Review: Monument Valley (iOS & Android)

May 19, 2014 by Mike

Note: The Android version was used for this review. Played on a Google Nexus 7 (2012) running stock KitKat 4.4.2.

Screenshot_2014-05-19-09-11-14 It was only a few years ago that premium mobile games were the norm and not the exception. They’d cost as little as a dollar, with some “expensive” ones being $3 or more. It was a great time, since we saw so many high-quality titles with terrific style, gameplay, and content across all genres. Some of my fondest memories include games like Superbrothers: Sword & Sworcery EP, Tiny Wings, Real Racing 2, Infinity Blade, Groove Coaster, and Doodle Jump.

Compared to what I was used to playing on traditional handhelds and consoles, these games were an absolute steal. A vertical shoot-’em-up like Dodonpachi Resurrection, for example, would cost upwards of $80-90 to import and play on a console, and to have it for a tenth of the price, fully translated into English? Shut up and take my money.

Fast-forward to 2014, and the mobile landscape has changed significantly. Finding games now that aren’t free-to-play takes more effort, and discovering them on the Apple App Store or Google Play can be a challenging game all on its own. That’s why running into Ustwo Games’ Monument Valley last week was such a special treat. I couldn’t even tell you how I found out about it, but I’m so glad I did.

I immediate fell in love with its beautiful isometric graphics. Every level pops off the screen with clean lines, easily readable design, and a heavy M.C. Escher/Crystal Castles influence. Animation is extremely smooth, even on older hardware, and its expert use of vibrant colors make everything a wonder to look at.

Its puzzle-based gameplay possesses similar concepts that I played in Terry Cavanagh’s Naya’s Quest, without all the endless frustrations I experienced with that game. (Sorry Terry, I still love VVVVVV and Super Hexagon!) The tap and swipe controls feel great, character pathfinding works like a charm, and the visual and audio feedback given to the player throughout are very satisfying. There are no particularly difficult puzzles, though, which was slightly disappointing. On the other hand, seeing how your changes affect the world and then progressing through them is very rewarding.

Monument Valley‘s story is intentionally sparse and mysterious, and there were a few times that I was taken back to Thatgamecompany’s 2012 masterpiece Journey on the PS3. It keeps you wondering where things are going until the very end, and provides the player with a smile-inducing close to your adventure.

Unfortunately, that end comes rather quickly, as the game is over in less than two hours. It seems especially quick here since it’s so easy to get sucked in and blast through it in one sitting. That in itself isn’t necessarily a bad thing, as I have always said I’d rather play a short game that’s excellent over a long game that’s mediocre. However, since there’s nothing else to do after the game is over, once you’re done, you’re done.

I think it would have been cool to incorporate some level of achievement system, like (a) stealth-based ones where you go through certain levels undetected, (b) find hidden collectibles off the beaten path, and (c) goals involving as few moves as possible. The framework is there, so it would be great to see ideas like these implemented in a future update or sequel to breathe more playability into what is already a terrific experience.

At $3.99, Monument Valley might be a little more expensive than your average mobile game, but this is no average game. It successfully melds a wonderful visual style with creative gameplay, and you can tell that the developers put their all into bringing this world to life in such a carefully polished way. Although I wish there was a little more to it, this game still comes highly recommended, and I can’t wait to see what Ustwo Games does next.

Graphics: A
Audio: A
Gameplay & Controls: A-
Presentation: A
Value: B-
Overall: A-

To PS4, or not to PS4 (for now)

May 16, 2014 by Mike

Let me walk you through what goes through my mind at times like these:

“The year is 2014. I turn 40 this Sunday. That’s 4 decades. A PS4 is $400, and I’ve nearly built up to 4 (OK, 3) free games for it through my recent PlayStation Plus subscription.”

See where I’m going with this?

I used to be a “day one” — or at least a “month one or two” — system buyer. When I think back to when I was first able to start buying them on my own, I was always there early. I’m not feeling it this generation, though. I still have lots of unfinished business on last generation’s consoles, so I haven’t had that urge to step up to the new systems like I used to. I’m feeling a mild itch, however.

