Author Archives: Kevin McFadyen

About Kevin McFadyen

Kevin McFadyen is a world traveller, a poor eater, a happy napper and occasional writer. When not typing frivolously on a keyboard, he is forcing Kait to jump endlessly on her bum knees or attempting to sabotage Derek in the latest boardgame. He prefers Earl Gray to English Breakfast but has been considering whether or not he should adopt a crippling addiction to coffee instead. Happy now, Derek?

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The Ghosts of Our Fathers

Welcome. It’s been awhile.

So I have been very busy with work and getting ready for the exciting International just a few days away! How exciting is that! I’ve finished up a draft of my novel and hopefully it is coming together. I don’t know how other authors do theirs but my writing process is, oftentimes, a slog. I write a first draft then I revise, revise, revise. I would say that about 80% of a novel is created through editing.

Which should be encouraging to any beginning authors out there. If you first pass doesn’t feel good then congratulations! You’re in good company.

I have something a little fun and different today. A few weeks back, I played Betrayal at House on the Hill Legacy with a few friends of mine. We had such a blast with the game. I’m not a huge fan of the Betrayal boardgame but throwing legacy elements on it naturally lent to a organic cooperative story-telling experience.

And for some reason I decided to start writing ours up. So here is a peek into the history of our bloody house on the hill.

Accessed from https://www.wga.hu/framex-e.html?file=html/h/hoogstra/vijgeboo.html
Hoogstraten, Samuel van. Portrait of Johan Cornelisz. Vijgeboom and his Wife. 1647.

History of the House

Act 1 : Beneath Ezekiel’s Pale

Prologue – 1666, Jebediah Harrows

I write this from need: not desire. 

There is evil in this world. Of that, my son, I am certain. It is with heavy heart that I witness it come to Silvercreek. It has settled most foul upon our tiny village. I fear that – alone – I cannot stop it. It has already struck the poor Williams family. We say it was the pox but I know better. I know the pox does not blight nought but a single household. It does not kill the father, mother and brother leaving the daughter missing and unexplained. No, this was no disease. Our village has lost the favour of the Lord for we have broken his covenant. 

It is witchcraft and devilry. And we have done nothing to quell it. I will not let its rot spread further. I intend to stop it.

My suspicions have settled upon the Lammermora clan. I can see now that they were none too subtle. The Williams’ deaths lie on my conscience. The signs were clear. 

Firstly is their blasphemous matriarchy. While life is never easy, theirs is not for want of a male figure. Second, they bear the mark of the beast with their fiery hair. Third, I have seen them interacting with the slaves. They have abandoned the noble pursuit of educating them in the civilized English language. Instead, I have witnessed their efforts to learn that barbaric speech. Each black word they utter leads them ever further astray from God’s holy light. Now they whisper of the negroes being equal. Of them being men and women like us. Of knowing them biblically. 

It is blasphemous. They are assuredly witches.

Most telling, however, is their obsession with Hill House. I have spied them going alone or as couples to its peak beneath the cover of darkness. Surely it is there they work their profane curses. Curses that slew the Williams. 

I cannot allow any other innocents fall victim to their predations. I have singled out Lilias, the most eager of the lot. In whispered tones I have heard the unclean call her Ayizan. She wears the appellation with pride. I shall await the time when she is alone at the Hill House and I will confront her. God have mercy on me for I fear I may already be too late. Their power may be too strong. 

But I steel myself with the scriptures and know my quest to be righteous. Should the worst befall me, let these immortal words bear my knowledge longer lasting than my fleeting time on this earth.

Your ever faithful servant,

Jebediah Harrows

Chapter 1 – 1667, Ezekiel Gravenhurst

There is something not right here. These past months have been unsettling. Did I strike first? No, that is not right. My dreams would betray me. They would lead me astray. 

I commit to this diary for a reason. I worry about my power of recollection. I awake wondering if still, perchance, I dream. Too often have the sheets been soaked from my cold sweats. And this home, it settles too much in the dead of the night. 

I get ahead of myself. I should start from the beginning. 

I am Ezekiel Gravenhurst. 

Life is brutal. I do not wish to diminish the struggles of my common man. I am aware of how trying this existence can be. I carry much the same burdens plus many more of my own. I am reviled by family. I know this. They claim otherwise but a child knows when their mother looks upon them not with love but revulsion. I have caught my brothers and sisters making a mockery of me. I will not pretend that it did not leave scars. My father, perhaps the only one to show some measure of kindness, I would best describe as tolerant if nothing else. 

This is to say, I expected little from them as I grew and, in turn, was faced with little disappointment when my prognostications came true. Do I resent them? Most definitely. They would suckle at the teat of father’s stipends knowing little of the hardships for which they demean me and others. But I have been strengthened by experiences they could only imagine. And this strength is of great benefit to one of my stature. 

I should thank them, however. For their cruelty prepared me for the rest of the world. There are few who would love a dwarf. I can safely claim that all I made, I made myself. I had no need to rely upon the Gravenhurst name or connections. In fact, they would shun me had I tried. 

It was under these auspices that I arrived in Silvercreek. I was led by nought other than serendipity. I actually heard about the village while down the river in Galt. The stories had spread there while I finished my term at the lumber mill. Word was that the village had a homestead for those looking. Rumours were in bold supply; the most enticing suggested the village would pay for anyone willing to take it off their hands. Rational men dismissed this as the ebb-waters it was. 

But my prospects were bleak. The thought of my own roof, something which had eluded me all these years, was too enticing. I set for Silvercreek, expending much of my wages in doing so. I had enough for food and the inevitable transport out. Twenty years of leading your own life teaches some measure of practicality to the senses. 

To my surprise, however, the reeve confirmed the hearsay. At least he confirmed some measure of their tale. There indeed was an empty homestead. The locals called it Hill House. Its location, thusly, was easy enough to navigate. The reeve explained to me that they were willing to hand over the deed, for a rather meagre stipend to any interested party. The cost? Less than the fare I spent getting to the village.

There lay one wrinkle. The reeve insisted that the transaction would only proceed should I stay a solitary night in the home. It was a most curious request and made me suspicious of what should have already been a highly suspect offering. I questioned him over the integrity of the structure and, he confessed, it had seen some manner of neglect that could be a deterrent to his stipulation. When pressed about this peculiarity in the deal, he was evasive. His only explanation, that the village had little desire for an absentee landlord, rang hollow. My greater senses on guard, I requested to see a contract. At the very least, one night would give me a chance to evaluate the integrity of the structure and I was by no means bound to take it if I determined it to be too great an investment. 

Truth be told, I merely wanted assurance that there would be no reneging the deal. Though as I departed having put name to ink, I had no idea how I would afford extensive renovations if it were truly uninhabitable. I had learned some carpentry skills, however, and at least the land should have some inherent value. 

I made my way to the location, too elated to consider how no soul in the village itself had snatched upon this terrific deal. As I drew near, however, I felt my first misgivings. The homestead lay a peculiar distance from its neighbours and the life of the settlement. A wicked wood which, by my estimate, lay partially on the grounds itself, formed a barrier that segregated the outside world from this remote perch. These are all, on first blush, positive qualities for a plot. But the barrenness of the wood touched upon something instinctual in my mind. The setting sun amplified those worries. I felt a repulsion for my path, as fleeting as it was. 

I convinced myself there was no harm in taking a look. I couldn’t have been more wrong.

I broke through the dying foliage to find a house most handsome. Truly, I could scarcely believe the size of the estate. I knew nothing of its previous inhabitants but these were no mere potato farmers. I approached with much excitement. I had expected near ruins and from my cursory glance, it seemed fortune had finally – after all these many years – smiled upon me. 

My jubilations would not last. I had scarcely made it to the porch, gazing upon the expansive foyer, when I heard movement inside. I froze, fearing I had inadvertently trespassed upon the wrong lot. I listened intently, assured that there were multiple souls within. 

As always, I leveraged the advantages of this form with which God has cursed me. I was able to skulk about the perimeter. Peering through the windows – most intact despite the home’s abandonment – and spotted only two individuals. An old priest and his young wife were sorting through the rooms separately. It was clear to me that others had taken up the reeve’s offer. I was deflated. 

Experience had taught me to never expect equitable treatment. I knew, should they choose and claim otherwise, their word would outweigh my own. Regardless of having signed a contract, this couple would have claim to the prize. Crestfallen, I turned away from the prospect. 

And I fear my nature got the better of me. 

I thought, given the state of the house, that there may be some keepsake I could find in the exterior which would make the journey worthwhile. I had no desire to leave Silvercreek empty handed. Curiously, I had not far to look. Beneath a most twisted and queer tree, I found something remarkable. A plain cup of wood composition lay soiled amongst the gnarled roots. Despite the elements, it looked unweathered. Surely it would fetch for a few pennies – possibly even a warm meal. 

Thusly, I picked it up. And I swear to God, the world itself exhaled a sullen sigh. I felt the cold wind prick my skin. The hairs upon my neck stood at their ends. Scattered leaves curled back in fright. 

The chalice itself was warm, however. I can picture it now as though I still stand before that horrific tree. I can see its smooth surface. I can detect the coppery scent of its bowl. Despite its size, it was heavy in my hand. I dare say, I could almost hear it whisper. 

A scream distracted me. It was young, frightful and from the house. I don’t know what propelled me there, chalice in hand. Thoughts streamed through my head yet I can no longer recall what I thought. I know I arrived upon the stoop. There, I saw the priest attack his wife. The poor thing stood no chance. I had to intervene. I knew this. I brandished the chalice, hurrying forward. I interposed myself, my attack both sudden and brutal enough to knock the holy man back into the hall. That is what happened. I am sure of it. I defended the woman. It was an act of heroic guardianship. 

But yet, even as the ink stains my page, I can see the priest beneath me. I can feel the weight of the chalice in my hands. Did I strike first? Did she scream later? No, that cannot be. She tried to interpose, to wrestle the chalice from my hand. I know now that she meant me harm. What else could I do? I held her back, pulling the chalice from her grip. She fell of her own teetering balance. It was her momentum that sent her into the foyer’s wall. Of that I am certain. It was all an accident: a horrible, twisted accident. 

The priest and his wife lay dead for no reason. I shall never know the cause of their quarrel nor how he went after her in such viciousness. It was truly his fault, you see. So, I struck again. The look in his eyes was one of bloodlust. I struck again. I can remember that baleful glare so full of hatred and loathing. I struck again. The simple act of recalling the event shakes me even now after all this time. I struck again. The fact of the matter was, I struck again I could not explain this to the reeve. I struck again. Nor to the village. I struck again. They would think me a murderer. And again. I cannot say how long I stood in that hall stricken by the horror of those two bloody forms. And again. It was the priest’s fault. And again. Had he not attacked her I would have departed. And again. Had he but waited and I would have been long gone. And again. It was him. And again. It was not my fault. And again.

What would I tell the reeve?

I recall the shadows deepening in the hall. They swallowed the girl as if they had become her grave. Surely, there would be no others coming to the house that night. The dread in the reeve’s voice as he spoke of it was testament enough to its reputation. And it was far too late for me to depart now. I could stay just one evening. I could offer a proper burial for these two. Then I would leave and the reeve would know the place was not to my liking. 

Yet curiously, the house had not been ransacked. It took little effort to find the lantern. I recall thinking it lay exactly where I would keep it – the shovel too. I was exhausted. I simply needed to rest and collect my wits. That was all. 

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The Fun Stops Here

So today, let’s do something we haven’t done for awhile. I’m in the mood for a good bit of ranting and it’s probably tied to the fact that my lower back is so tied up in knots it could probably hoist and hold a galleon’s main sail.

Furthermore, I was seeing some discussion and I wanted to address some of the criticism being offered. But first, some context!

