Some may consider it a bit of a cheat for me to go over a game I’ve discussed previously. However, a discussion of body horror in video games as part of a Halloween theme is not the same as a full-blown review. And since this game is now available on Steam, I figured now would be a good time to give it the full treatment. Let’s get right into it.
The Tri-Optimum Corporation, late of the original System Shock, has backed the world’s first faster-than-light drive, installed on the science vessel Von Braun. Tethered to the military cruiser Rickenbacher, this historic trip takes the crew of scientists and pioneers to the distant system of Tau Ceti V. When your character awakens, it’s clear that the trip has not gone very well. The Von Braun has holes in it, the AI has gone a little nutty, and the crew? Well… most of them ask you to kill them as they slam your face with a length of pipe.
Like the original System Shock, the setting pits the player, effectively alone, against sci-fi corridors full of active threats. However, it quickly becomes apparent that there are more layers to this game, and I’m not just talking about the multiple decks of the Von Braun. While the malevolent AI SHODAN was the sole antagonist of the first game, it doesn’t take long for a voice other than the Von Braun‘s computer XERXES begins to taunt the player. The game is full of reveals and changes in plot and setting that are well-paced, thanks to the layout of the starships and the ways in which the player upgrades their character.
They tell you to run. They beg you to kill them. They’re very effective creatures, and they’re just the beginning.
This is a true RPG with shooter mechanics, as opposed to shooters with RPG elements like BioShock or Deus Ex: Human Revolution. This isn’t to take anything away from either of those games, as they’re both excellent. However, the focus of more modern games is on the shooting as opposed to character construction. System Shock 2‘s melee has the Half-Life feel in that you can just slam the attack button until whatever is in front of you crumbles. Shooting is better, but since ammunition is very scarce, you may not be doing it as much as you do in other games. You need to rely on other skills, like hacking, weapon maintenance, and possibly psionic powers in order to not end up like those poor hybrids.
In addition to its well-balanced and thought-provoking character system, System Shock 2 conveys atmosphere extremely well. Sound design especially stands out, from the pained groans of the hybrids to the skittering noise of the arachnids to the chittering of the creepy worms. In terms of overall creepiness, the cake is probably taken by the cyborg midwifes, while the ramblers really shocked me into nearly crapping my pants with their speed and desire to swallow my face in those really disgusting tooth-ringed maws of theirs. Yeesh. You see one of those lumpy sons of bitches, you’re gonna have a bad time.
… Yeah. This game is creepy.
The dated nature of the graphics can undercut the tension somewhat, but there are plenty of mods out there to help with that aspect. The nature of the engine can also get in the way of your enjoyment. I’ve heard of people getting frustrated when they spent all of the cyber modules on their Endurance and Heavy Weapons stats only to realize they needed something else entirely to finish the game. As much as the game does not railroad you into certain builds, and allows you to construct your character any way you like, there are “optimal” builds that will make the game less challenging. It’s not exactly a drawback for me, but I know it may turn others away, and therefore bears mentioning.
Stuff I Liked: The atmosphere of the game is super creepy and the level design is very well done. The setting has plenty of depth and background. The ability to switch around your ammo as the situation demands is a neat idea. Stuff I Didn’t Like: Most of my complaints can be chalked up to the age of the game. As solid as it is, it’s not as smooth as some modern titles. But they’re all minor quibbles. Stuff I Loved: The Polito thing and everything after, full stop. The necessity of managing both inventory and stats and nanites (cash) give it an entire layer of challenge that has nothing do with combat.I also loved the open-endedness of the game’s RPG system, and the replayability promised by the idea of different builds. I hear Psi-heavy builds are fun and I’m curious to try one out.
Bottom Line: Like the original Deus Ex, System Shock 2 has appeal beyond nostalgia. The systems of the game are rock-solid despite the passage of time, and it still is both enjoyable and challenging to play. The story feels decent in its construction and the layout of the levels means things are well-paced. Regardless of whether you’re new to the idea of sci-fi RPG shooters or you have fond memories of games like this, System Shock 2 now being available on Steam means you have no excuse not to play it. So go do that.
