Deanna

Drawful 2: Quantity & Quality

I’m a fan of multiplayer games. Drawful 2 is one of them. I like being able to sit in a room or in a voice chat and play a game together. Growing up, my cousins and I were always playing board games that could accommodate the lot of us, and surprisingly enough Monopoly was a favorite.

Playing Drawful with my friends felt a lot like playing Monopoly with my cousins. We’re all crammed into a room with no AC and rapidly heating up the space. Laughter and impromptu charades are mere seconds away at any given time.

When I bought Drawful 2 last night I immediately went to the group chat for willing volunteers. It’s time to socialize, kiddos. Half an hour later, four of us were laughing about our crappy drawings just a hair past midnight.

Good times and late-night drawing sessions aside, Drawful 2 is a big improvement from the first one. After a few games, the prompts got stale and the whole thing was a chore to play until we expanded our horizons to include everyone who happened to pass by our college’s video game lounge, which didn’t appeal to many.

Play Style

The first Drawful allowed for up to eight players, and promised a good time to anyone with a smartphone or a tablet to draw on. The premise is that you get a prompt, a blank space to illustrate it in, and an audience to convince. Needless to say, playing this with artist friends (such as our own Kennedy) is great.

If you’re like the rest of us and don’t have a career lined up based on your ability to draw or produce something visually coherent, it ends up being a challenge to come up with a caption that makes sense with the rest of the audience, sans the artist whose piece is displayed. After that, your job is to guess the  correct caption. You get points for everyone you fool into picking yours, and the artist gets double for representing the prompt well.

via Polygon

Initial Thoughts & Impressions

At first I expected to have a couple rounds go by and then have the whole thing get boring, but fortunately that was not so. The prompts kept coming, and kept forcing me to get more creative with my fake prompts. I like that it was challenging to draw some of the prompts given, and it made the whole draw-and-display process fun.

What I really like is the fact that Drawful 2 boasts more prompts than the first. It gives the game some replay value and gives players a variety of things to draw. Seriously, this is a huge improvement.

via True Achievements

Improvements & Playability Upgrades

If you’ve ever thought about streaming a Jackbox game like Quiplash or Drawful 2, you’re in luck. Jackbox has graciously added in a couple features that’ll make the game go a long way.

For starters, the interface for drawing and submitting captions lets you draw in two colors. Think of all the added depth! Aside from that, if you thought that the prompts were getting a little stale, then you have the option to make your own. Make one for your friends, for your family, and even your grandparents if you please. This adds a social aspect to the game that’s much-needed, in my opinion. You can share prompt episodes with others if you so choose.

For streamers specifically, Drawful 2 comes with a host of censorship options for prompts and drawings alike. If your players are more inclined to submit lewd images, you can filter them out for your audience. And that player stays filtered out for the rest of the game. To ensure that Twitch.tv players aren’t hiding behind an alias, there’s a feature to log in through Twitch as well.

via Arnie Niekamp on Twitter

Final Thoughts

Overal, Drawful 2 is solid. Like, really solid. It’s a vast improvement over the original and a good addition to anyone’s multiplayer arsenal. It’s got replay value, custom prompts, and it just feels nice. Would highly recommend. And if you’re feeling friendly, we’ll be hosting sessions where you can play along with The Lifecast crew as well. Consider this an open invitation.

 

Cover image via VideoGamesAwesome.com

Keeping us waiting with antici…

…pation. For games from this year’s E3.

That’s right, folks, it’s that time of year. The time where we all gather ’round our computer screens and talk about what we saw at E3 that we actually liked. Of course there’s a handful of things that I couldn’t have guessed would be shown. Others I knew would be teased, and I’m even more excited for them now than I was last week. So: shall we?

This shouldn’t come as any surprise if you’ve read my author description on this site at all. (via ScreenRant)

The Legend of Zelda: Breath of the Wild

Much like anyone who watched Nintendo’s Treehouse over the course of Tuesday and Wednesday, I, too, really want to see the newest in The Legend of Zelda’s franchise. Breath of the Wild looks like it’s going to be huge, and I mean that literally. Nintendo teased us to only 2% of the game’s world, and I really hope that’s true. Since I got into the series I’ve wanted a game I could fully immerse myself in, and this seems like it’s a step in the right direction.

