Playing Starfield Part 2: Installation and Early Access

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I pre-installed Starfield, via Steam, on Wednesday 30th August. Early access started in the UK at 1:00 AM today. However, I didn’t get around to playing until about 10:00 AM this morning. It took about an hour or so to unpack the pre-installed game. It currently occupies a little over 116GB of space. As I wasn’t sure how well my PC would handle Starfield, I decided to use my second monitor to play the game at a resolution of 1920x1080 (16:9). I have an Nvidia GTX 1660 Super GPU. Initially, I turned all the graphics to “high” and set the game to render at full resolution. Initially the game seemed to run well. I got through the initial story which takes place in a mine. I also got to the character customisation, which in true Bethesda style takes place after the story has progressed for a while. However, the moment I entered space in my ship, the game started running poorly. The graphics stuttered and the audio desynced.

 I made a few tweaks, dropping some settings but as I played through the first mission on the planet Kreet, I found that random lag spikes were making the game unplayable. They often occurred during combat. So I soldiered on until I had completed the main mission and then I elected to leave and move on to the primary quest hub of New Atlantis. I then immediately saved the game and spent some time looking for solutions online. After reading several posts regarding the game’s performance, I adjusted my graphics settings accordingly. It would appear that unless you have a top of the range GPU, then most systems should use the render resolution facility. I set it to 75% and then dropped a few further settings to medium. I also migrated the game installation from the 4TB hard drive I have for games, onto the 1TB SSD I use for the PC operating system. These changes improved performance significantly.

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 Having addressed the performance issues, I then continued the game and progressed through the story as far as joining the Constellation group. I then stopped for a break and to collate my thoughts. I shall now present my initial thoughts on the gameplay, mechanics and the central story as bullet points, for reasons of brevity. I may well revise some of these thoughts and opinions as I progress and become more familiar with the things.

•  First and foremost, the game lacks a coherent tutorial. A few basic skills are imparted via the game’s opening but if you are distracted, then you will miss the information.

• I therefore had to continuously tab out of the game and search online for instructions and clarification of how to do basic things. This is not acceptable.

• Space combat and operating your ship are introduced quite quickly. Again, if you miss any on screen information you have to “improvise” and assume that things work in a similar fashion to space combat in other games. Fortunately, they do.

• Being a Bethesda game, there is a wealth of lootable items, littering the game’s initial zone. Most of it is irrelevant and inconsequential. However, some items appear important so there is a risk of hoarding material that later turns out to be of no value.

• Combat feels about right but requires sensible use of cover and accurate fire. Check the range of your weapon of choice, to ensure it is appropriate to the situation.

• Learn to use your scanner correctly. Some flora and fauna need to be scanned multiple times to register as “collected”. This is how it is supposed to work.

• Look for means to make money as soon as possible. Weapons sell well. Ensure you loot fallen foes.

• Take time to learn the new locking picking system. It requires a degree of thought.

Overall, I have enjoyed Starfield so far. It is epic in scope but not necessarily as revolutionary in its gameplay. You cannot for example fly your ship from the surface of a planet, through the atmosphere and out into space. Getting from space to the surface of a planet involves cutscenes. Also, once the initial sense of awe has worn off, you will find that Starfield has many of the tropes and foibles associated with Bethesda games. Dialogue trees are quite rich and varied and so far I haven’t encountered a scripted response I don’t like. I don’t feel that I’ve been forced into a “stupid” response. I suspect that the main appeal of Starfield will lie in the characters and story. It will be interesting to see whether my opinions change after another day of playing and exploring. I am still a little annoyed at the lack of information the game provides but sadly that seems to be the industry standard these days.

Playing Starfield Part 1: The Purchase

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I have already written about the hype associated with the forthcoming RPG Starfield and my thoughts on that particular issue have not changed. However, regardless of the iniquities of the marketing industry and the unrealistic expectations of some gamers, Starfield is a significant release from an established developer with a proven track record. Hence there is a great deal of interest in this game due to the scope of its content and breadth of vision. Plus many of Bethesda’s competitors will be watching the launch on September 6th very closely, especially those with similar products in development. Whatever your perspective on the game, there’s going to be a lot of interest in it, so I’ve decided to document my experiences with Starfield.

Let’s start at the very beginning, which according to Julie Andrews, is a very good place to start. Yesterday I received an email from an online vendor with a significant discount coupon for Starfield. I have used this company before and they are legitimate. However, it is always wise to be sceptical of these sorts of deals and some key sellers, as there are some iffy websites out there. This vendor was not only offering a good discount but also allowed me to apply another code based upon prior purchases. I therefore bought the Digital Premium Edition of Starfield (PC) for £67 and received the key within minutes. For comparison the same edition costs £100 for Windows and £85 on Steam. The Digital Premium Edition contains the base game, “Shattered Space” story expansion, some cosmetic items and 5 days early access. The Standard Edition retails at £70 for Windows and £60 on Steam.

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Having activated the aforementioned key and secured a copy of Starfield, I then checked to see when I could install the game in preparation for the early access that begins on 1st September for Digital Premium Edition owners. If you have bought this edition via the Xbox store you can start preloading the game now. PC owners who have purchased via Windows or Steam can download the game on August 30th. Steam has indicated that the installation requires 120GB of space and is best hosted on an SSD. I shall endeavour to download the game over night, ready for early access on September 1st. I have already adjusted my expectations accordingly, having participated in the launch of many games in the past. I shall document how well these things go (or not as the case may be) in my next post.

Star Trek Online: Trait Bug

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All MMORPGs have bugs. It is a certainty in life, just like death and taxes. However, some have more than others. I’m sure we could argue for hours as to which particular game has the most but I’ll leave that discussion to others. Star Trek Online has its share, many of which have persisted for years. But there is one that stands out, due to its longevity and sheer annoyance. To be specific, the “trait bug”. Like many MMO’s STO has a trait system that offers a range of passive or active buffs, skill boosts and statistical tweaks. STO is very much a number game, especially if you are chasing a high DPS output, which lots of players do. The trait bug is the random “unslotting” of some of your characters traits. It can affect any of the seven categories of traits but tends to most often happen to Personal Space Traits and Starship Traits. Unless you regularly check, most players will not immediately know this has happened.

The trait bug tends to happen when changing instances within STO. IE When transitioning from sector space to system space or when travelling to a planet surface or visiting a space station. It can also happen after the release of any content update. As STO rotates through a schedule of yearly events, the bug manifests itself quite regularly. However, despite it persisting in the game years, it is hard to pin down a specific set of factors that cause it. It is capricious by nature, which makes it more frustrating. The “unslotting” of traits will impact upon space and ground combat and it is often the feeling that your current build feels “gimped” that leads players to discover that a selection of random traits have vanished from their existing setup. A further source of annoyance is the fact that there isn’t a permanent fix or a workaround that is 100% effective.

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At present, the nearest I have got to a solution is as follows. Clear all existing traits and save to a new loadout. Overwrite existing loadouts to remove them. Log out of the game and close the client. Then log back in. Go to system space above the homeworld of your faction. Set all your traits as you desire and save the loadout. I would also advise taking a screenshot or making a written note of your trait selection. This broadly works but can fail after a content update. This bug is an especially poor reflection upon Cryptic because it has been around so long. I would happily forgo a content update, if the developers spent time and resources on a comprehensive bug fix. Sadly, I suspect that is not going to happen. In the meantime, if anyone has any other workarounds, I’d be interested to know them.

Save Scumming

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Throughout history, there’s always some asshole who confuses their own personal opinion for some undeniable, unassailable, universal truth. This misconception often ends in tragedy. Sadly it is the doom of men (especially Colin) that they forget. Hence, life continues to be regularly assailed by the following cycle. An asshole talks bollocks and advocates an erroneous position or philosophical stance that is unsustainable in the face of reality. A shit storm ensues. The asshole’s position is utterly and unequivocally demolished by facts and data. Everyone else then has to pick up the pieces, while the asshole, due to a lack of critical thinking and emotional literacy, still thinks that they’re right and that “they’re the victim”. This scenario manifests itself in many aspects of day-to-day life. Domestic politics, your places of employment etc. It is also an integral part of gaming culture and a core tenet of Gamers (™).

The latest poorly conceived and intellectually questionable outrage is about “save scumming”. The act of saving a video game just before you embark on a potentially risky in-game undertaking. Hence, if you fail or incur consequences that you deem suboptimal, you can simply reload the game and try once again with the benefit of foresight and knowledge. Apparently this “belt and braces” approach to gaming, usually in single player RPGs, is an appalling act of self abasement and a rejection of the “gaming code” as espoused by Gamers (™). It is apparently a worse crime than pissing in the Queen’s handbag and offending a Shaolin Temple. Those that indulge in such questionable gaming practices are members of the “Guardian-reading, tofu-eating wokerati” who undermine traditional values and lower property prices. It clearly ruins gaming and won’t someone please think of the children?

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This perennial debacle has raised its head once again, mainly due to the success of Baldur’s Gate 3. That game is based upon the Dungeons & Dragons 5th edition ruleset and many actions in the game are dependent upon the rolling of dice. Therefore failure is not necessarily due to poor strategy or lack of skill but the capricious nature of the random number generator. However, “save scumming” has been a thing for decades so let’s not lose sight of the big picture. The so-called pushback against saving and reloading is just another manifestation of the hubris and ignorance of Gamers (™), who seem to think that gaming per se is a pastime that should exclusively cater to their specific wants and needs. How they play is the only correct way to do so, and their views are evangelised with the all fervour that their zealotry can muster.

