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!
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!
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!
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
Tuesday, June 21, 2016
E3 2016: Reflection, Games With The Biggest
Impact, and Game of the Show
Perspectives
In the weeks leading up to E3 2016 all you could
see online was doom and gloom, espousing the forthcoming death of the video
game industry’s biggest trade show. E3 2016 was a year of dramatic changes well
before the event even got underway. EA pulled out, opting to do their own
separate event for press and fans alike called EA Play. Activision and Disney
Interactive decided not to show any of their games on the convention floor. World of Tanks, infamous for their
lavish play area, also decided not to come to the show.
But E3 2016 was here to prove that E3 still
provides something unique and, while certainly in the process of evolving,
isn’t going anyway. This year brought a bevy of gargantuan game announcements
like God of War and Prey and Dead Rising 4. E3 2016 was
the place where Xbox announced that they seek to “end console generations...to
move beyond them” with Xbox One Project Scorpio. Sony made the internet erupt
in happiness with the reveal of Crash
Bandicoot’s long awaited return. And Nintendo proved it can still get
people excited as The Legend of Zelda:
Breath of the Wild was the most talked about game on social media around
the world.
The way the industry shares its new games has
been turned upside down over the past year or two. More fans than ever are
turning to “influencers” for their gaming news – like popular YouTubers or
Twitch streamers. The number of gaming conventions has risen astronomically, as
Penny Arcade Expos (PAX) continue to draw thousands of fans into their halls. Publishers,
even hardware manufacturers, have begun to realize that they no longer need to
communicate with their audience through old media like gaming websites (IGN,
Gamespot) or print media (USA Today). Video game makers can communicate
directly, or through influencers, and have their message received loud and
clear.
Further,
E3 2016’s attendance
went down for the first time in several years. As giants like EA and Sony
continue to have success with open to the pubic events like EA Play and
PlayStation Experience, the spectacle of E3 may continue to die down. Perhaps
the show floor will continue to shrink. Perhaps we see less new game
announcements at the marquee press briefings. But what won’t change is the
spirit of E3. The excitement so many of us feel in the days and weeks leading
up to the show. No other show elicits the kind of Christmas-morning-excitement
like E3 does. No other show gets people talking and sharing in the love of
great games like E3 does. We know that E3 will be around for at least another three yearsand that makes me so happy.
In
the end E3 2016, and all E3’s really, is about the games shown. From surprise
reveals to breathtaking gameplay demos for titles that have only been teased.
In honor of the spirit of E3, I have chosen 10 games that made the biggest
impact and one Game of the Show. These are all titles that made me excited for
the months and years to come. Without further ado, here are The Impact Factor’s
E3 2016 games with the biggest impact and Game of the Show!
Absolver
(by Sloclap)
Revealed just a few days before E3 2016, Absolver is a game that took me
completely by surprise. The game involves a smart combination of so many
disparate game elements that work in harmony. The team over at Sloclap have
adapted the methodical, thinking-man’s combat mechanics from Souls games and applied it to martial
arts. Absolver is an action RPG in which
planning your attacks, against AI or human alike, involves a deliberate dance
of parries, feints, custom combos and more. On top of all that, Absolver features a card-based
customization system that gets me even more excited. This a game to keep your eye
on.
Bound
(by Plastic Demo)
I
was fortunate enough to have the opportunity to play Bound at
PlayStation Experience last year. This small game from Polish developer Plastic
Demo continues to impress. The fluidity of the ballerina’s movements set in
stark contrast (and surprising harmony) with the game’s colorful polygonal
world is fantastic. It is abundantly clear from the moment you first lay eyes
on Bound that the developers have a unique vision for the game.
Thankfully I won’t have to wait much longer to try the game for myself as it
launches on PS4 August 2nd.
Detroit: Become Human
(by Quantic Dream)
Quantic
Dream and David Cage continue to create innovative gaming experiences you
cannot find anywhere else. I absolutely adored Heavy Rain and unlike
most others, I quite enjoyed my time with Beyond: Two Souls too. Detroit:
Become Human appears to be a return to form for Cage and team, however, as
its E3 trailer was one of the best at the show. Detroit: Become Human
looks to feature those same nerve-wracking split second decisions that can
indelibly alter the story you experience while playing. Set in a real city and
dealing with fascinating philosophical questions like “what makes someone
human,” Detroit: Become Human is a game I cannot wait to get my hands
on.
Dishonored 2
(by Arkane Studios)
Dishonored 2
is not a game I expected to impress me. I’ve never played the first game and I
cannot say that I’m the biggest fan of stealth. But here we are, and here Dishonored
2 is as one of my top ten games from the show. Arkane Studios looks to be
taking everything that people liked from the first game and improving upon it
in every way. The strategic use of powers, the fluidity of movement, the interruptible
narrative scenes, and the list goes on. Dishonored 2’s showing was so
good, it got me anxious to boot up my PS3 to play the original Dishonored.
That’s pretty impressive.
Eagle Flight
(by Ubisoft)
Virtual
reality has me excited. I’m chomping at the bit to purchase my PlayStation VR
headset. VR is nothing without fantastic games at & around launch, and Eagle
Flight has risen to the top of what I’m excited to try out in my new tech.
