<?xml version="1.0" encoding="utf-8"?>
<rss version="2.0">
<channel>
<title>The Gameshelf</title>
<link>http://gameshelf.jmac.org/</link>
<description>A TV show (and a blog) about interesting and unusual games.</description>
<language>en</language>
<copyright>Copyright 2008</copyright>
<lastBuildDate>Mon, 07 Jul 2008 16:42:52 -0500</lastBuildDate>
<generator>http://www.sixapart.com/movabletype/</generator>
<docs>http://blogs.law.harvard.edu/tech/rss</docs>

<item>
<title>Portal</title>
<description>I played through _Portal_ yesterday.

&gt; *jmac:* So did you enjoy portal?
&gt;
&gt; *zarf:* yes
&gt;
&gt; *zarf:* I should make a Gameshelf post, but it would be a one-liner.
&gt;
&gt; *jmac:* That&apos;s fine.
&gt;
&gt; *jmac:* It would be like saying &quot;Hey I just saw this &apos;Star Wars&apos; movie OK&quot; at this point
&gt;
&gt; *zarf:* yep
&gt;
&gt; *jmac:* I trust in your judgement / ability to say something original despite everything
&gt;
&gt; *zarf:* I&apos;m gonna quote this exchange... :)

I finished the game off at 2:30 AM, so you should be wary of my ability to get nouns and verbs in the same sentence, much less be original. But I appreciate the vote of confidence.

(I briefly considered making a long post about playing [Portal](http://www.the-underdogs.info/game.php?id=834), the 1986 hypertext science fiction novel/game by Rob Swigart. But I&apos;ve got little new to say about that _Portal_ either. Except that, drat, the Web-based version is no longer working.)

It is worth noting that I signed up for [Steam](http://steampowered.com/) almost 24 hours ago and nobody has come to collect my soul. I haven&apos;t even gotten any bothersome promotional email. That puts them ahead of a lot of web sites I&apos;ve signed up for. (Big Fish, I am pointing this plasma rifle at you. I never did manage to unsubscribe to your newsletter. By &quot;plasma rifle&quot; I mean &quot;welcome to my spam filter&quot;.)

That damn song is stuck in my head, but *that&apos;s* been happening on and off since it first hit YouTube.

I don&apos;t blame you. I don&apos;t hate you. Shutting down.</description>
<link>http://gameshelf.jmac.org/2008/07/portal.html</link>
<guid>http://gameshelf.jmac.org/2008/07/portal.html</guid>





<category domain="http://www.sixapart.com/ns/types#tag">hypertext</category>

<category domain="http://www.sixapart.com/ns/types#tag">orange box</category>

<category domain="http://www.sixapart.com/ns/types#tag">portal</category>

<category domain="http://www.sixapart.com/ns/types#tag">rob swigart</category>

<category domain="http://www.sixapart.com/ns/types#tag">steam</category>

<category domain="http://www.sixapart.com/ns/types#tag">there is no spoon</category>

<pubDate>Mon, 07 Jul 2008 16:42:52 -0500</pubDate>
</item>

<item>
<title>Driving adver-games, now and then</title>
<description><![CDATA[<span class="mt-enclosure mt-enclosure-image"><a href="http://gameshelf.jmac.org/2008/07/05/night_driver.html" onclick="window.open('http://gameshelf.jmac.org/2008/07/05/night_driver.html','popup','width=640,height=400,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0'); return false"><img src="http://gameshelf.jmac.org/2008/07/05/night_driver-thumb-250x156.png" width="250" height="156" alt="night_driver.png" class="mt-image-right" style="float: right; margin: 0 0 20px 20px;" /></a></span>Recently playing <a href="http://www.joystiq.com/2007/10/12/joystiq-review-yaris-xbox-360/">the really crappy, Toyota-branded freeware video game</a> didn't make me go buy a Yaris, but when I saw that one was available in my local <a href="http://zipcar.com">Zipcar</a> fleet when I needed to go grocery shopping the other day, I immediately gravitated to it. Make of that what you will. 


(Real-life Yaris Review: While I couldn't find the button that makes the gun pop out of the hood, I did find the controls much nicer than those in the XBox version, and suffered no frustrating camera issues.)

This got me thinking of the history of melding digital games with car advertisements. Since one of the oldest video game genres is driving games, the potential at marketing crossover certainly does seem rather obvious.

However, it's a relationship fraught with peril, because cars in video games tend to be treated rather... let's say <em>light-heartedly</em>. No car manufacturer would wish to suggest that their products explode colorfully into slow-motion clouds of flame and shattered glass at the merest brush with an on-road obstacle, for example. Nor would they likely approve the depiction of the vehicle's utility as a weapon against soft targets (such as pedestrians). While these restrictions put a serious damper on most any attempt at cross-marketing, the medium is not without examples of attempts to overcome it.

When I was in college, among the games you could find drifting around the campus Macintosh network was some luxury car manufacturer's attempt to produce an "at-home test drive" for one of its models, resulting in a game that was supposed to simulate the experience of being behind the wheel - by way of a classic Mac's 9-inch, one-color display. While an interesting novelty, it was clunky and boring as a game. Its oversensitive mouse input let the player interact with the game world mainly through drunken swerving. I don't remember if it had any game objectives, other than the challenge of staying in the right lane for more than a second. (I cannot recall the actual car involved, and Google is giving me no love; would love to know what this was.)

Accolade's <cite><a href="http://www.mobygames.com/game/atari-st/test-drive">Test Drive</a></cite>, which simulates a variety of real-life high-priced sports cars, was a rather more successful offering. Intriguingly, the game encourages you to abuse the law, giving you a radar detector and making an explicit goal of driving as fast as you can without getting pulled over. Then again, the suggestion that their cars go very fast and let you avoid police detection with practice might not necessarily be a negative message, for a sports car company!

By my lights, the most successful melding of real-life car brands and playable games has been the <cite>Gran Turismo</cite> series of console racing games, which stress ultra-realism of automotive physics - with the exception of inertia, which vehicles can discard at will. This allows them to collide at full speed into walls and each another while suffering no damage other than the inconvenience of lost time. Other than that, though, the manufacturers are apparently happy to lend their name to a simulation of driving in circles, well away from traffic and serious consequences.

Have you spotted any other clever (or not-so-clever) insertions of real cars into game worlds?]]></description>
<link>http://gameshelf.jmac.org/2008/07/driving-advergames-now-and-the.html</link>
<guid>http://gameshelf.jmac.org/2008/07/driving-advergames-now-and-the.html</guid>








<category domain="http://www.sixapart.com/ns/types#tag">advertising</category>

<category domain="http://www.sixapart.com/ns/types#tag">cars</category>

<category domain="http://www.sixapart.com/ns/types#tag">digital games</category>

<category domain="http://www.sixapart.com/ns/types#tag">driving games</category>

<category domain="http://www.sixapart.com/ns/types#tag">games</category>

<category domain="http://www.sixapart.com/ns/types#tag">history</category>

<pubDate>Sat, 05 Jul 2008 17:44:42 -0500</pubDate>
</item>

<item>
<title>A session report from March</title>
<description><![CDATA[<p>Although the Gameshelf television show covers tabletop games and
computer games in about a 2:1 ratio, this weblog has been skewing
towards the latter for a while now.  In the interest of balance, I am
posting a session report I wrote up for a game party way back on March
15.  I only ever posted it to a private mailing list, but I think
maybe it would be appreciated by a wider audience.  I hope you enjoy
it.  (I hardly ever write session reports, so I don't have anything
more recent.  But it's not like there's anything out of date.  I still
haven't played Container again.)</p>

<hr />

<p>Jeff M. requested that I post a session report for Saturday's Ides of
March game party at my place, so here goes.</p>

