Gaming on a Timer

Attack of the Backlog! – November 2018 Round-Up

In Attack of the Backlog!, I’ll be discussing my attempts at tackling an ever-growing backlog of games, from both a campaign/story and an achievements completion point of view. For the sake of keeping track of things, I’m only going to mention games I’ve actually finished and/or completed that month.

So, another month, another bit skimmed off of the old backlog’s top – November saw slightly less activity than previous months, mostly due to a combination of workload and some general clean-up efforts in longer games, but overall I can happily say that most of the goals I set up on September were reached.

Without further ado, let’s have a look at some numbers for November – this time, with extra multiplatform goodness:

  • 64,38% average Steam achievement completion
  • 236 Steam games in progress (with achievements)
  • 1170 Steam games unplayed, 471 of which come with no achievements
  • 203 Steam games at 100%
  • Games added to account
    • Monster Hunter World
    • Sunless Skies
  • Steam games completed
    • Shank
    • Uncanny Valley
    • We Were Here
  • 37,84% average PSN trophy completion
  • 46 PSN games played overall
  • 848 unearned trophies
  • 2 PSN games completed
    • Exile’s End (PS Vita)
    • Grim Fandango Remastered (PS4) 
  • 1 3DS game completed
    • Radiohammer

Steam tracking courtesy of , PSN tracking courtesy of

Right off the bat, you’ll noticed that we’ve finally started making some progress on platforms other than PC – this mainly came as a result of weekend play, where consoles were a much “easier” alternative to booting up the PC (especially the handheld stuff, 3DS and Vita). Comparatively, this month saw the completion of six games and the acquisition of three, two of which (TSIOQUE and Sunless Skies) were respectively Kickstarter and Keymailer rewards (Keymailer is a streamer tool that allows developers to provide games for streaming purposes), leaving Monster Hunter World as the sole purchase of the month.

Uncanny Valley, a quite promising horror title – but as with the genre itself, all is not what it seems.

Thus, 3 games completed at minimum – check. Ratio of six-to-one for finished/purchased games – check. Focus on multiple platforms – check. All goals met for November, the first month I managed to do so since starting this challenge in September. Needless to say, I was very pleased with how November turned out.

From the games completed, a few were interesting or enjoyable enough to sit through (Grim Fandango Remastered and We Were Here, the former of which indirectly inspired the “Fun With Remakes” post from a few weeks back, the latter being the focus of the “Asymmetrical Design” post).

The rest, however, were a bit less enjoyable for a variety of reasons. Radiohammer, a short rhythm game on the 3DS, lacked an interesting enough soundtrack – something that more often than not is the result of budgetary constraints but which is especially noticeable in this genre. Shank, a side-scrolling beat-em-up with a focus on visceral action, didn’t quite work for me (despite it being a quite well-made game) mainly due to a few design decisions regarding enemy and level design (especially in the highest difficulty, where dying means you’ll need to replay the entire level from the beginning. Finally, Exile’s End is an unremarkable side-scrolling exploration game (in the vein of Metroid or most post-SotN Castlevania games) with a somewhat interesting premise but let down by some control issues and a general lack of polish. As for Uncanny Valley…

Let’s have a closer look, as it allows for a very interesting look into horror game design.

Uncanny Valley is, in essence, a short horror game with a very old-school aesthetic and design. You control Tom, a recent hire as a security guard at a seeming-abandoned facility, who slowly comes to the realization that not all is as it seems with his surroundings. As the game progresses, the player is tasked with figuring out the facility’s dark past, as well as how to escape or otherwise reach one of several endings available.

If the above description seems a bit… lacking, it’s because a lot of the game’s effectiveness comes from exploration and discovery – though I ultimately didn’t enjoy it due to a few design decisions (more on that below), the overall experience is worth looking into, going in blind and putting up with its flaws –  thus, it is quite hard to describe without spoiling the reader.

Some parts are visually less interesting but at least it helps the pacing.

Aesthetically, the game is competently made, if perhaps a bit too low-fidelity to fully realize the setting’s potential. Visual design is always a big factor in horror, being the primary source of the player’s stimulus and in Uncanny Valley, it might perhaps have been better to go for a design that included more expressive faces (in the vein of fellow low-res horror games Distraint and Lone Survivor) – the impact of a few scenes involving character interactions often feels mild or flat, mainly due to the game relying solely on text to convey emotion.

Conversely, the environmental design is quite good, with the game’s handful of locations providing a great backdrop for all the events and happenings. A series of small touches, such as the clever use of light and dark areas; the juxtaposition of the rural, primitive forests surrounding the much more high-tech facility and living quarters; and the claustrophobic feel of the second half of the game – these are all very well done and invoke a feeling of dread and unease that is often missing from its contemporaries. The game’s side-scrolling nature is also used to great effect, with a lot of the level design exploiting and being enhanced by the player’s limited viewpoint, which in a way reminded me of the much-beloved SNES horror game, Clock Tower (albeit being much slower paced).

Similarly, the audio design is (mostly) implemented very well – from the game’s (admittedly limited) soundtrack to the sound effects and ambient noises, there is little left to be desired from it all. While there are not a lot of audio cue variants, they are very effectively used in conveying whatever mood the current scene requires (such as a certain chase sequence you’ll expect to hear a lot in the final parts of the game, and which never ceased to startle me even when I was expecting it). 

However, there is one major problem with Uncanny Valley that utterly destroyed the whole experience for me – its pacing. Pacing is, I’ve always felt, the most important part of a horror game. Proper pacing is what allows for the unease to build up, the incongruities  to start adding up, the tension to mount – humans are, for the most part, designed to tense up and feel less and less at ease as time passes, while also acclimating to it if exposed for long enough. Therefore, a badly-paced game is one that fails to find the proper balance of exposure – it either delivers the horror “payoff” too soon or too late. In the former case, tension will not have built up sufficiently, leading to a much less potent horror payoff. In the latter case, the unease slowly becomes familiar to the player and thus destroys all tension as they eventually grow accustomed to their surroundings.

Use of light and darkness is often used in a very clever way in this game (even if it leads to problems while taking screenshots)

In Uncanny Valley’s case, the pace tends to be all over the place. The first half of the game is one long session of build-up with not payoff – by itself, way too long and failing to actually induce any lasting tension or unease. The latter half, on the other hand, is a continuous sequence of non-stop action and stealth set-pieces, which results in the player quickly “getting used” to the danger and ruining the tension potential for the most part. Exacerbating the issue further, Tom’s movement speed is way too slow (and while a sprint ability is included, it lasts for way too long to be actually useful), making any mistakes on the player’s part often their last and, owing to a perma-death mechanic tied to the game’s endings and which is only apparent at the game’s end areas, often leading to frustration and repetition.

On a separate subject, achievements:  the game is mostly remarkable in that it requires a lot of playthroughs to complete, as most of them are tied to reaching specific endings – as mentioned above, the quasi-perma-death system used can complicate things, as the game is designed to delete the save file once any ending is reached (and with a few endings being tied to Tom dying, deaths often lead to a wiped save file and a need for starting from the very beginning). Thankfully the average playthrough will take less than a couple of hours (assuming a general familiarity with the game’s levels), but the aforementioned slow walking pace can make early parts feel like a chore to power through. The rest of the list is at least rounded out by more inventive achievements, such as discovering specific events or optional interactions – though the game seems to be a bit dodgy with achievement triggers, which once again only serves to highlight the problematic design choice of deleting a player’s save (something that I’m generally against, outside of specific genres such as roguelikes).

I feel that Uncanny Valley has a lot of untapped potential – the ideas, the mechanics, the audio designs are all solid, it’s mostly a matter of pacing and some specific design choices that make it all fall apart. Which is ultimately a shame – with a few more tweaks to the pacing, movement limitations and save game management, this could have been a quite memorable game. As it stands, it at least becomes an interesting example of how much influence pacing has over horror experiences – an example to avoid, perhaps, but still valuable as a postmortem.

Which games did you play in November? Got any backlog-related horror stories to share? Tips and tricks for keeping it in check? Share below in the comments section!

Idle Thoughts – Fun With Remakes

Up until a few months ago, I’ve never really been a fan of podcasts for various reasons (mostly a lack of investment and interest in most “traditional” topics covered). Lately, though, I’ve taken to listening to the Retronauts one – headed by Jeremy Parish and Bob Mackey and featuring a variety of co-hosts in each episode, it’s billed as an “exploration of the history of video games” (with a specific focus on retro gaming). Needless to say, it’s a series I’d recommend wholeheartedly.

One of their most recent episodes revolved around a discussion on remastered/rebooted/remade games – including some very handy definitions of each – and it got me thinking. Looking back at the last six or so months, I realized that a lot of what I’ve been playing comes under one of these three categories – surprisingly in some cases, it’s also games that I never got to experience during their prime (i.e. the remake or remaster would be my very first direct contact with said game).

With that being said, let’s have a look at some examples, specifically of remakes, that I’ve played recently, either from a newcomer or an old timer’s perspective (depending on whether I’ve played a particular game’s previous iterations).

Striking Gold – Persona 4: The Golden

One of my biggest regrets in gaming is never having owned a Playstation 2 – partly due to low availability of units locally as well as a lack of funds at the time, I somehow managed to miss one of the biggest (and most influential) video game libraries of its time, much to my dismay. Although I eventually got an XBox and a Gamecube (the former second-hand and the latter at a severely discounted price) and was thus covered where multiplatform games were concerned, a PS2 and its huge list of exclusives would elude me for years.

That is, until the present culture of remakes/remasters emerged.

Among the many titles I had missed, one of my most wanted was the latter incarnations of the Persona series – Persona 3 and 4. Widely considered as some of the top JRPG’s of their time, mainly due to the unique blend of traditional JRPG systems and combat with a school life simulator, these two games were high on my list of “must-haves” – and with good reason.

Persona 3 initially received a remake for the PSP, titled Persona 3: Portable – a cut-down version of the original 2007 release (rather than the improved FES version from 2008) that removed exploration of the non-dungeon parts due to the limitations of the PSP, but with additional options, such as an option to play as a female protagonist and more direct combat control (where the original only allowed direct control of the protagonist in combat, where allies were AI-driven).

Image courtesy of Playstation Store US.

This set the stage for Persona 4: The Golden, which released for the PSVita in 2013, this time a fully realized and improved upon version of the original 2009 release. Needless to say, I was very excited about P4G – to the point that it was the reason I got a PSVita in the first place (and that decision was totally worth it, by the way).

While I’m no newcomer to the series, having played the first three games in various PSN re-releases during the PS3/PSP’s lifetime, I was definitely feeling like one for P4G – the first three games (Persona, Persona 2: Innocent Sin, Persona 2: Eternal Punishment) are quite different in terms of structure, systems and focus, taking on a more traditional JRPG form (albeit still within the series’ distinct “contemporary Japanese teen” theme), while from Persona 3 onwards we begin to see the now-familiar addition of everyday life simulation elements being added and slowly refined.

This made Persona 4: The Golden a very different experience for me. While I can’t really comment or compare the differences between versions (not having played the original PS2 title), I can wholeheartedly say that P4G was one of my standout JRPG experiences of the last few years – one that was only edged out by the even more amazing Persona 5 (which built and iterated on its predecessor’s already-refined formula). From the lovable cast of high school misfits to the lighthearted tone (which admittedly sometimes dives a bit deeper into darker places) to the excellent soundtrack, the deep and engaging combat and persona systems, the amazing voice acting (something that a lot of JRPG localizations often struggle with) – P4G was an exemplary experience in almost every aspect.