Twilight Imperium is, in a word, massive. It is a box full of galactic hexes, plastic ships, embossed cards, cardboard counters, and reams of rules, all with one purpose: to recreate a space opera on any flat surface that has the space to accomodate it. I often refer to it as “Game of Thrones in space”, as it relies just as much on political intrigue, backroom dealing, table talk, and canny positioning as it does strategic war planning and tactical combat. I finally had the chance to sit down and play a game, graciously hosted by Jay of Goblin Artisans. Joining us were Josh, who does board game reviews, and my father, a man who’s been playing wargames since around when Tactics II came out in 1958.
We began with a pre-generated semi-randomized galaxy, rather than taking extra time to indulge in the interesting but time-consuming minigame that allows players to set up the systems, hazards, and resources around the capitol, Mecatol Rex. We then chose our races, with me dealing two home systems to each player and letting them pick one. Josh chose the Xxcha Kingdom, Dad picked the Sardakk N’orr, Jay selected the L1Z1X Mindnet, and I settled on the Mentak Coalition. After a brief tutorial on tactical actions and how play would proceed, we sat down for the first round.
Round 1
Spinwards from top left: Xxcha in yellow, Sardakk N’orr in blue, L1Z1X in green, and Mentak in red.
Since none of us had played Twilight Imperium before, Round 1 was very much a round of getting familiar with the mechanics of the game. There was a touch of confusion regarding the relationship between the strategy cards and one’s choices; I had to reiterate that one does not have to execute a strategy card immediately on its priority number. For the most part, the round consisted of all four players claiming systems in their immediate environs. The Xxcha Kingdom extended an olive branch to the Mentak Coalition right from the beginning, and began what was, for most of the game, a very cordial and peaceful relationship. The Sardakk N’orr began its spread relatively quickly, and the L1Z1X Mindnet began churning out dreadnaughts. None of this was surprising, and by the end of the round, all of the players had a much firmer grip on not only the rules of the game, but how to go about earning their first Victory Points.
Round 2
“I’ve got a bad feeling about this…” The Mindnet invokes Warfare.
Given the semi-random nature of the pre-set galaxy, it was by sheer dumb luck that most of the planets within easy reach of the Xxcha were heavy on influence. They begin exerting it almost immediately, dominating votes and earning one of the first public objective’s victory points. But I’m getting ahead of myself. The L1Z1X was already in a threatening position, using Warfare to intimidate their Mentak neighbors while also eyeing up the encroaching Sardakk. The Sardakk, for their part, occupied Hope’s End, training their first Shock Troops and preparing for what would either be a massive invasion of Mercatol Rex or a thrust into L1Z1X or Xxcha space, depending on which race looked at them funny first. Still, at this point in the game, no major battles had been fought and the galaxy was relatively at peace. This, however, was not meant to last.
Round 3
Mecatol Rex is temporarily dubbed “Space Tortuga.”
In a bold move worthy of audacious pirates, the Mentak seized Mecatol Rex during this round. While this was undoubtedly a victory for the privateer coalition, the annexation of planets by the Xxcha even closer to their borders would be a telling weakness that was not immediately recognized. The forces of the L1Z1X continued to build on the very doorstep of the usurpers, while the Sardakk continued building military might of their own, right on the doorstep of the Xxcha. Tension was building throughout the galaxy, and it was only a matter of time before implied threats would have to be answered with irrevocable action. The Mentak scored the Defender preliminary objective, which put them in the running for the lead with the Xxcha, while both the L1X1X and the Sardakk scraped what VPs they could out of their preliminary objectives.
Round 4
Pirates and cyborgs fight as turtles mobilize and bugs threaten.
