Category Archives: Review
Game: State of Decay
Recommended price: $7.50
Metacritic Score: 76
Completion Time: 18 hours
Buy If You Like: Grand Theft Zombie, Sandbox Roguelikes
State of Decay is an open-world zombie sandbox game originally released for Xbox Live Arcade and ported to the PC. You take control of a randomized character and thereafter do your best scavenging buildings for supplies to build up your home base while recruiting additional survivors whom you much switch to after your character becomes tired or injured. Or killed, given how State of Decay features permadeath and auto-saving checkpoints. There is a fairly standard plot you can run through to beat the game, but it can be ignored for however long you wish.
I want to highlight the “PC port” part of this game again, because State of Decay unfortunately takes some hits from both angles. First, the game can be buggy. Zombies inside buildings can sometimes clip through the walls and start trying to give you a nice hug while still being immune to bullets to the face. During one play session, the NPCs on escort missions decided they would just stand there at the end of the mission instead of running to the “end mission” zone. Since the game won’t save until a mission in complete and there isn’t any way to cancel a mission in progress, I was stuck until I tried the outlandish solution of physically moving them inches at a time by bumping into them with my character. It worked, by the way.
The second PC Port hit comes from the fact that the game… well, it could use some work mechanics-wise. The core gameplay itself is rather amazing and refreshing. The map very much feels like a real set of small towns, and you can explore and ransack 99% of the buildings you see. As anyone who has read this blog might know, I have a (un)healthy obsession with looting stuff in post-apocalypse games like Fallout, and State of Decay definitely scratched that itch.
The problem is that some shit doesn’t make any sense, gameplay-wise. When you’re looting a house and come across a crate of supplies (Food, Medicine, Ammo, etc), you can load it into a duffel bag and take it back to your base to deposit. You can even drop the duffel bag and pick it up later if you want. What you cannot do, apparently, is load the duffel bag into your car trunk. Or have the NPC that accompanied you into the house to carry something. Or drop off the supplies at an Outpost you created, even though it has a Supply Chest that gives you access to all your gear no matter the distance to your home base. While you can call in scavengers to sort of auto-loot the house, the fact that they travel on foot and are fully exposed to the zombies you likely drove right past means looting the next town over is pretty much 100% up to you.
Also, I’m getting real tired of games where you can loot items from containers, or leave items in containers, but cannot put items back in containers. “Oh, I suppose I have to destroy this perfectly useful baseball bat because I picked it up first instead of this handgun.” That sort of nonsense is nothing more than lazy programming.
The game also doesn’t quite seem sure what type of challenge it wants to present. Your character can sneak around and even perform stealth kills on zombies, but said stealth kills aren’t really stealthy at all – it always makes enough noise for other zombies to investigate. That’s… realistic, I suppose, but it makes stealth gameplay mostly irrelevant. And while it is frighteningly easy to die when mobbed, for the most part killing zombies is EZ-Mode; melee attacks interrupt zombie grabs, and homemade silencers make gunplay perfectly safe. There are stereotypical “Freak” zombies with extra abilities, but the open-world nature of the game means that most of the time you can lure them outside and then run them over with a car.
At the end of the day though, I enjoyed my time killing zombies and looting things in Trumbull Valley. The skeleton of an amazing game is definitely there; the devs just have to flesh it out a bit more. What I would like to see is a full-fledged sequel called Nation of Decay or something, in which I can load up the back of my Camero with supplies, pop a 80s rock ballad in the tape deck, and slam a zombie with my car door as I speed down the highway into the sunset.
Game: The Last of Us [PS3]
Recommended price: $30
Metacritic Score: 95
Completion Time: ~17 hours
Buy If You Like: Metal Gear Zombie, brilliant storytelling, good games
When it came down to a decision as to whether I should do an extremely late jump into this (now past) console generation, I really only had one question: did I want to play The Last of Us, or the Halo series? Despite ultimately choosing the PS3, I waited on purchasing The Last of Us for quite some time. This was the reason I bought this console, and I was a bit apprehensive about putting that $200+ decision to the test. After all, everyone raved about Bioshock Infinite at release and looked how that turned out for me. How could this Metacritic 95/9.1 game live up to the expectations I have levied upon it?
The answer is “Easily.”
The Last of Us (TLoU) is 3rd-person, stealth-emphasized cover-based shooter set twenty years into a “zombie” post-apocalypse. An outbreak of mind-destroying spores has nearly wiped out humanity, and the survivors are doing their best to stay alive in a world of infected bites, raiders, and mundane starvation. You play as Joel, a professional smuggler and hardened badass, who along with your partner Tess is looking to get even with a guy who robbed you both of a shipment of guns. After a series of close calls, Joel & Tess take up one last job: to smuggle a 14-year old girl out of the city and to a safe house.
The principal gameplay is exploring, sneaking, and killing from an over-the-shoulder perspective. While the environments are extremely linear and the number of enemy types fairly basic, I found the gameplay itself to never get dull. Supplies are almost always limited, so some real decisions will need to be made as to whether you take the time to sneak around and get some stealth kills versus lobbing a Molotov cocktail into that group of enemies right now. Compounding this, the human AI is brutal in its sensibility – enemies will fan out, attempt to flank you, send only one guy to investigate noises while the others watch, and so on.
