2006: Interstellaria

I’d made a promise to myself not to get suckered into trying any more endearingly retro-styled 2D pixel-art exploration-centric games, because the last few I’ve tried (Terraria and Starbound spring immediately to mind) ended up being enormously disappointing and pretty boring to me. (I’m not necessarily saying they’re bad, mind, more that the Minecraft model of “here’s a world, do stuff in it” just doesn’t really appeal to me any more.)

However, I happened to see Interstellaria on Steam earlier today, and for just £7 I felt I had to take a look at it. And, for once — so far, anyway — I wasn’t disappointed.

Interstellaria is perhaps best described as a successor to the old late-’80s/early-’90s space exploration games like Starflight, Star Control II and Space Rogue. You get a ship, you recruit a crew, you upgrade your ship, you explore the galaxy, you fight things, you discover treasures, you uncover a galaxy-spanning mystery and (perhaps) save the universe in the process.

Interstellaria throws you straight in to its world from the outset. Thrown out of your erstwhile home by your flatmate who is no longer content to have a scrounging, unemployed wastrel living rent-free under their roof, you take to the streets in search of gainful employment. After dismantling a robot for the nice man who lives just over the road from you, you find yourself recruited into the slightly shady-seeming crew of a starship that is about to take off. The starship begins its grand adventure and fends off a pirate attack in a thinly-veiled combat tutorial, then is ripped to pieces by an unknown enemy craft, but not before your former captain runs away, leaving you in charge of the crash landing from which you are ultimately the only survivor.

Fortunately, it seems, you’ve crash landed on a planet where there’s another starship that’s almost in working order. You come across a fellow survivor and team up to get the elderly ship back into space again, and from there it’s up to you to start discovering the truth behind the mystery of the “Abductors”, a race of aliens who appear to be giving the galaxy a certain degree of grief.

From here on, you have freedom to explore and do stuff around the galaxy, though you’re nudged pretty strongly in the direction of following the plot. Gameplay is split into a few different areas: managing your ship, space combat and planetary exploration.

Managing your ship is a little like FTL: Faster Than Light in that you have to assign crew members to stations according to their skills (which develop over time). You also have to take care of your crew’s needs — hunger, boredom and fatigue — by providing them with facilities to relieve these issues whenever necessary. The ship you start with has both limited space to include modules — there’s pretty much room for basic navigation, sensors, engineering and tactical stations and one of each of the “needs” modules and not much else — and power to devote to them, so you have to juggle power around according to your ship’s needs at any given moment.

Get into combat and you’d better hope you remembered to put some power into the weapons systems and charge them up, because you’ll need them. Unfolding on a small tactical display (which provides more information if you have someone manning the sensors) you can move your ship around in real time as well as see incoming missiles, cannon fire and other projectiles. In this way, you can dodge and avoid enemy fire while attacking your foe; it’s an interesting, slow-paced take on “bullet hell” in some ways, and it’s a nicely unconventional take on space combat that is in keeping with the 2D pixel art aesthetic.

Head down onto a planet and you’ll have the option of visiting one or more different landing sites, assuming the planet has a breathable atmosphere. Each landing site is a few screens wide (rather than a never-ending procedurally generated world) and usually features some enemies, some resources to harvest and, occasionally, interesting artifacts, characters and plot-related shenanigans. Controlling each of your crew members independently (or as a group) you can direct them to explore, harvest materials, enter into combat with enemies and interact with the locals. Each planet has a distinctive look, feel and soundtrack (the music is by chiptune artist Chipzel and is really rather good) and manage to feel relatively “organic” without falling back on random procedural generation. (At least I don’t think so.)

The game’s not without its flaws — the interface is a bit clunky in places, the keyboard inputs aren’t as responsive as they could be, camera controls on ground missions are bugged and combat is… lacking in depth, to say the least — but all these issues are more than made up for by the fact that it’s the first game in a very long time that I feel has proven to be an adequate successor to the classic space exploration sims I mentioned earlier. It has a lot of potential to improve over time, and is already an interesting, charming game that is well worth your time, particularly if you’re feeling nostalgic.

1789: Broadcasting Live

In case you weren’t aware — and indeed cared — the latest beta version of the Steam client software features broadcast functionality, which means that anyone else out there who is also running a copy of Steam’s beta version (or possibly via the Web too; I haven’t tried yet) can drop in and start watching the game you’re playing at a moment’s notice.