I was speaking with Derek, oh, years ago now and he was commenting on how poorly our modern education system was doing in actual education. In particular, our schools do a good job of informing us of culture but it leaves us poorly adept for processing said culture. Now, Kait is a teacher, so I have some basis for understanding how our education is laid out. And, at least for our neck of the woods, there’s been a recognition of this very shortcoming.

For our interests today, my annoyance arises when people want to give feedback on the entertainment they consume today.

Now, I’m not fully throwing every individual out there as being uneducated. I’m not even going to lay all of this at the feet of the education system. There is indubitably a finite amount of time in which to teach a whole slew of skills and knowledge to a general populace. Expecting analytical dissection of media from your average person is like expecting me to walk away from a workshop class with any understanding of how a car works. I put key in whole and thing moves. We’re all going to have our blind spots. It’s just an unfortunate fact of life.

Thus, I’m not expecting this rant to suddenly elucidate a whole new generation of bright and critical minds. No, my whole goal for this post is to accomplish just one thing:

I don’t want to hear people talk about Negative Play Experiences ever again.

I hate this term. I hate it with a passion. I hated the time before this term’s existence when people groped around for some manner to convey this insipid idea. I’ve seen it referenced as anti-fun (probably from some physics enthusiast dweeb), use pattern mis-match or any number of other vague, jingoistic terms that are never well defined and used as though everyone understands what on earth you’re discussing.

Accessed from https://www.wga.hu/art/v/vernet/horace/artist.jpg
Vernet, Horace. The Artist’s Studio. 1820.

And thus, I’d love to give you a definition of Negative Play Experience. But I’ve never found one. I mean, sure, I’ve read people answer that it’s “anything a game does that bores or frustrates one or more players.”

That’s it. That’s pretty much all the definition you’ll get. Except you’ll have lots of people swoop into a conversation and emphatically state “This game did poorly because it’s full of Negative Play Experiences!” And they almost never get challenged because it’s the sort of criticism that appears to carry meaningful messaging.

I shouldn’t have to point how Negative Play Experiences should be laughed at. But let’s breakdown why treating “anything that bores and frustrates you” isn’t a valid criticism. First, boredom and frustration are two different emotions and conflating the two of them together diminishes the issues behind either. Second, boredom and frustration aren’t cardinal sins in entertainment. This might come across as controversial but stay with me.

Let’s address boredom. Sure, it is pretty antithetical to the whole purpose of entertainment. I would readily agree that if entertainment is boring you then it’s probably not the entertainment for you. The caveat, however, is that just because you find something boring doesn’t necessarily make it bad.

We all come to our experiences, not as blank slates as those Tabula Rasa philosophers once naively believed. We carry with us a mountain of baggage formed from the experiences and education we’ve received to that point. Someone born and raised in the nicest Swiss chalet is going to certainly have different interests than myself. What I find interesting, they’ll probably find boring. This is why entertainment is focused on markets. In fact, a common criticism for a lot of popular media is when it gets too broad in its appeal and loses its interest for everyone. It is not just better to be liked by some and hated by others but I’d argue that’s ideal. The last thing you ever want to make as a creator is something that no one hates. In all likelihood, all you’ve managed to do is make something so bland and banal that it simply elicits no emotion from your audience.

And that is bad.

So I may have no interest in handegg or race cars, and such things may bore me, but others find it exciting. Saying that you find something is boring is actually fine. Perhaps it is ideal. It’s no reflection on the quality of that object, however. It’s merely a reflection of you with that object. By acknowledging boredom you’re just summing up in fewer words that a product or piece of entertainment isn’t for you.

As a point of criticism, however, a creator can’t really take anything from that. So if you’re expecting a creator to take you complaint that “you’re bored,” don’t really expect to be rocking anyone’s world here.

There are, of course, places where boredom can be appropriate feedback. Off the top of my head, if you’re already an established audience then you can comment on changes by the creator that effect your engagement with the product. “I really enjoyed putting digital hats on my soldiers but I find painting nails on their digital pets that you only see on loading screens as a boring replacement” is fine feedback. But even with this example, we’ve already progressed well past decrying nail painting as a “Negative Play Experience” and provided something actually damn useful.

As for frustration, I’m really surprised to see it listed as a problem.

Well, I’m not masochistic enough to be baffled that people hate frustration. I know I don’t like being frustrated.

However, I’m surprised to see people who make a hobby of gaming to be so against frustration. I can’t think of any game that hasn’t frustrated me. In fact, part of the point of games is to create frustration. That’s where the whole sense of challenge arises. If you aren’t overcoming anything then you’re not really gaming. You may be having an experience but I’d be hard pressed to consider it a game. And all of my most rewarding experiences with the hobby has been overcoming great adversity.

Some of the most celebrated video games are also ones with great reputations for causing frustration. Dark Souls made an entire franchise on frustrating the player. And of course there is the whole “bullet hell” genre. And this isn’t even touching multiplayer games where, by necessity, competition between other people is going to cause frustration. And I don’t have any experience with them but the “simulation” games seem to have game play solely around being frustrating to handle.

Of course, there is some frustration that may not be ideal. For example, if say the keybinding for actions are poorly spaced on the keyboard and you’re constantly reaching across fingers to try and do anything, constantly hitting the wrong button and accidentally killing yourself, I can see that being unnecessary frustration. Some things aren’t meant to frustrate and if they do, then of course that is valid criticism to provide. But that’s just the ticket, explain why said thing is frustrating to you.

If your problem is that “I don’t like X because I lose to it.” Well, that could very well be on you, cupcake. On the other hand, if you’re providing feedback like “I take this path in the game and it takes twice as long to achieve half the success as my opponent doing this path which is a fraction of the challenge even though the game encourages this action,” that is likely a good frustration to report.

That really is the nature of proper criticism, however. Blandly stating “this thing is bad and the creators are idiots for doing it” is not proper criticism. It’s noise. And I’m a strong proponent of the vast, vast, vast majority of feedback that creators get is useless noise. My stance is, listen to what your audience is telling you but never do what they say. The audience is often decent at pointing at something which is not working. They’re horrible at explaining why or offering successful fixes. Partly, they lack the full picture of design. Which isn’t that surprising if you consider their background. Most consumers are only familiar with consumption. They can tell if it upsets their stomach but they have no idea what is going on in their digestion.

So if all of them are saying that your creation isn’t working, they’re probably right. But most of the time they can’t pinpoint what’s wrong. So don’t listen to their fixes. Hell, a lot of the time the misdiagnose the issue in the first place.

So if you want to help creators, if you want to reduce your own noise output, just think of criticism sort of like a doctor’s visit. You know your body the best. You know when something isn’t working as it should. But you don’t know all the diseases and ailments that it could possibly be. So explain all the symptoms and how they deviate from the normal.

But by goodness, don’t come in with your diagnosis.

And please don’t call the next mechanic you lose to in a game a “Negative Play Experience.”

Digging Up Old Wounds

Well here is something new today. I don’t usually comment on social media and, outside this blog, fairly disconnect from the industry in general. But today I’m going to be commenting on someone else’s interview. Because that is a thing which people do, right?

So the fine folks over at win.gg were able to get a brief interview with some ex-Artifact developers. For those of you who don’t know, Artifact is a digital card game developed by Valve, skinned with Dota and one of my biggest disappointments of last year. You can check my full thoughts on that in an old blog post.

Accessed from https://sm.ign.com/ign_za/news/a/artifact-r/artifact-review-in-progress_tjy5.jpg
Artifact and all its associated images and mistakes belong to Valve.

I have, for a long time, had an interest in the nuts and bolts of productions – whether that being what goes behind putting together a successful play or the efforts and testing needed to complete a game design. It’s a peek into the creative process and I like seeing how other artists face the struggles of their chosen medium.

For this interview, win.gg spoke with Richard Garfield and Skaff Elias. These were the, for lack of a better descriptor, the outside consultation for Artifact. Garfield and Elias are the minds behind Magic: The Gathering – possibly one of the largest games in the world. That they partnered up with Valve to create a card game was exciting for many since their pedigree has dominated the card game genre nearly since its inception.

The game has been, to put bluntly, a disaster. As of this writing, there’s only a hundred or so concurrent players in the game. Valve has posted that they’ve practically gone back to the drawing board and doing a deep recalibration to the game in order to bring it in line.

Consequently, everyone and their mother has an opinion about why Artifact failed. I’m going to unironically share mine. But first let’s see what Richard Garfield and Skaff Elias think.

Largely, the first question is about the monetization of the game which is possibly Garfield’s more controversial answers but also cuts to the heart of the Artifact story.

When asked about the game’s “pay-to-win” component, Garfield says this:

“Pay-to-win is a sloppy term leveled at any game where you can buy components. You will see it leveled at any game in which a player, for whatever reason, doesn’t want to engage… I am an OK player and a mediocre deck constructor in Artifact, and access to all of the cards won’t change that. I might be able to overcome the mediocre deck construction by copying someone else’s deck but it won’t make me an excellent player. Likewise, I can spend thousands on golf clubs, but it won’t make me a golf champion.”

And, honestly, he’s right: to a point. Had Artifact actually taken off and there was a million dollar tournament like they promised, I would not win it if I owned all the cards. You can see this with really anyone that gets into a hobby. Owning all the gear won’t make you the best of the field. This is true.

It also completely sidesteps the issue of pay-to-win. For it ignores the fundamental problem which Garfield only barely acknowledges: if two equally skilled players face each other, the one who spent the most money will win.

For Garfield, this seems acceptable. He does say that netdecking (copying someone else’s deck, usually from a list online) will cover his flaws of being a poor deck constructor. He might not be able to pilot the deck like a champion but he will do better than if he were to face a theoretical mirror of himself who doesn’t netdeck.

At a competitive level, this is inconsequential. All players who want to be contenders are prepared to drop the money necessary to own all the cards – or at least the cards necessary to win tournaments.

But successful games aren’t made on their professional players. For a game to thrive, it needs a fanbase. And the average player is the one that baulks at the enormous entry cost of the game. It doesn’t matter that it lacks the ludicrously expense of Black Lotus, Ancestral Recall or Mox loxes or whatever is the newest overpriced piece of cardboard they have nowadays. That Garfield thinks it’s a winning argument to dismiss concerns over Artifact’s price by saying “Hey, at least you don’t have to spend $900 on a single card!” kind of strikes the head of the nail.

That Valve failed this is outstanding if only because Dota 2 literally built its entire game on this understanding.

I don’t know where things went so wrong. Maybe no one felt they could say no to Garfield. Maybe they just assumed Garfield knew more than them? I struggle to think that the developers at Valve are so out of touch with their own company that they couldn’t see the huge financial success of Dota 2 and think “No, that’s not how we’re going to do it… but we’ll try to convince these players otherwise by wallpapering everything with their favourite stuff.” Like… Dota 2 players don’t play Dota 2 because Axe is in it. They play it for the game (and, frankly, because it’s actually free otherwise they’d probably just be in League of Legends).

And I’m not certain the Dota 2 brand is interesting enough for someone to take a look at it and go “I have no idea what that is but hey, I really want to play the game with the big shirtless red guy with the weird mutton chops!” I think you pull in new people by word getting around that the game is really good. Good luck getting them through the door with the addendum, “Oh but it’ll cost you an arm and a leg to play. But hey, if you want to win a tournament, you don’t also have to sell your kidneys as well!”

So I’m fully unconvinced with the detractors who argue it wasn’t the price that sunk Artifact. There’s numerous people I’ve seen comment on Artifact being “not fun.” I hate this criticism. Largely because it’s empty. You know what I find “not fun?” Magic: The Gathering. Hasn’t stopped Wizards of the Coast making billions of dollars from the damn thing. At the very least, try to pinpoint what you don’t like about the game.

