Connect with us

Games

Games That Changed Our Lives: ‘The Matrix Online’

Published

on

Not many people can say that a game they never played changed their life, but I can. I’m sure that might seem counter-intuitive, but from the time The Matrix Online was in beta through about a year after launch, I was completely immersed in the game. It was 2004, sometime during my junior year of high school, when I typed “Matrix Online guilds” into Bing before it was Bing. I had heard about an MMORPG version of one of my favorite movies and wanted to play it. The problem was I didn’t have any friends that played video games, so I had to go make new ones. On the internet. Which was a dark and scary place as far as my parents were concerned, but I was fearless. I had no idea what an online guild was or what they did exactly, but I wanted to find out.

What I found—or who I found—was the Illuminati (no, not THAT Illuminati), an incredibly well-structured guild with a hardcore emphasis on roleplaying. It was intimidating as all-heck. As I wrote out my application to join, I worried that I wasn’t enough of a gamer because I had never played an MMO before, and the closest I ever came to roleplaying was the one time I auditioned to be Rizzo from Grease in the 8th grade. Up until that point, my gaming experience had been a few Nintendo 64 games and computer games like Duke Nukem 3D and Catz 4. But I was welcomed with open arms, assigned to a ship—the HvCRT Gungnir—and let loose on the forums. Aside from how welcoming everyone was, I was surprised that I wasn’t the only girl. There was a small number of us, but we were there and respected members of the guild; our code of conduct was taken seriously, and it was a huge reason why our community was so tight-knit. There was a time when another guild infiltrated our forums with spies, spilling over our in-game Zionist verses Zionist faction rivalry into our home-space. Unfortunately for them, we discovered who they were and permabanned them from the forums—and targeted them in-game whenever we got a chance. No one messed with us.

thematrixonline

Targeting the rival.

As The Matrix Online was well-known for the online communities it fostered all over the world, it was equally well-known for its mind-numbing repetition, terrible interface design, unbalanced combat, and other gameplay ickyness—but what it managed to do was bring something new to the MMO scene, and fill it with artists, great roleplaying, and live community events unlike anything at the time. Players could directly communicate with storyline characters in scripted interactions created by the game’s live events team. Everything anyone did in The Matrix Online became canon to what the trilogy had already created. So, when Morpheus addressed the entire community during an important event, everyone stood around and listened… except for one member of the Illuminati who stripped to nothing but a hat and boots and somehow managed to “hyper-hump” Morpheus. (Rumor has it that during that event, Laurence Fishburne was in the studio watching it all happen. Sorry you had to witness that, Mr. Fishburne.) That’s canon. Forever.

15-plus years of friendships, across state lines and oceans, all made possible by The Matrix Online.

Every story event written by the live events team has been thoroughly archived on the game’s wiki page (and I highly recommend reading it), but just to give you an idea about how much these live events made the game, The Matrix Online might be one of the rare games in history where story made up for the flaws in gameplay. It all started with the guilds, across all factions, racing to collect Neo’s RSI fragments and transmit them to Shapers, the only entities that could put Neo’s fragments together again. Red-eyed Agents were hell-bent on preventing that from happening, though, but eventually Morpheus threw himself into the mix and said he would stop at nothing to get the Machines to return Neo’s body. It was his tunnel-vision determination that eventually caused inter-faction rifts between various Zionist guilds, but when Morpheus unexpectedly died, everyone came together in grief.

thematrixonline

What sort of tomfoolery is this?

But above all else, knowledge was power in the game. Knowing specific events ahead of time meant guild-firsts for many players. Some players were lucky enough to be pulled into secret rooms in-game by developers and receive information in advance of future live events; one former guildmate of mine met The Oracle. Many players didn’t stick around for the combat per-say, but they stuck around for the opportunity to influence the trajectory of The Matrix’s story—and there I was, not able to play the game but living vicariously through my guildmates’ screenshots and stories. I read enough and saw enough to understand what was going on and know that I wanted so badly to hyper-jump between rooftops with the rest of my guild, but my poor little Gateway computer wasn’t up to the task.

What I had instead was a place to geek out about the Matrix, a place to share my creative writing in the form of roleplaying, and a place that gave me a much-needed reprieve from my turbulent high school days. Not too long after the official launch I felt a distinctive shift in the guild dynamics, and I’m not talking about tension that every guild has between several players at one point or another; I’m talking about the point where our guild became more than the game itself. As time went on, we spent more time hanging out in TeamSpeak or IRC just chatting. By 2005, our guild had grown disenchanted with the game, largely due to the changes SOE made after they purchased the rights to The Matrix Online.

thematrixonline

More than just a faction.

