretty sure I've talked about on these pages before. Brainiac is a show that aired on satellite channel Sky One between 2003 and 2008. Featuring Richard Hammond (best known for Top Gear and Total Wipeout) in the presenter's chair, sternly reminding viewers Not To Try This At Home, the show was designed to be "science entertainment" in that it set up all manner of experiments with genuine scientific principles in mind, but executed them with a fair degree of tongue in cheek. This made it both genuinely interesting and informative to watch as well as being something you could just chill out in front of and have a good laugh with. Despite having watched most of the episodes several times, I happily return to it every so often; it's a pity it's not on a service like Netflix for some better quality videos — I have to rely on dodgy downloads or YouTube at present.

Next up is Mythbusters, an American show which takes nuggets of popular wisdom and puts them to the test in various ways. The show's hosts have a background in special effects, so they often make use of this knowledge to perform their experiments in unnecessarily spectacular ways. It takes a little while to get into the show's groove if you're not accustomed to the hosts' rather dry, deadpan sense of humour, but it's very entertaining and, again, informative if you pay attention to the science bits.

Finally is my most recent discovery, Dara O'Briain's Science Club. O'Briain is primarily known as a comedian and host of topical panel show Mock the Week, but over the last few years he's been spreading his wings a bit and taking on subjects such as mathematics and now science. He's clearly a clever man, and he has some even cleverer friends who come out to play for Science Club. Each show focuses on a specific topic and explores it in detail, and the topics under the microscope (sorry) range from the human brain to the possibility of space travel and Mars colonisation. The show incorporates experiments, "live" studies involving the studio audience, documentary-style footage and layman's explanations of complicated scientific concepts. It's an extremely compelling show, and it's probably a mistake for Andie and I to watch it when we're trying to get to sleep, because it's the kind of show you want to pay attention to!

And on that note, I'm off to bed to learn some science and perhaps, maybe, get some sleep.

2324: A Portal to Quality Filth

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One of the things the video games industry has had trouble with over the years is the issue of "adult" games. I'm not talking about M-rated violence-fests — those are seemingly fine. I'm talking primarily about those that contain explicit sexual content and/or themes a little more ambitious than you might find in your typical focus-grouped commercial blockbuster.

The stigma attached to adult games is largely due to retailer concerns. Specifically, retailers like Wal*Mart and Target in America have historically refused to stock games that have an AO (Adults Only) rating from the ESRB (Entertainment Software Ratings Board), despite the AO rating existing and making it abundantly clear that the title is absolutely not for children. The situation is almost certainly the same in Europe when it comes to PEGI (Pan European Game Information) ratings, with the added awkwardness that different individual European countries have different rules on what is regarded as "decent". Germany, for example, has less of a problem with pornography than some other countries, but is very strict on depictions of violence, with many high-profile triple-A games either not making it to Germany at all or being gutted (no pun intended) of violent content in the process.

In other words, making an AO game would historically have been commercial suicide for a publisher trying to make money from their product. After all, if you can't get stock on the shelves of popular retailers, your avenues for selling your product are inherently more limited, and when it comes to big budget titles, you need every sales channel you can get.

But now we live in the age of the Internet, of course, and brick-and-mortar retailers are less relevant to our buying habits. It's still nice to be able to go into a shop, pick up a product and walk out with it (having paid for it, obviously) immediately, but a significant number of people now err in favour of the lower prices offered by online stores. And when it comes to computer and video games, the rise of high-speed broadband and high-capacity hard drives has made games with no physical component whatsoever a prominent part of the digital landscape. In fact, the ability for software to be released as digital-only has allowed more developers and publishers than ever before to be able to bring their products to market — without overheads such as duplication and distribution, developers can focus all their time on their product and, subsequently, promoting their product rather than boring logistics stuff.

