Spawned originally from the comic book, then the TV show, Telltale Games’ The Walking Dead is set in the same universe and, indeed, the same state of Georgia as a zombie apocalypse strikes and overwhelms humanity. Lee Everett is a convicted murderer being driven to prison when all hell breaks loose, setting him free as the world goes completely to hell. Very soon you come across Clementine, a young girl who has survived through this without her parents, who were vacationing in Savannah when the outbreak began. So begins your quest to keep yourself and Clem safe, find other survivors, and to face the various and extreme threats that beset your little group every day.
TWD is a point-and-click game made by some of the masters of the genre, including people from back when LucasArts was making such paragons of gaming as Sam & Max Hit The Road, the Monkey Island series, and Grim Fandango. So they know what they’re doing – and it shows in the game. The Walking Dead is a tense, melancholic affair where even the best outcomes come at a cost, where you feel intensely protective of people even as they’re pissing you off, and where the gameplay is sensible, well-paced, and works excellently with the setting. Even when you know you are safe there is a tension to the gameplay and you rarely, if ever, feel as though you aren’t under pressure to get things sorted out quickly.
What really stands out is the characters, which is damned good news for a zombie game that doesn’t go the action route. Clementine is an example of perhaps the rarest thing in all media – a child who is not annoying. Indeed, she’s incredibly sweet, she’s believably smart but still naive, and she reacts to Lee’s choices in a believable way. Because TWD is episodic and Chapter 5 is not yet out we can’t judge how this all wraps up so far so it may be it all falls apart and TTG will screw up, but so far that seems pretty unlikely. She is the focus of the game, really, and the quest on the part of both Lee and the player to protect her and, as time passes, to raise her well in that hellish world, is the centerpiece of the entire experience. It’s about choices, from the mundane conversations with Clem to life-or-death decisions that have to be made in a snap, and all of them have repercussions.
The game’s major failing is that there is no Daryl Dixon being unbelievably hot.
The game is not without flaws, primarily technical ones that are easily overlooked, and it would be nice to have a broader array of possible paths than exist but that would be a lot more work and is likewise forgivable. Still you can go into Chapter 5 with a variety of setups and people who have your back and it is quite feasible that what happens in the end will open up the desire to replay the game more than once. The game also does some cool little things; at one point you fight a zombie and what occurs is essentially a QTE, but the icons keep popping up and in your panic you keep hitting the buttons, even though the zombie is long ended. It’s a nice touch that makes a lot of sense and is probably the best use of QTEs since they were invented.
I would recommend The Walking Dead for anyone who wants a story-led game that is well-written, well-acted, and has a lot of tension. It’s a superb point-and-click that does damned near everything right and very few things wrong, and TTG have confirmed that a “Season 2” will be on the way at some point when they finish Chapter 5. Just to clarify, buying TWD gives you all of the Season 1 stuff including the soon-to-be-released Chapter 5. You can get a hold of it on Steam for PC, and it’s out on 360 and PS3 as well!
Just a quick post with a few miscellaneous gaming items that you folks may be interested in, because Pike and I are busy being sickening!
But not too quick!
First, Crusader Kings 2 was released today. It is, of course, a Paradox game, with all that entails. But this is certainly the best release candidate I’ve ever seen from them, for any game; it runs smoothly on my machine (Not Pike’s old rig though! Pity her, she needs to upgrade!) and the bugs aren’t breaking the thing in half. It does need some polish but most of that is reasonable stuff like adding more events, traits, and so on.
Second, the new version of Dwarf Fortress was just released today as well! Obviously with a game this complex and such a small coding team (i.e. one guy) this is one that is likely to be pretty buggy while he patches it up, but if you’ve been keeping track of the things he has been adding this, like any DF update, is going to be a glorious thing indeed.
Third, we’re getting pretty close to the next release of Project Zomboid as well! They’ve got a countdown running and it’s down to six or so items left, so there should hopefully be a release within the next couple of weeks. They’re not telling us what these items are though so it could be six huge week-long projects, or six tiny tweaks and we’ll have it tomorrow morning! Who knows?
