I spent pretty much all day Saturday playing Guacamelee, and I loved almost every second of it. The great game design and control, along with the visual style, really display how amazing well crafted the whole game is.
So I found it strange when I encountered some aspects to the game that weren’t as well crafted. These aren’t particularly big things mind you, I feel a bit like I’m nitpicking to talk bout them, but in the context of how well crafted the rest of the game is they seem to stand out more than they might have otherwise.
Basically my main issue is with the dodge mechanic, specifically during the first stage final boss fight, and the fight with the Jaguar Javir. During these two boss fights dodge becomes almost completely useless. And that is a bit of a problem when it is the player’s only defensive move, and they spent the entire game until that point teaching you to use it effectively.
And so as the player I feel completely unprepared during these two boss fights, because I haven’t had to learn to avoid attacks in any other way. As such the boss fight with Jaguar became learning what I could dodge through and what I couldn’t, and the first stage of the final boss became learning to stop dodging. Which then carried over into the second stage of that fight, since dodging during either stage doesn’t really work on any of the attacks.
However I can understand why they did this during these boss fights, since these characters are supposed to be the strongest ones. And negating my ability to dodge damage with attacks that can still hit certainly ups the challenge on these bosses, and makes them feel more powerful, and in turn makes them more challenging.
But my problem with this stems from the fact that dodge is your only defensive move, and they spent the whole game reinforcing your play style to take advantage of how powerful that move is. So to suddenly have enemies that can hit you when you dodge feels like the game is cheating you a bit, rather than actually presenting you with a stronger opponent.
They could have alleviated this problem perhaps with the introduction of an enemy with an unblockable attack. One who telegraphed it in a similar way to how the bosses would in order to teach you, or make the sudden appearance of these undodgeable attacks feel less surprising and cheap. They could have also had more than one defensive move in the game, but anything more than just dodge would probably have broken the flow and dynamicness of the fighting, which in turn would make it a whole lot less fun.
Also somewhat tangentially related to all this the final boss fight as a whole wasn’t anywhere near as good or enjoyable as the fight with Jaguar Javir. Both stages of the final boss felt like just waiting for an opening, hitting him once, and then waiting for the next opening. It didn’t really feel like a challenge, it just felt like I was punching a brick wall and eventually his meter would run out. I think this is because dodge isn’t effective at all, and so you can’t really get into a good fighting flow during either of the stages.
The Jaguar Javir fight on the other hand was far more interesting and challenging, because while I was still waiting for the openings to attack him, it was much more dynamic due to his speed and also his feints. There was still a flow and dynamicness to the fighting, but it just wasn’t like the flow of the fighting during the rest of the game.
This is because he didn’t seem to have a set attack pattern at all, and with his feints you really had to be on your toes. It felt like the culmination of everything I had been doing up to that point, and actually required to use all the skills I had learned. I think without the one undodgeable attack he has it still would have been a very challenging fight, and it also would have been a perfect final boss fight for Guacamelee.
From the second I picked up Sly Cooper: Thieves in Time something felt off. It looked like a Sly game, and sounded like one, and it seemed to control like how I remembered, but something was wrong.
After a few days of playing I realized it that I wasn’t having fun, and that there was nothing enjoyable about playing the game. The story was hollow, the levels were poorly designed, and even the new game mechanics seemed to just be lazy.
Overall it felt like a poor imitation of a Sly Cooper game, because that’s exactly what it is. It is as though they composed a list of the aspects of a Sly Cooper game, and used that as a checklist for what the game needed to have, but without understanding how those aspects worked together or why they made the games enjoyable.
The Sly Cooper games were some of my favorite games on the Playstation 2. They did some really interesting and inventive stuff gameplay wise, and found a combination of platforming, stealth, and action mechanics that seemed to work out well for them.