This is noteworthy for one important reason: you don’t have to set anything up. It’s just there. It just, seemingly, works. And, unlike other, dedicated streaming solutions like Twitch and Hitbox, Steam’s streaming is intelligent, only actually actively broadcasting when someone shows up and clicks the “Watch Game” button. This means that you can enjoy full performance when no-one is watching — streaming can cause a slight hit to graphics performance in some games — but seamlessly start sharing what you’re playing with friends without having to do anything, and without compromising the experience with tiny windows, huge chatboxes and all manner of other rubbish.

This, to me, is the optimum solution for streaming — at least for me. It wouldn’t work particularly well for professional streamers or those who run to more of a schedule, but for more casual players who simply want to use streaming as a means of showing other people what a game is like, it’s absolutely ideal. I mean it when I said there was absolutely no setting up required, too: no buggering around with encoding, no worrying about bitrates, no creating application sessions or whatever. It just, as they say, works.

I’m still not the sort of person who will sit down and watch a scheduled stream of someone else playing a game — I’d much rather spend my time playing games myself — but that’s not really what Steam’s broadcasting system is for. Instead, as I noted above, its ideal functionality is for demonstrating games to one another, and pleasingly, it works with anything you run through the Steam client, not just games sold via Steam’s storefront. In other words, any game that you’ve added to Steam via the “Add Non-Steam Game…” option in the menu — and which supports the Steam overlay, allowing you access to your friends list and chat functionality in-game — can be easily broadcasted using the new functionality.

But don’t worry; if you’re concerned about your lack of skills being shown off to the world and everyone showing up to laugh at you, you do have control over who can watch you. The first time someone requests to watch your game, you have several options — broadcast openly to anyone who wants to watch; broadcast to friends; or don’t broadcast at all.

So far the only thing missing from the functionality seems to be some sort of record or archive function, though with the system’s seemingly intended use as described above, I’m not sure we’ll get that. I’m not too worried, though; I doubt there are many people who would want to watch three hours of prerecorded video of me grinding for my Relic Nexus weapon in Final Fantasy XIV — though there may be some people who have seen me playing it and are interested in taking a look for a few minutes just to see how it plays, as my friend Bowley did this evening.

I’m quietly impressed with the system, then; it’ll be interesting to see how much it gets used once it rolls out into the Steam client proper.

1661: Dead Dancing

Fancied a bit of a change today, so I decided to grab a copy of a game I’ve been keeping one eye on for a while now: indie title Crypt of the NecroDancer, which hit Steam Early Access recently.

Several hours later, I realised that I’d been playing Crypt of the NecroDancer for a very long time, and I was starting to do everything — not just in-game actions — in time with the beat in my head.

Rewind a moment, for those unfamiliar with Crypt of the NecroDancer: what the hell is this curiously-named game? Well, it’s yet another example of one of the current “indie darling” genres: the roguelike. But this game’s a bit different from the many, many other procedurally generated hack-and-slash RPGs out there, in that it’s actually more of a rhythm action game than anything else.

Yes, you read that correctly: a rhythm action game. Crypt of the NecroDancer eschews the complexity of more stat-heavy roguelikes and RPGs in favour of an extremely simple system that only requires you to use four buttons on the keyboard: the directional arrows. Everything you do involves pressing one or two of these keys in time with the music — even using items. It takes a little getting used to, but the reason for this lightweight control system becomes obvious almost immediately: this is a game about sticking to the beat, watching for patterns and learning to exploit them, not about min-maxing your gear and gaining experience. It has a distinctly arcadey feel to it thanks to mechanics like score multipliers and powerups, and it’s structured in such a way that play sessions are quick and brutally difficult, particularly once you get out of the first of the four “zones” that make up the game in its current Early Access form.

Speaking of Early Access, this is one of the most “complete” Early Access titles I’ve played to date, consisting of four zones with four levels each (three standard, one boss), each of which has their own music, composed by Danny Baranowsky, of Super Meat Boy and Desktop Dungeons fame. The music is absolutely fantastic, covering a variety of different electronic dance music styles and tempi, and gives each level a unique feel that you’ll come to know and love (or hate) very well as you try again and again to make a little progress.

