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Monday, Apr 25, 2011
A little improvisational experiment in game criticism podcasting.

Sometimes a tech problem requires a little strategy to resolve. With some trouble with a microphone among a few other snafus leaving us potentially unable to discuss our planned topic this week, gamers that we are, our solution was to turn this weeks show into a game by putting a little social media to work for us and treating this podcast as something a little more interactive than usual.


The result is this week’s experiment in podcasting, a show based on utter miscellany about gaming and gaming culture.  We sent a “voiceless” Kris Ligman out to Twitter to gather possible mini-topics for discussion this week related to gaming, and then, of course, arbitrarily assigned points to our podcasters ability for improvisationally riffing on said topics in short conversational bursts.


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Friday, Apr 22, 2011
The Conduit is a flawed game, but all of its flaws only highlight its successes. It's this accidental limited focus makes it a great “first Wii shooter”.

The Conduit feels like an old game. Its simplistic, linear levels are a throwback to early shooters, and the awkward button placement on the controller ensures that you’ll rarely do more than just point and shoot. Ironically, these shortcomings actually help make it fun. It’s a flawed game, but it gets the most important things right—the shooting and the guns—and all of its flaws serve to highlight these successes. This accidental limited focus is what makes it a great “first Wii shooter”.


Of course, this (probably) wasn’t actually the intention of developer High Voltage. The Conduit wants to be a complicated modern day shooter, as demonstrated by the fact that it uses every button on the Wiimote, but the Nintendo controller wasn’t made for that kind of game.


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Friday, Apr 15, 2011
In moving from 2D to 3D, from an intuitive and streamlined interface to a confusing and cumbersome interface, the Broken Sword series encapsulates the problems facing adventure games today.

Looking at the state of adventure games today, there seem to be three identifiable types: those that adhere to the traditional 2D point-and-click interface (Syberia, Gray Matter), those that embrace movement on a 3D plane (Indigo Prophecy, Heavy Rain), and those that do both, allowing you free movement in a 3D world while keeping the 2D interface (most of Telltale’s games). It’s interesting to see how each deals with the problems of a 3D world. One group avoids it altogether, another embraces it, and another tries to find a happy medium. And make no mistake, a 3D world is very problematic for a point-and-click adventure.


Nowhere is this more evident than when a traditionally 2D series tries to make the leap to 3D. I recently played and finished Broken Sword 2: The Smoking Mirror and thought that it was an exceptionally intuitive and streamlined adventure game. When I started Broken Sword 3: The Sleeping Dragon, which made the leap to 3D, I was impressed by the new visuals but all the intuitiveness and streamlined design were gone. The series took a giant step back just as it took a giant step forward.


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Friday, Apr 8, 2011
Your Grey Warden was a force of change, but your Champion of Kirkwall is unable to change any major plot point. You are not special, which is the point.

This post contains major spoilers for the entirety of Dragon Age II. If you have even a slight interest in playing the game, do that before reading.


One of the chief complaints that I’ve heard about Dragon Age II is the relative lack of choice compared to the first game. In Dragon Age: Origins, you could change the fate of each little society that you visited: You could bring peace to the elves and werewolves or wipe out one side, you could save the mages or let them all die, and you could choose a king for the dwarves who would either modernize the people or steadfastly cling to tradition. (Your choices at Redcliffe aren’t as grand since the Arl sides with you no matter what happens.). In each instance, the choices that you made affected the world at large; your Grey Warden was a force of change that irrecoverably altered the lives of all he/she came into contact with.


Contrast that with the Champion of Kirkwall, who is unable to change any major plot point in the entire game:


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Friday, Apr 1, 2011
Maniac Mansion is not as unplayable as I first thought, and its instruction manual has a lot of interesting things in it, but the game still isn't fun to play.

On Monday the Moving Pixels podcast crew, myself included, talked about how old games compare to modern games. I mentioned my experience with the classic adventure game Maniac Mansion and said the game was practically unplayable by today’s standards despite the interface update provided by the fan-made deluxe edition. As a fan of adventure games, I was dismayed at my total dislike of this supposed classic, so when Chris Williams suggested that I missed a lot of information by not having the instruction manual, I resolved to track one down to see what I was missing. It was actually quite easy; there are a surprising number of websites dedicated to providing documentation for older games that have scanned the whole book and posted it online. After reading through the manual, I don’t think that it makes the game any more playable, but despite this, the more that I learn about the history of Maniac Mansion, the more impressive it becomes.


Tagged as: maniac mansion, myst
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