37 - Story of a game named Braid


Having played Braid and thought about it for a week or so, I can honestly say that while its gameplay and mechanics as metaphor are extremely strong, the actual meaning of the story makes almost no sense to me as an authorial choice. Although disappointed, I do not think this choice necessarily ruins interpretation or application to other subjects that are easier to relate to. As a whole, though, “No sir, I don’t like it”.


Story through mechanics

I discussed a lot about the mechanics of Braid in the previous post, but I tried to avoid most of the interpretation of them relating to the plot. Well, when I say ‘plot’ I mean what few words are displayed at the beginning of each world. I am not necessarily criticizing those ‘elliptical’ passages I mentioned as they do leave lots of room for interpretation and mystery as the story develops. The rest of the meaning is experienced while playing the game.

The basic story laid out in the block text tells of Tim, the player’s character, and his search for the Princess whom he lost and is now trying to recapture. It describes his long working hours, times of abandonment, and yearning for her since she has left him. When combined with the mechanics of reversing time and changing previous decisions, the game takes on the form of an extremely strong metaphor that constantly reshaped and adjusted every time I received more information.

We have all made decisions we regret and many people have the experience of the proverbial “one that got away”. Luckily, I have not had to go through that particular trial, but it is easy to substitute that idea with many other Princesses. Careers, notable experiences, or even lost youth are all compelling and relatable ‘Princesses’ to seek and attempt to possess again. The final scene of Braid that was captured in a video of the last post shows the poignant partnership of Tim and the princess that suddenly becomes sinister when run in reverse. While Tim is attempting to find the princess again, we see that she is trying to block his return when he left in the first place. A very meaningful scene when relating it to analyzing those situations in which we are trying to find something we lost, but are blocked from return for various reasons.

Unfortunately, after such an impactful set piece, the game took a complete left turn and moved to associate it with something I did not expect and, to be frank, turned me off at the end.

Note that I will be talking about the only real plot spoiler that exists in the game. If you plan on playing Braid, it may be worth it to take three or four hours to play through before finding out what it is. If you are ready, read on.


What is Braid about?

Braid is about the regret of a scientist who helped developed nuclear technology to be used in bombs.

Although it may still be a little cryptic at the end, the inclusion of the quote “Now we are all sons of bitches” literally made me stop and say “What?” Why choose such a grandiose theme to apply the metaphor of Braid to? I can’t relate to unlocking a secret that led to the cold war or terror about all future wars. I thought the story was about lost love or innocence. I was slightly betrayed by how serious the game seemed to take itself at this point.

Although this may not sit well with you, dear reader, I cannot help it as an audience member to what is ostensibly a piece of art. It is not relatable in any way for most players, even those that may have grown up in the Cold War era. Maybe I am not the intended audience, but I must say that the choice of subject put me off enough to pretty much dismiss it completely.

Despite this, the metaphor of regret and the desire to re-write history is very strong and can be applied to many more appropriate and relatable subjects that I listed above. I would much rather had Mr. Blow leave his subject nebulous or make it easier to get on-board with. But, it is what it is and it shall remain forever.

Please let me know what you think of Braid and if you disagree with me. I think it is interesting that it can inspire this sort of reaction in me and divisiveness among gamers. I certainly understand why it is such a unique game and why Jonathan Blow a controversial designer.

Joint me next time when I will discuss a little about S.T.A.L.K.E.R.: Call of Pripyat. It is just as bleak, but a little less heady than Braid. I’m looking forward to it!


--Backlog Killer

Interlude - The Next Game

Before putting my thoughts about the story of Braid out there, I've decided to release the name of the next game I'll be playing. I appreciate the comments about Braid and I look forward to hearing any more you may have. It really is a good game but has some flaws that make me very ambivalent. Hearing arguments from both sides would be great!

Anyway, as for the next game, I don't know what it is. I have recompiled my list of games based on my experience doing the blog and have removed some games I do not think will make good entries. On the other hand, I have bought a few new games as recently as the newest Humble Bundle that you can see. The list is now a Google document that can be changed at any time.

Check it out!

I will now use the online random number generator to choose the next game which is...



Number 44! STALKER: Call of Pripyat. This is another serendipitous occasion as I was just thinking about playing the game again and was actually considering it for the Player's Choice that ended up being Braid.

Join me next time when I will talk about my opinion regarding the strengths and flaws of Braid's story. While preparing that, I will try to get STALKER going with just a few mods because, let me tell you, the game is gorgeous. See you next time!


--Backlog Killer

36 - Braid: The Game, The Myth, The Legend

[Please enjoy my video review of Braid. *Naughty Language Warning*]


Just kidding about that.

I am proud to say that I have played through the entirety of Braid in just over four hours and enjoyed it very much. Although, you can see how my schedule works based on the fact that my last post was dated 20th of November while this one is over a week later. In the mean time, I have been doing the same old same old with a break to celebrate Thanksgiving in this far away land. Even though it was in an Italian restaurant located in Tsuen Wan, it was still enjoyable for the food and the company. Maybe next year I can make it back for a full family gathering in America.

Anyway, this post will be more of a discussion about the mechanics and my experience with the game while the following will be about what it means to me thematically. I will go ahead and tip my hand by saying that I have enjoyed the game play very much while the integration of story and mechanics has been quite disappointing. This is absolutely no problem for me as a huge amount of control and agency is given to the player within the structure of the game with the story being established as a secondary thought.

My perception of games as a spectrum running between Mechanics and Story still holds up.


NOTE: There will be spoilers contained in videos. Watch at your own discretion.



What’s the deal with Braid?

If you have been living under a rock (like me) and haven’t heard much about Braid, I will put it in simple terms. Braid is an independently developed platformer that focuses around the manipulation of time. That is to say there are three major controls: moving left and right, jumping and reversing time like a tape recording. These simple concepts are put together to design devious puzzles that will twist your brain and challenge your concept of linear thinking. As more world-specific rules are introduced, these challenges only become more complex. The goal is to use these powers and limitations to collect jigsaw puzzle pieces scattered around the world to form a complete picture at the end of the level. These pictures are then displayed in the world select screen which is represented as a house with several rooms. As each puzzle is solved, a ladder is constructed allowing the player to move into the attic for the final act.

Jonathan Blow, the designer of Braid, meant the game to be a “critique of contemporary trends in game development” which seems a little broad to me. Besides the beautifully drawn worlds and music, the only analytic part I have found are elliptical passages at the beginning of each world. These tell a story about Tim (presumably the main character) who is seeking a princess that has been captured by a monster. I am not sure if this is related to the jigsaw puzzle pictures or the house, but it is something neat to think about. I will discuss these in the next post.




 Purely Gameplay.

It is rare that I feel psychically drained after playing a game, but Braid certainly makes me feel this way. Time travel is a strange beast to contend with in any context, and the fact that it is ubiquitous in Braid makes it even harder to parse. The player is allowed to rewind at ANY time during the game. This experience may be affected by other special rules at play in the level, but, for the most part, your character and every other element on the playing field will retrace their steps to where they were. The first world (labeled World 2) is very easy and simply introduces the rewinding mechanics. This allows for simple puzzles such as retrying missed jumps or falling down a large pit with spiked obstacles, seeing the position of these traps, rewinding, and falling down safely. Even though it is easily completed, there is one tricky puzzle involving the jigsaw puzzle itself that I felt was a little unfair since this mechanic will never be touched again in the game.

As Tim moves into the other worlds, stranger and more difficult permutations begin to appear. World 3 features elements and monsters that sparkle green and are immune to all time reversal. My favorite use of this is a puzzle piece hidden behind three locked doors. Each door requires one key which will break after usage. There are two keys in the level which is obviously not enough for three doors… unless time is not a factor. The trick is one key is sparkling (immune to time) and will remain broken when rewinding while the other unsparkling key CAN be unbroken through time manipulation. Combined with the fact that one of the doors is sparkling, the solution is evident: use the sparkling key to open the first door, pick up the regular key to open the sparkling door, rewind time, and the use it again on the last door to collect the puzzle piece. If that seems confusing, here is a video of what I mean:


 
[Puzzle at 5:40.] 



As you can see, a large degree of spatial thinking is required and I spent a lot of my time simply looking at the screen and trying to figure out what to do. Things were to become even MORE complex in World 4.

World 4 takes a very literal interpretation of time in that every time the character moves towards the right side of the screen time moves forward at the speed he is walking. When the character walks back toward the left, time is reversed and all the elements of the level return to their original positions. Enemies that have been killed come back to life, platforms move back into place, and even the soundtrack rewinds to the beginning of the song. This makes for a very solid set of puzzles that are pretty easy since all of the elements are gauged to be at certain areas depending on your position to block your progress. I had no trouble with this one.

World 5 introduces a shadow that literally repeats the past. When running through each level, the player can reverse time for up to thirty seconds or so and watch as a shadow of Tim’s former self repeats every action that was just taken. (For better or for worse.) This allows the player to be in two places at once. For example, if Tim needs to ride an elevator up to get a puzzle piece but the switch is behind a wall, the player can stand on the elevator platform, run to the switch, operate the switch, and rewind back to the point Tim was on the elevator in the first place. The shadow will then run to the switch and operate it allowing real Tim to ride up and get the piece. I know it sounds confusing, and it is, but experimentation makes it very interesting and fun to work with.



 [All the puzzle are interesting, particularly at 2:00. Just give the key to yourself!]



The last numbered world, World 6, introduces a magical disc that Tim can drop on any platform that acts as a time vortex. Any object or character that approaches the center of the disc gradually slows until movement is reduced to a snail’s pace, after which it increases while moving away from the center. I know it is a little difficult to explain, so here is another video:


[The time disc of World 6.]



The puzzles of this world are mostly about manipulating time in certain areas while others progress normally to adjust the timing of objects and monsters. This format also guarded the piece I had the most trouble getting which is featured in the video at 7:00 minutes. I thought I had reached the end of the game but was faced with one last world named simply “1”.

1 is played entirely in reverse. Enemies walk backward, the music plays backward, the only thing not backward is Tim. The puzzles are simple since the first two levels are just finding ways to bounce to a high platform by bouncing on a monster repeatedly. The monster cannot die because it is constantly going back in time which is interesting. What is even more interesting is the final level in which Tim tries to help the princes escape a wall of flame as she helps him progress toward the right side of the level using what seems to be teamwork. Here is a video of that level:



[The "boss" of Braid.]



The entire second half of the level is running the entire process in reverse time where the meaning is completely changed. Instead of the princess helping Tim progress, she is actually blocking his return to the house and she is ultimately rescued by an armored prince carries her into the sky. After this sequence, the player is allowed to enter a room titled “Epilogue” in which more cryptic passages describe the rest of the story.



As for what I think…

I will stop here because I do not want to touch story and meaning yet, but, as you can see, there is quite a lot to discuss about the game. The mechanics of gameplay are extremely innovative and make for a very compelling puzzle platformer. Each level contains what has become the gold standard for puzzles games: What first looks like an impossible situation is gradually sussed out by the player who, after ultimately solving the puzzle, feels like a freaking genius. Every time I solved a difficult puzzle I felt so proud of myself. Putting the last jigsaw piece into the puzzle is satisfying every time and makes a 100% enjoyable game. I would compare the feeling to Portal 1 and 2 in terms of puzzle construction and ingenuity. It is a masterpiece of gameplay.

What did I not enjoy: the story of the game. What could have been a very personal and interesting story just went off the deep end AND jumped the shark for me. I will discuss this next time by covering what I thought the story would mean and why I was excited versus what really happened. So hold on to your spoilery butts, I’m going to blow the lid off of Braid and out myself as a philistine who does not love what has become the darling of indie gaming!

I still like it though.

--Backlog Killer


p.s. I would like to thank MorroJ who's YouTube videos I linked to. Maybe he can get some more hits on his channel from it.

35 - Braid


After finishing Ultima 4, I will be moving into my “Player’s Choice” for the blog. I have decided to go with a game that is highly recommended and respected in the media: Braid. I will be starting the game relatively cold having only completed the first world a few months ago in passing. Hopefully, this puzzle/platformer will have a little more pick up and play qualities than Ultima 4 did to provide a break from longer gaming sessions that are hard to schedule.





I do not know much about Braid other than it was designed by Jonathan Blow as a meta-commentary on games and is built around the concept of reversing time to solve environmental puzzles. The deeper contexts of the game should make for interesting writing and analysis. Unfortunately, that is literally all I know to write about thus far since it seems going in without any knowledge is the best way to play the game. If you have played it before and have any advice or tips for me, feel free to leave comments. I may also ask for help with prizes given for the most creative or helpful answers.

In the meantime, I have finally gotten around to playing the new Xcom game by Firaxis. Although it plays quite differently from the original UFO Defense, it has a lot going for it and suits my time schedule much better. As much as I would like to get mired in the stats of each soldier, micromanaging each base, and using large squad tactics, I just don’t have the time. Xcom streamlines many of the features that were tedious to perform in the original and has a great atmosphere about it. The plot is much more front loaded and does not emerge as a result of the missions themselves, which I am a little disappointed about, but it does hold true to the feeling of the original. The frailty of your assault teams and the inscrutable intentions of the aliens causes constant tension.

The only major complaint I have about the game is that the battlefield treats the enemy as ‘mobs’ that need to be activated before they begin moving. One of the scariest parts of the original X-Com is the inability to do anything as aliens wander around a populated city killing innocents while your troops desperately advance. Removing this makes the game feel less ‘real’ and reduces the sense of urgency in each mission. Other than that, I’m loving it so far.