The Xxcha, a race not known for quick action, began to mobilize in the direction of their bellicose neighbor, the Sardakk. Considering the size of the Mentak force occuping Mecatol Rex, the Xxcha had no desire to break their non-aggression pact. The Mentak, for their part, could not leave the fleet of L1Z1X dreadnaughts in a position to strike their systems, and thus struck first, their flagship leading the way and destroying the fleet. However, considering the growing number of Sardakk shock troops on the doorstep of Mecatol Rex, the Mentak could not bring any troops of their own along, and thus did not gain any territory from this action, nor did they qualify for the public objective that required an invasion of an enemy world. The Xxcha were free to make their maneuvers and enforce policies that benefitted them. Only by working together could the other three races oppose them politically, and accusations began from the Sardakk and L1Z1X calling the Mentak a ‘puppet’ of the Xxcha. With relations continuing to sour, and skirmishes breaking out, the possibility of a total galactic war began to grow. The Mentak’s occupation of Mecatol Rex qualified them for the Usurper secret objective, sliding them into the lead just ahead of the Xxcha.
Round 5
The Xxcha fully emerge from their shell!
Needing the objective that requires invasion, the Xxcha began maneuvers against the Sardakk N’orr, as DMZs began to be declared in the neighborhood of Mecatol Rex. The forces of the Sardakk on Hope’s End continued to grow, with deadly insectoid warriors covering the planet, and now looking at both a loss of one of their systems and the continuing threat of the Mentak fleet orbiting Mecatol Rex. The Mentak abstained from a key vote in the Assembly, souring relations with the Sardakk and the L1Z1X even further. Perhaps in response to this, as the center of the galaxy saw warfare and tension, the L1Z1X quietly built a space dock at a world near the B wormhole. The Xxcha and the Mentak were now tied for the lead, with the Sardakk and the L1Z1X also tied at 3 VPs apiece.
Round 6
Despite the continuing build-up of forces and advancement of technologies, the positions of the races remained static for the most part in this round. Instead of leaving the relatively comfortable position they had from occupying the capital, the Assembly action prompted the use of a political sanction that, after several discussions, wiped out the huge buildup of Sardakk forces on Hope’s End. While all of the fallout from this played out, the L1Z1X built more of their signature dreadnaughts on the Mentak’s doorstep, while the usurpers focused on protecting their ill-gotten gains. The Xxcha retreated from Sardakk space to allow the bugs to retake their world, keeping to the goals of the game and qualifying for another public objective.
Round 7
Cyborg vengeance!
The plan of the L1Z1X came to fruition when they made their incursion into Mentak space, destroying the fleet around their homeworld. The Mentak began to struggle to muster a response as the Sardakk surged towards the Xxcha, who are themselves shifting their forces towards Mentak space. After five hours of play, the players moved through their turns more quickly and efficiently, executing strategies to move towards Victory Points, with the L1Z1X and Sardakk working to catch up and the Xxcha nudging ahead of the Mentak by a single but vital point.
Round 8
After hours of cordial relations, the Xxcha finally broke their treaty with the Mentak. With plenty of warning to their former friends, their forces entered Mentak space and seized the Tsion station to destroy the space dock there. As the Mentak reeled from the last few rounds’ incursions and geared up to retake their home world, the Sardakk aimed to push back against the Xxcha while the L1Z1X waited to take advantage of chaos to strike towards Mecatol Rex. However, the Xxcha executed the Bureaucracy strategy and played the public objective for which they had just qualified by destroying the Tsion space dock. This earned them their 9th victory point, ending the game.
The Xxcha Kingdom wins!
In Review
Twilight Imperium is not a game for everybody. While the mechanics of tactical actions are not in and of themselves complex, and make up the bulk of what you’ll be doing, they are at the core of what is a fairly complex and balanced system. Part of the game’s beauty is in its starting random elements. Unless a house rules system is in effect, no player can walk into a game of Twilight Imperium know who they will represent, what to expect, or how they will work towards victory. The game demands a profound commitment: not only will it eat up several hours, if not an entire day, it requires your full attention at all points. Our session lasted around seven hours, and at no time was I either bored or uninterested in what was happening, focused entirely on my forces and strategies. There were moments of confusion even late in the game, and smart players can take advantage of this. Just like in any political arena, like the noble houses of Westeros or the star-spanning Lansraad of Dune, confusion can be either your unspoken ally, or the final nail in your coffin.
