Tuesday, March 29, 2016

A Devious Pairing: Card Packs and Monetizing Free-to-Play
Article

Abstract: The race to the bottom in mobile gaming markets has led to an advent of free to play (F2P) games that monetize via in-game purchases. Subtractive and exploitative in-game purchases sullied the image of F2P games and left developers & companies alike searching for solutions. The wild success of the F2P card game Hearthstone has fueled a revolution in the F2P space, in which buying card packs fuels huge revenues. Opening card packs is deeply satisfying and, for now, a novel (but devious) solution to monetizing free games. The perceived value, guaranteed rewards and the joy of collection keeps players opening packs and invested in the game, be it financially or otherwise. It looks like card packs might be here to stay.

It’s electric. Your purchase of ten packs has been so-so. You’ve gotten rares that you have already opened before and a bevy of commons. But you’re down to your last two packs. Your big win is coming. That epic you’ve always wanted. That legendary that forever seemed out of your grasp. You know that, while unlikely, these next two packs could be the best you’ve ever opened. It’s the fuel that keeps you buying, keeps you opening, and keeps you invested. Welcome to the wonderful world of card packs.

It’s a feeling, a high, I’ve felt off and on throughout my life. I started playing Magic: The Gathering when I was five or six. I loved the art, the strategies, the deck building, the community. But above all, I liked the packs. 15 glorious cards packed perfectly into a thin foil wrapper. A wonderful mystery sold for the low price of just a few bucks. Money burned a hole in my pocket in my early childhood—as soon as I got my allowance I begged to go to the card store so I could finally get my pack opening fix. Each new pack was an endorphin shot. It was gambling, but not really. Every pack worked towards my end goals of collection and of having the cards I needed to build new decks. I was hooked.
The opiate of my early childhood.
What I never expected, especially once I had mostly moved away from buying Magic cards, was that I would get trapped in the pack opening vortex once again, but this time in free-to-play (F2P) mobile games. It took the video game industry a while but they finally stumbled upon the secret sauce Magic had been pumping out for nearly 20 years. And from what I can tell, that ‘sauce’ has fueled a revolution in F2P games that’s shaping the future of gaming.

Mobile gaming is a market largely defined by its sweeping trends. An idea is sparked and it catches like wildfire, with the biggest of the big hoping to secure their place and the small and the imitators hoping to get a small sliver of the gigantic pie. One such trend is the so-called “race to the bottom.” The crowded gaming ecosystem made it harder and harder for developers to convince consumers to play their titles, let alone to spend money on their game. Game developers and analysts alike noticed that mobile consumers budgeted very little money towards buying smartphone games. In response, the price for mobile games dropped dramatically. From $10 to $5 to $2 to the bottom: to free. Making games, marketing them, and getting them placed on digital store fronts is not an inexpensive process, however, so companies needed to find ways to make back their financial investment.
There is a whole lot of 'free' out there.
The solution for most was microtransactions: small purchases that contribute to your gameplay experience. Generally these microtransactions ask for just a few dollars at a time. Perhaps unsurprisingly, companies found that players already invested in the game’s ecosystem by playing for free were more likely to spend money on the final product. Plus, since the game is advertised as free, many thousands more might try it out. Playing is as simple as downloading the app. As it turns out, however, F2P games with microtransactions did not turn out as pro-player as they seemed. In order to ensure some financial return, key gameplay features were often gated behind microtransactions. For example, you could have a racing game that offers one track and one car for free, but all remaining tracks and cars would have to be purchased for real money. Microtransactions were also used to allow players to keep playing. Many F2P games used artificial walls to halt player progress that could only be bypassed by either a) waiting for several hours or b) spending money. Other F2P titles would pit players against immense challenges that could only be beaten by a) spending many hours doing repetitious leveling up / resource collecting or b) spending money to skip that ‘grind.’ F2P-game microtransactions got so bad that many players moved away from these kinds of games entirely. They felt exploitative. They felt unfair. They felt mean. So if you were a developer hoping to make a F2P game with microtransactions as your revenue source, you needed to do something different.