In Persona 4, as is typical of the series post-Persona 3, you take the role of a high-school student recently transferred to an unfamiliar town – Inaba, a small rural Japanese town, in this game’s case – where you are given one in-game year in order to resolve the game’s conflict. During the first couple of  weeks, a series of bizarre murders forces you to recruit your fellow students into a ragtag bunch dubbed the Investigation Team, with the goal of solving the mystery behind these crimes.

Image courtesy of Playstation Store US.

While I could go on for several paragraphs extolling P4G’s virtues (and there are a lot of those), in the interest of brevity (and covering other games as well) I’ll just limit myself to this: while most of the game’s design ranges from great to stellar, special mention must be given to the character development and design. It’s a rare game that makes me feel like I’m invested in (and maybe bonded with) any characters, and an even rarer one that does so with the entire cast. Indeed, around 90 hours of playtime later, I can easily name most, if not all, of the game’s main cast, as well as several of the supporting cast (dubbed Social Links), as well as their backstories, character traits, speech patterns and mannerisms and so on and so forth.

Persona 4 Golden is an incredible accomplishment, a must-play JRPG that, going by fan reactions, managed to improve upon an already excellent base – with many additions, improvements and streamlined content, an excellent example of a remake done right.

On the very flip-side of Persona 4: Golden, let’s have a look at a game I’ve played the original release but had never managed to experience the remake of, until modern re-releases enabled me to do thus…

Travels in Time – Journeyman Project: Pegasus Prime

The Journeyman Project (subtitled Turbo, after several performance-enhancing fixes were made) is a first-person point-n-click adventure game in the vein of Myst, but with a decidedly more sci-fi feel to it. First released in 1994 (with original, non-Turbo version launching a year prior), it was one of the first 3D games I ever played – even if said 3D consisted primarily of pre-rendered objects and backgrounds with chroma-keyed actors overlaid – and one I immediately fell in love with.

I’ve always attributed my wide love of gaming genres to my initial experiences – in close succession, I had been exposed at a very young age to the faster-paced platform action of Super Mario Land (on a friend’s Gameboy before getting one of my own), as well as the more logic-oriented slow pace of text adventures such as Zork and Enchanter (well past their prime but part of the very small pool of available games for a 486 running DOS). In Journeyman Project Turbo, I probably found for the first time a meeting of the two worlds, with the urgency of an action game conveyed by the game’s story, fused expertly with the slow, methodical mechanics of an adventure game – which is presumably why I was so taken in by it.

Hints, a major addition to Pegasus Prime and one that is essential in introducing the game to new audiences.

You take the role of Gage Blackwood and it’s the near future – a future where time travel is not only available but also heavily regulated. Gage is part of the TSA, the Temporal Security Annex, a government organization tasked with policing time itself… until everything goes wrong. Narrowly managing to escape temporal catastrophe, Gage must now locate where (and more importantly, when) it all went wrong, then travel back in time in order to change the past and save the future.

As far as game mechanics go, Journeyman Project is a more or less standard adventure game – solve puzzles and collect items to access new areas, repeat until end of game. As with many of its time, where it shines is in atmosphere, presentation and story beats. The time-travel angle is explored in sufficient depth – not too jargon-laden, but not glossed over either – and the whole “choose which order to play the levels/locations in” approach was unique for adventure games at the time (even if in actuality it’s a fairly linear game) and further worked to reinforce the temporal themes.

As mentioned before, I had only played the original (Turbo) release back when I was younger – the 1997 remake was a Mac-exclusive title up until a few years ago, where it made a surprising appearance on PC’s via GOG and Steam – so going into Pegasus Prime was quite the interesting experience.

The first thing that drew my attention was the redesigned UI. While both the Turbo and Pegasus Prime versions have comparatively tiny viewports from which players can see the world, PP’s one is decidedly less intrusive, enlarged and higher resolution. Adding to that a much more smoothly animated inventory/chip system meant that the game as a whole felt smoother and slicker than I had remembered.

Hard to believe but the view-port was even smaller in the original release.

Additionally, with Pegasus Prime, the developers would go on and re-film actors and locations, giving the visuals a much-needed upgrade with protagonist Gage Blackwood in particular now having a fully-animated (filmed) presence in-game, as opposed to static portrait photos in the original. Additionally, where in the original Gage was pretty much the only person to be seen physically in the world, Pegasus Prime adds a couple new actors to the mix, one of which ties to later games in the series – which made a small nod to continuity possible and got a chuckle out of series fans such as myself.

The improvements didn’t stop there, though. Several systems were revamped, with movement in particular being smoother and feeling more animated – no doubt thanks to higher resolution imagery used – while the score system was now more descriptive and comprehensive (as with many adventure games of the time, there is a score system – see further examples in any Sierra game of that time, where a completed game did not necessarily award full points unless optional actions and interactions were found).

Finally, the biggest change was the expansion and, in some cases, total overhaul of certain areas in the game – mostly quality-of-life improvements such as shortcuts being added and areas being rendered with slightly different layouts to better indicate interactions, but also changes in some puzzles to eliminate a kind of “leap in logic” style of gameplay that was sadly prevalent in adventure games of the time (which is not to say that Journeyman Project is totally free of those puzzles, but it fares a lot better than most of its contemporaries).

Note the score system, now categorized by area and bonus type (something not present in the original release).

While the game (in both incarnations) has aged poorly – understandably so, since Turbo came out in ’93 and Pegasus Prime in ’97 – I’d still hold it as one of the best examples of how to remake a game: adding functionality, accenting strengths and correcting weaknesses in the design, with the aim of bringing the product up to spec for a more modern audience and more capable hardware. Indeed, where most other games would try to reinvent the wheel, so to speak, Journeyman Project took the much better route of refining what was already there – thus making it a memorable experience and one of the more refined first-person adventure games of its time that I’ve ever played.

In Conclusion…

Looking back at this article, I haven’t even began to scratch the surface of  all my favorite remakes and when also considering remasters and reboots, the topic seems to stretch infinitely – between ensemble collections like Kingdom Hearts, former genre juggernauts such as Baldur’s Gate and oddball remakes like Chronicles of Riddick, there is just so much more to discuss. Perhaps, in time, we’ll take another look…

Do you enjoy remakes and remasters? Ever played one? Have a story to share about your most or least favorite remakes of old classics? Perhaps you hate the entire idea of them and want to talk about it? Drop a line in the comments and let me know!

Midweek Musings – The “Clear My Backlog” Challenge

Midweek Musings is a series of one-off posts where we’ll be taking a look at topics that don’t merit or can’t carry a full-length post on their own. This week I’ll be discussing a neat little way to clear your backlog a bit faster by making a meta-game out of it.

As everyone who’s ever heard me talk about my backlog knows, I have an extremely bad habit of starting games, getting bored or annoyed and more or less giving up. Maybe the game in question is a slow burner (i.e. extremely slow pacing for the first few hours – looking at you Tales of Zestiria); perhaps some minor design flaw made it tedious to play through (excessive menu usage is a good – and common – example here); or even just because of not being in the mood for that particular genre (but only realized after a few minutes of playing).

No matter why, it slowly becomes a vicious cycle which ends with an overly bloated backlog of “I need to get round to playing these” games – and if (like me) you’re also interested in achievement completion, this often leads to a mountain of stuff that needs doing and no damn idea of where to even start from.

Well, I’ve been trying out a way to make a sort of meta-game out of it the last few months, and…. it seems to be working?

Method to the madness

Given my general involvement in achievement “hunting”, I am no stranger to meta-gaming (in this context, making a game out of a process, which also overlaps with the concept of gamification) – indeed, the achievement hunting community often makes a game out of keeping track of metrics, such as average percentage ratio of completed achievements or completing “sets” (for example, “All of the Batman games on Steam” or “Every game made by Wadjet Eye Studios”).

Quite often, these “meta” accomplishments are done in a competitive manner, which led me to the idea of using a sort of co-op implementation to help me out in combating my ever-growing backlog. Followers of this blog might remember that, in my very first Attack of the Backlog post, I put out a few guidelines to help me out:

  1. Complete at least three games per month – “completion” in this context being either “seeing all main story content” or “completing that platform’s achievement list” – there are certain games where the time commitment is too big for a realistic 100% achievements completion, so in those cases I’ll count completing the main story as sufficient.
  2. Only buy games at a ratio of one new game per six completed ones. This was chosen to limit my backlog growth, help me prioritize my purchases and still allow me to get any games I truly felt were must-haves.
  3. Work on as many platforms as possible. This goal was more loosely defined as, at time of writing, my backlog spreads across multiple consoles – the PS3, PS4 and Vita; XBox 360; Nintendo 3DS and Wii U; and of course, PC (which is divided between several digital retailers such as Steam, GOG etc.).

That was step one – stopping the excessive bloat in its tracks.

As for step two, actually getting me to actively reduce it…

Playing the meta-game

With the help of friend and fellow achievement hunter Rooks, I set out to make a small event out of finishing backlogged games. The initial idea was this: “If I can’t decide on which to play, I’ll just have someone else do it for me“. You see, I’d already have seen the concept of playing achievements H-O-R-S-E in action and figured that a co-operative version of that would work nicely in a non-competitive environment.

(In essence, H-O-R-S-E is a competitive challenge where one player earns a specific achievement and then all the other participants must also do the same; if any participant fails to do so in a specific time limit, they earn a letter from the word “HORSE”, starting with H and ending with E; once that is done, the second player in a pre-defined order earns another achievement and the rest of the players once again try to also earn it in the specified time limit; and so on and so forth. Any players that complete the word HORSE – and thus have failed to follow the achievement-setting player 5 times – are eliminated and this goes on until only one player remains as the winner.It’s quite fun with 4 or more participants, so try it! If you don’t have enough players, a shorter version using the word P-I-G instead of H-O-R-S-E can be used, or even any other word of the players’ choosing.)

After a bit of discussion and back-and-forth of ideas, we ended up with the following guidelines:

(Note: This is best done with just two players, as it becomes harder to track with multiple participants. For the sake of accuracy, I’ll call these imaginary participants and B)

  1. Participant A should select 1-3 games from Participant B’s backlog.  Participant B has one month from the date of selection to complete at least one of these games at the 100% mark.
  2. Participant A can only select games (from B’s backlog) that fulfill these conditions:
    • Must be a game in which at least one achievement was already earned by B.
    • Must be a game that is under 20-25 hours in overall duration (tracker sites are useful for providing such estimates).
    • Must be a game that can be completed solo (so you don’t need to rely on other players for co-op/multiplayer achievements).
    • Must be a game that can be reasonably completed in that given month (so that seasonal achievements, such as “Play this game on Christmas day” etc. do not limit completion).
    • (Optional) Should be a game that A has at least some vague idea about and/or have played themselves.
  3. At the end of the 30-day period from day of selecting, B should have completed at least one of the three proposed games.
  4. Participant B follows the exact same guidelines to provide 1-3 games from Participant A’s backlog for them to attempt completing.

Naturally, a lot of variation can be added to make the game more interesting / challenging / competitive – adding a score for each game completed (based on time needed to complete); upping the selection to 5 games per month or lowering it to 1 but selecting one that requires at least 50 hours to complete; or even changing the time window from one month to more/less, as needed.

