Tuesday, August 30, 2016

Delightful Dashes: Moving Fast Never Felt Better
Perspectives


Video games are about motion. Across genres, across aesthetics, and across gameplay not many things are shared. Movement is something that’s been at the core of video games since their onset. Video games are about manipulating motion and using it to your advantage.

Just take a look back at some early games. Pong is ostensibly only about motion, as two players manipulate the way a square bounces back and forth across a screen. Galaga and Space Invaders were all about anticipating enemy movement while understanding your own. Tetris is a beautiful series of precise motions, a balance between time management and finesse. Motion is the vehicle by which games bring interactivity to the player.

Each genre engineers motion to suit gameplay demands. For some, it’s simple ups and downs along a straight path. Others it is 360-degree rotation on a 2D plane. As games moved into 3D movement evolved. Motion now wasn’t constrained by up-down-left-right, it could span the gamut of x-y-z axis coordinates. In building towards the level of sophistication required to master 3D movement, a concomitant rethinking of 2D motion occurred. Game developers sought to reimagine what movement along a 2D plane could mean for the player. New titles didn’t just focus on new worlds or narratives; they also focused on revolutionizing the way games handled.

From an early age I have been drawn to action games. I’ve enjoyed a variety of them for a variety of reasons, but one thing that has stayed consistent is how much I enjoy their movement. Quick, skillful combat requires mobility to match. For older action games like Ninja Gaiden or Castlevania, your options were often limited to jumps and good character placement. Over time a wealth of new options were added: like sprinting, blocking, dodging and warping. The mechanic that’s stuck with me the most, however, is dashing.

Dashes are a great solution to a common action game problem—how do you keep motion fluid during (and outside of) combat? A dash can get you from one place to another in a fraction of the time it would take to walk. A dash can also act as a split second, and skill intensive, system to avoid enemy attacks. There is something fundamentally game-y about dashes, too, which endears them to me. Like the double jump before them, dashes are something that comfortably exist outside of reality. Sure, someone could sprint a short distance in the real world but that wouldn’t truly recapitulate an action game dash. Some of my favorite dashes are inhumanly fast. Often, dash systems are titrated to a perfect level in which they both empower the player and add a skill ceiling for those looking to conquer the game’s hardest challenges. To put it succinctly: I love dashes.

This summer I played a trio of action games that got me thinking about dashes. Stories: The Path of Destinies, Furi, and Hyper Light Drifter are totally different games that share one common element—fantastic dash moves. In each game the player is given the tools to zip around the map, making each experience fast and fluid. In wanting to spotlight those dashes here I began to think back to other satisfying dashes in games I’ve played recently. So if you will pardon me the indulgence, let’s look at five awesome feats of speed.

Stories: The Path of Destinies


Though you don’t start the game with it unlocked, Stories: The Path of Destinies does a great job at pushing the player towards unlocking dashes quickly. Dashes are predominantly for facilitating combat. One press of a button quickly closes the gap between player and monster, which is essential for maintaining your combo meter. Dashes can be powered up to travel further, faster, and deal damage to enemies as you collide with them. Outside of combat, dashing towards the next encounter is nice but the three dash in a row limit lessens their impact. Still, what’s not to love about a fox zipping around at lightning speed?

Furi


Furi is a game that took me by complete surprise. Not only does its ‘boss rush only’ design work, it is a game that packs in a lot of complex mechanics. The mechanic I adored, as I am sure you have already guessed, was its dash. Furi’s dashes are fast. Really fast. They teleport the player in a blink of an eye. Dashes are integral to your success in Furi. They are used to dodge enemy attacks, quickly move to exposed boss flanks, and in the game’s bullet hell-like sequences. What I enjoyed the most about the dashes was just how much control Furi gave the player over them. Quickly tapping the dash button moved the player in the desired direction. The button could be held down too, holding your character in place until the button was released. This would increase the distance covered. As I wrote in my review, this added a whole new layer of skill and precision that made Furi great.

