Disco Elysium: The Second Playthrough
I recently started playing through the RPG Disco Elysium for a second time. I did not complete the game last time I played in February and March but go about two thirds of the way through the story. As far as solving the central crime, I had established an accurate cause of death for the murder victim and broadly understood the events leading to their death. The main reason I did not complete the game was because I was playing on the Nintendo Switch and found it increasingly difficult to read the text on the small screen. The loading times were also excruciatingly slow. Playing the game while “docked” helped the former but not the latter issue. Hence I bought the PC version of Disco Elysium: The Final Cut for just £5 and started again from the beginning.
I recently started playing through the RPG Disco Elysium for a second time. I did not complete the game last time I played in February and March but go about two thirds of the way through the story. As far as solving the central crime, I had established an accurate cause of death for the murder victim and broadly understood the events leading to their death. The main reason I did not complete the game was because I was playing on the Nintendo Switch and found it increasingly difficult to read the text on the small screen. The loading times were also excruciatingly slow. Playing the game while “docked” helped the former but not the latter issue. Hence I bought the PC version of Disco Elysium: The Final Cut for just £5 and started again from the beginning.
The main reason I decided to play again is because I really want to reach the ending. I am invested in the unfolding story and empathetic towards the two main protagonists. I would like to see a positive conclusion to their investigation and their respective personal journeys although judging by the inherent tone of events so far, that may not be the case. I also appreciate the scope of the narrative and its intellectual depth. The game gives the player much to think about and I find that a rare quality these days. Disco Elysium: The Final Cut is also clearly not an American game and its European roots are writ large in its complex faux geo-politics, lore and racial dynamics. This is both a unique game and experience. One that I’m simply just not done with yet. I need to see it through.
The main difference between this playthrough and the previous one, is that I have the benefit of hindsight. I know the sequence of events that I previously encountered and this time round I am seeking to pursue them in an optimal fashion. There is such breadth to the branching dialogue trees, that I don’t necessarily have to follow an identical path to last time. I have discovered much that is new to me, due to the game’s breadth. I am also judiciously “save scumming” and it has allowed me to uncover a lot more possible outcomes. This has helped no end with handling my interactions with various characters and afforded me a better perspective on their backstories. This second playthrough has allowed me to focus more on side quests. I don’t have to worry about earning rent as I know that on day 3 of the game, I can find alternative, free lodgings.
Playing on a PC, compared to my previous experience on the Switch, is also quite a revelation. I certainly appreciate the artstyle and design aspects of the game a lot more on a larger screen, at a higher resolution and with HDR. The game soundtrack by Sea Power is also striking, something I didn’t notice as much last time. However, the main benefit of this second play through is simply being able to read the dialogue text on screen, clearly and without impediment. The branching dialogue trees are key to this game and although Disco Elysium: The Final Cut is fully voice acted, it is important to be able to examine the text of what has been said and be able to digest it. There is a great deal of political, philosophical and theological content referenced throughout the game that is complex and requires consideration.
I am usually cautious about second playthroughs of games that I have found especially engaging. I have not replayed Skyrim, The Witcher III or Red Dead Redemption 2 as I wish to retain my first impressions of each respectively, as I feel they are all major gaming landmarks. Also because I invested a great deal of time into each and I would feel obliged to do the same again to attain a broadly comparable experience. On a practical level that isn’t viable. Because Disco Elysium is such a unique beast, I have returned to it to complete an experience, as opposed to revisiting a previous one. By finishing the game I believe I will have a better appreciation of it, as well as having the satisfaction of knowing what fate befalls Harry Du Bois and Kim Katsuragi. Two of the most well defined and intriguing characters in video games.
Atomfall: The Red Strain DLC
The Red Strain is the second DLC for the RPG Atomfall. It provides another interesting side story that is adjacent to that of the main game. Set in the new region of Stafell Crag, the player finds a secret installation called Test Site Moriah, run by C.O.R.E. (Co-ordinated Orbital Research Establishment). C.O.R.E. have seniority over B.A.R.D. (British Atomic Research Department) and have taken much of their research and used it for their own experiments. This includes the Red Strain, a genetically modified version of the Blue Infection. However, this has escaped containment and spread throughout the entire site. Once again the player must explore the zone, looking for leads and collecting resources, while trying to piece together what has happened. As in the previous DLC and main game, not every NPC that you meet in The Red Strain can be trusted.
The Red Strain is the second DLC for the RPG Atomfall. It provides another interesting side story that is adjacent to that of the main game. Set in the new region of Stafell Crag, the player finds a secret installation called Test Site Moriah, run by C.O.R.E. (Co-ordinated Orbital Research Establishment). C.O.R.E. have seniority over B.A.R.D. (British Atomic Research Department) and have taken much of their research and used it for their own experiments. This includes the Red Strain, a genetically modified version of the Blue Infection. However, this has escaped containment and spread throughout the entire site. Once again the player must explore the zone, looking for leads and collecting resources, while trying to piece together what has happened. As in the previous DLC and main game, not every NPC that you meet in The Red Strain can be trusted.
The DLC offers new weapons, including a silenced pistol and SMG, as well as several new skills. The player can now scavenge weapons from the C.O.R.E. Robots that patrol the region, although their high destructive power is offset with slow rate of fire. There is also an upgraded version of the Signal Redirector (MK II), which now allows the player to control turrets, swarms and robots, as well as switch power to locked or deactivated areas. Stafell Crag, a former rocket research site, is a far more vertical zone and as such adds a further degree of interest while travelling the area. The infected guards are all armed with SMGs and the C.O.R.E. Robots patrolling the various buildings have organic brains. Hence they are more aggressive when challenged and persistent if you retreat. As ever, stealth is the safest approach when exploring.
Stafell Crag is pleasingly different in its aesthetic, compared to the Midsummer Isle and the main regions of the base game. The railway station is atmospheric but also tactically useful, as the bridge and signal box offer elevated positions. Test Site Moriah is dominated by the rocket testing facilities and radar domes. I have referenced previously how aspects of the game draw upon the writings of Nigel Kneale. This area is very reminiscent of the military facility that features in Quatermass II. The story in The Red Strain DLC is far more science fiction driven and an interesting contrast to the folk horror themes found in Wicked Isle. The main characters are unusual, being disembodied brains in life support jars. The voice acting for these curious individuals is very good and the banter between them reflect the sociopolitical and class idioms of the time.
The Red Strain offers two new endings to the main game and they are quite different to those from the base game and the Wicked Isle DLC. Although well conceived, they may not satisfy all players, especially those who have not completed the game before. New players may be better served by playing through the Atomfall base game first and choosing one of the original six endings. Another notable difference in The Red Strain DLC, is that the Voice on the Phone does not offer as much guidance this time. He frequently calls and makes comments on developments but he doesn’t appear to have a preferred course of action. This is possibly because the story in the DLC does seem to be tangential to that of Atomfall, whereas the Wicked Isle was more closely linked. The entire Oberon issue doesn’t really materialise in The Red Strain until there is a plot requirement at the end to bypass the Interference Field.
