What an Age We Live In

So a birthday editorial is now officially a thing with me.  I did it last year to talk about the age thing.  It’s one of the things that tickles me pink about being Indie Gamer Chick: my average reader is over ten years older than me.  In terms of what that means from a generational perspective, it means someone who is, say, 34 would have grown up firmly in the era of Atari 2600, Colecovision, and NES just as it was launching.  Whereas I got my first console in 1996 at the age of seven.  And it was the original PlayStation.  That’s a pretty big gap.  I spent my teen years with PlayStation 2, Xbox, and GameCube.  You spent yours doing Sega Screams at each-other and talking about Super FX chips.

This gives me a different perspective.  It also leads people to write off my opinion on gaming history as irrelevant.  After all, how could I, a person who more or less grew up in the modern gaming era, understand what games meant to you.  Games were totally different back then.  The industry was too.  The culture.

Ha.

Remember how at E3 this year, everyone was hating on Microsoft and doing the dance of joy for Sony, who were coming off like the plucky underdogs?  Yea, that’s already happened.  Only it was Sony who were the assholes and Sega who were the guys everyone was cheering for.  Back in 1999, Sega announced the American release of Dreamcast, with a very modest $199 price point.  Just days later, Sony announced the specs for PlayStation 2, which rendered Dreamcast obsolete before it even released.  Sony also positioned PS2 as more than just a game machine, thanks to its DVD playback capabilities.  They touted their consoles as the future of entertainment, where being just a video game device was passé.  Sega’s American CEO Peter Moore responded by saying “(Sony) said they are not the future of video games.  They are the future of entertainment, and God bless them.  We’re the future of video games.”

Sound familiar?

Sony

Well, at least Peter didn’t tattoo that on his arm.

Sony had a ton of swagger for years at this point.  In 1996, Sony purposed a Gentleman’s Agreement that neither they, Nintendo, or Sega would make price change announcements at that year’s E3.  Sega and Nintendo accepted.  Sony then broke the agreement and said that they were dropping the price of PlayStation by $100.

It’s worth noting that Nintendo had to announce the price of Nintendo 64 at the show, and Sega had planned on reneging anyway by having signage touting Saturn’s $100 price drop printed up.  Still, Sony offered an olive branch and then immediately set fire to it once Sega had grabbed it.  It’s not that they broke the agreement though.  It’s that they were such dicks about it.  On the third day of the show, Sega’s spokeswoman Angela Edwards was carrying heavy signs that said “Saturn: Now only $199” (an extra $100 price drop that they were forced into despite corporate’s wishes) into the building, only to be harassed by Sony employees who mocked her and called her pathetic.  The jerks involved were never named but rumored to have been fired.

Let’s see: arrogant console manufacturer with antagonistic employees opening their big yap and getting fired for it.  Sound familiar?

Gaming is no different today than it was when you were young.  Technology is better.  Roles might be different.  But the overall picture is basically the same as it’s always been.  This generation, we have three main consoles and a couple of upstarts who would walk on rusty nails just to capture a 1% market share.  For the main consoles, one is more consumer friendly and has better licensing deals with third-party partners.  One is facing all kinds of criticism for draconian policies despite having major technical advantages on its platform.  And finally, one is struggling to keep its head above the water due to lack of third-party support, poor marketing, and inferior hardware.  In this context, I’m talking about PlayStation 4, Xbox One, and Wii U in that order.

But if I replace “this generation” with “the 16-bit generation”, then I’m talking about, in order, Genesis, Super Nintendo, and TurboGrafx-16.  The parallels between that particular console war and the current one are striking.  But gaming history is full of that.  For that reason, the age thing really isn’t that big a deal.  Times change, but nothing really changes.  In the 80s and 90s, Nintendo fought tooth and nail against game rentals.  Right up until it became clear that the courts, not to mention the court of public opinion, would never side with them.  This year, Microsoft was absolutely crucified by the journalists and the game community for their DRM policies on Xbox One.  Make no mistake though.  If a console manufacturer can succeed in creating an environment where used games don’t exist, they would absolutely do it in a heartbeat.  We’re not quite there yet, but it’s coming.  It’s inevitable.  Not only that, but when the time comes, nobody will care.  It will be expected.  It will be the norm.

I tried my best to somehow compare 3DO to Ouya.  Gave up when I realized it wasn't possible.  The 3DO was $700, hard to develop for, and would have been lucky to capture 1% of the market.  Well, I guess Ouya has that.

I tried my best to somehow compare 3DO to Ouya. Gave up when I realized it wasn’t possible. The 3DO was $700, hard to develop for, and would have been lucky to capture 1% of the market. Well, I guess Ouya has that.

Sure, the game industry of today isn’t exactly the same as it was for you.  Indies for example.  They couldn’t exist back then without getting dragged to court, and even the act of selling third-party development kits would likely get you sued.  Being indie on consoles meant acquiring a development kit (typically through the black market), getting distribution, a publisher, or the capital to make a production run.  Today, thanks to digital distribution, pretty much anyone can make a game and see it published on a console.  Anyone can make a game for Xbox 360 and publish it to XBLIG.  For the next generation, there might be a few more barriers, but someone with the desire to create a game can see their title published to a console’s marketplace.

But otherwise, it’s still the same game industry.  Nintendo still relies on the same handful of IPs.  Sega still relies on Sonic.  Gamers complain that games are overpriced or that there’s not enough variety.  Fanboys pick sides and get in shouting matches over which console is superior, only it’s done on the internet during their lunch break instead of at the playground during recess.  One company is positioned to be the gaming press’ darling.  Lawsuits are flying left and right.  I live in the same environment you did.  I’m a gamer of the new school variety.  You might be a gamer of the old school variety.  It’s actually the same school.  I was born twenty-four years ago today.  On the day I was born, old school gamers were drooling over pending release of Duck Tales.  Today, those same gamers are all grown up.. and drooling over the pending release of Duck Tales.  How times have changed.