Progress in the game is somewhat akin to that other well-regarded lightweight roguelike of the moment: Rogue Legacy. Through playing the game normally, you’ll acquire diamonds, which can be used to purchase permanent upgrades for the dungeon and your character, ranging from extra health to new items that show up in chests. The twist is that diamonds “expire” after you enter the dungeon again, so in order to unlock something expensive you’ll need to collect all the diamonds you need in a single run — something that becomes “easier” (in that you’ll start picking up more than one diamond at once) as you get into the harder zones.

The whole game is utterly charming, with some lovely pixel art — though a V-sync option would be nice to prevent the occasional bit of screen tearing that is apparent — and some well-designed, distinctive monsters, each of whom have their own attack patterns you’ll have to learn how to tackle while staying on the beat. The use of a female protagonist feels a bit like she’s there for the sake of it just so people can point at the game and use it as an awesome example of a game that uses a female protagonist by default — but this isn’t a problem as such, more a pointed response to the growing focus on social issues that much of the games business has right now, for better or worse. Only idiots will actually complain about it, and besides, the finished version will have numerous unlockable characters, anyway, a la Spelunky, so I can only assume that those who do have violent objections to playing as a woman for any length of time will be catered to in this way.

Long story short, Crypt of the NecroDancer is looking (and sounding) absolutely fantastic so far, and I can’t wait to see the finished version. There’s every possibility that this could be one of the next big things in the indie space, and I would absolutely love to see it on other platforms — its quick-fire gameplay would make it an ideal fit for Vita in particular. Let’s hope it sees enough success to make that happen.

1347: Om Nom Nom Nom (Plus)

Pac-Man Championship Edition DX+ is a magnificent game, though I’m still at a loss as to whether or not Namco are taking the piss with that title or if they genuinely thought Pac-Man needed that many suffixes.

To be fair, though, Pac-Man CE DX+, as I shall refer to it from hereon, isn’t actually all that unreasonable a title if you analyse it. It’s a variation of Pac-Man (hence Pac-Man) that evolved into a version designed specifically for competitive play (hence Championship Edition) that subsequently evolved further into a considerably expanded version (hence DX, short for Deluxe) which was then expanded even further with some additional content for the new PC version (hence Plus).

If you haven’t played Pac-Man CE DX+ yet, you’ll be pleased to know that it’s now available for PC via Steam as well as consoles, so you can play it pretty much regardless of whatever system you favour.

If you’re a fan of the original Pac-Man, be warned, though; Pac-Man CE DX+ is a noticeably different game, though its ancestry is obvious.

While the original Pac-Man required you to repeatedly clear the same screen of dots over and over again while contending with the unwanted attentions of four ghosts, Pac-Man CE DX+ is a much faster-paced game. The maze is divided into two halves, each of which, when cleared, causes a piece of fruit to appear in the other half. Eating said fruit causes the empty maze to regenerate with a new layout, and thus the process repeats. In the main modes, you’re against the clock, attempting to score as many points as possible in either five or ten minutes, so it’s in your interest to find the quickest routes possible.

The twist on the formula that DX added was the ridiculous number of ghosts that can be involved. Rather than the four ghosts of the original Pac-Man, each maze half in Pac-Man CE DX+ has a number of sleeping ghosts who are disturbed if Pac-Man passes by them, at which point they form an increasingly long chain and chase him, following the same route he does. High scores are dependent on eating a power pill and then gobbling up a massive chain of ghosts, so as well as finding the best route through the dots, it’s actually in your interests to attract as many ghosts in your wake as possible, too. There’s very much an “optimum route” for each of the courses in the game, though human error means that, unless you’ve practiced enough to be literally perfect every time, there’ll be slight variations in each run you make — usually costing you a few points or precious seconds in the process.

It’s a really interesting game that maintains the basic mechanics of the original Pac-Man while simultaneously turning it into a kind of game that’s hard to define. Is it a score attack game? Yes. Is it a puzzle game? Yes. Is it a racing game? Yes, kind of.

It’s one of the most peculiar games I’ve ever played, and revisiting it thanks to the new PC version reminds me that it’s also one of my favourite games of all time, and I highly recommend you give it a try if you’ve never had the pleasure. Enjoy, and I make absolutely no apologies if you end up addicted.

