Friday, May 29, 2015

News & Views
5/23/15-5/29/15

Let’s end this cold foggy week on a high note with another edition of The Impact Factor’s News & Views! The clock is ticking ever closer to the Christmas of video game news, E3. This week was a slower one on the news front: a couple new independent games were announced, Capcom talked from Street Fighter, and The Witcher had some great sales. So what I’ve got for you all this week is a bunch of great perspective pieces I found this week. The articles ranged from talking about women in games being exhausted (and not for the reason you think), how ‘big indie’ Kickstarters may be damaging ‘actual’ indies, discussions about how slasher films are now finally being translated into games, and much much more.

Later today the new episode of The Impact Factor will be posted on my SoundCloud, so check there to hear Charles Fliss and I talk games! (sorry for the slight delay!) This week I also began streaming and recording some of my Spelunky Daily Challenges, which you can find on my YouTube. The podcast will be posted there later this weekend, too! So, until Tuesday folks, have a great weekend!

Spotlight
Leigh Alexander, Offworld

Worth Reading
Jamie Madigan, Gamasutra

Chris Priestman, Killscreen

Katie Chironis, Polygon

Mark R Johnson, Ultima Ratio Regum

Sidney Fussell, Paste

And the rest!
Mike Williams, US Gamer
As many of you probably know, horror is my favorite film genre. When they are good they’re good, and when they’re bad they are still (usually) fun. I love that such a big genre in movies, the slasher, is finally making its way into games. One title in which I am particularly interested is Until Dawn, where you play as a group of teenagers in a cabin in the woods struggling to survive against a seemingly superhuman murderer. Could be great fun.

Lance Hood, Shoryuken
I’ve gone into length before about my love of fighting games. It sometimes makes me sad when people discredit the depth of fighting game mechanics, or the skill that goes into being a top player. No offense to any MOBA, but it’s crazy to me that DOTA2 and LoL viewer numbers blow fighting game viewership out of the water. Still, Hood writes a nice piece about just how hard it can be to play a fighting game at the highest level. Blocking is so important, and doing so can be pretty though when, you know, the human body can only move so fast.

Adrian Chmielarz, The Astronauts
Chmielarz provides his perspective on making games and his experience with the kind of feedback and communications he receives from the community. While his piece comes off pretty mean spirited and a little too much like “I am the almighty creator,” there are some good points in there. If you have an idea for a game, just make it. If you want to enter the games industry, just make a game. His sentiments echo a lot of what I knew and a lot of what I have found out during my own career exploration. He might have been able to say it a bit nicer, though.

Ben Kuchera, Polygon
Camera controls are such an endemic problem in video games. Always has been, and still is to this day. Seeing what takes place is, obviously, so critical to the play experience. So why is the camera usually so bad? Even some of my favorite games of all time, Dark Souls and Shadow of the Colossus, could have used a better camera. Kuchera explores this phenomenon a little here.

Jorge Munoz, Gamasutra
Munoz posed a short question to the Gamasutra community: why aren’t IPs bought and sold? It’s a good question, and one I have thought about quite a bit. It really doesn’t make any sense that publishers continue to hold onto dead IPs for no clear reason. If you have developers and creators excited to do something new with an old IP, I say let them. Munoz brings up some good food for thought, at the very least.

Cam Shea, IGN
Shea talked to a bunch of ‘professional’ Hearthstone players about the impact the 31 new cards from Blackrock Mountain has had on the game. I gave my own predictions here on The Impact Factor, which can be found here. Boy was I wrong. So were a lot of the pros. The new cards have made very little impact on the meta as a whole, at most making arguably one or maybe two new decks viable. Regardless, it was interesting to read a bunch of the pros’ thoughts on various Hearthstone issues.

Brian Crecente, Polygon
The ESA has made a big move, announcing upwards of four to five thousand ‘prosumers’ will be allowed into the E3 event this year. Traditionally, E3 is an industry only event (just devs, publishers, media, exhibitors). These tickets aren’t completely open to the public, but rather given to exhibiting ESA partner companies to give out to their employees. It makes me wonder if this already gigantic event wants to be even bigger. With nightmarish stories coming from all members of the media (several hour long lines for every game demo) it also makes me wonder if this is a good decision. That said, I would still love to go to E3. Anybody got one of them prosumer tickets they want to give me? Hit me up on twitter @alexsamocha

Tuesday, May 26, 2015

How We Treat Gamer Girls
Special Guest Article
Author: Charles Fliss

Alex’s Introduction

Hey everyone! Welcome to a very special day here on The Impact Factor. My good friend Charles Fliss, whose name you may recognize as my co-host on our video game podcast The Impact Factor, has written an excellent piece discussing girls in gaming. You can find the article as it was originally posted, on his blog Fliss of the North Star. Please give his blog a look for this and other cool posts about pop culture, Japan, and more. Fliss is a great writer and shares his unique perspective on a key issue that we as a community of video game enthusiasts must face. To make sure his writing gets in front of as many eyes as possible, and since it so perfectly fits the theme of my blog, I have posted the article here (with his permission of course). So give it a read and let me know what you think about it, either in the comments here or on Twitter,  @thecfliss and @alexsamocha.

