Friday, July 29, 2016

News & Views
7/23/16-7/29/16

News & Views collects the week’s best video game writing into one convenient place. Check out the links below for stories about how Pokémon GO does a terrible job teaching players how to play, why annoyance is a key part of great game design, and how VR is more about control than immersion.

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
Tom Francis, Eurogamer

Worth Reading
Josh Bycer, Gamasutra

Nico Deyo, Paste

Rich Stanton, The Guardian

Bhernardo Viana, Mammon Machine

Chris Kohler, Wired

Sebastian Long, Gamasutra

Michael Martin, Yahoo eSports

Rowan Kaier, Polygon

Cameron Kunzelman, VICE
The Impact Factor Ep. 65: ResidentSleeper aka Wormhole Boys
Podcast
Welcome to the 65th 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 SDCC, eSports, Overwatch, Injustice 2, Nintendo NX, Sonic the Hedgehog, Telltale’s Batman, The International 2016, video game sequels, DOOM, Street Fighter V story mode, Blair Witch and much more!

"How I learned to stop worrying and love video game sequels" Josh Bycer, Gamasutra


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:

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)
Transitions:
News & Views and Perspectives transitions from victorcenusa, Freesound.org (Creative Commons 0 License)
Experimental Methods transition from Sentuniman, Freesound.org (Attribution Noncommercial License)

Tuesday, July 26, 2016

A Musical Of Punches: Disjointed Narrative and Street Fighter V
Perspectives

Abstract: Street Fighter V’s long awaited story mode is terrible. The writing is poor and the plot is something you’ve already seen a thousand times. The narrative and gameplay poorly align, transforming the story mode into a bizarre musical where punches and shoryukens are the songs. Like many other games, Street Fighter V makes the mistake of relying too strongly on film as the model on how to shape its story. When video games lean into what makes them unique from movies, like their interactivity and perspective, their narratives can succeed.

Let’s not beat around the bush here, Street Fighter V’s story mode is bad. Almost unplayably so. It is a huge bummer. As a kid that grew up glued to the shiny Street Fighter II arcade cabinet, I spent hours creating the world of Street Fighter in my mind. From character dialogue to stages to moves, I used everything I could to create the universe. Given my past experience with Capcom fighting games my expectations for Street Fighter V’s story mode were quite low. It promised to be a step above the comic book freeze frame storytelling of Capcom’s games past games, with 3D models and dialogue and a compelling narrative. I suppose it delivers two of the three.

As of writing this, I’m a little past the story mode’s halfway point. What I’ve experienced so far is 90 minutes of stilted dialogue and haphazardly assembled vignettes that roughly come together to form a narrative. Street Fighter V’s story mode represents so much of what has been wrong with narrative in video games. The writing is god awful. The plot is something a middle-schooler could have whipped up on a lazy afternoon. The action is disjointed—characters hop around with little to no sense of geography or time, motivations shift dynamically and without purpose, and every scene is just an excuse to hobble together an eclectic group of characters to, you guessed it, fight each other. Street Fighter V’s final offense is one that’s been committed over and over again in video games: the gameplay and story are totally disconnected.

Guys, please. Street Fighter V's story isn't worth the fist bump.
Street Fighter V’s story mode is broken up into two discrete parts: non-interactive cutscenes and fights. Never do the two really meet. The narrative heft is put forward in the cutscenes. The Shadaloo bad guys explain why they want to EMP the world, the good guys talk with one another to plan how to stop the evil organization, etc. The fighting, however, exists almost totally outside of the story. In fact, most fights in the story feel forcefully injected between the plot that’s taking place. Characters will get mad at one another at the drop of a dime, or out of the blue will demand a test of a fighter’s skill. Anything to get two people to clash. Playing through the story mode is a strange experience. The shift between cutscene movie and fights is jarring. Many characters come across as trigger-happy psychopaths looking for any excuse to hadouken one another. Street Fighter V’s story mode never lets characters earn their right to fight one another, nor does it skillfully blend fighting in with the larger narrative.

