I don’t play a lot of Zelda-likes or Metroidvanias so maybe this is a dumb question, but I’ve picked up Blossom Tales: The Sleeping King (which is basically A Link to the Past) and, like, I think it’s a Metroidvania?
Metroidvania games generally feature a large interconnected world map the player can explore, though access to parts of the world is often limited by doors or other obstacles that can only be passed once the player has acquired special items, tools, weapons or abilities within the game. Acquiring such improvements can also aid the player in defeating more difficult enemies and locating shortcuts and secret areas, and often includes retracing one’s steps across the map. Through this, Metroidvania games include tighter integration of story and level design, careful design of levels and character controls to encourage exploration and experimentation, and a means for the player to become more invested in their player character. Metroidvania games typically are sidescrolling platformers, but can also include other genre types.
Until that very last sentence, I feel like pre-Breath of the WildZelda fits this description perfectly. Wikipedia even notes that Castlevania: Symphony of the Night (which is the source of the “-vania” in the name) was inspired in large part by Zelda! Is the difference really just top-down versus side-view?
Distinguished elder of interactive fiction Emily Short shares her take on Bandersnatch, Netflix’s interactive episode of Black Mirror. It includes a sort of a roundup of takes in which she mentions concerns and links to other essays that go more in-depth on those specific angles. To me, the most interesting aspect (due mainly to not having occurred to me) is that the thematic flaws are typical of creator’s first works of interactive fiction.
I was recently lamenting to a friend the fact that right around when mobile technology was getting powerful enough to deliver console-quality experiences and designers were figuring out how to make good use of touchscreen controls, the horrible exploitative freemium monetization schemes took off, and we missed out on the possibility of a really amazing mobile game ecosystem.
The example that breaks my heart the most is Dynasty Warriors: Unleased which clearly could have presented a great musou-lite experience on the go, but was buried in layers of loot box crap. Similarly, I enjoyed both Animal Crossing: Pocket Camp and Fire Emblem Heroes a lot as games until their monetization schemes overshadowed the gameplay.
But now, as predicted by John Gruber, Apple is launching a subscription-based game service with access to a bunch of games with offline play, no IAP, no ads, and no data collection without player consent. And there are a bunch of quality devs and high-profile games confirmed for the service.
This is REALLY EXCITING. By lining up the incentives in this way, Apple is finally taking huge steps to fix the damage they’ve caused to the mobile gaming ecosystem. We might finally get some amazing mobile games and I can’t wait to see how it goes.
Google has announced that they are creating a streaming games platform called Stadia. The idea is you won’t need a console or even necessarily a controller if you already have a compatible one (and most modern console controllers appear to be compatible). You’ll be able to play games right in a browser on your TV/phone/tablet/PC via streaming. No extra download/installation required. Basically, it’s Netflix, except instead of streaming movies or TV, you’re streaming a video game and streaming back your controller inputs.
It’s worth noting that very little consumer-useful information is available yet. Nothing about how pricing will work (all-you-can-eat subscription like Netflix? rent games like the original PlayStation Now model? ad-based like YouTube? some combo?) or how expensive it’ll be. They’re also advertising it as capable of doing 4k video at 60fps - which would require an amount of bandwidth that’s implausibly high for most people’s internet connections.
But they have some big names on board - Doom Eternal and Assassin’s Creed Odyssey are confirmed for the service, and they’ve got Jade Raymond (creator of Assassin’s Creed) heading their in-house development studio where they will be developing first-party (probably exclusive?) titles.
Good games are those which successfully guide their players to worthwhile experiences, so the designer’s intent is key to a game’s quality. This leads some of us to conclude that designer intent should be elevated above player freedom - that players should be prevented from altering a game’s experience lest they ruin it for themselves.
“Decisions like [Dark Souls’s difficulty level, Dead Rising’s time limit, and Far Cry 2’s jamming weapons] might be controversial, but if they’re an integral part of the experience that the developer is trying to create, then the player shouldn’t feel like they’re entitled to be able to mess with this stuff through options, modes, and toggles. Because that would screw with the developer’s intentions and could end up ruining the game in the long run."
—Mark Brown, What Makes Celeste’s Assist Mode Special | Game Maker’s Toolkit (at 22 seconds) (to be fair, the rest of the video adds a lot of nuance to this position)
I strongly disagree with this. To me, the designer’s intent is the starting point and not the finish line. If we cling to it and discourage players from exploring any further, we rob it of most of its value. Here’s why.
Wandersong can broadly be split into two types of gameplay:
Exploration: Reach a new area, wander around meeting people, and help them with their problems by solving some low-pressure puzzles. This gets you access to the next type:
Dungeon: Progress through a series of more-intense puzzles featuring and building on the dungeon’s particular theme. At the end is a story scene with the area’s climactic encounter. Once you’ve done this, move on to the next chapter and a new area.
This is oversimplified and not every chapter follows it exactly, but that’s the basic structure.
I complained before about how the Nintendo Switch Online NES SP Editions started out as ways to increase the approachability of games designed in a different era, but became about just skipping content instead. I’m relieved to see that this month’s batch are back to the old philosophy - there’s one for starting Kirby’s Adventure with Extra Game and Sound Test already unlocked, and one for starting Zelda II: The Adventure of Link with maxed out Attack, Magic, and Life stats. Great to see!
It’s also been a bit interesting to me since I’ve previously argued that the reason why hardcore gamers sometimes object to Easy Modes in their favorite games is because it makes it harder for them to use those games to signal their own skills. This is the first time I’ve really gotten a taste of that myself.
I have a tradition of fully completing Kirby’s Adventure on every platform it becomes available on. I was planning on posting a screenshot here when I’d done that on Switch, where I have just finished unlocking Extra Game on all three slots. Now the SP Edition lets anyone start right there. I have to acknowledge that one of my gut reactions to this news was mild annoyance.
But I recognize that having to clarify in my screenshot post that I didn’t use the shortcut is a small price to pay, and I’m glad people have the option to use it.