<p>Attendees: Stephen M., Karl v.L., Jeff M., and Greg L., plus Chris L.
showed up for about 3 minutes before leaving to get food and never
coming back.  I guess something spooked him, or else he was waylaid by
knife-wielding senators before he could return.</p>

<p>Games played: Fairy Tale, Pickomino, Marco Polo Expedition, Zark City,
Tongiaki, Wits & Wagers, Saboteur, Tashkent Domino, Container,
Carcassonne: the Castle.</p>

<p>Food consumed: pretzels filled with peanut butter, pretzels filled
with honey mustard (both of these were brought separately with no
apparent pre-arrangement), kung pao chicken, "champagne" duck,
Singapore-style rice noodles, and Jeff was brave enough to try my
homemade sausage-and-turkey chili.</p>

<p><a href="http://www.boardgamegeek.com/game/13823">Fairy Tale</a>:
Stephen, Karl, and Jeff showed up in quick succession soon after 2pm,
and we jumped into this short Japanese card game of simultaneous
drafting.  Usually in this game, especially with four players,
everyone ends up concentrating on one of the four clans, but this game
we all ended up with multi-clan tableaus.  We also had very few
flipped cards, and no one really went for the big asterisk-card
collections.  Consequently the scores ended up pretty close; Stephen
eked out the victory with 54 points, Karl had 50, I had 49, and Jeff
(the only one who hadn't played before) had 36-- and if I hadn't
purposely held onto a card that he wanted, he'd have gotten another 12
points (face value 3 plus 9 conditional points from the matching story
card).</p>

<p><a href="http://www.boardgamegeek.com/game/15818">Pickomino</a>:
Greg showed up as we were starting the final round of Fairy Tale, so I
was glad we had begun with a short game.  We settled on another short
game, this time a push-your-luck Knizia dice game.  We had what seemed
like an unusual number of bust-out turns-- Stephen never once took a
tile, and I only took a tile on my last turn.  I don't think we were
being particularly risky, either; many times we had no real decisions,
e.g. the current total was too low to take a tile and there was only
one legal number to keep from the current roll.  Maybe we had made bad
decisions on earlier rolls, or maybe we just had bad luck, I dunno.
Greg seemed to be in the lead for most of the game, but Karl ended up
winning with 6 worms; Greg had 5, Jeff had 3, I had 2, and Stephen had
0.</p>

<p><a href="http://www.boardgamegeek.com/game/9139">Marco Polo
Expedition</a>: Jeff pulled this game from my shelf while looking for
5-player games.  This is one of those games that I always enjoy but I
can never seem to win.  It's a somewhat light but solid
set-collection/racing game, one of Knizia's underrated titles.  Like
most racing games, it's usually better to be following than leading,
but you don't want to fall too far behind the pack.  I can never seem
to remember this, though, and twice in this game I jumped out to a
lead but then got overtaken by the rest of the pack before I could
collect enough cards to advance again.  Still, I managed to get to the
6-point location near the end before the game ended, which was enough
to put me in a tie for second.  Jeff won with 12, Greg and I had 11,
and Stephen and Karl both had 9.</p>

<p><a href="http://www.boardgamegeek.com/game/35003">Zark City</a>:
Karl suggested this one, a new Andy Looney game that was recently
posted online.  It's a streamlined version of Zarcana/Gnostica, played
with Icehouse pyramids and a deck of cards (preferably Lost Cities
cards, which is what we used).  Like its big brothers, it's an
abstract wargame of territorial control, but in this version your
choices on each turn are severely restricted so the turns move very
quickly: either add a pyramid to the board, add a card to the board,
move a pyramid, attack a pyramid using cards from your hand, grow a
pyramid (for defense), or draw three cards.  The goal is to have your
pyramids control a set of three connected cards that form a suited run
or a three-of-a-kind.  After a lot of back-and-forth maneuvering, I
made a boneheaded move that I thought was blocking Jeff from winning,
but then he simply attacked my pyramid and converted it to his color
for the win.  I do think that this game is deeper than it first
appears, but really I was just careless.</p>

<p><a href="http://www.boardgamegeek.com/game/9028">Tongiaki</a>: I
was out of the room when this game was selected, but it's another game
that I think is underrated so I was happy to see it hit the table.
This game of South Pacific exploration can be a bit chaotic with 5
players, but sometimes you can make a clever series of moves that
substantially improves your position, and if you're careful you can
avoid having your efforts easily undone.  I took the opportunity to
end the game while I had presence on a nice big spread of islands for
24 points, thinking that Stephen was my main competition with 23, but
it turned out that Karl had 25 points which gave him the win.  Greg
and Jeff both had 16.</p>

<p><a href="http://www.boardgamegeek.com/game/20100">Wits &
Wagers</a>: At this point, Greg said that he had to leave in about an
hour, so I suggested this game from his bag.  I'm not a big fan of
trivia games, but I enjoy this one because it's more about estimation
than knowing precise facts.  It also doesn't outstay its welcome: a
whole game consists of just 7 questions.  I stayed the chip leader for
most of the game by winning a few 3-1 payouts, but Greg won big on the
final no-limit bet when he was the only one to pick the right range
for the percentage of US Presidents who had been elected to two or
more terms.  Final balances were $125 for Greg, $70 for me, $10 for
Stephen, $5 for Karl, and $0 for Jeff.</p>

<p><a href="http://www.boardgamegeek.com/game/9220">Saboteur</a>: Greg
had time for one more, so we played this hidden-roles game of dwarves
mining for gold.  I was a saboteur in all three rounds, and twice I
was the lone saboteur, which seems nearly impossible to pull off in a
five-player game.  When Jeff was the second saboteur we managed to
win, but that just meant Jeff was on the winning side in all three
rounds, which gave him the game with 6 gold total.  Greg had 5,
Stephen had 4, and Karl and I both had 3.</p>

<p><a href="http://www.boardgamegeek.com/game/2935">Tashkent
Domino</a>: After Greg left, we ordered some Chinese food from Wu Loon
Ming, but it turned out that they didn't deliver, so Jeff and I went
to pick it up while Karl and Stephen stayed behind and played this
little-known pocket-sized game by Kris "Gipf" Burm involving special
dice with domino-style faces.  In each round, the players start by
rolling all the dice, then taking turns placing them onto the board,
matching domino edges and trying to have the fewest pips unplaced by
the end.  I think they didn't finish the full game (best of three sets
of best of seven rounds), but it sounded like Karl had a pretty big
lead by the time we returned with food.</p>

<p><a href="http://www.boardgamegeek.com/game/26990">Container</a>:
After our dinner break, the remaining four settled down for the only
really meaty game of the day.  Container, a posthumously published
game by Franz Benno "Transamerica" Delonge, is a pretty pure business
game: factories produce raw materials that are turned into finished
products that are sold wholesale, shipped to distributors, and finally
sold at retail.  One of several twists is that you can't use your own
materials to make products, you have to buy them from someone else;
similarly, you can't sell your own products at retail, you have to
pick them up from other players' wholesale warehouses with your
container ship and deliver them to the center island where they are
auctioned off in a lot, where you can in theory buy your own products
but in effect you'd have to pay 3x the cost due to a matching
government subsidy for selling to other players.  Another twist is
that each player has his own hidden chart of prices that the products
will be sold for at retail at game end, so you're never really sure
who's willing to pay how much in the distributor auction.  And,
strangest of all, you have to discard the product you have the most of
at the end, so you often want to buy products that aren't worth much
to you at retail to protect the products that are.  All of this is
complicated by the inefficient markets: you can only set or adjust
your selling price when you produce materials or make products, and
the distributor auction is blind.  This seems to have the effect of
driving down prices of materials and wholesale product-- you can't
respond quickly enough when a competitor undercuts your price, so you
have to preemptively set a low price-- and driving up the prices at
the distributor auction, since the buyers have to guess how their
competitors value the lots and can't just bid to maximize profit.  I
was just starting to figure this out near the end of the game, when I
switched from trying to sell scarce materials and products at high
prices to making all my money at the distributor auctions, but by then
it was too late because Stephen had amassed a big inventory of
products to sell at retail.  His final bankroll was $117, mine was
$70, and Jeff and Karl were in a virtual tie at $46 and $45,
respectively.  I started out not liking the game because it seemed
like the value of everything was purely relative so it was impossible
to figure out how to set prices or choose actions, but once I started
to see how the (very long!) supply chains were playing out, I was
getting more into it.  I still think it might be a little too
artificially convoluted for its own good-- the inefficient markets in
particular are frustrating-- but I'd like to try it again now that I
have a better feeling for how the economy works.</p>

