2014 Game Completed Comics, #4 – Ys I

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Every videogame that I complete in 2014 will now get its very own wee comic here on Grinding Down. It’s about time I fused my art with my unprofessional games journalism. I can’t guarantee that these comics will be funny or even attempt to be funny. Or look the same from one to another. Some might even aim for thoughtfulness. Comics are a versatile form, so expect the unexpected.

Gone Home to mysteries, answers, and everything 1990s

Breaking news: I’ve decided to do away with my gaming haikus, at least for 2014. Chin up, Mr. Sadface. It’s going to be okay. Really. I had a lot of fun writing them, but after two consecutive years of dipping my toes in Japanese poetry–well, if you can call 104 haikus a dip–I’m ready to try something else. Gotta keep things fresh. If you’ve been keeping up with Grinding Down over the weekend, then you’ll know what the long and short of it all is: comics. Yes, yes. Actual comics about the games I’ve played, and I really don’t know why it took me so long to combine these two passions of mine together.

Anyways, Gone Home gets the special honor of being my first completed game for 2014. Compare that with Yoshi’s Island from last year. That’s right. Go on. I dare you to compare the two. One looks like a drawing, and the other has you occasionally looking at drawings. Hmm. If you’ll recall, Gone Home was also my number one pick for the top 10 videogames I missed out on in 2013, but thanks to a recently good deal via the Humble Bundle store I was able to pick up The Fullbright Company’s debut for a sweet price, one that wouldn’t make me terribly irate if I discovered that the game didn’t work on my ASUS laptop. The good news is that, obviously, it ran just fine, even though it defaulted to the lowest of settings to do so and some of the textures looked a wee flat. Small quibbles aside, I absolutely loved it.

Gone Home‘s plot itself is pretty straightforward: it is June 1995, and Kaitlin Greenbriar is returning home to her parents’ new house in the Pacific Northwest after traveling abroad. She gets in very late on a rainy, thunder-laden night only to discover the house is completely empty, with a strange note on the front door from her sister, urging Kaitlin to not go digging around for clues as to what happened. Naturally, though, that’s exactly what you do, and the whole game is built around exploration and piecing together where Sam and Kaitlin’s parents went to. If I’m being honest and a little spoilery, that’s not at all what the plot is really about; in truth, this is actually Sam’s story, not Kaitlin’s, and there’s stuff about her parents to unravel, as well as what went wrong with the previous owners of the house to have it now deemed the Psycho House by other students at Sam’s school. Kaitlin is just a means to see all this unfold, and she is mostly non-reactive, save for a few text-only comments when finding items related to her parents’ sex life.

The game itself takes around two to three hours to complete, depending how thorough you search each and every room in the larger-than-life mansion-like new Greenbriar home. That said, Gone Home never wastes a single second though or pads out rooms with nothing that isn’t vital or important to the story-telling, and so you are constantly advancing, learning more and more. I found all this beyond exhilarating and couldn’t wait to see what was behind that closed door over there or what hid in the third drawer from the top, but only after I clicked open the first two drawers. You move with WASD, and zoom in for a closer look and pick up items using the mouse. Oh, and you can also fully twirl items around in your hand, to check out all sides, and you’d think there would have been more puzzles built around this mechanic, but Gone Home is actually not about puzzles–save for the few combination locks–and this mechanic exists more so to keep you in the world, prove that these rolls of tissue paper and printed books are real, that everything has a front and back and can be examined properly.

Anyone that actually grew up in the 1990s is clearly going to sink into Gone Home a bit deeper than those that didn’t. The game oozes with the era, from magazines wreathed in pop culture icons to board games and mounds of VHS tapes of your favorite Saturday afternoon couch-flicks, like Blade Runner and just about every episode of The X-Files. In fact, Super Nintendo plays a wee part in the events that transpire in Sam’s young, blossoming life, and you can find various fictional cartridges around the house, some goofier than others. Regardless, the attention to detail is astounding and appreciated, especially for a game that’s all about looking and listening. I couldn’t listen to too many of Lonnie’s musical recordings though, sorry.