Results, results, results

We began this experiment on October 1st, with my selections for the month being Castle of Illusion and Toki Tori and I am very pleased to say that it worked out wonderfully as a motivating factor – one month later, Castle of Illusion sits at a cool 100% completion rate and Toki Tori is being worked on in small steps (we went for two  games per month, of which we should complete at least one, just to keep things simple). November’s selection for me includes Shank and Organ Trail which, thus far, seem to be progressing nicely. Stay tuned for November’s Backlog Cleanup for my impressions.

Overall, I found this an interesting way to stop backlog clearing from feeling like a chore – if you like this method, please use it and drop us a line in the comments, as I’d be very interested in seeing how it performs!

Attack of the Backlog! – October 2018 Round-Up

In Attack of the Backlog!, I’ll be discussing my attempts at tackling an ever-growing backlog of games, from both a campaign/story and an achievements completion point of view. For the sake of keeping track of things, I’m only going to mention games I’ve actually finished and/or completed that month.

This month’s backlog adventures were quite interesting, to say the least. Aside from a lengthy dive into The Bard’s Tale IV (of which you can find my impressions in the aptly named First Impressions and Last Impressions posts, respectively) the majority of the games I played and finished were quite old in terms of having entered my backlog, as well as (truth be told) not particularly challenging for the most part.

As it stands, my “statistics” at the close of October now stand at:

  • 63,79% average Steam achievement completion
  • 236 Steam games in progress (with achievements)
  • 1163 Steam games unplayed, 466 of which come with no achievements
  • 198 Steam games at 100%
  • Games added to account
    • Robin Hood
    • Hidden Folks
    • Gremlins, Inc.
    • We Were Here Too
    • Old Man’s Journey
    • Yakuza 0
    • 140
    • The Sexy Brutale
    • Lucidity
  • Steam games completed
    • Dwarfs!?
    • Dwarfs!? Free-to-Play
    • Highlands
    • Half-Life: A Place in the West
    • The Bard’s Tale IV
    • AdVenture Capitalist
    • Castle of Illusion

Above statistics courtesy of

So, as the numbers show, I’ve pushed a mere 7 games to 100% completion since October 1st, and even worse, one of them is really a double-dip (Dwarfs!?), while another is a silly visual novel/comic book deal (Half-Life). Even worse than that, I seem to have also gone and added another new games to the huge pile of backlogged games I own on Steam. Awful, right?

Dwarfs!? in all its “glory”.

Well… not quite. You see, in actuality only of the new additions were actual purchases of mine – Yakuza 0 (which I’m planning to stream as soon as my other streaming obligations clear up a bit) and We Were Here Too (which I’ll be playing with a friend in co-op, and for which I’m very excited) – the rest were mostly sourced by friends and viewers, such as 140 coming from long-time follower and all-around nice guy to have around TuhmaTiikeri (hai!), as well as from various bundle leftovers that I’m given every once in a while and find as too much of an opportunity to miss (I believe Hidden Folks came from the most recent – as of writing – Humble Monthly bundle).

So, the actual end-tally for October should be around 5 games completed and 2 new games bought. Sadly, this still didn’t quite line up with my goal of 6-to-1 completed:purchased ratio (see the “rules” in last month’s round-up), but I’m not too worried – if only because there’s actual effort being put in to complete stuff, on which I can build and improve upon. Baby steps and all that.

So, with the recap thus concluded, let’s have a look at two of the above-mentioned titles, Castle of Illusion and Dwarfs!? (as well as its F2P counterpart):

Castle of Illusion (starring Mickey Mouse)

A short trip down nostalgia lane, Castle of Illusion is actually a remake of the 1990’s Sega Genesis classic with the same name. Players take on the role of Mickey Mouse, on a quest to find seven colored gems and defeat the evil witch Mizrabel, saving his fiancee Minnie (who has been kidnapped so that Mizrabel can… steal her youth and beauty, apparently). The game is purely a platform game – there is very little else in the way of gameplay than jumping, avoiding or killing enemies and collecting various items – and thus very hard to talk about in any length.

Cutscenes have a certain charm to them.

The House of Mouse

As a platform game, Castle of Illusion is very short – even someone like me, who’s not particularly adept at the genre, still only took approximately 5 hours to fully complete the game. Personally, I consider this one of the game’s strengths, as there is just enough content and variety in its mechanics to not outstay its’ welcome while still feeling complete as an experience. The majority of the game is spent traversing the game’s five worlds, spread over fifteen levels (two “main” levels and one boss level per world), offering a variety of environments to explore – such as a giant library; a land made of sweets and candy; and a haunted forest – each with its own enemies, collectibles and power-ups to collect.

The variety in visuals is quite endearing, with most worlds having a vibrant and colorful look which is quite reminiscent of Disney’s golden age of animation (while not directly using settings from any actual material produced at that time). This vibrancy gives the game a joyful, almost playful tone, further reinforced by the narration and overall sound design – indeed, the game looks, feels and sounds cheerful during those five or so hours it takes to complete, which I feel also helps it stay “fresh” and not tire the player out.

Castle Of Illusion’s in-game collectibles tracker is a feature I’d like to see in more games.

As a brief aside, the quality of a platform game is often dependent on its control scheme – the overall “feel” of controlling the player’s character (which is affected by a multitude of factors, such as player velocity, gravity, friction and so on), which can make or break the experience.

In Castle of Illusion the control feel is, for the most part, functional – you’ll not find any excessive sliding or imprecision when platforming and neither any problems with hitbox detection or collision detection (which govern the player’s model reaction towards enemies and platforms/solid objects respectively). There is a slight delay with certain jumps, especially in areas that are visually overloaded (such as certain setpieces in the candy-themed world) but for the most part it is not noticeable.

Steamboat Trophy

The game’s achievements are closely tied to its various collectibles – the game boasts around 400 “Magic Diamonds” spread throughout its levels, as well as a series of rarer items such as Donald’s chili peppers or magic playing cards. I’d like to note here that the developers handled these collectibles quite well, as they’ve included a tracking system which indicates at all times how many of  each collectible were found in a level, as well as model changes for already-collected items (such as magic diamonds becoming transparent in subsequent playthroughs if the player has collected them already).

A sample of one of the game’s few unique 3D setpieces.

There are a few more unique challenges on the way to 100% completion, such as jumping on 7 enemies without touching the ground, but those gave me little to no trouble, as the level design often complements and indicates very clearly where and how these challenges can be done.

As a game, I’d highly recommend it for anyone that wants a short-but-sweet experience to fill in the gaps between longer or more difficult games, anyone that feels fatigued by the grim, “realistic” look of most games nowadays or just as a Disney fan.

Speaking of more difficulty…


Dwarfs!? is a weird game to classify, as it shares elements between rogue-lites, sim, management and strategy genres, with a healthy dose of randomness injected to keep things fresh. In essence, it’s very reminiscent of 2006’s Dwarf Fortress, sharing a lot of its traits – indirect control of the player’s units; randomly generated worlds; the theme of building a dwarven colony and trying to survive against a variety of hazards; and a generally high degree of difficulty (brought on mainly by how random chance affects most of the game’s core systems).

Regarding Randomness

In the game, the player starts with a newly-established dwarven outpost in a huge underground area littered randomly with caves, lakes and lava. From this outpost a constant stream of digger dwarfs is generated in fixed intervals – these dwarfs cannot be controlled directly by the player and will constantly dig out tunnels in random directions. Further, the player can create warrior dwarfs, which will usually orbit the colony’s perimeter (and, later on, outposts that the player can build on tunneled soil) – these act mainly as a form of defense against monsters that the diggers unwittingly unleash from the randomly-generated and placed caves strewn throughout the underground playing field.

Thankfully, the player isn’t left entirely helpless against the randomness. A series of tools and options allow you to indirectly affect how the diggers behave – among others, you’ll have access to guidance arrows (which can force a dwarf to travel to a specific direction for a few minutes); dynamite (used to blow up dwarfs and spawning lava- or water-blocking holes in their place); reinforced cave walls (which the diggers cannot tunnel through); and barricades (which can be used to temporarily stymie the flow of water, lava and hostiles. These tools, however, come at a cost: gold, which can only be gained by tunneling, locating mineral veins and looting caves.

Letting things go too far might get you an early (and watery) grave.

Thus, the game becomes a sort of balancing act, constantly requiring the player to balance the cost vs. usefulness of using any of the tools at their disposal – for example, would you blow up this dwarf that just opened a cave full of water, in order to prevent it from flooding the entire cave system, or do you just plop a wall in its path and steer other diggers clear of that area until you have enough gold to seal the whole damn thing? These micro-decisions end up making the bulk of the player’s input in the game and, owing to the randomly-generated maps, make the game feel like a hectic race against time, in order to survive the elements long enough for the colony to flourish.

Modal Mayhem

All of the hectic action is compounded by the game’s general design – in the basic “Survival” mode, you are limited by a timer of your choosing, from between 5 to 60 minutes, in which time you are tasked with earning as much score as possible. Score is given for a variety of tasks, mainly by the overall distance covered by your tunnels at the game’s end, as well as for certain milestones (such as “Dig 100 squares” or “Dwarf Digger level 20”) – a leaderboard system is in place to give players a way to compete and show off their scores.

As for available modes, the game boasts no less than eight, from the aforementioned Survival, to modified versions such as Endless (no time limit) or Dark (caves are invisible until tunneled into), to unique challenges in the Scenarios mode, to various mini-games in Carnival mode. This helped the game stay interesting, even after I was long done with the Survival mode (which is to say, once the achievements were completed). My personal favorite is Rush mode, where digger production rate is upped significantly, leading to a frenzied scrabble as your tunnel system is expanded at insanely fast rates.

A sample of the multiple modes on offer.

Achievement Architect

The achievements in Dwarfs!? are quite interesting for the most part. Aside from a few token “Reach X score in Survival Easy/Medium/Hard” ones, there’s a series of grind-based ones (mainly collecting/digging/killing certain amounts of ore/dirt/enemies), a few tied to the game’s alternate modes (mostly Carnival mode), as well as a couple of more innovative ones such as managing to destroy your colony within 15 seconds of starting a new game or getting an enemy to fall into a hole left by an exploded digger.

Generally, these achievements seem to have been designed to accrue progress as you play the game casually – there are no grinds that require specific actions to be taken, while the few mastery-based achievements (score, hitting specific level milestones as digger or warrior dwarf) are difficult mainly due to randomness rather than actual mechanical difficulty (though, mastery of the game’s tools and behaviors goes a long way towards offsetting the random factor).

Overall, I found Dwarfs!? quite an enjoyable experience – indeed, even after completing the achievement set for this and its free-to-play counterpart (which feature a save transfer system, meaning that any progress and achievements earned in the paid version can automatically be transferred to the free-to-play one, and vice-versa), I often found myself returning for “just one more game”. I feel that its combination of random-based behaviors (level generation and dwarf behavior) with reliance on mechanical mastery (the player’s tools), in the context of its short per-playthrough time, makes for a highly addictive game and so could easily recommend it to those looking for replay value and short, fun game sessions.

Which games did you play in October? Got any backlog-related horror stories to share? Tips and tricks for keeping it in check? Share below in the comments section!


Last Impressions – The Bard’s Tale IV: Barrows Deep

This Friday saw the end of my Bard’s Tale IV playthrough, taking more than two weeks’ worth of streaming to see it through with 100% completion (approximately 40 hours or so, with some minor content skipped due to accidentally progressing past the “point of no return”). It’s been quite the experience, to put it mildly.