<p><a href="http://www.boardgamegeek.com/game/7717">Carcassonne: The
Castle</a>: We finished up Container by about 10:30pm, which was late
enough to send Stephen and Karl home, but Jeff stayed behind for one
more game.  I'm a huge Carcassonne fan, and for two players this
Knizia variant is my favorite.  Jeff jumped to a big lead on the
scoreboard by taking lots of quick 2-3 point scoring opportunities,
which let him scoop up all of the bonus chits, but once I managed to
cash in the big regions I had been working on I started to catch up.
I managed to merge into one of his large tower regions to neutralize
its value, and the early investments I made in some market-rich
courtyards ended up giving me my first and only win of the day,
76-68.</p>

<p>With that, we called it a night.  Thanks to those who showed up, and
thanks to you for reading this far!</p>]]></description>
<link>http://gameshelf.jmac.org/2008/07/a-session-report-from-march.html</link>
<guid>http://gameshelf.jmac.org/2008/07/a-session-report-from-march.html</guid>





<pubDate>Thu, 03 Jul 2008 18:36:51 -0500</pubDate>
</item>

<item>
<title>The return of ifarchive.jmac.org</title>
<description><![CDATA[I am pleased to announce the return of <a href="http://ifarchive.jmac.org">ifarchive.jmac.org</a>, a mirror of <a href="http://ifarchive.org">the Interactive Fiction Archive</a> hosted on my own webserver.

The IF-Archive is a repository of all things interactive fiction, as vast in content as it is austere in appearance. It includes all examples of the art that the IF community's volunteer librarians can get their hands on - from ancient games of the 1970s, through text games' Internet-enabled reawakening in the 1990s, to brand-new works. It also contains downloadable software used to create IF games, as well as Usenet discussions, magazine articles, and other variously sourced information related to the medium.

The archive has the visual appeal of a website that just stepped off the bus from 1993, but its purpose leans more towards preservation and organization than presentation. The links found under its front page's "New to IF?" section all lead to friendlier articles and resources found around the web, including <a href="http://wurb.com/if/">Baf's Guide</a>, an alternate front-end to the archive itself.]]></description>
<link>http://gameshelf.jmac.org/2008/07/the-return-of-ifarchivejmacorg.html</link>
<guid>http://gameshelf.jmac.org/2008/07/the-return-of-ifarchivejmacorg.html</guid>





<category domain="http://www.sixapart.com/ns/types#tag">interactive fiction</category>

<category domain="http://www.sixapart.com/ns/types#tag">links</category>

<pubDate>Wed, 02 Jul 2008 17:01:01 -0500</pubDate>
</item>

<item>
<title>Interesting Milton Bradley bio</title>
<description><![CDATA[Over at the Play This Thing blog, Greg Costikyan has started to write short and interesting biographies of eminent game designers. He begins with <a href="http://playthisthing.com/milton-bradley">the tale of Mr. Milton Bradley</a>, examining his origins both in life and as a game designer and publisher. Did you know that he is credited with inventing the concept of a "travel edition" game when he produced portable game sets for soldiers during the US Civil War, or that he helped popularize the notion of kindergarten education in the United States?]]></description>
<link>http://gameshelf.jmac.org/2008/07/interesting-milton-bradley-bio.html</link>
<guid>http://gameshelf.jmac.org/2008/07/interesting-milton-bradley-bio.html</guid>





<category domain="http://www.sixapart.com/ns/types#tag">blogs</category>

<category domain="http://www.sixapart.com/ns/types#tag">history</category>

<category domain="http://www.sixapart.com/ns/types#tag">links</category>

<pubDate>Tue, 01 Jul 2008 09:25:19 -0500</pubDate>
</item>

<item>
<title>Review: Every Extend Extra Extreme (XBLA)</title>
<description><![CDATA[<small><em>Listed as E4 on Xbox Live Marketplace.</em></small>

<span class="mt-enclosure mt-enclosure-image"><a href="http://gameshelf.jmac.org/anthony/E4.jpg"><img alt="E4.jpg" src="http://gameshelf.jmac.org/anthony/E4-thumb-250x140.jpg" width="250" height="140" class="mt-image-right" style="float: right; margin: 0 0 20px 20px;"/></a></span>Every Extend Extra Extreme (E4) is an enhanced remake of the PSP game Every Extend Extra (E3) which is an enhanced remake of the freeware game Every Extend (E2).  Every Extend Extra Extreme has been developed by Q Entertainment, the synesthesia wizards who have also made Rez and Lumines which also make excellent use of light, color and audio.

The freeware game only has one level which can be easily finished in less than 10 minutes.  It is very basic game and it started to truly evolve into an arcade masterpiece once Q Entertainment got their hands on it.

There are 4 modes of gameplay:  Unlimited where there is a countdown timer that can be extended, timed where the countdown timer cannot be altered, a mode to use music stored on the Xbox hard drive to affect the level and a mode called “The Revenge” where the player shoots down multiple objects instead of using chain reactions.

The controls are simple:  Left analog stick to move around, A to explode (or shoot in The Revenge mode), and B to end a chain reaction.

There are 4 levels in single player mode, each with its own music and behaviors.  As the music plays, objects fly across the screen in geometric patterns such as V shapes, and the sounds in the songs affect their speed, direction and how fast the screen will become crowded.

When the player pops in the level, they have a shield and remain invulnerable for 5 seconds so they don’t die immediately in an over-crowded level.  When the shield goes down, they can still freely move around, but cannot touch any enemy objects.  If they do, they will be destroyed, and seconds will go down before the next player appears in the center of the screen, so they need to move more carefully.

As enemy objects move in, the player must find the best possible place to explode to start a chain reaction.  When the player presses A to explode, any objects caught in the explosion will also explode, continuing the chain reaction.  The player can press B to end the chain reaction to respawn and collect time extensions for more time to score points.

There are 4 objects the player can collect to help rack up a high score:  Quickens make explosions faster, multipliers increase the score for every exploded object, shields which give you a short time of invulnerability and time extensions which increase the countdown timer.

The player’s score will increase at an alarming rate.  For example, when I played for 10 minutes, I had a score of 1 trillion.  This is because the player receives 1 point for every object that explodes in the chain reaction times the multipliers that have been collected.  If a player gets 2000 chains and 2542 multipliers, they will receive 5084000 points.

In addition to simple controls, score modifiers and simple strategy, E4 has the same attributes that can be found in Rez and Lumines:  The player’s movements and actions create sounds that match the level’s music, there are plenty of colors, flashing objects, different modes, the controller vibrates with the music and it be played for long periods of time.  I found myself bopping my head to the music as I watched my 45-second chain reaction make clapping sounds that are in sync with the upbeat techno dance music.