On top of that, it’s rumored that the story isn’t linear, per se, but that you’ll be able to go fight the final boss even at the beginning of the game. I think this is especially interesting for speedrunners, as it’ll make that sub-20 minute Ocarina of Time run look pretty damn mediocre. Of course, running a two-day treehouse at E3 wasn’t ideal, though it was nice to be able to tune in for a few minutes at a time for news. Good job, Nintendo!

Next up! Horizon Zero Dawn doing what it does best thus far: generating hype. (via GameSpot)

Horizon Zero Dawn

To say I’m excited for Horizon Zero Dawn may be a bit of an understatement. I like fantasy, archery games, and I like cyber, mechanical games. I also happen to enjoy games with a female protagonist. Call me politically correct, if you must, but playing as a dude 90% of the time in games is boring. Not that I won’t, but hey. Change is good. (Unless that change is 4k.)

It seems like it’s hard for developers to make a survival-action game and have it be colorful, but with Horizon, that’s not the case. The colors are striking and rich, and it’s going to stand out, especially when I play it in my drab-colored living room. The story seems expansive, the gameplay seems novel, and overall the game promises something that at least looks good.

Speaking of striking visuals, it’s time for my final most anticipated game of E3 2016. (via Playstation Lifestyle)

ABZU

Similarly to the other two games in this list, ABZU is richly colored, story-driven, and, well, anticipated. Like its predecessor Journey, it promises an immersive musical score with Austin Wintory returning for its composition. It should be noted, though, that ABZU is not a sequel or a successor to Journey. It’s different.

While some people may not like Journey or even think it’s a game, I probably won’t be able to get enough. If the game’s going to be pretty short, that’s fine. I liked Journey and Flower all the same. What I’m looking forward to the most about this game, though, is the fact that it’s coming to Steam. I can finally play a thatgamecompany game in the comfort of my own home. A PC’s all I got.

And now, for everything else. (via GameSpot)

Honorable Mentions of E3

That’s not all that got teased at E3, and that’s not all that I’m hype for. Now that I’ve heard more about games like Days Gone and Resident Evil VII, the future looks promising for gaming. I want to know more about Hideo Kojima’s Death Stranding, though, as I’m curious to know why Norman Reedus oil beach fetus was the first thing that he decided to make after leaving Konami. Then again, maybe some mysteries are better left unsolved.

That being said, I don’t think my wallet’s going to be able to keep up with the upcoming gaming binge. Regardless, almost everything shown off is something I want to get to at some point or another. Except for Resident Evil in VR, that just looks like it’ll make me afraid of the dark again.

4k Gaming Extravaganza!

Or, why we absolutely do not need 4k gaming any time soon.

Let me preface by saying that I have a background in tech. I’ve been up to snuff on computer hardware for a while, some legends estimate that it’s been exactly half my life at this point. (But I digress.) I’ve seen the transition from dial-up internet to DSL to whatever kick-in-the-pants speeds we have now. And that’s been great! I remember when standard definition capture cards were expensive. Point being, I’ve been through a lot of tech “revolutions”.

Yeah, I was even there for this bad boy. (Image from Brainless Tales)

For the most part, they were great. It was cool to suddenly see videos and movies in clearer resolutions. Movies were the first big thing to make the transition. And it was cool! Suddenly the big screen in the movie theater didn’t seem so big, and it didn’t seem as special. I could see whatever I saw there in my house, no problem.

Fast forward almost two decades and, full disclosure, I’m so sick and tired of having 4k gaming, 4k video, 4k vlogs of someone running errands at the supermarket pushed down my throat. We’re not even at the pinnacle of HD video yet. Phone video still, quite honestly, looks like shit in some cases.

And as a species, humans still have fixated on the best and newest thing. And that happens to be 4k. This frustration is no doubt brought on by Microsoft’s E3 conference this past Monday, where they announced Project Scorpio, slated for a holiday 2017 release. It’s all well and good that Microsoft wants to push the boundaries of what they think is possible.

The thing is, we can’t even get many games to run at a full 60 frames in 1080 HD. We’re not there yet. I’m going to pull examples from Playstation 4 releases here, but the difference in processing power between the current PS4 and the Xbox One consoles is negligible. Fight me.

Behold, your competitors. (Image from WCCF Tech)

For some of the biggest releases in gaming this past year, there have been frame rate issues. It’s not that a game can’t get up to 60fps regularly, it’s that they’re having trouble hitting 30, in some cases. The Witcher recently introduced a patch to improve sections of the game that were consistently running at 20 frames. Bloodborne, what I consider to be one of the best-looking games on the PS4, is locked at 30 frames and has trouble getting in that many when there are masses of enemies on-screen.