First things first: you can find the VOD’s of the entire thing by visiting my YouTube channel (arranged in handy playlist form for your convenience) – there are 8 VOD’s, one for each stream, unedited and running the full duration of each session (so around 4-6 hours apiece). Everything that is described below can be seen directly in those VOD’s, so feel free to check them out as companion material to this post, if you’re curious to see what I’m talking about in action.

Additionally, this post follows up from my “First Impressions” post from two weeks ago, which you can find on this very blog – I’d recommend giving it a quick look as I’ll mostly be building up on it for this post, as well as referencing it occasionally.

With that out of the way, let’s talk bards.

Cabbage Knight, Onion Knight’s distant (and lesser-known) cousin.

As I mentioned numerous times while chatting with viewers on-stream and in the 100Pals Achievements Discord server, Bard’s Tale IV has all the “right stuff” to be considered for my favorite game of 2018. Over the course of my streams, several elements stood out for me, such as the clever puzzle design; an amazing soundtrack; nuanced combat that encourages experimentation and forward planning; interesting exploration elements; and the general use of Gaelic/Scottish themes, which I’ve always felt are under-represented in gaming.

In no particular order, let’s have a closer look…

Elegy of Exploration

Getting around Skara Brae and the world of Caith is one of the major aspects and probably the lengthiest activity you’ll be doing in Bard’s Tale IV. Exploration is done in first-person view with semi-open map design, which borrows certain elements from the Metroidvania sub-genre. The player steadily gains access to several “Exploration Songs” used during exploration to access previously-blocked areas, such as Grandfather Sky Sees All which removes brambles and vine walls or The Stone Remembers, used to rebuild broken stone structures such as bridges and pillars.

The environments themselves are more or less decent in variety and size, with the game being broken up into three major semi-linear “hub” areas, each with its own distinct visual design, and a plethora of puzzles, enemies and challenges to overcome. The almost-open-ended level design makes exploration quite enjoyable for me – especially when returning to previous hubs and noticing that I could now access new parts of the map that I had previously thought inaccessible (and which usually housed secrets or elements that tied into that area’s more complex puzzles).

Beautiful vistas await your fearless party to explore and plunder.

On a side-note, I noted in my First Impressions posts that a fast-travel system might have been a good addition to the game and perhaps I should elaborate a bit on that since the game does eventually unlock such a feature. However, I still feel that it perhaps not sufficient as it not only becomes available after the first ten or so hours in the game (which are spent mostly backtracking in the same area to access different main story quests) but it also only serves realistically as a level transition between the game’s three hub areas.

I would still have loved to see something geared more towards in-area transportation (such as being able to return to an area’s tavern or inn from your current location), as maps do not repopulate enemy groups once cleared, making backtracking (in the course of progressing quests rather than when exploring newly-available paths) a mostly lifeless and boring affair.

Speaking of which, how does the combat stack up?

The Battle Ballad

The combat system in this game is quite unique for a CRPG, in that it relies just as heavily on positioning and skill selection as on raw stats and equipment. For any given character, you are allowed to equip a maximum of four active skills (learned via equipment and spending your level up currency, skill points, in the game’s talent trees), which you can then use in combat.

The field itself is split into a 4×4 grid, with the bottom half containing your party and the top half containing the enemy party. Combat itself is carried out in turns, with whoever initiated combat getting the first go. Where the game deviates from traditional turn-based fare is that each team is further limited in what they can do by three factors – opportunity points; positioning; and cooldowns. Each one of a character’s equipped abilities has an opportunity cost, a specific area of effect (thus being affected by its user’s position on the grid) and a cooldown coming into effect both at the start of combat and after each successful use of said skill.

Exploration Songs and the party’s half of the combat grid.

Rather than the usual “one-move-per-character” fare, this system allows you to customize each turn exactly as you need to – want your warrior to use three abilities in the same turn, while your other party members just take a time out? Assuming you have enough opportunity points and your positioning is correct, you can! Want to set up chain reactions with the Falkentyne’s Fury song (adds a mark on all enemies, which explodes when taking damage) and then blow up the entire enemy party with a mage’s Flame Breath? Go for it! Given the amount of skills, both active and passive, and the varying areas of effect each one uses, the whole system seems built around figuring out as many fun combinations as possible with whatever characters you have available at the time.

In fact, it often felt extremely satisfying to figure out a “line” which would allow me to emerge victorious and relatively unscathed, clearing an entire enemy party in one or two turns. In some ways, this was not wholly unlike solving a puzzle (something I’ve again mentioned constantly on stream), which segues nicely into…

The Rhyme of Riddles

Puzzle design is yet another aspect of this game that I adored – Bard’s Tale IV is positively loaded with all manners of puzzles, from simple logic problems to spatial awareness puzzles to code ciphers and so, so many more. Often used as both gating mechanics and optional content, you’ll seldom go for more than twenty minutes without encountering one.

Special mention should also be given to a specific puzzle category in the game, puzzle weapons. This is a very cool idea where certain elven weapons have puzzles built into them, usually in order of pommel, handle and hilt and which, once solved, imbue that weapon with additional properties. I found this mechanic to be interesting as a whole, since puzzles are usually cycled between two or three different variations per weapon part, which is enough to keep things fresh – while at the same time, the incentive for solving these puzzles feels more immediate and substantial (since you’re actively improving your weapons by being good at solving puzzles).

Cog-moving puzzles are one of the most common in Bard’s Tale IV.

What I found most interesting about puzzles is that, for the most part, the designers manage to strike a balance between quality and quantity. You’ll seldom feel that any of the puzzles outstays its welcome (with the possible exception of one or two “end-of-dungeon” mega-puzzles that become tedious to solve), which is often hard to design for in games. Even more impressive to me, after getting some way into the game, I was actually beginning to feel excitement at encountering a fresh puzzle, rather than my usual reaction of exasperation and dread which lesser games have trained me to have over the years.

Finally, allow me to geek out for a moment with some miscellaneous favorites of mine.


Indeed, there’s a lot of little touches that made me love this game, a multitude of minor cool moments such as realizing that the player-made characters’ voice presets all have custom interactions with one another and with the “named” party members, or the tons of references to previous games in the series (which somehow never quite manage to get into shameless nostalgia-exploiting territory, thankfully), or how certain combat animations (especially movement) are different depending on what armor or passives you have equipped, or so many other minor features that are too numerous to list here.

Invisible NPC’s aren’t even the worst of it…

As a final aside, I’d like to mention in passing the crafting system in this game, which is more or less functional but not fleshed out enough to merit much discussion. It’s mostly standard fare: collect materials from the game world, combine them into useful items, ranging from curatives/foods to utility items to puzzle weapons – not a very interesting system but to be honest, it doesn’t need to be.

So, if Bard’s Tale IV has so many things going for it, why did I introduce it in such a lukewarm manner? Well, about that…

The Troubled Troubadour

The unfortunate thing about Bard’s Tale IV is that, despite all of the design effort and thought put into it, it ultimately left me with a kind of bittersweet mixed feeling – not because of having an abrupt, “rocks fall, everyone dies” ending (I’m looking at you, KotOR 2), but rather because of a series of bugs, glitches and errors which, during the entire 40-hour-long playthrough, slowly became increasingly annoying and disheartening.

Make no mistake, this is a great game (perhaps my game of the year, even), but in its current state I would be very hesitant to recommend it without the additional qualifier that it takes a lot of patience.

First and foremost of these problems is the performance – even on an i7-6700 running on an nVidia GTX 1060 6GB, the game couldn’t run smoothly at anything above Low settings (and even then, in certain effects-heavy sequences, it would choke up numerous times). While this by itself wouldn’t be too much of an issue – and to inXile’s credit, they’ve already put out numerous patches to try and address the issues, even if they still haven’t quite managed to get everything sorted – there is also an inordinate amount of loading going on with each area transition, often taking as much as a minute of loading (and keep in mind that you are expected and sometimes asked to go through multiple level loads for some quests).

…though invisible area transitions probably are.

Compounding this are a number of glitches, from disappearing NPC’s to event triggers not activating properly and even the occasional crash or three (and my personal pet peeve where, as of writing this post, the game does not have an option to select which monitor it displays on for multi-monitor setups, which means that resizing/repositioning the game’s window manually must be done every single time the game launches).

The worst of these, however, happened during the penultimate quest – requiring that I locate a level exit in the first hub area, which would take me to the final area and the game’s ending. The problem was that, as it turned out, the ladder I was meant to use to trigger that level change had popped out of existence, meaning I had no clue or idea of where I needed to go to actually finish the game. Eventually I got lucky and noticed that doing a mouse-over where the ladder was supposed to have been (and which I had no idea was even there), the level change prompt appeared.

I wish I could have given a much more glowing recommendation here, I really do. Bard’s Tale IV was one of the very few games of 2018 to get me to obsess that much over it (the only other contender being possibly Monster Hunter World) and there is a lot to love here but the truth is that, currently, the game still needs a lot of fixing. While not a dealbreaker for me (even with all the complaints I just leveled at it), I’d still wait for a few more patches to straighten things out before recommending this to anyone else.

Have you played Bard’s Tale IV? Seen it on mine or other streams? What are your thoughts on it? Share below in the comments!

Attack of the Backlog! – Intro and September 2018 Round-Up

In Attack of the Backlog!, I’ll be discussing my attempts at tackling an ever-growing backlog of games, from both a campaign/story and an achievements completion point of view. For the sake of keeping track of things, I’m only going to mention games I’ve actually finished and/or completed that month, as otherwise it will quickly become quite confusing.

As the games industry grew over the last few years, so too did the means and avenues of acquiring said games. Through a multitude of sources, there seems to be no end to all the games one can get. Be it sales, bundles, freebies, special promotions, free-to-play games and so on, the entire industry has never before reached this high of a ratio between content frequency and availability.

One of the games we’ll be looking at today and possibly the most aesthetically pleasing of them.

Which, in turn, has led to an unprecedented growth in peoples’ backlogs. No longer do we buy a game or two per month, playing them to the exclusion of anything else until they were beaten and mastered – nowadays, thanks to the fast-paced marketing of it all (and helped along by some basic human impulses of the “get it now, while it’s cheaper” mentality), it’s not uncommon to have tens, hundreds or in some cases, even thousands of games waiting to be played on a shelf, a drawer or (more commonly) a digital storefront library.

I undertook a personal challenge at the start of 2018, following the realization that (at the time) the rate I was buying games at would effectively mean I’d be in my 70’s before managing to complete most of what I own. Thus, I would limit myself to the below rules:

  1. Complete at least three games per month – “completion” in this context being either “seeing all main story content” or “completing that platform’s achievement list” – there are certain games where the time commitment is too big for a realistic 100% achievements completion, so in those cases I’ll count completing the main story as sufficient.
  2. Only buy games at a ratio of one new game per six completed ones. This was chosen to limit my backlog growth, help me prioritize my purchases and still allow me to get any games I truly felt were must-haves.
  3. Work on as many platforms as possible. This goal was more loosely defined as, at time of writing, my backlog spreads across multiple consoles – the PS3, PS4 and Vita; XBox 360; Nintendo 3DS and Wii U; and of course, PC (which is divided between several digital retailers such as Steam, GOG etc.).

As of time of writing, this “challenge” has been successfully going for nearly ten months – a summary post will be made at the end of the year but, for now, I’ll discuss some highlights from each month, starting with September.