I enjoyed Jurassic Park Builder for a while, but the obtrusive and mean-spirited
pay walls killed all my enthusiasm.
That something different, it turns out, was Hearthstone: Heroes of Warcraft. Hearthstone is a F2P card game that I’ve written about a lot here on The Impact Factor (my review, my joy of playing, card balance, new set reviews, & more). Though it started as a PC/Mac title, Hearthstone rapidly found its home in the mobile market. Smart design and good marketing made Hearthstone a fast success. Players and critics alike were raving about it. And Hearthstone was making a lot of money. Hearthstone was a huge contributor to Blizzard’s record 2015, with greatly increased revenues over the previous year. It’s been reported that Hearthstone pulls in more than $20 million a month. The bulk of that revenue? Players spending money buying packs. Hearthstone found a way to get players to spend money on a F2P game and not feel cheated.

Hearthstone's unexpected success has shifted the F2P game space profoundly. We’re seeing an increasing number of games adopting Hearthstone’s pack-buying microtransactions to fuel their new titles. Some are card games, some just use the pack-buying content-collection loop to keep players invested. Duelyst adapts a card game into a grid-based tactical battle where your units are found by drawing cards out of your deck. Clash Royale is a tower defense slash real-time strategy fusion that has players drawing troop cards from a deck. Plants vs Zombies: Heroes is a new F2P card-based battle game using the beloved PvZ IP. Even Pokemon is jumping on board with Pokemon Co-Master, a F2P board game for smartphones where you can buy packs containing Pokemon figurines. And the list goes on.
It might not look like it, but Duelyst is a card game through and through.
Sprit orbs = card packs.
All of this got me this got me thinking: why are card packs such a successful monetization method for F2P games? What works about card packs that fails so miserably with premium currencies or time-walls? I have boiled it down to three reasons.

1. Perceived Value
The contentiousness surrounding microtransactions often centers around that fact that they are subtractive. The notion is that developers take aspects of their game and remove them from the free experience and charge for them. Or they put in mechanisms that prevent you from playing without spending money. Card packs work around this cleverly—the feel additive. You can play the base game, all modes and features, for free. Cracking packs and getting new cards simply changes the kind of experience you are having, rather than fill in the missing pieces. Hearthstone, Duelyst and Clash Royale alike provide the player with a decent suite of free cards to experiment with and build decks. For the best among these F2P card-based games, new cards augment an already stellar base game. Buying a pack is therefore valuable not because it completes your experience, but rather, gives you a new one.
New cards mean new experiences.
Further, the permanence of card acquisition goes a long way. Each new pack you open gives you something concrete, and something that could potentially affect the way you play the game for the duration of your experience. Spending real money on a card pack feels worthwhile because the cards are not a one-time thing. Your monetary investment doesn’t disappear after you spend it. Traditional microtransaction purchases are transient—getting past that annoying 12 hour wait by spending money doesn’t remove your future 12 hour waits. Whereas that card you got from the pack will be sitting in your collection forever. Your purchase has visual permanence. It’s easier to justify. It feels like a real, physical commodity.

2. Guaranteed Reward
Gambling taps into deeply rooted pleasure centers in the human brain. If history is any indication, promising big rewards for small investments is a great way to motivate people. And to get them to spend money. The problem with gambling, especially in the context of F2P microtransactions, is that you lose. A lot. And losing feels bad. Losing can feel like a complete waste of your money. In a casino, you can just leave or move to a different game. If you walk away from a video game that you feel has ripped you off, chances aren’t great that you’ll come back to be burned again. Navigating gambling-like F2P purchases while avoiding that loosing feeling is a tough one. In Puzzle and Dragons (a mobile F2P RPG-match 3 dungeon crawler), for example, the most powerful monsters in the game are obtained through playing a premium slot machine. To play the slot machine more than a few times every couple of weeks, you need to spend money. When you pull the handle and get a terrible result, it feels awful. Your investment feels worthless.

Card packs (partially) solve that problem. Like their real world counterparts, each pack is guaranteed to have certain kinds of cards within. In Hearthstone, each pack contains at least one rare. In Clash Royale, each chest tells you the gold & cards to expect. Opening a card pack isn’t exactly gambling, because you know you’re guaranteed to ‘win,’ it just how much you win that’s in question. It still feels bad to get the bare minimum rewards from a pack, but it never feels like a total loss. The best F2P card games have ways to make even the ‘bad’ rewards worth something. In Hearthstone, cards can be discarded for a resource used to craft any card you want. In Clash Royale, repeat cards can be used to level up your units or donated to members of your clan for gold. When you open a pack, you are guaranteed to use every single card you open in some way. Turns out that goes a long way.
All the rush of gambling with the reassurance
of guaranteed rewards.
3. The Joy of Collection
Opening packs of cards taps into ingrained parts of the human psyche about making progress, building up a collection, and getting the newest & best of whatever you care about. Each new pack you open could fill in that missing slot in your collection, or that missing slot in a deck you want to make. You’re one step closer to completing something that takes a lot of effort to finish. The joyous moment of when you open up a pack of cards should not be overlooked, either.  You get to see your rewards unfurl one by one, like opening presents on your birthday. The gradual reveal of a pack’s contents heightens tension for all subsequent cards and protracts out that high you feel when you get something new. A pack of five cards has five separate moments for you to be surprised, elated, or crushed. Each pack is a rollercoaster. It makes sense people want to pay to ride.
Pack opening is a one of the best rollercoasters I know.
However the future might look, F2P games with monetized cards packs are the new now. And it’s easy to see why. Just be careful out there. It is easy to get trapped in the endorphin vortex. I would know, I live there.

