Author Archives: scar3crow

…and Everything Else

Thus concludes my first week of taking this blog seriously. I updated the stylesheet a little bit, created a Twitter, embedded the Twitter, added a YouTube widget, brought in some ads, made several posts, and began the work of establishing a schedule. I’ve got another post scheduled for Monday, and ideas for both a Wednesday and a Friday post.

This week I also ordered an Xbox 360 gamepad for the sake of continuing my Let’s Play of Rogue Legacy. I hope to also start one of Dark Souls (I’ve intentionally kept myself ignorant as to the game’s content to make for a better LP). A consideration I’ve had has been one of streaming on Twitch at least once a week. Fodder for that would likely be Spelunky, Minecraft, Quake, Doom, and who knows what else. These may or may not have commentary, as all I have at present is a webcam microphone.

As you can hear in that playlist, and some of this is just experience difference and tone of voice, but Jehar is loud and clear, where as I am muddled and mixed in with the game sound. Practice will help, but a proper dedicated mic will also help. So until that is the case, I will probably not be providing vocal commentary.

I hope to make this post a regular thing, as well as three or so normal posts a week, so you readers can reliably come here a few times of week for content.

The image up top is from the Battlefield 3 campaign, where I came across a bunch of NPCs T-posing in a rather creepy fashion.

The Epistemology of Multiplayer

There is a lot of faith in the gaming internet community, faith in persons, companies, and technologies. A lot of faith in the technology, such that any explanation as to why an outcome was arrived at is handled with a zealous response.

If you lost a gunfight, to explain what happened is to be a whiner. A response of qq would be had, no matter how reasoned, or accurate your explanation was. If you won it, to explain it beyond a claim of supremacy is to get muddled and take the game too seriously. In both cases, you are supposed to simply accept what has happened. The game has spoken, and that is the way things are, and any suppositions that the networking could have been structured differently, or the gameplay balanced in a way to overcome the flaws of a particular structure, are heretical. Continue reading →

Spoiler Warning – Game Journalism is Really Terrible

Recently there has been much ado about a Doom mod called Total Chaos – Overgrowth, thanks largely to the teaser video, which you can watch below:

It is a pretty good teaser, and the mod looks like it has potential. I enjoy the mood, the visuals, and the cited inspiration of STALKER.

What concerns me is the coverage of it. Kotaku titled it as such:

Doom “Mod” Makes The Game Look Very 21st Century

Rock Paper Shotgun titled it:

Astoundingly, Total Chaos Is A Doom II Mod

There seems to be doubt as to the term mod or the fact that it is Doom 2. The visuals, the result of artwork and post-processing, are incompatible in the minds of major game writers. Doom is a specific resolution and a specific setting. Surely this isn’t Doom. Yet it is. Yes it is using GZDoom for true mouselook (an actually major change considering how Doom fills a frame of data by not caring about vertical spaces beyond the current view) and many other features. But the project is still using WAD files (“Where’s All the Data”), the world is still composed of linedefs, sidedefs, and sectors. It is still a two-dimensional scene displayed with perspective and data tracked with a third dimension. Despite this, Kotaku doubted the use of the term mod (a Total Conversion is a more appropriate term, at least once they remove the player fall grunt) and Rock Paper Shotgun remarked on it as being astounding.

It looks great, it does. But it is a mod, and it isn’t astounding. It is a well scoped project playing to its strengths. Now if these were random internet comments, I could get past it a little. But these people are gatekeepers of information in gaming, and they might even call themselves journalist. Yet they haven’t the foggiest as to the basics of game development, or game technology. They don’t even understand what makes for game technology. They see pretty pictures and blurring, and suddenly it is advanced. Heaven forbid these people write for a car magazine, or they would give top ratings to everything with a flame paint job and a spoiler. Before you write about something, try to take five minutes to make sure you have some basic grasp of it. Read the wiki article on the Doom engine, it doesn’t take long and provides a great overview. Understand the differences between higher resolution textures, different rendering methods for that texture, and different types of world construction. If you don’t know even the basic fundamentals of how a game works beyond clicking PLAY in Steam or on your favorite console, if you aren’t comfortable with installing mods (not even making them) without using a self-unpacking installer, then perhaps you aren’t the best person to be writing about technical achievements in a release. Continue reading →

Collectible Card Games and Me

For the longest time I’ve not been a fan of Collectible Card Games (CCGs) but I’ve not been able to articulate it. I’ve had numerous friends into Magic: The Gathering and similar things, but I didn’t care for them, and in a way, I didn’t trust them. The dynamic turned me off, pushed me away. Part of my attitude could be hit upon a sense of imbalance in the play mechanics, or the distant abstraction of the actual gameplay to the world it depicted. I had no sense of the imagination from placing cards down that I could get from a table top RPG, nor was it as visual as a board game, and definitely nothing on par with any video game. Until I started thinking of it in modern gaming, and less interactive terms.

When you buy a pack, you don’t know what is in it. It is a lottery, a gamble. Sure your employment of a card takes skill, but purchases are either dumb luck with a pack, or plain investment at a store. The other player has that tool in their possession and you don’t because they got lucky in buying a pack, they spent a lot of money on a lot of packs, they spent a lot of money on just that card, they won it (an honorable method in some ways), or a generous player gave it to them. You are facing that card combination because of finances or luck in most scenarios, and your choices are limited by your finances and luck.

