Search This Blog

2017-06-15

Super Elk Murder HD updated on all platforms!

You read that right, folks! After many years, Super Elk Murder HD has been released for web browsers, iPhones, iPads, iPod Touches, Android devices and Kindles.

Among other things, this latest update features:
  • Fully updated graphics for modern HD devices!
  • Better sound!
  • Multitouch support!
  • Way more animations and stuff!
  • Other memory and speed optimizations thanks to the Starling engine!
  • Tons of other code optimizations and miscellaneous bug fixes!

(You may also notice a minor name change, as is our custom when putting out a big update. So no more stupid years in the title — it's "HD" now.)

Visit the Super Elk Murder website to play for FREE in your browser (PC and Mac)!

And if you can spare $0.99 (what a fantastically low price for such a great game!) be sure to check out the latest versions in the iTunes Store, the Amazon App Store, and the Google Play Store.

We hope you enjoy this latest edition of the game!

iTunes Store Amazon App Store Get it on Google Play

2013-12-25

How to Undermine Your Message with Meta

[This is a piece I wrote for IGDA Perspectives magazine. The theme of the call for submissions was "Games About Games." Merry Christmas!]


There's a long history of meta-art in the older media – songs about music, books about writing, movies about movies, etc. These works might be further classified as either explicitly instructional (e.g. Stephen King's On Writing), or metafictive, (e.g. the film Adaptation).

The inherent problem of any work in the latter category is that it's cannibalistic. Worse than cannibalistic, it's a snake eating his own tail. While such works can provide profound insight, they are necessarily derivative. Of course, with satire (metafiction is the essence of all satire) it's a direct dependency; but in a larger sense, the message of any metafictive piece depends upon the established conventions of the medium it assaults. The fourth wall must first be built up before it can be torn down.

Successful management of this paradox is what separates the wheat from the chaff. At its worst, metafiction is just laziness – personally, I've come to react with instant disdain to the clichéd premise of a writer struggling with writer's block. At best, however, metafiction triumphs over itself by fully embodying the medium that it simultaneously rips to shreds. The key to Shaun of the Dead, for instance, is that it's both (a) a really solid zombie movie, and (b) a ruthless send-up of zombie movies.

That is to say, metafictive deconstruction cannot be successful (in an artistic sense) when the meta is simply a mask for flawed execution. Being meta is, in itself, not clever enough to serve as an excuse for a movie being a bad movie, or a book being a bad book, or a song being a bad song, etc. Quite the reverse, meta ironically demands respect for and competent adherence to the form.

Leaving aside the question of whether games can be considered "art," this same principle applies in our medium, and as designers we do well to maintain awareness of it. I was willing to forgive Alan Wake for its narrative premise because it's a really good game. Metal Gear Solid 4 cuts no corners in terms of quality of gameplay and execution, and the meta bits are sublimely hilarious as a result. Earth Defense Force dives headlong into self-awareness – it is a joyful celebration of video game-ness for anyone who truly loves video games.

I went meta in my own work with Super Elk Murder, a satirical hunting game for Flash Player, iOS, and Android. I wanted to make a statement about violence in games (a tired issue, but one which can never be escaped, since violence lies at the core of every competitive human pursuit). Rather than try to convince gamers to take a sudden, about-face interest in non-violent games, I believe we as developers can accomplish more with respect to questioning games' violent aspect by deconstructing it and/or pushing it past the point of absurdity. That's my statement, anyway.

Of course, I wouldn't (and probably couldn't) have made Elk Murder if I didn't also adore shooters, or have such fond childhood memories of Duck Hunt and The Oregon Trail. Not to mention, most of my downloads have come from fellow hunting-game enthusiasts. I target them with my keywords.

I've become a drug pusher, a peddler of vicious fantasies. I wanted to stand for peace, yet the blood of millions of murdered (virtual) elk is now on my hands. My game is its own toughest critic. All of this irony is the inevitable meta of the meta, the meta-meta, echoing infinitely upon itself as it dismantles even its own absurdity into über-meaninglessness... it's a maddening position to be in.