Thanks in no small part to the beneficence of Gaben, I’m currently drowning under a cavalcade of games. I’ve finished Saints Row The Third, and by finished I mean done one ending without getting close to 100% so I’ve not finished it at all (Hypershort review: Exceptional game filled with awesomeness and hilarity but what happened to the great cutscenes you did in SR2 this is a disjointed mess Volition?), there’s Skyrim, which is just stupidly huge, and now I’ve gone and picked up Star Ruler, Space Empires IV, and Portal 2, and I’m hungrily eying the new Legends expansion for Distant Worlds.
And this isn’t even counting the games I’ve not got around to yet, such as twenty years of classics that GoG insist on foisting upon me, or Arkham City for example, NOR does it count the games I have but that I’ve not yet managed to give sufficient time to like Jagged Alliance 2 or Master of Orion 2, or SMAC, though the latter is here mostly because it is literally not possible to give enough time to SMAC. I’ve still not finished Human Revolution.
Plus of course there’s all the regular stuff I play that demands time and attention; Darkest Hour, SMAC, SimCity 4, GalCiv 2, Baldur’s Gate, EU3, Vicky 2, Dorf Fort, Open TTD, Project Zomboid, the list goes on and on! Thank Talos that I’ve shaken the WoW bug for the time being.
Ouch, my wallet
Busy weekend! What about you all, do you ever get overwhelmed by all the games that need to be played? How do you deal with it? What are you playing this Thanksgiving weekend?
Finally I am taking altogether too much enjoyment in watching Notch act like a petulant child. I’m not even a fan of the Yogscast, it’s not my thing, but dang if one side in this debacle isn’t being a lot classier than the other. Which is double amusing because the classy side is a couple of lads who mess around doing silly voices and getting into vidya hi-jinx on YouTube whilst the one being an entitled imbecile has a multi-million Euro business!
So Pike found an article online with the amusing and attention-getting title The Fascist Politics of the Infinite Respawn and, because I am not doing anything better with my copious qualifications, I thought I would take a look at it and provide a critique. I shall forewarn you, this is certain to be a long post and liable to be nothing more than masturbatory self-importance and a bunch of political jargon that has little use outside demonstrating that I know what political jargon is.
Maybe some Latin, too!
Fiat equus, et pereat mundus
Now, the article isn’t without some merit. Indeed for a medium to be considered an art, saying meaningful things is part and parcel of the deal. If we look at, say, movies, it’s very easy to find a very wide range of movies that have commented very seriously on a very wide range of political and social issues, from all kinds of angles. And we can find plenty of writing about what movies which don’t avowedly take a political torch up are saying as well; whether that be a feminist perspective on why strong women always get killed or a political examination of what hyper-macho 80’s action movies are all about.
I should state that I tend to shy away from overly analyzing every single movie/book/game etc. that comes along. Yes lots have things to say, and many more betray prejudice (conscious or simply not cared about) on the parts of their creators, but sometimes a big dumb action movie is just a big dumb action movie and trying to read more into it is silly. Still, the article I linked to is one which talks about an entire swathe of game mechanics and their implications, rather than any particular game, so I feel it’s worth engaging with. The argument, essentially, is that the mechanics of your typical modern FPS are ultimately “fascist” in nature, because they simultaneously represent A) The immovable and perfect State, in the form of the player character, and B) The numberless and overwhelming Enemies, in the form of… well, the numberless and overwhelming enemies.
A word about fascism itself. Fascism is a political philosophy with a single concept at its core: That the People and Polity should be the same thing, indeed must be, and that any other scenario is quite literally against the natural order of things and will by definition lead to the destruction of “Us”. It is important to note that Fascism does not consider this the consequence of living in a chaotic world or a lack of understanding on anyone’s part – it is a deliberate and concerted effort on the part of “Them” to destroy “Us”. “We” is fairly easy to define; “We” as a Nation (the only legitimate political unit for Fascism) are the natural owners of This Land who speak This Language and have This Culture. We have existed in this form since the mythical time immemorial (cf. just about any national origin myth you care to mention) and only in recent years, usually due to internal treason, are we being undone by alien influences of some nature. I reiterate that these aliens are acting very deliberately, with full knowledge of what they are doing and it’s consequences.
