Category Archives: Game Reviews

Talisman

Talisman. Talisman. Talisman.

Talisman.

Talisman: The Magical Quest Game belongs to Games Workshop and Fantasy Flight Games. Images are not mine and are theirs and whatnot.

Talisman: The Magical Quest Game belongs to Games Workshop and Fantasy Flight Games. Images are not mine and are theirs and whatnot.

So, apparently I’m a repository for people’s unwanted goods. Recently, this included a digital copy of the 1983 cult classic board game, Talisman. What, you’ve never heard of Talisman? How can you call yourself a child of the eighties–the yuppie years!–and not know what the cultural cornerstone is? For shame, I tell you. For shame!

Alright, I had no idea what the damn thing was before Derek discovered he had an extra copy in his inventory and threw it at me. The game languished in our backlogs until we discovered we were depressingly short on multiplayer games to spend our meager breaks in idle distraction. Of course, Derek has the deluxe version with all the bells and whistles and pay to win mechanics while I have the poor man’s “stop whining and give us more money” version. Both of us were surprised to discover the game is old, and we drew this realization long before looking for its history on the Internet.

The lovable minstrel with that charming animal can beguile animals and get them to assist him... if the dice cooperate.

The lovable minstrel with that charming animal can beguile animals and get them to assist him… if the dice cooperate.

When you download Talisman, my first reaction is how quickly it is done. The game is small–in the data sense. Loading it up explains everything. This is very literally a digital board game. There are no fancy graphics or moving pieces or anything. We’ve got just the necessities and stripped it of everything that could distract you from the fact that, yes, you are playing a digital board game. This, of course, extends to functional multiplayer support and online options. So, I’ll give the bad upfront: You can not save the game. You can not reconnect to the game. You can not voice chat in the game. And, if you’re playing with Derek, you can’t even swear in the game because he keeps the damn chat filter on.

It’s… not pretty and for more reasons than you’re looking at hilariously bad 80s art of medieval fantasy tropes. There isn’t even a tutorial for us poor souls who have never heard of this monstrosity. In a way, this probably turned out to be a good thing as it made our first attempts at playing Talisman hilarious–if not necessarily for the reasons the designers intended.

But first, an explanation of what the game is. Do note that what I’m telling you now is far more information than either of us received when we loaded our pieces onto the board. Talisman is a four person game where players choose between a varied number of fantasy “classes” reminiscent of Dungeons and Dragons and spend the game roaming around a three tiered board going on wild adventures looking for epic loot and stat improvements so that they may brave the dangers and guardians of the coveted Crown of Command. Once a player has crossed the Plains of Peril (you can’t make these names up), they then seize control of the crown by unlocking its chamber using a titular talisman–a MacGuffin generally obtained by fulfilling a request of some mysterious Warlock which usually requires some paltry action like slaying a monster or being a generic jerk. Once possession of the crown has been made, the commanding player then casts a spell to order his fellows to… from what I can tell attempt suicide repeatedly until the dolts succeed. Lots of dice are cast in this misadventure and good luck trying to come up with any sort of sane strategy which doesn’t involve “roll the dice and pray for the best.”

This is probably where the inspiration for Mario Party arose.

Alright, the game isn’t that random but it is pretty random. All challenges are resolved through usually a single d6 roll. Your adventures and rewards are typically determined by drawing a card from a deck with very little ability to affect the draw. That said, obtaining the required stats for braving the plains of peril, I don’t think, are nearly as onerous as our misguided four hour slog of our first game suggests. Beating monster challenges awards trophies which can be turned in for stat increases in a similar vein to Elder Signs. There are also shops around the map which you can purchase set items that always perform the same function and weapons are included in these purchases meaning you have two routes to reliably improve yourself. There is also the bold face robbery which, judging by the frequency the AI engages in such behaviour, is standard fare for a game of Talisman. Should you, by chance, get a hold of one of the necessary talismans early, expect pious monks to come around and beat you senseless for it. If anyone starts to drag behind the rest, they become the schoolyard victim, constantly ambushed and robbed of their lunch money whenever a bully catches them.

That said, at any moment an errant roll can change things drastically. I suppose part of the enjoyment of games like Mario Party is the unpredictability. Should your highway robbery go awry, your would-be victim can instead mug you. Getting into the Plains of Peril, even when adequately prepared, has a decent chance to launch you–catapult style–half across the board, opening a trailing rival to take the lead. Even gaining possession of the crown does not guarantee victory as someone can ascend behind you and wrestle, Gollum style, for the precious artifact. Also, there are quite a few situations where you’re asked to roll with a 50 percent chance ending in disaster. Much like Derek losing all his craft to an errant tribal woman. Also, you can’t predict when someone may just offhandedly draw the rune sword or war horse and then start on a snowball of murder through the countryside, racking up tons of trophies and beating down the doors to the inner realm through sheer number of severed goblin skulls.

Blog03_pic03There is a slight mechanic to lessen the fickleness of dice–insomuch as such a feat is possible. Each class has a different number of “fate” points which they can spend to re-roll a die. Of course, our first game we didn’t know why were were allowed so many rerolls nor how infrequent replenishing fate truly was so Derek and I squandered ours on pointless journeys to the tavern. A poor choice of which our pious monk took quick advantage. Have I mentioned the AI are complete jerks?

There is a dizzying array of expansions for the game which adds more, more, more. Some slap curious expansions to the boards which neither of us bothered to truly explore (I found a library which apparently contained a ton of good reads but other than that, I abandoned the scholarly pursuits). Most simply add additional classes, encounters and spells. As I mentioned, I don’t have any access to classes beyond the twelve or so that comes in the main game but I can’t help but be slightly leery with some of them appearing stronger than others. I suppose there is also the Reaper mechanic introduced (another random element where anyone who rolls a 1 on their movement can move death in an attempt to chase the hooded spectre after their foes in the attempts to enact petty annoyances upon), a few alternative endings and variants offered. Given our disastrously long initial foray, Derek and I have yet to explore these other options fully.

Did I mention that our first match went four hours?

Course, if you haven’t guessed, I’m not as huge a fan of all the random elements. It’s no secret that fate and chance have a long standing hatred of me. Anything that has the potentiality for luck coming in and screwing up will always befall me. It’s why Xcom and I are not on speaking terms. RNG and I square off in an age old struggle of spite and stubbornness. For example, in our first full game, I managed to get ahold of the crown and it took around 12 turns for me to off my erstwhile opponents. This is nearly 1.5x longer than statistics would suggest.

The monk is pious and can pray real good. He'll also slap you around and steal your stuff at any given opportunity. Apparently, piety doesn't account for much.

The monk is pious and can pray real good. He’ll also slap you around and steal your stuff at any given opportunity. Apparently, piety doesn’t account for much.

Even more nefarious, however, are the bold pay-to-win elements involved in Talisman. I don’t just mean the greater selection of classes to those who shell out money. The game also includes a “rune system” which grants a person who equips them tangible benefits over those who do not. The first rune I unlocked as a simple “+1 life” which applies to all classes which I equip it upon. You can purchase all the runes from the start or frustratingly grind them out through the game’s impenetrable experience system at the end of a match. The only–and I stress only–positive of this system is that there’s an option to turn runes off at the start of the game and I would urge any person to do so. Pay for win mechanics are a blight and should not be promoted anywhere.

Anyway, at the end of the day, Talisman is a faithful reproduction of a board game experience to the online space. It’s rife with problems big and small, from the pay-to-win, poor netcoding and lack of basic functionality like voice chat. The game relies heavily on chance and randomness which makes strategic planning a rather pointless endeavour. All that said, it is mindlessly fun if you can cut out some time to play it. Now, I don’t mean to suggest all games will take four hours. Derek and I are neophytes when it comes to the game itself and as we get better I suspect the matches will get shorter. Talisman is cute if not flawed. Besides, it has such amazing art as the minstrel and monk, so how could you say no to that?

The Power of the Band

I’ve written before about my enjoyment of Summoner Wars. It’s a delightful little card/war game. Its biggest draw and greatest strength is the simplicity of its mechanics. It’s my gateway drug into more complicated and difficult collectible card games. It’s as far removed from Magic: the Gathering as you could possibly get while still maintaining some of that early interest and enjoyment that I felt when I was young, dumb and had no idea how Magic worked. This was like fifty years ago when Magic only had two colours and everyone gave a handshake at the beginning and end of a match, of course.

Yes, I shall continue using this image until the damn thing comes out

Summoner Wars and its art belongs to Plaid Hat Games and Cupidsart. Find Alliances at their website http://www.plaidhatgames.om

Last year, I did my little preview of the upcoming Alliances expansion for Summoner Wars which will nearly double the number of factions I own and the amount of cards with which to play. Up until now, my sister and I have been making do with the Master Set which had been the best bang for our buck. Because it has a limited collectible element to it (thankfully, nowhere near as damn expensive as Magic though it does have its own frustrations), one of the biggest purchasing hurdles was deciding whether we would “reinforce” one of the factions we owned or buy a new one. Almost invariably, the new faction won out. Well, with Alliances, every new deck is a combination of a prior one so the possibilities for deck building will really explode once the damn thing gets off a ship from China and gets to my door.

Seriously, we get flotsam from Japan faster than shipments from China.

Anyway, I digress. The long and short of it is once the Alliances gets into my grubby hands, I can introduce my sister to the more complex elements of these sort of card games: deck building. Thankfully, because of Summoner Wars’ aforementioned simplicity, the deck building will likely be a fairly straight-forward process. What cards do you hate in your current decks? Replace those with some new ones. Boom.

There are more considerations, of course. But these are well beyond our current level of play. One of the trickiest elements of Summoner Wars is managing the economy. Every soldier you can field also serves as the resource required to bring more swords to the battlefield. Every ally which falls to your enemy is more fuel for them to reinforce their side. There’s a limited number of cards in a deck and thus there’s a limited number of things you’ll be able to bring to the board–both physically as you’ll run out of cards and economically in that you’ll run out of magic with which to summon them. Thus, much like Magic, there is the consideration for a good cost spread. You don’t want to throw every expensive unit you have into your deck since you won’t be able to summon most of them. There’s also the wider Summoner Wars meta-game to consider which places greater emphasis on champions over grunt soldiers and its this meta which I want to discuss further.

Accessed from http://www.plaidhatgames.com/news/377

Prince Elien and one of the dreaded “Big Four.” Art from Battlecon.

I’m not unfamiliar with meta-games. Anyone that follows some sort of competitive scene will have a basic understanding of the term. It is the most post-modern kind of consideration. Before you even start playing the game, you must consider the way that people play the game while you play the game. That is to say, there is a discourse which surrounds every competition and that discourse can affect what happens within the competition itself. The most obvious example of this effect in action is Dota 2. In D0ta 2, certain playstyles or heroes will become–inexplicably–popular amongst the competitive teams and that style will feature in near every game. The picks and bans will focus around the heroes of the month as teams try to predict and deny their opponents key players in their strategies. There’s innumerable stories of this effect in action. The rise of Dark Seer in competitive play is one such tale. Dark Seer, for the longest while, had seen absolutely zero picks by teams and, in order to encourage more diversity in team strategies, the hero saw his abilities continually improved patch after patch. Then, Empire (I think, we’re talking like two years ago now) picked up the guy and absolutely dominated their games with him. Dark Seer, ever since, has received nothing but nerfs to his abilities since. Arguably, the hero was well overpowered for the entire time he had been in the game but since the meta-game (specifically the picking and banning) had snubbed him so thoroughly, the hero just kept getting stronger and stronger. Then, of course, there are stories like Dreamhack’s Sven where that hero was picked in nearly every game of the tournament and then just fell off the face of the earth once the month was over.

It’s always humorous watching people try and explain why these things happen. It’s almost entirely armchair analysis, of course: prescriptive thoughts which have no value or weight in either predicting what teams will latch on to or what will be popular for the next big tournament. However, these discussions are important if only for highlighting where the analysts’ attention lies if not pointing out actual design issues that the creator may not have intended.

