Christmas Special: Christmas Nights

Apologies for being gone so long.  I had a problem with my internet which left me unable to post any new Final Fantasy videos.  However, that can wait.  For now, I want to talk Christmas.

The holiday season is especially important for me.  It, above all other times, makes me feel at peace...happy...and this is exemplified in the tradition I have every year.  You see, once a year, near Christmas, I play a video game called Christmas Nights into Dreams.  And so, I'd like to share this tradition with everyone.  Please, enjoy this discussion on Christmas Nights, my tradition, and the holiday season in general.

History of Final Fantasy: A Bravely Default Rant

So, I've started playing Bravely Default and...I feel angry.  Not with the game, the game is great, but with Square.  So, I put my anger into words and tried to explain why Bravely Default is good and why it shows how fare Square Enix and Final Fantasy have fallen.  Check it out.

History of Final Fantasy: Final Fantasy 6

So, in spite of much illness and a project to prove how video games have the potential to educate, I have continued work on this series.  Today, we are going to look at the longest video I have ever made, my favorite Final Fantasy game, and quite possibly, the best game in the series.  It's not perfect, and I will discuss the many problems it faces, but it captured a kind of magic from both the series and the 16-bit generation that has never since been replicated.  And with this, we end the golden age of RPGs, even though I will still talk about a game that was in the golden age next time, which was not terribly good.

Anyway, without further ado, Final Fantasy 6, ladies and gentleman.

History of Final Fantasy: Final Fantasy 5

Sorry for the delay in posting this, but I am not getting much editing done lately so I have to space out my videos.  I'm planning a presentation on how video games can be used as an educational tool, the Christmas episode of Video Game Growing Pains, and I've got a test in a few days.  Yes, even teachers take tests.

Anyway, enough complaining.  This week, we examine Final Fantasy 5.  It takes a little of the old, a little of the new, and makes an experience that, at the time, was wholly unique and utterly unforgettable.  Give it a look and see what makes this game so special.

My thoughts on sexism, feminism, harassment, and gamer gate in the gaming community.

I try to stay out of politics, both regular and within the gaming community for a number of reasons.  It's remarkably divisive and can be very frustrating when people are calling for you to "take a side!"  That being said, I have found the gamer gate situation to be...quite disappointing for our culture.  It was a chance for us to act like mature adults and have a real discussion on ethics in video games, however it broke down into an excuse for harassment, bullying, and defense of sexism in gaming.  I've actually had this argument with someone I love deeply before and...it can get quite nasty, without meaning to.  Even the most moderate or kind hearted of us will sometimes get impassioned and let our love for the medium overwrite our sense of judgment.  It is a shame, but...it happens.

However, I've been reading articles and thinking hard on the entire situation...while I think that the vocal minority of gamers who will harass and threaten like petulant children are largely to blame for us losing the ability to have a good conversation on ethics, it has led to some interesting looks at sexism.  At what inclusivity means in gaming.  At whether it is right to point a finger at a gamer and shame or mock them for what they play.  At whether it is justified for that jilted gamer to feel like they need to defend their medium, even if valid points are being made.  So...I took some time to record some of my thoughts, unscripted.  This is video game growing pains thoughts on sexism, harassment, the gamer gate movement, and feminism within the gaming community.

I doubt it will make much of a stir, since I have no real power to sway people.  I'm just another name with another blog with another youtube page.  Still, for any who want to listen, I hope you will sit through it.  The core message here is, be good to one another.  Shaming those who play games and harassing or threatening feminists who ask for better?  Neither gives you the high ground.  Why don't we stop making something that's supposed to be fun into a battleground and start working together to make this medium even better?

Just my thoughts.

History of Final Fantasy: Final Fantasy 4 After Years

So, following the release of Final Fantasy 4, there were many other Final Fantasy titles, but in the late 2000s, Square began to tinker with the idea of a sequel.  A remake for the DS was already planned, so it only seemed natural to release a sequel to one of the greatest RPGs of all time.  And it was released on the mobile phone.

Oh dear.

Then, the Wii, PSP, IOS, and many other systems...Final Fantasy 4 After Years is a reviled game for many reasons, from the price gouging approach it took to gaming, to the retreaded ground, to the mobile platform, but is it really bad?  Stay tuned to this blog and find out.

History of Final Fantasy: Final Fantasy 4

Video game growing pains is back, this time with the start of the golden era of Final Fantasy, with the games which make up some of the best of the series.  We kick things off with a retrospective on Final Fantasy 4 for the Super Nintendo.

Enjoy!

History of Final Fantasy: Unofficial Final Fantasy games

Okay, new podcast/video up for everyone to see.  This time, we're looking at the unofficial Final Fantasy games from the game boy, back when brand recognition meant anything and to hell with it, even if it's not Final Fantasy, if we call it that, it'll sell.

Are they worth a damn though?  Step up and take a look.

History of Final Fantasy: Final Fantasy 3

So, I've got several videos made up and recorded, but I will pace my release of them so others have a chance to see what I've made.  Also, so I don't get behind schedule, since work can really derail video making.  Anyway, looking forward to releasing more.  For now, please enjoy Final Fantasy 3.

This is my examination of the game's history and how it fares as a game.  Next time, the unofficial Final Fantasy games from the early years.  Stay tuned.