I’m not here to discount console gaming, despite the fact that I’m not a console gamer myself. The truth of the matter is that consoles are not at the level of 4k gaming and they won’t be for a while. PCs, with their ever-improving arsenal of new graphics cards and DDR4 RAM, can’t do 4k gaming yet at a reasonable framerate. In my opinion, the so-called dream of 4k gaming is so far off that I just don’t think we should try for a while.

That being said, I don’t want a standstill of improvement. Make high definition gaming more crisp. Optimize games to run at 60 frames on consoles. We need to concentrate on bettering what we have rather than moving on to something that may give us a worse result if pushed too soon.

There’s a difference, but it’s a slight one. (Image from Digital Storm)

I admit that there is a difference between 4k and full HD. There’s also a difference between standard definition and HD, but it’s a bigger jump than this. The main difference I see between the two shots is the crispness. 4k looks real crisp. Conversely, the HD image just looks like it needs a boost in dynamic range to match.

All of this rambling is to say that, hey, maybe we don’t need 4k video. As humans, our eyes can’t tell the difference between 4k and 1080 when it’s in motion. A still image is one thing, but in some cases a film camera can produce a better image than a digital one, right? There’s a reason brands like Leica still make film cameras.

Another thing is, 4k video is still wicked fackin’ expensive dude. It’s expensive to develop for, expensive to own, and expensive to mass-produce consoles that will run 4k. The price point will not even be in the ball park of affordable for a very, very long time. I’d argue that video games just aren’t affordable, period, but that’s another article for another day.

Now, is this one article going to stop 4k from being pushed in video games? Absolutely not, I don’t think I have that much power or influence over anyone. Was it necessary? Nope. Then again, neither is 4k gaming.

End Point: The Beginner’s Guide

The Beginner’s Guide came out on Steam last October as a much-anticipated follow up to Davey Wreden’s first game, The Stanley Parable. It’s not a sequel, so rest easy. The Stanley Parable was a great little game in and of itself; however The Beginner’s Guide felt like it had more weight to it.

A segment of The Beginner’s Guide, placed in space. (Image from AVClub)

The big similarity between the two games is that they’re both made in the Source engine, so the gameplay, look and feel, and sense of progression are the same. I really have nothing to say in this regard, they’re both pretty standard on this front.

Where they differ is the content of the story. They’re both narrative-driven. In The Stanley Parable, you play as Stanley. For the most part, it’s linear. There are multiple endings and it’s all very whimsical. It’s some good fun!

The Beginner’s Guide gets a bit more serious than I would have expected. It details the friendship of Davey and someone nicknamed Coda. Coda turns out to be Davey’s inspiration for making games, and through the game we learn the extent of their friendship.

All the humanoid figures that appear in the game take on this shape, more or less. (Image from The Jimquisition.)

Early on, Davey presents players with snippets of Coda’s games. They’re mostly short playthroughs, going through a specific point in each of Coda’s games. Each beginning is designated by Davey giving players a short description of what the circumstances were surrounding each game. Whether he or Coda was going through hardship, or whether they weren’t. He assumes that what Coda put into his games was a reflection of his emotions at the time.

The rest of this post contains spoilers for The Beginner’s Guide.

As the game progresses, we learn more and more about Coda through Davey’s monologues. The deeper we get, though, the more of an enigma Coda becomes. He’s this person who creates these weird, seemingly random games with no solution. He puts lampposts at the end of them as a signature. And the whole time, why? Why does he do the things he do, and why is Davey so obsessed?

This isn’t even the final level in the game. (Image from BoingBoing)

The final level takes place in a tower that Coda developed and sent to Davey. As you walk through the various pitfalls and traps that this tower has to offer, Davey monologues about how Coda has suddenly become closed off, reclusive, and seems like he doesn’t want to share anything with Davey. In previous levels, Davey remarks about how private of a person Coda was initially. After all, they met at a game jam. Coda made games, and that was pretty much all he did. Davey thought he was incredible… and by the looks of the game, he still does.

Coda didn’t share his work with anyone. He may have been reluctant to even share it with Davey, and when he did, Davey may have been the only person he showed, period. Sensing this greatness, Davey shows other people.