I'm sure you can guess the outcome of the scene by now.
In many ways, playing Street Fighter V’s story mode is like watching a musical. The characters go about their business until BAM, they suddenly need to fight. Like a musical in which people suddenly need to sing. This isn’t the first time this particular dissonance between gameplay and story has been compared to theater. Scott Pilgrim vs. the World director Edgar Wright described how he approached blending the titular character’s fights into the film saying, “We thought it should play out like a musical in a way in terms of the fights are not dissimilar to the songs.” Scott Pilgrim leaned heavily on video games as an influence. This approach worked for Scott Pilgrim, perhaps given the strength of the writing and directing of the film. It doesn’t change the fact that the fights are jarring, dislodging the viewer (if only momentarily) from the experience. That jolt has a more profound impact when playing a video game like Street Fighter V. The player agency in the action combined with the general interactivity of video games make it so that, when gameplay is inelegantly inserted into game’s narrative, you’re thrown pretty far off from the experience.

Scott Pilgrim is a good musical of punches. Street Fighter V is not.
Street Fighter V also suffers from a problem very recently highlighted by the great Brad Bird. Bird shared his concerns about using video games as inspiration for filmmaking and storytelling in a recent interview. The director of The Iron Giant and The Incredibles cited video games’ point of view problem. He said, “I feel like video games are a bad influence for storytelling because they are not directed points of view. They are about floating around universes…a lot of times it’s just motion.” Story mode in Street Fighter V is all about universe and not about a singular, or cohesive, point of view. Perspective shifts happen every couple minutes. Huge fluctuations in characters and tones and locations happen so frequently it is easy to get lost in the fold. By giving every character equal representation in the plot, no one matters. The end result is schizophrenic and astonishingly boring. There’s nothing compelling you to get attached or to move forward.

As inflammatory as Bird’s statement can come off, he does hit on a truth that video game narrative creators need to realize. Simply adapting a film approach and applying it to video games rarely works. It is immediately obvious that Street Fighter V wants the story mode to feel like a movie. Fortunately we already know how well a Street Fighter movie works, and it’s not very pretty. Games have long thought going the Hollywood route is the way to bring great narratives into video games. Rarely is that the case. Only the true masters of the craft can get away with this approach, like Naughty Dog with The Last of Us and Uncharted 4. Nearly every other film-inspired story mode in video games comes across, at best, like a good “B” movie. It’s a point of view problem, it’s a length problem, and it’s an interactivity problem.

Unless you're Naughty Dog, your studio might want to think twice about
making your story "cinematic."
While Street Fighter V fundamentally misunderstands what makes a video game story great (hint: it’s not about making a musical of punches), other games shape narrative construction to fit the unique vehicle that is video games. In response to Brad Bird’s statement about video game narrative, creative lead at Naughty Dog Neil Druckman tweeted, “Someone needs to play Brothers [A Tale of Two Sons] or Ico or Papers Please or Portal or Inside or The Secret of Monkey Island or…” Druckman is right and Bird is wrong. There are fantastic narrative in games. Druckman’s list has something in common, though—none of these games structure their story like a movie. Video game narratives work when they lean into the interactivity inherent in games, and from the unique perspectives games can offer the player. Certain narrative devices like environmental storytelling work so well in games, even outshining their film peers. Games like Gone Home and Portal and Ico and Firewatch have fantastic narratives that would never work the same way on film. Video game narratives have the potential for greatness when they are designed from the ground up to be a video game narrative, not a movie facsimile.

The best video game stories adapt narrative structures to fit
the interactive medium they exist within.
For my love of Street Fighter and its characters I’ll fight my way to the end of Street Fighter V’s story mode. I owe it to my arcade heritage and my fondness for the fighting game community. I just wish Street Fighter V was more Shadow of the Colossus and less “action-movie the fighting game musical."

Monday, July 25, 2016

TIF Plays: Week of 7/18-7/22
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 and Thursday at 5:30pm PT. 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, July 22, 2016

News & Views
7/16/16-7/22/16

And that does it for another crazy July week. My heart isn’t at full strength today given all of the ugliness that’s come out of the RNC, but I digress—nothing stops the quality Impact Factor content from flowing!

News & Views collects the week’s best video game writing into one place. Check out the links below for stories about DOOM’s powerful gamedev tools, ageism in the video game industry, and life after your game has failed on one of the world’s biggest platforms.

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
Jeremy Parish, US Gamer

Worth Reading
Bec McKenzie, Deorbital

Bo Moore, Gamasutra

David Mullich, Gamasutra

Gabby DaRienzo, Medium

Nathan Grayson, Kotaku

With Comments
Matt Sayer, Unwinnable
I watched DOOM’s credits roll this morning. Matt Sayer puts it well – the credits are definitely a cut above the rest. As I assume most people do, I try my very best to make it through to the end of a game’s credits. Indies are easy. AAA’s are another story entirely. Adding apt visual appeal and interactivity is a great way to have more people see the names of the folks who’ve poured themselves into making the game a reality. Good on ya, DOOM.

