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Dec 6th, 2018 at 21:52:45 - The Legend of Zelda Twilight Princess (Wii) |
Finished! Sort of...I got frustrated and watched cut scenes for the last few dungeons. But finished! Okay so, overall, this was a game that felt like work to play. I occasionally lost myself in a couple of the great dungeons, but more of my time felt spent in tedium. A couple immediate factors leading to this feeling:
1. Poor instruction and instructional timing for some new items. I remember when I unlocked the water bombs. I saw a lake, dove down, was excited to see destructible rocks, went to select the bombs and...they were grayed out. Why? Hmm. Maybe you don't actually place the bombs while in the water, but drop them from shore and the special thing about these bombs is that they explode in water. I could drop them from the shore, but they blew up long before reaching the rock. Hmm. I later saw on a walkthrough that you have to put the iron boots on first to use water bombs. That doesn't make sense to me. Why can't Link use bombs while swimming, or while standing on the bottom of a lake in normal shoes?
Another one that happened tonight was using the dominion rod to make the statue use its sword in the Temple of Time. The game doesn't tell you you can do this, and soon after gaining control of the statue, it got seemingly stuck between a gate and a ledge. I couldn't move it. I did everything I could think of and, not wanting to save and exit (more on that soon), I consulted the walkthrough, which said you have to use the rod on the statue a second time to make it attack. Why would I think to use the rod on the statue a second time?! I already control the statue. The game doesn't tell you these hot tips that are necessary to your progression and saw me wasting a lot of time trying to figure out something that I should have been told.
Yet another one tonight is when I learned (again from a walkthrough) that you can use the claw to pick up shells of a particular enemy type. I missed doing it in a room to get the Big Key for the Temple of Time and, long story short (explained below) quit in frustration. There is no reason for me to assume the claw would bring that object to me when it has never brought an object to me in 20 hours of play with the claw. The claw grapples to environmental objects like grates and moss for platforming purposes. I've tried to grapple other things that would seem to make sense and it never does it. I missed that key, escorted the statue all the way down 8 floors of a dungeon, opened the path to the dungeon boss, and came up against...a locked door that required a Big Key. I turned the game off, made food, and turned it back on after I ate.
2. But what happens in Twilight Princess when you're in the Temple of Time dungeon and you save and quit after you've escorted the statue? Why, aside from the statue and the gates you happened to smash with it, the dungeon resets itself! All the enemies respawn, the traps reset, you have to re-do puzzles. At a game I was already lukewarm toward, I faced the prospect of having to trek back up 8 floors of a dungeon (and then back down) to get a key from a chest that I couldn't figure out how to open earlier. And that solution happens to be yet another item usage and/or bad (timing of) information that is inconsistent with its usage in the entire game up to that point.
I'm done ranting. There is a lot I enjoyed about the game aside from what I talked about last time. Some of the later dungeons were excellent, with my favorite being the desert one. The puzzles got more challenging, and the more items you acquire, the more creative you can be with thinking about solutions. In the last dungeon, I used like 6 items. Shoutout to the spinner, a rotating disc you ride around like Marty McFly on a hoverboard. The spinner is one reason the desert dungeon stood out; it's a joy to use.
One final thing I gathered from playing Twilight Princess is how influential Zelda games are in other adventure games. For example, a couple years ago I played Darksiders, which I really enjoyed (till it bugged out on me and I couldn't finish). But, wow, Darksiders is a Zelda clone!
I'm glad I played this, though I could have stopped 10 hours earlier. Watching cut scenes didn't add a whole lot until the very end when All Is Revealed. The story is s-l-o-w and the dialogue is written at like a first grade level, not that exciting at all. Come for the neat use of the Wiimote and the charming world.