Back in the real world, functioning adults that enjoy gaming for fun, larks, relaxation and the social aspect, go about their business happily saving and reloading single player games. Why? Because games are perceived as a leisure activity by many gamers. They do not want a reality simulator with a comparable chance of an inequitable outcome, nor do they desire the labours of Hercules. They do not seek to test themselves or deem games to be “the fire in which they forge their own destiny” or some such similar “untermensch” bullshit. So called “save scumming” is a legitimate option available in most games by design. It is also purely optional but the lunatic fringe seldom has the emotional literacy to comprehend the subtlety of this distinction. So carry on saving and reloading and ignore the usual suspects along with their tiresome argument. “Certainty ends inquiry” as Jacob Bronowski wisely said.

Not Playing Baldur’s Gate 3

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I have written in the past about games that have proved popular or critically successful that pass you by. You simply weren’t aware of them or their success at the time of their release. You missed all the marketing and hype. It’s easily enough done as there’s so much white noise associated with gaming these days. You subsequently stumble across these popular games later and much to your surprise,  discover their merits long after everyone else has. I have also written about what it is like to be the proverbial “odd one out” by not being part of a major gaming group. Not playing World of Warcraft is a prime example of this phenomenon. Exploring both these subjects inevitably leads to discussions about hype, gaming consensus and FOMO. This time I want to talk about a game that has recently gained a great deal of traction in the gaming community and has also caused a great deal of debate. A game that some of its more enthusiastic supporters are calling a new “industry standard”.

I am of course talking about Baldur’s Gate 3, the role-playing video game developed and published by Larian Studios. It would appear that this third instalment in this popular franchise has found universal acclaim, with a Metacritic score of 97/100. Critics and gamers alike have praised the quality of the writing as well as the in-depth depiction of the continent of Faerûn from Dungeons & Dragons. The degree in which the players can make their own choices and the complexity of the dialogue trees has become a focal point of praise, as it offers (or appears to offer) the player an immense amount of freedom. The production quality, voice acting, character animations and environmental detail have all been cited as being groundbreaking. Then there is the game's implementation of the Dungeons & Dragons 5th edition ruleset, which has been well received. Many thought this would be hard to implement effectively.

I only really started paying attention to the buzz associated with Baldur’s Gate 3 a few days ago. I read some reviews from websites that I deem “sound”, then I watched some gameplay footage on YouTube. I also watched this week’s Jimquisition, as I find James Stephanie Sterling’s take on the video games industry to be in accord with my own. From what I have seen and understood, it would appear that Baldur’s Gate 3 has a lot going for it and offers a many of the things that I like in the RPG genre. I enjoy being able to customise and fine tune my avatar in a game. I also really like the dynamics and practical benefits that companions bring. The more dialogue options a game has the better. If a game forces me into a choice I’m not entirely invested in, it quickly kills my sense of immersion and mitigates my enjoyment. And I also love games that have a good story, told well. So many triple A titles these days shoot themselves in the foot due to piss poor writing.

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In many respects Baldur’s Gate 3 seems like a game that I would like. Sadly, upon further inspection, there are some key elements of the game that aren’t for me. The turn based combat, which is a standout feature of the game, is not something I like at all. The dice rolling mechanic to determine the outcome of specific activities is another aspect that I feel is too random and unjust. Dungeons & Dragons was never a major aspect of my childhood and so I have no emotional attachment to it. In light of which, viewed as a whole Baldur’s Gate 3 is not for me. Despite the many pros, there are also some fundamental cons. About 50% of the game’s core mechanics fall outside of what I enjoy or am interested in. That is not a minor obstacle. Therefore, this entire gaming phenomenon will pass me by as a result of my own personal choice and that is absolutely fine by me.

One of the benefits of being an older gamer, is that I am now more discerning and less susceptible to hype, peer pressure and FOMO. I’ve bought too many games on a whim over the years, often because others were playing them and there was an emerging “scene” associated with these titles that I wanted to experience. I would persist at a game to see if I could overcome my “dislike” of it and mitigate whatever the barriers were to enjoyment. Such a strategy never worked. Sometimes you have to listen to your gut and go with your initial reaction. You can’t like everything. You can’t play everything. In fact I’d argue that sometimes being detached from specific genres, iconic titles and types of fandom has distinct benefits. As does just letting things pass you by and not being on the gaming news cycle treadmill. If you’re currently enjoying Baldur’s Gate 3, then that’s fine. I’m doing something else and that’s fine too.

LOTRO: River-hobbits Preview

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There have been four test previews of Update 37 for the MMORPG, The Lord of the Rings Online, recently on the Bullroarer test server. I only managed to briefly log in on the 1st of August, specifically to check out the new River-hobbit race. During my brief time on Bullroarer I investigated their respective character creation options and after quickly throwing together a new alt, logged into the game itself. Because I have been absent from both LOTRO and the official forums of late, I was not aware of any of the details surrounding River-hobbits. I was somewhat surprised that they hailed from Lyndelby in the Wells of Langflood. As I was short on time, I didn’t play through the new bespoke starter story associated with the new race. I logged out with the intention of returning during the next beta test but sadly I missed it. Hence I have spent the last few days reading several blogs and the official game forums to find out more about River-hobbits and how well they’ve been received so far.

Let it suffice to say, River-hobbits as they exist after 4 rounds of testing, have not met with universal acclaim. Broadly speaking I would say opinion on the official forums is equally divided on the matter. However, I tend to be ambivalent of this particular platform as it is not sufficiently representative of the wider LOTRO community. There are a lot of personalities who regularly contribute and participate in the various discussions there who struggle with objective criticism and acceptance of contrary opinions. That notwithstanding, based upon what I’ve seen and more importantly read so far, the objections raised are as follows. 

• The current River-hobbit character models are not sufficiently “hobbit” like. They look more akin to scaled down human assets.

• The representation of River-hobbits seems to be canonically problematic and the associated in-game lore seems deliberately ambiguous.

• The overall level and quality of development of this new race seems to be “minimal”. IE Too many reused and repurposed in-game assets. Indifferent writing and insufficient effort being put into the undertaking.

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All of which tallies with what I’ve seen so far of River-hobbits. I was surprised to see how “un-hobbit like” the character models were when I logged into the test server at the beginning of the month. I was somewhat disappointed that Lyndelby had been chosen as the starter location for the new race. This remote and deliberately hidden village is already established via a prior update and is clearly an agrarian settlement. There is a river for irrigation purposes but the environment does not immediately seem an ideal fit for this new race. For me, River-hobbits conjures up images of a community specifically linked with waterways. IE One that uses boats, fishes and has homes on the river bank or on a boardwalk. Perhaps even a few adventurous denizens have houseboats.

One of the reasons that I have drifted away from LOTRO is that it never seems to be able to step beyond the technical and creative confines it has made for itself. I applaud wholeheartedly the fact that new content is continuously added to the game. But it is always “more of the same”. No more, no less. I appreciate that trying to do something radical with a game running on code from before 2007 is not easy. Yet, the developers seem to have a mindset of not even trying to think outside the box. Using the blanket excuse of “old code and technical difficulties” to absolve themselves from trying anything new is far from edifying. But it can be argued that Standing Stone Games have always been their own worst enemy. In the meantime let us wait and see if any further meaningful changes are made to River-hobbits. I suspect that after 4 beta tests, apart from some aesthetic tweaks, what you currently see will be what you get in the final release. How it is received by regular players will be interesting.

Reinstalling a Game to Recapture the Past

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Think of a game that you’ve played in the past that impressed you greatly and left a marked impression upon you. A game which you feel is a real genre milestone or is at the very least, a personal favourite out of all the games that you’ve played in your lifetime. A game that has a special space in your heart. Of which you have many fond memories that are as clear to you now as when you first played it. A game in which you invested a significant amount of time, potentially at the expense of other hobbies and pastimes. Time you gave freely because you were so enamoured by what you were experiencing. In the context of this blog post, I shall be referring to The Elder Scrolls V: Skyrim for the PC. However, that is simply a point of reference for the benefit of my writing. Hopefully, the points that I make will be just as relevant and applicable for any other title you may have in mind.

I started playing Skyrim about 18 months after its original release. I bought the Legendary Edition which included all the DLC. This delay meant that I also benefited from a wealth of online guides and wikis, ensuring that I had a smooth and problem free gaming experience. I had played other RPGs prior to Skyrim but it became immediately apparent to me that this game was unique. It offered an enigmatic and expansive open world to explore, filled with a multitude of quests and interesting characters. Every story, no matter how simple, always seemed to have the scope to become something much bigger and it often did. The NPCs were charismatic and compelling. I still remember when I first encountered M'aiq the Liar in a remote mountain region. I was so surprised to find him there and was immediately drawn into the quirky dialogue options.

Such things and much more contributed to Skyrim’s spell. Like encountering the Dark Brotherhood, your first battle with a dragon and exploring the streets and alleyways of Whiterun. Then there were the NPCs following their daily routine. They would haggle with you and remember your custom. Then as night fell, they will shut their shops and return to their homes. The wildlife would then come out. The herbivores would graze and the predators would hunt them. Enemies lurked in the shadows if you went exploring. If you remain in the safety of a tavern, minstrels sang and strangers told tall tales. All of which made you feel that the world was alive. It was immersive and enthralling. And then you were hit by the technical mastery of it all. And when I realised that Christopher Plummer and Max Von Sydow were providing voices for two of the main characters, I realised that video games were just as significant as film.