At any rate, the takeaway is this: if you want your creative output to do more than merely entertain, if you want to actually communicate something, and you're thinking about using meta as a means to do it – tread carefully. The validity of your endeavor depends upon its integrity, and yet in the end it cannot help but betray and destroy that integrity.

You've been warned. Good hunting!

2013-11-01

Super Elk Murder 2017 and Elk Murder updated across all platforms!

We're pleased to announce the release of a comprehensive series of updates for Super Elk Murder 2017 and Elk Murder (the free-to-play ad-supported version) for web browsers, iPhones, iPads, iPod Touches, Android devices and Kindles.

The new updates, compiled with the latest AIR SDK, include:
  • Support for iOS 7 (iOS devices only, obviously)
  • A new distance-based scoring system
  • Multitouch support
  • Graphics optimizations
  • Speed optimizations
  • Improved memory management
  • Tons of other code optimizations and miscellaneous bug fixes
  • Year changed to "2017". That's right, now you can enjoy some truly future-tastic murdering!
Visit the Super Elk Murder website to play for free in your browser (PC and Mac) and to see a detailed version history, and be sure to check out the latest versions in the iTunes Store, the Amazon App Store, and the Google Play Store (links below).

Elk Murder for iOSElk Murder for Android - Google Play

We hope you enjoy all the improvements and thank you for your support.

2013-07-16

IT'S TUESDAY!
Remembering Ryan Davis, 1979 - 2013


Ryan Davis was the host of Giant Bomb's podcast.

He was 34, and just gotten married the week before he died of unknown causes on 3 July 2013.

A podcast is a radio show that you download off the internet. This one, the Giant Bombcast, comes out every Tuesday. Ryan would always start every show the same, "IT'S TUESDAY, and you're listening to the Giant Bombast! I'm Ryan Davis..."

I came to podcasts through books on tape. I've logged many hours listening to podcasts -- while traveling, walking the dog, running errands, doing chores, exercising, and of course, driving around Los Angeles (which is how angelenos spend the majority of their time).

I love podcasts because they keep your brain engaged while leaving your eyes, arms, and legs free to do boring stuff. Also, you get to know people pretty well when you spend hours and hours, week after week, with their voice inside your head. For me at least, it's more personal than watching an actor on a screen or reading someone's words.

I especially love the Giant Bombcast. It's a video game podcast, and it is often about video games... it's also about whatever the guys feel like talking about. They are all unpretentious, intelligent, informed, insightful, hilarious people. For me, listening to the Bombcast is like hanging out with a group of old friends who share my mutual interests.

They're not really my friends, of course. Even though I know them, they don't know me. It's weird to feel so sad about the death of someone you've never met.

Nevertheless... it's Tuesday, and I miss you, Ryan. Requiescat in pace.

LINKS

Thanks Ryan

Ryan Davis, 1979 - 2013 (Giant Bomb)

Ryan Davis, RIP (Kotaku)

Remembering Ryan Davis (Polygon)

2013-02-26

Browser-based Super Elk Murder updated!


The latest version of Super Elk Murder is now available to play for FREE on your internet-enabled PC or Mac at the Elk Murder homepage (http://elkmurder.duffygames.com/).

It's a Flash game, so it requires Adobe's Flash player (also FREE) and as far as I know it works with the following browsers: Chrome, Firefox, Safari, Opera, Internet Explorer, and Internet Explorer (64-bit).

Not that there was anything wrong with the old, unsupported version (which can still be played here) but trust me when I say this new one is much better.

For those of you who don't have smartphones, or who prefer using mouse and keyboard over touch screen, or who can only get away with playing games at work if they're in the browser... this is the version for you!

2012-12-20

On Games, Violence & Censorship

True to form, Congress has reacted to the recent horror at Sandy Hook Elementary School with a moral panic, spearheaded by Senator Jay Rockefeller, seeking to blame video games for the massacre.