We were in a weird state a flux because of all those changes. On one hand, not many Illuminati members wanted to play The Matrix Online anymore, but no one wanted to stop gaming together. So, the Illuminati turned into The Illuminati Gaming Society, TIGS for short, and we expanded our forums to include games like Star Wars: Galaxies, the one game I was able to play with my guild. But after the “New Game Experience” hit, the guild quickly fell apart and we scattered, sporadically communicating via AIM and MySpace. I lost touch with one of the most influential people in my life at the time, a guy who was like an older brother to me, who mailed me a copy of Star Wars: Galaxies so I could play it with everyone. (Cirga, if you’re reading this, I miss you, and I hope all is well.)

But even though we were no longer a formal group and went years without speaking and gaming together, our camaraderie didn’t die. Throughout my travels I made it a point to meet in-person as many of my guildmates as I could, whether that was sitting down to dinner at a PF Chang’s in Nashville, navigating Camden Street in London, or getting absolutely hammered off Chimay in New Orleans. The time I spent as part of the Illuminati, pre and post-MxO, are the happiest times of my life. And thanks to Rajko’s MxO emulator, I finally got to experience a piece of the game with some of the people I’ve known for all these years. So, I guess I technically can’t say I’ve never played The Matrix Online anymore.

thematrixonline

I’m Ice. Nice to meet you.

When I reached out to my former guildmates before I started writing this article, I expected to hear back from maybe two or three people and get a few grainy, low-resolution screenshots. What I received was much more than that. It had been a long time since all of us chatted together in the same online space, only this time it was Facebook Messenger instead of IRC or TeamSpeak. The memories of being teenagers (or younger adults for some) floated back effortlessly: all our shenanigans, rival factions, our guildnames. We reached deep into long forgotten Photobucket accounts and shared everything we could find from forum signatures to screenshots of us playing other games together. (And a huge thank you for letting me use some of those screenshots in this article.) It was as if no time had passed at all, regardless if some of us had remained in contact or not. 15-plus years of friendships, across state lines and oceans, all made possible by The Matrix Online.

Joanna Nelius is a Southern California native who was raised on age-inappropriate games, yet somehow turned out alright. She has been an editor and contributor for several small gaming publications, as well as speculative fiction and academic magazines, for the last few years. When she has some free time, she usually spends it exploring abandoned buildings or watching Unsolved Mysteries—and finding good homes for her twisted horror and sci-fi stories.

5 Comments

5 Comments

  1. NeoHD

    August 28, 2018 at 9:47 am

    Hi,
    i am “HD_Neo” one of the project owners of hardline dreams – a Matrix Online Server Emulator.
    It is so great to read this and totally confirmed.

    The community is still there and this is great – show me an mmorpg where you have still a community after the developer shut it down 9 years ago.

    Well you had some exception before playing a game and mostly there a disapoint you.
    Like Watchdogs where it looks really cool in the trailers but the game is not as good as you expected.

    But MxO was what i expected and much more – it was the first time where i really thought “whoa they did it – a big world which you can explore in the matrix universe where you can enter every rooms”.
    Btw. show me a Open World Game where this is possible (i mean in GTA or Watchdogs it is more that you can enter “some” buildings but in MxO you can nearly enter every building).

    This is still in 2018 something that is really new and unique.
    But it was so much fun playing the game (ok CR2 destroyed many things about the gameplay and that was a reason why many players left the game).

    Still today we try to develop a Server which is playable. Also others like Rajko did some good progress there (you can even hyperjump which is pretty cool).

    But i am not sure if we will have a nearly full working server emulator or a “remastered” game. As the UE4 Version from rajko seems to be stuck (as there are no big news about that) – what would be cool if it would be ported to UE4 but i think it is reaaaly much work to do it by a one-man army.

    However – still after 13 years after the release there is still a community and this community is great.

    • Joanna Nelius

      August 29, 2018 at 1:23 pm

      Hi! Thanks for reading and I’m glad you enjoyed it.

      I agree—it really does say something great about the game when there’s still a community that supports it over a decade later. I know hoping in the emulator with some of my old guildmates was a surreal experience. We still have hopes that we’ll see a full working emulator in the future, but understand how time consuming that whole process is.

