Monthly Archives: September 2014

The Best Rash I’ve Ever Had

Posted on by thre3zekiel

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When I was a kid, my friend would come over with a copy of Road Rash for Sega Genesis.  We’d race for hours while beating each other over the head with any number of clubbed and bladed implements.  Ah, the joys of youth!  It has been many years since and I hadn’t even heard the name of this spoken, and I had begun to wonder if it was ever real at all.  I played Twisted Metal on the Playstation and any number of other games that tried to emulate it, but none that tried to recreate the balls-to-the-wall motorcycle racing gauntlet that was Road Rash.  Then yesterday, it happened.  I heard of a projecton Kickstarter that was to emulate this game, and it had already reached its funding goal.  Its name was Road Redemption.

In this title, you will be playing a Katana-clad member of a mid-western America motorcycle gang.  You have to move your way up in the ranks and take control of drug trading routes.  It’s a visceral title that will actually hit harder than its spiritual predecessor.  Thing is, it won’t be made by the same people that made Road Rash.  In fact, a lot of these developers grew up playing games on the same systems I did, so they remember the good old days of games that make you earn their respect rather than the spoon-fed titles of today.

Who says real badasses never look back at an explosion?

Who says real badasses never look back at an explosion?

This looks like a title that will take esports to an awesome new level and bring people away from their Xboxes and Call of Duty.  You’ll earn money by racing, sure, but if I can wield a shotgun on a motorcycle, why would I just want to race all the time?  Luckily there will also be assassinations, robberies and other challenges.  Getting the goods will allow you to level your character, buy better hardware and upgrade your bike so you can really take on the tough guys.

The storyline is a sort of made-in-America Mad Max routine.  You are part of stated motorcycle gang in post-apocalyptic mid-west America, and the country is run by a ruthless dictator.  You gang-leader decides that it would be a great idea to ride into the capital with the intent of killing the dictator.  I guess it doesn’t go too well, since the game description implies heavily that shit hits the fan for you and everyone you know.  You then have to track this guy down and, pending his judgment at the gang’s hands, decide what to do about the whole dictator situation.

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Flying blurry men never did know how to ride bikes well…

One of the more vague features of this game comes with the life-system.  There will be no extra lives, but the experience, gear and upgrades you earn should stick with you.  What does this mean? Fuck if I know, but I guess you have a lot of family members who are willing to step up and take over your cause.  You’re probably from one of those massive Irish-Catholic families you see all over television.  What’s more is that multi-player mode will be all about you building your gang and then taking to the internet where you will join up with or against your friends.  Hey, competition is just as much fun as working together, sometimes.  Personally, I cannot wait to throw someone under a bus.. fucking literally!

The best part about all of this?  Road Redemption comes out tomorrow on Steam as Early Access.  So get those bike helmets ready.  We’re info for one hell of a ride.  Get ready for the best rash you’ve ever seen!

Dwarfs!? Man-boobs of Glory

Posted on by thre3zekiel

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Tripewire, the same looney bastards behind Killing Floor and Red Orchestra, are the ones that made this game.  It still has me scratching my head, but I try not to think about it too much.  This game, like basically everything else they’ve ever made, is a lot of fun.  It is sn RTS simulator that really lets you sit back, relax and control a colony of dwarfs.  As per the usual mythology, these dwarfs all seem to be male, though the thought of a bearded woman just kind of creeps me out.  Either way, you are talking about a magnificently man-boobed populace out for some digging!  Check out more about the game on Steam or the game’s site!

Ale, Gold and a Pickaxe are the three things necessary to sustain life for a dwarf.  These beardy little buggers probably eat dirt, since it seems to disappear and mysteriously produce gold.  So the game starts with the town hall, which produces the only two types of dwarfs in existence, diggers and warriors.  Your town hall sits on the only green patch of land in a massive cavern and just produces diggers via spontaneous generation, most likely using the combination of dirt, gold and ale.  As each of these dwarfs magically appears, they begin wandering aimlessly around digging randomly with their pickaxes.  At first the game feels like an ant simulator, but then you realize that these dwarfs have no real system and they live only to dig like robots and find shiny objects.

For the most part, this game is peaceful, but there are spontaneous issues you might experience like a subterranean version of Sim City.  First there are the natural disasters: lava and water.  Both of these have the same ultimate solution, but each poses its own version of the same problem: stopping the flow before it destroys everyone in your colony.

MUST FIND GOLD... MUST FIND GOLD...

MUST FIND GOLD… MUST FIND GOLD…

That is pretty much a visual representation of what happens every time your dwarfs find water or lava.  This is glowing and hot!… but there might be GOLD!  The reason you don’t just stop them yourself is because you really don’t know, although the outward signs should be pretty obvious in real life.  Of course, it’s a fucking game, so get over it.  As your dwarfs dig out into the.. um.. earth.. they will find small pockets.  These caves can contain nearly fucking anything: treasure, enemies, lava, water etc.  When your dwarfs break through one of two things happens: something comes rushing out, or the digger goes rushing in.

Water is fast, and that is really the biggest challenge that comes with its discovery.  Building a wall will be enough to block it off from the front, but a digger could still break through on another side and you’ll be right back where you started.  To prevent this the game lets you solidify dirt into rock. With beer-magic, I guess.  Once you build the wall, you have to solidify the dirt on all sides of a water cave.  Once that happens, you have to blow a hole with dynamite in front of the wall because.. fucking… IT COULD STILL LEAK THROUGH OR SOMETHING MAYBE!!!!  Not really, but that is how you effectively trap an underground lake.  I thought that dwarfs might use it for plumbing or maybe making ale.  Fuck no.  They trap that shit off and never fucking talk about it ever the fuck again.

Next is lava, which poses its own collection of threats.  Lava moves slow as shit, but it can burn through walls.  Normally, when breaking through into a lava cave (after the unlucky digger has been burned to a cinder), I fill up the cave leading to the cave with walls.  Why the fuck would I do this, you ask? Well, it’s not in case the digger gets wise and decides to run, though it might be fun to watch him shriek in horror as he realizes the hegemonic overseer has condemned him to death encased in liquid rock, that is not the case.  The lava burns down the stone walls, and with the way the dwarfs randomly dig, chances are that the nearest other digger is miles away.  I will need to buy him some time to get there and set off the dynamite to trap the lava.  The best part is that you lose two dwarfs for sure when finding lava or water.  One that finds it and the other that traps it, since the dynamite dwarf runs in like some kind of madman with a heroic martyr complex and kamikazes on it.  I guess these dwarfs haven’t progressed past bite-activated igniting mechanisms.

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That’s right. Dig to your death, you little maniac.

Dealing with random water and lava hazards wasn’t enough for the sadistic Tripwire team, though.  They had to throw in some enemies because, realistically, what kind of game doesn’t have actual enemies?  Well, aside from those super-boring simulator games.  I gave up on humanity when I saw rock simulator.  Anyway!  There are goblins, too.  They could be just one or two hiding in a cave, or you could find six of them.  They are pretty easy to deal with though.