Reed Underwood, Kill Screen
Reed Underwood’s piece on Kill Screen really spoke to me. Even as few as six years ago, I was an unabashed skeptic of watching video games. Twitch, while intriguing, baffled me. Why would anyone sit down and watch someone play for 5 hours straight?! But then, suddenly, it clicked. Watching games offers so much: viewiing players of exception skills, time capsule competitive events, and personality-based entertainment. To the last point, it’s like when you were a kid hanging out in your friends basement, only the controller never gets passed to you. It’s community, it’s friendship, and its conversation. What’s not to like?

Alexander Kriss, Kill Screen
Valkyria Chronicles is a game I’ve been meaning to get to for nearly a decade. This turn-based strategy RPG explores themes of war and the people who wage it. The game has been long praised for its battle systems and world, but only recently have I been made aware the quality of the narrative. Valkyria Chronicles, as Alexander Kriss writes, is not about right vs. wrong or good vs. evil, but person vs. person and ideology vs. ideology. My favorite part of this article: “If dehumanization is a means to wage war simplification is a means to rationalize it.” Very well said. Give this one a read.
The Impact Factor Ep. 64: Download. Complete.
Podcast
Welcome to the 64th 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 EVO 2016, Street Fighter V, LI Joe, Pokemon GO, ABZU, Bound, Life is Strange, Tomb Raider, Duck Hunt, DDR, Rock Band, DOOM 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:

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)
Transitions:
News & Views and Perspectives transitions from victorcenusa, Freesound.org (Creative Commons 0 License)
Experimental Methods transition from Sentuniman, Freesound.org (Attribution Noncommercial License)

Tuesday, July 19, 2016

Pokémon No Go
Review
Pokémon GO, Niantic (iOS)

Abstract: Pokémon GO by Niantic is one the most engaging mediocre games in recent memory. Behind the worldwide Pokémon GO sensation is an experience that’s riddled with problems. Pokémon GO is not a good game: it has scarce gameplay, unexplained mechanics, boring monotony and poor optimization. Pokémon GO is also not a good Pokémon game: terrible battles, frustrating candy systems, and a combat power rating that both obsoletes your catches and transforms Pokémon into lifeless numbers. Yet I can’t help but be excited when I find a Pokémon I’ve never seen before. Pokémon GO is something special. I just wish it were special AND good. It’s not.

Pokémon GO is a hit. A global sensation. In the span of only a few days it became one of the largest trending topics across old media and new. Its release was momentous. In one day, it skyrocketed Nintendo’s shares by 25%, the largest one-day increase since the release of the Famicom in 1983. An jump that increased Nintendo’s market capital by $9 billion. Data shows that Pokémon GO is likely earning over $2 million a day for Nintendo and developer Niantic. Just the other night, a Pokémon GO Twitter account tweeted that server issues were due to nearly 48 million users try to log on simultaneously. Regardless of what I write in this review, it won’t change those facts. Pokémon GO is a titan of a release, something to a degree we’ve never quite seen before. My duty, however, is to separate myself from Pokémon GO the cultural artifact and look at Pokémon GO the game. Unfortunately, that’s where everything begins to fall apart.

I wanted to like Pokémon GO. No, more than that. I wanted to love Pokémon GO. Like most children of the 90’s, I grew up catching Pokémon. My nostalgia runs deep. Pokémon Blue is among the first games I can remember playing start to finish. I sat diligently plugging away at my translucent Gameboy Pocket, Pokémon Blue cartridge in tow, catching them all and defeating gym leaders. It was one of the first games I got really deep into. I remember writing up prospective team compositions, moves I wanted my favorites to learn, and strategies to tackle the Elite 4. It wasn’t a passing phase for me either. I have played every Pokémon generation to date: Blue to Silver to Ruby to Diamond to White to X. If Pokémon GO could deliver an experience even a fraction of what I enjoyed before, I would be happy. After playing, I’m not very happy.