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I spent over 300 hours playing Skyrim. When I finally finished I had played through pretty much all the story content available in the game and the only material left were procedurally generated quests. Like many others before me, I extended the lifespan of the game by adding multiple mods and playing through fan generated material. It was wild and exciting to be able to customise an RPG in such a fashion. To be able to make tangible changes that would improve your gaming experience, such as redesigning the UI, or to just have fun adding a top hat to a mud crab. Yet despite all this potential, I eventually moved on to another game. For gamers the grass is always greener elsewhere and there’s always something new just around the corner. Skyrim became a revered memory in my personal gaming history. A genre classic whose virtues and merits I’d happily extol.

The other day I was scrolling through the list of recommendations that YouTube in its infinite wisdom thinks are of interest to me. I saw an instructional video that showed you how to install what are considered to be the most essential mods for Skyrim. These included changes to lighting, textures, UI and such like. The thrust of the video was if you wish to return to Skyrim, just install the base game, add the mods in bulk and you will be able to play a contemporary iteration of the game, quickly and efficiently. To cut a long story short the video elicited a strong sense of nostalgia and I felt a tangible craving to be able to play Skyrim and recapture those feelings that I had previously experienced. It was like remembering a past lover and briefly tapping into the associated emotions. I actually went to bed that night musing on a video game and the way it had made me feel. I wondered whether it could do so again.

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The reality of a new day brought fresh clarity to my thoughts and I was able to see beyond my own cravings for the past. I concluded that after downloading the base game of Skyrim and then adding the wealth of mods, I was going to log into the game on a high of nostalgia. But I surmised that shortly afterwards, I would find myself faced with familiar content and nothing more. The nostalgia would vanish because it is not solely tied to the game itself. It was born of a multitude of other factors that existed when I first played. The fact that I was relatively new to the RPG genre and hadn't played other Elder Scrolls games. Then there were more esoteric aspects to consider. Where I was in my life at the time. The time I had at my disposal. The fact that I still had a very naive relationship with games and projected much of myself upon them. Skyrim was and remains special but it was the experience of playing it in its totality that was unique and not just the game. Like a long, hot and eventful summer of my youth, it could not be recaptured.

And so I decided not to install the game and attempt to recapture my past. I had a feeling that to do so would be a fool’s errand. A lot of time and effort spent to arrive at a conclusion that was glaringly obvious already. I think this was indeed the right choice for me and I am content to leave things as they are. Skyrim will remain a fond memory. Unsullied, undiluted but a memory no less. Life is predicated upon change, which is why memories are so important. I console myself that I shouldn’t worry about not being able to re-experience the enjoyment I got from Skyrim, because there will be new experiences to come in the future. Other games that will feel equally as revolutionary and comparable milestones. The entire process is cyclical. Furthermore, I shall adopt the same policy with regard to The Witcher III: Wild Hunt and Red Dead Redemption 2. Let the past remain the past. Strive too hard for nostalgia and you risk breaking its illusion.

Hype and Starfield

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Hype.

Noun: Extravagant or intensive publicity or promotion.” His first album hit the stores amid a storm of hype”.

Verb: Promote or publicise (a product or idea) intensively, often exaggerating its benefits. “An industry quick to hype its products”,

Until recently I have gone out of my way to avoid any promotional material regarding Starfield, the forthcoming RPG from Bethesda Game Studios. However, as the September 6th release date is approaching, I finally decided to watch the following YouTube video in order to make a measured judgement about exactly what the game has to offer. Let it suffice to say that if you take the video at face value, then Starfield is potentially a revolutionary video game. However, upon mature reflection and sober consideration, I have chosen not to take the claims made in the video as gospel. As far as I’m concerned this is not regular marketing, as it goes beyond the scope of briefing potential buyers about the product. Instead I would define the videos as pure and unabashed hype, as specified in the two definitions at the start of this post. And hype is a very problematic phenomenon.

Marketing video games has always been dependent upon effectively generating and harnessing fan expectation. The game that doesn’t elicit any player excitement has a pretty steep hill to climb. However, most games can be marketed by a mixture of in-game footage and invoking the aspirational qualities the advertising company seeks to imbue it with. Sadly in recent years there has been an increasing propensity to over promise and under deliver. Bogus claims are made about the scope of a game, in respect of what it does and doesn’t include. Sometimes, bespoke demos are released that are of a different quality to the final product. Hence the past decade has seen a litany of underwhelming, incomplete and at times plain broken video games. Some haven’t even been released beyond alpha testing, despite languishing in development for years. Therefore it is not surprising that many gamers feel that Starfield will follow suit.

But the blame for the current culture of excessive marketing hype cannot be laid solely at the door of advertising agencies. Gamers themselves are also culpable in this symbiotic process. After numerous examples of games that promised the earth and delivered little and the resulting fallout, you would think that a canny customer base would be more sceptical and unwilling to buy into any new false narrative. Yet as The Amazing Randi found out, debunking a bogus claim does not necessarily result in a consumer epiphany. Despite the debacle of No Man’s Sky and Cyberpunk 2077, many gamers will temporarily cease to function as reasoning adults and will work themselves up into a frenzy of hysterical expectation, like a child on Christmas Eve. It is a staggeringly unedifying spectacle and incredibly self defeating.

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When writing about such a subject and a cycle of events that is broadly acknowledged to be counterproductive to all concerned, it is customary to end on a positive note. Usually this takes the form of an expectation of change for the better. There is a hope that one day, all parties will learn from their experience and adjust their behaviour accordingly. However, I do not think we are at that point yet or that it is going to happen any time soon. There is a strong chance that Starfield is not going to live up to the hype. Bethesda Game Studios may well end up with egg on its face yet again, as it did with Fallout 76 and the infamous “canvas bag” debacle. If that is the case, it will be virtually impossible to feel any sympathy for those gamers who decry the potential lacklustre nature of the game, having embraced the hype. In such a situation the phrase “a plague upon both your houses” comes to mind. As does “rinse and repeat”.

MMO Tropes: Death

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I use to be alive until I took an arrow to the cerebral cortex

“The MMO genre is rife with its own set of tropes; recurring themes and motifs that have become established and ubiquitous. All of which are ideal material for a hastily produced, lazily conceived, recurring blog post”. Dying in an Massively Multiplayer Online Role-Playing Game is a clear and unambiguous fail state. A means by which to teach the player that they’re doing something wrong and that they need to rethink their strategy. IE Don’t mess with the foul Marmydons unless you have back up and are wielding the Sword of Kagnazax. Dying is a reminder to not get overconfident and maintain situational awareness. It teaches us to ensure you have the right gear and consumables, to be au fait with the mechanics of any fight you’re about to get into and that winning is not a given. Any enterprise that offers a tangible reward will come with potential risks and consequences. If you’re playing in a group then death provides a timely reminder not to rely on Colin.

Over the course of its evolution, the MMORPG genre has handled death in many different ways. There’s the scorched earth policy of permadeath, in which your in-game character dies for good. You lose everything you’ve accrued and have to create a new character and start from scratch. Then there was the infamous “corpse run”, in which your character’s spirit spawns at a designated point on the in-game map and has to return to their own dead body to re-animate it. In the meantime, any passing player can pilfer your loot from your unattended cadaver. However, such draconian rules have fallen out of favour with modern MMOs, although you will still find them in many classic games that still linger online. Death is now treated as a minor penalty that temporarily inconveniences you. It may incur damage to your gear but it is no longer the setback that it used to be.

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I’ve spent many a happy hour plummeting to my death in LOTRO

In the Lord of the Rings Online, death is politely called “defeat” and occurs when your morale reaches zero. While defeated your character remains immobile, unable to use any skills. You may then use a self-revive which has a two hour cooldown by default, assuming that the immediate area is safe. If however you cannot or do not wish to self-revive, you may “retreat” which will teleport you to the nearest rally point, which is a circle of stones in a safe area. This disadvantage of “retreating” is that it may take you a substantial distance from your previous location. This is particularly problematic if you are in an instance. However, if you are playing in a group you may be revived by a fellow player, if they are of a class that can revive others. It is not the best or worst example of death mechanics in an MMO but it can be managed. You can purchase an account unlock that reduces the two hour cooldown on “revive” to one or purchase additional consumable “revives” by using in-game currency.

Death is managed in a far more equitable fashion in Star Trek Online. During ground combat, if you are inconvenienced by dying you can simply respawn at the last unlocked respawn point. However, more often than not, your character is accompanied by your “away team”. This is a group of four NPC companions or “bridge officers”. While dead you may request “help”, in which case one will come and revive you. Depending upon the intensity of the ongoing combat, your companions may well all heroically die trying to save you. However, if you ensure that you have a holographic or android NPC on your away team, these have the ability to self-reboot. Hence if your entire group is wiped out, one will self-revive and then revive everyone else. Conversely, space combat in STO handles dying far more simply. There is a short 10 second cooldown and then you can opt to respawn in the combat zone.

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“He’s dead, Jim. Oh shit, it is Jim”

I have always liked the way that Guild Wars 2 has made reviving others a key social aspect of the game. Each player can use a self-revive when “downed”, the stage between zero health and “defeat”. Alternatively, while “downed” if you manage to kill an enemy you will “rally” back to a state of health. However, once dead, they can either retreat to the nearest waypoint or look to an ally or the kindness of passing strangers to revive you. In dynamic events, where there are lots of players, it is commonplace to help players who are “downed” or “defeated” as it is practical to have as many functional players attacking a target as possible. There are traits in the game that improve reviving speed and potency. Gear can be augmented with runes, some of which can improve revival mechanics.

