Tag Archives: Steam

2018 Game Review Haiku, #25 – Garden of Oblivion

Stuck, unsound garden
Open the door, discover
Your good/bad ending

For 2018, I’m mixing things up by fusing my marvelous artwork and even more amazing skills at writing videogame-themed haikus to give you…a piece of artwork followed by a haiku. I know, it’s crazy. Here’s hoping you like at least one aspect or even both, and I’m curious to see if my drawing style changes at all over three hundred and sixty-five days (no leap year until 2020, kids). Okay, another year of 5–7–5 syllable counts is officially a go.

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2018 Game Review Haiku, #24 – The Flood

Find serenity
Amidst destruction, simply
Enjoy the journey

For 2018, I’m mixing things up by fusing my marvelous artwork and even more amazing skills at writing videogame-themed haikus to give you…a piece of artwork followed by a haiku. I know, it’s crazy. Here’s hoping you like at least one aspect or even both, and I’m curious to see if my drawing style changes at all over three hundred and sixty-five days (no leap year until 2020, kids). Okay, another year of 5–7–5 syllable counts is officially a go.

2018 Game Review Haiku, #19 – ERROR: Human Not Found

Death of a robot
Sparks an investigation
But first, logic gates

For 2018, I’m mixing things up by fusing my marvelous artwork and even more amazing skills at writing videogame-themed haikus to give you…a piece of artwork followed by a haiku. I know, it’s crazy. Here’s hoping you like at least one aspect or even both, and I’m curious to see if my drawing style changes at all over three hundred and sixty-five days (no leap year until 2020, kids). Okay, another year of 5–7–5 syllable counts is officially a go.

2018 Game Review Haiku, #18 – Legendary Gary

A battle of turns
Make Gary legendary
Find motivation

For 2018, I’m mixing things up by fusing my marvelous artwork and even more amazing skills at writing videogame-themed haikus to give you…a piece of artwork followed by a haiku. I know, it’s crazy. Here’s hoping you like at least one aspect or even both, and I’m curious to see if my drawing style changes at all over three hundred and sixty-five days (no leap year until 2020, kids). Okay, another year of 5–7–5 syllable counts is officially a go.

I’m not smart enough for ERROR: Human Not Found’s computer-science puzzles

I’d like to think I’m not afraid to admit when I’m not good at something, but that’s probably not the case one hundred percent of the time. So, in that honor, here is a short list of activities and skills I can confidently say I absolutely stink at and you can silently judge me all you want from your side of the computer screen because that’s the Internet for you, all stares and snippy comments:

  • Cooking
  • Running
  • Confronting people
  • Arm wrestling a bear
  • Sports
  • Walking on snow
  • Mathematics

Now, it’s that last listed item there that plays a part in today’s blog post, which is all about ERROR: Human Not Found, a free point-and-click/visual novel adventure on Steam that examines that differences between humans and artificial intelligences. Certainly not breaking any new ground, and yet I continue to be unable to stay away from this subject matter, fascinated by the themes and characters in things like Battlestar Galactica, Ghost in the Shell, and Robert A. Heinlein’s The Moon Is a Harsh Mistress, to provide a few examples. I mean, as Black Mirror has rightfully and accurately predicted, we’re moving ever closer towards a technology-driven future, and it is going to be both sleek and shiny and bleak as hell. It’s best to start prepping for it now.

In ERROR: Human Not Found, you play as sassy Grace Fortran, a computer scientist stationed on the Noah Sphere, a space-based research station. There’s celebration to be had, what with the first artificial intelligence being successfully uploaded into the physical body of an android. Yahoo and wahoo. Alas, no time for cake and cheers just yet, as Grace must quickly move to clear her name in the mysterious death of this very AI who is murdered not twenty-four hours after the upload. She’ll have to work together with Ada, another AI body-bound, to search the station for clues, question suspects, and solve various computer-science related puzzles to get the job done. Grace will ultimately need to determine the fate of AIs while exploring their relationships with humans and the world at large, and it’s all pretty standard stuff, save for the hints that they might be better at running the government than the flesh-and-blood models.

This is interactive fiction, with a stronger emphasis on fiction than interactive. CelleC Games’ ERROR: Human Not Found is broken up into different chapters, and each one contains the same style of gameplay. You’ll have conversations with Ada and other members on the station, make a couple of dialogue choices, explore a limited environment (usually consisting of a couple of screens) for clues, and then take on a puzzle or two. Rinse and repeat until the story concludes, so long as you can get past the puzzles, which are, more or less, logic gates. I mean that both literally and figuratively. Now I was able to fudge my way through the bulk of them, guessing here and there, but the last one, which is based around binary code, stumped me for a bit, forcing me to walk away from the game for several nights. Then, because I can’t stand starting something and not seeing it through, I went back for one more hard, stubborn-drive swing, to finish this off.

Would you like to know how I solved the final computer science-themed puzzle? Well, for starters, I had The Descent: Part 2 on in the background, and let me tell you something…it’s a terrible sequel to a strong adventure horror film about a group of young women getting lost inside an unexplored cave and discovering a race of flesh-eating subterranean humanoids. It’s fine to listen to, but don’t waste your eyeballs on it. Instead, I had the game open in a window, as well as the notepad application, and I jotted down each successful attempt to match a number with the what-I’m-assuming is its respective binary code, because you only get so many tries. For instance, 8 is 1000 or 14 is 1110. Again, if you are currently salivating and ready to jump down my throat and call me stupid because this is so obvious to you, please remember that I started this post by being honest about the things I’m no good at, and this is one of them. The more I knew ahead of re-starting the puzzle, the further I got, and it took me ultimately six attempts to finish.