And yet we're still stuck with the stigma over AO games. Console manufacturers won't allow AO games on their platforms' storefronts — presumably because it would be all too easy for minors to circumvent any sort of age gate technology and buy porn on Mummy's credit card (suggesting that they should perhaps think about stepping their age gate game up) — and Steam, while allowing a couple of games with boobs in to be sold on the platform, still seemingly stops short of allowing outright porn/hentai games to be sold. (There is, of course, a whole argument about why it's okay for The Witcher to have fairly explicit porking in it, yet the slightest hint of an anime titty gets the big red cross, but we won't get into that now; nor will we get into the "double standard" argument re: violence vs. sexual content.)

This has meant that until now, AO games have typically been sold direct or through specialist distributors. J-List, for example, sells AO visual novels in both physical and digital format from its own publishing arm JAST USA as well as third-party localisation companies like MangaGamer. MangaGamer also sell their own products on their own website. Localisation powerhouse Sekai Project, meanwhile, have their dirty little not-so-secret arm Denpasoft to sell their AO titles (or AO versions of titles that get a wider, edited release for platforms like Steam). It's good that we have all these places to buy AO titles, but until now there hasn't been a unified Steam-esque platform for them.

There still isn't quite that, but what Nutaku (very NSFW link!) is building is a step in the right direction. Nutaku, for the unfamiliar, is a website that sprang up relatively recently and provided adult browser games — typically the sort of gacha-driven free-to-play fare that you'd get on mobile phones, only with more porn. More recently, however, they've decided to launch a digital distribution platform for a variety of AO titles — primarily visual novels, as they tend to be — in collaboration with the popular publishers I've mentioned above.

This is a big deal. A centralised place for AO games to be distributed and for players to build up a library is a great thing, and helps deal with the inherent fragmentation of the market we've had up until now with everyone only distributing their own stuff (with the exception of J-List selling physical copies of some MangaGamer titles). While Nutaku's implementation of its storefront currently leaves a little to be desired — you have to buy games with the "Nutaku Coins" premium currency that is also used in their free to play browser games, and you can only purchase this in bundles rather than the exact amount you need to buy a game — it's very much a step in the right direction, and a system that is hopefully going to allow AO games to thrive in the online market. Perhaps it will even inspire some competitors to come along, or for services like Steam to have an age-gated 18+ section.

And it's started strong; some well-regarded titles such as the 18+ version of Princess Evangile are available on Nutaku's platform, and Sekai Project has even released the 18+ version of Sakura Dungeon first on Nutaku — even before the all-ages version hits Steam or the 18+ version releases on its own Denpasoft store. Let's hope it keeps up this momentum — and if you want some quality filth, be sure to support what they're doing.

2323: Gateway Games

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There's a good piece in the latest newsletter from Glixel, the upcoming new website that my brother's working on in collaboration with the folks at Rolling Stone. The article focuses on Blizzard's approach to game design, and how they rarely do anything completely new, and instead take an established formula that is often regarded as impenetrably complex or difficult to get into (especially once a community has been established) and make it accessible to the masses.

This isn't a matter of "dumbing down", though. No, it's rather intelligent game design: it strips out the complicated things that more "hardcore" games have in them as a means for players to show their skills, and instead focuses on the core experience, creating an "easy to learn, hard to master" kind of situation.

The most recent example of this is, of course, Overwatch, which takes the basic formula set in something like Team Fortress 2, strips out all the complicated bits that have been bolted on to that game over the years, and makes an enjoyably easy to get into but tactically rich multiplayer shooter that pretty much anyone can enjoy. But Blizzard's past work fits this mould, too, with perhaps their most famous work being World of Warcraft, which successfully made massively multiplayer online RPGs — traditionally not particularly user-friendly experiences — accessible and enjoyable to the masses.

It's not just Blizzard that does this, of course. There's great value in producing solid "gateway games" to particular genres, as they provide a means for people to learn about potentially new favourite styles of game without getting bogged down in complicated rulesets and techniques. Hopping genres from multiplayer shooters to dungeon crawler RPGs, Experience Inc's Demon Gaze provided an excellent jumping-on point for me to learn how these traditionally challenging, complex games worked, and built up my confidence to tackle the significantly more complicated, difficult and long Dungeon Travelers 2. Elsewhere, Codemasters' GRID series strikes an excellent balance between arcade-style handling and the greater realism of more "sim"-like racing games such as Gran Turismo and the early Forza games. Cave's Deathsmiles is a good introduction to bullet hell shooters. Dead or Alive 5 is a good game to learn about one-on-one fighting games, particularly with its excellent tutorials and practice modes.