Additionally each game managed to be something of an evolution over the previous one. The first game, Sly Cooper and the Thievious Raccoonus, was structured on a sort of hub and spoke level design. Where players started a heist in a specific location, and then had to accomplish certain tasks across various levels within the location. The order in which the player attempted the levels was pretty much up to them, although some were locked off by the player needing to accomplish something first. Then once they had completed enough of the levels they could then attempt to steal back the piece of the Thievious Raccoonus that that location’s boss had taken.
While being conventional to other 3D platformers in level progression, what set it apart was it’s characters and it’s moment-to-moment gameplay. The characters were all each distinct, and interesting. Even the villains got their own backstory which gave you an understanding of how they came to be who they were, and what motivated them now. You didn’t necessarily feel compassionate towards them, but it at least felt understandable how they got the way they were.
Gameplay wise everything meshed perfectly with the theme, and made you feel powerful in your stealthful platforming, whilst also still keeping the prospect of getting caught scary. It did this by removing a lot of the onus for skill by the player. The platforming often became more about timing than whether or not you could gauge the jump height or distance correctly thanks to the stickiness/magnet-like movement Sly possesed, which would pull Sly to the correct object you were trying to grab/reach when you hit the circle button. This didn’t work on everything, but it made it clear the game wasn’t trying to be about player precision, but rather wanted to player to feel like they were playing a master thief.
So then two years later Sly 2: Band of Thieves gets released, and it manages to actually evolve on the previous game. The game for the most part keeps the hub and spoke, however now they are not just a place you travel through to get to the levels but the hub itself become a place in which the crew’s missions can occur. This helps make the game feel like a series of levels, and more like you are actually setting up then executing a heist in the local.
Another big change is that Sly’s crew of Bentley and Murray take on a much larger role than they did in the first game. Each character also possesses their own distinct playstyle when using them for a mission, or just for exploring the environment. Bentley uses darts to attack enemies from a distance, while Murray is a brawler who engages enemies in close quarters.
Each character’s style completely alters how you approach a given situation, and with the addition of a health bar instead of the one hit and you’re dead system of the first game. Combat in the game actually becomes something fun, which also in turn also makes failing to be stealthy also less punishing since you can fight your way out of a bad situation if you are good enough.
This leads to Sly 3: Honor Among Thieves where Sly is tasked with not only putting his crew back together, but also expanding it in order to get access to and break into his family’s vault. Which is being guarded by Dr. M. Again like with Sly 2 this game built on what came before it and improved on the open-world aspects of it’s hub and spoke level design, and added new characters in each location that helped to vary up the gameplay, but also played in a unique way compared to the other characters.
But most importantly what the game did better than it’s previous iterations was the writing. The first game was about Sly getting revenge on Clockwerk and his gang who killed Sly’s parents, and stole his families book of secrets. The second game is basically about Sly establishing who he is now that he got his revenge, and finds him hopping around the world to collect the remains of Clockwerk which are being used for rather nefarious purposes. The third ends up being not only about Sly’s legacy, and the legacy of the Cooper family, but also about relationships.
Sly has to first fix his relationships with his friends after the events of the previous game, and then has to get help from two of his old enemies in order to break into the family vault. On top of that there is a relationship forming between mouse girl Penelope and Bentley, which plays into Sly thinking about his feelings/relationship with police woman Carmelita Fox.
Then there is Dr. M who is guarding the vault who it turns out to be a former member of Sly’s father’s crew. But unlike Sly his father seems to have been a bit of a dick and not treated his crew members well or as equals. Which plays right into the themes of legacy in the game since we see his father’s legacy, and how Sly’s legacy will be different in comparison, all set in the Cooper family vault (aka it’s legacy.)
So then what Sly Cooper: Thieves in Time does is very similar to the setup of Sly 3 with new characters introduced in each local, which in this case are different ancestors of Sly. Unfortunately pretty much all of them control exactly like Sly (except the prehistoric Cooper,) but each possesses an ability that Sly does not. And those abilities weren’t particularly interesting, or enjoyable enough to use to make it worth having them as separate character.