About the only complaints I have about the combat side of things is the reverse difficulty curve and checkpoint system. Like many similar games, TLoU is harder in the beginning and only becomes progressively easier as time goes on. Part of that is familiarity with effective strategy, given how there aren’t a lot of new enemy types, and part of that is from access to more/better weapons. Indeed, facing human enemies became somewhat of a joke later on since they would frequently congregate in small groups at the beginning of encounters, which made it extremely easy to blow them all up at once with a nail bomb. And while I give Naughty Dog some credit for a truly seamless checkpoint system, it ends up doing some strange things to the difficulty insofar as discreet encounters only end up being ~5 minutes long.
For as fluid and exciting the combat system may be, where the game truly shines is everywhere else. The visual juxtaposition of ruined human civilization and a greenery of nature reclaiming the space filled me with sadness and wonder simultaneously; it feels like the most compelling combination between the movies I Am Legend and The Road. The musical score is amazing in its ambiance and willingness to not take over a scene. As for the voice acting, well, I never really noticed there being voice acting at all – it was just normal, natural dialog.
The overall narrative is likely the thing most everyone talks about when TLoU is brought up, and I can confirm that it is about as amazing as advertised. The weird thing is that there was not one particular moment in which I remember sitting there thinking “Wow, that’s some good videogame plot.” Instead, I felt permanently affixed to my screen, playing in five-hour increments, as each scene segued perfectly into the next and I eagerly devoured every little detail.
Now that I think about it, there actually were a few details in cut scenes in which my jaw dropped at the excellence of Naughty Dog’s craft. When Joel ever-so-briefly looked at his watch, for example, I was taken back to that first wink in Mass Effect when I understood, for the first time, how much farther gaming as a storytelling medium has evolved. These subtle-yet-significant gestures hold such a hidden depth of emotion that it boggles my mind that their meaning wasn’t as belabored in-game as I am doing right now. I mean, the gesture would be ruined if it called more attention to itself, but it is such a calculated risk that I’m surprised they did not.
Ultimately, The Last of Us is one of those shining examples of Games As Art that also happen to be extremely compelling to play. And unlike some other titles which overreach in their attempts to be narratively “deep” and complex – *cough* Bioshock Infinite *cough* – The Last of Us simply presents its case amongst gripping gameplay and, story told, drops the mic as the screen fades to black.
Game: Torchlight 2
Recommended price: $5/bundle
Metacritic Score: 88
Completion Time: 35 hours
Buy If You Like: Torchlight 1, Poorly itemized Diablo-clones
Torchlight 2 is the hack-n-slash sequel to the original Torchlight, itself an homage and erstwhile competitor to Blizzard’s Diablo series. Indeed, Torchlight 2 was released around the same time Diablo 3 was making headlines with its controversial always-on requirements and server-dependent gameplay. While it makes a great counter-point to Diablo 3 on the feature listings, Torchlight 2 is essentially more of the same from the original game. Which, in my case, is bad news.
My fundamental gripes with both Torchlight games are their meaningless adherence to archaic game design, and a fundamentally terrible itemization/progression system. Torchlight 2 features four different classes to choose from, each with three separate class trees. While they mainly follow traditional hack-n-slash roles, there does exist room for experimentation: there are more than enough talents to choose from to transform, say, the archer-esque Outlander into a melee-only tank (albeit not likely as powerful as a normal tank class). Where this experimentation immediately breaks down is how there is no respecing in Torchlight 2; at most, you are allowed to get a refund on your last three talent points. While this was how things worked in Diablo 2, it is also true that at one point people thought asbestos as insulation was a good idea.
The more crippling flaw though, and the singular design that undermines everything else the game set out to accomplish is the awful itemization and item progression system. While not as outlandishly terrible as the original Torchlight, it is still entirely possible (and even likely) that you will receive a random drop at level 17 that you will still be using 40 levels later at the end of the game. The core of what made the Diablo series so compelling to play was how items and gold erupted from nearly every enemy you faced, and thus you had a steady supply of dopamine over the course of what otherwise is series of perpetually unengaging clicks. Torchlight 2 has none of that – nearly two-thirds of the game was spent vendoring every ring, helmet, amulet, and pants I came across.
It gets even worse, if you can image that.
Clearing an entire map’s worth of mobs and collecting every single piece of vendorable debris results in what I would like to term one “Gear Unit” (typically 2000g-3000g). Each GU allows you to either purchase one item from a vendor, or upgrade an existing item by either adding gem sockets, enchantments, or purchasing gems themselves. This ridiculous stinginess with gold means you are perpetually strapped for cash, only allowing you to augment the gear you’ve accumulated one map clear at a time. God help you if you’ve finally accepted the fact that you’ll never replace your boots only to have an infinitely rare upgrade drop right after spending 10,000g (or 3 GUs) on your old pair.
Oh, and by the way, the Gold Chests and Boss Chests that you are “rewarded” with for going out of your way to find the keys or defeat said boss end up dropping jack shit 99% of the time. I have found more rares and unique items out of normal, everyday treasure chests than I have ever gotten from boss chests. How do you fuck something like this up?