The Swapper

Faceplam Games The Swapper is set in a far-flung space station where your Claymation spaceman talks to rocks and finds a device that that lets him clone himself up to four times and then switch his consciousness to these new clones. This new found ability lets your space-dude do things he normally couldn’t…like solve a bunch of inane puzzles and swap in-between these clones ad infinitum just to get from point A to point B. The core idea here, the cloning and swapping abilities, are intriguing ones; it’s their implementation as any kind of fun gameplay experience that’s profoundly lacking.

Let me explain…

Another title for The Swapper could be "Wallace and Gromit Go To Space Hell."

Another title for The Swapper could be: “Wallace and Gromit Go To Wonky Space Hell and Really, Really Hate It.”

I can always tell when I’m just not digging a game; it almost feels like a chore, or god forbid, actual work when I go back to playing it. Regrettably, it’s been that way for me with The Swapper.  It became “that thing I had to do” and I don’t ever want to feel that way about playing a video game. This is, by all accounts, a game I should like, being a critic of (somewhat) discerning tastes and all, but The Swapper just left me cold because it seems to be art for art’s sake. It’s like the interactive entertainment equivalent of one big circle jerk populated solely with fucking spaceman clones who aren’t really listening to you. It’s as if the developers woke up one day and said, “Hey, let’s make an arty puzzle game with Claymation graphics and set in a creepy fucking space station!” and then did just that but forgot to make it entertaining in any way. And, as far as I understand it, one cannot set out with the intentions to make art…it just has to be art.

Maybe it’s just me? Maybe I’m burned out on quirky/cool puzzle games, which seem to be the bread and butter of many an indie developer. When I stop to think about it, The Swapper definitely strikes me as a game that could’ve been designed by one of the many eccentric goofballs that populate a TV show like IFC’s Portlandia.  And, like putting a bird on every-goddamn-thing, it’s interesting and groovy at first blush but, ultimately, lame and boring when you have to look at it for an extended period of time.

Now just what the actual fuck is going on here?

Now just what the actual fuck is going on here?

You know what? I don’t feel like pulling any punches any longer: this game is ridiculous piece of pretentious shit. It’s uninstalling from my hard drive as I type this sentence. I kid you not. If your core mechanic (the god awful “clone swap,” where you have to create clones above, or to the side of you, and quickly switch to them to traverse open and/or high spaces) takes at least an hour to master, especially with sticky keyboard/mouse controls and then you force the player into using this shitty mechanic to cross almost every conceivable space in the game, fuck you and the code you rode in on, man. Seriously. And every critic who has been fawning praise over this flaming turd in video game form should have their press passes revoked…and if they don’t have press passes, which I’m guessing they don’t, then their WordPress and Blogger accounts should be suspended until they pull their oversized melons from the gaping assholes between their legs.

Now, let’s be nice and sparkling clear here: I love artistic games. I loved Flower. I loved Limbo. I loved Journey. Hell, I’d even go as far to include Bioshock and Half Life 2 into the “artistic” games category and I loved both of them too. So, I’m not sure what the disconnect between me and The Swapper is, but it is a rather large divide for sure.  This game just blows goats in my opinion. I couldn’t stop playing it fast enough. I don’t give a rat’s ass what your artistic pretensions are; bored and frustrated = not fun. I hate The Swapper and everything it stands for. End of story.

 header_292x136The Swapper was developed by Facepalm Games.

For $14.99, The Swapper will make you hate life, the universe and everything.  And not even Deep Thought can give you an answer as to why it sucks so hard.

The Swapper is available on Steam.

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Aqua Kitty

It’s strange how Defender, one of gaming’s iconic titles of the Golden Age of arcades, hasn’t been cloned to death by modern indie developers. I’m cool with that. Having played an endless supply of uninspired-inspired neo-retro games, I’m not keen on seeing Defender done wrong. Still, how did Defender fall through the cracks? Here’s a game that was predicted to be a huge bust, but went on to become the seventh-best selling coin-operated game ever. Maybe it’s because it was eclipsed by Pac-Man and Donkey Kong. Or maybe because Defender’s track record since its original release has been mediocre at best. It got one of the laziest sequels of all time (which was called “Stargate” because of some legal posturing by Williams. James Spader was unavailable for comment). There was an unofficial sequel by Midway that nobody I’ve spoken with has ever played. There was an all-but-forgotten update to the format on Atari Jaguar of all systems, which means it probably sold like six copies. And finally, there was a 2002 3D remake for sixth-generation consoles that quickly found its way into clearance bins. Your average child actor has a more graceful flame-out than Defender has had as a franchise.

You know, for a spry young whippersnapper with a reputation for hating classic games, I sure do seem to have a love for Defender. I even have a Defender homage in my top 25. Then again, Orbitron: Revolution only mimics the flight and shooting mechanics of the arcade classic. You’re actually not defending anything  So I guess it’s not really Defender  More like Aggressor. Was there a game called Aggressor? No? Well, there ought to have been.

Aqua Kitty on Xbox Live Indie Games.  AKA the really good version.

Aqua Kitty on Xbox Live Indie Games. AKA the really good version.

If you’re looking for a modern Defender-based indie, Aqua Kitty is probably a closer knock-off. I still prefer Orbitron’s faster pace and modern graphics.  But let it be said, Aqua Kitty is a damn fine game. You’re a cat in a submarine that must defend little aquanauts while shooting wave after wave of enemy. And the cat smokes a pipe, which means he’s one cultured pussy. But, other than the setting and a couple of power-ups, this really is Defender.