This leads itself to a whole host of interesting issues for the Fascist. We can see one of the most relevant if we take a look at Eco’s writings on the matter (You will generally find yourself enlightened if you ready Eco’s writings on any matter), most specifically the following quote:
When I was a boy I was taught to think of Englishmen as the five-meal people. They ate more frequently than the poor but sober Italians. Jews are rich and help each other through a secret web of mutual assistance. However, the followers of Ur-Fascism must also be convinced that they can overwhelm the enemies. Thus, by a continuous shifting of rhetorical focus, the enemies are at the same time too strong and too weak. Fascist governments are condemned to lose wars because they are constitutionally incapable of objectively evaluating the force of the enemy.
Eco goes to one of Fascism’s absolute core contradictions here; the Enemy (and Fascism MUST have an Enemy because it is defined entirely in terms of “Us” and “Them” and cannot exist without both) are both cockroaches and masterminds; we are both superhumanly glorious as a people and fundamentally threatened by the enemies. Both parties are simultaneously incredibly strong and completely vulnerable. This is necessary for the Fascist; the Enemy must be strong enough to necessitate the Fascist’s proposed solutions (Obviously if They were actually a bunch of feckless layabouts with barely the mental ability to read, We would never be in any danger from Them), but We must be strong because the foundation on which Fascism is built shows and requires this to be fact. We are at risk of being overwhelmed despite the fact that we are almost divine in our nature and the greatest of all nations, and the fact that our enemies are “rats” and “cockroaches” and – a perennial favorite of the Fascist – “germs”.
The Fascist narrative is a clever one however; they shift the rhetorical focus, but they can do so damned well by simultaneously appealing to an actual or imagined historical Golden Age and current actual or perceived difficulties, or usually a mix of both in both cases, coupled with identifying an Enemy. The Enemy which is identified is only one part of the true foe of the Fascist, which is essentially anything that dilutes the power of the Race and Nation. This is why they object to homosexuality. Homosexuals do not reproduce and they do not fulfill the ‘natural’ roles of men and women in their roles as breadwinners and reproducers. Here we see how Fascism uses the mythologized past as well; the past was an agricultural idyll where men did honest work on the land and women did honest work creating and raising the young. Enemies are conflated in part due to this. To use a classic example, Jews not only must own the media because they are insidious and have influence everywhere, but the media must be owned by Jews because the media is a fancy, “not real” entity which does little honest work. The contradiction of using the media for propaganda purposes need not be addressed. There is a good reason Orwell’s 1984 has Doublethink as a central conceit.
So how does all this tie into the article linked, and into videogames? The article apprehends a lot of things quite well, in my eyes, but there are a handful of fundamental issues that it overlooks, or at least fails to properly address.
Yes, games do tend to provide an endless stream of undifferentiated enemies for the player to destroy and, yes, they do tend to do so in a fashion which gives little to no insight into them as people. But this is a necessity. First, games are fast-paced and involve large numbers. It would be very impractical to give every single person you kill in your average CoD a background and some characteristics, and I sorely doubt that it would be remotely enjoyable to play. Second, and similarly, games are made on a timeline and a budget. I dearly wish there were more games which offered the player more options with greatly diverging consequences, but that’s simply not the path that was taken, a failure of the art and medium certainly but far from inherently political in any way except, perhaps, love of the dollar.
Still, whilst I feel there is merit in criticizing how games present the enemies, I find the argument that the Player represents the Fascist State/Nation to be a rather shaky one. Indeed the player’s avatar is generally a superhuman force who performs impossible feats of endurance at the very least, but what is the alternative? There are games out there where the player is a very vulnerable figure, even manshooters (ARMA II being the obvious example), and they certainly have their place but I sincerely doubt that “realism” would serve CoD very well (No matter how much they might want to proclaim themselves a realistic military shooter).
It’s my opinion that the article has things backwards. Games use an arguably fascistic attitude in order to serve their ends, and thus they must have elements of fascism in them. My interpretation approaches it from the other direction – games make use of “fascistic” elements not because they are fascistic, but because they happen to share propagandistic tools. We see exactly the same tools employed by all manner of people, from state ideologues in fascist dictatorships to comic book writers in countries where free speech is sacrosanct. That the fascists happen to make use of such rhetorical tools does not ipso facto mean that using such tools makes one a fascist, nor that the tools themselves are fascist. We can use another example brought up by the article, that of zombies, to expand on this point.
The article states,
The zombie genre, in its various media incarnations, has been using the unstoppable mindlessness of its enemies as a justification for brutality for years. There’s a definite streak of fascist thought in the vanilla concept of zombies, although it’s usually complicated and subverted by the now-cliché “We Are The Real Monsters” subtext.