After what I assume would be the point where Coda finds out about Davey’s sharing his games, everything starts getting weirder. The games don’t make sense. They’re unsolvable puzzles, and Davey is perplexed by it all.

Going back to the final level, Davey tells us, pretty plainly, that Coda has cut contact with him. And rightly so, he even says himself. Davey had developed a sick obsession, and during the game’s final moments, Davey reads Coda’s final email aloud. It’s plastered on the walls, and there’s no way Davey can deny that he ended up hurting Coda more than he could have thought. But it’s all for the good of giving him recognition, right? Surely it was righteous.

This is one of the more disturbing levels in the game, and what I think is Coda’s most direct description of how Davey’s actions have affected him. (Image from BoingBoing)

No. It wasn’t.

Coda states that pretty clearly. In his levels, in his strongly-worded email, in the way that Davey feels about him after he cut contact.

And so we’re left with Davey’s guiltiness in ruining their friendship, and yet begging for Coda to at least talk to him again.

We’re left with a man who wants a resolution.

If you’re musically minded, the term “coda” might call up a definition, which would be: “a term used in music primarily to designate a passage that brings a piece (or a movement) to an end” (thank you Wikipedia). We know that Davey never learned Coda’s real name. Each level ends at a lamppost, and we learn that it was Davey’s doing, not Coda’s. Coda never intended to be a be-all, end-all for Davey, it just turned out to be that way, and I can’t help but think Coda planned that from the start.

Overall, though, The Beginner’s Guide gave me more of a plot twist than any other game has. Period. I was honestly expecting Davey to reveal himself as Coda, not reveal that he destroyed a friendship by being too proud of his friend and betraying his trust in the process.

Don’t get me wrong, I loved the game, but it made me feel awful for rooting for Davey the whole time. He played the victim too well, and I hate that I fell into that.

I do still love it though, because I don’t think that any other medium would have been able to get the point across so damn well. The thing about video games is that a developer will create a world with complete control over how much you know about it. They literally build the narrative up right before your eyes, and to have it taken away and marred in just a few sentences is one I’ll never forget.

It goes to show that video games don’t have to be based in fiction, either. Often times we forget that creative nonfiction is a genre of storytelling, and I appreciate that this game is part of that realm.

Let’s Talk – What’s the Difference?

Most people don’t play video games specifically for the violence. Or, if they do, I haven’t met them… nor do I want to. Growing up, I heard the authority figures in my life talk about how video games are making kids violent, and that every time there was a news story about a kid going rogue, it was because he played video games.

Much to my parents’ dismay, I took a liking to ’em. I discovered that while there are always rumors about video games making kids violent, and at this point I’m convinced there always will be. And for the most part, that’s what they are– rumors. A vast majority of gamers I’ve met are, without falling in to cliché here, nice people. While the majority of gamers are fine, you always run into those that like to spite people for fun. You know, like people who unabashedly support Donald Trump because of his stances on non-white Americans and women.

The Hatred logo. Looks like a parody of DOOM, perhaps?

This is where a game called Hatred comes in. (Image from Wikipedia)

Right at the beginning of the summer last year, Destructive Creations released Hatred, and it was instantly disapproved of as a whole. I mean, the backlash was wild. Twitch.TV banned anyone from streaming the game in a matter of days, and it even caused them to rework the guidelines on what users can broadcast on their site.

Basically, the game boils down to the fact that you, as The Antagonist, need to kill people. The Antagonist is even quoted as saying this in the announcement trailer for the game, which was released in October of the previous year:

My name is not important… What is important is what I’m going to do. I just fucking hate this world and the human worms feasting on its carcass. My whole life is just cold, bitter hatred… and I always wanted to die violently. This is the time of vengeance and no life is worth saving. And I will put in the grave as many as I can. It’s time for me to kill… and it’s time for me to die. My genocide crusade begins here.
(via Polygon)

First of all, The Antagonist doesn’t care for his life or the life of anyone else. He’s got a death wish and his main goal is to fulfill it, no matter the cost. This leads to a rampage across New York City, in which he decimates innocents and criminals alike.

If you’re like anyone else with a conscience, this is irritating. Some developer decided to give gamers a game they really wanted, where the main character is just as violent as they want to be, or that’s what it seems. It seems like Hatred is a game based on rumors that got too out of hand, and maybe now they actually have some claim. Of course, there’s always gonna be that kid who wants to steal a car because that’s what they saw in GTA. Then again, they’re kids and their parents should really have better discretion about their media consumption, but I digress.

