Opinion - Hotline Miami

There's something deeply disturbing about Hotline Miami, but that's also what gives it its potency. Short, sharp and brutally violent, the game sees you smashing, slicing and shooting your way through a variety of interesting and varied levels. It's a top-down retro-influenced action game steeped in violence and a disturbing story. Your aim on the majority of the levels is to kill everyone, then escape.

I'll be honest, I was only a few moments into the game when I felt like I wanted to turn it off. Somehow, despite the low resolution pixel art, it still manages to feel terribly violent. The game has a vibrant colour-cycling neon effect that gave me an uneasy feeling, whilst there are elements of the UI that tilt and shake in an almost hypnotic way. Combine the art style and violence with the flushed and warped neon, the low quality VHS and TV effects, it all has a disquieting, disturbing atmosphere. It feels like you're playing through a snuff video nasty that should have been censored or banned. Now, strangely, I say this to the games credit.

This Hotline Miami PS3 / Vita trailer gives a good impression of the game (and a glimpse at the soundtrack).

Hotline Miami does an amazing job with remarkably little to convince you that something is wrong. And yet it plays so right... The gameplay is fast, amazingly fast... but still somehow manages to retain a feeling of being tactical. You can switch between stealth and action on the fly, drawing enemies to search for you with gunfire, before flooring them with a thrown weapon and jumping on them for a vicious finish. You'll die, a lot, and that is by design. You can restart the level almost instantly, trying again and again to clear the screen of people... you'll try a different tactic, or just a rush-job attempt, sometimes you get lucky. You can knock enemies over with doors, throw your weapons at them to knock them over (or, with some melee weapons, kill them with a ranged throw).

The basic gameplay is very addictive. As you play your score is tracked, rewarded for things like 'boldness', 'flexibility' and 'mobility'. These points count towards unlocking additional weapons to use, which can make replaying earlier levels fun and different. Achieving high scores on the numerous levels also unlocks additional masks to wear, each with their own abilities which will change your playstyle. I found myself getting a lot of use from the horse mask, 'Don Juan', which makes hitting enemies with doors an insta-kill. This particular mask had me sneaking about, timing my movements before bursting into rooms for brief fast-moving fights.

There's a story that runs through the game, it seems to be quite minimal to start, but it builds. There are various moments, some subtle some overt, throughout the levels and between-chapter interactions that add to the story. There's a feeling that everything is not-quite-right echoing through the game. A twist partway through the game adds to the interesting narrative and providing some depth, drawing you further into the seedy and depraved world of Hotline Miami. The story is disturbing, and surprisingly engrossing.

It's a game I'd describe as equal parts disquieting and engaging. I'd recommend it, and in the same breath warn against it. It felt like a guilty pleasure.

Currently Funding - Hyper Light Drifter

Hyper Light Drifter is an ambitious project, aiming to mix together some of gaming's best ingredients into an artistically strong RPG adventure. The developer, Heart Machine, describes the game as 'a 2D Action RPG in the vein of the best 8-bit and 16-bit classics, with modernized mechanics and designs on a much grander scale.'

Currently seeking funding on Kickstarter (and now deep into stretchgoal territory), Hyper Light Drifter draws influence from past classics like A Link to the Past and Diablo. There is a focus on fluid combat, mobility and exploration, with an intriguing science-fantasy world to wander through. There is some preliminary detail on the combat and equipment on the project page, along with a little lore for the game. I recommend checking out the project's posts and updates as they're written in an effortlessly interesting and engaging tone that other projects could do well to take note of.

Something that really drew my interest here is the science-fantasy aesthetic. It may be personal preference, but something about this kind of setting just screams out to be explored... The varied dungeon and forest environments shown on the Kickstarter trailer hint at the greater world, and the titbits of lore shared on the project page sound intriguing. Whilst clearly inspired by 8-bit and 16-bit games, there are also aspects of the art reminiscent of Hayao Miyazaki's classic animé Nausicaa, and Miyazaki's work is cited as inspiration for the animation and design. This blend of inspirations and influences have come together through Heart Machine's art direction and created something that is visually arresting.

The trailer is scored with an airy and energetic piece of music by Baths, who may also be providing an additional piece for the games soundtrack. Main soundtrack duties are being covered by Disasterpeace (composer of the phenomenal Fez soundtrack), which is pretty exciting. Between these two, the soundtrack is in good hands.