The Elder Scrolls Online dispenses with the intermediate stage of being “downed” and once your health is exhausted, you are officially dead. At this point, you can retreat to the nearest wayshrine or self-revive using a soul gem. Soul gems are consumable items that are initially empty. However, if the player slots the right skills, they are filled with the souls of enemies they defeat. Hence soul gems come with a cost. The player has to either make them themselves or buy them pre-made from the in-game store. Reviving yourself with a soul gem will grant you a spectral form for a short time that is unable to attack or be attacked, before returning to full health. This allows the player to strategically reposition themselves. Soul gems can also be used to revive other players. However, unlike Guild Wars 2, as you are using a resource with a value, players may not always be disposed to help you.

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A poultry-geist

Most people are not overly enamoured by death mechanics. However, during solo PVE gameplay, it is broadly tolerated. However, in my experience, this changes significantly during group content. I jokingly mentioned earlier about death in instances or raids. It is a fact that players do not warm to dying in an MMO when it is due to the incompetence of another player. Group content in MMOs requires a substantial investment of time and resources. Death may lead to a wipe and failure to obtain the loot you desire. Which means when Colin fucks up and you all die, tempers will flare. It can ruin a game. Colin notwithstanding, death is a legacy penalty left over from the original hardcore days of MMOs. Its relevance seems to have diminished with age and continues to do so in this era of “live services”. It may eventually vanish from the genre as it ultimately stands in the way of player gratification. Unhappy players tend not to play or pay. Business doesn’t like that.

MMO Tropes: Running All the Way

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“The MMO genre is rife with its own set of tropes; recurring themes and motifs that have become established and ubiquitous. All of which are ideal material for a hastily produced, lazily conceived, recurring blog post”. I was in London recently, idly walking to the Natural History Museum in South Kensington, when a group of tourists started running for no discernable reason. Someone I was with asked “ I wonder why they’re running” and I replied “perhaps they think they’re in an MMO”. The quips fell on deaf ears but that is a cross I often have to bear. This anecdote highlights one of the points of this post. Namely, why do our avatars in the MMORPG genre run by default? I would also like to discuss the manner in which MMOs address the issue of travel around an ever expanding virtual world. Is fast travel lazy? Our mounts a boon or a bane? 

Although MMOs are often proud of the size and scale of the virtual world’s they’ve created, getting around is time consuming and at times a chore. Hence, running in an MMO is usually the most expedient way of travelling. It’s not mandatory though, which is why you will sometimes see role players walking everywhere for realism. The trade off is that it takes longer and you look like a fool doing it. Each to their own. When you’re new to a game, discovering and exploring a major quest hub, such as Minas Tirith in The Lord of the Rings Online, is a source of enjoyment. However, roll on a few weeks and it soon becomes a nuisance that has to be managed and endured. Mercifully, most MMOs have various means of fast travel, via waypoints, shrines, or stables. This is done for convenience, although some will argue it comes at the expense of immersion.

As many MMOs are fantasy based, animal or beast themed mounts can provide a suitable, lore friendly means to travel around. Although fast travel from point to point is convenient, riding around and exploring the immediate environment can be a major point of appeal for an MMO. LOTRO does this very well as Standing Stone Games’ virtual Middle-earth is one of the biggest gaming maps available. The world is diverse and richly designed and there are many iconic places to discover. The Elder Scrolls Online similarly offers a varied and immersive open world to explore. Cryptic’s Star Trek Online handles the vastness of the galaxy well. Sector Space is big and takes a degree of time to traverse. This situation does improve once you hit the level cap and can access Quantum Slipstream drive which allows for much faster short bursts of speed. Star Wars: The Old Republic has a far more practical point to point, hyperspace travel system but I never liked the way it cost you money for fuel.

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Another thing to consider about running in MMOs is that it does have some tactical applications beyond its functional use. For example, depending upon “aggro mechanics” it is possible in some games to run past or even through a group of mobs without alerting them. Even if you do trigger enemies, in many MMOs you can outrun them although such things do come with an element of risk. For example, in LOTRO it is entirely possible to run through Moria (with an alt at the same level of the content) from the West to East gates and survive, as long as you know the most expedient route. Then there are the practical benefits of a strategic withdrawal. Remember, “he who fights and runs away, lives to fight another day”. Temporary running buffs can also be useful when “retreating to victory”.

Single player games seem to handle travel differently and certainly have some advantages. I envy the fact that a game like Grand Theft Auto V or Red Dead Redemption 2 provide the players with access to public transport. I especially like riding the train between towns in RDR2 as it is very restful and highlights for a few minutes the detail of the open world. Similarly, using the L Train in GTA V adds to the illusion of a living city. It would be nice to see something like that in the MMOs genre. I also liked the way in LA Noire, if you don’t want to drive the car yourself from case to case, you simply use the passenger door and your NPC companion would be the designated driver. All goes to show that you can approach the matter of getting from A to B with a degree of creativity, rather than just running all the way.

DMZ and "Pay to Win"

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For those who are not familiar with this latest niche piece of “gaming outrage”, it regards the extraction shooter Warzone 2.0 DMZ, which is part of the Call of Duty franchise. When you enter the game (either solo or in a squad), you use gear that you have previously collected. A key part of the game is looting and upgrading your weapon, bullet proof vest (there are 3 tiers) and sundry support items. If you die, then you lose all the equipment you are currently carrying. With this in mind, Activision have recently added two purchasable gear bundles to the game store. One comes with a medium size backpack by default. The other comes with a 2 plate vest (tier 2) and two weapons that only have a 15 minute cooldown. This does offer a degree of convenience. Furthermore, the second bundle is tied to the Ghost operator skin, who within the game’s canon is an iconic figure. Hence there has been a great deal of debate over the rectitude of these bundles.

Like many multiplayer games, there is a broad spectrum of player skill in DMZ. If you are at one end, then these so-called “pay to win” bundles are not required. Skilled players will maintain multiple operator slots (you can have up to 5) with appropriate gear for a variety of tasks. If you’re at the other end or approaching the middle of the skill spectrum, then the 2 plate vest, 15 minute cooldown weapons and medium bag cosmetic skins offer a practical benefit. And that benefit is one of convenience. A player doesn’t start the game immediately feeling vulnerable and having to search for better gear. However, I seriously doubt that the benefits offered matter little to top tier players. In my experience high end players and those of lesser skill seldom cross paths. When I play DMZ I find myself grouped with players of commensurate skill to my own. IE Distinctly average.

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Ultimately, I find that the arguments against these “pay to win” bundles are mainly ideological. Objections are usually made by players that consider the game to be primarily about skill, leaderboards, hierarchies and perceived status. The sort of gamers that see DMZ as competitive and treat it like a sport, with the assumption of associated rules and player etiquette. Although players who think this way are entitled to their opinion, they need to realise that not all the playerbase feel the same way. Many, myself included, consider online gaming a recreational service. I play for entertainment and fun. I also pay money for this service and therefore expect a degree of “quid pro quo”. That’s not to say I want frictionless gaming, but I don’t expect my fun to metaphorically be sacrificed on the altar of more skillful players’ philosophy.

I therefore fully expect Activision to continue to monetise the game in this fashion and to take it as far as they can before there is a genuine mutiny. In a perfect world there would be no “pay to win” and players would be far more appropriately segregated to ensure that they were provided with a more equitable gaming experience. But we live in an imperfect world, and developers always prefer the path of least resistance as opposed to doing something labour intensive. So it is pointless to expect anything so egalitarian as a removal of “pay to win” items.

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Finally, it never ceases to amaze me how so many gamers temporarily suspend their default consumerism and libertarian outlook and expect a meritocratic and altruistic approach from the video game industry. An industry that in many ways is the embodiment of the worst excesses of modern capitalism. They will complain about fairness, morality and ethics in the video games they play righteous indignation. Something they fail to do in other aspects of their real lives on a daily basis. Say no to “pay to win” in Warzone 2.0 DMZ but fuck universal healthcare because that’s “socialism”. Such is the cognitive dissonance of Gamers (™).

The Hunter: Call of the Wild

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I have always dismissed hunting games as “not my thing”. Perhaps that stems from my ambivalent views about hunting per se. Yet after recently watching a YouTube video for The Hunter: Call of the Wild, I revised my opinion. The footage showed a slow and thoughtful game and I was also surprised to see that there was a campaign with a story. Hence I decided to step outside of my comfort zone and give the game a try. The base edition can be purchased for £20 on Steam and there is a wealth of optional DLC. I bought a bundle that included some additional maps, weapons packs and a dog that can be used for tracking. I also bought a quad bike as this is invaluable for traversing the open world, which is enormous. As ever with steam, the installation was easy and hassle free and within an hour I found myself exploring Layton Lake District, which is based upon the Pacific Northwest geographic region.

The Hunter: Call of the Wild was released in 2017, yet has been continuously supported by developers Expansive Worlds since then. Over the last five years the game has received new content and had its systems revised. The last patch was 14th March this year and it appears that there is a robust community of players. The game, much to my surprise, supports multiplayer gameplay and does something most unusual in so far as you can play on maps you don’t own while in co-op mode. This “try before you buy” approach is most equitable.  Furthermore, the DLC seems to be functional and doesn’t fall into the “pay to win” category. There are cosmetic skins, weapons packs and most significantly, new maps featuring locations from all over the world. The prices are reasonable, although if you do decide to be a completionist and buy everything, you will end up spending an additional £115 on top of the base game.