Many have complained about the bait-and-switch trick in Gone Home. It’s initially set up to seem like your typical ghost story: girl comes home on a rainy night to find her house completely empty of life. For most of the early rooms, you expect something spooky to happen. The TV to randomly flip on? A door to slowly creak open itself? The sound of footsteps overhead? But no, nothing like that happens ever, save for a single moment of pure genius that is logically explained so long as you found the correct paperwork earlier in the house. This is not a ghost story. This is a human story, and it is remarkable in its dedication to remain rooted in reality, one I think many can relate to on some level, whether it is with teenage romance, a failed marriage, not being good enough for your father, and so on.

I think Gone Home is both a great game and a very important one. If you haven’t played it yet, I highly recommend you do so as soon as possible. Videogame story-telling has a new measuring stick.

2014 Game Completed Comics, #1 – Gone Home

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Every videogame that I complete in 2014 will now get its very own wee comic here on Grinding Down. It’s about time I fused my art with my unprofessional games journalism. I can’t guarantee that these comics will be funny or even attempt to be funny. Or look the same from one to another. Some might even attempt to be thoughtful. Comics are a versatile form, so expect the unexpected.

2013 Game Review Haiku, #46 – Deponia

Want off trash planet
Solve some tricky puzzles first
Hope you hate English

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These little haikus proved to be quite popular in 2012, so I’m gonna keep them going for another year. Or until I get bored with them. Whatever comes first. If you want to read more words about these games that I’m beating, just search around on Grinding Down. I’m sure I’ve talked about them here or there at some point. Anyways, enjoy my videogamey take on Japanese poetry.

Might & Magic: Duel of Champions battles for my attention

Readers of this blog should know that I love just about any and every CCG I can get my hands on, whether or not I actually have someone to play against. Part of it is the collecting aspect, the fantasy that if I get this card or that card or three of that card then I can really build something special and unique to my playing style. It’s all about dreams, and this definitely started with Pokemon, Magic the Gathering, and Lord of the Rings, which I played with a small circle of flesh-and-blood friends. I also have some other card games in stuffed away in a box in my studio space that I’ve never played with anyone, such as The Simpsons TCG, Gloom, and Wyvern; I just have ’em to have ’em.

However, over the years, my gaming circle has diminished, though there are the occasional spouts of Munchkin and Lords of Waterdeep with friends, which are board games with some card-based elements, but not enough to get my palms sweating. Alas, I’m pretty much alone nowadays in my affection for CCGs and TCGs, and since I have no one else to share that love with, I must resist and sit on my hands. Even when it comes to digital card games. Sorry, Cardhunter. Bummer, Hearthstone: Heroes of Warcraft. Too bad, SolForge. My apologies–argggh, fuck it.

I can’t hold out forever.

I guess there was a beta for Might & Magic: Duel of Champions a couple months ago, but I only ever first heard of the game when it released–for free–on Steam recently. You can mostly thank Penny Arcade for tweeting about it, but I decided enough was enough, clicked “play,” and waited for the game to finish up its installation thing, which did not take very long. However, before I could partake in any collectible carding, I first had to create a Uplay account, much to my disliking–a minor annoyance at best. But then it’s right into the action of this fantasy-themed strategic online CCG where you choose a hero, build an army of creatures, cast spells and fortunes, and defeat your opponent as swiftly as possible. Basically, Magic: The Gathering, but a teensy bit different in a few areas, just enough so that Wizards of the Coast does not come armed with lawyers and paperwork and turn one Lightning Bolts.