Your town hall will let you generate 8 warrior dwarfs, which you can allow to patrol around your town hall or you can divert their patrol to wander out into the caves.  If they get too far out there and you’ve an impending attack, hit the bell to recall your little troops.  A base-level dwarf warrior is usually enough to take on goblins one at a time, but if you have a tribe coming, get those fuckers back to base!  If they destroy your town hall, that’s the end of the game!  Of course, having eight little dwarfs can be limiting if you have a massive army of diggers wandering around an endless map.  At that point, you’ll need to create outposts, which expand your warrior army by 4 more dwarfs.  Doesn’t sound like much, but the outpost can also train them up so they’re powerful as heck.

Another main feature comes in handy when you discover a shaman, which is a giant goblin boss that has the power to summon goblin minions, perform cone area attacks and change the music into a doom dirge.  Often you’ll have to create an outpost just to deal with a new boss.  Once you have it in place and the warriors trained up, though, you can fire the whole squad out of a cannon on top of the outpost.  This springs a little surprise attack on the shaman and they surround and annihilate him!  Make sure you are quick to kill him, though, as he can summon up so many enemies that it becomes impossible to deal with, and you become overrun!

Kill them! Kill them all!

Kill them! Kill them all!

Other than that, this game is drawing arrows for retardedly simple AI and mining gold and minerals.  It is a little on the simple side, but it is still a lot of fun.  I often find myself wishing there were more to it than just all that, but the endless mode makes it a lot of fun.  I feel like there should be a way to trade with other cities, or a way to contact the outside world.  There are little objects that randomly appear, too, but it might be more fun if we could actually build a small city that had some purpose?  Maybe go to war with some sissy dandelion-eating elves.. mimsy fuckers…  If you really look at this game though, there is a dark undercurrent.  Think about this a second.  You are the dwarfs, living underground on the only piece of fertile land in this entire cave system.  You have these goblin, which probably need to cultivate some mushrooms or something to survive, but your dwarfs can just eat dirt, as long as they have their ale.  So you go on, killing the goblins and depriving their starving children of food until you have consumed everything.  Terrible. Tragic.  Oh, well!  Let’s go dig for some gold and get wasted on ale!  Definitely a lot of fun, and it’ll cost you 9.99$ on Steam.  Worth it, I’d say, but I love dwarfs in general.  So yea, a little bias there : P

Why do they fear indie gaming?

Posted on by thre3zekiel

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In September’s issue of Game Informer the “esteemed” publication seems to be initiating its own quiet assassination concurrent with the #GamerGate wars of Twitter.  While they do not seem to have leapt on the “fuck all gamers” bandwagon with most major games reporting outlets, they do seem to be digging beneath the walls that separate major gaming from indie gaming.  Turn to the two-page spread on 31 and Behold! Matt Bertz throws down his wall-less theory of gaming entitled ‘The Mutating Meaning of the Word “Indie.”‘  I call offended and uproarious bullshit.  Indie isn’t mutating, it means just what it always has: independent.  What this should be entitled is “Why we want to destroy the meaning behind the term indie.”  Strap in, this another rant of bombastic proportions.

Bertz poses the following question in the first paragraph, which will serve as the thesis for the GI article:

“When the majority of games in the contemporary landscape are already coming from outside the walls of big publishers like Electronic Arts, Ubisoft and Activision, what does becoming indie really mean?”

I am a firm believer that within each question lie the roots of its own answer.  In my opinion, the answer Matt wants you to come out with is “When the majority of games in the contemporary landscape are already coming from outside the walls of big publishers, being ‘indie’ really has no meaning.”  He then goes on to try discrediting the term indie saying that the number and style of the projects that fall into the category “indie” that the term is no longer “useful.”  That is a charming thought but being indie is more than just “breaking away from the standard studio-publisher” model.  Sure, that is a major centerpiece for the concept, but that is not the only thing it’s contingent upon.  Going rogue in the gaming industry takes serious balls, especially in the face of major publishers that are trying to muscle into the region of indie gaming.  The simple fact is that being an indie developer means putting in countless thankless hours developing a game that will likely be swallowed up by the sea of other small titles.  Sure, indie as a genre is useless, which is why people need to stop letting Steam make them think indie just means an artistic game with hand-crafted backgrounds and a bizarre concept.  Indie isn’t a genre of gaming; it is a community of indifferent rebellion.

Bertz then takes two indie developers, Cloud Imperium Games of Star Citizen fame and Lucas Pope of Papers, Please, lays them against each other and claims a multi-million dollar company, such as Cloud Imperium, and lone developers residing in the same sphere degrades the purpose of calling something indie.  Honestly, anyone that would make this claim is just fooling themselves.  I don’t wholly blame Bertz, either.  His misconception is one born of an artistic medium still striving against its own over-bearing identity to define itself properly.  Taking an example from the music industry, Eminem has his own record label and I would call it an independent record label.  At the time of its inception, Shady Records was not a giant in the industry, but it surpassed those lofty heights.  Just because he ‘got big’, doesn’t mean he ever stopped being independent.  Likewise, when developers such as Lucas Pope or Mojang become big they don’t stop being indie developers.  Sure, indie is a genre of music, and that community defines itself with easily identifiable features: retro glasses, a taste for music no one has heard of, flannel.  But Bertz is suggesting that gaming has to take on the same restrictive reasoning.  You are defined by an easily identifiable array of elements that collaboratively structure “how indie games are supposed to be.”  The point of indie development is that there is no structure.  You can create whatever crazy fucking idea you have concocted.  Like Minecraft, possibly the most successful indie game of all time.  Even those musical miscreants labeling themselves as indies listen to a respectable variety of musical types ranging from rock to chiptunes.  Trying to label them all as the same ‘genre’ is just as useful as stating indie games are all the same ‘genre’.

I reported on a fantastic game crowdfund which found itself on IndieGoGo called X-Tactics.  This is a game that will be developed by veterans of Square-Enix, Capcom and Sega, and, as far as I know, it will be an indie game.  This is because it will be a game developed under a name and publisher separate from the major development community.  Other major developers have broken away from the gilt Alcatraz of major gaming and gone rogue.  This sort of thing happens in music all the time with supergroups of famous stars that get together to form an awesome musical entourage.  They don’t feel the need to label themselves indie, although many found independent record labels, I would speculate this is due to a lack of oppressive horseshit experienced in the gaming indusrty.  They have their own struggles with record labels and within their industry, and I am not trying to diminish their battles.   But when you look at the size of the gaming industry and its unrivaled power to crush dreams, the music industry seems positively navigable.  Lorne Lanning, creator of the Oddworld series, is another of these major names, and Oddworld is a game that deserves to call itself indie.  In his interview on VG247 he goes into exhausting detail about why major developers would ever go indie, but my favorite line is:

“I’d rather not make games than go fucking be a slave for public companies who care more about their shareholders than they do about their customers.”