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Upon starting The Hunter: Call of the Wild, the player finds themselves on a jetty in the Layton Lake District, armed with an entry level rifle, revolver and shotgun. The tutorial (more on this later) and story is supplied via the Huntermate handheld device. This is a cross between a GPS tracker and a cell phone. You receive updates, missions and back story details via the reserve warden Colton “Doc” Locke. The Huntermate can display details of tracks, droppings and blood trails. It is also a means of taking screen captures in-game as it has a photo mode. From here the game quickly has you learning the basics of tracking, using lookout points which open up locations of note on the map and finding outposts. The latter are bases where the player can purchase resources, change their loadout, access their dog and quad bike, if purchased. Outposts also facilitate quick travel.

Hunting games are by their very nature, stealth games and The Hunter: Call of the Wild is no exception. This is a genre where it is beneficial to take a slow and methodical approach. Tracking is simple in principle but far trickier in reality. The player has to keep their noise level down (this is tracked by an in-game meter) and be aware of the wind direction as their scent can give their presence away (again there is a HUD display for this). Lures can be used to attract animals and the optional dog is great for tracking wildlife. Animals are also subject to a night and day cycle. There are also specific locations to be found where wildlife graze and drink water. All these factors come to bear when hunting. Due to the expansive open world, the quad bike is invaluable, although it is also noisy so has to be abandoned when you get near your quarry.

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Talking of noise, sound design is an integral part of The Hunter: Call of the Wild. The ambient sounds are both atmospheric and functional. Footsteps alter depending upon where you walk and what you walk upon. Animal sounds can alert you to their presence but conversely, they may also tip you off when they have detected you. Wind, rain and moving water all contribute to the overall environmental atmosphere. At night, the sound design becomes positively alarming at times, utilising animal sounds that you may not immediately expect from such creatures as deers and rabbits. The game uses ambient music sparingly but each map does have its own bespoke theme which is appropriate. There is also support for Dolby Atmos and it showcases all the aforementioned attributes well. Sound is so often the one aspect of game design that gamers are inattentive of, turning it down or even off.

When it comes to actually shooting an animal, the game offers a similar amount of complexity to tracking. An appropriate calibre firearm has to be selected depending on the prey. Ammunition also is a key factor offering improved accuracy or penetration. Lying prone stabilises your shot but sway is still a factor, so the game uses a “hold your breath” mechanic found in most FPS games. However, perhaps the most important skill is choosing where to aim for a “quick, clean kill”. This requires the player to learn about animal anatomy and how shots to vital organs are the most desirable. Be warned, most of your initial kills will not be instantaneous and will require the player to track a blood trail to find their deceased target. Animals that you have successfully killed can be examined to determine where the bullets penetrated and what damage they did. There’s even a posthumous x-ray mode.

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Now some may find all of this distasteful but I would point out that a game such as Sniper Elite does all the above but the target of choice are people, so I am not going to debate the morality of this particular game here. So far, The Hunter: Call of the Wild has proven absorbing, leisurely and at times quite impressive in the scope of its virtual world. I was pleasantly surprised by the narrative campaign and love my dog, which has skills that you can level up. The game is mainly in first person but can optionally switch to third when riding on a quad bike. Sadly, the tutorial is woefully lacking, leaving you dependent on internet searches. Also running and walking seem a little off and akin to wading through molasses. But these quibbles aside, the game’s greatest appeal is its pacing, which eschews the boisterous nature of so many other genres. The Hunter: Call of the Wild rewards the player who wants to take their time and consider their plan of action.

More Games We Cannot Play

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Nearly six years ago, I wrote a post about games that I wanted to play but couldn’t due to my inherent lack of skill and coordination. Since then I have also written about several games that I would like to enjoy but can’t, because they’re multiplayer and I do not know anyone else that plays them. I have also pointed out in subsequent posts that my personal experience of some games is nothing like that shown in the promotional videos. This is often due to the two aforementioned reasons. C’est la vie. Such is the nature of video games. Some you can play, others you can’t. Fortunately the latter doesn’t happen that often and by and large, I get by just fine. However,  recently the phenomenon of “games we cannot play” has raised its ugly head once again. So I thought I’d share my latest thoughts on the matter.

The First Person Shooter genre is no easy ride. The most popular titles are the embodiment of twitch gaming, where the nimble fingered and quick witted rule and those adjusting their Pince-nez and squinting at their monitors are destroyed. But they can be very entertaining and often the developers will build mitigations into the various game systems to help those on a “death streak”. Also if you can’t out gun other players you can sometimes out think them, so even the slower gamer can still enjoy such franchises as Call of Duty, Battlefield and Fortnite. However, if you want a really hardcore FPS which focuses on realism and with minimal perks, then there is Hell Let Loose. This World War II themed game features 50 vs. 50 battles between two teams of either Germans, Americans and Soviets forces.

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The Tactical Brit plays Hell Let Loose

Hell Let Loose is a tough FPS with no regenerating health, weapons with iron sights and squad based dynamics. It requires coordination, situational awareness and skill. The maps feel authentic and combat is compelling and intense. No matter how good a player you are, you will die. Frequently. Sadly, I find the game so punishing as a whole, I cannot enjoy it personally. If you wish to succeed in Hell Let Loose, then you have to commit to the game and dedicate yourself to learning the maps, honing your skills and cultivating a group of like minded friends. For me that is too steep a learning curve and I don’t think the “journey” would be fun. So for the present I have relegated Hell Let Loose from a game I play to a game I watch other play on Twitch or YouTube.

Another title that I recently tried is Dark and Darker. If you’ve ever wondered what would happen if you took an extraction shooter such as Escape From Tarkov and crossed it with Morrowind, then you end up with Dark and Darker. You create your character from a selection of classic fantasy classes, then form a group either with friends or “random players” and then enter the dungeon. You undertake missions, cross swords with other players and then you exit. This is another game where the reality of playing is different from what you think it may be. The first person perspective is difficult when it comes to swordplay and using a bow. The maps are hard to learn and at present in the game’s development (early access), the segregation of new and seasoned players is not always effective. This can lead to unbalanced encounters with other players. Dark and Darker is also a game where if you play with a group of friends you will enjoy a far superior experience to simply playing solo or with random players.

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Character creation in Dark and Darker

Finally, I wish to return to the matter of my Nintendo Switch. There are a wealth of good games available for this handheld device but I have now concluded after two years that buying this was a mistake. It’s not just a question of not enjoying games via a handheld device, I think it is entirely down to being institutionalised by my existing gaming habits.  I equate gaming with playing via my PC. I also spend a great deal of my time sitting at my desk reading, writing and perusing the internet. The PC is the hub of these activities. I even connected my Nintendo Switch to one of my monitors so I could play while at my desk but to no avail. It remains this adjunct to my existing status quo and despite trying, I can’t change my perspective. But ultimately, that’s okay. You can’t accommodate and embrace everything, be it in gaming or in real life. There are games we cannot play and indeed consoles we can’t either.

Red Dead Redemption 2: A Genre Milestone

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I started playing Red Dead Redemption 2 on the PC upon its release in late 2019. Although I enjoyed it, I was distracted by other matters at the time and so I drifted away in early 2020. To cut a long story short, I recently picked up exactly where I left off, because I felt the need for a big, narrative driven, RPG gaming experience. Red Dead Redemption 2 certainly meets those requirements. A few days ago I finished the main story and having played through sufficient side quests and challenges, decided to call it quits. Since then I have been musing on both the game itself and the experience I had while playing through it. Simply put, I consider Red Dead Redemption 2 to be a genre milestone and one of the most significant and impressive examples of video games that I have experienced over the course of my life, along with the likes of The Elder Scrolls V: Skyrim and The Witcher III: Wild Hunt.

In film, TV or literature, the quality of writing as well as the depth and accessibility of the characters are key elements in determining a consensus upon quality. For example Conan Doyle’s Sherlock Holmes is such an enduring and much loved fictional character due to his rich and relatable personality. He is both aloof, yet compassionate, complex and intriguing. Readers of Sherlock Holmes quickly become invested in his character and care about his actions and deeds. A well written character transcends the text and feels like someone real. And that is exactly how I feel about Arthur Morgan in Red Dead Redemption 2. After over 75 hours of gameplay, I feel that I have travelled on Arthur’s emotional journey as he transcends his life of petty crime and cruelty and learns the value of empathy as he seeks to make his life count for something.

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Sumptuous graphics

The Western genre is a superb medium for exploring and analysing the human condition and Rockstar Games have done exactly that in Red Dead Redemption 2. The technical aspects of the game are certainly a major contributory factor to the games critical and commercial success (which I’ll leave to others to analyse). But the other half of the equation is the story, its characters and the themes that are explored and presented to the player to consider. Red Dead Redemption 2 is a tale of a changing world and a group of people whose lifestyle is fast becoming an anachronism. It examines what happens when the right of the individual to live their life in their own way comes into conflict with society and all its cultural and political baggage. And most of all, it is about reassessing your world view and personal values and learning that there are things of value and worth outside of one’s own life and experience. It is also about redemption.

