In honour of Zelda: Breath of the Wild, this week’s music is a blast from the past. I’ve chosen three very distinct songs from 1991’s A Link to the Past – the Hyrule Overture, LttP‘s upbeat, “we’re off on an adventure” world map theme; second, the imposing Hyrule Castle theme; and perhaps the most interesting of the three, the Dark World theme, which for me always conjures up memories of Link standing atop that ziggurat, the sunset in the background. Enjoy!
This week’s top read is Chris Thursten’s (Eurogamer) analysis of Zelda: Breath of the Wild, which frames its design in the context of games such as Far Cry 2 and Morrowind. These titles expanded the list of available verbs and then encouraged the player to experiment–a philosophy that, the article argues, goes on to guide Breath of the Wild.
Joe Donnelly at PC Gamer profiles two Cities: Skylines modders whose hobby transformed their lives — one now works for Arkane, while the other overcame depression and returned to creating art. Inspiring stuff.
Rob Fahey at GamesIndustry discusses the subscription models being pursued by Microsoft and Sony.
Finally, Tom Marks at PC Gamer previews Tooth and Tails, a short-form action-RTS. While the preview likens it to a condensed Starcraft II, it reminds me more of Herzog Zwei.
In honour of the release of the Nintendo Switch, this week’s theme is the Greatest Video Game Music orchestral version of the Mario theme. Enjoy!
Last night, I fired up Imperialism, the classic 1997 strategy game casting the player as a nineteenth-century Great Power in pursuit of world domination. It holds up remarkably well. There are two notable features about its design: (1) it’s elegant, with much less micromanagement than a Civilization or a Paradox game; and (2) it captures its subject very well. Early in the game, the world is a liberal, free-trading place; if you need raw materials you can easily buy them. Later on, the Great Powers carve up the world market and you can’t depend on anyone other than your colonies. Colonialism becomes a matter of “eat or be eaten”. It’s a cynical view of international relations… and one suited to the game’s theme. (If I have a complaint, it’s the military side of the game, which–at least for this rookie player–tends towards stalemate.)
The news of the week is Nintendo’s launch of the Switch – GamesIndustry has a good round-up. For me, the Switch is the reincarnation of the Vita – a way to play high-quality “core” games on the go – and I hope it will enjoy better fortune!
Ubisoft discusses its VR approach with GamesIndustry. The key takeaway is that the company views its early forays into VR as experiments, rather than profit drivers. I’d argue that this is exactly the right approach for a technology as nascent as VR.
The headline and subtitle of this GamesIndustry post say it all: “”You need a community before doing something like Kickstarter: Press coverage doesn’t result in more backers, indie developers say, so it pays to have your own community before you start.” I’d be interested in a study as to the characteristics of successful Kickstarter campaigns over time — anecdotally, backers have less appetite for taking a punt on untried creators (I know that I’ve become very selective, and typically prefer to back creators with a track record).
At Eurogamer, Alexis Kennedy discusses the notion of persistence in video games – from the early days of persistence-free ‘drop a coin in the machine’, through the saved game and the MMO, and to modern designs such as Elite: Dangerous. It’s an interesting topic, although personally I doubt I’d have the energy/stress tolerance for a highly “persistent” game.
Finally, two of my favourite companies in the industry have teamed up: Paradox will publish Steel Division: Normandy 44, a real-time tactics game from Eugen Systems, the developer of the Wargame series. Based on TJ Hafer’s preview at PC Gamer, the new game looks like an evolution of the Wargame formula (as visible in the screenshot below, the interface is straight out of Wargame). The differences appear to be a greater focus on morale, a new front-line system replacing Wargame‘s sectors, and a new mechanic whereby different units unlock in different phases of a match. I’m excited!
US Gamer interviews two of the people who localised Playstation RPG Vagrant Story. Notably, one of the interviewees is the superb Alexander O Smith, who subsequently worked his magic across titles such as Phoenix Wright, Final Fantasy XII, and the PSP remake of Tactics Ogre. Well worth a read for JRPG fans and those interested in video-game translation.