Between the gameplay, the setting, the art direction and the soundtrack... There's a strong foundation here for something quite special.

Hyper Light Drifter is initially aiming for a PC, Mac and Linux release in 2014. There is a stretchgoal for PS4 and Vita versions, with potential for other consoles further along too. You can check out the game on Kickstarter, vote for the project on Greenlight, or follow @HeartMachineZ on Twitter.

Opinion: Thomas Was Alone

Thomas Was Alone is an indie platforming puzzle game made by Mike Bithell. Billed as 'A game about friendship and jumping', what appears to start as a simplistic game about a rectangle becomes a absorbing game about an assorted crew of rectangles full of character.

Before I get into the characters, I should mention what an amazing job Danny Wallace does as the narrator of the game (check out the trailer at the bottom of the post for a sample). He's the only voice in the game, delivering the character's thoughts to the player in third person, whilst advancing the plot of the game from level to level. Each level has narration accompanying it, the writing is consistently great throughout, making what could be considered mundane levels with little detail feel worth navigating, whilst imparting character to the shapes you control.

So, you start out as a red rectangle named Thomas, able to navigate through levels by jumping over obstacles in search of an exit hole. This is the main mechanic of the game; steer shapes through levels, jump and find exits. Soon enough you meet a small squat orange square by the name of Chris. As a diminutive square that can't jump very high, Chris has something of a complex about his lack of mobility compared to Thomas, jealous of his comparative sprightliness. You swap between Thomas and Chris, using the two characters as boosters for jumps or to press buttons, allowing each of them to reach their respective exits.

The game continues in this fashion, introducing more and more characters, like Claire, the giant blue square who discovers she can float in water and starts to believe herself to actually be a superhero, blessed with a power and the responsibilities that come with it. Then there's James, the socially awkward green rectangle who happens to disobey the laws of gravity and feels like he doesn't quite fit in. There are more characters, each with an interesting and flawed personality that fits their 'ability', each has their thoughts shared through the narrator, building up an empathy with the player and becoming more than just simple shapes in a simple puzzle game.

The story is divided into chapters, each starting with a quote that frames the narrative of the chapter. These imply that the story we're playing through is occurring within a computer and that the events have great significance. The plot has a surprising amount of power considering you are just moving little shapes around to find exit holes, with each chapter being sewn through with character development, plot twists and a dash of suspense.

The overall plot arc is enhanced by the beautiful music. Composed by David Housden, it's a laid-back instrumental affair with a slight chip-tune edge that perfectly complements the game. It builds gradually in energy towards the end of the game, imparting a feeling of hope that, when combined with Danny Wallace's narration of the characters, really captures the feeling of an epic story playing out.

Whilst a very simplistic game overall, the puzzles never really become very tricky, I'd argue that the game isn't about the puzzles at all. It's about the experience. The strange and silly and captivating story of a little rectangle called Thomas, and the others who come to follow him. And strange as it seems, by the end of the game, I actually really cared about them and the adventure they embarked on.

Thomas Was Alone is avaiable on PC and Mac through Steam or direct through Mike Bithell's site (where you can also grab a demo of the game). It's also available on PS3 and Vita through the PSN store.

Opinion: Gone Home

 
Gone Home is an 'Interactive Exploration Simulator', which sells itself with 'no combat, no puzzles'. It's an unusual approach for a game, one that could be a bit of a hard sell to some, but it's definitely worth your time if you have any interest in a good story. The game is slow and pretty short; I finished it in about 3 hours, although I pored over each room and looked at every item (something I'd recommend, so you get the most out of the story and the experience). But what you have here is quality over quantity, a condensed experience that doesn't overstay its welcome and packs a punch with a well told narrative.

The game is set in 1995, it sees you returning home to your parents house after some time travelling across Europe. The house seems empty and there's a storm raging outside. A note from your sister begs you not to 'go digging around to find where I am', hinting at some larger mystery in play.

Whilst there is little 'gameplay' here, the game world itself is full of environmental storytelling. You'll be so busy snooping about, reading discarded notes, postcards, diaries and listening to cassette tapes you find in drawers that before you realise you're drawn in. Occasionally you'll find something particularly relevant and you'll be rewarded with a spoken 'journal entry' from your sister Sam, detailing certain events and moments from her life and their relevance. These aren't to be understated, these slowly form a very empathetic core for the story that pulls you through the game.