Here’s an example of violence in a game done so, so right. (Image via Youtube)

Here’s where DOOM comes in. The fourth installment in Bethesda’s Doom series, I can’t say it’s ponies and rainbows compared to other games, but it is indeed a violent game. And I can’t help but feel that it takes the violence angle and does it right. You, as Doom Guy, have a mission to protect your home, which happens to be Hell. It’s been used for energy and gain by the human race, and you’re a demon who’s gonna put an end to that.

But really, what’s the difference between DOOM and Hatred? They’re both games where the main character rampages across the setting. You have a clear mission in both games. But when you pull back from the oversimplified facts, the difference really lies in the message behind the games.

Hatred is a game that was made in response to all the “political correctness” that many gamers feel has infiltrated the market. Simply put, people want to see themselves in games, as diverse and expansive as they are. There’s nothing wrong with that. What I’d assume that the devs of Hatred took that to mean was that every so-called special snowflake wanted their specific self in a game, and thought that slaughtering the masses in a fictional New York City was an appropriate response.

What’s up with that? (Image via MediaMath.com)

DOOM is a game that has rage and anger at its center, but because humans on Mars have ravaged hell for its energy and thus, provoked the wrath of hell itself. It’s your typical video game plot about a bunch of bad guys stealing artifacts from the good guys and using them to their own personal gain.

When you look at it objectively, both games are about shooting something in the face until it’s really dead. But the fact that Bethesda took the time to at least continue their franchise and put some other meaning behind the whole thing rather than just taking their frustrations out on people wanting to see more faces than white guy with brown hair and stubble in games means that there’s a lot to be said about the culture that allowed Hatred to become a fully-realized game.

A studio, who had experience with the industry in the past, allowed some of their devs, designers, and marketing people to sit down at a formal, professional meeting and listen to someone pitch this idea. This idea was then approved, and actual real life money was put into making it. It went through the normal steps of getting published through Steam, and albeit without a big publisher, this game made it to the public eye. And for what? Is this really the impression of gamers that Destructive Creations wants to give off: violent, homicidal dudes with a death wish?

Grave Digging: The Nerf Mentality of Warframe’s Update 18.13

I’ve been playing Warframe off and on for about a year, now. When I’m into it, I could spend several hours a day claiming rewards, leveling gear, and maintaining this monstrous undertaking of a game and not think anything of it. When I’m not into it, it’s a chore to open the game and get closer to that ever-elusive login reward.

Update 18.13 happened in one of my off bouts. Relatively cut off from the community and what exactly was happening with the update, I checked my Twitter feed one morning and was met with this.

Now, the Viver nerf was before my time. I remember just getting into the game and watching a video from Mogamu, a popular Warframe YouTuber, much like Quiette Shy, talk about the fact that “there will always be a Viver“. For some background, Viver is a map on the planet of Eris where players would group up, infiltrate a ship, and destroy infested hives to complete the mission. From what I understand, a certain team setup would yield immense amounts of experience and allow players to level their equipment quickly and efficiently.

While I agree that devs should balance their game to minimize the need for power-leveling, I also advocate for power-leveling in Warframe’s case. To be considered adequate for high-level play, you need a full arsenal of mods, better-than-decent weapons, and a fleshed-out build for your warframe that maximizes your participation in the team. Luckily another map, Draco, was found to be the next-best place for power levelling.

That being said, maps like Draco and Viver become vital to long-time players looking to throw themselves into the hardest endless survival missions they can find. They don’t want to spend an excess amount of time leveling gear and frames, they want to challenge the game with all they’ve got. These long missions are sought after due to Warframe’s issues with enemy scaling. After a certain amount of time, enemy levels ramp up quickly, and after a while, their levels start glitching out. As seen below, a five-hour survival mission in the games highest endless survival brings on enemies over level 3000.

Update 18.13 brought some changes to certain frames. Some received passive abilities if they didn’t have them beforehand. Other frames were tweaked to improve their performance and make it so that the powers, based on the theme of the frame, had more synergy. One frame, Mesa, the so-called gunslinger, received a buff to her abilities. Her ultimate ability, which had been nerfed late in 2015 to remove its horrendously AFK-enabling auto aim, scales with secondary weapon damage, as many people called for prior to the update, to name one positive change.