If only Pokémon GO were a little more like this.
Let’s first get into what Pokémon GO is. Pokémon GO is a location-based Pokémon catching game that mixes traditional elements of the monster collecting franchise with augmented reality. Like all Pokémon games, you start by selecting your trainer, speaking with a professor, and catching your starter Pokémon. Catching is done by swiping your finger upwards, throwing a Pokéball that must collide the Pokémon. Using the camera, you can have the monster appear “in the real world” right in front of you—sitting on your coffee table or at your work desk or at the park. Seeing the nicely rendered 3D models of classic Pokémon appear in the real world is great. It’s fun to whip your phone around to see where the little critter is hiding. Even 20+ hours in, I still get joy out of seeing a Zubat hovering on top of my stove or outside my lab’s window. Catching and collecting isn’t great, though. Thrown Pokéballs don’t always follow the trajectory of your swipe, resulting in wasted throws. Unlike in the Pokémon games themselves, there is no real strategy to catching wild Pokémon. You just throw the ball and see if the Pokémon decides to stay in or not. There is a timing mechanic, in which you are asked to throw the ball in the middle of a colored circle that expands and shrinks, but at best this marginally affects capture rate.

It's fun to see a Pidgey behind my laptop
at work, even 20+ hours in.
After collecting your starter, you’re off to the real world. There is where Pokémon GO shines the brightest. Following the model of its spiritual predecessor Ingress, Pokémon GO plops you down on a simplified map based on your current location. Pulling from Google Maps data, you can see the buildings and streets and rivers nearby. Certain real world landmarks play important roles in Pokémon GO. Some locations are Pokéstops, places where you can check-in to receive in-game items like extra Pokéballs or potions/revives. Other locations are gyms, places where you can do battle with other players (kind of). Everything else is open space in which to hunt Pokémon. Pokémon spawn in real world locations. A menu shows Pokémon with the closest proximity to the player. Some will be right next to you, others further away as denoted by 1 to 3 footprint symbols under their picture. You can then run, walk, bike, drive, whatever, to get close enough to the Pokémon to capture them. There are common and rare spawns, each lasting for an undisclosed but fixed period of time. The location-based nature of Pokémon GO is fantastic. I love checking in on where I am in the world and seeing what creatures are lurking nearby. Pokémon GO has fun design choices too, like water type Pokémon appearing more often near real world bodies of water, or rock type Pokémon appearing by mountains or deserts. Pokémon GO does a great job at encouraging people to get up and moving, to explore new parts of their city, and to chase their next catch.

Exploring the real world in a Pokémon GO
lens is by far the game's best feature.
As much as I like Pokémon GO’s premise, it fails in so many fundamental ways as a video game. From a gameplay perspective, there is little to nothing to actually do while playing. You walk around in the real world, see a Pokémon, throw a couple balls at it, it gets caught or it doesn’t, and then you rinse & repeat. Collection, Pokémon GO’s central mechanic, is nothing but luck and persistence. The game requires no skill whatsoever, so that even the rarest captures can feel unrewarding. When not catching Pokémon you have a precious few things to do. Candies can be used to evolve your Pokémon. You receive three of that species’ candy with each capture, and one from transferring (deleting) that Pokémon away. To evolve a Pidgey into a Pidgeotto, for example, you need to catch 4 separate Pidgeys. You can also power up Pokémon using candies and Stardust—a resource that’s gained with each capture. Powering up a Pokémon increases its Combat Power, or CP, but I’ll get to that more in a bit. The moment to moment gameplay in Pokémon GO is deeply repetitive. It’s a slow, relatively unrewarding slog.

To make matters worse, Pokémon GO never explains its gameplay nuances to players. From capture experience to differences in a Pokémon’s base stats to gym battles, nothing is told to players. Perhaps this was intentional, designed to get players socializing, but it comes across poorly. Speaking of socializing, for a game that encourages players to interact with one another, Pokémon GO has absolutely no social features built in. No friends lists, no messaging, no leaderboards, no trading. Some of these are allegedly coming in an update, but the launch version of Pokémon GO is devoid of any such feature. Moreover, Pokémon GO feels so poorly coded. Server issues aside (which are maybe excusable due to the gargantuan demand), Pokémon GO just doesn’t run well. I need to hard close the app after nearly every use. I get stuck on loading screens constantly. Sometimes I’ll catch a Pokémon only to have it never appear in my box. The location services are finicky at best. My avatar will pop around a map as it searches, or I’ll be greeted with a giant red bar stating ‘GPS signal not found.’ Trying to actually play Pokémon GO is frustrating, and when the game you’re treated to once everything loads is astonishingly lackluster, it makes the experience all the worse.