The characters in the game, notably your mother and father and your sister, all feel very real despite their lack of actual physical presence, thanks to the attention to detail within the environment. To take just one example from the game (so as not to spoil anything major), your father appears to be a struggling writer. He's lacking in confidence, his study has inspirational notes to himself to spur him on. The typewriter on his desk holds a partially complete review of a stereo system, whilst the bin nearby has crumpled up and discarded openings to his next story. Elsewhere in the house a copy of his first book lies tucked away carefully, stuck to back is a condescending note from his own father detailing his disappointment in what his son has written. The note scorns his use of science fiction, stating that he can 'do better'. The fact he has written this mantra on his noticeboard infront of his typewriter shows how this feedback struck him hard. This is just one little moment from many that weave together, building up layers to create a crossing narrative of lives, personal and flawed and raw.

Something I found particularly interesting is how Gone Home felt at moments that it was going to fall back on various video game tropes... The dark and stormy night, the flickering lights, the creaking house, hints of the occult. There are notes detailing potential spiritual activity in the house, there are many letters and diary entries that fill out the history of the house and rumours of a psychotic lineage that leave you half expecting to see something flitting across the doorways, or to hear someone approaching as you pore over old journals in the attic... but the game and the story it tells is much more human than that. I'd say it was mature, but that is not meant to be derogatory to other games, but is just to say that this game deals with sensitive subjects in way that doesn't need to fall back on anything else to communicate how powerful the events of real lives can be. There is a simplistic and honest story here, your own expectations for something beyond the mundane are constantly pulled back to earth, but in a way that I found invigorating.

Whilst the game closest in style would probably be Dear Esther, especially in terms of gameplay (exploration without much interaction), Gone Home is a much more transparent story, and much more immediately powerful one too. One that creeps up on you piece by piece until suddenly you realise you're crying, or at least I was. On a personal level I found a lot to relate to in the story, and I suspect it's one that will have a lot of impact and relevance to a great number of people.

If you're looking for something with a big twist, this isn't it. There's nothing supernatural here, nothing shocking or sinister, nothing out of this world. But what is here is a simple but potent story about family and love and heartache. It's one that is told with honesty and in a way that feels real. It's this element of reality that grounds the game and gives it its power.

Gone Home is available on Steam and direct through The Fullbright Company's website.

Currently Funding: Gods Will Be Watching

Currently Funding provides a look at games that are in the process of running a crowdfunding initiative.

Gods Will Be Watching by Deconstructeam

Funding Target: €8,000
16th July to 15th August 2013 on IndieGoGo
PC, Mac, Linux, iOS, Android

Gods Will Be Watching is a survival point 'n' click pixel art adventure. Originally conceived during a game jam, Gods Will Be Watching is an endeavor to expand the game into a fuller experience with new scenarios, animations and options.

In the original prototype (playable for free here) the player takes control of the leader of a group marooned on a distant planet, their only hope of survival lies in repairing their broken radio and scraping together food, medicine and firewood until another ship passes in range.

Each member of the group has a morale level that drops over time, with events and your actions influencing their fragile state further. Whilst the gameplay is relatively simple and minimalist, the decisions you are faced with, combined with the pixel-art and the effective soundtrack, work together to conjure up something that feels worthy of your time and is greater than the sum of its parts. The game manages to pass between being quirky and haunting. You will face some tough decisions when food, medicine and morale starts running low.

The demo can be over in a matter of minutes, yet it had me playing for a number of hours trying to figure out an effective strategy to survive the 40 days on the harsh planet... and going to some dark places on some of those attempts in the name of survival.

The larger game being funded by the IndieGoGo campaign promises 6 expanded scenarios, along with animations for each action you choose. One stretch goal already hit has brought in unlockable cinematics, with future stretch goals promising a free DLC in the future, and another for English voice acting.

Deconstructeam is aiming for a February 2014 release.

Check out their website, their Facebook and Twitter.
The IndieGoGo campaign is available here.

Vote of Confidence: Chasm

Vote of Confidence provides a look at games that have finished their initial crowdfunding period, but are still open for pre-orders or donations.

Chasm is a procedurally-generated metroid-vania game with rogue-like elements. It sports a 16-bit pixel-art style and promises a variety of dungeon tile sets, monsters, bosses and loot as you fight your way through the passages under an old mining town.