History of Final Fantasy 1 and 2

Officially kicking off my history of Final Fantasy podcasts here and now.  My GOAL is to get them out at least two to three times per week, do a little recording in my spare time, and cobble these together when I'm off from work.

Bear in mind, this is still a passion project and I do still work 10-11 hour days, so...some weeks may only have 1 or less podcasts.  Either way, I am giving this a shot and will include both Final Fantasy 1, which debuted a few days ago, and Final Fantasy 2, fresh off the presses, here for your auditory pleasure.

I may take a hiatus from these near Christmas if I haven's finished for a more video intensive project.  We shall see.  But for now, please enjoy my look back at the history of Final Fantasy 1 and 2.

Final Fantasy Podcasts and updates

Okay, so living abroad in China and working, often for 10-11 hours a day, is going to prevent me from doing a lot of writing, editing, research, image searches and the like.  So, I've got a few decisions I'm making.  Most of them are in the podcasts below, but I'll spell them out here.  Don't expect many new articles, I don't have time right now.  I'm toying with the idea of podcasts, or rather, audio only sections where I just vamp for a bit on different topics.  This might replace my current formula, we'll see.  Right now, toying with it.  I do have some more video reviews I plan to make, with a special one hopefully for Christmas.  Until then, enjoy listening to my voice.

Let's see of this takes off, shall we?

I'll release more videos as I can edit them together.  They will be somewhat minimal, but hey, this is a passion project and I don't have my games with me at present.  If these are popular, I can redo them later.

Going on Hiatus for China

Hello, fellow gamers.  Well, I've been talking about it enough, but I leave for China in less than four days.  So, Video Game Growing Pains will be going on temporary hiatus.  Not sure for how long.  If I can create a new blog in wordpress or access this blog in China, then we will continue, but at a much slower pace, perhaps once a month, due to teaching career.  Otherwise, I'll try and find some way to update, even if I have to email my updates to a friend stateside and have THEM update for me.

I feel pangs of regret, as I wanted to do more creator spotlights, more video reviews, and a few more discussions on the nature of gaming.  I even debated about doing a video series with a Dark Souls character, acting as a sort of diary/adventure log, to show how games could give you the ability to create your own stories.

Perhaps someday.  In the meantime, I did do something fun a week or so ago.  Feel free to enjoy that, though it is not video game related.

Twelve Tips for Indie Game Developers: The Outsiders Perspective

            Alright.  Let's be honest, I am not a game developer, I am not a PR guy, I am not an analyst.  What I am is a gamer.  And as a gamer, I wanted to just give a few ideas to the community as a whole, the indie gaming community, that, from a gamer's perspective, will actually help you.  Because, corporations may need advice, but they won't take it.  Indie devs tend to just be a group of a few people and they can and sometimes will use advice, so...here it is.

Considering the shit AAA devs are doing...yeah, I love Indie

            I've been seeing a lot of...shall we say, shady behavior on the indie scene, lately.  For every War Z or Guise of the Wolf, we get tons of decent games like Shovel Knight or Cubesis, certainly, but the fact that people think they can screw with their customers, on the indie level no less, is kinda disconcerting.  This doesn't just go for people trying to mess with critiques or lie to others, this goes for blow ups like with Phil Fish or even levels of mediocrity, like the dozens of RPG maker games that are starting to appear on steam.  So, let's start with some easy tips.

1) A New Developer Starts with nothing.

            As a new developer, you start with zero.  Zero faith, zero goodwill, but also zero bad will and zero vitriol.  You can build your image from the ground up.  So, play to the audience you want and respect that audience.  You can make a name that is meant to show your ambitions or what have you, like Wayforward or you can just have it sound cool, like Super Giant Games.  But, you start on an even keel, so use that to your advantage.  Use it as a jumping off point to show your audience, you respect them and you care.  They WILL start to judge you from the first screen shot you post, but when all you have is a name and a title, you start with nothing, so use that to your advantage.

All developers are born with neither good will nor bad will.  Use that to your advantage.

2) The Value of Goodwill.

            Indie developers can live and die on goodwill.  See, many indie developers work their jobs part time while doing other jobs or can survive on other means while waiting to hit it big.  However, if they do hit it big, this means they can work full time.  Indie devs are no different from big companies in this regard, as if their name has weight it can mean the difference between a boycott and massive sales.  Even if it just means you get a few hundred extra sales, since you try and deliver games cheaply and without much overhead, like a publisher or retailers cut, it can still help.

If you give to gamers, gamers will give to you, devs.

3) Be courteous, but don't be phony. 

            Your customers need to trust you and be willing to return your own goodwill, spreading word of mouth, doing reviews, talking to friends, what have you.  So, how can you build goodwill?  Well, a good way to start is to think about how you as a customer want to be treated.  Everyone hates that sir or ma'am crap we get when talking to corporate pawns like the cable company or healthcare and we hate automated systems even more.  We want to be spoken with as equals, by real people.  We want to be spoken to as people who are helping with the gaming experience, not lavished with false praise and titles.  If we make a suggestion, be glad for it.  Even if you can't use it, remember that someone cared enough that they wanted the game to be better so they could play it more. 

We all hate automated machines telling us our time is valuable to them.  Treat us courteously, but not like robots.

4) Be a nice person. 