Yay it's working! For now. And only kind of.
The issues don’t stop there. Pokémon GO is not only a poorly designed video game, it’s also a bad Pokémon game. Strategy, a centerpiece of the franchise, is replaced with luck and persistence in all facets of Pokémon GO. The candy-based evolution and powerup systems work against the core of what Pokémon games accomplished: forming a connection between you and your monsters. I can still remember by Pokémon Blue team. The Blastoise I raised from the beginning, the Aerodactyl I got from a fossil, the Moltres I found on Victory Road. But in Pokémon GO, every new catch is a checkbox. You need to catch 4 Pidgeys to get one Pidgeotto, and then another 17 to evolve Pidgeotto into Pidgeot. The trademark line of Pokémon is “Gotta Catch ‘Em All,” not “Gotta Catch Several Dozen Of The Same Boring Ones You Already Have.” New catches become numbers on a screen, losing the life and personality of the distinct Pokémon.

You can't see the bottom of this list, but trust
me, it's all Pidgey's and Zubats.
Battling is by far the worst part of Pokémon GO. For starters, battling in Pokémon GO can only happen at gyms. After claiming a gym for the first time, Pokémon GO players can choose one of their Pokémon to stay and guard it. Other players can then come in and do battle against the incumbent gym leaders. Battles are asynchronous, meaning that the Pokémon and trainers you’re fighting against are controlled by A.I and not players. The tried and true turn based battles are replaced instead by real time tap fests. Tapping the screen causes your Pokémon to use its basic attack, swiping can (sort of) be used to dodge attacks, and once your power meter fills, holding down on the screen for a second or two unleashes your big attack. But really, and I’ve seen this in person too, it’s just tapping on your screen as fast as possible hoping to do enough damage before your Pokémon is knocked out. (I should mention, none of this is explained to players, you’re just dropped in). Battling requires no skill, no thought. It is unfun in the worst possible way. What determines victory more often than not is a Pokémon's Combat Power (CP) rating. Perhaps unsurprisingly by this point in the review, CP is another thing I took issue with.

Battling your Pokémon is irredeemably awful.
Each Pokémon you catch has a set CP number. This number can be increased by powering them up with candies and Stardust, or by evolving them. As I just mentioned, aside from exploiting type weaknesses, CP is the biggest determinate in which Pokémon will win a fight. Finding high CP critters is critical. The issues with CP are multifaceted. First, the lifelessness and disconnect you feel with your team is compounded by always looking for the Pokémon with the highest CP. As your profile levels up, you start to find higher CP Pokémon in the wild. That means that those Pokémon you spent candies and Stardust on just the other day quickly become obsolete. Pokémon GO discourages you from evolving Pokémon until your account is a very high level, but that unfortunately means there is even less to do while playing. Pokémon GO has you in the role of a Pokémon catcher, not a Pokémon trainer. I got excited the first time I caught a leveled up a 230 CP Pinsir (a rare find), only to be bummed two days later when I caught a 279 Clefairy and a 240 Pidgey. CP also makes it so that only the most devoted players can control gyms. I’ve tried exploiting type weaknesses and specifically tailoring a team to take out a nearby gym, only to get soundly defeated because the gym’s leader had a 1300 CP Lapras that annihilated my 540 CP Jolteon. Battling is a steep uphill climb I don’t want to make.

Exploiting type weaknesses won't matter - I have no
chance to win. At my level, I can't even get a 1000+ CP Pokémon.
So if Pokémon GO is neither a good game nor a good Pokémon game, why am I still playing? Why did I feel a rush of excitement today when I came across my first Vulpix on my morning walk to lab? Pokémon GO has an indefinable appeal. I want to collect ‘em all. I want to see my trainer be a gym leader for a day or two. Gameplay, design, and coding missteps aside, Pokémon GO offers something so unique and clever I can’t help but suffer through it (for the time being). Pokémon GO is one of the most engaging mediocre, bordering on bad, games I’ve ever played. At times my frustration overrides the novelty and I doubt I’ll still be playing a few weeks from now, but for the moment, I’ll keep going. I wanna be the very best, after all.

Pokémon GO
2/5

Monday, July 18, 2016

TIF Plays: Week of 7/11-7/15
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, July 15, 2016

News & Views
7/9/16-7/15/16

As a surprise to absolutely no one, it turns out a full Ph.D. student lab workweek after a tropical vacation feels absolutely awful. But I made it through. I guess? Anyway, onto the goods.

