Chris Ingersoll

One of the most fun gaming mechanics is the “press your luck” element; typically this involves one player continuing play until either they decide to stop or until some unfortunate outcome forces them to end their turn and lose all of their progress. The Sid Sackson design Can’t Stop! is that element distilled to its rawest form, which makes for fast and fun play.

On their turn, a player receives four six-sided dice and the three “runner” tokens. On their first roll, they have to generate two numbers by pairing the dice as they see fit. They place runners on the board in the columns indicated by those numbers. Then they can either stop or roll again. On each subsequent roll they have to be able to generate at least one of their previously-rolled numbers, at which point they advance the respective runner one space; the third runner is a one-time safety net that can be placed on an off result if — and when — one occurs.

When a player stops, he places his colored tokens on the last positions of the runners and passes the runners and dice to the next player. On that player’s next turn he can resume from those positions should those numbers come up again. Other players’ tokens on a column are ignored unless using one of the included variants. Of course, should a player fail to hit one of his three targets he ends his turn and removes the runners without gaining any ground.

If a player stops with a runner at the top of a number’s column, he has won that column and that number is no longer available for any player’s use; this is also true for the rest of that player’s turn while the runner is in that position. Each number requires a different number of hits to win, based on how likely those numbers are to come up. It takes thirteen hits to win column 7, but only three for both 2 and 12; each step in between is two additional hits. The first player to claim three numbers (or more in variants for less than four players) wins the game. 

Rolling a combination that allows you to only place one runner thanks to the other pair producing a “dead” result gives you an additional safety net on your subsequent rolls (another included variant does not allow this). Once all three runners are placed then the claimed columns become irrelevant for that player’s purposes. However, it is entirely possible for an initial roll to produce no viable results later in the game once two or three numbers (or even one in the case of 2 and/or 12 and a roll of all ones or sixes) have been claimed.

Naturally the only real strategy in the game comes from knowing when to pass the dice, although how you split up your initial roll(s) can affect your turn as well. Everything else is luck, obviously, but in a filler game like this that’s not too much of a hindrance. In theory it’s possible for the game to end on the first player’s first turn with a spectacular series of rolls! The far more likely scenario is a player slowly making progress along his three columns while the other players try to egg him on into making “just one more roll” and potentially missing, effectively wasting his entire turn.

Can’t Stop! supports up to four players; it suggests ages nine and up but really any kid capable of adding up to twelve should do fine. Technically the game can be played with nothing but four standard dice and a score pad, but the package offered by Face 2 Face Games is only $30 and features some solid plastic tokens and game board; the box is large, but only because of the 13 x 11 board (shaped like a stop sign). Like most filler-level games, it will quickly earn its worth in entertainment value in only a few sessions and is a nice casual game for all levels of experience.

Image by GamerChris

 

There’s been a murder in New Angeles (or the moon colony of Heinlein), and you’re trying to figure out the guilty party — and maybe even uncover the conspiracy behind the killing — while dealing with your own personal issues. You’ve got twelve days, and you’re not the only one working this case. 

Welcome to the sci-fi noir world of Android, by epic game designers Kevin Wilson and Dan Clark (published by Fantasy Flight Games, like most of Kevin Wilson’s output).

Assuming the role of one of five characters, each with his or her own abilities and issues, you and the other players have to manage your time (basically actions) each day as you try to gain the most victory points. While a substantial amount of points can be gained by proving your guilty hunch correct (this isn’t Clue, and there isn’t one “correct” guilty party), that’s not the only patch to victory. You might want to investigate the conspiracy (represented as a simple puzzle with four branching paths) or make sure your own house is in order first (each player has several “plots” that represent various personal problems; each one has several possible outcomes, both good and bad). There’s a lot of balls to keep in the air, and not a lot of time in which to do so. Setting your priorities is just one factor of the strategy you’ll need to survive.