[Oh no! I've 'agroed' the 'mob'.]


This has been a short announcement post, but I have the blinders on for Braid to save any surprises that may come in the game. Wish me luck as I know the puzzles are quite mind bending.

--Backlog Killer

34 - Ultima 4 Has Been Completed!


A huge push in the last week and a half has brought me back to the point I lost all my game data for Ultima 4. About six hours of game play has led to attainment of all eight virtues, the three items required to enter the abyss, the eight stones of virtue, and the three keys to open the access the Codec. Rushing through the game has also provided more frustration by laying bare its inner workings. The enjoyment of Ultima 4 comes from exploring the world and talking to its inhabitants. This naturally leads to acquirement of virtues, experience, and items. When rushing through the whole thing, these tasks are reduced to menial actions such as donating blood over and over, giving away money over and over, praying at shrines over and over... It's sort of like when you are driving to a new place and don’t notice traffic or other things going on besides your destination rather than being bothered by other drivers and minor delays when you know EXACTLY where you want to go. Fortunately, I had trained myself well to complete these tasks and was only mildly annoyed.



Gathering the masses


Before being so rudely interrupted during my other playthrough, I was just getting ready to collect the rest of my party. I visited the other cities to recruit the characters I had not taken into the dungeons (Minoc, Skara Brae, Jhelom, and Magincia) and put them in my party. I have three big problems now:

1) These characters have almost no experience and couldn’t hit the ground if they tripped and fell

2) The new followers need better weapons to make them useful in the Abyss

3) Combat is now TORTUROUSLY long as I have to complete eight moves instead of two or three


Just walking around the world has become a chore since any weak monsters that attack me will require at least two to three minutes of fighting. The new followers are almost no help and cannot hit anything. I was going to level them up initially, but now I think I will just make some resurrection spells, let them eat it, drag their bodies to the last part of the abyss, and resurrect them for the reading of the Codex of Infinite wisdom. I was at least able to equip them all with mystic armor and magical weapons to give them a small chance of survival.

My three strong companions, four underwhelming partners, and I board a boat to set sail for the final battle on the Isle of the Avatar.



Reaching the Island



[Deja Vu...]



Here we are again, invoking the power of the HMS Cape to strengthen the hull of the ship before engaging the pirate blockade. Using the same strategy, I simply move next to each ship and eliminate the crew to disable them. After reaching the shore, our expedition hikes through rocky terrain into the volcano itself to destroy Mondain’s Skull and open the Stygian Abyss.

The abyss is just like any other dungeon in the game except it blocks the player from casting Up or Down making traversal of every level necessary. At the end of each level is an altar that asks a question about each virtue that must be answered and its matching stone be deposited on the altar opening the ladder down to continue. The upper levels are quite easy and have only minor combat and puzzles in each room. As the party progresses deeper, things become a bit more ominous.


[The abyss looks like other dungeons to the naked eye. Just kidding, it looks identical to other dungeons.]


Around level five or six I hit a room full of Reapers around a corner that did nothing but put my party to sleep. I can honestly say that this is the most annoying part of the entire game. It is even more annoying than finding secret walls or touch plates in the rooms as in those cases it is possible to at least move around. While asleep, I had to simply watch the screen as it spammed the spell over and over while hoping at least one of my characters would awaken. It was very common for almost all of the party to put to sleep and any stragglers who remained awake were blocked by the bodies of their sleeping buddies. I had to wait for the sleepers to wake up, move them out of the way, let the others through, and hope that no more sleep spells were cast. At least I had some Tremor spells to soften everything up so that the first character to make it around the corner had an easier job.


[A common sight: everyone is asleep.]


The eighth and last level of the dungeon had one of the most devious collection of rooms I had encountered. The first group of rooms are full of false leads that look easy but lead into the middle of the map and only emerge where the party first entered. To progress, it is necessary to walk through lava, fight more sleep casting enemies, and find not one but TWO secret doors in a room. (One opens with a touch plate, but this is not the right way. ANOTHER touch plate is revealed allowing the correct direction to be traveled.)


[The final level of the Stygian Abyss!]


The second room group is much easier with a disappointing battle against an evil party matching mine. Hal cast two tremor spells eliminating all but one member of the opposition who was easily mopped up afterward. I completed the last combat room without even knowing it. After finding the touch plates to open the secret door, I approached the final altar nervously and offered the last stone I had: that of humility.




The Real End


After entering the password I learned from the castles (Veramocor), I entered the last chamber.The final part of Ultima 4: Quest of the Avatar is a quiz about all of the virtues and principles learned throughout the game. It makes sense in the story, but it reminds me of John Galt's bloated speech near the end of Atlas Shrugged. It's almost as if to say "Well, if you haven't been paying attention to the themes and messages of this piece for the last twenty hours, let me ram it down your throat." (Although this quiz is admittedly MUCH easier than reading that part of Atlas Shrugged) Simply answer the questions with the eight virtues and the principles they combine to form (Love, Courage, and Truth) to form the symbol and reach the final question:





Infinity encompasses everything. The only way to learn this word is to translate the cryptic symbols that appear after each virtue you ascend. If the player didn't learn to do this when the game came out, I bet he or she would be pretty upset. I'm not sure you can even see them again after the initial showing. In any case, after answering infinity, the symbol of the virtues cracks open revealing the infinity symbol and returns our digital Avatar back to Earth.

Even though the ending may be underwhelming by today's standards, the slog through the final dungeon certainly makes it feel like the climax. Although the final dungeon is not very hard and is a little frustrating, it does well to inform the player this is it and brings some closure to the game. And that's it. I've FINALLY finished Ultima 4; the game that has eluded me for so long.




My thoughts after finishing


After finishing the game, I sat quietly and stared at the final screen for several minutes. I am in my home by myself, sitting on the couch with my dog next to me. All I can think is that "I've finally done it." Even though it is not nearly as important as my actual progress in real life, it is a concrete and satisfying way to quantify recovery. This program that brought me so much frustration and inappropriate stress has been completed and brought me happiness. I cannot even fathom how the game made me so frustrated in the past. Sure, some of the mechanics are dated such as the combat flow and the constant sleeping spells, but they are not nearly annoying enough to inspire anger, stress, or hopelessness I felt while playing it previously. It is obvious that I was projecting my own life into the game. Even though this is obviously what Richard Garriott intended, he wanted it to be what it is now: a feeling of hopefulness and contentment rather than frustration and rage.

I feel like the game has almost symbolized my own transformation into an Avatar in my own right. Instead of focusing on honesty, compassion, and the other virtues of Britania, I am a paragon of patience, understanding, empathy, and love. Just like the unnamed protagonist in the game, I certainly understand what it is like to be out of control of my own life and not sure where to turn next. But I have learned that relying on others is not weak or 'cheating', it is necessary to live a happy and healthy life. In a way, after finishing Ultima 4, I have finally returned to my own life's grassy meadow. I am laying comfortably and contented with where I am in my life with my wife and career. Even though the world may be imaginary, I am well aware that I can always return to Britania (my path to recovery in real life) to strengthen my resolve and be the hero that I need to be. A true Avatar ready to help others at any time. Is that a Renaissance fair I hear...





--Backlog Killer

Regrouping


Although I was quite upset after losing my Ultima save game, the accident brought about an epiphany. I’m sure in the past I would have lost control or done something I would have regretted such as yell at the computer or something equally as stupid. This time I thought about the pros and cons of restarting and what it would mean for the blog and my own time. While I was playing through originally, I frequently wondered about how things would flow once all the clues and goals were documented. This ‘tragedy’ is the perfect chance to find out.

The answer is: Ultima 4 can be completed in less than ten hours.

Aside from some grinding virtues and difficulty finding a boat (again), things have progressed about four times as fast. I am about to ascend in all the virtues after about three hours of playing and will be diving into the dungeons to collect the stones and keys once again. I will even be able to better prepare this time to prevent delays caused by my dungeon nemeses: Reavers. These stationary monsters that cast sleep on everyone at once can cause nightmares for the player. Six reavers can cast sleep six times in one turn, put your entire party to sleep, and pound them with electricity and fire. If I can make a lot of tremor/earthquake spells, these huge encounters should be much more comfortable.




I would put my estimated play time at about six to eight hours. I will be eager to see if this is how it will actually go down. After ‘power gaming’ for a few hours, it must be said that the entire flavor of the game world comes from conversations with the locals and the sense of wonder derived from exploring all the towns. Although I can handle the mechanics easily, it is like opening a television and seeing all the complex and ugly parts that weren’t meant to be observed individually. If you take the time to play, I genuinely suggest you do not consult a FAQ until necessary to fully absorb and appreciate the rich imagination of Lord British.


As for me…

I may be getting too confessional again, but I am very proud of how this entire thing went down. In the past, I can imagine this whole debacle weighing heavily on my mind with regards to time lost, effort lost on writing, my own stupidity and carelessness, and the actual act of giving up. The truth is that I was going to give up initially, but why not go for it? I had just written an entire post about how beating the game was going to prove to myself that I had recovered leaps and bounds beyond my previous mental state. Wouldn't giving up be falling into the same traps?
My wife also encouraged me to do the same, even though she doesn’t understand why I take video games so seriously. In most cases I would not care so much, but Ultima 4 carries so much weight for me. You could call this my last remaining white whale from that time. I cannot think of another project or game I would like to complete that I was unable to because of my problems. This one is more important than others, but only to me. Do you have any games (or books or other projects) that you regret not finishing for any reasons that may seem unreasonable to others? Be sure to let me know in the comments, I think it’s a really interesting idea to explore. I know I have always set arbitrary goals for games to beat such as Wizardry or Ultima 4. Although… I think most of these are super difficult games just so I can say “I finished it!”

I will continue to play, but will hold off the next entry until I have some real progress to write about. I still anticipate the next entry to be a ‘Won!’ post so stay tuned, this ain’t over yet.



--Backlog Killer

A Tragic Mistake

Well, readers, I've really screwed the pooch on this one. I will not be finishing Ultima 4. It turns out I have two copies of the game on this machine: one installed on the hard drive, the other on a flash drive I had used for testing on different computers. It turns out the game I was playing was on the flash drive and not the hard drive. After deleting the contents of said flash drive (thinking it was safely on the hard disk) to copy documents for a friend, everything was lost. It is not in the recycle bin. All of my progress, characters, stones, virtues, boats, all gone. I will not be able to finish the game and I am severely disappointed. I was going to win on my next play session and now I will probably never complete the game. What a shame.

More to follow later.


--Backlog Killer



Edit: I have decided to start over using my existing notes. Although annoying and frustrating, it is going well and should take half as much time as it originally did. Wish me luck.

33 - Lord British's Gift to Me


Playing Ultima 4 has become much more of a ‘face yourself’ situation than I had imagined it would. Even though I am encountering many of the same frustrations I did the first time, it is going much more smoothly. The game is starting to show its age now that I am beginning to poke around underground, but it is definitely not a deal breaker. It is more like suddenly changing the water tap from hot to cold. Let me explain…


The (Partial) Avatar

After the last update, I went on a quest to begin moongate hopping all over the world. In Britania there are two moons; each one waxing and waning at different rates. In addition to this, gates open and close depending on the phases of the moon. The moon on the left represents the departure gate while the one on the right is the destination. E.g. Moonglow is associated with a new moon and Minoc is a full moon. If you are at the location of the Moonglow moongate at a new moon, it will appear and, if the other moon is full, you will end up in Minoc. This is difficult because the moon phases do not always match up with where you want to go directly, forcing you to jump around until it is possible. Although this is useful in the early game, I need a faster way to get around. I need a ship.


[The moon configuration at the top would send me from Yew to Britain.]


Pirate ships are randomly generated. They appear in the ocean and along coastlines where you can board them, defeat the crew, and take them over. I waited for ten real time minutes on an island while passing turns and found nothing. Of course, once I gave up and went to Britain to make some money a boat showed up immediately. They are completely necessary as even though all the cities can be reached via moongates, some of their corresponding shrines cannot and require other means to travel to the remote islands. That may be a blink spell or a boat, but a ship is easier in most situations.

After becoming a sea captain (AHROY!), I was finally able to round out all of the virtues becoming the partial avatar. I have now made it further than ever before in Ultima 4. Now that I am the partial avatar, there are a few other things to take care of. I mentioned that it was necessary to retrieve the stones of virtue before entering the Abyss, but this is for later as most of them are in dungeons underground. I was able to snag two of them (Black for Humility and White for spirituality) since they were lost and scattered around the world. Black was easy. I was given a clue to search at the new moon moongates when two new moons appear. Simply go to Moonglow, stand on the moongate square, and hit search as soon as both moons are new. Easy experience points and stone. The white stone, on the other hand, was quite a lot of work.

Another clue tipped me off that the white stone of Spirituality had been lost in the Serpent Spine Mountains. After walking around the mountains twice it was obvious there was no way to get in there on foot, so I needed a way to get over them. There are no grappling hooks in Ultima 4, so I had to fall back on a little spoiled knowledge that there is a hot air balloon hidden somewhere in the world. It is actually located at the exit of one of the most remote dungeons in Britannia… so how do we get there?

Turns out Lord British has a secret escape route to this dungeon, named Hythloth, right behind his castle! Of course! I have no idea why this is here, but quickly ducking into it and then casting an X-it spell (Exits whatever town/dungeon you are in) leaves me at the main entrance on the other side of the planet from Castle Britain. After walking through the hills I find the balloon anchored next to the mountains.


[Huh, I guess nobody needs this balloon...]