But most people, when pressed, complain that Artifact is “too random.” That or they complain that it isn’t fun to watch on twitch. As if that matters at all. For the latter… have they seen Fortnight? Or League of Legends? Or ducking Dota 2? If you have no idea what is going on in the game, it makes no damn sense and it doesn’t look fun in the least. People aren’t browsing Twitch for random game streams. They’re either a) looking at the most watched streams or b) looking up a game they’ve heard about. You don’t window shop on Twitch. As such, it doesn’t matter if it is understandable in five minutes of viewing. Someone will either say “Oh it’s a card game. I like card games. This is really popular, it must be good and maybe I’ll sit and figure it out.” Or they’ll say, “Why the hell are a bunch of people playing chess with Dota pieces? This nonsense is stupid and I’m going back to watching people try to build impromptu tree houses and shoot each other in the face.”

As for the randomness, it does exactly what it’s supposed to do.

Actually, the RNG (random number generator – used as a shorthand for randomness) fulfils two purposes. One, it actually makes the game more watchable. If you don’t have some manner of randomness, you actually have a boring game. No, change that. You have a puzzle. Like, if you played Solitaire but the deck was always set up in a specific way, you wouldn’t play Solitaire for very long. You might enjoy figuring out the puzzle but once it’s solved, you’re done. You shelve it because there’s nothing else from that constructed deck for you.

I mean, all card games have a large portion of RNG built right into them. The deck is RNG! You shuffle the deck at the start of every game. You get kicked out of tournaments for stacking your deck. You have to have a randomized pile from which all of your actions are drawn. This is inherent to the genre. Begging for a mulligan is basically arguing that you don’t want to play the game at all.

Course, this isn’t an invitation to descend into arguments about mulligans. Mulligans, in-of-themselves, are a whole other conversation. Suffice to say, Artifact gives you two card draw at the start of your turn which is more than enough to make up for a lack of a mulligan. It works for Artifact. You don’t need a mulligan at the start.

Second, and most importantly, those damn arrows in Artifact give you something on which to blame your losses.

If there is one thing I’ve learned from the average player, is they want above all to protect the ego. They will say otherwise, but it is really the only explanation I can make for the constant complaining around the direction arrows in Artifact. Frankly, if you don’t like the arrows, then maybe you simply don’t like the game. That’s fine. I don’t like Magic. Not everything is made for you. You can go back to Hearthstone or Magic or whatever. You will be missed.

But seriously, the arrows are perhaps one of the most ingenious mechanisms I’ve seen offered in a card game and really set the distinction for Artifact. It makes Artifact not a “digital adaptation of a tabletop game” but something that literally could only exist in a digital space. This opens up really interesting avenues of design and even impacts the skill level of the players. Fighting for initiative is an important layer in Artifact and having a card like Apprentice Assassin who can “waste” an action trying to force your opponent to play before you is a moment of beautiful clarity in Artifact. Possibly because Apprentice Assassin is a good card for more than just durdling and it’s just yet another application of an ability that is inherently good. It also impacts the decision on where to play cards.

And this, I think, is what turns off more players than are willing to admit. Artifact isn’t an “autopilot” game. I’d argue, it’s possibly the most intensive card game to play. For constructed card games, there are two important skills for a player to develop: building a deck and playing the deck. If you’ve watched League of Legends or Dota, the closest equivalent would be playing the game and drafting the game. And the two skills are wholly different. Some card games really emphasize deck building. I’ve been told that Magic is about 90% deck building and the rest is just playing what you draw. Most of my friends who love Magic keep telling me that constructing a deck and realizing your construction is the heart of the game. Course, the colours in Magic allow some leeway in this push and pull of piloting and building but I’d argue that Artifact is somewhere in the realm of 80-90% about playing a deck and not building it.

There are so many decision points in Artifact that entirely revolve around the flow of play that you really have to consider your choices. The better you get at the game, the more difficult choices you discover in the course of a match. For instance, when you first pick up Artifact, you try and keep your heroes alive as much as you can. Death is the most discouraging fate for your heroes and you bemoan every single stray arrow that leads a minion curving into your poor Luna and away from that fat, twenty health tower.

Course, once you realize that dying gives you a “free” teleport in that you can now position Luna into a more advantageous lane and that losing one tower doesn’t end the game, you start to purposefully kill your own heroes. Stranding your opponent’s Bristleback, Axe and Centaur to a lane they’ve already won as you redeploy into the last two lanes and destroy them before you opponent can reposition is such a great feeling when you pull it off. And this is why I consider the complaints of the arrows to be utter nonsense. Not only are you aware of arrow placements for all units already on the board at the start of every round, but there are so many decisions and plays you can make that there is never a game where you lost “because of that one stupid arrow.” An Ogre Conscript may have curved into that dumb Crystal Maiden instead of whacking off the last four health of that second lane tower right before your opponent takes throne in the third, but to get to that position required so many other branching options that I can guarantee the losing player could have done something different at an earlier point in the match to have avoided that fate.

And that’s what I love so much about Artifact. Despite appearing to be more “chaotic” the design actually gives the player more control than almost any other card game I’ve played. It’s in the Netrunner category of high strategy without relying so heavily on asymmetrical knowledge.

Now, I do understand some people finding the base game boring. Which is fair if they’re coming from those games years of maturation and iteration on their game mechanics. Play the first release of Magic or Hearthstone and you’ll also find a rather straightforward game. If you just want a mature scene, that’s fair. But if given the opportunity, I’d argue Artifact has far greater depth to explore than either of those games because it is free of their design limitations. Valve even introduced some new mechanics when rebalancing several of the cards right before they entered radio silence. Lion got the Quicken ability which reduces the cooldown of a skill every time it gets used. I can easily envision some sort of ability or card that would allow a free use or a faster use of an ability that could combo with Quicken and make Finger of Death a real reckoning force.

Since the game is designed around a computer doing much of the computation, there is a great deal of directions that the game could take. After its release, I was enthralled with following communities who created their own custom cards. Some of them were really smart and if Valve took even half of their ideas, they would rival Magic and Hearthstone combined.

Unfortunately, there is a final component to Artifact’s failing that I must touch upon. I don’t quite know if its the gaming community at large or just those specifically with Valve. However, there’s a concerted group who want to see Artifact fail. It is… unhealthy. I don’t like Keyforge. You wouldn’t know this because I wouldn’t bring it up other than to make a point. I don’t go to the Keyforge subreddit and bitch about it constantly. I don’t make an active effort to deride Keyforge, mock its failing numbers (I honestly don’t know nor care about its numbers) and I don’t insult and belittle the people who do like Keyforge.

The same can’t be said for Artifact. There is a hate brigand the likes of which I have never seen – and I saw the Gib Diretide nonsense. This might be something that Valve has to consider going forward. Whatever they do, there is a large and active community that wants to see it fail. I can’t imagine that Artifact by its lonesome stirred up such ire. I don’t want Valve to address it directly. But I hope they consider it when proposing more experimental approaches to releases. Hell, they may even have to break down and do some proper marketing to overcome it.

I still think there’s a fantastic product available. But Valve really has some hard decisions to make. I think revoking some of their earlier stances – stances I see echoed in Garfield and Elias’ answers – which really held the game back. Abandon this nonsense of “perceived value.” It’s ludicrous how overpriced and artificially inflated Magic cards are. We don’t need to go down that exploitative road. I’ve said it before, but Artifact could really benefit from the Dota treatment. Give it free (or at the very least dirt cheap) then offer alternate art, hats, imps, boards, loading screens, card effects and whatever other cosmetic nonsense to the players to jazz up their game. No one is going to place the same value on a couple lines of code as they would a physical piece of paper.

And it was ridiculous for them to even think that people would. Whatever they do, they have a lot of work ahead of them. The stink on Artifact will last a long time and Valve can’t rely on their goodwill anymore to overlook it. But they have the talent, skill and game itself to make the wait worthwhile.

So I’ll see you all again when Artifact 2.0 launches.

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Fang and Fury – Vermintide 2 Review

It struck me today that I have not done a game review for Warhammer: Vermintide 2 by Fat Shark Studios. This is, really, a bit of a tragedy. Especially since for the last year it’s basically all Derek and I have played.

So you shouldn’t be surprised when I say that I’m having a lot of fun with it.

Just a little bit of context: Derek and I made our way through Vermintide 1 but we were hardly experts. We played enough to get a sense of the game but arrived to it fairly late in its life. Adam convinced us to take the plunge, getting the game for very cheap in a Humble Bundle. If you haven’t heard of Humble Games, you should definitely check it out. It’s a fantastic way to get some slightly out-of-date games at amazing prices while supporting developers and charities alike. I don’t really use or follow it closely but every time I do use it, I get a steal of a deal.

Accessed from https://www.gamesload.com/images/products/Fatshark/Warhammer-Vermintide2-Collectors_XL.jpg
Warhammer: Vermintide belongs to Fat Shark Studios and Games Workshop in whatever capacities those two reached an agreement.

As an aside, this game review is brought to you by Humbles Game Store. Totally unrelated, I swear.

Long story short, Adam played one map while Derek and I have become expert Vermintide players. I blame Derek.

And it really is his fault.

See, Derek is a completionist. He doesn’t like to consider a game finished until he has done everything there is to do in it. I thought he was crazy. I still do, actually. But now that we can compare our stats, and because I’m stupidly competitive, I’ve been trying to finish more games than him. So when we have a game we both play, we’re locked in until someone gives up. Sadly, we’re both stubborn.

Thankfully, Vermintide is actually fun.

See, Vermintide despite carrying the unfortunate Warhammer window dressings, is a rather engaging co-operative action game. I’m not sure how to classify it other than it is Left 4 Dead with swords and giant rats instead of shotguns and endless zombies. In Left 4 Dead, you and three other players work your way through a map fighting off periodic hordes of the undead while trying to survive and make it to the next “safe room.” It was a very successful game made by Valve. Which is to say once they released its sequel a year later, they haven’t touched the franchise at all leaving fans longing for more and wondering if one day they’ll ever be heard.

I’ve learned my habit of disappointing your audience straight from the masters themselves, you see.

Thankfully, where Valve left off, Fat Shark stepped in. They didn’t make an exact copy, what with Vermintide taking place in a medieval fantasy setting instead of a post-apocalyptic modern American setting, but the spirit remained the same. Four players must traverse levels while constantly besieged by rodents of unusual size, temperament and abilities. Vermintide 1 was fun and hectic, taking place in a city being overwhelmed by these tunnelling man-sized monstrosities during something called the End Times. I’d go into the story of Vermintide but it is neither particularly interesting nor particularly important. You show up. You kill rats. You get rewards. Mostly, the rewards don’t matter and you just repeat the same process over again because, strangely, killing the little furballs is rather fun.

Accessed from https://cdnb.artstation.com/p/assets/images/images/009/955/951/large/patrik-rosander-hunger-in-the-dark-flooded-tunnels.jpg?1521756924

And thankfully, Fat Shark kept to the same successful script as the first. What you get in Vermintide 2 is just more of that sweet murder goodness. Not to say the two games are an exact copy. The first major difference is that the five returning characters (Kruber, Kerillian, Sienna, Bardin and Salzpyre) come with three different classes each. These are more than just colourful personalities (like in Left 4 Dead), each of them has a particular set of weapons and skills available to them. Salzpyre runs around with a precise rapier and a truckload of single shot pistols. Sienna, on the other hand, burns rats with her magical sticks or bops them with a rusty mace.

In Vermintide 2, you’ve got even more customisation than just changing their weapons. These classes add a unique ability to the heroes as well as giving them separate class trees which provide small buffs to different gameplay aspects. With Hunter Kruber, you focus more on his ranged capabilities, giving him ammo on successful headshots or less weapon spread. Foot Knight Kruber, on the other hand, wants to rush in with his charge and slash monsters with his halberd. As such, he gets better stamina regeneration for blocking attacks and wider block angles. The talents have less impact than the class selection itself but you can kind of nudge the character in different directions to fit more your favourite style of slaying.