Hyper Light Drifter


Hyper Light Drifter is one hell of a game. I promise to review it here soon. The game features yet another great dash. Your scarf-donning silent hero faces a decaying world, sword in hand and ready to move. Similar to the two above games, your dash is so satisfyingly fast. Point in a direction and boom, you’re at your destination. Dashing is unsurprisingly essential, serving the dual purpose of dodging enemy attacks and navigating its open and secret-filled world. Hyper Light Drifter also features a fantastic modification to the dash by allowing players to chain an unlimited number of them together, given you perfectly time your button presses. I still need to complete the 800 chain dash challenge, but man did I love Hyper Light Drifter’s movement.


Transistor


Cut from the same cloth as the above games, my third favorite game of 2014 featured some fantastic dashes. Transistor’s mix of real-time and turn-based combat gave dashing a new layer, making it critical for positioning above all else. What I remember loving was incorporating dashes into combos and then watching them play out in real time.

Bloodborne


If you haven’t, you can read me rave about Bloodborne's dashes in my review. If not, just watch this gif. Perhaps it was its juxtaposition against its much slower Souls forbearers, but moving around in Bloodborne felt supremely satisfying. Bloodborne proved you can add hyper fast mobility to deeply thoughtful Souls combat system and still get a fantastic end result.


Games like the ones I’ve featured above just go to show that dashes are an integral, and fun, part of gaming. Moving fast has never felt better.

Friday, August 26, 2016

News & Views
8/20/16-8/26/16

It’s been a busy week for me so let’s get straight into it. News & Views is where I collect the best writing about video games I’ve seen each week and put it into one convenient place. Check out the links below for stories about the nasty backlash against No Man’s Sky, how Nioh brings a real samurai legend to games, a step-by-step breakdown of Undertale’s masterful opening, and an interview with the ballerina motion captured for Bound.

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
Jonathan Ore, CBC


Worth Reading
Patrick Klepek, VICE

Gareth Damian Martin, Kill Screen

Max Pears, Gamasutra

Kyle McKenney, Paste

Ben Silvestre, Gamasutra

Jim Sterling, YouTube

Jason Johnson, Kill Screen

Kat Bailey, US Gamer

Holly Green, Paste
The Impact Factor Ep. 69: Confessions Of A PC Gamer
Podcast
Welcome to the 69th 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 is joined by special guest host and economic scientist Patrick to discuss PS4 Slim, PS Now coming to PC, Nintendo’s big July, Dark Souls III, Titanfall 2, Obduction, PC gaming, Deus Ex: Mankind Divided, Stellaris, Bound and much more!


YouTube page

For articles and reviews from Alex, check out: www.theimpactfactor.blogspot.com

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

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, August 23, 2016

Polygons and Pain
Review
Bound, Plastic (PS4)

Abstract: Bound is a narrative told through motion. You explore a beautiful and abstract world as you relive your past and confront your fears. Bound learns from a long legacy of 3D platformers while creating an identity completely its own. Balletic dance permeates the experience, bringing life to cold geometry. The game’s emphasis on short cuts and speed runs in subsequent playthroughs unfortunately highlights some of Bound’s weaknesses, like its imprecise controls and long load times. Taken as a whole, Bound is a wonderful experience that is much more than it initially appears.   

For me, it was a tree house. Well not a tree house really, more like well-worn 4’x4’ square of processed wood nestled precariously on top of a Y-shaped corner of branches. The tree was a short walk into the wooded area behind my home. I’d climb, recklessly so, to perch in my spot. Time would stop. It was just high enough up to see the tops of other trees, but not nearly elevated enough to feel in danger. Cold or warm, windy or still, I’d climb to my hideout to be away from it all. The tree house was my answer to the same question Plastic’s Bound poses: as a child, how did you cope with pain? In Bound the answer is a beautiful combination of ballet, monsters, and geometry.

Bound begins as the protagonist, a pregnant woman, comes across a quiet beach. Journal in hand, she begins her walk down the sandy path towards a house. Along the way she’ll open up her journal, which is filled with fantastical images of trees, paper planes, mother and daughter and father and son, abstracted into compositions of jagged shapes. Bound’s narrative unfolds as a reflection of the past, a view into the world the game’s protagonist created as an escape. She is reliving her most traumatic childhood memories as she grapples with fundamental issues of family and forgiveness. Bound takes full advantage of its medium, sharing its story with players through actions. The game seeks to evoke emotions through movement, telling a familiar story in a new way. The story spans a few levels, each manifestations of her past pain turned fear. Bound escorts you through five vignettes in an imaginary world she called her own. Levels end with a reconstruction of the traumatic memory in a 3D space you can freely explore. The game culminates in a difficult decision that feels earned. Despite some looseness of the story itself, Bound does an admirable job at creating a narrative with which players can engage.