Atomfall developer, Rebellion, have managed to craft three very engaging narrative arcs. The base game blends a mixture of science fiction and horror elements in a uniquely British idiom. The investigative approach, rather than simply undertaking clearly defined missions, is one of the game’s greatest strengths. The Wicked Isle DLC has a specific narrative tone referencing folk horror and the gameplay is stealth focused. The Red Strain has a far more science fiction driven story with a more aggressive approach to combat. However, the endings for the latest DLC do seem more specific and definitive than those available in the base game. Also, The Red Strain does not add any further details to the existing lore. We learn nothing further about Oberon or the Voice of the Phone. Hence I wonder if this marks the end of the development cycle for Atomfall or whether there will be any further DLC?
Atomfall: Wicked Isle DLC
Wicked Isle DLC for the RPG Atomfall was released on 3rd June, two months after the base game launched. As with its predecessor there are no specific missions, the DLC requires the player to explore the environment to pick up leads. These ultimately provide a coherent story but the clues may not necessarily be obtained in the correct order. Hence, again there is a requirement for players to look, listen and think. Referring to the in-game notebook is beneficial for narrative clarification. As well as a new story, Wicked Isle DLC also has new weapons, items and skills. This includes a Blunderbuss shotgun which inflicts huge damage but has a limited range, as well as a cutlass and some ritualistic weapons. There is also an upgraded metal detector along with the Decomposition skill, which causes enemies to rapidly dissolve into fungal spores after a takedown. This means that dead NPCs cannot be discovered.
Wicked Isle DLC for the RPG Atomfall was released on 3rd June, two months after the base game launched. As with its predecessor there are no specific missions, the DLC requires the player to explore the environment to pick up leads. These ultimately provide a coherent story but the clues may not necessarily be obtained in the correct order. Hence, again there is a requirement for players to look, listen and think. Referring to the in-game notebook is beneficial for narrative clarification. As well as a new story, Wicked Isle DLC also has new weapons, items and skills. This includes a Blunderbuss shotgun which inflicts huge damage but has a limited range, as well as a cutlass and some ritualistic weapons. There is also an upgraded metal detector along with the Decomposition skill, which causes enemies to rapidly dissolve into fungal spores after a takedown. This means that dead NPCs cannot be discovered.
One of the most interesting aspects of Wicked Isle DLC, is that rather than being a sequel to the events of Atomfall, it is a tangential story that links into the main narrative. It also provides two additional endings to the main game and sheds further light on the existing lore. Taking place on Midsummer Isle which is adjacent to the Windscale site, the player can access the DLC by going to the docks in Wyndham Village and talking to boatman Bill Anderson. It should be noted that if a player has progressed too far into the main story of Atomfall, they will not be able to access the DLC and the game will notify them accordingly. However, this can be remedied by loading a prior save game, or by starting the main game again and proceeding straight to Wyndham Village.
The Wicked Isle DLC story is very much in the same idiom Atomfall. Midsummer Isle is home to yet more druids and bandits, suffering from the same fungal blight. However, the main story centres on the remnants of an Abbey and its mysterious demise in the seventeenth century. The player is afforded glimpses of the past, through the use of a strange mead brewed from the fungal spores. It is via these flashbacks that we learn how the Abbey discovered an “angel” which bears an alarming similarity to Oberon. The blending of the supernatural with science again is very reminiscent of the works of Nigel Kneale and this DLC has a definite Quatermass vibe to it. Again there are significant choices to be made while playing, which can alter the story outcome of both the DLC and the base game.
Again there are some excellent easter eggs in the Wicked Isle DLC, making more British pop culture references. Something akin to the Lochness Monster can be seen briefly swimming off the shore and there is a creepy nod to Captain Scarlet and the Mysterons. However, despite a strong story and new elements to the game, the lack of a fast travel system continues to be a nuisance. On occasions a lead may send a player from Midsummer Isle back to Wyndham and then across another two zones to expedite the plot. This all has to be done on foot and can be ponderous. As with Atomfall, relying on stealth or simply running away is often the best option, rather than direct combat. The new Aquatic Ferals are especially dangerous at close range and are often in pairs. Unless a player has obtained a decent ranged weapon, combat options can be at times limited.
I enjoyed Wicked Isle DLC and in some respects preferred it to some of the storylines in Atomfall. It is singularly creepy and the ending I chose actually clarified the overall story a lot more. Overall I still like the fact that developer’s Rebellion has chosen not to make the protagonist over powered. The world is hostile and needs to be navigated with caution. You can choose to play as quickly as you see fit but the game does reward a steady and measured approach. If you immerse yourself in the lore, read all information that comes your way and make use of the notebook, the story is both atmospheric and rewarding. The ambience and tone of Wicked Isle DLC along with its uniquely British setting, is for me its biggest selling point. It is not an afterthought as some DLC can be, instead being a solid addition to the game.
Update:
While writing this post, Rebellion have just announced a further “story expansion”, The Red Strain, coming to Atomfall on 16th September. At this point it is not clear if this content is included in the Deluxe Edition of the game or whether it will be chargeable.
Atomfall: Getting the Ending You Want
Spoiler Alert: The following post discusses the various endings available in Atomfall. About 15 or so hours into Atomfall, the various plot elements started to become a lot clearer to me and I realised that several key characters were all offering differing escape options. Naturally, each outcome came with a quid pro quo requirement. Hence, there was a choice to make as to which ending I wanted to pursue, assuming that some outcomes were narratively or ethically better than others. At this point I had avoided many plot spoilers, so had no clear idea as to what specific endings were available. So I made a decision based purely upon the information that each of these characters gave me and chose to implement Dr. Holder’s solution to the Oberon problem. It seemed the most honest and pragmatic outcome, plus it caused the least amount of collateral damage.
Spoiler Alert: The following post discusses the various endings available in Atomfall.
About 15 or so hours into Atomfall, the various plot elements started to become a lot clearer to me and I realised that several key characters were all offering differing escape options. Naturally, each outcome came with a quid pro quo requirement. Hence, there was a choice to make as to which ending I wanted to pursue, assuming that some outcomes were narratively or ethically better than others. At this point I had avoided many plot spoilers, so had no clear idea as to what specific endings were available. So I made a decision based purely upon the information that each of these characters gave me and chose to implement Dr. Holder’s solution to the Oberon problem. It seemed the most honest and pragmatic outcome, plus it caused the least amount of collateral damage.
Having carried out his plan, I began to make my way back from the Oberon Dig Site. Just prior to entering the Central Processor, I ran through a control room with a red phone. This started ringing which caused me a minor dilemma. I wasn’t sure whether to answer it or ignore it and return to Dr. Holder. However as I had already answered several of these mystery phone calls, my curiosity got the better of me so I answered the phone. The Voice on the Phone subsequently congratulated me on successfully dealing with Oberon and told me to return to the bunker where I started my journey. I immediately thought that by answering this phone, I had effectively blown any chance of completing the Dr. Holder ending. There were no longer any open leads relating to him in my journal. So I dutifully returned to the bunker and got the appropriate Voice on the Phone ending.
