Ubisoft Montreal’s Far Cry 2 is not an inviting game. Like the war-torn (and presumably fictional) African state it depicts, Far Cry 2 is brutal, sparse, and offers little guidance.

Right from the start, your vulnerabilities are made clear: weapons you find on the ground rust and jam; you periodically suffer the effects of malaria; damaged vehicles require basic engine maintenance; and serious injuries demand improvised surgery, often with pliers.

On top of that, combat encounters (often approached with those rusted, jamming-prone guns) are fairly straightforward FPS affairs, and with the amount of mission-to-mission driving required in the game’s enormous open world, their frequency can grate.

Many gamers have gone online to post initial frustrations with the game — an understandable reaction from the perspective of somebody unaccustomed to its structure and design ethic, particularly in the context of an FPS.

But in the week since its release, there has been an interesting phenomenon unfolding. I have seen more and more posts by people announcing that Far Cry 2 finally “clicks” with them, that they have internalized the game’s structure and systems, and have been rewarded with unique, memorable moments.

For me, those have been Far Cry 2’s stock in trade. Game designers often speak about the dominance of the personal player story over the designer’s authored narrative. Indeed, that potential is powerful, and clearly more relevant to games than any other entertainment medium. But practically speaking, to me, relatively few games truly exploit that potential.

Far Cry 2 has been an exception. (more…)

I was in GameStop several hours ago picking up Ubisoft Montreal’s Far Cry 2 for PC (a game I have been anticipating to an unusual degree for the last eight months), and I saw something on the rack that caught my eye. Besides the fact that GameStop even had a PC section that was on a wall-mounted rack rather than just a ramshackle endcap, I mean.

From the checkout line, I noticed the game on the right, Shattered Suns, which from a distance appeared to be Games for Windows-branded; compare the front panel strip with Petroglyph’s GFW-branded RTS Universe at War. Though Games for Windows Live has failed to make even the slightest splash, I’m an advocate of the broader GFW initiative, which aims to standardize various elements of PC gaming in useful ways, so I wandered over to check it out.

As you can clearly see up close, developer and publisher Clear Crown Studios (a small local outfit, as it turns out, just south of San Francisco) simply listed itself and the game title at the top, using the same layout, color scheme, and a similar font to the Games for Windows strip. (more…)

So far, so good with the weekly schedule. We recorded the second episode of Idle Thumbs last night and got it published this morning.

This week features plenty of hands-on reporting on Diablo III and StarCraft II, as well as discussion about the various Blizzard announcements (some of which are a little controversial) and a bit from TGS. There’s also plenty of hands-on from LittleBigPlanet and Fable II. Hands-on is in the air. ‘Tis the season.

Also, I composed and recorded the track “The Fanboy’s Lament,” this episode’s namesake. It can be heard during the podcast in context, with the discussion of the events that prompted it, or downloaded directly from the Idle Thumbs front page. The goal is to feature this kind of musical interlude from time to time on the show if people enjoy it.

Be sure to subscribe to our RSS if you haven’t yet, and we do have iTunes up now. Tell your friends about Idle Thumbs! We don’t really know how to promote this thing.

And feel free to send questions, comments, or feedback to questions@idlethumbs.net — we’ll read and address it on the show.

(Update: iTunes support kicked in! Hooray!)

First things first: Idle Thumbs is back in podcast form. Go check it out. If you never knew Idle Thumbs existed in the first place (a likely scenario), feel free to read on for some self-indulgent history and explanation:

In 2004, as part of a team of mainly San Francisco Bay Area- and United Kingdom-based writers, I helped launch Idle Thumbs, a gaming site that (we think) at least partially succeeded in its goal of delivering video game writing simultaneously entertaining and informed. It’s hard to pin down what exactly the Thumbs ethic was (there was more than one heated argument to that end) but it definitely had one.

At least, for a little while. As it turns out, that sort of endeavor is difficult to maintain indefinitely, particularly when you’re doing it entirely in your free time. On top of that, the limited-but-fairly-unusual exposure we got through the site became for many of us something of a springboard to other (paying) jobs involving games. (more…)

(Edit: Hey, somebody Dugg me! Go Digg it up! Hooray internet!)

This man wants to become the best game designer ever.

As such, he’s making a game. He is also homeless, buried in credit card debt with nearly no money to his name, and living out of a shelter, equipped with nothing but a computer and a copy of Game Maker 7.0. As he states in his blog profile, “I hate working!”

At first, it is difficult to know whether to believe his claims, this being the internet. A bit of investigation reveals that he asked on the GameDev forums, “Is it possible to design and/or program games, while being homeless?” In that post, dated September 5, he noted he was “losing my place of residence soon.” Two days later, he created his blog. In the inaugural post, he says, “I’m broke, homeless, and I don’t have a job,” and lays out his plan to develop his own game, without necessarily getting a job dedicated to “making someone else rich.”

He also welcomes monetary donations, explaining, “I’m broke niggas. I’m broke.”