Writers Dan Houser, Michael Unsworth and Rupert Humphries utilise many of the classic tropes, associated with the genre throughout Red Dead Redemption 2. Especially those found in classic Western cinema. The Van der Linde gang in the game are in many ways similar to Pike Bishops crew in Sam Pekinpah’s The Wild Bunch (1969). Both are trying to live an “independent” lifestyle in a rapidly modernising world, driven by a libertarian philosophy and notions of honour among thieves. The clash of cultures in Red Dead Redemption 2 leads to betrayal and inevitably to death at the hands of former allies, again reminiscent of Peckinpah's Pat Garrett and Billy the Kid (1973). Against this background there are several intense character studies. Charismatic gang leader Dutch Van der Linde is one, as he slowly slides from ideological certainty into psychosis, like Colonel Kurtz in  Apocalypse Now (1979). Yet the other gang members are no less interesting.

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John Marston

Hosea Matthews, a senior gang member and ageing conman and Rains Fall, the head of a defeated Native American tribe, represent those who are fully aware of the change that is fast approaching. Both see resistance to modernity as a pointless endeavour that will only lead to death. Furthermore, they are troubled by the unwillingness of those they love to accept reality. Gang member John Marston is caught between the lifestyle he’s only ever known and the need to leave it for the sake of his wife and son. Then there is Sadie Adler, a widow who in her own words becomes a monster for the sake of revenge. Her story arc is made more poignant by the fact that she knows what is happening to her yet seems powerless to stop it. Black Indian Charles Smith is in many ways the gang’s conscience. His racial heritage makes him the most marginalised of all characters and yet he is the most humane, being profoundly wise and pragmatic.

But it is Arthur Morgan’s story arc which is the fulcrum of the narrative in Red Dead Redemption 2. Within the first few missions he is seen to be a paradoxical character. He is fiercely loyal and supportive of his fellow gang members but dispassionate and brutal to those outside. Yet his world view and behaviour begins to change when he becomes aware of the consequences of his actions. His encounter with an ill debtor who he beats, has grave consequences for both parties and it starts a chain of events which causes him to question the point of his life. Arthur finds that acts of compassion have merit. He encounters organised religion and sees people of faith and although they don’t quite convince him of their ideology, they stir in him a need to atone. As his gang faces extinction at the hands of the Pinkerton Agency he feels that some have to at least survive, despite knowing that he is personally doomed.

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Arthur Morgan

Red Dead Redemption 2 allows the player to experience Arthur’s journey in a very practical way. The facial animations and the voice acting greatly enhance the dialogue. Arthur’s actions are relatable, especially when his conscience gets the better of him and he sighs and returns to a situation he would rather walk away from, such as helping someone who has been robbed and abandoned. His kindness toward Jake, John Marston’s son, is also touching. His relationship with his horse is genuine and loving. When it is shot at the end of the story, it is especially moving when Arthur embraces the dying animal and just says “thank you”. Arthur’s fate is partly determined by the player’s choices throughout the game. If his honour rating is high at the end, then his demise is fitting. You kind of expect “Knockin’ on Heaven’s Door” by Bob Dylan to play.

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The killcam in Red Dead Redemption 2 is somewhat Walter Hill-esque

Some films, TV shows and video games will cynically try to manipulate the players feelings in an attempt to establish a well rounded character. Standard tropes and themes will be applied in a “push button” fashion. A bad guy does something unspeakable just to establish his credentials. A hero will do something selfless because that is what they do. Quality writing stands out when it goes the extra mile and tries to explore a  character’s motive. Red Dead Redemption 2 achieves this through an intelligent and accessible narrative that doesn’t deal in absolutes or present life as a binary choice. Its characters exhibit personality traits that we may have seen or experienced ourselves. It has light, shade and at times ambiguity. It is a genuinely moving story that lingers after the player has completed the game. It is this ability to elicit a truly emotional response and a degree of contemplation that is a hallmark of genuine art.

Hogwarts Legacy: Initial Thoughts

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Before we begin let me address the issue of the “baggage” that accompanies anything associated with the author J.K. Rowling. I don’t like it when complex social or political issues are framed as a simple binary choice, usually with one side claiming righteousness and the other being presented as an anathema. I believe in equality and personal freedoms but such matters are often complex and rife with nuance and subtleties. Anyone who suggests otherwise is either misinformed or deliberately misleading you. Hence I won’t be drawn into the arbitrary nature of the protests that surround the “Wizarding World” as they strike me as a Hobson’s Choice which do little to address the real points of debate. I am a great fan of H.P. Lovecraft’s Cthulhu Mythos, but I reject his position on eugenics. Thus, I believe it is possible to be able to separate an artist or their personal worldview, from their work. But this is a personal decision and people can choose to do the opposite.

Moving on to the matter in hand, it is interesting that it has taken so long to produce a game with the scope of Hogwarts Legacy. I suspect that during the height of Harry Potter mania in the mid 2000s, the technology didn’t exist to support such a project. I always thought that the MMO genre would be the best fit to provide a virtual Hogwarts where players could choose a house, learn magic and fight dark wizards. Yet the heyday of the MMO has now been and gone. However, open world gaming has evolved significantly in recent years, providing the tools necessary to create a suitable home for the franchise. Hence, Hogwarts Legacy offers much that fans wish from the iconic school of wizardry. An interactive Hogwarts simulator that allows the player to experience the intricacies of the school, complete with moving staircases, sentient painting and all its hidden secrets.

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Hogwarts itself is a stone labyrinth that accurately reflects the depictions we’ve all seen in the eight feature films. The Great Hall is beautifully realised and the enchanted ceiling is stunning. You can also spend several hours customising the Room of Requirement. Then, when outside, you can mount a broom and explore all the turrets and battlements of Hogwarts, along with the grounds, local forests and lake. All of which are not immediately accessible but are made available at a measured pace so the player is not overwhelmed. Considering these aspects of the game, Hogwarts Legacy is a fascinating example of virtually satisfying the wish fulfilment that arises from popular culture nostalgia. Game developers Avalanche Software have demonstrated a keen eye for discerning what players want from such a game and have succinctly tapped into the essence of the franchise.

If a player is not content with roaming around Hogwarts in the small hours of the night seeking out its secrets via the use of stealth and lockpicking spells, they can visit the nearby town of Hogsmeade. This also provides substantial fan service as it hits all the associated beats from the books and films. Vendors, quests and points of interest abound and the untamed countryside is filled with threats, ruins and magical artefacts. The threat to one’s safety is quite real and so players must not allow their joy of the environment to cloud their judgement. Trolls, goblins and other creatures pose a real challenge even on the default game setting. Fortunately, the combat system feels very appropriate. Offensive and defensive spells work well when chained in the right combination, as long as the player moves and maintains situational awareness.

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Overall combat in Hogwarts Legacy is reminiscent of both Warner Bros. Middle-earth and Batman games. There is a fluidity and rhythm to fighting an enemy where using minor skills will continuously build power to unleash a more potent one. Standing your ground and mashing keys is not really a wise policy. To get the most out of the game it is best to learn the advanced version of certain spells to make unlocking doors, stealth and other tactical skills more viable. Prioritise what best suits your style of gameplay when unlocking the skills tree. If you wish to gain XP so you can level your character quicker, using the Battle Arenas is the most effective method. Here you fight waves of enemies which provide the best XP outside of quests. For players who have bought the Digital Deluxe version of the game, there is access to the exclusive Dark Arts Battle Arena.

The main story of Hogwarts Legacy  is functional, atmospheric but not really remarkable. It explores a Goblin insurrection which although well acted, doesn’t really impart a greater insight into the complexities of the established, canonical world. The central character that the player directs through the game is merely a conduit and nothing more. You can customise their appearance but beyond that, they are not a landmark gaming character such as Geralt of Rivia or Arthur Morgan. Many of the NPCs are purely functional as well. They serve their purpose but do little else. Also, at times, the inherent Britishness of Hogwarts is replaced with an international game developer’s perception of Britishness which is not the same thing. Some players will find that the game doesn’t offer enough interaction with other students and staff. It is not a school simulator per se with a requirement to attend regular lessons. Again I must reiterate that Hogwarts Legacy aim is to create a Hogwarts experience in totality .

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Having played for a day, I think that the game finds the right balance to a very difficult gaming equation. Compromises have had to be made to produce a manageable virtual Hogwarts. Setting the game in a different period of history also avoids getting caught up in canonical baggage from the source text. I also feel that the omission of Quidditch was a sad but wise decision. To do justice to the sport would essentially require a game of its own. Rendering it to a basic mini-game in Hogwarts Legacy would be very disappointing.  However, it would appear that Hogwarts Legacy has been very well received so far and I suspect that sales figures are going to be substantial. There is scope therefore that developers Avalanche Software may create further DLC for the game and may revisit some of the aspects that may be perceived as lacking.

I in the meantime will continue to play through the game and soak up the ambience. So far my character, Telemachus Musgrave, has joined Slytherin House and I suspect he may pursue a path, indirectly or directly toward the Dark Arts. Overall, Hogwarts Legacy gets more right than it does wrong. It’s an open-world adventure that distils the charm and character of the Wizarding World and offers challenging combat. The story, although straight forward, feels right and fits the source material well. Frequently when you feel the game has no further surprises to offer it springs another dose of nostalgic charm that makes you smile. It gets the tone just right and manages to tap into what it is that fans enjoy. I had forgotten quite how much I have enjoyed this franchise over the years and it would appear that I am not alone in this. Its appeal seems to be surprisingly enduring, irrespective of the wider controversies that dog it.