The bulk of your turn will consist of moving from one location to another. Each detective has an arced, compass-like ruler that represents how far his or her vehicle can travel for one time; if you have a dropship pass you can spend it and one time to move to any location, regardless of distance. Once at a location, you can follow up any lead that may be present, gaining either evidence (either incriminating or exonerating) to place face-down in the “file” of one of the suspects or digging into the conspiracy; some locations might also have their own ability that you can use once per day at the indicated cost of time and favors (basically the game’s currency, available in four different types plus character-specific types that count as multiple normal types). When you follow up a lead, it is moved to a different location by the player on your right, representing the trail of evidence. Time can also be spent to play one of your “light” cards, if you meet the conditions listed on it, or to draw a card of your choice (either one of your light cards or another player’s dark cards, played during their turns); you have a Twilight State that shifts up and down as cards are played, so you usually have to balance your light and dark usage. Finally, you can spend one time to discard a card if you’ve reached your limit and anticipate drawing more; cards can also be discarded to reduce costs of other cards, so this option is rarely used but sometimes necessary. There are other ways to spend time, but those are the major ones.

As you go about your business you will accumulate good and bad baggage on your current plot, determined randomly at set-up. Each branch of the plot has different conditions to gain baggage; some are passive (whenever you place evidence on a suspect), some are active (whenever you sacrifice two time). At certain times during the game the plots advance: if there is more good baggage than bad, they resolve positively; otherwise (including ties) they resolve negatively. After the first plot fully resolves, you randomly select one of your remaining plots for the second week of the game.

After the final day of the game, the evidence on the suspects is revealed. Different types of evidence have varying effectiveness against different suspects (e.g., few witnesses testify against “Vinny the Strangler,” although he’s not so good with paperwork and other documents); the highest-valued evidence in a suspect’s “weak” file and the lowest-valued evidence in their “strong” file are removed, then the guilt is totaled up. Whoever has the highest total is the murderer (and whoever has that suspect as their guilty hunch receives points) while everyone else is innocent (and the players’ innocent hunches pay off). Then other sources of VP are added up and however has the highest total is the winner.

Mechanically, Android appears to be very complex due to all of the available options but in reality it’s simple enough that most players should pick things up quickly. The real trick is keeping the attention of new players, as the game can theoretically take at least three hours to play; if they’re not having fun, that can drag on and really hurt the experience. The theme of Android is awesome, and a strong hook to get players interested along with the cool-looking art and other bits, but often overlooked due to the time it would take to read the flavor text on the cards — especially while you are watching other players’ actions to see if you can play dark cards against them and/or give them bad baggage. Bear in mind that the suggested age range is 13+, due to the extensive reading, complex mechanics, and somewhat mature themes.

Due to the time commitment, Android will probably need a game session dedicated to it, most likely on a weekend. I would definitely recommend printing out some player aids and/or rules summaries from BoardGameGeek.com as well, as they condense the game’s 50-page rulebook down to a manageable — and less intimidating — size (to be fair, most of the large-type rule book’s space is artwork and flavor, but still). There are six different murders — most with their own special rules — as well as several event cards (which happen on non-plot days, including one of three murder-specific ones) to keep things fresh over multiple plays, should you decide to give the game another go. Due to the price this is definitely a “try before you buy;” it’s certainly not for everyone, but those who enjoy the theme and mechanics will find themselves coming back to it as often as possible. 

 

Silent Hill: Shattered Memories is a re-imagining of the original Silent Hill game, done especially for Wii. It follows the story of amnesiac Harry Mason as he searches for his lost daughter Cheryl following a snow-related car accident. The town appears all but deserted —  the parts of it that aren’t literally walled off by snow — and the only tools Harry has at his disposal are a flashlight and a cellphone (plus maybe some flares along the way). There’s something not quite right about this place, and that’s before it periodically freezes over into a nightmarish hellscape inhabited by zombie-like creatures.