The Kickstarter Campaign was a success, gaining over $190K in total by the end of the pledging period. The game is still available for pre-order through the official site, with $15 getting you a copy of the game, a donation of $25 includes early access and the digital soundtrack, whilst $45 includes a variety of PDF materials like game art, development notes and a tabletop gaming module.

There's a free demo available on the website, to give you an idea of the gameplay mechanics and lets you get a good look at the art style, it looks really nice in motion. You can tinker around with the equipment system, explore two floors of the mine and see a few different monsters. It takes about 20 minutes or so for a direct playthrough.

The trailer for Chasm

Personally I think Chasm possesses an interesting retro-charm, it stole my interest as soon as I saw the trailer. The dungeon-delving aspects look like they'll be entertaining, and with randomised layouts and loot drops no two playthroughs will be quite the same.

Further Reading

More information, the demo and the three tiers of preorder are available on the official Chasm website: http://chasmgame.com/

Chasm was recently Greenlit on Steam.
You can follow @Discordgames on Twitter, and like their page on Facebook.

Work in Progress: Routine

Work in Progress previews upcoming games.

Routine is a first-person horror exploration game set on an abandoned moon base, the promising first title from Lunar Software, a UK-based indie development studio. The game draws inspiration from classic films such as 2001: A Space Odyssey and The Thing, with the team mentioning gaming influences ranging from the environmental exploration of System Shock to the difficulty of Dark Souls.

Arriving on the moon base, players must explore the environment to discover what has occurred, searching for information amongst the abandoned personal effects. With the game featuring an openly explorable environment within the base alongside a permadeath system, tension will be high as players weigh up the risks of travelling around and achieving objectives. The team cites there will be multiple possible endings, heightening the feeling of starring in your own 80's Sci-Fi horror film, struggling to put the pieces together before it's too late. The fact that the game is effectively HUD-less adds to the immersion.


The art direction has an authentic-feeling 80's aesthetic that touches on the aforementioned classics like 2001: A Space Odyssey, alongside spiritual follow-ups like Moon. This retro-vision of the future ranges from the game world with discarded floppy disks and archaic computers, to the game's presentation that is replete with VHS-style tracking correction, faded bloom effects and distorted audio.

Check out the alpha gameplay trailer above.

Expect to see more of Routine in the near future, as the team are currently targeting a 2013 release.

Further Reading

Lunar Software is a very personable team of three, all clearly working hard to create something special. You can find out more information about them and the game at www.routinegame.com.

For further updates, like their Facebook page over at Lunar Software, and follow them on Twitter @LunarSoftware.

Reboots: On Shaky Ground

With brand new original intellectual properties becoming more and more of a risk for big AAA studios, the idea of taking an existing intellectual property and 'rebooting' it can seem like a promising venture. The product already has market awareness, fans of the original game will be onboard and they can engage a new audience too.

But the results can be mixed, there are other risks when rebooting a game that aren't present with a brand new IP. Here's a few reboots from the recent past and the near future... and the lessons we take away from them.

Syndicate
Original (1993), Reboot (2012)
Metacritic Score: 69

Perhaps serving as a warning to those who stray too far from the original formula, the Syndicate reboot certainly didn't set the charts alight. It took the setting of the original real-time isometric strategy game and translated it into a squad-oriented first-person-shooter instead. Whilst it wasn't a bad game, it wasn't a great game either, and fans of the original balked as their dreams of a modern-day Syndicate were churned out as a fairly generic FPS.

Lesson: Straying from the gameplay of the old games too drastically may alienate fans of the originals.

Tomb Raider
Original (1996), reboot (2013)
Metacritic Score: 86

The new Tomb Raider had a focus on story and action which got it favourably compared to Naughty Dog's Uncharted series. The brand evolved slightly here, shifting the focus away from raiding tombs and into survival. It was well recieved, although it didn't quite live up to Square Enix's perhaps unreasonable sales expectations (it sold over a million in the first 48 hours, and almost 3.5 million by the end of the month).

Lesson: Unreasonable sales targets. AAA development costs and brand awareness doesn't always equal insanely good sales figures.

Thief
Original (1998), Reboot (2014)
Metacritic Score: (not yet released)

The Thief reboot, due out next year, has me sitting on the fence... and falling off on either side any time there's new screenshots, footage or previews. On the plus side, The City itself looks really faithful, but now there's a feeling of scale to it that was never quite captured in-game with the originals. The first-person immersion looks promising too, with Garrett's hands darting to interact with the world as you move through it. They've captured an atmosphere in the design that looks immersive and intriguing, which is what the Thief games captured all those years ago.

