There are a lot of tropes in RPGs that go largely unexamined, but I experienced one in Dragon Age 2 recently that seemed especially egregious: the impossibly unlikely encounter.
Now, you know how it is, you are walking around town and just so happen to stumble across a conversation between a woman looking for her son and guards clearly not interested in searching for him. What were the odds you would be walking by that one-minute exchange in the middle of a sprawling city? It’s a trope, but I can forgive that out of necessity; how else could you really set up such a quest organically, right? I’m not talking about those sort of encounters.
No, I’m talking about the part in Dragon Age 2 when I run across a band of Elvish assassins confronting a human along a desolate path on the Wounded Coast. The human is apparently a former werewolf who inadvertently killed the mother of the main Elf assassin, but the Warden from the first game has cured his lycanthropy. You get the choice here between letting the assassin finish the job, defending the man, or trying to shame the Elves into leaving. I did the latter, got paid 50 silver by the grateful man, and both parties left.
This wasn’t even a quest. It was just a goddamn throwaway encounter miles from any sort of civilization and/or rational explanation for how the two people could have met one another just in time for me to waltz by. It wasn’t like this dude was trying to assuage his guilt by watching the beach. As far as I can possibly determine, there was no reason for him to be there at all; he was not a trader, nor hermit, nor on the run. I would have been infinitely more sympathetic with my suspension of disbelief if this occurred in the city. Or in a cave he was hiding in. Or as part of a plot-line or rumor which suggested someone was looking for a former werewolf. Instead, this scenario gets more and more ludicrous the longer I think about it.
I mean, sure, most of the quests that I have seen in Dragon Age 2 so far seem rather unlikely. Who exactly is going to trust a complete stranger who was conveniently eavesdropping on your conversation in the first place? Actually, it might be fun for there to be an RPG in which all of these sort of tropes are subverted; some sort of deranged, manic dude cavorting into the middle of groups of people and “completing their quests” based on random snippets of dialog. But, man, that Wounded Coast encounter is on an impossibly absurd level of its own.
I spent about 10 minutes coming up with various clever variations on Titanfall and Attack on Titan, but alas.
Blizzard has killed Project Titan after seven years in development. That Polygon article is overflowing with choice quotes.
“We had created World of Warcraft, and we felt really confident that we knew how to make MMOs,” Morhaime said. “So we set out to make the most ambitious thing that you could possibly imagine. And it didn’t come together.
“We didn’t find the fun,” Morhaime continued. “We didn’t find the passion. We talked about how we put it through a reevaluation period, and actually, what we reevaluated is whether that’s the game we really wanted to be making. The answer is no.”
Some would certainly argue that Titan isn’t the only project they can no longer find the fun/passion for.
“Are we the MMORPG company?” he added later, in conclusion to that line of questioning.
Morhaime answered that last rhetorical question quite simply: “We don’t want to identify ourselves with a particular genre. We just want to make great games every time.”
Like… wow. (Err… no pun intended) That has “exit strategy” written all over it. And speaking of that:
Throughout the interview, Metzen and Morhaime suggested that the recent trend of smaller-scale Blizzard releases like Hearthstone and Heroes of the Storm has played a part in the company moving away from Titan. [...]
He explained that Hearthstone had helped the studio realize that they don’t need to fit themselves into the box of only making products of a certain scale.
I didn’t get the chance to mention it earlier, but Hearthstone hit 20 million players. Or “players,” whatever. It is still 10 million more than they had in March. While it’s tough to actually come to any sort of definitive conclusions about the significance of those numbers given how it’s a F2P game that is hitting mobile devices, it is clear that it wasn’t just a flash in the pan. If this analyst from CinemaBlend.com (…err) can be believed, Hearthstone could pull in $30 million in revenue this year… which is basically 14% of what WoW brings in yearly. Not bad for a team of 12-15 people.
Back to Titan though, being cynical is easy and mostly safe. However, I am beginning to agree with Gazimoff of Mana Obscura in that this might be the death of the super-genre MMO. “We won’t see another heavyweight MMORPG released by a major studio in the next two years.” I was going to say that EverQuest Next sort of proves that wrong, but that is probably a bit more than two years out, and who knows if it even gets released at all; Landmark might just cannibalize it, if it doesn’t cannibalize itself first. But surely there is something else… oh. Maybe not.