Duel of Champions opens with a faction selection: Haven (protection and healing), Inferno (attack damage), or Necropolis (infecting and stealing life). Depending which one you align with, you’ll see a different story and deck of cards to muck around with. I went with Haven as it reminded me the most of white weenie MTG decks, where it is all about small creatures and protecting yourself with spells. The campaign starts with a lengthy, but vital tutorial that teaches you all the basics before padding off main story missions. Each encounter has some–well, to me–throwaway dialogue at the beginning that ties into the plot, and you battle with cards to earn XP, gold, and seals. To win, you have to damage your opponent’s hero until he or she has no more health.

In order to play cards, you not only have to use stored resources (like mana, but not), but also a combination of three different tracked elements: Might, Magic, and Destiny. Each turn, the player can increase one of these stats or their hero can use a special ability to do something else. I think the Haven hero lets you draw an extra card? Sorry, I don’t remember. Also, each player has eight event cards on the side, which are shuffled together and brought out in twos. These rotate around with each use and can only be activated once a turn if you can pay for the cost, with effects that generally target all players, negative and positive. They remind me of portals/dungeons from Munchkin and planes in MTG, in that they often are the vital game-changers in any round.

After all that, there are three main types of main cards found in every hero’s deck: creatures, spells, and fortunes. Data printed on creature cards correspond to an attack score, a retaliation score (damage dealt back to an attacking creature), and its overall health points. Health does not regenerate at the end of the turn like in MTG, meaning you have to be always aware of who is hurt the most. Spell, so far, are rather straightforward, such as raising the strength of a creature or healing its wounds. Fortune cards are like mini-event card that seem to only effect you and play around with the rules of the game.

And so it goes: you play cards, perform your actions, attack, and prepare, and then the other player goes. An opponent’s turn can sometimes go by in a blink of an eye, so you have to be paying attention, but truthfully…it’s a bit lifeless against artificial intelligence, but it’s all I have currently. Not terrible, mind you; just void of something. I suspect once I’m further along I can do a little online multiplayer and see what that’s like, but for a free card game riffing on what MTG created, it’s pretty good and has enough tweaks to make it a wee bit more interesting than a blatant clone. I certainly am playing it more than I did that other Might & Magic title. And if you read through all this with wild, excited eyes and totally grokked all that I wrote, please come over and play card games with me on the weekend. I have plenty to try. Any time is fine.

Simple polygon shapes become more in Thomas Was Alone

A small spoiler right up front, but Thomas is actually not alone for very long in Thomas Was Alone. Sorry, I know. You probably didn’t see that coming, and now your world is crumbling down. Wait, here’s a few more juicy tidbits:  his full name is Thomas-AT-23-6-12, he is a red rectangle, and he is searching for companionship. Just dropping knowledge bombs over here like boom, boom, boom.

As a puzzle platformer, Thomas Was Alone is pretty standard stuff. Maybe even a bit basic in the early levels. Despite being a simple geometric shape, you can jump to climb up and across platforms, with the end goal always trying to reach a shape-specific door somewhere near the end of the level. As you progress, Thomas meets some other shapely friends, like Chris, an cynical orange square, and John, a tall yellow stick-shape. I’ve met a couple more shapes too, but I won’t spoil them all, especially if there are more to come. Basically, the different shapes can jump at varying levels of height, and you have to use Thomas and his friends cooperatively to get over some platforms and hit those doors up. That seems to be the meat the puzzles, unfortunately, and the early levels are beyond easy, finishable in mere seconds.

What takes Thomas Was Alone above its lackluster gameplay mechanics is Danny Wallace, the game’s narrator. He also helped the game earn a BAFTA Games Award. He tells the story of each shape created by a company called Artificial Life Solutions, which experiments on artificial intelligences, and really gives them life, despite them being, without a doubt, geometric shapes with the ability to jump. It also helps that his British accent is calm and commanding, reminding me of the narrator in The Hitchhiker’s Guide to the Galaxy. It really does help make the somewhat mindless, at times, platforming all the more enjoyable.

