Category: Gaming (page 4 of 73)

White Weenies: A Hearthstone Deck Dossier

Courtesy GiantBomb
“Put your faith in the Light!”

I’ve been making attempts to climb up the ladder of ranks in Hearthstone: Heroes of Warcraft for the last few months, in my spare time. … And finally, I have a deck that, while certainly inspired mostly by another of the same name, has had enough tweaks that I feel justified in documenting it here.

In Magic, there is a type of deck that is either powered entirely by white mana or features only the tiniest of splashes from other colors, and is populated by small creatures that grow larger thanks to global or targeted ‘buff’ enchantments. These decks grow from a rather innocuous beginning to present the opponent with a formidable army that is a lot tougher than it looked initially. Due to its color and the size of its creatures, it is called a ‘white weenie’ deck.

The Hearthstone deck in question works on a similar theme. It is a Paladin deck, since the Paladin’s Hero Power produces 1/1 tokens (a staple of a White Weenie deck in Magic) and the Paladin-exclusive epic weapon [Sword of Justice] buffs multiple minions as they are summoned. Combined with low-cost minions like [Argent Squire], [Knife Juggler], and [Leper Gnome], the deck presents itself as fairly aggressive.

White Weenies

2x [Noble Sacrifice]
2x [Abusive Sergeant]
2x [Argent Squire]
2x [Goldshire Footman]
2x [Leper Gnome]
2x [Argent Protector]
2x [Ironbeak Owl]
2x [Knife Juggler]
2x [Sword of Justice]
2x [Divine Favor]
1x [Truesilver Champion]
2x [Consecration]
1x [Hammer of Wrath]
1x [Faceless Manipulator]
1x [Leeroy Jenkins]
2x [Argent Commander]
1x [Guardian of Kings]
1x [Tirion Fordring]

A few similar decks like to run more minions with Divine Shield along with the [Redemption] secret, maintaining their board presence and therefore their aggression in that way. I opted for more of a midrange feel, featuring taunts and silence effects towards the lower end of the curve while maintaining powerful finishers like [Leeroy Jenkins] and [Tirion Fordring] towards the top. I also include a Guardian of Kings to recover from early aggression and both [Consecration]s to help stabilize against aggressive Hunters and Zoolocks.

For the most part, the strategy of this deck is simple: swing for the face. Early aggression tends to pay off, and if you can force your opponent into trading their minions for yours, especially in a disadvantageous way, all the better for your success. Remember that, in this deck list at least, you have a healing minion that will help you recover any ground you lose against more aggressive decks. Decks that rely on high-cost mid-game responses, such as Handlock or most Mage decks, struggle to keep up with White Weenies, especially if you save your silence effects and direct removal to deal with large taunts and threats.

Running up against Zooluck, Hunters, and Miracle Rogues is a challenge. You want to look for good early plays, such as [Argent Squire] followed by [Noble Sacrifice]. Most of the time, a [Sword of Justice] in your starting hand is a good thing, while high-end cards in the same hand are not. Against these decks, it’s basically a race, and you’ll want to put your opponent on an awkward footing as quickly as possible with some fast damage.

Shaman and Priest, so far, are the worst matchups for this deck. They simply have too many early-game answers that either completely undercut your progress or put themselves in a superior position that White Weenies struggles to unseat. Just be aware of this, and try not to take the losses too hard.

Let me know what you think of the deck in the comments! If you have suggestions to make the deck better, I’m interested in hearing them.

Game Review: Middle-Earth: Shadow of Mordor

It has been a mere week since I wrote up my First Impressions of Monolith’s open-world Tolkien-based stab-’em-up Middle-Earth: Shadow of Mordor. While I have not finished the game, I have opened up quite a bit of the world, engaged in a plethora of power struggles, learned a great deal about one of the darkest corners of this famous fantasy realm, and nearly thrown my controller in frustration on more than one occasion. I think we’re on to a winner, here.