In a 2016 article, Rob Zacny argues that the problem with 4X games is that “they are ultimately games about progress that nevertheless have nothing whatsoever to say on the subject”; he then goes onto Alpha Centauri and Victoria 2 as games that did this right. Rob is one of the best strategy game writers today, and his analyses usually make for an interesting read.
Five years and many expansions after the release of Crusader Kings 2, its designers take a look back at what worked, what didn’t, and what had to be cut.
Several years ago, I wrote about Vietnam ’65, one of the most interesting asymmetric strategy designs I’ve encountered (and a fine “short-form” exception to a genre typified by sprawl). Now, Tim Stone at the Flare Path has posted a good preview of its upcoming sequel, Afghanistan ’11. I look forward to picking up the game when it’s out.
Remember Take on Mars, the space simulator from the developers of ARMA? PC Gamer has now posted a review. While my initial reaction was “huh?”, it turns out that the game has evolved significantly since its Early Access days; an interesting read.
How should the RPG evolve? PC Gamer asks several developers.
Musical Monday kicks off for 2017 with an orchestral performance of the Terran theme from Starcraft II. Enjoy!
Welcome back to Matchsticks for my Eyes!
At present, my gaming comprises what’s playable on an ultrabook with Intel integrated graphics. Over the last couple of months, this has included:
- Hearts of Iron IV – following the launch of Together for Victory, the Commonwealth-themed DLC, I had a great time leading (the newly expanded) India to independence and victory over the Axis, although by this stage, I know HOI4 well enough for the AI cracks to show. Playable on “medium” texture quality and 1920×1080 graphics, although definitely more so in the early game (lag was painful by the late game).
- Shadow Tactics – I have started, and really enjoy, this Sengoku Japan stealth tactics game. For the best write-up of the game, check out Tim Stone’s review at Rock, Paper, Shotgun. Playable, although this required turning down the graphics to low and shrinking the resolution to 1600×900.
- Armello – I dabbled with this gorgeous, fairy tale-themed game (refer to this Three Moves Ahead podcast for a good discussion). Comfortably playable on “medium” graphics and 1920×1080 resolution.
- Games on the Battle Academy engine, including the original Battle Academy and Sengoku Jidai: Shadow of the Shogun, unsurprisingly run fine.
- Wargame: Red Dragon – I returned to its single-player campaign, which was comfortably playable on low/medium graphics and 1920×1080 resolution.
- Other games I intend to try on this machine: Civilization VI, the original Dishonoured, and Sins of a Solar Empire: Rebellion.
In other news, GamesIndustry rounds up Nintendo’s latest investor Q&A (the full text can be found here). It’s an interesting read; topics range from Nintendo’s mobile strategy to the trade-off between expanding the company and maintaining Nintendo’s culture.
Finally, eXplorminate analyses 4X sales data on Steam over 2016. Out of the year’s new releases, Civ 6 and Stellaris dominated, with the new Master of Orion running a very distant third. Interestingly, Endless Legend has had strong legs since its initial release in 2014.
Hello, and welcome to my gaming wrap for 2016.
For me, the year was defined by five new PC strategy games — Stellaris, XCOM 2, Total War: Warhammer, Civilization VI, and Hearts of Iron IV, each of which I really enjoyed. I also dabbled with a few new releases in other genres (Titanfall 2 and House of the Dying Sun), replayed several older games (Crusader Kings II, Europa Universalis IV, Sins of a Solar Empire: Rebellion, Total War: Shogun 2, and a little Dishonored), and discovered the joys of iPad gaming (Eclipse: New Dawn for the Galaxy, 80 Days, Desert Fox, and the mobile version of FTL). Two final notable releases were Dishonored 2, which is waiting in my Steam library for me to finish the DLC for the original Dishonored, and The Last Guardian, which I intend to eventually buy alongside a PS4.
– XCOM 2 is the excellent, evolutionary, sequel to one of my favourite games. In terms of game mechanics, it’s probably the strongest on the list: it is a delight to mix and match the complementary abilities of a late-game squad.