While the commitments might be intimidating and the challenge daunting, the game is very fun to play and very intellectually stimulating. More than any Fantasy Flight game I’ve played, it is steeped in atmosphere, with everything from the nature of the races to the progression of technologies to the bickering in assemblies all creating a thick and lush tapestry of storytelling among the stars. And every story is going to be different! For what it’s worth, I consider myself hooked on the game. It requires planning ahead to play, a setting aside of time and a satisfaction of earthly commitments so you can play with a clear conscience, but if you can get a few friends to take this journey to the Twilight Imperium with you, and at least one of you takes the time to nail down the basics of the rules so nobody’s spending precious game time bent over a rulebook, the journey will be well worth the taking.
For years, Ken Levine has been keeping gamers on their toes. System Shock 2 built on player expectations of both shooting games and the original System Shock. BioShock reminded modern audiences that action and terror could be balanced well and coupled with good storytelling and multi-dimensional, memorable characters. And now, BioShock Infinite has delivered one of the best gaming sucker-punches since Spec Ops: The Line, though he did so at the very end of his game with what has been called a bit of an exposition dump. Given the nature of the dialog, and the method of it’s presentation, one might even go so far as to say Levine a pretentious dick for doing what he did… and you know what? That’s okay.
Spec Ops was also a bit pretentious. Braid, Journey, Bastion… all of these games use their gameplay to move the story forward and play on themes that are above and beyond the scope of many of their contemporaries. They work on higher levels, and sometimes multiple levels. The pretense upon which such games work (hence the word ‘pretentious’) is that their story is just as important as the accuracy with which the player can shoot dudes, or the level of challenge in their puzzles. There’s nothing wrong with this. In fact, I’d argue that in terms of game development and presentation, Ken Levine is an example of someone doing everything right.
BioShock Infinite may not be a perfect game, and it may be flawed, but what it does is done so well it’s likely to be towards the top of many Game of the Year lists. Like its true predecessors, it builds on player expectations before yanking the rug out from under them. BioShock parsed past the linear progression of many other shooters (even some that came after it) and showed just how artificial that sort of pacing could be by making the player’s character a literal pawn in somebody else’s game. Very few of the choices the player makes in that game are their own; outside of weapon and plasmid selection, the phrase ‘would you kindly’ rips any agency out of the player’s hands and pushes them towards the game’s conclusion. While there’s nothing wrong with linearity in games, especially ones so heavily concerned with story, I always got the impression that Levine was demonstrating how important choice and consequence truly are by exposing this sort of railroading. In a way, this has always been his crux: make the wrong choices in System Shock 2 and it becomes impossible to complete, “A Man Chooses, A Slave Obeys” in BioShock, and in BioShock Infinite we see the choices made by both Booker DeWitt, and especially Elizabeth, changing the world around them.
A choice made by Booker alters things forever, and he may be the player’s surrogate in the world of Columbia, but I don’t think the game is his story. The first thirty minutes or so of BioShock Infinite involves you exploring Columbia once you arrive and its exposure for what it is beneath the bright, idealized facade. The story proper, for me, didn’t really kick in until our first conversation with Elizabeth. Not only is she a fascinating and well-rounded character, her presence draws out more development for Booker, she has a direct effect on the world both during the shooting and as part of the narrative moving forward, and the story literally would not be possible without her. As much as ‘focus testing’ showed that target audiences wanted Booker on the cover of the game, it was clear to me that Elizabeth is the true protagonist of BioShock Infinite, the one who makes the more difficult choices and truly grows as a person, coming into the full realization of her powers and potential. While Booker does face truths about himself and comes to terms with his past, his arc is simply not as interesting as Elizabeth’s, and the fact that Levine was able to get this story into the hands of those who did not expect it just tickles me.
I think there are a lot of game designers out there who really want to make a difference. They see the state of gaming and interactive storytelling, and they want to change things for the better. It’s a little fanciful to think it can be done, but Ken Levine has shown one of the ways you do that. I called Bioshock Infinite a sucker punch because the nature of its story, the degree to which we care about Elizabeth, and the final revelatory walk through the many worlds and lighthouses are all things most gamers did not expect. Like his other games, this is one that bears re-playing, and enjoying all over again, and not just for the challenges of the gameplay or the unlocking of achievements. Ken Levine’s ideas on how to tell stories in games and how that can change things may be fanciful – but it also works.