And it is good that players got more tools for killing because Fat Shark added a whole new faction of villains out to sever your head from your shoulders. Not only are you contending with the Skaven who lend their name to the title but it appears these manlike mammals have made an alliance with northern raiders who have devoted themselves to pestilence and decay. The Chaos Warriors have their own special characters that appear alongside their hordes to make your day difficult.

See, there are more than just an unending tide of mooks for you to kill. Left 4 Dead demonstrated that you need some rare, special enemies that can disrupt player lines and keep them from simply hunkering down in a corner to wait out the simple AI of rushing like lemmings into your awaiting bloody arms. In the original game you had poisonwind globadiers who would throw glass jars filled with poisonous gas. Packmasters ran forward with mancatchers to grab unsuspecting players and pull them haplessly into the heart of the swarm. Now, we have leech mages that appear behind you to vampirically siphon your soul or the blightstormers who conjure a tornado that will whip you around the map while they teleport behind cliffs so you can’t kill them and end your suffering.

Vermintide 2 also added three additional monsters to fight. These act as bosses for the level that represent a challenging fight against a hulking terror that is capable of killing the entire group on its own. In the first game, this role was filled by the rat ogre who, after twenty or so different maps, had become so predictable as to offer little challenge or concern. Fat Shark introduced the Stormfiend, Chaos Spawn and Bile Troll. Each act entirely different and force players to adopt different tactics depending on which and where they face down.

Perhaps most heartening is that Fat Shark have really improved their design from the first game. There are some companies and products that… demonstrate a complete lack of ability to self-reflect either on their genre or even their own past work. These studios somehow manage to make sequels that are weaker than their original inspirations, drowned in poor design choices that choke out what good they’re able to create.

When it comes to maps, however, Fat Shark have really stepped it up. Granted, gone are the shorter maps that I really enjoyed in the first game. But, I’m not certain if I enjoyed those maps because of the design or because I could fly through them in half the time of a regular map. While Black Powder and Waterfront provided a nice change in pace, given that those maps often required alternative means to end the mission, there were few really standout entries. Wizards Tower was perhaps the most interesting. Vermintide 2, however, has done a lot in terms of mixing up objectives in maps while providing interesting layouts and locations with distinct personalities. Temple of Shallya has a very interesting visual progression from a hospital into some body horror hellscape before culminating in a big bowl of algae soup. Interestingly enough, it also happens to be the only map which you have to complete about ten laps around a track to finish.

Accessed from https://static1.squarespace.com/static/5bcedce865a707df96be067b/5c3d92bc352f53b841564559/5c3d9eb3aa4a99ac20aa09e5/1547542222321/Vermintide+2+Release+Screenshot+03.png?format=1500w

But the most exciting part of Vermintide 2 is the support that it has received since its release. Not only were there two DLCs (that I skipped because I’m poor) but there’s also an announced expansion coming out this summer which will introduce a third faction of critters to kill: the Beastmen!

So, here’s hoping to hundreds of more hours of murder with my favourite non-contributing author in the months to come.

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I’m On The Case – Detective Pikachu Review

Here’s a relevant review of a product that’s meant to cash in on your nostalgia.

I bet, of all the things you expected me to write about, it would not be on the new Detective Pikachu movie. I would not blame you for being surprised. I would not have expected to be writing a review about it either. Detective Pikachu is the sort of movie wholly outside of my wheelhouse.

Detective Pikachu is profitable trainwreck of Warner Bros. Pictures, The Pokemon Company and Rob Letterman. Obviously the images and rights belong to them and not me.

Well, I suppose that’s not entirely true. It is a video game adaptation. And I do play video games. I’ve even seen some of the other video game adaptation movies of years past. All of them have been stinkers.

So if you’re as good at pattern recognition as I am, then you can probably guess how well this movie turned out to be.

Course, as a movie review, it should go without saying that I’m going to be spoiling the movie in order to discuss it. But if you’re also trying to keep yourself from spoiling yourself on Detective Pikachu then… well… frankly I’m surprised that your interests overlap so much with mine for you to have arrived on this humble blog in the first place.

So, for the short version of my Detective Pikachu review: It’s scattered, terribly paced and poorly acted.

For my long version review: It’s baaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaad.

And we’re done here.

Actually, that’s not entirely true. There are several kinds of bad movies. With varying levels of emotional response from me. There are the bad movies that are so bad they’re good. My heart shall always belong to the hot hail of Flash Gordon and I will fight anyone who cannot comprehend its majesty.

This is not Flash Gordon bad, however.

Then there are the bad movies that are so boring and uninspired that I completely forget what happened the moment I emerge from the movie theatre. There the ones I can hardly be upset about, largely because they induce in my a temporary amnesia that blocks any recollection of what I’d seen. It’s like a nap but not nearly as restful. I’d give an example of these kinds of movies but I simply can’t recall any.

And Detective Pikachu isn’t that bad either.

There’s the insultingly awful. That type of movie that seeks to impart a personal grievance in its audience. The sort of movie that wraps itself up in some false pretension or manages to garner a suspiciously loud group of supporters and lulls you into the sense that it might be good – or at the very least, not bad.

But this wasn’t Gone Girl.

This was the Get Out of children’s movies. I expect Detective Pikachu to do well. It’s the sort of bad movie that drives a deep seated anger within me. It’s the bad movie with a large soul of promise that, through either studio meddling or directorial fumbling, completely squanders its potential on face-palming idiotic decisions that should never have cleared the writing workshop let alone survive the editing room.

And I’m surprised to see Detective Pikachu to land itself in this category of bad movie.

Full disclosure: I have never beaten a Pokemon game. I’ve played one, largely in Japanese, and am familiar enough with the franchise to follow its particular quirks and jingoisms. I did not grow up with Pokemon, missing the memetic phenomenon by the measure of two or so years. In terms of things that are popular, I respect it without having any interest in it. For me, Pokemon is pretty harmless. Sure, it butchers the idea of evolution but it is pretty nondescript in its existence and there are far worse things that have had just as much mass appeal.

I did not expect to like Detective Pikachu and thus I was taken by surprise when I actually found myself enjoying myself. Course, that was fleeting as joy turned to confusion pretty quickly. And once the confusion set it, it took hold with an iron grip that didn’t let go right up to the hilariously unoriginal Bill Nighy finale which was strangely contradictory with the few establishing scenes used for it but a mere forty minutes prior.

I want a Detective Mr. Mime movie.

So, let’s spend some time about what went well. This should be short, because it was fleeting in the movie itself.

What caught me off-guard was how… unfocused Detective Pikachu was. It’s a movie that doesn’t seem like it knows itself. It waddles between a bone-headed children’s movie whose sole and blatant purpose is to push merchandising and nothing else and some strangely adult mystery thriller rooted in childhood nostalgia.

Obviously, I’m attracted to its latter leanings. But also, much like Captain America: Winter Soldier, this strange dip into a secondary genre left me realizing that I desperately want a Pokemon detective thriller. It works and it works really well when it embraces this direction. I’m reminded of the television show Fillmore!

Fillmore! is a children’s parody of the stock 1970s police drama. And it’s really clever in taking that genre’s tropes and exploring them through a juvenile lens. There’s a lot of cross-generational entertainment and humour that can be generated from this, demonstrated by Detective Pikachu’s interrogation scene with the Mr. Mime Pokemon. The movie also extremely excels in its realistic portrayal of Pokemon characters. Which first comes across as entirely creepy but is so ubiquitous and seamlessly integrated that I found I bought this aspect of the movie pretty quickly.

Couple this with an older protagonist and the decision to frame the narrative as a detective story, and I can’t help but feel this mature direction for the movie was deliberate. And, honestly, it was rather refreshing. I can’t think of many children’s movies that have a main character so old that they’re out of school and I give Detective Pikachu mad respects for doing so.

Thus, it’s a shame when the movie, also much like Winter Soldier, quickly drops its detective tropes and falls gleefully into mindless action and brain-dead spectacle. What starts off as a really promising story about a young man searching for his father quickly degenerates into power fantasy nonsense that’s so illogical, more than half the screen dialogue is the characters trying to explain everything going on because the premise is just that stupid.

There’s also the issue that the movie has so many visual nods to its game origins that it can’t help but stuff character dialogue with highlighting these nods. There’s an inelegance on display here that is stupefying. Movies are already pressed for time with character development and narrative progression that it leaves me wondering why you need characters to constantly inform the audience that “these are tortugas” and “this is a greninja” star especially when you just showed this stuff a second ago.

And then the movie decides it really wants to focus its plot around Mewtwo because surely the audience is going to be emotionally invested in this purple, weirdly cat shaped deus ex machina instead of focusing or strengthening the emotional plot of the protagonist and his relationship with his father and the world around him.

And that’s really when the movie goes off the rails.

Course, there’s a lot that’s bad with the movie beyond its empty plot. The acting is, quite frankly, embarrassing. The two leads are so flat and boring that I can’t even remember their names. I get that CGI flicks are difficult to act in, but it doesn’t excuse these two people for being so wooden amongst themselves. I believe the girl loves her duck more than she does the boy and her attempts to sell the otherwise embarrassingly juvenile dialogue only highlights how poorly the lines are written.

And, of course, the lead male’s performance left me reminiscing about Keanu Reeve’s portrayals in the Matrix. The Matrix worked around Keanu’s constant state of flummox by having his character legitimately confused with everything he encounter. Detective Pikachu is nowhere near as savvy and anytime an emotionally demanding scene arrives, we have a man (who I still can’t remember his name) staring vapidly either at his yellow rat or right into your soul.

And, let’s be honest here, Ryan Reynolds is reprising Deadpool here.

Simply put, I would not recommend Detective Pikachu unless you’re a diehard Pokemon fan (in which seeing all the Pokemon on screen with such a… surprisingly art style) will surely tickle your fancy. Or if you have kids. Because let’s be frank, if children can like Peppa Pig, they will literally like anything so long as its colourful.

Now, normally I would sign off here, but I want to present to you what would have been my ideal Detective Pikachu movie. Because, as I said, this movie is frustrating due to its surprising potential.

I think the movie should have committed entirely to its detective parody. Play up the secondary characters as greater pastiches. The reporter would make a terrific femme fatale, especially if you lean into her intern background being at odds with her killer journalistic instincts.

I also came to love this idea of having everyone with a Pokemon companion and there is no reason that more sight gags couldn’t be incorporated into the movie with these critters. A simple one would be having a young girl or refined lady come to claim the weird and gross tongue creature on the train. Even more, I would have liked the Mr. Mime – easily the best character of the movie – to have played a greater part. Make the Mr. Mime the companion of one primary antagonist and allow it to have additional opportunity to vex and frustrate the heroes.

Bonus points awarded if you gave the Mr. Mime burn scars after the interrogation with the protagonist.

Course, I think for the movie to really shine, it needs to drop the weird Mewtwo insertion. I don’t understand this need for grandiose plots and perhaps this is Hollywood trying to desperately cash in on the comicbook hero craze. But Detective Pikachu should have had a much narrower focus. It’s a little cliched but honestly, this movie would have benefited with the emotional struggles of an estranged son searching for his absent father.

This is an apt representation of the Detective Pokemon experience.

As such, a more typical detective plot would work better as it would detract less from the father/son relationship. I’d personally suggest a story revolving around underworld match fixing of Pokemon battles. Because I both recognize that children want to see these creatures beat the living snot from each other and it further pulls at the nostalgia strings of the older generations. It allows easy insertion of action beats (an unfortunate necessity in this day and age) and can also be tied back to the protagonists childhood dreams of being a Pokemon trainer (thus allowing character development). I’d personally through in Pokemon Rights protestors as a cheeky way to poke fun at the fact that Pokemon is little more than glorified cock fighting but that’s just me.

With this setup, I’d give the primary underworld mob boss the Mr. Mime as his (or hers) Pokemon companion. And, of course, I’d have a chase scene with the Mr. Mime, pretty much go as one would expect after seeing the movie’s interrogation scene.

