Monday, October 31, 2016

TIF Plays: Week of 10/24
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 Mondays and Wednesdays at 5:30pm PT, and Friday mornings at 6:30am PT. 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!


News & Views
10/22/16-10/28/16

Happy (almost) Halloween everyone!

News & Views collects the week’s best writing about video games and puts it all into one convenient place. Check out the links below for stories about how voice actors aren’t told what games they are working on, a ten-year journey to release a pixel art indie game, and elaborate revenge scheme in EVE Online, and a nearly 350 hour long ‘speed run.’

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
Emanuel Maiberg, Motherboard

Worth Reading
Matthew DeLucas, Gamasutra

Patrick Klepek, Waypoint

Steven Messner, PC Gamer

Chris Berg, Kill Screen

Francois Alliot, Gamasutra

Patrick Klepek, Waypoint

Anthony John Agnello, A.V. Club

Friday, October 28, 2016

The Impact Factor Ep. 78: Game Dev Trick or Treat
Podcast
Welcome to the 78th 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 about Bethesda ending early review copies, Battlefield 1, Evolve, Red Dead Redemption 2, Nintendo Switch, Kingdom Hearts I.5 & II.5, Final Fantasy XV, Halloween, the World Series, and our game dev tricks and treats!


YouTube page

Discord Server

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, October 25, 2016

Costume Time: Role Playing in Role-Playing Games
Perspectives


My silver hair danced gently across my face as I strode into a muddy, weather worn village by the river. An imposing castle sat atop this quiet town. But I wasn’t here for nobles. I wasn’t here for rest. I was here for one reason only—a bounty. For you see, a poster at a nearby tavern alerted me of a desperate need for a skilled warrior. A terrifying griffin had been ravaging a nearby town. I hopped on my horse and rode over. A quick stroll through the streets and it became obvious who my new employer would be. A woman sobbed outside her home, cursing fate and only wishing for her son’s safe return. The griffin had snatched him up while he was playing outside the town’s walls. He was gone in an instant. The mother pleaded with me to help her out. Her only son could be moments away from death. I listened to her request, and got the required information about the beast’s possible lair and habits. I then looked her squarely in her eyes, her brown against my fiery yellow. I asked coldly, “So what does this job pay?”

Sure, I (as Alex) felt bad for the traumatized mother. I (as Alex) hoped the young boy was still alive (though unlikely, griffins aren’t the most patient creatures). But I was not Alex. I was Geralt of Rivia. A bounty hunter. A Witcher. I didn’t ride across the land as a do gooder or as a righteous warrior. I had honed my craft at slaying monsters and ghosts and beasts alike for one reason: to get paid. Every single decision I made during conversation, exploration, and combat was that of the hardened bounty hunter Geralt. Sob stories were met with asking fees. My price was non-negotiable. The Witcher 3: Wild Hunt allowed me to be this fantastic character. It allowed me to act in his stead. I always had choices and could have played The Witcher 3: Wild Hunt very differently, but I wanted to role-play. I wanted to wear my Geralt costume.

You got a problem, hey I'll solve it. For a fee, of course.
In this spooky, costume-wearing time of year I got to thinking why I like wearing these video game ‘costumes’ and the kinds of games in which these costumes exist. The first place many of us might think of, myself included, are role-playing games (RPGs). They often build a world around a character, or group of characters, that engage with a grand narrative. Sometimes it’s about stopping a madman in clown make-up from destroying the world, other times it’s about finding my long lost son in a post-nuclear wasteland. Who the characters are and how they interact with this grand narrative, however, can vary quite a bit between RPGs. In fact, you don’t always get to role-play a ‘character’ in a RPG. Let me explain.