            In spite of all vitriol, nothing builds goodwill like a developer who will act in a mature way when being insulted or demeaned.  This.  Is.  HARD.  Phil Fish may not be a guy I like, but he was insulted on a daily basis and demeaned the point he quit the game industry after many, MANY choice words.  It's probably good he did because after those words...he lost a LOT of good will from fans.  Thing is, Zeboyd put it best.  It's just good for all of us if we try and be nice guys.  Not fake nice, but if someone disagrees with you, let them, don't explode.  If they're being an asshole to you, ignore them.  If they're being an asshole to your community, feel free to ban them, since you have your community to think of.  But in general, just be a nice guy that people feel they can talk to. 

Gamers can be a vitriolic bunch but indie devs rely on them so...you kinda have to be the bigger man here.  Act maturely, even if we don't.

5) Man up to your mistakes. 

            All developers have made mistakes, wasted money, or generally had delays that prevent them from keeping promises in a timely manner.  Lying or making excuses to your fans and customers is not the way out.  Be upfront with them and share the experience.  If you're having problems, let them know but assure them of your commitment.  If you can't deliver, all there is to do is apologize, take the heat, and try to make it right how you can.  While you might lose some goodwill for doing the right thing, people remember those who are honest with them and respectful.  They respect those who don't cut and run and will try and do the right thing.  That, in turn, will get you more good will. 

People might never let you forget a mistake, but if you own up to them, don't make excuses, and say you'll do better, they're more likely to forgive and respect you.

6) Share with and go the extra mile for your community. 

            Everyone loves seeing games progress, either in development or in updates and bug fixes.  Share with them how things are going, maybe if you added something new, secrets maybe, but keep them involved, because that shows you care.

These are basic tips relating to good will.  In general, just think how you as a gamer or a customer want to be treated by others and...do that.

Community is a powerful tool in the game industry.  Treat them right.

7) Do not lie to your customers

            This is to cover all bases.  We talked about manning up to mistakes or problems, but don't sugar coat things.  If your game is a piece of ass, at least let them know going in that it's a piece of ass and that you are trying to learn to either fix it or do better the next time.  Don't bill it as a Call of Duty killer and then it turns out to be a generic shooter with copy paste graphics from the Unreal Engine with no trace of originality.  Don't use misleading clips or CGI or in general try and deceive them, because you will be found out and your attempts to hide it WILL be catalogued.  In the age of screen capture and mass media, nothing can just be covered up anymore.  You cannot cover up a lie in the games industry, so it's better to simply not lie.  Your rep and your goodwill will thank you.

If you lie, your customers will find out...and they will be PISSED.

8) Do not censor

            I know it may hurt to see something you worked hard on or which isn't finished take a verbal pounding from players who are basically ripping it apart for fun, but like I said before, if you try and cover that up and lie, it WILL be found out.  Garry's incident and Guise of the Wolf are the most notorious cases of censorship gone bad when Total Biscuit had his first impression videos taken down by people abusing the Youtube Copyright system.  He tore them apart in a mature manner, showing their wrongs in detail, catalogued, and eventually they had to relent.  Jim Sterling also covered those who took down steam reviews that were unflattering.  All incidents left a trail and the stories were picked up by Kotaku and other news outlets and the developers were treated as the scummy, money grubbing asses they were.  Don't censor.  It never ends well.  Take the vitriol on the cheek, turn the other cheek, and let it be forgotten, making way for fans who WILL appreciate your game.  Everyone hates a villain and if you act villainously, like trying to abuse the system to censor bad press, you will be slain by some righteous heroes of the net.

Best way to lose goodwill and become a gaming development pariah?  Try and censor your customers because they don't like your product.  Own up to your mistakes or you are going to burn.  The internet does not forget.

9) Don't belittle and don't fear comparison

            Not everything has to be original, but don't be afraid to have something compared to your game and don't belittle others who might be compared to it.  Many people hated the calling of Terraria a "2-d Minecraft."  Sure, they are different, but that kind of comparison...is not bad.  Minecraft is a big hit and a game like it?  That's not saying a bad thing, you could be compared to worse.  And Terraria never set off to compete with Minecraft, they didn't claim they were better.  They were just different.  They didn't speak ill of them.  This is good.  I remember playing The Last Dream for Steam and didn't much care for it because it took too much of the original Final Fantasy and not enough of the sequels, with a bland class based system and not enough interesting story or music.  However, think about that sentence I just said.  Took too much from the original Final Fantasy.  Final Fantasy purists, who enjoyed the original NES games will eat a game like that up.  Don't fear comparison.  It's just someone else's way of pitching your game to a friend in a nutshell.  Don't belittle because whether or not someone who is making a game similar to yours is better, the fact that you treat them with the same respect you treat your customers, that is to say a lot, will earn you a fair bit of goodwill and possibly partners in the future.  Who knows?  They may want to work for the masters for their sequel.

Comparison isn't necessarily a bad thing.  Don't fear it, because it's just part of how people associate your game.

10) Don't nickel and dime your customers

            I see this happen a fair bit.  I'm not of the mind that all micro transactions are bad.  Some DLC definitely deserves the money, like Dark Souls 2's Sunken Crown DLC.  It clearly took extra time to make and was not part of the original product.  However, a game like Warlock 2, which looks like it should have been an expansion pack sold as a full retail release?  It makes customers raise an eyebrow and hurts your brand.  We don't like to feel like content is withheld from us.  Held hostage from us.  If you want to offer certain extras you can't get elsewhere, like behind the scenes footage or art books, maybe, but if you are withholding characters, music, whole levels even, BEFORE the game has even launched?  You are going to anger a lot of people.  Some DLC, we are okay with, but when it's been cut out of the finished product to make more money?  Many of us will skip the finished product entirely, since it's being sold to us piecemeal.