I am spending all this time talking about loot and such because that is the heart and soul of the hack-n-slash genre. To get loot wrong in these sort of games is to create a racing game with poor-handling cars or a FPS where the guns don’t shoot at the crosshairs. Indeed, would anyone play a Diablo-esque game if there was no gear at all? The gameplay, which consists of mowing down tens of thousands of mobs within seconds of their appearing on the screen absolutely is not compelling enough on its own, that’s for goddamn sure.
All of which is certainly a shame, as Torchlight 2 is otherwise an improved sequel in pretty much every other way. The gameplay (such as it is) feels more responsive and impactful; the environments are detailed and fun to look at; the music is about a half dozen artful remixes of the Tristram theme; and I enjoy the visual style. It just feels, you know, completely unrewarding to play.
It is worth mentioning that all of these problems have been solved by better game designers, e.g. the players submitting mods to the game. There are mods that range from introducing new character classes to entirely new dungeons to, you guessed it, fixing the loot issue by guaranteeing Unique or better drops from Gold/Boss chests. I decided early on to stick with the vanilla game because I wanted to get a feel for what the devs learned from the original Torchlight. The answer is “pretty much nothing.” Playing with mods “taints” your character though and otherwise makes you ineligible for achievements. But since the base game feels like such a massive chore to play, I highly recommend anyone deciding to install Torchlight 2 to go ahead and fix what the devs had not the brains and/or balls to do.
Game: Dungeon Raid [Android]
Recommended price: $1.99 (full)
Metacritic Score: 80
Completion Time: 10+ hours
Buy If You Like: Match-3 games, Time Killing, 10000000
Dungeon Raid is a rather brilliant and addicting “Match 3″ roguelike game in the same sort of design space as 10000000. Whereas 10000000 focused on fast reflexes combined with steady progression, Dungeon Raid has a more tactical focus with only sporadic RPG-esque progression.
The first thing you’ll notice when playing is that there is no timer or other reason to rush. Additionally, while three is technically the minimum number you need to match to capture tiles, there is no limit on how long a chain can run. Even more interesting, you can capture/trace a path diagonally if you like, opening up many more opportunities to capture tiles.
The tiles themselves are relatively simple: potion, coin, sword, shield, and skull. At the end of each move, all the skulls on-screen will deal their damage to your armor and then your HP. You “capture” skull tiles by dealing enough damage to them to bypass their armor and reduce their HP to 0. The damage you deal is determined by your base attack and then increases by your weapon damage for each sword tile you cross; skulls and swords can be chained, of course. Potions tiles refill your HP, Shield your armor, and coins increase your wealth.
The RPG mechanics come in several forms. You earn XP mainly for killing Skulls, and each level lets you pick 2 of 4 random upgrades. Some of those upgrades will be special powers (max of 4) which can have impressive effects like turning all Coins to Swords, or getting an entirely fresh board (Teleport); once used, these skills take X number of turns to recharge. Capturing Shield tiles while already at full armor will increase an armor XP bar, which lets you chose 1 of 4 upgrade options for your current gear. Filling up the Coin “XP” bar will also let you upgrade gear.
Layered on top of all of this are the bonus/penalties that come from your class, your race, and what abilities you put in your pool to randomly pick from. Classes need to be unlocked by defeating boss Skull tiles, which have their own special abilities and necessary tactics. Sometimes they drop nothing but gold, sometimes they drop a new class item, and sometimes they drop class upgrade items instead. The higher level a class is, the more you can customize it by, say, turning your priest into an Orc for the racial bonus (etc). Nothing caries over inbetween games other than these class unlock/upgrade items though, so a run in which no boss drops a token is basically “wasted” (hence the “sporadic” progression). This does suck once you realize it, but the plus side is that you won’t be “beating” the game as quickly as 10000000.
All of this sounds complicated, sure, but it becomes intuitive and fun pretty quickly and ends up feeling more like FTL and Binding of Isaac than a typical phone game. It’s fast, it’s fun, and it’ll break your heart when you lose +10 Regenerating, 30 Armor, +8 Poison Weapon toon. But you’ll immediately start again despite the fact that your lunch break ended two hours ago.
The Malazan Book of the Fallen
Author: Steven Erikson
Genre: Epic Fantasy
Books: 1-10 (complete)
I waited until finishing the very last book in this epic fantasy series before writing this review, but going forward, I am not entirely sure whether that is the best way to handle works of this size and scope. Especially series of this size and this scope.
At its base, The Malazan Book of the Fallen mostly follows the tale of the Bridgeburners, a special squad of marines in the Malazan army as they are tasked with acts of sabotage and subterfuge in a world with magic, undead warriors literally hundreds of thousands of years old, actually immortal shapeshifting dragon mages, gods, ascendant gods, elder gods, reality-destroying chaos magic, and good old-fashioned armies of human meat and bone and iron. While the Bridgeburners are an integral story arc, there are actually two more completely different ones that are of similar heft and importance.
The very first book, Gardens of the Moon, was perhaps one of the worst possible opening books in any epic fantasy series that I have ever read – it immediately tosses you into this new world, confuses the hell out of you with a cast of hundreds of individual characters, and doesn’t pause to explain anything. For example, the magic in this world comes from Warrens, which are a sort of pocket dimension aligned with certain traits. Thus, when the books says “they opened a warren,” it can both mean they are casting a spell or actually opening the warren as a means of physical escape. Or both, simultaneously. None of that is explained anywhere in Book 1.