  2. david grimes

    August 29, 2018 at 11:56 pm

    just wanted to thank your editor for his response over the whole detroit ‘kerfuffle’ had no way to reach him but i think he was the editor and he left me a very reasonable and fair response so if you could pass on your thanks to him for that i would be greatful Julia. I know heres not really the place but i wanted to reply in public for fear of being accused again of harrassment by that complete idiot who i hopes been fired from this website now,and who took it upon himself to speak for yoy and try to impress you during the afforementioned detroit ‘kerfuffle’. Anyway while im here int tut comments section(north of england accent)i may as well comment on this article too;well written piece,never played matrix online but it sounds interesting. My next games gonna be shadow of the tomb raider. more of the same by looks of it but i love uncharted or all naughty dog really so tomby will bide some time till last of us 2. Any idea when thats out by the way?maybe as an industry insider so to speak you could te?l me when you think its gonna come out. anyway,iv waffled long enough,glad we could put all the detroit ‘kerfuffle’behind us and have a great day!

    • Ricky D Fernandes

      August 30, 2018 at 12:46 am

      No worries. Also, it is worth noting that we had a small website crash that week and lost many comments posted on our site. So if you see some missing, that is the reason why.

      • Harry Morris

        September 3, 2018 at 4:01 pm

        Sorry if I upset you David, no hard feelings. 🙂

Leave a Reply

Your email address will not be published. Required fields are marked *

Advertisement

Game Reviews

‘Destiny 2: Shadowkeep’ Review: Moon’s Haunted but Still Shines

‘Destiny 2: Shadowkeep’ returns to a familiar destination but Bungie is reworking Destiny with each expansion and Shadowkeep is no exception.

Published

on

Destiny 2 Shadowkeep Review

Destiny 2: Shadowkeep may be a return to a familiar destination, the Moon, but Bungie continues the trend of reworking Destiny with each new expansion, and Shadowkeep is no exception. Replete with a reworked season pass system, progression systems, customization options, sandbox re-tuning and quest interface, Shadowkeep is both a welcome iteration and extension of the existing Destiny 2 experience offering more RPG-esque player agency than Destiny has ever seen before. While the game is still haunted by some overly familiar issues, Shadowkeep is a welcome expansion and a promising start to the third year of Destiny 2.

Old Haunting Grounds

The Moon isn’t the only familiar face in Shadowkeep. Keeping with tradition, Eris Morn has returned from a long absence for another dark, lunar expansion (the first being D1′s The Dark Below when the character was first introduced) as she investigates a disturbance deep within the Moon. Quite literally haunted by the past, Eris has called upon the Guardians to assist her in finding the source of the phantoms plaguing the Moon and vanquishing “Nightmare” versions of familiar visages from the past.

All is not entirely as old players might remember. An immense hive structure, the Scarlet Keep, now overshadows previously unexplored territory on the Lunar surface. New Lost Sectors hide in the depths of the Moon, and new secrets a la the Dreadnaught or the Dreaming City lie waiting to be discovered by inquisitive players. And at the very center of the expansion an ancient, unknown threat lies in wait, an ominous foreshadowing of the trials ahead.

While the expansion does a decent job ensuring the familiar haunts don’t feel overly recycled, it’s hard to say Shadowkeep makes the most of the Moon. The campaign opens on such a high note as players storm the moon in an unexpectedly matchmade sequence before individual Fireteams independently uncover an unanticipated twist that absolutely shatters expectation. Unfortunately, the narrative quickly devolves into uninteresting fetch quests that fail to live up to the intrigue of the initial mission nor live up to the narrative heights of some of the most memorable missions the Moon previously housed including fan favorites The Sword of Crota and Lost to Light to name a few. That’s tough company to keep, and Shadowkeep fails to measure up.

Similarly, a bit of that intrigue is reintroduced in Shadowkeep‘s final mission, but, like the campaign as a whole, it’s over before the player knows it and fails to live up to the precedent set by previous, lengthier campaign conclusions. More mileage is gotten out of the narrative and destination in the post-game in the way of a new weapon farming system, a new activity known as Nightmare hunts that play like mini Strikes, and a Strike proper, but that does little to alleviate the disappointment of an overly terse campaign that reads like a teaser for what’s to come over a distinct, fleshed-out story.