But, for each positive there's at least two warning signs. The game's concept art looks much more Assassin's Creed than Thief, the original voice actor has been replaced and there's a new breadth of combat options such as drop attack takedowns and kung-fu-style martial arts moves that just seem out of place in a Thief game.

Put this alongside the previews that suggest the original lore and setting is being altered to be more palatable to a new audience, ignoring important factions and sidelining the fantasy aspects of the series, and it feels like fans of the series game aren't the ones being targeted here. Which then raises the question... why use this particular intellectual property anyway?

If it doesn't sell well, there's a good chance they'll blame the stealth genre of the game, when they alienated the fans of that particular niche genre in the first place with their approach at rebooting it.

Lesson: Ignoring the lineage and lore of the original games is a quick sure-fire way to gain the ire of series fans. Also, some IP's may be too niche for the AAA market.

Deus Ex: Human Revolution
Original (2000), reboot (2011)
Metacritic Score: 90

Okay, so this isn't technically a reboot (the game acts as a prequel to the original Deus Ex), Human Revolution introduced many new fans to the Deus Ex universe whilst respecting it's origins. What we got here was effectively a reboot that still considered the original game as canon.

Although not as deep in branching story and gameplay as the original offering, DE:HR did still improve on its namesake in other areas, especially art direction thanks to a beautifully slick and stylish look that really made the game stand out.

Most importantly, Human Revolution did right by the fans of the original, acting as a love letter to the old game whilst still being accessible to a new audience. The game acts as a prequel, with hundreds of references to characters, events and organisations that are relevant later. This attention to detail tells the fans that they're being respected.

It's not to say the game didn't have it's own problems, the biggest being the forced combat-only boss fights that were at odds with the breadth of options available elsewhere in the game. The game also stuck too closely to the original by making the ending a choice of several options, dependent upon which button you press (similar to Mass Effect 3's... Why do developers think we'll find this satisfying?)

But these points seem like nit-picking when the rest of what's on offer works so well.

This is a reboot done right.

Lesson: Respect the games, respect your fans.

Currently Funding: Satellite Reign

Currently Funding provides a look at games that are in the process of running a crowdfunding initiative.

Satellite Reign by 5 Lives Studios

Funding Target: £350,000 
28th June - 29th July 2013 on Kickstarter
PC, Mac and Linux

Satellite Reign is a real time strategy game set in a simulated cyberpunk city. You direct the actions of four agents who clash against corporate police and corrupt governments, choosing your path to the top in this sandbox city. The game aims to support a variety of gameplay styles, from all-out assault to espionage and infiltration.

The game is a spiritual successor to Syndicate, an isometric strategy game from EA and Bullfrog which came out in '93 (evoking memories of me rushing home from school, eager to play). A sequel followed several years later under the name Syndicate Wars. Whilst EA's latest take on the Syndicate series abandoned the isometric tactical gameplay in favour of a squad-based first person shooter, 5 Lives Studios is staying faithful to the strategic nature of the original games. Mike Diskett, project lead on Syndicate Wars, is one of the five members at 5 Lives Studios.

One interesting detail the Kickstarter campaign focuses on is the use of emergent gameplay, with the flow of electrical power, finances and information being part of the city simulation. The suggestion here is that this will allow the player to manipulate the world in a variety of ways. The game intends to be quite open in its mission structure, with the player being free to complete objectives using whatever means they see fit within the simulation.

The Pledges

If you're looking to support the development of the game, a £16 pledge gets you a digital copy of the game when it's finished (£13 if you can nab a migrating early bird), with options for boxed copies starting at £55. The usual run of pledge options are covered across the various tiers, from digital soundtracks, t-shirts, art books and signed copies all the way to being immortalised in the game as an NPC.

My Opinion

It's worth noting that whilst the games concept is promising and the art direction is solid, what remains to be seen is the gameplay itself. A lot of really cool extra features have been resigned to stretch goal material (multiplayer, larger scale destructable environments and so on), but what is promised here as a base game concept seems quite a desirable package to me. If the project doesn't reach well over the funding goal by the end of the campaign, I'd expect to see a fairly basic game world, but hopefully one with the potential for expansion packs or future installments to tackle some of those elusive stretch goals.