I’m highlighting the failing of the first book because the rest of the series is so mind-boggling good. It does not have the cleverness of Name of the Wind or the timelessness of Lord of the Rings, but it’s close. Each book is designed to sort of stand on its own, following the world’s (suspiciously convenient) tendency towards a convergence of powers, but the weaving of characters and story arcs is tremendously good. While the internal monologs are consistent with the book’s fiction, they often bring up devastatingly good philosophical arguments regarding the realities of war, the existence of god, and the general ugliness of the human condition, all with not being too overt.
This is the sort of writing you can expect:
There is something profoundly cynical, my friends, in the notion of paradise after death. The lure is evasion. The promise is excusative. One need not accept responsibility for the world as it is, and by extension, one need do nothing about it. To strive for change, for true goodness in this mortal world, one must acknowledge and accept, within one’s own soul, that this mortal reality has purpose in itself, that its greatest value is not for us, but for our children and their children. To view life as but a quick passage along a foul, tortured path – made foul and tortured by our own indifference – is to excuse all manner of misery and depravity, and to exact cruel punishment upon the innocent lives to come.
I defy this notion of paradise beyond the gates of bone. If the soul truly survives the passage, then it behooves us – each of us, my friends – to nurture a faith in similitude: what awaits us is a reflection of what we leave behind, and in the squandering of our mortal existence, we surrender the opportunity to learn the ways of goodness, the practice of sympathy, empathy, compassion and healing – all passed by in our rush to arrive at a place of glory and beauty, a place we did not earn, and most certainly do not deserve.
And this (a piece of narration):
He hurried on, grimacing at the ache in his chest, still feeling the parting kiss of his wife on his lips, the careless hugs of his children round his waist.
He was a man who would never ask for sympathy. He was a man who sought only to do what was right. Such people appear in the world, every world, now and then, like a single refrain of some blessed song, a fragment caught on the spur of an otherwise raging cacophony.
Imagine a world without such souls.
Yes, it should have been harder to do.
Still gives me chills. Maybe you have to
have been there read the greater context. In any case, the series can feature both heavy emotion – there were three separate instances across all the books where I contemplated killing the author – but also welcome moments of great levity. Some examples from the latter:
‘Excellent, and your name is?’
‘XXXX. Er, we got references—’
‘No need. I am confident in my ability to judge character, and I have concluded that you two, while not to be considered vast of intellect, are nevertheless inclined to loyalty. This here will mark an advancement in your careers, I am sure, and so you will be diligent as befits your secret suspicion that you have exceeded your competence. All this is well. Also, I am pleased to note that you do not possess any parasites of a debilitating, unsightly sort. So, XXXX, go yonder and find us one, two or three additional guards. In the meantime, I will attend to YYYY.’
And another (context: the female sergeant is an alcoholic):
‘That snake! I knew it, a conspiracy! Well, I’ll deal with him later. One mass-murderer at a time, I always say.’
‘This is madness, Sergeant! Let go of me – I can explain—’
‘Save your explanations. I got some questions for you first and you’d better answer them!’
‘With what?’ he sneered. ‘Explanations?’
‘No. Answers. There’s a difference—’
‘Really? How? What difference?’
‘Explanations are what people use when they need to lie. Y’can always tell those, ’cause those explanations don’t explain nothing and then they look at you like they just cleared things up when really they did the opposite and they know it and you know it and they know you know and you know they know that you know and they know you and you know them and maybe you go out for a pitcher later but who picks up the tab? That’s what I want to know.’
‘Right, and answers?’
‘Answers is what I get when I ask questions. Answers is when you got no choice. I ask, you tell. I ask again, you tell some more. Then I break your fingers, ’cause I don’t like what you’re telling me, because those answers don’t explain nothing!’
‘Ah! So you really want explanations!’
‘Not till you give me the answers!’
The bottom line is: if you enjoy fantasy novels at all, I highly highly recommend picking up the entire series. However tempting it might be to skip the first book based on my experiences, it would be a costly error – the characters introduced in the first book are integral in how the rest of the books play out. The first five books can technically stand on their own, but everything will be more meaningful if you know what the characters had to go through to get to that point.
Which, believe me, is a lot. I mean, Jesus, wait till you get to the Chain of Dogs. Or the Pannion Domin. Or what happens to your favorite characters in Darujhistan even though you can cynically see it coming from a mile away and yet you squirm and sweat and try to close your eyes but you can’t because you’re reading a goddamn book and the words were already written anyway and oh no, this can’t be happening… why do you do this to me Steven Erikson?! Why does your fiction both inspire and destroy my faith in all that is good and right in the world?
Ahem. Read these books.
Recommended price: $5
Metacritic Score: 83
Completion Time: ~2 hours
Buy If You Like: Indie puzzlers, Hilarious but too short games
Gunpoint is a short, 2D indie puzzler with some of the most hilarious writing I have ever seen in a videogame. You take control of Richard Conway, a freelance spy whose latest customer was murdered before he could get the details. From that classic film noir story hook, you get a classic film noir plot broken up by bouts of mildly interesting puzzles.