A New Era, a New Season

Part of that is presumably courtesy of a shift in Bungie’s approach to content releases. While the previous expansion, Forsaken, similarly opted for procedurally released content over the course of the season, Bungie has doubled down on that strategy with Shadowkeep ensuring there’s something new to be experienced each week that players sign in. While certain activities have alway arrived post-launch including raids, dungeons, and exotic weapon pursuits, Shadowkeep and its “Season of the Undying” has seen new PvE and PvP activities launched after the expansion’s initial drop, adding to an already lengthy list of Destiny to-dos.

Central to the season is the new PvE, matchmade activity, the Vex Offensive, which pits six players against waves of Vex combatants paired and features some minor puzzle elements, all for the sake of earning a series of weapons exclusive to the mode. While the Black Garden locale of the mode is certainly eye-catching, the Offensive, with its recycled mechanics and familiar enemies, doesn’t leave much of an impression beyond that. It might pale in comparison to activities introduced in past seasons (like Warmind‘s Escalation Protocol, or last season’s Menagerie), but is intentionally terse, intended to match this new seasonal philosophy, and will be removed from the game after Season of the Undying (though the exclusive arsenal will still be available in the loot pool obtainable through undisclosed means). Like the Vex themselves, the Vex Offensive might not seem like much independently, but collectively is a piece of a greater whole challenging and rewarding players for participating within the specific season.

Bungie is further defining each season with the inclusion of a seasonal artifact and a season pass system. The artifact, again only available for the season, offers players an avenue for additional, limitless Power gains while also offering unlockable gameplay mods encouraging players to utilize specific classes and builds. The Oppressive Darkness mod, for example, debuffs enemies hit by void grenades, encouraging players to construct discipline-oriented, void builds. Another mod, Thunder Coil, increases the power of arc melee attacks by fifty percent, giving all new life to the Hunter’s Arcstrider subclass. Meanwhile, the season pass operates similar to that of Fortnite or any number of games and replaces the previous cosmetic only level up system of Destiny 2‘s past. From the season’s outset, any and all experience goes toward unlocking rewards from the pass including new armor, armor ornaments, exclusive weapons and exotics, and engrams. The experience requirement for each level is static, meaning progress is fair and steady throughout and never feels throttled. Both seasonal systems are fantastic new additions that reward players for playing the game while making experience gains more purposeful than any other time in Destiny‘s endgame.

New Duds to Boot

Shadowkeep also marks the debut of Armor 2.0, a new system that allows players more agency in character customization than ever before. Whereas armor previously rolled with random perks and a roll of only three stats (Mobility, Recovery, and Resilience), Armor 2.0 comes with no perks and six stats as Destiny 1‘s Intellect, Discipline, and Strength (determining the charge rates of player’s super, grenade, and melee abilities) make their triumphant return. Instead, Armor 2.0 has slots for modifiers so players can pick and choose whatever perks they want just as long as they’ve unlocked those mods. Mods are acquired from most activities, while enhanced mods (better versions of certain traditional mods) are exclusive to some of the game’s more challenging content. While the grind for mods seems excessive in the face of the rest of the game’s grind, it’s a one-time affair, some of the best mods are unlocked via the seasonal artifact, and the payoff is astounding, providing customization like never before.

Convoluting the process, unfortunately, is a messy elemental affinity system where certain mods can only be slotted into armor of a matching elemental type. Mods relating to pulse rifles, for example, are exclusive to Arc armor, so a piece perfectly rolled to a pulse-rifle-inclined player’s preference with a solar affinity won’t do them any good if they were hoping for pulse rifle perks. It was undoubtedly an intentional design decision to generate an arbitrary grind since players won’t need to chase armor with perfect perks any longer but is ultimately a mar on the face of an otherwise pretty great new system.

Convoluting the process, unfortunately, is a messy elemental affinity system where certain mods can only be slotted into armor of a matching elemental type. Mods relating to pulse rifles, for example, are exclusive to Arc armor, so a piece perfectly rolled to a pulse-rifle-inclined player’s preference with a solar affinity won’t do them any good if they were hoping for pulse rifle perks. It was undoubtedly an intentional design decision to generate an arbitrary grind since players won’t need to chase armor with perfect perks any longer but is ultimately a mar on the face of an otherwise pretty great new system.

