Citizens of Earth

As we start swinging into 2019, I wanted to start things off with a longer game, something that I’ve had in my backlog for a while. Today we look at Citizens of Earth, a game by Eden Industries. It was a Kickstarter project that originally failed, but Atlus picked it up and got it released in 2015. It was released on PC, PS4, Vita and 3DS, but for the sake of this review, we’re talking about the PC version.

You are the Vice President of Earth, who has returned home after a successful election cycle. After being woken up by his Mom in standard JRPG fashion, he finds a whole bunch of protesters rallying against him. Enlisting his own family and some locals to help get rid of them, he decides to swing by the local Moonbucks and winds up stumbling on a bizarre alien base that sets the game’s plot into motion.

Continue reading “Citizens of Earth”

Indie Hell Zone – Game of the Year 2018!!

Gamers! Gamers. Gamers…. welcome. It’s that time of year where video game blogs put out their lists of their top games of the year. Whether it’s to validate the the opinions of readers or to sincerely show appreciation for the things they like, these lists are one of the Video Game Outlet Traditions.

Last year, my article was mainly nonsense because in the end, Indie Hell Zone is a one-person joint and that one person goes to school, has a horrible job and wants to work on their own games, so experiences were limited. This year, instead of letting my dumb ass be the judge, jury and executioner, I put the role into the hands of you, the people, since there’s no way I can play everything. Of course, considering the scope of this blog, only indie games that were made or had a substantial update this year were valid to be voted on.

And so, let’s get to it. For these categories, I will also put which games won second and third place – you’ll understand why. All screenshots are mine unless stated otherwise.

Continue reading “Indie Hell Zone – Game of the Year 2018!!”

Handsome Ransom

Today we’re looking at Handsome Ransom, by blankd. You are a 21-year old kobold that is turned into a princess by her Fairy Kobmother to fulfill her dream of attending a royal party. Naming herself Kosette in a cursed reminder of the Bowsette era, she attempts to attend a party, but is quickly seen through as not being actual royalty. In order to become royalty, she decides to conspire with a dragon to kidnap actual princes and princesses to acquire the wealth needed to be considered legitimate!

There’s one big issue with the game that’s glaring from the start and it’s that there’s little to no music. The sound is clearly there, there’s just no music set to anything – either that or RPG Maker MV has tried my patience for the last time (like how it’s erasing text on subsequent playthroughs, for me). It’s just kinda weird that there isn’t even RTP music, considering that the creator has no problem using the RTP graphics alongside their original art (which, by the way, is pretty cute).

Going in though, you’re greeted with some fun writing. After Kosette accidentally kills a man, she becomes a wacky, arrogant cartoon villain – in a good way. She meets up with other kinds of kobolds that will lend their aid, all of them offering amusing dialogue as they negotiate pay; there’s even a few interludes where they get to babble as you storm the castle of the demo’s royal. Said royal, the Rose Prince, also turns out to be a huge likable weirdo, which makes his knight upset. Handsome Ransom‘s writing is generally full of character and charm and was easily the best part of the game.

As you meet up with your teammates for the first time, an overwhelming weight is placed on your shoulders: team customization. There’s a whole bunch of characters to recruit and there’s a whole lot of skills to buy. Your shadow kobold friend could be built up as a poison expert or into a glass cannon that could wipe the floor with anyone you set them against; your chef can easily become a healer, but can also be retooled to be a strong attacker based on the amount of meat they have. There’s plenty to play around with, though the demo, covering a plant based area, encourages you to bring fire and cutting skills. The team building potential actually reminded me a lot of YOMOTSU, which was the winner of the last IGMC, so I went in with high expectations.

Unfortunately, going into the demo proper, I’m going to have to be honest: this does not seem like a game that was playtested.

You enter the Land of Roses and go into the next room. But it’s not the next room, because for some reason the teleporter takes you to the next room over. Enemies approach you. But their conditions are set up wrong and they only fight you when you touch them, not when they touch you, making them chasing you feel pointless. You get into a battle and you get poisoned during the battle. The poison carries on after battle and for some reason healing at save points does not remove it.

And the fights themselves are poorly balanced. The Busy Bees can attack with a move called Dazzling Speed that hits in the hundreds. Multiple times. And you typically encounter them in groups of four. To contrast, they’re paired up with Shine Flowers that have mundane attacks, only good for finishing you off if the bees haven’t already. The final boss of the demo has an attack called Thorn that does 0 damage, while also having a group attack that can hit into the hundreds.