Although I was broadly okay with this ending, I was curious as to how answering the phone had altered events sufficiently to deny me the Dr. Holder ending. So I loaded a save game that I had made just before returning to the original bunker and noticed that the Joyce Tanner ending was still showing in my journal. So I went back to the Interchange and found a voice log from Tanner left in Data Store Charlie. This gave me coordinates to meet her in Casterfell Woods. So I travelled to the assigned location and found her waiting with a helicopter. She was not pleased that I had chosen to poison Oberon without getting a sample. However, she thought that the formula for the poison would be a comparable bargaining chip Hence she told me to go back to the Interchange and get the formula. She also told me to kill Holder so there was no longer any potential competition.
Upon returning to the Interchange, I struggled to find a way to reach Dr. Holder, as the destruction of Oberon had collapsed a lot of the tunnels and blocked multiple doorways. However, I found that if I entered via the Slatten Dale entrance, there were ladders going down to several unfinished tunnels that lead to both the Medical and Robotics departments. I subsequently found Dr. Holder in the Medical Tunnels and was able to complete the original ending that I was pursuing. Having successfully resolved this matter, I loaded the previously mentioned save game again and travelled to Wyndham Village to find Captain Sims, so I could pursue his potential ending. However, when I arrived there was an incursion by the Druid cult and a battle was in progress. Sims was gone. I was unable to complete the other two possible endings as I had shot Mother Jago while exiting the Oberon Dig Site and because Dr. Holder had already shot Dr. Garrow.
I am very impressed with Atomfall and the fact that despite things appearing to go awry, I was still provided with options very late in the game and able to complete the ending I wanted. I suspect that the developers Rebellion have given a lot of thought to the fact that players do not always follow the most linear paths and have therefore built a lot of flexibility into their branching narrative tree. As a result of this experience, I am tempted to play through Atomfall once again to test exactly how accommodating the game can be. There is still a significant amount of the quarantine zone that I haven’t thoroughly explored. I shall also keep an eye on the game’s subreddit, to see if any other players have had a comparable experience to mine and taken a very scenic route to the ending that they desired.
Atomfall
By default, I’m not always drawn to first person games. I see their merits in genres such as shooters but in an RPG, I prefer a third person perspective. So I was somewhat ambivalent towards Atomfall when I first saw promotional videos for the game. However, its uniquely British setting and period ambience piqued my interest. I also enjoy the Sniper Elite series which developers Rebellion also produce. So I recently bought the deluxe version of the game and began my play through. I made sure that I didn’t do too much research beforehand, because it was clear that the complexities of the plot are a major selling point of the game. Twenty two gaming hours later, I had completed two of six possible endings. Despite discovering a wealth of “leads” and diligently scouring the four main zones of Atomfall, I still feel there is much left to find and explore. Hence I have begun a second playthrough.
By default, I’m not always drawn to first person games. I see their merits in genres such as shooters but in an RPG, I prefer a third person perspective. So I was somewhat ambivalent towards Atomfall when I first saw promotional videos for the game. However, its uniquely British setting and period ambience piqued my interest. I also enjoy the Sniper Elite series which developers Rebellion also produce. So I recently bought the deluxe version of the game and began my play through. I made sure that I didn’t do too much research beforehand, because it was clear that the complexities of the plot are a major selling point of the game. Twenty two gaming hours later, I had completed two of six possible endings. Despite discovering a wealth of “leads” and diligently scouring the four main zones of Atomfall, I still feel there is much left to find and explore. Hence I have begun a second playthrough.
Set in 1962, five years after the fire at the Windscale nuclear plant, Atomfall takes place in a quarantine zone in Cumbria. Although under martial law by a military unit known as “the protocol”, the quarantine zone has fallen into a state of anarchy. Some citizens have become outlaws, while a sinister druidic cult has also emerged. Resources are scarce and strange flora and fauna have started to appear. You play as an unidentified amnesiac, who awakes in a bunker and is promptly charged with escaping the quarantine zone. Rather than being given traditional “quests/missions” with clear markers on the map, the player is provided with leads picked up from notes, letters, audio logs or dialogue with NPCs. It is then up to them to pursue these by exploring the world and slowly populating the in-game map. Atomfall also has elements from the survival game genre, as the player has to manage their health and heart rate.
Atomfall is a narrative driven experience which requires the player to look, listen and think. Combat is predominantly melee, as ammunition and firearms are scarce. Stealth and avoiding a fight is often the best approach. Combat is a slow and deliberately cumbersome process. A one on one fracas is manageable but if you aggro multiple NPCs then the situation can quickly escape your control. Hence if you don’t like reading and prefer fast paced action, then Atomfall may not be for you. If you like dialogue and making choices, then the game is a far more attractive proposition. The early hours of your playthrough will provide you with a multitude of disconnected facts and it takes a while before you start piecing the story together. Then there is the issue of who you should trust. There always seems to be consequences for siding with a faction. However, you’re not always boxed in by your choices and if you see fit, you can avoid making any for most of the game.
The main strength of Atomfall lies in its setting and atmosphere. Rebellion’s recreation of the Lake District, a designated UNESCO World Heritage Site, is visually striking. The game is also steeped in UK science fiction and popular culture references of the time. If you’ve ever read any books by John Wyndham, then Atomfall feels very akin to his style. In fact the main village in the game is called Wyndham village as a homage. The game also riffs on the writings of Nigel Kneale and has a strong Quatermass vibe. If you grew up watching Doctor Who from the Pertwee and Baker eras, you’ll find a great deal of the thematic and visual ambience of that show in the game. There are also a wealth of easter eggs, ranging from the obvious to the subtle. All of which greatly adds to the game’s character. The voice acting is solid and does not shy away from period and regional slang.
Atomfall works best when you approach it with a flexible strategy. Talk to NPCs, consider their requirements against your own, then make decisions when you feel you have enough information. Don’t immediately spend your skill points, as some are far more useful than others, depending on how you’re playing. Although you are free to kill everyone and everything, stealth and conflict avoidance pay dividends. Be very careful when entering bunkers as thralls and infected are formidable foes. If you find the leads bewildering, re-read them in your journal as the game then puts them in some semblance of order. Stay on the right side of traders. Go with your gut if you think a NPC is being unsound. But most of all, just revel in the environment. It is incredibly well realised and it is worth stopping every now and then and just taking it in.
As and when you reach your particular ending for Atomfall, you may not find everything narratively cut and dried. The plot as it presently stands, is explained but there remain a great deal of unanswered questions and things to ponder. Hence, some players may find this disappointing. However, if you are thorough in your exploration of the in-game world and attentive to NPC dialogue, you’ll find quite a lot of clues for the forthcoming DLC for the game. I certainly think that Atomfall has sufficient novelty and style to keep me engaged a while longer and bring me back for a follow up story. The game’s success seems to have surprised quite a lot of people, including the developers. It’s nice to see that pursuing a niche style and culturally specific idiom is not an impediment to sales or critical praise.