At their simplest level, the puzzles in Gunpoint revolve around interacting with a computer and then exiting the map via subway station. The central conceit is Conway’s ability to rewire a building’s electronic systems, such that getting caught on a surveillance camera actually opens the locked door instead of triggering the alarm. Some of a building’s circuitry is “hardened” (it has a different color), which means you have to reach a certain (color) breaker box before being able to reroute that circuit’s wires. Completing maps will give you currency to purchase more gizmos, including the ability to electrify certain devices or even the ability to (temporarily) reroute a guard’s gun – causing them to either open a door when they pull the trigger, or forcing them fire the weapon at a buddy when you flip a light switch.
The puzzles are fun, but… well, they end up being only mildly interesting. Rewiring electronics turns out to be fairly powerful as a sort of default ability, which is reflected by the fact that the latter half of the game basically features only 2-3 things you can actually interact with (one light switch, maybe a camera). There are some mechanics that prevent you from simply pouncing/shooting your way through all the guards (the subway gets locked down after any gunshots), and as a result the game becomes incredibly abstract by the end. Normally, that might not matter for, you know, a puzzle game, but I actually enjoyed the early gameplay over what it ends up “evolving” into.
Like I mentioned at the beginning, Gunpoint is extremely short, clocking in around ~2 hours of gameplay. Given that, and given my ambivalence towards the later gameplay, I would suggest waiting until Gunpoint hits $5 or a bundle. It is a game definitely worth your time to play at some point – trust me, the dialog alone is almost worth it – but that time doesn’t have to be now.
Game: Rogue Legacy
Recommended price: $5
Metacritic Score: 84
Completion Time: ~13 hours
Buy If You Like: Roguelikes, Harsh action platformers, RPG-esque indie games
Rogue Legacy is a sort of indie hybrid RPG roguelike action platformer. The developers describe the game as “Rogue-Lite,” as the central premise is that while the game features permadeath, your children will take up the family mantle and invade the procedurally-generated castle to avenge you. This design is actually pretty compelling, especially considering that while purchased equipment/abilities cary over from one character to the next, the gold used to purchase these things do not. So what ends up happening is failed runs (usually!) end up leaving you with enough gold to be stronger for the next one, while not encouraging you to hoard gold in the meantime.
The castle itself is divided into four main areas, each with a boss at the end. While the general location of the areas are stable, all of the individual rooms and transitions are randomly determined. I say “random,” but the vast majority of rooms have a high level of coherence, as opposed to the truly random nonsense of games like A Valley Without Wind. You do not technically need to clear a room of enemies to move on, but it is generally a good idea considering getting better equipment and stats requires gold. That being said, there is an entire class (Miner) that encourages you to avoid combat as much as possible while quickly snagging as many treasure chests as you can.
The gameplay itself is pretty unforgiving. While you can equip a bunch of Vampiric gear later on, and occasionally find a piece of health-restoring food when destroying furniture, for the most part damage you take is permanent. This can lead to frustrating scenarios in which an otherwise solid-looking boss attempt is stymied on the way to the door because you landed on some spikes in the prior room. Or misjudged a screen full of projectiles. Or faced one of those goddamn wolves that seem to charge half a second earlier than you’re prepared for.
And by “solid-looking boss attempt” I mean that at least one of the three children you can select for your next castle run had a good class/characteristic/ability combination. For you see, sometimes your favorite class might be Farsighted (makes the center screen fuzzy), or the screen is upside down, or they have an enormous character model (increased weapon reach, but increased hitbox too), or maybe everything is good except they have a weak magic ability.
I am not attempting to dissuade you from purchasing Rogue Legacy, but I do want to point out that while the devs say “Rogue-Lite,” the game is still pretty roguelike. I had a pretty solid 9 hours of fun, and a less fun 4 hours of being stuck grinding gold and new abilities to give me the hope of downing some of the bosses. Admittedly, being better at the game might have reduced that time, but then again, being worse would have increased it exponentially. So in your game purchase decision, be sure to take into consideration how good you are at semi-twitch platformers.
Game: Elven Legacy
Recommended price: bundle
Metacritic Score: 71
Completion Time: ~21 hours
Buy If You Like: Hex-based strategy games, old games
Elven Legacy is a somewhat more traditional hex-based strategy game featuring PS1 graphics, a somewhat abbreviated plot, and an incredibly brutal single-player campaign.
What I recognized early on was that I had not actually played many “strategy” games before, as opposed to more tactical affairs. The underlying mechanics were fairly simple: units can move and attack each turn, all units have 10 HP, sometimes there are special abilities or perks that can come into play, units gain XP and levels, and you can move your entire team each turn. When all the moving pieces come together however, you begin to realize how much the odds are against you on each and every map.
Allow me to present an example. During your turn, you move your spearman up to attack an enemy unit. Before committing to the attack, you see that you will deal 5 damage and take 2 damage in return. During the attack, the damage numbers were actually 4 and 3 – the projected numbers are simply the average range. The damage a unit takes is counted as either wounded or dead, with the spread being determined by perks and… well, I’m not actually sure how its counted. I noticed higher level units take more wounds than deaths, so I’m sure stats are somehow involved. Regardless, your now-7 HP unit will deal less damage than that same unit at full health. On your next turn, you can choose to order that unit to Camp, which will heal all wounded (not dead) units, at the cost losing both its attack and move phase.
