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Shortcast 31 – The Secret Was the Clap

Shortcast 31 – The Secret Was the Clap

WEEK IN GEEK: D. Bethel doubles up this time to talk about a personally exciting moment he experienced while at this year’s Alternative Press Expo in San Jose, CA, as well as seeing the new cinematic version of (half of) the Stephen King classic, It, while Andrew discusses playing SteamWorld Heist.

D. Bethel’s comprehensive recap of his time at APE 2017:

RELATED EPISODES:

INFO:

For all intents and purposes, that was an episode recap.

FEATURED MUSIC:

-“Thunder Busters” by Wax Audio

Episode 143 – This Is A Family Show

Episode 143 – This Is A Family Show

WEEK IN GEEK: Andrew (starts at 1:38) hesitantly re-approaches (though actually, basically for the first time) Star Trek: Enterprise, while D. Bethel (16:13) has fun sacrificing folks in Kitfox Games’ The Shrouded Isle.

LUDIC CROSS-POLLINATION: (27:34) Gen Con, the long-running tabletop-focused convention, rolls out this weekend and leading up to it were a few announcements about new board games in an attempt to ride that wave of publicity. One of them is a brand new adventure board game based on the Fallout video game franchise. Lots of things like tv shows and movies are licensed for use within board games, but the kind of translation that can occur when adapting a game from one medium into a game in another proved a fascinating topic of conversation this week.

RELATED LINKS:

WORKS REFERENCED:

LINKS:

For all intents and purposes, that was an episode recap.

FEATURED MUSIC:

-“Stayin’ in Black” by Wax Audio
-“Get Aboard” by Daryl Neil Alexander Griffith (from the soundtrack to Valiant Hearts)

Shortcast 28 – Linguistic Bravado

Shortcast 28 – Linguistic Bravado

WEEK IN GEEK: Andrew played Punch Club by Lazy Bear Games while D. talks about his time with Thunder Lotus Games‘ newest release, Sundered.

Crafting a loadout for fights in Punch Club.
An automated fight against a ninja NOT-turtle in Punch Club.
Feature-quality idle animation for the main character, Eshe, from Sundered.
Some of the amazingly animated enemies from Sundered.

RELATED LINKS:

LINKS:

For all intents and purposes, that was an episode recap.

FEATURED MUSIC:

-“Thunder Busters” by Wax Audio

Episode 138 – An Accident of Role-Play

Episode 138 – An Accident of Role-Play

WEEK IN GEEK: Andrew starts rewatching Star Trek: The Next Generation on Bluray while Dan finally opens up about Mass Effect: Andromeda now that he has finished the game.

THE LAST GRIPE: The video game expo, E3, always has its share of stories, reveals, and, most recently, at least, controversy. Tim Soret, founder of the studio Odd Tales, scored a coup by getting to go onstage during Microsoft’s pre-E3 press conference and talk about his game, The Last Night, and how it would be an exclusive to the company and its new powerhouse console, the XBox One X. However, Soret has a dicey history with gamers, and his pro-GamerGate and anti-feminist tweets were brought to light despite happening years ago. He has even said that The Last Light was created as a statement on feminist ideology. However, at E3, he apologized on stage for his stances. Should he be forgiven? Should he be held accountable? Should we play his game? Dan and Andrew discuss this static caused between art and artist.

LINKS:

For all intents and purposes, that was an episode recap.

FEATURED MUSIC:

-“Stayin’ in Black” by Wax Audio
-“The Last Night” by High Spirits

Episode 133 – We’re On a Track

Episode 133 – We’re On a Track

WEEK IN GEEK: Andrew takes another dip into the Humble Bundle and comes out playing Renowned Explorers: International Society while Dan gets nostalgic (again) playing Disney Afternoon Collection.

LUDO-NARRATIVE DISSONANCE: Noted video game critic, Ian Bogost, got blood boiling when he wrote the salaciously titled, “Video Games Are Better Without Stories,” for The Atlantic. D. and Andrew investigate the argument Bogost is making––its good points and its flaws––while also talking about why people play games in the first place. Dan talked about Ian Bogost’s book, How to Talk About Video Games, back in “Episode 76 – Beepop.