1214: Inner Sanctum

Mark and I played a bunch of a recently-released indie game today. That game is Coffee Stain Studios’ Sanctum 2, which I purchased a copy of for Mark as a thank-you present for putting us up for the last couple of weeks, and which I was also interested in playing. I enjoyed the original game’s interesting fusion of tower defense and first-person shooter mechanics as well as its distinctive presentation and excellent music, so I was actually quite interested to try the second game, and purchased a copy without a second thought.

Then the game was released, and I decided to take a peep at the Steam Community page to see what the rest of the world thought of it.

Big mistake.

It seems that Sanctum 2 is the latest victim of elitist players expecting one thing from a game and getting something slightly different, then throwing all their toys out of the pram, demanding refunds and hurling abuse at the developers. Because Sanctum 2 is not the same game as the original Sanctum, it seems, it is worthy of scorn and vilification. Because Sanctum 2 incorporates a number of features that not only make it workable on console — it’s also being released on Xbox Live Arcade — but change the game balance significantly from the original, apparently it is worthy of review-bombing on Metacritic and endless, endless whining on forums.

You know what, though? I’ve played a good 4 or 5 hours of Sanctum 2 today in total, and it’s great. It isn’t the original game, no, but why would you want it to be? Sanctum is still available for download, so if you like that, go play that. Sanctum 2 is a distinctive experience that, while in possession of a couple of strange design decisions, is a lot of fun to play both solo and cooperatively with other people. It is both strategic and action-packed; challenging and fun; and it offers a significantly greater amount of content and depth than the original game did when it came out of the gates.

The complainers’ biggest issues with the new game seem to be the fact that resources to build towers are now delivered as “drops” that have to be picked up manually, and that there is a hard limit of ten towers per level. The “drop” system means that everyone playing has to either agree on who is going to be in charge of building what — or charge off and race to be the first to pick up the resources. If you’re playing with friends or people with whom you can communicate well, no problem. If you’re playing with griefers and trolls, potential problem, but not insurmountable. (For what it’s worth, I always prefer playing cooperative games with people I actually know anyway, and I’m sure I’m not the only one — and as such I probably won’t run into this problem personally.)

The ten-tower limit also simply isn’t an issue in practical terms. I am yet to hit said limit, because plonking down “tower base” blocks to create a maze to hold up enemies does not count towards this limit, and the limited quantity of resources on hand means that it’s only really practical to build a few towers per level anyway — you have to support your towers with your own gunplay in order to succeed. It’s a true hybrid, in other words; you can’t win without your towers, and your towers can’t win without you.

Some complainers have also whinged about the fact that you supposedly can’t make complex mazes in this new game. To those people, I would invite them to have a go at the level Mark and I were playing before we wrapped up for the evening, in which we were defending two cores simultaneously from assault, and built impressive mazes on both sides of the level in order to keep the enemies away from our precious charges as long as possible. Careful tower placement and resource management was a must, and the nature of many of the enemies that came along made it necessary to cooperate, communicate and use skill and tactics to take them down rather than simply firing blindly at anything moving.

In short, Sanctum 2 is a very good game if you enjoy both first-person shooters and tower defense games that demand a slightly heavier degree of thought and strategy than normal. It’s an excellent fusion of two fairly disparate game genres, and while there are a few things that could be tweaked here and there, it’s perfectly enjoyable as it is. Not only that, Coffee Stain Studios have demonstrated that they are open to constructive feedback, too, and will likely continue to improve the game after its release. Given the abuse and vitriol that has been hurled their way today, they would be perfectly within their rights to just say “fuck you” to all the ungrateful gamers who are bitching about their new release, to be honest, so I have to admire them for their self-restraint in dealing with these people.

It is, essentially, yet another case of a not-insignificant number of people suffering under the assumption that Their Way is the Right Way, and that anyone who disagrees with them is somehow an awful person. These people preferred the original Sanctum to its sequel and that’s absolutely fine; their behaviour towards Coffee Stain Studios and anyone who has expressed a liking for the new game is not.

1060: Magical Diary

Still feeling shitty, but you don’t want to read entry after entry about how shitty I feel, so I’ll talk about a game I’ve been playing instead. I’ve had it in my Steam library for probably well over a year now — possibly more — but have only just got around to it. And wouldn’t you know it? It’s great.

The game in question is Magical Diary. This game initially attracted my attention with its promise of combining dating sim-like mechanics with dungeon crawling and puzzle solving. Any combination of “dating sim and…” will immediately get my attention and has done ever since I played Persona 3 for the first time, and here it’s particularly well-implemented.

