A Gaming Curriculum

Last night Mrs. Pike Adequate, co-blogger and better half of mine, were discussing the future possibility of creating, through arcane and unholy science, progeny of some manner. As is our wont the conversation turned towards videogames, and specifically how we would best go about educating Adequate II (Electric Boogaloo) in the history thereof. The thing is that yes, anyone can just pick up a game today and have a good time, but this is an important artform and cultural expression to us, so we would want them to have a comprehensive and informative education. There are a huge number of classic games from back in the day, but unlike other artforms the constant advancement of gaming technology means some of them won’t be so readily picked as others; this is something we intend to avoid.

So far we have come up with the following policy. Beginning 1985 with the C64, the child will play every major console from the successive generations. They will be assigned a number of classic games of particular importance, and be allowed to choose a handful of electives per system as well. Once they have completed these, they will move on to the next console, until they reach the current generation of the day. They will also be playing PC games throughout this time, of course, keeping rough pace with the console generation they have reached. Only when they have achieved a sufficient knowledge of how gaming has developed, and of the classics of yesteryear, will they be getting any kind of contemporary system or game.

Now, the thing is that we want to demonstrate games that are important as well as ones that are good. It’s all very well making them play Strategy Games Throughout The Ages, but that’s not going to be broad and rounded enough – how will they understand why DooM was important, for example? So Pike and I need to come up with a list of games that had significance in the history of gaming, not only because they were good but because they were important, for whatever reason. And this is where you all come in, readers!

If they don't know Vvardenfell geography better than real-world geography, they're no child of mine!

What would you consider the canon required for a comprehensive gaming education? Not just those that are the best, or personal favorites, but ones which can be identified as important to the development of the field – perhaps even ones that can be argued to have harmed it? No matter how obvious it might seem, tell us what you would call essential, and if you feel inclined, tell us why!

Disappointment and Regret and Addendums

Being a bit slow (due to playing a stupid amount of Paradox games) to get around to it, I just played the Mass Effect 3 demo. You may recall I recently said I was determined to see this through even if I wasn’t tremendously hopeful about it, but I’ve just cancelled my preorder on the ‘strength’ of the demo. I’ll get around to it sometime, I’m sure, but I’ve got no desire to pay a bunch of cashmoney for something so strikingly mediocre and unenjoyable.

Oh don’t get me wrong, seeing old faces like Wrex, Garrus, and Anderson was great. The Reapers attacking Earth looked pretty cool too (Though there was no sense of impact or weight to it; more on that in a moment), and I approved of… well actually no, those two things was about all I approved of. Everything else was standard and run-of-the-mill at best.

The controls are floaty and don’t respond as I wanted them to. Maybe I’m just getting too old for this, but I distinctly don’t remember having similar problems with 1 and 2. Here though I kept trying to do one thing, and another thing happened, such as diving out of cover into the open. Cue death of Shep. The graphics seemed weirdly low-res, maybe it was just to save space for the demo download but it wasn’t impressive. The weapons and combat is some of the most lacking in impact and weight since I played BioShock, a game that managed to make crushing skulls with a huge wrench feel uninspiring. And that was really the heart of it; everything else I could tolerate or forgive, but the combat was just so completely meritless, so downright unenjoyable, left me feeling so detached and removed from the action, that I just don’t think I can bring myself to play this anytime soon.

It does not, in short, make my mass erect.

Kraljevo Edit:

Last night I went and gave it another try, and I’m going to have to admit my judgment was a little premature. Don’t get me wrong, I’m still seeing quite a few problems, but the gameplay itself was definitely quite a bit more enjoyable now that I’ve played around with a couple of classes. In previous ME games I could grab any class and have a great time; that seems not to be the case here.

My Happy Place

Lately I’ve been playing Super Mario RPG. This game is, as I’ve written before, one of my all-time favorites, and it gladdens me to see that, replaying it years later, I still love it.