Summoner Wars has a similar meta-discussion. However, it is focussed almost entirely on defensive, passive play which encourages and promotes stalemates. Unlike Dota 2’s meta-game which mostly directs which heroes will see the lion’s share of attention and its stagnation simply needs a few soft prods from Valve to remind teams that they have a potential pool of 115 heroes to choose, Summoner Wars’ meta-game is sort of a dread whisper amongst paranoid conspirators about some terrible inevitability in the game’s core design. Specifically, the argument entails, the game is irrevocably broken on a design level and that if played to its ultimate competitive conclusion, the game would be a giant snore-fest of players passively passing turns and staring at each other with their tongues stuck out.

The argument is as follows:

There is an inherent advantage to playing defensive in Summoner Wars. All things considered equal, a person who has to defend their self from an aggressor can more easily reinforce their troops and has advantage in maneuvering their units into more advantageous positions. Since every fallen enemy is more power in your pool for summoning, a defender is able to more easily turn an aggressive advance into a crushing loss for his opponent by wiping out his troops and then performing a riposte fueled with more magic and units that his now expended foe can not rebuke. Furthermore, many of the earlier summoners feature special events which carry a specific rider that they must have fewer units than their enemy in order to trigger. Presumably, the design theory was that this would counteract the loss of an aggressive push, however most players now will kill their own units to reduce their numbers and selfishly hoard the magic gained from those deaths for their own use. Thus, they build their magic pool through their own troops, deny their opponent the same magic, then have fewer units in order to trigger these aforementioned “catch-up events” for an even greater advantage. Thus, they’re in a better position from the start, sitting on more resources than their enemy so should they be attacked, it would be inconsequential to win the war.

Taken to its logical conclusion, the only way to counteract this strategy by your opponent is to perform it yourself. There would, thusly, be a race to self-extermination with both players thinning their ranks to the barest of bones then sitting with a huge stack of magic to counter summon against an attack that will never come since their enemy is doing the exact same trick. Thus, by the game’s design itself, the best action to take is inaction and if any player truly desired victory, they must always retreat and hunker on their furthest lines with nary an assistant and wait for their opponent to make the first move.

Queue staring contest.

Accessed from http://www.plaidhatgames.com/sum_forums/showthread.php?168-The-Book-of-Grognack

Grognack of the Big Four. These guys are seen as the worst of the turtling factions

I am, by no means, a Summoner Wars professional. That said, no one is. Part of the issue surrounding Summoner Wars’ meta-game is the dearth of voices participating in it. There is not the player base for the game like there is for Dota 2. Thus, conversations generally devolve into the same few people shouting the same few arguments again and again. Innovation and development often come not from old guard who have figured the game out in their own eyes but by new blood who approach the game with a different perspective. This, once again, comes up in Dota 2 constantly. Invariably, with the yearly shuffling of teams and players, old dominating teams fall to the wayside and younger teams in the wings rise into prominent spots. Often, these players get an edge over their experienced opponents by utilizing new and surprising strategies. I would use MVP Phoenix as an example. The team from Korea is, in my mind, a rising star on the Dota 2 scene having worked their way to the last International through a very tough qualifying phase. And though their performance at the competition left a little to be desired, they have continued to play and improve posting results over old players that were once top tier. And one of their most famous hero selections is Warlock–a hero that sees just about as much play as Dark Seer did before Empire rode him to the top. Warlock had, for the longest time, been considered a lane support for more important heroes and languished in that role compared to other laning supports. MVP Phoenix, however, play the lovable guy as the actual farming carry–and hold him in the first position for gold and experience acquisition. That’s a far cry from the fifth position most others had seen him. And you know what? MVP Phoenix quite often dominate when they play like this. He’s a first ban in most games against the Korean squad as teams don’t know how to deal with him but neither do they know how to play him.

I feel Summoner Wars biggest issue is that its infusion of new blood is pretty small. I won’t deny the defender’s advantage but I don’t think it’s as dominant a strategy as people bemoan. I think the advantage of fighting on your own side and being able to immediately reinforce a defence serves more like a come-back mechanic or “rubber band effect.” These are usually systems put in place to make sure that an early lead in competitive games does not snowball into an impossible offense. Dota 2 has these mechanics. Heroes that garner kill streaks–many successive enemy kills without dying themselves–gain a larger and larger “death bounty.” That is to say, when this murderous hero finally dies, the reward for killing him is much greater than someone who hasn’t killed anyone in the game. Furthermore, a person that has died multiple times in succession without garnering a kill themselves has a lower and lower “death bounty” generating the murderous team less and less gold and experience for continually picking on the poor soul. Other games have similar systems. League of Legends has their base respawn after a certain amount of time has elapsed since a team destroyed parts of it–turning the improved soldiers for the successful army back to normal so these uncontrolled members of the teams return to an even level.

So, rubber banding isn’t inherently bad. Without some system, games can be determined within the first few minutes of their start. Terra Mystica has no rubber band effect and I suspect within the first few turns, you can probably determine who will win the game. For spectators, this really diffuses excitement. If first blood was the primary determinant of a match, you’d probably see teams play far more passive and defensive, taking less risks and extending the period of time that first blood would occur to try and wrangle themselves the advantage first. You can see in League of Legends how this passiveness can occur. The average game of League will have far less action than the average game of Dota (and no, for fans of either I’m not going to do a dissertation to support this–suffice to say I’ve seen enough of both to know that this generalization is true). Having some mechanic so that a player can come back into the game can keep the action exciting and intense, thus making the game even more enjoyable.

Accessed from http://www.plaidhatgames.com/images/news/summoner-wars/

Oldin of the Big Four. This card is one of the reasons for their hatred. The worst catch-up event that gives too much of a swing to the player that murders his own troops. Can also be found, surprise-surprise, with Prince Elien, Tacullu and in a roundabout way, Grognack.

Ultimately, that’s what I think the defender’s advantage is in Summoner Wars. It’s a more subtle effect that insures that whoever takes the first turn and is able to get the first few kills won’t spiral off that early two to three magic advantage into a position that is indefensible. Is the defensive advantage too strong of a rubber band is the real question. I think, with the game’s earlier designed factions, it is. It extended past the point of being a serviceable boost to keep the balance of the game tilting too quickly into one player’s advantage and offers a defensive player too much to discourage anyone from wanting to cross the middle line. However, I feel the main culprit for this is the company’s earlier fear of aggressive play being too powerful. You can see it in some of the earlier factions and how they were “weakened” well beyond the point of balance. For instance, the Jungle Elves first summoner has an event that allows him to move a unit two spaces during the event phase. This, in-of-itself, is a good event but not the best in the game. However, the faction also has a three attack melee unit (the lioneer) which can move seven spaces in a straight line on its movement phase. No doubt in playtesting, the designers found the Jungle Elf player was able to move this unit two spaces and then charge right on the summoner, opening up the possibility of a one or two turn kill depending on dice and the summoner they were attempting to maim. Thus, this Chant of Haste was balanced so that it only worked on units with a summoning cost of two or less.

This is an obvious design element meant to weaken offensive play but nearly all the early offensive decks have examples such as this. The carefulness in overbalancing aggressive play is, in my mind, the true culprit for slowing down Summoner Wars’ larger meta-game. Granted, nothing can be done about these factions now, however I feel this is good news. Since the meta-game has developed into such a defensive and stalling direction, I think the upcoming Alliances is going to introduce factions that are stronger on the attack.

Ultimately, I can understand the hesitation over making attacking too powerful. What the stalemate proponents fail to realize is that you literally can not win Summoner Wars without attacking. The whole “issue” arises because players refuse to attack, trying to force their opponent to do so first so they can utilize the defender’s advantage. For most of us, this sort of mentality won’t be a problem. My sister and I are too aggressive, if we make any sort of mistake. I think this “sit back and wait” mentality would only really crop up in tournaments–as few as they are. And to fix the problem in that setting, I think is relatively easy. Set a maximum game length and, should the game go to clock, both players will have the match considered a loss. This would make the player with the advantage forced to press the issue–the only element which currently is missing from the game. Since, if I’m sitting and “turtling” the best, building up the greater magic pool and holding the best series of events, then waiting until the clock runs out is against my goals. It means that I will definitely lose a game which I currently have the stronger odds for winning. Since there is now an “inevitability” of a loss, I would have to act or–ultimately–get the loss and hurt my overall tournament standings.

Granted, this isn’t the most elegant fix. What I predict is that the Summoner Wars’ meta-game will devolve into picks and counter picks where factions have a disproportionate level of success given their opponents. Thus, the meta-game’s top tier deck could be the Filth as they have the greatest success against other strong decks but the Filth may have incredibly horrible match-ups against the Cave Goblins and Cloaks who, otherwise, may be considered some of the worst. Ideally, you’d want each faction with close to equal chances of winning regardless of the match-up. Though that’s a tall order to fill. Ultimately, I’d rather factions with lots of one-sided matches but with still clear weaknesses that can be exploited by others than a game where two people decide to simply sit across from each other and stare.

Accessed from http://www.plaidhatgames.com/sum_forums/showthread.php?754-The-Book-of-Tacullu

The last of the Big Four. Ultimately, I don’t even think they’re the best turtles; they’re just the most annoying. But we’ll see when Alliance hits… any day now.

When You Speak, All I Hear Is Bastion

Accessed from http://upload.wikimedia.org/wikipedia/en/4/41/Transistor_art.jpg

Transistor and its images belong to Supergiant Games and its respective whatevers.

Well, how about we review something that isn’t four years old, hm?

It was the holidays which means presents, sales and free time to get some things off the old backlog. One of the games I crossed off was Supergiant Games’ new(ish) release Transistor. Supergiant is the studio behind the much lauded Bastion. I picked up the title amidst the swirl of good word and awards. It’s a charming little number that I quite enjoyed (and is also four years old). It wasn’t the best released in good old 2011, however I still thought quite highly of it. Its gameplay was rather straightforward but the nice touch was that the player set the difficult not through a menu toggle but by activating handicaps within the game. Thus, the top down action combat became more difficult not because enemies were turned into enormous health sponges with fists of steel but because they now exploded upon death, touching them was harmful to the player, they periodically turned invulnerable or the like. Of course, succeeding with these additional challenges produced a higher score so there was reward for making this difficult. The art was nice, the music gorgeous and the voice narration was incredible all wrapped in a seeming incomprehensible world where some great disaster had destroyed a city.

Transistor is a top down action combat game set in a city being destroyed by some incomprehensible threat wrapped in pretty art, alright music, alright voice narration and a difficulty the player sets by activating handicaps within the game.

Alright, I’m not the first one to make this reductionist joke but that’s the price of being late in reviews. However, I can’t help but feel a lot of the praise held for Transistor feels so… hollow. But instead of focusing on what’s the same, let’s examine the one area that Transistor differs from its predecessor.

The combat in Transistor revolves around the titular weapon. The protagonist–Red–wields a giant circuitry sword which allows her to pause time and execute a flurry of actions in the blink of an eye. Whereas in Bastion the player was encouraged to experiment with different weapon combinations and active ability, in Transistor the player is able to choose up to four special attacks which can be upgraded as well as equip passives on themselves. These are represented by the poorly explained ‘functions.’ Each function will revolve around an idea. For example, the Get function when set as an attack will do marginal damage and pull the target towards the user. When it is used as an upgrade for another attack, it adds a pull attribute to the primary attack. When it’s a passive… I can’t remember. Something really underwhelming. Maybe increases the range that dead cells are pulled towards Red?