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Nov 30th, 2018 at 09:40:03 - The Legend of Zelda Twilight Princess (Wii) |
So I bought a Wii U! Now I can play the backlog of Wii and Wii U games I've accumulated over the years. Twilight Princess is first. I did my Zelda research and this one is placed above Skyward Sword (the next in the series) on almost every list. Then Breath of the Wild is apparently one of the best games ever made, and so I figured I would do Twilight Princess (it's appropriate to celebrate my Wii U acquisition with a Wii launch title) as representative of that generation of Zelda games, and then play Breath of the Wild later on. Also, dare I admit that besides the original Legend of Zelda on Nintendo, I've never played a Zelda game except for a few hours of Wind Waker, which I didn't like.
Since Twilight Princess is essentially my first Zelda game in 25 years, it took me some time to get used to the flow of the game, and many things that regular Zelda players probably take for granted, I had to learn to make sense of. For example, the game alternates between sort of like "overworld" and dungeon parts, and there seem to be series staples such as the compass, the heart fragments, that iconic chime sound when you discover a secret, and so on. Also somewhere in every overworld/dungeon sequence, Link gets a new toy, whether it's bombs he can use under water, heavy boots, or a grappling hook. You'll use that new item heavily in the associated dungeon, the design of which revolves around the use of the new item, and then use it some later and largely for secrets or revisiting old areas to find new paths.
So yes, it took me some time to get used to the flow of the game. Another thing that has taken considerable effort is the controls. Maybe it's because I haven't played a Wii in a long time, and maybe it's because there are so many different actions you can perform and so many different buttons, but I've got busy hands and arms playing Twilight Princess. It is extremely cool to use your sword by making a slashing motion with the Wii controller, to use your shield bash by thrusting the nunchuck forward, and to do a special attack by waving the nunchunk wildly about. You can do all this while holding Z to lock on to enemies, or you can hold Z and press B to use whatever other equipped weapon you have (bow, grappling hook, slingshot, bow with bombs, etc.). It only gets old when the Z targeting doesn't work quite right or when the camera decides to be wonky, which happens a lot. It's also sometimes difficult to play with a cat on your lap who is easily startled by sudden movements. But, the more I play, the more I reinforce that 1 is map, 2 is equipment menu, - is the inventory wheel, + is...I don't remember what + is. That A sometimes cancels and sometimes selects, and sometimes attacks, that B sometimes cancels and sometimes attacks. But when all else fails, just flail wildly.
The game's tone is kid-friendly dark. But just when I'm getting turned off by the cutesy sweetness of the game, I'll face a new disgusting looking boss or (what I'm currently doing) witnessing the current main bad guy who looks like a Lovecraftian horror nearly kill Midna, and now I, turned into a wolf, am trying to sneak into Hyrule Castle to get Zelda to help me and Midna. But the whole time, Midna is on my back, half sliding off, gasping for breath like she's dying. Kid-friendly dark, but damn, there is great character art and the weight of Midna dying on your back is heavy.
I like these faster, more tense moments of the game better than exploring the dungeons. The dungeons are full of respawning enemies, which can largely be ignored, and all manner of little platforming and other puzzles. I generally dislike the platforming, thanks to the aforementioned wonky camera and lack of precision movement. Last play session, I kept dying in an area because Link kept slipping off a rock, or while attacking a bird, Link would thrust forward and fall off, or Link's grappling hook would attach to vines but the game wouldn't transition from grapple to climbing and so I'd have to let go and start over. The puzzles rarely make you feel all that clever for having solved, but I hope that with more items in my inventory, I can be more creative in approaching puzzles. However, this game is from 2006, so I sort of doubt it. I will say that the grappling hook has been my favorite new tool because you can use it on different kinds of objects and it improves your mobility. One cool moment from my last play session was seeing grappling hook sites high above the center of the water temple, grappling up there and finding a treasure chest on a chandelier, surveying the area and seeing a grappling hook site where a lever should have been, and then getting myself over there, activating the switch, and moving the staircase to its proper position to allow the water to flow to the center of the temple, raising the water level, and allowing me access to the door to the dungeon's boss. That was the most satisfying part of the water temple. But, can we please do away with water levels? Unless you have made Abzu or Subnautica, just don't do it.