Original Article Below

Every week, Alex compiles a great collection of articles into a "News & Views" post on The Impact Factor. I've been thinking of doing something similar here, so if you'd like to see that please let me know! Two of these articles, both discussing the experiences of women and girls in the gaming community, made a big impact on me, and even though I feel I'm venturing into somewhat dangerous territory, I also feel I need to write something about them. I have self-identified as a nerd, a geek, and a gamer for a long time. The community has been good to me. So these issues are important to me. These communities are important to me.
 
I need to add a disclaimer here, right up front, before we get any further. I know I'm a guy, and I know I'm commenting about women in a group and the problems facing them as part of that group. This means that I can’t have personal, first-hand knowledge of the experience of being a female gamer. But I can work from the accounts written by female gamers and posted online, as well as the experiences recounted to me by my female friends. I think I have something to add to this discussion, and I think that it’s important for male gamers to take a self-reflective look at our attitudes and our actions. The articles I read certainly forced me to do that, and I hope in the course of this article to explain what I came up with as a result. It’s also worth noting that I am working with a small degree of separation from the American gaming community, because I’ve been isolated from directly interacting with it for nearly three years. I've only been able to participate via the internet and, well, games. So I'm trying. I will probably mess up. I'm asking you, my friends, to engage with me and help me get it straight. 

Here are the two articles, both by Maddy Myers:
The Cool Gamer Girlfriend, a.k.a. UNICORNS AREN'T REAL
Myers draws on her own experiences to deconstruct the "cool gamer girlfriend" archetype as presented in T.V., film, and game media. She also shows how the stereotype is seriously harmful to real female gamers, and makes a compelling argument as to how female gamers should be treated - which is to say, like normal people.

The Existential Dread of Fighting Games
This time, Myers again uses a personal narrative to discuss the mental strain of getting good and staying good at fighting games. She also shows how this is made even more difficult for female gamers, to the point where she considers just showing up to a tournament to be a victory.


It sounds almost foolish, but these articles were really eye-opening for me. As much as I enjoy analyzing archetypes and as sensitive as I have become to the way people are represented in media, it never occurred to me to look at the way female gamers were represented. Maybe it's because representations of gamers in popular media are generally so bad that I tend to reject them out of hand. But that doesn't make them unimportant. More pressingly, in reading Myers's description of the "cool gamer girlfriend," I realized it was a stereotype that I had internalized; that is to say that I just accepted that CGGs exist. In my defense, I didn't expect that all girls in gaming would be CGGs. I've known enough gaming girls to know that that would be ridiculous. But realizing that there are guys who expect that all girls in gaming will morph into CGGs, and realizing that might even be the majority of guys in gaming, was pretty horrifying.
I know, Link. I know.

Another of Myers's paragraphs really stood out to me:

I also realized that the deck was stacked against me in competitive gaming environments, too. I would walk into fighting games spaces and immediately be stared at; men would gather around my screen to watch me play, and they'd be disappointed when I didn't blow them away with absurd expertise. I wasn't allowed to be mediocre; I was supposed to be the Unicorn Gamer Girl who appeared out of nowhere to blow everybody away (and then blow everybody).


Yikes. No wonder she considers just showing up to be a big win.
The not being allowed to be mediocre thing strikes a real chord with me. I feel that way whenever I play sports in Japan, because Americans are supposed to be good at sports. But it just piles on for girls in gaming. Immediately being put on trial to prove you're not a "fake geek girl” certainly comes to mind. So there's no in-between. You're amazing or you're a fake. You're there to win or you're there for male attention. Maybe you're there to win and for male attention (as Myers references). But those are the only options. Guys, why aren't we allowing female geeks to show up just because they like games?

I don't think my answer to that is going to be a popular one. But the more I've read about it, and the more I've thought about it, the more I've come to believe that the gaming community is operating from a point of casual and unthinking misogyny. I'm not talking about the crazies sending death threats to female game developers or sexually harassing women online and at conventions. We already know that they are trash. I'm talking about your average male gamer. The guy who invests thousands of hours into games. The guy who shows up to a con or a tournament and maybe wins a match or three but certainly doesn't win it all. Us guys. I'm talking about us.
We have to change our ways brothers!