Shattered Memories does things a little differently than previous “horror” titles in that you are completely unable to vanquish your tormentors or even confront them directly. When trapped in the Nightmare, Harry’s only option is to run like crazy (fortunately he appears to be in good shape for a novelist); if he gets caught, he must shake off his pursuers before he succumbs to their icy grip — at which point you usually have to start over at the beginning of the Nightmare. Doors and other obstacles are highlighted to give you some guidance, but it’s really easy to get lost and/or loop around back to a previous position as you try to make your way to a checkpoint (and often a monster-free puzzle room) indicated on your phone’s GPS.

Harry’s phone has other useful features besides the GPS (which allows you to make notes, like tracing a path). Its camera can be useful for recalling important images (if you think ahead enough to photograph them); sometimes it can even pick up impressions left behind by ghosts. In fact, the phone is fairly sensitive to emotional impressions in general. Static can be an indicator of a strong “memory” that, if found, will manifest as either a voice mail or text message (unfortunately the text was hard for me to read on my 27″ CRT, much like the problems I experienced while playing MadWorld); it also serves as an indicator of how close you are to oncoming monsters. Every phone number you come across in the game can be dialed and the call plays via the Wii Remote’s speaker not unlike the calls in No More Heroes; some are just flavor, but others provide useful information. Finally, the phone has a save game function, which is something I wouldn’t mind having on my own!

You can access the phone by hitting the – button, or press left, up, or right the D-pad to directly access your GPS, call function, and camera respectively. Pressing down on the D-pad causes Harry to cast a look over his shoulder, which is useful for reminding you how close those creepy zombies are while you’re running. The + button toggles your flashlight (controlled by the Remote’s pointer) for those times when you might not want to attract unwanted attention by generating light. The A button handles pretty much all of your interactions, with the B button zooming in to give you a better look (this works with your camera too); the two buttons work together to grab something when the situation warrants it. Finally, holding down the Z button lets you run; while running Harry will automatically shoulder his way through doors (that are all thankfully — if oddly — “push”) and leap over obstacles, keeping the pace frantic during the chase sequences.

While the Nightmares may increase your pulse, they are they only time Harry is ever in any actual physical danger; this can reduce the intensity of the game for some, but Shattered Memories is more about psychological horror than slasher-style gore. The time in between the Nightmare sequences is mostly spent exploring the unsettling town, occasionally encountering one of a handful of inhabitants that are still to be found. The time in between those segments, however, is the game’s other distinguishing feature: psychoanalysis. You will frequently find  yourself on the couch of Dr. K as he probes your psyche to figure out what the heck is going on — both inside your head and in general. Every “session” ends with a test of various types; you’ll encounter inkblots, questionnaires, photographs, and other exams that the game will then use against you. The way you respond to these exams (and other aspects of the game while playing) will influence how the game unfolds; certain characters (including the monsters) might change appearance, locations might be different, or any number of other subtle changes might happen to personalize the experience up to and including the eventual ending. The game warns you up front that “it plays you as much as you play it;” that’s something of an over-dramatization, but it still adds an extra dimension that makes the game unique and invites potential replays.

Harry’s adventure is a strange one, and thus so is yours as you play. You’ll be wondering just what the hell is going on, and just when you think you might have a grip on it everything changes — sometimes literally. There were times when I needed to work up the motivation to continue playing (and rarely did so for more than a couple of hours at a time), but that was due to the game’s emotional nature and not any inherent flaws. And while it does have a flaw or two (for example, you can’t run while you have the phone out, somewhat mitigating its usefulness during chases) they are easily eclipsed by the solid story and presentation. I went into Shattered Memories without any prior Silent Hill experience, but I’ve heard similar accolades from series veterans. It is easily one of the premier (if sparse) M-rated titles for the Wii, and definitely worth picking up for both long-time residents of Silent Hill and newcomers alike.  

Plays like: The absence of combat makes the gameplay fairly distinct amongst 3rd-person games.