– Stellaris is imaginative, beautifully scored, and has the potential to become one of the most significant 4X games in the last 20 years. I am particularly interested in the extent to which future updates flesh out internal politics, an area where the 4X genre could learn a lot from grand strategy games.
– Hearts of Iron IV and Civ VI are built on strong underlying designs, combining the best elements of their respective predecessors (HOI 2-3 and Civ 4-5) with new innovations; I expect both games to be stronger after AI tweaks and expansions.
– Finally, Total Warhammer successfully adapts the apocalyptic, “rage against the dying of the light” experience of Total War: Attila to a fantasy setting.
In the broader game industry, the most interesting development for me has been Nintendo’s counterattack across multiple fronts: (1) the Switch announcement, aimed at the traditional console/core gamer market; (2) well-received moves to bring Nintendo IP to mobile, through licensees (Pokemon GO) and outright development (Super Mario Run, supported by mobile specialist DeNA); and (3) laying the groundwork to take that IP beyond gaming by partnering with Universal Parks. I love the concept of the Switch — playing core games on the go is a big draw — and I look forward to learning more in 2017. While I’m also very interested in VR, I expect this to be more of a medium/long-term story.
Other releases I’ll watch in 2017 include Frozen Synapse 2, Persona 5, and Final Fantasy XII: The Zodiac Age (especially if it’s ported to PC).
Note: I will soon be travelling overseas and won’t have access to my gaming PC for several months — during that time, I expect to survive on a diet of Paradox, Slitherine, independent, and classic games. I wish all of you Merry Christmas, Season’s Greetings, and all the best for 2017!
Welcome back to Musical Monday! This week, I present “Scarborough Fair”, the old folk song used as the English theme in Civilization VI. There are two really cool things about the game’s music – first, the quality of the music itself, and second, how each civilisation’s theme evolves over the course of the game – you can hear the Ancient, Medieval (1:59), Industrial (6:08), and finally Atomic (10:07) themes below. Enjoy! Continue reading “Musical Monday: “Scarborough Fair” (Civilization VI), arranged by Geoff Knorr & Phil Boucher”
For years, the music of Jeff van Dyck was a crucial part of the Total War games. Some of his tracks were thrilling; others stately. This, the menu theme for Medieval 2, is sombre and thematic – enjoy!
Back in 2013, when Expeditions: Conquistador was new, I featured a gentle, atmospheric overworld theme from its soundtrack. Three years later, I still listen to its excellent music. This week’s piece is the bold, triumphant “Cadiz” – enjoy!
This year’s EB Expo continued the event’s shift away from gaming-specific content towards being a general pop-culture fair. It included the usual big-name video gaming exhibitors – all three platform holders (Sony, Microsoft, and Nintendo), major publishers such as Ubisoft, and hardware companies such as Logitech and Razer. It also offered a range of exhibitors from related fields, including science-fiction fan groups, artists and craftspeople, and the return of last year’s highlight, the Lego enthusiast group Sydney Brick Show.
More thoughts after Vault Boy:
This week’s song is Video Games Live’s arrangement of one of my favourite soundtracks, Okami. It comes from VGL’s recently released Level 5 album, available in the usual places (and also on Spotify). I think I’ve backed or purchased every VGL album so far, and this is one of the strongest. Enjoy!
While on the whole I think the Stellaris soundtrack still represents Andreas Waldetoft’s best work, the best pieces on the HOI4 soundtrack excel at conveying the flavour of their respective factions.
The Western Allies’ music ranges from hopeful to wistful, reminiscent of the music from Band of Brothers:
Vive l’Entente! My first “proper” game of Hearts of Iron IV was a journey from desperation, through grind, to eventual triumph. Playing as Britain, World War II began a year early, in 1938, when I backed Czechoslovakia at Munich. This defiance came to little avail, as the German war machine rolled over Czechoslovakia, and British workers raced to equip an unprepared military.