It's important to acknowledge that gamers view ourselves as an oppressed and counter-cultural community. Until relatively recently, it just wasn't cool to play video games, and it certainly wasn't cool to be really good at or really excited about them. Especially in the U.S., games have often been positioned in opposition to sports. (Geeks vs. Jocks, sound familiar?) In being rejected from, and choosing to reject mainstream society, gamers were making a declaration of what they cared about. That declaration carried a significant social cost. Eliminated from being mainstream cool, gamers set their own standards for what was cool within the community, and members were bound together with a basic experience of shared suffering. This included a retreat from the normal sphere of romantic relations. As men bonded together over games and over their experiences as gamers, part of that experience became a lack of romantic success with women.

Thus the “gamer” experience became viewed as exclusively male. The exile to social margins, devaluation as a romantic partner, and other shared suffering are not only experienced by men. But it can be difficult to see that. A lot of this derives from a common and harmful positioning of women as the gatekeepers of sex. Essentially, the idea is that men always want sex, so no woman is capable of being man-less or sex-less, because there is always an available man for her. Thus ultimate romantic rejection – the inability to find anyone to engage with romantically – is viewed as something only men can experience. But it’s more complex that. A total lack of standards or self-esteem does not guarantee a partner for anyone – man or woman – and can in fact often work against the goal of finding one. And just as most men don't want to "settle," we shouldn't expect girls to. We need to recognize that women, no matter how attractive they are, can and do experience feeling ugly, feeling unwanted, and being rejected. But as long as we gender these feelings masculine we will be forced to masculinize anyone who has experienced them. You have probably heard at least one girl complimented as “one of the guys,” a problematic remark because it recognizes her assimilation into the group by diminishing her femininity. This was, and is, compounded by male geek narratives that absolve us of any wrongdoing or ineptitude in our romantic attempts.

"I'm a great guy, but she's only interested in dating jerks." This is the classic line of geek romantic failure. The problem with it is that it simultaneously exonerates the geek in question from fault and faults the girl for her right to choose whom she dates. But this attitude, perhaps most frequently felt during adolescence (I've been there), can have some really damaging consequences if it develops further. If gamers view ourselves as providing what girls say they want, but still feel that we are passed over time and time again for jocks or other more conventionally attractive guys, then we can begin to see women as stupid or even deliberately dishonest. Certainly, this isn't a view that is unique to gamers, but I do want to suggest that gamers are often susceptible to it. Moreover, it's dangerous. When carried to an extreme it leads to groups like "The Red Pill."

"
The Red Pill" is a group that began on Reddit and now counts more than 100,000 subscribers. Essentially, Red Pillers advocate a deeply misogynistic philosophy that states that we now live in a world that is slanted towards women and against men. It argues that women will always be attracted to the most alpha male (because evolution), and that their behavior is entirely predictable and controllable. Check out this recent post if you don't believe me. The poster writes:

Women feel the need to invade male spaces from gentlemans clubs to geek culture, and proclaim their 'right' to be included. Women so desperately want to be a part of great male-only circles and establishments, but when they scream and cry loud enough that they are begrudgingly let in, they ruin what made those things so great in the first place.
The reason for this drive to infiltrate male spaces has been whittled down to 2 main ideas here on TRP:
  1. This is a form of social control, because women need to silence these male only spaces because men talk, share ideas leading to the depedestalising of women and the denying them of male attention.
  2. That women have a biological drive to infiltrate male spaces, because it is paramount to her survival.
I'm arguing the latter, as men have single-handedly constructed and maintained civilization itself, and women have merely been passive participants in this process, reaping the benefits of male protection and resources.

Note how he explicitly mentions "geek culture" as a male space, before continuing on to state that all of civilization was actively built by men. It's a concept so ludicrous it would be laughable if it weren't taken so seriously by so many people. For an excellent summary of Red Pill theory check out this
Business Insider article. For a terrifying look at how harmful Red Pill philosophy can be, and a brilliant breakdown of why it is so flawed and so dangerous, please read this blog post from Dr. Nerdlove. For another Red Pill discussion of gaming check out this thread. The Business Insider article also mentions Men Going Their Own Way. MGTOW shares a certain amount of basic philosophy with the Red Pill, but where the Red Pill proposes manipulating and coercing women, MGTOW advocates a kind of separatist masculinism. Although it's still not a good idea, it represents a very different kind of gender politics. In talking about The Red Pill and MGTOW, I don't mean to imply that all gamers subscribe to these extreme ideas. Rather, I hope to demonstrate exactly how alive and vicious misogyny is today, especially on the internet, and especially on sites like Reddit on which so much game culture also thrives. There are voices - loud voices - telling women they already have it better than men, that they are objects to be used, and that they need to shut up and stay out. We cannot allow these to become the dominant voices in our community.