One of the things I’ve noticed about it is how relentlessly upbeat the game is, between the happy music, happy visuals, and overall way that it doesn’t take itself too seriously. The result is a game that, almost unfailingly, cheers me up and puts me in a good mood. It’s really been helpful during these last couple of weeks where work is stressful and piling more hours on me. At least I can come home and play some Super Mario RPG and cheer up a bit.

It's almost like Pinkie Pie made the game.

Do you have a video game happy place?

Artificial Stupidity

In videogames, difficulty is a difficult thing to get right. It’s one of the reasons multiplayer is so popular after all; to date we’ve not come up with an AI that comes close to a human opponent, outside of chess at least. Now, it’s not hard to just make an enemy hit harder, have more health, or shoot with greater accuracy. Those things aren’t difficulty in a meaningful sense, but they do make the game harder.

Still, there’s not a lot original to say about this tendency to take the easy route and bump up the enemy’s pure abilities rather than their intelligence. What I want to talk about is a different aspect of AIs, which is something I’ve not seen often addressed, but which will ultimately be core in creating convincing enemies who are challenging, but can be defeated.

That aspect is making mistakes. Making believable mistakes, based on oversight, or failure to account for something by accident, and so on and so forth, rather than the result of glitches or the programmer’s failure to account for something. This may not seem like a huge concern while we’ve still got to figure out a way to be outwitted by the AI, but as we do get better at that this sort of thing is going to be crucial to correct for it in order to keep the game both fun and engaging.

A lot of victories in real conflicts are borne from taking advantage of mistakes the enemy makes. Sometimes this is a tactical error, sometimes strategic, and sometimes it’s more deeply rooted and occurs in the years before the war breaks out, when someone’s guess about the important factors of the next war prove to be incorrect. Oftentimes these things will be corrected over the course of the conflict, but sometimes not. In any event the point is that for the player to remain engaged and interested there can’t be an optimum strategy in all situations, which a ‘good’ AI would seemingly be prone towards, and which would thus force the same degree of efficiency from the player.

Of course in the real world there are all kinds of factors that are very hard to emulate. The Confederacy’s best option was probably a Fabian strategy – ceding land for time, and winning by attrition. But the political nature of the CSA meant that border states could not be sacrificed in such a fashion, and they had to be fought for (Well, except when McClellan was in charge of the Army of the Potomac, then not much of anything needed to be done by the Confederates). You can, to some extent, work with this in a game through mechanics like supply lines, dissent, and partisans, but it really has trouble with the nuances of the situation.

Had Lee had this little filly on his side, things would have been different.

Now, getting games to that stage would be a tall order of course. Nevertheless I think we could stand to start thinking about how AIs might make believable, varied mistakes. Things that an astute player can see and exploit, but which the AI might realize and fix very quickly as well. This isn’t a completely untried concept of course, Galactic Civilizations 2 is the obvious example of an AI being designed to do this sort of thing, and it’s a commendable attempt, especially because the AI is actually pretty darned smart without cheating. Halo likewise had some clever foes, for its day, and their dynamic nature meant mistakes on their part could emerge pretty naturally and an observant, smart player could exploit those very well.

What do you all think about this idea? Am I getting too far ahead of our current, braindead AIs, or is this something we should look towards?

In which Mister Adequate works for videogames!

A sentiment I’m sure many other gamers share is the belief that we could do it better. “If only I were in charge” we think “the latest installment of X would not have been so casual and dire!” Well, I’ve been bouncing around a videogame idea in my head for some time now, and I’m thinking that when I finish my current novel – not too far off now – I’m going to switch away from writing and begin learning how I might make this thing. I thought I would throw the idea out there to see if anyone has any ideas they might like to add to it, or general comments! Anything welcome!

My working name for this thing is An Ancient Evil Has Awoken. The twist is that said ancient evil is you – the objective of the game is to use your malevolent powers to wipe out the human race, evolving from newly-awoken small-timer to Eldritch Abomination. My design document at the moment proposes three main avenues of attack; the inducement of natural disasters, the use of psychic abilities to mess with human’s minds, and finally the use of supernatural events like Biblical plagues or creating zombies or things like that.