The next mode, titled “Wiz Ur Musik”, prompts you to choose a song from your hard drive, which will be played and used to control how objects will move in the level.  Prior to this, I inserted one of my music CDs into the Xbox and had it copy it to the hard drive which took a while.  While I played this mode, I didn’t feel or see anything different from other songs.  It looked like it was only counting bass and snare sounds and using that to control the pace of the game.  In any case, it was nice to hear my own music for a while.

The final single player mode, “The Revenge” gives you the power to fire a weapon instead of exploding.  Before the game starts, the player can choose if they want to fire in all 4 compass directions, or have those 4 directions of fire concentrate in the forward direction in a cone shape.  Afterwards, the player can also choose the speed of the levels before it starts.  When the game starts, the player has the same 5 second shield, but this time, must destroy a certain amount of objects, then defeat a boss afterwards.  The enemies move faster and in different patterns as the levels progress.  This is a fun variation of E4, and it’s a lot more challenging too since I can’t use the explosion to escape when I’m surrounded by enemies and I have to find a way to shoot my way out.

There is online multiplayer over Xbox live, but there’s nobody hosting or seeking any matches so I can’t say anything about this feature.  If I wanted to play online, I’d have to add a friend who has E4 and send a message to them to arrange some time to play together.

Overall, this is an excellent game on Xbox Live Arcade.  It is definitely without a doubt, much easier, more addictive and fun than Geometry Wars.  This led me to believe that Geometry Wars became more popular due to the fact that Microsoft Game Studios was publishing it.  This is the simplest and most addictive casual game I have ever played in my life.  Even though there are only 4 single player levels, it can last from a few minutes to a few hours depending on how long I can stay concentrated and gather multipliers, quickens and time extensions.  I know that not many people are aware of this game and if you have 800 points lying around in your live account and you want something to do for 10 minutes to an hour, then E4 is worth it.  I wonder what they’ll make the fifth E stand for in E5 if they ever make a sequel:  Every Extend Extra Extreme... Elephant?

Link to the freeware game: <a href="http://www.vector.co.jp/download/file/win95/game/fh327077.html">Every Extend</a>]]></description>
<link>http://gameshelf.jmac.org/2008/06/review-every-extend-extra-extr.html</link>
<guid>http://gameshelf.jmac.org/2008/06/review-every-extend-extra-extr.html</guid>








<category domain="http://www.sixapart.com/ns/types#tag">E4</category>

<category domain="http://www.sixapart.com/ns/types#tag">Every Extend Extra Extreme</category>

<category domain="http://www.sixapart.com/ns/types#tag">games</category>

<category domain="http://www.sixapart.com/ns/types#tag">Q Entertainment</category>

<category domain="http://www.sixapart.com/ns/types#tag">review</category>

<category domain="http://www.sixapart.com/ns/types#tag">rez</category>

<category domain="http://www.sixapart.com/ns/types#tag">xbla</category>

<category domain="http://www.sixapart.com/ns/types#tag">Xbox</category>

<category domain="http://www.sixapart.com/ns/types#tag">xbox live arcade</category>

<pubDate>Sun, 29 Jun 2008 01:37:15 -0500</pubDate>
</item>

<item>
<title>A more accessible PandA</title>
<description><![CDATA[<span class="mt-enclosure mt-enclosure-image"><a href="http://gameshelf.jmac.org/2008/06/23/pandamag.jpg/logo.html" onclick="window.open('http://gameshelf.jmac.org/2008/06/23/pandamag.jpg/logo.html','popup','width=277,height=300,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0'); return false"><img src="http://gameshelf.jmac.org/2008/06/23/pandamag.jpg/logo-thumb-250x270.jpg" width="250" height="270" alt="logo.jpg" class="mt-image-right" style="float: right; margin: 0 0 20px 20px;" /></a></span>I only a few days ago got around to cracking open the latest (April) issue of <a href="http://pandamagazine.com/">Puzzles and Answers magazine</a> (a publication we've <a href="http://gameshelf.jmac.org/2008/02/puzzles-answers-magazine.html">mentioned on this blog before</a>), and noticed an interesting format adjustment - its editor and constructor, Foggy Brume, has decided to lead in each issue with several pages of stand-alone puzzles. The entrée of each issue continues to be an "extravaganza," a thematically linked series of more difficult puzzles with a meta-puzzle topper.


Since I became a regular reader/solver last year, I've noted that Foggy's been moving in this direction over the last few issues; not long ago he started introducing a page or two of easier warm-up word puzzles before getting into each issue's main course. I approve of this change, which I hope makes the magazine more accessible to a wider audience of solvers without alienating its current readership.]]></description>
<link>http://gameshelf.jmac.org/2008/06/a-more-accessible-panda.html</link>
<guid>http://gameshelf.jmac.org/2008/06/a-more-accessible-panda.html</guid>








<category domain="http://www.sixapart.com/ns/types#tag">magazines</category>

<category domain="http://www.sixapart.com/ns/types#tag">puzzles</category>

<category domain="http://www.sixapart.com/ns/types#tag">Puzzles &amp; Answers Magazine</category>

<category domain="http://www.sixapart.com/ns/types#tag">updates</category>

<pubDate>Mon, 23 Jun 2008 17:20:22 -0500</pubDate>
</item>

<item>
<title>Review: Laser Quest (Danvers, MA)</title>
<description><![CDATA[Did you know that laser tag still exists as a commercially viable concept? When the gf stated that she wanted to celebrate her birthday this year by playing laser tag, I reacted quizzically. My concept of laser tag does not stretch beyond memories of <a href="http://home.comcast.net/~Ferret1963/Lazer_Tag_Brand.HTML">the Worlds of Wonder-branded toy</a> that flared into a bright but brief fad in the 1980s. I recall the spread it had in the Sharper Image catalog, and its cheesy Saturday-morning cartoon. My friend Jaimy and his little brothers got some sets for Christmas one year, back then, and we played at running around zapping each other in his driveway at least once. But that was all long ago, and I'd assumed it had long since gone the way of all gimmicky plastic.

<span class="mt-enclosure mt-enclosure-image"><a href="http://gameshelf.jmac.org/2008/06/23/ltvests1.html" onclick="window.open('http://gameshelf.jmac.org/2008/06/23/ltvests1.html','popup','width=292,height=218,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0'); return false"><img src="http://gameshelf.jmac.org/2008/06/23/ltvests1-thumb-250x186.jpg" width="250" height="186" alt="ltvests1.jpg" class="mt-image-right" style="float: right; margin: 0 0 20px 20px;" /></a></span>But according to Wikipedia, the concept of laser tag - that is, mounting an infrared flashlight into a gun-shaped casing and firing it at wearable, IR-sensing targets - <a href="http://en.wikipedia.org/wiki/Laser_tag">originated with the US military in the late 1970s</a>, and started appearing in a variety of toys at around the same time. While home versions no longer have an aisle to themselves in toy stores, there continue to operate across the US laser tag "arenas" operating under a variety of names and trademarks. The closest one to us happened to be <a href="http://www.laserquest.com/pages/about/LQ_About.html?index=about">Laser Quest in Danvers</a> [noisy Flash link, sorry], so we grabbed a dozen or so friends and tripped out to the suburbs.


We played two 20-minute games, both of which had rules I can best summarize as those of a first-person shooter deathmatch - every man for himself, basically. As with an FPS, the penalty for "dying" - getting beamed in any of the sensors attached to your vest or gun - was to leave play for a few seconds, during which you can't fire (or be meaningfully fired upon). You gained 10 points for zapping someone, and lost some points for getting zapped, varying by the sensor's location and who shot you. And the end, everyone receives a scorecard detailing whom they tagged and were tagged by, on which sensors, and for how many points.

The arena was impressive, despite (and perhaps somewhat assisted by) a certain low-budget-ingeniuty charm. It was essentially a large wooden labyrinth, its walls painted with goofy fun-house designs in colors that reacted well to the black light employed throughout. While it wasn't truly multilevel - there were no bridges to walk under - it did employ a lot of variance of elevation, accessed through a series of ramps. This gave a sense of high ground you could take, which actually did give you a better view of the whole maze (and all the potential targets within).