Your attacks are no different. As Argeth, a commenter on Handsome Ransom‘s page says, the bees seem to ignore damage randomly. For me, this was a general problem. I brought out the fire breathing party member against the plant monsters and for some reason, attacks either did high damage or no damage whatsoever. On the plus side (in a bad way), if you have the cook and a bunch of regen spells to stack, you can pretty much heal all damage after every turn, as long as you aren’t just flat-out killed during the enemy turns (…which is entirely possible).

I had high hopes for Handsome Ransom. It had the set-up to be really engaging and I dig the original art and fun writing, but it is perhaps the most poorly balanced game I’ve ever personally played. I know that it’s supposed to be a prototype, but this is supposed to be a prototype representative of a bigger experience and I’m sorry to say that it leaves a poor impression. I can personally see myself playing this as a visual novel because as I said, I dig the art and writing, but as an RPG in this state, I wouldn’t rank it highly.

Junkdogs

Junkdogs is a Cowboy Bebop inspired IGMC 2018 entry by sudobeats where you are part of a team of space scavengers that gets on the wrong side of the law. Wanting to get the bounty off their heads, Joe scavenges through an abandoned ship but ends up getting the gang on the wrong side of the wrong side of the law.

While I’m not too into the story, I’m into the game’s atmosphere. Even with a criminal organization chasing after you, there’s this laid-back mood to it all that that gives off this tone that this is just another day of being a space outlaw. This is largely enforced by the game’s original soundtrack, which is a mix of jazz and chill beats to study to that I really got into. The soundtrack, for me, is what makes the game. It made the game’s writing more engaging than it really was with the mood it brings and sets the tone of the game quite nicely. While I personally think the battle theme could be more energetic, the soundtrack is overall a defining part of Junkdogs.

The game is split up into a big adventure segment and a battle segment. The adventure game part has Joe checking around the abandoned spaceship. On top of the usual adventure game puzzle stuff found in adventure RPG Maker games, you can also smash crates to get items for the upcoming battles and hunt down CDs to play the game’s soundtrack, which also includes music that doesn’t play in the game proper for a nice bonus, giving incentive to poke around a bit more.

After you accidentally piss off the local crime syndicate, you’re thrown into the seat of your scouting ship and head into battle. The battle system is your standard turn-based RPG stuff, but framed around spaceship battles. Skills defy the standard in that they’re limited use, with only the combat ones being replenishable. To be honest, the battles didn’t feel engaging to me, but this is likely a result of having only one playable character, which typically closes off variety in what you can do. Like, maybe one of the other characters could have flown in to back Joe up in the second phase of the fighting and have the Arc Cannon as a unique aspect of their ship instead of Joe just suddenly remembering he has it. Personally, I feel that while the game was generally good at presentation, it falters with the battles. It doesn’t fully capture the “cool space battles” image it tries to go for, with its plain scrolling background and mostly simple animations.

On the note of presentation, Junkdogs uses assets from the POP collection of RPG Maker assets for most of the game. The packs are actually geared more toward horror games and are almost always used for that purpose, but I think Junkdogs succeeds in putting them toward a different direction, which I admire.

Junkdogs is an alright game, though it’s one that knows what direction it’s going. While the battles could have been better, I think the demo acts as a good showcase of what a full version of the game would be like and the effort put into the soundtrack indicates a strong direction, to me. It’s definitely an entry that carries itself with confidence.

Jailbirds

It’s finally time to check out some of the games from Indie Game Making Contest 2018!  With a large prize pool and the possibility of some games being taken on to be made into a big commercial game, 330+ entries have stepped up to the plate! There’s obviously no way for me to look at all the entries, so I’ll just be looking at a few that caught my eye. If you want some to check out other coverage on IGMC 2018 games, Indra LadyPotato is doing some videos (including one on my game) on the games; I warn that she’s a Harsh YouTube Critic but she gives credit where it’s due. So without further ado…

Jailbirds is by seaphoenix and it’s a game that reminds me of The Rock and the Rose, the second place winner in Judge’s Choice for IGMC 2017, in that it’s a simple simulation RPG. Hm? Oh, seaphoenix made both of them, I guess this kind of thing is in their wheelhouse.

Continue reading “Jailbirds”

Bugs Must Die

Finals is finally done and IGMC 2018 finished up, with its games in the review process. I finished Let’s Make a Game and I plan on checking out the games of my fellow participants and I’m also planning on doing a proper “Game of the Year” list for this year, which you can vote on here. But first, I want to get back into the swing of things with Bugs Must Die!