Board games do this, too. Some of the most popular and well-respected board games out there are "gateway games" to more complex experiences. Ticket to Ride, for example, teaches players about dice-free mechanics, set collecting and strategic unit placement without overcomplicating things with unnecessary rules. The Settlers of Catan is a great introduction to "building" games where you have to manage resources in order to construct various things. And deckbuilding games like Ascension and Star Realms can lead naturally into more customisable card games such as Android: Netrunner, Magic: The Gathering and suchlike.

Some people never move beyond these gateway experiences, and that's absolutely fine. To be perfectly honest, I think I'm most comfortable with the simpler end of the spectrum when it comes to board games in particular, and I'm definitely digging the simplicity of Overwatch, as recent posts have doubtless made clear. What's important about these experiences, though, is that they're inclusive, allowing more people to enjoy hobbies traditionally thought as complex and difficult to get into than ever before. And having more people to play with is pretty much always a very good thing indeed.

2321: Treading the Boards

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Watching popular British topical panel show Mock the Week, which has an inexplicably large number of episodes available on Netflix — peculiar to me due to the topical, timely nature of it, not because of any particular lack of quality — reminds me somewhat of one of my favourite activities at university: participating in the university Theatre Group.

We did all manner of things as part of the Theatre Group. We put on plays, of which I was in several, including Macbeth (which we rather edgily revamped to make it look like The Matrix, like no-one had ever done that before), Ivan Turgenev's A Month in the Country (which we took to Edinburgh, only to discover that the Edinburgh Fringe audience wasn't as receptive to tragic Russian love stories as we would have liked) and Alan Ayckbourn's Round and Round the Garden from the Norman Conquests cycle (which we also took to Edinburgh and discovered that the Edinburgh Fringe audience was a lot more receptive to Alan Ayckbourn).

I also directed an entertainingly chaotic production of Twelfth Night after my co-director sent me an email one morning informing me that she would be late back to university at the start of the spring term because she'd decided to go skiing, and would I mind awfully directing the show by myself because she didn't want to? (That production gave me more nosebleeds than I've ever had in my life, but it was one of the most memorable experiences of my university career, in a good way.

We also threw great parties, usually (but not always) after a production, and had a regular night out at local grotty (but cheap) club Kaos. But the thing that I miss the most, I think — and the thing I'm reminded of when watching shows like Mock the Week and Whose Line is it Anyway? — is the regular improvisation sessions we had just prior to the regular nights out at local grotty (but cheap) club Kaos.

The improvisation sessions grew out of the warm-up activities that had become a Theatre Group tradition when starting rehearsals. These tended to be simple but fun activities that could double as drinking games in a pinch, but were often also designed to get our minds warmed up as well as our bodies and voices, and so quite often incorporated improvisation of various types.

Theatrical improvisation games are a lot of fun if you let yourself get drawn into the experience. This is something I always enjoyed about acting ever since secondary school Drama lessons: getting swept up in a role and feeling like you really were, just for a moment, someone else. And in improvisation you're not confined by a script: you can take things to some very strange places indeed.

In fact, these improvisations eventually grew into a semi-regular improvisation-based show that the Theatre Group put on called Count Rompula's Showcase. When you showed up to a Count Rompula's, you never quite knew what you were going to get. On one particularly memorable occasion, the audience was subjected to The Web of Dan, a rather avant-garde piece that the eponymous Dan and some of his friends had joked about in rehearsals for other shows. I wasn't directly involved with this eventual production, though I was at least present for the genesis of the idea in the rehearsals.

I miss those days a great deal. I'm occasionally reminded of them when we play Final Fantasy XIV, usually on patch day, and devolve into a series of cringeworthy puns based on the environment and enemies we're fighting in a new dungeon. (The introduction of the icy dungeon Snowcloak was particularly good for this, as you can imagine.) But nothing will quite match the magic of those days when we sat in a circle, miming the action the previous person had said while saying a completely different action we wanted the next person to perform. Or performing scenes based on silly props. Or, indeed, playing Deutsche Erotika, which sadly is not quite as entertaining as its name might suggest.