Now, despite the caveat, I take considerable issue with this assessment. The zombie genre is not a pro-fascist one (Overtly or subconsciously or otherwise), but one which generally opposes the “mass” against the “individual”. The enemies are by their nature a mindless undifferentiated mass of bodies; the survivors are by their nature the ones we can identify with, if only by virtue of the fact that they can, you know, speak and otherwise emote. But again we are seeing things conflated when they shouldn’t be. The survivors in any zombie fiction are by definition individuals when measured against their foes. This is often read as a critique of unthinking capitalism, as indeed it very much was in such movies as Dawn of the Dead, but could just as easily be read as a caution of communism (A horde of creatures acting in instinctive unison to exterminate the handful of individuals still alive by either devouring or infecting them). The critiques provided by zombies are thus not inherently fascist, but rather they are inherently individualist. It is true that the Fascist at times has recourse to utilize such imagery, especially in the Anglo world with our extremely strong emphasis on individualism. For the American demographic even more so the zombie doesn’t have a fascist narrative but a survivalist, libertarian one, which emphases self-reliance, individuality, and generally a rejection of whatever structures may exist to help. There are those on the American right who have a very similar set of talking points to this, but it’s due to a similarity of perceived past and as a means of capitalization on current discontent, not necessarily an actual confluence of either goals or attitudes.
Similarly all polities utilize a mythologized past and concoct a present and national identity to some degree. These things are not natural, they hinge on collective agreed-upon beliefs about the past. Individuals may differ and disagree but the overarching narrative of any body politic has to be held to be generally true by a fair proportion of the population if said politic is to be effective. This does not necessarily have to be fictional, but human history is an ugly business and few, if any, can lay claim to a bloodless history. Still the fact that fascists utilize something everyone else utilizes does not make everyone fascist, any more than David Duke drinking milk makes all milk-drinkers Grand Wizards of the KKK.
The same thing applies, then, in their assessment of games as vehicles of fascist ideology or rhetoric. We have things that we might identify as Fascist in nature but only if we take the attitude that “Fascists do X, games do X, games = fascist”. We see in the article that the case is very clearly laid out; “I don’t mean to imply that the developers of these games are full-on fascists. In my opinion, however, their design decisions are a clear demonstration of fascist ideology expressed through the video game form.” This statement only works if my above one is held to be true, for if the game makers are not fascist, and the games don’t share fascist characteristics, the point has nothing to stand on.
None of this is to suggest that games should not strive to have more nuanced, deeper narratives, that they should not seek to humanize the other (Sometimes – but as I said, sometimes a big dumb action movie is just that and I don’t WANT Saints Row Goes Forth to have some huge thing about everyone you run over). These are very valuable things that games absolutely should be pursuing in order to grow and to begin saying more. I just think that the article in question is ascribing rather more to the current situation than it can justifiably be saddled with. Games may lack imagination and depth at the moment, but that is due to risk-aversion on the part of publishers long before it is due to fascist ideology, consciously implemented or otherwise.
In case you’ve been living under a rock on Mars with your fingers in your ears, Skyrim came out today. Skyrim is the latest in the ever-more-popular Elder Scrolls series, whose most basic principle is to present you with an open world and set you loose to do mostly as you please. I never played the first two, but the third one – Morrowind – because a game I love fiercely and which is deeply ingrained in my memory as an all-time classic. It wasn’t actually tremendously good in pure gameplay terms. It was just so vast, so expansive, so atmospheric and alien, so unapologetically ambitious, that its flaws were irrelevant, indeed they became charms at times.
TES IV, Oblivion, was another matter. The fighting was much improved, true, but everything else just seemed to be lacking. The better graphics were only applied to a very generic fantasy world; the portals to Oblivion were impressive at first but quickly became repetitive and tedious to explore, and presented anyway no sense of danger to the world. It was just a hollow game, and even with mods (barring Nehrim) it never became something I spent a huge amount of time with.