Non-character ‘characters’ typically fall into two categories. The first you see quite often in Japanese RPGs. We’ll call it the overly controlled protagonist. A few examples out of the many I could have chosen are Cloud from Final Fantasy VII or Sora from Kingdom Hearts. There’s nothing wrong with having an overly controlled protagonist lead your RPG. They’re often endearing, sticking with you long after completing the game. But games like Final Fantasy VII and Kingdom Hearts don’t allow the player to make their own stamp on Cloud or Sora, respectively. Everything is pre-scripted. Gameplay inside and outside of combat doesn’t lend itself to adopting a persona. Cloud and Sora are great characters, but they cannot be costumes for me to put on.
And here you see the extent to which you can role-play as Sora.
The second type is the formless protagonist. Formless protagonists were traditionally found in western RPGs like The Elder Scrolls or Baldur’s Gate. You now also see them in Japanese RPGs like Bloodborne and Dragon’s Dogma. The main characters in these games lack any built-in personality. It starts from the character creation screen. In many of these games, you mold and shape a character to look exactly how you want her to. The same philosophy applies to playing the game. Everything about the character comes from you, the player. Good or bad, murderous or forgiving, these protagonists can be whatever you want them to be whenever you want them to be. I already see arguments popping up here. “But Alex, isn’t your character from Fallout 4 perfect for role-playing? It’s a perfect costume since you can be whatever you want!” But therein lies the problem. They aren’t characters. They’re me. They’re me when they are the Nice Guy™ doing good across the land, and they are also me when they are a sleazy scoundrel that drinks until he’s silly. I can’t frame my decisions within an authored context. I am the actions and the framework. The formless protagonist is great for role-playing, but an imperfect costume.

You can be Geralt in Fallout 4! Except not. You're always yourself as your own character.
So what makes Geralt of Rivia work as a costume? It is a combination of player agency in moment-to-moment decisions with predefined characteristics. Geralt has a backstory and personality. He has past decisions to atone for and a well-communicated set of core values. In cutscenes or other moments when control is removed from the player, Geralt acts according to the narrative framework of the developers. He is his own person. While playing, though, I get to define who I am as Geralt. A player like me could have just as easily been a Geralt that’s softened his stance on payments, due to the evolution of his relationship with his daughter figure Ciri. Another player’s Geralt could have gone the exact opposite direction—ignoring teary-eyed pleas for help because he has bigger fish to fry (namely the spectral Wild Hunt that wants him and Ciri dead). No Geralt is wrong, and all Geralts are a costume. I think of it like a mask you’d buy at a Halloween store. You’re not going to buy a block of rubber and cut & shape it into a mask. You’re going to buy one that’s already been made—one you can put your unique stamp on by the way in which you wear it.

Great costumes don’t happen that often in video games, so I relish every chance I get to put one on. A recent example is Adam Jensen in Deus Ex: Mankind Divided. Like Geralt, this augmented super spy has an authored identity that can be shaped by a player’s actions. Jensen’s tagline in Mankind Divided’s prequel was ‘I didn’t choose this.’ After nearly being blown to smithereens by gunfire, Jensen was rebuilt with top of the line mechanical prosthetics (augmentations) and asked to face off against those who would do harm. Coming into Mankind Divided, Jensen is perhaps more comfortable with his new identity but also, for me as Jensen, someone who never forgot his roots. I took his framework and built upon it.

I played an Adam Jensen that remembered what it was like to be powerless. A tough stint as a Detroit beat cop taught him humility. Taught him the value of all life, especially in an age when people are looking for any reason to treat others as subhuman. For those reasons, my Adam Jensen never killed. Anyone. Ever. I used non-lethal weapons like the stun gun or tranquilizer rifle, and made sure to knockout and enemy rather than break their neck. Even in trying moments, my Adam Jensen held true to his principles. In one instance, he faced off against a serial killer. This person had brutally murdered no less than four augmented individuals and had gotten away with it. In fact, she had lured Jensen into the sewers to be her next victim. Despite all that, Jensen didn’t want to kill her. Nor did he want her to end her own life. In a room rigged with explosives and deadly gas, Jensen carefully talked to the serial killer in an attempt to find out what he could say to peacefully put the murders to an end. And he did. I did. I wasn’t there to open fire or run her through with my arm’s nanoblade. Because that’s not the costume I was wearing.

Put the blade away Jensen. That's not you (or me as you).
I love these video game costumes. Maybe it’s my affinity for this unique kind of role-playing experience; maybe it’s just their scarcity. This Halloween enjoy the costumes you wear. Not just the ones you put on for a party. Enjoy the ones you wear while playing video games, too. From a mythical bounty hunter to an augmented super spy to anything in-between, costumes are a whole lot of fun. Now if only I could find a way to be given candy while wearing one.