News & Views collects the week’s best video game writing and puts it all into one convenient place. Check out the links below for tons of Pokemon GO think pieces, what creators need to think about when designing narrative in VR, and a spotlight on one of the world’s earliest MMOs.

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
Andrew Marantz, The New Yorker

Worth Reading
Matt Sayer, Kill Screen

Justin Groot, Kill Screen

Andrzej Mazur, Gamsutra

Colin Lecher, The Verge

Glen Weldon, NPR

With Comments
Austin Walker, VICE
Walker puts into words a lot of what I’ve been thinking. Pokemon GO isn’t very good. That’s not to say it is a bad game, but it certainly isn’t a good one. Nor the game I think it could have been. But that’s all irrelevant. Pokemon GO has taken the world by storm in a way I never thought possible. As a game, Pokemon GO falls flat. As a cultural phenomenon, it’s deeply fascinating.

Andrew Webster, The Verge
A “no duh” article, but one that was worth writing. If you listen to the podcast, you’ll already know how I feel about Nintendo – they should stop making hardware and just release their games on other platforms. Pokemon GO shows that this would be more than financially viable for the company. People clearly don’t care about Nintendo hardware anymore (see the New 3DS or the Wii U), but people are absolutely crazy about their IP. It’s time to move on, Nintendo.
The Impact Factor Ep. 63: Pokemon GO Is A No Go
Podcast
Welcome to the 63rd 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 Pokemon GO, Overwatch, Nintendo, Evolve, Valve, Chex Quest, the best games of 2016 so far, The Last Guardian, Gamescom, EVO, Furi, The Purge 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:

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)
Transitions:
News & Views and Perspectives transitions from victorcenusa, Freesound.org (Creative Commons 0 License)
Experimental Methods transition from Sentuniman, Freesound.org (Attribution Noncommercial License)

Tuesday, July 12, 2016

Feel The Fury
Review
Furi, The Game Bakers (PS4)
Abstract: Furi is a neon-soaked, electronic flurry of blades and bullets. A unique visual, aural and gameplay package, Furi confidently establishes itself as something you’ve never quite played before. As a boss-focused action combat game, Furi succeeds in a number of ways. The hyper fast combat, replete with skill intensive dashing, parrying, and attacking mechanics, plays wonderfully. Furi demands a lot of players and brutally punishes mistakes. Unfortunately, not everything in this diverse package works well. Bullet hell sections suffer from unclear projectile and player hitboxes that frustrate to the point of feeling unfair. Painfully slow and barren walks between boss fights leave the player bored. Taken together, however, Furi’s successes outweigh its failures to create a game well-worth playing for action fans.

Released for free as part of PlayStation’s July PS+ line-up, Furi is a new game from The Game Bakers that has its toe dipped deeply into Blade Runner, Tron and shonen (boys) anime. Furi is a wild ride, a breathless series of fights that test the true mettle of the player. Prepare yourself – it’s about to get furious.

The game starts with a prisoner shackled in a cell as a masked jailer is torturing him. Your protagonist, The Stranger, is silent. He neither knows where he is or why he’s there. As the jailer leaves you are greeted by a mysterious companion, a rabbit mask toting specter known as The Voice. The Voice frees The Stranger and informs him of the brutal journey ahead. The Stranger must fight through the most intricate, and deadly, prison ever built as he makes his way to the planet floating below. This is no easy task, as terrifying characters guard each floor: the guardians of the prison and bosses he must vanquish. As you move from floor to floor, The Voice slowly sheds more light on his motivation, who The Stranger might be, and who are the people trying to stop you.

Admittedly, the story is quite light. Motivations and the truth of your situation are revealed quite slowly. Questions are answered with more questions and much is left up to the player to interpret. The narrative framework for the game at hand, however, works well. Games don’t often need much to propel players through a serious of huge boss fights, and the same is true for Furi. What works best about Furi’s story is its establishment of a wholly unique world. The game’s credits cite game designers like Hideo Kojima and Goichi Suda as inspiration for creating Furi. It’s abundantly clear throughout. Furi’s world is like no other I’ve seen in a video game. The mixture of space with samurai with cyberpunk is perfect. From start to finish I was engrossed in Furi’s world. I only wish there was more to explore.
 