Face your fears.
Bound’s world is fantastical and bizarre. Bound transports players into a vibrant, chaotic, polygonal world. Shapes float in a barren expanse, reacting to the player’s presence. Monstrous structures assemble into existence as you draw near and orderly disassemble as you journey away. In this world we play as a masked young princess. Across the different vignettes we see conflict between king and queen in a world that struggles to adhere together. Bound’s world is unlike anything I’ve seen in games. It’s visually striking, stunningly beautiful, and has a signature that quickly imprints itself into your mind. Despite its abstract nature, each of the game’s levels is distinct and memorable. Bound’s world was what first drew me to the game and remains a clear highlight of my experience after playing.
 
Bound has a game world I'm not soon to forget.
Gameplay in Bound derives from a long lineage of 3D platformers. On the surface, your task is quite simple—follow the linear main path through each level jumping from platform to platform, up and down ladders, with very light puzzle solving to make it to the end. Along the way you collect memory fragments, glowing shards that both serve as a breadcrumb trail if you get lost in the dynamically shifting world and to complete an end of level mosaics. The controls are quite simple. The player can walk, run, jump, roll, and… dance. Heavily inspired by balletic movements, dance is an essential aspect to playing Bound. Movement has a lightness to it only seen at the ballet. Running, jumping, shimmying along edges, everything is steeped in dance. Motion capture is utilized brilliantly, creating a character that looks and feels human. She’s elegant and graceful. If that weren’t enough, Bound features a button dedicated solely to dancing. Dancing affords a couple advantages to the player. You dance to complete a level and dance to unlock large memory fragments. Most importantly, the player dances to bypass a level’s entrenched obstacles. You dance to fight your fears.

As I mentioned above, each of Bound’s five main levels is a powerful vignette from the protagonist’s past. Each of these centers on a childhood fear: steam, trees, pearls, shout and planes. These fears manifest themselves as physical barriers in each of the levels. Trees are nests of tendrils that grab the player and hold them in place. Planes are paper airplanes that swarm the player, again preventing movement. Dancing frees you from these fears. But there’s so much more. As you play through Bound, each level you complete conquers a fear. For example, conquer the planes level and you’ll no longer be affected by the swarms. This alters the way you play through subsequent levels. Sections that were previously blocked off now become open for exploration. The world adopts more striking colors and warmer tones. Bound is different each time you play, assuming you choose to complete levels in a different order. This offers a unique kind of replayability that I appreciated in a short game like Bound (you can complete your experience in less than 2 hours).

Dance will set you free.
Conquering fears and opening new paths are only one small part of the beautifully designed 3D worlds in Bound. These wide-open spaces are absolutely packed with depth. Levels are replete with hidden memory fragments, telegraphed shortcuts, and fear-blocked paths. You’ll also discover hidden and highly skill intensive sequence breaks, which allow the player to skip huge sections of the level. Bound wants players to find these, and even dedicates a whole mode to speed running the game (completing it as fast as possible) Bound’s main path is easy to complete. Bound’s fastest paths are punishing and demand precision. It’s a great feeling to discover a shortcut the hid in plain sight, or find a hidden path that shaves five plus minutes off your completion time. Despite not having the usual bells and whistles of 3D platformers, like oodles of collectibles and enemies to defeat, Bound offers players plenty to do.

By emphasizing short cuts and speed runs, however, Bound highlights some of its biggest weaknesses. The game’s platforming works well when players are taking their time and absorbing the fullness of the experience. The controls are less than ideal when placed under the magnifying glass speed runs demand. Jumps often feel imprecise. It can be hard to know if you’ll make a jump or fall to your death. Bound has a finicky ‘edge guard’ system that, in theory, is there to help players with difficult platforming sections, but in practice detracts from the fluidity of the motion. Bound implements some smart systems to avoid bad camera placement (endemic to the genre) like having shapes disappear when they would block the screen, but camera problems still arise from errant level geography and during non-horizontal movement. The game’s speed run mode is a disappointment, too. Levels have unskippable opening and end sequences that frustrate as you repeat a level over and over. Repeating is another act of frustration, as long load times make it feel particularly painful when you mess up your run. I typically like pushing myself in platformers to complete these challenges, but some design incompatibilities prevented me from investing myself in Bound beyond its story playthrough.