Monday, October 24, 2016

TIF Plays: Week of 10/17
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 Mondays and Wednesdays at 5:30pm PT, and Friday mornings at 6:30am PT. 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, October 21, 2016

The Impact Factor Ep. 77: Nintendo Switch, Creepy Mario
Podcast
Welcome to the 77th 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 Nintendo Switch, Red Dead Redemption 2, The Legend of Zelda Breath of the Wild, PSVR, Sony smartphone games, the SAG-AFTRA strike, Friday the 13th the game, Hearthstone, Overwatch, Darkest Dungeon, Halloween, and why it is so dang hard to make a video game.

“Why It’s So Hard to Make a Video Game” by Tina Amini


YouTube page

Discord Server

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)
News & Views
10/15/16-10/21/16

News & Views collects the week’s best writing about video games and compiles them into one convenient place. Check out the links below for stories about a level that took 300 hours to make, how consoles are compromising their ‘play now’ identity, a core failure of military shooter video games, and why is it is difficult to make a video 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
Tina Amini, Waypoint

Worth Reading
Mark Brown, Boss Keys

Jim Trinca, Waypoint

Jeffrey Matulef, Eurogamer

Matthew Walden, Rolling Stone

Jim Sterling, The Jimquisition

Steven Messner, PC Gamer

Dan Hill, Kill Screen

Ryan Bradley, Longreads

Wednesday, October 19, 2016

TIF’s Snuggle & Scream Ep. 05: The Invitation
Podcast
Snuggle and Scream as you listen to this podcast about horror films! In Season 2 of this special seasonal spin-off of The Impact Factor, Alex is joined by his co-host, fiancee and fellow (begrudging) horror movie watcher Justine to discuss some scary movies! Each episode we’ll talk about a new horror movie we’ve seen together and give our thoughts.

This week Justine and I discuss 2015's The Invitation.

Send questions & comments to: impactfactorpodcast@gmail.com
Alex is on Twitter @alexsamocha
Follow all things TIF: http://www.theimpactfactor.blogspot.com

Intro: ‘Horror TV’ by FoolBoyMedia, freesound.org. Attribution Noncommercial License.

Tuesday, October 18, 2016

Part Man, Part Machine
Review
Deus Ex: Mankind Divided, Eidos Montreal (PS4)

Abstract: Deus Ex: Mankind Divided is a worthy sequel to 2011’s Deus Ex: Human Revolution, but not one without notable faults. A gripping near-future setting and deft handling of modern social issues stands in contrast with an overly convoluted narrative that ends abruptly. Technical problems plague Mankind Divided, from frame drops to wonky animations. Gameplay is at a franchise best, however, with new skills, challenges, and sandboxes that are better than ever and unapologetically fun. Fans of Deus Ex will get what they want out of Mankind Divided, but it is not a game I would recommend without a caveat or two.

Sirens sound in the distance and the heavy steps of mechanized soldiers reverberate across the cold concrete ground. Drones fly over a world buzzing with technology. Adam Jensen’s task is simple: get from point A to point B. One quick glance at the dilapidated building lets you know your path is anything but straightforward. You have the direct, bloody route in which Jensen will shoot, heal, frag and punch his way through. But what about the serendipitously placed ventilation shaft or the door with a hackable entryway? Do you camouflage and take out enemies silently? Adam Jensen is more than a character, he is you and defined by your actions. Deus Ex: Mankind Divided transforms you into an augmented super spy and the feeling is fantastic.

Deus Ex: Mankind Divided is the sequel to 2011’s Deus Ex: Human Revolution, itself a spiritual successor (and prequel) to the hugely influential Deus Ex games of the early 2000’s. Human Revolution received widespread critical and fan acclaim, transforming it from an off-my-radar title to a must play. At first I approached the game with hesitance—I’m no huge fan of the stealth genre and had no attachment to the IP. A brutally punishing first couple hours all but caused me to completely drop Human Revolution. But then the game shifted, or rather, it finally clicked. My confidence soared as I dropped soldiers left and right, skillfully made my way through the environment, and completed side quests. Human Revolution is a game I would not have expected to like as much as I did.