Yea he really says that, and more, but saying ‘established developers going indie would similarly render it useless’ is equally quaint.  The fact is that major developers are terrified of indie developers.  Scared down to their quivering, flaccid cores of achieving the same level of irrelevance populated by Leigh Alexander and Anita Sarkeesian.  But why would they be afraid?  Here’s why:

Some people estimate that Mojang made 84.2 million USD and 66.4 million Euros from Minecraft in 2012.  Sure, they are on the Minecraft forum, but they were estimating out of nerdy interest and had no real motivation other than spontaneous curiosity.   If a fraction of that is true, it still doesn’t account for the numerous other countries that play Minecraft and how much money they’ve spent on it.  When Mojang became a money machine overnight the collective bowels of major game publishers voided into unsuitably diminutive pants.  Mojang showed that a bizarre game with a solid concept and motivation can conquer the world, and they didn’t have to pass through the close-guarded gates built by major developers.  Simply put, major developers weren’t getting a share of that money.  That millions and millions of currency of your choice, and it hurt.  If not in their pockets, somewhere deep in their dark, dusty souls.

Turning back to Berts, he goes on to attack indie from numerous angles: big budgets, large staff, companies that make both major games and indie games, and honestly he continues attempting to discredit the concept of indie games.  It is a shoddy attempt to convolute the real issue behind the conversation.  See, major publishers see everyone jumping ship for this concept of “freedom.”  More and more, major developers are leaving them, and, like a jilted ex, major publishers try to bring them back.  This article points to companies like Ubisoft, which was responsible for Valiant Hearts, and says that the “easily identifiable elements” that make these games ‘indie’ are artistic, retro features of a game that make it bizarre or deviant from the norm of gaming.  Thing is, this article tries to make it sound like indies are becoming just as independent as major developers, when really major developers are just afraid of becoming as small-time as indie.  They are afraid of the change in the industry bringing about new giants and contenders and themselves losing relevance in the swarm of rising stars.  Mostly, this is just the result of gamers becoming largely disenfranchised by major publishers, who want to make the same bullshit over and over and have us swallow their crap forever.  The fact is, funding autonomous studios to make games for you is nice, but the fact is if your game is published and distributed by someone like Sony or Ubisoft, you aren’t independent, which is the source-word of indie.  You are just following the same tired model of the studio-publisher model except that they grant you a little more freedom.  Because that is what is making money nowadays, right?  Indie games are innovative and bold in ways that major publishers don’t have the balls to be, they’re creative in ways that major distributors can’t rely on and they’re unpredictable in ways that can’t be monetized by a massive company effectively.  Indie games are indie games because they succeed by their own virtue, not under the cultivation of a major publisher, which has all the power of a totalitarian propaganda machine at its disposal.

Then again, I am reading this in Game Informer, a magazine that is commonly perused by the Mountain Dew and Doritos abusing target audience of major publishers.  Not like they would ever publish an article that is biased in favor of the people who directly profit from the sale of games created by major publishers (who publish this rag mag), rather than the sale of indie games that sell through Steam or even indiedevs’ websites.  My suggestion is to refer to “indie” games that have been incubated and published by the likes of Sony, Activision et al as subbed indies:  Independent games that are subsidized by major publishers.  Granted, people will likely not care about the distinction, as long as the game is fucking fun.  I just find it annoying when they say the label is no longer “relevant” or “useful” just because major industry gaming thinks so.  Indie games should remain indie because it keeps them from being enslaved by major companies that just want to put their dick in it and soak up profits.

Have your own crotchety thoughts on this?  Join the discussion in my Steam group, Crotchety Gamers United!

Eufloria, Tripadelic RTS Invasion

Posted on by thre3zekiel

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Eufloria is a game that defines some of my earliest days with indie games, and it’s far from showing its age.  There are those who would have you believe that indie is a style that can be encapsulated in a game with a whacky storyline or super-artsy hand-painted backgrounds, but I call bullshit on that.  You don’t have to put girls in cakes to make an indie game: what you need is balls.  Eufloria shows a lot of that brazen attitude in the way it took a bizarre concept, ran with it, made it work and did the whole fucking job well.  That is how you indie.

Eufloria is a game where you take control of an army of flying seedlings, and then impregnate various ‘asteroids’ with them.  The key to this army is their flexibility.  depending on the characteristics of the asteroid that spawns them, they will have a mix of 3 traits: energy, speed and strength.  Depending on their combination of these traits, they will look different.  If they have a higher strength, they will have a longer tail, of they have higher speed they will have wider tails and if they are energetic they will have longer beaks.  Each of these traits translates into something completely different in game.

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Like little, zappy death bugs…

Each of those little flying things is a seedling, and they serve any number of functions from soldiers to colonization.  When you send a collection of these little guys at an enemy, they will start zapping them with a little laser.  No fucking clue how that works, I will get back to you on that.  When you hit that button down there, they kamikaze into the asteroid and a tree starts to grow.  Logical in a sort of odd way.  As far as I have progressed, there are two trees: a dyson tree, which generates more seedlings, and defensive trees, which lob explosive pods.  Planting a dyson tree will generate seedlings with traits mimicking those of the asteroid.  Some important things to keep in mind on this point: speed seedlings are fast as fuck and are great for rapid reinforcements, strength seedlings are great for taking out enemies and defensive trees, energetic seedlings are great for taking over enemy asteroids.

Eventually, you will start dealing with enemies, and a fucking lot of them.  They swoop in low and start zapping fucking everything, and you have to counter.  Now, the way you direct your seedlings is by clicking and dragging.  This will launch all the seedlings circling an asteroid at the target in an awesome attack formation that makes me want to turn on Flight of the Valkyries every time I do it.  If you want to send only your fastest seedlings (in case you have to contact the Dread Pirate Roberts), you double-click and select the fastest seedlings.  This will turn your cursor blue, for speed, and then you drag from origin to target.  This can be done with any of the types.

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Ba bada ba ba, ba bada ba ba, ba bada ba ba, ba bada ba ba, ba bada baaaa!!!!!

Reading the placement of the asteroids is important, too, because where you can go depends on which asteroids you control.  Each asteroid has a range that you can fly from it to reach other asteroids.  Once you get there, you’ll have to lay waste to the enemies like a swarm of genocidal gnats.  The best part comes when you take the asteroid.  To achieve this, the seedlings zap a tree until it explodes.  They then fly down into the remaining roots to attack the core, where they fucking explode.  If you have a fear of bugs flying into your ears and laying eggs in your head, this is not an okay game for you.  I fucking love it, though.

The older your trees, the more seedlings or explosive pods they will generate, so size matters.  Watching an old asteroid take hits is a bit gut-wrenching, but the respawn rate for seedlings is pretty good; I still recommend filling up the max tree level as best you can, though.  Once you strike an enemy, they will ALWAYS try the fucking dick move and strike at the asteroid you vacated to attack theirs.  That’s ok though, you can always pull a few from another location to clean those guys up.

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So… whatever is on that rock is about to fucking die.

As you can see, the art takes a minimalist style, utilizing color to make the world feel warm and alive.  Every time you start a level you will have a different color and each level has its own challenges to overcome.  The way the colors seem to vibrate with life takes on a role of its own in the game though, and it really starts to feel more like a full region than just empty space.  As you conquer and cultivate each asteroid, you can zoom further and further out to see all of what you’ve created, and the later levels get pretty expansive.  The music combines with this warm sensation to create an ambient space of wonder and interest.  This is like playing an RTS painting and each factor is shaped specially for the task.  Despite feeling like you are a swarm of dust mites conquering the equivalent space of someone’s nostril, the game itself really has a life and style of its own.  I would like to see some major fucking publisher with the balls to release this one.  It’s available on Steam right now for 14.99$ and I recommend it highly.  It is a magnificent game that really draws you in and challenges you, but in a soothing and enjoyable way that isn’t like every fucking RTS Blizzard made since Warcraft 3.  It’s wonderful.  Fucking play it.