Monday, March 28, 2016

TIF Plays: Week of 3/22-3/25
Gameplay

Welcome to the The Impact Factor's last week of gameplay! Check out below to links of all my gameplay. Be sure to catch me live on Twitch (MegalodonPhD). I stream every Tuesday at 5:30pm PST and Thursday at 6:30pm PST. Plus some special Friday streams, too! You can do me a favor by subscribing to The Impact Factor's YouTube channel, but hey, don't let me tell you what to do! 

To keep up to date with everything The Impact Factor, and me, follow me on Twitter: @alexsamocha

See you all next week!



Friday, March 25, 2016

News & Views
3/19/16-3/25/16

Happy weekend and Happy (almost) Easter to all who choose to celebrate! I’m looking forward to a nice couple of days ahead. I also made some plans for next week that have me super excited. Just got to get through the rest of today and I’m in the clear!

News & Views is my attempt to curate the week’s best video game writing. I feature great articles, opinions, editorials, and whatever else catches my critical eye. Check out the links below for stories about action game design from one of the best in the business, the cognitive dissonance of The Division’s violence, and the triumph of tragedy in Life is Strange.

And of course please check out the brand new episode of The Impact Factor podcast that was posted today! You can subscribe to the podcast on iTunes, or if you prefer other methods, check out our SoundCloud. We’re on YouTube too!

Spotlight
John Andersen, Kill Screen

Worth Reading
Christian Nutt, Gamasutra

Matt Sayer, Unwinnable

Patrick Klepek, Kotaku

Forest Handford, Gamasutra

Cassidee Moser, IGN

With Comments
Ferguson Mitchell, The Daily Dot
I may not play it anymore, but Magic remains one of the most compelling card games (and card game communities) out there. I was savvy to this story as it unfurled, so it was great to see it in a concise summary form here. The story of how one card can be worth $15,000 is a great one. I remember trying to open a Tarmogoyf back when it was first released (then ~$40, now $130). No luck. Dangit.

Ed Smith, Kill Screen
Life is Strange caught me by surprise. I knew I wanted to play it because I love playing interactive narrative games with my fiancée, but was so pleasantly surprised when the game was stellar. One aspect that stood out was just how deep the sadness was in Life is Strange. Ed Smith writes about how despair is represented well in the game, especially in how it undermines the black & white morality choice systems we’ve seen in similar titles. Beware spoilers, but well worth a read.

Derek Yu, Gamasutra
I got to (kind of) meet Derek Yu the other week!! It was so exciting. I did get to buy his book though! Not only is Yu an exceptional game designer (Spelunky is one of my favorites of all time), but it also turns out he’s not too shabby a writer as well. I highly recommend reading this excerpt from his book, as it touches on the core design foundation of Spelunky—one of the most influential titles of the past decade.

Eric Van Allen, Paste
I’ve seen this argument a lot, but I have not tired of reading about it (yet). It’s hard to feel heroic when you’re ruthlessly gunning down people in the streets. Not aliens, not demons, not abstract forms. Real, living, people. For many, the gameplay’s interaction with narrative has troubling implications. You kill looters but then proceed to loot yourself. There are no non-lethal options to stopping foes. Some have argued about the racial undertones of the game’s attempt at distinguishing looters from friendly NPCs (they are wearing hoodies). I still have little to no interest in playing The Division, but man is there a lot of interesting things to say about it. So, congrats Ubisoft?
The Impact Factor Ep. 47: Lightning Angel Is Bae
Podcast
Welcome to the 47th episode of The Impact Factor! The Impact Factor is what happens when two scientists, and two best friends, get together to talk about video games. Hosts Alex Samocha [biomedical scientist] and Charles Fliss [social scientist] sit down every week to discuss the week in gaming! Listen in for the news, views, and games that made the biggest impact!