Courtesy Monolith & WB

Middle-Earth: Shadow of Mordor takes place after the time of the adventures of Bilbo Baggins in the Misty Mountains but before his 111th birthday in the Shire. At that time, Gondor was in control of the Black Gate of Mordor, its Rangers keeping watch over the dark and blasted valley of Udun that lead into Mordor. Talion, a Captain of those Rangers, lived there with his family, and was training his son to fight when the Black Gate is overrun. The assault is lead by the powerful and menacing Black Captains, on-the-ground commanders of Sauron’s armies, one of whom personally puts all of Talion’s family to the sword. Talion, however, does not die. His murder was part of a ritual, and that ritual somehow bonded him with a mysterious Wraith who has no memory of his former life. The two consciousnesses strike a deal: the Wraith wants answers, and Talion wants revenge.

It has been mentioned previously that Shadow of Mordor has some elements in common with the games from the Assassin’s Creed or Arkham games. Talion can certainly scale buildings and rock faces like an Assassin, and his combat style does have the same satisfying hit-block-hit-fininsh structure as Batman, but that is where the similarities end. These elements help shape the foundational gameplay and there really isn’t much to say either way about it. The combat is fun when it’s rolling, and it’s good to have movement capabilities that foster both exploration and escape, but a truly memorable game needs more than that.

Image courtesy Lazygamer.net
Not listed: Azdûsh’s love for ice cream sandwiches and irritation with people snickering at his name.

Shadow of Mordor does far more than giving you a list of targets to kill or a solitary objective to follow. Open world games will scatter quests, collectibles, and challenges all of the map, and this game does that as well, but apart from the map is the Nemesis system within Sauron’s Army. Every orc you encounter has the potential to become a part of this system, just by killing you. When you die, the orc who defeated you gets promoted and more powerful, possibly challenging another orc for their position. Other orc captains within the Army struggle and squabble to get closer to the Warchiefs, the cream of the orcish crop. These characters do have distinct personalities – some are afraid of fire, others become enraged when they are wounded, and still others REALLY don’t like the fact that you shot them in the face with an arrow and left them for dead. Thanks to these cantankerous Uruks, the world of Shadow of Mordor isn’t just open; it lives and breathes.

At first, the knowledge that there is no real penalty to the player for dying may sound like a deal-breaker. “Where is the challenge?” one might wonder. The answer is the Nemesis system. When you die, you have all of your powers and experience intact, but the world around you changes. Your killer gets glorified, power struggles resolve without your intervention making other orcs stronger, and another one of Sauron’s Army becomes a target for your revenge. On more than one occasion, I have put aside my desire to advance the plot or learn more about the Wraith’s story just to hunt down that one really irritating Orc that keeps getting cheap shots in on me while I am trying to kill his buddies. Dying may be free of direct consequence, but there are still ramifications that make it irritating, and coming back to exact bloody vengeance on your killer is incredibly satisfying, especially if they are in a position where killing them makes taking down one of the Warchiefs even easier. It is a stroke of brilliance that makes Shadow of Mordor unique and thoroughly enjoyable.

Image courtesy theonering.net
That “dagger” has a story. Ratbag (the orc) has a story. Talion’s story has real pathos.
The world is rich and textured, and I’m not talking about the image rendering.

There are a handful of things that keep Shadow of Mordor from being perfect. There are a few mandatory stealth missions as part of the main story that slow down the action, the way mandatory stealth always does. Getting the right prompt at the right moment can be dodgy at times, costing you precious resources as you try to detonate an explosive barrel or mount a ravenous, deadly beast to use as a mount. And your only thinking, feeling foes are the Orcs. While the Captains and Warchiefs have personalities and strengths and weaknesses, for the most part you’re just slicing through the ranks to get to those unique guys, and that can get repetitive after a while, sooner for some if you’re really itching for a lot of variety. But honestly, those are just some general nit-picks about the game, and the only real flaws that I could find that had nothing to do with my own learning curve or lack of experience.

Middle-Earth: Shadow of Mordor is definitely a winner. Its combat is visceral and satisfying. Its Nemesis system makes it a unique and challenging experience. The story is steeped deeply in the rich lore of Tolkien, from the identity of the Wraith to the texture of Mordor itself, from the connection of Gollum to the goings-on to the palpable sense of dread contingent with the return of Sauron. The music is haunting, the voice acting superb, the environments well-realized, and the game is filled with moments you will never forget. If you are a fan of Middle-Earth, solid combat systems, or unique gameplay features that make the game compelling regardless of its story or other aspects, you must play this game.