Would Mankind Divided improve on an already strong foundation? 
Despite my adoration for Human Revolution, I couldn’t bring myself to purchase Mankind Divided proximal to its release. Maybe it was my fear of another challenging stealth sandbox; maybe it was the tone-deaf marketing campaign. After finding myself in the Upside Down and a friend’s strong recommendation I finally picked up Mankind Divided. Does the game live up it the high bar set by its predecessor? Yes and no.

Once again you take control of the cop turned mechanically augmented super spy Adam Jensen, in a direct continuation of the previous game’s plot. The most resonant event from Human Revolution is the aug incident, in which augmented individuals (augs) across the globe were hacked, causing them to enter into a murderous frenzy. This has spawned the world of Mankind Divided, where augs are marginalized citizens, often viewed as less than human. Groups like the Augmented Rights Coalition (ARC) advocate for equal rights, but many view their actions as terroristic. This acts as a backdrop for the adventures of globe trotting ubermensch Adam Jensen. When a mission in Dubai goes awry, Jensen is forced to question his loyalties, fight against unknown enemies, and try to drag into the light those who would do harm from the shadows.

Deus Ex: Mankind Divided is a spy thriller in which you never know who to trust.
Probably not that machine gun robot, though. That's a safe bet.
If it sounds like I didn’t really detail the plot of Mankind Divided, you would be right. I didn’t. And not because I didn’t want to, it is because the mainline story isn’t told with a whole lot of finesse. You're given a jargon-filled world of double agents and hacking. It's nothing new, nor is its attempt at making a narrative feel more mature by making it overly complex. I pieced together enough while playing to enjoy the story, broadly speaking, but it was forgettable. Even worse, the game ends at what feels like the second of three acts. You take out some big threats and gain a relatively clear understanding of all the moving pieces, but Jensen doesn’t address the main threat. The game ends not on a cliffhanger, but on a “to be continued.” Mankind Divided’s plot was more functional than important or engaging.

What really concerned me coming into Mankind Divided, however, was how it would handle its weighty themes. A large part of the game’s marketing was focused on how Mankind Divided will act as a lens through which we can view modern issues. A noble endeavor, sure, but one I quickly soured on after I started seeing “Aug Lives Matter” ads pop up. At best the campaign came across as naïve, and at worst willfully ignorant and trying to monetize a hot-button issue. It came as a huge surprise while playing that Mankind Divided actually handled its serious, real-world parallels with tact. Played out through ambient dialogue, side quests, environmental interactions and more, Mankind Divided portrayed a number of pervasive social issues we face today, like police brutality and institutionalized discrimination, well. I felt something when I was forced to take the augs only part of a train or watch as a serial killer of augs was ignored by a militarized police force.

Heavy handed, sure, but Mankind Divided does a pretty good job with
representing serious issues.
Deus Ex: Mankind Divided clearly focused on refining its gameplay, and I’m happy to write that it is better than ever. The series famous 3rd person action stealth gameplay makes its triumphant return, replete with new abilities, a streamlining of the more clunky elements from past entries, and delightfully fun sandboxes. Each discrete part of Mankind Divided’s robust gameplay suite feels great. The game not only gives players the tools, it encourages them to play however they want. You can go from guns blazing kick in the front door to crawling around in vents while invisible to anything in-between. Jensen’s best augmentations return in Mankind Divided, like smart vision and high jumps, on top of some spectacular new ones, like Titan armor that temporarily makes you invulnerable and remote hacking to disable distant security cameras. Mercifully, Mankind Divided starts with several essential augmentations already activated, removing that brick wall problem myself and others faced coming into Human Revolution.

Deus Ex: Mankind Divided is an elaborate playground. The moment-to-moment gameplay experience is consistently engaging. You always, always can approach a problem from multiple angles. The sheer number of weapons, items, and power-ups at your disposal is staggering, made all the more impressive when you consider the game’s developers had to keep all of this in mind while designing Mankind Divided’s world. The hub world and missions alike are impeccably designed. In any given moment you could hack, stealth, shoot, run, jump, block, or boost your way around the same problem. Scouring the world for items and paths never stopped being fun. The design felt far more organic this time around. I never felt as if I was abruptly plopped into a ‘stealth’ section. Enemy A.I. is better too, making moving around environments both more challenging and more rewarding.