This goes almost double for the costume mechanic, which feels so tacked onto the game. You pretty much only use each costume twice: when you first get it, and just before/during the boss fight of the locale you got it in. And none of them, besides arguably the Arabian thief outfit, actually do anything that is useful outside of those situations.
Only the Arabian thief outfit was fun to use, and that was pretty much because it was like using Sly normally, but now you could slow time. Which is an ability that is useful and powerful outside of the required times you needed to use it, whilst the other abilities you gained from the other suits all felt like they were impeding what you could do so you could do this one specific thing that the platforming puzzle was designed to make you do.
Possibly the biggest problem though is that the time travel story could have played into the gameplay in much more interesting way. Granted the story as a whole could have been much improved, including it’s attempts to have little character arcs for Bentley and Murray that both fall flat, and feel like more of an aside, rather than tied into what was going on. Bentley’s is especially poorly handled by having his missing girlfriend Penelope suddenly show up as the villain of second to last local, after not mentioning her existence since the opening cutscene. Then her reason for turning bad is just confusing, and doesn’t really make sense, when it should have been something that perhaps felt more understandable than, “It’s a means to an end.”
Putting that aside, the fact that the story involved techniques disappearing from Cooper family book is actually a perfect excuse to have the player re-learn Sly’s abilities over the course of the game. Except instead of learning them from the book he can learn them from his ancestor directly, and thus it’s not effected by the stuff in the book going away. They in turn could have been slightly different, or more powerful, and thus allow for the way the game played to break away and grow a bit from how the original trilogy played. It’s been almost eight years since Sly 3 and there are a lot of new ideas, and new games they could have used as inspiration to evolve or possibly revolutionize the series to make it modern.
And that is perhaps the biggest fault with the game, that after almost eight years what they made was a bad version of an eight year old game. With that much separation they could have, and should have, tried to do something more that what the original trilogy had done. They should have done something that made us forget that Sucker Punch had originally made the Sly game, and really made a new series of Sly game’s that were their own.
Instead if you want to see what the gameplay of Playstation 3 Sly game could have been look at inFamous 1 and 2. In those games flying, jumping, and sliding around the environment Cole are the best parts of those games, (especially in 2,) and it makes me think that Sucker Punch could have made an amazing open world Sly Cooper game.
Last year at CES Razer announced Project Fiona, a Windows gaming tablet that showed up to this year’s CES as an actual product, the Razer Edge. Much like when it was first announced, I find it still to be an interesting idea, but I don’t see myself sitting on my couch holding it and playing games. Especially when I could easily go to my desktop, turn on a console, or my laptop.
But there is a use for the Edge that I didn’t realize until this morning whilst I was looking over the specs and accessories on Razer’s website. The Edge could be your one computer.
When I say, “Your one computer,” I mean your home computer, your work computer, and your home theater/Steam computer all in one. It can do this because of the docking station that you purchase separately.
Essentially you purchase three of the docking stations: one stays at home on your desk, one stays at work on your desk there, and the third by your television. The dock has 3 USB ports, and an HDMI. Which lets you use a keyboard and mouse for your work and home desks. Whilst the HDMI allows you to use a second monitor with it. With the TV dock the HDMI is plugged into your television, and then you can use the USB ports for a remote control, a wireless keyboard, or multiple game controllers.
Then all you have to do is in the morning grab you Edge and put it into your bag to take to work. At work you drop it into the dock and do all your work on it. Then when work is done you take it home and drop it into your TV dock to play some games using Steam’s big picture mode, or drop it into home desk’s dock and get some more work done.
Now obviously this is going to cost you a bit since the Edge itself is either $999, or $1299, depending on the model you get, and then each docking station is $99. Also each docking station would need it’s own power cord, which Razer hasn’t said if the dock will come with one or if you’ll be able to purchase one separately.