This thing is a nightmare. It is by far the fastest form of travel in the game, but, ironically, the least controllable. It is impossible to change the direction of the balloon manually putting you at the mercy of the wind. There is a spell that lets you change the direction of the wind, but more often than not the wind will change again within the next few seconds. After several minutes of aimless drifting, I was able to find the mountain range again and see a small patch of grass in the middle. I landed outside of the mountains to change the wind to make another pass to line up the balloon with the landing area. I was worried about having to readjust east or west over and over until I could catch a quick Northward wind into the area. Fortunately, I casted wind change and ended up passing right over the grass. The game was kind enough to not change at the last second allowing me to land on my first attempt which I am EXTREMELY thankful for. With two stones in hand, it is time to go into the dungeons.



[So far, this is the most annoying thing in the game.]


Before heading into the dungeons, I hopped into the ship for a quick errand I had forgotten about. Mondain was the enemy in Ultima 1. After he was killed, destructive artifacts of his legacy were spread throughout the world. There was talk about his skull being lost and used for evil, so I decided to destroy it. After sailing around in the ship, I spotted a suspicious formation of three volcanoes. In the middle is a small but obvious area that you can sail into. Searching at two new moons gets…





The skull can be used to the detriment of all virtues to kill everyone in a single city or dungeon, but we aren’t interested in that. We need to destroy it. Rumor says the only place to truly destroy the skull is to throw it into the abyss, much like the one ring in The Lord of the Rings. I took an early trip to the island where the abyss is located, defeated the unexplained pirate blockade there, and tossed that sucker into the abyss to never worry anyone again. I’m sure nothing else from his legacy could cause any trouble in the near future. (Ultima 5, look out folks) To strengthen the hull of my ship for the pirate battle, I found the magical wheel of the HMS Cape that I had learned about from a sailor in the Serpent’s Hold. Despite this strength, it was tough to use the cannons without getting obliterated so I simply boarded all the ships and killed the crew.


[That's the end of that... or is it?]


I also took the time to collect the three items required to enter the Abyss that were hinted at in each of the castles dedicated to Love, Courage, and Truth. The book of truth was easily found in the library at the Lycaeum. I found the Bell of Courage accidentally by sailing around and finding a strange formation in the water where the Bell is located. The Candle of Love was the most difficult part. I was informed it was hidden in a town off Lock Lake that is inaccessible by boat. I searched the whole coast finding no entrance and resorted to blink spells to teleport to visible areas otherwise inaccessible. I ended up blinking next to the town of Cove where I found the Candle in a hidden passage in the Shrine of Love. Although difficult, I felt pretty good about finding the hidden town. With these three items, I can enter the Abyss when it is time for the final decent to the Codex.


Spelunking with Buddies

Since dungeons are end game territory, I decided to pick up a few companions as a Mage will most likely experience trouble on his lonesome. The player is required to have eight companions to enter the final room with the Codex along with mastering the eight virtues and the eight virtue stones. Unfortunately, half of these companions are garbage. There is one in each town, aside from the one the player begins in, giving the party one character from each class. Companions that are shepherds and tinkers are notoriously weak and will be left until the final dungeon dive. I used my Ultima 6 knowledge to pick up some canon characters (Iolo, the bard from Britain and Dupre, the paladin from Trinsic). I also got the fighter Geoffry from Jhelom for extra help. This combat heavy group is made up of the few characters carried into future games as companions and gives me much needed firepower at the front in terms of fighting skills since a mage is limited to certain weapons. Speaking of equipment, let’s see what we can do about that. (And yes, I know I missed Shamino in Skara Brae, the third canon character. So sue me!)

Spoiler territory here, I know about mystic weapons. I did not hear anything about it in conversation, but mystic armor and weapons will appear in Empath Abbey and the Serpent’s Hold respectively after ascending all eight virtues. Aside from being the best armor and melee weapons in the game, the swords can also be found and sold repeatedly for infinite cash. I used this trick to purchase a magic wand for Hal (the most powerful mage weapon) and kit out Iolo with a magic bow while giving Dupre and Geoffry magic swords. Even though these guys have the most powerful weapons and armor, they begin at level three and there is no motivation to build that up. It is especially annoying because more characters means more turns in combat increasing the time required for each battle. It should also be noted that the character landing the killing blow gets the experience, so any grinding will be weakening each enemy then allowing the companion needing experience to plink away at it until it dies. I’m afraid they’ll have to languish at level three forever.

I used the rest of the money to whip up useful spells for dungeon diving. The most useful ones for navigation are Y (Moves the party up one dungeon level), Z (moves the party down one dungeon level), Light for the darkness, and more X-its for quick escapes. Tons of Cures, Heal, and Resurrection are also in the cards in case emergencies occur. Even though the party can hole up and camp in the hallways, some of the battles can get a little hairy and require some magical intervention. This is especially true when fighting Reavers, one of the most annoying enemies in the game. They are unable to move, but constantly cast global sleep spells that can put your party to slumber while they pound them with electricity or fire. Awaken can help, but usually ends up with being wasted when they fall asleep the next turn. If there are eight Reavers, they can cast sleep eight times in one turn. Terrible.

When beginning writing, I had only gone into one dungeon, Shame, to retrieve the purple stone of Honor. At the time of this re-read, I have retrieved seven out of eight stones and am almost ready to complete the game! I was worried about needing to use maps for the dungeons, but that turns out to be unnecessary. Gems bought from the adventuring guild not only display the layout of the level, but also the location of traps, rooms, and the location of the stones themselves.  Each dungeon also contains orbs allowing any character who touches them to increase certain stats in trade for extensive damage. This can be exploited by constantly healing/resting/drinking from healing fountains and touching them over and over, but I will not be doing this. I like to min-max as much as the next guy, but with combat being as easy as it is I simply do not see the need to waste the time.


[The dungeon view. A ladder is going up in this square.]


After finding the purple stone, I continued down to the bottom floor which opens into alter rooms where the stones can be combined to produce the three keys to the final room in the game. Unfortunately, I only had three of the eight stones and could not perform this action yet. What IS convenient about this is that these three altar rooms connect ALL eight dungeons in the game making travel between them much more convenient than sailing around the world. This passage is easily utilized to visit each one and move up while searching instead of the other way around. I only need to retrieve one more stone, the yellow stone of Compassion, and I will be ready to get the keys and move into the Abyss.

Despite this, the change from the 2D land exploration and dungeon crawling strikes me as strange. 3D dungeons were included in the previous Ultimas, but are quite different in Ultima 4 since the dungeons feature rooms that are represented as 2D battlefields. Ultima 1-3 simply had creatures in the 3D hallways that were attacked. This change is jarring when trying to figure out the next direction you want to head. For example, entering a room where you know you want to go north involves actually entering, switching to a 2D layout, fighting any monsters there, and then exiting the top of the battlefield. This kicks you back out to the simulated 3D hallway. It is not necessarily bad, but interrupts the flow of game play that the previous format had set up nicely. It is a little like hopping out of a Jacuzzi and doing a cannonball into a swimming pool. It takes some readjustment and ends up comfortable, but is fundamentally different.


I can see myself completing the game in the next one or two serious play sessions. All that remains is collecting the last stone, using them on the alters to get the keys, collecting the rest of my companions, and diving down to the Codex. I hope that my next update will include the word “Won” in the title.



Flashbacks

While playing the game, I have had some really weird feelings. I encounter similar situations that bring back uncomfortable feelings I experienced the first time around. Near the beginning of the game, while trying to parse all the required tasks, I felt familiar frustration about things seeming to spin out of my control. The great part about this is I can take a break, assess the feelings, think about the goal I want to complete, and ignore things that don't matter. I am in control of my thoughts. I associate hyper-sensitivity and hyper-awareness about everything occurring with my depressed times. An inability to gate and sort information leading to much of the frustration I encountered in the game. That is no good.

I feel successful almost completing the game. Not only because it is an undisputed classic I have wanted to finish it for several years, but also because I can face a tangible piece of my past and conquer it. One of my biggest fears is that I have left scars, shadows, or the image of a monster in the past that can never be defeated. I know this case is true in some uncontrollable aspects, but being able to take down something I associate so heavily with the past is a true victory. I can put it behind me and honestly say to myself "Buddy, you've changed, made progress, and moved on."

It is important to revisit items and media to see how we have changed. Books, movies, games, and other things are permanent and do not change; only how we feel about them does. Revisiting them can unlock new meanings that were previously unseen, bring new feelings about that we didn't know about, and help us see how we have changed as a person. Ultima 4 has certainly helped me do that and, even though I feel kind of silly saying it, has served as an important measuring stick for my personal evolution. Progress in this game has actually given me more confidence in myself. I think Lord British would appreciate that sentiment.



Next time...

Next time I fully expect a winning post. I'm enjoying the game and having a lot of fun. No responses on my question so I'll give a hint. Hal is the main character of one of the most notorious "big ol' books" that hipsters love to talk about... mostly about addiction, entertainment, and tennis. If you have a guess, leave a comment with the book title and you win a free game of your choice under $10 from Good Old Games courtesy of me. See you next time!


--Backlog Killer

32 - Back From Vacation


Someone once wrote “It was the best of times, it was the worst of times,” and this vacation certainly fits that bill. Although there were a few hang-ups and accidents during (and after) the trip, I have come back more relaxed than ever and had a great time. Not only is my mood calmed, but I have returned absolutely enamored with Ultima 4. This bodes very well for the blog, my own attitude, and the chances of FINALLY getting this thing done!


From the Start… Again

If you follow my tweets at @backlogkiller, you may have seen that I decided to follow through with the previous post and restart Ultima 4. I was worried it would be a disaster and lead to repeating bad habits of getting frustrated and starting over and over. As indicated above, this is not the case and I am having a blast playing through again, leaving my previous level of progress in the dust.


[The first screen of the intro to the game.]


The game begins with the player, actually you (the REAL you), sitting beneath a tree relaxing and thinking about life when a mysterious portal opens depositing several books and an ankh. These books are The History of Britania and the spell book listing the reagents needed to cast the various spells in the game. What was really cool about older games is the physical copies of these books were actually provided and are not included in the game as a codex. Digital PDFs are included with the GoG release of the game, but it’s just not the same a pulling the cloth maps and books from a box with the torn shrink wrap still laying beside it…


[A similar kit came with my copy of Ultima 6]


Anyway, after reading the books, a Renaissance Fair appears over the hill, seemingly out of thin air. After investigating, you are drawn to a fortune teller’s wagon to begin an interesting character generation process.

Instead of being treated to a matrix of numbers and stats to dump them in, the game provides situations in which the player must answer moral dilemmas to determine which class is the best fit. Since each class is associated with one virtue (e.g. Mage is Honesty and Paladin is Honor) it is easy to game the system, but I am sick of doing that and decided to follow my own morals and just take whatever is dealt to me. Here are the questions that were asked and a little reasoning about my choice, just for the heck of it.

The creation process begins with a tarot card reading in which two cards are placed on the table representing two virtues. A situation is posed and you must choose which virtue to honor. It works by narrowing down the original eight choices. The first round is four questions including all eight virtues, after which the ones you chose are pitted against each other, then the final choice in which you choose your highest valued virtue and, as a result, class. Here we go.





Honesty vs. Spirituality
This question was easy for me. Even though I have hope for people, when it’s my reputation on the line I will never endorse someone that I am unsure about. Sort of like a job reference. An easy choice for HONESTY.





Compassion vs. Sacrifice
This question was a little tougher since it’s a loss either way, but I was going off the assumption that no matter what happens I’m going to get slaughtered because the army has been routed. If I stay to help an injured comrade or just stop to face a charging army I’m going down. I’d be no match for the whole attacking force, so I chose COMPASSION to see if I could save one life since it is very unlikely I would be able to save them all as one man versus an entire army.





Honor vs. Humility
I’m a pretty humble guy, myself; I don’t like making a scene. This choice was easy, though. It’s essentially ‘Will you make a difference in the world or will you just sit around and be content?’ Even though I try to be comfortable with where I am, I don’t simply want to settle. I chose HONOR.





Valor vs. Justice
Once again, an easy choice. I am charged with securing an important treaty that could save lives. Of course it makes me mad to be insulted, but not only will the treaty serve a greater good, but it is also my job to get it no matter what. I chose VALOR.





Honesty vs. Compassion
Once again, this is an easy choice. The money is not mine and I am given a job to do. I would rather give to the beggar from my own wallet than cheat somebody else out of their money they trusted me with. HONESTY.





Valor vs. Honor
This question was a little tougher. I did think about going to join the comrades, but thought that if the lord or king dies during battle any future engagements will be devoid of morale. I chose HONOR and stayed on guard to make sure I do my entrusted job.





Honesty vs. Honor
Finally, this last choice will determine if my Avatar will be a Mage (Honesty) or a Paladin (Honor). This one was super easy to me. Given the corruption and evil in the world today, I would never stand up for a criminal who I know to be wrong. I chose HONESTY with no hesitation placing me…





…just outside the magicians' city of Moonglow, ready to begin the quest of the Avatar.

When introduced to the game for the first time, your goals are a mystery. Simply exploring and wandering around the world will reveal the plot naturally, but I already know all that stuff. We need to master the eight virtues and enter the Stygian Abyss to retrieve and read the Codex of Infinite Wisdom. This involves several steps: exhibit the prescribed virtues through actions, find the key rune allowing entrance to the shrine built to honor each one, learn the mantra for each virtue, and meditation using this mantra. This sounds like a lot of work, but is actually not too bad.