First Impressions: Middle-Earth: Shadow of Mordor

At first glance, the concept for Middle-Earth: Shadow of Mordor seems like something you’d find on a fan-fiction site, aching for the sort of opportunity that was afforded to 50 Shades of Gray. An Illithen Ranger, one of the fabled Dunedain, falls victim to an untimely death but is resurrected thanks to the intervention of a Wraith that is, apparently, unconnected to the Ring-wraiths that plague Frodo and the Fellowship later in the canon of Middle-Earth. So now he’s immortal, a skilled fighter, and has the grizzled, manly voice of Troy Baker. That certainly sounds like a self-insertion fantasy persona to me. Thankfully, there’s more than enough going on in this game to merit more than that somewhat dubious first glance.

Courtesy Monolith & WB

First and foremost, Shadow of Mordor (as I will call it going forward because I’m not a fan of colon cancer) is steeped in atmosphere. While Mordor is not yet a barren, blasted wasteland, as this tale takes place before Lord of the Rings, the darks are deeper and the land definitely feels corrupted. While Howard Shore did not compose the music, the score is definitely in tune with the themes and timbre of those famous strains from the six films. Despite the stick I gave the developers for putting Troy Baker’s voice behind our hero Talion, he sounds less like Booker DeWitt and more like someone who’s been living rough in the outskirts of Gondor right before the events that propel him into the adventures through which players guide him.

Seeing as this is a video game on major consoles, the primary means of that guidance will be through various forms of combat. Shadow of Mordor has looked on the success of both Assassin’s Creed and Rocksteady’s very successful Batman-based games (Arkham Asylum and Arkham City to be exact) and worked on a way to combine the two. The result is quite compelling: Talion moves from place to place to avoid detection, climbs to and leaps from ledges and tall places with grace, is limited in weapon choices, and uses prompts to avoid or block incoming blows which he redirects into deft ripostes. Movements are smooth, blows are powerful, and skills are satisfying – but the really interesting stuff doesn’t happen until someone dies.

Courtesy Monolith & WB
Things look pretty amazing, as well.

Rather than simply be a quest to slay endless, nameless orcs in a quest for vengeance and XP, the game takes pains to give its antagonists names and personalities. This is more than window-dressing, however; it is essential to what makes Shadow of Mordor stand apart. Each orc Talion kills brings him closer to his true goal: the Warchiefs who control the mighty armies of Mordor. The array of nasties seen when you check your progress tells who where they rank and how much closer you are to victory. This also has intriguing implications when it comes to failure. Shadow of Mordor is not the first game to boast an immortal protagonist, at least in terms of being considered that way in-universe, and making failure mean something when you cannot die has often challenged designers. Rather than lose experience or suffer an otherwise arbitrary setback like paying a toll to the underworld, when Talion is defeated and requires rescuing from his wraithly friend, the orc lieutenants and captains he was fighting grow stronger in the intervening time. There is also a system in which orcs squabble with one another for control, and if Talion does not sweep in to kill everyone involved, the victor of the squabble will gain power in a similar fashion. It’s one of the many things that contribute to giving the game a living, breathing world.

On top of innovative design and satisfying combat, Shadow of Mordor has not skimped on the Middle-Earth lore. Dipping deep into the history and culture of Middle-Earth, the story of Talion is far more than one of mere wish fulfillment. While the Ranger has a rather immediate need for vengeance, his benefactor has an even more seething bone to pick with Sauron: he was Celebrimbor, the elf-smith in the Second Age who forged the Rings of Power to begin with. Through his experience and vision, Talion (and by extension, the player) learn the tales of the items scattered throughout the land, unearth ancient runes that add to the ongoing story of the events at hand, and give all the more reason for us to fight our way through the diabolical forces of Sauron the Deciever.

Courtesy Monolith & WB
There are even some familiar faces around.

