Sleepy Gamer

Van and I were fortunate enough to attend E3 this year down in Los Angeles, and although most of the good stuff was shrouded in secrecy behind closed doors, we were able to try out what we could on the showroom floor.  If I’d have to classify the show’s vibe, I’d say the ESA took a line drive down the middle, between the spectacle of E3’s of the past and the invite-only reduction seen in the last few years.  There was enough foot traffic and crowds to know what was hot, yet the lines were not long enough that you had to pick what to see and what to bypass.  So take a look at what we saw and played.

New Super Mario Bros Wii

NSMB Wii was Nintendo’s olive branch to the hardcore for 2009, since their other debuted must-haves (Super Mario Galaxy and Metroid: Other M) won’t be out until 2010.  The fresh take on the classic platforming formula moves to the Wii with a Zelda: The Four Swords-like approach to multiplayer.  We were able to try out one of the 4-player levels in its cooperative, but mostly competitive, 2.5-D sidescrolling mayhem.  As always, the controls were solid (what Mario game isn’t?) and the action was intense.  However, it was more fun trying to screw with your rival buddies, flinging each other into pits and bouncing on heads, than it was trying to navigate the level honorably.  I’m assuming the final package will include every bit as much gameplay as the single player DS campaign did, and coupled with multiplayer, it looks to be quite the party game this Fall.

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For the next installment of the outstanding series of multiplayer-focused Battlefield games, it seems EA and DICE wanted  to make something different.  While the cell-shaded, cartoony look and 3rd person perspective are what first catch the eye, it’s the “free to play” business model, with revenue gained solely via advertising and microtransactions, that make it truly unique.

Despite what the game’s producers may say, the simple look and approachable gameplay do indeed offer a much more casual-friendly experience.  The incredibly low hardware requirements mean that most computers will be able to run it without a serious upgrade.  Five second spawn times, infinite ammo and limited weapon choice make it quite approachable for any gamer used to the mouse and keyboard.  The downside of this approachable nature is that character class distinction is rather lacking among the game’s three classes.  You seem to have more options in customizing your character’s appearance than actual gameplay abilities, with numerous store-bought clothing and emote options at your disposal.

On the flip side, battles are incredibly fun and frenetic, frequently occurring around the game’s flag capture points.  Death leaves you with just enough time to check your stats and catch your breath.  Before you know it you’re back in on the action, thanks in part to the game’s automatic spawning system that does a decent job sending you back relatively close to the action.  The AI system also does a good job of making sure you aren’t constantly ambushed by spawn campers, like in Battlefield 2 when your side was pushed back to a single capture point.  Vehicles, such as tanks, jeeps and planes, are present on most maps, but their awkward controls and tame firepower make them much less important than in the more realistic Battlefield games of the past.  The game also takes a cue from the Halo series, with automatic matchmaking, based on player skill.  No server lists to navigate and refresh, just quick access to instant action.

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The 8-bit video game era of the late 80’s and early 90’s was an important period in gaming.  Where intuitive game design and refined controls were still at very early stages of development.  It was a time of cheat codes, Game Genie, and Nintendo game tip hotlines.  Most of all, it was a time of rose tinted nostalgia.  And although it’s easy to see all the inherent flaws of those games now, it’s hard to forget all the moments of joy they brought.

Retro Game Challenge (or GameCenter CX: Arino’s Challenge, as it’s known in Japan) tries to recapture that magical feeling again by simulating the 1980’s through a series of fictional NES-era (Famicon) games.  By some odd twist of fate, you are sent back in time to 1984 to complete a series of game challenges by a Japanese game show host named Arino.  The time warp changes your character to a younger version of you and Young Arino is also there to offer guidance as your fellow couch buddy.  Each fictional game offers a linear set of 4 distinct challenges ranging from the very easy (beat level 5) to more moderate challenges (score 250,000 points using the same continue).  Arino also periodically buys monthly game magazines, complete with helpful tips and tricks, sneak peaks at upcoming games and release dates, and even phony EGM-style game editors like Dan Sock (Dan Shoe) and Johnny England (John Davidson).

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Let’s face it, every game has it’s fair share of painful load screens.  Maybe they come up early, as you boot the game up, perhaps they are sprinkled at the ends of levels, but they’re inevitable.  Technology has certainly improved, but so too have the resources required to run most games, which means don’t expect a load screen-free utopia with fairy tale wishes and rainbow dreams any time soon.  Thankfully, there are a number of strategies developers can employ to keep load screens to a minimum, or at the very least hide them in creative ways.