More later! Based on time to beat, I should be a little over halfway through, but have uncovered most of the map. So hopefully there are some story twists and the game picks up pace.
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Nov 18th, 2018 at 17:43:11 - Invisible, Inc. (PC) |
What a short and sweet stealth tactics game. It reminded me of a mix between XCOM and Shadowrun games, with a little bit of System Shock thrown in at the end. You are an operator leading a squad of agents to ultimately infiltrate an evil corporation and upload your organization's super AI onto their mainframe to shut them down. You've got 72 game hours to do it, and each randomized mission you choose takes, as far as I saw, between 5 and 12 hours. After each 24-hour day, the story advances and the sites you infiltrate become more difficult as the corporation gets onto you. Missions come in a handful of varieties, including ones to acquire information that gives you more mission choices, free hostages (some of whom can join your permanent roster as playable agents), steal vault keys, use vault keys to get tons of cash, and access rare items through theft or purchase. I'm not sure if I got lucky on my second run or what, but I was able to recruit two new agents very quickly, thus giving me three (of four possible) for almost the entire game. I never saw another hostage rescue mission.
The gameplay is familiar stealth tactics fare with fun twists. Use AP to move and perform basic actions. What sets it apart is how perfectly balanced and precise everything is. If I screwed up, it was 100% my own fault. The game gives you a lot of information. For example, open a door and you get a little vision cone that your character can see. Peek around the corner and they can see most everything in the room. If you see an enemy, you can spend 1 AP to observe his movements and know what path he is taking. You can also see his vision cone, including the squares he sees and those that he is "watching," i.e., his peripheral vision (which oddly doesn't apply to squares right next to him). You can also see when enemies are alerted and what position they are alerted to. This gives you time to plan an ambush or get out of the way or distract them. Laser grids can be hacked, allowing you to cut off certain areas of the level, or, if you're clever, frying an enemy who moves near it! Surveillance drones, machine gun turrets, and various other useful things can be hacked and used to your advantage too.
In return for such access to information, you have a lean number of AP and potential moves on any given turn. Thus, you always have to do a lot with a little, which makes every decision feel weighty. On Easy, you get 5 Rewinds per level, so you can screw up some without wiping your agents. In addition to your agents, you have your AI, Incognita, who can spend a resource called Power to hack enemy electronics, create noise distractions, and other things. Incognita hacking disables cameras, captures turrets, unlocks corporate safes, and later even decreases enemy armor. You want to manage Power very carefully because it isn't an infinite resource, although there are panels scattered throughout the levels where you can siphon more, and I luckily found a mod for Incognita early on that passively gave me 1 Power per turn. You also need to watch out for daemons, which debuff Incognita and/or your agents for a few turns (-2 AP for all agents, +1 Power cost to hack things, spawn one more enemy, etc.).
You can install various implants in your agents and equip items. Some of the implants are freaking awesome, such as Internationale's ability to remotely siphon power from terminals. Couple that with dumping points into the Hacking stat and she wound up sucking +5 Power from every terminal from a room away, which was HUGE. Upgrading passive stats is a big deal, and costs money, which you steal from safes and from guards. It was a tough decision whether to upgrade my agents or to spend the money on new items. I went with upgrading my agents most of the time, and by the end of the game, they had maxed out speed (more movement, always useful in these games). Hacking was Internationale's specialty as mentioned earlier. I gave Decker (nice reference) a lot of strength (carry more items, drag guards farther), and Prism I gave Anarchy (steal more and better from guards), though that didn't turn out so useful, and I wound up making her well rounded.
I played the game on Easy, which was recommended. It was challenging and taught me the game, but was never too hard, especially once I learned everything. It was constantly nerve-wracking though. As soon as I beat it, I gained experience, unlocked two new agents and two new mods for Incognita, and it said that the real challenge is on Experienced difficulty. Well! Tempting. I am sure the game becomes brutal. But I've still got Shadow Tactics: Blades of the Shogun to try, so the next stealth game will be another new stealth game.