NOTES:

WORKS CITED:

WORKS REFERENCED:

LINKS:.

  • Visit our website at forallintents.net and leave your thoughts as comments on the page for this episode.
  • Join our Facebook page
  • E-mail: Andrew – andrew@forallintents.net, D. Bethel – dbethel@forallintents.net
  • Subscribe to our YouTube channel.
  • Subscribe to and review the show on the iTunes store.

For all intents and purposes, that was an episode recap.

FEATURED MUSIC:

-“Stayin’ in Black” by Wax Audio

Episode 130 – Form a Constant Voltron

Episode 130 – Form a Constant Voltron

WEEK IN GEEK: Andrew watched the live action remake of the Disney animated feature, Beauty and the Beast and D. Bethel discusses his experience at this year’s Sacramento Indie Arcade Expo.

REGRESSIVE RESURRXION: First, the comic book news cycle went nuts because the first post-Inhumans vs. X-Men book was released, X-Men Gold, which was then subsumed by the fact that people seemed to like it, which was then subsumed by the likelihood that X-Men Gold artist, Ardian Syaf, may have placed possibly intolerant symbology in not-so-hidden places throughout the book. Then it turned out that he definitely did that. It has been a roller coaster of news and insight into Indonesian politics (where Syaf resides) that has been mostly very sad and upsetting for X-Men fans.
*Extra Bit: Marius Thienenkamp of Comicsverse wrote a thoughtful analysis and retrospective of this entire affair.

THE TWO MASTERS: On the threshold of the debut of Doctor Who‘s Series 10, it was revealed that actor John Simm would be returning to the show in his former role as The Master, the longtime foe of the show’s titular hero. Last seen at David Tennant’s departure from the lead role, he returns during the tenure of his successor, Michelle Gomez as Missy. What this means for the episode(s) in which they appear together (the last one or two of the season), we can’t yet say, but both Dan and Andrew are pretty excited about it.

WORKS CITED:

LINKS:

For all intents and purposes, that was an episode recap.

FEATURED MUSIC:

-“Stayin’ in Black” by Wax Audio

Week in Geek: Sacramento Indie Arcade Expo 2017

Week in Geek: Sacramento Indie Arcade Expo 2017

In what may be a first for the website, a Week in Geek post will go up before its associated episode. When writing up responses to an exposition or convention, however, timeliness is key. For the second year in a row, I attended the Sacramento Indie Arcade Expo which is held in West Sacramento (a different city than Sacramento, believe it or not; in fact, it’s in a separate county). It’s still a small show but they are able to cram a lot of developers––40 in all, both video game and tabletop––into the two large rooms (and then some) dedicated to the event. A variety of game styles and platforms were on display; the most numerous were mobile/tablet games with a fair VR representation as well.

Though there were a lot of games, the few that really drew my attention are discussed below (games are listed in alphabetical order, not in order of judgement nor preference):

Beat The Game

by Worm Animation

Described as an adventure game meets a music sequencer, what caught my attention was the visuals, which reminded me of a comfortable amalgam of Double Fine’s Psychonauts and a Tim Burton creation. The build I saw seemed very rough still, but its ambition was clear and impressive.

Concept art from Beat The Game. Image courtesy of Worm Animation.

Ostensibly, the player character travels through this apparent open world collecting music samples that are inventoried. Once a set amount is collected, the player must arrange the samples in a way that pleases the gatekeeper/boss (I have forgotten who it was that judged you) in order to move forward.

Mixing samples together is a puzzle mechanic in the main game as well as a creative endeavor in a free-play mode. Courtesy of Worm Animation.

I was told that there was also a kind of “free play” mode where you could arrange the samples in any way you wanted for an in-game, virtual audience. Though I don’t remember the details, the awareness and availability of the primary game mechanic for use as not only a narrative-progression tool but also for personal expression intrigues. I wonder if you’ll be allowed to mix down and export the sequences you arrange, which would definitively be a bringing together of the two disparate genres.