I envision the game to play as something between a cross of Pandemic and Populous. You would acquire your resource – tentatively called Terror – through things you do, as well as a slow trickle from the natural disasters (As in actual natural ones) and expend it on causing more death and mayhem. The world would be divided into a number of zones, and as the humans begin to grow aware that things are not right, they would develop more effective defenses against you and eventually could find a way to either destroy you, or to save themselves some other way. Of course the idea of a malevolent god out to destroy humanity is going to be a bit scarier than just bad things happening, so you’ve got a major decision to make; are you overt, increasing terror but making humans more able to resist you, or covert, which gives you a much more constrained ‘budget’ but lets you work in relative peace.

It should be possible though to do things in a variety of ways, and the player should fundamentally feel they are in control of how they are destroying the world. Ideally you would be able to cause an obscene amount of global mayhem without ever doing anything overtly recognizable as supernatural or weird. An economic crash here, a war there, and in the end you can just step in to finish off the survivors.

Pretty much a game where you play as this guy, yeah

What say you, fellow malevolent omnicidal lunatics? Any ideas, thoughts, comments?

In Which a Strategy Game Tugs at my Heartstrings

I never thought that a Paradox game, of all things, would touch my heart so much, but, well, it did.

See, in Crusader Kings 2, you play as a dynasty. If your character dies, you become the next character in your line, and so on and so forth. In my current game as the Holy Roman Empire, I started out as the Kaiser, and then became my firstborn son when the Kaiser died. At that point everything went down the tubes over the matter of a few in-game years as my jealous younger brother declared war on me, took most of the empire from me, defeated me soundly, and finally instilled me as a minor Duke of a couple of provinces. Then I died (rather mysteriously, I might add) and suddenly I found myself playing as my next heir– a four-year-old boy.

I was still sort of reeling from this whole development when a lone character approached me– my uncle, then in his late teens. His name was Prince Heinrich the V. He asked for a title and some land, so I gave him some so I wouldn’t have to micromanage all of mine. And at this point he became the one character in the game who was kind to me. He tutored me. He was on my court as my spymaster. I could always count on him for a favor. I imagined that my little boy character looked up to him as a sort of hero figure to latch on to, and even out-of-character I appreciated that this guy was one of the sons of the original Kaiser that I’d started out with and because of that I was attached to him.

Time went on and the boy grew up. Once he hit about 15 years old, I got this event:

Now one thing about Crusader Kings 2 for those of you who don’t play it: Every character gets several “traits”, both physical and personality-wise, and these effect different stats on your character. A gay character gets a hit to their fertility rate and it affects diplomacy a little, but mostly it’s just there for flavor.

And so I clicked the okay button, figuring it was just a random event of sorts, and then, a few in-game days later, I got another event:

So it wasn’t just random. My character had developed feelings for the one person in the game who was kind to him.

Put that last image on the right side of this one and you have basically my exact reaction.

Rather nervously I clicked the button. I wasn’t sure what would happen next in the game or if it would have an effect. As it turned out– it didn’t really. There were no more events about this particular storyline, although– tellingly– Prince Heinrich V remained kind to me.

My character grew up, married a woman (you can only marry the opposite gender in game), and had a couple of kids, some of whom I put into Prince Heinrich’s tutelage. At some point around here I was mysteriously killed and I found myself playing one of my daughters, who grew into an upstanding Duchess in part due to the fact that Prince Heinrich tutored me and whacked all of the negative traits out of me. In the little story in my mind, I could imagine him raising me like his own child as a favor to my dad.

Most of this stuff is long-past in my game, but that little storyline, spawned by a couple of events, has stuck with me. I never thought I’d get this many “feels” out of a Paradox grand strategy game, but I’m glad I was proven wrong.