Axe to Grind

Speaking to the grind, Destiny has often struggled and failed to find the perfect balance of meaningful power climb and tedious grinds recycling the same old activities. Luckily, at the outset of the climb towards max power, Shadowkeep strikes a much better balance centered on beloved ritual and new and or seasonal activities. Power drops now operate on a clearly labeled, tiered system, incentivizing players to prioritize new or challenging activities for maximum gains. Ritual activities (Strikes, Crucible, and Gambit), though tier one, retain their relevance by offering multiple weekly powerful drops for match completions, vendor bounties completed, and rank progression. Previous, otherwise irrelevant avenues towards power have been retired, but this is a welcome reduction and there is no shortage of powerful drops in the climb to max power. That isn’t to say that the grind couldn’t be shorter ensuring more players can participate in endgame activities when they first arrive, but progression generally feels smoother than any time in Destiny‘s past.

Conversely, content flow might overwhelm casual and even dedicated players as there’s simply too much to do and grind for players tight on time. Bungie now considers Destiny and MMO with proper RPG mechanics, and, in terms of time commitment, that really shows with Shadowkeep. On a certain week, a player might have an accomplished week in-game after sinking only three to five hours into the game. Other weeks the game seems to demand closer to the ten to twenty-hour range. One week, for example, saw the release of the new dungeon, a new Crucible game mode, an exotic quest, a new public event, and the start of the Festival of the Lost, a limited time, Halloween event. That’s simply too much, feels like poor pacing, and favors streamers, Destiny content creators, and hardcore players for whom Destiny is their exclusive hobby, a burgeoning theme with Season of the Undying. While it’s certainly exciting that there’s always something to do in D2, it doesn’t seem true to the game’s roots as a hybrid, a shooter with MMO elements, that could be taken at a more casual pace but still offered an engaging endgame for the dedicated audience. Now, there’s only an endgame with no end in sight.

A Better Destiny Awaits

That’s not necessarily a bad thing for players who want to pay a minimal price for seemingly unending content, and in that regard, Shadowkeep is a steal. A sensational new raid (minus some finicky new mechanics), a foreboding dungeon, an immense new arsenal to grind for, and a better tuned PvP and PvE sandbox in which to enjoy them mean Shadowkeep will keep Guardians’ attention the whole season long and is an excellent proof of concept for the seasonal structure going forward. If Bungie can keep this pace up, year three of Destiny 2 could easily be the best year in franchise history. As a general caution though, Destiny 2 now clearly caters to the hardcore, requires MMO levels of commitment, and is best enjoyed with a regular group; casual, time-restricted, and solo players beware. It might not be the best single expansion release in franchise history (that’s still a toss-up between The Taken King and Forsaken), but, beginning with Destiny 2: Shadowkeep, the third year of D2 is the closest the tumultuous title has ever come to Bungie’s ambitious vision for the shared-world shooter and the game fans have been waiting for these past five years.

Continue Reading

Games

What Are Some of the Switch’s Best Indie Devs Making?

Published

on

switch

The Nintendo Switch has quickly become the preferred platform for some of the most talented indie studios in the industry. Its pick-up-and-play form factor and Nintendo’s concerted effort to court smaller developers this generation (complete with indie-specific Directs) has resulted in a library that’s positively flourished.

Despite the eShop falling victim to some of the discoverability and shovelware issues that long plagued Steam, there have been some real standouts over the years. Since video games take quite a while to produce, there’s often speculation as to what some of the premier developers have been working on. Let’s take a look at four of the most recognized indie studios on the platform and have some fun trying to figure out what they might be up to.


Sidebar Games

It’s hard to believe that 2017’s Golf Story was Sidebar Games’ first project as a studio. The two-man team from down under balanced a delightful dose of Australian-tinged humor with clear callbacks to the Mario sports games of old to deliver one of the best Switch exclusives in 2017, bar none.

Unlike the other studios on this list, Sidebar has been extremely silent on development progress; we can only glean bits and pieces from the few interviews they’ve done. We know the game has been in development for roughly two years and that Sidebar was still in active development as of March 2019 when they put out the call for a pixel artist for their next project. There’s also a fair chance that the new game will either be Switch-exclusive or target Switch first, seeing as how Golf Story is still one of the Switch’s top 10 best-selling indie games to date as of Spring 2019. If exclusivity worked so well the first time, why not try it again?

What Can We Expect?

Whatever Sidebar is working on, it’s almost guaranteed to be single-player and story-focused. One half of the dev team, Andrew, has gone on record multiple times saying that he’s “very partial to story modes.” This also players into one of their strengths; though there was a great time to be had with Golf Story’s golf, it was all elevated by the game’s ridiculous-yet-lovable characters and wacky situational humor.