Accessed from http://www.rockpapershotgun.com/images/14/may/transistor4.jpgIt’s an intriguing system that could open up a number of unique and variable playstyles. However, much like Bastion, there isn’t a whole lot of balancing between the factions. I do think some personal preference does play a role. I’m not convinced that the mortar in Bastion is considered as good as I valued it. The game encourages experimentation by unlocking dossier details on the functions “history” whenever the player uses it in a different capacity. Thus, I obsessively tried to unlock all the little details though the reward was ultimately rather underwhelming as the information really doesn’t provide any greater revelations to the Transistor story proper. It also meant I discovered that there is a ‘fail state’ in the game when I hilariously waddled into the second boss fight with only a single actual attack equipped and promptly got it disabled the first time my health bar depleted.

Which brings us to a second curious difference between Transistor and Bastion. Instead of outright dying when your health reaches 0, Red will instead find one of her functions disabled while she pops right back to full health. In theory this gives the player a second and third chance to get through the combat. In actuality, this really diminishes the game’s difficulty even with multiple limiters installed unless the player has a combat style that is reliant on one single attack. This, to me, was highlighted in the final battle where your opponent has transistor like abilities and will also not be defeated the first time you empty his health bar. The first time I fought him, I was–once again–loaded with some useless functions I was trying to unlock. After I lost my primary attack and had some hilarious running around of pulling the opponent to me which just set him up for repeated Turns, I fixed up my load order and while he managed to take out my primary attack, I was victorious three times in a row that a true failure was still well away from occurring.

I think part of the problem with this system lies in the fact that the transistor power is so strong on its own. The ability to freeze time in order to execute a furious combo generally left the opponent obliterated. I took the faster Turn refresh passive and would spend time between freezes skirting the periphery of battle until I could leap in, murder a target and rush out before anything was capable of retaliating. On the other hand, Bastion required a lot of timed rolling and dodges to keep alive in some of the more hectic combats though my strategy there was quite similar in that I would dance around the edges of battle only that time I would lob great explosive mortar blasts that generally did the trick before I faced the maker.

Granted, the player won’t really ‘break the system’ in Transistor right away. This is mostly due to the fact the game gives you no direction in how to play or what the hell is going on. It is a prominent ‘narrative device’ with both games and I was a little surprised to see it spill over to the gameplay this time around. On one hand, I do like the element of discovery and the lack of hand holding in a day and age where games provide the player with hours of forced tutorials. On the other hand, it takes most of the game to really understand what the hell you’re doing in a battle. It seems to me that the greatest pleasure in the system comes from planning and executing complex procedures during each of the player’s Turns and you won’t really ever get there until the game is coming to a close. I’m going to give the game a ‘recursive’ play (which means doing the damn thing over to get achievements but at least the new game+ mode keeps intact all the functions you had on your first run) so maybe I’ll have more fun the second time around.

There is, of course, one big stumbling block. Accessed from http://fashion-artexpression.com/wp-content/uploads/2014/07/transistor-screenshot-2.jpeg

I really don’t like Transistor’s story.

Now, I wouldn’t have said Bastion’s story was something praise-worthy. It existed in a functional sense and there general confusion of the world was an alright motivator for keeping the player intrigued. Truly, the biggest draw of Bastion’s narrative was the narrator himself. Had they a less robust and powerful voice actor, I think the plot’s general lack of… well… everything would have cropped up more in criticism. Transistor has that problem. It’s sole voice, some unidentified benefactor who took the sword blow for Red in the opening, is an alright actor. He is no Rucks but it is a passable performance. Unfortunately, because he doesn’t have that engaging delivery, the fact that the vast majority of time he’s called upon to spout nonsense really stands out. He also narrates perhaps one of the least convincing love stories since the latest Final Fantasy release. What really got me, however, is how more obtuse Transistor is. Bastion wasn’t particularly forthcoming with its narrative structure and really we don’t have much more than racist scientists make a stupid superweapon that backfires and destroys their city. However, this seems like a coherently thought out and well developed line compared to Transistors.

Which is unfortunate because there’s some neat ideas floating about Transistor’s head. The game takes place in Cloudbank, a supposed futuristic super democracy where everything is tied to voting and public discourse. One of the examples that comes up frequently is that the citizens have the power to vote and decide the weather on a day to day basis. The villains of the game, a shadowy group called the Camerata, do not like this arrangement. They developed the transistor to stop this… because.

Motivation is super lacking in the game which makes some of the story’s twists seem rather… well… hollow when they occur. From what I can gather, the Camerata developed the Process–Apple-esque robots which serve as the primary mooks Red runs her circuitry through–in order to stop the constant changes in Cloudbank. And, in true Supergiant fashion, the Process immediately spiral out of control and are the force that are destroying the city… for reasons. Just like the Camerata, if you’re expecting some justification for these actions then you’re putting in more thought than Supergiant did. The villains’ goals are hand-waved away with a paradoxical creed that even on the shallowest look comes across as meaningless: “When everything changes, nothing does.”

The hell is that suppose to even mean? Don’t expect transistor to explain. There’s also the element that all the functions in the transistor are powered or fueled or inspired by individuals the Camerata identified and absorbed… also for reasons. Nothing makes sense because there appears so little effort to tie the ideas together. I couldn’t help but think how the game’s themes could be stronger and tie into the gameplay better with just a little more planning and forethought. For example, the player comes across a number of OVC terminals which generally just dispense news but always allow the player to either participate in a vote or comment on the news. What I would have liked to see is the idea that the player’s voice in these matters really means nothing. Have it so no matter what the player chooses, the end result is always the opposite of what they picked. Make it even more clear that no one is reading the comments and have that impact the story’s progression. This would tie in nicely with the protagonist’s literal loss of voice and the transistor could shift less into some bizarre weapon meant to–I think–have complete control over the city’s malleable form and turn it into a repository for individuals and their consciousness. The Camerata could view themselves closer to a stewardship rather than moustache twirling mad scientists who see the loss of valuable individuals in the overwhelming sea of public opinion. Their prior targets, instead of being prominent people always poorly excused for why no one found their disappearances distressing, be instead individuals who had great merit or skill but either fell from grace or could never curry the public’s favour to get the recognition the Camerata felt they would deserve.

Accessed from http://www.modvive.com/wp-content/uploads/2014/05/Transistor.pngThis would elevate the game from a simplistic bad guy wants to take over the world and perhaps take a look more at problems in a system that its audience is going to consider inherently good. Red could, instead of being a highly successful singer overly self-conscious about her public impact into a struggling artist adorned by few and failing to build the fanbase she needs. Then, perhaps, her mysterious lover’s sacrifice and consistent loyalty would be all the more powerful. All I felt over the closing montage as relationship to Red was revealed was how absurdly hamstrung it felt. The sword first confesses his love to Red when high off Process vapors (or whatever) as though this confession were some great secret when it’s made immediately clear that the two were in a relationship when she pointlessly commits seppuku by his body.

Like I said, the love story is atrocious. But really, the story in general is atrocious because, much like the combat system, Transistor struggles from having too many disparate elements with no clever way of tying everything together. It’s a poor mish-mash in the end that reveals far too starkly how reliant the company is on the success of its first product. And really, you had the perfect set-up for there to be four main boss battles with the different Camerata members. How the company bungled this opportunity still baffles me.

The art, though, is really pretty. I think it’s the only thing I like better than in the original.

The Most Lonesome Road

Obsidian hates endings. I make this bold proclamation after going through the wonders of Neverwinter Nights 2, its expansion Mask of the Betrayer, Knights of the Old Republic II: the Sith Lords and–to a lesser degree–Alpha Protocol. Neverwinter ends with a rather lackluster battle followed by a super unsatisfying ending told through slides about how your noble and courageous party were all crushed by falling rocks in the evil baddies inevitably structurally unsound lair. Mask of the Betrayer’s start pulls a fast one by revealing that you didn’t actually die but are now part of some near immortal campaign against the Lord of Death’s wall of damned souls. You gather your allies, storm his city on an extradimensional plane and… stumble around the most barren municipality before the Lord of Death shows up, slaps your soul into your hands then sends you on your way with a pat on your bum. No one needs to go into detail about how rushed the Sith Lords was nor how its ending is bafflingly incoherent if you haven’t peered into the design documents to glimpse what was meant to be fashioned before the game was packaged and kicked out the door before it was done.

Alpha Protocol’s was probably the best of the bunch though its set battle pieces were rather ham-fisted given how reactive the rest of the narrative had been up to that point.

Accessed from http://fallout.bethsoft.com/eng/vault/diaries_diary15-9-20-11.php

Fallout: New Vegas, Lonesome Road and all other trademarks belong to Bethesda and Obsidian in equal turn.

Of course, Fallout: New Vegas continues Obsidians writhing hatred for closure. The battle for Hoover Dam is, much as Mask of the Betrayer, pretty lifeless and uninspired given all the work you’re tasked with leading up to it. I suppose a plane flies over at some point and fire bombs some suckers which is kind of fun.

What does this have to do with the downloadable content? Well, my prior reviews of New Vegas’ DLC had talked about how they were building up this personal, interwoven and persistent antagonist. Unlike the foes at Hoover Dam who basically sort of pop up at the last moment to be slapped around a little like eager puppets in a whack-a-mole distraction, the player has three separate stories constantly speaking of this mysterious Ulysses. In fact, Ulysses had been ghosting the player’s steps long before Obsidian even got around to creating these final four morsels to round out the remaining ideas of their long cancelled Van Buren. One of the first things the player learns is that the courier mission which saw them to the world’s shallowest grave wasn’t initially even meant to be performed by the player. It was Ulysses who passed on the simple task after seeing you were next in line for the position. This uncharacteristic action haunted me until Lonesome Road was finally released. Here, at last, would be a grand personal reveal that would carry far more weight than the detached foes of Caesar’s Legion and the New California Republic who are far more obsessed with water and power than some shmuck who spends his time running up and down mutated roads.

Needless to say, there was a lot of build up for this story and thus there exists no word which can properly describe the disappointment felt when Lonesome Road concluded and its ending slideshow rolled across my screen.

Now, most people complain that the primary problem with Lonesome Road is its incredible linearity. I take no issue with this. It seems clear to me that Lonesome Road was conceived as the ending for New Vegas which Obsidian had no time or manpower to create. Honestly, its title insinuates that there isn’t going to be much to this story. I was fully prepared for a long, narrow walk down an uncompromising path with only my will set against Ulysses. In my mind, this would be the culmination of a very specific technique of narrative development Obsidian has toyed with multiple times in the past. The Sith Lords is perhaps the most elegant execution. Your character is one of maybe a handful of individuals who have been cast from the Jedi Order. However, the exact details for this expulsion and the motivation for you to accept it are somewhat shaped by the players own decisions. A lot of it is smoke and mirrors, of course. Despite their interactivity, video games will never have the same sort of creative back and forth between designer and player as a  tabletop role-playing game. There is a fascinating interplay between player and character knowledge in the game, however. The player learns things which the character knows while simultaneously making decisions often with only half the understanding. Based on those decisions, the character’s past motivations are determined. It takes a very specific view of role-playing. Instead of making the character, the player is taking on a specific role. This comes up again in Alpha Protocol. While the player has control over the motivations and reactions for Michael Thorton, they don’t create his entire back-story or personality.

Not actually Lonesome Road but my screenshots were pretty limited.

Not actually Lonesome Road but my screenshots were pretty limited.

It had been my hope that Lonesome Road would take the same risks. Given how much Ulysses prattles about how your actions formed him just as severely as the world of Fallout was formed by the cataclysmic nuclear war, I anticipated personal revelations which would reshape my entire view of the New Vegas story proper.