The biggest surprise for me was the use of real lasers in the guns. While the actual "munition" was the usual IR beams and sensors, the guns also shone red lasers forward when their triggers were pulled. What made this actually impressive was that the labyrinth was filled with mist before each match, not thick enough to obscure vision (especially in the dim light) but enough to make the lasers fully visible. I was truly taken aback the first time I pulled my trigger and saw a coherent beam flash out!

In this mode of play, the Laser Quest organizers seem to prefer piling as many players as they can at once into the maze. So our first game pitted our group against a horde of 10-year-old boys who happened to also be visiting that day. We then took a breather while the boys were allowed to play by themselves (while a theory circulated among our group that the boys' parents were tweaked to see them being pursued aggressively by some 15 adult men and women of questionable maturity). I scored 12th out of 28 players; not bad! First place went to one of the little ones, while one of our party took second.

Our second game was just ourselves, along with three teenagers who came alone. I am embarrassed to admit that, during this second round, I forgot the rules that explicitly prohibited sitting, lying down, or taking any other non-vertical pose. Wigging out a little from the relentless fog of war, I commenced crouching and tumbling around all bad-ass like you see in movies. <cite>Don't do this</cite>, perhaps especially if you're of a certain age or older. While it was fun for a while and I felt all hardcore, after a few minutes I spontaneously overheated (the place is not the most well-ventilated or air-conditioned in town) and had to sit down because I couldn't move anymore. The gf found me in this state and valiantly defended my prone position for a while. After I told her I was OK, she kissed my forehead, shot me in the chest and ran off to seek more challenging targets. It was truly a touching scene.

Anyway, despite this momentary lapse (where I quite deservedly came in last place) I had a delightful time, and look forward to playing again sometime.  The scorecards imply the existence of other rulesets, including team-based and even capture-the-flag-style play. Some in our group, intrigued by this, are already talking about the 60-person all-night special the facility offers. I shall have to remember to take it easy, that time.]]></description>
<link>http://gameshelf.jmac.org/2008/06/review-laser-quest-danvers-ma.html</link>
<guid>http://gameshelf.jmac.org/2008/06/review-laser-quest-danvers-ma.html</guid>








<category domain="http://www.sixapart.com/ns/types#tag">danvers</category>

<category domain="http://www.sixapart.com/ns/types#tag">laser tag</category>

<category domain="http://www.sixapart.com/ns/types#tag">massachusetts</category>

<category domain="http://www.sixapart.com/ns/types#tag">reviews</category>

<category domain="http://www.sixapart.com/ns/types#tag">sports</category>

<pubDate>Mon, 23 Jun 2008 14:34:21 -0500</pubDate>
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<item>
<title>Myst: the movie: the trailer</title>
<description>People talk about a movie based on the Myst games. People have been talking about it since _Myst_ first appeared. Cyan even starting [working with the Sci-Fi Channel](http://www.dpwr.net/forums/index.php?showtopic=27) around 2002, but that effort was quietly canned after a few months. (For creative differences, i.e., Cyan didn&apos;t like what the SFC was planning. As the SFC&apos;s adaptations have ranged from the miserable (_Earthsea_, _Riverworld_) all the way up to adequate (_Children of Dune_), nobody was too stricken about this.)

It is less well known that a couple of indie filmmakers have been struggling with a Myst film for several years now. They only opened their [web site](http://mystmovie.com/) this past February, but there has been a great deal of quiet work before that.

Patrick McIntire and Adrian Vanderbosch do not yet have a movie. They do not yet have funding, or actors, or indeed a complete script. They do, however, have a concept trailer. This is an animatic, a series of storyboard images linked with music and voiceover dialogue. They produced it in 2004, in support of their proposal to Cyan to make a movie. Cyan liked the looks of it, and said &quot;Go for it.&quot;

Yesterday they put this animatic on-line. So [take a look](http://mystmovie.com/2004/12/08/emancipation/).

It may help to know that the movie is based on [Myst: The Book of Ti&apos;ana](http://en.mystlore.com/wiki/Book_of_Ti&apos;ana). It is set many years before the Myst games, the era of Atrus&apos;s grandparents, at the height (and end) of the D&apos;ni civilization.</description>
<link>http://gameshelf.jmac.org/2008/06/myst-the-movie-the-trailer.html</link>
<guid>http://gameshelf.jmac.org/2008/06/myst-the-movie-the-trailer.html</guid>





<category domain="http://www.sixapart.com/ns/types#tag">book of ti&apos;ana</category>

<category domain="http://www.sixapart.com/ns/types#tag">movie</category>

<category domain="http://www.sixapart.com/ns/types#tag">myst</category>

<category domain="http://www.sixapart.com/ns/types#tag">mysteriacs</category>

<pubDate>Mon, 23 Jun 2008 11:18:36 -0500</pubDate>
</item>

<item>
<title>On Authorial Intent and Space Giraffes</title>
<description><![CDATA[Last year I became interested in a notion of literary theory known as <a href="http://en.wikipedia.org/wiki/Authorial_intent">authorial intent</a>. In a nutshell, it states that if there's a conflict between an author and their audience about the interpretation of a work, the audience wins. Put another way, an author's own statements about their work, when stated outside of the work itself, carry no more or less weight than those of any other well-informed reader. This I learned about after <a href="http://nielsenhayden.com/makinglight/archives/009076.html">the controversy that arose</a> after Ray Bradbury stated that his 1953 masterpiece <cite>Fahrenheit 451</cite> was not at all about censorship, but was rather a critique of television's social effects. I found myself feeling so strongly about it that I became involved in a Wikipedia edit-skirmish over it, after certain individuals quickly marked up <a href="http://en.wikipedia.org/wiki/Fahrenheit_451">the book's article</a> to indicate that decades of academic study regarding the work had become invalid overnight due to Bradbury's new words.

<span class="mt-enclosure mt-enclosure-image"><a href="http://gameshelf.jmac.org/2008/06/22/space_giraffe.jpg/1183407644_08a53177d2.html" onclick="window.open('http://gameshelf.jmac.org/2008/06/22/space_giraffe.jpg/1183407644_08a53177d2.html','popup','width=500,height=281,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0'); return false"><img src="http://gameshelf.jmac.org/assets_c/2008/06/1183407644_08a53177d2-thumb-250x140.jpg" width="250" height="140" alt="1183407644_08a53177d2.jpg" class="mt-image-right" style="float: right; margin: 0 0 20px 20px;" /></a></span>This came to mind again recently as I stumbled across the curious story of <cite><a href="http://en.wikipedia.org/wiki/Space_Giraffe">Space Giraffe</a></cite> while researching the market of XBox Live Arcade. To be honest, I'm not sure how correct it is to call this particular case another instance of an author's intent running contrary to that of the audience - in this case, the game's players - but it's close enough to warrant a comparison anyway.


You'll forgive me if I now give far more words to the background of my eventual point than to the point itself, since it's actually a rather interesting story. <a href="http://en.wikipedia.org/wiki/Jeff_Minter">Jeff Minter</a>, the founder and core personality of the tiny Welsh game-development house Llamasoft for the past 25 years, is at least as much a Grand Old Man of digital gaming as Bradbury is of fiction. He established his reputation early on with the international hit <cite>Gridrunner</cite>, and throughout the 1980s and into the 1990s he produced a great variety of rather strange commercial and shareware games with names like <cite>Llamatron</cite> and <cite>Revenge of the Mutant Camels</cite>. These were far better known in the UK than in the US - in the days before the web, the Atlantic Ocean still presented a significant barrier against fast information flow, even where video games were concerned. 