Here, then, is Skyrim. At first I was leery of what they were saying about it. Better AI? Better questing? Hah, okay, and I’m the Pope (Outside of Europa Universalis III, I mean). Only… that stuff does seem to be true, so far. Melee combat is much as it was in Oblivion, if a good bit more polished, but the alternatives, namely magic and archery, are truly brilliant. The interface, on the 360 at least, is slick and polished. I hear bad things about the PC’s UI though. I was worried about the simplification of skills, such as removing acrobatics and athletics (And I do still dislike that) but what is there is great, primarily because of the new perk system. Every level you get one point that you can put into getting some significant bonus in a given skill tree. I first chose, for instance, to halve the cost of my novice-level Destruction spells, and this made a tremendous difference to how I was going about fights.
What I’m finding is that I want to tell you not just about how I came upon some bandits, killed one, resurrected her as a zombie, and let her fight her former comrades while I burnt them from afar; I also want to tell you about how I found a treasure map on one of their bodies, and it was just the right amount of detail to show me where to look without being too easy. I want to tell you about how I walked into a store during an argument, asked about it, said I could help retrieve something, and this was reacted to in a natural way – they kept arguing, but the topic shifted slightly. I want to tell you about how I scarfed down a whole load of random ingredients to learn their alchemical effects, only to find I had crippled my stamina for a moment. I don’t just want to explain fighting mechanics, I want to relate stories to you, stories that I experienced in this world. And it is a world, and that is the magic of it. I ascended a fairly small mountain and as it grew stormier and snowier, I felt physically colder in my room. That’s when I decided I had enough to make a preliminary blog post on the game.
All this from two hours of play.
Over at Rock, Paper, Shotgun, Alec Meer not only called Skyrim GOTY, but said “I’m sorry Morrowind – I love you, but I don’t need you anymore. I think, at last, there is a new Best Elder Scrolls Ever.” This is high praise indeed.
It’s very early for me to make any serious judgment on this game. But he might be right.
Also, Saul Tigh voices one of the characters. I am MORE than okay with this. Will someone turn off that DAMN MUSIC?
This is a game I’ve had for a while but, for some reason, never actually got around to playing until yesterday: Atom Zombie Smasher. Don’t be fooled by the silly-sounding name or what appears at first glance to be a rather simplistic layout: this is a full-blown real-time strategy game, complete with troops, weapons, and evac helicopters to position and (eventually) tech to research. Unlike many strategy games, though, this particular game isn’t about deciding which of your many available units/buildings to build. Rather, it’s about the tactical execution. It’s about “Here’s your stuff and it’s all you’re gonna get for this mission. Good luck.”
There's a giant artillery cannon in the game so this image is officially relevant.
The game’s premise is simple: There’s a zombie outbreak going on and it’s your job to evacuate as many civilians to safety as possible. Get any ideas of grandeur out of your head right now: there are going to be casualties and collateral damage. A lot of it. In any given scenario if you manage to rescue about a quarter of a town’s population you’re doing quite well.
This is the map where you’re going to be spending most of your time:
Click to enlarge!
The glowing golden dots are your civilians and the purple ones are the zeds. If a zombie touches a civilian, the civilian turns into a zombie. In other words, if one purple dot touches a clump of golden dots, you can say goodbye to that particular clump. The above screenshot was taken about ten seconds after the start of the mission so the zombies haven’t had much of a chance to do anything yet, but believe me– they will.
The meat of the game is juggling the weapons, troops, and other assorted help that you’re given at the start of the mission. You’ve got various types of explosives (artillery, dynamite, landmines, etc.), you’ve got infantry troops and rooftop snipers, you’ve got barricades and zed bait, and most importantly you’ve got your evac helicopter. Watch out, though: not everything is available for every mission, so you go into each one feeling rather crunched for supplies. But that’s part of the beauty and fun of the whole thing.
One of my favorite parts of the game is that it takes “real-time” to its fullest extent. Your helicopter doesn’t just land the second it tells you to. It takes a while to do so, and then it takes its sweet time loading up survivors, and then it has to fly away offscreen somewhere and unload them before it returns. Likewise, your artillery cannon not only has a giant cooldown, but it doesn’t actually fire until several seconds after you tell it to, so you can’t just fire where the zombies are– you have to think and then fire where the zombies will be. Oh, and buildings (and your own weapons/troops) aren’t invincible to your explosives, by the way. Once I piled a bunch of dynamite around my artillery without thinking and before I knew it, my artillery was out of commission. Hmm.
The game also has an experience system so you can upgrade your stuff, and eventually you’re able to research your own upgrades on top of that.