Bugs Must Die is a twin-stick shooter by DG Games Workshop where you are a member of the Galactic Pests Control Company, a secret paramilitary aimed at wiping out a bug alien menace. Oh don’t worry, the aliens take their own civilians hostage, so I guess you’re the good guy. You play as Agent-M to pilot war machines to take on this threat, which apes human culture for whatever reason.

Continue reading “Bugs Must Die”

Unholy Heights (Switch version)

I decided to Switch things up this week by checking something out on the Nintendo Switch, because I welcome the Switch’s ability to let me play stuff while curled up in a blanket. For Black Friday, I got a few indie stuff for Switch that I’ve been meaning to check out.

Today, we’re looking at the Switch version of Unholy Heights, a game made by Petit Depotto. In this game, you are literally and figuratively the devil, acting as landlord for a tenement building in a blend of simulation and tower defense. Gather minions by renting out apartments to wandering monsters and have your tenants fight your battles while you seize rent from them on a quest for world domination.

Continue reading “Unholy Heights (Switch version)”

Blood, Sweat and Pixels

I’m going to talk about something different today. Recently, I finished reading Blood, Sweat and Pixels by Jason Schreier. It was something I’ve been wanting to read since it came out and it turned out my university actually had a copy of it. Considering that the writer is an editor at Kotaku, I expect the Typical Gamer to roll their eyes and snark about that “Shin Megami Tensei IV is the Dark Souls of Persona” article, but they should set that stupid bullshit aside and check out one of the most interesting books about games I’ve read.

Blood, Sweat and Pixels is a brutally honest look at the video game industry. There are triumphs in this book, but it isn’t 100% unwavering praise and cheer like a lot of video game related books I picked up from bundles on Storybundle. Every success story comes with human costs – and some of the stories in the book aren’t even success stories.

Each chapter of Blood, Sweat and Pixels focuses on the development of a single game, showcasing the many different experiences and setbacks of the industry, at times contrasting with each other. Many stories have studios struggling to meet the demands of publishers, while the story of Witcher 3 has a publisher trying to make it big as a developer. You read the story of Pillars of Eternity and how Obsidian easily found the Kickstarter funding to make their game, which is soon contrasted with Shovel Knight‘s story of how its developers struggled to get the word out to get enough funding for their game.

And “enough” is used loosely in this situation. Looking at the big success Shovel Knight is today, you never would have thought that the developers had to force themselves into working long hours to make the most of their funds, sometimes toeing the line of poverty. This is one of the stories of the book, stories of the human creators behind the games we love being screwed over because of financial reasons or because of decisions by bigwigs and publishers. Read on as the ambitious studio behind Halo Wars gets unceremoniously shut down, with its workers continuing to develop the game knowing that they won’t have jobs in the future; this is partly because of an office schism that led to wasted resources on projects that tried to escape Ensemble Studio’s hole of being the “RTS company.” Feel that the first Destiny’s story elements is a mess? Behold the miscommunications and mismanagement that led to that happening. And it all ends on the downer that is Star Wars 1313, Disney’s cruel ever-consuming noose tightening around LucasArts.

The one thing that connects all these stories together (besides being about games) is crunch, the dreaded practice of working long hours at the expense of health and personal life. Frequent stories about crunch have employees working their ass off to get games out on time or so they can have a big fancy demo ready for E3. Crunch not only exists to meet deadlines, but obligations, such is the case of Stardew Valley‘s creator, who forced himself to work long and hard to achieve perfectionism for the sake of satisfying his audience, leading to severe burnout. He, thankfully, had a loving family to fall back on during his time, but reading his chapter reminds me that not many developers have that same luxury.

Looking at recent big game industry news, nothing much has changed. Studios still crunch. Big wigs still screw people over. Passionate developers continue to be taken advantage of. A tidbit in the Halo Wars chapter mentions that Ensemble Studios crunched to get the first Age of Empires out, which leads one to wonder how long this has been going on for and if it’ll continue. It certainly has for Red Dead Redemption 2.

Speaking of which, fucking Red Dead Redemption 2. It’s just a walking plague of many of the problems described in this book. But what gets my blood boiling the most is a quote by Dan Houser, a founder of Rockstar, in a recent interview:

Sam and I talk about this a lot and it’s that games are still magical. It’s like they’re made by elves. You turn on the screen and it’s just this world that exists on TV. I think you gain something by not knowing how they’re made. As much as we might lose something in terms of people’s respect for what we do, their enjoyment of what we do is enhanced. Which is probably more important.

Dan Houser, bastard man

Which is bullshit, but of course, it’s easy to dismiss the value of your employees when you’re the boss.

