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Mods That Remove Enemies Have Their Place (But Let’s Not Get Ahead of Ourselves)

Are all game mods created equal, and should all games have easy modes as a requirement?

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Last week, writing for PC Gamer, Sam Greer reported on a niche yet upward trend of gaming mods that remove enemies and/or challenges to create a more inclusive, stress-free experiences.

As is to be expected, the championing of such mods has led to mixed reactions, as could be seen in the article’s comments section or on Twitter, where you can find, in true Internet fashion, complaints about such mods helping “snowflakes” ruin games and, on the opposite end, folks celebrating these mods as a standard for options that should be included in all games.

I find both these arguments to lack, well, an actual argument.

mods

No, not these kinds of “mods”!

All Mods Go to Heaven

There’s nothing more intrinsically tied to PC gaming’s history than modding, having an especially established staple since the early Doom years — which lead to the creation of an entire community, since then as much a part of gaming creation and culture as the companies making games themselves.

While a lot of companies might see mods as immoral and potentially illegal, companies like id Software, Valve, and Bethesda have not only embraced the modding community throughout the years, they’ve helped it flourish and legitimize the culture, helping modders at times convert their hobbies into careers.

(And this is all without getting into the history of Game Genie/GameShark, who brought the concept of game hacking in the form of a buyable product for consoles).

Most people are likely to think of modding as a way to add new furniture to The Sims, play as Kermit the Frog in GTAV or turn dragons in Skyrim into “Macho Dragons”, but mods can come in more serious forms: whether that’s fixing Dark Souls: Prepare to Die Edition to actually work as it should on PC, re-texturing games to make them appear more realistic, or efforts in keeping games alive long after they’ve been abandoned by the companies that made them (though as a legal grey area, much like emulation, that’s a whole different can of worms).

Then, you have mods that add new game modes to existing games – inventing completely new styles of play that feel like an entirely new game, like Playerunknown’s Battlegrounds.

mods

“HD Realism” is a texture pack for Minecraft that uses photo-realistic textures to give the game a unique aesthetic

My point here is that mods have been an established, celebrated aspect of gaming for quite a long time, and to see these “non-enemy/tourist” mods as anything different than that just because they could be seen as subtracting from the game instead of adding would be hypocritical, especially considering that nobody complains about things like mods that make hard games harder, or add elements like “item randomization” or “random rooms”.

“Godmode” cheat codes and such were a staple of older games, and in many ways, these “easy mode” or “non-enemy” mods continue their legacy. “Non-enemy” mods would also be great if you simply want to explore a game’s environments and investigate for both entertainment and educational purposes, especially if it’s a game that you’ve already beaten.

Whether you agree or not as to how a “game should be played”, it’s wholly irrelevant when talking about mods, as they exist as the antithesis of “as intended”.

Easy Come, Easy Mode

Despite what might seem like the irrational outcries from some, the fear of this trend of a “stress-free” approach to games is indeed a reasonable one.

Though harder, more challenging games have certainly found their place in recent times, it still seems that games are largely created with a more casual audience in mind, leading to game design choices that are a bit too passive for those who want more than a walking simulator.

That isn’t to disparage casual games or games that focus on narrative rather than gameplay. Some of my own personal favorite games would fall in this category (alongside games that are difficult in “hardcore” ways), and it’s pretty awesome how the term “game” has a looser definition now, one synonymous with interactive experiences rather than just traditional objective-based reflex challenges. The variety of interactive arts available today is staggering.

The difficulty is part of the design in games such as “Dark Souls” and “Bloodborne” (screenshot above) that difficulty sliders would be a deterrent to the intended experience

But, to apply this casual game design to every game would be harmful, especially if it’s done to appease the narrative that everyone has a right to play any game regardless of how the game is meant to be played as per the creator(s). Nobody has that kind of “right”, as I have pointed out before.

Saying that From Software should include an easier mode setting for Dark Souls 3, for example, is simply not understanding the how and why of that game’s design and philosophy, and to call the game bad or not inclusive because it doesn’t do that is nothing short of entitlement. The notion that difficulty sliders wouldn’t sully the whole point of it is a kind of a pigeon-holed take on design.

Mods are designed to give you something that the developers did not intend to but to use the popularity of a mod, such as one that makes games easier, as a sign of how games “should be” is not something that is helpful to the medium.