Disco Elysium
I’m a late convert to the church of Disco Elysium. Over 4 years late, although that can be a good thing in some respects. Pretty much everything that can be said about the game probably has been said already and I’ve missed it all. When purchasing the game, I knew there was a positive buzz around this RPG and it had something to do with its philosophical nature. Beyond that I wasn’t aware of the game's subtleties. I was just looking for something that I could play on my Nintendo Switch that wasn’t Mario. As Disco Elysium is a dialogue driven RPG, based upon choices rather than action, I thought buying the game on this platform was a good choice. So I started playing late on a Thursday night. 10 days later I am still utterly riveted, although this is one of the most emotionally gruelling gaming experiences of my life.
I’m a late convert to the church of Disco Elysium. Over 4 years late, although that can be a good thing in some respects. Pretty much everything that can be said about the game probably has been said already and I’ve missed it all. When purchasing the game, I knew there was a positive buzz around this RPG and it had something to do with its philosophical nature. Beyond that I wasn’t aware of the game's subtleties. I was just looking for something that I could play on my Nintendo Switch that wasn’t Mario. As Disco Elysium is a dialogue driven RPG, based upon choices rather than action, I thought buying the game on this platform was a good choice. So I started playing late on a Thursday night. 10 days later I am still utterly riveted, although this is one of the most emotionally gruelling gaming experiences of my life.
Disco Elysium is set in a coastal area of Martinaise, a dilapidated suburb of the city Revachol. The country is still in the process of healing from a communist revolution that transpired many years before the events of the game. However, the communist regime was deposed by a coalition of neighbouring capitalist countries and Revachol is now under “special administration” by the coalition. The player assumes the role of an emotionally broken detective suffering from alcohol induced amnesia, who is assigned to unravel a local murder. It becomes clear quickly that the case is politically complex and potentially career suicide. Throughout the investigation, the detective begins to regain memories of his own history, as well as confront various political, social and criminal influences that are associated with the case.
Most plot summaries of Disco Elysium fall woefully short of adequately explaining what actually unfolds within the games first few hours. Simply put, the game grabs your attention immediately, as your character slowly wakes from a drunken revelry and it refuses to let you go. The setting and the aesthetics all add to its compelling nature but it is the dialogue that seizes you by the throat and demands that you damn well apply yourself. It is difficult to describe to those who haven’t experienced it. It’s like you’ve awoken in a living neo noir movie. It has the visual style of David Lynch and you’re being aggressively interrogated simultaneously, by Albert Camus, Werner Herzog and Raymond Chandler. I can fully understand why some players will abandon the game within minutes of playing. Yet for some, the opening elicits a strong desire to fathom what the hell is going on. It is they who continue
Regular players of RPGs are au fait with branching narratives and multiple dialogue options. However, Disco Elysium does so much more with this game mechanic. Your character is advised, berated and tempted by multiple inner monologues which interject as a response to your dialogue choices with NPCs. These voices stem from the various 24 skills you have and their strength is dependent on the allocation of skills points you’ve made. If your character possesses elevated Drama skills you may excel in both identifying and constructing falsehoods; however, this proficiency could also render you susceptible to episodes of hysteria and paranoia. Similarly, a high level of Electrochemistry equips your character with immunity to the adverse effects of drugs and imparts valuable knowledge regarding them. Yet it may also result in substance abuse and other self-destructive, hedonistic behaviour.
Unlike traditional RPGs, Disco Elysium handles major in-game events and narrative decisions through skill checks, rather than combat. The amount of points you have in specific skills influences the outcome of such events but the game ultimately determines the outcome via the rolling of twin dice. Hence you can theoretically have a 68% chance of completing a skill check favourably but the RNG says “no” and you fail it. Skill checks are colour coded and white ones are repeatable but not all are. I experienced an interesting situation when talking to a witness and a skill check turned up in the list of dialogue responses. On this occasion I passed the skill check and discovered that the witness knew me. However, the game crashed and I had to repeat the scenario again. Second time round I failed the skill check and was presented with a totally different outcome.
Disco Elysium is a tale about a broken world. It explores the realities of poverty, the failings of multiple political ideologies and the emotional burden of having to endure all these iniquities in a world you cannot change. Many of the dialogue options offer the player the chance to cleave to a particular philosophical or political dogma. You can be a fascist, a liberal, or a communist if you see fit. Or you can try to navigate a path through the game without taking a side. If you choose the latter approach the game berates you. Eventually, to get things done, you will have to take some sort of moral or ethical stances. Just like in real life, your actions have consequences. If you try to play the game by taking what you feel is the optimal dialogue choice, the game will conspire against you. NPCs will be uncooperative and the story will get bogged down.
This can all be very daunting to players expecting a traditional RPG. Fortunately, Disco Elysium throws you a lifeline via your partner, Kim Kitsuragi, another detective who acts as a voice of professionalism and who offers advice or support in certain dialogue. He is a fascinating character, who like you feels the weight of the world that he lives in. However, he deals with it in a very different fashion. His monologues, which often occur after key plot points, are singularly thought provoking. It is details such as this that makes the game world so plausible. Yet there is a price for such credibility. Disco Elysium can be oppressive at times. It also has the capacity to make you genuinely sad. Some of the NPCs' backstories are very moving. Hence I find playing it in focused sessions of an hour to 90 minutes helps.
It is a truism that not all games are for everyone. That is very much the case with Disco Elysium. Gamers™ will probably chafe at the social and political content of the game. So who is the game aimed at? Anyone who likes games driven by stories, credible characters, and who isn’t averse to some introspection and learning. Disco Elysium is in many ways a form of therapy. A means of coming to terms with human frailty and finding hope in the most desperate of situations. Disco Elysium is a rare example of that much disputed concept, that some video games are art. It certainly argues the case for video games being a learning tool and it has much to teach. I am fascinated by its unique nature and feel compelled to play. It is certainly an anomaly. Don’t worry if you, like me, discover its virtues late in its lifecycle. I suspect that Disco Elysium will still be played and talked about a decade from now.
Do You Know What You're Doing?
Do you know what you're doing? For clarification, this question is regarding video games and not how you run your life. The latter would make for an interesting discussion but that is not what I am asking. On this occasion the question is to establish whether you are the sort of player who strives to understand the mechanics of a video game? Do you make it your business to become au fait with all the statistics and the formulas behind them? Do you keep a spreadsheet filled with data pertaining to your gear or build? Do you fully comprehend the consequences of swapping out an item and seeing a particular statistic increase or decrease. Does all of this inherently appeal to you and contribute to overall the enjoyment you get from a game? If the answer is yes, then bravo. I kind of admire your dedication to this aspect of gaming. Because I tend to switch off when it comes to min-maxing.