Another wrinkle is morale. Units attacked below a certain baseline will Break, reducing their attack and defense scores by 4 until they Camp, while also retreating a hex away. Even units that do not Break will retreat a hex back when low on HP. This can wreck havoc with your plans should you attempt to attack with two units, only to have the first attack send the enemy out of range of your follow-up. This can lead to some odd behavior, like attacking with your weakest units first, probing for the breaking point, before sending in the big guns to hopefully annihilate the unit.
Then you have the hero/monster units, which can heal to full all the time. Then you have magic spells, which have unlimited ranges by only 1-2 charges per spell. Then you have terrain bonuses/penalties. Then you are picking one of three Perks for each level a unit gains. Then you are sending units around the map looking for artifacts that you can equip to give certain units more abilities/stats. Then you realize you often have a time limit to complete the map. And so on.
While the game was surprisingly strategic and all, literally everything else was forgettable. I have not dabbled much in the strategy game genre, but I know enough to know that there are likely better titles out there to buy. I purchased Elven Legacy at some ridiculous discount a year or so ago, and it is probably only worth that much (or less). It was fun while it lasted, but it really only succeeded in me wanting to look at other strategy games.
Note: I purchased the DLC along with the normal game, but was unable to get any of said DLC to actually work. The new campaigns showed up and were selectable, but none of the dialog or win conditions or any text was visible.
Recommended price: bundle
Metacritic Score: 69
Completion Time: ~3 hours
Buy If You Like: Portal-lite, FPS puzzle games
QUBE is a first-person puzzle game in the Portal tradition. In fact, basically all you need to know is that QUBE is Portal-lite. Throughout the game you can manipulate the behavior of a series of colored cubes that have standard behavior: red ones extend out one square at a time to a three-square distance, yellow ones make a step-ladder patterns, blue squares act as spring-boards, etc. Actually, why stop describing them now? Purple cubes rotate a section of the wall/floor, and green create either a block or ball, depending on the puzzle. Oh, and there are magnet walls. There, that is 100% of the set pieces.
While all this sounds simple, QUBE veers into some ridiculously fiendish puzzles before the end of its ~4 hours of gameplay. At one point, you have to solve a puzzle in the dark, with only one element at time being lit up. Another requires the fine manipulation of otherwise inert cubes of differing sizes by using magnetic walls. Yet another requires the navigation of a sort of Wheatley-esque robot that only makes right turns through a maze.
Overall, QUBE provides a lot more depth than I originally thought it could, but it did not provide enough to overcome the otherwise deserved “Portal-lite” title. Just image Portal minus GLaDOS, minus the threat of death, minus the ability to move blocks manually, and minus the ability to put portals almost anywhere. Oh, and minus about ~10 extra hours of gameplay.
Grab QUBE as part of a bundle if you can.
Game: Don’t Starve
Recommended price: $10
Metacritic Score: 79
Completion Time: 20-60 hours (variable)
Buy If You Like: Roguelikes that don’t kid around, amazing indie games
Don’t Starve is a harsh, survival indie roguelike with dark humor, a fairly unique visual style, and a pointed lack of hand-holding. You control a man named Wilson who suddenly wakes up in the wilderness, is told that finding some food before dark would be a good idea, and then… you are on your own. From there, the basic idea is to scrounge for some carrots/berries while using available materials to craft torches, tools, traps, and other basic gear as you do your best to survive in a world that wants you dead.
Moving around and interacting with the world is surprisingly easy and intuitive. You can move around via left-clicking the ground/objects or by using WASD. Interacting with objects is done either with left-click or right-click. Pressing the Spacebar will cause your character to perform some context-sensitive activity, like start chopping a tree if equiped with an axe, pick up something if it is nearby, or attack an enemy. Combat is not particularly deep, but the “shallowness” combined with the roguelike nature of the game lends a tremendous amount of gravitas to battles. It reminds me of survival horror games that have clunky combat on purpose, to ratchet up the implicit difficulty.
The default game starts you in Survival Mode, which is really more of a Sandbox mode. While there is not really an “endgame” in this mode, the game’s structure naturally (and ingeniously) lends itself to a sense of progression and escalating danger. Establishing a base camp is pretty typical and allows you to stockpile materials and research structures, making the maintenance of your Hunger, Health, and Sanity easier. On the other hand, resources generally do not regenerate very quickly, which forces you to forage farther and farther from your base camp with each passing day. And ultimately, the arrival of Winter will stretch your capacity to survive to the very limit, given how traditionally easy sources of food dry up (plants don’t grow, ponds freeze over). This is on top of an escalation of random hostile encounters by the Hounds, or other boss-level mobs.
Those in search of a more structured endgame can seek out Maxwell’s Door, a set piece randomly located somewhere on the map. Once entered, you are in Adventure Mode, tasked with surviving five randomly-determined theme worlds while collecting four Things in order to open the gate to the next world. Even if Don’t Starve consisted entirely of Adventure Mode, it would be enough to cover at least 20+ hours of gameplay. Especially given how the brutality of Survival Mode holds nothing to Adventure Mode worlds in which you are trapped in an endless Winter, or constant rain, or even a world with zero sunlight.
