Category: Gaming (page 11 of 73)

First Impressions: Hearthstone

A few years ago, Blizzard Entertainment tried their hands a trading card game version of World of Warcraft. I was into it, for a while, as were quite a few other fans. It coupled the familiar themes and powers of the MMO with excellent art and an interesting mechanic for getting cards into play that sought to reduce some of the problems inherent with a TCG’s necessary randomization. While I no longer play it, it seems to still be going, if the shelves at Target are to be believed. And now, Blizzard seems to be working on bringing that sort of turn-based strategic and collectible experience to their PC fanbase with Hearthstone: Heroes of Warcraft, currently in closed beta.

Courtesy f2p.com

The game behaves like most TCGs: you acquire a starter set of cards, assemble a deck, and do battle with other players. Every turn within a game session, you receive a mana crystal with which to cast spells or summon minions from your hand, ensuring you never get shorted on the resources necessary to play. The goal is to reduce your enemy’s hero to 0 health while keeping yours alive. There’s a hero for each of the nine basic character classes in World of Warcraft, from ancient legends like Malfurion and Gul’dan to relative newcomers like Valeera and Anduin. Each hero has some class-specific cards, and a general pool from which they can gather other minions. The game is certainly not rocking the boat when it comes to traditional aspects of TCGs, and as with most things, the devil is in the details.

There’s an astounding amount of detail in Hearthstone‘s art and sound design. The play areas themselves are interactive, every minion has a unique voice, opponents slam into one another with resounding cracks to the cheers of the onlooking crowd – it all leads to a greater sense of immersion. The minions’ abilities are varied quite nicely, opening up multiple avenues and playstyles as they are added to decks. Each hero has a power to which they always have access, meaning that a player is only rarely entirely out of options. There are two play modes: regular or Constructed, in which players assemble their decks from their personal collections before doing battle, and The Arena, where a brand new deck is constructed from a pool of random cards and runs are more limited. Both modes offer up rewards, as do Quests which are distributed once a day, most commonly in the form of gold which can be used to enter The Arena or buy ‘Expert’ packs of cards. And if you don’t need some of the cards you get, you can ‘Disenchant’ some, breaking them down into Dust which is then used to assemble different cards, from Common cards all the way up to Legendaries.

As much as I like Hearthstone, I recognize it has some flaws. There’s very little to do on an opponent’s turn. There are ‘secrets’ which are cards that activate on certain triggers from an opponent, but only a few classes have them and they’re not that difficult to deal with. A couple classes feel a little unbalanced (looking at you, Priests) and it can be difficult to assemble an effective ‘theme’ deck. There are some glitches here and there, but the game is still in beta and that’s par for the course. Finally, the game can be a bit stingy with its in-game currency and rewards, and while the nature of its systems keep it from being a ‘pay-to-win’ style game outwardly, I feel like higher quest rewards or more Dust from the Arena would be better incentives to keep playing.

That said, Hearthstone is a rock-solid implementation of a good premise for an extension of one of Blizzard’s longest-running franchises. I am enjoying the beta, and continue to sneak matches in around writing sessions and bouts with longer games like Skyrim and World of Warcraft. It scratches the Magic: the Gathering itch quite well and, flawed as it is in places, I’m curious and eager to see how it behaves in its final form.

Let’s Get Together

A sample setup of Archipelago. Sort of.

I’m finding more and more that the games that I truly enjoy playing with other people aren’t necessarily straight-up competitions. Oh, I still enjoy a good game of Magic, don’t get me wrong. And Blizzard’s collectible game Hearthstone scratches that particular itch while having a purchase system that makes you want to buy packs to both explore and collect, not just to “buy power” as you can in other free-to-play games. But with JayCon approaching, I figured I’d gather up the games I plan on taking which might get played, and I noticed that all of them have at least some level of cooperation.

Both Escape: The Curse of the Temple and Elder Sign are fully cooperative, with players rolling dice together to overcome the obstacles presented by the game. Elder Sign is perhaps best described (if somewhat derogatorily) as “Arkham-themed Yahtzee”. Players are investigators in an old museum whose exhibits are making it easier for some sort of horrific elder god to awaken. The investigators must gather the mystical signs and defeat monsters to prevent the end of the world. There is a ticking clock, and investigators have limited amounts of stamina and sanity. Escape, on the other hand, is a game played in real time. Instead of taking it in turns to explore the temple, battle its curses, and unearth its treasures while looking for the exit, players move and act as fast as they can roll their dice. The game comes with a soundtrack, which both provides atmosphere and audio cues as to when players must race for the safe room before losing one of their dice permanently. It’s a great, intense little burst of fun and adventure that only takes ten minutes to play, and it’s even fun to take on solo.