So yes: my very first, up-front impressions of this game were entirely wrong. A lot of care has gone into the game from all sorts of perspectives. The combat, stealth, and open world draw from a plethora of contemporary, quite successful sources. The story has threads that tie it deeply into the rich lore of the beloved tales of Tolkien. It looks and sounds pretty amazing, taking full advantage of modern rendering and development techniques. And if that weren’t enough, it both delivers satisfactory results for success and reasonable, compelling consequences for failure. In short: I must play it.

The #GamerGate Post

This was pretty much inevitable.

It is foolish to paint any large group of people with a monochromatic brush. Human beings are individuals, even when they band together into groups over a common cause or belief. Sitting here and writing about how huge swaths of the gaming community are toxic, ignorant, vile pieces of invective filth is the easiest thing in the world to do. But justifying their behavior in any way, shape, or form is just as harmful and non-productive. So you will not find this post doing either of those things.

Better, more experienced writers than myself have tackled this issue extremely well. People who make games, and write about games for a living, have already held massive discussions on the state of our community. I neither make nor write about games for a living – yet – so I feel underqualified to write about this from those perspectives. All I can do is the following:

Hi. I’m a gamer.

I think games are transformative. I think that they can speak to us on a level other forms of media struggle to reach. The interactive nature of games pulls the player into more intimate contact with the message and ideas of the game. Well-made games, from huge productions like BioShock Infinite to small independent titles like Papers, Please and Depression Quest, can make the gamer think – to put down the controller or step away from the keyboard, and really mull over what was just witnessed and how it affects them.

Note the use of the word “can”. Not every gamer is like me. Not every gamer wants to have that level of connection with their entertainment. Some gamers just want to be pandered to, looking for distraction more than interaction. That’s okay; there isn’t anything wrong with that. Call of Duty and Madden make fucktons of money for that reason – bread and circuses for the masses.

I am not the first to point this out. Games journalism in general, and criticism in particular, have started to become very pervasive and even widely recognized. Lumaries of the art can look at a game from an almost entirely objective point of view, highlight its flaws (because every game has a couple), and describe for whom the game is best suited. Professionals like those at Rockpapershotgun, Joystiq, and Polygon do this extremely well, and make it look easy. Imagine me shaking my fist in good-hearted jealousy.

The problem – and it is a really big one – is when some gamers take it upon themselves to criticize the makers of games, and the critics of games, rather than the games themselves. Especially when said makers and critics self-identify and outwardly display as non-male, non-white, non-hetero, or some combination of the above.

Let’s look at the facts. Anita Sarkeesian, Zoe Quinn, Susan Arendt, and many many others have been bombarded with all sorts of bile simply by existing in the public eye of the gamer community. While some try to play it off as critiquing their work, it seems clear that the majority of this incendiary bullroar is based on the fact that these people happen to have vaginas. They’ve recieved threats of rape. Photos of their houses have been sent. Some even threaten death.

The fact is, the world is a large and diverse place. Half or more of its population are born with vaginas. I cannot speak to their orientation or self-identification as children, but as adults, people make all sorts of decisions regarding how they want to live and be percieved by others. They, somewhat reasonably, ask to be treated equally and taken seriously by the world around them. They explain themselves intellectually and eloquently, make artistic or critical statements, and accept actual criticism with grace and understanding. And the response from the community around me is – death threats?

Refraining from historical examples (look them up), attempting to assert control on a large population through fear and intimidation does not work. At least, it doesn’t work for long. The more a group attempts to build walls of terror around those they wish to corral, the more individuals will band together against that control, seeing it for the weak and foundationless position that it is. While there are people who do not necessarily have the wherewithal to realize domestic verbal terror assaults for what they are, and believe the rhetoric of those who threaten death and despair, experience has shown that game developers and games journalists are not among them. To continue the invective is to fight a losing battle. Attacking the people instead of criticizing their work or position is foolish and wastes everyone’s time. It is, objectively, idiotic.

By way of example:

I do not necessarily agree with every point Anita Sarkeesian makes in her videos. I think her presentation tends to be rather dry and impersonal, which can make engaging with her material difficult. She definitely has points to make, and some of them are good, but others could use more drive to get them to hit home for someone like me. But, that is my individual position, and while I acknowledge her videos are imperfect, the videos are made with the intent that future games can be better than those that came before, and in that, they have a chance at real success.