While I have been infatuated with Don’t Starve for quite some time, the game isn’t for everyone. Don’t Starve is extremely unforgiving, even in roguelike terms, where death is both easy to stumble into and results in a deletion of your save file. That said, while death is easy, it is almost always going to be due to mistakes you have made, rather than randomized deathtraps. Even if you get one-shot by a particular mob, that is only because you chose not to wear armor at the time, or because you were being reckless in not running away. Compare that to a game like The Binding of Isaac, where a white pill might randomly give a buff in one game and permanently reduce health in another.
If you are someone willing to play and lose dozens of hours of progress in a roguelike though (or cheese the system via console commands or making backup save copies), I cannot recommend Don’t Starve enough. It has style, it has substance, and it is receiving developer updates every 3 weeks (at the moment). It is simple to get into, impressively complex when you start planning ahead, and always engaging while you struggle to survive.
Game: Dungeons of Dredmor
Recommended price: $10 (with DLC)
Metacritic Score: 79
Completion Time: 28 hours
Buy If You Like: Roguelikes, Turn-ish-Based RPGs, Indie Humor
Dungeons of Dredmor (DoD) is an indie roguelike RPG wrapped in a fluffy layer of humor and genre in-jokes. The goal is simple: navigate your way to the bottom floor of the dungeon and kill Dredmor. Along the way, you will explore rooms, evade traps (a LOT of traps), kill monsters, loot treasure, and level up.
The core of DoD is its extremely interesting combat/exploration system. Essentially, everything is turn-based: for every step or action you take, all enemies make one too. These “turns” occur instantaneously, so you are never waiting on some action on the part of the AI, which makes the action go as fast or slow as you want. This ends up feeling rather amazing, as it avoids the “spacebar fatigue” that accompanies other tactical games. This system ends up putting a premium on actions though, and it’s quite easy to get surrounded and murdered if you’re not careful.
The statistics part of DoD is intentionally obtuse – your six base stats affect 18+ other stats – but the “joke” belies a pretty robust equipment and talent system. When you first roll your character, you can choose seven different categories of talents, which either grant new abilities or a direct increase in stats as you spend skill points. For example, taking the Swords talent will let you get new abilities (not all of which require a sword), and perhaps some bonuses for using swords. There is a pretty huge number of talents though, and it’s entirely possible to pick a combination that simply won’t work. On the other hand, you could pick 6 warrior-ish talents and then grab the one that let’s you shoot fireballs. Armor generally decreases your magic ability, but it’s possible to either craft or come across armor that hurts it less.
DoD is definitely a roguelike (although you can turn off permadeath at character creation) and thus contains certain abilities/scenarios in which you are likely to die pretty quickly, if not arbitrarily. This is… dangerous, for lack of a better word, in a game where you can spend 22 hours on a single character exploring every room of each level (which you may want to do to stay ahead of the curve). Indeed, in the titular Dredmor encounter, I about died within three moves before I “cheesed” the rest of the encounter via judicious use of invisible mushrooms and the all-powerful ability to close doors.
At the end of the day, I spent 28 hours in Dungeons of Dredmor and could see myself replaying it again with another character setup, or perhaps after picking up the two DLC. It’s a fun game, perhaps a more cerebral version of Binding of Isaac, but where Binding of Isaac and FTL come out ahead is giving more focused gameplay with their permadeath. Had I lost my 20+ hour character, I probably would have quit altogether right there. Luckily for me, I didn’t, but I’d be lying if I said I did not make three backup copies of my savegame. So if this game sounds fun to you, I recommend turning off permadeath until you wrap your mind around the game’s many idiosyncrasies.
Game: A Valley Without Wind
Recommended price: Bundle
Metacritic Score: 54
Completion Time: ~13 hours
Buy If You Like: Metroidvania action platformers, infinitely long games
A Valley Without Wind (hereafter AVWW) is a procedurally-generated action-platformer in the Metroidvania style. The premise is that some unknown cataclysm has rent time and space, placing enemies like robotic mechs into Ice Age biomes. As a “glyph bearer,” your job is to scavenge materials from bombed out buildings, complete missions, and then take out the continent’s Overlord after killing off his/her/it’s lieutenants.
If all this sounds… strangely disjointed, that is because it is. The entire game comes across as more complicated (or simply arcane) than it has any reason to be. Basically, you jump around and kill enemies with ranged spells. The spells you have access to come from “spellgems” that you can either craft from materials you scavenge or earn via Missions. You also have several slots for enhancements, which are items you equip that have randomly-determined stats and abilities. For example, you might have a Foot enhancement that let’s you double-jump and have +20 mana, or Pants that eliminates all falling damage and gives +20 Haste.
Missions are one of the few things that give direction and meaning to AVWW, but after a while they too seem irrelevant. Essentially, Missions are a guaranteed way to acquire some particular thing, like a Spellgem. Missions themselves come in different types, such as Falling (character floats down long shaft avoiding enemies/spikes), Boss towers, Perfection (must restart if hit by any enemy), Rescue missions for additional survivors, and so on.
