The most obvious place to start – one of the only obvious qualities it has, really – is that The Vanishing of Ethan Carter is unquestionably the most visually spectacular game I have ever played. Even if there weren’t anything else to say, that might be enough. If your computer can run it (and it’s punishing, but not too punishing) you probably need to buy it just to see the incredible technology The Astronauts bring to bear on this indie mystery. It’s simply jaw-dropping. Your jaw will drop. Which is harder to do than you think. Have you ever tried to drop your jaw? I just released my jaw muscles and my jaw stayed more or less where it was. It moved a little. But I wouldn’t call it a “drop.” You have to actively drop your jaw. The Vanishing of Ethan Carter will make you do that.
Foreword from the author,
Sometimes writing things is difficult. Not literally, like pushing keyboard buttons, that’s usually not difficult, except when coke spills in your keyboard and really messes up the Alt key, that makes pushing the buttons difficult because Alt is really underrated and oft-used. But I meant difficult like, the space in my brain that would normally come up with things to say to the computer word processor is absent. Or filled with noodles. And my brain doesn’t have a way of eating the neighbor noodles so they just have to live together. The noodles are useless too, it’s not like they do something.
I’m not someone you’d want around in a survival scenario: zombies, tribulation, camping, the park. Frankly, I possess very few skills and many undesirable qualities. If I were placed in an environment containing more than 65% Nature, I would die. I bring middlin’ genetic value to the table, but honestly, you could do better. I have no aptitude in engineering, construction, basic math, unarmed combat, logistics, celestial navigation, tool use, or athletics. I can’t operate a chainsaw, drive a motorcycle, construct an igloo, butcher an animal, or dress a wound. A slurry of cynicism, negative affectivity, and acute anhedonia give rise to a personality best described as “unpleasant.” I’m freakishly resistant to cold, but that power comes at a high price: my cognitive abilities begin to break down above 85°F/29°C, collapsing completely soon after.
You may be curious why I’m telling you all this.
2007 seems so long ago. That was the year THQ and GSC Game World finally released the absurdly ambitious open-world shooter S.T.A.L.K.E.R.: Shadow of Chernobyl. It surprised us by being phenomenal. Broken, incoherent, and phenomenal. Released after six years of troubled development, it was a heavily redacted copy of the original vision – more than 50% of the game was cut – but even in its mangled state it was a landmark in the “future of shooters is RPGs” concept. To this day nothing has quite replicated the feel of your first time. And throughout it all rumors persisted, about the STALKER that they’d intended.
Welcome to the Zone that was. Welcome back, to a place you’ve never quite been.
Before I talk about Lifeless Planet, I’d like to share a funny story. I was talking with a coworker the other day and for some reason the conversation turned to space, and the distances involved when discussing it. Now, before I go on, you need to understand that I work with some people who are… rather… narrow… in their thought processes. Which is why, at this point, my colleague said:
“Well, they don’t know for sure that space is that big. I mean, they can’t say the distance to the next star without actually measuring it.”
I stared at him.
Enemy Mind is a game being developed at Schell Games in Pittsburgh, PA. Schell occasionally does an internal game jam, and allows employees to work on their own independent game projects for a week. Enemy Mind was the brainchild of engineer Mike Traficante, and after a debut at the jam, was selected by the studio to receive further development. It was Greenlit on Steam and is already available through Early Access.
The approach to meet with Jane Jensen kind of seemed like a scene from one of her games. I had an email, a time, and a location: an unnamed building off the main conference site identified only by a number. When I arrived, I had a secret code to enter into the door. Behind the door was one shiny elevator, and a series of mailboxes. One was marked with a mysterious note. I was worried that there was going to be a puzzle here to solve. But then to my relief I was buzzed up, and invited into the Phoenix Online Suite.