When your customers realize you hacked out in game items to sell a more expensive edition, they may just say to hell with your game.  It shows a lack of disrespect.

11) Spread the word, but don't bribe

            Disclosure has become a hot topic lately with youtubers.  It's the idea that a game developer is offering special goodies or money or deals to reviewers for a favorable look at their game.  This is a bad idea.  Why?  Because if you don't have enough faith in your game for it to stand on its own, you probably shouldn't be selling it.  Don't bribe reviewers, don't even try to sweeten a deal.  Just advertise that you have something cool to show people.  Spread the word through the medias and the fans, but don't try and buy publicity.  Market, but don't try and get "special attention."

Full disclosure, not non disclosure.  Don't bribe, don't lie, don't keep things from your customers.

12) Don't panic

            Even good games can receive bad reviews.  Why?  Because the game wasn't what that particular player wanted to experience, even if the videos and screenshots seemed like it might be.  And that's okay.  Sometimes, wires cross.  But if you are proud enough of your game that you would play and enjoy it, then others will too.  Don't panic if you get a bad review or if something happens to derail spreading the word or getting it to your customers.  In the end, most players will remember how you act and resolve issues as well as how they like the game.  I may not like FTL, but I give mad props to the developers for improving it and offering the updates for free.  I might buy another game from them, if it were released.  Whatever happens, just go with the flow and do your best to deliver your product to your customer.  If they like it, they like it, if they don't, they don't, but someone will like it.  Have faith in that.

This isn't my kind of game, but it is for someone.  Just cause I don't like it doesn't mean others won't.  Don't panic.  Keep calm and carry on.

            It's a little sad that the indie scene has been sullied by some developers who try and lie or abuse the system to their own benefit, but for every Guise of the Wolf or Garry's Incident, we get a dozen Shovel Knights, Valdis Story, Sang-Froid, Tiny Barbarian DX, etc.  It's easy to misstep as an indie developer, sure, but from a gamer's standpoint, these points above are what matter to us of the developers we trust.  Something to keep in mind for the aspiring game developers.  And something for games to keep in mind when picking a title on name value alone.

In the end, being a good developer and being a decent human being aren't mutually exclusive.  That is the best bit of advice I can offer.

Creator Spotlight: StarQuail

            Welp, it's that time again.  After a fair bit of delays due to work, and the release of my review of their signature game, it's time that we give StarQuail Games a look see.  LET'S GET TINY!!!

The face of polish and comedy...after all, who could take a quail seriously?

            First, a little history.  My first encounter with StarQuail was during my initial Kickstarter binge.  I was hooked on the idea of a game that didn't exist being funded entirely by the fans and this was one of the first ones I gave a look to.  While still sketchy on the idea of Kickstarter, I had a little extra cash lying around and Tiny Barbarian DX, the title being advertised by StarQuail, was interesting.  The music was good and it had an aesthetic that matched Robert E. Howard's Conan the Barbarian stories, which I had always had an interest in, but never got around to.  What really sold me on funding Tiny Barbarian DX, however, was the original Tiny Barbarian.

This is the image I was greeted with when I found Tiny Barbarian DX on Kickstarter

            Michael Stearns, the patron of the Tiny Barbarian DX Kickstarter, was its artist, alongside lead programmer Daniel Roth and both basically formed StarQuail because they liked making games, many of which were free, as is common amongst indie developers like Amon26 or Endless Fluff.  Among these, was the original Tiny Barbarian, a take off on the classic story of "The Frost Giant's Daughter."  Stearns advertised this game in the Kickstarter for Tiny Barbarian DX, encouraging people to give it a look and see if the art and gameplay was something they enjoyed.  So, I did.  It was a bit clunky at times, but the music, the visuals, and the overall arcade feel of the game really sold me on Tiny Barbarian DX and after its release, the studio sort of emerged on the map, for me and many other gamers.

Nothing sells you on a game like throwing down with a few ice giants.

            However, like I said, Stearns and Roth had been making games for years before Tiny Barbarian DX released.  StarQuail itself was formed in 2006 and between then and the 2012 Kickstarter, they created many games.  The first was the vertical scrolling game Sky Puppy for the PC, a free ware game which had a flying puppy avoiding dangers to look for treats.  Following this was Crystal Skies, playable on both PC and Xbox 360 which is a mix of puzzle platformer and arcade score attack.  It features the soul of a dead fish bouncing around a maze of colored spheres, trying to get coins, much like the bonus stages in the original Sonic the hedgehog.  These games were somewhat amateuristic in design and show the evolution of StarQuail as they experimented with genres and design theory to try and improve their skillset.  And improve they did, as their next release, Astroman on the Xbox 360, featured an adventure focused on a space explorer platforming around alien worlds, with multiple worlds accessible from his space ship.  It was very much the template that StarQuail would embrace, featuring only minor innovations to set it aside from other platformers, but with a unique art style and sound track with the kind of polish necessary to avoid frustration and win over tentative gamers.

Starquail has a fondness for timed score attack games, apparently, like Sky Puppy here.