The problem is that not only is everything procedurally-generated, e.g. infinite in scale, there is not any real sense of progression. The “world” levels up after you kill an enemy lieutenant, but all that really means is that you need to re-craft all your Spellgems to the higher level to match the increase in monster HP. Finding stash rooms in buildings feels fun at first, but then you start to realize that the actual number of materials you need for any one thing is tiny. Alternatively, maybe you are missing just a single resource type and are forced to delve into dozens of buildings in order to find one inside.
But the biggest buzzkill for me was how absurdly limited the spell selection was. Once I found the most useful spell (and one backup of a different element type), every other spell was practically useless, which meant getting mats for them was useless, which meant pushing back the wind from new terrain squares (e.g. unlocking them) was useless, which meant farming the building to push back the wind from the lieutenants to access the Overlord and end the pain was useless tedious.
Don’t get me wrong, there are some interesting things going on in AVWW. The hybrid roguelike feature that is permadeath-but-you-keep-all-items made enemies feel threatening without punishing exploration, for example. Of course, the designers then made the decision that your avatar is a faceless nobody you have no attachment to, and the survivors are essentially reduced to extra lives with slightly (very slightly) different base stats. The granularity of the difficulty is extremely nuanced, allowing you to increase mob strength, platforming difficulty, or “citybuilding” complexity all independently.
At the end of the day though, I just did not feel particularly compelled by A Valley Without Wind. There is a vague sense of progression – defeating the lieutenants and then face the Overlord – but that never really trickled-down to the individual levels you were navigating. When the game comes right out and tells you to not bother exploring every nook and cranny for items (since the world is infinite), it makes you start wondering why you are looking for anything in the first place.
Game: A Valley Without Wind 2
Recommended price: none
Metacritic Score: 68
Completion Time: n/a
Buy If You Like: Throwing money away, poorly implemented games
There are very few games which I simply give up on. Of those games that I abandon, it is usually due to either frustrating game design or simple boredom. When it comes to A Valley Without Wind 2, it joins that sorry company with the distinction of having both qualities.
If you have played the original A Valley Without Wind, the first thing you should know is that the “sequel” has really nothing to do with its (much better) predecessor. The formula has changed. Radically. The premise is that after infiltrating the inner circle of the Overlord Demonaica and being gifted with an Oblivion Stone (aka the Glyphs of the first game), you reveal your true intentions to fight the Overlord’s power. You do so by… running away.
Basically, you order members of the resistance to move around the overland map in a turn-based manner, constructing farms and scavenging scrap to build other structures while you unlock more of the map by destroying rain machines (evil versions of the Windmills). Each resistance member can move once a turn, and they will not actually perform any actions until the end of the following turn. The turns themselves are advanced only when you enter into one of the rain machine maps and destroy it. Before doing so, you are free to explore any of the maps to look for Perks or… no, that’s it.
If this sounds nothing like the Metroidvania of the first game, that is because it isn’t. At all. In fact, the platforming aspects of AVWW2 has taken a thousand steps backwards. You cannot aim with the mouse any more, meaning that you are firing spells in just (usually) the cardinal directions. Instead of your own custom spells, you have to choose one of five “classes,” which have a total of four spells that do not necessarily even cover a wide range of situations. On top of that, spells have a sort of “priority” system where your projectiles are almost always destroyed by enemy projectiles, unless you have some specific spell with a high priority in your repertoire. This might sound tactical, but it’s really not. All it means is that you jerk clumsily around the screen, spamming your spells in a few directions while plowing into a screen full of enemy projectiles.
This is not even getting into the fact that the random loot and equipment strategy of the first game has been cut off at the knees neck. You have exactly one “equipment” slot, with no inventory; if you pick something else up, it replaces whatever you had equipped. The equipment also degrades as you take damage, so it will eventually break on its own. While the equipment you find is still random, there is no strategy or even thought required. “Is this better than what I have/an empty slot?” If yes, equip. If no, skip. The only customization you have is choosing which Perks to use, which basically amounts to 1 of 4 different Perks per level. Do you want +10% jumping height or +1 Heart (even the HP has been dumbed down)? Then again, considering that the platforming aspect is practically nonexistent, the Perks don’t really matter.
The funny thing (in a sad way) about all this was that the turn-based part of the game seemed sorta passably fun. Monsters would periodically come out of the Overlord’s tower, and you have to position your resistance members intelligently to intercept them without getting overwhelmed (each deals damage equal to their HP to one another), while also not leaving valuable structures open to destruction. Plus, around Turn 14, the Overlord himself was going to come out and destroy everything in his path. From there, you had a few things you could do while on the run, and the race against time angle was kinda compelling too. The problem was that the platforming aspects necessary to advance the turns and beat the overall game were so comically bad.
Ultimately, I am not even sure who A Valley Without Wind 2 was even made for. Metroidvania fans of the original will encounter perhaps the worst, most boring platformer ever made. Strategy gamers might have some fun, up until they are forced to play the worst, most boring platformer ever made to advance the turns. And… that’s it, the entire audience. The game simply fails at everything it was trying to do, when all they had to do was do what they did the first time around. I am not sure what the designers were thinking when they made this game, but whatever it was, it didn’t work.