Black Future ’88

by Don Bellenger

Black Future ’88 is a spritestravaganza. Courtesy of Don Bellenger.

This was the first game I saw at the show and despite it being, I would guess, about 50-60% unfinished, it looked impressive. Like a lot of the games I stopped at, this game takes a retro, sprite-based platformer and tries to plug some interesting mechanics into what is possibly a tired format. Aesthetically, it looks like a cyberpunk Castlevania: Symphony of the Night with some very expressive animation for the player character.

The premise is that the character needs to ascend the Monolith, a tower whose authored rooms are procedurally arranged as the player progresses upwards.

Fast game is fast. Courtesy of Don Bellenger.

What’s unique is how combat works, though once you become aware of Bellenger’s inspirations it makes a lot of sense even if initially not, perhaps, for a 2D platformer. The character is armed with a gun and a secondary weapon (more guns) and varieties of firearms drop from defeated enemies along the way. However, there is no “fire” button. Instead, the game works more like a twin-stick shooter like Enter the Gungeon or, if we’re relying on my frame of reference, Smash TV. But putting that mechanic into a 2D platformer is novel and seems to work quite well. The mechanics for shooting in this game feel tight, visceral, and fast and I want to say it may be due to its lack of a button-press to shoot. The shooting in Black Future ’88 is less about holding the right stick in the direction of the enemy and more about flicking the stick in the direction of the enemy. The player doesn’t really have time to plant and send out a barrage of ordnance; you have to keep moving much like you would in a bullethell game like Enter the Gungeon or, what it also brought to mind for me, something like Gradius or R-Type, which is another aspect of that genre the game integrates pretty well.

Like the space ship shooters I mentioned (“shmups” if you will), the enemies in Black Future ’88 send out less waves of bullets meant to kill you quickly and more slow-moving mazes whose walls can hurt you and through which you must find the opening (or, if left with no other choice, dash through). These come at you from all directions, so you must keep the character moving, sending out attacks when you can. With these different pieces coming together in a very functional manner, it created––even in its unfinished state––a frenetic and stylish experience.

 

Frauki’s Adventure

by Preece

Where you start the game as well as where you spawn after every death. Courtesy of Preece.

Of the games I saw at the show, Frauki’s Adventure took me most by surprise. The Sacramento Indie Arcade Expo is still a fairly small event with the majority of developers spread through two large rooms––basically two large multipurpose rooms––where tables are crammed together leaving a fairly small avenue for passersby. When I first arrived, I snaked my way through both rooms before heading up to the blackbox theater to see who the next speaker was and as I walked through the first room, I passed by Frauki with nary but a glance. There was no signage nor patient person waiting beside it, eager to explain the game to a potential player. It was kind of just…there. It was set up spread between two small monitors, from beneath each wormed a knockoff USB Super Famicom controller. I have to say, the initial glance didn’t do much for me.

Frauki’s Adventure is, like Black Future ’88, a 2D pixel sprite-based action-exploration platform game, again in the vein of something like Castlevania: Symphony of the Night or Metroid. Unlike Black Future ’88Frauki was bright and colorful and didn’t have the grimdark edge that a lot of other games had. Nor did it have any of the irony that other games who go for the more twee-cute aesthetic often have, either. Frauki’s Adventure is actually quite earnest.

So, I walked by.

Later, I walked through the rooms again to see what the crowds were like and if any games were open to poke at. The VR stations clogged up much of the traffic and I was left standing in front of Frauki and, on a whim and out of boredom, I pushed a button on the controller. In all honesty, I did so out of curiousity for what the quality of the gamepad was like; if it had been solid, I would consider buying one for my own uses (it was not very good quality). But when I pushed a button, Frauki jumped. It was a good jump. It had the right response off the button-press and, when she landed, her stylish bob danced at her jawline for a few frames. In animation, we call this “secondary animation” or animating a reaction (in the clothes, hair, anything loose on a person) to the primary movement of a character. Secondary animation is viewed mostly as the key to unlocking believability in your characters. It’s a subtle form of exaggeration that makes a figure feel more real because it’s interacting with gravity in way that a body mostly does. In video games––especially a lot of 8/16-bit sprite animated games––it’s rarely done. Symphony of the Night has some. When you make Alucard crouch, it takes a second for his cloak to hit the ground, for example. And in Frauki her hair simply bounced as she landed on the ground and it had my undivided attention.