Red Pill philosophy leads us to another construction that plagues the gaming community:  the narcissistic assertion that women base all their actions off of men. For male gamers this manifests in an inability to accept that girls genuinely like games for all the same reason that we do. With girls largely absent from the community for a long time, it can be difficult to accept that their appearance now is legitimate. We have gendered video games masculine. In popular culture video games are a male space. In many of our own experiences, video games have been a male space. It reinforces our basic assumption that only boys can truly like video games. So if girls don't (can't) like games just because games are cool, then why do they come to gaming events? Why, it must be for the male gamers! As Myers points out, this puts gamer girls into a truly untenable position. Barred from just being "normal" members of the community, they are expected to perform to unreasonable standards of what a "real" gamer girl should be like or be branded as "fakes" and man hounds.
We are pigeonholing female gamers.

Myers talks about the unhelpfulness of friends who encourage her to go to a tournament and "beat all the guys." She writes about the incredible amount of practice it takes to get good at fighting games, and how there will always be someone better. In a weird way, I understand this. It's a common expat fantasy to hear a Japanese person say something racist and be able to snap back in perfect Japanese. But this is a impossible dream. No matter how much I study, no matter how hard I work, someone who grew up speaking Japanese will always be better at the language than I am. There will always be a word, a phrase, or a nuance that will be beyond my grasp. In some ways, I've just been able to make my peace with that. But games are different. Games are changing, evolving , and growing at an unprecedented pace. It's time we let our community do the same.

How do we do this?

The first step is accepting that change is happening. We can fight it, and become recalcitrant, bitter, and no fun, or we can welcome it and enjoy the beauty of a larger and more welcoming community. I know this isn't easy, and it's taken me a long time to come around to this way of thinking. For me, the catalyst came from comics, not games. With the advent of the Marvel Cinematic Universe, people who had ridiculed me for my love of comics were beginning to claim characters I had loved since childhood as their own. That sucked. It felt cosmically unfair. Having not paid the social price to love these characters, how could they have any right to them now? They didn’t suffer to enter our community, so how could we let them in? My answer was deceptively simple - we have to let them in with open arms. We have to welcome that they have finally come around to what we like, and we have to welcome this as a chance for forgiveness and new friendship. This means putting ourselves out there, and that's going to be painful. Games are even more complicated than comics, because the game community has been changing for a longer period of time. The game community already suffers from divisions like "hardcore" and "casual," and we need to strive to prevent "female" from becoming one of those divisions.

And ultimately, these divisions are an expression of our fear of being manipulated. It’s a fear that this is a cruel joke, and that someone is going to show up and laugh at us for liking what we like. And this fear is drawn from the experience of being told “Oh, I don’t like it that much.” Because that sucks. That is a rebuke of our enthusiasm – a kind of condescending scolding for being excited. I’ve definitely experienced this, especially with comics, but also with games. It’s a serious problem because it takes gamer spaces that are supposed to be safe and reintroduces the geek-shaming of the spaces we retreated from. So we probe with ridiculous questions to establish the credentials of whomever we are speaking to. We try to gauge whether or not they belong right away, rather than learning about them. I’ve struggled with this a lot, but I believe that at some point we have to learn to lower our shields and put ourselves out there, even if it means getting hurt again and again.
But the bigger problem here is that our already harmful suspicion is redoubled when women are involved. The “fake geek girl” stereotype is born of this insecurity, this fear, that we will be judged, shamed, and laughed at within our own geek spaces. But it starts from the false premise that femininity is antithetical to geekiness. Where we might be willing to give a man the benefit of the doubt – ie. “Real gamer until proven otherwise” – we start with the opposite approach to women. “Prove to me that you are a geek!” “Prove to me that you belong!” “Prove to me that you will not mock and judge me!” These are what our actions and words are saying to female gamers. They have suffered the same mocking and judgment that we fear from them, and our mistrust is making things worse.     

But it doesn’t have to be this way. We male gamers can create a space that is better for female gamers and for ourselves. That starts with giving female gamers the courtesy of assuming they have the same level of base knowledge about games and gaming that we would expect of any given male gamer. We also need to actively strive to make gaming spaces comfortable spaces for women. Want an easy way to accomplish this right off the bat? Stop making rape jokes. In the United States
approximately 90% of rape victims are female and 17% of women have been the victim of a completed or attempted rape. So when we make these jokes to women we are making light of a horribly violating act that there is a real chance some of them have experienced. And when we make these jokes towards other men we are casually asserting dominance by feminizing them. It's not enough to just not make these jokes ourselves, we need to police our friends and fellow gamers. It doesn't have to be obvious, and it doesn't have to be flashy. A simple, "dude that's not cool" when brought to bear by enough gamers will have an effect. Tournament organizers, game store owners, and other people of power in the game community have an even bigger responsibility to use their power to show that rape jokes and other remarks degrading to women have no place in the competitive gaming world.
You're going to get a lot of sideways looks, but it's worth it.