Despite being a bit on the bare-bones side, Aqua Kitty is really well produced. I played both the XBLIG and PlayStation Mobile versions. I prefer the XBLIG port, which plays faster. The Vita version has the advantage of being mobile, but it seems clunkier in both framerate and controls. Don’t get me wrong: it’s still a pretty good game. But I would go with the XBLIG port.

It’s not perfect by any stretch. What really bugs me about Aqua Kitty is the total lack of ambition. Defender is an old formula in need of renovation.  Aqua Kitty does some things to smooth that over, but it’s just not enough. Turbo shots? Good idea. But only have one type of turbo shot? Not so ambitious. Power-ups? Good idea. But having only three power-ups, one of which is a bomb, one of which is a health-up, and one of which adds flankers to your ship? Not so ambitious. Plus, the flankers are time-limited. This was presumably done to preserve the difficulty. Given that the screen gets utterly spammed with enemies and projectiles in later levels, this was unnecessary, as those guys really aren’t that effective at combating it. So where’s the wild, more modern weapons and items? Nowhere to be found, and that’s a shame.

The PlayStation Mobile version.  Which, as it turns out, I could have got for free a few weeks ago but I mistook it for another, less epilepsy-friendly title.  Instead, I ended up paying more for this version than I did for the superior XBLIG port.  Smooth, Cathy.

The PlayStation Mobile version. Which, as it turns out, I could have got for free a few weeks ago but I mistook it for another, less epilepsy-friendly title. Instead, I ended up paying more for this version than I did for the superior XBLIG port. Smooth, Cathy.

Don’t let that all discourage you. Aqua Kitty is probably the best pure Defender clone in years and a genuinely good game. Near-perfect difficulty curve. Distinctive enemies. Cutesy themes. Solid play-control. What’s not to love here?  I’m not sure why the inferior PlayStation Mobile is priced $0.50 higher than the XBLIG version. Some kind of temporary insanity brought on by the awesomeness of a pipe-smoking kitten perhaps. Happens to the best of us. I saw the pipe-smoking kitten and totally blacked out. The next thing I know, I’ve got a tattoo and I attempted to marry my Wii U.

xboxboxartAqua Kitty was developed by Tikipod

IGC_Approved240 Microsoft Points (XBLIG) and $3.49 (PlayStation Mobile) were unaware of the existence of a Defender song until some bastard sent it to me. It shall never leave my head now in the making of this review.

Both versions of Aqua Kitty are Chick-Approved, and the XBLIG version is ranked on the Indie Gamer Chick Leaderboard. Even the developers admitted to me that they prefer the XBLIG port. Go with that one.

 

DERP of Duty and Uncraft Me !

Boob games.  They’re all over Xbox.  They make more money than most of the top-ranked games on my Leaderboard do.  Other XBLIG developers hate them.  I’m tolerate of them, and sometimes even award them my Seal of Approval.  All I want to do is be entertained, which isn’t as hard as people think.  Take the Trailer Park King series.  The three main releases (Trailer Park King 1, 2, and 3) all made the Leaderboard.  The first spin-off, Cherry Poke Prison, did not.  In part, because of burnout on the, ahem, humor, which is exactly what hurt Trailer Park King 3 as well.  DERP of Duty is the second spin-off, and now I’m so burned out that I need a fucking skin-graft.

Ha, BB!  That's a gun too. And the place has Bazookas in the name!  That's a euphemism for tits!  I haven't seen this many plays on words since I last played Scrabble!

Ha, BB! That’s a gun too! Brilliant! And the place has Bazookas in the name! That’s a euphemism for tits! I haven’t seen this many plays on words since I last played Scrabble!

DERP of Duty was developed by Freelance Games (80 Microsoft Points still think Trailer Park King is begging to be made into an animated series in the making of this review)

DERP of Duty was developed by Freelance Games (80 Microsoft Points still think Trailer Park King is begging to be made into an animated series in the making of this review)

I want to say something in defense of Sean Doherty, the developer of the TPK games: he’s a genuinely cool dude.  He was the first developer I ever talked directly with as Indie Gamer Chick.  I also think he’s probably as burned out on this series as well.  DERP of Duty feels like it’s trying too hard.  As cringe-inducing and skin-crawly as the dialog could be in the early TPK games, at least it felt somewhat organic.  Maybe Sean felt the need to top those efforts with even more shocking banter, but this time it feels hollow.  Without a compelling narrative, the overly-simple pointing and clicking simply can’t carry the game.  I think even the most staunch fans of Trailer Park King will be letdown by DERP of Duty.  It’s time to retire this series.  Sean has established he has the talent to make, ahem, interesting characters and accompanying mythology.  Now, I want to see him apply all this towards a more involved game.

And I don’t mean more involved as in getting guys to spank their monkeys harder than they already do.  XBLIG has enough games that do that, as seen in this collage by Mount Your Friends developer Daniel Steger.  Which I’m sure he compiled for market research and not as part of his newest cardio-vascular workout routine.

xbligLadies

But, the real question is: how well do they sell?  Really, boobs seems like no more a sure bet than recent Minecraft clones do.  Judging by the success of Mount Your Friends, it would seem there’s an emerging market for penis-themed games that you guys are missing out on.  So stop being boobs and start dicking around.

And while I’m on the subject of boob games, Team Shuriken is back.  The guys behind such classics as Temple of Dogolrak and Mystic Forest return with a game that has, gasp, actual gameplay!  I know they’ve tried that in the past with Dream Divers, but I still thought the gameplay felt sloppy in execution.  Here, Team Shuriken took no risks.  Uncraft Me ! is a bare-bones punisher with the hook being instead of just jumping, you use a jetpack to thrust around.  And this is Team Shuriken we’re talking about, so beating levels means unlocking risque anime girls with breasts so large I believe they’re medically considered cancerous.