Evidently, there are three different endings to see in ERROR: Human Not Found. I’m fine with the one I got, though I can barely remember it now, some days later when typing up this post. I appreciated the game’s love for all things scientific and mathematics, with a number of nods at popular players in these fields, like Grace Hopper and Isaac Asimov. There’s even an exhaustive database full of profiles on these characters if you want to read more. However, I can neither recommend it to those looking for a story-driven game or something puzzle-y, as it doesn’t truly succeed in either of those departments.

All Our Asias surreally explores Yuito’s dying father’s mind

Even the Ocean was one of my favorite games in 2016. Analgesic Productions crafted a game of platforming and exploring, with just the right amount of challenge to not make it feel like a cakewalk, while also weaving a tale of friendship and loss and impending doom that, to this day, still sits inside me, gnawing at my stomach. Aliph’s quest to fix a bunch of power plants to stop the foretold invasion of flood-bringing monsters is not a straightforward affair, nor a happy one, but it’s something she does because…someone has to take charge. More power to her, if you ask moi.

Similarly, Yuito’s mission in All Our Asias is also on a bit of a time-crunch. This is a completely free to play, surreal as surreal gets 3D adventure, about Asian-America, identity, race, and nationality. It comes from Sean Han Tani, one part of Analgesic Productions and the co-creator of Anodyne, which, alas, I’ve still not gotten to play. In this one, you play as Yuito, a Japanese-American hedge fund analyst in his early thirties. His estranged father is dying, and it’s too late for Yuito to communicate with him; however, thanks to advances in technology, despite his father being on life support, he can enter his father’s Memory World, which is a supernatural landscape full of the man’s experiences and secrets. The technology is nascent, and the process is risky, but Yuito has questions and wants answers.

Gameplay is twofold–walking and talking. To explore this Memory World, Yuito glides around inside a tiny tank-like vehicle, something that instantly made me think of that bright red tank from the PlayStation 1 Ghost in the Shell game (I briefly experienced it via one of those demo discs). You’ll find people to chat with, who will often guide you to the next area or offer a tidbit of info about this strange, hypnagogic realm. He’s trying to learn more about his father, but not everyone is forthcoming with information; in fact, there’s an entire sidequest about restaurants and instituting new tax policies that I didn’t entirely understand or see how it was connected to the big picture, though it does tackle issues about race and shared sympathy and other sensitive topics generally not explored by this medium. Movement is slow, most likely deliberate, which gives you time to observe the environment and eat up the soundtrack. You can do a short-hover jump to help with ledges and staircases, but this is by no means a puzzle platformer, and beating the game gives you a cool upgrade to help speed exploring up…though I didn’t feel compelled to keep playing.

I genuinely love the look of All Our Asias. Sure, my first gaming console was the Super NES, but when I eventually did that terrible thing of trading in a ton of my games to get credit to buy a PlayStation 1 from Toys”R”Us, rest in forthcoming peace, I was taking a big step, one that would forever impact my history with gaming. Here was a console I was getting myself, not as a birthday or Christmas gift, but through the sacrifice of others, and boy was I going to get the most out of this system. I played the heck out of Final Fantasy VII, Metal Gear Solid, Bushido Blade, Silent Hill, The Granstream Saga, Chrono Cross, Resident Evil, and so on. I become one with low resolutions and polygons, with fog designed to purposely mask load times or pop-in, with in-game character models with next to no details beside shapes and some color. Exploring All Our Asias forces your imagination to see things bigger and better, to look past its flat textures and chunky models; it’s a blend of walking simulator-esque gameplay and emotionally complex storytelling, drenched in 32-bit visuals, and I love it.

Sound-wise, All Our Asias is a dream. Again, I’m never not lost on the difficulty of describing music via words, but please, take a listen. It’s soft, it’s mesmerizing, it’s soothing. You’ll at once feel like you are floating above a city skyline on a gorgeous September morning while also zipping through the innards of a dying man’s mind where thoughts and memories race against each other, fighting for attention, scrambling for security. Somehow, the soundtrack never overtakes the story, but provides ambiance and a haunting sense of dread, and I can’t get over how pretty of a tune “Somewhere’s Meadow” and “What Will He Retain?” are for the ears. Getting lost a couple of times and unsure of where to proceed next wasn’t frustrating, as it just meant I got to listen to some more songs.

Right. All Our Asias is not perfect and certainly not for everyone. It’s focus on narrative and slowly moving towards the next story beat will probably feel like a chore for many; however, I found myself instantly sucked into this world, curious to know more, much like Yuito himself. I won’t stand here and say I understood everything it was going for and definitely could not relate to some of its themes, but your mileage may vary, and you won’t know until you give it a click.

2018 Game Review Haiku, #12 – A Raven Monologue

A raven walks town
Questions about how to croak
Experimental

For 2018, I’m mixing things up by fusing my marvelous artwork and even more amazing skills at writing videogame-themed haikus to give you…a piece of artwork followed by a haiku. I know, it’s crazy. Here’s hoping you like at least one aspect or even both, and I’m curious to see if my drawing style changes at all over three hundred and sixty-five days (no leap year until 2020, kids). Okay, another year of 5–7–5 syllable counts is officially a go.