I worry that we game developers shoot ourselves in the collective foot (pun intended) when we engage would-be government censors on their own terms. Our argument, "You can't prove a causal link between our art and our audience's behavior, so we're safe!" essentially invites censorship as soon as such a link can be established.

Censors almost always justify their bans on the basis of public safety, stability, harmony, etc. The idea behind a free society with a free press is that we sacrifice those conveniences for the sake of individual liberty and the pursuit of happiness. That is, we believe that the free flow of information, the ability to discuss ideas (and to disagree) is better than any tyranny, no matter how benevolent.

Even though a work of art cannot directly cause behavior, certainly it can promote an idea. For example, reading the Bible doesn't make one a Christian; an individual bears the full responsibility of choosing whether or not to be a Christian, even in countries where the Bible is against the law.

While I am opposed to censorship in all its forms, I would also advocate for any artist to maintain a mature awareness of the ideas and values promoted by his or her work.

My own game, Elk Murder, uses humor and cognitive dissonance to convey an anti-hunting message. Gameplay-wise, it's an arcade-style shooting gallery replete with all the zoom animations, flashing lights, and floating digits gamers have grown accustomed to over the years. The surrounding narrative, however (particularly the deliberate substitution of the word "murder" for "hunting" throughout) continually reminds the player of the darker elements behind the game's commonly-accepted overt premise.

Free (ad-supported) versions are now available for iOS devices (in the iTunes Store) and Android 2.2+ devices (in the Google Play Store and Amazon App Store).

Rather than try to convince gamers to take a sudden, about-face interest in non-violent games, I believe we as developers can accomplish more with respect to unmasking the violent aspect of games through deconstruction and reduction to absurdity.

2012-12-07

Elk Murder for iOS updated!


Check out the latest version of Elk Murder iOS, now available at your favorite price: GRATIS!

As far as we know, it runs great on the latest iPhones, iPads, and iPod Touches.

Elk Murder v.2.2 may be obtained for free in the Apple Store.

2012-12-04

Super Elk Murder 2012 for iOS v.2.2 released!

Be sure to download the latest version of Super Elk Murder 2012 for iPhone, iPad, and iPod Touch!

As with all of our previous updates, we've not only further enhanced/optimized our own code, but also have taken advantage of some significant recent improvements to Adobe's AIR mobile platform.

Version 2.2 of Super Elk Murder 2012 can be found in the Apple Store:

2012-10-19

Stage Orientation, iOS 6, and AIR 3.3+

Good stuff to be aware of if you're developing with the latest from Apple and Adobe:

This post on Varun Bhatia's AIR-o-Dynamics blog explains how iOS 6 doesn't send auto-orientation callbacks anymore, which means AS3's StageOrientationEvent listeners are worthless on the iPhone 5 and preventDefault() no longer works for ORIENTATION_CHANGING events.

Anyway, let's say you've designed your app with a landscape aspect ratio in mind, and let's also say you want your user to be able to hold the device in either the ROTATED_RIGHT or the ROTATED_LEFT position.

Previously you may have written an entire class full of listeners and preventDefault() handlers... but since iOS 6, that class doesn't work anymore. Turns out that since AIR 3.3 there's a much better easier way to do it.

In the application descriptor .xml, set the following:

<aspectRatio>landscape<aspectRatio>
<autoOrients>true</autoOrients>

Then, in your AS3 code, call:

stage.setAspectRatio(StageAspectRatio.LANDSCAPE);

Piece of cake! Works like a charm on my iPhone 4 with iOS 6 and AIR 3.5 (beta)... please comment if your mileage varies. Here are those links again, which I highly recommend for further explanation:

StageAspectRatio Enhancements in AIR 3.3
Orientation Changes in AIR 3.5

2012-10-05

Remembering the Atari Lynx

Dear Jeff Gerstmann (c/o Giant Bombcast):
"The Atari Lynx is awesome -- I will not hear otherwise."
Thank you for the Lynx love in the latest bombcast.