All that said, I’ve run into a hardware problem, one that is growing more frustrating every day. I prefer to play platformers with a controller; hush now, it’s how I grew up with them, bouncing Bubsy, Mario, and Sonic to and fro with the push of a button rather than the click of the mouse. I also find using a d-pad or analog stick provides better precision when timing jumps and landings. Your mileage may vary. However, when I plug in my Xbox 360 controller into my laptop to play some Thomas Was Alone, the controller only seems to work 20% of the time. I’ve found restarting the game with the controller still plugged in to work every now and then. But not consistently. And I refuse to play any other way. I do not believe my controller is on the fritz, as it works fine on the Xbox 360, and I was able to load up Super Meat Boy through Steam and start jumping from wall to wall with no problems. Not sure what the deal is, and the game does support controllers, but it’s been touch and go.

I hope I can get this controller stuff figured out, as I’d like to see Thomas Was Alone to the end. Not to see if the puzzles change much, but I want to know what becomes of these shapes. These square and rectangles that have opinions and qualities and desires. That probably sounds crazy, I know, but that’s just how good of a job Wallace does narrating them. Oh, and I do wish the game had Steam trading cards.

2013 Game Review Haiku, #26 – Hotline Miami

Wear animal masks
To wreak havoc and spill blood
‘CAUSE THE PHONE SAYS SO

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These little haikus proved to be quite popular in 2012, so I’m gonna keep them going for another year. Or until I get bored with them. Whatever comes first. If you want to read more words about these games that I’m beating, just search around on Grinding Down. I’m sure I’ve talked about them here or there at some point. Anyways, enjoy my videogamey take on Japanese poetry.

It’s hard to stay alive in a horror-ridden basement

I love trading cards, and I mostly blame Magic: The Gathering for it, but this affection traces back further than that to when I was a wee lad, collecting Fleer baseball and Marvel cards with a vigor I’ve never since seen again. I still have much of my collection stashed away in boxes and binders, but have mostly fallen away from collecting cards due to the cost these days and the fact that, part of the fun, is trading X and Y for Z with other collectors. Alas, I can count the number of real-life friends I have on one blender-mangled hand, and none of them are down with this type of lifestyle.

That all said, Steam now has trading cards, and while I still don’t fully understand how the system works, I find it fascinating nonetheless. Also, with these being digital trading cards, I no longer have to worry about accidentally bending or nipping them, as well as how to store them safely amongst everything else crowding up my studio space. Basically, you play a specific game, and a new trading card is added to your inventory roughly every 30 minutes. However, you can only earn so many, say 5 out of 9 cards, and thus have to either trade with other players or sell/buy cards online. Once you complete a set, you can craft a badge which gets you some background art, new emoticons, discounts on other Steam games, and XP to level up. It’s an odd meta game that I have a hard time ignoring. Thankfully, I haven’t gone full tilt yet, selling only one duplicate for $0.27 and sitting on it while I figure out my plan of attack.

I was able to give Grinding Down long-standing compadre Greg Noe some of my extra cards from The Binding of Isaac, allowing him to craft his first badge. It was both exciting and not. Like when you’re seven, and you are watching your best friend opening his birthday gifts. I believe he has some Stacking cards for me, too, but last time we attempted to trade the system kept glitching out. Another time, me hopes. I’m also pretty close on completing all the cards for Super Meat Boy.

Anyways, even though I got all the cards that I possibly could to drop from The Binding of Isaac, I’ve been playing a lot of it lately. Like, first to relax and just mindlessly see how far I can go, and then immediately after try my hardest to actively reach the end. Unfortunately, I’ve still not gotten past the Depths, but I feel like I’m getting better with every run. However, getting far actually requires a ton of luck, in that certain items will be more beneficial than others. Noe mentioned that a friend of his beat it on his first run, to which I replied, “Fuck him.” Trust me. When I beat The Binding of Isaac on my 157th run, now that will sound impressive.