Do you know what you're doing? For clarification, this question is regarding video games and not how you run your life. The latter would make for an interesting discussion but that is not what I am asking. On this occasion the question is to establish whether you are the sort of player who strives to understand the mechanics of a video game? Do you make it your business to become au fait with all the statistics and the formulas behind them? Do you keep a spreadsheet filled with data pertaining to your gear or build? Do you fully comprehend the consequences of swapping out an item and seeing a particular statistic increase or decrease. Does all of this inherently appeal to you and contribute to overall the enjoyment you get from a game? If the answer is yes, then bravo. I kind of admire your dedication to this aspect of gaming. Because I tend to switch off when it comes to min-maxing.
I suspect that I’m not the only person like this. That’s not to say I have no understanding of what all the numbers mean in any given video game. I usually have a broad overview but nothing more. Take the MMORPG The Lord of the Rings Online for instance. I know what statistics are important for my primary character, the Lore-master. Hence, whenever I replace gear, I naturally choose items that will increase key numbers. However, that is as far as my knowledge goes. In a game such as LOTRO that can be sufficient to get by. Fortunately the game doesn’t punish players for their lack of understanding. High end gear is available from several sources and you simply pursue that which is achievable. Sadly not all games take such an equitable approach, with many delighting in their own arcane nature. I find both Star Wars:The Old Republic and Star Trek Online to have very complex gear mechanics. Furthermore, both games do a poor job of explaining themselves.
The most practical solution to these complexities is to simply follow a build that other players have posted online. I did this recently while playing Dragon’s Dogma 2. I found a gear and skills loadout for a ranged class which suited my play style and replicated it on my character. I subsequently stuck with it throughout my play through. I guess this is a textbook example of “standing on the shoulders of giants” but I suspect that a substantial percentage of gamers do this. For many, the complexity of in-game systems is actually an impediment to gameplay. We all approach games differently and therefore do not necessarily find enjoyment in the same things. Some players like the challenge of learning and understanding underlying mechanics. The idea of researching, tracking data and ultimately finding a formula for an optimal build is integral to their overall gaming experience. Others, myself included, expect a learning curve but balk at excessive “homework”.
There is another aspect to this element of gaming. Some game developers see the complexities of gear, builds and systems as a means to monetise their games. Star Trek Online excels at this. Getting the right mix of gear and traits on an appropriate ship massively increases your survivability and DPS output. Again, this is a game where the builds can be very complex and the mathematics behind them intricate. Hence most players try and get by following the prevailing game meta. However, the most effective builds will often include items that are only obtainable by spending money, such as a trait or console that can only be found on a premium ship. I recently tried to replicate a build based around Beam Overload but could only easily source 60% of what was required. To get the remaining 40% of items would have cost £30. So I improvised. The result has been functional but not optimal.
I wrote a long time ago about “the average LOTRO player”. I used that MMO as a personal frame of reference but I thought at the time that the points made in the post were applicable to other games. Having recently re-read the post I still stand by assertions. Many gamers are not “ high end players”. They often buy a game primarily because they want to have fun and play with their friends. Although most gamers acknowledge that a new title has a learning curve, that doesn’t mean that they will by default spend hours reading and watching videos prior to playing. Jumping into the proverbial deep end is by far the most common approach. I suspect that very few players truly play a game in the manner that the developers expect. So in answer to the question “Do you know what you're doing?”, I suspect the most common answer is “not especially so” and that is the way the majority of gamers like it.
"Adequate" But "Disposable" Gaming
One of the defining qualities of a truly great game is how long it can hold your interest and keep you engaged. For example I bought the Game of the Year version of Skyrim about 14 months after its initial release. Hence I had access to all the games content that I dutifully played through. However, I also fully explored the world map, completed all side quests, crafted, furnished several houses and continued to travel the in-game world and killing foes long after I had completed all the traditional content. I did the same with Red Dead Redemption 2 as this also offered a compelling and immersive world. Games such as these have a quality beyond just the functional. I would happily traverse the mountains in Skyrim and watch the sunset, revelling in the ambient music. Similarly, I would often just ride the train in RDR2 and watch the world go by. When I finally stopped playing both games for newer titles, I felt a sense of sadness when I bid them goodbye.
One of the defining qualities of a truly great game is how long it can hold your interest and keep you engaged. For example I bought the Game of the Year version of Skyrim about 14 months after its initial release. Hence I had access to all the games content that I dutifully played through. However, I also fully explored the world map, completed all side quests, crafted, furnished several houses and continued to travel the in-game world and killing foes long after I had completed all the traditional content. I did the same with Red Dead Redemption 2 as this also offered a compelling and immersive world. Games such as these have a quality beyond just the functional. I would happily traverse the mountains in Skyrim and watch the sunset, revelling in the ambient music. Similarly, I would often just ride the train in RDR2 and watch the world go by. When I finally stopped playing both games for newer titles, I felt a sense of sadness when I bid them goodbye.
However, great games are few and far between. All video game releases exist on a spectrum of quality and artistic merit. Not all are bad, far from it. But many are purely functional. They entertain sufficiently to hold the players interests but once some semblance of completion is reached or the player simply feels that they are “done”, the game is effectively abandoned. Three such titles that I have played over the last 18 months fit this criteria. Hogwarts Legacy, Starfield and more recently Dragon’s Dogma 2. I enjoyed all of these games while I was playing them and completed each one’s respective stories. But rather than pursue all the minor achievements or simply stick around to enjoy the in-game worlds, I left once I felt I had finished. Furthermore, I ceased to be interested in those games the moment I stopped playing them.
I am sure this pattern of behaviour is not unique to me. It offers food for thought regarding how we perceive video games. To use a music analogy, few games achieve a status comparable to a classic LP. Something you wish to revisit on a regular basis. Instead, an average video game is a short term diversion. A bauble or trinket, designed to amuse and entertain. The virtue it provides primarily stems from the act of playing, rather than the compelling nature of the gameworld, its mechanics and narrative. Dragon’s Dogma 2 provided me with sufficient means to stay engaged. It did this long enough for me to complete the tasks it set before me. But it lacked a sense of “je ne sais quoi”. That quality or set of qualities that make a game more than the sum of its parts. As for Starfield, it has an expansion launching soon. Yet I have no desire to return to the game.
Looking through my game collection, there are a lot of titles that fall into an “adequate but can provide short term fun” category. There are also a lot that will never get installed as they don’t seem to have any immediate appeal. Just like books, TV, film and music, not every video game is a classic. Not everything needs to be a classic. Sometimes undemanding entertainment is perfectly acceptable. You agree to the terms on which it is offered. As video games have become more popular, a business need has grown to replicate that which has already proven commercially successful. Hence the market becomes saturated with similar products. Not all are bad but many are simply okay. In the face of increased mediocrity will titles seeking to be the next Skyrim or Red Dead Redemption 2 become rarer? Is there a paradox in adequate but disposable gaming? Is it doing more harm than good?
Playing Starfield Part 6: Outposts
I struggle with certain types of game mechanics in RPGs and MMOs. Especially those involving crafting, building or any other form of gated, time based, resource dependent creation. Outposts in Starfield is a textbook example of this. I love the notion of having a fancy base on some remote planet, with all the necessary facilities for my starship and crew. I also like, in principle, the idea of being able to customise it so that it looks exactly how I want it. However, the reality is always very different. Building an outpost in Starfield is slow and the UI that you have to use is ponderous. You have to sink a great deal of time and effort into building one and ultimately, beyond the cosmetic, your completed outpost offers very few benefits. Which raises the question as to why I’ve spent so much time recently, watching YouTube videos about constructing outposts?