It’s also their first game to win my Seal of Approval and get ranked on the Leaderboard.

Yea.

Pretty sure this was spoken of in Revelations.

Or maybe it's not a jetpack and the main guys is hovering around using highly-pressurized urine.  Which I'm sure is another fetish but I'm too cowardly to Google it.

Or maybe it’s not a jetpack and the main guysis hovering around using highly-pressurized urine. Which I’m sure is another fetish but I’m too cowardly to Google it.

Look, all I’ve ever cared about is being entertained.  If a game is 50.000001% entertaining and 49.999999% shit, it wins my seal of approval.  On balance, I had more fun with Uncraft Me ! than not, so it gets it.  Sometimes the levels have clever design.  Other times they go for precision-platforming involving, simultaneously mind you: buzz saws, missiles, and timed-barriers that stay closed permanently if you’re not fast enough.  There’s no margin of error for these sections, and the controls aren’t exactly perfect enough to validate their existence.  I had Uncraft Me penciled in as yet another Team Shuriken failure when I played it last week.  As often is the case when I dislike a game by a razor-thin margin, I boot it up one last time just to make sure.  And, what do you know, I was able to finish the nearly-impossible stages.  Barely.  My amigo from TheXBLIG.com Tim didn’t like it it, but I thought overall it was Shuriken’s first decent game.  Not spectacular, mind you.  I could probably name thirty better platformers for XBLIG off the top of my head.  But your money isn’t totally wasted here, nor is Team Shuriken’s talent.

Uncraft Me was developed by Team Shuriken (80 Microsoft Points recommend these girls get a mammogram ASAP in the making of this review)

Uncraft Me was developed by Team Shuriken (80 Microsoft Points recommend these girls get a mammogram ASAP in the making of this review)

I guess that’s the most gratifying part.  Yes, they have talent.  Not just talent to lure in the horny teenage demographic.  Actual game design talent.  They’re like Larry Flint.  Peel away the filthy exterior that makes you feel like you need a shower and you discover something downright decent in them.  Do I expect them to focus on gameplay instead of mammary glands?  No.  Then again, I don’t expect to get struck by lightning while holding the holy grail in one hand and a winning lottery ticket in the other.

Uncraft Me is Chick Approved and ranked on the Indie Gamer Chick Leaderboard.

IGC_Approved

Fist Puncher

Dr. Karate is the fucking man. Know that now, friends and neighbors, and you’ll be hangin’ tough throughout the 2D, 8-bit, side-scrolling, beat-‘em-up glory that is Team 2Bit’s Fist Puncher.

If that first, rather lengthy, sentence isn’t a clear indication of how I feel about Fist Puncher, let me put in plainer terms: this game rocks out with its cock out. Period. Playing this game reminds me of the lazy, hazy summer of 1987, when my cousin and I discovered this new game called Double Dragon in a jam-packed arcade in Stone Harbor, NJ. We didn’t leave that machine until the place closed…and we were both about $20 poorer. It was money well spent for sure.

Oh, Dr. Karate, how I love thee. Let me count the ways...

Oh, Dr. Karate, how I love thee. Let me count the ways…

Much like the classic Double Dragon, Fist Puncher has a pretty straightforward plot: four diverse characters, Dr. Karate, Steroid Jackson, Hella Fistgerald and the Beekeeper, are heading to the Fist Puncher Dojo for training under the tutelage of the Master. As they arrive at the dojo, the nefarious Milkman kidnaps the contestants in the Miss Fist Puncher Beauty Pageant (yeah, you read that right) and hides them in various sections of the rough-and-tumble city of San Cruces. It’s up to this ragtag band of vigilantes to find the girls and rescue them…while cracking as many skulls as humanly possible along the way.

From there, you basically just have to beat the holy shit out of every obstacle that stands before you. I know that sounds simplistic, and in some ways it is, but Fist Puncher does almost everything right and it is one helluva fun ride. First and foremost, the controls are spot on, with no noticeable lag or stickiness. Controls are paramount in this type of game where you are brawling against multiple enemies at once and need to make split-second, life-saving maneuvers on a dime. Not once when I died did I feel that the controls failed me; it was always my own damn fault. Secondly, there are a plethora of things to kick the snot out of: from regular thugs to zombies to luchadors to creepy pedo vans, the enemy diversity found in this title is rather impressive. A lot games cheap out here by re-skinning enemies, but not Fist Puncher. Thirdly, there are a vast amount of places to go (over 50 levels), items to unlock/discover/collect and character abilities to power up. And lastly, it’s all tied up with one exceptionally humorous bow. The dialogue, character names, even the sound effects (I went apeshit over the panther roar when you achieve RAGE mode) really adds another layer of enjoyment to the overall, ass-kicking experience.

Throwing down on nude beach. That's a new one.

Throwing down on a nude beach. That’s a new one.

The elements of Fist Puncher that I found lacking are rather minimal. The music is just OK, not terrible by any means, but not exceptional either. I was hoping for Streets of Rage 2 levels of greatness here but, alas, it just doesn’t deliver. There are also weird difficulty spikes and some overall cheapness with some of the enemy attacks (fuck those guys with the Molotov cocktails…fuck them right in their cheap bastard cornholes), but that’s almost expected, and welcomed, in this genre. My final nitpick here has to do with multiplayer. There’s a good variety offered here (up to four simultaneous players with 15 different, unlockable characters to choose from…but choose Dr. Karate because, as I mentioned previously, he’s the fucking man), but it is local multiplayer only and I don’t see this kind of mode having great success on the PC. This kind of local multiplayer mode seems much better suited for the consoles. I know Fist Puncher was originally slated to be an XBLIG (and developed with XNA tech), so maybe it will see life on the consoles at some point down the road, and then the multiplayer mode will really get to strut its stuff.