2320: Never Pick One Main

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This advice is true for many different class-based games, be they massively multiplayer online RPGs like Final Fantasy XIV or competitive games like Dota 2 or, indeed, Overwatch. (Yes, it's another Overwatch post, for which I make no apologies.)

Overwatch is an interesting case study, though, in that unlike the other examples I gave above, you can change your character and indeed your complete role in the team at any time — either immediately after dying or if you're back in your base. This leads to a whole new interesting metagame where your team isn't bound by the principles of the "holy trinity" of tank, healer and damage-dealer (or, in Overwatch's case, the holy quartet of tank, support, offense and defense) and can instead evolve and change as a match progresses according to the team's needs.

Because this is such A Thing in Overwatch, you absolutely shouldn't pick a single character and "main" them like in other character-based games like competitive one-on-one fighters. At the bare minimum, you should be familiar with a hero in each of the four roles, and ideally you should at least know what every hero is capable of, even if you're not particularly skilled in playing as them.

You can read guides about this, but the best way I've found to learn which hero is good against which opponent is simply to experiment and see what happens. That way, you'll naturally figure out which heroes you enjoy playing and who they're effective against.

I have a number of heroes that I've started gravitating naturally towards so far. I intend to expand my repertoire over time, but for the moment here are my favourites.

In the offense role, I'm a fan of Tracer. Her rapid fire guns immediately hit their target when you fire them, so there's no need to lead targets in the same way as you need to with those who shoot more obvious projectiles — you still need at least a reasonable degree of precision, though. Her absolute best features are her special abilities, though. Her Blink ability lets her teleport a short distance up to three times in succession, letting her quickly dart across doorways and passages that are covered by dangerous sentry types such as Bastion or Widowmaker. And her Recall ability is great for confusing an enemy, as well as providing a means of self-healing by not only rewinding her location, but also the value her health was at a few seconds ago.

For defense, I like Mei. Her Ice Wall ability is great for blocking off specific routes and funneling the opposing team down a route you can cover more easily. Her weapon also has a great deal of flexibility; the short-range "ice thrower" acts a bit like a flamethrower only, you know, colder, and also has the added benefit of freezing enemies, initially slowing them and eventually freezing them completely for a brief moment. Her alt-fire, meanwhile, fires an immensely accurate icicle bolt that proves devastating to snipers such as Widowmaker, dealing a huge chunk of damage in a single hit at medium to long range. Combine this with her ability to freeze herself, making her temporary invulnerable while self-healing, and her Ultimate, which causes a freeze and damage effect over a decent-sized area, and you have a great defensive hero who is more than capable of going toe-to-toe with dangerous, occasionally insurmountable-seeming threats like Reinhardt.

In the tank role, I enjoy D.Va. D.Va is interesting to me in that she's not necessarily designed to soak up a huge amount of damage in the same way as some of the other tank characters, but is instead a rather mobile unit that can put out a good amount of close-range damage while having much better survivability behind enemy lines than the Offense heroes. Her absolute best thing, though, is her Ultimate, which self-destructs her mech suit, taking anyone in a significant radius with it, including herself if she doesn't get out of the way. What's fun about this ability is that you can combine it with her mech suit's jump jets ability, effectively "throwing" the self-destructing mech at the enemy team from a distance while she skips off happily into the distance. Also she's adorable.

Finally, in the support role, I've had most success with Lucio. A speedy character with a passive "aura" effect rather than a more active healer like Mercy, Lucio is an excellent support character who is very capable of putting out a decent amount of damage in his own right. His decent mobility thanks to his high speed and Wallride ability allows him to move unpredictably and avoid damage, while the relatively short cooldowns on his abilities let him provide either speed boosts or decent healing to nearby companions on a pretty consistent basis. Not only that, but the fact his buffs and healing work as an aura mean that he can concentrate on wrecking some fools while he's benefiting the team, meaning he can help out in several ways at once.