Then I checked out some of the games. Read on…
Much has been said about Double Fine’s Broken Age. Maybe because it’s Tim Schafer’s first point-and-click adventure game since 1998’s Grim Fandango. Maybe because it’s a huge Kickstarter success story, earning well over $3 million by the end – one million of that in the first day – after only asking for $400,000. Maybe because of the near-catastrophic announcement last year that development on Broken Age was behind schedule and over budget, enough that hitting their original release goal would require cutting 75% of the game.
Yesterday afternoon found me at my desk with the vague expression of a lobotomy patient or a recreational user of thorazine. If a passerby had said “whatcha thinking about?” I’d have said, “Nothin’,” which was better than the truth. I was really thinking about narwhals, and Kate Beckinsale. I rarely think of narwhals, since they don’t usually impinge on my day. Kate Beckinsale is a more frequent mental guest, though not one I typically associate with narwhals – or, indeed, with any marine life. Then, because I hate myself, this reverie was interrupted by The Other Voice: “No wonder that Thief article is four days late, you’re so busy there.” God damned Inner Guilt.
Being a couple days late on a game nobody expects much from isn’t a big deal, but yesterday had been a bad day – and I’ve been late on stuff a lot recently, and kinda kicking myself for not having as much time to write like I did, and the usual. Something about the day made an otherwise innocuous deadline push feel like a double helping of Ennui Cake topped by the Scrotum-Pulverizingly Judgmental Cherry of Self-Loathing. Fortunately, my mood was about to improve dramatically.
I love a good city builder, particularly classical or medieval-themed ones. From Caesar III to Tropico to Grand Ages: Rome to Hinterland to Pharaoh to others that escape me and must therefore not have been overly memorable, if you’ve made a game about putting together and running a city, chances are I’ll be in line to buy it. So when Rock, Paper, Shotgun shared what was – for me – the first gameplay video of Shining Rock Software’s Banished, the question was less whether than when.
Does it live up to my hopes? Read on to find out!
The Castle Doctrine is probably one of the most cynical and brutal games I’ve ever played. I bought it for a few reasons: the premise sounded fascinating, it’s by Jason Rohrer who was responsible for Passage, Sleep Is Death, Inside a Star-filled Sky and Gravitation (amongst others), and it was 50% off and due to go full price a few days later to coincide with the game’s release. According to Rohrer the game will never go on sale again so it was as good a time as any to check it out.
It’s a rough game to start though, and if you don’t know what the game is about then stick with me here, you’ll be perfect to illustrate this to.
I’ll tell you: twenty minutes is a very long time to know you’re going to die.
I played a bit of Alpha Centauri when it was new, and, more recently, I’ve played a fair amount of Civ V. But I’d hardly call myself a 4X-Expert. All said, I’ve probably spent more time with the last act of Spore than with any other space strategy sim. But since I’m one of the few Tap-Repeatedly writers who is generally positive about the possibilities of Steam Early Access, I thought I’d give a new indy strat sim a try this month. This is Horizon, a 4X Strategy Space Sim by Canadian based team L3O Interactive. I’m not very good at it yet, but I’m getting there.
FORCED, as it’s listed in block caps in my Steam library, isn’t just another ARPG or dungeon crawling hacking and slashing click-fest as you might first assume. In a nutshell FORCED cleverly combines the puzzle-y goodness and seductive challenges of Lara Croft and the Guardian of Light, the less-is-more customisation and twitchier targeting-based combat of Bastion, and the kind of frantic survival co-op madness reminiscent of Magicka and Alien Swarm. I love that it has no loot to tediously sift through and sell, no inventory Tetris — hell, no inventory — no experience points, no leveling, no grinding, no unwieldy hotbars chock-full of timers and symbols, no woefully unsatisfying stat increases like +1% chance to critical or +5% resistance to fire damage, no specialisation that irritatingly locks you in for the rest of the game, no convoluted skill trees, no mind numbingly inevitable dungeons, no quest drudgery and the typically awful (and pointless) dialogue accompanying them, no long-winded time wasting story that takes itself too seriously — FORCED just lets you get straight down to what matters: the trials and working out how best to conquer them.