Whether you are celebrating the news – perhaps hoping that more tightly-focused niche MMOs will spring up in the vacuum “as they should be” – or lamenting the loss of AAA tourism, I do want to take a moment to mark the occasion. Because it is an end of an era, or another sign of it at the least. And while we can sit back and suggest that WoW “ruined” “real” virtual worlds like Ultima Online or Everquest or whatever, I do feel a bit sad to think that what we have is it. Specialization is great and all, but when I look at the ex-WoW guild member friends I have made, I see a group of people whom I have never consistently played any other games with. The “super-genre” WoW was pretty much the extent of our shared gaming interests; there is some tiny overlap here and there, but getting the hardcore Civ, the Team Fortress 2, and The Sims players all together as an officer core for a 5-year old guild was goddamn magic.
Titan was unlikely to have rekindled things for my disparate, dispersed cohorts, true. Sometimes things just reach their natural conclusions. And maybe there is something to be said about making friends with more similar interests in the first place. Still… I can’t help but feel a loss, somehow.
Prior to clicking this Kotaku article about Borderlands: The Pre-Sequel, I had close to zero interest in the game. It’s not that I disliked the franchise or BL2 – I have 115 hours on the latter – I simply got extremely fatigued with the gameplay by the end. Which was just about a full year ago, apparently. Huh.
In any case, watching the 10-minute explanation trailer sort of reminded me why I liked the series to begin with. Maybe TORGUE and Hammerlock were never all that funny to you, and that’s fine. In fact, neither are all that interesting to me on their own as characters. But the writing. It’s not that it’s brilliant or anything, it’s just… utterly unique. What other game can slot in surprisingly tasteful BDSM and Nietzsche jokes into their gameplay videos? And it fit? There are a million other first-person shooters out there, but there is only one Borderlands.
Or two, I guess. And a third on the way. Hmm. I wonder what the intro song will be this time?
P.S. Not paying full price though.
The final tally for Microsoft’s purchase of Minecraft is $2.5 billion. Markus Persson’s (aka Notch) personal take is reported to be $1.8 billion.
What is almost more interesting though is his thought process behind selling at all:
[...] I’ve become a symbol. I don’t want to be a symbol, responsible for something huge that I don’t understand, that I don’t want to work on, that keeps coming back to me. I’m not an entrepreneur. I’m not a CEO. I’m a nerdy computer programmer who likes to have opinions on Twitter.
As soon as this deal is finalized, I will leave Mojang and go back to doing Ludum Dares and small web experiments. If I ever accidentally make something that seems to gain traction, I’ll probably abandon it immediately.
It is almost funny, in a way. Can you separate the making of games from the business of making games? One can imagine some hobbyist painter who inadvertently crafts a masterpiece… that simply stays in the attic for decades. Or a writer who simply creates a book for themselves. The process is what they desired, not the outcome.
But games? Like information, games yearn to be free. A game without players is incomplete. So while I can understand the sentiment behind Notch’s desire, it seems somewhat futile. Being a game designer does not make one a good entrepreneur, true, but once released a game takes on a life of its own.
I will admit that my first reaction was to be a little petulant over Notch’s payout, because $1.8 billion. But looking at Minecraft itself and how it got there… who can really complain? This isn’t a game that preys on the weaknesses of the human psyche with microtransactions and cash shops (in the base game). This isn’t a game built around its business model. This is Old School purity in which a game relied on its own merits to sell more units. Sure, there is merch and movie deals these days but the core of the game remains the same.
So… good on you, Notch. This sale puts you around #1013 on Forbes’ billionaire list. Or to put it another way, Minecraft single-handedly made you equivalent to 2-3 JK Rowlings. Or about a Gabe Newell and a half.
I wrote a post about Entitlement and the problems surrounding its (ab)use in gaming discussions back in 2012. Nothing has changed since then – I still consider anyone who uses it in a semi-serious way to essentially be Godwin’ing their own argument. What I did not expect to see two years later is “entitlement” to be even further warped as a pejorative to paint even those that desire parity in their games. Or presumably, by extension, anyone who has any desires whatsoever.
From Tobold’s blog:
Gamers have a strong sense of entitlement. In real life the answer to the question of why your neighbor is driving a nicer car than you is relatively obvious: He paid for it (or got it as part of his job contract). Most people are okay with that in real life. In a massively multiplayer online game many people are not willing to accept that somebody else has nicer stuff because he paid for it. It is one of the principal objections to the Free2Play business model that somebody else might end up with paid-for nicer stuff. And special editions are based on the same tactics of price segmentation that Free2Play games use.