The shrines themselves are visible on the map and easy to identify (save one). Each Shrine has a nearby town dedicated to that virtue where the inhabitants will aid you by hinting at the rune’s whereabouts and the mantra needed to meditate. It is nice to have a set plan when entering each town, that being talk to every character and ask about the ‘rune’, ‘mantra’, and ‘shrine’. This is accomplished through what was, at the time, a clever text parser.


[Chatting with Lord British.]


Instead of receiving information dumps from each NPC, the player must read their responses and pick up on certain key words that the NPC will respond to when asked about. This system was made easier in Ultima 6 when these keywords were actually highlighted in red. Using these cues, the player can progress through various subjects and take notes to ask other NPCs in other towns all over the world. One thing I discovered is that, in addition to mastering each virtue, I will also need to find a colored stone for each one that is buried in a dungeon titled the opposite of that virtue. (e.g. The stone of Honor is in the dungeon Deceit, the stone of Humility is in the dungeon Pride, and c.) I had not realized this in earlier playthroughs and have added the keyword ‘stone’ to my round of interrogation in each town.

After visiting Castle Britain, discussing my quest with Lord British, and travelling around the world, I am happy to say I am doing very well. If you have been following my tweets, you will see that not only have I ascended in two virtues (Honor & Justice), but I am also ready to meditate on three others. This puts me almost at the halfway point when I am able to become a partial Avatar having mastered all eight virtues. The process of preparing for these virtues is a little more complicated, though.

As every virtue must be enacted by the player, these all have in game metrics that are constantly being monitored. Some are obvious and easy to achieve. I ascended in honor and justice because they are naturally exercised. Honor is gained by finding quest-related items such as runes, being honest to the blind shopkeeper when buying reagents, and giving money to beggars. Justice is achieved by not attacking evil creatures and being honest to the shop keepers. Others I am ready to ascend in are valor (gained by killing evil creatures), spirituality (meditating and talking to Hawkwind who informs you of your progress), and honesty (simply telling the truth in conversations). I am afraid that compassion and sacrifice will be tough to grind up as the only ways I can see to gain virtue in them is to repeatedly give money to beggars and donate blood to the healer. Although not terrible, these actions do not occur in normal game play and can be annoying to artificially build. (Edit: At the time of editing this draft I have just ascended in Sacrifice by donating what is probably five times my body's complete volume of blood. Thanks for the free healing, Lord British! --BK)


[They just keep on coming!]


To round everything up, I have visited every city on the main continent and will begin using the moongates near towns to travel to other islands. These moongates are not the easiest tools to use as their destinations vary depending on moon phases, but are essential in the absence of a boat. Finding pirates floating near the mainland would be fortuitous. Other than that, it’s just visits to other towns I’ve yet to see to get the rest of the runes while grinding up virtues. Towns I need to see include Magincia (Humility), Jhelom (Valor), Buccaneer’s Den, and Skara Brae (Spirituality). As I said earlier, the CRPG Addict does an admirable job detailing his visits to these towns and I will stand on his giant shoulders once again. The entire journey is very interesting and definitely worth a read.


Looking beneath the hood.

I am more excited about playing Ultima 4 and what I have achieved in it than in any other game I remember playing in the last few months. After doing a little live tweeting about my progress, I went to bed with actual images of the game running on the screens of my closed eyelids. It was like I was eight years old; like being a kid barely able to get to sleep just to wake up at 6:30 am to start playing again. I was so thrilled with the feeling of being excited about games that it must have taken me thirty minutes or so to fall asleep.

I planned my moves for the next play session. I was planning on heading east to Minoc to find the rune there, maybe grind up the virtues mentioned above, ascend in those virtues, then start moongate hopping all over the world. It was glorious. No longer did this feel like playing for the blog or playing for the sake of the game itself, but rather playing for me. How old is this game again? Twenty-seven years old?!

What is really amazing to me is how UN-annoying this game is. Some of the systems have not aged well and the sound design is atrocious. Having the speaker blare white noise each time you take a step while poisoned is not a great design choice, but the entire system working in concert is quite smooth and has left me missing an hour or so when I meant to play for fifteen minutes. The very nature of being excited to get back into the game because I am having FUN puts a stark light on my situation a few years ago. I felt compelled to finish it because I would not be beaten. This, in turn, transformed into frustration and further anxiety about the game itself. It was madness and I am so happy I can experience the game as it was meant to have been.

Something that is so cruel about those darker times was that the hobby I loved the most, video games, actually piled MORE pressure on me. I felt like my failures in anything, including interactive entertainment, reflected on me poorly with regard to my intelligence and ability. This evil voice in your head is something that is tough to shake and disguises itself masterfully. Every day I can sense it trying to sneak in and whisper into my ear that I'm just not good enough, not worth much, a failure. Being able to tell that bozo to buzz off is one of the most satisfying things in the world. Even as I type this, I can hear it telling me that this writing is lazy and puerile... well you know what? I don't care.

I'm going to play Ultima 4 and complete it not because I have to prove that I can or am smart enough, but because I am really enjoying playing. That is all that games are for at their core. I love to dig in and interpret what they mean to me. I may be wrong in a broad sense regarding authorial intent, but art is a medium that interfaces between the observer and the artist. Besides, it's fun to do, even if it is a bit silly.


---Backlog Killer

P.S. You may have noticed that I named my character Hal. This is not my name and comes from a book I'm currently reading. If you think you know which book, leave a comment and I may just have a special prize waiting for you...

31 - Ultimate Ultima


Since I am taking time during my working hours to pound out a cheeky entry, I hope that it will be up to par with the rest. As I announced last time, the next game up for killing is the first game I want to finish in the Ultima series: Ultima 4. (A free to play download if you are interested.) I have begun and have been playing quite a bit and am feeling good about it, although there are some obstacles to surmount. Many of these are being smoothed out as I go on and will become less trouble as I progress.








Why Ultima?

Ultima 6 was one of the first games I got for my computer as a child. My dad bought it for me at a used book store just after getting our brand new 486/33 PC around 1992 or so. I spent a lot of time playing the game, exploring it, and goofing off, but I never got a clear idea of what was going on. The game, just as the others in the series I was not familiar with at that point, was open-ended and granted almost infinite agency to the player. I eventually got bored since I could make neither heads nor tails of it at the age of eight or so.

After growing up a little and thinking about it, I became very interested in the story of Richard Garriott (aka Lord British) who is the mastermind behind the series. A success story that shames me to no end, Lord British sold his first game – Akalabeth – while still in high school and was able to make around $160,000 dollars just doing something he loved. Using this experience and money, he went on to design the entire series with every game being more successful and interesting than the last. (At least up to Ultima 8, that is.) Ultima 4 was his first real stab at a complete world with authorial intent. It lives on to this day as a touchstone for RPG games and a groundbreaking entry in what was once simply a substitution for tabletop Dungeons & Dragon sessions.

The first three Ultimas involved a stranger, the player, showing up to the virtual world to destroy the ultimate evil. The problem with these games is that the players’ own actions ended up being much more evil than ANY of those perpetrated by the “villains”. Players would steal, murder, lie, and cheat to get all of the most powerful items to destroy the enemy. In the first Ultima (which I HAVE finished), it is even required to murder a clown to get an item. After complaints of bad influences and immorality from players and parents alike, Richard decided to take a different direction for his new game.


[A scene prior to the murderous rampage about to occur.]


Ultima 4 is a brave experiment that could have gone very badly. The game has no villain. Although there are monsters in the world, they are not out of control or trying to destroy civilization. The only point of the game is to be as good of a person as the player can be. It sounds ridiculous, but is a brilliant way to inspire role playing, storytelling, synergy with the narrative, and to get those complainers off of his back. As Lord British says (Richard Garriott puts his nick name-sake in each game as the king of Brittania), the people need someone to look up to.  Your only objective is to become immersed in all of the virtues (Honesty, Compassion, Valor, Justice, Sacrifice, Honor, Spirituality, Humility) and the principles formed by them (Truth, Love, and Courage). Once this is accomplished, the player is to descend into the Stygian Abyss, retrieve the Codex of Ultimate Wisdom, and serve as a paragon of morality. That’s it.

Now, even though this can be accomplished in many ways, the game forces the player to exemplify these virtues. There are ‘gamey’ mechanics behind them since you can cheat the system (e.g. Buy 99 of each spell reagent for 1 gold and then rebuild the deficit by buying many items for well over the asking price), but the theme remains. This went on to be considered a game-changer for the genre and has a legacy that endures to this day.



What does this game mean to me?

Now we’re getting into the thick of it. I have a little bit of a sordid history that may seem contrary to the cheeriness demonstrated above. During some of my darkest days of depression, I latched onto Ultima 4 because of its intricate systems, vast world to explore, and, crassly, its thoroughly nostalgic look. I not only wanted to escape the problems I couldn't parse in my life, but also had a weird habit of choosing brutally complex or difficult games to do it with. Ultima 4 fit the bill, but was also infinitely frustrating because of all the moving parts.

The game is meant to be played as a flowing adventure where exploration, gradual discovery, and slow excavation of mechanics would naturally lead to everything coming together. When looking at all the moving parts individually, it is much like examining the guts of an expensive sports car that is currently running. There are so many things to keep track of and examine that a mind that feels compelled to have EVERYTHING under control will rebel. I eventually shook the game off as “too frustrating” because going back to get all of the proper equipment, power gaming the shops, and grinding up virtues was too much trouble. Ironic that the game I was using to escape life ended up reminding me just as much of my inability to cope with anything remotely stressful. I left it in the dust to never be finished. Even up until it was rolled for the next game, I had Ultima 6 listed as the next game I would play in the series.

My recent life has been very rewarding, despite my constant complaining about how busy it is. My job is steady, I am healthy physically, I have good friends, and I am going on vacation for six days this weekend. Other, more personal, things have been changing for the better. Not so much turning proverbial corners as they are rounding long meandering mountain curves, but I am given so much hope that everything seems brighter these days. Even friction that occurs in life and family seem like temporary woes that I am becoming more comfortable handling. I am even able to take a more supportive role which is amazing to me. Basically, I’m in a much better space and wanted to give it another go as Ultima 4 is one of the most important games in RPG history and its design still appeals to me greatly.

I now return to it feeling much more ready to roll with punches and take a more balanced attitude toward the game. I am already quite spoiled on it, so instead of pretending like I am completely ignorant, I am consulting old notes I have as needed. I am also not completely against checking FAQs as the game does have some rough edges that can be tough to smooth over, but I have not done so yet. I can already see the light at the end of this game’s tunnel, even if it is just a pinpoint.


[Show me the way you legendary and successful nerd.]



And finally…

I’ll reveal more about actually playing the game in the next post. It won’t go up for at least a week, so just hang on three people that check regularly for updates. I have probably put three to five hours into the game and would estimate myself to be about 30% finished, but am actually thinking of starting over to go through more smoothly as I may have made some mistakes. Maybe I’m falling into old habits? Who knows? What I do know is that if the player knows what he or she is doing, the game can most likely be finished in less than ten hours. I can get back to where I am now in about one hour of game play.

Another extremely popular blog, the CRPG Addict, has done a thorough and masterful examination of the mechanics and story of the game. I suggest you check that out as a companion piece if you are interested. My play through, although game related, will most likely be tangential and have threads attached to other subjects. I am really enjoying this style of posting and want to experiment with it. If you have any comments or feedback about the nature of more personal postings or style, please let me know. Also feel free to leave feedback about the game itself or any tips and tricks you may have.

Follow @backlogkiller on Twitter for my thoughts. I see these vacation days may roll over to next year so, even though that will go into the bank for a Christmas visit in the US, I may indulge myself with one to just go on a live tweet rampage and try to finish this dang thing. Thanks for reading and I hope you all are well.


--Backlog Killer

30 - Gabriel Knight Round Up


Gabriel Knight easily slips into my top 5 adventure gaming experiences. Although I will admit to liking the second more (the entire trilogy is solid), the original is the zenith of Sierra's traditional design philosophy. It isn't perfect,  but it is as streamlined and 'fair' as any of the Sierra games can be. All death sequences are very well telegraphed and have solutions that do not require items that may have been left behind in another screen, but we'll get to that. First, my general impressions.



Birth of a Shattenjaeger


Gabriel Knight attempts to straddle the line of solid story and puzzles better than any other Sierra game I have played. Although it is ostensibly a story game at it's heart (as are all adventure games as Ron Gilbert lucidly points out), it is also a game of puzzles that gate your progress. The game achieves this pretty well by having fair and mostly reasonable puzzles sprinkled throughout to prevent the player from blowing through the plot. I will talk about these in a bit, but I want to talk about the strengths of the story first.

I was chatting with Gary from Watch Out for Fireballs about the plot of the story and he wisely pointed out that although it is not a great work of literature, it is a very solid piece of genre fiction that should appeal to anyone who is interested in adventures and occult horror. The voodoo angle is very fresh ground that is sadly under-trodden by many authors and mediums. When coupled with what must have been a lot of research on the subject, the whole foundation of the story is quite solid and very interesting to entertain as a horror/conspiracy plot. This nicely beds the story of two sets of star crossed lovers belonging to families forced to reunite as enemies after a century.

The most interesting facet is the game's attention to the fact that neither the 'good' (Gabriel) or the 'bad' (Malia) are enemies at a basic level. Both of them have been drawn into their roles solely because of their blood and heritage. This is an old but powerful metaphor for analyzing the motives and character of anyone we encounter. Although there are possibly predetermined parts of our personality, we are all products of our environment and upbringing. How that manifests itself is the mystery. I enjoyed the tragic bit of sappy forbidden love and it made the whole game round up quite well in the finale.