Personally, I've jumped in at the Transistor / Resistor pledge level as I like what I see here (plus, the t-shirt design looks pretty cool, even if it liable to change between now and shipping). The beta access at this level is a nice bonus, if I get the chance I'll likely jump in when it becomes available. With a team of just five trying to build an elaborate city simulation, I'm sure 5 Lives Studios needs all the beta testers they can get.

Further Reading

For more information on the project and pledges visit http://support.satellitereign.com/

The game is listed on Steam Greenlight and GoG, so if you like what you see, voting on those sites will help to ensure its future presence on those services.

Vote of Confidence: Broken Age

Vote of Confidence provides a look at games that have finished their initial crowdfunding period, but are still open for pre-orders or donations.

Overview

Broken Age is a 2D point 'n' click adventure in the style of the old Lucas Arts games in development at Double Fine Productions. The project is being led by Studio helm Tim Schafer, whose previous credits include being a writer on The Secret of Monkey Island, co-designer on Day of the Tentacle, and the lead designer on Full Throttle and Grim Fandango.

Broken Age started life as Double Fine Adventure on Kickstarter, where it stirred the heart of classic adventure gamers and managed to reach its funding goal in a matter of hours before going on to raise $3.3 million. The game is currently estimated for release in 2014.

Synopsis

The story revolves around two protagonists in living in different worlds, one science fiction, the other fantasy. A coming-of-age story, the two teens are trapped in situations they wish to escape, but doing so has consequences.


Why You Should Care

Well, for starters the game is being written by Tim Schafer. His witty dialogue and quirky style is an undeniable feature in the classic Lucas Arts adventure games he worked on, along with his own studio's platform adventure Psychonauts. His writing manages to be laugh-out-loud funny, subtle and laced with touching emotional moments when it needs to be. He has a real flare for writing endearing characters and creating bizarre worlds that follow their own set of rules, and what's been shown so far on Broken Age looks to be living up to that expectation.

Then there's the art style, led by Nathan Stapley. Nathan's vibrant, quirky, soft-edged painterly style seems a good fit for the game. Check out the trailer below to see it in motion.

Here's the teaser trailer, showing off the gorgeous art style.

A pre-order for the game also comes with access to the Double Fine Adventure documentary. A new episode is released roughly every six weeks or so, offering a look into Double Fine's creative process and a glimpse at the ups and downs of game development. It's an earnest lay-of-the-land that covers much of the process and is thoroughly absorbing. Ten episodes have been released so far, ranging from about 20 minutes to 40 minutes each.

The first episode of the documentary has been made available to the public, covering the initial funding period on Kickstarter. It's linked below, and gives a good impression of what you'll get from the further episodes of the documentary.

Double Fine Adventure - Episode One: A Perfect Storm for Adventure

My Opinion

Double Fine have made some great games over the years, but they haven't quite reached the sparkle of those old Lucas Arts games for me. Closest of them all was Psychonauts, although I hold a special place for The Cave, but that's for another post! Broken Age looks to be flying much closer to those old Lucas Arts games than anything they've done so far, perhaps due to the nature of the game itself being a Point 'n' Click adventure game. This Kickstarter has given Double Fine the opportunity to directly develop a game that Tim Schafer is clearly eager to make, and the fans are eager to pay for.

For me personally, I'd say the price of admission is worth it for the documentaries alone. Add on top of that the handful of 'Side Quests' that offer lengthy one-on-one interviews with members of the team and you've a considerable amount of footage to go through.

Whilst some have had concern over budget problems, that really is to be expected of most Kickstarter projects and shouldn't come as much of a surprise to anyone who understands the nature of creative developments working against a budget. Pledging to a Kickstarter or any other crowdfunding project there is always a risk, the project may never see the light of day, even if funded. You remove the publisher from the equation and the consumer takes the risk instead, that is the nature of the beast.

One thing is clear though; Tim knows what is resting on this project... Not only his studio's potential financial freedom from publishers, but the trust of his 90,000 closest friends.

Further Reading

You can find out more information and, if you are so inclined, place a pre-order through the official website at http://www.brokenagegame.com/.

Tim Schafer is on twitter as @TimofLegend.
Nathan Stapley is also on twitter as @NatelBagel.

Formative Year - 1998

1998 was the best year in gaming ever.

EVER.