Also, price fixing is the sort of villainous action that requires but a fraction of an explanation compared to the purple mist of Detective Pikachu. For greater stakes, you could say the city’s mayor is indebted to the mob or whoever due to gambling debts if you wanted. And maybe have the villain trying to legalise underground Pokemon battles or something else if you really wanted.

Course, this would necessitate removing a talking Pikachu from the movie. But I say leave Ryan Reynolds to cheap romantic comedies and the Deadpool franchise.

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Playground of the Id – Musings on Horror

Oh hi there. I didn’t see you there. Come in, come in. It’s been some time, hasn’t it. Well take a seat. This place is just as comfortable as it always is. Everyone is welcome.

Pay the dust no mind.

So, it’s been awhile since I’ve posted. And boy, have we had some big changes in that time. A new look and a new address, all of which we have Derek to thank. So, thank you Derek, your hard work is always appreciated!

A little bit of an update: I didn’t fall of the face of the earth for no good reason. I’m hard at work on the Clockwork Caterpillar sequel. We’ve got pre-order and previews in the works and hopefully we’ll be making more noise about that in no time. So keep an eye out for that.

But now that I have some breathing room from scribbling out draft after draft, it is high time that I go for a little bit of a ramble about just life and all the minute things that make it up.

The title of this article gives enough of the topic away but let’s add a dash of context. A friend of mine – let’s call her Rikki for no particular reason – and I really like to watch horror movies. Now, I’m not a horror fan. I’m not a true believer in the genre and I’ve certainly expressed my thoughts on its shortcomings in the past. No, specifically we like to watch bad horror movies. There’s some measure of joy to watch a work of art that utterly fails to achieve its goal. It’s another thing to watch such a trainwreck fail to reach any goal. This is essentially an endorsement of Wiseau’s The Room. Check it out!

So Rikki and I like to get together every month and just sit back and scroll through the movies that no one wants to see. We prefer the comfort of our own homes because we engage in the age old tradition of heckling while the flick is on. A meta-commentary of work is so popular it spawned its own long running series (Mystery Science Theatre 3000 – check it out as well!). I would never record and release this sort of thing, obviously. But it is immense fun.

Only, every now and then there’s a snag. Every now and then we screw up. Instead of putting on a real stinker we stumble into an actual good movie.

And this has lead into an interesting revelation for me.

Now, I’m well aware of the subgenres of horror. You have body horror, slasher films, cosmic horror, splatterhouse or even the oddly specific holiday horror. But one of the more interesting elements of this style of fiction is how telling it is of its creators. Many philosophers and artists allege that fear is the greatest emotion known to mankind. I’m sure Lovecraft has waxed poetically about it before diving into his strange fetish for scaly, long noses. But while fear is certainly a common experience for mankind, what scares us certainly is not.

In a way, if eyes are windows to the soul, horror films are the garage door to the director’s psyche. You get to see the shadowy shapes that wiggle just beneath the surface of the subconscious and see just what causes the bumps which keep them up at night.

For some, it is incredibly mundane witches, ghosts or witch ghosts that can’t stand you having more Facebook friends than them. But every now and then, a director is able to take their midnight terrors and do something extraordinary with them.

They make a message.

So here I list Rikki and mine’s worst failures. Here are two movies that, against our best intentions, actually turned out well.

The Babadook

Accessed from https://upload.wikimedia.org/wikipedia/en/d/d7/The-Babadook-Poster.jpg
The Babadook and all associated images and whatnot belong to Causeway Films, Entertainment One and whoever else.

Sure, anyone who follows the horror genre is probably rolling their eyes. Of course The Babadook is good. Anyone who doesn’t keep their head in the sand during 2014 would know this. Well, first, I like it there. The sand helps to regulate temperature really well.

Second, I don’t take critical consensus seriously after I was convinced to watch a horror movie about a lethargic walking STD despite everyone crowing about how brilliant it is.

Thus, I recommended the Babadook based on the fact that I wanted to see some silly Australians running around from a ridiculous looking person in a top hat.

And I have to admit, I was not prepared.

Now, the Babadook isn’t scary. I don’t really find horror movies scary. But the Babadook is good. And it’s because it managed something that I had not thought possible. It used our feelings of fear to peel back the layers of psychological defences the director had raised to reveal a very compelling story about the difficulties and shame surrounding grief.

Thus, the Babadook did two things I had not seen. One, it was a story very strongly feminine. As I’ve stated, I’m not a horror genre expert, but so often are we presented what scares men. Even when the protagonist is a woman, the films themselves are very… attuned for the male’s perspective. I mean, how many times do we have the female protagonist running through showers of blood or rolling around in the mud while wearing a shear blouse or, more often than not, just her panties and bra?

In contrast, The Babadook is positively mormon. Here, Amelia Vanek is a single mother attempting to raise her precocious and not-entirely-all-there son Sam. The story is, largely, a slow boil wherein Sam’s awkwardness and social failings cause ever growing stress and grief for Amelia. Sam is convinced that he must protect his mother from a monster only he can see. And Amelia, as a single working mother with strained relations to her sister, is stretched to her wits end.

It’s an excellent story which, handled by any other, would surely have looked simply through Sam’s eyes and watched as his mother turned into a raving, murderous creature which the son must slay in order to save. But, instead, despite Amelie’s inability to address this mysterious Babadook (which is so thinly veiled to be the representation of her grief towards the death of her husband – I mean it manifests as him at one point when it demands that Sam be brought to him!) the story never really abandons Amelie. This is her tale, even as she does unspeakable things in her attempts to calm her child and hold to the fraying threads of her unravelling life.

But even more impressive is the finale. It’s a staple in horror films that even when the supernatural threat is banished, there’s always that last minute shot of it coming back or having ultimately succeeded. This is represented with a happy Sam collecting worms for Amelie and presenting her the dented dog dish with the earthy insect laden mess. Sam then asks if he can “take care of it” and Amelie’s answer has stayed with me ever since:

“You will when you’re older.”

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The Babadook is more a story about responsible parenting: Don’t let others buy your kid children’s stories.

It’s such a sucker punch reveal that the grief we carry isn’t just our own. Sam, who had no hand in the creation of this devastation in his mother, will later inherit this morbid manifestation once he’s fully capable of understanding the loss of a father he’s never known. Then he too will have to learn to take his own bowl of worms down to a monster that he will never live without.

I had not signed on to learn something about life.

Await Further Instructions

Accessed from https://www.imdb.com/title/tt4971408/mediaviewer/rm109279232
Await Further Instructions belongs to Johnny Kevorkian and Dark Sky Films.

This one is entirely on Rikki. To be fair to her, however, not only does this movie have a ridiculous title, it’s also got a really cheap film look to it that just screams “unintentional comedy.”

And I’ll readily admit that there’s a distinct difference in quality between Await Further Instructions and The Babadook. But this movie is still way better than it has any right to be. I don’t know what it is with foreign films but somehow they seem to churn out more thought provoking horror than their North American counterparts.

I wonder if there’s a thesis topic in there.

Await Further Instructions takes the opposite approach to The Babadook. While it focuses on a family Christmas dinner in what I can only assume are the suburbs of Britain, it’s subject matter branches far afield from the intensely personal tale of Amelie. Instead of commenting on the human condition, Await Further Instructions is leveraging its critical eye to society.

And there’s just something about fascism that simply does not gel well with British artists. Well, fascism doesn’t gel well with any artists but certainly its a topic that the British are far more willing to address their ire.

Await targets what I can only assume is the very British response of clamping down during an emergency and being as obedient as possible to authority. Not a necessarily inappropriate response in many circumstances. Certainly if a building is madly aflame, most would encourage trapped persons to obey the fire marshal.

But what happens if the fire marshal starts giving questionable directives?

Await follows the Milgram (heh) family as they awake Christmas Day to discover their house has been sealed by a mysterious black synthetic barrier. Concern spreads quickly, especially since Nick wanted to depart early given that his Indian girlfriend Annji was not going over well with his slightly racist family.

Then the television flickers on and an otherworldly green message flashes its instructions to the family. This cements in the mind of the patriarch Tony that this is a government quarantine and they must wait out the catastrophe following good old daddy parliament’s directives. Course, this quickly turns into a question of blind obedience to authority once the television begins flashing highly suspect orders and Tony puts his entire family’s life in danger while trying to maintain his quickly unravelling order.

Now, Await struggles in presenting a well written and well performed piece. But its theme is certainly far stronger than most the ghoulies and goblins are offered in the genre. Someone really hates Fox Nows. Or, more precisely, whatever form Fox News takes in Great Britain. All the family’s bad decisions are preceded by obeying the ever growing ridiculous demands of the television which mostly seems to want to torture the Milgrams. This is obviously contrasted with the seemingly normal Christmas Eve were dear old Granddad is watching the news and commenting on how the world is going to shit because of the immigrants and they need to kick them all out while staring hard at the doctor-in-training Annji.

Nick’s rebelliousness uncovers the horrible truth that the television hosts some strange alien synthetic organism which wants nothing more than the adulation and worship of its viewers. A goal that is easily achieved with the highly susceptible Tony who keeps appealing to the cross hanging above the television anytime he’s about to carry out the next unimaginable order against his children. There’s a lot of good ideas wrapped up in here that, given a skilled hand, would have really taken off.

Course, in the end, it’s a bit heavy handed. But the horror is far more ambitious than the ghost of a little girl trying to get revenge on her sisters thirty years after they accidentally contributed to her drowning. It’s a fear with a message and elevates a work that would otherwise have been ripe for parodying and mockery. Course, it’s elevated to more a position of awkward mediocrity wherein it’s a flawed but somewhat valuable work.

Accessed from https://static01.nyt.com/images/2018/10/05/arts/05await1/05await1-jumbo-v2.jpg?quality=90&auto=webp
I have to say the weird green glow did get a little tiresome.

But it has done more than a lot of other films better crafted than it: It showed that horror can be more than dopamine for the id. It can provoke thought and conversation over difficult matters of both personal and societal importance.

And these movies demonstrate that not all our fears are unfounded. Its how we address what we fear that matters, and whether we can turn that terror into a better solution.

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Behind Rewind Review: New World, Old Problems

It’s been awhile since I’ve given a good little review of a video game. Well, outside of mentioning my mixed adoration of Artifact’s design and lamenting it’s anemic launch. Well, over the holidays, Firaxis has been slowly revealing all the bright and juicy details for their next expansion to the sixth entry of their Civilization series. Civilization has been a mainstay in my life and a cornerstone franchise of the video game industry. It’s the poster boy for the 4x strategy genre (so called for its key game mechanics surrounding eXplore, eXpand, eXploit and eXterminate) that tasks players with choosing a civilization from human history and navigating it from the stone age to modern times and beyond, racing against other heavy weights of textbooks to see who can achieve victory first.

Course, there’s a lot of definitions in that explanation that require a bit more exploration and certainly the discussion around each of them could be a post in of themselves. For simplicity sake, victory is typically broadly defined as achieving dominance in one of several key developmental fields, whether that by dominating all your opponents by capturing their capitals, completely a space faring project and being the first to successful set out into the emptiness of space or (much recently) convincing everyone through the sheer power of your pop music and blue jeans to adopt your culture over their own or anyone else’s.

Accessed from https://cdna.artstation.com/p/assets/images/images/000/103/842/large/autumn-turkel-marquee-beyondearth.jpg?1443931718
Civilization Beyond Earth and all associated imagery and what-have-you are properties of Firaxis and 2K Gaming. Well, maybe my thoughts are my own.

The evolution of the series has certainly touched upon some fascinating concepts and later additions are starting to question even the basics of what it means to be a civilization or what victory truly means. Religion has become a mainstay element. Diplomatic relations between leaders and world governing bodies are becoming more prominent. Perhaps that most interesting is the development of cultural game mechanics and the idea of a victory sheerly through these cultural means and peeking at a world beyond colonial expectations and philosophies.