Since the team has already deconfirmed a sequel as their next project, there’s really not much to go on. While I’d personally love them to tackle something Mario Tennis-inspired next, there’s a good chance they’ll avoid sports altogether. As long as the wit found in Golf Story is alive and well, though, their core audience is sure to be interested.


Fabraz

Despite being incredibly simple from a visual standpoint, the deceivingly charming Slime-San is still one of the best platformers to come out in recent memory. The game’s striking three-color art style isn’t just unique, but it’s also ingrained into the platforming mechanics in inventive ways. Beyond having a look all its own and a stiff challenge for players who wanted it, however, Fabraz went the extra mile to build a fun cast of characters and even a hub world to explore outside of the main game. It was a pleasant surprise from a relatively unknown developer at the time.

Fabraz has been anything but complacent since Slime-san’s launch. The studio released two free content expansions, ported the game to other consoles, and even got into the publishing business. No matter their other ventures, however, the team has made sure to tease their next project every so often since the start of 2019.

What Can We Expect?

Fabraz speculated that their new game was already roughly 60% complete at the start of October. Since it only began production in December of 2018, it’s safe to assume that the next game will be relatively small in scope. It’s also likely that Fabraz’s next outing won’t be “Slime-san 2,” since the original game received such heavy content additions months after release (including an expansion literally titled “Sheeple’s Sequel.” The team certainly knows how to make magic from very limited resources, so it’ll be interesting to see what they can do with a bit more of a budget, a new art style, and tons more experience.


Game Atelier/FDG Entertainment

It feels like Monster Boy and the Cursed Kingdom came out of nowhere. The team at FDG Entertainment had published indie darling Blossom Tales: The Sleeping King just the year prior and the console port of Oceanhorn before that, but there wasn’t much talk about FDG’s capabilities as a developer. As it turns out, however, Game Atelier’s choice to bring them on as a co-developer was the best thing that could’ve possibly happened to Monster Boy. Five long years of development later and fans were treated to one of the best platformers in recent memory.

Though it launched on all consoles, Monster Boy famously sold eight times more on Switch than PS4 and Xbox One combined, reminiscent of the sales of Blossom Tales on Switch. Needless to say, FDG’s next title will be targeted squarely as the Nintendo community. But what could that next project be?

What Can We Expect?

A Monster Boy sequel. FDG recently celebrated their collaboration with Game Atelier on Twitter and announced that they’re collaborating once more. The commercial and critical success of Monster Boy can only lead one to believe they’re hard at work on a follow-up together. Thankfully, with such a solid base to work off of now, this one shouldn’t take nearly as long to release.


Chucklefish

Chucklefish has garnered a great deal of respect in the indie community as both a developer (Starbound, WarGroove) and frequent publisher (Stardew Valley, Timespinner, the upcoming Eastward, and others). Their eagerness to bring so many of their top-notch titles to Switch has made them one of–if not the–most lauded indie studios on the platform. If it’s coming from Chucklefish, there’s a good chance it’ll be of the highest quality.

What Can We Expect?

Witchbrook! Chucklefish announced the game way back in 2017 and instantly had both Harry Potter and Little Witch Academia fans foaming at the mouth. It’s a magical school simulation/RPG where players will attend class, learn spells, make friends, date, and work towards graduation. The company’s CEO and lead designer, Finn, has been incredibly open about the game’s development from the beginning. In fact, he made the ever-changing Witchbrook design document public in August of 2019 to give some insight into the game design and planning process.

Since there’s already so much we know about where the game’s going, this is going to be used as more of a “Hopes for Witchbrook” section. To keep it short, let’s focus on two of the game’s most make-or-break elements: dating and world-building.

Dating

One of the things many RPGs struggle with is making dating feel meaningful after the relationship starts. People love romancing in Stardew Valley, but the experience itself is really rather shallow; bring characters their favorite items, talk to them daily, experience a few touching cutscenes and voila! All that’s left is to put a ring on it and have a baby.

My hope is that in Witchbrook, the real fun starts after the relationship begins. Being able to have lunch together, go to festivals, celebrate anniversaries, plan outings, and even introduce them to the player’s in-game friends would go a long way in making the relationship feel more than a ribbon to be crossed.