Difficult gameplay decisions are built into the foundation of Mankind Divided. You’ll die early and often if you’re not thinking while playing. Resources, though relatively plentiful, need to be thoughtfully allocated. Limited inventory space means you need to be decisive about what weapons, ammo, and healing items you have equipped at any given moment. Praxis points, used to power up Jensen’s augmentations, cannot cover the full range of Jensen’s abilities without serious grinding. This means that you have to make tough decisions about what you boost and when—should I get the high jump aug to explore better now or it is more important I increase my body’s battery recharge rate so I can do more in combat? Every augmented action requires energy. Consume it, and you’re unable to use abilities again until it recharges. This includes melee takedowns, a vital element of any mission. I enjoyed having to always think about my actions, whether it was in quiet moments or as a half dozen armed goons charged me with guns blazing.
Decisions, decisions. You should always think before you act,
 inside or outside of combat.
On the PlayStation 4 Deus Ex: Mankind Divided is riddled with some serious performance problems. I’m not a particularly technically minded person, nor am I a guy who gets up in arms about frame rates, resolution, or graphics. But Mankind Divided’s technical issues were hard to overlook. Stuttering and dropped frames occurred with relative frequency, resulting in gameplay than fell below 30 FPS. Textures and geography would pop in abruptly. The combination of the two seriously impacted my gameplay at times. It felt particularly bad perfectly planning an encounter only to be hit with frame stuttering that caused me to mess up, get detected, and then lit up by gunfire. Character model animations were bad, too. Everyone felt stiff. Mouth animations often didn’t line up to the dialogue. Characters in Mankind Divided felt like puppets. They came across mostly like real human beings, but were off just enough that it broke my immersion. For a game that came out 5 years after its predecessor, Mankind Divided felt shockingly rushed. These issues didn’t ruin my experience, but they need to be addressed should another Deus Ex from Eidos Montreal be released.

Character animations in scenes like this are bad. The real Illuminati conspiracy
is that the whole world is filled with awkward marionette people.
So did Deus Ex: Mankind Divided live up to Human Revolution’s legacy? Yes and no. While gameplay was a substantial step forward for the franchise, narrative and performance problems held Mankind Divided back from greatness. Deus Ex: Mankind Divided is more than worth your time if you’re a fan of the franchise or action stealth games, but it isn’t a game I would recommend without reservations.  I’m happy to have played, though. There’s nothing quite like being part man, part machine, and 100% badass super spy. Jensen didn’t choose this, but I sure did.

Deus Ex: Mankind Divided
3/5

Monday, October 17, 2016

TIF Plays: Week of 10/10
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 Mondays and Wednesdays at 5:30pm PT, and Friday mornings at 6:30am PT. 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, October 14, 2016

News & Views
10/8/16-10/14/16

This dark, rainy Friday is a perfect endnote for a spooky October week. I’ve been plugging away at my Scare Fest 2016 list, now with over 10 movies seen and reviewed. Snuggle & Scream podcast made its Season 2 debut this week, in which Justine and I got to discuss Hush. We’re ever slowly creeping towards Halloween and I couldn’t be more excited.

News & Views collects the week’s best gaming and gamedev writing and puts it all into one convenient place. Check out the links below for stories about the geography of a MOBA battleground, how Thumper is a unique blend of rhythm with horror, the tale of a self-destructing game from the 1980’s, and a chronological look at the origin of Japanese role-playing games.

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
Brian Crecente, Polygon

Worth Reading
Ethan Gach, Kotaku

Josh Calixto, The Meta

Ben Bertoli, Polygon

Gino Grieco, Giantbomb

Alex Wawro, Gamasutra

Patrick Klepek, VICE

Felipe Pepe, Gamasutra
The Impact Factor Ep. 76: Asynchronous Spacewarp
Podcast
Welcome to the 76th 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 VR, Oculus Connect, NYCC, Persona 5, Cuphead, Below, free games, Overwatch Halloween Terror, Darkest Dungeon, and why we should play “bad” games.