Reading Blood, Sweat and Pixels feels defiant in light of Dan Houser’s nonsense. It’s a book that reminds you that, no, elves don’t make this shit, people do and they often suffer to do so. I personally believe that this book should be an important cornerstone in gaming culture. It’s a reality check that people need, showing the side of games that the average consumer doesn’t typically see. It’s not perfect by any means, as the book isn’t representative of all experiences in making games, but compared to the general consumer knowledge about what goes on, it’s still valuable.

The Freeware Works of Modus Interactive Games

Today, we’re looking at the freeware games of Modus Interactive, a developer whose outfit is mainly walk-around games defined by lo-fi aesthetics and horror. I originally wanted to only play SPIRIT by Modus Interactive, but it ended up being really short. So, I ended up looking at the rest of their freeware work. The developer has also made a larger, commercial game called Sanguine Sanctum, which I hope to check out at a later date.

SPIRIT–

SPIRIT-- 11_9_2018 12_57_48 AMSPIRIT-- 11_9_2018 12_58_13 AM

SPIRIT– sets you on a ghost hunt… well, I assume that’s what the creepily garbled text in the description says. This game actually offers a version that can be played in VR – however, I don’t own any fancy headsets, so my experiences are based on the non-VR version.

You start out in a lo-fi park, tree sprites and weird machinery surrounding you. You hear static and buzzing around you, from no discernible source. You step away from the noises and search for your trusty ghost-hunting tool, a sort of screen that lets you peer into an alternate world.

And then you see what the world really is. Through the window you see the sources of those awful noises are the ghosts, just watching you from the other world, mostly similar to your own but with corrupted, visceral textures.

You don’t actually hunt ghosts in this game, you just sorta watch them, which I feel would disappoint some people. I think it’s an interesting horror game, though. The concept of peering into a different realm on top of your own gives this sense of unease. Nothing jumps out at you or attacks you, but they’re all watching you. You’re always being watched, but you would never know unless you watch back.

Maybe there’s another realm to our own, where we’re being watched by our own ghosts. Silently. Constantly.

Empty House

Empty 11_10_2018 11_40_53 AMEmpty 11_10_2018 11_43_51 AM

An empty house sits in an empty land. And that’s all there is to it.

Semi-realistic textures are distorted through filters, bizarre coloration making the mundane feel alien. Empty House follows a similar idea to SPIRIT in that looking through glass offers a different perspective of the world, the world from inside the house being distorted.

It’s much simpler than SPIRIT, though I really like the look to this game. It’s got this cursed found footage vibe that I really dig and something that I’d want more of in my life if I wasn’t so squeamish.

PC_001

PC_001 11_10_2018 1_00_10 PMPC_001 11_10_2018 1_04_58 PM

In PC_001, you play a game within a game where you’re trying to escape from the tower. And honestly, that’s all I’m going to really say about it, because the game’s main conceit is something that you’ll stumble into and talking about it will ruin it. While less atmospheric than the other games, PC_001 makes up for it with a neat premise.

Siren Head

Siren Head was made for The Haunted PS1 Jam, which is a good fit for Modus Interactive considering the rest of their work. It has a bit of a narrative, though it’s no less mysterious, especially when you come face to face with the eponymous creature. The creature is honestly pretty cool, being an extension of a mundane yet always jarring regular occurrence. It’s real short but it’s also the one that I want to see more of. The other games feel like they’re long enough to convey what they needed to convey, but I feel that there could be more to play around with in this game. I want to see more of this majestic monster.

Neko Yume

On the subject of haunted PS1 games, there was also a game jam that celebrated LSD: Dream Emulator’s anniversary, with Neko Yume being Modus Interactive’s contribution to it.

While there are a few horror elements, Neko Yume is generally just a surreal romp through dreamscapes of goofy cats. While textures act wonky, Neko Yume captures the feel of LSD: Dream Emulator’s areas, with worlds obscured by low draw distance and revisits having slight variations (be it different textures, NPC changes, etc). Like Siren Head, it’s something that I’d like to see more of.

Furthest Reach

Furthest Reach steps away from the soft lo-fi horror to go with some sci-fi with a twinge of horror. You travel in a small spaceship, scouting out planets in between periods of stasis.

After every FTL stop (assuming you put the right amount of time on your stasis), you’ll pull up alongside some planets. You then hop onto the ship’s cameras and fire some drones toward the planet to analyze them. Watching the drones just whiz by from the window and your monitors is a neat effect.

After that you… turn the FTL back on and go back to sleep. Well, you’re just out here doing science. not going on grand space adventures. It’s a really lonely journey, your only company the stars and a variety of electronic loops.