Warzone 2.0 DMZ

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I like an analogy as a literary device, so here’s one for you. Video games are like parties. How so? In the following ways. They quite never live up to your expectations. The best ones are the ones you never go to, according to the “anecdotes” you’re told afterwards. And there’s always someone crying and throwing up at 2:00 AM. Okay, the last one isn’t quite relevant but the overall sentiment of the first two is sound. The reason I have used this visual metaphor is because both parties and multiplayer video games sell themselves on the alleged quality of their respective social dynamic. They supposedly offer you fun with your friends and a unique, memorable experience. However, the reality is a lot more lacklustre. Warzone 2.0 DMZ is a prime example. What enjoyment there is to be had in playing this game is offset by the iniquities of many of its players as they race to the proverbial bottom.

For those who are unfamiliar with this latest permutation of Call of Duty: Warzone, DMZ is a squad or solo based incursion into a large open world map. You enter with basic gear and weapons and loot on the fly as you travel the zone. There are contracts that award both cash and weapons. These may be securing and uploading intel, rescuing a hostage or eliminating other squads. The map is populated by AI bots that are no joke and there are also vehicles that can be used to traverse the region. Each round lasts 25 minutes and once a player has gained sufficient loot or completed what they wish to achieve, there are “exfil” locations on the map where the player can summon air transport and leave. These are often contested by AI bots and other players looking for easy pickings. It’s a well conceived gaming scenario with a lot of scope for fun. Theoretically.

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If you peruse YouTube, you’ll find plenty of videos showing top tier gamers playing Warzone 2.0 DMZ very effectively in squads. They complete lots of contracts, run rings round the AI bots and eliminate any other operators (other players) they encounter. It can be very entertaining to watch the game played well. However (and there is always a however) I, and many other players, will never get to experience the game in such a fashion. I don’t know anyone who plays Warzone 2.0 DMZ and hence I have to join squads with random players or go solo. The latter is fun but does put you at a disadvantage. There is safety in numbers and squadmates can revive you if you are “downed”. But random squads are exactly that, random, and therefore an utter lottery. If you use voice chat (not everyone does), then there's no guarantee that everyone speaks the same language. Even if you do, there’s a good chance that not everyone wants to do the same thing, hence making the group invalid. Hence random squads are often a massive gamble.

I’ve played a lot of Warzone 2.0 DMZ recently and have kept a simple log of how well each game has gone. After a hundred plus games, about 1 in 10 has proven to be a positive experience. By this I mean that players have been communicative (IE we agreed where to go and what to do), helpful and very mindful that not everyone has the same level of skill. Gear and weapons were shared and we successfully extracted from the DMZ. So far I had about ten games in which I felt I experienced Warzone 2.0 DMZ as the developers intended. For the other ninety or so times, it has been chaotic and ended in someone picking a unnecessary fight with the AI bots or another squad of operators. Yes XP has been earned, but it is frustrating to lose a decent loadout due to poor planning or someone just biting off more than they can chew. IE charging into an area before spotting the AI bots or driving a vehicle when you’re not especially good at it. Some games have lasted no more than five minutes.

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I’ve written in the past about whether it is realistic to have expectations of other players when “pugging”. I believe I used Task Force Operations in Star Trek Online as an example and I concluded that it’s best to expect the worst. The difference in this case is that grouping is an optional extra in STO, where in Warzone 2.0 DMZ it is pretty much the raison d'etre of the entire game. Playing collaboratively with others yields superior results than going it alone. Yet “pugging” in Warzone 2.0 DMZ is often an awful experience, especially if you have voice and proximity chat enabled. So many of the players are puerile, bellicose, unco-operative and socially dysfunctional that it leeches a great deal of joy out of the gameplay. Text chat is equally as bad filled with abuse, prejudice and the arrogant hubris and ill manners that so often goes hand in hand with youth. The community has very little class and even its ubiquitous victory cry of “let’s go” is as vacuous as it is trite. 

Warzone 2.0 DMZ can still be a source of enjoyment and entertainment. Even if you “pug” and expect the worst, you can still sometimes be pleasantly surprised when another player does bother to revive you or drives back to pick you up when you’re separate from the group in a firefight. Running 20 or 30 indifferent or bad games still presents an opportunity to learn the map and to become familiar with key locations such as ammunition depots etc. You quickly learn not to be hamstrung by your own high standards. That’s not to say you should be an asshole like most other players, but if your squadmates are making poor decisions or being a liability it is perfectly okay to go do your own thing. Overall, if you’re not in a position to play with friends, then temper your expectations about Warzone 2.0 DMZ and autogroup. Turn off voice chat and expect the worst. Anything more is an added bonus. Warzone 2.0 DMZ can be a good game, in spite of its players.

LOTRO: Cardolan and Swanfleet Preview

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The Bullroarer test server for the MMORPG The Lord of the Rings Online, recently had a three day preview for Update 34: Before the Shadow. Beta #1 provided an opportunity to explore the new regions of Cardolan and Swanfleet, as well as the new tutorial which starts in the village of Mossward. I shall write a separate article about the latter as it merits more than just a cursory paragraph. This post however, is specifically about the new zones themselves. The test held between Wednesday 19th and Friday 21st October, presented a fairly complete version of Cardolan and Swanfleet, which provide level 1- 32 content. The “mob” density was somewhat low in open areas. However, as this was a beta test there is scope that this will change in the final live release on Wednesday 9th November.

Perhaps the most significant aspect of the addition of Cardolan and Swanfleet is the way these new zones fit so well into the existing LOTRO world map. The new zones fill in a major geographical gap in Middle-earth and link The Shire, Bree, The Lone-lands, The Angle of Mitheithel, Eregion and Enedwaith seamlessly. As a result, the Lonelands, Eregion and Enedwaith maps have now been updated and reflect the new visual style that has been established in recent years. Overall, there is little left of Eridor now that isn’t included in the MMO. The two regions of Lindon and the Grey Havens being the most prominent locations that remain outstanding. It will be interesting to see if these areas feature in any future updates.

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Players can enter Cardolan, the first of the two new zones, via the South Farthing in The Shire. This leads to Sarn Ford. Alternatively, access can be gained via the Andrath Gate in Southern Bree. This will take the player to Southern Andrath. There is also a road South from Lone-lands which passes Minas Eriol. There is also access from The Angle of Mitheithel and the Southern Trollshaws. Cardolan has five areas. The first is Ruddymore which extends from Sarn Ford on the borders of The Shire, Eastward to the town of Herne. This area is filled with Ruffians and the environment is similar to that of The Iron Hill, with a lock of dark brown rock formation. To the North of Ruddymore lies the area of Tyrn Gorthad. This is filled with Cardolan ruins, the most substantive of which is Dol Ernil on the borders of the Old Forest. The area is home to Wights and Gaunt men and is in a similar idiom to the North Downs.

The next area is Andrath. The Northern hills in this location afford views of Bree-land Homesteads, Midgewater Marshes and Weathertop (depending on your draw distance setting). Moving to the East, Cardolan is separated from the Lone-land by the South Downs. There are two remote farming communities, Scurloc and Hove, which are similar to those we see around Bree. The Barrow of Gond Orchal and the Cardolan ruins of Haudh Nirui are home to Wights and Orcs respectively. Travelling further East to the borders of The Angle of Mitheithel, there is Amon Firn. This area is filled with both Wights and Spirits and overlooks the river Hoarwell. At the heart of the Cardolan map is the decaying fortress of Caranost. Orc infest the Western side. Rangers and Elves have an enclave on the East side. I suspect that due to the size of Caranost it may be the epicentre of several major quests or instances. The area of Sedgemead lies to the South East of Cardolan, along the banks of the river Greyflood. It is wild and overgrown with flowering plants and bushes (Like Ithilien).The ruins of Nimbarth and the Nagenstones are found here. The latter being a former Elven settlement

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Herne is a major settlement of Men and main quest hub that lies on The Greenway road that runs diagonally through Cardolan. It seems to be the equivalent of Combe. The Crossway House Inn is a prominent feature and the architecture in Herne is once again similar to Bree.  The road South out of the town leads to an area marked on the map as Minhiriath but you cannot access it due to an invisible barrier in ruins. To the East of Minhiriath there is the Cardolan ruins of Gaervarad and a stronghold of ruffians. The Greenway runs down to the Greyflood and the expansive ruins of Tharbad. There is an encampment here of Rangers and Elves but Tharbad itself is a major enemy stronghold. The bridges across the river are broken but there is a ford across the Greyflood into the neighbouring zone of Swanfleet.

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Upon crossing the Greyflood you find The Old South Road, which spans the zone from the West to the East of Swanfleet. Mossward is the first settlement you encounter and it is a small town like Archet. This is the new starter area featured in the new tutorial included in Update 34: Before the Shadow. To the North of the town are the fens and wetlands of Wadewater. So named as the water levels are navigable by foot or on horse. This is filled with water fowl, insects and Bog Lurkers. The area is reminiscent of Enedwaith and features the village of Lhan Garan which is similar to Galtrev. Nearby are the Elven ruins of Caras Gelebren. The road East leads to Echad Mirobel in Eregion. Western Eregion lies North of Caras Gelebren and is adjacent to The Angle of Mitheithel, so shares a similar environment. Tham Lasgol and Thamn Celechir are additional Elven ruins populated by Wood Trolls and Huorns. 