Another thing the game does really well is give you a sense of things spiraling out of control as the zombies multiply exponentially. What begins as one or two available missions on your map turns into this after about four or five successful ones:
Take a guess what the higher numbers mean.
Oh, and did I mention that you’re racing the zombies to a high score and that every single one of those numbers contributes to the zombies’ score? Yeah. Every time you feel good about a successful evacuation mission, you’re taken to the map screen and three or four more infected areas show up and previously infected areas become… well, even more infected.
Losing is fun? Losing is fun.
In short, this is a surprisingly unique and addicting little strategy game that you will easily lose a few hours to. It’s $10 on Steam or $15 elsewhere, which might be a bit high depending on how often you play this sort of game, but I’ve seen it packed in with those pay-what-you-want Humble Bundles a couple of times so it’s well worth the couple of bucks if you ever see it there or otherwise on sale.
Come on, you really can’t go wrong with a game that involves blowing zombies up with dynamite. Right? Right.
So as you may recall I’ve written about Dead Island before, but now that it’s out and I’ve had the chance to spend some time with it, I thought I’d give some of my opinions on it.
The very abbreviated version is: Dead Island is one of the best bad games I’ve ever played.
Let me elaborate. It’s a shoddy piece of programming. It slows down at times for no discernible reason; sometimes you’ve got a bunch of zombies and it goes smoothly, sometimes there’s two and it stutters horrifically. There’s noticeable pop up. Textures can vary wildly in quality. The controls were very obviously designed for the console, to a degree that kind of makes me long for Oblivion, because this is far worse and it gets very tedious very quickly.
There are some poor design choices as well. Everything respawns being the main one. Everything – zombies, vehicles, weapons, items, little stacks of cash tucked away inside people’s backpacks and stuff (More on money later). It doesn’t make sense. You end up just learning the game, and once you’ve been through someplace once there are no more surprises. Hardly making the best use of an open world. It also harms the immersion, both in the obvious ways (“Didn’t I kill this guy the last four times I went this way?”) and the slightly less so (People desperate for food/water/booze in a world where everything respawns within minutes).
Remember the previous DI post, where I talked about losing quest hubs and stuff? Yeah, well, there are safe zones in this game. Some infected (Running zombies, just like L4D) managed to get in because there’s a very conveniently placed rock for you to use, and apparently they can do. For a moment I thought “Oh shit here we go!” but they just charged directly at me, got their heads smashed, and elicited no response from the surrounding NPC survivors.
Pretty much my face when that occurred.
In fact, so far at least, it seems that there is no interaction between the living and dead aside from yourself and some scripted encounters. There are other survivors around the island, but unless you get an escort quest or something, they’re not going to be getting themselves bitten or cracking any heads. Worse, if someone isn’t an escortee or the like, you can’t give them a slap/hug/whatever and say “Yeah I know you had to do some bad shit, but we gotta get to safety, come with me.” They just sit there lamenting whatever they had to do to survive over and over.
You also have to pay cash money for stuff. I mean, I can sort of understand why you’d still care about money to some extent – it suggests there will be a normal world tomorrow to spend it in. But yeah, really having a hard time buying that people would hold back on helping you out when their lives are so acutely on the line. Nevermind the workbenches – you pay to repair and upgrade items, but there’s nobody there to pay! Apparently some ethereal miser demands payment in exchange for sticking your weapons back together.
Oh but cracking heads. Forget everything I’ve just said about the game, because really, what it’s about is cracking heads. And this, at least, it does well. Smacking a zombie feels great, visceral. Knocking one aside with a metal pipe is satisfying as hell. Cracking or entirely removing limbs? Yep, you can do that, and they’ll flail the jelly-like appendage at you without much effect. And this is before you start playing silly buggers and modifying the game files.
The game is pretty atmospheric, it does a great job of juxtaposing a tropical paradise with living hell. When you’re walking around and you hear a zombie breathing or roaring or whatever, it’s unsettling, even if you’ve killed a hundred of them already and one more won’t be able sort of problem. The evidence of what’s going on is grim and pretty omnipresent; one minute it’s a picturesque tropical scene, the next you come across someone whose skin appears to have all been eaten.
