My latest Rock Paper Shotgun piece went up a few hours ago. It contrasts Michael Brough's local multiplayer epic Kompendium with Alexander "droqen" Martin’s Starseed Pilgrim, highlighting how both games have a spoilery exterior that prevents you from talking about them in too much detail.
Here's an excerpt:
We were locked in a duel with unknown rules – so we talked rather than competed, exchanging theories about what we were supposed to do. Even though each game in Kompendium is a fight to the win, the ambiguity of its rules means players often start out in a cooperative struggle against a common enemy: the opaque system.
Of course, there’s a dangerous point after this where the fog lifts more quickly for one player than the other and they acquire the knowledge to win. I figured out “March Eternal” before Gregg did and had to consider whether to explain to him what I had figured out. I considered it and then I destroyed him.
Look, this is going to be a short post as I am still working on resurrecting my PC. The above image from Watch Dogs (Ubisoft Montreal, 2014) snowballed on Twitter this month. Perhaps the one with 2,000 retweets is the original although I've found a mention of this unfortunate juxtaposition back in June on the Giant Bomb forums:
How about after his tear jerking moment at the grave, you are immediately presented with a "Vault" prompt on the tombstone. I hoped over my niece's grave 4 times, having a good laugh at how silly it was.
It's true. Over the grave of the protagonist’s niece hovers a ghost. A ghost called Vault. This means we can finally discard that monstrosity ludonarrative dissonance and instead write the game vaults the grave.
It’s a brilliant example of where systems clash with narrative intent but... also misses the point.
This is the concluding part of The First Open World in which we discuss the true nature of Mercenary, the ending and its legacy.
Because Mercenary could conceivably play for ever, there is a save gameplay facility. A winning situation should also be saved, as this will give beneficial entry into "Mercenary II".
– Mercenary: Escape from Targ instructions
Mercenary is a game cleaved into two.
The city and the underground represent its two sides that maintain an uneasy coexistence. The surface has been drained of function, whereas its underground maze game is saturated with it. It's as if a true, borderless open world cannot support anything resembling player agency.
With Woakes' predilection for challenging the player with opaque systems, perhaps it was destined that Mercenary's approach to the open world would eventually fail as a commercial model.
But that view is short-sighted and misunderstands what Mercenary is.
This is the second part of The First Open World.
Technically, Mercenary: Escape from Targ (Novagen Software, 1985) was not the first open world. That title probably goes to Ultima (Richard Garriott, 1981) like the Wikipedia entry for “open world” currently suggests. But Mercenary stands alone as representing the open world sandboxes that are big business today. This is why it was critically acclaimed and jumped from the Atari 8-bit to practically every other home computer at the time, even the ZX Spectrum which I had believed too underpowered to support it.
But lest we get too wrapped up in golden age nostalgia, let's cut some of the crap here. Mercenary did not deliver on all the promises Novagen sold to the gaming public.
This is an appendix to the Where We Came From series.
For Mercenary, author Paul Woakes, has created what can only be described as a world simulator. The first release using this technique is sub-titled "Escape From Targ".
– Mercenary: Escape from Targ instructions
Paul Woakes’ debut title on the Atari 8-bit home computer was a tense and memorable re-imagining of Battlezone (Atari, 1980) called Encounter! (Novagen Software, 1984), using vibrant raster graphics instead of the flickering green wireframes of the Atari arcade original. It quickly became a favourite for Atari owners who liked their action games to be fast and responsive.
Shortly after, hints of Woakes’ followup title began to seep into the news sections of computer magazines. What could Atari owners expect next from a developer whose first title had conquered the action genre?
A first-person 3D open world offering intrigue and complete freedom to explore a planet.
I've talked about Boson X (Mu & Heyo, 2013) a few times now. First, it was my way of explaining why I didn't get into Twine. Then I released a video to explain how players navigate the fast-moving space of the game. Finally, I came out and admitted that I had become addicted, desperate to get on the leaderboards. It was my little Super Hexagon (Terry Cavanagh, 2012) for a while and then I put Boson X away behind a thick wall of lead, with all the other radioactive isotopes.
But Boson X is back.
This week’s viral video masterpiece is a surreal Russian dash cam road rage incident. Thanks to longtime Electron Dance reader Ketchua, it hit my Twitter a couple of days ago and the ensuing laughter brought tears to my eyes.
Then I started thinking about the context around the video, why it was funny and how it's an analogue to the problem of games that act all serious.
When I read some fiction about a character, say he’s called Dave, who did something terrible, I don't feel guilty about it. It's not my story, right? It’s Dave’s. And Dave is a piece of shit.
But what if the book forced you to act out what Dave did, go through the motions like some puppet? Would you feel guilty then? Would you feel like it was all your fault? Perhaps I should ask an actor.
And this here is THE LINE you should not cross if you want to avoid spoilers for third-person shooter Spec Ops: The Line (Yager Development, 2012) and the epic Immortal Defense (RPG Creations, 2007). Okay, maybe Penumbra: Black Plague (Frictional Games, 2008) too.