September saw my backlog limited substantially, with no less than seven games finally being completed:

  • The Elder Scrolls V: Skyrim – Special Edition (Steam)
  • In Verbis Virtus (Steam)
  • Splice (Steam)
  • The Marvellous Miss Take (Steam)
  • Cortex Command (Steam)
  • Babel Rising (Steam)
  • Severed (PS Vita)

Of these, we’ll be having a closer look at two cases I found most interesting – In Verbis Virtus and The Marvelous Miss Take. Please note that in this context, “interesting” does not necessarily equate to “good” but rather that it can allow for in-depth analysis and discussion.

The Marvellous Miss Take

This game was simultaneously one of the most intriguing and most disappointing games I’ve played in a while – a stealth-based isometric puzzle game of sorts, which follows the titular Miss Sophia Take, heir to her aunt’s collection of art exhibits which were appropriated by the game’s antagonist, in a series of heists carried out to reclaim said art pieces. Joining her are suave gentleman thief Harry and street-wise pickpocket Daisy, with each character having unique abilities and play styles.

The initial excitement

The game is presented in a charming, slightly exaggerated art style which immediately feels fresh and cheerful, with a certain 80’s vibe being readily apparent. This is further reinforced by the game’s soundtrack, which does a good job of giving the game a heist movie feel, a la Ocean’s Eleven.

As seen here, the randomized pathing can sometime make things too easy…

The game takes place across five chapters, for a grand total of 25 levels, where players are tasked with guiding their character of choice through multi-floor art galleries with the aim of stealing various art exhibits and making it to the exit unnoticed. As mentioned, each character has a unique ability set and specific objectives built around those abilities – for example, Daisy’s levels focus on using her abilities to pick guards’ pockets for safe keys, while Harry’s are designed around his slower movement speed and superior capability for causing distractions and manipulating guards’ patrol paths.

Initial impressions of Miss Take were very positive. The retro aesthetic feels fresh and unique, the dialogues are well-written and provide a good balance of levity and exposition to break up the heist parts of the game, the level design and its slight alterations depending on which character you’re visiting a level with keep things fresh and exciting – the list goes on with how many things the game gets right.

So, then, why did I describe it as being disappointing? Well, about that…

The game’s central mechanic, stealth, is for the most part pretty standard as far as isometric games go. As seen in other genre classics like Commandos, you can always see an enemy’s visual (and in the case of guard dogs, olfactory) range, shown as cones or circles originating from each enemy – simply put, standing in these means that their respective guards can see you. This is combined by a noise system, where running characters produce loud noise which can attract nearby guards to investigate, as well as a cover system (where you can take cover behind obstacles to avoid detection).

As a system, it works reasonably well, simple to use and easy to combine into more complex strategies (such as deliberately using running noise to re-position guards to more advantageous locations or using cover to skirt around camera placements and so on). Unfortunately this is where the game’s first big flaw, the camera, makes a mess of things.

So, what went wrong? 

Due to some weird design decision, the overhead camera is tethered to the character you’re controlling, meaning that exploration is limited to their immediate surroundings – this, coupled with an extremely zoomed-in view of the game, leads to a lot of situations where guards that are just a few steps off-screen can spot your thief before they have time to react (and yes, there are indicators for nearby guards but, lacking any information on how far away they are or what obstacles are in the way, these indicators are largely a distraction more than anything else). This camera tethering further complicates things when you need to move quickly, either to slip through guard patrol paths or to escape pursuit, since it has the annoying tendency to “bounce” when panning around too fast.

…or quite hard, if you’re unlucky.

This is further exacerbated by the controls, which are in many cases imprecise – a fatal flaw in a game that requires timing and precision to avoid detection. In several occasions, mostly while trying to get close to walls or cover, the game would register movement commands slightly offset from the mouse pointer’s actual location. This often led to the character attempting to go around the wall or obstacle in question, and inadvertently into a guard’s cone of vision or a surveillance camera’s detection range.

Even so, by themselves these would be easily-forgiven issues. Sadly, the third (and most egregious) issue the game has is what really ruins the entire experience: randomized guard pathing AI.

Guards and NPCs in Marvellous Miss Take do not have preset walk and patrol paths (with a few exceptions for stationary guards and CCTV cameras). Instead, they are coded to move in a certain direction until they reach a wall, obstruction or door, in which case the game chooses a random new direction for them to take.

I found this to work extremely poorly in most cases, with guards often getting stuck in a path between two doorways (as their AI would randomly decide to go back the way it came from at each door) for minutes at a time, or in some cases causing multiple guards to converge from across the level into the room I was hiding in, leaving me boxed in and trapped with no way to escape (and through no fault of my own, such as drawing a guard’s attention).

This becomes even more problematic when considering that, for two of the three thieves, the game also has timed elements – there are usually three objectives in any given level level: steal all story-related loot (the only mandatory one to complete a level); steal any optional loot available; and depending on the character you control, either stay unnoticed for the entire level (Harry) or beat it under the level’s par time (Sophia and Daisy). The third objective can (and will) often go awry if you’re looking to complete it, as the random nature of the pathfinding AI often means you’ll be stuck waiting for guards to randomly get into a more advantageous position, which either costs a lot of time or several retries.

Wishful thinking

The most disappointing thing about this game is that it has so much potential – a more fluid camera system and preset guard routes would be all it took to have made it feel more like you’re planning a grand, daring heist and less like just waiting for the randomness to swing in your favor. While on the subject of changes, I also believe that the addition of a custom level editor (something that the more recent stealth offering Aragami did post-launch, much to their fans’ delight) would offer the replayability that (I assume) the developers had in mind when implementing the random factors, while also allowing for a more involved and active community to form around it.

Distractions are a viable tactic, at least.

As it stands, while the game is still competent in its execution of the core stealth aspects, it is weighed down by a series of design choices that don’t mesh well together and therefore lead to much frustration.

On a final note – What about achievements?

The game’s achievements are, for the most part, straightforward. There are a certain few which are awarded for displaying mastery of the mechanics (such as successfully keeping a guard suspicious for a full minute, which requires clever use of the sound distraction mechanic and the level layout), but the majority center around either completing all objectives with every character and collecting all optional loot.

Like mentioned above, the frustration potential is apparent and often noticeable, but even then it’s a short game to complete – my time to 100% ran just a bit over 14 hours, a couple of which were definitely caused by randomness-induced level restarts.

And speaking of frustration potential…

In Verbis Virtus

Another of my long-overdue games, In Verbis Virtus is an interesting experience, again marred by  some really weird design decisions. The player takes on the role of a wizard exploring an ancient ruin in pursuit of hidden knowledge, with only their voice at their disposal – quite literally.

Let’s talk magic 

Design-wise, In Verbis Virtus is for the most part a typical physics-based puzzle FPS. During the game, the wizard gradually unlocks a variety of spells which can affect their environments in a variety of ways – lighting rooms; pushing and transporting heavy objects; melting ice; freezing water; and so on and so forth. Thus, puzzles have been built around using and combining said spells, ranging from simple “carry the object to its correct place” to more complex “combine spell effects to navigate treacherous environments” deals.

Some puzzles are as simple as just lighting the way.

Unique to this game, however, is the means of activating these spells, which is solely via voice control. Each spell is activated by its component words spoken into the PC’s microphone, usually two or three words in length, with choices of English and the game’s own Maha’ki language.

For the first few hours, I found this quite interesting – the ruins are cleverly designed, with a series of interconnected rooms and puzzles, each requiring smart application of the (initially) limited toolkit of spells at the player’s disposal. Having to speak the words for each spell is novel enough to keep things interesting for a while. However…

Speaking in languages

While the core mechanic of the game – voice-recognition used to activate in-game abilities – is an interesting innovation, the majority of the game (anything past chapter 1) is not properly built to complement it.

Combat, for example, often relies on casting a series of spells in quick succession while simultaneously avoiding any incoming attacks with very precise timing, something that voice controls are not particularly suited for.Similarly, a lot of the latter puzzles often center either around precise and fast casting (such as having to navigate swinging platforms by teleporting on them while freezing them to stop their movement briefly) or by repeatedly using the same spell in quick succession (such as having to rotate several items around a room with the Telekinesis spell).

Some weird lens flare effects, likely a problem of the engine.

These elements would not be problems when utilizing a more traditional control scheme but when every spell requires a two- or three-word phrase to be spoken out loud (and with a lot of the spells sharing words between them) it becomes very easy to mispronounce or say the wrong word or get the timing wrong while under pressure. In turn, this leads to frustration, mistakes and eventually makes the whole experience feel more like a chore to get through. Of course, similar issues also arise if you carry an accent that the game doesn’t recognize – something which I’ve thankfully not had happen to me too often, but even so, the voice recognition is not always accurate.

Voicing questions

I feel that in this case, the game would have been better off by including an alternate casting scheme, where players can bind spells to the keyboard/mouse rather than have spellcasting being controlled solely by mic. Yes, it would defeat the whole purpose of the game but as an option it would be hugely beneficial to anyone with an accent; non-English speakers; people without microphones; or even just to provide players a less frustrating alternative to the oft-imprecise voice controls.

Alternatively, I would have loved to see the game do away with all the time-sensitive stuff and combat, and focus more on the puzzle aspect, preferably emphasizing multi-segment solutions (a good example of which is a sequence in chapter two, where the player is called upon to solve a few single-room puzzles that unlock elements in a third, overarching one).

At least the work put into the environments is obvious.

As is, while the core mechanics are extremely enjoyable and novel, I would only recommend this game as a curiosity or as an interesting case study in voice-controlled mechanics.

Achievements, you say?

As an achievement game, In Verbis Virtus is more or less a run-of-the-mill affair. Aside from the “end of chapter” usual fare, it also boasts a series of collectible-specific ones (which can become unobtainable if you trigger a chapter change too soon), a few that unlock on each spell’s first use and a couple of grind-based ones (weirdest of which is one that requires that the player saves at least 50 times). Happily, there are also a few less conventional (and therefore more interesting) ones, usually awarded for creative use of certain spells or locating certain hidden interactions. Rounding up the list are also two for getting each of the game’s endings, as well as a couple linked to the game’s various enemies.

At the close, the game took around 17 hours to fully complete, including a few hours’ worth of frustration and reloading a previous save once I figured out I had missed one of the collectibles – all in all, not a particularly interesting list but, as mentioned previously, it does the job competently.

Which games did you play in September? Got any backlog-related horror stories to share? Tips and tricks for keeping it in check? Share below in the comments section!

First Impressions – The Bard’s Tale IV: Barrows Deep

Full Disclosure: I was a backer for the game discussed in this post, The Bard’s Tale IV: Barrows Deep, on Kickstarter during its initial campaign run in July 2015.

Note: A few clarifying statements should be made before this post, in the interest of avoiding misunderstandings.

Firstly – this article is being written from the point of view of a long-standing fan of both the genre in general and the Bard’s various Tales over the years in specific. While attempts have been made to keep everything as self-contained as possible,  a few comparisons to earlier games in the series were inevitably made – as such, I’ve done my best to explain said references whenever possible.

Secondly – Until time of writing, I’m only at around ten or so hours into the game (hence the First Impressions title), therefore the opinions expressed here are neither final nor representative of the entire game. I have streamed the entirety of these early sessions on Twitch, which you can find uploaded on my YouTube channel if you’re interested in seeing my time with the game “in person”, so to speak.