I did buy a Wii U back in October because I really enjoy mainline Nintendo titles. Super Mario 3D World, The Legend of Zelda: The Wind Waker HD, and New Super Mario Bros. U are all fantastic games, and I can’t wait for Mario Kart 8 in a couple weeks. Despite its relatively weak catalog of games, I already have a small backlog developing for it, including The Wonderful 101, Donkey Kong Country: Tropical Freeze, and Pikmin 3.

Anyway, between the Xbox One and PlayStation 4, the PS4 is definitely the most compelling system to me since I do have those free PS+ games like Resogun and Mercenary Kings that I would love to try. I’m paying for the service, so I might as well get the most out of it. It’s been fantastic for the PS3 and Vita.

Knowing that an upgraded PS4 version of The Last of Us is around the corner is also very exciting, since it’s my current all-time favorite PS3 game. I don’t like that I’ll have to double-dip to play it, but Sony has assured fans that owners of the original game will get the PS4 game for a discount. I’m hoping for half, but my bet’s on $39.99.

Speaking of double-dipping, I’m a big fan of Crystal Dynamics’ 2013 version of Tomb Raider, so checking out the Definitive Edition could be interesting. PC gaming with decent hardware is usually my preference for multi-platform games, but since the only way to play the latest update is on the PS4 or XB1, I’m out of luck there.

I also want to see what Remote Play is like, since I’ve been rather disappointed with the wireless range of the Wii U Game Pad. It has made Off-TV play nearly impossible due to how our room is configured. That’s unfortunate, since I think EarthBound would be a perfect lay-on-the-couch gaming experience.

There is also the comfort in knowing that the PS4 will be home to so many great exclusives throughout its lifetime, as all Sony systems have been over the PlayStation’s 20-year lifespan. Can you believe it’s been that long? Neither can I.

So, will self-control ultimately come out on top? All I know is that my wife will have to make absolutely sure I don’t go wandering off to the electronics department of our local Fred Meyer this weekend.

Interplay, early 1996: Into the Lead Tester fire

May 15, 2014 by Mike

After getting my feet wet as a Tester, heading into the second half of my first year at Interplay was a whirlwind experience, to put it lightly. I had only been working there for about 5 months, testing games like VR Soccer ’96, Cyberia, and Casper, when in early 1996 I was selected for a Lead Tester position. Prior to this, the only leadership experience I had was working briefly as a Floor Supervisor at the pub down the street at UC Irvine. I was definitely more comfortable fixing a good meatball sandwich that I was managing a team.

I felt so incredibly ill-prepared, even though I had displayed some rather ugly arrogance earlier regarding my readiness to be a Lead (more on that in a future post). I even emailed the Director of Quality Assurance about how I was having second thoughts and that they should pick someone else. Both he and the Assistant Director came by, calmed me down, and said they had every confidence that I would do well.

Even though there wasn’t any formal training, I was completely supported. That pep talk gave me enough of a boost to sign the dotted line on the promotion. I often referred back to that moment throughout my career, since I would see those exact same expressions of hesitation and fear on the faces of future employees making that difficult transition from individual contributor to management.

The first game that I was Lead on was Quicksilver Software’s Conquest of the New World for the PC. I was already a fan of theirs since my friends and I had played lots of Castles back in high school, so I was excited to dive in. However, stepping into the project as it was nearing its crescendo was overwhelming.

The bug list — which was tracked and maintained entirely in Microsoft Word and not a database — was massive. It was practically a second job keeping it updated, which is a big reason why I rarely left work. Lead positions were still hourly back then; not something you see much of these days. That helped ease the sting of the long hours we collectively put in, but I was young, and it didn’t really bother me. You always knew which teams were doing lots of overtime, too: they would have the newest and nicest cars in the parking lot.

In terms of my health, I was decently fit when I was 21, but it didn’t take long to develop what was affectionately known as the “tester gut” around the office. I still carry it with me! Fast food was the norm and poor sleeping habits certainly didn’t help. Overtime meals — provided by our Producers — would include pizza, Chili’s, Claim Jumper, and all manner of other take-out options. I still loved playing videogames and hanging out with my friends in my spare time too, so that meant staying up even later. I honestly don’t remember many nights where I was asleep before 2 a.m. Nowadays? 9 p.m. hits and I’m ready for bed.