In the example above, points are made about the videos produced by Anita Sarkeesian and their content. Mentions of the content creator herself are imited, as the critique is aimed at said content, not said creator. This is the sort of thing that can be used to make future content better, and instead of seeking to silence the voice that is tackling a hard issue, encourages it to speak louder.

I could go on about how ad-based journalism sites will always have problems with objectivity or the tragedy of journalists becoming disengaged from and desensitized towards the community around that which they love, but I think I’ve covered a good amount of ground for now. I leave you with the following.

Winston Churchill once said “I have always felt that a politician be judged by the animosities he excites amongst his opponents”. When Theodore Roosevelt came under fire for taking on big business, he said “I welcome your hatred”. Like it or not, games development and games journalism have political aspects, and by Churchill’s standards, people like Anita Sarkeesian, Zoe Quinn, and Susan Arendt are luminaries of their fields, based solely on the animosities they excite amongst the masses. In addition to being short-sighted, ignorant, and terroristic, the threats and bile do not disprove the points being made by those being attacked; rather, they give those points more visibility and turn more people on to the viewpoints held by those who would remain silent through fear and doubt. The perpetuators of hatred in the gaming community are doing a wonderful job of defeating themselves, and though I do not think their hatred should be condoned or encouraged, I have to smile at the irony that they are doing such an excellent job of shooting themselves in the kneecaps.

I know it’s scary. I know it’s vile. But as a community, as a part of the human race, as gamers and game makers and game critics who are more interested in better games than we are in sharpening daggers and hating that which is ‘other’ – we got this. You’re not alone. And it won’t last forever. Look at history. It never does.

The future is ours. And we will get there together.

Return of the Jedi (or possibly Sith)

Courtesy LucasArts

Maybe it’s because I’m hopeful Guardians of the Galaxy evokes the old feelings of wonder that came with A New Hope. Maybe it’s the discovery of the excellent X-Wing Miniatures game. Maybe it’s just nostalgia. But whatever the cause, I have been on a sizable Star Wars kick lately, and a big part of that is the time I’ve been spending in Star Wars: The Old Republic.

I did a first impressions post a few years ago when the game was in beta, and upon reflection, I ended up being a bit harsh in the name of blunting my nostalgia. I think leaning towards objectivity is good for anybody looking to present a review of entertainment for a wide audience, but I think it would have been okay if I had talked more about my curiosity and excitement about a new facet of the universe opening up and less about the clunky mechanics and the opinions of non-fans.

Playing it now, I’m definitely hooked. I’m curious to see where the various stories go. I’m doing my utmost to avoid spoilers, and I’m actually enjoying the quest structure. It doesn’t feel like a grind – I’ve never had more than two or three quests in my log at any given time. “Kill X amount of Y” only pops up as a bonus, and since I get jumped by uppity bunches of Y on my way to the objective anyway, why not pull in a little extra XP? It does still have a lot of mechanical similarities to World of Warcraft, but the little differences do more than their fair share in setting the game apart. The bottom line is, even moreso now than back in the game’s beta days, I see potential.

I think that’s been what keeps Star Wars a positive thing in my mind. For all of its flaws and missteps, the universe Lucas created has always contained the potential for truly great storytelling. The military sci-fi bent of Rogue Squadron stories, the antiquated feel of Tales of the Jedi, the way Dark Forces felt like so much more than a DOOM clone because you were stealing the Death Star plans… I could go on. Lucas may not be the best director or a very good scriptwriter, but the seeds he sowed almost 40 years ago were in very fertile ground indeed.

I’m interested in exploring the Edge of the Empire RPG, probably after I move, if I can rope my new housemates into it. I’m expanding my collection of X-Wing Miniatures. I’m going to play a lot more of The Old Republic. And I am keeping a wary eye on this new film of theirs. While I don’t agree with the official word ejecting the expanded universe as canon, JJ Abrams has always been more of a whiz-bang director than the intellectual contemplation that Star Trek really demands. In spite of my cautious curiosity, though, one thing is certainly clear.

Star Wars is back in my life. I enjoy Star Wars quite a bit. And there’s nothing wrong with that.

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