Please send your suggestions and feedback to: impactfactorpodcast@gmail.com

In this episode Alex and Fliss talk about PlayStation 4.5 rumors, PSVR, eSports, Telltale, Batman, Hyper Light Drifter, Firewatch, Mass Effect, Clash Royale, Salt and Sanctuary and much more!

“Branching dialogue trees poorly serve narrative games, says GDC panel” by Colin Campbell


YouTube page

For articles and reviews from Alex, check out: www.theimpactfactor.blogspot.com
For a blog about Japan, pop culture & more from Fliss, check out:
www.flissofthenorthstar.blogspot.com

Follow Alex @alexsamocha on Twitter. twitch.tv/megalodonphd
Follow Fliss 
@thecfliss on Twitter. twitch.tv/flissofthenorthstar

Intro song:
You Kill My Brother by Go! Go! Go! Micro Invasion, East Jakarta Chiptunes Compilations. Freemusic Archive. (Attribution Noncommercial Share-Alike License)
freemusicarchive.org/music/Indonesi…s_Compilation/
Transitions:
News & Views and Perspectives transitions from victorcenusa, Freesound.org (Creative Commons 0 License)
freesound.org/people/victorcenusa/sounds/148785/
freesound.org/people/victorcenusa/sounds/148784/
Experimental Methods transition from Sentuniman, Freesound.org (Attribution Noncommercial License)
freesound.org/people/Setuniman/sounds/143994/

Tuesday, March 22, 2016

Supreme Architect
Review
Salt and Sanctuary, Ska Studios (PS4)

Abstract: Salt and Sanctuary is a 2D action-platformer with heavy role-playing game and metroidvania influences. Sold to players as “2D Dark Souls,Salt and Sanctuary had a lot to live up to. Thankfully, the game met and even exceeded expectations. Salt and Sanctuary skillfully reimagines Dark Souls as a 2D adventure, including hallmarks of the prestigious franchise as well as bringing something new to players. Great combat, punishing difficulty, organic world building and masterfully designed platforming can be found throughout. A few gameplay missteps detract from the final experience, but taken as a whole, Salt and Sanctuary is a remarkable experience that’s well worth playing.

You awaken in a dimly lit room. You’re at sea, aboard a wooden ship buffeted by a turbulent storm. A quick walk down the hallway and you find yourself greeted by a worried looking sailor. Out of nowhere, an assassin comes out of the dark and ends his life in one fell swoop. A bloody display. You were among a group of individuals tasked with protecting a princess in her diplomatic journey across the ocean—your country’s last best hope at peace. Slicing your way through the swashbuckling assassins brings you to the deck of the ship, soaked by the rain’s heavy downpour and enveloped by the all-encompassing blackness of night. In front of you stands something unbelievable. In front of you stands a towering eldritch horror, with hulking arms and flowing tentacles. It’s The Unspeakable Deep. You’re taken out in one hit, only to awaken shipwrecked on a gray, fog-enveloped island. Your journey has truly begun. Prepare to die.

Welcome to Salt & Sanctuary.
That is how the player is introduced to the world of Salt and Sanctuary, a 2D action-platformer from Ska Studios. Salt and Sanctuary comes from an incredibly small independent studio—a husband and wife. The first game in PlayStation’s annual Spring Fever promotion, now titled “Launch Party,” Salt and Sanctuary amassed an eager fanbase as the game was gradually revealed to the public. A lot of that initial excitement at least, stemmed from the game’s clear inspiration: Dark Souls. The developers themselves sold Salt and Sanctuary as a “Soulslike,” a game that draws thematic, world-building and gameplay inspirations from the hugely influential Souls series. I’ve written quite a bit about my love for the Souls series here on The Impact Factor. The term “Soulslike” is new, and one I expect we’ll see with increasing frequency as the industry moves forward. But what are the tenants of a “Soulslike”? If Salt and Sanctuary and the Souls games are any indication it’s (1) a simple but mechanically complex combat system, (2) punishing difficulty based upon pattern recognition and self-improvement, (3) organic world-building through sparse characters interactions, environmental hints, and/or item- and boss-based cues. Ska Studios, through Salt and Sanctuary, intended to make a 2D version of Dark Souls. Did they succeed? Unequivocally yes. And it’s truly remarkable.