As for the game play itself, it was fairly standard adventure fare: gather items, use them together, and solve puzzles. What GK features that other games don't is its intensive dialogue tree. This mechanic leaves no doubt that the story is the goal of the game and any puzzles that are introduced are purely for pacing and game play reasons. The dialogue in the game is, for the most part, very good. I have discussed it before, but I will just mention a few items since I have finished the game. The actual 'writing' is quite good, meaning the text displayed on the screen. The voice acting, on the other hand, is very hit or miss. Tim Curry does a good deep and gruff voice, but his accent is very strange. Almost a traditional Georgian accent. (Georgia being the state, not country.) It also tends to fade in and out of several different accents as the situation changes. The best work is heard when Gabriel becomes flustered or frustrated; the worst is when he calls out his tragic "NOOOOOOOOOOOOOO!"s. I guess I am a little more sensitive to this kind of thing since I grew up in the southern United States, but I'm sure everyone can agree Curry's accent for Gabriel is bizarre.

The rest of the cast is adequate and gets the job done. The two best actors I will mention had to be Mark Hamill who played Detective Mosely and Leah Remini who took the role of Grace. Both of these actors had both natural delivery and stayed in their established tone through the whole game. Mosely was especially impressive as a character because instead of being a bumbling cop for Gabriel to upstage, he was actually a very competent policeman with sensible thoughts and actions. In my opinion, he is probably the best written secondary character in the game.

I know I am spending a lot of time talking about voices that don't matter, but this was a huge deal when CD-Roms were first released. The very fact that digitized sound was coming out of a computer was insane. My first 'talkie' game I owned was King's Quest 6. It came with our CD drive and had full voice acting that impressed both my parents and me. Although it is cool, these advances moved to the front of game design rather than good game play and culminated in the hilarious and now mostly ironically appreciated full motion video games. Although there are some truly good ones (Gabriel Knight 2, Tex Murphy, etc.) , most of them were cash ins that were not good at all. Speaking of things that matter, let's move to the game play.

The game play of Gabriel Knight is... good. Most of the puzzles are sensible and make sense inside of the world. There are a few that seem silly such as guiding a mime to distract a police officer or dressing up as a priest to speak to an old woman. There are some brain ticklers like decoding secret messages on the tomb, parsing what the translation could mean, and then making your own message to find the voodoo ritual. And then there are just bad ones that seem unfair like swinging on a vine that looks as if there is no way to interact with to kick a zombie. I would say it is pretty difficult, but not terribly so.

All of this comes together to make one heck of a game that not only has a good plot, but some interesting puzzles that usually mesh well with the environment and plot. Although it does stumble, it actually makes one of the most coherent and satisfying narratives I have seen in an adventure game. When finished, it truly feels like a complete game and has stayed its welcome and left when it knew it was getting annoying. If only more games had taken this advice, maybe the genre would be stronger today.



--Backlog Killer



P.S. Thanks to everyone following @backlogkiller on Twitter. If you haven't, just click the 'Follow' button and I promise not to clog your timeline. I like to crack jokes and give some additional insights as I am playing. @ replies welcome!

Explanation and Announcement


The explanation and announcement are not related in any way, but both are very important. I apologize for the lack of updates recently. These weeks have been EXTREMELY busy and I have had literally no “down time” to do anything unscheduled since last week. Although this is sad and pathetic, it is what it is. I have had no time to type anything including other pieces that have wasted away. Hopefully,  the coming weeks will provide some more calm and time to complete other projects I have laying around. I have an approaching vacation to Thailand that I am very excited about as well as some extra annual leave days that I may use to break up the monotony of my schedule.

As for the announcement… well it’s a little anti-climactic. I am just going to announce that I may have something to announce later. I hope that everything works out and that the blog can continue and expand in other ways. I’ll keep you clued in. I am not shutting up shop by any means.







Gabriel Knight

Gabriel Knight is almost finished. I should have completed it over a week ago, but I had no time as I mentioned earlier. I hope to finish it in the next few days and write a little about why I consider it to be one of the best of the “classic” Sierra games vis-à-vis those made before the move to a single contextual cursor as seen in Phantasmagoria or Gabriel Knight 2. Not to mention that it is one of my favorite adventure games of all time.

If you are thinking of getting it, I heartily suggest you do and play it. Friends of the blog, Kole and Gary, will be discussing it next week on Watch Out for Fireballs and I cannot wait to see their take on it considering it is the first time through for one of them.



Next Game

You will never believe what happened, and this is the honest to God truth. Because of the nature of the games I have played through, I wanted to go back to a really old game that can be bounced around and played in fits and bursts. I had one in mind that was not on the list, but part of a series that IS on the list that I wanted to go back and play. I was greeted with this generated number:





Now number 20 says ‘Ultima 6 & 7’ on the list, but I have wanted to actually complete Ultima 4 for months since I only made it halfway through while playing during my depressed period. I will now take that opportunity. This is entirely kismet as I have been dipping my toes into it over the last few weeks and have slid well into what I had completed before. Now I have an excuse to finish it. Although, it is possible to massage the number to just choose it, I would never do that to you, dear readers. I am absolutely thrilled about this and cannot wait to get started!

Sorry for the big gap in posts and I hope you all will bear with me. See you next time when I wrap up Gabriel Knight: Sins of the Fathers and begin Ultima 4.

--Backlog Killer

29 - On Games


While playing games for the Backlog Killer blog, I try not to burn out on one game and bounce around between a few games I can just pick up and play for a little bit. I try to keep a good mix of new and old games so I can stay up to date. Bouncing between decades is a constant reminder of how far games have come graphically, technically, and financially. It also serves as a reminder of how games have developed in terms of design philosophy and how they treat the player. I often wonder: "Are gamers really better off than they used to be?"

I played a lot of Nintendo games as a kid. We did not get a computer until later so I was used to limited control inputs, fairly simple scope, and limited mechanics. These games could be easily figured out by just playing them and experimenting to find out what made the character jump, shoot, move, etc. The manual could provide some exposition for the game if memory did not allow for an opening sequence, but this was generally optional. It was a good, simple system.

Later, my family finally decided to get a computer. I do not remember what year it was, but it must have been around 1991 or 1992 since CD-ROMs were not standard and we actually had to wait several weeks for ours to arrive. After getting the new machine, my uncle let me have several shareware and non-shareware games to get started. I remember some of these: Duke Nukem, Codename: Iceman, Dark Ages, and Crystal Caves. We also picked up a few other games such as Ultima 6, Wizardry 7, and Might and Magic: World of Xeen, opening up an entirely new world to me.

The new world was not necessarily fun from the start. My parents generally left me up to my own devices because they did not have any idea how to use the new computer either. They would sit with me to install games, maybe play a few with me to make sure they were nothing inappropriate, but if there were any problems, they were just as lost as I was. Without the Internet, I was forced to seek out technical documents, mess around on my own, and just figure out the game itself IF I managed to get it running. After using DOS for a few months, I became quite comfortable editing boot sequences, configurations, memory usage, and creating boot disks for specific games manually at the age of eight or nine. This was only half the battle. Many games of that era had some form of introduction, but many would just toss you in the deep end with no floatation device. Ultima 6 was such a game. Turn it on, create a character disk, create a character, watch the cool intro, and BAM. You are in the game with no idea what to do (since I hadn't played any other Ultimas) and no clear indication of what the controls are. The only sensible thing to do was to go read the manual.

I would bring these manuals to school with me, read them on the toilet, and basically take in every detail so that I would be ready to face the game itself. Even after doing this, many games were quite hard and took hours and hours of figuring out puzzles, mastering mechanics, and putting in hard work to finish. After finishing many of these games I felt a sense of satisfaction that is only matched by completing a tough book, seeing a really good movie, or finishing a long project.


[Better than a cardboard sheet with some commands on it like you get today.]



Fast forward to the past couple of years.

New operating systems and more powerful gaming consoles have made video games available to almost everyone. It is now easier than ever to install and begin playing any game that comes out. These new programs have amazing graphics, full voice acting, and take up entire Blu-Ray discs. I am constantly being forced to question if what I am seeing is pre-rendered, rendered in-game, or a movie or picture from real life. I play through these games, but, for the most part, am unable to feel a great sense of satisfaction anymore. Why is this?

I am about to enter well trodden and supremely jerk territory here, but are modern games as good or demanding as games from the past? Of course they are technically better in terms of graphics, sound, and processing power, but is what’s going on under the hood any better? Whenever I ask myself this question, I usually come to the conclusion that ‘It’s probably the same.’ There were TONS of junk games when I was growing up just as there are now. These are evident within the first twenty minutes of play: boring game play, bad stories when the game is story-centric, and bad controls. Despite this seemingly (admittedly only upon self-reflection) grounded opinion, I still feel something lacking when I play through most modern games that I really like.

Let’s take one recent example: L.A. Noire. I was excited about the game as a fan of James Ellroy’s fiction (The Black Dahlia, LA Confidential, The Big Nowhere, etc.) and gritty cop dramas taking place in post-war America. It originally looked like a sandbox game with a serious story, but turned out to be more of an adventure game which was a pleasant surprise to me. Unfortunately, it also turned out to be quite easy. Crime scenes alert the player when a clue is to be found with piano chimes, otherwise immersive interrogations are ruined with immediate feedback about if your choices are correct or incorrect, and a lack of any ‘puzzles’ fail to make the game any more than looking at items scattered around. I was particularly disappointed with the interrogations as the responses to any option you choose sound authentic and still give some interesting information. Unfortunately, the immediate knowledge of failure makes the urge to restart the process almost unbearable, thus removing any immersion. I enjoyed the game and I think it tried to do something really cool, but I did not feel like I had completed anything truly fulfilling when I was done.

This is just a quick and dirty breakdown of my opinion on that game that has hundreds of holes that I would love to plug, but that isn’t what I want to get to as the crux of this post. I truly believe that games are just becoming a little bit too easy. Now, I don’t think that games need to be brutally hard, but games are meant to challenge the player by design. Living through brutal times where copious notes, repeated attempts, and serious brain racking were required to complete games has brought a deeply ingrained history to contrast against the ‘lead by the nose’ attitude that seems to purvey modern video games. I do enjoy saving anywhere and having extended help in the game, but the fact that many try to lead me hand in hand while telling me “Everything will be OK. Don’t be sad you messed up,” feels a little strange. I do not have that much time to spend playing games and want to have fun, but I also want to be challenged. If I did not want to solve something or work toward a goal, I would just watch television or a movie. I realize this is reductive in that all games require input from the player and require some degree of skill and some even fill my criteria, but many have just turned into self-affirmation sessions where the game tells you how great you are rather than making YOU realize how great you are by winning.

Maybe this is personal so I will use the pronoun ‘I’, but I never feel fully satisfied if I do not complete a game on my terms. If I knowthe game did something to boost me or help me, I feel like I’ve cheated. This isn’t to say I want to complete games perfectly; if I choose to move on knowing I haven’t done everything, that’s OK, but if I know that the game pushed me through a hard sequence or puzzle without me having to figure it out I feel a little uneasy about continuing. I want to finish the game as it is designed and make my own decision about if I should continue past the challenge or skip it. Making me feel like a fool who is in need of constant reassurance is not something I am into.

Maybe it is because I have some weird compulsion about getting everything done by myself, but part of the joy I experienced from old games was actually figuring out the mechanics of the game and just how to get the thing working rather than winning. Having the light switch turn on about what I need to do in Ultima 4 is way more amazing than going through a checklist provided by the program. FINALLY figuring out that I need to use the dance steps as the treasure map in Monkey Island was exhilarating. Just getting sound to operate in Doom using only 4mb of RAM was a puzzle in itself. These aspects are what I miss about old games.

Graphics and sound and the new heights stories can reach are amazing advances in video games that excite me, but how these will be utilized to get the best effects? Will any demand be placed on the player besides “push these buttons” or will we just continue to railroad them around? Independent developers are already exploring this ground that has lain fallow for so long and I hope that more large companies will follow suit by challenging gamers a little bit more than they have been. With that said, I’m going to go back to playing Dark Souls and Ultima 4 in my Ivory Gaming Tower while lamenting lost halcyon days.


--Backlog Killer

Rules Update


Playing through my backlog has been a satisfying experience that has given me the opportunity to write more and finally get around to playing many of those old games that have been lying around. Unfortunately, I can see it getting a little tedious if I don’t break it up into games that may fit better with the rhythm of the blog. In other words, I am going to change the rules a little bit. I am still going to do some random picks, but I want to play every-other game handpicked so I can keep my motivation up as well as play something I have really been looking forward to. I will treat Gabriel Knight as my handpicked game and do the standard random drawing for the next.

I am worried about drawing two games in a row that may cause the blog to stagnate as well as sabotage my interest. Two lengthy RPGs in a row may turn into disaster after marathon gaming sessions just as two FPS games in a row may not provide enough content to write about. I am currently having this problem with Gabriel Knight since I cannot take screenshots and I hate to completely spoil something where the puzzles are secondary to the story. Currently on Day 4 of Sins of the Fathers, I think I am almost half way through so a drawing will be coming soon.

Just a short announcement since I have not had time to do much writing recently. I hope to do some more articles about games in general instead of directly about a specific game since those allow a little more material to consider. I got a great response to the ‘motivational’ article and I am very happy about that. If you found that interesting, I heartily suggest you check out other materials from the writer I mentioned – Merlin Mann. Also, if there are any games you would like to see covered, feel free to send those in as well. Sorry for the short update, but I want to keep everyone filled in with the direction the blog is taking.