I struggle with certain types of game mechanics in RPGs and MMOs. Especially those involving crafting, building or any other form of gated, time based, resource dependent creation. Outposts in Starfield is a textbook example of this. I love the notion of having a fancy base on some remote planet, with all the necessary facilities for my starship and crew. I also like, in principle, the idea of being able to customise it so that it looks exactly how I want it. However, the reality is always very different. Building an outpost in Starfield is slow and the UI that you have to use is ponderous. You have to sink a great deal of time and effort into building one and ultimately, beyond the cosmetic, your completed outpost offers very few benefits. Which raises the question as to why I’ve spent so much time recently, watching YouTube videos about constructing outposts?
Setting aside my own feelings on the matter, having watched a lot of content about outposts in Starfield, I think they offer different things to different players. Some are happy with the cosmetic and collectible elements that they bring to the game. Creating a home then spending time decorating it has always been a major source of entertainment in both the RPG and MMORPG genres. But outposts offer a technical conundrum as well, which potentially attracts a different type of player. There is a logistical element to creating an outpost. There are some planets that yield better resources or that have superior day and night cycles. If you pick the right one, you can potentially start producing the resources that you need to build a robust outpost, without spending a lot of in-game credits. Essentially, if you’re the sort of player that enjoys crunching numbers then creating and managing an outpost can be “spreadsheet heaven”.
Despite my ambivalence towards the mechanics of creating an outpost, I did spend an evening building one. I followed a specific YouTube video and the instructions therein. The outpost is on the moon Bessell III-B in the Bessell system. Specifically, because there is an area on the moon surface that has access to Aluminum, Iron, Nickel and Cobalt. Their extraction is further optimised by the day and night cycle of the moon, where one hour of moon time equates to nearly sixty hours of universal time. Hence if you sleep, upon waking the extraction process has produced a substantial amount of each ore. This generates XP and the ore can be traded for credits. Furthermore, if you install an industrial workbench, you have all the raw materials you need for making most common construction components, such as adaptive frames. Again this process will generate further XP. So, in this instance, building an outpost has multiple benefits including helping you level up your character.
Having built my outpost in Starfield and assigned my companions Lin and Heller there to maintain it, I don’t think I’ll be returning that often, apart from collecting the various extracted resources. I’m curious to see if there are any random attacks or whether the game provides any incentives to go back there. At present I am making credits quite easily and resources can be purchased for reasonable prices. Hence for a player such as myself, outposts don’t really offer anything beyond the immediate fun of building them. As I’ve mentioned in a previous post, I think the most enjoyable creative aspect of the game is building your own starship. Not only is it a fun process, it has a technical aspect that engages players that like number crunching. It also offers a tangible benefit upon completion. Overall, outposts don’t seem to offer as much. However, that is a subjective statement and I’m sure other players may feel differently.
Playing Starfield Part 5: Companions
I like the concept of companions in video games. They can offer tactical support in combat, be assigned research or crafting jobs and often provide beneficial buffs and such like. There’s also the option for “romance” if you wish. More importantly, companions can sometimes offer unique quest lines. Extra content is always welcome. Starfield, being a Bethesda game, offers all of these with its companion system. However, as ever there is also a downside. Companions can get in the way during combat or wander off and cause aggro when it is not required. They will also judge your decisions which can be problematic, and they sometimes never stop talking. Sometimes, it can be useful to have a companion with you. But on other occasions it’s a pain in the ass. Hence, your style of gameplay should dictate how you use them.
I like the concept of companions in video games. They can offer tactical support in combat, be assigned research or crafting jobs and often provide beneficial buffs and such like. There’s also the option for “romance” if you wish. More importantly, companions can sometimes offer unique quest lines. Extra content is always welcome. Starfield, being a Bethesda game, offers all of these with its companion system. However, as ever there is also a downside. Companions can get in the way during combat or wander off and cause aggro when it is not required. They will also judge your decisions which can be problematic, and they sometimes never stop talking. Sometimes, it can be useful to have a companion with you. But on other occasions it’s a pain in the ass. Hence, your style of gameplay should dictate how you use them.
There are three categories of companions in Starfield. Constellation companions, unique companions, and recruitable companions. Constellation companions sustain more detailed conversations, can be “romanced” and have side missions associated with them. They can approve or disapprove of your actions and will abandon you if you become too wayward. Unique companions include Lin and Heller from the introductory mission in Starfield. They can be recruited but are less significant compared to your fellow Constellation members. There are others to be found in the various bars and clubs on all the major settlements. You may sometimes encounter them as part of a side mission. They will have names to distinguish them from generic citizens. Moara Otero is a good example, who you may meet while playing through the main story. The lowest tier of recruitable companions are usually identified by having a functional name such as “Laser Weapons Specialist”. Unique companions can be assigned to your ship or outpost and their skills provide buffs.
Only the four Constellation companions can accompany you on missions. Sadly, there is no ability to give them tactical instructions. The most you can do is ask them to wait where they are and you need to ensure that if you do, that there are no enemy NPCs or alien lifeforms about as they will go “walkabout” if the fancy takes them. However, you can upgrade your companions’ weapons and spacesuits, simply by giving them superior gear to carry. They will by default use items with the best stats. So far from my in-game experience, companions cannot die. They are temporarily incapacitated and will cease to participate in combat. After a while they recover and resume normal activities. Namely, getting in the way and smothering you in overlapping dialogue. Players who prefer solo gameplay can choose to travel without companions. There’s a trait that you can choose initially, that buffs you for this, as a means of compensation for your choice.
Playing Starfield Part 4: Upgrading Your Ship
These posts are all written after playing a lengthy session of Starfield. Often some of the points raised are clarified later. So, it would be remiss of me not to revise a comment I made previously about scanning when surveying a planet. It turns out that there is a surveying skill that you can invest points into that improve the efficiency of the process. Let it suffice to say that it does make things easier. Now that’s out of the way, I want to focus upon the necessity to replace your ship as soon as possible in Starfield. The Frontier, which is the first vessel you’re given access to in the game, has a lot of character but it doesn’t have much else. It is lacking in damage output and is therefore a bit of a liability in space combat, even after you’ve unlocked targeting in the skills tree. I therefore made it a priority to replace it as soon as possible.
These posts are all written after playing a lengthy session of Starfield. Often some of the points raised are clarified later. So, it would be remiss of me not to revise a comment I made previously about scanning when surveying a planet. It turns out that there is a surveying skill that you can invest points into that improve the efficiency of the process. Let it suffice to say that it does make things easier. Now that’s out of the way, I want to focus upon the necessity to replace your ship as soon as possible in Starfield. The Frontier, which is the first vessel you’re given access to in the game, has a lot of character but it doesn’t have much else. It is lacking in damage output and is therefore a bit of a liability in space combat, even after you’ve unlocked targeting in the skills tree. I therefore made it a priority to replace it as soon as possible.