The Cinematic or Cutscene. Story devices such as pre-rendered or in-game cutscenes are just about as old as gaming itself.  They control the pacing of a game and can portray important story elements in ways the game may not be fully able to, such as complicated action sequences or emotional set pieces.  They also tend to restrict player involvement, which can be useful when large portions of data are needed to play the next area of the game.  Mission briefings in military FPS or RTS games like Gears of War use these breaks to feed you with objectives and background intel, while enormous amounts of texture data are piped in behind the scenes, keeping the actual downtime to a minimum.

Ridiculously Long Elevator Ride. Although similar in nature to the previously mentioned lengthy hallway, this techique differs slightly in that these more blatant transitions do not usually require any player action whist in the load screen. Portal had many such elevator rides, with one after every puzzle. Some games choose to use this time to also convey some story elements, such as was the case in the Metroid Prime series. Likewise, Mass Effect was famous for it’s incredibly long elevator rides, but also supplemented the trip with relevant radio broadcasts pertaining to some of the player’s more recent endeavors. Another similar technique is the laughably long, door-opening animation, found in early Resident Evil games and many other 3D action titles. The animation for opening a desk drawer or treasure chest could even give the game a split second to process whatever random loot you happen to find in that hidden stash.

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Brand new game series’ are usually few and far between, and good ones are even more unlikely.  The current generation has seen it’s fair share of potential new franchises, but many new notables have yet to have produced proper sequels.  The cycle of innovation, refinement, then innovation is the foundation that the games industry is built upon.  So, here are some recent gems that are definitely worth revisiting.

Dead Rising (Xbox360)

You, trapped in a mall with thousands of zombies and the freedom to use practically anything as a weapon.  It’s no wonder we haven’t seen this game concept done earlier.  The zombie playground idea could be applied to almost anywhere too. Amusement park, airport, or even a small, open-world town would all be great locales.  Throw in a bunch more interactive objects for creative, new ways to kill the walking dead and you’re all set.  Oh yeah, how about some online co-op, please?

Zack and Wiki (Wii)

It’s the brilliant, Wii, point-and-click adventure that was a critically success, but a retail failure.  Sadly, we probably won’t ever see a sequel any time soon.  Some of the later puzzles were down right diabolical, but when you finally did figure it out, that “eureka” moment was pure magic.  The cute, lovable animations, the multiple solutions, and the clever use of items and enemies all worked to create an experience that could only be compared to the days of playing an old-school, LucasArts adventure game.  More of the same is all I ask.

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The gamble that Bethesda made in acquiring the rights from Interplay seems to be paying off. The fanatical outcry from the incredibly vocal Fallout fans has died down. The game is finally out and available for the masses to judge for themselves. And yet, as I log yet another hour in this wonderfully crafted, post-apocalyptic vision of Washington D.C., heading into the credits of my second playthrough, it’s apparent that the game lives up to every bit of the hype and then some.

Destroyed Beauty

There’s just something about the meticulous attention to detail of Fallout 3, how the environment was lovingly created and just as lovingly destroyed, that gives it that personality that is so rare to find in games. The Fallout series has always had a brilliant art style, mixing old 1950’s-inspired culture with the futuristic technology of tomorrow. With Fallout 3, Bethesda truly outdid themselves by presenting a world of hauntingly beautiful structures that spell a cautionary tale of nuclear war at every turn. Every corner of the game’s world is enriched in amazing little touches; torn-down walls, pieced together suits of armor made of shopping carts and old tires, tons of humorous, fake products and advertisements. There are even a handful of in-game radio station broadcasts with a wonderful selection of music from the ’40s and ’50s that help in immersing you in the alternate-history dystopia that the series is known for.

The characters themselves offer an incredibly rich selection of voice-acted dialog, whether or not you recognize the Liam Neesons or Malcolm McDonalds of the bunch. And just like Oblivion, there are naturally some repeats here and there (for example, three ghouls outside a vault all had the same exact voice and slightly different thing to say), but it’s never quite as noticeable, possibly due to the smaller amount of settlements and survivors that the Fallout setting lends itself to.

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