Pros: Genuinely creepy atmosphere; psychological analysis makes for interesting theme and adds replayability

Cons: Although you’re never quite sure when the Nightmare will strike, there’s absolutely no danger until it actually does; some phone interfaces are awkward, especially while being chased

 

Time Hollow

February 14, 2010

Konami’s Time Hollow is a point-and-click adventure that trades the genre’s usual emphasis on puzzles and inventory management for some fourth-dimensional thinking. Hero Ethan Karios inherits a strange item from his father that allows him to essentially poke a hole through time to make small changes to the past. Of course, right before he receives this item his parents go missing and apparently perished over a decade ago. Ethan’s ultimate mission is to save his parents and restore the timeline he remembers, but along the way he’ll have to solve several other issues with his friends and family. One thing is for certain: whoever has made these changes is playing for keeps.

Ethan can only open a hole to certain places and certain times. He will occasionally receive “flashbacks” to scenes that are important. As he investigates them, he uncovers details about them (since many of them never happened as he remembers). Once he has all of the details he can open a hole (by drawing a circle with the stylus) and attempt to correct the past, but how he can accomplish this may not be immediately apparent. Further complicating the issue is the fact that it costs him some of his “own time” (as in “life span”) to open a hole, so he can’t just poke around randomly without serious consequences. Finally, the change you make might affect the time line in unexpected ways…

When looking around in the present, you can pan to the left or right a little (using either the stylus or shoulder buttons). Often important details lie at the periphery of a scene, so it pays to look around. And although the flashbacks are static, photograph-like images, once you create the hole you can still pan around within the hole you’ve opened to find things that can’t be seen in the image. You don’t get too many shots at making holes, and later on you’ll need to open several (and have less time left to do so) in order to succeed. You can occasionally find “chronons” around town to replenish some of your lost time, but you still need to be cautious (and probably judicious with your saves).

While the time-altering mechanics are fairly consistent, the game play is sadly linear. You can’t avoid a poor outcome just because you know it’s going to happen, and you can’t experiment with alternate solutions. For example, in one early mission an acquaintance of Ethan’s is killed in a car accident; Ethan changes things so she isn’t there at the time but a dog is killed in the same accident instead. Even knowing that your first change will have that outcome, you have no choice but to “cause” the dog’s death to happen (don’t worry, Ethan soon corrects that problem too). The events surrounding that mission affect future ones, but you can’t intercept them and shortcut the whole process. The “new game+” is something of an exception, but I don’t want to spoil too much. 

Time Hollow is very by-the-numbers, and not really something I would recommend hunting down to own; it was released in small quantities 2008 and copies can be hard to find (although the one I picked up was unopened, so they’re out there). However, it’s definitely worth at least a rent and makes a nice addition to your collection if you’re a fan of the genre. If you liked Trace Memory and/or Hotel Dusk then Time Hollow probably deserves to sit next to them in your collection.

Plays like: Other point-and-click adventures

Pros: Interesting concept

Cons: Static game play; little to no room for innovation

 

Sands of Destruction

February 14, 2010

Most RPGs feature a team of teenagers who are inexplicably the only ones who can save the world. Sands of Destruction keeps the teenagers, but flips the convention by putting them on the path to destroy the world — and no, they’re not the villains. The world is divided into two general races: the animalistic ruling class of the Ferals (led by twelve Beastlords) and the subservient Humans. Most Ferals treat Humans like lesser life forms (some more than others), and understandably a few Humans have taken exception to this. The most extreme of these rebel factions is known as the World Annihilation Front, and it is that faction which main hero Kyrie (“kee-ree-ay”) finds himself unwittingly joining.

Kyrie meets up with WAF member Morte — aka “The Scarlet Death” — shortly after a mysterious force turns his home town — and everyone in it but him — to a pile of sand. The two meet up with others along the way, eventually accumulating a party of six (three of which are active at any given time), but they’re the primary focus of the narrative. In addition to the Beastlords, the heroes will also have to deal with opposing Human factions as well as elemental forces known as Primals on their path to destroying the world. At least, that’s the goal in theory. In practice that mission statement changes (somewhat predictably, somewhat annoyingly) about halfway through the adventure, but the general sentiment is still the same.