Here’s the setup: you’re a 16 year old girl (yes you are!) who has recently been inducted into Iris Academy, a Hogwarts-like establishment in New Hampshire that trains witches and wizards in the ways of pentachromatic magic. During your time at the school, you’ll be juggling your time between studying the five colours of magic, each of which unlocks various different types of spells; managing your stress levels (which, naturally, increase with too much studying); and getting to know your fellow students, some of whom are rather more odd than others.

The gameplay is something like ancient eroge (and particular favorite of mine) True Love — at the start of each week, you set up your schedule, choosing which classes to attend (if any) and then letting the week unfold. Depending on your whereabouts at various points in the week along with past choices, numerous events will unfold and you’ll have the opportunity to do things like run for class president, shop for magical accessories (which, pleasingly, appear on your character avatar as well as affecting your various stats) and, of course, go on dates.

Every so often, the school will throw you an “exam”, which involves tossing you into a dungeon and demanding that you find your way out using the spells you’ve managed to learn. Generally there are several ways to solve a dungeon — for example, in one early case, you’re locked in an area with no apparent exits, so you can do several things: methodically search the walls for illusions, cast a spell to stir up the air and indicate where the way out might be, cast a spell to determine if any living creatures passed by recently and so on. As you level up your five colours of magic, you learn a variety of interesting-sounding spells — and this isn’t your usual “fireball, ice bolt” and that sort of thing — no, here you’re dealing with things like empathy spells, manipulating matter, fooling the senses and all sorts of other things. It’s really quite something.

I’m not that far into it yet, but I’m liking what I’ve seen so far. The graphics are good, the music is catchy, the writing is witty and full of character and the gameplay is interesting. It also looks like being a game that will be well worth replaying several times to tackle situations in different ways — I’ll be very interested to do so when the time comes.

Right. Time to dope myself up on drugs and try and get some sleep. Or possibly play some more Magical Diary. One or the other…

#oneaday Day 518: Championing the Free to Play Model

I mentioned a few days ago that I was going to give some of Steam’s free to play games a try, and mentioned I might investigate APB Reloaded and World of Tanks. I have played a tiny bit of APB (it’s quite fun, if nigh-on-incomprehensible to begin with) but haven’t touched World of Tanks yet. I also continue to enjoy Spiral Knights, although with the game’s lack of quest structure and progression system tied to your equipment rather than your character I’m not entirely sure what the “point” is — but it’s fun, regardless.

Instead, though, I’ve been spending a fair amount of time playing Champions Online, aka City of Heroes 2. This is one of a growing number of MMORPGs that used to be full-price products with subscription fees, but which have adopted the free to play model as a means of drawing in more customers and potentially earn more money via microtransactions.

Champions Online takes an interesting approach in that you can still pay a subscription fee for a “Gold” membership if you prefer, and that keeps the game pretty much in its original form — you get free access to all new content, are able to play a hero with your own completely customised set of powers and have a bit more flexibility in terms of how much currency you can own and the like. Free “Silver” members, on the other hand, are limited to selecting preset archetypes for their heroes and have to pay for episodic “adventure packs” — story-heavy instanced missions that offer experiences a little different from the regular world-and-instance-based PvE that the main game offers. Regular promotions allow Silver members to get access to some things for free for a limited period, and players can always buy individual things via microtransaction if they don’t want to pony up for a full-on subscription every month.

The way this is implemented is incredibly smart. The fact that Silver players are limited to preset archetypes which are nigh-on-impossible to fuck up while Gold members actually have to plan out their builds in advance means that people are less likely to get themselves into a situation where it’s impossible to proceed due to some unfortunate decisions 20 levels ago. It also allows players to effectively try out the various combinations of powers with characters that actually work properly — and have a lot of fun in the process. I’m playing a “Soldier” character right now and she doesn’t feel gimped at all — she feels like a preset character class in a traditional action RPG. There’s just enough level of choice to allow me to customise her a little bit without daunting me with complete freedom.

Champions Online falls into the usual traps that MMOs do — the interface is a bit clunky, the animations in cutscenes are either laughable or non-existent and aforementioned cutscenes have been put together by someone who doesn’t know what “directing” or “cinematography” is. But that doesn’t stop it being fun — and definitely higher quality than some of the crap that has been released under the free to play banner in the past. Quality of these games is definitely increasing, and I foresee that Champions Online will hold my attention for quite a while yet. So if you’re a player, do join me! Look for “Lap Cat@AngryJedi” or just add me on Steam to see when I’m playing. Feel free to give me a shout and we can team up.