Nostalgia is a weird thing. In recent years, a growing subset of the gaming industry has come to the realization that certain demographics (mainly people between 20 and 40 years old) are extremely prone to nostalgia – thus, a near-constant stream of remakes, re-releases, remasters and repackaged collections have found their way into our collections and digital libraries.

It didn’t stop there, though. This heavy leaning into nostalgia eventually caught on in yet another recent trend: crowdfunding. Ever since the now-famous Broken Age Kickstarter campaign, a sizable percentage of crowdfunding campaigns (mostly on Kickstarter, more recently Fig and IndieGoGo as well) have been marketed and promoted with nostalgia in mind. This, in turn, has led to such success stories as Wasteland 2, Shovel Knight, Hyper Light Drifter and FTL (which has already been prominently featured in a multi-post Let’s Play in this very blog) – but does that success also apply to inXile Entertainment’s latest crowdfunded release, The Bard’s Tale IV: Barrows Deep?

I’ve always been a big fan of first-person dungeon crawler RPG’s. Be it turn-based or real-time, with grid-based movement or free-roaming, a good portion of my formative gaming years included the likes of Bard’s Tale, Ultima Underworld, Lands of Lore and so on and so forth.

There was something very appealing in the concept behind this sub-genre: the idea of creating a party from scratch, trying to have as many options as possible, then testing your mettle in giant multi-level areas filled with pitfalls, enemies and puzzles. Whether the whole endeavor ended in success or failure was usually only a minor, momentary consideration against “the journey“, all those steps taken up until that endpoint, all the traps avoided, all the enemies vanquished, all the mazes and puzzles navigated.

The art direction in this game is quite well-done.

The Bard’s Tale trilogy was always a standout within its genre. Having introduced the concept of buffing your party via bardic song (the concept of persistent buffs to your statistics was not generally in use prior to the first Bard’s Tale, as far as I remember), as well as offering save transfer functionality across the series (similar to what the Quest for Glory series would also do a few years later) made this a well-regarded series at the time, as well as one of my favorite titles of that period.

How, then, does Bard’s Tale IV measure against the original trilogy? To be sure, it’s quite a different experience altogether: combat is now grid-based and gives emphasis to party member positioning, while an increased focus has been placed on exploration, dialogues and puzzle-solving. This might feel slightly alienating to old fans of the series (as is evident in a small handful of reviews on Steam and the game’s forums), but in all honesty I found it quite refreshing and enjoyable, if perhaps a little poorly-paced in the first few hours.

Bard’s Tale IV takes place in Skara Brae, as with all previous entries in the series. Set around 100 years after the events of the original trilogy, the game opens with the city (rebuilt after its destruction in Bard’s Tale III) being under occupation by a religious group called the Fatherites, who facilitate a crusade of sorts against adventurers, outsiders and non-human races. The player is tasked with resolving this crisis, relying on their wits, strength and companions in order to survive, while looking for clues as to who or what is responsible for these events.

After a short introductory cutscene, where we witness the execution of several non-humans and outsiders, we are given control of Melody, a pre-made Bard intended to be used until the character creation option becomes available. We are also introduced to Rabbie, a bard acting as leader to the now-outlawed Adventurer’s Guild and given our first quest: reach the Adventurer’s Guild.

Unfortunately, this is also where a few of the game’s issues start showing. The game suffers from extremely long loading times, as well as frequent dips in frame rates. These performance issues appear to be commonplace, as a quick browse through the game’s forums and the related Steam Discussions page will confirm. To inXile’s credit, there have already been three major performance patches released (the last of which coinciding with this post’s initial draft) and there have been noticeable improvements over each one, although the overall experience is still not entirely up to spec.

The game’s audio, on the other hand, is spot-on. A series of lore-appropriate Gaelic accents give BT4 a rustic, almost rural feeling, while the various songs and poems heard throughout Skara Brae have been thus far quite charming and well-written. I would have preferred a bit more in the way of background music (such as having your party’s Bard sing while out of combat), but apart from that and a few minor discrepancies in dialogue volume, I was quite pleased with the sound in this game.

On the subject of songs, I particularly liked how the developers implemented a sort of Metroidvania-esque system in BT4 and tied it to the Bard’s repertoire of songs. The level design follows a much more open-world philosophy, where you are expected to backtrack after acquiring certain songs and abilities in order to gain access to previously blocked paths or secret areas.

Within the first few hours the player is introduced to a series of songs that can be used for a variety of environment-altering actions, such as demolishing cracked walls; revealing hidden loot stashes; gaining the trust of fellow adventurer NPCs; and detecting enemies and secrets. In turn, this gives the game an air of exploration (as opposed to the original trilogy, where progress was much more linear) with frequent rewards for the observant player.

One of the earlier forms of puzzles in the game, cog puzzles.

Complementing the exploration aspect is a heavier emphasis on puzzle-solving. There are various small but clever puzzles to be solved within the game’s first few hours, ranging from tests of the player’s spatial awareness (manipulating their immediate environment to create paths to otherwise inaccessible locations) to simple mechanical puzzles (such as mechanical puzzles where the player moves cogs on a board, in order to power gate mechanisms), to more difficult logic-based ones (like a series of Elven shrines, which require the player to decipher cryptic poems in order to find out what items to place on each shrine) – these provide great contrast and a much-needed “quiet time” in between the more hectic combat segments, something that the original trilogy’s combat-heavy design lacked.

Speaking of which, combat is another area where the game slightly deviates from the original designs. While it is still very much a turn-based affair, thanks to the addition of a positioning grid and character placement system, it now requires a good deal more thought put into every turn.

Within each combat scenario, both the player’s party and the enemies are placed in two opposing halves of a 4×4 placement grid. Abilities, spells and attacks all have specific ranges, depending on where each character is placed upon their side’s 2×4 grid, requiring careful consideration in placing each party member. This is compounded by the Opportunities system, a resource spent on moving, attacking or using abilities each turn.

This combination of limited actions within a rigidly-defined field leads to a lot of interesting tactical choices – especially when you gain access to abilities and passives that allow you to manipulate positioning and Opportunity costs. Even in the early stages of the game, these abilities and limitations presented some quite clever problems to be solved, almost puzzle-like in style and quality.

The aforementioned grid-based combat system.

As an example, Fighters (built as a tanking character) gain access to the To Me! ability which, when activated, allows the rest of the party members to get refunds on used Opportunity if they moved towards the Fighter’s grid location horizontally or laterally. Similarly, the Trow Thief’s racial passive ability (which refunds Opportunity if a killing blow is made, once per turn) allows the player to neutralize weaker enemies and still keep applying pressure to their more powerful teammates.

Ultimately, this system allows for some very satisfying combat scenarios where combining abilities like the above-mentioned and pulling off advanced strategies utilizing them gives a great sense of accomplishment, not unlike solving a puzzle.

However, not all of my impressions were as positive as the above. The game sometimes has pacing problems – both due to the aforementioned backtracking* (which might have been less noticeable with a more in-depth fast travel system or a small number of respawning enemies) and the heavy reliance on dialogue trees in order to convey backstory and lore (something that might have been better relegated to an in-game journal or glossary), which tend to slow down the game noticeably.

*As a brief aside, I realize that backtracking is sort of a hallmark of the whole Metroidvania-esque design, but even the sub-genre’s granddaddy Symphony of the Night had certain systems in place (such as teleportation chambers and powers that increase mobility) to cut down on the annoyance of retreading familiar locations. As such, there’s no excuse to not have something like that in BT4 – perhaps utilizing the game’s save points as a sort of fast-travel target.

Similarly, some of the party’s voice lines become annoying over time, especially voice cues informing the player that an enemy you’re about to engage is way beyond your current power levels, which are repeated every time you face said enemies – there is an option to disable these but I would have preferred a middle-ground solution, perhaps some way to tweak the frequency these exclamations occur at.

A sample of the constant nagging when the player so much as looks at high-level enemies.

Another, lesser complaint is also the large amount of typographic and syntax errors present in the game, with several instances of the in-game text not being capitalized properly; words being used in the wrong context (e.g. affect vs. effect); typographical errors (alter instead of altar); and so on and so forth. These, however, are easily fixed (which I fully expect to happen within the next couple of months, based on inXile’s response to the more serious performance issues displayed in the initial releases) and therefore I wouldn’t consider as more than minor annoyances.

Finally, a few minor nitpicks. The inventory system would benefit greatly from a sorting or filtering option (especially as you get multiple pages of items as early as the second major area); the save points system could use a revision, as certain areas are either too sparsely or too densely populated with them; and an option to reallocate spent skill points (perhaps at a price) would do much to encourage experimentation in building characters.

In the end, despite a few issues encountered in the first few hours of the game (both technical and otherwise), they were not enough to distract me from how clever and rewarding the combat and exploration aspects of the game feel. Assuming no major design missteps further on in the game, I can easily see myself having a very pleasant and enjoyable time with it in the foreseeable future.

What are your thoughts on this game and its genre? Did you play Bard’s Tale IV? Love or hate this genre? Feel free to discuss it in the comments section below!

On the Clock: Thirty-Minute Gamer, Summertime Edition!

In this bi-weekly column, we’ll be taking a look at some of the games I’ve been playing, on a limited time budget. Short cell phone distractions played over a half-hour lunch break? Longer, more “core” experiences played over several sessions in the weekend? Anything and everything in between? Let’s talk about them all! This fortnight, I escaped some rooms, tried doing sweet tricks with a skateboard and… mopped up some blood and entrails?

As with last time’s post, I’ll be skipping on a few of the games I’ve played in the last couple weeks, mainly due to either finding them too interesting (therefore warranting a blog post of their own at a later time) or not interesting enough. As such, honorable mentions go to Ziggurat, a clever if simplistic fusion of FPS and rogue-like mechanics with a medieval fantasy theme, Bioshock: Remastered, (which has been my go-to game for streaming alongside Eternal Darkness: Sanity’s Requiem for the last few weeks) and Her Story, which takes a very interesting approach to non-linear storytelling (and probably something I’d like to talk about in more detail in the near future).

This week, I’ll also be adding a few useful statistics for each game played, mainly to help out anyone that is thinking of picking up these games but isn’t sure of the time commitment they require. Any comments, criticism or thoughts on this addition are more than welcome in the comments section below!

Game: Zero Escape – The Nonary Games

Genre: Visual Novel/Puzzle

Mood: Mystery/Drama/Horror

Theme: Sci-fi

Average Session Length: 45 minutes to 1 hour per segment (depends on puzzle-solving skills and reading speed, can interrupt play at any point during game)

The first game that’s I’ve been spending time on these last couple of weeks is Zero Escape: The Nonary Games, a remastered compilation pack of 999: 9 Hours, 9 Persons, 9 Doors (originally released on the Nintendo DS) and its sequel Virtue’s Last Reward (which initially saw concurrent releases for the Nintendo 3DS and PlayStation Vita).

Until The Nonary Games, I never thought it’d be this hard to not spoil something.

Mechanically, the Zero Escape games are a mixture of escape-the-room puzzle solving punctuated by lengthy visual novel sections. This constant change between story and puzzle segments works surprisingly well, both at establishing a good baseline for pacing and at providing frequent exit points to the player – something I find more and more valuable with my limited amount of free time.

Puzzles take the form of individual “rooms”, where a series of smaller riddles must be solved for the player to be able to escape. These are well-designed and sufficiently varied for each room to feel unique; aside from a disproportionate reliance on math-based puzzles (often requiring examining clues in different number bases, with the majority encountered in 999), the player can expect to experience everything from lateral thinking to sliding to mechanical puzzles during the course of both games.