Overtime took its toll in other personal ways as well, triggering a rather bad break-up with my girlfriend at the time. Although it was never that solid of a relationship to begin with, my work was the straw that broke the camel’s back. And wouldn’t you know it? It happened over the phone one night while I was still at the office trying to get Conquest out the door. Perfect.

Overall, though, the whole Conquest project was a great thing, and I have to somewhat selfishly admit that being credited as the Lead for the first time felt really good! I don’t think the game sold well, receiving middling reviews, but I didn’t care. I was still extremely proud of the work we did. My testing team and I spent a number of weeks onsite at Quicksilver’s office prior to it going gold, working directly with the developers. I learned so much about game design and development, and the small office culture affected me in a very positive way. It’s those “in the trenches” experiences that really stand out for me as I reflect on my career. They’re unbelievably stressful on the body and mind, but they have the potential to bring teams together like nothing else can.

After a short break to recover — and a patch or two — QA started receiving a number of prototype video cards. I was used to playing most PC games in chunky 320×200 resolution, and with 3D-intensive games like Descent, sometimes in an even smaller window than that. These new cards sported built-in 3D acceleration and bilinear filtering, and allowed those same games to look and run smoothly in 640×480 or higher. Even though those early cards were buggy, I immediately knew this was going to be a big deal for games. My enthusiasm for the technology (and probably some begging) got me put in charge of a specialized team that focused on testing our games with these cards, which was pretty cool.

There were many emerging players and names on the 3D hardware front — S3 ViRGE, Matrox Mystique, ATI Rage, 3Dfx Voodoo, etc. — and they were all chomping at the bit to show off their capabilities. Interplay had a new building a few miles away from their main location that housed several production teams and the OEM division. The latter was responsible for working out deals with the various hardware vendors to customize and bundle our games with their gear, and OEM was where all those 3D cards were coming from.

Because the business was growing so fast, they soon needed their own QA team. Although it was tough to leave the group of people that I had gotten to know so well, it was a great opportunity, so I, along with a few others, packed up our things and moved over in the middle of 1996.

It would turn out to be a rough patch in my career, but a very valuable one as well.

GHG’s 1-month anniversary

May 14, 2014 by Mike

As with any new goal, hitting the 1-month mark is a good feeling. It makes getting to future milestones — 3 months, 6 months, 1 year, even 5 years — that much more achievable. When I set out to create this blog, I made a promise to myself that I would write for it every day, unless something absolutely prevented me from doing so. Even if nobody saw it, even if a post could be read out loud in one breath, at least I would know that I did what I set out to do.

Although I mentioned the other day that I was not a fan of statistics in college, I do like numbers and the stories they can tell. Via Word Stats, seeing the “14,139” total words written over the past month is cool. Several more months of this, and I’ll have enough words for a book or a few screenplays. Sometimes I think I should be putting my time into that sort of writing, but the way I see it, keeping at this blog could evolve into something bigger. Who knows? Whatever the future may hold, games are at the core of who I am and what I’ve done throughout most of my career, so it’s exciting to be putting my energy into something I love again.

The top 5 keywords for GHG are: game(s), like, time, overall, and great. It comes as no surprise that I use the words “game” and “games” too much in my posts, and I do struggle with that! It seems redundant since this is a gaming blog, but it tends to get typed a lot, so I’ll have to keep a closer eye there. Same goes for the others. I read everything out loud before publishing to help with clarity, flow, and readability, and some days are more successful than others. Coffee and sleep do make a big difference. Looking back on some of my posts makes me cringe, but I see those as valuable lessons on what to avoid for future updates.

In closing, thanks for visiting and reading GHG, as well as for the support you’ve shown on Twitter, Facebook, and Google+. You can find and follow me on any of those by clicking on the icons in the upper-right corner of the site.

Here’s to month 2!

Rediscovering LittleBigPlanet

May 13, 2014 by Mike

My apologies in advance; today’s update is a short one since I’ll be out of town most of the day.

