Posts Tagged ‘ review

I’m Big in Herring

What do you get when you put my busy schedule together with GameShark’s technological sophistication? Timeliness, my friends. Like this review of Patrician IV (NA release date: September 21).

GameShark assigned the game to me while I was digging myself out of a massive hole, and it went to the back of the line. Truth be told, it wasn’t something I was particularly excited to play, and so I installed it feeling nothing beyond professional obligation and unprofessional annoyance.

Naturally, it turned out to be a very pleasant surprise.

The F1 2010 Review

After at least 50 hours of play and 1.5 seasons across PC and 360, my review of F1 2010 is complete and ready for your perusal at GameShark.

There is just one thing I’ll add for now, and that is a wish for the future of this series. Right now you are kind of chucked into the deep end of open-wheel racing. By having your career start with a low-ranking team, the game is actually more difficult than it would be if you started with a good team. Bad cars are much harder to handle and taxing to drive than good ones.

I would consider adding F1′s feeder series, GP2 (I know there are others but GP2 is probably the best fit) and having careers start there. The cars are more manageable and the field is more closely grouped, so it would be easier to know if you’re struggling with the track. With my crummy Lotus, I’m not always sure whether I’m struggling because I’m attacking the track wrong, driving the car wrong, or setting up the car wrong.

Plus, racing in GP2 has a reputation for being a little more wheel-to-wheel, which F1 really isn’t. To their credit, Codemasters didn’t sugarcoat F1 too much. Overtaking is easier than in real life, it is true, but the intervals between cars are still pretty daunting. So while you can pass another car, catching it might be out of the question.

Anyway, go my review covers just about everything you might want to know about F1. So go read it.

Struggling with Victoria

To my astonishment and horror, Metacritic decided that my B- is a 67 / 100 for Victoria II. Personally I’d put the game in the neighborhood of 75 if I were grading on that scale.

It’s annoying, because Metacritic already weighs on my mind when I’m assigning a score. I had a hard time deciding whether Victoria II was a C+ or a B-, and I decided that Metacritic’s penchant for low-balling letter grades would be the tie breaker. I didn’t realize that it would still interpret a B as disdain. But if I weight Metacritic any more heavily, the scores I assign will be useless for GameShark readers.

However, the Metacritic score is emblematic of a problem I’m having when I talk about Victoria II: I keep coming across as more negative than I strictly want to be. I know why this is, of course. You can analyze and explain problems much more easily than you can express praise, and Victoria II’s best aspects are difficult to put into coherent thoughts. Zoom in on any part of Victoria II, and a lot of problems appear. Look at it more holistically, and it’s virtues are clearer.

The other week on Three Moves Ahead I brought up my concern that it’s harder to strike a middle-ground with reviewing games than it is with other media. For one thing, so much of the audience for games writing seem to interpret reviews and scores through a thumbs-up or thumbs-down lens. For another, games are kind of expensive and playing them takes a lot time, two factors that I think discourage risk-taking on the part consumers. When I write a review of a new game, I have this fear that for a lot of people the decision they make on launch day will be final. That they won’t remember what I or other reviewers said in 3 months when the game is on sale, just that the game didn’t sound like it was worth buying. Plus, anyone who follows the industry knows that publishers and developers live and die with early sales.

Maybe none of this should be my concern. But it’s hard to ignore.

Victoria II is a game that I would buy regardless of its problems. I wrote the opening of my review with myself in mind: someone who loves history and the Victorian Era. Someone whose daydreams are filled with Prussian armies, British ministers, and American progressives. Someone who mourns the world that was lost in the trenches, and the stolen future that might have been ours, if cooler heads and better angels had prevailed. Even though I ultimately shift gears and criticize Victoria II as a strategy game, I think it’s an important game for a certain kind of player. And I hope he’ll read my opening paragraphs and decide that’s enough for him.

Hope Is the First Step on the Road to Disappointment

Would you believe I volunteered to do this review of Real Warfare: 1242? Me either.

This is the price you pay for optimism. I installed the game and played the first level, and while I didn’t think it looked brilliant, it looked like it might be a pleasant diversion. Since most games like this don’t get reviewed, I thought I would take a crack at it.

L.B. Jeffries once wrote about why he sometimes takes a detour into shovelware. He said it applies a corrective to the “quality bias” that sometimes colors a lot of game criticism.

Almost all reviewers and critics that I read suffer from a quality bias. If all you do is play highly polished, sophisticated AAA games or acclaimed indie titles then you’re only playing the cream of the crop. This leads to a lot of nitpicking. Complaints that the controls “could be smoother” or “the story is a bit dull” are all a bit grating because these are highly personal, impossible to perfect attributes.

Basic achievements like the game working, having a coherent story, and me not wanting to quit after ten minutes of play are all things that are difficult to put into words.

I’m torn on this. On the one hand, I want to believe him here, so that the hours and hours I spent on Real Warfare: 1242 are something more than a life-stealing waste. But I’m not sure I grant the premise that playing bottom-of-the-barrel disasters really helps us get the right critical perspective. In fact, I think it might be harmful.

Reviewers love to complain about the 7 to 10 or 7 to 9 grading scale that afflicts game criticism, especially with big-budget titles. A crummy AAA game gets a score of 7, and a really good one gets a 9. There are a lot of reasons for this. It’s probably exhausting fighting battles against vindictive publishers and their PR people. Review aggregation and the deafening volume of instant opinions on Twitter push everyone, subconsciously or not, toward the median judgment. And maybe most of the people reviewing games are just bad at it, for one reason or another.