Finally, the Axis marched into the Balkans — and stalled in the face of dogged Yugoslav, British, and Commonwealth resistance. As British troops helped stabilise France’s Alpine front, and the United States entered the war, I dared to think Germany’s days were numbered. Would the Soviet Union take advantage of German preoccupation to march on Berlin?
The Soviets entered the war, all right — on the wrong side. Stalin sent an ultimatum to British-aligned Romania. The Romanians refused. Now, the Allies were at war with both the Axis and the Soviets. Stalemate — and a little frustration on my part — set in.
In time, I broke the stalemate. In Europe, I unleashed the “Brits-krieg”: my armoured spearhead, now lavishly equipped with tanks, trucks, and self-propelled artillery, shattered the totalitarians’ lines. In the Pacific, British marines and aircraft carriers pushed up towards Japan. After a long, gruelling war, final victory came in 1946.
Vive la France! Several more attempts, this time as France, went less well. In one game, I defeated Germany single-handed, only to be bulldozed by the Soviets pushing from the east and Spain coming from across the Pyrenees. Eventually, the stars came into alignment. Shielded by an extended Maginot Line, I built up my strength, overpowered Germany, and sat down with Stalin to determine the fate of Europe. Then when World War III broke out in response to a Soviet attack on Turkey, I did it all over again, pushing the Red Army back from the Rhine and avenging Napoleon’s defeat.
Possibly the best Hearts of Iron game yet. I’ve played this series for over a decade, since the original Hearts of Iron, and for most of that time my affections have belonged to Hearts of Iron 2. Now, I can’t imagine going back: HOI4 combines great alternate-history potential with a solid underlying design and improved quality of life. At present, as is so often the case with highly complex strategy games, its greatest limitation is the AI 1.
More detail below:
- See also Dominions and Total War. ↩
Fittingly for such a unique game, Katamari Damacy also had some rather unique music (complete with rolling-themed lyrics). This is one of my favourite pieces, smooth and listenable – enjoy!
I am pleased to present my first author interview. Django Wexler is the author of the Shadow Campaigns, a “gunpowder fantasy” series where clashing armies echo the French Revolutionary and Napoleonic Wars, while magic-users wage a covert war in the shadows. After reading the first book, The Thousand Names, I was hooked. His other works include The Forbidden Library, a young adult series.
Read on for more:
Hello, and welcome to the site!
I’d like to begin by asking about your journey as a writer. You got started via an interest in table-top RPGs, then wrote a number of novels before bursting onto the scene with The Thousand Names in 2013. How has your writing developed, during and since?
The state of my writing is a very hard thing for me to track from the inside, as it were. The first thing to realize is that I wrote a lot of stuff that never has (or will be) published, so by the time Memories of Empire, my first small-press book, came out, I’d had a lot of practice with trunk novels or fan-fiction. The Thousand Names was another three or four novels later, and close to five years, so it’s quite a jump!
One thing I’ve definitely observed is I’ve lost my taste for grand, over-complicated plots. I had a real yearning all through my gaming years to do something enormously epic in scope, and at one point I actually tried writing it — it was going to be nineteen books long, with huge continental maps and oceans of backstory, and one of those timelines that starts with “0: The Gods Create The World”. Fortunately I was dissuaded after only one novel from going on with it, because it would have been impossible to sell, but the further I come the less I really want to do something like that. I have too many different ideas to spend twenty years on one of them.
However! Nothing is every truly wasted. The whole Shadow Campaigns series actually came from one minor thread that was supposed to be woven into this mega-project, and another thing that I’m working on came from another.
How would you describe your current books? And what can you tell us about the other project that you’re working on?
The Shadow Campaigns is a fantasy loosely based on the Napoleonic Wars. It originally began as a project to do a fantasy retelling of the story of Napoleon Bonaparte, inspired by S.M. Stirling and David Drake’s The General series, which is the story of Belisarius. After I started writing it, though, it changed a lot, so it’s now only very vaguely a historical analogue. I pitched it as “A Song of Ice and Fire with guns” — a military/political fantasy set in the age of muskets and cavalry charges.