So, Media Molecule’s LittleBigPlanet (LBP). Yes, the first one from 2008. After finishing Tearaway last week, I thought back on LBP, and how it never did click with me. I distinctly remember calling the controls imprecise garbage. At the time, I had most recently finished Super Mario Galaxy, which along with its 2010 sequel, were among my top games of that generation, and without question my favorites on the Wii. Going from Nintendo-quality platforming to LBP was a shock in the worst possible way.

I shelved LBP without giving it much of a chance, but it must have affected me on some subconscious level. I ended up buying the 2011 sequel — in Collector’s Edition form, even — and have yet to play that one. I grabbed the PSP version after 2011’s infamous PlayStation Network outage, and so there I was with 3 installments of the series, virtually unplayed.

Which leads me to this week. Absence may very well make the heart grow fonder, because even though the controls feel just as loose and the physics model seems to have a mind of its own sometimes, I’m really enjoying it. Time away from it has given me a new appreciation for what Media Molecule was able to do on the PS3 8 years ago. 8! For its age, it still looks fantastic, the soundtrack is infectiously catchy, and the whimsical, slightly off-kilter atmosphere of its world is refreshing.

Media Molecule might as well be called Material Masters. The look and feel of the game is so pleasant and convincing. I can’t wait to see what lies ahead!

Strategy games: I want a rematch

May 12, 2014 by Mike

Ever since I was in grade school, I’ve been rather terrible at strategy games. Don’t get me wrong, I loved playing them. Archon and Archon II: Adept are bona fide classics, but to say I was any good at them? That’s a stretch. Sure, maybe I would do well against the computer from time to time (and I stress the word ‘maybe’) with the difficulty settings in my favor, but I would regularly get crushed by my best friend back in 6th grade. He was a natural, understanding unit attributes, terrain variables, light/dark cycles, and long-term strategy. Me? I just wanted to get to the one-on-one arcade-style fighting bits. I was much better at those than I was at moving pieces around the board, but that more traditional strategy element is a specter that would follow me constantly.

Chess is another highly strategic game that I happen to enjoy, but again, when it comes to playing it, I’m pretty bad. It’s not uncommon for me to lose my queen early, or find myself in a very premature check scenario because I wasn’t thinking ahead or couldn’t see what my opponent was setting up. I’d gravitate towards variants like Battle Chess or Battle Chess II: Chinese Chess (pictured) instead for the graphics and humorous animation.

In conversation, I’ll tell people that I prefer turn-based strategy over real-time strategy games because I can “take my time”, but in reality, they both can frustrate me. I’m not sure what it is that sends my anxiety through the roof when I play them, but I can usually hear myself saying, “You could have done X, Y, or Z, and that would have been better than the move you just made.”

Perhaps it’s because I’m horrible with statistics. It was my least favorite course in college, after all. Anyway, these thoughts ring true particularly for turn-based games where I have time to reflect on the decision made. This has been a major hindrance to my enjoyment of renowned series like Advance Wars, XCOM, Fire Emblem, Civilization, and many others, and frankly, I’m sick of it.

So today, I’ve decided to start and take on Fire Emblem: Awakening on the Nintendo 3DS. I know that it’s not the hardest one, and I’m going to be playing it on the Normal/Casual settings, but I think this is the best chance I have of cracking into a genre that has caused me more grief than joy throughout my life.

I also have to come clean and say that apart from the first Sakura Taisen on the Sega Saturn and Herzog Zwei on the Sega Genesis, I have never fully beaten another strategy game that I didn’t have to test as part of my job. At least, none that I can think of. I’ve played many of them, but rarely have I completed one. If I think of any more, I’ll revise this, but for all intents and purposes, that’s it.

I’m looking forward to this journey, and hope that when I reemerge, I will emerge enlightened. In the eternal words of Yoda, “You must unlearn what you have learned.” Wish me luck.

Review: Tearaway (PS Vita)

May 9, 2014 by Mike

Let’s cut to the chase here: Media Molecule’s Tearaway is one of the best reasons to own a Vita. If you’ve been on the fence about whether you should buy Sony’s latest handheld or not, games like this one should make that decision much easier.