Crusader Kings 2: A Paradox Game for People Who Don’t Play Paradox Games

Games by Paradox Interactive tend to attract a specific sort of person and you either are or aren’t that person. The games involve staring at maps and charts for hours at end and doing a bunch of micromanagement, and let’s face it, that either appeals to you or it doesn’t.

Well, yesterday, after spending about thirty minutes getting Crusader Kings 2 to run on my computer (You know your computer is bad when…) I spent a good several hours with the game, and while it’s probably too early for me to make some sort of definitive statement on the matter, I’m already getting the sense that this is, as I said in the title: A Paradox game for people who otherwise don’t play Paradox games.

Let me explain where I’m coming from here. Let’s take the other Paradox games. Victoria is about micromanaging pie charts, economy and government. Hearts of Iron is about micromanaging military forces and supplies. Europa Universalis goes for a more nuanced “just take over the world” approach and throws you right into this with no real explanation of what’s going on.

Crusader Kings, on the other hand, is about your family. The core mechanic of the game mostly revolves around who’s marrying who and who’s tutoring who and so on. For the average person, this is far more intuitive to pick up on than whether or not you need more supply convoys, or something.

Paradox continues to make the game accessible to newbies with the inclusion of comprehensive “hints” which explain every bit of the UI, a tech tree that mostly runs itself if you want it to, and military at the push of a button.

If you are the Holy Roman Empire, this is what happens when you press that button.

There is, of course, more to do for veterans or people who warm up to the game quickly. It’s a Paradox game, so there’s warfare, and you can also do fun and exciting things like assassinating people or throwing people into dungeons. But none of this stuff is exactly necessary if you’re just warming up to the game, and you can spend hours pouring over your family tree and selecting potential brides for your sons.

The result is that Crusader Kings 2 is a game that does a very good job of easing newbies into the Paradox family and introducing them to typical grand strategy concepts and UI features, while still maintaining a decent amount of complexity for those who want it. It used to be that I’d recommend a newcomer to the genre try Europa Universalis 3 as their first game, but I think I’m going to have to change that recommendation to Crusader Kings 2. This really is a solid, enjoyable game so far, and if any of you guys have been wanting to make the jump to grand strategy for a while but have been iffy on it, well, now is a great time to do it.

Roundup time!

Just a quick post with a few miscellaneous gaming items that you folks may be interested in, because Pike and I are busy being sickening!

But not too quick!

First, Crusader Kings 2 was released today. It is, of course, a Paradox game, with all that entails. But this is certainly the best release candidate I’ve ever seen from them, for any game; it runs smoothly on my machine (Not Pike’s old rig though! Pity her, she needs to upgrade!) and the bugs aren’t breaking the thing in half. It does need some polish but most of that is reasonable stuff like adding more events, traits, and so on.

Second, the new version of Dwarf Fortress was just released today as well! Obviously with a game this complex and such a small coding team (i.e. one guy) this is one that is likely to be pretty buggy while he patches it up, but if you’ve been keeping track of the things he has been adding this, like any DF update, is going to be a glorious thing indeed.

Third, we’re getting pretty close to the next release of Project Zomboid as well! They’ve got a countdown running and it’s down to six or so items left, so there should hopefully be a release within the next couple of weeks. They’re not telling us what these items are though so it could be six huge week-long projects, or six tiny tweaks and we’ll have it tomorrow morning! Who knows?

Hey jerkface! You have the face of a jerk!

I’ve just got a hold of Soul Calibur V a couple of days ago and after a little getting used to it I went online. I’m not yet very good at it, but I’ve got enough instinct left from the extraordinary amount of time I put into Soul Blade, SC I, and SC II that I can still kick some of these young whippersnappers’ butts.