As much as they are emphasized, speed runs are not the best part of Bound.
Bound exists in great company, however, as one of the few games I’ve ever immediately played through a second time after first beating it. I wanted to see how the world changed, how my play had evolved, and perhaps most strikingly, to make a different narrative decision at the game’s end. Bound is more than visuals. Bound isn’t style over substance. Bound is, in a number of ways, about how one copes with strife. For me, I’ll always think back to my tree house. Bound makes me wish I could have escaped to its world, though. Bound’s was fantastic.

Bound
4/5

Friday, August 19, 2016

News & Views
8/13/16-8/19/16

So ends a damp, cool, and foggy week in San Francisco. I’ve been waiting since the first hour of Monday for this.

News & Views collects the week’s best writing about video games and puts it all into one convenience place. Check out the links below for stories about how a developer’s hypoglycemia is represented in his games, how Super Mario 64 introduced the camera as a new character, and a look into a growing mystery that links 19 seemingly unrelated games together.

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
Kathryn Hemmann, Kill Screen

Worth Reading
Chris Solarski, Gamasutra

Laura Kate Dale, VICE

Gita Jackson, Giantbomb

Aevee Bee, Zeal

A.A. Dowd, Matt Geradi, John Teti, and Ignatiy Vishnevetsky, A.V. Club

With Comments
Popsychblog, Reddit/r/hearthstone
This poster on Reddit offers an interesting insight into how to view new cards. Pros and amateurs alike are routinely wrong about the power level of new cards. There are so many factors, it’s hard to really know. Poppsychblog suggests a common rubric on how to value a new card’s merit that’s irrespective of meta context. Interesting thoughts!

Alex Newhouse, Gamespot
No Man’s Sky is a polarizing game. Some love it, some hate it. Like many of the ‘big’ games of our time, it has certainly fueled interesting writing. Alex Newhouse discusses the joy of being stranded alone in an unthinkably vast universe. I’m not sure that’s what I am looking for in games, but that No Man’s Sky can provide that feeling is something truly special.

Patrick Klepek, VICE
Well, Frog Fractions 2 here we come! Jokes aside, this is a crazy story. 19 seemingly unrelated games have these symbols appearing. Symbols that, once decoded, seem to assemble into some kind of map (or electrical circuit?). With the Overwatch Sombra ARG in full force, I’ve been really into following the hard work of others in deciphering these cryptic messages. Here’s to hoping it builds to something really cool.
The Impact Factor Ep. 68: Dewritos and Gremlins
Podcast
Welcome to the 68th 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 Gamescom, PS4 4.00, Metal Gear Survive, For Honor, Overwatch, Heroes of the Storm, Final Fantasy XV, THQ Nordic, eSports, memes, Hearthstone, Headlander and much more!

“Why dank memes are killing the discussion around eSports” Cassandra Marshall, PC Gamer


YouTube page

For articles and reviews from Alex, check out: www.theimpactfactor.blogspot.com

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

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, August 16, 2016

Cozy Up By The Fireplace
Review
I Am Setsuna, Tokyo RPG Factory (PS4)

Abstract: I Am Setsuna is Tokyo RPG Factory’s attempt to make what was old new again in JRPGs. A freshmen outing, I Am Setsuna is a mixed bag of success and disappointment. A likable cast of characters and beautiful world is hampered by a forgettable narrative and poor dialogue. Unnecessary complexity detracts from a fantastically fun and mechanically engaging battle system. I Am Setsuna evokes your fondest classic JRPG memories while mostly succeeding under a modern critical eye. I Am Setsuna is a warm fireplace in a snow storm, a piping hot plate of comfort food. It’s not perfect, but I Am Setsuna is satisfying and made me hungry for more.

The blips. The bloops. The menus. The music. Old-school Japanese role-playing games (JRPGs) constitute a hugely significant part of my gaming lineage. My earliest gaming was defined by quick-fixes and raucous multiplayer, which earned fighting games, arcade racers, and platformers top billing on my ‘favorite genres’ list I kept near my bed. JRPGs uprooted that and redefined the kinds of experiences I wanted out of video games. What started as simply as Pokémon Blue quickly evolved in Tales of Destiny, Final Fantasy IV, and Xenogears. JRPGs were my introduction to the immersive capacity of games—worlds and characters and combat systems I could get lost in.