From the moment I loaded it up, I knew this was going to be something special. Its art style is one of the most charming, convincing, and consistently good ones I’ve ever seen. The world of Tearaway is made up entirely of cut out pieces of paper that are animated in a stop-motion style, where every fold, roll, crunch, and flex act exactly like paper does in real life. It’s beautiful, and apart from Media Molecule’s own LittleBigPlanet series, is one of the most unique-looking games on Sony’s consoles and handhelds.

Tearaway‘s use of color is exemplary, and is just a wonder to look at. Its small touches are key, like how loose pieces of paper are subtly pressed down when you walk over them, or the almost imperceptible, long wisps and particles that blow through the air.

Each element breathes life into this world, all accompanied by a restrained but effective soundtrack. It has the same effect as The Legend of Zelda: The Wind Waker, which so masterfully conveyed a spirit of adventure and the cool ocean air throughout the player’s travels.

Another area where the game excels is in its creative use of the Vita’s various hardware functions: front touch screen, rear touch pad, cameras, microphone, tilt control, and traditional controls all get a good workout. It takes some getting used to, particularly when you have to use some of them together to get through certain areas, but it makes you realize how the Vita can be used in very interesting ways. Before playing Tearaway, I never understood why Sony included the rear touch pad, but after playing this, it now makes sense, showcasing new and fun ways to include touch interaction without having to take your hands off the controls.

Customization — a Media Molecule hallmark — is an integral part of Tearaway‘s gameplay, although it’s not as robust as the world-building systems found in LittleBigPlanet. You can create your own cut-out decorations for your character and certain others throughout your adventure, or use pre-made ones that are unlocked via in-game currency, and it all works pretty well for the most part.

I found the creation tools themselves to be a bit too vague and cumbersome, but they get the job done, and the game doesn’t penalize you if you happen to create something darn-near unrecognizable. You’ll also have a number of opportunities to take pictures of yourself, the environments, and a whole slew of other subjects during your quest. You get to do so using a virtual camera inside the game, as well as with the Vita’s front and rear-facing cameras.

The in-game camera is impressively robust, with a wide range of lenses and filter effects. Taking pictures isn’t just something you can do for fun, but is used to unlock one of the game’s major collectibles: papercraft models.

After unlocking them in the game, you can go to Tearaway.me to print them out and build them. This is a really nice touch, and adds to the title’s already very creative approach. I have yet to put together any myself, but it looks like fun, and with 60 models available with varying degrees of difficulty, these will give even the most dedicated papercraft maker a good challenge!

Speaking of collectibles, Tearaway has quite a few, and they’re all interconnected. Present boxes are one, and they’re either cleverly hidden throughout each level or require certain conditions to open. They contain paper confetti — another collectible — the pieces of which are spread throughout each level, or awarded after defeating enemies. Enemies themselves count as collectibles in that you have to successfully dispatch them all in each area in order to achieve 100%. It’s a good system, and most players will go through each level two or more times to uncover everything.

Are there any problems? Unfortunately, one of the first things you’ll notice are the unusually long load times throughout. If you’re a completionist, there are several Trophies that will require you to start levels over at least a few times, and every time you do, you have to sit through the same long loading screen. They’re interactive, but are still an annoyance and not much of a consolation.

Those same Trophies also underscore one of Tearaway‘s biggest flaws: it’s not as good a platformer as it thinks it is. Whereas games like Super Mario 3D World have impeccable controls and camera angles, Tearaway suffers from slightly undercooked controls and a camera that is a hindrance more often than it should be. I fell to my death quite often simply because I was unable to judge where I was in the middle of a jump.

These negatives don’t matter all that much during regular gameplay, since checkpoints are plentiful and you have unlimited lives, but the aforementioned Trophies require you to get through extremely long levels without dying once, and that’s when it makes you feel like your various demises are the game’s fault, not your own, and that’s a no-no in Game Design 101.

On the other hand, I had fun getting the other Trophies, and relatively speaking, this game provides an easy Platinum for Trophy hunters out there.

In closing, while not without its flaws, Tearaway is a special game. It serves as a vital piece of evidence supporting the case for traditional handhelds, and why they shouldn’t become extinct. In this game’s case, it could unarguably only be done on the Vita. Highly recommended.