His second great work, <cite>Tempest 2000</cite>, a rethinking of <a href="http://en.wikipedia.org/wiki/Tempest_%28arcade_game%29">the classic arcade shooter by David Theurer</a>, appeared for the all-but-forgotten Atari Jaguar console in 1994. (Arguably, if anyone today remembers the Jaguar at all, it's likely as not that they're remembering only <cite>Tempest 2000</cite>.) He and Llamasoft then spent several years in the background until they re-emerged just last year with <cite>Space Giraffe</cite>, a five-dollar game for the XBox console, distributed through Microsoft's Live Arcade downloadable-game service.

But the world had changed, and for a producer of video games the difference between 1994 and 2007 was far vaster than the difference between 1982 and 1994. The web had grown from its infancy to its current adolescence over these years, and "blog" had become a meaningful word. The digital game marketplace had also grown tremendously. At the start of Minter's career, he was primarily selling to fellow hobbyists and enthusiasts. Now, his medium was in the very core of the mainstream culture. 

The collision between the Llamasoft's eccentric design aesthetic and the expectations of <em>entire modern internet</em> did not fall in Minter's favor. In fact, my own introduction to <cite>Space Giraffe</cite>, and from there my learning about Llamasoft's fascinating history, came about through my discovering references to Minter's own reactions to the game's reception. At least a couple of online discussions link to <a href="http://stinkygoat.livejournal.com/110954.html">a post on Minter's personal blog</a> where he expresses muted optimism at the game's tepid sales after its launch last summer, and another on the game's official development blog where he angrily rebuffs players (and reviewers) who find the game too difficult or unfriendly to <a href="http://www.llamasoft.co.uk/blog/?p=17">"man up and grow a pair"</a>, ranting that the expectation of the modern gamer to encounter some easy tutorial levels followed by a steady-but-gentle difficulty curve is more pandering to the masses than a time-tested refinement in game design philosophy.

This alone paints an interesting portrait of a truly old-school game designer discovering the sort of controversy that would arise only as a result of the almost anachronistic insertion into the XBox Live Arcade catalog that <cite>Space Giraffe</cite> represents - a brand-new, high-definition, surround-sound game that still somehow feels like it's from 1985. What brings it all around to my thoughts on authorial intent are <a href="http://www.medwaypvb.com/giraffe1.html">articles like this one</a>, where Minter insists that <cite>Space Giraffe</cite> is not a followup to Tempest. Except... <em>it totally is</em>. I put forth that not a single person who has played the original Tempest, and who has had no contact with Minter's own thoughts on <cite>Space Giraffe</cite>'s design, will fail to immediately think "Aha! Tempest!" upon seeing the newer game. Furthermore, even if they like the game enough to stick with it and discover all the ways that it's different - and there are indeed many - they will still consider it a Tempest offshoot.

Again, this particular case may not be the best fit for a real discussion of authorial intent - it smells more like a case of the author not quite succeeding in branding a particular work as non-derivative, despite their own insistence, and further despite games being a medium where derivate works are usually quite welcome, so long as they manage to bring something new to the table. But the comparison nonetheless comes to mind, and makes me more attuned to the ways that digital games continue to insinuate themselves from mere pastime to validated artform. I look forward to encountering an increasing number of games that invite gobbets of literary theory called down upon themselves with more confidence from hacks like myself.

As for my feelings about the actual <em>game</em>, I encourage our XBox-owning readers to download its free trial version and judge it for themselves. If you are as immediately charmed by its utterly lunatic audiovisual sensibility as I was, and also find yourself unable to resist its particular band of infectious joy, <em>and</em> you're willing to invest some effort into learning how to play it (chiefly from out-of-channel sources like <a href="http://www.medwaypvb.com/giraffe4.html">Minter's own <cite>Space Giraffe</cite> gameplay exegesis</a>), then it's certainly worth your 400 MS points. Otherwise, I'd pass on it. At any rate, Minter's hinted elsewhere that Llamasoft intends to continue producing further XBLA titles in the vein of <cite>Space Giraffe</cite>, and having learned all about their history just now, I can't wait to see what they do next.]]></description>
<link>http://gameshelf.jmac.org/2008/06/on-authorial-intent-and-space.html</link>
<guid>http://gameshelf.jmac.org/2008/06/on-authorial-intent-and-space.html</guid>








<category domain="http://www.sixapart.com/ns/types#tag">criticism</category>

<category domain="http://www.sixapart.com/ns/types#tag">digital games</category>

<category domain="http://www.sixapart.com/ns/types#tag">games</category>

<category domain="http://www.sixapart.com/ns/types#tag">literary theory</category>

<category domain="http://www.sixapart.com/ns/types#tag">literature</category>

<category domain="http://www.sixapart.com/ns/types#tag">llamasoft</category>

<category domain="http://www.sixapart.com/ns/types#tag">space giraffe</category>

<category domain="http://www.sixapart.com/ns/types#tag">xbox games</category>

<pubDate>Sun, 22 Jun 2008 15:23:12 -0500</pubDate>
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<item>
<title>Returning to the Shelf</title>
<description><![CDATA[Ahoy, readers! It's time for a meta-post. Another post that's actually about games immediately follows this one, so if this sort of thing isn't of any interest to you, feel free to skip ahead. 

When I <a href="http://gameshelf.jmac.org/2008/02/the-allnew-gameshelf-blog.html">relaunched this blog in February</a>, I planned it to be an annex of the TV show I produce of the same name. 2008 was going to be a banner year for <cite>The Gameshelf</cite>. I would produce at least four episodes, continuing the higher standard of quality that we set down with the launch of our new "season" last year. 

Ah, you feel you can already see where this is going, eh? Well, it's not as bad as all that. Here's the short version: My life is currently eaten up close to completely by two things. The <a href="http://appleseed-sc.com">software consulting business</a> I started about a year ago has become my sole source of income, and my full-time job. While a reorganization of my professional persona, this in itself isn't enough to take over my life. No, that task is filled quite adequately by <a href="http://prog.livejournal.com/849704.html">something I have been calling <em>Project X</em></a>. This is my attempt to enter the commercial digital game market at a new angle (as opposed to <a href="http://volity.net">my existing one</a>) by adapting a certain tabletop game for play on home consoles. (I must remain coy about the nature of the game in question until a deal is inked, which is months away at least.)

Many weeks of intense work passed before I finally had to admit that I'd have to put hopes of doing anything on even a semi-regular schedule with <cite>The Gameshelf</cite> show back into the freezer. This made me shy about posting much to this blog, even though I have more to say about games than ever - it just doesn't necessarily relate to the show so much, lately.  However, the blog and the show are less tightly bound than I might assume. There are many more subscribers to the blog's Atom feed than the show's, for one thing, and even during my lengthy quiet period several posters and commenters kept the thing puttering along with new insights and content about the medium of games and the cultures that surround it. That's very cool.

So, here's the plan: The Gameshelf blog sails on, an I return as a poster who is informed and inspired by whatever facet of the world of games that I happen to be closest to at the time. Half a year ago, it was producing a TV show, but now it's transformed into producing a console game, <em>and that's OK</em>. I still have a lot to say about games of all sorts, and shall endeavor to share and engender conversations about the more interesting things I run into. I also plan to start inviting friends and colleagues who haven't been on the TV show to join The Gameshelf as posters.