Bosses that I just can’t seem to grok:

• Widow
• Pin
• Chub

But it’s not actually the bosses that often slow me down or bring my flight of fancy to a grinding halt. Just your day-to-day room enemies are enough to give you grief if you don’t know how to handle them or can’t hit the keys fast enough, and I particularly hate entering a room to find it filled with charger maggots, hoppers, knights, keepers, and globins. On the other hand, I’m a pro at dealing with flies and piles of poo.

Hopefully, luck will be with me one day soon, giving me the best items from the get-go and opening a clear path to Mom. If I can just beat The Binding of Isaac once, I will feel a great wealth of accomplishment, because it really isn’t a simple task. I do have to wonder if I’d be any better at the game using a controller, but I don’t think, unlike Hotline Miami, another tough title requiring quick reflexes, that it offers gamepad support.

2013 Game Review Haiku, #7 – Sugar Cube: Bittersweet Factory

Jump, flip, be real cute
Did not collect all the gems
So Sugar Cube died

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These little haikus proved to be quite popular in 2012, so I’m gonna keep them going for another year. Or until I get bored with them. Whatever comes first. If you want to read more words about these games that I’m beating, just search around on Grinding Down. I’m sure I’ve talked about them here or there at some point. Anyways, enjoy my videogamey take on Japanese poetry.

Another flipping day at the Sugar Cube: Bittersweet Factory

I fell down another bundle hole some days back, buying in to the Evolved Bundle from Indie Royale–which is no longer available, replaced by the current Valentines Bundle, a collection of games that really don’t interest me at all. The Evolved Bundle consisted of six games. Here, let me list them for you:

• Unmechanical
• The Path
• Krater
• Sugar Cube: Bittersweet Factory
• OIO
• St. Chicken

Right. Some puzzle platformers, a puzzle-swimmer-platformer, an RPG, and whatever The Path cares to call itself. An experience? Anyways, I remember watching a Quick Look over at Giant Bomb for Krater and thinking it looked pretty neat (and Swedish), and that was enough to get me in for this bundle, with the other games considered as mere tag-alongs. Though Krater looks like it needs some time to get into and see how its systems work, which is not something I have oodles of these days. Instead, I was just randomly clicking around on Steam over the weekend for something quick to play, and I decided to see what Sugar Cube: Bittersweet Factory was all about besides looking adorable.

Believe it or not, there’s a story. Granted, it can be told in a single sentence, but it’s more than other 2D indie platformers give off sometimes. Yeah, I’m looking at you. In short, a cube of sugar escapes from a bunch of themed factories to avoid the fate of becoming a cookie. You play as that cube. Safe travels, sugary soldier. May you never turn into a cookie and crumble. Okay, I need to move on, because, if you truly know me, I could play with food-based puns all day long. And besides, I can do much batter than that.

Basically, you are trying to get your little sugar cube from point A to the closed door somewhere else on the map, which will take you to the next level. There are five worlds with…um, well, a bunch of levels in there; I didn’t count ’em. But it’s not a simple walk over from the starting point to the portal-like doorway. See, the background tiles of the game have two sides: a front and a back. These tiles can be flipped. Sometimes they turn into ledges and sometimes ledges with spikes or icy floors. It’s up to you, little sugar cube guider, to figure out what tiles to flip and then how to get to the door. You can also hold down a button to prevent tiles from flipping. And thus, you now know everything there is to know about both elements to this puzzle platformer.

So far, I’ve gotten through all of the first factory and about halfway through the second one, which is based around…chocolate. I’ve found that the difficulty in Sugar Cube: Bittersweet Factory varies greatly, with me breezing through two to three levels with ease and then coming to a complete halt with the next level. That’s actually okay as it gives reason to pause and evaluate your skills, as well as the level’s design itself. Still, it does everything an indie puzzle platformer should. And the game keeps hinting that if I pick up all the collectibles, the true ending will be revealed. Ooooh. Will our adorable little sugar cube escape the nefarious factories, but later return with a pitchfork-wielding mob to burn it all down and then erect a recreational park? Maybe. Who knows what sugar cubes think. I don’t, but now I must.