The context of this quote comes from a larger discussion on the escalating price of “Founder’s Packs,” e.g. the extremely clever corporate jujitsu that resulted in people paying $150 for the “privilege” of alpha-testing even F2P games. Tobold’s larger points are that A) “too pricey” is subjective, and B) game companies are better off selling digital goods in their Collector’s Editions (as opposed to expensive physical goods) if it were not for the fact that “entitled” gamers don’t like that.
“Entitlement” clearly being a trigger word for me, I asked: “Is an expectation of parity now considered entitlement?” Tobold replied:
I have never met ANYBODY who expected or even wanted parity in a game. What people want is a system that is skewed towards their strong points. Thus the person who has more available time than money wants a game where you are King of the Hill if you spend the most time in the game. While the person who has more money than time would prefer if he could achieve things by buying them. Neither of the two wants parity.
The reason why expecting game companies to reward time more than money is entitlement thinking is because obviously the game company would much prefer your money over your time.
(That almost sounds like game companies feel entitled to my money, but nevermind.)
Now, it seems to me that he is making the accusation that people only like what games they are good at. Which… is a bad thing, I guess? There really cannot be any other possible explanation for your friends getting mad at you bringing real-world dollars into a game of Axis & Allies (or Chess, etc etc) other than taking away their advantage of more skillful play, right? Those entitled jerks… it’s all the same!
I enjoy parity in games. In fact, I expect it. Arguably the hallmark of any “game” is consistent rules that apply to every player equally (assuming the game isn’t based around asymmetry). If someone beats you in a fair game by virtue of better skill or strategy, who could legitimately complain? Even if they won by virtue of simply having spent more time playing the game, how could you object? Tobold and others may point out that some people have more time than money, but I do not know anyone who has 25 hours in their day. In contrast, the dollar amount anyone could have on hand is effectively unbounded. You could have $10, you could have $1,000,000.
Perhaps this disagreement comes from differing definitions of parity. Tobold in later comments suggests no MMORPG features parity because different people have different amounts of time to spend playing the game. This is not a dilemma to me – as I mentioned previously, the both of us have the same 24 hours in a day in which to allocate our time. I have zero issue with you receiving greater rewards (etc) for having spent more time playing the game than I. In fact, it sort of boggles my mind that this is even a point of contention. Is that not how any activity should inherently work? “You spent more time reading a book and got farther into than I did… unfair!”
I might be able to see where people could get angry about someone meeting or exceeding your own skillful play by simply repeating a low-skill activity for days and days. But even then, the results of your skill is self-evident: you achieved the result more quickly with less (wasted) time.
Bringing real-world money into a game is NOT analogous to either skill nor time. The amount of money any of us have is the result of an entirely different “game,” which operates on entirely different “rules.” It is like me getting an extra Queen in a game of Chess simply because I won a game of Checkers last year. Did that giant pile of real-world money give you the freedom to spend more time playing the game than me? That is both okay and irrelevant. The uber-rich guy, the 12-year old on summer break, the dropout college student, or the oil rig worker on his two weeks off all value the time spending playing the game equally for as long as they do.
Desiring parity in the games you play is not entitlement. Desiring that fewer companies tether their business model to the rules of the games they make is not entitlement. Desiring to play games you are good at is not entitlement. Desire is not entitlement. When you use the word “entitlement” as a pejorative, all you are doing is asserting that someone has unreasonable expectations about something, without actually bothering to offer an argument or explanation as to why it is unreasonable.
Game: Kingdoms of Amalur: Reckoning
Recommended price: Debatable ($5)
Metacritic Score: 81
Completion Time: ~45 hours
Buy If You Like: Single-player MMOs, Action RPGs
Kingdoms of Amalur: Reckoning (hereafter Reckoning) is a 3rd-person, over-the-shoulder action RPG that comes the closest I have ever seen to any game perfectly emulating an MMO experience. After being resurrected and freed from the constraints of a setting bound by Fate, you set out into the world to stop the various forces that want to make your death stick this time. Along the way, you will kill many enemies, destroy a lot of boxes, explore many caves, and complete quests until you get so utterly sick of them that you swear you will never accept another quest in any game, ever. Then you will complete some more.