Introducing Dakota and Project Shadow

Posted on by thre3zekiel

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Most people haven’t heard of Living Dream Entertainment, and for good reason.  This is another group of gaming idealists that have a vision defining, for them, the perfect game.  So far everything I have heard and seen out of these guys is impressive, despite things being in an early phase.  To be honest, they remind me of Elysian Shadows Team in the sheer audacity of their project and what they want to accomplish.  People should know who they are and what they are planning because it will be something really special when it is finished.

Living Dream Entertainment is a small independent game development team working on a game called, A Shadow’s Tale, through a process they call Project Shadow.  I wasn’t too sure why there was such a distinction between the two, but I have come to understand that Project Shadow will also invite players and fans to contribute to the finished game itself.  No seriously.  You can make a quest, a character, customize their style, how they fight, who they are: nearly fucking everything.  Check it out here!

Dakota Barrett, founder of Living Dream Entertainment, was happy to answer some of my questions about themselves and the game they are creating.  So who are these people and how did they come together?

“Originally my team started out as many indies do: a group of friends with a common interest.  That team died over about the course of two months and got down to just me.  Around this time I was getting some money in doing odd jobs and I started to contract freelancers.

“First there’s Riley, our character artist.  Her job is to draw the busts of characters that you see in dialogue, and often everyone else’s work is based around her creation of a character.

“Then we have Tony, who seems to be the favorite of the public, which is rightly deserved because the guy has a lot of talent. His concept art has a unique style.

“Devon worked with us on and off for several months before becoming an official member of the team.  He does our code work and makes a lot of my crazy ideas come to life.  He’s the reason we’re able to push an outdated program like RPGMaker into the modern age.

“Elbert does our sprite art and animation and he’s really good at it.  We spent four months going through dozens of applicants for the position and it wasn’t until I met Elbert that I knew I had the right guy.

“Saad is our composer and most recent addition to the team.  Unlike everyone else, I wasn’t actually looking for a composer at the time.  Saad was just interested with the project and sent in a sample of his work.  I loved it so much that I included it in our announcement video of Project Shadow and asked him to join our team.

“I run social media, talk to journalists, run the business and all the legal work that comes with that, and I make everyone’s work show up and coordinate in-game, creating the world for the player to enjoy.  But at the heart of it all, I’m a designer and writer.  All the stories, dialogue, and gameplay mechanics start off as ideas in my head.  I have about three gigabytes worth of just notes alone.”

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Yep, the skill is visible.

So this is already a strong team of talented individuals with a common purpose.  From the teaser trailer for the game itself, I know I got a strong impression.  So, if Dakota is the main drive and energy behind this game, what brought him into gaming and games development?

“Throughout my childhood I played a lot of games through frequent visits to BlockBuster when it was around and you could get a game for a week, which was perfect for me because I usually binged a game until I beat it.  I’ve played all sorts of genres from big AAA titles to the little indie teams, but I think where I truly fell in love with games was with role playing games like Final Fantasy IX and X, Knights of the Old Republic II and the original Fable.

“As I entered adulthood I started to bind my passion for games with my passion to write.  I tried out a few development programs, such as Unity, Blender or Game Maker, but the one I settled with was the one that best served my roots as a gamer, RPG Maker VX Ace.  It’s a pretty simple program that could allow even a child to make a game but over the time I had it I started to find how to push it further and further and when I started to really see the potential with the program I started working on the very early concepts of A Shadow’s Tale.”

Projects of passion are often rare gems, because they are so hard to attain.  When such a project can be made possible, they often turn into impressive entries in a genre and even in a field of art.  The biggest obstacle is often money, and that can kill a project before it ever even happens. How has A Shadow’s Tale gotten its funding so far?

“It started out as a birthday/graduation gift.  I was the first in my family to graduate high school, which isn’t much of an accomplishment, but it was something.  So I took what was likely meant to be the means of buying a car and put it towards making a game.  When that ran out, I started funding the project with what I could from my paycheck, which to this day is  just a part-time, minimum-wage job, so progress has been slow.  Our goal is to crowdfund with the community we’ve built up, but we’re not quite ready for that just yet.”

Each game has its own draw, something makes it stand out.  What are the features of A Shadow’s Tale that will really set it apart from other games of its type?

“Simply put it’s how the game is designed overall.  It’s not meant to be a retro throwback to the games I and others grew up on, it’s meant to be Living Dream’s first step in showing what the industry is capable of producing.  Though it’s an open world RPG, it takes inspiration from all sorts of games, old and new.

“To be more specific I would say the focus on your actions is at the heart of the gameplay.  In many games that I enjoy, like the Mass Effect series, you get to make choices that change the universe you play in and could very well cause your experience to be completely different from all your friends who played the game.  But if you look back, almost all these choices centered around dialogue.  The hundreds of people and monsters you killed didn’t change anything and where you went didn’t really matter as long as you completed the main goals of the game.  With our game we’re putting a focus on what you do, as with reality it’s not so much what you say that affects others and who you become, but what you do.”

So what is the complete vision for the game itself?

“As I hinted at earlier, our goal is to deliver not just a game but an experience; one you’ll look back on for years to come as I have with the hundreds of hours lost in the universes of RPGs.  A world in which you grow attachments to the characters as if they were truly your friends or your enemies.  One where your actions changed the world.  I believe that what people want is their actions to matter.  For something we did to have an affect on the world, be it big or small, to know we made a difference in other’s lives.

“That’s my goal for the game at least, for Project Shadow itself you could say it’s the same thing but in the real world.  I want our community to truly feel like they had a part in making the game without handing over the files and expecting them to make sense of it.  That’s why we’re allowing the community to co-design elements of the game alongside us.”

Whoa. Badass.

Whoa. Badass.

That is a lot to shoot for, so the game itself has to measure up to this, helping the player insert themselves into and influence the world in a noticeable way.  What are some of the mechanics of the game and how will they facilitate this?

“I would say our combat system is probably the most interesting mechanic of the game outside of the responsive world system.  RPGs have been going back and forth between the blood pumping excitement of live action and the tactical thinking of turn based combat.  They both have their benefits and downfalls and I believe we found a unique way to combine the two.

“In the game the controls are rather simple: WASD to move and spacebar to interact and use skills.  Now that second part is the key to shaping combat.  When you press space, a wheel of icons displays over the head of the player.  This wheel technically consist of dozens upon dozens of interactions and skills, but since that would be a pain to cycle through, we’ve made it contextualized; depending on what you’re facing, it will only show what makes sense with that person or object.

“As with the rest of the game, this was designed to give the player a choice in how they go about getting past enemies.  In a sense it’s more like a puzzle than straight up combat.  You could go around in stealth taking enemies down one or two at a time.  You could break, throw, or burn objects to cause distractions.  Use skills or dialogue to manipulate people, or straight up fight your enemies in turn based combat.  Even the turn-based combat itself is designed to give you challenges through three gauges, health, energy, and fear.”