Derived from a now fairly long lineage of Souls games, the story of Salt and Sanctuary only gradually makes itself clear as you progress throughout the game. After washing up on The Shivering Shore your objective isn’t clear. You need to move forward. Your quest is part finding a way to get off this foreboding island and part figure out what exactly is happening in this increasingly mysterious place. A short stroll finds you surrounded by undead ghouls as they participate in their festering banquet. It’s clear that there is evil on this island. An evil you’ll have to fight. Perhaps the same evil behind the attack on your boat? As you get further into the game, the true vastness of the island is revealed. There’s a gargantuan ziggurat, a dark woods, a floating castle, a laboratory. The geography is diverse and confusing, but it all fits together. It’s the work of an evil architect, one that’s supremely powerful. I won’t get much more into Salt and Sanctuary’s story in part because it’s worth discovering for yourself and in part because I’m still trying to piece together what all transpired. Suffice to say the narrative is enough to keep the player moving and the world is fascinating enough to keep you hooked.

Explore the world and meet new people. Well, death and monsters mainly.
The core facet of your experience in Salt and Sanctuary, or any Souls game for that matter, is the gameplay. Souls games have been widely praised for how expertly crafted their gameplay systems are. As I have written before, the Souls games “exude complete confidence in every single design decision.” Dark Souls and Bloodborne are masterclasses in excellent game design. So I felt it only fitting to spend the bulk of my review writing about the gameplay in Salt and Sanctuary.  I want to preface my discussion by saying that I am writing from the perspective of someone who is deeply passionate about the Souls games. As someone who scrutinizes the minute details of how I interact with the games. Ska Studios willingly brings comparisons of their title to Dark Souls by selling Salt and Sanctuary as a 2D Souls game. Therefore, even more so than in my other gameplay-focused reviews, I will be more specific and severe in my analysis of Salt and Sanctuary’s gameplay mechanics. I owe that much to a “Soulslike.”

Let’s start with talking about combat, the first hallmark of a Souls game. It’s what you’re engaging with for a majority of your roughly 15-20 hour first playthrough. Salt and Sanctuary’s combat is excellent. Attacking is fast and fluid, but always thoughtful. Every action, attacking or jumping, requires stamina. Stamina is represented by a green bar below your health. You need to wait between attacks to allow your stamina to regenerate which, to be fair, happens quite rapidly. The combat itself is remarkably simple and pulled straight from other Souls games. You need to balance attacks with dodging or blocking, brashness with hesitation while learning enemy attack patterns, and pushing your luck versus stepping away to heal. It’s a dynamic dance of risk and reward that you’ve seen before, but it still works so well. Salt and Sanctuary nails that Souls combat feeling—what you’re doing is simple, but executing your actions perfectly is immensely skill intensive. The combat makes great use of the game’s 2D world, allowing the player to visualize enemies in the 2D space and plan their attack strategy accordingly. See a big brute flanked by two smaller enemies? Try to jump around the map to draw the smaller monsters away to finish them one by one.

Combat in Salt and Sanctuary is deeply satisfying.
Salt and Sanctuary has an incredibly well thought healing item system, keeping it (for the most part) to one “Estus Flask” like restorative item that has a limited number of uses. The uses regenerate upon resting at a checkpoint (sanctuaries). Salt and Sanctuary also has a remarkably clever risk-reward system with wounding & focus. Each time you get hit by an enemy you are wounded, temporarily losing a small portion of your maximum health until you return to a sanctuary. Focus acts a similar way but for your max stamina and it is triggered by casting spells. Both wounding and focus keep you keenly attentive on every moment of gameplay. Get hit too many times before getting to a boss? You’re going to be working with a reduced total health pool that could make the difference between winning and losing. Cast too many spells? Now you not only have to watch when & how you cast spells at the boss, but your ability to roll out of danger is also reduced (it costs stamina!). Wounding and focus add to a solid Souls combat foundation in novel ways and round out an already exceptional combat experience. Hallmark one, check.

