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by Eric Swain

7 Apr 2015


“The greatest adventure game of all time.”

I’m generally dubious about statements like this. They lack nuance, information, and are fundamentally authoritarian in their evaluation of a work. It just gets worse when such phraseology is used in the sphere of video games, a sphere that is well known for it’s penchant for hyperbole in all things. “Greatest” is a descriptor of such common standing in video game discourse it means little more than, “I had positive feelings about this for a time.” For such statements of high praise, often very little thought and appraisal goes into the subjects that they are attached to.

In 1998, that label was attached to Grim Fandango. It was a label that hung on the game long after the game itself became inaccessible to most of the gaming public, thanks to low availability and an engine that didn’t play nice with modern operating systems and processors. Yet, 1998 is an infamous year in gaming as it was packed to the gills with classics and influential titles that resonate to this day. To stand out from a crowd that included the likes of Half-Life, Metal Gear Solid, Ocarina of Time, StarCraft, Pokemon, and more means there has to be something to all of those statements. Now, thanks to the recent release of Grim Fandango Remastered, I can finally see for myself if this descriptor is true.

Let’s slaughter us a sacred cow.

by Eric Swain

31 Mar 2015


If there’s one genre of game I don’t get to play really anywhere other than at IndieCade, it’s the party game. Party games are made for large groups of people, often for the sake of an audience of onlookers. They are games that emanate fun through the spectacle of their chaos. They are challenge and competition, and in the same breath, they are light and harmonious. Nothing is worse than when a party game becomes serious. In short, they are the perfect sort of game for a gathering of fun loving people at a small expo like IndieCade East.

Doubly so, because I can’t get together a large group of people at my house to play a party game. It takes a lot to get just a single friend to to drop by to play a co-op game. So these aren’t games whose experience I can bring home with me. Still, there is that expressionistic joy that comes from being able to play these types of games that is worth experiencing, even if it can’t be any time I want.

by Eric Swain

24 Mar 2015


Visuals tend to get a bad rap in video games. It’s the “visuals don’t matter, gameplay matters” mantra that downplays the importance of visuals. Of course, such a mantra is only necessary in the face of decades of tech fetishism that promoted the fidelity of pixels and polygons over clarity, style, and artistic design. There are plenty of games in which the visuals are in part the point of the game.

Here’s three of them.

by Eric Swain

17 Mar 2015


If you take a step back from the insular culture of video games, the collective construct of what video games are supposed to looks like is actually rather strange. Maybe not so much strange in and of themselves, but strange in how narrow the mental construct conjured at the mention of video games is. Not just ontologically, but historically as well.

I could bring up how we are living in an era where the boundaries of what a video game can be about and how it can function are changing to a much broader spectrum of ideas and design implementation. Instead, I’m going to bring up how it’s not so much a broadening, phrased like this is a new thing, but rather as a return to the freedom of the “anything goes” model of the early life of video games as a medium. The narrow idea of shooting, jumping, and other types of action based conflict being the main harbinger of the medium’s identity is a relatively new phenomenon. With that in mind, here are some games that are definitely outside that scope.

by Eric Swain

3 Mar 2015


Knee Deep (Prologue Games)

“Our hurdles are design related, not tech related.” So says Thomas Grip of Frictional Games at his keynote during IndieCade East. The whole of IndieCade East was devoted to talk about narrative in one form or another. Whether it was the structure of how narrative is conveyed in the medium like in Grip’s talk or the craft of delivering narrative information or discussion of what narratives get told by games, these were the topics of the talks. Additionally, and more important perhaps was discussion about what narratives get lost in the industry.

Consistently the most interesting part of IndieCade East is the Show & Tell exhibit portion on Saturday and Sunday. There indie developers get to show off works in progress, little experiments, games that are ready to play, or something you won’t ever get to play in any other environment. Generally, narrative-based games don’t show well in a convention-like environment, but here’s three that caught my eye.

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