Graphics: A
Audio: A-
Gameplay & Controls: B
Presentation: A
Value: A-
Overall: A

Backlog Blitz: The games of February 2014

May 8, 2014 by Mike

I’m not going to lie — February was rough. Not just for gaming, but my wife and I were in the midst of selling our house and packing up all of our things. Stress was running high, and historically, I like to buy things when I’m stressed. The higher the stress, the bigger the purchase, so I suppose the fact that I kept all of my gaming purchases to just games is impressive. I have yet to indulge in any current-generation consoles or PC upgrades, which is a small miracle for anyone who knows me.

Anyway, February’s purchases and completed games are below. Format, like last time, is Game Title (Platform, Purchase Price, Play Time).

Games purchased (-9, $198.50 spent):

Device 6 (iOS, $4.00)
Quality, premium mobile games are unfortunately becoming a rarity these days as most developers find it more sustainable to go the more casual and/or free-to-play route. So, when I hear about a game like this, that is neither of those, I take notice.
Bravely Default (3DS, $40.00)
After enjoying the demo so much in January, buying this was a no-brainer. I had originally purchased the limited edition from Amazon.com, but they sent it to me in a padded mailer, and it got destroyed in transit. They sold out, of course, so I had to replace it with the standard version.
Luigi’s Mansion: Dark Moon (3DS, $34.00)
I’d heard lots of great things about this game, and being a fan of the GameCube original, I finally pulled the trigger.
Animal Crossing: New Leaf (3DS, $35.00)
I’ve never played any games in this series, and am curious to see what it’s all about. I’m worried that it will turn into a major time-sink!
Danganrompa: Trigger Happy Havoc (PS Vita, $40.00)
Described as a mix between Persona, Phoenix Wright, and rhythm/music games, that was a combination that sounded too interesting to pass up.
The Last of Us: Left Behind DLC (PS3, $15.00)
I declared The Last of Us to be the best PS3 game in my last Backlog Blitz update, so picking up the single-player DLC was essential, and as you’ll see below, that was the right thing to do.
The Humble Indie Bundle 11 (PC, $4.50)
Another great bundle that includes Giana Sisters: Twisted Dreams, The Swapper, Dust: An Elysian Tail, Guacamelee! Gold Edition, Antichamber, Monaco: What’s Yours Is Mine, FEZ, Beatbuddy: Tale of the Guardians, and Starseed Pilgrim. I have most of these already, but that’s OK. It’s a good cause.
Donkey Kong Country: Tropical Freeze (Wii U, $23.00)
I’m a big fan of the Super Nintendo series, and absolutely loved Donkey Kong Country Returns on the Wii. I was sold on this after seeing the first trailer and learning that David Wise was returning to score the soundtrack.
The Room 2 (Android, $3.00)
The original The Room was terrific (see below), and I have to see where the story goes next!

Games finished (+9, $222.00 value):