It is hard to tear Civilization and the 4x genre away from clearly western colonial ideals and the clearest example of how cultural influences heavily impact our lens through which we process our understanding of the world. Literally all four components of the 4x genre are key elements of colonization and, as a consequence, Civilization gameplay typically revolves around repeating the brutality and severe consequences of colonial activity. It values land solely by its productivity or commoditization and treats the people and environment in that territory as simply a further evaluation in the cost/benefit analysis of that territory. Sure, there might be quite an enticing deposit of steel over in those hills but is there enough arable land to warrant plopping a city down in that area and do I have the strength to beat out the Shoshone who are angling to settle that territory? Can I afford to have them gain access to more iron and build up more of an army to threaten my own borders?

It’s a decidedly limited scope to view all of human history and motivation though I have no intention to obfuscate the fact that colonialism certainly led to the foundation of my home country. In fact, it was the inclusion of said country, Canada, that brought me back to the genre recently. Civilization VI is far too expensive for my blood currently but it was the perfect time to jump into its predecessor Civilization: Beyond Earth.

Now all this rambling about colonialism isn’t some long winded academic whinging. It’s the very foundation for Beyond Earth – the spin-off game released between Civilization V and Civilization VI. Here is where I take a moment to explain my own biases and background. I’ve never played Sid Meier’s Alpha Centauri which  most certainly had a huge influence in the development of Beyond Earth. As such, I cannot judge the game based on the expectations of those looking for a proper spiritual successor to that game. On the other hand, I think it can allow me to look at Beyond Earth with a little more objectivity.

Second, I have the complete version of Beyond Earth. Which is to say I’ve been playing on the Rising Tide expansion. I did briefly disable the expansion in order to earn an achievement impossible to unlock otherwise and I can definitely say whatever mixed reviews Beyond Earth received on launch are quite likely justified. If you’re interested in Beyond Earth, Rising Tide is a necessary component. That brief game without it certainly made the experience far more shallow and a lot less interesting.

With that out of the way, let’s get into the bones of Beyond Earth.

Civilization V had a science victory awarded to the player first to launch a spaceship to the far distant Alpha Centauri. Beyond Earth is a theoretical continuation of this timeline with some necessary assumptions set into place to make it work. First, it takes place quite a few years into our future where long distance space travel is possible. It also occurs after an event referenced simply as The Great Mistake which is the impetuous for these spacefaring seeding ships to launch into the next great frontier.

The Great Mistake is never truly elucidated, a clearly conscious decision by the developers likely to allow players their own interpretations of what constitutes its events. What does seem clear is some terrible ecological tragedy occurred that changed the shape of the earth and its geopolitical organization. If countries exist, they are certainly not drawn along lines familiar to us. Instead, Beyond Earth utilizes a “sponsor” system wherein twelve great conglomerations have pooled resources in order to huck a bunch of theoretically doomed individuals into almost certain death and obscurity. As a player, you get some choice in how these sponsors shaped the fateful ship that, against all odds, managed to find a habitable planet (of which you can choose some basic qualities like size, terrain and climate). Then, you set down on this planet and begin the difficult process of colonising it.

Course as fate (and game settings) would have it, you were not the only seeding ship to make the successful discovery and your opponents make planetfall an indeterminate number of turns after you. This is such a simple but I find effective measure since it gives you those initial turns of loneliness in an alien world that is surprisingly populated by some terrifyingly alien organisms. Functionally, this is no different than the starting turns of a regular Civilization game since you’re unlikely to discover your opponent right away anyway (and the AI always has some advantages to ‘catch up’ on the player regardless). But Beyond Earth has taken some notes from the Endless Legends game and tried to wrap more of its pacing in a loose narrative overview.

Accessed from http://www.vgamerz.com/wp-content/uploads/2014/10/civilization-beyond-earth-best-colonists.jpg
I like one of the options during game creation is to pack your seeding ship full of artists. Because someone thought “Yes, a bunch of arthouse hipsters would make the perfect saviours of mankind and suitable colonists for an alien world!”

This narrative hinges entirely around your relationship with the planet around you. It breaks down three generic routes that a hypothetical space colonialist would have to their alien world. They could cling to their native home, trying to cultivate their new planet into a replicate of the Earth they left behind. They could seek to understand this strange and radically different environment, seeking to reach some sort of communalism with the radically and oftimes hostile nature. Finally, they could lean heavily on the advanced technology that brought them here, incorporating the new resources they’ve discovered to develop their cities and themselves into hitherto unimagined heights of new synthetic superiority.

These ideologies, named Purity, Harmony and Supremacy, serve as the primary pathway to victory. By specializing and developing your ideology, you’ll eventually unlock a means to bring this discovery and taming of a new world narrative to a close. If you’re an adherent to Purity, you eventually establish contact with Old Earth, construct a warp gate through which the population can travel to and rescue the old world from whatever indescribable horror had led to its near extinction. Harmony members turn their back wholly on Old Earth, recognizing a heightened awareness and sentience with the planet itself. Through a fusion of gene manipulation and technological integration, they develop a mind flower that will allow communication with the planet as a whole, bringing ultimate unity with the human species to the oddly coordinated flora and fauna already found there. Lastly, Supremacy establishes contact with Old Earth but not to bring its remaining refugees to their new home. No, using their advanced cybernetic enhancements, they send an undefeatable “diplomatic envoy” back to earth in order to cure the last remaining vestige of humanity of the flaws of their decidedly weak meat bodies so everyone can live peacefully as one synthetic society.

There’s also a strangely disconnect victory condition of making contact with some alien species that had left a bunch of their own structures behind on the planet like an irresponsible child forgetting to put away their toys and discovering their walkie-talkie has managed to fall into someone else’s hands.

It’s an interesting system and one that kind of encapsulates Beyond Earth. It’s different and neat but not without some glaring flaws. For one, despite the emphasis on narrative, there’s not a whole lot of incorporation of these ideologies in with the leaders. Despite each representative of the sponsors having a fairly interesting and detailed background, there’s nothing stopping the exploitative and money driven Hutama from seeking harmony with the earth (like I did in my first game) despite there being little narrative justification for doing so. On the one hand I can understand not limiting player choice and strategy but on the other hand, the game does anyway in regards to the quests which provide specific rewards to your buildings when they are completed. These quests are essentially decided based strictly on the rewards and not on their narrative consistency, so I don’t know why there was so much emphasis placed on splitting them in the way they did.

On the other hand, I do like the idea of customising your units and structures towards your strategy. There’s just little rhyme or reason for how they justify the customization. Furthermore, the sole determinant for your ideology is based on your research order (and random quest rewards). So you are forced rather early into deciding which victory condition you want to pursue as any of the major three require you have a staggering level fifteen in their respective ideology. So once you land on your little plant, you get some early turns to check out your starting area and basically commit to whether you want resettle old earth here, make friends with the aliens or just assimilate everyone into your collective hivemind. There’s a bit of mechanical nuance to these three victories that means you need to decide early what you are doing.

A Harmony victory is the most research intensive but the least interactive. You want to have a wide presence on the map through multiple cities. There are two buildings you can construct that will speed the process of the mind flower’s awakening. Course, Beyond Earth is running on the Civilization engine, so you have a natural anti-synergy in that the more cities you have the more research it costs to unlock the mind flower wonder. This naturally pushes you down the science virtue tree which makes technology cost penalties lower from number of cities. Thus, a Harmony victory requires a science and settlement focus which at least aligns slightly with the technologies that give you Harmony affinity (mostly ones to alleviate unhealthiness which is a global malus on your cities’ growth and production that grows due to number and size of cities).

What you’ll find, however, is that you start slipping into a Harmony/Supremacy hybrid since Supremacy technologies are generally science boost technologies. Rising Tide added hybrid affinities which allows your units to customize in different directions from the primary three ideologies. It’s a necessary component but, sadly, should have opened alternative victory conditions as well which they sadly don’t.

Finally, I find it really incongruous that you can murder the indigenous life without impunity with no negative towards the victory condition that follows you merging with said indigenous life.

Purity and Supremacy are a bit too similar as well. They both involve researching a satellite to contact Earth then building a wonder like the mind flower. Course, the two gates are on different tech but it’s what follows after the gate that makes things a little more interesting. Purity needs to settle twenty refugees in separate colonies that follow normal city settling rules. Supremacy has to shunt one thousand strength worth of units through its gates. Thus Supremacy is going to require a high production city or have built up a large army reserve. Unfortunately for both gates, they each can only transport one unit a turn. So Supremacy ends up needing a fair bit of technology in order to unlock the highest strength units in the game to make its progress as fast as possible. It’s still less than Harmony since the strongest Supremacy unit is just a few tech nodes from its gate but it does require a lot of the firaxis resource. Purity, however, need only protect the colonists so once their gate gets up there’s a pretty hard twenty turn timer to stop them. Though their colonists do move slowly so it’s helpful to either have spots picked out along the ocean or build roads to the places you want to keep them.

So there are some interesting elements and strategies that arise from these different victory conditions. But they don’t intersect with the other elements of the game particularly well. For instance, while the leaders are colourful and interesting there’s a neat dynamism with their visual appearance changing to reflect which ideology they are pursuing. It’s a neat visual flair that’s great for quickly understanding diplomatic relations just by looking at the leader screen. It’s unfortunate that the leaders themselves have little connection with the goals.

There are some interesting abilities and I like that Beyond Earth leans more towards game warping uniques to set their sponsors apart. Daoming is capable of building wonders instantaneously in any city that does not have a wonder. That’s a pretty incredible ability tempered only by the fact that none of the game’s wonders really contribute to any of the victory conditions. CEO Fielding has incredibly fast spies who can accomplish their covert operations in half the time as her opponents and really opens up the espionage game. But, once again, this doesn’t really predispose her towards any ideology. While flexibility is appreciated, I think it holds back both gameplay and narrative. Without some direction, the leaders rather come off as generic. Half the time Elodie is in my game, she’s a warlord conquering the entire map. Other times she’s just sitting back trying to put out wonders and looking to build the mind flower. Outside of her avatar, there’s not much that really distinguishes her from Bolivar. It would sacrifice some replayability but if they could have given the leaders some manner of predisposition, it would have been great. Make some more likely to pursue warmongering or purity. Others focused on establishing contact (and generating lots of money to accomplish this) or looking to set up the mind flower. I think with more distinct victory conditions they could have made the leaders even more prominent and put their personalities front and centre. I can’t help but compare it once more to Endless Legend where some factions are cut off entirely from victory conditions due to their perks and detriments.

One thing that Beyond Earth does do really well is lean into its science fiction theming. I really like the separation between land and water cities and how both have slightly different mechanics for how they work. Then there’s the woefully underutilized satellite layer which has so much potential for additional strategy and development that it could turn into something really unique and distinct.

Beyond Earth is ultimately an ok game. I’ve enjoyed my time with it and don’t regret the purchase by any means. There’s lots of really wonderful ideas and ingenious twists on the genre kicking around in this game. I would really like to see these ideas given room to grow. I’d also like to see it push the boundaries of a 4x game and maybe start examining some of the core game mechanics and ask what can it do differently. Could you make a Beyond Earth like game that has different focus rather than on conquering, exploiting and exterminating? Technological or ecological integration are ideas ripe for bending the traditional approach to these types of strategy games. And I’m not opposed to the narrative elements but I am unsure how you can reconcile them with the base game mechanics as well as form a cohesive story arc.

Accessed from https://www.celjaded.com/wp-content/uploads/2015/10/CelJaded-Civilization-Beyond-Earth-Rising-Tide-Artwork-Banner.jpg
One thing I would have liked from a narrative perspective is if a player chose one of the expansion sponsors they actually arrived after the AI. Would fit their backstory and add an interesting twist to difficulty levels.