I don't think you can make a game without fucking zombies in today's world

I don’t think you can make a game without fucking zombies in today’s world.

Quibbles aside, the most important thing to take away here is that playing Fist Puncher made me feel like I was 16 again. I had that much fun with it…and you can’t put a price tag on that.  To me, that’s what a really great video game should do: it should make me forget that I am an adult with real world problems and issues for the 20 or so hours that I am playing it. That’s all I ever want out of an interactive entertainment experience, really.

Bravo, Team 2Bit, you’ve jumped to the head of the Indie Gamer Guy Leaderboard. Enjoy the view from the top, lads!

fp coverFist Puncher was developed by Team 2Bit.

For $9.99, Fist Puncher will punch a hole in your soul and leave you begging for more.

Fist Puncher is available on Steam and Desura.

Fist Puncher is Indie Gamer Guy Approved, and now heads up the Leaderboard. This makes Team 2Bit the first developers to earn both the Indie Gamer Guy Seal of Approval, and the Indie Gamer Chick Seal of Approval, which they earned for Washington’s Wig on Xbox Live Indie Games.  igg 2

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Limbo

Probably spoilers in here.  Just a warning.

People are always asking me what I think of certain indie games that existed before I started Indie Gamer Chick. The two most commonly asked about titles are Fez and Limbo. I couldn’t finish Fez because of my epilepsy, so Limbo is the only one I’m really qualified to speak of. (UPDATE: I did end up reviewing it!) But seriously, it’s like a daily thing.  “What did you think of Limbo?” As if Limbo is the be-all, end-all of console-based indies.

I liked Limbo. I really did. I also feel the game is fairly overrated. When you strip out of the visuals and bleakness, it’s just a good, but not great, platformer. A trend I’ve noticed is that a lot of people only played through the early part of the game. When you first enter Limbo, you can be left shell-shocked by the dark tone, spooky visuals, and the fact that one of the first things that happens is an awesome, intense encounter with a giant spider. It perhaps gives the false impression that all those emotions will retain their impact through-out the game. They don’t. At least for me, I found myself desensitized to the whole concept not even half-way in. Once Limbo started focusing more on twitchy-platforming instead of physics-based puzzles, I started finding myself almost bored. It never fully becomes a chore, but once it starts becoming a platforming cliché, it does sort of burn out.

I filled in the blanks by pretending that the game starred Schroeder from The Peanuts.  Here he is, learning of Charlie Brown's final fate.

I filled in the blanks by pretending that the game starred Schroeder from The Peanuts. Here he is, learning of Charlie Brown’s final fate.

Also, it was hard to get worked up about the setting when the game was using the all-deflecting “it’s an art game” shield, which pretty much guaranteed an ending “left open to interpretation.” Never been a fan of that. Especially when the game was abstract to begin with. So I guess the idea is the kid, or kids, are dead. How they died or when or where or why is never explained. Theories range from a car wreck to falling out of the tree house to being murdered. I guess from a marketing point of view, it works, because at least people are talking about the game. But I found the ending unsatisfying, because it offered no closure at all. When you invest hours into a game hoping to get some kind of explanation for all the fucked up happenings and the payoff is more questions, it almost feels like the director himself didn’t really know where to go with it. I’ll call this the “Tim Burton’s Planet of the Apes Effect.”

Yea, sometimes the questions are more fun than the answers, but in the case of Limbo, you’re playing characters that have no characterization at all. The boy has no back story, no dialog, no personality, no facial expressions, or anything else going for him. The girl is no different. You’re forced to fill in the blanks yourself, but most of the symbolism is in the background and can be easily missed on account of you playing the game. Because the actual gameplay starts to dull towards the end, Limbo really doesn’t lend itself well to replaying to look for the clues that you missed.

Limbo’s ending. I apologize for comparing it to Burton’s Planet of the Apes. That’s a low-blow.

I don’t mean to be too negative here. Sometimes Limbo is brilliantly designed from a gameplay perspective. The bits with the spider early on are one of my all-time gaming highlights. Unfortunately, Limbo pretty much shot its wad in the first twenty minutes. Nothing that followed the sequence where you’re hopping in the spider’s cocoon came remotely close to the thrills and chills that section offered. All that’s left is solid physics-based platforming that I almost wish was in a more cheerful setting, because too much dark shit can get exhausting. But hey, dark is in right now. Any product that aims to be joyful is setting itself up for failure. If an indie game isn’t so bleak that you want to bury your face in your hands and cry, the developer must be mentally ill. Or possibly not mentally ill enough.

boxartlgLimbo was developed by Playdead

IGC_Approved1200 Microsoft Points honest to God can’t believe they just ported this thing to iOS. There is no fucking way this can be played well with fake virtual buttons in the making of this review.

Limbo is Chick Approved

Your Bright Futures

So I’m making the transition from an XBLIG-centered site to more sweeping coverage of indies across all platforms.  It’s kind of scary.  I’ve spent two years focusing on this little unsung platform that is Xbox Live Indie Games.  But I’m not the only one braving new waters.  Hundreds of Xbox Live Indie Game developers are exploring new development formats such as Unity or Monogame, with the intent of going multi-platform.  With both Sony and Nintendo aggressively courting indies, not to mention upstart Ouya and the existing (and thriving) PC indie community, there’s no shortage of places to go.  Well, so far Microsoft hasn’t said anything.  My theory is they’re in a medically-induced coma after sustaining life-threatening whiplash following the quick and reckless 180 they pulled.  Again, just a theory.  But if you see any Xbox guys wearing neck braces, just nod knowingly.