This doesn’t happen. Instead, Obsidian has fabricated some complicated scenario which ravages a place simply called The Divide. I can’t help but taste wasted potential across the entire length of the story. To me, Obsidian wanted to tell this kind of story but they simply didn’t know how. Maybe the build up had proved too much, I can not say. However, the themes–as limited as they are–on the Lonesome Road all explore the stripping away of the superficial differences between Caesar’s Legion and the NCR. Here, both serve as enemies as the endless red dust storms and radiation have reduced both to near mindless ghouls who work together insofar as to destroy any intruders into this ruined sanctuary. Ulysses is unabashed in denouncing you for creating this particular wasteland. You as both the player and character are equally baffled by this judgement. It does the story no justice that most of it is told through Ulysses’ discarded journals which require discovering. Ulysses himself is far too obtuse and poetic to communicate anything and unlike the other DLC there is no supporting cast to offer further clarification. The only friendly entity is a copy of the robot ED-E who only beeps (and only beeps about some stupid children’s show because it’s far more important to detail a robot’s background than the protagonist’s).

Through the rambling, it seems the player made a delivery to a town on the Divide which somehow started up because the courier made frequent passes through the Divide while doing deliveries. It’s hard to gauge a chronology partly because there’s so few points of reference and partly because Ulysses prefers the sound of his own voice over making sense. I can’t help but feel some of the vagueness is in part because it was so hard trying to wiggle Lonesome Road’s story into the greater New Vegas whole. At some point it was a major focus in the fight between the NCR and the Legion even though no one talks about the Legion penetrating that far into NCR territory (or even that the Divide was that necessary of a supply line). Another major problem is that the player determines the Courier’s age, so it seems really strange if you’re playing a young Courier how they could have possibly been employed long enough to discover, chart and ultimately lead enough people to the Divide for a town to grow up before the Courier ultimately delivers a package which brings about its end.

This mysterious package, it turns out, is the activation code for the numerous nuclear warheads scattered throughout the Divide. Apparently, in the Old World, the Divide was a major military outpost with hundreds of nuclear armaments pointed towards China. Ulysses’ plan is to return to this location and launch the warheads at both the NCR and Legion–since he sees them as one and the same. He requires your presence for some sense of poetic justice, I think. From what I can gather, he was in the Divide when the Courier unintentionally delivered the package that tore it apart so he was one of a few “sane” survivors. The Courier, somehow, delivered the activation orders and pissed off before the explosions since there is at no point any response that indicates the character’s knowledge differs from the player’s. And the player certainly doesn’t know anything about this place before stepping in it.

Real bad-asses don't look at explosions.

Real bad-asses don’t look at explosions.

Ultimately, it’s a jumbled mess. Even as I try to write this review, I can’t recall the content very well. Unlike the last three, there’s very little that’s memorable about a journey which should have been the crowning achievement for the entire game. I know I was grossly disappointed with how slap-shod all the prior references to Ulysses ended up becoming. His meddling in Honest Hearts, Dead Money and Old World Blues turns out to be incredibly incidental. His plan is haphazard and carelessly thrown together. The player is offered a choice at the end of the road–whether to bomb the NCR or Legion (or both or none)–though there isn’t any truly compelling reason given to do either. Ulysses’ desire is framed as villainous though it’s not justified nearly as well as any of the other antagonists. One of the highlights of New Vegas, for me, is how understandable Caesar is when you sit down with him. Sure, he’s a slaving, misogynistic asshole hellbent on a megalomaniac conquest spree but at least you can understand how he got where he was. Likewise, Elijah’s obsession is well established and explained so when you hunt him down and see the extremes he’s gone to you know how he got to the end of his road. Both offer far more compelling antagonists than Ulysses and neither had as much time devoted to them.

Lonesome Road is simply yet another disappointing ending in a long series of disappointing endings. Perhaps its best accomplishment is its visual design which does convey a sense of tragic destruction near wiped clean from the greater Fallout universe with the passage of time. You look over the Divide and get a sense of what the world would have been just after the bombs fell. Standing atop the ruined overpasses running through a city seared of its identity, there’s an awesome horror at the massive sense of loss and destruction. The best way to enjoy the Lonesome Road is probably by walking it alone, turning off Ulysses’ prattle in your ears and ED-E’s chirping by your side. A solitary stroll down a path the Fallout world has tread again and again across a land thrice devastated. With wind whistling through empty concrete windows like souls bemoaning from the abyss, you can’t help but truly think, “War. War never changes.”

New Year, Old World

‘Tis a bright and new year and what better way to start if off than with the age old tradition of retreading the works and achievements of yesteryear! Why, I couldn’t possibly imagine a better method of looking bright-eyed into our glorious horizon than staring straight behind at the road we just tread. Come with me on this fantastic journey as I go over the entertainment which I explored in glorious 2014 but had not got around to discussing.

I had, on a previous entry, espoused my love for Fallout: New Vegas and explained in subtle, vague terms how it was so much better than that derivative drivel Fallout 3. I looked at its first two DLC–Dead Money and Honest Hearts respectively–with  a lick and a promise that I would cover the final two when I got around to them. Good new! I finished! Bad news. You get to hear about it.

Old World Blues was the third DLC released and is generally considered the best of the bunch. I can not refute this statement. In my prior post, I detailed how I enjoyed the ideas behind Honest Hearts and Dead Money even if the execution left a little something to be desired. They were, at the end of the day, an interesting look at the world going to hell. Dead Money revolved around the obsessive need of a billionaire eccentric desperate to keep himself and his little piece of earth from the consuming fires and destruction of nuclear devastation. He had, unfortunately, latched his sail to a sinking ship and when he discovered that the woman whom he would craft an entire world for meant to betray him, he turned his marvelous bomb shelter into an inescapable tomb. There was a very obvious and pulsing vein of greed running the entire course of the DLC and the little addition of personal player greed was a neat touch on an otherwise clunky and straightforward corridor experience. Honest Hearts, however, revolved around a dead and broken man’s devotion to redemption. Joshua Graham hoped to expunge the sins he committed in designing and raising the murderous Caesar’s Legion with the small defence and rescue of the Sorrows tribe from the villainous White Legs. The current running beneath the petty tribal dispute and the one between the last Mormons on Earth was the story of the Survivor and how his personal struggle following the fall of the nuclear bombs had irrevocably changed him as it had the world around him. He, too, hoped to keep the woman of his life alive through his recordings and memories, ultimately falling in the final years of his life with only the scattered memoirs to be unearthed by the player in the most remote caverns dotting the Grand Canyon.

Old World Blues is about talking robots.

Accessed from http://fallout.wikia.com/wiki/Old_World_Blues_(add-on)

Old World Blues and Fallout belongs to Obsidian Entertainment and Bethesda Studios in various legal ways beyond mortal ken. They are not mine.

Franchises are a curious thing. They, more often than not, live long past their creators and what they come to mean is often quite different than what was previously intended. Ask ten fans what Fallout is and you’re apt to get ten different answers. The first two DLC explore some rather personal and grim outcomes of total nuclear devastation. However, Fallout has never been entirely dark and emotional. There’s a bold splash of zany anachronism and otherness. It is slapped right on the front of the cover as a cheerful cartoon of Vault Boy often stands smiling and winking over a blazing mushroom cloud. It is the lingering fifties Americana wrapped about golden age science fiction devices which work through vacuum tubes and prayer than honest science. Turn on the radio and you won’t hear some futuristic sounds befitting a world struggling to rebuild in the year 2281 but the glorious melodies of Roy Brown, Danny Kaye with the Andrews Sisters, The Ink Spots and the Kay Kyser Orchestra. Mad Max-esque punk raiders and cannibalistic tribes are just as much Fallout as brains in a jar and red rocket laser weaponry.

Old World Blues is devouted to that last aspect. Once installed, the player is enticed to head towards Nipton’s Drive-In Theatre to enjoy the Midnight Feature which turns out to be a rather perplexed eye dancing across a faded screen projected from a fallen satellite. Whereas Dead Money you’re lured by the sultry tones of Vera Keyes, inquisitiveness is the only trait which gets the player to touch the satellite before they’re whisked away to the reclusive and secretive Big Mountain research centre. Here, the scientists of bygone America were sequestered in order to develop and prototype weapons necessary to win the war against filthy, Communist China. Part of their development included a holographic fence which served as a shield to shelter from radiation and bombs. Of course, the one thing the scientists didn’t develop against was the simple passage of time and the player is greeted by five floating tri-monitors eerily displaying a pair of eyes and an unmoving mouth as though that were all which is necessary to interface with biological specimens. The Think Tank of Big Mountain conquered death by simply shoving their brains in jars and hoping for the best. While they live on–in a sense–they lost any sort of connection to their humanity or sanity and devoted themselves to the noble and pure pursuit of science for science!

Part of that involved an experiment which destroyed most of Big Mountain and no one ever feels the need to expand further on that incident.

To Old World Blues credits, the Think Tank and their villainous colleague Mobius are well written. You get a sense of their character from their mad ramblings–a brief window into the peoples lives before time and science! stole any shred of individuality away from them. Ostensibly, you are left in Big Mountain to solve the puzzling puzzle of your brain being absent from your body (along with your heart and spine) as per regulation for all guests to Big Mountain. You are outfitted with cybernetic replacements, as are all lobotomites, but you exhibit the curious propensity for speech and thought despite lacking the traditionally required elements for such behaviour. As such, the Think Tank see as a sort of saviour–or at the very least a useful anomaly–capable of aiding their otherwise unarmed and unhelpful robotic forms against the unending tide of robo-scorpions Mobius unleashes on his erstwhile coworkers.

Of course, in order to properly assault Mobius in his ruined bunker to the north you must gather the three great MacGuffins scattered throughout the complex. It’s a rudimentary plot device meant to encourage the player out of the Dome and into the various laboratories around spacious Big Mountain. Old World Blues is less on linear narrative and more on Valve’s environmental telling. Most of the player’s understanding and learning of the complexes history is discovered from poking in every nook and cranny of the crumbling place. Here, too, is the ever persistent allusions to Ulysses and ‘the Grand Plan’ to be revealed in Lonesome Road but they are more in vein with Honest Hearts where it’s a rudimentary connection at best. There’s a bit more explanation for Christine Royce and what actually happened here to cause Dead Money to transpire but nothing of true note is discovered other than Ulysses supposedly learning something “important” from the Think Tank which they can’t remember or can’t be bothered to remember. For the most part, the narrative is well executed in this manner. It pulls on the sense of discovery and exploration which I enjoyed in Honest Hearts and some of the revelations tie back to the New Vegas proper like the origins of the dreaded Cazadores.

My biggest issue with Old World Blues, however, is that it is safe. There’s really nothing deeper beneath it. When you confront Mobius, the floating brain isn’t some madman with some gloriously thematic reasons for his nefarious actions. He’s just a rambling old brain addicted to Mentats and barely keeping his thoughts together. He realized that after their “immortality” the Think Tank lost all sense of their humanity and, should they ever get the motivation to expand beyond their protective bubble, they would turn into tyrannical science! tyrants far too willing to enslave and destroy the wider world outside to keep bodies fueling their ever more demented experiments. Thus, he reasoned that if there were a persistent threat upon their lives they would be more than happy to squirrel up in the basement of the Dome. Mobius didn’t so much steal your brain as rescue it from the plumbing and is more than happy to give it back–assuming you can convince your brain to come back with you.

Old World Blues most interesting moment is a dialogue challenge to convince your brain to join you on your grand, stupid adventures. It’s an interesting climax for a story, especially given how reactive it is to some of your prior exploits. It also is the perfect highlight of the absurd experience of Big Mountain though there is a cursory confrontation with the Think Tank where you can convince them to be good people if you’ve fulfilled the prerequisite Sunday Morning Special morality lessons for each of them. Or you can shoot them in the face. They really don’t have much in the way of defences even on very hard. And you’re apt to be armed to the teeth with barking mini-guns or singing sonic emitters.