It’s worth noting that BioShock was one of the very first video games I reviewed. It’s clear that in those days I was still learning the ropes and refining opinions, however, as my review of BioShock 2 ended up being overly generous. If I had the inclination, I would go back to the entry and edit in a couple more things that I’ve realized I didn’t like, but that’s old ground that’s been tread several times. Let’s just leave it at this: until now, BioShock did not have a worthy sequel. It had a map pack and some skins and a multiplayer mode, bundled and sold as a game. BioShock Infinite is the actual sequel to the first BioShock game, and it has a lot to live up to. It’s not every day that a gaming franchise gets a saving throw.
The year is 1912, and we find ourselves portraying hard-bitten private detective Booker DeWitt. A veteran of the infamous 7th cavalry and a former Pinkerton agent, Booker’s a little down on his luck, having racked up some debts from gambling. He is given a mysterious offer: “Bring us the girl, and wipe away the debt.” The girl, according to the box on his lap as he is taken to the lighthouse, is Elizabeth, a tower-bound prisoner in the airborne city-state of Columbia. At first, the city seems peaceful and prosperous, even if the citizens worshiping the founding fathers of the United States is a bit off-putting. Soon, however, DeWitt is on the run from the constabulary, who are admonished by their leader and patron saint, Z.H. Comstock or “the Prophet”, to destroy the “False Shepherd” DeWitt before he can lead “the Lamb,” Elizabeth, astray.
The games of Ken Levine have always had evocative environments, and BioShock Infinite is no exception. Columbia joins the underwater metropolis of Rapture and the corridors of the Von Braun in creating a living, breathing place with its own unique atmosphere. However, instead of the harrowing sci-fi horror of the first game or the objectivist utopia gone wrong of the second, BioShock Infinite turns a glass on history rather than literature or a genre. Specifically, Columbia invokes the so-called American exceptionalism of the turn of the 20th century. Much like the pundits of FOX News and other conservatives, the people of this time believed that they were the rightful heirs of a nation of immigrants and disparate peoples, which of course meant it was unfit for immigrants and disparate peoples. To the game’s credit, things like jingoism, racism, and sexism are handled in a largely subtle fashion, simply presented as they were or would have been in 1912 rather than dwelling on our modern views on the matter, and does not allow any pontification get in the way of the story of Booker and Elizabeth.
“Um… Miss? I really hope that book isn’t loaded…”
Perhaps the strongest part of the game is that story, which I will not spoil here. There was some controversy before the game’s release concerning the decision to put Booker front and center instead of Elizabeth, and now that I’ve played it, I can say that I agree with those who think Elizabeth deserves her place on the front cover. She’s a well-rounded, interesting, strong, and engaging character. It was conjectured by some that the bulk of the game consisting of a glorified escort quest would make the game dull or uninteresting. As much as there are some flaws in the gameplay, Elizabeth’s role is not one of them. Not only is her ability to open rifts between parallel universes crucial to the plot, she can assist in combat by pulling in cover, turrets, and items when you find the right rift. In addition, she will occasionally find money, health, ammunition, or Salt (which powers your Plasmids Vigors) in the middle of a firefight. Finally, she will point out if some enemies have specific weapons so you can prioritize. Outside of combat, as you explore Columbia, Elizabeth and Booker will converse, banter, and even argue. Their conversations feel natural and spontaneous for the most part, which is a credit to the writers and voice actors. I often found myself frustrated with a shooting section because I wanted to spend more time with these two rather than shooting at dudes.
BioShock Infinite is not perfect, and its biggest flaw may be the shooting at the core of the game. While the guns function well, there’s very little skill involved in it. Much like its previous games, this BioShock focuses less on the building of your character’s abilities and more on what the character does between combat sequences. One of the things that really bothered me is that Booker is limited to two guns, while all eight Vigors are always available once discovered. There aren’t that many tactical decisions to make, and between the pushover human enemies to the Handyman encounters that make the Big Daddies look like rather friendly folks, not a great deal of variety. It doesn’t completely derail things, and the Skyhook’s ability to zip you around the gallery rather than confining you to cover helps quite a bit, but it does keep BioShock Infinite from reaching its full potential as a gaming experience. As good as the story is, the player’s interaction with it is somewhat minimal. No significant decisions are made, and the outcome of the game cannot be changed. As worthy as the destination is of the journey, I feel like an opportunity was missed in favor of rendering the Automated Patriots, which are probably the most fun enemies to fight. But I digress.