There are three ship categories in Starfield. A, B and C. A is the default, B the intermediate class and C being the largest and most powerful vessels with the biggest cargo capacity. The categories are accessed via the piloting skill, and it requires 4 skill points to fully unlock. Upgrading your existing ship is the quick and easy way to improve your weapons, shields and engines. Highlighting any potential upgrade clearly shows if it offers any statistical improvements over your current item. Building is a more involved process where you can customise your ship in far more detail. However, each ship category has specific parameters, so you cannot add items indefinitely. Sometimes adding equipment means you have to relocate other items. You also have to consider how adding to your vessel affects overall power management. However, it is worth the time and effort as all the ships in the game have a very functional and industrial aesthetic. Like the Eagle transporters in Space: 1999 and the USCSS Nostromo from Alien.
I’m sure it comes as no surprise that tinkering with your ship or buying a new one comes at a significant cost of credits. So if you are low on in-game funds, you can always play some specific missions that reward the player with a free new ship. Alternatively, you can steal them. So far, during planetary exploration, I have encountered three Crimson Fleet vessels that have landed for nefarious reasons. I subsequently boarded them, made my way to the cockpit, and killed the captain as well as the crew. I then claimed the ships. This is a good way to make money, but you must register a ship before selling it, so there’s a fee to be paid in advance that reduces your overall profit. However, it does not negate the value of this source of credits. Plus stealing “bad guy” ships does not upset the authorities. Another point to remember is that you can rename any of your ships. Go to the ship builder menu and you’ll find the rename option within the flight check window.
Don’t forget to assign crew members to your ship as each has skills that will buff specific systems. You can use your existing companions for this or go to a bar and recruit the local “scum and villainy”. These non-companion crew members must be paid. Remember, the bigger the ship the bigger the crew. My current ship requires seven and for some reason, when the ship is travelling, Vasco resides outside on the hull. As for the ship itself, it acts like a house, in so far as offering storage and research facilities. You can also decorate the interior by placing items on desks, shelves etc. However, this is a Bethesda game so it’s just as fiddly as in Skyrim. Personally, I advise decluttering your ship or else the crew and you will be forever knocking items on the floor. Finally, don’t forget to have a “look-see” around any new vessel. I found some weapons cases that came with it and they contained some fairly good gear.
Playing Starfield Part 3: Play Randomly or Follow a Guide?
It is quite easy to get overwhelmed by the sheer quantity of things to do in Starfield. You can be walking through the plaza in New Atlantis, pass a pair of NPCs talking about something and the next thing you know you have a new mission to complete. As with most video games, there is a hierarchy of importance when it comes to the various tasks you are asked to undertake. Players may feel obliged to focus upon the main story during their initial first six hours or so. Such a strategy usually provides players with an overview of the game’s mechanics as well as providing some essential items such as gear. But it can feel a little smothering to have content continuously added to your mission journal. Especially if you’re the sort of player that likes to impose structure upon your gaming and likes to undertake tasks in an orderly and methodical fashion.
It is quite easy to get overwhelmed by the sheer quantity of things to do in Starfield. You can be walking through the plaza in New Atlantis, pass a pair of NPCs talking about something and the next thing you know you have a new mission to complete. As with most video games, there is a hierarchy of importance when it comes to the various tasks you are asked to undertake. Players may feel obliged to focus upon the main story during their initial first six hours or so. Such a strategy usually provides players with an overview of the game’s mechanics as well as providing some essential items such as gear. But it can feel a little smothering to have content continuously added to your mission journal. Especially if you’re the sort of player that likes to impose structure upon your gaming and likes to undertake tasks in an orderly and methodical fashion.
This can lead to a minor dilemma. If you play through Starfield randomly, going where you want and dealing with missions as and when you encounter them, you may unintentionally miss content that yields beneficial results. Especially at lower levels. For example, after an early encounter with pirates, there’s a good chance that you’ll end up with a datapad with a message titled “secret outpost!” in your inventory. Let it suffice to say, reading it starts a mission that is well worth pursuing early on in the game. Doing so when you’ve sixty or seventy hours in may not yield such good results. And it is this sense of not knowing, “am I making bad decisions” and “am I playing this wrong” that can lead to a kind of gaming paralysis for some players. Especially if you later feel that you’ve inadvertently “gimped” yourself.
The alternative to this situation (if it is something that personally affects you) is to watch videos and use Google for information. Already there is a wealth of Starfield gaming guides available which opine about the best traits, weapons and ships, as well as a which order to complete the various missions. However, it can be argued that once you opt to go down this road the game may lose some of its mystery, as its overall experience is rendered structural by the player. Yet, some are happy with this trade off compared to the worry of making a suboptimal choice and FOMO. I have watched a few YouTube videos from creators I trust and have picked up a few useful tips, without any major spoilers. And I proactively researched how and when I could get a new ship, as the Frontier is woefully underpowered. However, this again raises the point that I am managing my experience of the game.
At the time of writing this post, I have played Starfield for 20 hours. I have resolved all performance issues and am happy with the current graphics settings. The story and side missions are well written and the voice acting is very good. I have mastered the basics of the game and can now shoot and navigate ground combat competently. Space combat has improved immensely after putting a skills point into Targeting Control Systems and replacing my starter ship with something more robust. Here are a few more bullet points of things to consider about Starfield.
The lack of a viable ground map is very inconvenient. Trying to find vendors without any guidance is a nuisance.
There is little or no detail regarding the weapon select wheel. I only realised there was one when I saw it on a YouTube video. This is essential to be able to hot swap weapons on the fly.
Inventory management is slow and complex. You can store items on your character, or with a companion or in your ship’s hold. You have to manually trawl through all of these entries to use or trade. It is an inefficient process.
Do not make the mistake of looting too much and becoming overburdened while exploring a planet. You cannot use swift travel back to your ship when overburdened and it makes the journey back long and tedious.
Surveying a planet is an arduous chore. It would be greatly improved if your scanner could detect more from a distance, so you didn’t have to run around trying to find a few elusive flora and fauna to get 100% completion. Some sort of vehicle would improve this process.
Playing Starfield Part 2: Installation and Early Access
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 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.
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
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.
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.
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.
Save Scumming
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 (™).
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?
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
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 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.
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.
Hype and Starfield
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.
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.
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”.
Red Dead Redemption 2: A Genre Milestone
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.
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.
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.
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.
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.
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.
Getting Stuck in Video Games
Before I begin, this post comes with a massive caveat. In fact let’s go so far as to say it is a massive, highly polished and lavishly tooled caveat. There are gamers out there that play video games to challenge themselves and to be the best. Some do it for bragging rights. Others just do it for their own self satisfaction. This is fine. You do you. As long as your gameplay and gaming philosophy doesn’t impact anyone else negatively, then that’s fine. Let me state for the record that I am not that kind of gamer and this post is aimed very much at the average person who plays for entertainment, fun and to unwind. You know, the majority of people who play video games. So any responses to this post that fall into the “git gud” school of thought are irrelevant and can politely “go forth and multiply. Now we have established our frame of reference, let us proceed.