            Following Astroman was Tiny Barbarian and Tiny Barbarian DX.  These games are great and offer a kid friendly way into the world of swords and sorcery.  They offer tribute to Robert E. Howard's work, however are far less visceral and more fun and funny.  At present, StarQuail seems to be devoting most of its time towards Tiny Barbarian DX, as the game was released with only one of four episodes.  However, a second episode was released early in 2014 and it seems as if the developers are fully committed to finishing this project, as it is a work of passion.

While not groundbreaking, Astroman was fun, polished, and interesting.  That's worth a lot in the age of bugs, broken promises, and outright lies from developers.

            Now, what makes Tiny Barbarian DX stand out?  Honestly, it's the games immersive storytelling, unique art style, and polish.  Tiny Barbarian DX is a pixel art style of game that are rather common these days and the platforming is nothing new or spectacular, however I like to think that it stands out because it knows what it wants to be.  It wants to be an arcadey, pulp-esque story that can be finished in a single sitting, but which is great for speed running and score attack challenges. 

It pays to love your work, eh, Tiny?

            Some might ask how a pixel art arcade title could be immersive in its storytelling, but I say, you have to see it to believe it.  Tiny Barbarian DX eschews long bits of dialogue or exposition in favor of showing rather than telling.  The story never stops so that you need to read or catch up, it's all done through pantomime and body language.  And honestly, it works really well, from Tiny moving on the player's command to eat a vulture to regain his strength, to him flexing in front of ladies, to him riding out of a collapsing palace.  The context is always clear.  While the story isn't deep, it lets the game show you rather than weighing you down with dialogue or exposition.  On top of that, Tiny Barbarian DX features locales that are seldom seen in games, as they look like they were ripped straight out of Robert E. Howard's Hyborian age.  Wasteland palaces decorated with snake motifs and dank jungles fill the land with many secrets to discover, but they all feel distinctly unique.  Alongside the locales, the art style feels like a 1980s arcade title.  It has animations that are too smooth and colors too bright and vivid for the NES or the Atari, but too primitive for a 16-bit console, fitting it right into the unusual world of arcade graphics.  It's refreshing, considering the glut of RPGmaker or NES-style copy cat games that have been arriving on the market.  What may make Tiny Barbarian DX stand out the most, however, is the polish.  Unlike many early NES games, Tiny Barbarian DX feels very well play tested and the controls work exceedingly well, with a number of additions that allow the game to be enjoyable in spite of its difficulty.  While there are a few moments that may be unfair, the game is, by and large, very approachable, as some individual sections are hard, but there is no lives system so the only penalty for death is a lowered score and more time on the clock, showing how you need to improve.

A world of monsters and demons, but yet still approachable, colorful, and polished.  A rare breed.

            Jeff Ball, a friend of Stearns and Roth, composed the music for Tiny Barbarian and it is beyond glorious, further emphasizing the arcade feel of the title while keeping the audience pumped for what's coming.  It's pure chiptune glory and it works surprisingly well.

            Speaking purely as a gamer, I can understand why some might pass on Tiny Barbarian DX, as it is a little expensive.  I'm biased too, because I helped fund it.  At $10 on steam, a score attack game that can be beaten in an hour, even with the promise of more content down the line, is a hard sell.  But I look at it like this.  Robert E. Howard's pulp stories about Conan were short, bite sized bits of fiction that gave us a quick diversion from the annoyances of life and allowed us to enter a flight of fantasy, full of dark sorcerers, monstrous beasts, and one, lone barbarian hero.  Pulp stories take their name from the low quality paper they were printed on because they were considered quick entertainment in an era before gaming or even mainstream television were so domineering.  And to me, Tiny Barbarian DX is like the pulp stories of the modern game industry.  It's short, but it's enjoyable, offers a nice diversion, and promises to build on what has already been established for fans and newcomers alike.  If anything, I have to admire Stearns and Roth for making the game at all, because it IS a hard sell.  But they made the title they wanted and I can't help but enjoy the amount of personality and goodwill they've put into Tiny Barbarian DX.  They even took the time to make a digital manual complete with expository comic, like those made in the NES or SNES days, and put it up for free online, alongside links to the free download of the Original Tiny Barbarian for people to try and see if they like it before laying down money.  To me, it speaks of the kind of developers who aren't in it to get rich or even to get noticed, though that is nice, but who are just doing what they love as a passion project.

This kind of dedication to a game they love is what I love about Indie developers, especially StarQuail.

            I think we should support StarQuail games.  They're incredibly talented for how small the studio is and if Tiny Barbarian DX is what can be produced on a meager $12,000 Kickstarter, I'd love to see what they come up with next, perhaps on a bigger budget.  They are a studio to look out for and I recommend them.  For those looking for StarQuail's home page, complete with links to all their games, including the free ones, click here.  For the Tiny Barbarian Soundtrack, created by Jeff Ball, check here.  For the now expired Kickstarter, check here.

Looking forward to Episode 3, guys :)

            I found this studio through Tiny Barbarian and I believe it is their best property, but I'm anxious to see what they can come up with next.  Mr. Stearns.  Mr. Roth.  Mr. Ball.  I hope you three become the next Robert E. Howard.  I'm anxious to return to Cimmera.

Video Review of Tiny Barbarian DX

 

I've been busy this week and, in preparation for my discussion on Starquail games, I've done a brief video review of the Tiny Barbarian Series.  Give it a look.