And yes, I know that sticking up for girls is going to get you branded a "white knight" or "social justice warrior." Both of those insults are predicated on the idea that you are only defending girls because you are after sex. Don't let that be you. Stick up for what's right because it is right, not because you're out to impress girls. And I know this isn't easy, because girls themselves are suspicious of these actions, and the "Nice Guy" stereotype haunts us. I think a good place to start is believing the girls you game with. Believe them when they tell you that there are things that make them uncomfortable. Believe them when they say that harassment is happening. Believe them when they tell you you're doing something that isn't cool. This isn't just a gamer problem, either. This is a general problem in our society. We need stop treating femininity as a reason for mistrust, and we need to get the gut reaction of “she’s probably overreacting” out of our systems. That’s going to take some time. I know I’m certainly still not there yet either. I only recently realized that I wasn’t trusting women as much as I was trusting men, and that only happened after I read yet another article.
Rock the boat by reevaluating what it means to be a "nice guy."

I want to encourage those women and girls who are fighting the good fight to be members of the game community to keep going. I can only imagine how much it sucks and how much effort it takes to just assert your right to enjoy this form of relaxing! But without you nothing will change. The community is better for your presence, and will be even better if you can stick around. Myers writes, "And the fact I’ll never overcome my obstacles in some movie montage and become a champion of the fighting game community deeply disappoints me. I will never be able to whisper 'I told you so' to the thousands of assholes who've condescended to me over the years." I believe that we can make the gaming community a place that welcomes women and that allows "girl gamers" to just be "gamers." She may never be able to say "I told you so" to those assholes, but I hope that it will be because their bullshit will no longer be tolerated in our community.

So guys, the time has come. We must acknowledge that our community is changing. Not only is that okay, it's good. We need to create a space that is welcoming to female gamers, both long-timers and newcomers. That means working to interact with them on an individual level rather than mediating our interactions through stereotypes like the “cool gamer girlfriend” or “fake geek girl.” In other words, we need to let female gamers show who they are, rather than trying to force them into what we expect them to be. If we can do that we will take a big step towards making gaming a place where everyone is welcome.

I believe we can do it. I know we have to try.
Onwards to a better gaming community!

Friday, May 22, 2015

News & Views
5/16/15-5/22/15

This week was quite an adventure for me! I got to meet with someone I deeply admire and respect, read a lot of great pieces, and record the third episode of The Impact Factor podcast, up now on SoundCloud! But let’s get into this week’s News & Views. It’s overflowing with great stuff! Check out the links below for some great editorial pieces, spanning topics from research into gaming, mortality in games, and how one decision can destroy a console’s hope for success. Even though E3 is only three weeks away, we’re still getting a ton of big news. This week saw stories about Nintendo’s World Championship plans, Oculus pricing/release/tech specs, Street Fighter character reveals, and more. See you all here again soon!

Spotlight
Charlie Hall, Polygon

Worth Reading
Keith Stuart, The Guardian

Ben Lewis-Evans, Gamasutra

Kevin Ohannessian, KillScreen

Blake Reynold, Dinofarm games

Joe Bernardi, Hopes and Fears

And the rest!
Jane Wakefield, BBC News
Wakefield takes a look into the ever-expanding culture of Minecraft YouTube content. It’s insane; there are just so many people producing videos for the game. And it’s all hugely popular. Parts of the article come off as alarmist, and I certainly don’t think the popularity of Minecraft videos is something to be worried about.

Patrick Klepek, Kotaku
I can’t not post these Bloodborne stories, folks. I’m sorry. Klepek discovered and linked an intense, exhausting fight between two highly devoted players. To think a fight could last more than ten minutes is crazy, but two hours?! The video is definitely worth checking out.

Leigh Alexander, Offworld
This is an editorial piece Fliss and I discussed in episode three of The Impact Factor! Alexander makes some great points about the separation of writers from the rest of the development team, how writers should view game writing, and thoughts about how to move forward. Check it out!

Justin Pottle, arstechnica
I love watching competitive fighting games. For the past three or four years I have tuned into Evo, the biggest fighting game tournament in the world. Smash has recently come into its own as a more widely accepted, and widely viewed, fighting game. However, huge arguments about what game the community wants to rally behind has created a damaging rift and splintered an already unstable community. That said, I understand the debate. I’m still not sure if I would prefer watching Melee or Smash for WiiU. Probably the former.

Colin Campbell, Polygon
Campbell has an interview with the legendary Tim Schafer, getting his perspective on Broken Age, self-publishing, having a big hit, and more. Campbell draws conclusions a little further than I would like from Schafer’s quotes themselves, but it’s always interesting to get into the mind of the guy behind the amazing Grim Fandango, Psychonauts, and Costume Quest.