As for other frames, such as Mag, a magnetic-based frame, Trinity, the dedicated healer, and Valkyr, the berserker, had no such luck. The aim was to make the frames more balanced, but instead, as was the case with Mag and, in my opinion, Trinity, they have been made relatively unusable.

Valkyr’s ultimate ability granted her invulnerability for as long as a player’s energy pool would sustain it. Now, not only does this ability eat more energy per second it is activate, but also deals a percentage of the damage Valkyr would have taken back to her after the ability is dispelled if she is standing near any enemies. This is one nerf that I’m fairly content with. It removes the “press 4 to win” mentality that Valkyr carried, similarly to Mesa. I see both of these as improvements: they open up different options for builds per frame.

However, Mag, who once dominated a specific enemy faction in combat with her Shield Polarize ability, no longer has the one-button area of effect (AOE) ability that players essentially relied on after her previous nerfs. Trinity’s heal ability no longer targets all players across the map, but limits its range to 50 meters, in game. To me, this diminishes her as an asset to the team, but could give her additional survivability on her own.

Since the nerfs came at a time when I haven’t been too involved in Warframe, I’m in the process of giving both Mag and Trinity their dues. While I’ve picked it back up over the last few days to tweak builds and see how they actually perform, I’m not optimistic for the future of the game overall. The scaling issue has been around for a long time, and while Digital Extremes (DE) promises that it’ll be fixed Soon™, I’m beginning to wonder if they’ll just leave it as-is and let players have at it.

There is a responsibility for devs to make their game balanced, as I stated earlier, but punishing players for making the most of unpopular frames, at least in Mag’s case, doesn’t feel right. I’ll come out and say it now, I’m very biased. Mag was the frame I started with. The fact that I had a certain mod for one of her abilities gave me an edge in starting out, and I was able to overcome the learning curve by being included in higher level missions because of it.

One of Mag Prime’s last promotional images. (Via Warframe.com)

Bias aside, it’s unfortunate to see Warframe suffer so many nerfs in such a short period of time. These sudden changes not only confuse the player base and make it harder for players to challenge themselves, but it also gives the impression that DE really doesn’t care about their community. It seems to me that DE wants Warframe to be played a certain way, and if the player base isn’t playing the game the way they want it, their solution is to force players to do so, but not by editing their game’s core mechanics. Instead, the logical thing to do is to make the frames less powerful and hope that we’ll just get the message, right?

Three Days Remain: The Majora Effect

Since Nintendo’s beloved The Legend of Zelda: Majora’s Mask was released, its defining hallmark was the fact that the game ran on a steady three-day timer. Your objective, as the young Link, is to save the world and return a powerful, evil mask to the Happy Mask Salesman. In three whole days. At 6 AM, on each day you experience in-game, you’re presented with a screen that ominously reminds you just how many hours you have to complete whatever you’re doing, save the world, and return the mask. With a whopping four dungeons, a multitude of side quests, and a great trouble thrust upon your shoulders, three days seems like… not long enough.

The first thing seen entering Clock Town. (Image from YouTube.)

The main thing is that as Link, you gain access to the Ocarina of Time after completing the first cycle. After all, this game wouldn’t be a true sequel without some callbacks to the first. After you get the ocarina, you’re free to control the flow of time. The Song of Time allows you to skip forward, slow the passing of time, or return to the beginning of the three-day cycle. You can now use time to your advantage. Anything you collect or progress will be reset upon returning to the beginning of the cycle, though if you’ve beaten a dungeon you don’t have to do it all again, just the boss battle.

So let’s say, in your first play through, you’re in the final hours on the third day, and the timer is counting down the minutes until midnight. You’ve completed a dungeon and helped Anju and Kafei out with their quest, but there’s still more to do. You’re not done calling out to the four giants just yet. So you warp back to day one. Save the game, start over. Your restockable items like bombs and rupees fly out of your pockets as you fall through a spiral of clocks, winding backwards.

Link falling through time after playing the Song of Time.

It’s just like a weird dream I had once! (Image from Zelda Informer Wiki.)

You go up to any NPC you helped out or at least talked to in your previous cycle and they spit back that same first line of dialogue. To them, those three days didn’t happen. You didn’t help them out. For all they know, this is your first time in Termina, and you’re just stopping by for the carnival. You’re not here to save them. They don’t even know they’re in danger. Majora is still out there, in mask form, and for all they know, it’s having a nice picnic in the mountains.