Accessed from http://steamcommunity.com/sharedfiles/filedetails/?id=197809318Which I applaud the design for Big Mountain in that one regard. Unlike the past two DLC, Old World Blues is more amicable to wider character builds. There are energy guns, conventional weaponry and melee items with which to defend yourself. It’s–ultimately–the inverse of the prior DLC. The execution and design is top notch but the themes and motifs underlying it are rather shallow and uninteresting. Its light-hearted (to Fallout’s degree) and the characters are entertaining so the writing remains consistent. I couldn’t help but shake that I was treading through cut content, however. There was a feeling that Big Mountain was more a museum than a laboratory which preserved all the ideas and locations which simply couldn’t make it to the final release. It doesn’t help that loading up New Vegas’ map shows a conspicuous large ‘crater’ in the northern corner which could very easily once hold the saucer remains of Big Mountain. And much like Dead Money, there’s an alternative ending depending on potential decisions to make in this space. It’s impossible to go through the area and not think “what if this were part of the original experience and it was integrated into the final act.” If, much like Dead Money, you could participate in the battle for Hoover Dam with crazed robots and lobotomites along with hologram fighters and a rust death cloud, I feel like the “gather your allies” story of New Vegas would have been all the richer.

As such, Old World Blues exists in the New Vegas world much as it does here: an optional place plucked from time and sheltered in its own little sphere waiting to be poked, prodded, probed and ultimately abandoned.

Transform the World

Windy is a terrible person. He takes unnatural delight in his cult practices, hidden away in dank basements or shadowed groves in order to perform his profane chants and adulations. I can only assume old, musty robes and plenty of candles are involved. I do know that this communion is with the most vile and unholy spirits because it–without fail–interferes with my chances of victory.

The contributors of somewherepostculture (barring one by her own volition for which we shall all shame her) have been obsessed with a little German game called Terra Mystica. I am not certain how to describe it. Kait says it’s ‘ugly.’ I don’t know if that’s really a good, qualitative assessment but when you first open up the box, it does look intimidating. My first encounter with the game was during one of our many forays to a board game cafe. While waiting for significant others to arrive, Derek wanted to give a game a spin that would certainly be less enjoyed by the fairer sex while he had the time.

Accessed from http://www.terra-mystica-spiel.de/en/index.php

Terra Mystica is designed by Helge Ostertag and Jens Drögemüller. It is published by Feuerland Spiele. Check them out at http://www.terra-mystica-spiel.de/en/index.php

Two hours later we were buried beneath a mound of little pieces trying to puzzle out how to get our respective race/factions to trot further along the victory point (VP) border while I madly searched for a way to wage war against my counterpart. There isn’t any, outside of actual physical aggression and this game is certain to inspire a little of that. But in a good way.

The closest analogy I can give for Terra Mystica is the game Settlers of Catan. Every player is trying to create the best infrastructure on a limited map with only so many resources to go around. There aren’t any outside threats and the only random element is during the game’s initial set-up. Not a dice is to be seen, which is a quality that always piques my interest. So there is no robber running around to grab your sheep and there’s no sitting forlorn as turn after turn goes by without any of your damn forests producing wood.

Another large departure from Settlers is the multiple avenues for generating VP. There are two scoring qualities at the end of the game (three with the new expansion Ice and Fire where the third is, once again, randomly chosen at the start). Players are ranked by how large their connected settlements and towns are and how far they’ve advanced in the earlier mentioned cults. The first three players get descending point rewards for their efforts. Connections and infrastructure scores better than taking the lead in the cults but there are four cults which have the potential to score you more if you dominate them.

Accessed from http://www.terra-mystica-spiel.de/en/index.php

Even laid out organized, this board scares me.

Potential is the keyword here. For it is quite easy for your opponents to muck up your plans. There is no way to wage bloody combat on your nemesis and thus the game focuses around the scramble to gather the limited pool of resources and hexes upon which you build your fledgling outposts. The last major departure from other games is that Terra Mystica features asymmetrical game play. For every different terrain hex in the game, there are two factions which call that landscape home. The ultimate goal of each faction is to transform the world into their preferred environment, like tourists immediately descending on air conditioners wherever they vacation. Each faction brings different strengths and abilities to the table. There are the dwarves, renown for their tunneling ability and to pop out of the ground to raise mountains out of molehills where once you thought they were cut off. There are the mischievous darklings who delight in nothing more than sending their priests out to convert all those wonderful rivers and plains into delicious, delicious swamps. Or there are the engineers who would rather not fuss around fighting for scraps of land but like to concentrate their efforts on raising magnificent bridges to connect their homes in awe-inspiring design.

The trick (because there always is a trick) is that the terrain transformations cost different numbers of spades depending on how different your detested land is from your home land. If I love swamps, then it only takes one spade to change rivers and hills into them (presumably because they’re already wet?). However, it takes three spades to change wastelands and mountains. Spades, by their nature, are incredibly hard to come by (unless you’re those rascally halflings) and thus factions will naturally steer away from the lands of their complete opposites. The game doesn’t allow factions of the same land in the game, so even in your choice of who to play there exists a strategic element. Do you want to be the neighbourly auren and fight those dwarves for their precious mountains or choose the cultists and politely avoid much conflict over terrain?

There’s a further complication in planning. Every faction has five different kinds of structures they can erect with each providing different bonuses. Dwellings provide homes for more workers. Temples give you favours from the divine and train priests. Strongholds unlock a special ability for your faction to demonstrate your true might or make your inherent ability even better. The dwarves are able to use less workers to create their tunnels when they have the awesome might of their fortress to inspire their drunk asses.

And resources are scarce so you’ll never have enough coins or workers to build what you want. You also need shipping levels if you want to cross those pesky rivers bisecting the map and there’s your ‘dig level’ to upgrade if you don’t want to throw legions of workers at that damn mountain to turn it into more pleasant desert. Each round also rewards building different structures. When a Dwelling Bonus round turns up, you can expect a massive explosion of homes from every faction across the board. But do you hold off building your dwellings for those bonus rounds or do you plunk them down for more return in your investment as well as staking your land from would be thieves. You can’t lost any hex you’ve built on which is the only assurance you have in the game.

It’s a complicated game, that’s for certain. However, that initial overwhelming sensation when you dump the thousand pieces out of the box belies the game’s simplicity. The core mechanics are pretty simple once you get a hold of them (with the sole exception of the niggling rules for your power bowls) and the hardest part of the game is all the different factors coming together for each turn. There’s a lot of cognitive load to balance when you take an action. Do your enemies have enough resources to block your natural expansion? Are they going to take the bonuses that you need in order to get your temples up on their bonus round? Will Windy ever stop taking the damn cult tile?!

Accessed from http://www.terra-mystica-spiel.de/en/index.php

The dreaded Darklings (who may or may not be my favourite faction). Mad props to you if you can understand what any of that board means on first read.

Terra Mystica is a fantastic game. For a board game, it’s pretty complex but compared to something like Magic: the Gathering or Netrunner it seems positively straightforward. However, after eight games I still don’t grasp the best nuances of its strategy. And the more players you add, the more you have to wiggle around their petty plans. There’s something to be said where your rise and fall is solely determined by your ingenuity and ability to predict the actions of your opponents. It’s the kind of game play that gets you coming back week after week to face your friends. With so many different factions and even new boards (in the expansion) there’s so much variety that ‘the perfect strategy’ is never clear and always changing.

After all, exploitation of your enemies needn’t be so blatant as a cudgel. You can instead figure out their goals, let them commit their resources to expanding their network, then snatch that last bridge or hex before they’re able to connect it all and leave them with two disjointed and pathetic settlements and no other alternative for getting victory. Assuming, of course, they stop sending their priests to that damn air cult!

Even civil engineers can be uncivil.

The Alliance of the Century Part 2

So, I may have gone overboard with my prior post and ended up writing way too much about something that I haven’t even gotten my grubby hands on. So, instead of editing it down like a reasonable person, I split it into two parts. I’ll repeat my warning in the last post, just in case people forgot it. This is all purely speculation based on the cards revealed during the sneak preview on Plaid Hat Games website. I have no great insight into the game beyond what I’ve learned through playing with my kin. That said, my judgments are still good, damn it!

Summoner Wars and its art belongs to Plaid Hat Games and Cupidsart. Find Alliances at their website http://www.plaidhatgames.om

Summoner Wars and its art belongs to Plaid Hat Games and Cupidsart. Find Alliances at their website http://www.plaidhatgames.com

5. Fallen Phoenixes

I don’t care for the undead. I don’t really care for haughty elves either but at least they have the decency to look pretty. Unless they’re the Phoenix Elves. Then they have nothing going for them.

The Fallen Phoenix faction is… interesting. The Phoenixes trick was that they alleviated the inherent randomness of Summoner Wars by making many of their units hit for their strength in damage without needing to roll. The Fallen Phoenix take this idea and balance it. Now they have “precision” only when Immortal Elien spends magic to increase their die roll. So, you can still be screwed by bad rolling but if you’re David Windrim and rolling in the money, you can just throw enough magic at it to make the problem go away. 

pic2018178_md

The Fallen Phoenix are the only faction to get really picky about what their abilities target. Good, old Karthus here only grabs Fallen Kingdom units from the enemy’s discard pile. Thankfully, alliance units count as both factions so out of the box there aren’t any worries. It’s an interesting idea though the execution is kind of a mixed bag.

The biggest downside to the faction, however, is that they are costly. Not only do you want a large pool of magic of Immortal Elien’s “cheating” but all three of his common units cost 2 magic. He wants lots of magic to kill things and he needs to kill things in order to have lots of magic. There’s a slight way for the Fallen Phoenixes to skirt around this. A few of their events have adopted the Fallen Kingdom’s raising of the dead though the triggers for these abilities are often rather specific and finicky. Karthus can pull your units but only from your enemy’s discard pile and if you pay for them. From the Ashes can pull them from your own discard but only if they’ve been killed by your units (and only those associated with the fire elves). 

They’re strong but pricey and require just the right set-ups in order to excel. On the plus side, they have better all around options and Forced Conversions and Purge can really open up an opponent’s defence to let you break through and strike with those unerring Phoenix attacks.

6. Vargath Vanguard

Revenge of the ugly goats.

I like the idea behind the Vargath Vanguard but I can’t help but feel they’re a faction designed to make their parent factions better than to actually offer a good deck on its own. Moyra is a poor man’s Sunderverd. Seriously. Her special ability lets her grant 1 strength and 1 extra movement to a single common each turn within two spaces of her. Sunderverd gives all your commons 1 strength when close to him. The question here is whether 1 extra move is worth 2 overall strength. 

Nay, I say. The Vargath Vanguard are all about positioning with all of their units getting stronger the closer you bunch up all your guys. But this sacrifices board control in order to make your units more powerful. Unfortunately, Moyra doesn’t really offer her units that much in terms of events or even her presence. Throw all her troops into Sunderverd and you’d have a much stronger deck. He allows repositioning with Muster and Fall Back. Greater Command lets him extend his influence to four spaces. Sure Superior Planning and Toradin’s Advance are dud events and while Moyra’s are stronger I just don’t think they’re strong enough to lose what Sunderverd offers.

And that is three cherubim attacking for 3 strength each turn. The largest failing for the goats was that in order to succeed they had to march themselves and their summoner across the board into enemy territory. Unfortunately, walls make it effortless to raise an overpowering defence that will chase them away. Now, Sunderverd can create a Roman Phalanx of impenetrable troops which loose endless volleys upon their enemies. Two cherubim sandwiching a defender gives both of them the Shield of Light power. Stick a crusader behind one and they’re under constant Blinding Light. Yes, both of these can be mimicked or played by Moyra but these effects don’t stack and are easily replicated by commons alone. 

pic2018179_md

Moyra. I want to love you because you don’t wear boobplate. Unfortunately, it’s just not working. I’m sorry. It’s not you, it’s me. (It’s totally you, you useless woman!)