The transition to full 3D was difficult for JRPGs. That is not to say there haven’t been great JRPGs made after 2000, but in adapting to a new medium they lost something. It felt like every JRPG develop at the time suddenly decided to redefine what a JRPG should be—for better and worse. I’ve kept my JRPG playing up in the years since Final Fantasy VII and Chrono Trigger, but the further we got from classic JRPGs the less I felt attached to those experiences. And I’m not alone.

Enter Tokyo RPG Factory and I Am Setsuna. Square Enix, the most widely known developer of JRPGs, moved their marquee JRPG franchise (Final Fantasy) to the modern era, replete with huge 3D environments and action-game-based combat. The demand for classic JRPGs never went away, though. Tokyo RPG Factory is a Square Enix initiative to make smaller, classic-feeling JRPGs for gamers today. I Am Setsuna is their freshmen outing. I Am Setsuna is a mixed bag, part wonderful and part disappointing, but ultimately it felt like a long lost friend. It was an experience I had been craving for quite some time. I Am Setsuna is JRPG comfort food.

JRPG comfort food through and through.
I Am Setsuna opens as the protagonist Endir, a young and deadly mercenary , is tasked with an assassination. Your target is named Setsuna, an 18-year-old girl who, as it turns out, was just selected to be a ritual sacrifice. Setsuna must journey to the Last Lands and offer herself up. In doing so, the monsters that plague the lands should abate. Endir decides not to kill Setsuna, seeing as she is about to die anyway, but rather join the sacrifice’s guard to ensure she makes the perilous journey in one piece. Over the course of your odyssey you assemble a rag-tag group of boisterous characters, each with their own motivations and combat specialties. I Am Setsuna’s uniqueness stems from its central theme—despair. I Am Setsuna isn’t a happy adventure. Death is everywhere, the line between good and evil blurs, and everything comes back to the tragedy of sacrificing innocence on the altar of compromise. The story isn’t spectacular, even by old-school JRPG standards, but it is functional and moves along at a brisk pace.

Death is a huge part of I Am Setsuna.
Homage to its predecessors or not, I Am Setsuna struggles narratively. The dialogue writing is poor, filled with saccharine professions of feelings and overly dramatic revelations that felt more functional than noteworthy. I Am Setsuna’s characters fall into formulaic molds, too. You have the old warrior who uses crudeness and sarcasm to mask his pain, a plucky youngster whose arcane power comes at a great cost, and the stalwart noblewoman who struggles to follow her royal calling. The worst offender is Setsuna herself, whose naïve cheerful good-to-a-fault personality becomes grating by the end of your journey. Surprisingly though, I found myself really enjoying I Am Setsuna’s cast of characters. They are quirky, memorable, and aesthetically striking. There are some great back and forths between party members and moments of levity that actually had me laughing. Combine this with beautiful hand-drawn art and cute little sprites and I’m sold.

Formulaic or not, I loved my party in I Am Setsuna. The gorgeous art helps with that.
JRPG’s live and die by their battle systems. After all, it’s what you’re doing for the vast majority of your time while playing. I Am Setsuna’s is fantastic. You choose a party of three characters. Monster encounters are always by choice, as you see them wandering around the dungeon. Walking into the monster triggers the fight. Actions are determined by a bar that fills up in real time, called an active-time battle (ATB) gauge. Once it fills you can attack, use a tech (spells and special attack moves), or use an item. I Am Setsuna adopts so much of what made old-school JRPG battle systems so much fun. It’s tactical but fast, as enemies can attack as you’re planning your move. Fights balance healing and damage dealing well, as low health on both player and monster keeps fights tense and prevents them from lasting too long. Useful abilities, like healing, are spread among all characters so players aren’t forced into a set party composition. On paper, and while playing, the battles are simple but plenty customization options exist to offer players opportunities to optimize.