What games have you played an liked?  From there, what games can you say have influenced A Shadow’s Tale?

“I mentioned the RPG genre before and some games that are a part of it, but I pull my inspiration from all types of games.  I enjoy simple and quick RTS games like the Command and Conquer games or Halo Wars, which I still play on occasion.   Shooters like Destiny and some MOBAs have also left their mark.

“Two games which probably have the biggest impact that aren’t straight up RPGs are Dishonored and Deus Ex: Human Revolution.  They both have RPG elements but they’re almost entirely based around quick combat in first person.  Both of which I focused on stealth and I had great joy is crawling in air vents only to come out and beat someone to death with a refrigerator (Yeah I’m probably a bit too violent).  This approach of deal with enemies how you want was really enjoyable and that can be seen in our own combat, though it isn’t a straight up choice between stealth and action.”

I love these emblems.

I love these emblems.

What can you tell us about the Kickstarter?

“We will be doing crowdfunding, but it won’t be through Kickstarter.  That is why we’re creating Project Shadow which works like the crowdfunding with Star Citizen, this sort of build over time instead of all at once approach.  Except our design is not so much to keep raising more and more money and add more to the game so much as we want the community to be a part of the design with us and get to see right away what their money goes to.  When you contribute hundreds of dollars it’s not really fair you have to wait months to even start to receive what you paid for and it’s usually physical merchandise and not the actual game itself.

“Instead with Project Shadow you choose what you want to co-design such as a character.  Once you’ve selected what type of character they are, where in the world they live, and what the character consist of we’ll get to work with you within a few days and start fleshing out the details so that the artist can truly bring your character to life and you get to watch the whole thing happen.  If you want you can share it with the world too, just avoid any spoilers.”

Awesome!  Well that is good to hear.  I will be interested to see how this community develops!  What can you tell us about the contest?  Where do people participate?

“We’re giving the community a chance to co-design a character prior to the fundraising of #ProjectShadow.  Now usually you would cover the cost of your character, but this time around I’ll be covering the cost for the winner.

“So how do you participate?  All you have to do is write us your idea for a character and we’ll select our favorite and start working with you on bringing it to life.  All the details and guidelines can be found here, which I recommend you read thoroughly if you want to win.  One last note: unlike with Project Shadow, you won’t be choosing the character type.  Instead, we selected one for you that is one of the more interesting and costly to make.  Out of the character types (basic, advanced, keeper, friend, faction member, faction captain, and major) this one is a faction captain, which is a mini boss as your enemy or a faction-related quest giver as an ally.

“One of the key features of Project Shadow (actually the entirety of Project Shadow) is that it allows anyone to be a part of the creation of a game.  It’s really great in that you get the benefits of coming up with ideas and seeing your creations come to life without having to deal with the stress of actually being on the team and hoping the game does well because your livelihood depends on it.  You get to create whoever or whatever you want that fits within the fantasy world we have created, and in doing so you get to share it with the world and at some point experience it in game as well.

“We may not be doing the crowdfunding now but you can still join in by getting in touch with us.  Tweet us @LivingDreamEnt, or use #ProjectShadow on Twitter.  Or you can email us at, livingdream3r@gmail.com

“It’s really important that you do because even though it’s not giving us the funding we really need to make the game it shows us the community is ready for this and they want to be a part of it.  The sooner we see that people are ready for us and we too are ready for them the sooner we can get this started and start to build a world together.”

The vaulting halls of the Hunters' Guild!

The vaulting halls of the Hunters’ Guild!

Awesome!  Personally, I am really looking forward to this community event.  Living Dream Entertainment is taking on a whole new approach by getting players and fans involved in the creation of the game itself.  As the game is developed, players will get to have input on what gets added and it will be, in more ways than normal, our game.  A game that we don’t all just love and play, but a game that we’ve all given input and some of even helped to design!  Dakota also wanted to leave a special message to followers and fans:

“Thank you for reading this article and please follow us and share us with friends!  This Project is entirely based around a community we’re beginning to build, and we encourage every one of you to participate and get involved!  If you like our art share our DeviantArt account.  If you like what we’re doing on YouTube, share it.  Don’t be afraid to contact us at anytime because we’re here for you and we’ll get back with you as soon as possible!  Please consider following @crotchetygamer and his blog.  He’s a great guy and amazing with words!”

This interview is based on an email correspondence between myself and Living Dream Entertainment.  The conversation has been lightly edited for flow, coherence and grammar.

Double-Up Discussion: Taekwondo Global Tournament, Bucketman

Posted on by thre3zekiel

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It is starting to happen.  Games are coming out on mobile platforms that aspire to be more than just quick little solo challenges.  Mobile gaming is starting to earn its stripes as a “real gaming” platform.  Don’t believe me?  Check this game out.  It’s based on the ancient Korean martial art, and it utilizes the fighter concept to pit players against one another.  It is still deep in development, if you go to the game’s website, you can sign up to receive updates about its release!

So right now you get to choose between four character, two male and two female.  There are also two different arenas to battle in, but the “space” in the arenas are pretty small.  Really the goal is to get up on your enemy and deliver blows to their helmet or to their waistband.  This scores you a hit and lowers their health.  There is also a stamina bar that lowers depending on how many moves you do, and attacking and blocking will lower it briefly before it refills.

You stepped in a poop...

I can see you stepped in a poop…

Controls are simple, back and forth arrows allow you to scootch in close to your enemy.  Above those there is the block button, which makes your character drop their shoulder.  There are two attack buttons, a low and high attack.  Low attacks are aimed at the waistband while the high attack is aimed at the head.  Experimenting with the attacks in combination with the move buttons causes your character to perform a variety of different style attacks.  It is a lot of fun.  It is pretty fast-paced and a lot of fun, even though there were only two different arenas that I could choose from: Dojang and Iran.

The background and art of the game is rather stunning for a mobile game.  Taekwondo Global Tournament really took me by surprise!  Right now there is no sound, but with the attention being paid to the rest of the game, I don’t doubt that it will be spectacular when it’s released!  You can watch the teaser on you tube!

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Bucketman is a bizarre game that takes the location information about your neighborhood and turns it into a game.  Just the introductory levels, which all take place in Palo Alto, California, are frustrating and difficult, but the game has its charms.

The story is that there are Artificially Intelligent Vehicles, or AIVs , roaming the streets and you have to take on the form of a sentient bucket to stop them.  Probably related to the Kool Aide Man.  In this battle for chromatic dominance, you control your bucketman with a concentric joystick pad.  You can also jump over the AIVs and there is another button, but I was having some trouble getting to the use of that thing.  It is a fun game, though a bit trying on the patience.

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The game gets more and more complex as you play, and the goal is to battle it out with the AIVs.  You collect different color paints to raise your stats, such as walking speed and air-time for your jumps.  An easier way to put is you can get more ups so jumps last longer.  There is also water that you have to collect throughout a level, which comprises the main goal and gets you more time.  So run around collecting more paints and waters.  You can also buy more paints and such with in-app purchases, but they are pretty well hidden in the menu, almost as if the developer is ashamed to ask.  But no worries, it isn’t in your face or forced, so it makes me feel really good about these guys.  You can get this app free on Google Play!