Miguel Penabella, Haywire Magazine
SPOILERS! The Last of Us is a phenomenal experience. I played the game when it first came out and I am still thinking about it. Penabella uses TLOU as a platform to discuss cinematic elements in gaming, think about TLOU’s episodic-like structure, and draw parallels between the game and John Ford’s 1956 film The Searchers.

Vince Ingenito, IGN
You all know how much I love me some Hearthstone. Ingenito goes into a little detail as to why he thinks the card minigame included in The Witcher: Wild Hunt is better than Hearthstone, or even Magic: The Gathering! A lot of his arguments boil down to not liking the draw mechanic of card games, nor board clearing effects (i.e. doesn’t like to lose when it looks like he is ahead). At this point, from what I’ve seen and read, Gwent looks fun, but certainly can’t be compared to the more fully fleshed out and complex Hearthstone or MTG. Regardless, it’s exciting to hear how much Ingenito loved the Gwent card game, and makes me even more excited to pick up The Witcher: Wild Hunt.

Tuesday, May 19, 2015

Prepare to Dig In
Review
Shovel Knight, Yacht Club Games (PS4/PSVITA)


Abstract: Shovel Knight is a remarkable experience in gaming. This phenomenal title from Yacht Club Gamers exudes confidence, passion, and design intelligence that is amazing to behold. With Mega Man as a clear inspiration, Shovel Knight is able to capture the feeling of sitting down at your NES in the early 1990’s, while adding significant and sophisticated modern touches. Playing Shovel Knight is a journey to the past, a look at the present, and an unabashed joy. Shovel Knight is successful on so many levels, and is more than deserving of your time and attention.

If I had to name the number one game I regretted not getting to last year, it would absolutely be Shovel Knight. No single game was as glaring an exclusion from my completed games list. Shovel Knight gained a lot of traction early in its development, with a fairly widely known and financially successful Kickstarter campaign funding the game’s release. Shovel Knight, from Yacht Club Games, looked to reimagine an old school game genre with its own unique aesthetic and modern design foundations. Shovel Knight is a Kickstarter success story: the developers were transparent throughout the development process, the scope and stretch goals for the game could be reasonably achieved, and the game was finished and released across PCs, Macs, and the 3DS in summer 2014. Shovel Knight was met with phenomenal reviews and, come year’s end, made it onto so many game critics’ top games of the year lists. Like so many other things, one reason or another kept me away from Shovel Knight throughout 2014. In December at the PlayStation experience, Shovel Knight was announced for release on the PS4 & PSVITA. I knew at that point in time, once it came out on Sony platforms, I would jump in. Shovel Knight was released in April 2015. True to my word, I bought it on release day and got started.

In many ways, Shovel Knight is a spiritual successor to the Keiji Inafune era of classic Mega Man games. Everything about Shovel Knight, from its aesthetic to its protagonist to its world and bosses, would feel right at home alongside the phenomenal Mega Man 2 or any other of Inafune’s remarkable games. You play as Shovel Knight, as you might have guessed, tasked with saving his land from a terrible evil. Alongside his partner Shield Knight, Shovel Knight fought the forces of darkness until a powerful enchantress captured Shield Knight and spread darkness across the land. As Shovel Knight you have to fight your way through the hordes of monsters the enchantress has unleashed upon the land, powerful roaming warriors, and the eight deadly knights of the Order of No Quarter. You goal is to make your way through the lairs of each of the knights of the Order and move your way closer to the treacherous keep in which the enchantress has Shield Knight kept. In this way, the sense of progression in Shovel Knight is nearly identical to that of the classic Mega Man games: 8 bosses in 8 unique stages, with one final mega (pardon the pun) stage where the final battle takes place. Just replace the Robot Masters with the Order of No Quarter, and Dr. Wily with the enchantress. None of this is bad, though. In fact, it’s great. Mega Man got to be such a well-loved franchise because the games, the genre it established, is just so darn fun to play. The sense of progression, the variety of stages, the challenge: all of it was fantastic then and remains great today. Without a proper Mega Man game from Capcom since Mega Man 10, Shovel Knight exists to bring the world more of what it loves, and what it had been missing for years. If Shovel Knight were just a new take on Mega Man it would be great. Thankfully, Shovel Knight is much much more.
 