I Am Setsuna adds new wrinkles to classic JRPG combat, too. The most successful of which is the game’s Momentum system. While your ATB bar is full, but you haven’t selected an action, your Momentum meter will fill. It can be filled up to three charges. Momentum is a resource that powers up any of the player’s actions. By pressing the square button at the right moment, and with at least one charge of Momentum stored, your attack will have bonus effect. Sometimes it’s extra physical damage, sometimes it adds status boosts like ‘attack up’ or ‘affects all enemies’. Momentum creates a brilliant balance of risk and reward. Waiting to fill up your Momentum meter exposes your party to enemy attack since monster ATB gauges don’t stop. Do you push for that extra damage or go for the quick kill? In some instances it can be even more challenging. For example, you need to wait to use Momentum on your heal spell because it gives auto-revive to your party. I love risk vs. reward systems in video games, and Momentum is one done very well.

I Am Setsuna's combat is fun & rewarding throughout. Momentum is a great
addition to a classic foundation.
While combat is great, preparing for it is not without its problems. Many of these issues come back to the same root: unnecessary complexity. Spritnite, gems you equip to give characters new abilities (techs), is a host to most of these problems. Every time to you kill a monster you receive raw materials. These materials can be sold to a NPC. Depending on what materials you’ve sold, and in what quantity, certain Spritnite become available to purchase. Spritnite come in two flavors: command (techs you can use in combat) and support (passive abilities). The whole system is just a mess. Command Spritnite are specific to each character whereas support can be used by all. Spritnite can also undergo the poorly explained ‘fluxation,’ in which they gain boosts from your equipped armor. Getting the materials for specific Spritnite is also a challenge as the game never communicates where or how to get them. For instance, certain materials will only drop from monsters when they are killed in a specific way, like with water-elemental damage or overkill. On top of that, despite the limited number of monsters you’ll encounter, there are what feels like hundreds of different materials. And dozens and dozens of Spritnite. It’s immediately overwhelming and doesn’t get much better by the game’s end. With poor instructions and even poorer menu navigation, dealing with Spritnite is a pain. The Spritnite situation is unruly, especially for an ostensibly simple game like I Am Setsuna.

Spritnite, Fluxation, and Singularty are unnecessarily convoluted. You'll get a grip
on it eventually, but the process of getting there isn't fun.
Fortunately, you won’t have to worry too much about the Spritnite headache. I Am Setsuna is an easy game, and I mean that in the best possible way. Winning encounters is straightforward and bosses can be beaten even with suboptimal Spritnite equipped. I Am Setsuna wants to replicate your fondest memories with classic JRPGs, not the hours of frustrated grinding you spent because certain bosses were unfairly powerful. The “fond memory” design philosophy can be seen throughout I Am Setsuna. The game decided to trim the often tasty, but sometimes unpalatable, fat from the classic JRPG. Character stats are totally dependent on the weapon and amor you have equipped. You can finish I Am Setsuna in 15-20 hours. There are a small handful sidequests, but they only become available near the end of the game. The judicious use of Tokyo RPG Factory’s design scalpel sometimes goes a bit too far, however. I Am Setsuna has only a few monster types that are recolored and repeated frequently. Bosses aren’t memorable and are few and far between. Somewhere in the trimming process I Am Setsuna must have lost its cartographer, as it annoyingly lacks any form of in-game map. I Am Setsuna’s piano-only score is great at first, but becomes tiresome over time.

Problems aside, I couldn’t help but be enamored by I Am Setsuna. I loved getting lost in its tranquil snowy world. Playing felt like cozying up to a warm fireplace in a log cabin as snow falls gently outside. I Am Setsuna was comforting and transportative. I was brought back to my quietly humming CRT, PlayStation One controller in hand, on the floor of my basement. That I Am Setsuna can evoke such fond memories while still passing critical scrutiny of today is worth commending. I Am Setsuna isn’t perfect, but comfort food never is. It sure was delicious though.

I Am Setsuna
3/5

Friday, August 12, 2016

News & Views
8/6/16-8/12/16

We’re living in plentiful times, folks. Everyone expects summer gaming to be slow and boring, but I’ve had an experience quite the opposite. Summer 2016 has been a fantastic time for indies & other smaller games. I recently finished I Am Setsuna, a nice throwback to the JRPGs of yesteryear. Early this week I finished and platinumed Double Fine’s Headlander. And now I’m deep into Hyper Light Drifter (which is freakin’ fantastic so far.) Once that’s done, I still have ABZU, Bound, and Batman: A Telltale Series to get to. It’s a good time to be playing video games.