Bucketman is a great location-based game that deserves some credit, even if the concept is bizarre and the story is goofy.  I mean who would believe that Google cars could take over the world..? wait a minute…

Valley of the Dead Pre-Releases

Posted on by thre3zekiel

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Before any gets clever, I am not asking about the dinosaurs; I am referring to a mass extinction event going on within the confines of digital media.  Early Access games are out there and comprise a large part of Steam.  I have nothing resembling exact figures, but it feels like there are at least 5 unfinished games on steam for every complete title.  Want a more solid idea of how many there are? Early Access is its own searchable category on Steam.  It contains such prestigious titles as The Forest, DieselStormers, Galactic Civilizations III and others.  The three I will be discussing today are those shown above: Towns, Terraria and Stomping Lands

What is Early Access?

Once upon a time there was a magical viking who had an idea for a video game.  You can mine and mine and mine, build a house, a fortress a town, farm, breed animals and fish.  You’ll be able to use portals to travel to other dimensions and work magic.  Monsters will come out at night, but you can defend against them!  And in the End, you’ll fight a dragon!  This game was slow to catch on at first, but once kids and gamers found it, they fell in love.  It rapidly became one of the most popular games of all time, spanning generation gaps and giving everyone something they loved.  This was the first instance of an unreasonably popular early access game.  It was called Minecraft.

Since then a number of companies have vied to create an early access hit like Minecraft.  Steam has been the most successful in its push, encouraging devs to submit their games for rigorous vetting by Steam’s community through Steam Greenlight.  Once the games have been selected, they are allowed to provide an early version of the game at a reasonable price for purchase.  This was awesome at first, but then Steam became progressively more inundated with games that aren’t finished.  And worse than that, some games die in this public-run games incubator.

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This is a brief description from Steam’s website about what early access is and here is a link to their complete explanation about what all of that entails.

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Many people are familiar with this title.  The idea is that you start a small, 16-bit town of sprite people and then guide these people through building a town.  You can do all kinds of fun things from farming and animal husbandry to combating foes.  You can also create a little stairwell down to the mines below.  Of course, these mines are filled with all nature of foul monsters, so you need to attract heroes to your town to battle the enemies and delve deeper.  By doing this you can get better materials to build with and make a fabulous town!

So how did it die?  Sales.  In a lengthy post on the Towns official forum, gamedev Moebius went into detail about why Towns is no longer being developed.  Hardly news, this post goes back to May 2014 and details his reasons.

“When I signed up for working on Towns I was told that we sell a minimum of about x copies/month of the game. I agreed to work on Towns for 15% of what would remain after removing all the taxes and the Steam fee. Xavi and I agreed that this would be a fair amount, and I still think it is.  After getting used to the source code and publishing the first new version of the game, we talked about the agreed payment and it turns out that the sells are getting down rapidly. So we are now selling less than a third of the x copies a month, loosing about 33% of sells per month.”

Yea, that is the most of it.  The game wasn’t selling anymore and the most of the money to be made there was lost in the initial rush of sales.  By the time Moebius was conscripted, it was too late.  If you keep reading that little post by Moebius, down at the bottom they make some spectacularly upsetting statements.

“Xavi and I were talking about a possible Towns2. At the moment this is just in an idea stage and we can’t really say if he, I or eventually Ben have the time to create a Towns2. As faithful fans of Towns we would of course reward you in some way, when/if the new game is released.

“A new game will give us the following advantages:

  1. we can implement all the cool things that are not possible at the moment due to how the core mechanics works in Towns 1
  2. we can also rise attention as this is a completely new game and a successor for once great runnning game
  3. this will also make it possible to have a financially sound basis for a long development of Towns2

“I want to end this post by thanking you for reading this and for all your support in these two months. Again I’m sorry that we had to pull the plug right here, but I sincerely hope you can understand why we had to make that decision right now.”

So let me get this straight.  Not developing the game anymore because of a decrease in sales, so the money isn’t there.  Got it.  Now we are considering a Towns 2 as a sequel to this farce?  What the fuck?  I mean at least they were open about saying the idea is just a way to get more money out of the game, but how do you make a sequel to an unfinished game?  Granted, there have been 2 updates to the game since this post, but they were the only two updates to the game since September 30, 2013.  So fans of the game are left with an occasionally updated title that is a testament to what could have been.

terraria_logo

I am pretty sure this title is older than Towns, but there is a reason I am listing it here.  Terraria is a game where you build 2D houses and dig in the ground for stuff.  At night evil monsters come and try to kill you.  God what the fuck is with all the similarities here…

Back in 2012 the developers of Terraria declared the game had received its final update and that it was “time to move on”.  In this PC Gamer article, it is explained that one of the developers even went to work on Starbound with Chucklefish, which, for lack of a better term, is Terraria in space.  In my opinion, it seems like CF stole the developer for this game to prevent it competing with their own game.  Shady horseshit.  Despite the developers apparently jumping ship, the game is still receiving updates on the Steam store, which makes it seem like the whole “boo hoo we’re ending the game” thing was a cry for help.

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Now we’ve got this game, The Stomping Land.  I was originally planning to review this game, but I spent hours in-game and realized how much it sucks when you play it alone.  To give you an idea, when I first came in, I was a naked caveman.  I was on a beach for about a couple seconds when an idiot burst out of the underbrush riding a raptor and hurling bolas.  Someone else was trying to stop him from killing me, and I managed to use the terrain to conceal my escape.  Crafting was boring and you couldn’t stash your shit except in a box, which you dragged along behind you.  It was utterly unfinished, and now I read THIS horseshit.

Apparently the game has gotten no updates in months, which really got Kickstarter backers nervous.  The company also went radio-silent for a while too, but they came out and said that they were switching to Unreal 4.  That is not so bad, but with the game itself being pulled from Steam, everyone with that game in their library – myself included – shat many bricks of frustration.  Of course, before Alex Fundora, SuperCrit founder, announced the engine change, he effectively disappeared for two months!  Tumultuous, scary shit.

So what does all of this mean for Early-Access games?  Tread lightly.  Many of these games are financially on the ropes as it is, so a heavy measure of trepidation is urged in investing.  Buying these games isn’t you standard I give you money you provide a product, it is literally a form of speculation similar to stocks trading;.  Certainly it is not nearly as volatile or risky, but you might not get your 20$ for that game back, nor might you get a finished game.  It might be a sign that all of these games attempt to emulate Minecraft’s basic structure despite adding new elements to their games.  Just like so many other MMO’s attempted to emulate World of Warcraft’s success and died trying.  In some of these instances you even have games that died and came back from the dead, which gives a new meaning to the term “zombie-game.”

I spoke briefly with my friend Dave about these types of games and he echoed the same frustration that many long-time gamers feel.  When you buy a game, you want a finished product.  You don’t want to play a game up to the point where the bugs are too much to handle and then have to put it down.  Sure, there will be more content later, but it will trickle in; then you’ll log on each time to experience that new content, effectively experiencing the finished game in pieces until the finished product feels as worn and old as the other games in your library.  It is irritating and many of us just want to play a finished game.

Some people seem to be over Steam Greenlight and similar services altogether, but just how many I am not sure.  VG247 had a pretty interesting article back in January 2014 about Greenlight closing, which might not be the complete answer, but I am not sure that too many people would be upset about it.  What are your thoughts about early-release games?  Join me in a discussion about it on Crotchety Gamers United!