Anyway, with this move I’m making, which has me a little on the jittery side, I was curious how the development community that has supported me for the last two years is handling the transition.  What plans they have for the future, and what lessons they’ve learned from Xbox Live Indie Games that they’ll be applying to the future.  Here’s what they had to say.

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Thank You

I want to say, deep down from the bottom of my heart: I love you all.  Two years ago I started Indie Gamer Chick with the encouragement of my best friend Brian.  Growing up with autism and intense shyness on top of that, being known for expressing my opinions is not something that would have ever seemed to be in the cards for me.  I don’t say that out of bitterness either.  I’m the luckiest person I know.  My parents grew up dirt poor in Cuba.  Today, we’re doing pretty well for ourselves.  Because of my father’s hard work, I’ve had a comfortable life.  It doesn’t mean there aren’t tough times.  When I was a kid, I gave people the creeps.  Other kids used terms like “robot” or “cyborg” to describe me.  I was pulled out of school in first grade when my teacher pointed at me and snickered to another teacher that I was the “retard.”  My parents were furious, but the teacher had tenure and the only thing they could do to her was make her take a weekend course on sensitivity.  I was home-schooled after that.  For most of my life, I had a tutor named Carol, and she was incredible.  It didn’t do much for my social life, but through various autism support groups, I got to hang out with kids like me.  A big part of that included playing games like Goldeneye or Perfect Dark.

But talking about games?  Yea right.  Not me.  I’ve always been opinionated, but expressing that opinion just wasn’t something I would do.  It wasn’t in my character.

And then I met Brian.  He says he didn’t do anything.  When you have the type of love and encouragement he’s provided me, I’d say that’s doing a lot.  And thus, I became Indie Gamer Chick.

But it wasn’t just Brian.  It was a whole community of hundreds of gamers and game developers.  All of them curious to see what I had to say.  All of them anxious to talk games with me.  All of them there to offer advice.  All of them ready to offer help if needed.  What an incredible feeling it is to have that much support.  Take the epilepsy thing.  I’ve literally had hundreds of people offer me all kinds of warnings on everything from games to movies to television about things that might set off my personal epilepsy trigger.  To have that many people looking out for me?  I can’t tell you how amazing that feels.  I hope you all get to know what that’s like.

Well, except the epilepsy part.  I hope you never have to deal with that.

I had no expectations when I started this, aside from “I bet I won’t even keep this up for a month.”  And yet here I am, two years later.  The most read Xbox Live Indie Game critic ever.  I’ve been recognized on the street.  I’ve done interviews.  I’ve had representatives from all three major console manufacturers reach out to me.  I’m being read not just by indie developers, but major directors of triple A games.  I’ve been into video games since I was seven years old.  To find out that I’m water-cooler talk for the people who made those games?  Surreal.  And awesome.

I’m a cheat code for God’s sake!  Me!  I’m like Up Up Down Down Left Right Left Right B A Start with a pulse!  My mascot is a hidden character in an upcoming game.  I’m doing a PC bundle.  Really, the only thing left is for me to buckle down and make my own game.  Which ain’t happening.  Probably.  This year at least.

In all seriousness, thank you.  All of you.  You guys don’t always agree with my reviews.  And that’s great, because I don’t always like your games.  But no matter what, you’ve all made my life more special.  I can’t thank people individually like I did last year.  We’d be here all day.  Just know this: I’m very fond of you all.  I’m grateful for the opportunities you’ve given me.  And I’m honored that you all treat me so seriously, because you’re the ones with the real talent.  The games you make can be spectacular.  When you reach your full potential, look out, because you’ll make a real impact on gaming.  I’m still getting the hang of this thing I do, but you inspire me to do better.  And I will.  I promise.  We’re all turning a new corner as this generation of games ends and another begins.  I’m sure this will lead to many of the guys who came into game development through XNA drifting apart.  That’s life.  But I think we shouldn’t drift too far apart.  I don’t think I could handle it.  You’ve all been there for me for two years now.  I don’t fancy going through the next decade without you.  So stay close please.  Continue to inspire me.  I owe you all a debt that I can never hope to repay.  You’ve changed my life.  And for that, as I said in the beginning, I love you all.

-Catherine Vice

June 30th, 2013

Hotline Miami

I’ve always hated using the cop-out “it’s just not for me” in relation to anything.  It just seems so non-committal.  And yet, after putting a few hours into Hotline Miami and simply not getting what everyone else is raving about, I feel “it’s just not for me” is the only answer I can give, because it really isn’t for me.

And that has nothing to do with the violence.  I like violence.  I’m proud that I live in a time where the violence on television is so awesome that it makes even the most grizzled of war veterans become physically ill.  People are talking about the violence in Hotline Miami like we’ve reached the zenith of virtual murders.  Where have you people been the last few years?  There’s shit in the latest Mortal Kombat that would make even the most fetishistic psychopath go limp with shame.  Hell, I’ve played a game that gives you an achievement for tying a nun to railroad tracks and letting her get hit by a train.  And I loved it.  Sorry Hotline Miami, but your eight-bit violence is just not cutting it with me.

The typical after-party at the MTV Music Video Awards.

The typical after-party at the MTV Music Video Awards.

I think the raving is based mostly on the novelty factor.  Violence was never this masterful when games looked like this.  With modern indie gaming, we can take all the theatrical bloodshed we’ve accumulated from years of premium cable shows and modern M rated titles and apply it to games that seem like they could have existed in the 80s.  So the thrill comes from “hey, it’s an old game but it’s really gory.  Neat!”  But it’s not an old game.  I’m not saying Hotline Miami isn’t extraordinarily fucked up.  It is.  What I’m saying is, shouldn’t everyone over the age of twenty  be desensitized to this type of shit by now?