Some well animated and programmed action awaits in Frauki’s Adventure. Gif courtesy of Preece.

It speaks overall to the careful attention the developer puts into the game. Admittedly, a lot of it still kind of looks unimpressive at first glance, but if you move around, the world breathes, metaphorically, and you kind of don’t care if anything doesn’t immediately match your aesthetic.

Mechanically, the developer said it was inspired by his two favorite games, Mega Man X and Dark Souls, so I assume punishment and/or extreme challenge is in order.

What stuck with me as I played it, aside from being surprised at how much it charmed me, was that it felt good to play. There were some performance issues––it’s an alpha after all––but I found it eminently and immediately playable and it became the game I was thinking most about after leaving the show, even though I know if I showed people screenshots or perhaps even video of the game, it may not be enough to persuade anybody. The game sells itself when it’s played. The earnestness, craft, and gameplay of Frauki’s Adventure hit an open chord in me, and I look forward to playing it again.

The Rabbit and the Owl

by formal sheep

The Rabbit and The Owl title card, giving a glimpse of its painterly style. Courtesy of formal sheep. Click to enlarge.

This game was at last year’s Indie Arcade Expo and although I somehow missed it, it is a high-gloss puzzle-platformer that is very much in line with a lot of the interesting puzzle-platformers released in the last five or six years. I’m not saying it’s not original, in fact I mean the opposite. It is exactly as creative and interesting as the rest, which puts it in good company. It’s incredibly stylistic, relying on storybook art direction than on the jagged edges of pixel art sprites. Its mechanics are simple––jumping, lever-pulling, some cursor work. It’s goal is simple: get The Rabbit and The Owl to their respective goals.

It’s a two-player cooperative game where one player controls The Rabbit––the white figure––and the other player controls The Owl––the black figure. The screen is broken up into light and dark avenues which criss-cross each other; the white Rabbit lives in the dark realm, the black Owl lives in the light realm and they can only travel within those realms, never crossing over (as far as I saw). The specific goals each one has to get to is often blocked by the intersection of the other character’s world, but those are moveable by way of pulling a lever. So, if the Rabbit is blocked by the bright wall of the Owl’s world, the Owl is most likely able to reach a lever that, when pulled will move it out of the way (usually for the Rabbit to reach her own lever to pull it and open a path for the Owl).

Things can get complicated. Courtesy of formal sheep.

It’s this clever puzzle solving that reminds me of everything from Braid to Monument Valley to even LIMBO and this game fits right into that milieu.

Unearned Bounty

by Extrokold Games

Title card for Unearned Bounty. Courtesy of Extrokold Games.

Unearned Bounty was another game I judged or, more accurately, codified on first glance before trying to walk past it (again, blocked by traffic). It is a game with a very slick aesthetic: cartoony, bright, silly sounds and a slick user interface (UI). It seemed like a mobile game; it had the low-poly/high-style look to that seemed like it could easily be a mobile game aimed at micro-transactions and fun but unchallenging gameplay. As with other games this year, I ended up being quite wrong.

Instead of being a on-the-toilet game, it’s actually best described as an arena shooter, a related but distant cousin to something like Nintendo’s Splatoon, but instead of being team-based––though that can very well happen––it’s a free-for-all timed shootfest where the player is trying to accumulate as much booty as possible. Instead of being first-person with a gun sticking out the bottom of the screen or a third-person run/cover/gun shooter, you’re a pirate ship on the high seas trying to blow up other pirate ships. What the developer wants––and I could see it happening––is with so many ships on the board (I forget the player count), and for the fact that the game tags the ship currently in first place (which, if you take it out, you get a bigger bounty), players will form temporary alliances and break them and backstab and do all the things pirates do in order to end as the richest scallywag.