There are also a nice wide variety of weapons, and what is more, the weapons degrade and break at a pretty believable speed for once! The human skull is one of the toughest structures nature has devised, so you’re not going to be able to break thousands of them before you need to exchange your paddle for something better. Similarly, this is one of the best implementations of stamina I’ve seen in a game. You’ve got a lot of it and it recharges fairly fast so you can sprint a long way, but if you go around swinging madly you’ll run out faster than you expect, and then you’ll be in trouble. It works excellently in doing what it is meant to do: Making you fight with an eye on your tactics.
It should be noted I’ve not played a terrific amount of the game yet, and I’ve also not played multiplayer. I’m confident that messing around with some friends would make the game much better. It’s not a ‘good’ game, so I can’t in good conscience say to everyone “go out and buy it now”, but it is a fun game and once the price comes down a bit, if you see it when there’s a bit of a slow spell of other releases, or if you just want to crack a whole lot of heads and collecting way too many weapons that you then have to sell ONE AT A TIME with a confirmation message for EACH AND EVERY ONE, then yeah, Dead Island is a sound purchasing decision.
I really like this game, so I’m going to write another post about it in case my little tale didn’t hook you.
Basically, PZ is a zombie survival horror game. Now, we’ve had an abundance of zombies lately, but the very great majority of them have been centered around action, killing zombies, gunning them down in hordes, all that stuff. All well and good, everyone loves a good game of Dead Rising, but there seemed to be a huge and obvious gap here. Zombie games are, as it were, zombie games. That is to say, the game part came first. The zombies were almost incidental and could generally be replaced with another one of vidya’s favorite standby enemies. PZ is different. It’s a zombie movie. Caesar likewise approves.
What I mean by this is that it’s very much about the things you typically see in a zombie film. It’s about hiding, survival, and paranoia. It’s about running out of food, needing to scavenge painkillers, and getting shot by desperate lunatics. Worrying whether that scratch has infected you or not (Bites infect 100% of the time and there is neither a vaccine nor a cure.) It’s not about killing as many zombies as you can – the game doesn’t even keep track of this. The high score is to survive for as long as you can. Admittedly in the pre-alpha demo that’s out now this isn’t hugely challenging once you’ve played it a couple of times and know what you’re doing, but the principle is a vital one – you’re going to die. The opening of the game tells you straight up, there is no hope of survival. This is how you died.
It’s something a lot of us have been wanting for a long time. A zombie game in which you were an average joe rather than an immune superman, in which survival is the main concern rather than an afterthought you can fix with waiting six seconds, in which you’ve got to think about your potential hideouts and assess them for suitability and where preparing them further can attract zombies due to the noise.
They’ve got all sorts of plans for the game in the future. The current update has been very slow to arrive, for a variety of reasons, but if even half of what’s planned goes into the final game it’s sure to be an extraordinary ride. Once again, the relevant links:
Kate… I had to do it. I just couldn’t protect us both in that house. Her wound was getting infected, who knows if the disease really would get into her? I couldn’t leave her to die, I couldn’t shoot her. I smothered her with a pillow. Gathered what few things I could carry and hoofed it across town.
I don’t know how they knew I was in there. The windows were all boarded up. There was no more power to use the lights. I crept around. But after three days safely ensconced in a small duplex house, where I had managed to secure some decent supplies, I heard them. Hammering. Pounding. I went down to check; the door shook with each rotten fist that smacked against it. It would hold, it would hold for a long time, but they would get in in the end. And there was no other way out.
So I decided to do the only thing I could: I was going to fight. I waited, shotgun in hand, whiskey in belly, for what I was sure would be my end. And I won. I killed them all, there must have been thirty or so of them, and I destroyed them. Quickly, I boarded things up again and retreated upstairs.
Two days passed. Nothing. I didn’t know how they had missed me; that shootout made more than a little noise. I guess all the ones nearby had already been attracted and then killed? I don’t know. But I was running low on food and it was time to start thinking about what next. This place was… safe-ish, and it housed many supplies I had gathered. It would take two, maybe three runs to relocate everything, so I would either have to take a lot of risks, I would have to keep this as a base, or I would have to BAM! BAM! BAM!
How? How did they find me again? And why did it take so long? If any had seen me go in, or heard me shooting, they should have arrived at most a couple of hours after I retreated. I don’t understand it. It doesn’t matter; this place is no longer safe, the doors are falling apart and I’m almost out of wood to barricade them with. Okay. Only one solution. Take what I can carry, fight through the horde, run. Find another place to hole up.