Ubisoft has expanded upon the game’s first reveal meaningfully, building a
world that looks both fun to explore in tranquility and a blast to zip through
in competitive capture the flag-like matches. While not the most groundbreaking
VR game, every time I saw Eagle Flight demoed I got a big smile on my
face. It just looks like so much fun.
God of War
(by Sony Santa Monica Studio)
Wow.
Just wow. It’s hard to (concisely) put into words what was shown on Sony’s E3
stage. God of War is a franchise I’ve always enjoyed, but never really
felt any closeness to. Kratos is a jerk, and the gameplay wasn’t much more than
gorey, fast, arcade fun. The reboot that Sony showed off, however, looks
tonally (nearly totally) different. The relationship between Kratos and his
son, the Norse setting, the more deliberate combat, the open-zones with
exploration, and the serious The Last of Us vibes all told me this new God
of War is something we’ve never seen before from Santa Monica Studios. I
cannot wait to learn more. I cannot believe I’m this excited for a God of
War game.
Horizon Zero Dawn
(by Guerrilla Games)
Horizon Zero Dawn
was my E3
2015 Game of the Show. E3 2016 further solidified my choice. Guerrilla
continues to impress with its new gameplay snapshot while simultaneously
bumming me out that I will have to wait until 2017 to finally play this great
looking open world action RPG. The world is beautiful. The relationship Aloy
has with the robotic dinosaur-like creatures is fascinating. It’s clear for the
first time that we’ll be taken on an epic journey to uncover the mysteries of this
far future Earth. Horizon Zero Dawn looks to be the next big thing, you
can quote me on that. The only reason Horizon Zero Dawn did not win The
Impact Factor’s Game of the Show for 2016 is because it won last year, thus
making it ineligible. Horizon Zero Dawn is a game tailor made for me and
I’m thrilled to finally know a bit more.
Pyre
(by Supergiant Games)
Supergiant
Games is making its weirdest and most ambitious game yet with Pyre.
First revealed at a recent PAX, Pyre is a beautiful synthesis of RPG
systems with fluid and strategic combat, a cast of colorful characters, and
Supergiant’s signature aesthetic. Bastion and Transistor are both
spectacular, and I am sure Pyre will be no different. I’m excited to see
how Supergiant once again creates a spectacular world as I journey through
purgatory with my group of exiles.
The Legend of Zelda: Breath of the Wild
(by Nintendo)
Saying
that Nintendo has had a rough past few years would be an understatement. The
Wii U has severely underperformed, Nintendo has lost all third-party support,
and even their console exclusives haven’t seemed to drum up a lot of hype. The
Legend of Zelda: Breath of the Wild could be the turning point in their
fate, however. What a gorgeous, impressive experience Nintendo showed off. For
the first time in a long time, Breath of the Wild reimagines what a Zelda
game can be. The game is open world, with resource gathering, crafting,
side-quests, jumping, climbing, subtle narrative, and a story you can finish
without even completing all quests. On top of that, Breath of the Wild
repurposes aesthetic elements from other games I love, like Wind Waker
and Shadow of the Colossus, delivering a Zelda game I would have
never expected. I’ll wait for the NX version, but oh man does Breath of the
Wild get me excited.
We Happy Few
(by Compulsion Games)
Who
would have thought a relatively unknown game would be the video game highlight
of Xbox’s E3 2016 media briefing? I sure didn’t. But We Happy Few stole
the show. The game was given time to breathe on stage, running the audience
through the game’s systems and its dystopian / Orwellian world. The
environmental storytelling and intriguing premise are just two of the many
reasons I got excited to play We Happy Few. If I take my happy pills,
will that mean I get to play sooner?
E3 2016 Game of the Show
Persona 5
(by Atlas, P Studio)
Persona 5
looks incredible. My excitement has been slowly building ever since finishing Persona
4 Golden, but E3 2016 made it rise to a fever pitch. Everything about Persona
5 demonstrates just how much love and skill has been poured into the game.
From UI to the world to characters to animations to the series-famous &
delightfully weird personas themselves, Persona 5 gives everyone a
reason to be excited. For the first time, your protagonist is not a good guy,
but a thief and miscreant. Your goal is not to save the world, but rather save
yourself and stop the evil desires of people by stealing from their hearts. Tokyo
is realized more gorgeously than I’ve ever seen before in a game. Despite not
being hands on at the show, I found myself scouring the web to watch off-screen
gameplay footage. And it still looked incredible! Persona 5 has been one
of my most anticipated games for months, and Atlas with P Studio have given me
no reason to doubt myself about it. Persona 5 will take Japan by storm
in September, but I’ll begrudgingly wait until February 14th 2017
when it releases in North America to deep dive into the game. Congrats Persona
5, you’re The Impact Factor’s E3 2016 Game of the Show!
And that’s it! What are the E3 2016 games you
all thought had the biggest impact? Or will have the biggest impact in the
months and years to come? Did I miss a game you thought was special? Please let
me know! Feel free to leave a comment below or tweet@alexsamocha
Friday, December 11, 2015
The Impact Factor Ep. 32: The Experience Experience Podcast Welcome to the 32nd 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!
In this episode Alex and Fliss talk about The Game Awards, PlayStation Experience, Psychonauts 2, FF7, Street Fighter V, Ni No Kuni 2, Dark Souls 3, PS VR, Bound, Severed, Nuclear Throne & more! Greg Miller’s Trending Gamer Speech