The thing is that when I come up against someone with, say, a Win-Loss score of 3 – 16 I really feel bad about beating them. Obviously that one insane Yoshimitsu player with like a 90% win ratio over 300 matches, I had no issue about trying to beat the crap out of him. But when it’s someone who just doesn’t seem to be so good at the game I can’t help but feel a twinge of guilt as I turn their braincase into mush. I just find myself imagining them sitting there, losing yet again – who are they? Is it someone’s dad who was urged to get one of these new-fangled consoles? Is it some kid who is not yet coordinated enough to carry on? The weird thing is I don’t have this issue in face-to-face gaming. I’ve beaten the absolute crap out of small children without a second’s hesitation or remorse when we’re in the same room. And of course if it’s a team game, like a WoW battleground or a game of Team Fortress 2, I don’t have any issues about bringing my A game.

What if I'm fighting someone vidya impaired?!

Pike will no doubt mock me for this, as she insists I should be as merciless, as vicious, and as absolutely stone-hearted as possible whilst playing games. Nevertheless sometimes I just feel like a jerkface, even though of course everyone there is there by choice and it would be more insulting not to do my best. But do any of you out there have these similar twinges of guilt and worry, where you can’t help but imagine the person on the other side of the screen and how sad they must be to, yet again, be getting pounded into dust?

SteamQuest 3: Bit.Trip Runner

SteamQuest is a series based around Pike’s quest to play all the games she has on Steam. Which is a lot. Her definition of “play”, here, is at least one hour for smaller games and at least three hours for more substantial ones. Feel free to follow along!

BIT.TRIP RUNNER
order Ivermectin over the counter Developer: Gaijin Games
Genres: Platform, Rhythm, Arcade
Website: http://www.bittripgame.com/bittrip-runner.html – and the Steam Link
Time Spent by Pike: 71 minutes – unfinished

Bit.Trip Runner sort of reminds me of Robot Unicorn Attack. Both are about controlling a running character and having lightning-quick reflexes. Both have catchy music that entices you to keep playing. Both look like a technicolor rainbow barfed all over your screen.

Yep, something like this.

There are a couple of major differences between the two, though. One is that the music plays a much more active role in Bit.Trip Runner, because your actions determine the music and vice versa. Another big difference is that, where Robot Unicorn Attack has two actions (Jump and Dash), Bit.Trip Runner has a whole bunch of them. Oh, and lastly, there are something like fifty different levels in Bit.Trip. Yep.

Now that you sort of have an idea of what this game entails, I’ll launch into more specifics.

Bit.Trip Runner has a sort of retro, pixel look to it. Inception-like, we go deeper and the retro gets even MORE retro when you unlock a bonus stage which is basically a parody of Pitfall (not gonna lie, the way the game even emulated the old-timey Activision logo at the bottom of the stage here made me smile). Appropriately, the music is chiptune-inspired electronica, and it’s very, very catchy chiptune-inspired electronica. You are rewarded with better versions of the music as you go along a level, because not only do your successful actions add little riffs to the song but powerups add more complexity and make the catchy music even catchier. This turns out to be a brilliant and unique hook because you want to beat the level not just to beat the level, but because it lets you listen to more and more great music.

The happy bouncy music and colorful aesthetics are in pretty hard contrast to how unforgiving the game actually gets. One mistake gets you ported to the beginning of the level. Yes, even if the goalpost is in sight and the actual level is as long as the Missouri River. There are no checkpoints. Checkpoints are for pussies. If you mess up, you get to redo the whole thing. It would be frustrating if the whole game wasn’t as completely addicting and entrancing as it is. See, once you sort of know how a level turns out, it becomes rather zen, and any mistakes just encourage you to try again, because, deep inside, you sort of don’t mind the repetition.

In fact, if I wasn’t trying to pump out this blog post before work, I’d still be playing right now, trying to beat this freaking level. (Watching this now and seeing how close the goalpost is to where I made it last time is absolutely maddening.)

So, in short, this is a solid, upgraded version of Robot Unicorn Attack, and fans of that famed flash game could do much worse than to check Bit.Trip Runner out. It’s on Wii and Nintendo 3DS aside from PC/Mac/Linux, and I do recommend using a controller instead of a keyboard if you’ll be playing it on a computer. The controls are more intuitive that way.