As mentioned, Reckoning is for all intents and purposes a single-player MMO. About the only thing missing is the ability to zoom out the camera (an issue that becomes rather annoying after a while) and the ability to jump. Other than those two, you will doing a lot of the same things in exactly the same ways. Each new town will have a half dozen or more NPCs offering quests, there is a quest-tracker of sorts, monsters can randomly drop rare/epic/legendary loot. As you level up, you can put skill points into three different skill trees that correspond with Fighter, Mage, and Thief. Depending on how many points you slot into each tree, you can choose certain Fate cards that are basically “classes” which give you certain passive bonuses. While the bonuses are generally worth specialization, it’s also entirely possible to cherry-pick some of the better abilities in the early trees.
In terms of general gameplay, I would say Reckoning is alright. Your main attacks are bound to left-click and right-click, with some of them requiring aim via the mouse. There is some element of timing to your attacks rather than just spamming the buttons, although it’s possible to do that too. Part of the game schtick is “Reckoning Mode,” which is really a re-skinned Limit Break from FF7 – kill enemies until the Reckoning meter fills up, then unleash a ludicrously powerful attack. And by ludicrously powerful, I mean forcing all enemies into slow-mo, killing normal mobs in two hits, and otherwise cheesing 100% of every boss fight in the entire game. Oh, and did I mention that your final attack against whatever target will trigger a Quick Time Event that lets you spam a button to get increased XP for all the dudes you just murdered? Yeah.
Beyond what I have already talked about, there were two main issues I had with the game. The first is a nitpick of sorts, and an unfortunate one at that. Basically this game came out three months after Skyrim. There is nothing at all this game does better than Skyrim and a whole lot that it does worse. Is it a fair comparison? Nope. But having played Skyrim first, you just can’t help but feel every little thing they have in common – such as picking herbs out in the world, questing, exploring, etc – is simply worse-Skyrim. If you are sensitive to that sort of thing, playing Reckoning will be an issue.
The second thing is that Crafting is broken. Like most of these sort of games, Reckoning allows you to put points into Blacksmithing and whatnot to craft your own gear. And like many games in which you can do this, the designers – either on purpose or accident – allow you to very easily craft gear so far beyond the scope of any possible random drop that loot itself loses all meaning. I understand that there is always a tension of sorts between crafted loot and random drops, in that if random drops are better, then the crafting system becomes a bit useless in comparison. But, seriously, come on:
Just so we have it in text form, my equipped gear was 82 Armor, +12% crit damage, and +3% crit chance. Meanwhile, my crafted gear is 122 Armor, +12% crit damage, +28% Health, +17% Damage Resistance, +10% Physical Resistance, and +15% Damage. I don’t even remember at which level I crafted that piece of armor, but I basically never equipped anything else until the end of the game. Which meant 100% of the armor drops I received from then until the end were vendor trash. Which meant my motivation for actually completing these quests and/or acquiring more gold dropped to zero.
Overall, it is sort of hard to recommend Kingdoms of Amalur: Reckoning. The game isn’t terrible, even if it cannot really stand up to its peers. If you enjoy the combat and the questing, there is a ton of content that will keep you busy far beyond the ~47 hours it took me to beat it. In fact, that is sort of what happened with me: I was on a mission to complete ever single quest I came across, up until I got burned out and just did all the storyline quests until the end. Then there is the sort of mystique that comes from playing the game from the imploded studio and getting a feeling for what the Amalur MMO might have looked like.
But if you are strictly interested in compelling games to play, well, I might recommend taking even that $5 somewhere else. Reckoning is probably worth $5 in a vacuum, but that same $5 can buy so much more these days.
That is $2,000,000,000.00 USD, for the record.
“The two companies quickly agreed on a framework and approximate price and have been working out the details since”, the Bloomberg report states. “Persson will help out with the transition, though he is unlikely to remain beyond that”.
The Kotaku article comments spend a lot of time questioning the wisdom of the move on Microsoft’s behalf, and I am inclined to agree. Hasn’t Minecraft reached the saturation point yet? Well, at $100 million in profit last year, maybe not. Still, it was originally hard for me to see the endgame here for Microsoft. In-game DLC? Pixelated horse armor? Banner ads on the title screen?
It is apparently much simpler than that: Microsoft is buying customers.
But Mr. Nadella has said that Microsoft views videogames as a way to expand the company’s footholds in PCs and mobile phones. In a letter to employees in July, Mr. Nadella called gaming the “single biggest digital life category, measured in both time and money spent, in a mobile-first world.”