That is kind of Moyra’s problem. Her strength is solely in her exportable cards. Her event suite isn’t terrible. It’s just unfocused. Lightning Strike is great but you only have one. Change Form is wonderful but incredibly time limited (to a single turn and thus very susceptible to Mimic as you must hold on to the event until the proper turn). Divine Intervention is not something you want to play if you’re planning on running Moyra in with Change Form and there situations where you want to trade summoner health for common health is pretty limited. Even more disastrous, her only healing option is Father Benny which, thankfully for Sunderverd, can also be carried out from her deck.

The Vanguard Vargath are interesting but ultimately underwhelming in all but the cards which will be poached by the Vanguard and Mountain Vargath.

7. Deep Benders

If Moyra was suffering from burglarizing then it’s an absolute epidemic of Endrich. The Deep Benders seem to have the opposite problem. They weren’t designed to make the Deep Dwarves or Benders better but to not be obsoleted by their powerful constituents. The Deep Benders offer an interesting mechanic with Boost but, unfortunately, the execution leaves something to be desired. 

The general idea is that Deep Bender commons is kind of the inverse of Filth mutations. You can summon them on the cheap in order to get a mediocre unit or you can pump them up to make them really strong. Of course, you’re investing magic either way but you’re deciding at the point of summoning whether they are cheap or powerful.

Unfortunately for Endrich, he is entirely replaceable. His unique ability is a worse version of Sorgwen. Yes, you can combine the two to get a bonus two extra attacks after the attack phase. Unfortunately, Endrich has to be close to his target, they have to be boosted (thus restricting him to just the three commons in his deck) and you have to pay for it! Course, Endrich starts on the board but that’s less of a problem when you are Tacullu and can just search for Sorgwen with an Hero is Born event. Not to mention that Endrich can’t use his ability until he starts getting boosted units so he can’t double attack out the gate either (which would require building a magic pool as well anyway). 

Nearly everything about the Deep Benders feels “balanced for Deep Dwarves and Benders.” The Owl Gryphon has lots of exacting requirements so he doesn’t combine with Tundle’s meditate. Which is irrelevant since Tacullu is going to be the one to grab the Gryphon in order to make him one of the top decks. The actual interacting with boost tokens is mostly in the commons themselves, which is Moyra’s issue. Endrich has a couple of interesting economy cards to try and play with the boost mechanic but it ends up being irrelevant because Tundle can meditate for his economy and Tacullu can grab the Owl Gryphon for his (on top of both generally playing incredibly defensive). Endrich, on the other hand, loses if he attempts to play defensive even with the Owl Gryphon being overpriced and useless on his arm.

B1DmoWiCMAAejtR.jpg-large

Ugh, the Deep Benders are so infuriatingly bad, I’m just going to stick a Swamp Merc event card here instead. Look, it’s a worse version of Magic Pulse!

Basically, the stars need to align in order for the Deep Benders to win. They need to establish an economy advantage with opportune plays of Unlock and Reclaim then push that advantage with a fast assault from their Deep Dragons, Geopaths and Keodel. Course, this opens them up to the age old problems of turtling play. Magic Drain will cripple him and Endrich relies on his units for board control and economic tempo. Any event that outright murders his boosted commons will swipe what economic advantage he can wrangle with his boost tokens. And, ironically, Tacullu can just mind control his units if they try to assault him for a truly crippling economic swing that Endrich can’t respond.

Oddly enough, the overbalancing of the Deep Benders was directed at the summoner and his events when it should have been focused more on his units. It’s incredibly odd how poorly designed the Deep Benders appear especially since the route to take was done on the Cave Filth and Sand Cloaks above. Make them based around their Boost mechanic and the commons will be less valuable for the parent factions. Give Endrich lots of advantages for using boosted units to discourage him from poaching the super strong commons from the Deep Dwarves and Benders. Then you would have differentiated summoners without potentially unbalancing the game.

Instead, we have a summoner that looks underwhelming but brings lots of incredibly powerful tools to the factions that already held most of the good tools in the first place.

8. Jungle Shadow

Well, someone had to be on the bottom.

If Endrich and Moyra’s issues were lackluster abilities and events, Melundak’s is exactly what I rambled about in their entries. The Jungle Shadow have, by my estimation, the worst suite of units in the Alliance box. Granted, they don’t have the worst card, that still belongs to the Tundra Guild scribes, but their shadows, stalkers and shamans are certainly vying for that position. 

The biggest issue with Melundak’s army is that they’re money pits. All three commons require extra expenditure of magic. To haste, spend 1 magic. Want to make your stalkers 2 strength? Spend 1 magic. Trying to maintain board presence with your shadow? Yup, spend another magic. And yet, Melundak has absolutely nothing to help generate magic for all these effects. Even worse, he has one of the best summoner abilities and nothing to use it on. Shadow Weave lets you treat any unit as a wall for a common once a turn. Hogar has to enchant his stupid golems to get that. Rallul needs to use an event. Glurblurgderp needs to cultivate his horticulture. Melundak, on the other hand, just wills someone to pop out of a furry. 

harbinger___sw_alliances_by_cupidsart-d7vy47b

If there’s one thing I really like about Alliances, it’s that the art is has noticeably improved almost across the boards. Unfortunately, if there is one point of criticism it’s that Cupidsart isn’t very good at drawing goatmen and other furries. Though, I have to wonder if that is truly a criticism…

But two thirds of his army are ranged with 1 health so want to come from his back walls anyway. It would be really good if he could extend his power to champions but all three of his champions come with extra mobility anyway so it’s irrelevant. Furthermore, Melundak’s events give bonuses to sneak attacks and greater movement which is wasted on his army composition. His deck is geared all around getting all up in his enemy’s face but its used on a force that wants to anything but that. 

Melundak is the one summoner who just screams to be deck built. Almost any Jungle Elf unit in his deck is terrifying. The Shadow Elf champions are clawing to emerge from Melundak’s walls to rampage across the board. There’s an absolutely monstrous unit pool waiting just beyond Melundak’s grip and he was offered the possibly worst dregs of an alliance between his two factions. He’s the unwanted third child with nothing but raggedy hand-me downs while he gapes enviously at the sparkling toys in his siblings’ grasps. 

And his units wouldn’t be too bad if they were lent to the Jungle or Shadow elves either (seriously, stalkers with Abua Shi are like lioneers that can be chant hasted). Together, they’re a horrible combination but I can see them being useful in separated pieces amongst the rest.

Barring shadows, of course. I still don’t see how they’re anything but a gimmick.

The Alliance of the Century Part 1

Summoner Wars and its art belongs to Plaid Hat Games and Cupidsart. Find Alliances at their website http://www.plaidhatgames.om

Summoner Wars and its art here and below belongs to Plaid Hat Games and Cupidsart. Find Alliances at their website http://www.plaidhatgames.om

I’ve written a few words on the board game Summoner Wars before. It’s a fun little 2-player game that Derek will never discuss because it lacks the deep strategic element found in Netrunner or Tanto Cuore. However, my sister enjoys the game, the rules are pretty simple and the gameplay itself is straightforward enough that you don’t need a lot of investment into it to have some fun.

So as Kait gets more and more involved with the game, I’m hoping it serves as a gateway drug so that one day she may actually want to play Diplomacy or the Republic of Rome.

Hey, a man can dream.

Anyway, there is a big release coming up for Summoner Wars. For those not in the know, Summoner Wars is a cross between a board game and a collectible card game. Each player chooses a summoner which comes with a preset deck of cards that is customizable–to a point–which they then play upon a 8×8 (I think, I’m too lazy to check the box) grid that adds an element of positioning to an otherwise simplified game of Magic: the Gathering. We got into the game with the Master Box release that had six different factions to choose. Since then, we’ve grabbed three separate faction decks to add a little more variety bringing our total options up to nine.

Summoner Wars: Alliances will add eight new summoners. That nearly doubles our current holdings. Even more exciting, for me, is that each summoner represents a union between two factions. An “alliance” if you will. A couple of these new pairings has resulted in unique game elements and mechanics but all of them follow the same deck building rules: an alliance summoner is free to add any cards from its composite factions to its deck. Essentially, the Alliances box will give us the tools to customize all the factions we’ve bought so far. If I were to get this product (wink, wink) then I would be nearly doubling the content which I currently own and expand the possibilities for decks even further.

So, yeah, I’m a little excited. In the lead up to the launch of the box, the developers at Plaid Hat Games have been giving weekly teasers for all the cards which will be released. Furthermore, if you pre-order from their website, you get all four of the promotional champions only available through purchases on their website. The lead designer will also sign… something, but that’s nowhere near as important as four mercenaries and a second play mat so we can hold 2v2 battles.

Hint, hint.

I’m telling you, Kait, that I want this for Christmas. Pre-order would be better with all the goodies it includes.

At any rate, in my excitement, I’ve been analyzing the revealed factions and comparing them amongst those already released. While the deck building possibilities amongst all the cards released thus far makes a true measure of each summoner’s strength quite difficult (especially for those which I haven’t yet played) I’m going to judge the factions and briefly discuss my thoughts towards game design, balance and functionality. This is a long winded intro do say that I’m doing a pre-review of the Summoner Wars: Alliances product before it even releases.

Yes, there’s very little going on in my life at the moment.

immortal_elien___sw_alliances_by_cupidsart-d7vy24wTo start off, the eight combined factions being released are:

  • The Fallen Phoenixes: The “controversial” Prince Elien of the Phoenix Elves has partnered up with the ever decaying Ret-Talus of the horribly ineffective Fallen Kingdoms. Since I’ll never buy a starter box (they only contain two factions but come with more boards, dice and tokens that I don’t need anymore) I’ll never have to worry about those awkward Elien vs Elien battles as though we were recreating the epic battle between Luke Skywalker and the Swamp in The Empire Strikes Back.
  • The Tundra Guild: The Tundra Orcs and Guild Dwarves are considered two of the best and most frustrating factions to fight… if you’re stuck on the game’s iOS version. Personally, I think they’re overrated but, once again, their first summoners feature in a product which I’ll never purchase. A curious decision to combine the two which has led to the revealed Rune Events which adds an interesting twist to improving units seen in both faction’s second summoner sets.
  • The Cave Filth: Ermergerd erts teh ferth!
  • The Vargath Vanguard: Missed labeling opportunity. They should have been the Mountain Vanguard. Mountain Vargath and the Vanguard regularly come up on the short end of the stick when people discuss tier lists so the question lies whether their alliance will actually improve their original summoners.
  • The Sand Cloaks: I love Cloaks. I love Sand Goblins. I’m going to love Sand Cloaks. Kait is going to hate them.
  • The Jungle Shadow: In our impromptu tournament with the factions we owned (Master Box plus Cloaks and Filth) the Shadow Elves managed to get into the top four. We just recently grabbed the Jungle Elves. They make sense as a combined faction as both play fast and aggressive but how will their alliance play on these themes of mobility and assassination?
  • The Deep Benders: Now here is an actually controversial pairing. The Deep Dwarves and Benders are two of the most powerful factions despite not being expanded with a second summoner like half the other factions. The Benders came out on top in our tournament and, had Kait not sabotaged the Deep Dwarves, they probably would have been second. Will their first real expansion be even more dominating?
  • The Swamp Mercenaries: Kait loves the horribly misleading Swamp Orcs. They grow vine walls (I know, they should be Jungle Orcs or they should grow root walls but here we are) which spread like a plague across the board choking out strategic locations and being generally obnoxious. The very close second place finisher in our tournament their combination with the Mercenary faction is a little odd but someone had to be stuck with the sellswords, I suppose.

Obviously, all that comes next is going to be speculation. I could do indepth posts on each faction and what I think of them but, in the sake of time, I’m simply going to give them a short ranking and a small blurb on why I think they deserve their spots. Let’s begin with the best.