Mega Shovel Man doesn't have quite the same ring to it.
Like the Mega Man games before it, Shovel Knight has exceptional gameplay. In each of the Order of No Quarter stages, you move from one screen to the next, tacking platforming challenges and fighting through waves of enemies, All of this is grounded in a highly precise movement and physics engine. Everything thing you do, each attack, each jump, each ladder climb, each bounce, has an exactness to it. As you play, you know exactly the height and distance of your jump, the length of your attack ark, and how much damage you do. It all comes together so perfectly. Moving through the world is skill intensive, but rewarding. Because you can master these systems, and because of your growing familiarity with the world, you steadily feel as you, the player, are getting better at Shovel Knight. And the game gives you more to work with, especially on the fighting side, the longer you play. Saving up money you collect by killing enemies or digging up piles of dirt (you use a shovel, remember?) lets the player buy powerful relics that work essentially like items from Castlevania, powerup attacks for your shovel, new armor sets with different bonuses, and health and magic upgrades. The second you think you know every way you can take on an enemy, a boss, or a level, Shovel Knight gives you a new toy to play with. As you move through the game, however, you will have to get used to the noticeably ‘heavy’ physics it utilizes. Many platformers these days are fast and frantic, with sprint functions to allow quicker movement or long jumps. Shovel Knight eschews that completely, opting to go with a slower, more deliberate approach. Shovel Knight wants you to think about what you’re doing in each world, and each screen of each world. Progression through the game is about learning the world, learning the systems, and learning yourself—not just a race to the finish. After some initial frustrations getting used to Shovel Knight’s brand of movement and attacks, it clicked. It felt great. I could see some frustrations for a younger crowd that had not experienced that kind of design, though.
Everything in Shovel Knight is tough but fair. Yes, even the Kratos boss fight.
All of the great design in the movement and attack systems would be moot if the world were not interesting, but Yacht Club Games created an extraordinary place to explore. Each of the eight unique stages for the Order of No Quarter are totally different from one another, and thoroughly interesting. The boss fights at the end of each are challenging, exciting, tough and fair. The levels are nice and long too, which gives the unique elements within each time to breathe and show players what they have to offer. Within each of these levels are tons of hidden secrets—gems, health items, collectable songs, and more. Shovel Knight rewards the player for looking for everything the game has to offer, and gives players plenty of tools to do so. A checkpoint system is smartly incorporated into each level, limiting player frustration when they inevitably die (and you will, a lot). The checkpoints aren’t a crutch, however, and sloppy play is still punished. When you die a substantial portion of the money you collected is lost, left floating on the screen in which you died. You can recollect all your losses if, and only if, you can make it back to that location without dying again and are able to navigate the platforms successfully enough to grab it all. This creates a great tension when exploring new areas, making the player stunningly aware that if you play too recklessly, you might not have enough money for that new armor set or shovel powerup you wanted to buy.
Gems, music sheets, and bottomless pit fishing? Yep.
There is a richness to Shovel Knight that’s hard to put into words. When playing through the game, you can feel inspiration behind every single element that’s at work in the game. From the enemies to the background to the Order of No Quarter to Shovel Knight himself, everything has a handcrafted, tailored feel to it. Shovel Knight’s world is tremendously successful because of this approach. This kind of design brings with it an indescribable joy to the game. Playing Shovel Knight puts you in the minds of these talented, passionate developers. It feels like you can see the vision and inspiration for the game as clearly as the people who made Shovel Knight. This richness is most evident in the sheer number of ideas that made their way into the final product. Each and every level is visually, audibly, and tangibly distinct. Getting through one level feels nothing like getting through any of the others. No idea in Shovel Knight is ever left to stagnate, either, as the game works to constantly reinvigorate itself. Like a certain challenge the Treasure Knight’s stage introduced? You’ll find it there and there alone. A certain enemy type? Almost never recycled between stages. In each of the nine main stages there was a moment where I had to pause the game and sit back, in awe of the new elements Shovel Knight kept throwing at me. The levels themselves aren’t the only richness in Shovel Knight, however. The game is packed to the brim with different things to do and see. There are towns to visit, optional challenge levels that test your skill with a particular relic, and a nice handful of challenging optional bosses. Odds are if you think of something you want to do, Shovel Knight lets you do it.
Shovel Knight never stops giving the player new things to see and do.
The team at Yacht Club Games also demonstrates impressive intelligent design in every facet of Shovel Knight. The game is just so smart. Shovel Knight takes everything that worked well for the classic Mega Man games and brought them into the present. The list of great design could go on for quite some time, but let me just name a few. Bosses are crazy and fun, challenging but not too hard, memorable, and reward the player with a great feeling of accomplishment upon their defeat (all the more reinforced by the great slow-mo killing blow that happens when a boss goes down). The relics you obtain have to be earned, discovered in hidden areas and purchased, and offer the player new tools for combat and exploration simultaneously. Shovel Knight knows how much players love to explore, and consistently finds novel ways to reward exploration. The game smartly finds a way to nail its retro-inspired aesthetic while still creating a beautiful modern game. It perplexes and amazes me that Shovel Knight could both be confused, and never be confused, for a NES era game. Jake Kaufman’s 8-bit inspired soundtrack is among one of the best of recent memory. Shovel Knight also knows not to overstay its welcome. Completing the game took me a little over 8 hours on my first playthrough, which included collecting nearly everything I could along the way. My second playthrough, a speedrun, took me a little over 2 hours. And finally, in this long list of smart design decisions, is Shovel Knight’s ability to know who its target audience is. Yacht Club Games knew that Shovel Knight would appeal to a ‘hardcore’ audience—the people who grew up with Mega Man and came to expect those tough as nails experiences. To offer up more incentives for the most devoted of the genre, Shovel Knight included a wealth of insanely difficult challenges to complete, like beating the game in an hour and thirty minutes, beat the game without dying or spending any money, etc. These challenges are no joke. I had a perfect serving of the game my first time through, but I could certainly see myself getting around to doing these challenges at some point in the future.
If you have any interest in great games, kick back, relax, and give Shovel Knight a try.
Shovel Knight is a game that makes me happy. I’m happy it exists, I’m happy to have played it, and I will be happy to play it over and over again in the years to come. Shovel Knight is one of the most detail-rich and complex ‘simple’ games in recent memory. Shovel Knight is the best Mega Man game I have ever played. The Shovel Knight developers clearly wanted to share their joy and passion for old games with the world, and I want to share my joy and passion for Shovel Knight with you, my readers. So just do yourself and favor and give it a try?