Before I begin, this post comes with a massive caveat. In fact let’s go so far as to say it is a massive, highly polished and lavishly tooled caveat. There are gamers out there that play video games to challenge themselves and to be the best. Some do it for bragging rights. Others just do it for their own self satisfaction. This is fine. You do you. As long as your gameplay and gaming philosophy doesn’t impact anyone else negatively, then that’s fine. Let me state for the record that I am not that kind of gamer and this post is aimed very much at the average person who plays for entertainment, fun and to unwind. You know, the majority of people who play video games. So any responses to this post that fall into the “git gud” school of thought are irrelevant and can politely “go forth and multiply. Now we have established our frame of reference, let us proceed.
Every now and then all of us who play video games to varying degrees, will encounter a task, mission or boss fight in our game of choice that they cannot complete. It may be due to not having the right gear or an unexpected increase in difficulty. And if we are brutally honest with ourselves, it may all come down to our own reactions and lack of dexterity. Whatever the reason, it is never a good thing to encounter. For example, recently while playing Star Wars: The Old Republic (specifically Knights of the Fallen Empire. Chapter XII: Visions in the Dark) I got stuck on a boss fight. The NPC, Vaylin, uses ranged and melee force attacks. You have to avoid ground based AoE attacks and do damage at close quarters, as they have a force bubble that reflects damage. I play a class that does ranged DPs (Smuggler) but this fight is better suited to a Jedi. The story restrictions means there’s no companion present to do healing. So I lost health faster than I could do damage. Hence I died. A lot.
Now this is a classic example of how a “one size fits all” boss fights can leave some classes at a distinct disadvantage. I don’t mind a challenge to a degree and don’t expect things to be continuously tickety-boo in games. However, there comes a point where having to repeat something that you are patently struggling with, ceases to be enjoyable. Due to the way SWTOR is designed, if I couldn’t complete this bossfight, I could not progress any further through the expansion. From a business perspective, this is not a good situation. An unhappy customer is likely to stop playing and paying. I came dangerously close to this. I was frustrated and also annoyed because I take a very transactional approach to gaming. I am not paying to challenge myself and to be the “best I can be”. I am paying to be entertained. I don’t expect to be impeded by a game.
Now I would like to draw your attention to several single player games that I have played that take a very proactive approach to “players getting stuck”. Call of Duty Modern Warfare 2 politely asks whether you would like to lower the difficulty setting, if you keep getting your butt kicked. Ghost Recon: Breakpoint, as well as many other big, action RPGs, has a “Story Mode” which radically dials down the difficulty of the content to allow players to focus on the narrative. Now SWTOR does have three modes of difficulty but sadly it doesn’t seem to be a finely tuned system. Even in the basic story mode, there are several fights throughout the game that are disproportionately hard. They seem to penalise some classes. So perhaps there needs to be more than just a choice of difficulty.
I eventually completed this problematic content in SWTOR. It took 17 attempts. I succeeded mainly by luck and using a medpack and came out the other end with just 7% health. I don’t consider this to be a moral victory and even now, when reflecting upon this experience it antagonises me. Simply put, this is poor game design. Games are a business and I see no merit in pissing off customers and driving them away. I believe the games should track how many times you have failed and adjust accordingly. Offering an optional buff seems the most expedient solution. At the very least the developers could offer the player the option to skip content. Getting stuck in a game is not just bad for the player, it is bad for business. Don’t punish the player. Facilitate the player.
Auto-manage
I’m sure I’ve mentioned this issue before in previous video game related posts. But I don’t think I’ve devoted an entire article to the matter, which is what I’m going to do today. So to provide some context, I logged into The Elder Scrolls Online today as I’m fast approaching that point in the year where I spend a few months subscribing to the game. Due to some recent patch, once again all my Champion Points have been refunded. Judging by the change in graphics, it may be that the entire Champion Point system has been updated. Whatever the reason, I have to re-allocate 501points into three skill trees. I wasn’t au fait with the last system, so I followed a build I found online. Now that it has changed, I’ll have to find a new one and copy it. Until I do, my character will be gimped. Shame the game doesn’t offer a selection of generic builds that can be easily implemented at the press of a button.
I’m sure I’ve mentioned this issue before in previous video game related posts. But I don’t think I’ve devoted an entire article to the matter, which is what I’m going to do today. So to provide some context, I logged into The Elder Scrolls Online today as I’m fast approaching that point in the year where I spend a few months subscribing to the game. Due to some recent patch, once again all my Champion Points have been refunded. Judging by the change in graphics, it may be that the entire Champion Point system has been updated. Whatever the reason, I have to re-allocate 501points into three skill trees. I wasn’t au fait with the last system, so I followed a build I found online. Now that it has changed, I’ll have to find a new one and copy it. Until I do, my character will be gimped. Shame the game doesn’t offer a selection of generic builds that can be easily implemented at the press of a button.
Back in 2003, I used to play a superb, squad based, tactical shooter called Hidden and Dangerous 2. A major part of the game was picking your team and equipment for the upcoming mission. The player was given a great deal of choice with regard to weapons, explosives, ammunition and such like. If you were planning a stealthy approach you would choose gear pertinent to such an approach. If you favoured a more direct approach you would select heavier weapons. However, the developers were savvy enough to understand that where this facility delighted some players, it also bored the shit out of others. Hence in their infinite wisdom and bountiful generosity they gave us a button that would automatically equip the “recommended selection”. And there was much rejoicing. Furthermore, they weren’t the only ones that did this.
Over the years many video games have included an “auto-manage” feature. I’ve never been a big fan of real time strategy games but I did play a lot of Star Wars: Rebellion in the late nineties. If the player found managing resources across multiple planets too tiresome or wished to focus on other elements of the game, you could assign your advisor droid to take care of these tasks. Naturally it didn’t yield the best results but it was adequate enough for new players or those who preferred other aspects of gameplay such as the epic real-time space battles. Again this comes down to a matter of personal choice, whether you wish to use such a facility. Naturally it will be an anathema to the purists and I totally understand such players being against such a game mechanic. From my perspective, I just like to have a choice and a means to bypass what I see as “chores” and unenjoyable “busy work”.
People who play video games do so for lots of different reasons. Some love to micromanage excessively complex systems, meticulously reading the text and crunching the numbers in the hope of finding an optimal build. Others like extensive choices so they can try a variety of permutations. As for me, I prefer to get straight into the action and start shooting things in the face. Anything that impedes that is a pain in the ass as far as I’m concerned. Which is why I’d like to see a lot more games implement some kind of auto-manage facility. It is these kinds of quality of life services that can make the difference between quitting out of petty annoyance and soldiering on, possibly to find one’s second wind. I can’t see how including auto-manage does any harm to a game, although I’m sure there are some gaming zealots who do. In the meantime, I shall continue to live in hope and lobby for this game mechanic.