As for the next project, I have to remain fairly close-mouthed about it. There are quite a few on the horizon, though! More when I’m allowed to say.
I am the shield that guards the realms of man. When the Vampire Counts marched west into the fragmented, bickering human principalities, it was the recently crowned Emperor, Karl Franz, who came to the rescue. And when the battle hung in the balance, the weary human warriors struggling against the Vampire Count himself, it was the Emperor who charged up on horseback to deliver the final blow.
When the forces of Chaos swept south and west, razing all before them, it was the Empire that rallied resistance. My first pitched battle against Chaos was Pyrrhic, as charging Chaos monsters trampled my infantry. Only weight of numbers saved the day. I rebuilt, and with help from the free peoples of the world, my new, improved armies – bristling with greatswords, knights, and artillery – defeated the last Chaos hordes.
And finally, when Chaos was no more, and the orcish hordes to the south were beaten back, it was time to settle the final score with the Vampire Counts. An uneasy peace had prevailed in the face of the common enemy, Chaos. Now it was the Vampires’ turn to experience the power of the human war machine. Sandwiched between me to the west, Chaos to the north, and orcs and dwarfs to the south, the Vampires had lost their chance to expand, so my campaign was anticlimactic. My troops swept the Vampires aside, fought off an orc army eager for a rematch, and occupied the last settlement required to win. Victory!
Game of the Year contender. A triumphant fusion of theme and mechanics, Total War: Warhammer is intense, challenging, and often spectacular1. From the early game, when I plotted how to bring a wealthy city-state into the imperial fold, to the mid-game, when I juggled human and inhuman foes, to the late game, when I led a Lord of the Rings-style alliance that saw armies marching from the far corners of the earth to help fight Chaos, Total Warhammer cast me as the star of a fantasy epic about uniting humanity against the coming darkness. This was the experience promised before release, and wow, did the game deliver.
More detailed thoughts below:
- I played on Hard campaign difficulty, Normal battle difficulty. ↩
If so, I’d really appreciate your help filling in this survey. I love reading and writing After-Action Reports and Let’s Plays, and I’d like to start a spin-off website collecting them (effectively, Twitch for the written word). The survey will only take a couple of minutes and will help me refine ideas for the website. Results so far can be seen here – thanks for your help!
This is one of my favourite pieces of music in Stellaris, embodying the game’s – and the science fiction genre’s – spirit of exploration and discovery. At its start, it’s understated and almost ethereal; it takes on a questing, inquisitive tone around 0:45; and finally blossoms into liveliness at 2:40. Enjoy!
2016 looks to be a bumper year for strategy games, based on the release of XCOM 2 (my current pick for GOTY), Banner Saga 2, Stellaris, Total War: Warhammer, Hearts of Iron IV, and now Civilization VI. While the Civ 6 previews all seem to be based on the same briefing, PC Gamer has also conducted a follow-up interview.
In other news:
- Tim Stone at the Flare Path has a glowing write-up of Sengoku Jidai: Shadow of the Shogun, Slitherine’s new Japan-themed wargame.
- In a surprise move, Eugen Systems has announced the Netherlands as a new DLC faction for Wargame: Red Dragon. This will be the first paid DLC in the history of the Wargame franchise – all previous updates have been “freeLC”.
- Here is additional detail on Dishonored 2, including the respective powers of its two protagonists (Corvo and Emily), courtesy of PC Gamer.
- Nintendo has confirmed its interest in licensing its IP to movie creators, most likely in the form of CGI or anime.
- RIP the Disney Infinity toys-to-life franchise.
Humanity triumphant! My first game of Stellaris was a short one, as my fledgling humans were ground to dust by a nearby computer player. My second was more successful. Under the banner of the Empire of the Shimmering Stars, humanity spread out from the Deneb system – befriending the pre-spaceflight Immathurans, bringing more species and more worlds under its sway.