But I think something else is at work, too. Most review scales are using an out-of-date calibration. The 1 to 10 scale, or whatever scale you want to use, used to reserve the lowest scores for hopelessly broken and buggy games. There were a lot more of them twenty years ago. “Unplayably bad” was a common verdict. These days, it isn’t. Quality control really has improved throughout the industry. These days a buggy game means features that don’t work right, or an AI that misses some important tricks. Twenty-year ago, a buggy game crashed every time you opened a certain window, or had a number of commands that simply did not work.

By those standards, yes, most games are pretty good these days. The standards for incompetence have changed. Real Warfare: 1242 works just fine, for instance, except for the fact it’s awful.

So should we play terrible games to cure ourselves of the Quality Bias? Or should we celebration the general rise in standards, and stop pretending that the bottom of the review scale should be reserved for the most incompetent and non-functional products? Manohla Dargis isn’t watching Youtube videos and student films to help her keep studio pictures in perspective. Technical competence is the least we should expect from our entertainment. No more points for being better than the worst possibility.

Rise of Prussia Review

GameShark just published my review of Rise of Prussia. This was a big disappointment for me, since I’m a Seven Years’ War nerd. Metacritic will convert my “C” into something much harsher than it actually is, but there is no avoiding the fact that I did not enjoy myself a great deal with this game, and was really put off by the whole package.

That’s where I put most of my focus in this review. I could have gotten into a much more nuts-and-bolts discussion about how the game models Frederican warfare and whether or not the AGEOD system really does a good job of modeling it. It does and it doesn’t. There are far too many battles where only a fraction of the forces in a given territory actually take part in a battle. The AI, although generally quite good, is too fond of laying siege to every fort, everywhere, rather than concentrating its efforts. I was astonished when the Austrian army practically dissolved itself along the Oder river, laying simultaneous sieges and Breslau, Schweidnitz, and a bunch of other places.

I could have talked about some of the annoying gameplay quirks, like the maddening ease with which you can destroy a friendly army simply by forgetting to triple-check its rules of engagement, thus destroying the work of over a hundred turns.

A section on the astonishing amount of administrative tasks you have to perform would not be out of place. I loved building and organizing armies, but the frequency with which I had to reorganize was off-putting. I also had stacks of unassigned generals roving the map looking for brigade commands, who seemed never to be where I needed them.

But I focused on the other elements of the Rise of Prussia package, things you could argue are external to the core game, because they are where the whole experience started to turn sour. It just did not seem very interesting to rehash the AGEOD wargame system again, especially since most of the people who are genuinely interested in Rise of Prussia probably already know what they think about it. AGEOD’s bare-bones approach is what really dragged this game down.

So let me be honest about some of my expectations. With a mature series like this one, I start to look for more refinement and polish in later titles. When Birth of America came out I thought it was a breath of fresh air: handsome art assets, a solid and inventive portrayal of Revolutionary warfare, and a smart treatment of command and logistics. I wrestled with the interface a bit, and always felt like I was being asked to hunt down and interpret too much information. That paled beside the game’s obvious achievements.

But with Rise of Prussia, I find that I’m still battling the same problems. The core game is as good as ever, and AGEOD have made some nice improvements, but shouldn’t the presentation be better by now? Should I still be tasked with being my own supply officer? Couldn’t the ledger have some better sorting options by now, so that I spend less time hunting for specific units and generals?

On top of that, there are far fewer scenarios, and everything is large-scale. With the first game, Birth of America, AGEOD wrote a lot of different scenarios at different scales. I could try a grand campaign covering an entire war, I could focus on Montcalm’s opening offensive against the British, or Amherst’s sprint up the St. Lawrence. I could play Birth of America on my own terms. Rise of Prussia can be played one way.

Even little things, like the way you run email games, seem clumsy and user-unfriendly. Why do I have to do so much file management for a play-by-email game? Why can’t the game do it for me?

Personally, with experienced developers iterating on a familiar design, I look for signs of caring, thoughtful craftsmanship. Rise of Prussia did not have them.

Recipe for a Great Spring Day

This spring is making me ridiculously happy, in part because it’s the first real spring I’ve experienced in many, many years. In northern Wisconsin, where I used to live, the ground is covered in snow and ice until April, until it abruptly melts into mud, then bakes in the heat throughout May. “Spring” is what you call the nice couple of weeks that precede the summer heat wave. The weather isn’t much better in northwest Indiana.

Boston winter may have sucked, but it’s making it up to me with days like yesterday and today: sunny, breezy, and cool. It was so nice yesterday that I decided to go work elsewhere, and took  a stroll down to Toscanini’s ice cream in Central Square. There is nothing like eating Caramel Delight ice cream for lunch on a weekday morning to make you feel like being a grown-up is everything you thought it would be when you were a kid.

At the risk of seeming like an unprofessional novice, I will say that yesterday also marked the first time I’ve had two pieces of paid work published on the same day. I could and perhaps should let the occasion pass unremarked, looking on with a cool detachment that says, “This happens to me every day.” But the fact is that it does not happen every day, and yesterday’s milestone was further proof that I am continuing to move the ball down the field. Such morale boosts are important, especially when there are nothing but deadlines as far the eye can see.

The first piece that went up was my GameShark review of Achtung Panzer: Kharkov 1943. No reader of this blog will be surprise to find that I gave it a positive review, but I reserved most of my judgments for the review itself. This game would have been in “A” territory easily with a little more polish and a less infuriating interface, but even with the user-unfriendliness that I’ve come to associate with eastern European PC games, it’s a really good wargame. A patch was just released that I haven’t had time to play with. Hopefully it addresses some of my complaints.

The other piece that went up is a feature on The Hunter and its moral code that I wrote for The Escapist. I’ll definitely have more to say about this game and this piece later this week, but for now I’ll just point you to the article and let you read it.