Salt and Sanctuary’s combat is not without its faults, however. The chief issue among them is the game’s dodge roll—it just doesn’t one to one translate from 3D to 2D. Rolling is an essential part of the Souls games, as blocking with your shield will often fail you. Overall the roll works well, with telegraphed invincible frames and distance traveled. What doesn’t work, however, is trying to roll around or past enemies. It’s wonky. Because Salt and Sanctuary is a 2D game, rolling past an enemy requires rolling through them. But enemies take up physical space and have their own hitboxes. You cannot be standing in the same place as an enemy, nor walk through them. But it also means that rolling through them (essential for many boss fights) can be hit or miss. Space your roll just slightly incorrectly and you’ll roll into a boss rather than through it. It can lead to frustrating and sometimes cheap-feeling deaths. Not good. Salt and Sanctuary’s combat also has some balance and strategy viability issues too. Fast-hitting low damage weapons are essentially useless with the damage scaling system in place. Heavy hitting weapons like greatswords and greathammers are overpowered, touting little risk with great rewards. Not every weapon has to be equal, but to gain no advantage whatsoever for using a dagger over a greataxe is an issue, albeit small (because I love using giant weapons, per my JRPG heritage).

Using magic won't stop your need to cleanly roll through enemies.
I died a lot by ending up on the wrong side of a monster.
How does Salt and Sanctuary fare when looking at a Souls game’s second hallmark: punishing difficulty based upon pattern recognition and self-improvement? Pretty darn well. Salt and Sanctuary feels like a Souls game. Each new area is nerve wracking and death by silly mistake hides behind every corner. Each new obstacle you overcome leaves you with a sense of elation. You overcame the odds and executed your plan to perfection. All enemies are lethal. One on one you have the advantage, but you’re often pitted against several deadly monsters at once. Monsters and bosses alike have clear patterns ripe for exploitation. Patterns that are essential to memorize if you hope to quickly and efficiently take out your foe. Boss fights are standout in the Souls series and are done well in Salt and Sanctuary too. Bosses range from the grotesque to the dark, from man to monster to everything in between. Visually, bosses are stunning, often placed against dramatic backdrops. Getting better at Salt and Sanctuary does rely on leveling up and improving your weapons and armor, certainly, but even more important is the player’s self-improvement. You are the experience points. I was able to beat 75% of the game on a fresh second playthrough in 3.5 hours because I had gotten better. It is an exceptional, and essential, feeling that I was so happy to see recapitulated in Salt and Sanctuary.

The place where the Souls difficulty begins to stumble, however, is a little over midway through Salt and Sanctuary. The game loses a lot of its challenge. This is due in large part by recycling of enemy and boss attack patterns. It got to the point where I could look at a boss I’ve never seen before and already know how it would attack and how I should dodge. This is where a little more boss diversity would have been nice. There are just too many “big humanlike dude that has 3 attacks.” I can think of no better example than the final boss itself. I beat it on my first try. I’m good at Souls games, but not that good. Neither had I overleveled nor worked too hard to upgrade my weapon. I just looked at the boss and figured (correctly) what its attack patterns would be. The final boss in particular should be the culmination of your experience with the game and a final test of the skills you’ve gained throughout. In Salt and Sanctuary, the final boss (and several others along the way) were a bit of a letdown.
Not as hard as he looks.
The final hallmark, organic world building, Salt and Sanctuary knocks out of the park. Salt and Sanctuary’s lore and island are fantastically rich. Item descriptions are a blast to read, adding to the world at large piece by piece. You meet a few other adventurers throughout your journey, each of whom is interesting and enlightening of the game’s hidden lore. The island itself is standout because it not only facilitates a diverse gaming experience, taking you to varied locations for your adventure, but all of it fits within the larger narrative of the game. The hodgepodge is explained. Even more impressive is the island’s interconnectivity. I got jaw-dropping moments like those I had in Dark Souls or Bloodborne when a shortcut would open, linking two seemingly disparate areas together. Salt and Sanctuary’s map is one huge open world. Discovering every nook and cranny is a joy and you never go unrewarded, be it lore-wise or loot-wise. The world’s design just feels so clever, so well thought out. With no in-game map and a gigantic world you’re tasked with exploring, you’re forced to make a mental map. In the process you deepen your immersion. I got lost in Salt and Sanctuary’s world.

Salt and Sanctuary's world is huge and interesting. And interconnected.
And now I want to go explore some more.
Where Salt and Sanctuary dramatically differs from other Souls titles is in its 2D platforming. Longtime followers of TIF know how much I love my 2D platforming. I’m happy to write that Salt and Sanctuary does it well. The first area teaches you everything you need to know without beating you over the head with it. You very quickly learn your jump arc, height and distance. You can eyeball a jump and just know if you can make it or not. Salt and Sanctuary also teases the player very early on with areas they cannot reach (yet), fueling the excitement in discovering how you’re supposed to get there. I learned as I was playing that Salt and Sanctuary also derives substantial inspiration from metroidvania games. As you play you unlock new movement options that, while not new for the genre, work perfectly in Salt and Sanctuary. Your first unlock is gravity inversion, allow you to interact with strategically placed obelisks throughout the map. Next is the wall jump, which allows nimble back and forths between nearby walls. Movement through the world is consistently satisfying. There are a few challenging platforming sections throughout the game, but never do they hinder exploration. Ska Studio’s 2D pedigree is evident, and it makes Salt and Sanctuary all the stronger.