1. Ermergerd erts teh ferth! (Cave Filth)

Personally, I think the original Filth faction is a top bet for being the best in the game. It’s certainly top three and balancing the faction is incredibly difficult because the Filth play incredibly different from everyone else. In a metagame that has revolved strongly around defensive play and heavy champion line-ups, the Filth stand out as being neither. Their unique mechanic, mutations, allows them to change one of their common units into a unique summon which is neither champion or common but something in between. The original summoner The Demagogue is especially powerful for his inherent ability allows him to search his deck or discard for the mutations he needs as well as give him a slow economic advantage by pulling cards from his discard pile which he can then burn for magic at the sacrifice of an attack.

Put simply, the Filth are a mid to late game deck that looks to play defensive until they generate a strong economic advantage by fueling their summoning costs with recycled mutations before flooding their opponent with powerful units that will tear apart commons and champions alike. I love them. Kait even loves them. All hail the Filth!

The new dude, The Warden, is interesting in that his alliance with the Cave Goblins is anything but an alliance. Presenting himself as an antiquated tyrant, the Warden introduces the “Prison Pile.” This acts as a sort of economic “bank.” Abilities that affect a player’s magic pile do not affect the Warden’s prison pile. Thus, the dreaded Magic Drain event can possibly be mitigated by the Warden by leaving his magic pile empty and undrainable.

burrow-mutant_bz86ot

This guy is probably the worst mutation coming out. Just so… you know… you have some idea of the faction’s measure when the worst is a 4 strength, 3 health for 3 magic.

For the most part, the Prison Pile doesn’t add a lot of strategic depth. The Warden can, for free, shuffle a single card from the prison pile to his magic pile. More than anything, the Prison creates an extra step for him to interact with his army. This would be an issue if the Cave Filth weren’t designed along the same vein as the Filth: make everything so damn amazing that the extra hassle is irrelevant. Technically, the Filth require two cards to get their “mutations” going and when they die they give twice the magic power to their opponent.

On the other hand, you can spend 3 magic to get a 3 strength, 3 health monster which enemies are too terrified to strike back and if it gets weakened you can always mutate that baby back to your hand to inflict upon your next devotee. The Warden has a similar “flawed advantage” which is really just an advantage for him. His basic unit, the Prisoner, has a 50% chance upon being summoned to just pop into your Prison. Course for a 1 strength 2 health unit for free, it’s a bit of a steal on its own. Combined with the fact the Warden himself can just turned “failed summons” into magic once per turn, the Cave Filth player hasn’t lost anything with his unruly subjects.

Furthermore, a lot of his cards require fuel from the Prison. Legion, Soul Eater, Scabbicus and Hector all need or grow stronger the more suckers you’ve locked up. The Warden will start stockpiling subjugates long before his inherent enslaving ability of sending destroyed units to Prison kicks in. To “balance” this “negative” the Cave Filth come with some of the best priced units. 3 strength 7 health for 4 magic is something you won’t find anywhere else. Plus they can have the most powerful unboosted unit in the game: 5 strength and 6 health. Granted, you pay out the nose for that guy. Hilarious enough, even Hector can grow astronomically if enough pressure isn’t applied to the Warden and he can get a rowdy Prison built. He gains 1 strength for every two prisoners beneath his care, has 6 health and a measly 4 cost. To compare, Leah Goodwin is the only other 0 strength card in the game who grows with an increasing economy pool and she has 5 health for 3 cost and maxes out her strength at 4.

Yeah, the Cave Filth are silly.

2. I’m not biased! (Sand Cloaks)

The Sand Goblins were the faction with which I was introduced to Summoner Wars. The Cloaks were my first faction received after the Master’s Box. Both hold a fond place in my heart even though they’re a little lackluster without second summoners or reinforcement decks. The alliance, however, is easily the top in the box.

SW-MSA_Sand_Cloaks_Cards_04_Scholar

The scholar both makes the Sand Cloaks and is easy builds for magic. Free (yay 0 magic!) and melee means he’ll be hiding in the back just quietly keeping your event abilities coming back and pumping your troops.

The Sand Cloaks introduce Event Abilities. These events are like prior summoners’ upgrades which went under a unit to improve them. Unlike Bolvi and Torgan, however, these cards can be moved around and synchronized with all the pieces of the deck. I don’t think it’s a coincidence that the two stand out factions in the Alliance box are also the two decks that introduce their own unique mechanics which almost every unit reinforces or improves. All nine abilities open to Marek are strong abilities and they can not be lost like Filth mutations. Though they can only improve one unit at a time, Marek’s inherent ability lets her grant the bonus she holds to another unit once per round. Considering that you can enchant her with Camouflage (which makes it that she can only be attacked by adjacent units), you can make a very robust force with very few individuals. Nearly every unit in this deck is ranged as well, the sole exception being the unobtrusive scholar who allows you to move around your event abilities even from your own discard pile.

The only weakness the Sand Cloaks have is that there isn’t inherently any source of strong damage amongst their cards. Only one card naturally has 3 strength and all the commons natively have 2. However, their champions are cheap (4, 5 and 6 respectively) as are their units. That you can then give abilities to each of them to strengthen them or make them hard to kill gives the Sand Cloaks a very strong advantage that will overcome their inherent frailty.

3. Swamp Mercenaries

I’ll just say it: Glurblub, the new summoner, is worse than Mugglug. Yes, the swamp orcs have stupid names. No, it’s not a good idea to say that to their face.

B0kP08jIAAATxVg.jpg-large

It’s the god damn Boarboon! RAWR! I actually don’t hate the guys. They’re taking the place of Savagers so they’re slightly weaker (1 less strength after the first turn) for cheaper. It’s amazing how much of a difference 1 magic can make.

Mugglug has the far stronger ability to spread his swamp. Any unit next to his walls which dies grows a vine wall. Glurblub only gets vine walls natively from his ranged attacks. Overall, I predict smaller swamps with Glur but faster invasion of the enemy’s board with those swamps. Which is good because the real strength of the walls is giving advanced summoning positions to overwhelm defences. Glur even takes this further by having a 2 strength, 1 health for 1 magic swordsman which is a statline I love for its pressure and aggression. The boarboons, his cheaper ravagers, have 3 strength on the turn they’re summoned. Though they essentially lose any extra abilities beyond the first turn, this is not actually a big negative given the proliferation of “nullify” abilities or cards that are starting to return units to their owner’s hands. Glur also finally comes with a 0 cost common though he can’t attack them for free walls. But the slippery swamp rats are open to his Spore Carrier events which lets him destroy his units to grow walls where necessary. Glub won’t choke his opponent out of the board but he will plant a garden in their front yard and immediately attack the house with it. And while Mik was designed for Mugglug’s deck (finally a useful champion below 6 magic), Glurb has a 3 attack 3 health 4 cost champion that can negate one attack so long as he is beside a vine wall.

It’s a good thing that Glurb flings his walls too since his deck is entirely composed of melee units.

4. Tundra Guild

They’re good and bad. I don’t know what else to say. Hogar was just recently revealed and my gut instinct is that he isn’t that great. I’m looking at scribes as the old, Master Box design of “always include one auto build as magic unit.” Scribes are probably one of the worst units released in the entire box. They have 1 attack, 1 health and 0 cost which I don’t super hate but their special ability lets them look at one card from the top of the deck per scribe and allow Hogan to put those cards back in any order whenever a Rune Event is used.

So, to get the most out of their ability, you need at least two scribes sitting on the field. You also only get 6 chances to trigger their power since that is the total number of Rune Events in Hogar’s deck. You can’t fling scribes at the enemy and immediately kill them to deny their magic since you need them to stick around the board. With them being melee, you aren’t likely to attack with them at all. So they’re just going to sit on your side of the field being useless hoping that you get a good Rune Event draw which will let you manipulate your pile for your rather lackluster champions to be a little less awful.

They’re bad. At least the swamp rats can be killed for vine walls.

The marauder doesn’t fare any better. It’s a 2 attack, 2 health for 2 magic. When he is enchanted with a rune, he can attack at range. However, you’re never going to waste one of your very limited Rune Events on these guys. So he’s a 2/2/2 which doesn’t really live longer than a 2 strength, 1 health unit but at twice the cost.

The only really great card in Hogar’s deck is the Ice Golems and they are really good. Rune Events are, essentially, Event Abilities that can stack on a single unit. However, unlike Event Abilities, any player can spend 2 magic during their event phase to discard all Rune Events on one target. So, yes, you can pump Hogar up with a ludicrous number of enchantments to turn him into a murder machine. And yes, the opponent can clear all of them for the low price of 2 magic on their turn to leave Hogar naked and sad.

ice-golem_gosrvy

Single handedly putting Hogar in the top four of the upcoming releases. Ice Golems rock. Or… chill?

On the up side, the cost to erase the runes is the same as Magic Drain so it’s a pretty hefty price. More than that, the previously mentioned Ice Golems get counted as Ice Walls when they are enchanted. This means they operate as mobile summoning platforms much like the Swamp Orc’s vine walls if they were on legs and could punch idiots in the face. Plus, Hogar’s boring ability (walls are only damaged on rolls of 4 or higher) stacks when the Ice Golems are enchanted making them extremely hardy.

Unfortunately, Hogar’s champions are all really expensive despite their abilities being pretty lackluster. He has two 6 cost champions and one 7 cost but only one of them actually has 3 strength. But it becomes 4 strength if you happen to have a Rune Event on the top of your deck when he attacks! At least he’s better than Dagger I suppose. Except Dagger can be built into Marek’s deck so he can gain Greater Sneak on top of his Backstab…

The “random chance” of the Tundra Orcs is represented in these champion abilities but, unlike most of the tundra dwellers, the champions aren’t really that great if they aren’t getting lucky.

Divinely Inspired

Confession time: I didn’t get my work done.

Specifically, I am currently in the middle of Canadian nothingness (read: Sasketchawan) writing a post that was meant to be completed before I began this lengthy trip to the Yukon. I failed which means I am working within a tight timeframe as I pound out these thoughts in the few hours between my late evenings and early rises. However, it appears that Derek has started posting which is nice since he continues to ignore my desperate pleas for attention whenever I get a few seconds of precious Internet on this voyage.

At any rate, this is the final post I have for my wonderful “Month of Joy” or whatever we want to call this. I decided, since this is my last, I would do something different. Here at somewherepostculture, we are often a little behind the times. We review things that are often already ingrained into the cultural consciousness. Neither my colleagues nor I have the ability to experience new “art” as its produced and often when we find the time to look at it, the object in question has already come and gone through the public’s mind and we’re left overlooking some old relic seemingly unearthed from antiquity than anything new.

Well, this time will be slightly different.

While on the road I was bemoaning to my sister how I didn’t have anything in mind for my final week. I knew I wanted to cover yet another medium and I already settled that it would be video games. From prior posts, this should not have appeared too arduous a task as I quite enjoy that entertainment and have written many words at length about my thoughts on opinions of various products. However, when it came to discuss something I actually liked, things got difficult.

I was left with that nagging problem I mentioned in passing on previous posts. I didn’t want to cover well known or universally acclaimed games. Not that I don’t enjoy some of them but that there seemed little value in espousing their well known qualities. What is there to say about games like Dota 2, Team Fortress 2 or Portal that hasn’t been covered previously? Actually, given our focus here, I knew that I would be looking at role-playing games. They’re really my favourite genre that deals with narratives, characters and world building in any great capacity. And if anyone were to ask what my favourite rpg was, my immediate and fervent answer would be Baldur’s Gate II.

But that game is such a cornerstone in the genre. It is a game so good that it, essentially, ruined the company which created it. It’s shadow is long and dark with many titles being measured against it and, ultimately, coming up short. It is fantastic and it was a game I adamantly wanted to avoid reviewing.

My sister suggested I take a different approach. Instead of focusing on the tale, how about I focus on the gameplay? Video games are an interesting medium because of the interaction between creator and consumer. The most effective usage of the medium involves some “game” with the audience and perhaps I should discuss one where I really enjoyed that play. We tossed a few ideas back and forth and, ultimately, one title stood out above the others.

