October 2010

Costume Quest

October 24, 2010

Brought to us by the makers of Psychonauts and Brutal Legend, Costume Quest is Double Fine’s first RPG. They’ve managed to take the genre and give us a game based around Halloween: a pair of twins go trick-or-treating and end up getting tangled in a quest of defeating candy-stealing monsters while the player’s character saves their kidnapped twin.

In terms of gameplay, Costume Quest adheres to the Halloween theme rather well. The player chooses the twin they want to play as and the two skip off to trick-or-treat. Upon discovering monsters are stealing the neighborhood’s candy, Reynolds or Wren engage the monsters in battle by becoming the outfit they’re wearing. What may be a cardboard robot at first becomes a giant robot complete with exploding fists and missile barrages.

The costumes function as a class system with each one having its strengths and weaknesses. The Knight has strong defense and defends the party, while the Statue of Liberty can heal. But the battle system isn’t as complex as it might sound. While playing it I saw a lot of parallels to the Paper Mario games. Every costume has two attacks: a normal attack and a time-charged super attack. The normal attacks function like quick-time events where if you do the task on-screen, more damage is done. While simplistic in how it is constructed, the battle system kept me engaged, as once I was done attacking I couldn’t put down the controller and wait for the enemies to attack thanks to the defense-increasing quick-time commands.

Costume Quest also appears to borrow material from Paper Mario with its Battle Stamps. These are equippable accessories the player can put on their costumes for increased passive attributes, or an additional command in battle, and helps to give the gameplay a bit of strategy. Should I make my Fry Monster have a counter-attack or should I allow it to stun enemies by throwing rotten eggs? The choices were numerous.

Outside of battle, the player is free to roam through three main areas completing quests and searching for candy and hidden items. The game is linear, so there’s no aimless wandering or open-ended gameplay to distract your or shy you away from your goal of trick-or-treating and rescue. As a cool bit of added functionality, several of the costumes have functions outside of battle: the Robot has jet skates that allow you to jump ramps and the Space Warrior’s light-up sword functions like a flashlight to get the player through dark areas.

Visually, the game is gorgeous. The cel-shading really brings out the character and kid-like joy associated with Halloween while still managing to shine when the game shifts to the Godzilla-esque battle sequences. I never had a problem with the camera or the visuals at any given time.

The audio, on the other hand, was a bit different. The music seemed a bit repetitive at times and would fluctuate in its dynamics. Outside of battle the music was soft or quiet but when I’d get into battle, there’d be a recognizable audio increase that threw me off occasionally.

Overall, Costume Quest is a great game that manages to bring back the spirit of Halloween with a fresh concept for an RPG. For $15, you get a simple and fun adventure that doesn’t overstay its welcome or water down the experience with things like random drop rates or level grinding.

Pros: Engaging and active gameplay, great humor and writing, visually beautiful, has the right amount of length and content for what it tries to do.

Cons: Audio volume seemed a little unbalanced, not a whole lot of replay value.

Cut the Rope

October 24, 2010

Since the day I caved and finally admitted that the iPhone was actually a real gaming platform, very few games have managed to capture my undivided attention. Cut the Rope is a puzzle game developed by the folks at ZeptoLab that has joined that very short list.

Cut the Rope is an ingenious game based on the idea that a mysterious package arrived with a strange creature inside named Om Nom. The only thing Om Nom wants is candy and it’s your job to get it to him.

Each level in Cut the Rope is a new puzzle where you must figure out how to deliver the candy to Om Nom. Feeding Om Nom is not your only goal, though, as you’ll also be trying to collect the 3 golden stars present in each level, some of which don’t stick around for long. Along the way you’ll encounter spiders trying to feast on the candy and even obstacles that break the candy to bits.

Much like some of the top games on the App Store, Cut the Rope features a deceptively simple concept that scales very well. Levels are short but fun, which allows for very short gaming sessions or long marathons. I found Cut the Rope to be quite easy, even on later levels, but that didn’t diminish the experience at all.

Cut the Rope currently features 100 levels broken up in to 4 stages, but a placeholder 5th stage promises additional levels are coming soon. Currently sitting at the top of the App Store, this isn’t one you will want to miss. Spend the $.99 and thank me later.

Editor’s note: Brad Talton is an independent game designer and developer. What kind of games? Video games? Board games? Card games? Well, yes. His company, Level 99 Games, creates all kinds of geekiness. In a series of columns here at SBG, Brad shares insights into the game creation process. In this installment, he talks about getting the word out about your project. 