Shovel Knight
5/5

Friday, May 15, 2015

News & Views
5/9/15-5/15/15

Welcome back to The Impact Factor everyone! It’s time for another week of News & Views. I really hoped everyone enjoyed the first episode of our podcast, which you can find on SoundCloud or on our YouTube page. The second episode is up on both already! Here, though, I found a bunch of great editorial pieces to share with you all. From tales of poor gamers, to pessimism in video games, to arguments for sustained criticisms of games, this week’s News & Views has it all. A lot happened this week on the news front, too. Nintendo announced its World Championship for E3 2015, Ubisoft told the press it no longer planned to develop for the previous generation of consoles (PS3/360), Koji Igarashi had an incredibly successful Kickstarter, and much much more (Fliss and I talk about these at length in TIF Episode 2!). Until next time!

Spotlight
Christian Donlan, Eurogamer

Worth Reading
Kiva Bay, Critical Distance, KillScreen

Eugenia Hu, The Mary Sue

Heather Alexandra, Paste Magazine

Dana Goldstein, The Marshall Project

Taylor Bair, Gamasutra

Brad Williams, Game Chruch

And the rest!
Rob Fahey, GamesIndustry.biz
Steam Greenlight has been the source of a lot of controversy ever since its introduction. New, unfinished games flood the Steam storefront making it increasingly difficult for fans to find the best games and developers to get their game discovered. Fahey explores just some of the many troubling aspects of this Valve initiative.

Brian Crecente, Polygon
I love Spelunky. I know it may not be much to look at but please, if you love video games at all, do yourself a favor and pick this one up. It is deceptively deep, challenging, fun, frantic, and one of the best games of all time. This speedrun is just one of the zany, awesome things about Derek Yu’s fantastic roguelike.

Nick Robinson, Polygon
Oh P.T., how I wish I heard good news about you. P.T. has been steadily dying a digital death over the past two weeks. Now, not only has it been removed from the PSN so that new users cannot obtain it, but users who had previously gotten it can no longer re-download the game onto their PS4’s. (I have my digital copy installed on my hard drive, phew!) Robinson discusses how Konami, likely unintentionally, just made P.T. a phenomenon.

Edge Staff, Gamesradar
Lots of cool stuff about games I love this week. As you all (hopefully) read in my Final Fantasy Type-0 HD review, I am a big fan of the franchise. I recently finished up the FFXV: Episode Duscae demo and really enjoyed it. But, for now, Final Fantasy VI is by far my favorite. It was great reading through the rich history of this landmark game’s development.

Brian Crecente, Polygon
As a stalwart console gamer, I don’t agree with everything Crecente has to say in this opinion piece, but he certainly raises some interesting points. I would be all for a home console ‘box’ that is a service rather than what we have today. Nintendo would not be my guess for which company would be the first to initiate this change, however.

Johansen Quijano, Gamasutra
Quijano crafts a compelling argument for why he thinks game criticism, on a fundamental level, should be revisited. Quijano argues that the nature of games mandates more higher level, long-term criticism like what is seen with literature or art. I agree that this new direction could produce interesting discussions about important games, but I don’t know if I could be the one to write about a single game for several years.

Zac Gooch, OKgames
Gooch argues that the side quest filled tedium of Ubisoft’s many open world games are dulling the genre and creating a sense of stagnation. I completed Far Cry 4 a few months ago and really enjoyed it, but I don’t see myself playing more than two maybe three games like that it year. The collectathon, mini-map marker rich experience can be exhausting for completionists like myself.