--Backlog Killer

28 - Out of Character


Video games normally come in two flavors: a game based on mechanics or a game depending on the strength of the story. This was discussed quite a bit while playing Planescape: Torment, but that was in a much more combative examination. Gabriel Knight uses its story to its advantage. It is much more limited and, in some ways, traditional than Torment, but the writing and characters that comprise it are top notch creating a living and believable world.





Main characters in video games are commonly avatars for the player. They may have some initial motivation in the game based on the story, but serve mainly as a vessel for the person controlling them to insert their own wants and desires. This makes sense for role playing situations or when mechanics are at the forefront, but when telling a story independent of the player's actions, the player's decision can cause some very strange disconnects and is better served with a character with his or her own independent motivations. It all depends on what kinds of constraints are applied to the character including actions that can be taken, where the player can go and what story elements can be completed at what time. Story based games that give the player excessive agency in this respect may seem nebulous or loose when not integrated well. Good examples of this are the Ultima series and Skyrim. It is possible to spend hours wandering those worlds exploring, fighting, and discovering hidden areas because of the agency provided, but the story can fall by the wayside. I'm still considering writing my very late review of Skyrim, and I'm afraid it won't be as glowing as many I have read.

Adventure games in the modern era provide very limited abilities for the player. It is not possible to do whatever the player wants, even with the tools provided. For example, when using something in the inventory like a knife on another character, the game will usually just say "Nope." whereas RPGs such as Baldur's Gate or Oblivion will let you try attacking... even if the results are game breaking or controlled in a more subtle way. (E.g. Important characters are immortal.) Taking away this ‘simulation’ or agency gives adventure games more power as a narrative device to tell a story with strictly defined beats and moments. Unfortunately, many adventure games tell rather bland or boring tales for a medium that allows so much authorial power. Gabriel Knight, on the other hand, plays it to the hilt and uses this power to create one of the tightest adventure game stories created along with some of the most realistic and masterfully written characters to be seen in the genre.

All actions that occur in games are represented visually, so the slack left by the inability to accurately represent emotions or subtle events falls squarely on the shoulders of writing. The failures of many games come from the inability to pick up this slack and to reveal character information in a way that is interesting, natural, and appropriate for the story. King’s Quest covers this by having each new character provide Graham with information dumps to instantly provide an archetypal picture of that person or animal. Space Quest skirts this responsibility by having all characters be caricatures or easily recognized references because that is how many comedies work. Gabriel Knight takes the challenge head on and meets it with surprising grace. All characters of relative importance are introduced naturally and as fully rounded people rather than caricatures or tools to be used for the continuation of plot. Each has his or her own set of motivations that are not obvious from the start and are revealed piece by piece as the conversation progresses. This is in no small part to the dialog tree technology introduced for the game allowing any previously covered subject to be brought up with any character. Not only is it more natural than simply slicking ‘mouth’ on a person and listening to their info dump, it also has the effect of making you, the player, feel as if you have tripped up a real person by asking them something they did not expect. Ask Magenta Moonbeam about the voodoo murders and you can sense her shock at having someone ostensibly concerned about researching voodoo for a book bring up a subject she may very well be tangentially involved in. Strong characters such as Dr. John hesitate if Gabriel brings up ‘Cabri sans cor’, hinting subtly that he may not be all that he appears. When combined with the ability to ask all characters about their own well written back stories, the game transcends one-dimensional game writing to provide truly well rounded literary characters.

Thankfully, the best example is the titular character himself. Gabriel Knight is not a paragon of virtue or a complete buffoon, but a normal guy. He is probably like someone you know. He's kind of a jerk sometimes. He's lazy and rough around the edges, but he's still your pal and you like to have beers with him every once in a while... a great starting point. Then, Jane Jensen continues by giving him his own motivations. When asking about subjects, Gabriel may be confrontational when the player wants to politely inquire. He may have more emotional responses to female characters that make the player cringe. He is his own man, and even though the player has agency over his actions, he or she cannot control his thoughts and speech. This same strategy was used in Mass Effect (which I have not played yet) to great effect and is lauded by reviewers and players alike. Gabriel feels like a real person that you may not like all the time, much like in a good novel or short story. Some of my favorite characters in literature are people I love to hate such as Ignatius Reilly in a Confederacy of Dunces or the truly loathsome Humbert Humbert in Lolita. I don't hate Gabriel, though... at least not most of the time.

Characters are rarely written as true people in most games. Novels and short stories must rely on words to represent the characters accurately because any falseness will be detected immediately by the reader. Video games have the enormous crutch of being able to represent the character as a ‘physical’ being. You can see him or her moving on the screen, speaking, performing actions, thus eliminating the need for the imagination to create this image. This enormous burden lifted, our brains recognize the image as a character that  does not necessarily need to have good writing. The problem is, this often rings false when performed badly. Take Skyrim, for example. The characters of the world are modeled fairly well for a modern game. They walk around, perform tasks, and stop to chat with each other, yet many people (including me) are put off by them. Characters find you and talk to you as if they would always tell some stranger about their jealous competition to court a girl. Of course, why wouldn’t I speak to you about my troubles with the local guild? This forthrightness and hyper-unrealistic frankness is a problem. I say hyper-unrealistic because it is bananas to think you as a player should have to become best buddies in the game by hanging out, small talk, and learning about each other. But it is also the job of the writer to trick the player into thinking this is normal. For me, Skyrim is like living in a beautifully simulated world with majestic mountains and misty rivers, and then entering a city where everybody is just a cardboard cutout with a speaker attached to them repeating the same insipid responses over and over. Gabriel Knight tricks the player brilliantly by providing cagey conversation responses, frequent refusals to answer personal questions, and appropriately revealing answers. Any time you hear a clue or revelation about a character, it feels as if Gabriel earned it and was not simply given this information to continue the plot. It may also help that Jane Jensen is writing characters that exist in our world as it is today.


[The conversation screen.]


Many video games are flippant about writing the characters that exist in the world. The player will be expecting information dumps or caricatures used as check points to get to the next area feeding this attitude further. When writing is taken seriously, a magical connection between the author and player occurs. This ‘quality’ that shines through is often recognized in what are considered sacred cows of games. Commonly cited examples are Planescape: Torment (endlessly motioned here and elsewhere), Deus Ex, Fallout, and Portal. Even though they are not perfect, they provide good touchstones for authorial intent and a human connection through the medium. It is a rare treat to feel truly connected with an author through any medium, be it books, movies, or games. I can only think of a few times this has happened for me, but I can say for sure that playing Gabriel Knight is one of them.

27 - Attacking Your Backlog + Technical Difficulties


For this entry I try to take a different tack for a variety of reasons. I am trying to devise ways to get the blog more publicized and expand into other areas. I initially wanted more from this blog than just to play through old games and discuss general progress. I wanted to talk about how it related to what got me in this position in the first place and to inspire others to conquer their own backlog. Since I want to play Gabriel Knight and, for some reason, cannot figure out how to capture screenshots, this seems like the perfect time to experiment a little bit.



What is so Shameful about the Pile?





Many times while reading message boards, reading other blogs, and talking to friends, I constantly hear about a ‘Pile of Shame’-- a hodge-podge of game boxes clogging a corner of the basement, drawer of the desk, steam library, or bookshelf. It is made up of games that may have been bought on a whim because of sales or some lightening impulse that, upon looking at the purchase several days later, one cannot recall what the cause was. These languishing games that cause unwanted anxiety, guilt, and self-loathing haunt the basement and the brain like digital specters. But, enough about me; what about your pile?

The phenomena of purchased games that pile up is one of those modern problems that seem to only be getting worse. As a child, all of my games were purchased by my parents for special occasions such as birthday or Christmas. That is to say: rarely. When blessed with a game, it would be the only game available to play for months that had not already been played to death. Hours would melt away, slavishly dedicated to progressing in this new world that had been opened to me. As I got older, more income became available from chores and, eventually, a job. I was able to purchase more games. Still being in school and having no heavy obligations continued to provide time to fuel my hobby. Keep in mind that motivation was never an issue. The game pile grew, but the ratio of finished to unfinished games remained high. It was not until entering college, working full time during the summer holiday, and graduating into a real working man that shame truly began to take root.

Disposable income, depression, and the abundance of cheap games spelled disaster for me. I would go on tears, becoming obsessed with genres and series trying to snap up everything I could while simultaneously finishing them all. This was always a losing battle, but I did have a much more dedicated sense of playing through them. When I emerged on the other side of the mountain of recovery, I found that I had not only amassed an intimidating amount of un(der)played games, but I had also emerged into a reality where friends, work, and family took a much higher priority. Instead of trying to get to Gehennom in Nethack, I help my wife wash the dishes. I decide to drink beers with buddies instead of potions in Might and Magic on a Friday night. I thought it a better use of my time to begin writing blog entries and other pieces instead of writing notes about what players I wanted to sign in Football Manager. A major sea change occurred and I was unable to continue the breakneck schedule of tearing through my library of games. This is what truly brought about the “shame”.



[I could spend hours examining stats like these.]



The pile of games is not shameful. They are pieces of plastic or digital files that do nothing without human interaction. The money spent on the games is not shameful. I did not skip meals or break the bank to buy them. I feel shameful. I have purchased these products that I have not used and continue not to use as they remind me of the past and what has happened. I project all of my own emotions onto these games making them batteries of ill feelings. Each time I look at them they conduct electrical shocks of memories echoing my helplessness and inability to act. This is what is shameful.

The good news is they do not need to be shameful and neither do you. The clouds can part as you continue to purchase and enjoy new games while mining out your stockpile. There is no need to feel shameful if you are doing something about it.




Strategery

Using words like 'strategy' or 'plan' for doing something is all well and good, but they are only ideas that do nothing in the end. I have seen many cases where gamers say "Well, I want to play one game a month just to see it" or "I want to play all my games from oldest to newest." These are good plans, maybe they appeal to you, but they don't mean anything. The real first plan you should have is when you have some free time, instead of playing Sleeping Dogs or Skyrim, put in one of those old games you wanted to try and play for half an hour.

Thoughts are just thoughts without the actions of your hands. When I was in a bad way, I would sit and stew on ideas. I would write some down, make some plans, but after everything was said and not done, I had nothing to show for it. In the field of writing, Merlin Mann, a blogger, motivational speaker (he would kill me for this), and Internet personality, refers to this as "making the clackity noise". You have an idea, great. Why aren't you writing about it. You want to finish your backlog, good. Why aren't you playing those games? Maybe it's just not that important to you.

You can only present to others and to yourself something you have produced. In my case, after reading a few blogs that I have mentioned before such as The CRPG Addict and listening to Watch out for Fireballs (A Retro Videogames Podcast) , I sat down at the keyboard and just started typing. The results of this can be seen as entry number 1: The Start of Something. That name was no accident either. Once I had begun writing, I had a hard time stopping and the ability to actually play through the games in my backlog was not so mysteriously unlocked. With the blog started, it became easier and easier to decide to play an older game to write about instead of just watching TV or browsing forums. I am not directing that you go out and begin your own blog to finish your games because it has taken up a lot of my time, but it works for me and not only improves my motivation to play but also my writing.

Prioritize your thoughts and actions to accomplish what you want to. Instead of just staring at your Steam library for five minutes thinking about what to play, close your eyes and pick something just to start playing it. Even if it is just ten or fifteen minutes, you can get a pretty good idea if you want to continue, if the game is good enough to invest more time in in the future, or if it's junk. In any case, you have made progress because you will either keep playing until you are done with the game or you can just scratch it off your list as rubbish never to be worried about again. A brick has been removed from the wall by one simple click.

Indecision grows exponentially as your backlog (and laundry list of other errands) increases. It is easy to get caught up in first world despair about how much you have to do and how you can NEVER make time to do it. Well, the truth is if those things on your list were completely mandatory, they would have been done already. These things are just items you would like to finish and hold no relevance other than to your own desires. Just reach out and do it because nobody is going to make you. Break through the wall and get more practice focusing and sectioning off a small amounts of time dedicated to these tasks. Clicking through forums? Take those fifteen minutes to talk to everybody in a town in Ultima 4. Watching YouTube videos? Finish a few levels of Duke Nukem 3d. These things are not hard, but get built up in our minds as massive tasks that all need to tackled at once. "Rome wasn't built in a day" is a platitude thrown around and generally accepted to mean "Good things take time". But when tossed out, the word 'built' is normally skipped over in our mind because it also means 'work'. Taking the time to accomplish what you want is always work, but that does not mean it is necessarily torturous. The idea of 'work' has become such a nasty four letter word that we just toss it out the window when we are not 'at work' because we are no longer sitting in our cubicle. This is the perfect time to do this work because you are not producing something for your boss or company, you are making something for yourself. This can be writing, finishing your backlog, learning to cook a new dish, or just cleaning the kitchen floor, but these are all bits of 'work' that are for you and you alone. Thinking about doing these things and not acting on them by making lists, sticky notes, lists of lists, promises to yourself are cool, but can be summed up in one word: stagnation.

There is no motivation here besides the idea that you can accomplish anything, but it's going to take work. Once you start doing work, you realize it is not that bad and can feel good about yourself for accomplishing something. This is the complete opposite of indecision and languishing that comes with backlogs, long laid plans, and promises to yourself. With a little practice, you will find that work can be pretty fun and your backlog/dream will begin to disappear/materialize before your eyes.

Now, I am going to play some more Gabriel Knight to finish in the next two weeks to be ready for my own deadline I have (softly) imposed. This should be pretty fun.




What's next?