I grew up in a Lynx family and credit her as the system primarily responsible for me becoming a game developer. The Lynx was the first 16-bit handheld (video and audio!); she was the first handheld to feature a backlit color monitor; she drew on Atari's impressive catalog of immortal games, and originated several brilliant IPs of her own; you could network her with like 17 other Lynxes (HA!); and she was designed to function not only in "portrait" mode (as with Gauntlet), but could even be turned upside-down and played left-handed!

Of course, she also GUZZLED batteries, and her AC/DC input jack (especially on the first model, the larger one, my personal favorite) was woefully flimsy and unreliable.

I truly loved the Lynx... sadly, the Big Guys with deeper pockets and better marketing won out in the end, and she died in humble obscurity.

Her passing broke my heart and I didn't touch another console until the Xbox came out.

It makes me very glad to hear her remembered fondly and with the respect she deserves. Thank you.

Best,
Matt Duffy

2012-08-04

Olympic Badminton's Broken Meta-Game Design

Readers are probably already aware of a recent Olympic badminton scandal involving several teams intentionally throwing games and subsequently suffering various punishments and humiliations for it.

Without getting into too much detail about the strict definition of what a "game" is, let's just assume we can all agree on the idea that a game can at least sometimes be described as an activity involving players who attempt to achieve a goal while constrained by rules.

Bearing this in mind, we see how the players' desire for the goal, or intention to win, or drive to compete, or whatever you want to call it, provides the essential fuel driving the course of the game's events from start to finish.

badminton = broken
Players make games... and players can also break games, in several specific ways: by cheating (i.e., attempting to gain an advantage by breaking the rules), by being unsportsmanlike (i.e., attempting to gain an advantage by some means which may or may not be governed by the rules), or by being spoil-sports. As Johann Huizinga writes in Homo Ludens,
"The spoil-sport is not the same as the false player, the cheat; for the latter pretends to be playing the game and, on the face of it, still acknowledges the magic circle... the spoil-sport shatters the play-world itself. By withdrawing from the game he reveals the relativity and fragility of the play-world in which he had temporarily shit himself with others."
Obviously, being a spoil-sport is totally wack and represents a form of sabotage, an existential threat to the game itself. But I contend the following: in this badminton case, (a) the players were NOT being spoil-sports, and even if they were, (b) spoil-sports cannot and should not be punished except within the game itself.

(A) SORRY, NOT SPOIL-SPORTS


With regard to the first point, the real problem here lies in the design of a meta-game that, in this particular case, served to undermine the foundations of the game by discouraging players from achieving the goal. That is to say, the reason these teams threw their matches was to give themselves a preferable position in the rankings for the next round of play -- what the hell's wrong with that? I call that "being smart." The way I see it, these players should be lauded as heroes for grasping the difference between tactics and strategy, for knowing when to lose a battle in order to win the war.

It isn't right to blame players when game designers screw up, and it isn't reasonable to expect players' sense of ethics or sportsmanship to pick up a designer's slack. Unfortunately, this kind of thing happens in video games all too often: a friend of mine, for example, was banned for life from XBox Live because he discovered a clever way to position himself outside the zombies' reach in Call of Duty, and the authorities elected to give him the boot instead of owning up to their failure of level design.

Granted, exploitation of the rules can and often does border on "unsportsmanlike" territory, but ultimately it's a game designer's responsibility to anticipate or discover those holes and figure out how to close them. A good design doesn't punish players for being clever. A good design trusts its rules to limit players and doesn't expect them to police themselves according to some nebulous, implied spirit of intent. Game design is a means to the players' end of achieving the goal, which means designers serve players -- not the other way around.

(B) AND EVEN IF THEY WERE...

My second point is a corollary of sorts to the idea that a game ceases to be a game when the players are compelled to want or to try to win, or even to participate. Motivation for achieving the goal in a game is axiomatic; it is presumed, taken for granted. By way of historical analogy, you can put a Christian into the gladiators' arena, but you can't make him fight. Perhaps this final descriptor, that a game be voluntary, is equally as important as involving players and goals and rules.