Tired of Typing “Mods”

The era of gaming we find ourselves in now is abundantly full of choices, but to narrow it all down to one pathway for some misguided attempt at inclusiveness or exclusivity — as a demand, especially — is the kind of stuff that kills industries in its homogeneity.

mods

“Playerunknown’s Battlegrounds” is a successor of an “ARMA 2” mod, which was based on a “DayZ” mod, which itself became a standalone title

There’s room for everyone, and that goes both ways. Mods are meant to break things, even when “fixing” them. If you enjoy the idea of Barry from Resident Evil turning into a shark, then maybe let’s not be so high and mighty about non-enemy mods.

If we’re OK with mods that make games harder, we should be OK with mods that make games easier or remove the challenge entirely. I would be lying if I said the idea of such mods didn’t make me cringe, especially when it’s seen as a “savior” of sorts. For me, it’s a blasphemous act that breaks a game maker’s vision of design, ruins how a game should be experienced as set out by the people who made it. It misses the point.

But, that could be said about nearly all mods; hell, it’s the whole purpose.

Immensely fascinated by the arts and interactive media, Maxwell N's views and opinions are backed by a vast knowledge of and passion for film, music, literature and video game history. His other endeavors and hobbies include fiction writing, creating experimental soundscapes, and photography. A Los Angeles, CA local, he currently lives with his wife and two pet potatoes/parrots in Austin, TX. He can mostly be found hanging around Twitter as @maxn_

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‘Garden Story’ First Impressions: The Coziest of Adventures

Long-awaited Twitter darling Garden Story just released its first demo. Here’s what we learned after playing through it twice.

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garden story

Following the unfortunate (but understandable) delay of Animal Crossing: New Horizons, there’s been a distinct lack of chill, aesthetic games to fill the void. Garden Story’s charming environmental art and animation have earned it a dedicated social media following, but it wasn’t until Picogram released a demo just a couple days ago that anyone with a Steam account could actually experience the game for themselves. So, just how fun is this wholesome little RPG?

Setting the Scene

Garden Story’s demo centers around the newly-appointed village guardian Concord (a grape) and their first steps in rebuilding Autumn Town, a community ravaged by a sinister force known as “the Rot.” Chatting with villagers reveals a bit of insight into the situation at hand; it’s soon clear just how much the other townsfolk need the player’s support.

There are several clear parallels to old-school Legend of Zelda titles here, but Garden Story manages to set itself apart rather quickly. For one, this isn’t a solo adventure; the player sets out with Rana (a frog) and Fuji (a tomato) on a friendly quest to be as helpful to the surrounding community as possible. Seeing friends around and watching cute scripted cutscenes between the crew does a great job of instilling a sense of camaraderie and friendship.

In another pleasant twist, everything here is themed around building rather than destroying. Instead of traditional swords and bows, Concord repurposes his dowsing rod and scavenging pick into makeshift weapons. The combat itself calls to mind Stardew Valley; simple, minimal, and clearly not the main focus. There’s a pesky stamina bar that restricts the number of times Concord can attack and how far they can run, frequently forcing players to pause between barrages. In this way, encounters often come off as more of a necessary evil in Concord’s town rehabilitation journey than a main attraction.

Rebuilding a Community

So, how does one go about aiding the town? The method highlighted in the demo was by attending to a quest board with three different types of requests: Threat (combat), Repair (exploration), and Want (gathering). Each is accompanied by a task that plays an integral part in keeping Autumn Town safe and in good working order (e.g. clearing out Rot, finding sewer access so new resources can flow into town, and so on).

Aside from fulfilling requests, there are a few interesting hooks to incentivize hitting every shiny thing you come across regardless. The more different types of items are scavenged, and the more catalogues are filled by being updated with new materials, the more literature becomes available to give little bits of insight into Garden Story’s world and history. Then, in another parallel to Stardew Valley, any leftover resources can be sold in the pursuit of buying tool upgrades.

While the full game will feature four locations to explore and tend to, there was still plenty to do in Autumn Town itself by the end of the demo. Rana mentioned that villagers will post new requests daily, and the demo even featured a mini side quest (called “favors”) that led me to obtain a brand-new tool. Between daily requests, favor fulfillment, and dungeons spread across four different regions, it’s looking like there will be a good bit of content here for those who really want to hang around Garden Story’s world for as long as possible.