Some of humanity’s neighbours turned out to be friendly, or at least benevolent neutrals. I signed migration treaties, allowing us to populate one another’s worlds. Some were hostile. When my first spacefleet was destroyed in a bid to protect my Immathuran proteges, I built a second one, the Remembrance Fleet. The Remembrance Fleet went on to turn the tables, and the would-be aggressors became first vassals and then subjects.
On and on the human tide rolled, until finally I stretched too far. The Ubaric Progenitors, an ancient “Fallen Empire” (ornery precursor races populating the Stellaris galaxy), objected to my colonies near their borders. The Remembrance Fleet fought them off – just. I attempted to take the war to the Ubari capital, an ancient ringworld. It was a disaster: the combined Ubari forces crushed mine. In the ensuing peace treaty, the Ubari forced me to abandon a swathe of colonies, and to add insult to injury, assassinated my leader.
Fortunately, the Shimmering Stars had the size and strategic depth to recover. Rebuilt newer and stronger, my Grand Fleet fought off an extra-galactic invasion (one of Stellaris’ “late-game crises”)… and returned to unfinished business. Once again, a human fleet, supported by allied and vassal contingents, appeared above the Ubari ringworld.
This time, the allies outgunned the Ubari several times to one. One by one, the Ubari warships and starbases winked out. The Ubari leaders surrendered. The bronze eagle flag of the Shimmering Stars flew over a ringworld that was already old when the first humans rubbed sticks together to make fire.
Humanity now presides over the galaxy’s dominant empire. No threats remain. The empire itself is home to many species, most co-existing happily, and its highest offices are open to leaders from all species. That, for me, is victory!
Good game, 1-2 expansions away from potential greatness. Stellaris’ appeal rested on two promises: (1) a vibrant science-fiction universe, and (2) blending Paradox’s specialty, the grand strategy game, with the established space 4X genre. It delivers on the first; I am not convinced it delivers on the second, as its limited internal politics feel more like a traditional 4X. I suspect players will enjoy it to the extent they’re looking for an interactive science fiction epic rather than a crunchy GSG. Overall, I enjoyed my 20 hours with Stellaris, and I look forward to playing again several patches down the road. (Update: the developers have posted their roadmap for the next few updates, which look great! They address many of my issues with the game.)
Below, I elaborate:
Welcome back to Musical Monday. To celebrate the release anniversary of Mad Max: Fury Road, I present my favourite track from the movie. An action theme through and through (it plays during the canyon sequence), it begins all clash and discordance, before working up to the more hopeful note at 3:00. Enjoy!
The next month will be busy with strategy releases – Stellaris, Total War: Warhammer, and Hearts of Iron 4. Look forward to my Stellaris coverage once the game is out next week!
Further out, Relic has announced Dawn of War 3 – details at PC Gamer.
Interesting times for console games, with Nintendo confirming the NX for 2017 (do check out this Q&A from Nintendo’s FY16 earnings announcement), and Sony and Microsoft rumoured to be working on refreshed hardware. This retrospective on 2006 – when the PS3’s US$599 price was revealed – makes for an interesting comparison.
Finally, fantasy and anime fans might be interested in this comparison of epic fantasy and shounen anime – one about heroes summoned by an external call, the other about heroes driven (or so argues that piece). Note that Django Wexler, who wrote the article, is the author of the crackingly good Shadow Campaigns series, a military/political fantasy inspired by the career of Napoleon Bonaparte. I look forward to the next in that series!
Meanwhile, Cold War board game Twilight Struggle has been ported to Steam. The original game is highly regarded and so far, the PC port has been technically solid. If time permits, this is one game I’d like to explore further.
In other news:
- Sherlock Holmes: The Devil’s Daughter has been delayed until June. I remain hopeful for the game – while Holmes’ new character design is startling,
- Square Enix has finally announced a new Valkyrie Profile game… for mobile.
The link of the week is Shamus Young’s incredibly detailed retrospective of the Mass Effect series – 41 parts and counting. Even with my limited experience of the series, I found it fascinating; just the two introductory posts (the history of Bioware and the difference between “details” and “drama”-oriented science fiction) could stand alone by themselves. Enjoy!