Now, if I intentionally lose a baseball game or a boxing match in order to win some money, I deserve to be punished for that. But that isn't because I'm a spoil-sport -- it's because I'm cheating at a different game, the game of gambling! Obviously there should be sanctions against that sort of thing. But what if I'm just in a bad mood and I'm not playing my best? Do I deserve to be disqualified for that?

The choice to compete is the very essence of the player's prerogative in a game, and it's also at the heart of any significance that championships, victories, triumphs, and so on may have. When an athlete ascends to the top of the Olympic podium, it should be because he or she made the free choice to do whatever it takes, to put everything he or she had, into being the best in the world -- not because he or she was ordered or forced to do so by authorities.

Anyway, shame on the various governing bodies that have mishandled this whole badminton affair, and let's try to get the sport fixed in time for Rio 2016.

2012-05-31

Elk Murder (FREE!) Now Available

Elk Murder icon
Duffy Games is proud to announce that there's now a FREE version of Elk Murder for mobile phones and tablets!*

You can find it in...
the iTunes Store - http://bit.ly/JVosJw
the Google Play Store - http://bit.ly/JQq9wv
and the Amazon App Store - (real soon!)

While it’s obviously not as good as the $0.99 version (Super Elk Murder 2012) at least it’s FREE. Go on and download it, play it, click on the ads, review it, make your friends download/play it, make your friends review it, get sick of the ads and buy the Super version, review the Super version, etc.

We at Duffy Games hope you enjoy Elk Murder and sincerely appreciate your support!

* Available for Android (2.2 +) and iOS devices. If you don’t have a fancy mobile phone or tablet, see if you can borrow one for a few minutes.

2012-05-10

Bring Me A Rock

Once upon a time, there was a Master and a Servant.

"Bring me a rock!" the Master commanded.

And so the Servant went out, got a rock, and brought it back to the Master.

"This rock is no good! Bring me a different rock!"

And so on.

THE END
Research as I might, I couldn't figure out the origin of this little story. My first exposure to it was the article "13 Ways To Be A Better Lead Programmer" by Jelle Van Der Beek, printed in the April 2012 edition of Game Developer magazine. Jelle calls it "the classic example of leading from behind."

Apparently the story is well known in business circles. I have even seen business types abbreviate the phrase "Bring Me A Rock" into an acronym ("BMAR-style management"). I guess for people who have actually studied business or management or leadership or whatever, it may seem like old news.

But if you're like me, and you hadn't heard the story before... it really resonates, doesn't it? I mean, in my experience, this is basically how the entire entertainment business works. "Pitching" may as well be called "rock-bringing". There are people out there, let's call them "executives," who get paid big money for what amounts to rock-rejecting.

Perhaps it's because a lot of executives in the entertainment business lack formal management training that they don't see a problem with their BMAR system. Perhaps creative types actually like playing the BMAR game because executives don't always know what kind of rock they're looking for until they see it, or at least until they've seen a few options, and hey, as long as you're getting paid by the rock, you may as well bring in a few.

But the whole point of the story is that BMAR is stupid. Obviously totally stupid! The Master and the Servant would both be much off if either (a) the Master laid out some clear specifications about the sort of rock desired, (b) the Master trusted the Servant's judgement about what sort of rock would suffice, or (c) some combination of (a) and (b).

Of course, this all depends on the Master changing his or her behavior. Servants just gotta do what they're told, make the best of what they've been given. My only suggestion for Servants is to rise up in some sort of glorious (but ultimately doomed to fail) Slave Rebellion.


Enjoy getting crucified, suckers!

2012-03-22

Mute (an Adobe Native Extension):
The "Missing" API Doc

[UPDATE: As of AIR 3.4, you don't need an ANE to get the iOS mute switch to work -- just use the following:

import flash.media.AudioPlaybackMode;
import flash.media.SoundMixer;


and then

SoundMixer.audioPlaybackMode = AudioPlaybackMode.AMBIENT;

See this Adobe blog post for more.

(Original post follows anyway)]


In the interests of adding iOS mute switch functionality to Super Elk Murder 2012, I have begun digging into AIR Native Extensions, or "ANEs," a new feature as of AIR 3.