Whew, well, that was a mouthful. As I wrote, I am having difficulty taking screenshots of Gabriel Knight so I am planning to just power through it myself and write some final thoughts. If anyone knows how to get Fraps or other screenshot programs to work, let me know. I also want to really really recommend that you listen to Watch Out for Fireballs' upcoming show about Maniac Mansion because PC gaming legend Ron Gilbert will be a special guest. Ron Gilbert should be instantly recognizable to classic PC gamers. Not only did he design Maniac Mansion, but he also worked with Tim Schafer (Who designed Psychonauts which was covered in this blog) and Dave Grossman to create the legendary Secret of Monkey Island. This should be a fascinating show and is a very exciting step for friends of the blog Kole and Gary. Congratulations guys! And the rest of you, give it a listen.



--Backlog Killer

26 - Gabriel Knight


Sierra often gets kind of a bad rap for publishing games with unfair rules causing frequent death, constant restarts, and shattered dreams. Although this finger pointing is pretty well deserved (you choose which finger), it is a little embellished. Before going into Gabriel Knight and what it is about, I would like to just give a little background about the company and why one of the most highly regarded innovators in graphic adventures are simultaneously regarded as nostalgia darlings and maligned as the root of everything wrong with the genre.



Sierra




[Iconic.]



Sierra On-Line (formerly On-Line Systems) was formed in 1979 by Ken and Roberta Williams. They hit it big when they released their first graphic adventure titled Mystery House. It was a simple little game, but had many of the tropes that would continue through later designs and a brand new innovation: graphics. Although they were simple monochrome line drawings, this style of game would form the basis for many future titles produced by the company.


[The first screen of Mystery House.]


By the mid-80's, Sierra had given birth to its now (in)famous Quest series comprised of several intellectual properties including King's Quest, Police Quest, Quest for Glory/Hero's Quest, and, my personal favorite, Space Quest. The success of these titles was mostly due to their colorful graphics, interesting stories, entertaining writing, and text parser interface that allowed the player to attempt any solution imaginable when approaching a puzzle. The trouble is, many of these ideas were met with the equivalent of “You can’t do that.” if the writer hadn’t thought of the idea before. The company continued cranking these out until it came up with a new graphic interface using icons for actions such as walking or using instead of typing which I am still not sure how I feel about. It makes solving problems a little easier by limiting your options, but also leads to strange disconnects between what you as a player want to do and what the game ‘thinks’ you want to do. This was continued up until Sierra stumbled upon a single contextual action cursor that was first used in Phantasmagoria (I believe).

All that mumbo jumbo aside, Sierra was known for its clout in the adventure game world and held huge sway over the market. This did not always have great results, either. Most Sierra games, especially early ventures, contained numerous and frustrating deaths and potential roadblocks. These could be falling off a cliff, drowning, bumping into an unassuming object, getting eaten by a speeding enemy, or even just taking too much time. If you forgot to save frequently or make varied check points, you could be looking at several game restarts and hours of lost progress. I will only just mention the fact that in many games you could miss items or perform an action that would make your game completely un-winnable several hours in the future with no prior warning. Some of the games used clever writing, humor, or slight hints to alleviate the sting of death, but the reality of poor design and tedious game play remained. This tactic was often used as a way to attach other products such as hint guides and to promote the use of their pay-per-minute help line. I find this to be good business but questionable morally and inexcusable from a design perspective.


[If you don't calibrate your sights at the range, you are boned 5 hours later.]


The debate about this kind of game play is well covered on the Internet and I just want to bring it up to give a little context for why I enjoy Gabriel Knight so much. Even though most players remember playing the games fondly as children, innovations by Lucasarts and other companies left a bad taste in mouths of Sierra players. Lucasarts games have no un-winnable states (that I can think of), the same quality of puzzles, and a more lucid UI. Eventually, in the age of increased Internet access and newsgroups, Sierra wised up and altered the progression of their games. Gabriel Knight is one of their best syntheses of puzzles, humor, fun, meaningful deaths, and writing.




Sins of the Fathers

Gabriel Knight: Sins of the Fathers attempted to do something that Sierra had not attempted yet: to tell a dark, adult-themed story filled with murder, gore, and horror. Happily, it was a success. It was written by Jane Jensen who had also worked on several other games up to that point including Police Quest 3, The Dagger of Amon Ra, and King's Quest 6. The title set off to do something very different from what had been seen before. Instead of focusing on hero cops, longing kings, or bumbling space janitors, Gabriel Knight is a pretty normal owner of a small bookshop in New Orleans looking for inspiration for his new book. Not a super exciting start, but it certainly gives the audience something easier to identify with than a prince looking for his love in a far away land.

Despite being a normal guy, Gabriel quickly finds himself moving into progressively darker territory as he tags along with his buddy, Detective Mosely, who is investigating a strange rash of murders plaguing the city of New Orleans. Voodoo paraphernalia and iconography left at the site lead Gabriel deeper into the seedy underground of true voodoo practitioners. Perceived threats come from all sides, everyone is a suspect, and things just get more hairy as he digs for the truth. The game quickly reveals itself to be one of the most intriguing games in the whole Sierra library.


[This is harsh stuff when you're 9!]


Despite the ever-present danger, deaths for the player are few and far between. It is impossible to be killed for the first several chapters and when you are in danger it is made very evident. Puzzles are constructed so that it is impossible (I think) to prevent really screwing yourself further down the road. From a design perspective, these choices make the game truly enjoyable and relieve much of the stress that comes from worrying about constant game ending situations.

The game also refines the user interface from former Sierra games that typically consisted of five commands: walk, look, hand, talk, and inventory. Because these were often confusing to the player and did not provide a clear indication about what would happen when used (e.g. the hand may pick something up, push something, open something, hit something, etc.), Jane Jensen decided to flesh out the icons to make sure the player and game had the same idea about what needed to happen. New icons included ask a question, make normal conversation, open, pick up, manipulate, and push/pull. These allowed the player to indicate if he or she wished to open the object, push the object, and so on. This also opens up other options such as if there is a chest on the floor, it can both be opened to look inside and pushed to reveal a hidden trap door. This makes interacting with the environment much more interesting.

Finally, speaking of the environment, the game is great to look at and listen to. It is set in New Orleans, but not the party down French Quarter that comes to mind. Gabriel will explore back alley voodoo shops, murder scenes, the infamous above ground cemeteries, as well as lands beyond. These are all beautifully hand painted and presented as very realistic and grungy areas. All characters are voiced by actors that you may recognize... Tim Curry, Mark Hamill (who always provides excellent voice work), Michael Dorn (Worf), and Leah Remini (King of Queens). They all put up top flight performances and are backed by a pretty good musical score composed by Robert Holmes. The whole thing comes together in a wonderful combination that has come to be one of my favorite graphic adventure games.




What's next?

Once again, I'm not sure if I will blog the day to day about Gabriel Knight, but I will definitely post a summary. If you haven't, pop over to GoG and buy your own copy to play along with Watch Out For Fireballs next month. Also, check out their one year anniversary that is coming next week and give them some new listeners to celebrate with!



--Backlog Killer

25 - Back to Reality


Playing Unreal was all that I hoped it would be, but it has also caused some redefining opinions just upon recent reflection. Despite its age, the game has made me reconsider perspectives and opinions that can only be fully explored in hindsight. There is a clear demarcation between what are generally considered to be “old school” shooters and those being made today. I believe that Unreal was released just before this transition whereas Half Life (released soon after) is on the other signaling the rise of what we recognize today as an FPS.


Let me explain.

As a young guy, my opinion of what a first person shooter is was defined by classics such as Wolfenstein 3D, Doom, Duke Nukem 3D, and Rise of the Triad. These all funneled DNA into Unreal to form the tropes that I think of when remember what made them fun. These include fast movements, lots of guns carried at one time for different situations, tons of monsters, and interesting environments with architecture built for mechanics rather than realism. These are mostly arbitrary and only hold so much gravity because they were introduced at such a formative time, but they have stuck with me.


[This is seared in my mind like a burnt in TV screen.]


As soon as Half Life was released, games started seeing less weapons, more gated enemy releases, realistic environments (offices, factories, etc.) and controlled movement. Of course, the Half-Life mod titled Counter Strike completed this transition with its focus on semi-realistic movement and shooting mechanics. A bullet in the head will kill you in one hit, your speed and range of motion are severely limited, and you can only carry a few weapons at a time that have very specific uses. The popularity of this style of game play changed the scene for almost all future designs and makes up most of what we see today as FPS games. I do appreciate the strategy and pacing these games go for (I logged over 100 hours on CS+Source), but it seems to be missing something. Not to mention multiplayer has become more and more atrocious as voice is introduced and computers become more widely available.

I miss the time when games were worried about being a game rather than a facsimile of a movie. Sweeping set pieces and dramatic stories always work well, but it’s just watching another movie. For me, I get the same impact when I see a nuke go off in Modern Warfare (I think the spoiler statute of limitations is up) as when I teleported into the giant room at the end of Doom 2 faced with the deadliest wall texture ever to be featured in a video game. (This brilliant description is attributed to CyRaptor of the Something Awful forums) It’s like witnessing a major identity crisis and for FPSs that have always been concerned about mechanics, the introduction of story elements and realism that limit the range and exploration of these options have gummed up a lot of works.


[The strange final boss of Doom II.]




Unreal

As for Unreal, I had a splendid time. The guns that were introduced (aside from the stinger) all felt great and provided enough variety to never make things totally boring. I forgot to introduce a few of the weapons I got later including one that shoots razor blades, a toxic goo gun, and a mini gun. My all time favorite weapon was the sniper rifle that allowed me to shoot the heads off enemies. Watching their head fly off while they feel the stump and keel over was pretty funny in a cartoonish way.

The levels and environments really take the visual cake, though. Although the textures are low res now and do not hold up, the ability to recreate seemingly realistic environments still goes a long way. Huts scattered along plains, vast underground lakes, castles, and tech bases provide a lot of variety that does not wear out its welcome. Despite my complaints about some of the structures, these were few and far between. I only got stuck two or three times out of around thirty levels, the rest of which were a joy to play. One remaining complaint I do have is how linear the designs were becoming. There was still backtracking and revisiting, but nothing like Doom and Duke Nukem 3D which I think did the best job of providing areas that feel fully utilized and not just something to move through on the way to the next arena. This is also due to faster movement speeds and shortcuts that open providing speedy access to all areas.


[Some haunting scenes in Unreal.]


The number one reason I liked playing Unreal was the mechanics. Movement and dodging are smooth and quick. Circle strafing around aliens that are a little faster than you makes the player feel empowered and vulnerable at the same time in a way that most new games do not. The use of cover is fully organic and no sticky mechanism is needed. The guns feel weighty and all the enemies pose a danger up until the very end of the game.

In the end it was a very non-artificial experience. If there are rails , they are very well hidden and exploration feels dangerous rather than forced upon the player. This all changed with Half Life which I may consider the ultimate alchemical combination of story and FPS, but also the last time a game was ever able to do it well. (Excluding HL2)


[The 'perfect' first person shooter?]




What’s Next?


[Maybe the most unusual packaging for a game ever.]


As I mentioned, I will be playing Gabriel Knight for Watch Out for Fireballs and am actually thinking of taking a break from the blog. I was going to blog GK, but I’m not sure now. If you would be interested in hearing the day to day of it, I can. I was generally thinking of doing an initial and final write up. We will see since I’m pretty busy.

If you want to talk about FPS games and how they’ve changed and how I’m wrong, Tweet @backlogkiller or leave a message below. Any comments are welcome and it’s good to hear from all readers.

See you next time for Gabriel Knight


--Backlog Killer

24 - Unreal


Well it has been a while since I posted the last blog entry, but there are good reasons for that. Unfortunately, only a small percentage of those include "I was playing the game". Things are pretty busy and there isn't much free time, but that's what the blog is about, isn't it? It’s about finding a way to haphazardly structure my playing of the backlog to keep it going. It's working, and I feel pretty good about how beholden I am to the schedule. It is mildly stressful, pushing and prodding me to complete the next entry. But it is also pretty relaxed and I don't get freaked out that I haven't written a new entry for a while. (Not having written at ALL is very distressing, though.)

A quick note, I am going to fudge around with the schedule again and announce the next game to be "Gabriel Knight: Sins of the Fathers". The reason for this is that friends of the blog, Watch out for Fireballs, will be discussing the show in just about a month's time. This gives me enough time to play it and finish it so that I can offer some comments. Before none of you say "But Killer! Those games aren't on the backlog!" Well, they are not on the list. I own them, but I have played them all in the past. I just bought them to replay sometime when I got bored, but I remember GK1 being awesome so I'll take this chance to go through it again. I'm sure it won't hold up as well as I remember, but it's got a cool story.

Enough with this jibber jabber, though. Let's talk about Unreal.



How's the game going?

Unreal is going pretty well, but unlike the ups and downs of Psychonauts and Torment, it is more of a flat line of quality. Most of the levels have been consistent in both difficulty and construction quality with a few glaring differences. Before I get to those, though, let me fill you in on the plot:

When I last left off, I had discovered that I was a prisoner who had crash landed on an alien world. After exploring some mines and native temples, I was confronted in an arena by a giant titan who tried to slap me around with rocks, but discovered that my rockets did more damage. That was about seven maps into the game.


[Grand views were a highlight of this game.]


At the time of this writing, I am currently on map 25: Cellars at Dasa Pass. Along the way, it has run the gamut of villages, underground mines, and ships that have been taken over by aliens, but the plot has not really progressed. I am simply trying to find a way off the planet and that is fine with me. The only mild bit of flavor that is added is that the Nali (the local race) have a prophecy that a savior will come and destroy their enslavers. Hmm... I wonder who that could be.