Ambient Appeal

Though it remains to be seen just how enticing its complete gameplay loop and accompanying systems are, Picogram’s latest is already delivering on its core appeal: being a cozy, relaxing experience. The color palette is soft, the lighting is moody, and the soundtrack is right up there with the Animal Crossing series as having some of the most mellow, loopable tunes around.

In fact, it’s the sound design in particular that gives Garden Story such an intimate feel. From the sound of a page turning when entering and exiting buildings to the gentle gurgles of a bubbling brook in the forest, it’s clear that composer Grahm Nesbitt poured a ton of love into making this one feel just right. Here’s hoping the full game more than delivers on all the potential shown here.

Garden Story is slated to release in Spring of 2020 and is available to wishlist on Steam.

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How Asynchronous Online in ‘Death Stranding’ Brings Players Together

Hideo Kojima’s latest game creates a sense of community by aiding other players on the same perilous journey.

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Death Stranding

Video games have always been fascinated with the idea of player interactivity as a means of crafting a power fantasy. The player typically goes on a hero’s journey, eventually culminating in them being the one and only savior of the world inside the game. Typically associated with single-player games, MMOs also crafted that same narrative but with the conceit that everyone is going on this journey. Often the acknowledgments of other players are in multiplayer-specific features such as PvP and Raids. Destiny is a great example of a series that takes players on the same journey and makes no promise that the story is different between players by even allowing them to engage in playing story missions together. It all feeds into the larger narrative of Guardians fighting together to save the Light. A game that handles this very similar and perhaps more successfully is Hideo Kojima’s Death Stranding.

While lacking any direct player-to-player interaction, Kojima’s latest game is drenched in the conceit that community is crucial to triumph over adversity. You can read many articles about the game’s ideas of community from fellow writers on the site. What hasn’t quite gotten the attention it deserves is how revolutionary Death Stranding feels in terms of utilizing asynchronous online to greatly affect the game itself. Games like Dark Souls and other FromSoftware titles have included the ability to leave notes (which Death Stranding also offers) that help (or trick) players as they venture throughout the world on their own. How those notes’ effects are manifested are often on a much smaller scale – helpful at times but often to warn players of an impending way they might die. They don’t have a large impact on the player, only a temporary means of cheating death. 

Where Death Stranding becomes something greater in scale is in what it lets other players do to other peoples’ single-player experiences. In the game, you play as Sam Porter Bridges who is tasked with reconnecting America from coast-to-coast. At first, the game thrusts Sam into its narrative, taking the reluctant, isolated character and forcing him to eventually realize the importance of hope and connections in dire times. As Sam starts bringing more and more people onto the Chiral network (which allows instantaneous communication and the transferring of 3D-printable goods), so too does the game open up and reveal its ultimate goal: to bring players together.

Death Stranding

This doesn’t mean players will ever talk to other players, and the game very much avoids any real negative actions that can be performed on players. In fact, someone could play the game without ever actively engaging with online features. Instead, the game will passively hand out “likes” to other players whose ladders are used or roads are driven. If one wanted to fight the game’s narrative and instead keep Sam isolated and away from the community that the Chiral network provides, they could definitely do that – no matter how antithetical it would be to do so. Death Stranding even offers an offline mode that would nullify all of that and keep the experience solely on the player’s impact on the world and no one else’s. 

Yet there’s a reason the online mode is the default mode. It was near the end of Episode 3 (which also happens to be when the game unloads almost all of its mechanics onto the player) when I finally realized the impact I was having on other people’s games. I had spent an entire day playing the game, but focusing largely on delivering premium deliveries – these are optional challenges that essentially boil down to carrying more cargo, damaging cargo less, or getting to your destination in a set amount of time. Death Stranding doesn’t ever tell you the best way to get somewhere. Instead, it places a wide array of tools in front of you and assuming the Chiral network is set up in an area, it can provide a rough guide on places to avoid or infrastructure already built. However, one of the key pieces of infrastructure missing for my playthrough was roads. My efforts immediately became focused on building a network of roads that made their way all throughout one of the larger areas in the game.