Perhaps the most entertaining area in Swanfleet is the Stoor-vales. This area includes three settlements quite close to each other. Glen Helyg, Clegur and Lintrev are Stoor villages set among the hills away from The Old South Road and hidden from prying eyes. Aesthetically, they are similar to Maur Talhau in Enedwaith, which they link to. Hobbit settlements have a tendency to be whimsical areas and these are no different. They also provide the practical benefits of being a major crafting hub. With regard to The Old South Road, this leads to Gloomglens and Windfells in Enedwaith. It should be noted that despite its substantive in-game map appearance, Swanfleet is another region where a lot of the terrain is inaccessible and the player is funnelled to specific areas. In reality it is not a big and open zone as Cardolan. However, it does have an immersive environment.

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To conclude, Cardolan and Swanfleet provide a great sense of in-game continuity. There are lots of repeated assets from other locations, but that makes perfect sense when you consider that the new zones have borders with six other existing regions. I would like to draw special attention to the ambient music for Cardolan and Swanfleet, composed by Bill Champagne. It is very appropriate and memorable. Whatever criticisms you may raise against LOTRO, its musical score is not one of them. It remains the one to beat within the MMO genre. Overall, Cardolan and Swanfleet offer an interesting addition to LOTRO, filling in a long time gap in SSG’s virtual Middle-earth. Having a new tutorial set in these zones makes creating new alts a far more appealing prospect. 

In addition to the pictures in this post, here is a link to a gallery of screenshots via Google Photos. All are available at the original screen resolution of 1920 x 1200.

Star Trek Online: Ascension

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This afternoon Cryptic launched the latest season update, Ascension, for the MMORPG Star Trek Online. Furthermore, I’m sure it will not come as a shock to long term players that it was broken and an emergency patch had to be applied. Oh how we all laughed. Even after being “fixed” players are still experiencing bugs with the new content, especially the ground mission part of the update, but this sadly is just par for the course. Personally speaking, it is not the bugs that I have a problem with as they are just part of the overall gaming experience when playing STO. What I am saddened about is the actual gameplay found in Ascension. The space combat section of the game is simply “more of the same”. Destroy some specific vessels and once the goal has been met, watch the cutscene. But the ground combat is especially uninspired and repetitive, despite its interesting setting.

Warning: Plot Spoilers (although Cryptic have given away all these details themselves, already). The Terran Emperor of the Mirror Universe, Wesley Crusher and yes you did read that correctly, is planning to join with the Mirror version of V’Ger, known as The Other. Obviously such a “melding” will not lead to such benevolent results as it did in Star Trek: The Motion Picture. During the course of Ascension, is a ground mission set within the core of The Other, where you play a Mirror version of your own alt. This character called The Inquisitor assists the Emperor’s away team. However, as this is some form of session play, you only have access to a bespoke and somewhat basic set of skills on your quickbar. So say goodbye to your own personal build and kit skills. And if that wasn’t a sufficient pain in the ass, you can’t even toggle your weapon to autofire.

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Thus, while in this “gimped” state you then have to contend with a set of lacklustre tasks, such as turning off six power nodes before worker drones can bring them back online. It is a race that can be successfully done if you can figure out the shortest and most efficient route. If you don’t, then multiple drones will spawn and interrupt you, while you desperately try to catch up. The key to success is not to stand next to the power nodes but to get as close to them until the power off button appears on your screen. Hence there is a shorter optimal route that will allow you to complete the task before too many drones spawn. However, all of this still has to be undertaken with STO’s janky aim controls, while getting caught up in the environment for no discernible reason (a common bug in the game). It is far from fun and if you don’t know the workaround, very, very repetitive.

There’s nothing wrong with the story and as always, the voice acting by original cast members (in this case Wil Wheaton) is top notch. It’s just that the nuts and bolts of the game is incredibly uninventive. The V’ger, sorry The Other, environments are very well realised but just shooting wave after wave of generic drones is as dull as ditch water. It is a fact of life about the MMO genre that there is a limited amount of interactions you can make within gameplay. The key is in the creative way you “dress up” these interactions, so although they may be simple, they don’t come across that way within the context of the wider story. It is this specific element that is missing in Ascension. I do hope that Cryptic tries better than this next time. There is so much content in STO, such as the entire Agents of Yesterday expansion, that is exemplary. This is the standard that should be aimed for.

LOTRO: Coming Changes to Race and Class Choice

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Standing Stone Games are currently testing the second beta build of Update 33.2 on their The Bullroarer Test Server. The latest patch notes indicate that there are some major changes coming to the MMORPG, The Lord of the Rings Online. The proposed Minstrel class changes are proving controversial and I suspect that there will be a strong degree of pushback from players. As I have not played this particular class, I am not in a position to express an informed opinion but reading comments both on the official forums and on Reddit, I think players have legitimate concerns. Changing and rebalancing class skills and in any way altering the status quo, never goes down well as you can never please everyone. It will be interesting to see if SSG take on board player comments or push ahead with their proposed changes regardless.

However, there are some positive changes included in Update 33.2 such as the removal of racial restrictions to the class system. To date the various classes in LOTRO have been subject to a specific set of race restrictions (please see the image below), which have been justified over the years on lore grounds by SSG. This has always been debated by some of the player community, who feel if the game can be “flexible” with the lore in some areas, why not in others? It would appear that SSG have listened and the update now allows for the following race and class permutations. Dwarf/Stout-axe Captain and Warden. Elf/High Elf Burglar. Hobbit Lore-master and Champion. Human Rune-keeper. The Beorning race remains unique These changes bring the remaining classes inline with the Brawler which is available to all permutations of Elf, Dwarf, Hobbit and Man.

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Naturally, there are some players who object to these changes, considering them non-canonical, but I feel that LOTRO departed from lore purity a long time ago. I am just happy that players are getting more choice. Hence, in the spirit of such change, I created a Hobbit Lore-master on Bullroarer last night and played through the first few levels of the game. It was interesting to see all the bespoke Lore-master skills induction animations as a Hobbit and I really didn’t think it an odd addition to the game. The first Lore-master pet is the bear and it is rather comical the way it towers over its Hobbit companion. So far I haven’t encountered any issues, although other players have found some minor anomalies when playing the new Dwarf/Stout-axe class variants. But that is the entire point of beta testing.

Navigating in MMORPGs

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The Lord of the Rings Online was my first major MMORPG. I started playing in late 2008 and quickly discovered that there was a necessity to become familiar with the game world. Although the game provides quick travel options they were not ubiquitous at that point and often a player would simply travel on foot to travel costs down and to take the most direct route. Back in 2008 you could not own a mount until level 30. Hence I began “learning the maps” in the game and to this day still remember how to travel from one side of Moria, to another. The maps in the base game remain clear in my mind as they were so well trodden. Not so those in the regions. There are far more stables with fast mounts present in the game now and so convenience trumps any requirement to become so familiar with newly added zones. Nowadays Standing Stone Games designs new zones that tend to funnel players through them from quest hub to quest hub.

After considering the wider matter of maps in general in the MMO genre, it seems that most of them seem to be lacking in some fashion. The biggest problem is that traditional in-game maps are two dimensional views of three dimensional environments. LOTRO, Star Wars: The Old Republic and Guild Wars 2 are prime examples of this. Furthermore maps in this genre tend to be initially devoid of specific detail. This is to encourage exploration which then populates a map with NPC, fast travel points, crafting stations etc after they’re discovered. Another issue, especially in fantasy games, is that the maps themselves are designed in a stylised manner and are frequently not accurate in the sense that an Ordnance Survey map is in real life. The Elder Scrolls Online at least addresses the issue of multi-layers maps, allowing players to switch between levels. But it is far from perfect. The MMO does allow you to set a waypoint which can be a godsend. 

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As maps can prove so “unhelpful”, I find the most practical thing a game can do to help me with navigation is to provide a highly visible landmark which can be used to orientate players. Weathertop is a prime example of this in the Loneland region of LOTRO. The crumbling fortress on the highest hill in the region dominates the map. Having line of sight helps you make quick decisions when travelling and find the direction you need. Guild Wars 2 has gone all in on the concept of verticality and three dimensional environments. Does it make for interesting and complex world design? Yes. But the main problem is you cannot easily set a destination and travel there. As you seldom have any line of sight, often the only way to a location is through trial and error. Usually through “bandit territory”. It is intensely frustrating especially as there is much XP gain to be had via discovery. It makes me miss Neverwinter and its sparkly trails that can optionally lead you to your destination.

Navigating in Star Trek Online is the polar opposite of most other fantasy based MMOs and a very straightforward process. Especially after 2015 when developers Cryptic revised the galaxy map dividing it into four clearly defined quadrants, rather than sectors which were separate instances. The point and click navigation between planetary systems in sector space is simple and easy. If you wish to navigate by hand you can manually fly around at your own leisure. However, until you earn the transwarp travel skill it can take some time to get from one side of the map to another as a low level player. There is no cost associated with travel in STO. Unlike SWTOR which charges the player for the fuel used to travel across space. Both approaches are compliant with their respective lore of each franchise.

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I find travelling and exploration a major source of enjoyment in MMOs. If I’m confronted with a blank map, then the first thing I want to do is open it up and see its details. I’ll often go exploring first off, rather than playing through mission or quest content. This isn’t always a shrewd decision as I can find myself in zones I am ill equipped to travel. Bu for me, looking around the game world is part of a game attraction, especially if it has a rich and diverse environment. Sometimes I will log into LOTRO and ride around Middle-earth just for the pleasure of it. Sadly, that is not the case for all MMOs. Take SWTOR, which has some industrial themed, city based maps that are a never ending maze of corridors and walkways. Overall I would like to see more games in the MMO genre having some sort of Grand Tour option or game mechanic. A means for peaceful exploration as an alternative to the usual narrative driven progression.