At any rate, I know this review is far too late to the discussion to provide much for impact on the game or it’s development. But perhaps it can serve as a source of inspiration or merely act as a resource for looking back on a release and examine why it wasn’t just quite right. Since I’ve kind of vowed to work through my backlog as well as do more of my purchasing on dated releases for cost reduction, I think I may have more of these retrospective looks in the future.

Or we can just see if older games truly stand the test of time.

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The Crystal Cracks

So this is the accompaniment article to last weeks disappointments of 2018. And, more than anything, I hope to bring attention to a little gem of a game that I feel has not received as much buzz or attention as it really deserves.

Last week I pointed out Artifact which is a digital card game by Valve Software and is really well made. Well, this time we’re looking at another game but this one is wholly physical.

For those that have followed the gaming posts on my blog, you are probably aware of my love for Summoner Wars by Plaid Hat Games. Despite being a bit niche amongst my board game friends – to the point I only know of Kait and myself who enjoyed the game – I managed to play a lot of games and actually buy many of the new armies for the game. It got to the point that Kait and I developed eight custom factions as well, so we could play decks both new and more tailored to our tastes.

The process of variant creation was an interesting one for me. It helped me to view the game through a different lens and I appreciated and despaired over different design directions key to Summoner Wars. On one hand, I came to really appreciate the element of luck and uncertainty that the dice provided. On the other hand, I did not like the use of high health walls for deployment and instantaneous response it provided along with the timing of discards and card draw.

Overall, however, I really enjoy Summoner Wars and my only regret is that I cannot find other people to play. Sadly, this carried over to Plaid Hat Game’s newest release: Crystal Clans.

https://www.plaidhatgames.com/games/crystal-clans
Crystal Clans, Summoner Wars and all associated imagery and whatnot belong to Plaid Hat Games.

I don’t know any other way to describe Crystal Clans other than it’s Summoner Wars version 2.0. This, unfortunately, turns off pretty much everyone I know because they do not like Summoner Wars. So a far more intuitive game with better balanced objectives and alternating game mechanics is not enough to alleviate people’s concerns. So, in order to do Crystal Clans a greater service, I shall attempt to describe it better.

Crystal Clans is an area control board game that pits separate clans represented by unique decks against each other to fight for the coveted crystals. Cards represent different forces of an army which move across a battlefield and vie for two of three crystal locations necessary to claim a crystal card. Players can contest crystal zones by moving their own armies into the space and duking out with their enemy.

Each clan deck is composed of six different commons and three hero cards. Two of the common cards form the backbone of the clan with six copies of those units while the rest have three copies each. There is only a single copy of heroes but heroes are generally stronger and cheaper commons.

Well, that’s the best I can really do. It is near impossible to discuss Crystal Clans while ignoring the Summoner Wars lens and, I feel, something only possible by a player who has never played Summoner Wars. But let me just tell you why I love Crystal Clans far more.

First, the game design is really slick. Clans have a reference card which denotes the signature ability of their faction. This ability isn’t found on all their cards but usually represents a core strategy for the clan. For example, the Skull Clan has Undying as their signature ability. This allows their warriors with that ability to be summoned from their graveyard as though they were in their player’s hand. Unsurprisingly, this represents the classic “undead” faction in fantasy games.

However, these aren’t your stereotypical graveyard robbing ghouls with an unhealthy obsession for black and mortification. One of my consistent gripes with Summoner Wars was how woefully shallow its theming was. Well, Crystal Clans is a terrifically beautiful game. While the style is a bit too cartoonish for my taste, I can’t deny how consistent and committed it is to that style. Those aforementioned necromancers are more Day of the Dead themed with lots of flowers, bright colours and – yes – an unhealthy obsession with skulls.

https://www.plaidhatgames.com/games/crystal-clans
Some cards have consistent battle effects across them, removing the risk in guessing your opponent’s hand. Course, there’s an additional consideration in what you play as a battle card since it gets discarded and can’t be summoned unless you reshuffle your deck – which awards a free crystal to your enemy!

Curiously enough, only about a third of the undead faction is actually undead. The rest are units built around supporting them with necromancers allowing them to deploy outside of your clan’s home zone or devout cultists which allow a free undead unit summon to their space when they are killed.

Contrast the Skull Clan with their distant kin the Blood Clan. These swamp rednecks are most easily associated with the swarm like factions in fantasy battles. Typically its represented by goblins or something and not bayou farmers and their colossal crocodiles. This faction, however, is fun since they are not restricted by the number of units they can use to form an army. Stack them up as high as you can and form an old school Civilization III stack of doom to terrorise the board!

And this transitions into my next point about Crystal Clans. One of its immediately tangible departures from Summoner Wars’ formula is this squad formation mechanic. You can stack up to three units into one space (for most clans) with only the top unit contributing its special ability while every other unit lends its strength and defence to the whole. This eliminates the need for spells or buffs since any card can, essentially, turn into a persistent improvement to a single card’s power. But there’s more consideration here. Most battles will remove lost troops from the top so you may want to organize your forces to accommodate expected loses so the unit you want to live is buried on the bottom.

Even more interesting, every card also has a “battle effect” tied to it. See, Crystal Clans removes the oft maligned dice mechanic from the game. But to maintain that same element of uncertainty, when two armies battle, each player provides a battle card to their side in an attempt to turn the outcome to their side. The battle effects are split between two options and serve as a simplistic rock-paper-scissors mini-game. At the start of a battle, cards are revealed and you compare your chosen battle card with your opponent. Bold beats Guarded, Tricky beats Bold and Guarded beats Tricky. Generally speaking, stronger effects are regulated to the stronger pairing. For example, Big (Blood Clan Hero) provides an additional 8! attack if you happen to play him into an enemy’s guarded card. But if your opponent played a tricky or bold themselves, then you only receive 4 attack for the fight.

For most games, this little contest will typically be treated as a random effect that you pay little attention to. However, as your understanding and skill with the game improves, you may realize that you can pop your Dandelion Knights out from a horrible Meteor Clan knight stack in your home zone and scurry to crystal zones for the final score by initiating a battle and utilizing your Pollen Faeries battle effect.

And this is what I most love about Crystal Clans. It looks like a cutesy, simplistic version of Summoner Wars with streamlined decks, clearer objectives and much smaller battlefield. However, my experience has been anything but. Crystal Clans mechanics are simple to understand but much harder to optimize. I still don’t know how to “properly” play the game – which is to say I am never certain which action is the best one to take at any turn. This is very similar to Artifact where the mechanics are simplified by the strategy is far more compelling.

Compounding Crystal Clans decision making matrices, its resource system is far more elegant and far more tricky than Summoner Wars. Crystal Clans uses an “initiative track.” There is a numbered ladder on the side of the board and you track your spending by moving a marker up this track towards your opponent. Once it crosses the 1 threshold on your opponent’s side, it is their turn. However, actions cost different amount of initiative. For example, you make take a summon action which allows you to play 1 to 3 cards from your hand to your home zone. This alone can cost anywhere between 0 to 9 or more initiative depending on what you play. If you were on the neutral 0 space of the tracker, that could give your opponent a whopping 11 initiative (since play will only pass back to you once it cross your 1 initiative space on the track)! Scoring is likely the most expensive action since you need to pay the cost of a crystal in order to grab it for your side. Crystals are, on average, about seven initiative themselves and this is not accounting for the initiative you need to spend to control two of the crystal spaces.

https://www.plaidhatgames.com/games/crystal-clans
Oh Flower. This Sleep ability is perhaps the best signature in the game. Nothing like either taking out an opponent’s best attacker or forcing them to bury really good abilities to put low attack cards on top of the stack. Plus who doesn’t like a 2v3 battle?

Sadly, despite digging how sly its mechanics are plus the unique and coherent design of its clans, Crystal Clans simply does not seem to be catching. I know Kait was pretty lukewarm to it and my friends who didn’t care for Summoner Wars weren’t big fans either. Somehow Crystal Clans managed to alienate both those that loved Summoner Wars and those that hated it. There was a delicate line to walk between too familiar and too different and from my experience Crystal Clans failed to attract those turned off by its predecessor or draw along its ardent fans. I’m really digging their expansion clans who provide very interest twists to the basic game mechanics. I’m also eager to see how Plaid Hat Games finalizes their deck building rules before I start dropping too much money into the game.

And I certainly have not played enough of the game to do a deep dive into its balance but my initial experience seems that while the core box offers pretty good options, there’s a few standout clans. Stone and Flower are distinct among the rest but for opposite reasons. Stone Clan is all about building a strong board presence with immovable armies that destroy the enemies. But all their units and activations cost far too much to really get that board built. On the flip side, and perhaps the fuel for my bias, Flower is incredibly tricky and fast. It’s a pretty frustrating match-up (that I’ve played too many times) and Flower is both able to run circle around Stone (and the other clans for that matter) while also providing rather powerful punches given the power of their signature clan ability Sleep. If you want to try Crystal Clans and really enjoy rolling a game, I suggest picking up the faerie clan.

As of today, however, I’m very happy with Crystal Clans with my only disappointment being that I have no one to play and, given the battle card component of its battles, I’m unable to play by myself. I’ll shamefully admit that I’ve played Summoner Wars on my own many times with only mild conflict of knowledge. But truly randomising the battle cards really strips out a key component to the game.

Of all the things I’d like to see the most in later releases, however, are more crystal cards. To win, one side needs to collect four and they’re purchased from an open set of three. So you can see quite a lot of the same ones through multiple games especially if they’re close. I’d also like to have the option to remove some crystals from rotation and allowing customization of the crystal deck would be fantastic.

So… yeah, if this long rant piqued your interest, I encourage you to give Crystal Clans a try. It might not click at first which is its biggest weakness. But it’s such a lovely little refinement that I just want it to do well enough to see even more!

Maybe it’ll even encourage Plaid Hat Games to put the rest of their clans on their card browser which, to date, still only has their launch cards listed. Or maybe it they could even release more scenarios which also haven’t been seen since launch. There’s so much promise here, I would hate to see it squandered.

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The Rose Weeps

Most places do a year in review at the end of December or beginning of January. I’m not one of those people but there were two things that released last year that I do want to discuss. These are, regrettably, my biggest disappointments. Both have a similar trajectory, however, so while I’m making a more positive push on content and such this year, we’re going to start on shaky ground.

The first game I want to discuss (and both my disappointments are games) is Valve’s Artifact. It was one of those few games that I’ve been anticipating because it frankly sounded exactly what I wanted. Kait and I both enjoy Dota 2 but are simply too busy to really play the game as much as we like. It is unfortunately a rather lengthy experience. It is also unfortunately a team game that involves relying on four other players to coordinate and cooperate in order to achieve success.

Dota 2 is also a complicated game so you’re very reliant on your compatriots to perform well. Thus, there’s a bit of a negative feedback loop for the game as you get older. The more work makes you busy, the less you play. The less you play the worst you do. The worst you do, the more your teammates get angry at your performance. So while Kait and I like to watch the International every year, we’re simply incapable of committing to the game itself anymore.

But a two player card game that plays very similar to Dota 2 is exactly what we needed! Kait even had rudimentary design documents on her own homebrew Dota 2 board game. And since we play each other there isn’t any worry about meeting grumpy people who have no interest in being patient with lapsed players who have no idea what the strategies for the newest big update are.

So despite the lukewarm reception of Artifact’s initial reveal, I had been steadily growing interested as information dripped out over the year leading up to Artifact’s release. The game does, indeed, have a very familiar framework: players build a deck including five heroes. These heroes, when killed, are returned to the “fountain” and can return to the lanes two turns later. They each have signature cards and abilities often reflective of their characters in Dota 2. The goal of the game is to push down your opponent’s towers to get access to their ancient. Either you destroy towers in two lanes or you destroy one tower then the ancient in one.