News & Views collects the week’s best writing about video games. Check out the links below for stories about how food can evoke a particular brand of fantasy, why putting a score on your video game review is useless, and the galaxy-wide quest to find No Man’s Sky’s giant sand serpent.

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
Rami Ismail, Ramiismail.com

Worth Reading
Jon Shafer, Gamasutra

Matt Sayer, Unwinnable

Todd Harper, VICE

Ellie Gibson, Eurogamer

Holly Green, Paste

Josh Bycer, Gamasutra

With Comments
Patrick Klepek, VICE
Klepek’s investigative reporting gives us insight into something we almost never see: the reasoning behind why a game gets its content rating. This article takes a look at the German video game review board and their decision to not rate the controversial Criminal Girls 2. If nothing else, this is worth reading for insights into the previously only speculated.

Patricia Hernandez, Kotaku
I love stories like this. No Man’s Sky had a lot of trailers, but even I remember the giant sand snake that slithered its way into the hearts & minds of fans around the world. The procedural generation in the game means that it is unlikely for a giant snake to spawn that perfectly resembles the one in the trailer, but that hasn’t stopped the hunt. Fans across the world are scouring No Man’s Sky’s billions of worlds in search for the elusive creature. I hope they find it!
The Impact Factor Ep. 67: Team Justine, Redux
Podcast
Welcome to the 67th 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 is joined by the amazing Justine to discuss PS4 Neo, No Man’s Sky, Duelyst, Vanquish, Pokemon GO, Telltale, Mr. Robot, eSports, the Olympics, work-life balance, Preacher and much more!

“Should eSports be in the Olympics?” Patrick Stafford, Polygon 


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For articles and reviews from Alex, check out: www.theimpactfactor.blogspot.com

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Tuesday, August 9, 2016

TIF Reviews: One Night In Karazhan! (Hearthstone)
Video Article

Hello everyone! One Night In Karazhan, Hearthstone's latest adventure, launches this week. As always, I had to get in front a camera to talk about the cool new cards. 45 cards is a lot to review in one video, so I picked the 10 cards that have me the most excited. I contextualize all my card thoughts on how much of an impact they might make in the Standard format. Overall the new cards appear weaker than the ones in the previous two expansions, but there's still plenty to be excited about.

So please check out the video and let me know what you think. Are you excited for One Night in Karazhan? What cards got you the most excited? 


Monday, August 8, 2016

TIF Plays: Week of 8/1-8/5
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, August 5, 2016

News & Views
7/30/16-8/5/16

Summer Games are afoot. Rio’s opening ceremony airs tonight and Lucioball is talking folks by storm in Overwatch. While you wait, why not sit down to read a few pieces of great gaming writing?

News & Views collects the week’s best writing about video games and puts it into one convenient place. Check out the links below for stories about the relationship between goats and DOOM, the insane fan culture that’s arisen around No Man’s Sky, and the less than stellar race politics of the new Deus Ex game.

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
Patrick Stafford, Polygon

Worth Reading
Austin Walker, VICE

Patrick Klepek, Kotaku

Maddi Chilton, Kill Screen

Reid McCarter, Kill Screen

Mantin Lu, Gamasutra

With Comments
Matt Sayer, Unwinnable
As a long time Souls fan I’ve long wondered if there was a way to make the games more accessible without compromising their unrivaled design. The answer to my own question was typically a resounding no. Matt Sayer also investigates this question. He provides some possible avenues to consider: like directing the player to focus their attack on a specific part of the boss via glowing limbs, or warnings for players about to fall to their deaths. I like what he’s trying here, but disagree that these would work. More thought is needed.

Emeric Thoa, Gamasutra
I quite enjoyed Furi. I really appreciated how dedicated that game was to its core principles, for better and worse. Emeric Thoa, one of the game’s designers, writes about their philosophy for the game. Of the most interesting aspects is The Game Bakers’ goal to make a ‘triple I’ game. It centers around the idea that you cannot compete with AAAs in terms of scope, so you must focus on one feature and make it exceptional. This will help your game stand out among indies. Thoa also writes about how, in doing so, you cannot worry about alienating a large audience—you can’t please everyone.