#oneaday Day 512: Freebie-Jeebies

Free to play games are here to stay, it seems, with Steam launching a dedicated category for the little buggers today — complete with Achievement support and Steam-powered microtransactions.

With that in mind, I’ve decided I’m going to delve into some of them and try to determine if any of them are actually any good. A lot of people hear the words “free to play” and assume it’s going to be some lame-ass Facebook game with no gameplay whatsoever (seriously, I played one earlier that literally gave you experience points for doing nothing at all) but in actual fact, there’s a surprisingly rich range of titles on offer out there.

I’ve just spent about half an hour with Spiral Knights from SEGA. This one appealed because of a recommendation from a friend, the most excellent CampfireBurning, who described it as a cross between Zelda and Phantasy Star Online. This sounded like an excellent combination of awesomeness, so I set Steam to downloading while I did some work.

It’s a small download — less than a gig (when did that become “small”?) — and works on both PC and Mac. It has endearingly simplistic graphics that will likely run smoothly on absolutely anything and, unlike many other F2P titles, understands widescreen resolutions. It also has a pleasantly chiptuney sort of soundtrack, a straightforward control system and a no-nonsense approach to getting you into a party for some dungeon-delving.

Gameplay is similarly straightforward. You have a sword, with which you can slash, and a gun, with which you can pew. The sword does more damage than the gun, but the gun can pew at things that can’t reach you. There are also blocks and bushes that hide coins and hearts, as well as “treasure blocks”, which are self-explanatory.

I’ve only played the tutorial so far so I can’t speak for the variety of the dungeons, but the simple, cartoonish nature of the graphics means that little more than a palette-swap is all that’s really needed to give a level a distinct look — hopefully it offers a little more than that, though, as time goes on.

Hopefully the ease with which these games are apparently going to integrate with Steam will convince a lot more people to check them out. And the fact Steam has introduced a full free to play section should mean we get a lot more of these games on Steam, too, bringing them to a potentially huge audience. The future’s bright for people who don’t like paying for things but also don’t want to pirate them!

I’m going to spend a bit of time with Spiral Knights and then post some more detailed thoughts in the very near future. After that, I’m going to investigate APB Reloaded and World of Tanks. Any other suggestions for free to play excellence?

#oneaday, Day 320: Achievement Locked

I’ve just done something I haven’t done for a while. I’ve beaten a game with no Achievements. No, I don’t mean that I played the game so terribly that I didn’t get any Achievements (I don’t think there’s a single Achievement-supporting game out there that will allow you to do that)—I mean I started, played, enjoyed and beat a game which did not support Achievements of any kind, be they Steam Achievements, Xbox Achievements, PSN Trophies or a built-in Achievement-like system.

Said game was Recettear: An Item Shop’s Tale, which I enthused about at some length a few days ago. I beat it tonight, but there’s a load of stuff after the ending, too, so this isn’t the end of my time with the game. I am, however, glad that there were no Achievements along the way.

Achievements are generally considered to be a good thing. And for some games, they are. Freeform games like Crackdown use Achievements to encourage players to try crazy things that they might not have thought to do otherwise. Skill-based games like Geometry Wars use Achievements to display player skill. But when you get into the territory of “Fire your gun 500 times”, you know it’s getting a bit silly.

I played Oblivion a while back and greatly enjoyed it. I got all 1250 Achievement points in it. The thing is, though, that wasn’t the whole game. There are tons of sidequests in Oblivion which don’t have associated Achievements. How many people do you think bothered to do them? Not many, I’d wager.

Achievements often direct your experience and encourage you to play in a specific way. For some types of game, that is good. In others, it’s not. Part of the joy of Recettear is the discovery of how different things in the game work. Over time, you naturally figure out which customers you can get away with charging a bit more to, which ones will come in at what times of the day, which products appeal to which people and all manner of other things. Even the adventurer characters you can take into the dungeons have their own individual quirks for you to learn. As soon as you add Achievements like “Sell 20 Baked Yams” to that mix, you start playing differently in order to get that Achievement. You start focusing on becoming the best damn Baked Yams supplier there ever was, to the exclusion of more profitable things like treasure and adventuring equipment.