However even if the cost ends up being over $2000, I think that the usefulness of being able to move between work and home with the same files and programs, as well as essentially replacing three separate computers could more than covers that cost in terms of utility. And of course that’s not even looking at using it as a tablet.
So while what the Razer Edge is doing isn’t necessarily something that will be unique to itself. I imagine we’ll see Windows tablets with docking stations, and that might be able to run some games as well, but right now it’s all we got. And I will likely seriously consider it when I look for a Steam box, since it can be that and more.
Hundreds is a puzzle game of sorts.
You touch a circle on your screen and it grows in size, as a number within the circle increases in value. When one or more of these circles have a value that adds up to 100 then you’ve completed that level. But if you are touching a circle when it touches another circle then you lose.
While a simple enough game mechanic, Adam Saltsman and Greg Wohlwend (aka Semi Secret Software and aeiowu,) the designers of the game, manage add interesting new twists and hazards over the progression of the levels that build on this simple mechanic and manage to make some pretty interesting and challenging puzzles.
Unfortunately as the game progresses it begins to seemingly focus less on creating levels that are puzzles you have to figure out, and then test you on being able to execute. Instead levels start to more often rely on randomness to such a degree that when you I managed to finally finish these levels it didn’t feel like I had beaten the level, but rather that the circumstances that try just happened to turn out in my favor.
I’ve seen people equating Hundreds to a Rogue-like puzzle game, which is actually a pretty good description of it. However this doesn’t excuse the levels where I felt like I just happened to complete, because in a good Rogue-like game like Spelunky each death or failure you feel as though you learned something because you know exactly what you did wrong and how to not do it the next time, and this doesn’t happen in these levels in Hundreds.
There is really only one thing you learn from these levels in Hundreds, and that’s that they aren’t about executing nimbly with skill or solving them by figuring out some sort of clever solution. Instead they rely on trying your patience. Waiting for thirty seconds, or a minute, or two minutes, for the chaos of this swarm of circles to finally part enough that I can touch one of them for the briefest of instants. Often only to still have it touch another circle that you couldn’t see since your hand was in the way, or which had suddenly been knocked a high speed toward your circle the surrounding chaos.
This isn’t fun.
In the end I have a hard time recommending this game. While it does have a brilliant looking minimalistic style, and some clever puzzles. These random chaotic level unfortunately sour much of the play experience, and break up a nicely crafted progression of interesting game mechanics.
Writer’s Note: I finished 99 of the 100 levels, completed 5 of the 10 ciphers. Which is to say I put a lot of time into this game.
Adventure Time: Hey Ice King! Why’d You Steal Our Garbage?! might be the most disappointing game of the year. The game clearly had people involved with the game that were fans of the show, which you can see in how true to the show the game is at times, but on the whole the game is just so blah. “Blah,” being a technical term for neither good nor bad, just rather uninspired.
The game basically has really good writing, (which is probably because serious creator Pendleton Ward is listed as one of the writer credits,) but conversely it commits one of the cardinal sins of game design by having the player do something they’ve never done before in the game during the final boss fight. Other than those two things there really isn’t much else to say about the game, and that’s really the problem here.
This is a game based on Adventure Time, a cartoon full of so many potential ideas for games that there was an actual 48 hour game jam where groups of up to three people made over 100 games based on the show, (one of which I should note I made.) Not all of them were good, but there were at least a lot of interesting ideas. Ideas that with more time could stand on their own in their own games without any connection to Adventure Time.
And that is really the problem with Hey Ice King! Why’d You Steal Our Garbage?! Without the Adventure Time stuff, it’s just sort of a Zelda 2: the Adventure of Link clone. Which could have been a great foundation to build a really interesting game on, and it’s also a great reference considering the fantasy adventure nature of the show.
So it coming out in the shadow of the Adventure Time game jam just seems to emphasize how much wasted potential this game had. Considering that the writing in the game is really what got me through a lot of the game I can hardly imagine what sort of game it could have with better gameplay, but it certainly could have been something special.