“Breaking With the Consensus, and Being OK With That” by Jeremy Parish
“In Defense of Playing Bad Video Games” by Patrick Klepek


YouTube page

Discord Server

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)

Wednesday, October 12, 2016

TIF’s Snuggle & Scream Ep. 04: Hush
Podcast
Snuggle and Scream as you listen to this podcast about horror films! In Season 2 of this special seasonal spin-off of The Impact Factor, Alex is joined by his co-host, fiancee and fellow (begrudging) horror movie watcher Justine to discuss some scary movies! Each episode we’ll talk about a new horror movie we’ve seen together and give our thoughts.

This week Justine and I discuss 2016's Hush.

Send questions & comments to: impactfactorpodcast@gmail.com
Alex is on Twitter @alexsamocha
Follow all things TIF: http://www.theimpactfactor.blogspot.com

Intro: ‘Horror TV’ by FoolBoyMedia, freesound.org. Attribution Noncommercial License.

Tuesday, October 11, 2016

Measure Twice, Cut Once
Review
Severed, Drinkbox Studios (PS Vita)

Abstract: Fusing together first-person dungeon crawling with touch-based attacks was a risky choice, but one that pays off in Severed. A gripping world sets the stage of an impeccably designed adventure that builds momentum throughout. Smart infusions of new challenges and gameplay systems keep Severed feeling fresh as you progress. Disappointing boss fights and weak narrative payoff is a bummer, but not one that compromises an otherwise exemplary experience. Severed was a delight. It is a game every Vita owner should play.

Enter a world of colorful vibrancy of death and dismemberment. Severed is a unique creation, a mixture of gameplay conventions old and new. Drinkbox Software earned my trust with Guacamelee, and they make good on the promise of their talent with this dungeon crawling, finger-swiping adventure. Not many titles come out each year that justify the PlayStation Vita as a must own console, but Severed does a great job of proving just how impressive a handheld experience can be.

Severed weaves a tale of loss and the lengths someone will go to save their family. The game begins as the protagonist has her right arm violently severed, only to animate and fly away. You explore a dilapidated home in an alien world. It’s soon made clear that your entire family, your mother and father and brother, are dead and you’re in the ruins of your childhood home. Death is just the beginning of your adventure, however. A surreptitiously granted sword and quick monster encounter later and you’re off. You must now venture into danger filled dungeons, learn about where you are, and find a way to save yourself and your family. I was quickly intrigued by Severed’s plot but unfortunately the game does not do much to build upon it.

The first and most immediately compelling element of the game is Severed’s world. It is never made explicit to the player, but the setting comes across as a demon filled purgatory. Bolstered by a strong art direction, similar to the one they used in Guacamelee, Severed does a great job at establishing a mood. Distinct Central American notes permeate the various landscapes, from the look of the protagonist herself to the various iconography and architecture you encounter. This aesthetic carries over to monster designs as well, each with flair and personality. Exploring the forests, temples, and caves throughout Severed was a treat.

The contrast of color and beauty with gore and horror works fantastically.
On paper Severed sounds like a game that wouldn’t work. Severed is a combination of Ultima Underworld with Fruit Ninja. You read that right. Severed is a first-person dungeon crawler with a touch based control scheme for attacking. It is a unique mix that simply works. First-person dungeon crawlers are a genre of games we don’t really see anymore. It has been close to two decades since I played my last one. Aside from some Japanese developers that have recently adopted this early Western genre, first-person dungeon crawlers are all but lost to time. Thankfully, Severed learned from its ancient lineage to create a solid dungeon crawling experience. Quick access to maps, elegantly simple UI, and straightforward dungeon layouts make exploring easy. Rooms are diverse, often filled with interactable elements like destructible vases (that give resources) and secret paths. Light puzzle solving, typically involving switches or locked doors, prevents monotony while exploring without seriously halting player progress. A fast travel system would have been nice, but never did it feel like a slog to traverse Severed’s large map.