[...] “Minecraft” could also help Microsoft appeal to a new generation of customers, especially on smartphones where Microsoft has struggled with both its homegrown Windows Phone devices and with apps on rival phone systems.
While there are other articles out there stating that Notch would never sell, the information we seem to have now is that, despite Notch having turned down similar offers in the past, it appears he is willing to sell this time around. Good for him. If you are wondering at what price point I would sell out to The Man, $2 billion is plenty. Hell, I’d settle for $2 million.
Especially if it meant I could just go do something else immediately. Or stop before I turned into another M. Night Shamamalamalan.
Current Humble Bundle up is the Humble Indie Bundle 12, featuring:
- SteamWorld Dig
- [BTA] Papers, Please
- [BTA] LUFTRAUSERS
- [BTA] Gone Home
- [BTA] ???
- [$10+] Prison Architect
Prison Architect by itself is a $29.99 Early Release game that has only ever hit $9.99 before… in Humble Bundle’s own store, in fact. So for the price of that one game, you get at least four other titles that have made some waves (i.e. Gaming Journalism™) in the indie scene: Gunpoint, Papers Please, LUFTRAUSERS, and Gone Home. Granted, most of these were topical back in 2013, but still, those four games were on my watch list (and I even bought two of them last year) without even considering Prison Architect.
As some Reddit commenters point out though, it is precisely bundles like this one that cement the “bundle or bust” mentality that surrounds indie games. I mean, let’s face it, I probably shouldn’t be buying any more games anyway, but it’s to the point these days that I don’t even bother checking Steam sales for most of these titles. If I hadn’t bought Gunpoint and Papers, Please last year, I could have gotten even more consumer surplus for that sweaty Hamilton. Which makes me think “maybe I should remove Transistor, Spelunky, Banished, Child of Light, and Ironclad Tactics from my Steam wishlist and wait for a bundle sale.”
Is that good for, well, anybody? I’ll save some dollars at the expense of being topical and relevant, perhaps. I suppose the creators of SteamWorld Dig and Hammerwatch get a win in the form of a “sale” that they would likely have never made otherwise. Who knows, maybe I’ll find those games super fun and end up eagerly awaiting their next release? Of course, by “eagerly awaiting” I likely mean eagerly waiting for the next bundle.
Now that enough time has past since GenCon, allow me to admit to a little secret: I don’t actually like card/board games that much. Crazy, right?
My issue with these games have nothing to do with their mechanics or pieces, so perhaps it’s a little misleading to say that I don’t like them. What I actually don’t enjoy is learning a new game in a competitive environment. I have no problem with the inherent randomness of rolling dice or drawing cards, but having to make blind decisions based on rules I’ve been introduced to moments ago? It always feels horrible to me.
One of the evenings after GenCon, the group retired to a hotel lobby to play Ladies & Gentlemen. The game itself was utterly fascinating in the way it effectively kept 9 people engaged 100% of the time without any awkward waiting for everyone else to take their turn. You pretty much have to have a minimum of 7 players for it to be fun (three teams + the Mistress), but it’s definitely a game I would recommend.
Unfortunately, I lost by two points. Not even “my partner and I lost”: me specifically. Because during one of the early turns I bought a purse (I was a Lady, of course) that was worth two points… but due to a rules misinterpretation on my part, it could not be counted as part of my “outfit score” at the end. And nearly three weeks later I am still stewing about it. Not because I lost, but because I lost for a really dumb reason.
Same deal back when I was learning to play Dominion with friends. I understood the rules for the most part, but it wasn’t until Game 3 or so that I began to understand the cadence, the rhythm behind the game. Which cards were better than others, the tension between buying more cards and diluting your own deck, the power of trashing certain cards, and so on. I went from the guy blindly spamming the A button in Super Smash Brothers to Sheik, nightmare princess. Until I get halfway down the mastery route though, I have close to zero fun playing these games, friends notwithstanding.
“Just go with it.” NO U. I’d rather flip a coin than make a blind decision, because at least with the coin we can all acknowledge that there was no actual choice involved. I will lose Risk, Texas Hold’em, and a dozen other card/board games graciously all night because I clearly made meaningful choices (or risk assessments) that did not pan out. A blind choice has no meaning to me, and a choice is blind until I fully understand the choice’s place in the full context of the game. Which, as you may imagine, is hard to do when you are playing it for the first time and have no reason to ever own it yourself.