I’m sure some people are tired of me going on about The Resistance: Avalon and Battlestar Galactica, cooperative games with hidden threats. Player cooperation is not so much encouraged as demanded, and the fact that one or more players are intentionally deceiving the others adds an entirely new wrinkle to the gameplay. It’s entirely possible that two completely different levels of cooperation are going on simultaneously, all without direct communication, and that makes for a great time with friends who you may end up resenting because they were so good at fooling you. But perhaps the game I’m most eager to play (or play more of, I tried it out Tuesday night) is Archipelago.

I don’t have enough experience with the game to write up a full review, but the game is fantastic. It takes a series of various game mechanics – player bidding, worker placement, card drafting, and so on – and chains them together into a rotating arrangement of ever-evolving depth and complexity. From a relatively simple starting point, just a couple of turns in, the game explodes with choices and challenges. Each turn sees a problem on the islands that must be overcome through a combined effort of everyone involved… but not everyone has to participate. In addition to all of its other systems, Archipelago gives each player a personal, private objective. This could be as simple as having the most money or building the most churches, but it could also be supporting the natives in a war for independence. The fact that the players do not know what each other’s objectives are, and can interpret the actions of an obstinate player in multiple ways, lends even more depth and nuance to a game that is already keeping several plates spinning at once. I’m very curious to see how the game players with more than two players, especially if one is aggressive and ambitious, or if one is manipulative and keen to whatever fears may be sweeping the islands at any given moment.

Needless to say, I’m very much looking forward to this weekend. Be it rolling dice, dealing cards, or buying local beef to export pineapples to Europe, it’s going to be a great time at the tables.

First Impressions: The Wolf Among Us

Telltale Games has a lot going for them. Their Poker Night games demonstrate some pretty solid design choices, while The Walking Dead is one of the best storytelling experiences I’ve had gaming in recent memory. Adventure games, to me, remain a charming and underrated way of combining gameplay with story, ensuring our actions and choices define the outcome of what’s happening in front of us. I was looking forward to trying out The Wolf Among Us, and recently finished its first episode, “Faith”.

Courtesy Telltale Games

The Wolf Among Us introduces us to the world of Fables. A series of graphic novels from DC’s always-interesting Vertigo studios, Fables are literally fairy tale characters who live in our world. Having emigrated from their original settings, these legendary characters do their best to live among normal humans, with the less than human-appearing ones needing magical spells to pass as everyday people. They live in their own little corner of New York City, dubbed ‘Fabletown’, and order is kept thanks to an unlikely sheriff in the form of Bigby Wolf. He’s our protagonist, but he’s not much of a hero.

In fact, in the past, he’s played the villain most often. As the Big Bad Wolf, he’s gone after and devoured pigs and little girls alike. However, that was the past. The character we see in The Wolf Among Us is much more reserved and far less malevolent, though he still has a surly attitude and is more than capable of beating down someone trying to put a hurt on him. He’s trying to make things better, for himself and for Fabletown, so he tries not to ‘wolf out’ or abuse people. He’s complex and magnetic, a great lens for us to experience Fabletown through, and like all Fables, he’s very hard to kill – this is, after all, a character that once has his stomach filled with rocks before he was thrown into a river. And yet, The Wolf Among Us is something of a murder mystery, meaning Bigby must use skills other than his ability to punch people really hard.

The combat in The Wolf Among Us is an improvement over that in The Walking Dead. Movement keys prompt dodging, the mouse helps Bigby use the environment or strike key portions of an opponent, so on and so forth. Prompts from the environment are also improved. If I had a complaint about the game, it’d be that the on-screen prompts from the environment make puzzles a bit too easy to solve. I’m not sure if you can turn this feature off or not – I’ll just have to play again to find out!

‘Faith’ is a great start to this new series of Telltale episodes. Fabletown is full of great characters, who both maintain the aspects that made them timeless and present them in a new, modern way that smacks of a noir classic. I’m a sucker for the blending of genres in general, and this particular mix is right up my alley. I’m very much looking forward to coming episodes. The Wolf Among Us offers a ‘season pass’ on Steam for all five of its episodes, and you can get individual ones on the console of your choice. It’s definitely worth your time to check out.

The Creeps

HAL 9000

Slasher movies and torture porn will always have their place at Halloween and in the hearts and minds of horror fans. For me, effective and lasting horror does not necessarily have anything to do with buckets of blood or how stomach-turning the visuals are. Sometimes, the most penetrating stories of terror have less to do with what we see, and more to do with what we don’t; less about the delivery of lines, more about what’s left unsaid.