The platforming feels great, especially when you start getting movement power-ups
(brands). Oh, also the game has local co-op multiplayer. Very cool.
Salt and Sanctuary is also an extraordinarily deep game. There are a huge variety of items, weapons, and ways to approach playing. You can collect boss armor, items that damage your opponent when thrown, dozens of spells, dozens of miracles, and the list goes on. You manage familiar stats like strength and endurance and magic. RPG elements are clear in the micromanaging of player equip burden, attack damage, armor reinforcment, and leveling up your affiliation with a chosen deity (essential for your healing poultice count). Playing using magic is totally different than using heavy weapons. Playing a shield-reliant build is totally different from a fast-roll build. Salt and Sanctuary is designed to appeal to all kinds of players, as you can make it by with as little or a much investment into the game’s depth as you want. My only major issue is the unnecessary Tree of Skill used to increase your character’s stats. Inspired by the sphere grid from Final Fantasy X, the Tree of Skill feels out of place in a Soulslike and is incredibly intimidating at first glance. It could have been reduced to a much simpler system, at least on a visual level.

I love the game's complexity, but come on. Looking at the Tree of Skill is horrifying.
Finally, a few quick nitpicks. As beautiful as the world and monsters are, I never came around to liking how characters look in Salt and Sanctuary. I was elated when I got my first face-covering helmet. The music is pretty weak and recycled a bit too often for boss fights. And just a bit too much in Salt and Sanctuary felt directly lifted from Dark Souls. From aesthetics to UI to stats to everything in between, I wish Salt and Sanctuary had established more of its own identity. All of these complaints are minor, though.

I was blown away by Salt and Sanctuary. How two people made a game so rich, so expertly crafted is beyond me. There’s a depth and sophistication I never expected. The best complement I can don upon Salt and Sanctuary is that the game is exactly what it sold itself to be: 2D Dark Souls. Its scope was ambitious, its goals lofty. A few missteps aside, Salt and Sanctuary achieved an extraordinary level of success. I got to play 2D Dark Souls and I could not be happier. For Souls fans and newcomers alike, Salt and Sanctuary is deserving of your attention. It’s really good.

EDIT: In the days following this review, I couldn't get out of my head that the final score was too low for just how impressed I was with the game (previously 4/5). It's a stellar 2D take on Dark Souls, it continues the legacy of amazing 2D Iga-vania games, it's huge, it's deep, it's smart. So I've revised my final score. My nitpicks were just that, nitpicks, and I would hate for them to impact the legacy of my review here. Salt and Sanctuary is one of the best games this year and my final score should reflect that. Thank you for your understanding.

Salt and Sanctuary
5/5

Monday, March 21, 2016

TIF Plays: Week of 3/14-3/19
Gameplay

Welcome to the The Impact Factor's last week of gameplay! Check out below to links of all my gameplay. Be sure to catch me live on Twitch (MegalodonPhD). I stream every Tuesday at 5:30pm PST and Thursday at 6:30pm PST. Plus some special Friday streams, too! You can do me a favor by subscribing to The Impact Factor's YouTube channel, but hey, don't let me tell you what to do! 

To keep up to date with everything The Impact Factor, and me, follow me on Twitter: @alexsamocha

See you all next week!


Friday, March 18, 2016

News & Views
3/12/16-3/18/16

Happy Friday everyone! This week has been an interesting one. I’m thankful to be heading into the weekend though, especially considering that all of Daredevil S2 just posted this morning. How many will I watch? Only time will tell. The excellent Salt & Sanctuary might dampen my binge watching a bit. The game is so good!

News & Views is your weekly dose of excellent gaming writing. Opinion pieces, editorial, uncovered stories and more! Check out the links below for great articles about the brilliance of Downwell’s gunboots, why an increasing number of women are choosing virtual boyfriends over the real deal, and how Supercell has one of the most ruthless production dogmas in the business.