I'm sure I'll discover new favourites in the near future, but for now these are the ones I've had the most success — and fun — with.

2319: Pass into the Iris

Overwatch is still excellent.

I'm tempted to leave it at that, but I should perhaps qualify my statement.

It's difficult to pin down a single, truly appealing element of it because there are so many, and that's perhaps it's biggest strength: there's something in there that will appeal to most people who are at least vaguely receptive to the idea of competitive first-person shooters.

For me, the absolute best thing about it is its accessibility. There's a wide variety of different heroes, some of which are more difficult to use, but all of which are rewarding. Plus some absolutely wonderful balancing has clearly gone into the game's development, since each hero has a clear "counter" that is eminently suitable for dealing with them when they start giving you grief.

It's a game with accessibility for casual players, in other words, but one which has sufficient depth to keep competitive players interested in the long term. It will be interesting to see how the community as a whole takes to the ranked competitive games when they launch soon, and whether the game as a whole takes off as an e-sport.

It's rather enjoyable to be in at the very beginning of what is clearly going to be a thriving game with the longevity of Valve's classic Team Fortress 2, a game to which Overwatch is often compared, and not unreasonably so. However, where I found Team Fortress 2 to be completely intimidating (due to the fact that by the time I had a computer and Internet connection that could handle running it, everyone else who had been playing for years was infinitely better than me, and it felt impossible to get any better), with Overwatch I'm finding it easy to contribute to a team effort, pick the right heroes for the right situation and help get the job done.

What seems nice about the community as a whole — at least on PC, I can't speak for the console versions — is that the player base isn't afraid to have a bit of fun. Earlier tonight, for example, I had a game where the opposing team started out by posting three Winstons (a giant Tesla cannon-wielding gorilla with a rather refined voice and attitude) outside our base, and gradually, as the match progressed, everyone else participating switched to Winston too, until by the end of things we had an absolutely chaotic melee made up of twelve mutant gorillas all going all HULK SMASH on one another at once. The results of that game really didn't matter in the end, because everyone involved had such a great time, and of course it was followed up with a couple of other matches in which everyone picked the same character again. Six Reinhardts bearing down on you is certainly a sight to behold, though this situation helped me realise Pharah's value in that she can leap high into the air and rain rocket death down on Reinhardt from above while staying well out of range of his big-ass hammer.

Overwatch is a game that hasn't forgotten a core reason we play games is, well, to play. It's a consistently joyful, smile-inducing experience that the vast majority of the community seem to play well and with a good attitude; you get the occasional ragequitter yelling "uninstall the game now" when their team loses, but they are relatively few and far between in my experience so far, and when this happens most people just shrug and move on. Overwatch's excellent matchmaking coupled with the significant player base means that their team slot will be filled in a matter of seconds anyway, so it's no great loss to the other players if that person wants to ragequit.

Assuming Blizzard keeps supporting Overwatch as much as it claims it will — we're promised free new heroes and maps on a fairly regular basis; the only "premium" paid content is the ability to purchase the Loot Boxes containing skins and other customisation items that you acquire for free every time your account levels up anyway — I can see myself playing it for a long time. And it's a nice feeling to find a multiplayer experience like that: it's one I can easily share with friends, since there's none of the MMO issue of you "outlevelling" each other, getting to different stages and being unable to play together due to the disparity in your characters' power levels, and its 5-10 minute matches make it eminently friendly to the more busy people I know who perhaps only have half an hour here and there to play some games together.

So yes. Overwatch. If you've been on the fence about grabbing it but you like the sound of it, stop hesitating and grab it. Then we can go and shoot some fools together.

Cheers luv.

2318: Rebooting in Progress

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You may recall a while back I decided to reboot my "sister site" to this blog, MoeGamer. Having now spent two months with my new format, I thought I'd revisit the idea here for the benefit of those who haven't checked in on it recently.

Essentially, my thinking behind MoeGamer's new format was to forgo the scattershot approach that games journalism and criticism today typically follows, and instead have a laser-sharp focus each month: a single game, or perhaps a series of games. Over the course of that month, I'd post a series of in-depth articles, each of which focused on a specific aspect of the game or series. By the time the month was up, there'd be a complete, substantial amount of writing about the game in question for readers to enjoy at their leisure, with the content remaining relevant long after it was written.