Diminutive Diatrubes: The Ongoing Question of Game Length

Ladies, gentlemen, I am exhausted.  This week I had a lot of training to do for my trip to China and I got 3 shots, and worked a huge amount of time at my job with very little sleep...this is not the time for a big brain hurty discussion.  But, since I have plans for the next week or two and am not sure if I will be able to get a post out, I feel I should at least do this much.  So, let's have a short talk about game length and the price/length ratio.

Diminutive Diatrubes: The Ongoing Question of Game Length

            Lately, something has weighed on my mind, while I've been debating another video review before a creator spotlight.  And that is the value of a game based on its length.  See, I had an interesting experience lately where I tried a game that boasted 60+ hours.  I was bored within about 10 and just stopped playing.  Then, I picked up Savant Ascent on Steam and spent almost the same amount of time playing it, loving every second.  The kicker though?  The game I stopped playing as a huge, spanning RPG that could easily last for hundreds of hours before being done.  Savant is a quick arcade title that I beat in 30 minutes.  However, I enjoyed the game so much I went back to it enough to equal the time I spent on the RPG.

Savant is 30 minutes of head bopping, Guy Faux DBZ powered, musical mayhem.  I've played it at least a dozen times.  Money well spent.

            So, how long is too long for a game?  Is a game worth the money if it's only got a few hours, or hell, even a few minutes worth of gameplay?  What about AAA games?  Should they be held to a different standard than Indies and, if so, should we forgive artificial padding?  How much is a game worth if measured in hours.

            Angry Joe has a meme that is something infamous now, where he played Kane and Lynch 2, noting that, for $60, it only lasted 4 hours.  Foooouuuurrrr...hoouurrrssssss!!!  Same thing for Metal Gear Solid 5: Ground Zeroes, which can be beaten in 1 hour, 10 minutes or less if people ignore some of the extras.  And that game cost $40.  Savant Ascent, on the other hand, has about 30 minutes to an hour's worth of content, if you never replay it, for $3.  Is Savant worth the money?  Were Kane and Lynch and MGS 5: Ground Zeroes rip offs?  Or was the content delivered worth the money paid?

            Honestly, in the modern gaming landscape, this is a question that has no right answer.  It can only be examined on a case by case basis.  One series I absolutely love is Tiny Barbarian DX.  It had a free flash version and a Steam version for $10.  Both can be beaten in about an hour or less.  I was pretty satisfied with the amount of fun I got for my money, and even surprised that Tiny Barbarian was getting sequel-esque DLC episodes for free to anyone who'd bought the game, giving it an extra hour or two worth of play for each episode.  Yet, I can see how someone would say, "$10 for an hours worth of fun?!  That's such a rip off!  You can go to a two hour movie for less!" or something along those lines.  And...they're not wrong.  A valid point is made.  Call of Cthulhu: Dark Corners of the Earth squeezed out 10 hours before I quit it in frustration.  But those hours were so padded and wasteful that I felt cheated for paying the same $10 price tag as Tiny Barbarian.  And...I'm not wrong either.  If I wasn't having fun, that WAS a rip off.

It's like Conan.  But cute.  And tiny.  And fun.

            Price is a strange thing, as is the amount of fun to price ratio.  Many of us would be happier to drop $15 on Shovel Knight, play it for five hours, then be done, satisfied with a good experience.  Others would prefer to get value and pay $3 for two 20-30 hour RPGs in the form of Breath of Death 7 and Cthulhu Saves the World.  How can you argue with either?  You really can't, because all people are different and the games they go into are not always going to be conducive to providing a lot of value in terms of hours.  They will be able to provide value in terms of spectacle, satisfaction, or fun, however.  Usually, at least.  Some games will just blow either way.

Shovel Knight is a little short, but oh, is it ever satisfying.

            The best way of looking at it is this.  Did you enjoy the game enough that you don't feel bad you bought it?  Then, the money you paid for it was well worth it.  You can go back to it again to get more value or you can just enjoy the memories you made while playing at it.  If you have buyers remorse, like I did with Call of Cthulhu: Dark Corners of the earth...then the game was not worth the money.

I'll take short but sweet to long and getting lost, wandering around, and replaying sections in frustration because you died, thank you very much.

            I bring this simple thing up, however, because it IS important to remember that satisfaction is a wonderful thing, but we should not always let it be the only overriding factor as to whether or not a game is worth the price.  Why?  Because a game like Metal Gear Solid 5: Ground Zeroes released as a AAA game with the same length of an indie and the same price as a standard release.  This...is a problem.  Or rather, it could become one. 

Now, I can blow through a Metal Gear game like 2 or 3 in like 5 hours, but do we really want a game that's...an hour to beat and $40 retail?  Really?

            If developers, indie or otherwise, decide that they can get away with releasing a game piecemeal or without a lot of game time and selling it at the full price of $40 or $60, not only will we the consumer suffer, but so will the industry.  One of the reason games like Tiny Barbarian or Shovel Knight are successful is not just that they are good games, which they are, but because they are cheaper than the competition.  I could go and drop $60 on Titanfall or I could play the Forest on Steam for $15.  Will it sell as much?  No.  Is it the same genre?  No.  But can it be successful enough to fund a sequel or another game by the studio?  Yes.  Because it IS cheaper than the competition, or at least on the same level as games like Outlast or Amnesia.  However, if the Forest or Shovel Knight was released with a $40 price tag, like Metal Gear Solid 5: Ground Zeroes, they would crash and burn hard.  Not because they're bad, but because in this economy, we have so many games to choose from and yet very little money to spread around.  Cheaper games are more likely to succeed than expensive ones by selling more units at a decreased price, even if they don't have the ad or hype train behind them.  If games ever go the way of MGS 5, where players feel it's okay to pay $40 for a very brief experience, then...we could be headed for another video game crash.  Because fewer and fewer games will get sold, leading to indie devs starving and the few game studios with the money to survive less willing to take risks and provide unique titles like The Forest, Shovel Knight, or Bro Force.