I think this is what ultimately has kept me away, CCGs are to me, pay-to-win DLC wrapped in a casino, for an abstraction that brings no immersion or imagination. This wasn’t a planned out post, just a mild revelation as to my own opinions from earlier today. Now I know why I reject that genre, and frown when I encounter its being played.

The Virginal Experience

We all remember our first time, for anything substantial that happens after early childhood. I see this more and more often in the realm of games. We attribute the benefits of a genre to the first game that we play in that genre, and we attribute the gains of a technology to the first game that we play which uses it, and if it is our first game for either, we were generally unaware of the substantial gains already made in those areas by prior releases.

Typically these things happen in waves with adoption of other technology or hardware, demographic activities, infrastructure rollouts. So games which release in a timely manner around these events are poised to be received by a whole host of new customers who don’t know their genre or the technologies they use. Many of my favorite games saw the benefits of this, and I will be attempting to list a few examples of this below to illustrate my point. I will be focusing on the first person shooter genre, as it is my genre of choice. Continue reading →

Am Gun, Will Travel

It can be argued that the experience of a first person shooter is actually the act of being a sentient roaming gun. Though some 2nd Amendment debates would hold this is the case in reality, it could be more reasonably articulated that it is in many ways the case in games. On a technical level, often the player is just a bounding box with a weapon visible, perhaps some hands, and in multiplayer they are displayed as a character to other bounding boxes with a weapon visible. Metaphysically speaking, now that sounds fancy, the primary input with the game world in an FPS is simply shooting (particularly in the Quake franchise which centers its logic systems around damage or proximity) so obviously the gun at hand is a primary source of expression.

This however is greatly impacted by the inventory and spawning system of the game. In the Quake and Unreal franchises you spawn with a certain supply of weapons, and you find others in the environment. The weapons are expressions of discovery, what you have found, they represent exploration and knowledge. These weapons are also usually fairly distinct, sure they can be broken down by simply hitscan or projectiles, but no one is going to argue that Quake Live’s (and thus Quake 3’s) Plasma Gun and Rocket Launcher are particularly similar weapons. The weapons are intentionally as distinct as their location in a level and are designed to occupy a large range of design space within the scope of the mechanics. Continue reading →

Indie Devs Seeking Asylum

From time to time I encounter complaints about the setting of video games, particularly horror ones. There is a general lamentation of them taking place in abandoned/old/dilapidated hospitals/prisons/asylums/houses. Getting burnt out on a setting is very understandable, being uninterested in one is also well within reason, but periodically I see the claim that the use of such things has to do with our society’s perception of the unwell/criminal/mentally ill/aristocratic past, et cetera and so on. Often it is suggested that these games are an indication of who we are as a society (ignoring the culture and geographical location of the development team).

I posit a different perspective: money. Horror games work best when simple, which means few mitigating elements, and when exploiting basic fears. Being alone meets both of those requirements from a design and tech standpoint. Horror games are very commonly developed by smaller independent teams, such as Amnesia, or Eyes, which was developed by Paulina Pabis. When there are fewer hands and a smaller budget, reusable or versatile content goes a very long way. A single set of textures, a couple of meshes, some sounds, and a good lighting effect go a very long way toward the goal of the game design.

Another aspect is baggage, and this is where the contemporary cultural anthropoludologists (its fun to make up words) come close to being correct. Few people know anything about these places with any real expertise. They have limited expectations and this frees up the designer considerably in what they can do with the space. Look at the level design of Call of Duty or Half-Life, then look at the level design of Quake or Portal. The former take place in settings we have particular expectations of, the latter in ones with fewer trappings. The result is designer expression. If you want a particular user experience in a Quake map, you make it. If you want that in a Call of Duty or Half-Life map, well, you’re going to need to find some reason for it to happen with this space which the users are going to be familiar with. Quickly you result in convoluted, bordering deus ex machina, configurations, or boring levels. These are results that demolish the mood being built by a horror game.

With fewer (not lowered) expectations, a minimal entry fee for believable content, these settings are a great angle for independent developers, in the same way that “retro” graphics are. There is more economy than égalitaire about the setting of these games.

The Myth of the Thinking Man’s Shooter

Not to say that thinking is a myth in a shooter, but rather that it is a myth that there is a special class of shooter which requires thinking as substantially distinct separation from other shooters.

I’ve been told many times that Half-Life, Half-Life 2, Bioshock, Battlefield, or any number of other games are “the thinking man’s shooters”, whether by fans or developers through implied statements, or direct marketing campaigns.

However this implies, as does the Half-Life advertisement above, that other shooters are comparatively simple. It does this by reducing the terms allowed to describe other games without reducing the terminology available to them. It does this by observing one game with a low resolution, and another with a higher resolution. Continue reading →

Stay a While and Listen…

I have sat on this domain for far too long without doing anything of substance with it, so here begins an attempt to actually utilize it productively. Yes, it is a video game blog, and it will be an “opinionated” one. I will dive into nitty gritty moments of mechanics and immersion for specific titles, where a genre is heading or has been, where the industry seems to be heading, the state of gaming journalism, how the medium is being used as “art”, and even just things that I think are cool.

You may find rough around the edges, and in the middle, reviews. More likely you will find editorials, musings, and perhaps some fiction. I am most decidedly a PC gamer and will follow such. My favorite game is Quake, the original, and though I may not always post on it as news is slow in this day and age for it, it will be a foundation to many things I say.

The banner is a drawing biff_debris once did for my birthday, I find it to be most excellent.