This is part of the problem with modern games journalism and criticism, and part of the reason it's so trapped in the clickbait quagmire that ruins it so much. The ever-present need to produce timely content to meet embargoes and line up with release dates means that games that often deserve better don't get the attention they deserve, and some games, as we've seen in the past, get a writeup of no value whatsoever, consisting entirely of the writer in question doing nothing but mocking the game and the people who like it without demonstrating any real evidence that they've bothered to try and engage with it on anything more than the most superficial level.

As I noted in my previous piece, though, because MoeGamer is a personal site that I write as a passion project, I'm not beholden to the fickle whims of advertising revenue and I have no obligation to bait people in with provocative headlines and articles about the creator of Minecraft calling someone a cunt (which, for what it's worth, he was perfectly within his rights to do, as the person whingeing at him was being a cunt). Instead, I can explore games that have proven meaningful or interesting to me; games that are worthy of discussion. I can be positive about them, too, highlighting the things they do differently or particularly well and giving people reasons to check them out rather than, as so often happens with reviews today, reasons to avoid them.

The positivity thing in particular is something I feel strongly about. There seems to be a perception in a lot of modern criticism that you're not doing your job properly if you're not tearing something apart or telling it things it should do better. While there is value in this sort of criticism at times, it's very easy to start reaching for things that are of little relevance to the work as a whole. Polygon's infamous review of The Witcher 3 that complained about the lack of black people in a world inspired by Eastern European folklore is a good example, as is any writeup that bleats about sexism in an anime-style game without demonstrating any evidence of having explored the characters' backgrounds.

Personally speaking, the kind of writing about games that I like to read is positive in nature. Games that changed your life, games that had personal meaning, games that elicited emotional responses, games that people haven't heard of but should absolutely definitely positively check out. It is eminently possible to remain positive about things and still write interesting, compelling content, and it has the pleasant side-effect of creating a positive atmosphere around the articles, too, which encourages discussion and anecdotes of what the work in question means to other people. (There are exceptions, of course, as with most things on the Internet, but most people I know seem to respond far better to positive, enthusiastic writeups than ill-informed, poorly researched pieces that tear things apart unfairly.)

So that's what I'm doing with MoeGamer. So far I've covered Senran Kagura Estival Versus and Megadimension Neptunia V-II. Next month I'll be tackling Dungeon Travelers 2. Beyond that, I have a whole shelf full of games that I'm very interested in exploring in this level of depth, and I hope at least some of you enjoy reading my thoughts on them.

2317: 25 Floors Up

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I'm on the 25th floor of the Tower of Bogomil, Dungeon Travelers 2's very definitely, totally, positively final dungeon, honest. There are just five floors to go until I reach the top and the final final boss, though I suspect I will probably have to go and fight at least one of the "Gods" that lurk at the bottom of the other postgame dungeons before it will let me in to get my teeth kicked in by the boss. Oh, there's also a five-floor annex to the tower, because of course there is. Each floor of this is pretty small, from what I understand, though; they're mostly about additional boss fights.

I checked the clock when I made my last save tonight: 208 hours. This is officially the longest I've ever spent on a completely single-player game. Final Fantasy XIV has it beat in terms of total playtime, of course, but being an evolving MMO, that's a somewhat different situation. Previous holders of the personal playtime records for me included Persona 3 (somewhere around 90 hours), Persona 4 (likewise), several of the Hyperdimension Neptunia games (100+ hours each, albeit split across several playthroughs) and Xenoblade Chronicles X (well over 100 hours and I hadn't even finished half of it — must go back sometime).

What's kind of impressive about that playtime for Dungeon Travelers 2 is that it's a single playthrough. I haven't started again, I haven't done a New Game Plus — this is the same save file I started months ago. And only now, after 208 hours, am I even vaguely near finished.