Survival horror wouldn't have survived as a genre if people weren't willing to drop the price and keep it low.  $15 for Amnesia, the Forest, or Outlast?  Yeah, I can afford that.

            The point I wanted to make with this little article is the simple idea that the only value a game has is what you take from it.  That being said, we do need to have standards.  In an ideal world, all games would sell for cheap, all the good ones would succeed, and everyone could play as much or as little as they want.  We do not live in an ideal world, however.  We have to differentiate between indies who are giving the best experience they can and AAA games who we should expect more from for the price.

This is just food for thought.  Don't let anyone else tell you what's really important when it comes to buying YOUR games.

            Ultimately, this question will remain.  But I leave it to you, the customers, the gamers, the players, to find your own answer.  This isn't meant to give you that answer...just food for thought.

Creator Spotlight: Matt Gilgenbach

            Usually, when I talk about creator spotlight candidates, they have a special connection to me.  I talk about both their past, accomplishments, and my personal story in regards to how I came to be acquainted with the developer.  However, this week is a bit different.  I've only played one game by this man and it's not the one I intend to talk about.  So, why am I talking about him?  What gives me the right?  Well, because even if I never played his games, I'm glad that they exist.  Ladies and gentleman, this is Matt Gilgenbach.

Meet Matt Gilgenbach of 24 Caret games

            Been a while since I did one of these, huh?  Well, I wanted to talk about this particular developer because recently, I gave up on a game called Call of Cthulhu: Dark Corners of the Earth.  Gilgenbach didn't make this one, but hear me out, I'm going somewhere with this.  Call of Cthulhu...is just awful.  It had a spark of brilliance in it, as it stayed relatively true the idea of alien horror invading the world we know and our mind slowly eroding to compensate that is a hallmark of H.P. Lovecraft's work.  It very much matched the pulp fiction culture of the time, with the hero being a noir-esque detective investigating strange goings on that led to the discovery of alien nightmares beyond all imagining.  I'd even go so far as to say the muddy graphics helped in this regard, giving a bleak feel to the game, and the atmosphere was both very alien and lonely in places, but also claustrophobic and paranoid when it needed to be.  The story is also really amazing too, mixing Dagon, Call of Cthulhu, Shadow out of Time, and Shadow Over Innsmouth together in a blender.  However, it is hampered by incredibly poor controls, level design that is frustrating to deal with, a huge number of game breaking bugs, and a frustration factor that makes the game nigh unplayable as a horror title, as the first time a mob of sick, cultish townsfolk chase you, it's scary, but the fifteenth time you deal with it, it becomes annoying.

The Alien horror of the deep ocean mixes with the great atmosphere of Lovecraft...at first.  It quickly gets frustrating though.

            Slowly, I grew to hate Call of Cthulhu, as it was a frustrating game that I was unwilling to slog through for the tiny, MICROSCOPIC bits of quality I could find.  However, I love the work of H.P. Lovecraft...and after giving up on the game I realized that while I hated it...I was glad that it existed.  Because it meant that Lovecraft COULD be done in game form...hopefully it could be done better next time.  It showed that something had value in being created.

Meet Call of Cthulhu's game breaking glitch.  If you don't know exactly where to point and shoot this scope, the game is unwinnable.  Problem is, there's no indicators of where to shoot.

            This brings me to Matt Gilgenbach.  Gilgenbach has a rather skewed view of the world, having near crippling OCD which have led to nightmares when sleeping and difficulty adapting to normal life when awake.  This led to Gilgenbach having depression, even prior to his entry into the game's industry.  Despite this, however, Gilgenbach got his start in the AAA industry, making games such as Ratchet and Clank: Size Matters for the PSP.  Ironically, this is the only Gilgenbach game I have ever played.  It was a decent enough title that, while fun, basically did nothing new and I didn't care whether or not I played it.  Gilgenbach would have fallen off my radar completely if not for the fact that he ditched the AAA industry to go indie.  On the indie scene, Gilgenbach basically defined games that, whether you love them or hate them, you can't help but be glad that they exist.

While fun, the only Gilgenbach game I've ever played is...kinda generic and forgettable.

            After leaving the AAA industry, Gilgenbach created Retro/Grade, a shooter that played in reverse.  You have to basically intercept and unshoot your shots, while avoiding the shots you originally avoided so that the enemies can unfire them, in a mind bending bit of temporal paradox.  Interestingly, it is also a rhythm game, which adjusts the music based on the shots you intercept to create different tunes.  I was both visually stunning and an interesting twist on a tired formula.  There are plenty of shooters, even rhythm based shooters like Rez, however it was an interesting idea to have the game playable in reverse.  What's more, you could control the game with a guitar controller from Guitar Hero.  The game was, sadly, a commercial failure, but looking back, I can't help but approve of the experiment.  Gilgenbach created a game that he had passion for and, rather than following the leader and trying to make the next Minecraft or a retro 16-bit throwback game, he created something wholly original and interesting.  That's admirable, even in the indie scene, and it provides an interesting point of reference to designers in the future to play around with.