Gives new meaning to the term “rail shooter”.
Stuff I Liked: The weapons had a good, turn-of-the-century look and feel about them. I like that audio logs, environmental messages on the walls, and open non-linear level design remain a part of this gaming series. The presentation of the Vigors is very good. The combat can be satisfying at times, especially when the Skyhook gets involved, but… Stuff I Didn’t Like: I felt hamstrung because I was limited to two weapons. There are portions later in the game where it felt like an incredible liability. As good as the story was, more could have been done to make the player feel included in the experience, rather than simply being an observer. That said… Stuff I Loved: The story IS well-presented, paced decently, and ends in a very satisfactory manner. The character of Elizabeth is fantastic. Booker adds a great deal of personality by not being a silent protagonist. I adore the British twins. The music is great, the graphics are beautiful, and the city of Columbia invokes curiosity and fascination as you explore.
Bottom Line: Despite its flaws, BioShock Infinite is an extremely good game. Few games present their stories with this much humanity, pathos, and personality. The world is very well-realized and encourages you to spend time there. While the combat isn’t great, it does have some interesting bits to offer, and it provides the promise of a universe where BioShock 2 never existed.
Badass biker antiheroes with chainsaws never stop being awesome.
The announcement came down yesterday that Disney is pulling the plug on LucasArts. While it seems unlikely that Star Wars games are going to go anywhere, because it’s a cash cow that never seems to run out of milk no matter how past expiration it might be, the prospect that many of its adventure games will never see new content or sequels. No new Full Throttle. No new Grim Fandango. No new Day of the Tentacle. Even TIE Fighter and its ilk seem to be fading into the annuls of gaming history, never to return. We’ll never see games like these again.
… Okay, that’s hyperbole, because good games never die.
The fact that LucasArts has finally been given the mercy of being walked behind the shed and bade farewell before Disney pulled the trigger on Walt’s old scattergun doesn’t mean the developers of the beloved games also got sent to a farm upstate. Tim Schafer‘s Double Fine is doing just fine, and as I write this something flavored like an old adventure game is supposedly being developed with all of that luscious Kickstarter cash. Likewise, a spirital cousin to TIE Figher was Wing Commander, and Chris Roberts is also using crowdsourced funds to develop the eagerly awaited Star Citizen. Here and there, the minds behind the games now locked away in Disney’s vaults are still working to make new and interesting adventures for us. Not all of these games will be perfect, of course, but there’s plenty of hope for the future.
They’re not the only ones working on it, either. TellTale Games is becoming a company whose hallmarks are high quality games with either great, broad appeal (Poker Night) or the resurrection of high-quality adventure gaming (The Walking Dead). With their growing success and attention given them by various “top games of 2012” lists as well as being featured on Extra Credits, it’s clear that good adventure games are still something gamers want. To paraphrase what James says, to declare a genre of game (or just about anything else) ‘dead’ is a declaration of rather silly hubris; things of the past don’t necessarily lose their appeal just because they’re old. If you want a good example of something of quality never truly dying, look no further than the Muppets.
Finally, even if another new adventure game were never to hit the shelves, be they real or virtual, the old ones haven’t really gone anywhere. Some of them, however, have been so outstripped by technology that it can be difficult to get them running properly on modern machines. Enter services like Grand Old Games, or GOG. From Gabriel Knight to King’s Quest, from Myst to Sam & Max, many of the nostalgic cravings of adventure game veterans like myself can be sated by this service. It’s where I got my playable copies of Wing Commander, after all, and I was playing System Shock 2 in preparation for BioShock Infinite. Once that and some other modern games are out of the way, I have my sights set on nostalgic trips into Stonekeep and Beneath A Steel Sky.
I believe that good games never die. And if someone calls them dead, I’ll be one of the first to raise them. Once a necromancer, always a necromancer, I guess.