At this point in the development, when the modes are laid out and the graphics are starting to come in, it’s important to get started on spreading the word about the game. I’ve learned the hard way that generating excitement isn’t easy, and it doesn’t happen on its own. Posting “here’s my cool game” on your niche blog just isn’t enough to get people involved. Personally, I’m still learning a lot about how to advertise and make a game popular in the pre-release stage, so this section is a combination of what I’ve learned and what I’m still trying.

The most important lesson that I’ve learned about promoting a game is that you can’t do it all yourself. You only have so much reach, and if you’re a cloistered independent game developer like myself, then there’s even less you can do to reach out to the people around you, but hopefully you have friends, colleagues, and just some random associated parties that you can call on for help. This is the best chance to actually spread the word about a project or idea. Hopefully some of your friends will think it’s cool enough to tell others about, and some of their friends will think that it’s cool enough to repeat, and so forth.

My strategy this time is leveraging more social networks, such as Facebook, Twitter and my own site. I’ve also created a teaser site, which has some downloads and additional information about the game. I drop the address to this site just about everywhere I can. I’m also running contests, giving free copies of the app to a few lucky followers once the game debuts.

Games bank on different things for success. Even if you have the exposure to show off your game to everyone, without a hook of some kind, you’re just wasting time. There needs to be some catch that draws people into your game. With some games, like Chibi Fighters (and my older Internet Defense), part of the allure of the game is quirky humor, and I try to bring this out in the marketing. On the promotional site, I’ve tried to make the character personalities the centerpiece of the site, and show the players how much fun they will have by displaying how much fun the characters themselves are having with the game. 

This kind of character-based interest building is especially good for fighting games, like SPCF3, where the players will tend to pick a favorite character and master that specific one. Letting the players get to know the characters deepens their interest in the game, which helps them to have more fun as well as making them more excited about the game’s eventual release. When I work on my RPG, Mystic Empyrean, in the coming months, I’ll use a different strategy—one that appeals to player creativity and the allure of building a world and a persona from scratch.

Giving people a reason to get interested in your game is just another piece of the puzzle. Once they are interested, they need a means to get involved in spreading the word. This usually means something interactive—not just a cool gameplay video or some neat graphics (though these certainly help). Memes, interactive videos, comics, and minigames are just a few of the ways that a developer can get people telling their friends about a game. I’m still investigating a lot of these myself with Chibi Fighters, but there are as many ways to get people involved as there are incentives. 

Ultimately, the developer has to think about what he can give back to the people that are interested in your game. Some common things are status within a forum or web community, actual hard goods, in-game bonuses and rewards, involvement with the game’s creative process, or inclusion in the credits. 

If the game provides an outlet for people to talk about it and socialize, they will. OpenFeint is a free achievement system that provides this very function, and which I’ve included in SPCF3. Including a system like OpenFeint gives me an instant, free community module to plug into my game, and comes with its own range of costs and benefits. For one, I have to host the advertisements of other games on the OpenFeint screen in my app. However, an app can just as easily be advertised within the apps of others using this system.

There is plenty of opportunity for contests and community promotions that are outside of the game. Hidden bonus content or especially tough challenges that will have players asking around for the solutions to unlock or beat can be a great strategy, as can the ability to play competitively online, or competitively at all. Competitive gamers love discussing strategy with anyone they can.

A free or ‘lite’ version of the game can never hurt your cause, and gives unbelievers who are willing to try your game a chance to play it before spending their hard earned money on it. To some people, a demo version says “if you play this once, I think you’ll want it even more,” and shows that the developer has enough confidence in the quality of his work to let people try before they buy.

Of course, not all successful games have free demo versions, either. Ultimately, the question is whether the game is interesting enough that people will want to play it again after playing it once (or playing a portion of it).

There’s very little in the world of gaming that’s tougher than taking your product and showing it to the world. Some people will hate it, some will love it. It’s important not to get discouraged by negative reviews, and to take suggestions and lessons to incorporate in the next venture. If you’re confident in your game, and enjoy it, then someone else will too. Maybe you’ll even make some friends and fans along the way.

Character art by Victoria Parker for Level 99 Games.

Fans of Call of Duty: Black Ops were told today that they’ll have to use Steam to play it, whether they like it or not, as Black Ops will use Valve’s Steamworks in order to provide achievements and automatic updates. It will also utilize Steam Cloud for storing profile and configuration settings for users.

In Fury of Dracula (designed by Kevin Wilson and Stephen Hand, published by Fantasy Flight), four protagonists from Bram Stoker’s immortal novel are in a desperate chase to find Dracula before he can return to his full power, although they don’t have a lot of time to do so and the vampire is incredibly cunning. Fury of Dracula is a cat-and-mouse style cooperative-competitive game; one player moves Dracula in secret while the rest must coordinate the hunters (Van Helsing, Lord Godalming, Dr. Steward, and Mina Harker) as a team to uncover his trail.