            Unfortunately, the failure of Retro/Grade alongside Gilgenbach's OCD caused him to spiral into a period of even greater depression.  However, like a true artist, Gilgenbach tried to take what he had experienced, the hell of his OCD, his nightmares, and his depression, and make something out of it.  Make a game out of it.  And this is the reason I decided I wanted to talk about him.  The game he made...is Neverending Nightmares.

Oh...oh wow...so...anyone else not sleeping tonight?

            Confession time.  I have an odd fascination with horror games.  I don't really like being scared, but I think that horror titles can explore a part of the human experience that few other games can and thusly are unique, powerful experiences.  This has drawn me to a few select ones, like the Silent Hill or Clock Tower games...and it's what drew me to Neverending Nightmares.  The game appeared on Kickstarter when I was looking for fresh new experiences to support and fund.  While I didn't fund the game, I kept an eye on it, just in case...because like with many games, I wasn't sure if I wanted to play it...but I DID want it to exist.

Yes, I'm glad this to exists.  The hell is wrong with me?!

            Well, Neverending Nightmares reached its goal and recently released an alpha build for backers, which I got to see through the Let's Player, Lotus Prince.  The game is sublime.  It features a beautiful black and white art style with highlights of red for blood and with a number of brilliant mechanical and storytelling ideas. 

            The game's basic focus was on Gilgenbach's OCD nightmares, which frequently had him waking up, only to still be asleep and trapped in a nightmare, a cycle which would continue until he eventually did wake up.  Here, this is how you handle both progression and death.  Dying will return you to a bed where you wake up from your nightmare...only to realize you're still trapped in an entirely different nightmare.  When you complete a section, you either die or wake up...only to find you are worse off than before.  It's an interesting idea that gives respawning a very organic feel and allows the players to explore the world without feeling like they're doing the same sections over again, since each nightmare is, in the context of the game, new.

Waking up provides no escape from the nightmare that is life.

            Neverending Nightmares does what all good atmospheric horror games do.  It will create an aura of unease around the player, without the need for musical stings or jump scares...at least not as much as other games.  During Lotus Prince's play through, he found a room filled to the brim with creepy dolls, many missing their eyes, all staring at you.  There are no musical stings or camera changes...the game lets them sit there.  The player believes something bad will happen...but doesn't know when.  This is the feeling of true terror and helplessness, making us want to run from the section.  Also, only objects highlighted with red blood can be examined, meaning that to advance in the game...you have to subject yourself to the horror and the threat of bodily harm or mutilation that is forthcoming.  The trailer even shows a large degree of disturbing imagery, including a man prying a bone out of his cut open arm.  The art style is not meant to be realistic and is hand drawn, but because of the 2D and black and white aesthetic, it is suitably unsettling, especially during the death and mutilation scenes.  The lighting however is one of the game's best features as the darkness really feels alive, chased away only by a candle you can hold or the few lights on in the game...it feels oppressive, crushing...and absolutely perfect.

Oh god...why did it have to be dolls?! O_O

            I've only seen two of the proposed six sections of the game, the first being a house in the woods where things are...a bit tense, to say the least.  The second is a mental asylum, with creepy patients roaming the halls.  I adore Neverending Nightmares.  However, I don't know if I will ever actually play it.  The game is scary.  Scarier than almost any game I've seen in a long time.  It draws on a primal fear, born of Gilgenbach's own human experiences and uses that fear as both a storytelling medium and a driving force for the player.  I don't know if I can handle that.  But even so, I am still so glad that Neverending Nightmares exists.

Have I mentioned this game gets DARK...

            I first encountered Matt Gilgenbach as a developer trying to sell a dream.  He basically laid out that if he couldn't get Neverending Nightmares funded, he'd have to give up on it, not having the time or the money to do it otherwise.  He wanted to turn his fear and his experience into something constructive, that others could understand and enjoy in the form of a game.  And, I was captivated by it.  I didn't want to play it, but that didn't mean I couldn't recognize quality, passion, and something truly amazing.

By surviving our nightmares, we can grow stronger.

            I am glad that Neverending Nightmares exists because like Retro/Grade or Call of Cthulhu, it offers something unique and interesting to the world.  By extension, I'm glad we have developers like Matt Gilgenbach.  Someone willing to take a risk on a dream and work towards making their own nightmares something others can actually see and enjoy.  I've heard that sometimes art merely exists for art's sake and I believe that Neverending Nightmares is definitely art.

Regardless of your stance on art, the game has polish.  Look at that...I didn't even notice that at first!

            I do believe that I will buy Neverending Nightmares at some point.  It's an interesting game that has captivated me with it's art, story, and tone.  However, that is a ways off yet.  For those who want a more immediate interaction with Matt Gilgenbach, you can find Retro/Grade here, the completed Neverending Nightmares kickstarter here, and the Steam Greenlight page, with playable demo, here.

Well done, sir.  Well done.

            As a final word to Gilgenbach, I'd like to say congratulations.  In spite of struggling with your nightmares and your depression, you've created something truly amazing that, no matter how well others receive it, is marvelous simply because it exists.  And so are you, sir.  I look forward, Mister Gilgenbach, to seeing what else you can come up with in the future.

Dream on, dreamer.