Still not a spoiler, promise!

Similarly, story segments (the visual novel part of the game) are well-written; barring a few minor plot holes I felt were inadequately addressed, both games in the compilation feature very good stories, primarily by building upon the supporting cast. Both games in the series feature an ensemble cast of nine individuals, covering a wide variety of archetypes, which are central to the plot.

Unfortunately, the above strengths of the games also make it hard to talk about while avoiding spoilers; I am finding it extremely hard to describe what makes the Nonary Games collection so good without inadvertently spoiling it for anyone reading. If you are interested in character-driven drama with certain science fiction elements and some really good puzzle design, I would highly recommend both The Nonary Games and their sequel, Zero Time Dilemma.

Game: Tony Hawk’s Pro Skater HD

Genre: Sports (skateboarding)

Mood: Exhilaration/Exploration

Average Session Length: Around 2 minutes per run (career mode); free play option with no time limits available; certain optional modes between 1 and 3 minutes per run.

In between puzzle sessions, I’ve also been playing Tony Hawk’s Pro Skater HD, the 2012 remake/mashup of Tony Hawk’s Pro Skater 1 and 2. Impressions here were, sadly, not as good as the Zero Escape games; having been a fan of the Tony Hawk’s franchise back in it’s heyday, I found this newer offering to be a big disappointment.

Similar to the older games of the franchise, THPS HD takes place in a succession of enclosed, playground-like levels, tasking the player with completing a set number of objectives before being allowed to proceed to more varied and difficult levels. The levels in question are taken from the first two games in the series, with a slight emphasis on THPS 2 content and have the usual objectives – perform enough tricks to reach X score, locate certain collectibles, do specific tricks at specific areas of a level – on a two-minute time limit.

Oddly prophetic trick name…

The foundation is, therefore, kept intact from earlier titles; players can have a lot of fun exploring each level, chaining tricks and trying to learn the best routes in each area for maximizing their points output – that is, when the game works properly. One of the biggest issues I’ve had is the seemingly-random appearance of glitches, mostly physics-related, which tend to mess up a successful run through a level.

Most prominent are clipping issues, with my skater often falling through the level geometry and off the map, especially when transitioning to flat surfaces from a jump. Further to that, a lot of the time the character will clip through rails (which you can grind on) during the initial grinding animation, which also seems to affect the skater’s speed (something that can mess up your routing – referred to in the game as a “line” – by causing you to overshoot/undershoot the surface, ramp or rail you are aiming for).

Even worse, these glitches serve to highlight the weird “respawn” mechanic that was implemented in THPS HD: in the older games, if your skater lost their balance and fell to the ground, there’d be a short animation where they’d stand up and keep going. Here, however, it has been replaced with a much lengthier, much more annoying fade-out/fade-in sequence in which the skater is placed back on whichever surface they initially were when they fell.

Note the button prompts, also note that I had a controller plugged in at the time.

Aside from being visually off-putting, respawning doesn’t even seem to work properly, as in more than one occasion the game would return the skater to the very edge of whatever environmental hazard had caused my fall to begin with, setting up a vicious cycle of falling, respawning and falling again. In a game with a two-minute time limit, this is doubly aggravating.

Unfortunately, while these occasional problems would be easy to overlook in any other genre, in a game which requires efficiency, good timing and precision they only compound the problem further.

To add insult to injury, THPS HD also suffers from a plethora of other issues, such as button prompts defaulting to keyboard icons (with no provision for controller icons appearing at all), song select being mysteriously absent (which was a feature in the initial Tony Hawk games this version is based on) or that certain menu options (such as the Gap List, which provides a handy list of all the “special” jumps and gaps in a level) only being accessible if you’re not currently in a level. The list, sadly, goes on and on.

Which is a damn shame, because THPS HD would otherwise be great for short gaming sessions; the aforementioned two-minute limit provides ample exit points, while the modular structure of the levels means that you can hop in, get a few objectives done and put the game down without having to devote a lot of time to it, still getting a sense of progression and achievement.

Game: Viscera Cleanup Detail

Genre: First-Person/Physics Simulation

Mood: Comedy/Collectibles/Exploration

Average Session Length: Varies depending on player’s preferences; fully clearing a level (with 100% and above clean rating) takes anywhere between 30 minutes and 2 hour 30 minutes; both manual and auto-save functions are provided at any point during a clean-up operation to break up an operation into multiple play sessions.

Finally, I’ve also been putting some time into Viscera Cleanup Detail. This game is… weird, but in a good way. The player takes the role of a “Space Janitor”, specialized in cleaning up the sites of disasters that are inspired by sci-fi staples, such as a laboratory where a bio-engineered plant got loose, or a space base in the aftermath of an alien invasion. The janitor is then tasked with cleaning up, most often by locating and scrubbing out blood stains, gathering and incinerating body parts and generally tidying up the levels.

Mechanically, the game is competently executed; as with most physics-based games, there are some minor annoyances, especially when attempting to move items that never seem to want to be moved. Thankfully, these issues are few and far between, leaving the player free to tidy up with impunity.

Welp, time to tidy up…

The janitor is initially provided with only a few tools; a mop for cleaning up blood and residue, a scanner for locating problem areas and a clipboard that keeps track of your objectives in each level. These are complemented by a variety of in-site machines, such as an incinerator (for burning any body parts or other inconveniences they might come across) or a scissor lift (good for getting to those hard-to-reach stains and trash). Further into the game, more tools are unlocked, with a storage system used to ferry them between levels.

The objective here is, naturally, to clean up the mess. To this purpose, the game keeps track of everything the player has cleaned, with stuff as major as blood pools and body parts to trash as minor as a discarded soda bottle, being tracked separately and contributing to an overall completion ratio. If you are the kind of player that likes to explore areas and locating every single prop and item, this might be the game for you.

Control? We’re gonna need a lot more bleach….

While I haven’t played much of Viscera Cleanup Detail, what I have seen is cleverly put together; each stain, each spent bullet casing, every body and prop, all are placed deliberately, with every location telling its own mini-narrative. Which is impressive in its own way, considering that the game is presented as a jokey parody of janitorial work.

The environmental storytelling is also extremely well-presented. As an example, let’s examine a scene presented in the game’s first level, Athena’s Wrath:

A couple of bodies, clad in military fatigues, are slumped against a wall. Bullet casings are strewn around their feet, with bullet holes peppered on the opposite wall where a weird green residue is splattered unevenly across its surface; evidence that these soldiers had fought in vain against the mysterious bio-engineered plant whose escape caused all this mess.

A crate nearby lies on its side, most likely having served as cover for the two unfortunate soldiers against the monstrosity before being toppled over in the ensuing attack; the edge of the crate is now soaked in the blood of the soldiers who, bereft of their cover, took one last, fatal hit.

A deep gash runs across the wall, where the soldiers were backed against, as the plant apparently slashed through both flesh and the metal surface behind in that final attack.

The above tableau conveys a lot of unspoken backstory, giving the place a sense of being, well, alive, in a way that most AAA productions fail to deliver consistently. The best thing? These are set up everywhere in each level, making it a joy to explore them and try to puzzle out what happened

In short, I feel that this game is a master-class (or at least, an excellent example) in environmental design and storytelling, which is even more impressive considering that the game never goes out of its way to draw attention to these visual vignettes.

Have you played the above-mentioned names? Found them fun? Crap beyond comparison? Somewhere in between? Share your thoughts in the comments section below!


In The Spotlight – The Pacing of Persona 5

Ever played a game where a particular aspect drew your attention? Some specific minutiae you felt like talking about, to the exclusion of all else? In The Spotlight aims to discuss just that! This week, we’ll be checking out how the pacing of 2017’s JRPG smash hit, Persona 5, works.

In case you’ve never experienced a Persona game, here’s a brief breakdown: Persona 5 is the latest in the long-standing Persona series of JRPGs (naturally), best known for their use of urban contemporary settings (as opposed to the genre “defaults” of fantasy or sci-fi), with underlying themes based in Jungian psychology, as well as a focus on character-driven narrative.

In addition, main series games from Persona 3 onward have their game structured upon two main elements – dungeon delving (where the game follows the more traditional JRPG recipe of turn-based combat, stat-building and exploration) and in-between sections centered on the protagonist’s daily life (which borrows heavily from the visual novel genre and is where most of the dialogue and character development takes place).

These two elements are compounded by a calendar mechanic; the story takes place over the course of a single year, with each event or dungeon visit expending a certain amount of time. In Persona 5, this calendar is further broken down into individual days, which are usually split into three segments – morning (with scripted sequences where the protagonist attends school) and afternoons/ evenings (where the player gets to choose to spend either by visiting dungeons or focusing on social life aspect of the game).

The calendar system, stylish as any other part of Persona 5.

With this baseline established, let me get on with the actual topic of the post: in my opinion, Persona 5 has some of the best pacing I’ve seen in a game lately. Over the course of 87 hours (which, with my current work schedule took around 3 months), the game rarely felt like it was struggling or rushing with its story and event flow; a major accomplishment considering how much there is to do and see (currently, gameplay length aggregate site HowLongToBeat clocks the 100% completion rate to around 160 hours – that’s a lot of content).

I believe there’s two reasons the pacing works so well.

First, the contrast created between the high-action, often frenetic combat in the dungeon segments and the mellow, almost relaxing day-to-day encounters with the protagonist’s friends and social circle (appropriately for a game themed around heists, each one of these is called a Confidant) ensures that game’s pace is kept in check, with quiet moments used to great effect in building up to the eventual action segments and those in turn allowing the player to appreciate the lulls in activity all the better (this, of course, is also aided in part by the game’s excellent soundtrack, a mixture of acid jazz and J-Pop that pack a serious aural punch).

Second, and as I’d argue more important, is the amount of agency  Persona 5 gives the player in moderating their own pace throughout the game. Utilizing the aforementioned calendar system the game is structured upon, players are left to decide their own timetable for each day – be it spending time with Confidants, exploring dungeons to strengthen their party, partaking in social activities such as fishing or working a part-time shift at the florist’s, the game lets them experience its content at their own pace (and yes, there are some time limitations, especially during unskippable events or deadlines for completing each story dungeon, but those are few and lenient enough to not cause particular annoyance).


Combat is only half of the game.

This is especially noticeable for players with less free time to devote to a game – evident in my case, where I could only afford maybe half an hour per session, two or three times a week plus one or two hour-long ones during the weekend – as it allows them to tailor their experience to their needs.

Second, and as I’d argue more important, is the amount of agency  Persona 5 gives the player in moderating their own pace throughout the game. Utilizing the aforementioned calendar system the game is structured upon, players are left to decide their own timetable for each day – be it spending time with Confidants, exploring dungeons to strengthen their party, partaking in social activities such as fishing or working a part-time shift at the florist’s, the game lets them experience its content at their own pace (and yes, there are some time limitations, especially during unskippable events or deadlines for completing each story dungeon, but those are few and lenient enough to not cause particular annoyance).

This is especially noticeable for players with less free time to devote to a game – evident in my case, where I could only afford maybe half an hour per session, two or three times a week plus one or two hour-long ones during the weekend – as it allows them to tailor their experience to their needs.

Only have half an hour to spare before calling it a night? You can go explore the city for a while, maybe get to know your allies a bit better or work a shift or two at the local grocery to build up your cash reserves. Got an afternoon free for gaming? Might as well delve into that dungeon, grab some new gear and experiment with the game’s fusion system (a complex function where you can combine your summoned allies – Personae – into more powerful forms).