For years, I’ve been trying to wrap my mind around this situation. To me, Majora’s Mask holds some of the most intricately designed backstories in The Legend of Zelda‘s in-game universe. Clock Town feels like the small, rural town that I imagined I’d grow up in. Everyone knows each other and for the most part, they’re pretty friendly towards one another. Then Link, an outsider, swoops in and saves this tiny town from an imminent doom that they don’t know about.

And after everything, even during the time that Link is scrambling around to try and fix whatever problems everyone’s going through, he’s forgotten about. After the carnival, nobody remembers him, though he’s collected the masks as tokens of the memories he’s shared with the townsfolk. In the long run, it’s not even about saving the world for Link. Termina is just a pit stop on the road to finding his friend. He didn’t have to help the Happy Mask Salesman, he didn’t even have to care about anyone in the town. He could have called it a day and left.

Majora’s Mask forces players to think about things other than them in the game. Sure, you could ignore the side quests and focus on the four dungeons, but no matter what you do, there will always be someone that needs help. They may not always remember, and you may not even gain anything from it, but you will remember. Even now as I play through the game, I do my best to memorize the steps I have to take for every single side quest so that I won’t forget anyone next time. Majora’s Mask is the only game to ever give me characters I care about so much that I’d draft an entire game guide in my memory for their sake.

Majora’s Mask is all about making the player question their own morals. (Image from Google+)

The fact that the game is on a timer makes your decisions have more weight. Regardless of your course of action, it’s impossible to help everyone in one cycle. Someone will be left behind, and someone will be forgotten about. In the end, I’d much rather finish the game and have Link be forgotten by the citizens of Clock Town than fail to help them when I’m able.

Pony Island: Not Your Typical Puzzler

Pony Island is an interesting little puzzle game. You find what seems like an old arcade machine with an AI that is alive in many respects. You’re greeted with a bubbly, happy splash screen. The AI speaks to you. It’s a setup that’s been seen before, in many games. And yet, this time it feels very different.

Ah, yes. Exactly what you’d expect! (Image from Indiegames.com)

The game starts out as a runner. You’re controlling a pony with the goal of just getting to the end. After a couple levels, though, Pony Island ramps up the satanism by a lot. And by that, I mean you become the herald for someone trapped in the game, trying to break free. Pony Island transitions into this section of the game very well. I think that for a game jam game like this, it pulls off getting into the meat of the game really well.

So, you’ve met this person via a chat interface inside this arcade machine’s computer. You’ve talked for a while. Another AI introduces itself, with seemingly more evil intentions than the first. Its main goal is to keep you in the game, to keep you playing. The first person says it’s due to errors in the game’s code, and that they’ll help you get to the faulty bits for you to fix them.

Coding looks exactly like this, I promise. Complete with ponies.

These puzzle sections are what you’re really getting at via the levels. (Image from Kotaku.)

As far as puzzles go, the coding is easy enough to figure out. There are certain tiles that will progress the cursor to the next line, to the previous line, move it between columns, or make it repeat from a certain point. The running sections are what’s difficult– turns out it’s kind of hard to focus on jumping, shooting a laser from a pony’s inorganically moving head, and dodge projectiles. Yes, sometimes all at once. This was my only frustration. It made it difficult to progress, and running through the same beginning section of one particular level was boring after the first fifteen attempts.

Pony Island doesn’t stand out in terms of gameplay. It’s very standard, and the puzzles have an interesting spin. I’d go so far as to say that while it is a video game, its main purpose was to be a medium to tell the story. As you play the game, you begin to realize that the AI with evil intentions is, spoilers, Literally Satan™. It’s designed the game to capture lost souls who may decide to play it, you included. It’s spent time reinventing the game and trying to draw in bigger crowds, even as you play. It breaks the fourth wall, but not in that awkward way that some other games would. For me, at least, it drew me in and kept me in. I didn’t even question the part where I killed Jesus.

Satanism, ho!

Yeah. It happened. (Image from Encyclopedia Dramatica.)

In summary, Pony Island is a really, really solid game, and probably one of my favorite indie titles to come out this year. While the indie scene was being overshadowed with Undertale stealing the spotlight for many Game of the Year awards, Pony Island managed to hold its own enough to garner some attention for a little while.