Unearned Bounty’s colorful and cartoony aesthetics are polished and charming. Its UI is particularly slick. Courtesy of Extrokold Games.

What intrigues about this choice is that it automatically modifies traditional third-person shooting tactics because your main weapons shoot sideways, so your direction and physical alignment is key and so incredibly different from most (all?) shooters out there. Secondly, because you’re a sailboat on the water, movement is much slower (though not boring) than most people are used to. Controlling the movement––slowing players down––I found increased the tension and excitement of the gameplay rather than stifling it. With accumulated money, the player can upgrade the ship to do more damage and, I assume, protect from it, but it’s mostly a game about hunting down other ships and laying your cannons into them.

The developer mentioned games like League of Legends not necessarily as inspiration but for the type of crowd he was going for––online competitive multiplayer fanatics. I immediately thought of Assassin’s Creed III and Assassin’s Creed IV: Black Flag, remembering how enjoyable (and similar to this) their ship combat was. They were likely the best parts of both of those games, so it’s nice to see people recognizing that and doing something with it. I do wonder if the game will find its intended audience, though; I’m guessing it’ll skew a bit younger because, with the cartoony aesthetics and sense of humor, I think the young and pre-teen crowd are going to find consistent solace in ships helmed by the likes of “Captain Toots” and “Captain Hornswaggle,” but I hope it finds who it’s aimed at because it’s a game with a lot of strategic possibility if only because of its complete uniqueness in a sea (apologies) of shooters.

*******

This year’s Arcade Expo yielded a more satisfying experience for me than last year. I went this year having seen the speakers list beforehand and intended to basically sit in the blackbox theater the entire day watching people talk intelligently about games (the speakers’ talks have been archived in audio form by the International Game Developers Association of Sacramento). Instead, I found myself on the floor talking intelligently about games with people whose hands were in the mud, making clay. The point being that it wasn’t that I was particularly surprised by the games I wrote about above; it’s more that I allowed myself to realize that––to an obvious extent––the true discourse of independent games cannot be summarized by sitting in a rather comfortable folding chair in a black box theater, watching people sweat under a bright spotlight; it’s down in the multipurpose rooms where asses accidentally get pushed into the faces of people sitting in front of monitors, where people swinging wildly wearing VR headsets cold cock the PC tower that’s running the game, where you have to lean in to hear the soft-spoken developer who has been slowly crafting his small game on the weekends for the last year and a half tell you, “No, it’s not a whole lot like Zelda, actually.” It’s into this mud that I, as a player and intellectually curious critic, hope to wade a bit deeper next year.

Episode 128 – His Curry Name

Episode 128 – His Curry Name

WEEK IN GEEK: Andrew plays catch-up after the Guestcast by letting us know about his time with the indie game, Turmoil, as well as discussing his experience with Alton Brown’s live show, Eat Your Science, while Dan talks about reboots and his hesitancy going into the first two issues of DC Comics’ new series, The Wild Storm.

MASS REJECTS: As Andrew reported, the new Bioware game, Mass Effect Andromeda, has met with a lot of criticism. However, said criticism is all over the map. Dan and Andrew get deep talking about expectations, Mass Effect, fandoms, and video games as cultural expressions. WARNING: the hosts get a little worked up.

For all intents and purposes, that was an episode recap.

FEATURED MUSIC:

-“Stayin’ in Black” by Wax Audio
-“WildC.A.T.s Theme Song” by Sheree Jaecocke and Gerry Mosby
-“A Trail of Hope” by John Paesano (from Mass Effect Andromeda)

Episode 125 – Hot Sauce Box

Episode 125 – Hot Sauce Box

WEEK IN GEEK: Andrew plays Project Highrise after receiving it as part of this month’s Humble Bundle subscription service, while Dan reads a book about the history of the Japanese game industry in Chris Kohler’s Power-Up: How Japanese Video Games Gave the World an Extra Life.