The Voice, The Stranger, and one impossible goal.
As you might have guessed, Furi is all about its combat. Furi is a “boss rush” game, meaning that the large bulk of the gameplay is spent fighting Furi’s 10 bosses. You move from one boss to the next with very little in-between. Furi would suffer if its bosses were bland, repetitive, or uninteresting, but that couldn’t be further from the truth. Each fight is different, testing the player in a variety of ways so they can prove their mastery of the game’s various systems. Each fight takes place in an arena, but no two arenas are alike. Bosses are visually striking and impressively memorable. You experience a fantastic sense of dread as you walk into the arena for a new boss. What new challenge are you about to face? Fights can take anywhere between 5 and 45 minutes, depending on player skill and the boss being fought. My completion time was about six and a half hours, though looking at leaderboards some have completed Furi in as little as 45 minutes. As I’ll explain in great detail, Furi is all about player skill.

Each boss fight is a unique combination of Furi’s three central mechanics: third person isometric arena fights, 3D fighting-game styled close combat, and bullet hell. Let’s talk about the first. The arena-based isometric fighting is superb. Bosses hurl attack after attack at the player: projectiles, area of effect moves, and close combat. Furi follows along with the recent trend we’ve seen in games like Hyper Light Drifter and Stories: The Path of Destinies in which movement speed and dodging are the key focus. The Stranger moves fast. Incredibly fast. Furi emphasizes use of your dash move, a quick teleport with invincibility that serves as both your primary way to avoid being damaged as well your method for getting close enough to the boss to attack. Like all combat mechanics in Furi, the skill ceiling for this dash move is quite high. The dash button can be held down. The longer it’s held down, the further your dash goes. Timing your dash and knowing how far to dash make all the difference. When dashing isn’t an option, you can parry. Parries only work on certain attacks, like projectiles and melee strikes (as indicated by a visual flash and a distinct sound) and need to be timed perfectly to prevent damage. A well-timed parry blocks the enemy’s attack and restores health to your character. A perfectly timed parry leaves the boss open for a huge counter-attack. Learning to use your parry is challenging but immensely rewarding (and essential for the game’s later bosses). Similar to the dash, it too has a high skill ceiling. Furi is all about mastery.
 
The Chain is the first stop in a long line of brutal bosses.
Attacking bosses is just as skill intensive. You typically have two options for dealing damage while in the isometric arena combat. You can fire a laser pistol with the right analog stick at the boss. For some bosses, this will chip away at their health bar. Others can block or ignore the pistol damage entirely. The bulk of your damage comes from sword attacks. After parrying or otherwise opening up a boss for attack, The Stranger can unleash a four-hit combo. Depending on your window of opportunity, sometimes you can get all four hits and sometimes just two or three. Much like dashing and parrying, Furi allows the player to perfectly titrate how they attack. The pistol can be charged by pressing another button, which unleashes a powerful knock down attack against the boss, but it can be incredibly hard to connect with the shot. You can also hold down the sword slash button, which similarly charges a difficult to connect but powerful knock down attack. Dealing damage is all about finding your enemies’ weak spots and exploiting them. Like many great combat focused games, Furi has a delicate but fantastic balance of risk with reward. Do you try for that extra damage knowing you could be punished? Or go the safe route but risk spending longer in the fight thereby increasing the odds you mess up a dodge and die? Furi is steeped in difficult split second decisions that test dexterity, reflexes, and pattern recognition. I loved it.

Dashes, parries, melee punishes. Combat in Furi is fast and fabulous. 
Typically, by the time you’ve dealt enough damage to the boss’ health bar (they have several) in the isometric arena, they’ll fall. This exposes them to a quick melee hit that cinematically shifts the combat into a 3D fighter styled brawl. Here, it’s no longer about enemy projectile attacks or area of effect moves: it’s all about melee combat. Trapped in a much smaller zone, you have fewer options to escape your enemy’s blows. Quick dodges and parries are critical. This zoomed-in fight is the perfect culmination of that boss phase, and the way the camera dramatically shifts makes the player feel so empowered. One of my favorite fights in the game, The Edge, is entirely fought in this 3D fighter style. It’s so cool. It takes the mechanics you use from the isometric viewpoint and reformat them in a new and compelling way. And typically, after you down a boss in this perspective they shift to their next phase, meaning a new health bar and new attack patterns. Like the isometric viewpoint, this fighting is again all about pattern recognition, risk and reward, and perfect execution.
 