And of course please check out the brand new episode of The Impact Factor podcast that was posted today! You can subscribe to the podcast on iTunes, or if you prefer other methods, check out our SoundCloud. We’re on YouTube too!

Spotlight
Pete Ellis, Gamasutra

Worth Reading
Zack Kotzer, Kill Screen

Caty McCarthy, Kill Screen

Colin Campbell, Polygon

Allegra Frank, Polygon

Pip Usher, Vogue

With Comments
Patrick Miller, Giantbomb
I’ve held the belief that Street Fighter II did more than eat my quarters. It taught me how to adapt on the fly, to master a strategy, and to better myself. Fighting games have long been part of my gaming wheelhouse and for a good reason—the same reason that Patrick Miller writes about. Fighting games can teach you how to learn. There aren’t many better vehicles for self-improvement than eSports, and for me specifically, fighting games. Give them a shot.

Kris Graft, Gamasutra
Following widespread talk about the game online, I downloaded my first Supercell game ever last week: Clash Royale. I bemoaned the unbelievable success of what felt like the disingenuous and debatably terrible Clash of Clans. I hated what it represented. But Clash Royale is actually quite fun. It got me thinking. How does Supercell make such huge hits? Turns out the answer is quite simple: ruthless production. The company is unafraid to kill projects left and right if they don’t meet the right level of quality. Graft spotlights Supercell’s fascinating approach to game development. Well worth reading.

Sharang Biswas, Zam
I’ve always wondered why Heroes of the Storm has a tolerable online community. I would even go so far to say that it’s an exceptional one, considering that the game is a MOBA. I’ve had my own theories, most of which align with the points raised by Sharan Biswas in this excellent piece. It all comes down to smart game design. Biswas and others suspect that much of the MOBA hostility comes from fighting over shared resources & responsibilities. Heroes alleviates some of this tension (and subsequent toxicity) by offering players fewer choices (less ways to ‘screw up’ on a macro-level), no gold economy (simplicity), team experience points (feeling of unification, focuses fight on enemy and less between members of the same team). All of these design decisions reduce inherent intra-team hostility. No wonder Heroes is by far my favorite MOBA.

Cassandra Khaw, Eurogamer
Danganronpa Trigger Happy Havoc is an awesome game. It really is. But why? Why do we have so much fun playing as a group of teenagers trapped in a school who are forced to kill each other? Cassandra Khaw shares some insight as to why. To summarize her article briefly: children are monsters. They lack the full grasp on what it means to operate in a civil society, and therefore their interactions can be fascinating. Further, Danganronpa plays with our deep-seated mistrust of others, since we can never know someone’s true intentions. And finally, kids are our future. So it is extra unsettling when we see harm coming their way. You should read the article and you should play Danganronpa. Which reminds me, I have the sequel sitting untouched on my Vita. That needs to be fixed.
The Impact Factor Ep. 46: Half Bunny, Half Blob
Podcast
Welcome to the 46th episode of The Impact Factor! The Impact Factor is what happens when two scientists, and two best friends, get together to talk about video games. Hosts Alex Samocha [biomedical scientist] and Charles Fliss [social scientist] sit down every week to discuss the week in gaming! Listen in for the news, views, and games that made the biggest impact!

Please send your suggestions and feedback to: impactfactorpodcast@gmail.com

In this episode Alex and Fliss talk about GDC, PlayStation VR, Hearthstone, Xbox cross play, The Division, The Witcher 3, No Man’s Sky, Orbital, Broforce and much more!


YouTube page

For articles and reviews from Alex, check out: www.theimpactfactor.blogspot.com
For a blog about Japan, pop culture & more from Fliss, check out:
www.flissofthenorthstar.blogspot.com

Follow Alex @alexsamocha on Twitter. twitch.tv/megalodonphd
Follow Fliss 
@thecfliss on Twitter. twitch.tv/flissofthenorthstar

Intro song:
You Kill My Brother by Go! Go! Go! Micro Invasion, East Jakarta Chiptunes Compilations. Freemusic Archive. (Attribution Noncommercial Share-Alike License)
freemusicarchive.org/music/Indonesi…s_Compilation/
Transitions:
News & Views and Perspectives transitions from victorcenusa, Freesound.org (Creative Commons 0 License)
freesound.org/people/victorcenusa/sounds/148785/
freesound.org/people/victorcenusa/sounds/148784/
Experimental Methods transition from Sentuniman, Freesound.org (Attribution Noncommercial License)
freesound.org/people/Setuniman/sounds/143994/