Skyling: Garden Defense; Rhymes, Rhymes EVERYWHERE!

Posted on by thre3zekiel

SGD_logo

Sometimes a game is way too much fun and you must talk about it to everyone, the puzzles were tough and the enemies strong I was grabbing fruit all the day long, kitties I’d lift and sluggy balls chuck I would stop rhyming but my brain’s deeply fucked, I’m sure that a comma each statement can’t end, forever this review in rhyming I’ll spend, so I’m just going to type and cut out the crap, so no one feels the sudden and undeniable urge to stab me in the fucking throat.  Just.. one sec… rhyming sickness is tough to break, but I have to focus cause this review’s at stake…  GODDAMNIT!!!

That is the format of the tutorial for this game.  At first it’s adorable but after a while it becomes creeping and insidious, invading every word that you speak.  Your character’s Bloom and her toes are magic, and everywhere you walk a patch of green grass grows.  The goal?  COMPLETE WORLD DOMINATION!!!!!  Sort of.  Actually you have to spread verdant giddiness throughout this skyborne garden that was taken over by the blight monsters, which rendered the Skylings’ garden a barren wasteland.  There are several types of them and I didn’t see them all, but if I kept playing I would have been rhyming for the rest of eternity!  Or at least until someone rightfully stabbed me in the spleen without a medically logical reason to do so.

Skyling 2014-09-07 21-08-21-09

Don’t let her fool you… Beneath that whimsical smile lies the unburdened soul of a psychotic killer. Or just a vegan.  Interchangeable, really.

So, as stated, Bloom walks around each little square and spreads the green grass everywhere, which, in turn, brings the garden back to life.  There are little, dead gardens surrounded by dirt paths and as you surround them each with grass and flowers, they grow right back.  Each garden then shoots out a crop of fruit.  Considering how fast they come out, these people should put up warning sirens during harvest season, or else someone is flying off the skygarden.  Then again, it would help to cull their numbers.  Fruit doesn’t last forever, though, and the next challenge after regrowing the gardens is collecting the fruit before it rots away, without getting caught.  And the blight bastards make it tough as shit,  cornering you until you shrink into an insignificant little nothing.  One of the best games I’ve seen out of itch.io, this game’s exceedingly whimsical is likely to entertain women, children and lyrical leprechauns the world over.  Not to mention the puzzles really are tough as shit.  You’ll often start off in the only safe little corner of the board and you have to navigate the monster hoard.  I didn’t make it too far in the game, but I still had fun all the same.

Sky kitty don't care. Sky kitty don't give a shit.

Sky kitty don’t care. Sky kitty don’t give a shit.

The first monster you run into is the stone ogre.  These guys have purple horns and only walk on stone and if you don’t pay attention they’ll get you alone and kill you in a corner; this happened to me way too many freaking times!  But since they have a set path they’re pretty easy to outsmart, but they are fast; so try not to find yourself in too many games of ‘step off’ chicken with these guys.  This is where you see the enemy plodding along his stone walkway and you just want to get that last couple squares covered.  Then you turn around just as you finish and run back toward the enemy to get back to the safety of the one smooth square that is close and you’re not immediately blocked from.  A more adorable game has not made me scream with as much frustration.

Sluggies are the orange ooze monsters.  These guys eat everything they can find but you can pick them up if you come from behind.  (wink wink nudge nudge)  But seriously, get behind them and you can pick them up and chuck their gooey, orange asses off the skygarden like a bizarrely adorable episode of american gladiators.  What?!  They made nerf wars look like the most epic thing ever!  When I say they eat everything they can find, I mean they erase your little green patches, and if they break the grass surrounding a garden, it wilts and dies again.  This can be remedied by just walking over the square again, but it doesn’t yield more fruit.  It’s just fucking annoying.  Luckily, these orange guys serve as your most offensive weapon.  If you manage to grab one of the sluggies, you can launch them at other monsters, rather than into the wild blue yonder, and it kill them both, scoring you some points.  This is especially useful if you missed some fruit and need to recoup the losses.

Bats are a fucking nuisance, but they can usually be avoided.  If they catch you, then you can’t move.  This lasts just long enough for you to get caught by a monster and lose, so be mindful.  My best tip is to get to a smooth square if you see them coming at you.  This way you won’t get bowled over by the fucking stone ogres.  Additionally, don’t go anywhere without a kitty to take the blows to its fat, useless body.  It’s asleep, it won’t mind.

The final foe is what I call the gaping maw for two reasons.  I didn’t get far enough due to rage quitting to see these guys.  The game isn’t impossible, just a really really tough piece of enjoyable gaming.  Seriously, it’s deceptively hard.  They lure you in with carefree music and little 16-bit graphics, but then you have to get the last fruit on the giant fucking q-bert level!  Perhaps I was just caught up in the horrifying memories of rage-quit I had on that game, though.  The other reason is that the monster is literally just a yellow mouth.  I am terrified of what it does to you and refuse to speculate openly.  Probably just hunts you down and chews on your bones.  Yummy magical bones.

This fucking level was harder than shit, if I played any longer the dev's throat I might slit.

This level was tougher than a limestone shit, if I played any longer the dev’s throat I might slit.

You aren’t without allies though.  There are the kitties.  Best part is, they are about as fucking useful as you might expect they would be in a war against bio-diversity strangling monsters.  They lay there and purr innonously as they sleep, the little fuckers.  The title screen is just a menu with a purring kitty reclining in the ‘g’ and if you listen for hours you’ll realize that’s the same sound your soul makes as it’s torn from your shrieking mortal coil.  I would just kick them off the skygarden, honestly, but they have uses.  Bloom grabs these guys nonchalantly and plops them down on switches proving that cats basically have one purpose: dead weight.  Throwing them on switches usually has the effect of triggering a pillar to pop out of the ground, which causes monsters to be corralled away from you.  To be fair, however, these cats can also be used as obstacles, and I have used them to turn a charging stone ogre.  See, at least the ogres care about kitties.  Then again, with only one eye, they have no depth perception, so a cat might just look like a purring, vibrating ball of fluff.  That would make me reconsider my path of trudging in a heartbeat.

All-in-all this is a really fun game.  Great pixel art and upbeat music help to give this a really cute atmosphere that is perfect for children and childish adults alike.  The controls can be a non-responsive on the keyboard, but not enough that you can’t get used to it.  Also, there is no ‘save’ outside of the standard level-by-level advancement.  If you’re caught by monsters, you have to restart from a clear board.  It drove me fucking nuts, but it also makes you really think about what you do.  Be warned, though:  this game is full of rhymes and is hard as fuck, so when asked about it your face will fall into a pale countenance, steeped with horror.  In a thin, wry voice you’ll caution “they were everywhere!  In the bushes, in the trees!  If it wasn’t for the kitties, I would’ve never made it out alive!” A paltry 0.98$ on itch.io, I wonder how itch stays in business giving such crap rates to well-made games.  For more info on the game and its developer, check out Mighty Studio’s site!

Destroy the Monkeys! Poo-Flinging Retro Frenzy!