World-Building

When someone asks the seminal question “What fictional world would you love to live in?” the world of Harry Potter almost always tops to list (right next to Pokémon, that is). It isn’t just because of magic itself or the emotional ties people have to the cast, but more so because of the immense amounts of personality and lore J.K. Rowling infused into the world. From the dark history of Hogwarts to the vast array of magical beasts to the establishment of Quidditch, there is a whole movie and video game series that has been created based on mere slices of the Harry Potter universe.

Naturally, it’d be silly to expect Chucklefish to achieve as much depth in an indie project as one of the most successful authors of all time did over the course of seven books, but there’s still plenty of potential. Since the game will primarily take place at the school, exploring why the school was created and how it’s changed over the years could be quite interesting. Then there’s how different populations of the world at large feel about magic, how various magical species play a part, the favorite magic-imbued pastimes of students in the world of Witchbrook, and so on. The key will be to infuse magic into every element of the world (and gameplay) as naturally as possible. And after reading through the extensive design doc, I’ve no doubt Chucklefish will be able to pull it off.


The indie scene on the Switch is thriving more than ever. New talented developers are making the platform their home every day, and those who’ve already proved themselves are hard at work on their next premium experience. The next wave of releases from these studios can’t come soon enough.

Continue Reading

Games

‘Death Stranding’: And Now for Something Completely Different

Published

on

Death Stranding Slow Connectivity

Video gaming as a medium has often been perceived as little more than a toy. Even with Nintendo pushing the NES as a part of the home and more than just a toy– a strategy they’d adopt again for the Wii– there are still many who see games as toys, rather than an expression of an art form. It makes perfect sense, though. If there’s one thing modern video game culture has pushed front and center this past decade, it’s instant satisfaction. As big-budget games embrace homogeneity, the medium’s priorities have shifted from capitalizing on its inherent interactivity to making sure gamers are never bored with their $60 toy. Reggie Fils-Aime famously said “If it’s not fun, why bother?” for a reason, but when every big-budget game is paced the same, structured the same, and plays the same, where’s the fun to be found? 

About Death Stranding…

It’s far too early to even assume what kind of impact Death Stranding will have on the medium & industry (if any), but as one of the last big budgets games to release in 2019, Hideo Kojima’s first crack at the “strand game genre” is a nice note to cap the decade off on– one that serves as an almost necessary palette cleanser as the medium heads into the 2020s. Death Stranding offers audiences a chance to breathe, to look at themselves in the mirror, and to reconnect. Not just with the world and others, but with a medium built on interactivity. 

Hideo Kojima is often criticized for his cutscene ratio, to the point where it’s not unusual to see critics suggest he just make a film, but the fact of the matter is that most games do need a story. Not just that, video games have the potential to present a story better than any other medium. Readers and viewers can place themselves in the shoes of their protagonists, but a game makes the player become the protagonist. How we control our characters, how we play, how we interact with a virtual world– all this is a reflection of ourselves, one that only the gaming medium can offer. 

Not that it often does, at least not meaningfully. Modern developers are afraid to lose consumer interest, and the increasing shift towards the “games as a service” model has ensured that gameplay loops are simple to pick up, simple to get into, and simple to stay into. Games are something to be played with– toys. And there’s immense value in that. Video games can be a fantastic way to reduce stress & clear one’s thoughts regardless of how they’re designed, but such an approach means that the average gamer is going to be accustomed to gameplay loops that are structurally derivative of one another. 

On the flip side, there are the games that prioritize narrative too much, or simply devalue their own gameplay with extraneous content. From Hideo Kojima’s own gameography, this is a mistake he clearly made with Metal Gear Solid 4: Guns of the Patriots. Even from this decade, it can be argued that what little importance Metal Gear Solid V: The Phantom Pain placed on the story ended up hurting it in the long run because it distracted from the core gameplay loop. There’s a reason so many developers follow similar game structures and build off similar foundations: they’re reliable, they get the job done, and it does result in great games. Both The Last of Us and God of War (2018) are clear examples of how mechanically homogenous & predictable games have gradually become this past decade, but they’re still great games.

Death Stranding is one of the slowest AAA titles to release in quite a long time.