The zoomed-in melee clashes never stop making your feel awesome.
Just in case it isn’t abundantly clear by this point in the review, Furi is not an easy game. Furi is brutal, punishing players for even the smallest of mistakes. Though the game (usually) communicates what the player needs to do to defeat the boss, actually doing so is another thing entirely. The player only has 3 health bars. Get K.O.’d three times and you lose – you need to restart the entire fight. Destroying one of a boss’ health bars restores one of your own, but this only goes so far when the boss’ last few phases can devastate the player. I consider myself fairly skilled at games with combat like Furi’s, and even I typically took 2-3 attempts to beat a boss. This can sometimes be an exercise in frustration. Going back to the very beginning of a 40 minute fight just because you died to attack patterns you had never seen before isn’t super fun. This difficulty is compounded by the fact that Furi offers very small windows for both dashing and parrying. Mess up your parry timing by even a quarter of a second and you could be looking at losing a third of your current health bar. With all that said, I enjoyed Furi’s difficulty as it relates to isometric and 3D fighter combat. I love tough games when they’re fair. Furi, for the most part, nails that fair toughness.

Unfortunately, not all mechanics achieve the same degree of success. Namely, the bullet hell segments. I’m someone who loves a good bullet hell. They aren’t great here. Bullet hell segments take place from the isometric viewpoint, which poses a serious perspective problem. It’s hard to know exactly where the projectiles are or where your character’s hitbox ends. There is a reason most (good) bullet hells are top down or 2D. Getting hit by a projectile you’ve anticipated and dodged feels awful. This problem could have been mitigated in a couple of ways, but the most obvious of which is it make projectile boundaries more clearly defined. Like with a bold, dark outline for instance. Instead, projectiles are bright amorphous blobs of energy with fuzzy boundaries. While some bosses have limited bullet hell sections, like The Chain or The Scale, others rely on this mechanic for their entirety. Because of it, The Line and The Burst fights become painful to complete. Even more egregiously, Furi’s final final-boss is entirely bullet hell making it the worst fight in the game.

The fourth or fifth time you get hit by a projectile you were SURE
you dodged can really suck the fun out of the fight.
The problems don’t end with bullet hell segments, however. Outside of fighting bosses there is nothing to do. Normally this wouldn’t be a huge issue. I am more than ok with a game focusing on what works – Furi didn’t need anything more than boss fights. The player, however, needs to walk from one fight to the next. I appreciate what The Game Bakers try to do with these sections. Slowly walking gives The Stranger that badass feel. It also gives The Voice time to build upon the narrative and show off the game’s unique world. But the walking is so slow. With nothing to do other than push the stick in the direction you want to go walking becomes painful. A walk from boss A to boss B can take upwards of 5+ minutes. Slowly moving your character through barren, linear pathways is not fun for 5+ minutes. It’s not fun for 2. To make matters worse, sometimes it isn’t exactly clear which way to walk. This can result in walking several slow minutes in the wrong direction, adding to your snail’s crawl to the next fight. The walking problems are compounded by Furi’s decision to use fixed cameras along your path. Transitioning between one angle and the next messes with your directional controls. Furi tries to keep it consistent, like if you were holding down on one screen and the next you’re moving up holding down will still move you in the same direction, but it gets messy. Each new screen I would stop my character and reset which way I was holding the control stick just so The Stranger wouldn’t awkwardly stutter or walk into invisible walls.
 
I have one fear: having to endure the next overlong walking sequence.
Slow walk and chaotic boss fight alike are accompanied by a stellar electronic soundtrack. Furi has one of the best soundtracks of the year. The game features the works of several artists, like Carpenter Brut and The Toxic Avenger, that synergize with each other to reinforce the mood set by the combat and visuals. The pulsing beats get you pumped up and ready to take on the world. When combined with the cool character designs, great cell shaded look and diverse visuals, Furi is a complete aesthetic package that bolsters the entire experience.

Furi is a game with high highs and some low lows, but one that I can’t help but be enamored by. I want to return to the sci-fi samurai 80’s neon world to inflict havoc on the game’s fantastic bosses. I also feel the urge to better myself, to achieve the elusive A and S Ranks on the fights, or even complete one without taking damage. Furi is, for better and worse, very much its own thing. Furi is one prison I wouldn’t mind being trapped in again.

Furi
3/5