Posted on by thre3zekiel

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Back in the day there was a game called Space Invaders.  It is a classic that defines blasting pixels as they approach you with increasing speed, becoming more and more threatening as you mow them down with a gun.  Honestly, it seems like you’re the invader if you really look at it.  But Destroy the Monkeys! makes it very obvious that you are defending yourself.  The opening scroll even makes it fairly obvious that no one saw the monkey uprising coming.  My question is how did they get into space?  Without rockets?  Don’t start trying to rationalize this game.  You’ll hurt yourself.

As an example of this game’s level of seriousness, you fly a banana rocket and fire a banana machinegun to mow down enemies.  Arguably, you are firing a food source at them, but that is no matter.  They are throwing glowing cosmic poop at you!  Level after level, you are battling shit-flinging monkeys!  And it is still pretty fun.  The difficulty curve is outrageous, too.  In the start, it is workable, and you can blast the poo with the banana machinegun.  But then the monkeys start launching rockets and bombs.  It gets worse and worse until you fucking rage quit.

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Here are the various types of monkeys you will fight.  There are monkey monkeys, pirate monkeys, cowboy monkeys, kung-fu monkeys, magneto monkeys, green beret monkeys, red beret monkeys, samurai monkeys, soldier monkeys, general monkeys and roman general monkeys.  There are also two egyptian hierarch monkeys.  And what looks like King Kong and mini King Kong.  The music is hard rock anthem blended with videogame madness.  I. of course, played an early version of the game, and it will probably only get better.  This is a game of madness and bizarre monkey-shit and it is a ton of fun.  It will make you laugh, rage and, eventually, you might even win.  Look for it, it’ll be a great time between other games.

Special Report: Adam Baldwinn and InternetAristocrat talk GamerGate on Ed Morrissey Show!

Posted on by thre3zekiel

EdMorrisseyShow

First, I just want to include that the views on my blog and in this article are solely those of myself and are not connected to any games reporting outlet for which I produce content.

In what feels like the first high-profile open discussion about GamerGate, Ed Morrissey stated up front that “opponents of this movement were invited to participate […] and did not respond.”  That should tell you something about how they plan to handle this situation, potentially even their confidence in their side of the discussion.  As the host of the show, Ed says also that he is playing the role of the “interested moderator.”  You can find the video on Townhall Media’s YouTube Channel.  I’ve linked it here with the exact time the GamerGate discussion picks up.  The discussion was held on the Ustream for The Ed Morrissey Show, which is featured on Hot Air.com.  He’s a video blogger and conservative grassroots journalist.  He was joined today on his program by Kevin Glass, the managing editor at Townhall.com, Internet Aristocrat, a video blogger whose Quinnspiracy video largely rallied the gamer community, and Adam Baldwinn of Firefly and The Last Ship fame.

The major points that are touched on in the 48-minute discussion were the primary arguments of the #GamerGate movement, the first of which was the ethics being displayed in gaming journalism.  Adam spoke up first saying “I’d like to focus on the most important part [which] is […] companies that are basically in business to make ad revenue providing information to gamers and for them to go to war with gamers over their complaints seems […] professionally suicidal.”  Now Adam is no longer a bystander in the GamerGate discussion and even says that he’s “tried to be neutral as he can” but that he’s clearly taken a position in this discussion.  Cinemablend released an article in late August about Adam’s contribution to The Fine Young Capitalists IndieGoGo campaign supporting women in gaming, and harassment he received in response to tweeting about his contribution.

Adam also commented on the response from major games journalists saying “it’s shocking to see the vitriol and the silence that has descended upon what could be a very productive conversation.”

And honestly, he’s right.  Just today MundaneMatt, a YouTuber whose channel was under direct assault in this controversy, ran a video about four hours ago discussing how games journos are now hiding their Patreon pledges and withdrawing from this discussion.  As for the vitriol: do I really need to reblog that same STILL GROWING list of sites I will refuse to take gaming news from henceforth?

Internet Aristocrat provides a number of eloquent and thorough monologues on GamerGate from start to finish.  He comments, while games reporters are people who like games, we would like more disclosure about their biases and their connections within the games industry.  Ed agrees saying that in the film industry movie critics like movies and go to movies, but what they really need is jounalistic distance.  That is something we are not seeing at all in games.  I have listed the ways that I have supported crowdfund campaigns and I will openly admit that I have accepted review copies of games, but the level of convolution in the games industry is showing a consistent profusion.

Ed mentions to Adam that some of the sites involved have put out disclosure rules on their websites just this week, but Adam responds saying “Well that’s all well and good, but the question now becomes enforcement […] if those policies are not enforced internally, then they’re just pieces of paper.”  And for the most part, supporters of the sites have been pointing at these as the “valid response” and that gamers need to call off the dogs.  Some people are still just lambasting gamers, saying that there is nothing to this “scandal,” labeling gamers as sadistic ‘misogynerds’ wanting only to keep down women in the industry.

But Adam continued, saying “the reason this scandal blew up and what caught my attention was the way the attack came. […] When […] the “twitter inquisition” descends upon you, that’s a tip off that there’s something there.” In my honest opinion, at this point anyone still saying that gamers are off-base is just plugging their heads in the sand and ignoring the facts.

Of course, the next element of the GamerGate discussion came out of Adam’s thoughts. “I can understand why anyone would want to protect someone who’s being attacked or harassed, coming to the defense of your friends: that’s a noble thing.  But it’s really moved beyond [the events] that catalyzed this whole thing.”  And he’s entirely right.  We mostly decry harassment, but this discussion has moved well beyond just chastising a few basement-dwelling misogynists.

The next point covered comes out of Kevin Glass who says “[online media] are maligning the term ‘gamer’ way too broadly, and they’re indicting the entire community for the actions of a smaller group of people.”  Absolutely.  That is only too true.  Adam briefly mentioned the GamerGate Blitzkrieg as I detailed in previous articles, and even seems to have been personally insulted by some things he’s read.  Kevin makes another solid point that “you go into an online community and [the abusive element] is often the loudest group of people there.”  He also says “some people seem to be trying to preserve gaming in a pure, apolitical way that might not be healthy for the game industry.”  I have to agree whole-heartedly with that as well.  As I have said in this blog’s about page and previous reviews, games are a developing art form, and the best way that we can obtaine validation for games as art is to approach broader topics with an open mind.  And many games including Heavy Rain, 4PM and Braid have done so in an entertaining and interesting way.  Even Kevin Glass admits that games like Depression Quest and Gone Home are “counter-intuitive and have socio-political messages that [gamers] aren’t really used to,” but there are approachable and entertaining ways to create amazing games with powerful statements without making them boring to play and difficult to engage but for an elite few.

Honestly, this whole conversation is a wonderful piece and I will love all of these people forever because of the stand they have made and the discussion they’ve had.  Bear in mind, the games journalists have decided to remain silent and removed themselves from the discussion.  If anything is true about social progress, removing yourself from talks guiding it exempts you entirely.  I am not sure if they realize it, but they are damning themselves by not speaking up.  So, please, watch the video and show your support.  Check it out and keep this in mind: we’ve won the first battles of GamerGate and gotten it out to a broader audience.  Now let’s finish the war.  Stay in the fight and stay strong.