Death Stranding is most comparable to Metal Gear Solid V: The Phantom Pain and perhaps The Legend of Zelda: Breath of the Wild, but really only on the most surface of levels. Death Stranding has AAA backing, but it has the creativity and ingenuity of a modern indie. While AAA developers have lined up for uniformity, the indie half of the medium has arguably never been better. Those who grew up alongside video games are now developing their own, calling back to and even evolving forgotten genres. All the while, AAA games only move closer to the Disneyfication of movie production– hit all the key demographics, make it “accessible” for everyone, and make sure there are no real ideals or beliefs. No need to upset potential consumers, right? 

It shouldn’t be forgotten that Death Stranding was backed by Sony and developed by a massive development team, but Hideo Kojima’s direction is far more in-line with the modern indie scene than that of his AAA cohorts. Death Stranding is one of the slowest AAA titles to release in quite a long time. It’s slow to start, slow to pick up, and even the core gameplay loop is slow. It takes hours before players get their first vehicle, and even longer before they finally get a weapon. Death Stranding saves its actual core gameplay loop for so late in the experience that it’s not unreasonable to suggest the game sees an entire genre shift halfway through. But that’s missing the point. Death Stranding’s “genre shift” is only going to feel so for those who don’t want to engage with the first half’s crawl– those who just want to play with a toy. 

Of course, just wanting something simple and immediately engaging to play is fair enough. For working adults with limited time to play a game, in particular, but not every game is going to resonate with everyone, even if a game like Death Stranding is designed for anyone. Death Stranding seems inaccessible & foreign in a generation where every big genre release plays like the last, but between a myriad of difficulty options and an online system designed to make the player’s life easier– one that works & works well– Death Stranding takes the medium’s interactivity to its next logical step: connectivity. Real connectivity, though. A connection that goes beyond playing against or with someone for a few minutes. 

In Death Stranding, players can leave a tangible mark on, and in, the world. Players can build structures for others, share with others, and just do something as simple as “liking” others. Those opening hours are incredibly valuable as– without the means to kill or fight back– players are forced to interact with the game world on a deeper level beyond combat. Death Stranding takes its time developing its gameplay loop, drip-feeding weapons, and concepts. Even the online component opens itself slowly, forcing players to understand what it means to be alone before they can forge real connections– with the world, others, or themselves. 

This is what Hideo Kojima understands better than the majority of modern AAA developers: games can connect a feeling directly to the player. Death Stranding’s best moments (as any should be) stem from gameplay. Kojima’s storytelling is engaging as ever, but it exists to bolster the gameplay– as does the slow pacing, as does the aggressive enemy AI, as does locking out weapons for hours on end– everything in Death Stranding is ultimately in service of connecting players to Sam in a way that feels genuinely meaningful. Through Sam, audiences can observe an America that’s in ruins, but one that society is rebuilding.

As Sam reconnects America, opportunities arise to finish bridges for others, leave supplies in remote areas, or just warn of dangers ahead. It’s very Dark Souls-esque in nature, but with a gameplay loop that minimizes traditional action, Death Stranding is the rare AAA game that’s bold enough to embrace the medium and everything it represents, for better or worse. A video game interacts with an audience in a way that books and film can’t. Controlling an avatar is an intimate act and reflects us better than most might realize. Death Stranding recognizes this fact, turns its back on modern gaming mainstays, and attempts to reconnect the medium together. 

Death Stranding is a slow game, but the longer path walked only presents an opportunity to reconnect oneself to the heart of gaming: interactivity. 

AAA gaming and the indie scene shouldn’t be divided. A gameplay loop doesn’t need instant satisfaction to be engaging. Story and gameplay shouldn’t feel disconnected. Standard online multiplayer can be more rewarding when PvP elements are tossed to the wayside or even just outright ignored. Death Stranding resembles the average AAA title in many respects, but it allows itself to be eclectic, off-putting, & sincerely unfiltered– in regards to politics, human nature, video games themselves. Only time will tell if “strand games” will take off, but keep in mind that the stealth genre didn’t exist when the hit “action” game Metal Gear released for the MSX2 in 1987. As Death Stranding makes abundantly clear, everything changes with time. 

The 2010s have not been a bad decade for the medium, far from it. The past ten years have seen truly legendary consoles and games come out of the woodwork, but it’s impossible to deny the shift that occurred (and had been occurring) in AAA game development– one that’s driven the medium far away from meaningful interactivity, where flavor of the month games long to be played for all eternity, like Toy Story-esque monstrosities given form. Death Stranding is a slow game, but the longer path walked only presents an opportunity to reconnect oneself to the heart of gaming: interactivity. 

Continue Reading

Trending