And it is a game I have not completed.

I do not like reviewing things that I have not finished–the reasons should be self apparent. Only in extraordinary circumstances will I break this preference (for example, if I read a book so awful that I am physically incapable of completing it… and it truly is that bad). For this game in particular, I know I’m going to do a full review when I finish it. However, I am having so much fun now that it seems remiss not to highlight its positives and demonstrate that there are still quality titles being released that make me feel that wonder and excitement many assume I am simply unable to feel.

I speak, of course, of Divinity: Original Sin.

Accessed at http://www.feedyournerd.com/uploads/2/4/0/4/24044140/161820_orig.jpg

Divinity Original Sin belongs to Larian Studios and is totally amazing and you should check it out.

Divinity is a curious game. It is not the first of its title by its creator studio though it’s certainly the first that I have played. It was one of the latest of the kickstarter darlings but fell well after I had chosen to participate in the experiment. As I refuse to kickstart any more games until my original “investments” bear fruit, I politely ignored Divinity. This was for the best as I had little expectations when I finally came to its release. It, however, received quite a bit of positive word of mouth and that it was co-op excited my friends to no end. Thus, Derek and I grabbed two copies when it went on a Steam release sale and sat down to enjoy as much as we could before my excursion to our country’s cold, white and isolated north.

To put bluntly, the game is fun. I don’t use that word lightly. I find it is incredibly undescriptive. Fun. It bears not quantitative measure. It is an ephemeral descriptor which gives a listener no bearing on quality or measure of its matter. It makes it ambiguous on a scale as one can not, simply, compare the “fun” of one thing with another. Whereas other emotions are easier to draw strengths: I may have been startled by Amnesia but my sister was positively terrified. Despite my displeasure of the word it is a fantastic tool for Divinity.

At its heart, the game is enjoyable. It isn’t the greatest work of art. One will not likely hold Divinity as a moving narrative which brought them to tears or instilled some revelation or philosophical quandry. It will hardly inspire. Its visuals hardly transport you to fantastical settings or leave you dizzily lost in flights of imagination. Its score doesn’t plumb the depths of emotional experience. At best its writing will crack a smile but its mystery hardly leaves one pondering long after they’ve turned off the game.

In short: its characters are shallow, it’s narrative is cliched, it’s style is non-existent. And it is the best game I’ve played all year.

The truth of the matter is that Divinity is, first and foremost, a game. It is there to amuse. Its narrative serves the basest level of setting and cohesion. It is like the short blurb printed on the introductory rules of a boardgame. Its characters are there to direct players from one point to another. If they can get a smirk then they have gone beyond their duty. Ultimately, the game wants you to play with its systems and with a friend.

Divinity’s draw is near entirely its combat system. On hard, I am challenged. Each fight is a tactical puzzle to be solved. The vast majority of role-playing games, nay, the vast majority of games treat combat as just another diversion thrown in to keep the player awake between narrative beats or provide the most rudimentary challenges. Combat, as a whole, I often find is a task one does because it is expected of you. I’m hard pressed to think of a game that has me as excited for its fighting system as Divinity. If I had my choice, I would play Dungeons and Dragons or its ilk without a single dice cast for a brawl.

But not Divinity. Instead, it makes me excited to level my character. Every turn has me pondering my next move, often speaking to Derek in order to co-ordinate my next action. I’m playing a wizard, so I don’t get many turns, but the interaction between agents, environment and abilities is staggering. The moment when you set your first stun arrow on a pool of water to stun half your enemies through snaking series of blood and puddles only to follow up with a great fireball to create a smoke screen from the steam of the exact same stunning water is a thing of wonder. You almost feel like you are a painter during confrontation. The terrain is your canvas. Your spells are your brush. You position your actors, trigger your abilities and watch a calvalcade of actions in motion which cripple, stun, blind, burn and knock down your enemies to keep them controlled and pinned.

Or, at least that’s the idea. More often than not I feel like a child with my finger paint, madly trying to outdo an intermediate artist before he finishes his gradework with my blood. For your enemies are always unique combination of classes with different abilities and tricks of their own. They are gunning to turn the exact same combination of spells and effects against you. In fact, we have learned more ability combinations from what the enemies use against us than we’ve discovered on our own experimentation. So far we have faced a fascinating blend of abilities and combinations too that no single fight has felt the same or tired.

For the first time in an rpg, it is not the next clue or character that motivates me to keep playing. I don’t care where the game goes next. Instead, I’m ruminating over my level-ups and which abilities and skills I want to increase. I’m plotting formations and ability interactions. I’m counting action costs and measuring out distances. I’m getting into arguments with my partner and I’m stunning him with waylaid shots or poorly placed fireballs.

And I’m loving every minute of it.

Why I Hate Qunari – Racism and Fantasy

E3 is happening and I’m… disinterested.

E3 banner accessed from http://whachow.com/wp-content/uploads/2013/06/e3.jpg

E3 imagery and whatnot does not belong to me.

For those not aware, E3 (short for Electronic Entertainment Expo) is a yearly conference that covers the developments from the biggest studios in the video gaming industry. It’s a trade’s fair meant to announce and build interest in upcoming products from the major players (Ubisoft, Microsoft, EA, Sony and Nintendo). As a young, modern individual, I naturally have an interest in video games as they’re becoming one of the largest mediums of entertainment. Unfortunately, my interest lies in PC (personal computer) gaming whereas this conference mostly focuses around the home entertainment consoles. All I have to look forward to is the glimpse of the multiplatform releases which will inevitably arrive to the PC space some three to six months after they’re console launch.

So, while others are pumped for the exposition, I really can not get into all the hype. That said, I tried and turned on the stream for a few minutes to see how the conference is going. In prior years they had been really embarrassing for the members of the more enthusiast portion of the hobby with a greater focus on gimmick and generic titles that often involved presenters dancing or waving foolishly on stage as they tried to peddle the next motion sensor device as the hottest new thing. So, in one way, this E3 seems to be off to a better start. With the recent release of a new generation of consoles the focus is back to announcing and promoting games. The major studios have taken a more traditional, trailer focussed approach too which is a step above the antics of yesteryear.

What does this have to do with my title? That’s a good question as I’ve three paragraphs in and haven’t touched anything writing or speculative fiction related. So here’s the bridge!

One of the first trailers shown during EA’s presentation was for the upcoming Dragon Age 3 by BioWare. I’m a little surprised my colleague has not written about Dragon Age as he is the one to have played its most recent release. I used to be a great fan of BioWare when I was younger. They produced the nostalgia inducing, widely acclaimed Baldur’s  Gate Trilogy which stands, if I may be so bold, as the single most influential western role-playing game in the entire industry.

Image accessed from http://dragonage.wikia.com/wiki/Dragon_Age:_Inquisition

Dragon Age Inquisition, outside of representing BioWare’s disdain for orderly naming in their titles, belongs to EA and Bioware and not me.

Sadly, their output after that has been lackluster at best. Part of that may have been a problem of coming out the gate too strong. Inevitably, all their newest work is going to get compared to that magnum opus and draw up short. Part of its problem, I think, is that BioWare was working with a proprietary intellectual property. Baldur’s Gate was set in the Forgotten Realms campaign setting for Dungeons and Dragons. This world has had years and years of development and re-iteration by the time the company picked it up. It had a lengthy history which the writers could tap into and the different regions they set the story across were pre-created with interesting and connected cultures. The process of world building is a long and involved one and when they adopted the world for their first games, all they had to focus on was the narrative they wished to tell and the components of creating a video game.

Of course, the downside with licencing is that you have to pay the owner a sizable fee. It’s reasonable any successful studio would want to create their own free of the constraints of licencing and adhering to established works. It gives them the freedom to develop their own world filled with its own peoples and histories and stories.

The downside is they have to make all this.

And the downside of that is we get racism.

I have come to loathe fantasy and its handling of races. I complained about this before when I felt that most writers essentially are rehashing the work Tolkien did with his re-envisioning of mythological creatures into a cohesive and internally consistent world. He established the repetitive trope of dwarves being incurable alcoholics obsessed with mining wealth and loathing elves. Elves, likewise, have morphed in the collective unconsciousness to become these tall, elegant and beautiful peoples with pointy ears and a dying culture. Orcs are a shorthand for middle easterners.

Sten belongs to Bioware and image was accessed from http://www.polishtheconsole.com/tag/sten/

Sten as he appears in Dragon Age: Origins. He is a member of the Qunari who are both a race, religion and culture all in one!

And that’s, unfortunately, become the issue. So often when I see fantasy races in fiction it’s as a cultural shorthand for a real life peoples. It creates a rather uncomfortable situation especially given the rampant racism that erupts in these stories because now these peoples are actual different races. I feel there’s an issue when you conflate real cultures with fantastical peoples as it almost dehumanizes or “others” these cultures from which you borrow.

For example, Dragon Age features the Qunari instead of your standard orc. When we were first introduced to them in Dragon Age: Origins, the only member you met was a man named Sten. He was, by all appearances, a human with darker skin and lighter hair. I welcomed this as the shorthand for culture=race, I feel, has a tendency to draw upon and highlight differences between peoples rather than commonalities. Sten carried the appearance as being the same as the player (assuming a non-dwarf or elf background) with the biggest difference in his personality and beliefs being the cultural heritage of his distant upbringing.

Accessed from http://dragonage.wikia.com/wiki/Qunari

Qunari concept art re-envisioning them for Dragon Age 2 so they’re clearly not human.

Dragon Age 2, however, made sure to clarify that this was not the case. Sten and the Qunari were shunted into the fantastical race segregation giving this air that culture and beliefs are tied to some bizarre genetic composition. We see this with the other races – all dwarves and elves essentially struggle beneath the expectations of their physical appearance intimately connecting behaviour and potential with one’s birthright. Of course, given this expectation from the audience one would imagine that fantasy would be a ripe area to undermine racist beliefs and tendencies. However, invariably, the narratives reinforce the core separation of racial thinking even if they attempt to express that racist behaviour is bad at the same time. Which is, of course, reasonable given the world’s creation in that these two entities are separate along racial lines.

So fantasy basically writes a creator into a corner. They have, biologically speaking, separate races but these races invariably take the cultural shorthands and iconographies of real life peoples. Even if the author attempts to argue that discrimination based along these lines they’ve created themselves is bad it does not ignore the problem that they’ve fallen into the trapped thinking these people fundamentally are different. Course, there are ways around this. For one, Dungeons and Dragons breaks down the different races into even more variable culture groups disassociating the race with any real world analogy. In the Forgotten Realms alone we have the High Elves, Moon Elves, Wood Elves, Dark Elves and just about any other permutation you could require. And though the difference between the factions is often represented physically with their bodily attributes (like the black skin of a Dark Elf or the golden skin of a High Elf) the biggest separation is their cultural and philosophical heritage. Furthermore, you generally do not have a genetic incompatibility with these different groups thus reinforcing their differences are not tied to inherent characteristics.

Unfortunately for new worlds like Dragon Age, they do not have the development to portray this distinction. There are only one group of humans, elves, dwarves and qunari which leads one to assume their differences are tied to genetic inheritance as it is to cultural education.

Sten updated to appear in the sequel's design for his race. Personally, I feel it detracts from his story and the character in general. Mod can be found at: http://www.nexusmods.com/dragonage/mods/3803/?

Sten updated to appear in the sequel’s design for his race. Personally, I feel it detracts from his story and the character in general. Mod can be found at: http://www.nexusmods.com/dragonage/mods/3803/?

The long and the short of it is I hate the Qunari’s stupid horns. I’d rather fantasy focus on creating unique peoples and beliefs without taking the lazy shortcut of highlighting people’s differences through physical characteristics. Take humanity in its entirety and there is a staggering breath of variety amongst our own race – we don’t need to put funny horns or ears on their heads in order to experience it.