Combat is one of Severed’s most pronounced successes. When you think Fruit Ninja, you don’t picture a tense or thoughtful series of swipes. You think about mindless chaos. Though Severed uses directional swipes for its combat, the experience of battling couldn’t be further from those more casual titles. As you explore, you’ll come across rooms that have monsters inside. To progress to the next room, you have to defeat them. Monsters can be attacked only by swiping your finger across the screen. Short, quick swipes do little damage whereas long swipes deal much more. Defeating enemies is all about pattern recognition and discovering weaknesses. For instance, after being hit a couple times, one monster will block its center to prevent damage, while simultaneously opening up its flanks to attack. Other monsters have weak points that only make themselves apparent after you whittle away their defenses. These demons aren’t just helpless creatures waiting to be wailed on – they fight back. Every enemy has an attack timer, indicated by a meter on the bottom of the screen. Once it’s filled, they attack. The only way to mitigate damage is by parrying their attack, swiping in the opposite direction. Learning how monsters attack and the best way to quickly counter them is absolutely critical to make your way through Severed.
 
Combat is fast and fun. And just a little bit bloody.
As you progress the complexity of monster encounters ramps up. Some monsters don armor that must be destroyed with a charged swipe before you can deal damage. Others have defenses in place that, if you swipe the wrong way, you’ll power the monster up instead of hurting it. Later still, monsters will have stat boots that cause them to attack faster, deal more damage, or even recover health. Fights quickly become more than 1 vs 1, too. You’ll have to fight several monsters at once, which involves rotating your character to face them. Even though you can only face one at a time, monsters can attack whenever. What results is a skill intensive choreography of balancing damage and defense as you attack, parry, and rotate. Mistakes are punished and precision is key.

Think you're going to mindlessly swipe your way to victory?
Think again. 
Severed’s RPG elements manifest themselves in a couple ways. You gain abilities after defeating bosses, which adds new dimensions to both combat and exploration. Early in the game you gain the ability to briefly stun enemies, opening them up for attack and stopping their attack meter. Later on you acquire the devour ability, which not only allows you to open walls marked with its symbol, it also enables you to steal enemy stat boosts for yourself. Additionally, Severed features a robust leveling mechanic based on the game’s namesake. Attacking enemies fills up your Focus meter and, if an enemy’s health is depleted when the meter is full, you are able to use precision swipes to remove limbs, horns, eyeballs and more from your foes. Those severed appendages serve as your experience points. Severed parts can be consumed to fill up nodes on a skill tree. Nodes grant bonuses like better defense, quicker recovery time, or more damaging attacks. Severing quickly becomes the name of the game (pun intended) as you’ll want to cut off everything in sight to make yourself more powerful.

Combat is not without some faults. Though much more skill intensive than something like Fruit Ninja, Severed still asks the player to swipe one heck of a lot. Not only do you look like a madman in the game’s more tricky sections, it also results in some serious wear and tear to your fingertip. I appreciated the monsters, but Severed repeats enemies a bit too often for a 3-4 hour experience (albeit they come back with slightly altered variants). Boss encounters are generally underwhelming, too. In fact, several late game encounters are more challenging than the game’s bosses, both in sheer difficulty and in terms of strategy. When you have to defeat 4 uber-hard monsters on a strict time limit it makes a tiny little crow monster feel like chump change.

I've fought floating eyeballs harder than you! (Seriously) 
Other issues I have with the game lie outside of chopping monsters to bits. The narrative, while intriguing, never fully comes together. The player is left to guess the exact nature of the world, the antagonists, and the final outcome. A little more would have been nice here. The game’s soundtrack is disappointing and quickly became repetitive. Still, I can’t help but be enamored by the number of small things Severed does so right. Your protagonist changes as she gains new abilities, transforming her into an otherworldly-looking monster-slaying badass by game’s end. Sound effects for attacking, parrying, and severing are immensely satisfying. The way the camera dips and rises as you walk, the tactility of everything. Severed has far more in the plus column than minus.

It's the little things that make a game feel special. That, and a
breastplate made from the face of a boss you eviscerated.
Severed is a game I played nonstop until I finished. I got sucked into its world. I was hooked by the novel fusion of old and new. A great sense of momentum carried me through my adventure and my platinum trophy capped off an overall stellar experience. Perhaps Severed isn’t reason enough to buy a Vita, but if you have Vita there is no reason hesitate on this one. There’s nothing quite like its vibrant horror.

Severed
4/5