And that is, of course, absolute scientific fact. 1998 saw the release of four games that were formative to my gaming habits, each one unlike the other, each considered a giant in their field today. They were revolutionary in their time.

I thought I'd take a little time to look at what made these games so unique. So, without further ado (and in no particular order)...

Advice For Pledgers (OR: How I Learnt To Stop Worrying and Love the Crowdfunding)

Having pledged to a significant number of projects over the past year or so, I've discovered many of the ups and downs that come with crowdfunding. With this in mind, I've put together a few points to consider when you are thinking about pledging to a crowdfunded project.

1: You are not placing a pre-order.

It's worth reminding yourself that you may never see anything in return for your money. When you pledge to a crowdfunding project, you are donating. Getting what you pledged for is the absolute best case scenario.

That doesn't mean it's not worth pledging, but you'll have to make a judgement call on the people behind the project and how feasible the project seems. Take a good look at the amount you're willing to throw at it before you commit and remind yourself that it is a donation, not a pre-order.

2: You are not an investor.

Whether you donated to the lowest tier or the highest tier, or anything imbetween, you don't have any control or say about what is done with your money. Your pledge is a donation.

This isn't necessarily a bad thing, the project you are backing is likely a creative endeavor, which means the artist remains in control, rather than it being designed by committee. But it is worth remembering that the project could stray away from what you initially felt it was going to be. Sometimes compromises have to be made, or projects run out of time or money. Things go wrong. It's frustrating, but that is sometimes the nature of crowdfunded projects.

3: Good things take time.

Take a look at the estimated time frame for project completion, then ignore it completely.

It is likely an optimistic (if not entirely unrealistic) estimation at best. My advice, look to at least double the timeframe before you expect to see anything back. (and don't forget the first point... You may never see a thing from the project at all).

4: You are not an investor.

This really is worth repeating.

5: It's a work in progress.

When any progress reports and updates are made along the way, remind yourself that the project is still in production. Don't expect perfection. If you do voice any criticism, keep it constructive.

6: The budget may be as optimistic as the time frame.

It's an unfortunate truth that creative endeavors are incredibly difficult to break down into monetary goals and time brackets. Unless the project exceeds the funding goal by any significant amount,  the project may end up being a bit rough around the edges. On top of this, some projects set their funding target lower than the amount they actually need, for fear of people being intimidated by a high goal. This can result in some projects ending up compromising, delivering something less than originally promised.

Whilst it will certainly vary from project to project, it is worth keeping in mind none-the-less.



With those points out the way, there are a few things you can do to get the most out of the project.


1: Support the project

If anything, I'd say this is the most important point; Speak up when you like something.

It's a common occurrence for people to only speak up when they're unhappy. It only takes a couple of seconds to lend your voice to the positive support, but the encouragement goes a long way. Happy, motivated project leaders will be enthused to do the best they can. It may sound trivial, but your support can really put wind in the sails of a project.

Also, if you do have any criticism, try to keep it constructive. Perhaps even send it as a private message to the project manager, where it's more likely to be respected as a legitimate concern, rather than someone trying to 'grief' the project.

2: Enjoy the community


One of the greatest strengths of a crowdfunded projects is the community that thrives with the project. You've pledged, along with potentially hundreds of other like-minded individuals, to help people create something that you want to see. Use this point of interest to start discussions, share similar projects or communities that you think they may enjoy together.

You're part of a community, embrace it. =)

A Game of Blogs...

So, this is another blog... looking at games! Crowdfunded games! Indie games! AAA games! Parlor games!

Okay, not parlor games, but the other ones, definitely. I have to admit I've been pretty rubbish at keeping any of my blogs going so far, but I've had a lot going around my mind regarding gaming recently that I felt deserved its own dedicated space. And I'm nothing if not optimistic. Most of the time.

So here is the, potentially pretentiously titled, Metagame Missives. Hey, at least it beats my first batch of titles... Venting Steam, A Grief History of Games, Enthused Gamer and... CrowdFUNding. Yeah.

In the coming days I'll be posting up some opinion pieces on Kickstarter and crowdfunding, then taking a look at some upcoming crowdfunded and indie games. I'll also be posting articles discussing various aspects of games past and present, looking at art, design, world building and narrative. Basically anything that takes my interest that is even vaguely game related.

Anyway, feel free to leave comments and / or bookmark the blog. Thanks for reading. =)