The game doesn’t ever make you build roads. It tells you the option is there but it doesn’t force your hand. Often tools will be introduced, like zip lines and floating carriers, but the game never demands that they’re used. Of course, engaging with those tools will make your life easier. There are easy ways to start building infrastructure in Death Stranding: ropes and ladders can help to scale mountains or plummet depths. Those will remain in the world for other players to use and will even appear on their maps as they hook up areas to the Chiral network. So, someone who plays the game earlier than someone else could lay down ropes and ladders, and depending on when the other person starts playing, they will find those once they have progressed to a point where they are traversing that area. Where the game becomes even grander in its sense of community is the realization that the more players commit to building roads or setting up zip lines, the more other players benefit.

Death Stranding

The reality is that ladders and ropes are temporary – they cannot be rebuilt, they can only be replaced. The game’s Timefall – a weather phenomenon that acts as rain but ages anything it comes into contact with – can reset an entire map after a while if there is nothing more substantial placed on the map. So in my game, I decided that whenever I could build a road, I committed to doing so. This could mean going to multiple waystations and collecting materials that have amassed over time from deliveries, or going out in the world and finding these materials like Chiral crystals. At a certain point, I would load up a truck with multiple deliveries that were on or near the roads I had built, as well as with as many metal and ceramic materials I could load into the truck before it reached capacity. As I delivered packages, I’d replace them with more deliveries and more materials from each waystation. Eventually, I’d find myself at a point where a road was not built yet and would then build that road.

Community stands as the strongest component of Death Stranding .

In contrast to a game like Dark Souls, actions in the world such as providing notes on the ground or helping another player with a boss battle is helping them cheat death. The community that is being built is not one that has any lasting effect on the world in the game. No Man’s Sky may let players interact with each other and further their knowledge of the universe within the game, but often that help is relegated to an isolated planet. It’s a more contained impact. Hideo Kojima created a game where players don’t just build infrastructures for themselves, they can intentionally or inadvertently assist other players throughout their games. This leads to players like myself creating strand contracts with other players who have built things I liked in the game. A strand contract is a powerful feature because it means more of that players’ roads or other items built for the world will show up more frequently in my game.

Every Action in Death Stranding Creates Hope

One of the perks of building so many roads is you also get a lot of likes, whether passively given because someone used the road or actively provided by a player because they not only used the road but were appreciative that someone built it. It’s hard not to feel important in someone else’s life when you’ve made their experience less cumbersome because they no longer have to drive over rocky terrain or through enemy territory but instead can take a highway to their destination. What’s better is that more substantial developments like bridges and roads can be repaired by other players and even upgraded. So while I laid the initial roads down, I actually haven’t spent any materials repairing them. Instead, notifications come in and tell me players have repaired roads I’ve built. There’s no real reason to do that unless the infrastructure built was necessary to their journey through the game – making it easier but also providing the same feeling of helping out a larger community. 

Community stands as the strongest component of Death Stranding – a game that doesn’t even try to be subtle in its intentions. Traversing Kojima’s version of post-apocalyptic America is harrowing on your own. With just your two feet and a package to deliver when the entire world itself is trying to stop you from doing so, America isn’t just divided – it’s hostile. Where Death Stranding shines brightest is when it offers a helping hand. Players aid one another to achieve the same unified goal: save the country. All of this is under the assumption that the country can be saved, but there is no denying that seeing someone else’s rope hanging off a steep cliff, or a Timefall shelter where it rains Timefall on a constant basis, is one of the most satisfying feelings. In Death Stranding, it isn’t enough to know that you’re making progress, but that everyone is willing to assist others to reach the same end goal. It’s a game where every action creates hope and is built upon the idea that we are at our best when we work together.

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‘Woven’ Review: Comfortably Soft and Lumpy

Despite those blurry visuals and stilted gameplay, there’s something endearing about this innocent elephant’s adventure.

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With a sincere warmth and fuzziness that conjures up dreamy recollections of 3D games gone by, Alterego GamesWoven mostly overcomes its blurry visuals and technical jankery to somehow create a pleasant, old-fashioned experience. Those excited by modern gaming probably won’t give this lovable hand-me-down a second look, and perhaps they shouldn’t; extremely simple actions and soothing narration support a fairy tale quality that’s probably best suited to younger players. However, anyone willing to look past the well-worn exterior in search of a relaxing break from stressful button pushing may squeeze more fun out of this familiar stuffed toy than they might originally expect.