That's all! I hope that you continue to read, enjoy, and perhaps participate in this nice thing we have. I surely look forward to seeing where it goes from here.]]></description>
<link>http://gameshelf.jmac.org/2008/06/returning-to-the-shelf.html</link>
<guid>http://gameshelf.jmac.org/2008/06/returning-to-the-shelf.html</guid>





<category domain="http://www.sixapart.com/ns/types#tag">meta</category>

<category domain="http://www.sixapart.com/ns/types#tag">project x</category>

<category domain="http://www.sixapart.com/ns/types#tag">the gameshelf</category>

<pubDate>Sun, 22 Jun 2008 15:18:44 -0500</pubDate>
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<item>
<title>The Penny Arcade game: Rain-Slick Words Words Mumble</title>
<description>A fascinating investigation into the difference between a web-comic&apos;s *subject* and its *audience.* By which I mean this: [On The Rain-Slick Precipice of Darkness, Episode 1](http://rainslick.com/) -- and what am I supposed to call it for short, anyway? -- is a game which will frustrate most readers of [Penny Arcade](http://www.penny-arcade.com/). Just because the comic is *about* hardcore gamer geeks, doesn&apos;t mean the game should be built *for* them.

Episodic gaming has broken through with [Sam&amp;Max](http://www.telltalegames.com/samandmax), and once again everyone is trying to storm the breach. I could go on about whether *that* is a good idea, but instead let me clear up the misconception that snared me: _OTR-SPoD_ (this game, I mean) is not an adventure game. It&apos;s a CRPG. A _Final Fantasy_ style CRPG -- you walk around the screen, until *bam* you get into a fight, and then the two teams face each other in a tidy row and select combat options from a menu until one team is pulp.

Now, it&apos;s not quite _Final Fantasy_ -- it&apos;s the subgenre which is real-time. (If I were a hardcore CRPG gamer geek, I would know what games to compare it to, but I&apos;m not -- I just read about them in webcomics.) Each of your characters has a little timer that builds up, and after twenty seconds (or thirty, or whatever) he can take a punch. (Or fire a gun, or whatever.) And you can block enemy blows by hitting the spacebar at the right moment. So to fight effectively, you have to hover over your controls and react quickly. But it&apos;s still selecting combat options from a menu.

I have not yet mentioned the exploration or adventure aspects of _Rain-Slick_ (as we may call it). This is because there aren&apos;t any. You meet characters who want items, or you find items which are used in places; but they aren&apos;t puzzles. (Except in the broadest sense of &quot;something which requires you to interact with the game&quot;.) They&apos;re the plot tokens you get for clobbering enemies. Each part of the story is &quot;kill ten or twenty of those monsters&quot;, either explicitly or with a plot token pasted on. It&apos;s unquestionably a Penny Arcade *script* -- amusingly moronic characters, ceaseless obscenity, and fruit-violating robots -- but these things are in no way integrated into what you *do*.

I personally prefer adventure games to CRPGs. That&apos;s not my point in this review. My point is, _Sam&amp;Max_ is fun for non-gamers. At least, it *can* be fun. Because if you get stuck in an adventure game, you find a walkthrough and then you&apos;re unstuck. If you&apos;re enjoying the jokes, you can plow on through with the hints -- you may not feel clever, but you&apos;ll appreciate the cleverness that&apos;s *in* the game, and you&apos;ll be engaged with the plot. Plus, you can put down the walkthrough at any time and think &quot;Hey! I can solve this next bit myself!&quot; _Sam&amp;Max_ doesn&apos;t get harder as you progress through it. (I&apos;d argue it gets *easier,* as the designers get better at smooth puzzle and clue flow.)

You can&apos;t do that with _Precipice_ (if I may call it that). The entire game is combat, which means your skill at the combat system matters. It&apos;s real-time, which means you can&apos;t go ask the Internet for help. If you aren&apos;t good at clicking, whacking the space bar, and managing your items, you just won&apos;t get very far.

I&apos;m not saying this is a *hard* game. _Devil May Cry 3_ was hard. _Penny Arcade_ (you know what I mean, right?) is designed for experienced, moderately skilled action gamers. That&apos;s me, and I enjoyed the fighting. I rarely felt like I was getting stomped.

However -- I bet most web comics fans *aren&apos;t* experienced, moderately skilled action gamers. I&apos;m sure Gabe and Tycho are. Maybe the people who post in the forums are. But is that their audience? I have a lot of friends who would be happy to show up for the fruit robots and the bad jokes, but who would never reach the third scene of _Oh I Give Up Already_ (better known in these pages as the Lamb).

And the *other* &quot;however&quot; -- the thing gets harder as you progress. The last monster is a colossus with 32000 hit points, or some silly number. And I don&apos;t mean a _Shadow Of The_ colossus with hidden weaknesses and exciting paths of attack. You slug it out. And if you fail, you reload and slug it out again.

Or you don&apos;t. I got stomped the first time I tried it. And I thought, do I want to try this again? Gather twice as many combat items, and then blow another fifteen minutes seeing whether I can cope with this thing?

No, I did not. I put it down, as Alton Brown likes to say, and just walked away. The game was too hard for me. And I&apos;m an experienced, moderately skilled action gamer.

So why should I buy _On The Rain-Slick Precipice of Darkness, Episode 2?_ Answer: I shouldn&apos;t. I&apos;d like to read the comic of it, but the game is not for me. And the problem with an episodic series is, you have to hook your audience for the long term.

I&apos;m sure _..._ has an audience, and they&apos;re probably laughing it up on the forums, mocking the rest of us. But I bet it&apos;s not the audience that the creators *should* have gone for.</description>
<link>http://gameshelf.jmac.org/2008/06/the-penny-arcade-game-rainslic.html</link>
<guid>http://gameshelf.jmac.org/2008/06/the-penny-arcade-game-rainslic.html</guid>





<category domain="http://www.sixapart.com/ns/types#tag">crpgs</category>

<category domain="http://www.sixapart.com/ns/types#tag">episodic gaming</category>

<category domain="http://www.sixapart.com/ns/types#tag">penny arcade</category>

<pubDate>Mon, 16 Jun 2008 18:15:54 -0500</pubDate>
</item>

<item>
<title>Erick Wujcik, 1951-2008</title>
<description>In March I wrote here about [the death of Gary Gygax](http://gameshelf.jmac.org/2008/03/e-gary-gygax-and-computer-gami.html). Yesterday I heard about the death of another RPG designer: [Erick Wujcik](http://www.erickwujcik.com/). But you&apos;re much less likely to know his name. (Or be able to spell it, but never mind that now...)

His [bibliography](http://www.47rpg.com/resume/Publications.html) is long, but I knew him for the [Amber Diceless Role-Playing](http://en.wikipedia.org/wiki/Amber_Diceless_Roleplaying_Game) system. (Wikipedia link because there is no good home page for the game right now... drat.)

I have never been in the bleeding edge of RPG gaming, so I don&apos;t know everything that led up to Wujcik&apos;s 1991 diceless design. I do know that it spun my head around sideways. The nature of RPG gaming had been obvious to me since I was eight years old: you decide what you are going to do, you work out the odds of success (based on your skills and the nature of the task), and then you roll dice to see whether you succeed or fail. Hit or miss. Find the secret door or walk past it. Make your saving throw or turn to stone.

The Amber system offhandedly junked that whole idea. You&apos;re playing a superhero. (The characters in Zelazny&apos;s _Amber_ books don&apos;t wear their underwear on the outside, but they are superhuman beings.) You don&apos;t have a *chance* of breaking down that door; you *break down* that door, because you are awesome. The guy standing next to you may be awesome at fencing -- that&apos;s his character role, not the result of lucky rolls. 

Wujcik&apos;s insight was to set up a way to distribute these talents among the gaming group, via an auction system. And then to create stories which were shaped by the shifting alliances of the group (Amber characters *never* trust each other), and their manipulation of events. Once you come down to the attempt, you know how it&apos;s going to come out -- so all the fun is in scheming how you&apos;ll approach it.