Basically, ANEs are little packages of native code that can be imported into a .swf just like an external .swc and may then be implemented like any other AS3 class. This is wonderful because it gives developers access to device-specific features that aren't included in AIR's platform-agnostic API.

Since I don't speak "native" and can't write the extension myself, I had to do what every programmer does from time to time: leech off the internets. And when it comes to the iOS mute switch (technically, Apple refers to it as the "Ring/Silent Switch"), the internets seem to agree on this ANE by a Spanish dude named Enrique David. ¡Muchas gracias, Señor David!

Mr. David was even kind enough to provide formal-looking API documentation for his ANE. As you can see, the class contains a single method, .Enable(), that takes one of three string parameters: SOLO_AMBIENT_SOUND (default), AMBIENT_SOUND, and MEDIA_PLAYBACK.

Unfortunately, Mr. David's English is terrible, and his descriptions of these parameters range between confusing and incomprehensible (hence "Missing" in this post's title). I decided I could give something back by posting the results of my own tests using these various options, with plain English explanations of what each one does -- YMMV.


Parameter Descriptions for
Mute ANE by Enrique David
(com.devilishgames.nativeextensions.Mute)


Test Platform = iPhone 4 running iOS 5.1
"App" = Super Elk Murder 2012, an Adobe AIR app written in ActionScript 3
"Music" = the iPhone's built-in music player app
"Switch" = the iPhone's hardware "Ringer/Silent" switch, located on the upper-left side of the device.

  1. Standard Operation (i.e., without Mute.Enable())
    • Switch has no effect on App audio
    • If Music is playing when App starts, Music audio plays simultaneously with App audio

  2. Mute.Enable(SOLO_AMBIENT_SOUND) (default):
    • Switch mutes/unmutes all App audio
    • If Music is playing when App starts, Music audio fades out and pauses

  3. Mute.Enable(AMBIENT_SOUND):
    • Switch mutes/unmutes App audio, but only works once -- it has no effect on the first sound generated after Switch is flipped, nor on any subsequent sounds
    • If Music is playing when App starts, Switch has no effect on Music audio, and behaves as described above for App audio

  4. Mute.Enable(MEDIA_PLAYBACK):
    • Same result as 1. Standard Operation (i.e., without Mute.Enable())

  5. Bugs:
    • Switch has no effect if app is "backgrounded" and then "foregrounded" again -- this is obviously a pretty serious bug, and at time of writing I have no idea if there is any ActionScript workaround.
    • MEDIA_PLAYBACK appears to be completely useless.
    • Switch has no effect when headphones are plugged in -- probably not really a bug, but I thought it was worth noting.



Anyway, there you have it -- I hope this info can prove useful for somebody out there.

ADDITIONAL POTENTIALLY HELPFUL LINKS:

Extending Adobe Air by Oliver Goldman
Native Extensions for Adobe Air
Google Translate

2011-11-29

Fight PIPA, Call Your Sentator, Save The Internet

- Do you believe in the founding principles of our country?
- Do you like using the internet?
- Do you think the government should be able to shut down the internet to protect certain corporate interests?
- Do you support innovation, creativity, and productivity?
- Do you think we have any hope of getting out of this depression if Congress clamps down on ingenuity and freedom?

Click here to phone your Senator and urge him or her to oppose PIPA. Just do it, it only takes like five minutes.

http://americancensorship.org/

2011-07-20

E3 First Impression:
Rayman Origins

Rayman Origins box artGAME:
Rayman Origins

DEVELOPER:
Ubisoft Montpellier

PUBLISHER:
Ubisoft

PLATFORM:
PS3 / Xbox 360 / Wii / 3DS / PSVita

RELEASE DATE:
15 November 2011

GENRE:
Single- and multiplayer platformer

DESCRIPTION:
Basically New Super Mario Bros Wii, but Rayman.

THOUGHTS:
The artwork in this game is super awesome. The announcement article in Game Informer made a big deal out of how they hired artists who were specialized in traditional painting methods (as opposed to so-called "digital artists"), and how most of the art in the game is actually scanned oil paintings and what-not. Definitely makes for a cool, distinctive look.

