Apr 162013
 

Status: Finished

Most Intriguing Idea: Introducing powers as characters

Best Design Decision: Giving characters one purpose or power at a time.

Worst Design Decision: Over-reliance on narration.

Summary:

I heard many good things about Thomas Was Alone last year but I didn’t get around to playing it until recently. It’s a minimalist platformer that tends more towards puzzles than reflex play, which is just as well since I felt the controls weren’t quite as crisp as I would like. The game starts off with a single rectangular character, the titular Thomas, and slowly adds new characters with different jumping and environmental characteristics. One can float in water safely, for instance, and another falls up and jumps down. Some well-written and excellently-performed narration does most of the work of introducing the characters, although Thomas has some nice moments of expressive play. When Chris first bounces off of Laura, for instance, there’s a great feeling of freedom that belongs to both the character and the player. The long first part also does an excellent job of connecting an ability to a name, so that in the second part I was thinking “Oh, now I have Sarah’s power” instead of “Oh, now I can double-jump.”

The unfortunate downside of the narration is that towards the end of the game, it has to do too much work in not enough time to introduce the new characters. As a result the story in this part didn’t feel as immediate or interesting to me, and the final success was less moving than it perhaps could have been. As the array of powers enables some of the best levels in the game, I would have been happy for Thomas to take more time here and set itself up for a really strong ending. Nonetheless, I found the game delightful and would recommend it to almost anyone.

Verdict: Recommended

Apr 122013
 

“You’re a monster!” Elizabeth says, and Booker doesn’t refute her. What would be the point? She’s right.

BioShock Infinite is a violent game, and it has to be. That’s a contrast to BioShock, an equally violent game where combat conveyed nothing about its main character and had little to do with the game’s themes other than spurring the player to engage in its various economies. Any stimulus — using plasmids to solve environmental puzzles, for instance — would have sufficed. That’s not so in Columbia. Violence is essential to who Booker DeWitt is, and what Columbia is. Their story cannot be told without it.

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Apr 092013
 

One of the things I found most striking about BioShock Infinite is how sloppy it was. The ending, as I discussed yesterday, is a self-contradicting mess held together only by sharply-timed revelations and plonky piano music. The quantum morass of its final moments is only one of the game’s problems, though. BioShock Infinite has mechanics, world-building, and narrative elements that don’t work together, or simply don’t make sense. Often it feels like the team making it forgot what they were doing, or how all these elements were supposed to fit. Continue reading »

Apr 082013
 

One of the problems with stories that use the concept of multiple universes is that the word “multiple” doesn’t even begin to describe the scale of existence. Consider, for instance, the universes in which I just reached through the internet and handed you a cookie (hope you like pistachio sandies!). Now, in the context of known physical laws, this is an extremely unlikely event, so much so that if you were to try to write out the probability by putting down a 1 and writing zeroes in front of it, you could go the whole lifetime of our universe without ever reaching the decimal point. The portion of the possibility space occupied by this event is infinitesimally small. Nonetheless, the number of universes in which I very recently reached through the internet and handed you a pistachio sandy is infinite. The multiverse is an infinity of infinities, which would imply that there are an infinite number of universes where the ending of BioShock Infinite made sense to me. This, alas, is not one of them.

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