Is this going to be the rest of my life?
I opened the door. Shotgun in hand. They poured in, a lot more than just thirty of them this time. Seventy, maybe eighty. The shotgun tore them apart, but it wasn’t quite enough. They got closer. And closer. I avoided their bites, but a couple of them scratched me, one on my leg, one on my arm. I finished them off, went out of the house, and ran without looking back.
Found a small apartment. Had a zombie in it, took care of him with a baseball bat. Nice and quiet. Very messy. Looked around; enough food for a couple of days here. Saw to bandaging up my wounds, they weren’t major but it was better to try and be safe than sorry. Took some painkillers and a sleeping pill once I had used the last of my wood on barricading things. Slept for about 12 hours.
Sick. Stomach churning, head spinning. Threw up in toilet bowl. Grim. Probably the infection, from a scratch or blood that splattered on me or something. No hastiness though. Don’t be hasty. Took some more pills, ate more than I could really spare, found a book to read and enjoyed it by the evening light with a fair amount of booze. Not a bad day in the circumstances.
Sicker. Dwefinition the virus. Hear pounding, but door is holding. Another surviver they found? Just beating doors for no raisin? Don’t know. Still reading, good book. Atwood. I like Atwood. Virus there too.
Sleep. Wake. can’t see words now too blurry. bread andples not tasty. eat steak. not cook, tastes good, fills belly. Drink. Drink lots and lots. Okay. Get it together. Blaze of gory bob, blaze of glory. Load up. 65 shotgun shells. Bottle of booze. Another steak. Bat with nails.
Open door. quiet, eserted. Stride around town like the duke of new york. hardly any zombies. the fuck? where were they all they were ruining my last stand. FUck it, going to get drunk. Found a bar, raided it, got completely smashed. pills too! might die of od hahahaha hope you all get poisoned by my corpes you fucks
i dont rememberthe alst few days that’s a lot of corpses and fire though what the hell oh god my head
4 itchy tasty
Project Zomboid is an indie survival horror game, one which is seeking to really focus on the survival rather than slaughter side of things, with the intent of it becoming a open-world sandbox which will eventually kill you. It’s glorious. There is currently a free demo, and purchasing is intended to work Minecraft style where you pay less the earlier you buy, and get access to later updates. They’ve had some troubles lately with Paypal and Google and stuff, but they’re top folks and are making an amazing game that I urge everyone to check out.
So as you may or may not have seen, there is a new video out regarding Dead Island, the game which caused some interest and excitement recently with their rather good announcement trailer. The new one features plenty of gameplay footage, so I thought I’d take a look at it and give my thoughts, being a lover of all things shambling and flesh-eating.
Okay. Let me start out by saying that this isn’t Dead Island, this is Left 4 Borderlands: Far Cry Edition. And that’s okay! It does look like a great game, I will almost certainly be picking it up when it hits. But I will admit to being somewhat disappointed because the vibe I got from the first trailer, and from what I had seen of developer comments so far, it was going to be a bit less action-oriented than this and a bit more concerned with survival and so forth.
The one thing that is really bothering me though, is what happens at 2:50. Yes, she blew up a propane tank by throwing a nail bat at it. This really, REALLY pushes my suspension of disbelief over the edge to a jagged cliff far below; I’m all for a game which is action-centered, and I’m all for killing zombies in ludicrous fashion (Hello Dead Rising!) but seriously, come on.
That rant aside, there’s not a huge amount I can find to complain about if the game is taken on its own merits rather than what I was hoping it would be. The animations need work for sure (That kick, oh my), and the HUD is incredibly obtrusive, but really, a game which is centered around open-world zombie slaughter using customizable weapons (“Explosive Homemade Knife of Concussion”) and locational damage? Yeah, I can get behind that. I can get behind that BIG TIME. What will be really interesting to see is how much you influence things on the island and to what extent things can happen dynamically. I cannot begin to elaborate on how much I want a zombie game where you can lose entire quest hubs to zombie onslaughts and you can’t do anything about it.
Another thing I’m deeply interested in is how good their mod support is going to be. A foundation like this means that, with powerful mod tools, even if the game proper doesn’t provide exactly what I’m looking for, it’ll still be possible to implement something like it. Like taking out the ability to detonate propane tanks with melee weapons.