What's also impressive about the playtime for Dungeon Travelers 2 is that the vast majority of it occurred after the main ending to the story. The "Otherworld Chapter", as the postgame is called, unfolds largely without an ongoing narrative — it simply unlocks a series of challenging dungeons in sequence and tasks you with navigating your way through some increasingly perilous and head-scratchingly confusing locales with a mind to eventually opening up the aforementioned Tower of Bogomil and making your way to the top. Why? Just because. (Well, technically you think the final boss of the story, who managed to escape after you defeated her, might be lurking up there.)

This motivation for dungeon-crawling is one of the purest there is: the simple joy of exploration and discovery. And this is one thing that Dungeon Travelers 2 is absolutely exceptional at that. It may obviously be working within some tight budget constraints — there are a lot of palette-swapped enemies throughout the game, and each dungeon is based on a single tileset, which in the case of the Tower of Bogomil you see a whole lot — but the absolutely exemplary level design makes up for these limitations and then some.

What I found interesting is that Dungeon Travelers 2 keeps a lot of its tricks up its sleeve until the postgame. One of the latter story dungeons features some switch puzzles that involve opening either red or blue gates at once, never both, but the postgame also adds floors with conveyor belts, floors that are interconnected by ladders and pitfalls, floors that are full of teleporters on every step, one-way walls, secret passages and doors that demand you have a specific party makeup or class present in order to proceed.

Essentially, the main story of the game is getting you prepared for this pure exploration, combat and character-building experience in the postgame. You get a taste of what to expect in the future in the story; you get thrown in at the deep end once you're past the "final" boss. And it's hugely enjoyable, as my playtime will attest.

Five floors to go, then. I'm hoping I get it finished by the beginning of next month, because there's a ton I'd like to write about this game over on MoeGamer, so watch over there for some in-depth thoughts.

2316: Overwatch is Out, and It's Awesome

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Well, it's here: the only multiplayer-only first-person shooter I think I've ever actually been genuinely excited to play and be on board with from day one: Blizzard's Overwatch.

The servers went live at a little after midnight my time, and aside from one incident where I lost connection from a game, everything seems to be running extremely smoothly. I am happy about this.

Here is a list of reasons why I like Overwatch when I typically haven't got into other competitive first-person shooters:

It has characters. Call of Duty is boring to me because soldiers are boring. Overwatch has a wide variety of characters that includes cute girls. So that's a win.
There's no complicated metagame. No challenges to unlock weapons, no perks to worry about, no loadouts, no higher-level people dominating you through use of higher-level unlocks: everyone is on an equal playing field.
The "you must be this skillful to play" barrier is lower than a lot of other shooters. The thing that puts me off a lot of competitive shooters is the fact that it's extremely difficult to learn how to play them effectively when some 10-year old can snipe you from halfway across the map before you've even got anywhere near the objective. Overwatch's characters cater to a wide variety of skill and confidence levels, and most don't require pinpoint accuracy to have a good time with.
The objectives are simple to understand but challenging to complete. The game modes may be straight out of Team Fortress, but they work. The Overtime mechanic makes for some genuinely exciting last-second turnarounds, too.
The weapons are satisfying. Each character only has one or two weapons at most, and they're all great fun to use. They make good noises and feel powerful.
The game gives excellent feedback. Through the use of sound and HUD elements, Overwatch keeps you nicely informed on what's going on. If you're getting shot in the back, a nearby character will tell you. If you're successfully hitting an enemy from a distance but can't see it very well, a sound effect lets you know that your shots are on target. And most characters' HUDs are designed so that you don't have to take your eyes off the action to know important information.
The abilities give characters unique identities. Not only that, but you need to know the best ways to avoid and/or counter these abilities. That keeps things interesting.
The support characters are more than just healbots. Most of them are more than capable of putting out respectable damage, too, and some even have other interesting abilities to support the team.
D.Va. Say no more.

Now I'd better go to bed before I get tempted to stay up all night blasting fools… doubtless there will be a lot more of this over the next little while, though!

If you're playing Overwatch on PC, feel free to add AngryJedi#2260 as a friend. If you do so, let me know if it's on the North American or European servers, because Blizzard inexplicably region-locks its friends lists rather than having one global one.