Anyway, the levels have been very well made with easily recognizable sections and passable puzzles. I have enjoyed quite a few 'jump' traps and rare monster closet or arena fights that shut of a small area forcing me to fight certain enemies. It all seems pretty standard now, but the ability to put in triggers and traps was still being experimented with at this time and had not yet evolved into the overly scripted sequences we see today. It's a great step beyond Doom, but not up to snuff for what would be the upcoming Half-Life's storytelling ability.

The only levels I dread to see are those resembling Nali temples as they tend to all be very “samey” and confusing. It's OK if you want to bewilder the player, but put enough recognizable paths and differences to create a few points of reference. The greatest offender for this has been map 18, the Sunspire. It is basically a giant tower made out of a brown sandstone material that looks all the same. There are pitch black hallways and twisting tunnels, all connected by different elevators that lead back down to the bottom. I explored the place for almost an hour. I retraced my steps, ran out of ammo facing respawning enemies, and got nowhere. It turns out I missed one little unmarked elevator that led me right to the top allowing me to bypass all other paths and exit the level.


[The entire horrid level looks like this.]


I do not understand this type of design, nor do I understand the modern trend of shooters putting one linear path that makes up an entire map. John Romero had a great philosophy of level design stating some simple facts, a few of which are:

  • The player should be in constant fear – revisited areas are changed or dangerous again
  • If the player can see it, they should be able to go there
  • Players should have to revisit certain parts of the level several times

If the player is running around an area that is not interesting or changing, then it is called backtracking. When things are in flux and have new enemies or traps revealed, the player does not realize he or she is revisiting an area and continues to have fun. One of the best examples I can think of is the map “Computer Station” from episode one of Doom that follows this idea. Areas are easily recognizable, quickly traversed, and new enemies are introduced after every milestone. Unreal has yet to do this besides a ham fisted respawn system that seems a little cheap as monsters just appear from no discernible sources.


[This map is a masterpiece & made without Doom Builder!]


The levels are also linear and do not offer any sense of interconnectedness. The previous level I mentioned, Sunspire, does have this idea but most of the areas can be skipped completely. Through to this day, most level designs are nothing but a linear path from one end to the other with nothing interesting to think about or worry about. I hope this trope changes as time progresses.

One major win that Unreal offers is the level titled Bluff Eversmoking. This map is a masterpiece exhibiting interconnected areas, a sense of place, and constant danger. The huge map is made up of three major areas: a long causeway to the main keep, a giant castle or church with a crypt, and a bell tower used as a command center by the aliens. There are drastic elevation changes between all these areas, they each have a unique look, and they are all connected by shortcutting elevators and underground passages to allow easy return to previous locations. I had more fun playing this level than I had the last fifteen combined. I would like to do a full map review, which I may do.


[Favorite map of the game.]




What’s next?

I am almost finished with Unreal and will post a ‘Finished’ post with my review following. It’s very good so far and exactly what I was hoping for. I would recommend it for a purchase from GoG at $9.99 if you enjoy shooters and have not played it. It flows well, is not completely frustrating, and is an important part of shooter history. Give it a go.


--Backlog Killer

23 - Confession


OK, confession time: I have not been playing Unreal as regularly as I would like. But, rest assured that I am still in this and having a good time. I actually flew through about six levels of the game and will outline what has happened since not much plot goes on in this pure FPS. A very interesting effect of getting back into this genre is my splintering of interests among similar small games. I have reinstalled Doom 2 and loaded up some custom WADs to play as a reference point for some parts since I think Unreal shares quite a lot of DNA with it. (Not to mention Quake and Quake 2, its immediate predecessors) These games are STILL incredibly fun and, besides graphics, have more going for them in terms of simplicity and solid design than many new things coming out. I’ll get into that later.

In other news, the Steam Summer sale is in full swing and I am doing an AMAZING job not getting my feet wet. Despite tons of sales on GoG and Steam, I have not made any new purchases because of what I still have ahead of me. The closest I got was for Witcher 2 because it seems like a pretty amazing game I want to play eventually, but who am I kidding? I haven’t even played the first one. So, for now, I am safe and have just been playing a few other small games since I do not feel as much pressure since I’m pretty good at Unreal and the levels are bite sized.



How’s Unreal Going?


How kind of you to ask. It is going very well. Unreal begins in a very common place for old FPS games: disaster. Doom started with the player entering a base to find your comrades slaughtered, in Duke3d Duke’s ride gets shot down, in Blood Caleb comes back from the grave, and so on. In Unreal, the unnamed main character is a prisoner on a transfer ship that gets caught in an unknown gravity well and crash lands on an alien world. After crashing, it quickly becomes apparent that everyone is dead, dangerous aliens are wandering around, and it is up to you to find a way to escape.

The whole first map (the ship itself) is a tutorial teaching the player how to move, jump, and crawl. What I like about this one is there is no drill sergeant telling you what to do, it just comes naturally. Plus, it can take the time to show off the cool new parts of the Unreal engine such as complex moving sectors, transparent textures, colored lighting, and reflective surfaces to the player. It does a pretty good job building tension by not showing any aliens except in quick glimpses in the distance to give you a fear of what they may be. What it does extremely well is leave the biggest surprise until the end…


[The vista was incredible at the time.]


Emerging from the ship into the alien world for the first time is one of the game’s most memorable moments and a scene that has gone down in history. Along with the first scene of Myst island, emerging from the boat in Morrowind, and E1M1 of Doom, the area outside of the prison ship in Unreal is seared into my brain. The furrow dug by the giant ship crashing, native huts in the distance, the giant chasm to the left, and the beautiful waterfall. Game engines had not really been used to make this kind of environment up to this point and it was very impressive.

After this, the game takes a more linear course with the player trekking through a mine to find an ancient temple to the water gods allowing passage to a ship that may be used for escape. Along the way you find that the big bad aliens have subjugated the peaceful natives for labor and a little back story becomes evident, but it is mostly told through small journal blurbs and context. It works well for what it is and provides enough color to keep the story going when all you are doing is running and gunning. I really like this attitude and wish it were adopted more often these days.


Nuts & Bolts


Weapons

We all know, of course, that one of the major pleasures of FPS games are to have a wide arsenal of interesting weapons used for different purposes. Unreal sticks to this mentality and allows the player to carry a large amount instead of this two weapon BS. All of these weapons have both primary and secondary firing modes that can be used. Having the player carry so many weapons allows the designer to balance the enemy placement and strategy based on what he knows the player will have rather than making drops right before the situation occurs to be sure he or she can progress. So far, the game has bestowed upon me the following:

Pulse Gun

This default weapon is actually pretty good for an FPS in some ways, and no good in others. I like it because it a ranged pistol that does not permanently run out of ammunition. Once all its energy is used up, it must recharge during which you are defenseless. As the game progresses, it is also possible to find upgrades to keep it relevant. Despite all this, it is not very useful because the projectile has a very low speed and the gun does not have a ‘hypermode’ like most FPS default weapons do. Doom had the berserk pack and future games such as Unreal Tournament and Quake 3 had instagib melee weapons creating a good balance. The shot can be charged with alternate fire, but it is too slow to be useful except against stationary targets. This one is only OK.


[This thing won't do much against that sand crawler.]



Automag

The automag is the standard pistol weapon of the game. Nothing to really write home about here. It's a hit scan weapon, meaning that it hits whatever is under the cross hairs immediately. It has an alternate fire that is "gangsta grip" (holding the gun sideways) and fires rapidly but is wildly inaccurate. It's a pretty good early game workhorse.


[I always like accurate pistols. It was the only thing I liked about Halo.]



Stinger

The third weapon is a machine gun that fires crystals for ammunition. It fires rapidly and the projectiles are fairly slow so I do not use it that much since the faster enemies can dodge them. What is extremely useful is the gun's alternate fire which shoots a shotgun type blast of four or five crystals that is very effective at short range. I only use this one for close up fighting.


[Some of the weapon models are not very impressive.]



Shock Rifle

This is one of my favorite guns and one of the best in the entire game of future Unreal Tournaments. This ultra accurate rifle shoots a hit-scan laser that will hit whatever you are pointing at with 100% accuracy. In single player this is convenient, but in multiplayer it is absolutely essential for taking out the other guy at long distance if your aim is good enough. The alternate fire is a slow energy bomb that is pretty useless. If you manage to shoot the ball before it hits anything, it will cause a massive explosion dealing lots of damage which, even though it is hard to use, is a key skill to pick up. This is my favorite gun so far.


[The newer sleeker model looks better.]



Eight Ball Launcher

The last gun I've picked up so far is the Eight Ball Launcher which, despite its name, is a six-barrelled rocket launcher that can either shoot one or multiple rockets at the same time depending on if you hold down the fire button. The alternate fire shoots the projectiles as grenades that bounce around until they detonate or hit a target. It's useful, but your standard rocket launcher that should be recognizable if you've played Doom or something similar. This would later become the rocket launcher in Unreal Tournament and could only fire a maximum of three simultaneous shots.


[Looks like a chaingun, but it's not.]



Maps

I don't have too much I can talk about other than my general impressions of the maps. The first several were pretty linear which makes sense as an introduction for the player. As I have progressed, the maps have become much more complex and open-ended with multiple paths leading to the same areas causing some confusion. I tend to enjoy these in other games if there is some defining feature that lets you differentiate each area. Most Doom levels will use different lighting or color schemes to aid this. In some of the temples in Unreal, I have run into identical rooms with unidentifiable features that lead to some confusion. I hope this does not continue.


[Colored lighting can really add a nice mood.]


I do enjoy the lighting of the levels. The mines are gloomy and have bright orange magma and glowing blue crystals to bring some punctuation. The temple levels are all aquatic colors with supernatural blue lighting seeming to emanate from the water itself which gives a spooky atmosphere. I'm liking what I am seeing, but the game seems to run into the standard "three palettes of mood" that other FPS games do. Doom has three distinct settings:


  1. Tech Base - Futuristic computers and goo all over the place
  2. Stone - Gothic structures using stone and rock patterns with wood accents
  3. Hell - Marble and stone along with red blood pools, fire, and wooden structures


In Unreal I have run into three themes that are Natural Stone, Tech Base, and Temples. The Stone pattern makes up the native villages and mines, tech base for the insides of ships and bases, and temples for... temples. Hopefully the designers shake it up a little bit.

The architecture is interesting, overall, with very alien constructions reminiscent of the Mayans for the temples. The other settings are pretty standard and functional for game play so I cannot complain. Unlike Doom, Unreal focuses on smaller amounts of enemies that are tougher and quicker making battles flow a little differently. Instead of having to heard and make monsters attack each other, you are required to do more dodging and one on one combat which is OK, but doesn't convey the sense of terror that Doom could spring on you.


[Anything not uniformly brown is usually welcome.]


Speaking of monsters...


Monsters

There are not many monsters in this game so far. They all look OK, but are muddy colored and hard to see in detail. They are as follows:

Brute

The brute is a giant, slow, beefy guy that has two rockets launchers for hands and serves as dodging and target practice. There is not much challenge here unless a few gang up on you and you have a volley of rockets coming at you.


[Very easy and slow.]



Plants

The hanging plants do just that, hang. They are used to surprise the player more than anything. Once they open, they are immobile and can do nothing other than fire thorns that can be dodged easily. No problems here.


Flying Birds

Kind of like Cliff Racers but less annoying, but they will mess you up if you let them get close.


Dragon Flies

Same as above, but they are much more agile and much more annoying. If you let them get close to you, you will probably die since they flit around and their path finding is weird so it is hard to predict which way they will go. On the flip side, since the path finding is so bad, it is hard for them to get close if you keep a look out and go down pretty easily.


Skaarj

This guy is the main enemy I have faced so far. It is a quick humanoid that has several attacks and moves that are very tough. When in melee range, it has blades on its hands that it uses to eviscerate you with. If you get out of range, he can quickly to a somersault roll toward you and hit you with the blades, as well. At long range, he has a double projectile cannon that shoots energy balls that are actually quite hard to dodge. The A.I. is good at leading its shots and predicting where you will be for maximum damage. Oh yeah, he can also dodge slow projectiles so you need to time your shots carefully. I usually go in close for three quick stinger shotgun blasts to take it down.


[Quick and dangerous.]


Sliths

Sliths are half snake, half Skaarj enemies that are pretty slow and fire acid at the player. They are usually easy to deal with and go down easily. One problem is that once they get in water, they become much faster moving than you are. Always take them on out of the water and there is almost no trouble.


[They look scary, but are really chumps.]




What's next?


Nothing to do but keep going. I will post what I think about levels and design, but I cannot imagine that they will be as in depth as previous entries unless some really cool stuff comes along. I'm enjoying the game, but it's not particularly great to blog about. I would suggest that you pick it up on GoG if it goes on sale since it is a classic and has a great feel to it. Check in next time for when we continue with Unreal.

Edit: I have actually progressed a little further right before posting. I had the first boss fight in a place called "The Dark Arena". It was a simple circular arena level where I had to fight a giant monster called a Titan. It is a slow moving juggernaut that can stomp the ground making you bounce up or toss rocks that insta-kill you. It was pretty easy and I took him down in one try. Other than that, everything is OK.




[The titan.]




Also, do not forget that I have a Twitter account for @BacklogKiller where I like to tweet what I am doing. Unfortunately, I don't have many followers. Just follow me and get some updates. It's free and I promise not to spam your feed. Thanks a lot!


--Backlog Killer