What turned me off most about Hotline Miami was the difficulty.  I just could not make any progress, often repeating stages several dozen times to no avail.  Hypothetically, the game is a bit of a puzzler, a bit of a brawler, a bit of a shooter, and a bit of a stealthy dungeon crawler type of thing.  It’s a cavalcade of ideas and it doesn’t always blend together smoothly.  This also helps mute the violence that is, let’s face it, the chief selling point of the game.  For example, the scalding water thing.  Everyone had been telling me about the water thing for the last year.  Grab a pot of boiling water off a stove and throw it on some dude.  Pretty brutal, right?  But the act of throwing boiling water loses its sting when you have to repeat that upwards of fifty times because of any number of reasons, such as having one of the enemies randomly move off its preset path and blow you away.  Or having enemies that can turn and fire on you faster than you can react.  Or clearing out a room only to miss one dude who gets up and casually blows you away with a shotgun.

My guess is Hotline Miami would have played better if I could have played it with a mouse and keyboard.  Using the PS3 controller was an exercise in frustration.  Locking on to an enemy requires lining up a cursor somewhere near them.  Of course, sometimes enemies bunch together, so trying to line up exactly the right is tough.  The game probably needed something along the lines of Metroid Prime’s lock-on system that generally lined up the closest person to you.  Not that it would have mattered.  The AI is a crack shot every time from seemingly all distances, and it can process information faster than you.  Thus the moment one centimeter of your body is exposed, you’re dead.  The puzzle aspect doesn’t really work right because the AI can be so brutally unfair but also prone to fits of randomness where guys break off their preset paths.  Or sometimes they just wouldn’t play along at all.  I would play rounds where I would fire a shotgun through a door and set off every single dude in the place to come and murder me.  At other times I could fire from the exact same location, killing the exact same guy, and have nobody react to it.  There was no consistency from one life to the next.

As a full disclosure type of deal, I had to play Hotline Miami in shorter play sessions (about 30 to 45 minutes at a time) due to epilepsy concerns.  But I was never bummed when it was time for a break.  The repetition can be exhausting.

As a full disclosure type of deal, I had to play Hotline Miami in shorter play sessions (about 30 to 45 minutes at a time) due to epilepsy concerns. But I was never bummed when it was time for a break. The repetition can be exhausting.

I will say this: if you absolutely do not want to play the PC version and you have Vita as an option, go with it.  It’s a trend I’ve noticed with these cross-platform PS3/Vita releases.  The Vita version always has superior control.  For Miami, movement isn’t as loose, aiming is more efficient because targeting is handled via the touch screen, and scrolling is done by dragging your finger around.  By comparison, the PS3 port is clunky, cumbersome, and imprecise.  As if the too smart, too quick, too accurate AI isn’t enough of a problem, you have to deal with controls that never feel intuitive or smooth.

I can’t really explain how I could enjoy a game like Spelunky and not enjoy Hotline Miami.  Both had control issues.  Both are based around frequent dying, trial-and-error gameplay and unfair design.  I wish I could explain it.  It would probably save me a lot of grief that I’m already getting from fans of this game.  I can’t even say I hate the game.  Maybe it’s been the year of crushing hype that everyone has been showering me with.  People talked about Hotline Miami like it was the second coming of Grand Theft Auto.  But I don’t think it’s that.  I really don’t think this game is as good as everyone is saying.  What it does do is meet the three rules for an indie game to get critical acclaim no matter how flawed or broken it is.  They are:

1. Have retro graphics.  Because if you hate a game with retro graphics, you’re pissing on gaming’s heritage and thus your opinion is invalidated.  Even if you’re talking about a brand new game released this year (or the port of a PC game released last year).

2. Be insanely, unfairly, unreasonably difficult.  Because if you hate a game that’s all of those, you’re just a low-skill gamer whose opinion is invalidated by the sheer force of your sucking.  Or you’re too young to remember a period when all games were this hard (there’s no such thing) and thus your opinion is invalidated because you’re a whippersnapper used to be coddled by games that hold your hand from start to finish.

3. Be gratuitously violent and shocking in ways so brazen that if you were to describe them to a psychiatrist out of context, you would be committed.  Disliking games like this means you’re a prude at best, and an anti-gaming sissy in league with the Jack Thompsons of the world at worst.  Clearly someone whose opinion isn’t valid.

Me?  I’m a neo-retro loving, violence embracing gamer.  Okay, fine, I’ve never understood the whole “be as insanely difficult as possible” thing that some people thrive on, but I can put up with it if I’m having fun.  I didn’t have fun with Hotline Miami.  Not just for the controls or the unfair AI.  I just didn’t like it.  It was boring to me.  Almost everyone else seems to like it.  Which is fine, because the groundwork for something spectacular is laid here.  I just couldn’t get into it.  So I’ll chalk this one up to “it’s not for me” and move on.  By the way, Brian is noting right now that I’ve used the “it’s not for me” excuse to avoid watching F1 with him, so I can’t claim this is my first use of it.  Fine.  I’ll you what Brian: when drivers start throwing scalding water on each-other and are allowed to use firearms during the race, get back to me.

imageHotline Miami was developed by Dennaton Games

$9.99 admits that I didn’t make it very far, but not for a lack of trying.  Having said that, I spent five hours failing again and again, so I feel I have enough room to talk about this game in the making of this review. 

Tales from the Dev Side: Why Boardgames are a Great First Game by Sean Colombo

Why Boardgames are a Great First-Game

by Sean Colombo of BlueLine Game Studios

After Indie Gamer Chick said that our game, Hive, was the best game since Tetris (okay, I’m seriously over-exaggerating heavily paraphrasing here), she brought up that there seem to be a decent number of game developers starting out by making video versions of board games.