I played in an Amber campaign, although it fell apart after just a couple of sessions. None of us were hard-core RPGers, except I guess for [Eric](http://www.sniderware.com/blog/). I think that actually made Amber easier for us. On the other hand, it meant none of us had the habit of making time for gaming, week after week. At any rate, those few sessions were wacky and interesting and difficult. Awkward, but *interestingly* awkward. Not at all the tedious awkwardness of my pre-teen D&amp;D attempts.

Diceless role-playing did not go on to conquer the RPG landscape. It did inspire [Nobilis](http://nobilis.wikia.com/wiki/Main_Page), R. Sean Borgstrom&apos;s claim on the Most Stylish RPG Ever. Nobilis mixes up the pure diceless nature with elements that allow more scene-by-scene unpredictability. Again, you play a superhuman being -- the deity of some aspect of reality: sunlight, or zeppelins, or treachery, or what have you. The game rules give a very general guide to what you can do (creation is more difficult than destruction; destroying a zeppelin is easier than deleting the entire commercial zeppelin industry from reality; etc). But it mostly comes down to applying your aspect *cleverly*. You&apos;re never walking into a battle that you&apos;re certain to lose, because there *might* be a way to bring zeppelins into it...

(And yes, Nobilis is a game where you can delete the entire commercial zeppelin industry from reality by retroactively causing the Hindenburg to burn in 1937. I *told* you it was cool.)

As D&amp;D 4.0 sloshes irrestistably towards us, the bulk of the RPG world remains in the old, pre-Amber, &quot;roll to see if you succeed&quot; model. The interesting fringe has moved beyond the diceless, into territory which seems even stranger. Imagine a game in which you decide what you *want*, roll the dice, and *then* decide what you are going to do. This is essentially the model of [Dogs in the Vineyard](http://www.lumpley.com/games/dogs.html), and it makes more sense than you think. You have leeway to use your rolled dice in different ways, or bring in the &quot;cleverness&quot; aspect by using your character history or traits. But sometimes you just roll crap -- and that makes for good *roleplaying*. Are you going to play this scene as failure, near-success, pyrrhic victory? Will it cost in reputation, self-respect, or blood? 

These are the games for people who want their characters to have interesting lives, rather than to succeed at every challenge... and you can learn more about the topic than I know by Googling [&quot;narrativist games&quot;](http://www.google.com/search?hl=en&amp;q=narrativist+games&amp;btnG=Search). I have no standing to give that lecture.

I have no standing to lecture about any of this. If that Amber game wasn&apos;t the last paper-and-pencil RPG I took part in, it was the second-to-last. I just find all this stuff neat, is all. And it&apos;s all grain for the &quot;Can I do this on a computer? Why not?&quot; mill.

Erick Wujcik: a man who fed the mill, for many of us. Keep the gears turning.</description>
<link>http://gameshelf.jmac.org/2008/06/erick-wujcik-19512008.html</link>
<guid>http://gameshelf.jmac.org/2008/06/erick-wujcik-19512008.html</guid>





<category domain="http://www.sixapart.com/ns/types#tag">Amber</category>

<category domain="http://www.sixapart.com/ns/types#tag">Dogs in the Vineyard</category>

<category domain="http://www.sixapart.com/ns/types#tag">Erick Wujcik</category>

<category domain="http://www.sixapart.com/ns/types#tag">Nobilis</category>

<category domain="http://www.sixapart.com/ns/types#tag">RPGs</category>

<pubDate>Mon, 09 Jun 2008 16:41:24 -0500</pubDate>
</item>

<item>
<title>Comics about digital games</title>
<description>A cheap topic, perhaps -- there are web-comics about *everything.* But I stumbled across two of these this week, and was reminded about the third. So let us venture forth.

(Links are to the first strip of each comic.)

* [+EV](http://www.plusev.net/d/20060811.html) -- Bobby Crosby

* [Clockwork Game](http://www.clockwork-comics.com/2008/03/prologue.html) -- Jane Irwin

* [My Name is Might Have Been](http://www.mighthavebeen.net/view.php?ID=1) -- Catherynne M. Valente, Ferrett Steinmetz, Avery A. Liell-Kok

To be honest, the binding thread across these three comics is my reaction: &quot;Why... would somebody... be writing a comic... about *that?*&quot; (Picture plaintive gesticulation of at least three limbs.) I plead guilty to the freak show. In each case, however, there is an *answer* to the question. 

*+EV* is written to the audience of a great and powerful online gaming industry -- of which I know practically nothing. (I even have friends who work in that industry! But the all-seeing eye of Zarf is really pretty nearsighted and parochial. I stick with my non-third-person adventure games. It&apos;s a life.)

*Clockwork Game* concerns a piece of gaming history. It&apos;s too young a strip for the plot to be apparent, but I&apos;m intrigued.

And *My Name is Might Have Been* is self-justifying. I won&apos;t spoil it.</description>
<link>http://gameshelf.jmac.org/2008/06/comics-about-digital-games.html</link>
<guid>http://gameshelf.jmac.org/2008/06/comics-about-digital-games.html</guid>





<category domain="http://www.sixapart.com/ns/types#tag">comics</category>

<category domain="http://www.sixapart.com/ns/types#tag">mechanical turk</category>

<category domain="http://www.sixapart.com/ns/types#tag">online poker</category>

<category domain="http://www.sixapart.com/ns/types#tag">quick links</category>

<category domain="http://www.sixapart.com/ns/types#tag">rock band</category>

<pubDate>Thu, 05 Jun 2008 18:00:31 -0500</pubDate>
</item>

<item>
<title>Werewolf vs. Mole</title>
<description><![CDATA[<cite><a href="http://en.wikipedia.org/wiki/The_Mole_%28TV_series%29">The Mole</a></cite> is about to start a new season here in the US, after an absence of several years. I hadn't heard of it before and was about to come here proclaiming that <em>clearly</em> it was inspired by deception-themed party games we've covered on <cite>The Gameshelf</cite>, such as <cite>Werewolf</cite> and <cite>Shadows over Camelot</cite>, but Wikipedia tells me that the concept is many years older than the latter game and rather contemporary with the former's invention. (Though it could certainly be informed by <cite>Mafia</cite>, Werewolf's progenitor.)

It still strikes me as a potentially fascinating reality show concept - I especially like that the TV-viewing audience doesn't know who the "traitor" is, either. I'm quite curious to see how well it works in execution. Any "Mole" fans here? (For the record, my favorite reality show - indeed, the only one I can watch without feeling dreadful - is <cite>Top Chef</cite>, which is a straight-up competition featuring a group of talented individuals doing what they love, as opposed to a group of random folks playing arbitrary games and encouraged to backstab each other and otherwise generate <em>teh drama</em> on the way to victory. Though I do wish they'd lay off the super-obvious tension-adding editing. And retire the screeching "Uh oh something bad just happened" sound effect. Anyway.)

<hr />
Speaking of television, please accept my apologies that the most recent episode is taking a long time to come together. All my spare attention's lately taken by that mysterious game-related project that popped up in March and will likely take me the rest of the summer to complete, much less talk about. I went into this year hoping that I'd be able to produce a lot of episodes, but circumstances (which is to say, my own habit of leaping at <em>shiny, shiny opportunity</em>) dictate otherwise for now. Still, the show will be done when it's done, and then will suddenly appear in the RSS feed as usual. Hurrah for surprises! ]]></description>
<link>http://gameshelf.jmac.org/2008/05/werewolf-vs-mole.html</link>
<guid>http://gameshelf.jmac.org/2008/05/werewolf-vs-mole.html</guid>





<category domain="http://www.sixapart.com/ns/types#tag">television</category>

<category domain="http://www.sixapart.com/ns/types#tag">the gameshelf</category>

<pubDate>Tue, 27 May 2008 09:22:08 -0500</pubDate>
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</channel>
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