In other news, here is an interesting interview with Pixar president Ed Catmull on managing a creative organisation, while balancing innovation and risk.
Update: Arcadian Atlas‘ Kickstarter campaign is now live and can be accessed here.
Arcadian Atlas is an upcoming indie tactical RPG inspired by two of the greats – Final Fantasy Tactics and Tactics Ogre. Read on for a Q&A with Taylor Bair, one half of the brother-and-sister team behind the game:
Hello, and welcome to the site! Please introduce us to yourselves and Twin Otter Studios.
I’m Taylor, the one typically found at the computer or walking my dog as I think of story details or gameplay tweaks for the game.
And Becca is the one with her graphic tablet working feverishly on art assets for our game.
We’re brother and sister living in Dallas and Austin, TX respectively, and we make up Twin Otter Studios.
Your current project, Arcadian Atlas, is a tactical RPG inspired by Yasumi Matsuno’s 1990s classics, Final Fantasy Tactics and Tactics Ogre. (The art and narrative themes — ”the choices people make in pursuit of the things they love, and the havoc it wreaks on a kingdom” — give me a particularly strong Tactics Ogre vibe.) What drew you to these titles? Were there any other notable inspirations?
We have a lot of inspirations, probably too many to count, though we definitely played Final Fantasy Tactics like crazy growing up. As kids we were pretty steeped in video games, particularly classic RPGs like Chrono Trigger, Breath of Fire, and Super Mario RPG.
Something about investing in a character is probably what drew us to RPGs most. We love characters, and our story in Arcadian Atlas is very character centered – about how people become saints or monsters because of the choices they make and the ripple effect that has on Arcadia.
This week’s theme is taken from Emperor of the Fading Suns, a cult-classic 1990s TBS that I’ve previously raved about. EFS was – and still is – the defining video game implementation of “feudal future” science fiction, with a soundtrack to match. I’m kicking around ideas for a Let’s Play; until then, enjoy!
More detailed thoughts below:
– This is how to balance a single-player game — “give the player interesting decisions” means “give the player an impressive choice of tools” 1 The punishing early game teaches several lessons: Protracted shootouts are dangerous. Guaranteed damage is better than relying on the odds. Stack the odds wherever possible. By the mid-game, we’ve unlocked enough abilities to put those lessons into practice. Every XCOM 2 class can do something cool: rangers can stealthily scout, sharpshooters can engage multiple targets on overwatch, grenadiers can choose between high single-target damage or area-wide de-buffs & damage over time, specialists can heal from a distance or inflict guaranteed damage, and psionics can do most of the above. (While XCOM: Enemy Unknown and Enemy Within also had plenty of impressive tools — snipers in Archangel armour, run-and-gun plus rapid fire, using Mimetic Skin to sneak heavies in range for an explosive barrage — I feel XCOM 2 does a better job of making every class feel powerful, with psionics the big winner.) Balance is driven by limitations on what the player can deploy, not by making the player feel weak.
– Successful fusion of strategy and RPG. At a tactical level, the Firaxis XCOM games revolve around choosing one’s favourite tools (equipment and especially character abilities), understanding how they interact, and applying that knowledge to solve individual problems — a description that could also apply to a well-designed party RPG. In turn, those problems involve multiple dimensions, such as the number and type of enemies, terrain, positioning, the mission timer, and the resources already expended (health and consumables, plus any abilities on cooldown) — factors usually associated with the strategy genre. That interplay gives these games their richness.
– Music the biggest let-down. I like XCOM 2’s visuals — the architecture of the new human/alien civilisation is surprisingly lovely, masking the iron fist beneath. The ADVENT soldiers’ big, imperious arm gestures cement them as pulp baddies. XCOM operatives’ animations are as satisfying as ever, from shimmying down drainpipes to whipping out pistols, and late-game equipment looks fantastic. Set against this, the music is merely decent — a big step down from the great soundtrack of XCOM: Enemy Unknown.
- Contrast Civilization: Beyond Earth, which gave the player underwhelming choices instead. ↩