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Nov 12th, 2018 at 12:31:42 - That Dragon, Cancer (PC) |
I have a feeling I will never forget this game. It is a raw, emotional journey through a family's life as they grapple with their youngest son, Joel, dying from cancer. I had a lot of thoughts and feelings while playing, and will do my best to summarize them here.
1. Authenticity. That Dragon, Cancer is such a personal piece of work. You feel what the parents were going through--the shock, the grief, the hope, the love. You even feel the confusion that their other children experienced, and one of my favorite aspects of the game was how it showed the parents guiding their other children through Joel's illness. Many of the recorded conversations sound like a mic was on in routine family interactions. The mother's letters/diary entries are at times brutally sad, at times pensive, and usually hopeful and religiously inspired.
2. Religion. I know the game has been knocked for heavy Christian overtones. This is not a preachy game. If it were preachy, I would have hated it. Instead, it demonstrates how faith helped the family through the ordeal, helped them understand and rationalize the loss of their son. A major function of religion is to explain the inexplicable, and although we can scientifically explain cancer, it is hard to understand WHY it is happening to YOUR child. Why would God allow that? Many of the religious reflections aren't particularly deep, but use them as a springboard to go deeper yourself.
3. Art. The game is beautiful in its own way. Not in the "wow, that's impressive art" or "wow, the technical ability of the artist is high!," but in its simplicity and in the emotions that the scenes evoke. The opening vignette sees you controlling a duck, eating bread that Joel happily tosses into the water, as the father talks to his other two sons about how Joel is different. Then, you take control of Joel and toss the bread. It sets the mood--a serene lake, a family outing, sunshine, hope, happiness--that becomes distorted at times later. One of the most memorable vignettes with a seriously dark tone sees you controlling Joel, floating in the sky with a bunch of inflated medical gloves (as balloons). There are ugly, black, pulsating representations of mutated cells that you need to avoid. But it's impossible to avoid them, and one by one, the balloons pop, until Joel falls from the sky and the vignette ends.
4. Gameplay. The game design is strong because of the art, the vignettes, the empathy the whole package elicits. The game design is weak in terms of controls and how much you can interact with the world. Sometimes these effect each other positively, and sometimes negatively. I'm sure the level of interactivity is purposeful, but I think it clearly shows that this game is in no way a polished product from a team of highly skilled designers that we generally expect to encounter. Instead, there's not a lot to DO except use a walk command and some sort of "interact" command. There are a couple others that I could not figure out what the icon meant. There is a swimming sequence where you have to (I think--actually I'm not sure what the "win condition" was for that area) get the dad to swim to the surface of some water, perhaps toward a rowboat, but he's so hard to control. Another was a little cart racing vignette that was so rudimentary. The cart goes, and you steer it in a circle. Again, these generally worked emotionally, but they were not easy or interesting to play through, and the emotional impact would have been greater if my focus wasn't on "Swim UP man!" or "Wow, this cart control sucks." One cool vignette was a story that the parents were telling their other two sons about Joel. Joel is a knight fighting cancer, which is a dragon. The game shifts to a delightful 2-d platformer. You control Joel, and as his parents tell the story, their words appear on screen where some narration manifests. So for example, "And Joel had armor to protect him [text appears with armor that you pick up]. And he needed this armor because on his journey he faced many fearsome enemies [text appears over new enemies]." It's like the story causes the sidescrolling, and was a super cool way to demonstrate progression in the narrative and in this vignette. But sometimes the text would seem out of place or it would go too fast and appear off screen. It took a little bit of oomph away from the vignette, but that was still one of my favorite ones.
There's plenty more to say about this, but I'm going to revisit the game. Next semester, I'm teaching a course on death, grief, and dying, and I am absolutely going to work this in. It's short enough and simple enough to use in class, touches on numerous topics I've got outlined for the course, and students will find it extremely interesting. And I wasn't even thinking about that before I played!
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