In terms of visuals, one of the most effective and haunting horror games I’ve ever played is Amnesia: The Dark Descent. A little indie gem from a few years back, Amnesia remains a game I have yet to finish. Some horror games like to throw their monsters directly at you in as loud and visceral a way possible, but Amnesia plays things with more subtlety. With no means to defend yourself, a limited amount of lighting in a game defined by darkness and shadows, and the addition of a sanity meter that makes things even more difficult if we’re alone in the dark for too long, when monsters appear (or don’t, but you know they’re there) it’s best to just run and hide. It’s frighteningly easy to lose track of where you’re going and what your goal for the moment is when you hear a moan or a scraping sound and you pretty much crap yourself in terror. The sensations created just through sound design and good use of the environment are, in a word, creepy.

Endermen in MineCraft also qualify. Dark-skinned creatures that appear in dark areas, Endermen are unique in that they won’t attack you right away. They’ll blink around with their teleportation powers, move blocks here and there, and stare at you. If you stare back, though… that’s when they become hostile. They scream. And they teleport directly behind you to attack you. Quite creepy.

Sometimes, though, the visuals and triggering mechanisms aren’t what stick in our minds as something that creeps us out. Sometimes, a person or object can appear completely normal, yet project that aura of vague discomfort that’s impossible to shake. This happens a lot when a character appears normal, but talks and acts in a way that hints that they’re not quite human, and perhaps only learned about humanity from reading a pamphlet or taking a correspondence course. The Observers in Fringe apply, especially September in the first season. The G-Man from Half-Life also springs to mind – courteous, polite, well-articulated, but… there’s definitely something wrong with him.

Stanley Kubrick is one of the best film directors to convey this sense of unease. Many of his shots in The Shining and A Clockwork Orange are off-putting in their framing, length, and presentation, even if the conversations within could be considered entirely mundane. But for me, one of the creepiest things he’s ever brought to life is the HAL 9000 from 2001: A Space Odyssey. Faceless antagonists range from Doctor Who’s Daleks with their stilted, loud voices and monstrous appearances concealed by armored throwbacks to low-budget sci-fi, to Michael Meyers and his silent, towering, knife-wielding menace. But HAL is unique. He’s not overtly malevolent, nor is he outwardly psychopathic. He is a computer. He is a construct of logic and reason. His actions, given his programming, make sense, when you think about it. And he never raises his voice, never swears, never even speaks ill of those he wrongs. This calm, even manner of speaking coupled with the unblinking gaze of his multiple cameras and the amount of control he exerts over the crew of the spacecraft Discovery make him one of the creepiest characters ever created.

What’s creepy for you? Who’s your favorite creepy antagonist?

From the Vault: Death & Consequences

Dayjob demands have put me way behind in several ways. As I struggle to recover & catch up, here’s an entry from last year that I feel is still relevant.

Courtesy Firaxis Games
One of these soldiers is likely to die.

There’s just something about a game, or story, that doesn’t pull its punches.

I get a feeling for that something when I play FTL or the new XCOM. A ship exploding under my intrepid crew or a favorite soldier getting their face melted off by plasma fire carries a bit of an emotional wallop. I’m tempted to keep the autosave feature of XCOM turned off to heighten that feeling and maintain the game’s edge. And that edge comes from choices having consequences, and those consequences sticking.

When games present their players with choice, the experience is improved when those choices mean something later on. One of the strengths of the Mass Effect series was that who you spared and who you left to rot does come back in one way or another, even if it doesn’t play too much into the overall story. While the consequences of those choices only really mattered in a minor sense, it felt like they mattered, at least to me.

In the aforementioned games, the choices really do matter, and a wrong choice means death. It’s not telegraphed or presented in story terms, either; they’re the little incidental gaming choices we make, like having a soldier cover a civilian’s retreat, or picking one class of weapon over another, or choosing the destination for your vessel. It is nearly impossible to predict which choices will lead to total victory and which will lead to bloody doom. That is what makes these games challenging and fun to play.

Similarly, some of the best stories out there have characters who make choices that lead to either their deaths or the deaths of others. It happens to men and women in command all the time, sure, but others are simply doing what they feel is right or trying to protect someone or something they love. George RR Martin, Jim Butcher, and Chuck Wendig have all done this – a character we like makes a decision, does all they can to back that decision up, and it explodes in their face. Someone close to them gets hurt or killed, and their own life may come close to ending before the story’s done. It’s tragic, it’s harrowing, and it’s great storytelling.

Make your character’s choices matter. Make those deaths mean something.

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