Achievements are, on balance, a good idea, I think. They provide an additional reward mechanic above and beyond that which the game should be offering anyway. But it’s when they start to take over, to become the most important reward mechanic—more than the inherent rewards built into the game itself—that things aren’t quite right with the world. It’s a fine line, and I don’t think making the support of Achievements mandatory is the correct way to be. Or if there’s no way around that, let’s see more games like DEADLY PREMONITION, which simply has an Achievement for beating each chapter, one for each difficulty level and one for 100%ing the game. Nothing more. Nothing more needed. Even then, I’m pretty sure there will be at least one person out there who will go back and replay the whole game just to get all three difficulty level Achievements. That shouldn’t be why you replay DEADLY PREMONITION. You should replay it because it’s awesome.

So, anyway. Don’t be afraid to pick up a game with no Achievements. You might be surprised. Games can be fun without having to tell you how awesome you are every ten minutes.

#oneaday, Day 181: Vampire: Bloodlines

Body clock buggered up today. After getting to bed late last night, I slept solidly until about lunchtime. Nice, but ultimately unproductive, as it means here I am at 3AM in the morning.

Actually, there’s another reason I stayed up so late, and that is Vampire The Masquerade: Bloodlines.

This is a game I’ve been meaning to play for absolutely ages. I’m a big fan of the White Wolf interpretation of vampirism and, to be honest, vampires in general. Just not the Twilight variety. Granted, I have never read or seen Twilight beyond reading a two-chapter preview on iBooks on my phone, but already both Bella and Edward seemed to be some of the most unsympathetic arseholes I’ve ever had the misfortune to come across in a book.

But that’s beside the point.

White Wolf’s interpretation of vampirism focuses much more on clan-based political intrigue, with each clan having its own unique outlook on life, special abilities and, in some cases, quirks. Part of the reason for this is for gameplay balancing in the pen-and-paper RPG. Instead of picking a character class, you pick a clan, and that determines your specialisms. But the pen-and-paper Vampire RPG is heavily focused on the RP bit as opposed to the G bit, meaning that these character backgrounds are hugely important from the perspective of actually playing your character in a realistic manner.

Bloodlines was the second Vampire game to hit the PC. The first, Redemption, was a mixed bag. It was notable for having a pretty good script, solid voice acting and (at the time) quite nice graphics. But the Diablo-style clicky-clicky combat really didn’t work from the close-up over-the-shoulder camera view adopted. The AI of party members was beyond “dumbass”. And there were lots of monumentally irritating bits where you had to sneak a four-person party through areas of sunlight. I never finished it as it got a bit frustrating, though I would like to return to it one day.

Bloodlines took a different approach. Based on an early version of the Source engine, it plays more like Deus Ex than anything else. You walk around LA from a first- or third-person perspective, meet people, talk to them, possibly suck their blood, fight them, complete quests in a variety of different ways and get involved in all the point-toothed intrigue you could shake a stake at.

The game was renowned for being hugely buggy on its original release. I haven’t noticed any showstopping bugs since I’ve been playing this evening—one or two minor graphical glitches, sure, but that’s more the old Source engine than the game itself I think. What I have noticed, though, is that it’s an utterly fantastic game. While it appears that the overarching narrative takes a while to get going—I played several hours tonight and couldn’t tell you what the “main” plot thread was—one of the best things the game does, much like Deus Ex, is immerse you in the game world. There are people in this world going about their business, and they are genuine characters whom you get to know and recognise.

One of the most compelling, immersive things about playing as a White Wolf vampire is the idea of the “Masquerade”, where vampires must hide their true nature from humans. In game terms, this means that you mustn’t let people see you feeding, using any obviously supernatural abilities or doing anything “vampirey”. There are get-out clauses to this, though; seduce a human using your vampiric seduction skills and they won’t mind you biting them, for example. But if anyone sees you doing that, you’re in trouble.

So far I’ve really enjoyed what I’ve played. The balance between the RPG stat-building and the action-based combat is good, and some of the dialogue is genuinely well-written. The World of Darkness is introduced gradually in such a way that isn’t daunting to new players but isn’t patronising to those who know the lore.

In short, then, I can highly recommend the game from what I’ve seen so far. It’s currently available on Steam and via Direct2Drive. Good luck finding a physical copy if that’s your thing.