The game begins with each hunter being placed anywhere on the map; Dracula then chooses his starting position. As you might imagine, the strategy starts right away. Each hunter is initially equipped with  basic tactics cards (punch, dodge, and evade); Dracula has his own tactics, and which are available to him in a given encounter depends on the time of day. The hunters may be able to find additional items as they travel across Europe, although there is a limit as to how many they can hold. Additionally, there are also Event cards that can affect either side; they are drawn from the bottom of the stack and each one has a symbol on the back indicating whether it belongs to the hunters or Dracula. Dracula also has a hand of five encounter tokens, which describe what will happen to a hunter who uncovers that particular leg of his trail. It is important to note that certain encounters will earn Dracula victory points if they go undiscovered for long enough. 

A game round begins with Dracula advancing the time track one segment, then moving to a new location by playing one of his location cards on the track across the top of the board (shifting any existing cards down one space) and placing an encounter token on it (if no hunter is present; if one is, he must attack instead) before drawing back up to five tokens. Dracula also has some special power cards that can be used to throw the hunters off the scent, but the hunters will become aware if the vampire takes to sea travel by the color of the location card played. Traveling by sea can be an efficient way to Dracula to evade his pursuers, as there are almost always several potential landing sites from any given body of water, but it comes at a price; extensive movement at sea weakens Dracula’s strength (blood points) and the time track does not advance if Dracula began his turn at sea. Dracula cannot cross his own trail until a certain number of turns have passed, as he only has one card per given location. Also, unlike the hunters, Dracula can only move on land by road.

Once Dracula’s turn has ended, the hunters take their turn in a specific order (as indicated on their player cards). Each hunter can move along a road to the next city or town; alternately, they may attempt to move by rail, which is potentially quicker but not as reliable — a roll of a special d6 indicates how far the player can move, if at all. A hunter can also move to sea  as appropriate. After every move, the Dracula player must inform the hunter if (s)he has discovered his trail, revealing the corresponding location card — and encounter token (or Dracula himself!) — if applicable. If there is no encounter, the hunter has the option to draw one or two cards, depending on the type of city (and obviously nothing if at sea); alternately, the hunter may rest to recover health, but doing so draws to Event cards, and any Dracula Events that are drawn are played/kept as normal, with hunter Events being discarded. If any hunters share a non-sea location, they may trade items between them. Also, hunters may travel as a group if they feel the need to do so, usually when they are hot on the trail and looking to close the noose. This cycle of Dracula/Hunters continues until Dracula is defeated or until Dracula has accumulated 6 Vampire points.

Every time a new day begins (as indicated by Dracula moving the time marker from “Small Hours” to “Dawn,” usually after 6 rounds not counting sea travel or Events), Dracula scores one Vampire point and the hunters gain a single Resolve. Resolve can be spent by any hunter on their turn to achieve one of three powerful effects, but they share a mutual pool of it and only earn it as the days progress (and thus as Dracula nears victory) so it must be spent wisely.

Whenever the hunters encounter Dracula or one of his Agents, combat occurs.  Each player chooses one of his combat cards secretly, then they are both revealed. A single d6 is rolled, with the result being added to the chosen card’s initiative value; whichever player has the higher initiative is successful in his attack, and compares the card played by the enemy to his own to determine the result (ties are broken by the initiative value on the card). If combat continues, the players set aside the cards they just chose and select new ones for the new round; some cards are consumed in the attack, and the card will indicate this by having the opposing card listed in bold. Should a hunter fall in combat (either via reaching 0 health or receiving a lethal Bite), Dracula earns two Vampire points and the hunter regains consciousness at the Hospital of St. Joseph and St. Mary without any items or events and forfeits his next turn.

As mentioned, the game ends either when Dracula is defeated (0 blood) or when he has accumulated 6 Vampire points. How quickly this happens is largely dependent on how efficiently the Hunters deduce (or stumble upon!) Dracula’s trail, although it’s an uphill struggle the entire time. There are certain Event cards that can dramatically turn the tide of the game one way or the other, and it is often advantageous for the hunters to not draw cards if they are closing in on the vampire if the “Escape!” card has not yet been drawn (which lets Dracula move to any city on the board, regardless of distance and is a total morale-breake). Even barring a last-minute “Escape!” the game can still last several hours, as a skilled Dracula player can keep a group of hunters guessing for quite a while even in the face of several beneficial Events. Victory for the hunters is also greatly dependent on die rolls, as Dracula must almost always be defeated in combat. That said, a game of Fury of Dracula is often quite closely-contested unless the Dracula player gets extremely lucky on his encounter draws, and the experience is worth the time investment.

Fury of Dracula can be difficult to find in stores, but can be found online for around $50 if you look hard enough.