Accessed from https://sm.ign.com/ign_za/news/a/artifact-r/artifact-review-in-progress_tjy5.jpg
There are adorably animated imps that you really need to see in action just how cute they are.

In order to help destroy these towers, you can play the cards in your deck. Now, all the heroes have been split between four different colours and the cards each have a corresponding colour as well. Thus you may only play cards in a lane with a colour matching a hero in that same lane. So if you want to play your Bronze Legionnaire (which is red) then you will need a red hero (like Legion Commander) in the lane you want that Bronze Legionnaire. The colours naturally represent game archetypes with red focusing on strong heroes, green highlights powerful creeps and buffs for those creeps, blue is focused on destructive and controlling spells while black is all about making gold and murdering heroes.

You can have any mixture of colours in your deck but since you’re limited to exactly five heroes, that creates a natural focus for your deck. I am far from good at the game so have mostly kept myself to two coloured decks. You have a primary focus (say strong heroes in red) and pick two supports for those heroes (like two black to make lots of money to buy those red heroes game winning items).

There’s another element in Artifact that is reminiscent of Dota 2. At the end of each round – a round ends once both players have passed in all three lanes – there is a shopping phase. Also included in your deck construction is an item deck. It must consist of at least nine items and these are, essentially, a baked in sideboard. During the shopping phase you get one random card from your item deck, one from the consumable deck (which has the same items for all players) and one item from the secret shop (a random item from all the possible items in the game). Your item deck has the benefit that if you purchase the item from it, you draw a new item from your deck to replace it. For the secret shop and consumable deck, you need to wait for the end of the next round to have them replenish.

Now, I may not be the most devoted card game player but there’s a few modern updates to the game that make me really enjoy it. For one, your economy is automatically managed. You have a mana pool for each lane that you use for your spells (but not your items, they’re free to play after you purchase them). This pool increases every turn so you don’t have to worry about being mana screwed like a certain other game. You also get to draw two cards at the start of your turn so your card draw isn’t as unforgiving especially since deck sizes are forty (or more) cards. Also, rounds are shared. So one player (who has initiative) will get the first chance to play a card in a lane. Then, their opponent gets to go. This continues until both players pass.

This sharing of actions is really neat for a couple of reasons. For one, it cuts down on the ability for “degenerate combo” gameplay. Netrunner had a few decks that, once the player got the necessary pieces, they could win the game without their opponent getting any chance to react (with the sole exception of trying to close out the game before their enemy got their combo assembled). The problem, of course, was that it was difficult to tell if you were playing against a combo deck sometimes so you may not even know you were in danger until it was too late. But in Artifact, your opponent gets a chance to respond after piece of your combo gets played and allows more interactivity between the players.

This core game element also means that sometimes playing nothing is the more strategic play. And that’s what I really love about Artifact. It’s a fairly simple game to understand, and the cards themselves are rather straightforward, but the actual strategy is insanely deep. I haven’t really lost any games where I felt I couldn’t do anything but mostly made really poor choices. And that’s where the difficulty of the game lies. There are so many choices to make in the game that it is hard to know exactly what you should do.

It’s an exciting game that’s deliciously complicated and I love.

So how is this game a big disappointment for me? Well, the game simply is not doing well. And while the Internet is full of personal theories for this, I have my own. There are a large number of factors that have led to Artifact’s dwindling numbers. Some are rather unpleasant. There is a certain amount of negativity in the gaming space that has, unfortunately, only seemed to have grown over the years. Unfortunately, there’s a rather vocal population that would like to see anything Valve creates fails. Plus, there’s a strange brand loyalty amongst gamers and many see competing games against their favourites as a threat against themselves. Course, this sort of brand loyalty has been cultivated by companies and I am concerned what this will mean for the future.

But I don’t believe this hostility is the only reason Artifact is floundering. And I would rather focus on causes that can be addressed.

I honestly believe that there’s a fantastic game in Artifact and, while it isn’t going to interest everyone, I think it’s got more appeal than some would argue. It’s first couple of days also saw a huge amount of interest and players that have been steadily dropping off since launch. So, how did that happen? I don’t think so many players bought into the game thinking it would be something else. It’s not the gameplay that’s pushing them away.

No, unfortunately I think Valve misread the market. Artifact has a rather novel monetization scheme compared to its competitors. The game is $20 to play. But that just gets you a couple of packs and two starter decks that don’t include any of the best cards. The idea was to copy the marketplace for games like Magic: the Gathering. And I’ve expressed my distaste for Magic: the Gathering’s pricing before. One of the reasons I like Netrunner was its living card game format felt more approachable to me. Plus, Artifact’s rivals in the digital card game space are all free.

Now, most consumers these days are savvy enough to know that “free” games aren’t truly free. The closest would be Dota 2 as its only paid options are strictly for cosmetic items. Thus, by branding Artifact as a Dota card game, I think it created the expectation that it too would be free. Granted, the first adopters clearly saw that it had a $20 buy-in but I feel that Valve did a really poor job of selling their pricing scheme.

This is perhaps the most egregious mistake from Valve. They knowingly bucked the market trends in order to adopt a pricing scheme that has a fairly established history of criticism. Now, I’ve read people actually compare price between Artifact and, say, Hearthstone at a competitive level and Artifact is actually cheaper unless you devoted half a year or more grinding out wins to “earn” free cards that can be recycled into what you need in those free games. Valve also mentioned in earlier interviews that they wanted a more traditional price scheme because they wanted players to retain the value of their purchased cards.

Which I think is a poorly considered tactic. When Artifact launched, it may have been cheaper to play competitively compared to other games immediately, but everywhere you looked in the client there was a price tag. Packs cost money ($2 each with a random assortment that could easily be doubles). Individual cards cost money (Axe himself was $40 at launch!). Game modes cost money ($1 for tickets to enter ones with packs as prizes). Within the first few days, Valve made a free Draft mode available but its first launch had only games against bots or constructed play as free for players. And constructed play would pit you against players who had sunk over a hundred dollars to get the best cards.

This did feel exploitative, even if the numbers “crunched” better. It was also increasingly demotivating because players had just dropped $20 dollars to load the game up and they were immediately with a overwhelming cacophony of prices and transactions to extract more from their wallets.

So I don’t fault anyone for dropping the game at that point. I had only intentions of playing with my sister so us being restricted to our starter decks was fine. But even I felt that I could get my $20 worth of game by playing with those decks alone and then waiting for months to see if I could pick anything else up for a more reasonable price.

Thus I believe that Valve chased off its consumers by coming across as far too greedy. Their competitors offer their games for free, so it was already going to be a challenge convincing players to drop $20 upfront. Then, Valve themed the game on their premier free game ostensibly expecting them to come over while now “nickle and diming” them like Dota’s competitors do. Finally, the justification for this expensive route was to compare Artifact to traditional physical card games without acknowledging that Artifact is a digital card game with no physical product to produce.

Naturally, people are going to value a digital product where they have nothing to show for their purchase as being less valuable than something than can physically give to their children or sell at garage sales or burn to heat their homes in the dead of winter.

So, is Artifact dead? I don’t think so. I think Valve needs to recalculate their price for the game. At this point, they need to demonstrate to players that Artifact is worth the price to enter. I don’t agree that it needs to go free to play as that will just introduce the predatory grinding components that free to play subsists on. No, Artifact needs to go “dirt cheap” to play.

I’d say make Artifact’s base purchase $5 or $10 dollars. Packs should be fifty cents. Cards should sell for pennies on the marketplace with the sole exception of really rare cards maybe fetching several dollars. Valve makes money off every marketplace purchase, after all (two cents for your one at the lowest listed price). Then, Artifact should instead push cosmetics as its primary source of income – just like Dota 2!

There’s a wealth of ways that Valve could sell digital hats for this game. Animated or alternate art cards are a very common and very successful option used in traditional card games! You can sell card backs, different boards, different imps (animated mascots that are pretty adorable), different animations and environmental effects! Some of these cosmetics can be tucked into your card packs as a rare chance to drop for those that want an equivalent to loot boxes.

To compensate for players that initially bought in at a higher price point, Valve should offer them three custom hero art cards: Rix, Legion Commander and Sorla Khan to represent the Call to Arms story arc. I don’t believe it should be free to play Artifact since that leaves the game open to cheaters and scammers. Having an initial price point means that account bans actually carry some weight to them. But it should be very cheap to buy in to the game.

Accessed from https://playartifact.com/
Artifact and all associated images and whatnot belong to Valve.

With these alternative, cosmetic options as your primary source, you can market the game as actually being competitively priced to the others on the market. I think most people will be far more forgiving of the difference between free to play and long to grind versus pay to play but $20 to get everything in the game.

I think this will bring back a lot more players who won’t mind investing a little more of their time into the game. Then the tournament circuit and pro scene can keep interest along with variable game modes and future releases. At any rate, something has to change or else the game won’t be around by the end of 2019.

Which is unfortunate because it is a really fun, well designed game that really resonated with a lot of people at one time. I’m really hoping we get to see where these game systems can go because the foundations leave open a game that has a lot of potential. And Dota 2 provides a number of fantastic heroes that still need to see representation here. Valve is always going to face an uphill battle with any of their new releases but there’s no reason for them to abandon their old methods of pro-consumer decisions which had garnered so much goodwill. People don’t want to see a price breakdown between four different games to understand that what they’re playing is somewhat cost effective despite all the price tags attached to everything.

They just want to play.

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Build Me a Dream

Happy New Year everyone!

We have exciting news to share. Between the Covers has published its third book! It’s a bit different than the others. Wherein Thyre and Clockwork Caterpillar were steampunk fantasies occupying a shared world with marginal crossover, this next book is instead a speculative fiction/science fiction anthology!

Called Synthetic Landscapes: Science Fiction Anthology Volume 1 this collection of short stories explores the effects of near future technology on societal order and personal development. It represents a body of work done in recent years which I’m hoping will be the shape of releases to come. While I enjoy fantasy and have no intentions of leaving Felicity and her crew behind, I’ve been fascinated with the potentials that face us as we march forward into the great unknowns. I suppose there’s some overlap between The Red Sabre and these futuristic shorts in that regard.

But more than just a change in subject matter, there’s another reason to be excited for Synthetic Landscapes. This is the first publication of Kait’s work and she is the featured guest author! So if you’re wondering what her stuff looks like, be sure to pick up a copy!

This incredible art has been made by Kait McFadyen! All rights reserved to us (which is so nice to say) and Between the Covers.

Course, it would be remiss of me to not give some idea of what lies within Synthetic Landscapes. There’s The Thousand Faces of Buddha which follows a liberated clone in a futuristic Seattle mega-city as he investigates a peculiar murder. This story was inspired by the peculiar will of PETA’s president and looks at the idea of people being seen as little more than a commodity.

The Affairs of Catherine Hill is a little piece of spy fiction wherein the titular character Catherine Hill is charged with corporate espionage. Unfortunately for Catherine, corporations have replaced nations and employees are the new citizens. Catherine herself is unincorporated and so is left to the mercy of currying favours from the monolithic corporations that determine the policy of a central bank.

Then there’s Awaken, Hatshepsut! This is a story that revolves around the curious industry of cryogenics and the desire for some people to freeze themselves with the hopes of being resuscitated in a future where they can be cured of terminal illnesses or live forever. Unfortunately for these hopeful souls, Kian Pious has made a living breaking into their storage facilities and stealing their heads. Why? He hopes to utilize a one-of-a-kind device that will allow him to read their memories and access the funds these members have to live comfortably once their preferred future arrives.

These are just three of the stories that away in the anthology. Synthetic Landscapes can be found here on Amazon. It is available in digital and hard copy from all the usual printing options. If you pick up a copy, I would really appreciate – and it would go a very long way – if you could write a quick review and leave your thoughts!

Thank you so much for your love and support! I’ll see you lovely folks next time!