Device 6 (iOS, $4.00, 5 hrs.)
This is an interesting game that is mostly text-based, but makes effective use of sparse imagery and atmospheric sound. Its presentation and the way it has the player interact with it is very original, and the overall production value is nice. I found some of the puzzles to be too weird and obscure, though, and it was over quickly. Still worth checking out. Overall: B
Uncharted: Drake’s Fortune (PS3, $60.00, 10 hrs.)
I’d originally beaten this back in 2008, but after finishing The Last of Us in January, I decided to replay this series again. I finished it on Hard, got all 61 Treasures, and came away still impressed with the game’s variety of locales, high energy, and trademark chemistry between the characters. It still looks good for its age, but the animation and texture work are dated, especially compared to Uncharted 2. Overall: A-
10000000 (Android, $1.00, 5 hrs.)
What a surprise! This game’s mixture of classic match-3-or-more gameplay with an addictive RPG-like upgrade system make this a must-play. The old-school 8-bit style graphics are fun, and the game’s pacing is spot-on. It can sometimes be a bit confusing to focus on the tile board and the obstacles/enemies you’re facing up top, but you get used to it after a while. It was also over before I knew it, but for a buck, I can’t complain too much. Overall: A-
Uncharted 2: Among Thieves (PS3, $60.00, 15 hrs.)
Next up in my Uncharted playthrough was this one, and it was just as impressive as it was the first time I played it. It’s crazy how much Naughty Dog leveled up between the first game and this one. Like the original, I finished it on Hard this time and got all 101 Treasures, which took some time. This is definitely the best in the series, with amazing set pieces, technology, and vertigo-inducing exploration. Overall: A+
The Room (Android, $1.00, 2 hrs.)
Like 10000000, this was a pleasant surprise, and it’s a game I’d consider a “show off” piece for phones and tablets. It has terrific puzzle design that feels tactile and rewarding, all wrapped up in some beautiful 3D graphics and a slightly unsettling soundtrack. Be sure to wear headphones! It’s very short, but those few hours are highly satisfying. Overall: A-
Around the World in 80 Days (Android, Free, 10 hrs.)
This is another match-3-or-more game with various goals and item drops. It’s nicely done with pleasant art and smooth gameplay, and I got pretty far into it, but unfortunately, I ran into a repeatable crash that’s making it impossible for me to get past the China stages. Too bad, because it’s a good game otherwise. It was a Free App of the Day on Amazon.com last year, so it may just be an update issue. Overall: B-
Uncharted 3: Drake’s Deception (PS3, $60.00, 15 hrs.)
I was pretty tough on this game back in 2011, because it just didn’t feel right. I thought the spirit of the series changed, as characters became more serious, the art style was different, and it just didn’t hit the highs of Uncharted 2. Hearing later that most of the team had been moved off to work on The Last of Us explained things a bit, but that’s a tough pill to swallow when you’re talking about one of Sony’s key PS3 franchises. It’s still a good game, just not a great one. And why they decided to try making Elena sexier is beyond me. Overall: B
The Last of Us: Left Behind DLC (PS3, $15.00, 3 hrs.)
Amazing. This is how you do single-player story-based DLC. It’s a stunning and very personal chapter that fleshes out a key relationship from the main game’s narrative. It’s short, but a must-play for any fan of The Last of Us. Finished on Survivor with all Trophies. Overall: A
Tomb Raider (PC, $20.00, 25 hrs.)
I went into this not expecting much, but I walked away completely impressed. Although the game suffers from a lackluster story, some amateurish voice acting, and a comically over-the-top villain, the rest of it is top-notch. The game’s open-world nature makes it a joy to explore, upgrades keep coming at you until the very end, and Lara Croft herself is a vulnerable, three-dimensional personality that you come to care for. Graphics and environments were impressive, and the gunplay was buttery smooth. In many ways, I like this more than most of the Uncharted series. Overall: A

Even though February was tough, I managed to play and finish just as many games as I bought, so I was pretty happy about that. There were some real standouts, and Tomb Raider in particular set me on a course to tackle some other high-profile open-world games, which I would dive into headfirst in March.

The Apple //e, Part 2: More Influential Games

May 7, 2014 by Mike

I had a great time last week reminiscing about some of the Apple //e games that influenced me at a young age, so what the heck — here are several more that I loved from my gaming formative years.

The game that I constantly heard about back in the early ’80s was this one, Dan Gorlin’s Choplifter from Broderbund. The Apple wasn’t a fast computer, so to finally see and play an arcade-style game that was as smooth and responsive as this was really special. Like many Broderbund games back then, it was all about the details. I thought the design of the helicopter was great. It displayed convincing flight dynamics, and the way it would subtly “bounce” when you touched down created a nice visual marriage that added to the game’s realism.

Controls were easy to learn, and understanding how yaw affected your weaponry was key to success. More nice touches included the perspective/parallax effect on your home base’s barrier and the way rescued hostages would wave in thanks as you dropped them off to safety. A lesser game wouldn’t even bother with such details, but Choplifter was no ordinary game.

Several years later, I would play Choplifter again on the fledgling Sega Master System. It was a good arcade-to-home port in its own right, but I’ve always preferred the Apple original. There’s a purity to its straightforward, distilled design and fun, tight controls, and it still plays brilliantly today, 32 years after its release.