THINK INSIDE THE BOX: With Andrew’s sojourn into the world of subscription grab-bag services, he and Dan discuss the growing phenomenon and where they think the trajectory may end up.

ACCELERATED EVOLUTION: When a YouTube star gets the spotlight from a major industry publication, his world starts to crumble a little bit despite his denial of it. Swedish YouTube sensation, PewDiePie, encountered some issues after an exposé by the Wall Street Journal causes him to lose valuable contracts and allies and seemingly sends him into a strange spiral of denial and self-pity––without losing any subscribers. Andrew and Dan look at this very strange situation and how it connects to the larger cultural issues the news media and celebrity are dealing with while trying to figure out a solution.

WORKS REFERENCED

McAlone, Nathan. “What Someone Who Worked Closely with PewDiePie Thinks About Disney and YouTube Dropping Him.” Business Insider, 20 Feb. 2017, http://www.businessinsider.com/pewdiepie-scandal-came-from-the-way-youtube-works-2017-2 Accessed 20 Feb. 2017.

Ibrahim, Mona. “The Limits of Free Speech (When You Have 50 Million Subscribers).” Polygon, 20 Feb. 2017, http://www.polygon.com/2017/2/20/14675914/freedom-of-speech-censorship-pewdiepie Accessed 21 Feb. 2017.

WORKS CITED

Klepek, Patrick. “PewDiePie Criticizes Wall Street Journal Report, Says Jokes Went ‘Too Far.'” Waypoint, 16 Feb. 2017. https://waypoint.vice.com/en_us/article/pewdiepie-criticizes-wall-street-journal-report-says-jokes-went-too-far Accessed 20 Feb. 2017.

Kuchera, Ben. “PewDiePie and Trump Aren’t Hurting the Press, But They Desperately Want To.” Polygon, 18 Feb. 2017, http://www.polygon.com/2017/2/18/14641952/pewdiepie-trump-anti-semitic Accessed 20 Feb. 2017.

Kuchera, Ben. “PewDiePie Versus the Media: Why He’s So Mad to be Losing the Fight.” Waypoint, 15 Feb. 2017, http://www.polygon.com/2017/2/15/14610652/pewdiepie-versus-the-media-disney-youtube-google Accessed 20 Feb. 2017.

For all intents and purposes, that was an episode recap.

FEATURED MUSIC:

-“Stayin’ in Black” by Wax Audio
-“(The Majestic Tale of) An Idiot With a Box” by Murray Gold (from Doctor Who)
-“Fall From Grace, Pt. 2” by Andrew Hale & Simon Hale (from L. A. Noire)

Episode 122 – It’s a Fake

Episode 122 – It’s a Fake

WEEK IN GEEK: Andrew finds zen in the indie hit, Starbound, while D. Bethel finds zen watching the Syfy procedural, Haven.

DANCING WITH THE DEVIL: For a variety of reasons, Andrew had Dan watch an episode of Star Trek: Deep Space Nine of some renown, from season 6, in which Benjamin Sisko struggle with making huge decisions throughout “In the Pale Moonlight.” In parts a war story and a character study, it is an episode that showcases not only the narrative depths DS9 hit but also how we can use television and movies and other narratives as talking points for what we’re dealing with in the world around us.

UNPLUGGED BUT UNBOWED: The Penny Arcade webcomic/nerd moguls announced a new convention to add to their already impressive PAX roster: PAX Unplugged, a tabletop-focused exposition to be held in Philadelphia, Pennsylvania in November. Dan and Andrew discuss the implications of this announcement.

For all intents and purposes, that was an episode recap.

WORKS CITED

FEATURED MUSIC:

-“Stayin’ in Black” by Wax Audio
-“Theme (From ‘Star Trek: Deep Space Nine’)” by Dennis McCarthy (as performed by The City of Prague Philharmonic Orchestra)
-“Layla” by Eric Clapton
-“Law & Order Theme” by Mike Post (as performed by The Hollywood Prime Time Orchestra)