Social interactions are the other half.

From my own experience with the game, however much time you can spare, there’s always something meaningful to do or see in Persona 5’s version of Tokyo.

So what is the key takeaway from all this? I believe it’s a high rate of modularity in the game’s writing and structuring. This is evident in the way that Confidants, activities and main story elements work so well together, but without depending on one another to a great degree – letting the player choose their own actions in the game without feeling like they’re missing out on part of the experience or being punished for not planning out their time efficiently enough.

Ultimately, I think there’s a lesson to take away from Persona 5 – with a bit of planning, there are ways to let the player decide the game’s pace, allowing them to enjoy the experience on their own terms by utilizing a modular approach during the design phase. If I had to make an assumption, I’d say that while it would increase pre-production time (in order to design the systems needed for such functionality), it should conversely save time during testing (i.e. tuning and tweaking the experience based on player feedback, as this seems to be a self-correcting system, provided it was planned correctly).

Addendum: If you’re interested in a more in-depth explanation on pacing in games, I would recommend this Extra Credits video, titled “Pacing – How Games Keep Things Exciting” (and in general, if you’re interested in seeing what makes games “tick”, Extra Credits is a very good channel to subscribe to).

What are your experiences with pacing in games? Got any interesting examples to share from favorites? Tales of pacing done badly? Share them in the comments section below!

On the Clock: Thirty-Minute Gamer, Relaunched!

In this bi-weekly column, we’ll be taking a look at some of the games I’ve been playing, on a limited time budget. Short cell phone games played over a half-hour lunch break? Longer, more “core” experiences played over several sessions in the weekend? Anything and everything in between? Let’s talk about them all! This forthnight, I watered some crops, fought some eldritch abominations hell-bent on destroying humanity and…. force-fed a fish?

I recently came to the realization that free time is something that should be managed carefully, especially when it’s in such short supply. This was brought on, in part, by my recent return to “regular” streaming (for now, Tuesday evenings and a weekend evening, family obligations permitting), as it gave me a handy point of reference around which to structure a gaming schedule, so to speak.

As a result, the last couple of weeks have been… interesting, in regards to the games I’ve been playing.

For the sake of brevity, I’m only going to be discussing my most played games of the last couple weeks – leaving out any titles that I feel I haven’t played enough to comment upon. Therefore, honorable mentions go to Persona 5 (which I’m loving so far, even if it’s going to take forever to finish), Bayonetta (the PC re-release, for streaming purposes, also a very fun spectacle game) and Dead Cells (which I feel merits a post of its own, possibly under the “A Rogue’s Journals” heading).

So, to begin with, the last couple of weeks I’ve been playing an old favorite of mine, the cult horror game Eternal Darkness: Sanity’s Requiem. Initially I played it as part of a throwback stream, but soon that changed into playing both on- and off-stream, mainly because it’s just that damn good.

A skeletal hand holding an eldritch tome? Doesn’t seem too dangerous…

For those unfamiliar with the game, Eternal Darkness came out in 2002 for the Nintendo GameCube, as far as I remember to critical acclaim. At its core, it’s a 3rd-person survival horror game, with controls and presentation being reminiscent of the first few Resident Evil games – featuring levels with mostly fixed camera angles, an awkward combat system and an emphasis on resource management (although, contrary to Resident Evil, items are not quite as important in Eternal Darkness).

However, Eternal Darkness differs in a few key aspects; aside from certain superficial differences (combat being more melee-friendly, having the ability to use spells created via a simple “crafting” system, the ability to save anywhere as long as you are not in immediate danger), its biggest departure from the Resident Evil formula is its theme, story structure and – uniquely –  the way it takes advantage of its interactive medium to really mess with its audience.

Story-wise, the writers went with a more non-linear presentation; the game, taking heavy inspiration from the works of Lovecraft (most notably the Cthulhu mythos), alternates between present-day segments starring the game’s protagonist Alexandra Roivas and chapter-long flashbacks that go from as far back as the Middle Ages to as modern as the Gulf War era. These chapters star Alex’s ancestors and certain other individuals that are closely involved in the game’s story and make up the bulk of the game’s story.

More importantly, while the game’s cast and time periods are numerous, the actual locations you visit are very limited – a cathedral in France, a temple complex in Cambodia, an underground tomb in the Persian deserts and the Roivas estate (a mansion, naturally) – but visited throughout different time periods. This, aside from being a clever way to save up on file sizes, affords the story both a feeling of continuity and an excellent way for the developers to exploit the player’s expectations for dramatic effect.

Indeed, throughout the game the player will revisit a location seen in previous chapters, only to discover that the passage of time (and the influence of the antagonist(s)) has changed things in subtle but significant ways. A door might be blocked by a cave-in in a further chapter, a small sanctum will have been expanded into a maze of tunnels, an underground chamber might have suffered from ground erosion  – it all adds up to create that nagging feeling at the back of your head that things aren’t quite as you expect them to be.

Join the army, they said… See the world, they said… No one ever mentioned the ancient horrors, though.

Adding to the unease is the sanity system, where each character has a meter depicting their mental health; this sanity is often depleted by in-game events, such as being seen by enemies or witnessing a particularly disturbing vignette. When it drops to certain thresholds, the game’s insanity effects begin kicking in – at first something as mild as a statue’s head turning to track your character’s movements or a painting’s contents changing to become more disturbing.

Later on, the loss of sanity begins to affect the game in more profound ways – triggering effects such as a character exploding if they try to cast a spell or enemies growing to gigantic size when you enter a new room – only for the screen to fade to white and the character finding themselves back outside the room, gasping and whispering to themselves that “this can’t be happening!”.

Taken to its extreme, the game even begins to directly mess with the player – from warning screens emulating game crashes to a fake cliffhanger ending  followed by a trailer for a sequel, the game makes sure that the player is never once left at ease while playing.

Combined with the story’s structure, a distinct lack of jump-scares (saved for a few key moments rather than being used and abused constantly) and a generally good level of writing, I feel that Eternal Darkness is a true classic, one which demonstrates that horror can also be a cerebral, rather than a visceral, experience.

If you’re interested in seeing the game in action, you can find an archive of my previous streams here (series is ongoing, with one full playthrough already archived and two more to come).

In between Eternal Darkness sessions, I’ve also been… tending to a farm. Calling Stardew Valley a Harvest Moon clone feels a bit unfair, but is frankly on-point; the player, as the new owner of a dilapidated farm inherited from their grandfather, is tasked with restoring it back to its former glory, while trying to balance exploration, combat, farming and a social life.

Disclaimer: I’ve only played Stardew Valley for a handful of hours, which I suspect is not nearly enough to scratch the game’s surface; below opinions are based solely on the first 5 or so hours of the game so some of the things I mention may well change radically further into the game.

Stardew Valley should feel familiar to Harvest Moon veterans; all the staple systems are here – growing crops, tending to livestock, trying to be on good terms with your neighbors, the occasional wilderness exploration segment – complemented by a lightweight combat system that tasks the player with exploring a multi-level dungeon and fighting its denizens for a chance at gaining precious ore and metals (as well as other useful items).

Just call me Farmer Gore…

So far, if I had to describe the game in one word, it would be “relaxing”. There’s an almost zen-like feeling to be had from following the day-to-day routine of farming, visiting the village, partaking in a few side activities (such as fishing, foraging or exploring) and repeating. Pretty soon I found myself subconsciously planning out fields according to crop type, slowly unwinding as I played the fishing mini-game, quietly relaxing as I settled into my new farming life.

I bet this is how cults get started.

Joking aside, there’s certainly a lot to like in Stardew Valley,  though it isn’t without its flaws; combat feels slightly forced upon the player initially, as it’s the main source of minerals with which to upgrade your tools and craft some of the more advanced farm facilities – I constantly kept wondering if there’s a less aggressive alternative to gathering said minerals, since combat directly clashed with the aforementioned feeling of relaxation.

Furthermore, while the game does a good job of teaching the player the basics (via a series of introductory quests), it feels as though a lot  of the more advanced functions go unexplained – for example, stuff like where to buy livestock or what produce you get from some of the more advanced structures (and yes, I am aware of the existence of wikis but it is a point in the game’s favor that I don’t want to be spoiled by out-of-game material).

What I find most interesting, though, is how good the game is for short gaming sessions; unlike Eternal Darkness, which is structured in chapters that might take upwards of an hour to complete, Stardew  Valley has its most prominent exit points occur every 5 to 20 minutes, depending on player actions (going to bed at the end of the in-game day); an ideal amount of time for those of us that are either unwilling or unable to devote longer periods of time during gaming.

Oddly… specific there, Stardew Valley.

Coupled with its relaxation effect, the ability to have short play sessions should appeal to anyone gaming on a busy schedule, yours truly included.

Which brings me to the third game I’ve been playing these last couple of weeks, Magikarp Jump!. This is a cell phone game recently released by Nintendo, in which you are tasked with catching, training and eventually entering the titular Pokemon Magikarp (plural) into high-jump tournaments.

Magikarp Jump! feels very simple, both in presentation and mechanics. Gameplay revolves around your Magikarp’s Jump Points stat, which determines how high it can jump. Feeding it or putting it through training raises this JP up to a predetermined maximum limit (which in turn, is raised the further you progress in the game), with higher JP allowing you to advance further in the aforementioned high-jump tournaments.

And now, for something completely different.

Jump! seems to have gotten a lot of inspiration from idle and/or clicker games, one of the more recent trends in gaming; in a nutshell, these are games that require little input from the player – and even then, it’s mostly limited to “housekeeping” actions such as purchasing available upgrades or deciding what statistics to raise, while the game does all the progressing by itself.

This is evident in the similar gameplay loop these games share with Magikarp Jump!; a cycle of starting fresh, raising stats as high as they’ll go, reset progress so that your next cycle can progress a bit further, rinse and repeat. In this case, once you’ve reached your ‘Karp’s maximum JP, you then retire it, receiving experience for it (which, at certain milestones, raises the maximum JP your next ‘Karp can reach) and start over with a new one.

Of course, there’s a few supporting systems as well; an achievement system with in-game rewards (mostly currency, which is used to upgrade your JP-earning capabilities), certain randomly-triggered vignettes that play out between events, some small degree of customization and a few other collectibles to keep track of, ancillary mechanics meant to fill in the gaps between training and competing in the tournaments. As fun little distractions, they work pretty well; both their length and occurrence rates feel fine-tuned to neither be incredibly rare nor outstay their welcome.

I’ve found that, ideally, Magikarp Jump! is best suited for short sessions, perhaps 10 or 20 minutes at a time – perfect for lunch breaks or during downtime – with just the right amount of engagement to be an enjoyable, if slightly forgettable, experience.

On a side note, I’m also impressed by how Nintendo integrated micro-transactions into the game; it’s all done in a way that feels respectful of their audience, with little touches like limiting the maximum lifetime amount of currency you can purchase to around $50’s worth, or the inclusion of easy-to-read, simple-to-understand warnings regarding purchases (no doubt aimed more at the younger parts of their demographic). It’s great to see a company of Nintendo’s magnitude setting a positive precedent here; I only hope that other companies take note and follow suit.

So there you have it; the games I’ve been playing on a tight schedule for the last couple weeks. Have you played any of the above-mentioned games? Got some recommendations to make? Feel free to leave a comment below!