Speaking of helicopters, another game that my friends and I just loved was Sabotage. Its concept was simple: defend your single turret from bombs and falling paratroopers with a stream of artillery. What made this game memorable — for better or for worse — was the violence. Even though the paratroopers were only constructed of a handful of pixels, they would meet their doom in any number of ways, accompanied by “watery” sound effects that were strangely satisfying. My favorite was hitting a parachute with a well-placed bullet, sending the paratrooper falling to and splattering on the ground. If you were lucky, they would fall on someone who already landed, eliminating both of them.

For a game with such simple controls, it was surprisingly deep. You could also select steerable shells, giving you the power to sweep the screen with a spray of bullets. It did nothing to help your score since bullets ate away at your point total, but boy was it fun!

Games like this and the more well-known title The Bilestoad were some of the earliest examples of games where violence was a big part of their gameplay. The Bilestoad in particular was extremely violent for its time, where pools of blood and body parts would be strewn across the game’s arena, accompanied by nasty sound effects and an ominous soundtrack. Sabotage was tame by comparison. It wouldn’t be until Midway’s Mortal Kombat in the early ’90s that videogame violence would become such a controversial issue.

One of my favorite genres is the run & jump platformer, like Super Mario Bros., Sonic the Hedgehog, Super Meat Boy, and Rayman. While I credit early arcade games like the perennial classic Donkey Kong for sparking my love for them, I spent way more time at home with Datasoft’s Conan and Bruce Lee. Both games consisted of challenging screens to conquer, with good controls, nice graphics, and swift gameplay. Bruce Lee was particularly fast, which made it a thrill to play. Having a ninja and sumo wrestler constantly chasing you around added to the tension and pacing, and remains one of my all-time favorite games. It was also unique for boasting a nice 16-color title screen in double high-resolution, a rarity back in 1984. Two-voice music also helped set it apart from the single, linear sounds so common at the time.

Finally, for this installment, one more from Broderbund: Aik Beng’s Drol. Like many kids, I loved cartoons, so games that had cartoon-like graphics really appealed to me. Drol was one of those, possessing superb visuals and nice animation. When we would later get a composite color monitor around 1986, it was one of the first games I played on it, just to see what it looked like in something other than green. Another game had a similar style — Tony & Benny Ngo’s Bandits (Sirius Software) — and looking back, these two games had a notable influence on my art style over the next few years, especially when it came to fonts. They both still look super-clean to me, fueling my belief that good art, no matter what the medium, never gets old.

That’s it for now. Thanks for putting up with the green screenshots, by the way. Although I would soon go on to play all of these games in color, my fondest memories of them are from that old, 12″ monochrome monitor.

Tearaway (PS Vita): Realizing a system’s potential

May 6, 2014 by Mike

From the moment I first saw Tearaway, I knew I had to play it. From the makers of the LittleBigPlanet series, it looks like one of those Sherwin-Williams commercials, which are among the most creative and beautiful ads on TV:

I just started it this week, and at about 25%, I’m loving it so far. It’s a really neat game that playfully breaks down the “fourth wall” between player and game. It takes advantage of the Vita’s unique features, most notably the rear touch pad, and within minutes makes you wonder how you went so long without that functionality. Unlike Uncharted: Golden Abyss, the implementation feels 100% natural instead of coming across as a tacked-on gimmick.

The game itself is a joy to behold. Media Molecule has created a convincing world made up entirely of construction paper, with those satisfyingly familiar colors, textures, and sounds that will immediately take you back to elementary school. The only thing missing is some Elmer’s glue. I find that I’m stopping pretty often throughout each level to look around in first-person camera mode, appreciating the environments and animation.

Customization plays a significant part in Tearaway, not just in the way things look, but how they are used to solve puzzles as well. The main collectible and form of currency in the game is paper confetti, which can be used to buy all sorts of different Decorations. It’s fun, and there are a ton of them. You can also create your own items, which can be as detailed or as crude as you want them to be. Real papercraft models found in-game can be printed out and put together in real life, further blurring the line between pixels and reality.

Anyway, I’m really digging this game, and I can’t wait to get further into it. It keeps throwing new things at you, and it has this wonderful balance of exploration and item collecting. Its cheeky sense of humor is great, and perhaps most importantly for the Vita itself, Tearaway is a very high-quality exclusive that can’t be played anywhere else.

Gray-Haired Gamer

Gaming in my forties

Monthly Archives: May 2014