Woven tasks players with taking control of a meandering patchwork elephant named Stuffy, and guiding him through a sparsely populated knitted world that seems to have met an untimely demise. Because Stuffy has cotton for brains, he is assisted on this journey by a much smarter metal firefly named Glitch (a reference to his role in this story?), who floats alongside the curious-but-clumsy plush toy and provides hints as to how he can use his various abilities. Together, this odd couple will traverse open plains blanketed with colorful yarn grass, maneuver around impassable felt trees and plants, and hopefully discover the secret of where Stuffy’s clueless kin have all gone.

Along the way, the duo will walk great distances (often without much event), solve the occasional environmental puzzle, and generally just keep on keepin’ on.Woven is mostly straightforward in its campaign, merely about getting from point A to B by whatever means the path requires. Most often this involves finding new blueprints that allow players to change Stuffy’s design from an elephant into a wide variety of other animal shapes, each with a set of abilities that come with a new set of arms, legs, and a head. For instance, while the stocky (and adorable) bear can push plush boulders and perform a mighty stomp, the goat and frog can both use their legs to hop, while the kitty cat is able to push buttons on rusted consoles that activate dormant machinery.

However, these abilities are usually only able to activate when context-sensitive prompts from Glitch appear, so don’t expect some sort of platforming freedom. Woven handles a bit clumsily in that regard and others; strolling is definitely the order of the day, as long as Stuffy doesn’t get hung up on the geometry.

But these actions do help provide variety; a tropical bird of some sort (toucan, maybe?) can sing certain notes, while a pelican-thing can fly (sort of) over land and shallow water with great speed. And so, it often becomes necessary in Woven to alter Stuffy’s look with a total reweave. These designs can be applied at various sewing machine-like stations scattered about, which go a step further than just swapping Stuffy the deer for Stuffy the ape. Each blueprint is comprised of five parts, allowing for players to create a Frankenstein Stuffy made up of all the best abilities the player has on hand (or cushioned paw). By mixing certain sets, Stuffy will soon be able to scale mountainside crags, cross piranha-filled rivers, and pick up industrial cogs without the need to make a pit stop and bust out new needle and thread.

Some truly hilarious (or horrifying, depending on your sensibilities) aberrations can be created; seeing Stuffy hobble on hooves as he flaps a wing on one side and swings a muscular gorilla arm on the other, all with the head of a squirrel, is freakishly entertaining. In addition, for those who like to wander off the beaten path, there are a plethora of knitting patterns to discover, tucked away in both obvious and devious locations (and denizens). These cosmetic enhancements can also be applied at the sewing stations, essentially giving players seemingly endless amounts of customization. And these aesthetic changes even get in on the puzzle act every once in a while, especially when a pesky cobra shows up.

But outside the odd ‘connect the power line’ or ‘raise and lower platforms’ objectives, Woven doesn’t throw much at players that even young children shouldn’t be able to handle — and that seems to be the aim. Stuffy’s adventure lives or dies on its wholesome and serene vibe, which players either buy into or they don’t. There’s no combat here, very little to actually do outside hunting down those patterns, illuminating some painted caves, and activating some of Glitch’s ‘memories’ contained by machines hidden in the soft folds. Ongoing narration is pleasant to the ears, often conveying old-fashioned morals and cutesy jokes, but there’s no more story than in a classic fable.

And make no mistake — though the world is certainly bright and cheerful, it’s also quite fuzzy around the edges. The tactile nature of the cloth textures is lessened greatly by the low definition (at least on the Switch version), eliciting memories of the Wii-era. An increased crispness would have really made the world of Woven pop off the screen, perhaps luring in a larger audience who have become accustomed to such. There is still plenty of charm, but it feels like a missed chance at that true magical feeling the game seems to be shooting for.

Other stumbles come when certain worlds try to open up a bit more, which might lead a younger audience to get frustrated by the lack of direction (especially when they keep getting hung up on that geometry!); Woven definitely works better when it’s casually guiding players along, letting gamers of all ages envelop themselves in the easygoing atmosphere instead of requiring tedious backtracking. There’s just something nice about sitting back and relaxing to hummable music, watching the roly-poly amble of a stuffed kangaroo.

Woven will not be for everyone; those who play for challenge or eye candy won’t find either here. And yet, despite those blurry visuals and stilted gameplay, there’s something endearing about this innocent elephant’s adventure. Woven certainly has its share of lumpiness, but somehow remains cozy regardless.

‘Woven’ is available on PC, Xbox One, PS4, and Switch (Reviewed on Switch).

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