While the story may lose some wind, the combat system remains fairly strong throughout the game. Each character has a strong attack (“blow”) and a weaker, combo-oriented attack (“flurry”) in addition to various skills (offensive “blood skills” and defensive “life skills”); these are accessed by hitting the corresponding buttons (navigating menus in the case of skills/items). Normally each character has two Battle Points (BP); each action consumes one BP, and when you are out of BP — or when you use an item — your turn ends. However, certain conditions can grant you additional BP; having a high morale, your first critical hit per turn, every ten consecutive hits in a combo, stunnning/KOing/tossing an enemy for a follow-up attack, and other factors can build your BP total to a maximum of six. Once you hit six BP, you can unleash a powerful Special Attack or Special Skill that will inflict serious damage on  your opponents (or greatly help your party). Special Attacks require a five-button sequence to be entered quickly for maximum effectiveness, with three stages of power (fast entry, slow entry, and incomplete entry); an ability granted by some items can turn that sequence into nothing but Xs for rapid entry, but the sequences are specific for each character’s Special Attack and you can memorize them with little effort (Morte’s just alternates Y and B, for example).

In addition to cash, items, and xp, winning combat will earn participating characters Customization Points (CP). CP can be spent to improve the accuracy or damage of your various attacks (cost/power for skills); regardless of the move’s type, increasing one aspect decreases the other, so some sort of balance is usually in order. As abilities reach certain thresholds you can unlock new ones and intensify their effects. Combo moves can be chained to their more advanced follow-ups to enable truly ridiculous flurries with the press of a single button and thus one BP; one character can get in a crazy seventeen hits per flurry when fully chained, virtually guaranteeing a Special Attack against an enemy that doesn’t just die outright to being on the receiving end of a 40-hit combo. 

When combined with the fact that high combos provide CP bonuses, you might think that there would be no reason to ever use the slower but more powerful blows. However, some enemies — often bosses — have an ability that increases their speed (and thus affects when they move in the turn order) with each hit they take. If you unload with a thirty-hit combo, you might find yourself on the receiving end of several devastating turns in rapid succession in retaliation. Additionally, flying enemies (and those on the upper screen for other reasons, like being enormous) are harder to combo against since you have to jump to hit them (even if your character is using a gun or whip…); blows can often knock them down to ground level for easier pummeling. It really is a nicely-balanced system that keeps things interesting, even if skills are usually vastly inferior to the attacks (except when the skills allow for hitting multiple opponents at once).

Also keeping things interesting is the “quip” system. As you progress through the story, your characters will pick up catch phrases that are retained for future use. You can assign up to four of these quips to trigger at specific times in battle; they can happen at the start of combat, when you get hit, or several other times specific to each quip.  A quip gives you various bonuses, like increased defense, higher morale, or doubling the gold earned. They don’t fire all the time, and several assigned quips can be competing for the same trigger, but they do provide a nice break to what can be an otherwise fairly mechanical combat. Kyrie’s “It’s probably my fault” quip is one of the strangest, most self-depreicating things I’ve ever heard a primary hero utter. 

Overall, Sands of Destruction is an above-average RPG on a system that attracts them. While I didn’t care for the change in tone (and the other changes that came with it) in the middle, I did appreciate the neat little combat system and enjoyed the characters. I’ve certainly played worse RPGs, and Sands provides several opportunities to customize the game from CP to quips to being able to enhance weapons at blacksmiths using items dropped by beaten foes. It may be a little trite towards the end, but it’s never boring. The quest itself should occupy about 30 hours of your time, which isn’t a bad deal for the now-standard $35 DS RPG price tag. 

Plays like: most other RPGs. There is innovation here, but still fairly standard stuff.

Pros: Unique two-screen combat system; amusing “quips”; solid cast of characters

Cons: Poor “documentation” when it comes to the nuts and bolts of the world (which elements are superior/inferior to which other ones, what certain abilities do, etc.); disappointing plot shift about halfway through; awkward automatic camera in towns.