Not that they were much of a software house after giving up on point-n-click adventures, but it’s a loss nonetheless.
Lohikäärmeen Luola is a freely available finnish translation of Dungeons & Dragons. Or actually a translation of the System Reference Document (which is basically the third edition of the game with the serial numbers filed off).
It’s without art.
But it’s mostly very well done (I have some language issues, but they’re on the minor side).
Fingersoft’s Hill Climb Racing was one part of the finnish trifecta a couple of weeks ago: then a finnish game was on top of the three categories in the Appstore (most downloads for free [this game] and paid [Angry Birds Star Wars] games and most revenue generated [Clash of Clans]). The other two are pretty famous on their own, but Hill Climb Racing took pretty much everybody by surprise.
It’s a simple game with plenty of meat below a simplistic surface, there’s a lot more on offer than initially seems.
The objective of the game is simple, drive as far as you can, without succumbing to the twin hazards of a tricky track and a limited gasoline supply. And the track is indeed tricky – a two-dimensional hilly road that quickly gets challenging. The challenge needs to be tackled both with skill and with vehicular improvements (more powerful engine and such). And behind the first track and vehicle lie several more.
The controls match the game. There’s just two virtual pedals –
Despite an initial appearance that Hill Climb Racer is yet another IAP-monster, the need to purchase coins subsides fast once the track set on Moon opens – in the lighter gravity the jumps and flips quickly generate a seriously positive cash flow.
As individual games are short, this is a very good casual timekiller.
There’s awesome, and there’s this retro-grooving take of a page not found-page.
Wizards of the Coast was one of the first companies to publish their inventory in .pdf format.
They abandoned the practice a few years ago, and Pirate Bay was the best source for the files since then.
There’s a legal way, these days, as dndclassics.com has opened shop. The selection is quite limited for the time being, and the prices are on the steep side.
The second expansion adds a two new dimensions to the game: trade and repeated turns.
Some city tiles now provide trade symbols, and the player who hoards the most by the end of game gets ten points for each majority. The trick here is that the trade symbols are awarded to the player who completes a city, even if he has no meeples within.
A player may also place a builder meeple on a road or city – and whenever he grows the structure where the builder assists, he gets to pick and play a second tile.
The third addition, a pig meeple that boosts the scoring on a field, is more limited in scope to these two.
Both change the flow of the game quite a bit, and especially in games that use both expansions the scores tend to run high. In some ten games the AI has proven a bit fragile, the personalities that have been reliable high-scorers (count and countess) no longer rule the land as they have used to.
Like its somewhat simpler predecessor that went unreviewed here, this expansion is heavily recommended, even if its gamecenter achievements are very much on the boring side (and pretty much demand a few games against a local opponent that lets the wookiee win).
Lynn Willis, the man who pretty much single-handedly kept the Call of Cthulhu fire burning through the persistently difficult times at Chaosium, has passed away.
Thousands upon thousands investigators and keepers owe him big. After all, without him the company and the game would have sunk into obscurity ages ago.
The first book I read this year was Anna Anthropy’s Rise of Videogame Zinesters.
It’s a short book on a very good topic: democratization of videogame creation.
In the age of expensive, publisher-driven, minimum-risk AAA games, there’s clearly a niche for interesting, topical alternatives written by a minimal team.
And that’s exactly what this book promotes: an era when videogames have been taken back from the few big publishers, when the barrier of entry has been lowered and the barrier of discovery kept really low symmetrically.
However, behind the admirable aims, the execution leaves quite a bit to be desired. Currently the outlook of gaming is far from the bleak present laid out in the initial chapter – the indie games movement has significantly expanded frontiers, and the era of the appstores has eliminated the need to court publishers for an audience. Even the basic premise “games are for white males interested in shooting each other in the face” is increasingly less valid even in the mainstream – apart from the annual Call of Duty-dose (and its colleagues), it’s quite a varied world out there (especially outside the consoles where both development and distribution costs are orders of magnitude lower).
The answer to the dearth of interesting games is for the gamers to create new ones and distribute them.
Certainly a noble target, and the author both describes quite a few tools to get started with as well as laying out her own experiences.
The former is an eclectic selection – it covers the obvious (Scratch and a few commercial toolkits), not-so-obvious (Inform and Twine) and downright awkward (ZZT, which doesn’t even run in modern machines without emulation). The role of programming (and even understanding the basics of the art) is not really described that well (and a golden opportunity for tools like Processing is missed altogether).
As is the latter – the author’s quite keen on highlighting the queer (her word, not mine) agenda of her games thus far. But in quite shallow fashion, she doesn’t describe how she crafted the games, but lays out her biography via them.
The book is short and quickly read.
It provokes the reader in many ways.
And while hardly a real manifesto for changing the industry, it’s definitely a worthy read.
A long piece about the rise and fall of the arcade, by the Verge, which has quickly evolved into the finest technology news site that is complemented with occasional pieces of slow journalism.
ResidualVM, the virtual machine supporting post-SCUMM LucasArts games, has had its first public release.
With 0.1 Grim Fandango is completable (though compatibility is nowhere near 100%), and the work on Curse of Monkey Island has an even longer road ahead of it.
In an unexpected first time for everything (I guess), there’s a verbatim novelization of the Planescape computer game.
Good old Games has quietly opened its gates for Mac games.
As the initial selection includes classics such as Master of Orion, Ultima Underworld and Star Control, now is definitely a good time to check out the quality of the porting effort.
Playing L.A. Noire with a grandfather (a grandfather that was a cop in Los Angeles back in the late forties).
The verdict: intoxicatingly authentic, but wrong on many details.
Ticket to Ride expands to Africa in its third map collection.
Haven’t bought any of the collections. I have Switzerland as an independent game, and the Asian board in the iPad game.
The newest entry in the franchise hasn’t escaped controversy before release.
It’s quite expensive (30$) for a single board. And the board doesn’t even cover the whole continent, just the central parts. The cost is partially offset by the fact that the map comes with a new set of cards. And adding a second map would have necessitated a second set of destination cards anyway.
The twenty-eight games of the 18th annual Interactive Fiction Competition are now available.
Only one TADS game entered this year, that’s quite a dip.
The new game is far shorter than its predecessor, and quite a bit less grindy. And as an interactive short story from a single author, absolutely more cohesive.
The subject matter is intriguing: cryptography and secrets in the service of Cardinal Richelieu, in the tumultous 18th century Paris. But sadly the game mechanics are quite intrusive, and the repetition in tasks is unavoidable.
The nature of the game is not interactive fiction in its common sense. This is a “create your own adventure”- game on steroids, not a parser-based conventional piece of IF.
Cabinet Noir is the first product of StoryNexus, a new toolkit for building such games. And while I’m not that fond of this piece of french adventuring, the arrival of a commercial development tool is definitely an interesting prospect for both authors and players.
(Right, I was sure I had blogged about Echo Bazaar, but that seems not to be the case.)
Venus Patrol is a “video game culture” site created by Brandon Boyer, the guy who ran the much-appreciated (and terminated too soon) Offworld at Boingboing.
The answer is simple: go beyond television.
Xlisp.org has the manuals for the original Infocom development environment: ZIL and ZIP.
One more TED presentation to watch: Jane McGonigal on “game”.
I never finished the game back in the day, and now, 25 years later it’s high time to attempt it again.
With SCUMMVM, obviously, as it provides an extra layer of comfort.