It was no accident that I chose to start with our first major offering being a board game. There are quite a few advantages of starting your game company with board games, and today I’m going to share some of them because it’s IGC’s anniversary and I’m an Indie Game Developer so I’m too cheap/skinflint to buy her team a real gift.

Faster to Market

Probably the single biggest obstacle that I’ve seen keeping people out of the game industry is that they can’t finish their game. We all love games and tend to have big visions (eyes) and finite amounts of time (stomaches). So it’s really a race to finish a game before we lose motivation or come up with a more distracting idea to pull us away.

Acknowledging this tendency, we should set ourselves up for success by choosing projects where the total amount of work is smaller. Starting with an existing engine (eg: Unity) or releasing a very simple game are good strategies. Similarly, you can cut down the scope of your game drastically by choosing something – such as board games – where thousands of hours of playtesting have already been done on the concept.

Many people forget to bake this into their time-estimates for the game, but the playtesting needed to make a game actually fun and with high replayability, is far trivial. For some examples, I was playing a paper-prototype of Chess: The Gathering around a year ago and I think Tim has been playing it every time I’ve seen him since then. It was a little awkward that one time during yoga class, but let’s just all be thankful that using Warrior Pose to summon pieces didn’t make it in the game. Similarly, I played Cannon Brawl about a year ago and the gameplay was what many would call “done”, but Pete and his testers kept at that thing and now there’s awesome new units that are like magic missiles and ba-bombs!

We certainly had to do a bunch of playtesting of our interface for Hive, but the literally-thousands of games of gameplay playtesting by John Yianni (the developer of the Hive board game), made it so that we could spend a decent chunk of time polishing visuals and AI while still being able to complete the game before we died of old age, went broke, gave up, etc..

screen4

Market Recognition

Additionally, when you’re starting out nobody knows/cares who you are. If you start with a board game, all of its fans already know what your game is about! On our very first blog post where we announced Hive, we almost immediately had a commenter (who was a complete stranger as far as I know) telling us that they were looking forward to it! That kind of instant fanbase doesn’t happen on its own.

This is probably the point where someone digs up that quote from one of the Team Meat guys that goes something like ‘if you have a good game, the internet will make sure everyone finds it’. Those meaty fellows are wrong. They make great games and I love them to itty bitty pieces, but they built up a following from about a decade of games prior to Super Meat Boy and even had a specific MB following from their flash game “Meat Boy”. If they didn’t have their presence built up, SMB would not have sold as well. This buildup is the same for many of the indies that we think of as overnight successes: Behemoth cranked on several Alien Hominid releases before the (mainstream) world learned their name from Castle Crashers, Rovio released around 35 games before they ‘launched’ (ba-dum-cha) Angry Birds, and Notch (Minecraft) has been making games since the mid-80s.

Are you still not convinced? Wow, you’re stubborn. Allow me to predict the future! Ian Stocker made Escape Goat which Indie Gamer Chick reviewed as the best XBLIG of all time (no joke) and currently reigns #1 as the king-goat of the Leaderboard. He’s also released Soul Caster I & II and is finishing up Escape Goat 2 with Waking Mars artist Randy O’Connor, at the time of this writing. My prediction: even though EG1 was critically acclaimed, the reputation-snowball is going to make EG2 sell more than twice as much as EG1. I’m so confident that if it doesn’t, I’ll give out all of my remaining free-codes to Coagulate on a first-come-first-serve basis.

Now that I’ve beaten this dead-horse back into stardust… we all agree that your sales suck until people know you. Here’s where boardgames come in: board game fans will buy your game without knowing who you are. Now, you won’t get all “board game fans” but fans of Hive didn’t need to hear of BlueLine Games before they bought our first game. After 100 repetitions of our splash-screen, now they’re fully borgified and will probably buy our next title, Khet 2.0, even if they haven’t played that specific board game.

Attainable IP

Other than the very mainstream board games whose rights have been bought up by Mattel and Hasbro, many board games creators are still willing to deal with indie developers. The board game industry itself is parallel to the video game industry in many ways and most of their developers are “indies”. One of the larger challenges in working with these developers is that most of them aren’t going to want to put an up-front financial investment in. You’ll have to be prepared to eat through your savings just to take the gamble at releasing another game to market that may or may not be successful. That’s just part of the job though.

In addition to indie IP, there are a ton of games that don’t even require a license. For example, BoardGameGeek lists of over 600 public domain board games. These come with their own challenges too, of course; every platform seems to have 3 versions of Chess, Checkers and Go within a week of launch.

Spectrangle360 was another Chick-Approved board game based on an existing property.

Spectrangle360 was another Chick-Approved board game based on an existing property.

Reusable Code

Board games have a lot of re-usable concepts in them. Players, pieces, boards, plies, AI based on Minimax, etc.. If you do it right, you can make your second game far more quickly than your first. We had hoped we could make our second game in half the time of the first. So far, it looks like Khet 2.0 will take one-quarter of the dev-time that Hive took.

One huge caveat here is that making reusable code is a huge difference from writing a general-purpose board-game engine. If you want to start your project by making the most universal, extensible board game engine in the world, then you’re almost certainly never going to finish your project (see the first section of this post!). However, as you create things you need, it’s fairly easy to plan ahead and make sure that anything general you’re writing (such as Minimax AI), is made in a reusable way.

Now, Step Off!

If you’re looking to make a game to break into the industry, board games can be a great way to start! However, if you try to knock off Hive or Khet, I may have to go all Dr. Karate on you!

But seriously, have fun making games and whatever game you decide to make – best of luck finishing it!
– Sean Colombo

If you like board games or indie game development, please follow our twitter @BlueLineGames, or our Facebook page to see behind the scenes!