Gameplay-wise, it offers that type of same-screen, drop-in/drop-out, interactive-co-op platforming found in Little Big Planet or New Super Mario Bros Wii. Hence I take it that this game is targeted at the "casual" crowd looking to have "fun" by convincing multiple people to play a video game on the same screen in the same room.

On the one hand, that's great. It's getting back to the arcade roots of gaming, when gaming was a living, social experience. Remember Golden Axe and The Simpsons? Of course, those were brawlers. Come to think of it, I don't remember ever enjoying a platformer in an arcade setting. But whatever.

On the other hand... how often does this sort of group game play actually occur in the real world? Like those ads for Kinect showing a bunch of people all gathered together in the living room and playing Kinect Sports: who really does that? Is that a realistic expectation? Haven't shooters already figured out that sharing a screen isn't as fun as putting on a headset and playing over LAN or online? Of course, shared-screen is totally different from split-screen, but whatever.

Furthermore... there's no getting around the fact that it's a platformer. Even the best platformer of all time would still beg the question of whether or not the world needs another platformer. Another CONSOLE platformer, that is -- because we all know there are about a zillion indie, browser-based, and mobile platformers that still need to be made.

Anyways, I want to like it, at least for the zany art style.

2011-06-27

E3 First Impression:
Dead Island

Dead Island cover artGAME:
Dead Island

DEVELOPER:
Techland

PUBLISHER:
Deep Silver

PLATFORM:
PC / PS3 / Xbox 360

RELEASE DATE:
6 September 2011

GENRE:
Open-world 1st-person shooter

DESCRIPTION:
Like Left 4 Dead, but more Walking Dead-ish zombies and mood, with greater emphasis on melee combat, and open-world instead of on rails. Single-player or online co-op.

THOUGHTS:
Seems like this game has been getting a lot of buzz ever since the super-awesome reveal trailer came out. That buzz may as well continue -- the E3 demo did not disappoint.

Visually, Techland's in-house engine looks great. Structure-wise, it's your standard open-world post-outbreak tropical island resort, with a main plotline and optional side missions. Gameplay-wise, it's killin' zombies with whatever you can find lying around (axes, pipes, canoe oars, etc.) Instead of giving the player a gun and making her hunt for ammo, the melee weapons take damage, so the player must constantly keep an eye out for new potential zombie-bashers to replace the old ones.

The writing and voice-acting are top-notch -- almost a mismatch for the rather wooden (by LA Noire standards, at least) character animations. Presentation-wise, I think it's a mistake to force short-attention-span E3 demoers to sit through the lengthy opening cutscene, even if it is backed by the hilarious "Who Do You Voodoo?" rap single.

Overall, I'd have to say this looks like an awesome game, and I am definitely going to buy it and play it.

2011-06-23

E3 First Impression:
Lord Of The Rings: War In The North

Lord Of The Rings: War In The NorthGAME:
Lord Of The Rings: War In The North

DEVELOPER:
Snowblind Studios

PUBLISHER:
WBIE

PLATFORM:
PC / PS3 / Xbox 360

RELEASE DATE:
24 August 2011

GENRE:
RPG

DESCRIPTION:
Licensed-franchise fantasy RPG with optional co-op

THOUGHTS:
The game captures LOTR's epic mood, and the story elements feel compelling. I don't believe there's much room for character customization, but there's plenty of otherwise standard console RPG fare, in terms of leveling, grinding through hordes of orc creeps, item collecting, and so forth.

The focus seems to be on the co-op, which reminds me of partnering up for quests in WoW. I think this co-op focus also means that characters play similarly to one another, e.g. everybody has ranged AND melee attacks, can equip the same items, etc... all of which is fine by me.

There's a super-awesome "eagle power" that summons a gigantic (I mean, HUGIANT) friendly eagle who swoops in, snatches up your enemies in its talons, and then flies away. I couldn't get enough of that -- wish it had a shorter cooldown.