Early on, I fluctuated between being belief and skepticism. These days, the default reaction to this sort of thing is that viral marketing is afoot, but it seems too self-contained to be that. His GameDev posts don’t promote or link to his blog in any way, not even subtly, nor do the scant few other posts I was able to dig up elsewhere, all of which seem to be earnest game development inquiries.

The game was originally a platformer entitled The NeoVerse, and included moving platforms, the ability to swim “exactly like it is in Super Mario,” and a rocket launcher. This game seems intertwined with another idea, “a blend of old school Castlevania 2D type of game with Super Mario RPG,” which eventually became more focused on the platforming elements and was redubbed Me Vs. My Robots. (more…)

I rarely make posts devoted solely to content published elsewhere as part of my job, but I did want to mention an interview that ran today on Gamasutra that I conducted with Dead Space’s producer Chuck Beaver. It was one of the more enjoyable interviews I’ve done recently, because Chuck was able to speak easily and entertainingly about the considerably thought he and his team put into the game’s design decisions. It’s always fun to be able to speak with somebody who can deliver a relevant response even when I get off the rails a bit with my questions.

From what I’ve seen and played, Dead Space seems to be one of those games that won’t be hailed as revolutionary inside and out, but will try its hand with a few intriguing progressive design elements and, perhaps more importantly, coalesces around a fairly defined and coherent design sensibility.

For example, the HUD interface, which takes the form of a projected hologram manipulated by the third-person protagonist, isn’t functionally innovative, but from a design perspective seems to take the best part of an in-world UI (the realism) and the best part of a traditional separate-screen menu (its cleanliness and straightforwardness). It’s not groundbreaking, but it’s very slick, and adds to the realization of the sci-fi game world.

Here are some excerpts:

You were saying when you make decisions about “no cutscenes” or the integrated UI, one of the hardest parts [of development] can be convincing [the team] to do it in the first place.

CB: Yeah. People are really almost religious about their belief in what we should and shouldn’t do. It’s a big binary switch, like, “Are we going to have cutscenes, or are we not going to have cutscenes?” because it’s a big, big deal in design. When we decided in the beginning that we were going to take [the switch], we’re like, “Alright, let’s go for it. Let’s go for it!” (more…)

Due to a strange quirk of my gaming history, I never played a numbered Civilization game beyond the original Civ (also known as Sid Meier’s Civilization: Build an Empire to Stand the Test of Time). That game I utterly consumed back in the early 90s when it was released, probably completing the game with every possible combination of civilization and victory condition.

Civ II, for example, wasn’t released until 1996, five years after its predecessor (I had spent much of that intervening period playing Civ), and at that point Quake, and then the mod Quake 40K/Chapter Honour (boy, there’s a site I haven’t seen in ages), become my time-sucking game of choice.

During most periods of my life, I’ve tried to consistently play games in a variety of genres—in the 90s, I was mainly into adventure games, shooters, and strategy games—but I’ve also generally had one game that lurks in the background, filling the cracks in my gaming time between this title or that title. Civ was probably the first game to hold that honor. (more…)

But they are also quite entertaining to watch, especially when accompanied by surprisingly compelling and comprehensible commentary in English.

For the next couple months, something that the website calls the Averatec-Intel Classic 2008 Season 2 and the video intro calls the TG Sambo Intel Classic is taking place in Korea, and a fellow named Nick “Tasteless” Plott is on location to deliver a spirited play-by-play alongside the amiable but rather less enthusiastically knowledgeable “Lil Susie.” The organization running the event is streaming it live as well as archiving the videos on its site. (Note that the videos are listed newest first.)

As someone who hasn’t played StarCraft in years and would probably receive a negative ranking just for logging onto Battle.net, I still find these matches to be a great watch. Plott’s audible excitement curve appears to track with the events of the game (not that I would be able to independently understand the in-game actions well enough to be able to verify that), and even my minimal level of StarCraft knowledge—I know the names of the units, basically—is enough of a grounding to allow me to keep up with the calls. (more…)

For all the traffic Crysis Warhead has inadvertently given me, I might as well share my final thoughts about the game itself now that I’ve bought and completed it.

First off: I was quite a fan of the original Crysis. It wasn’t a perfectly polished game by any means, and like most people I feel the team severely dropped the ball during the last third or so, when it turned into a surprisingly conventional tunnel shooter with aliens. But until that point, Crysis delivered some of the most open, player-driven, potentially deep gameplay I’ve ever seen in a straight-up shooter. To my mind, cries of “tech demo!” ring as falsely to me now as they did a year ago.

I say “potentially deep” because if you don’t really invest yourself into the freedom of the game’s open environments and the focus added by the game’s ability-boosting nanosuit and weapon customization, I can see where Crysis could come off as more conventional. It is also a very rare case where I consider playing on a higher difficulty level to go beyond being a personal player choice and actually becoming a crucial part of experiencing the game design in a fulfilling way. Recognizing your character’s vulnerabilities and being forced to consider your tactics carefully actually coax out depth in the mechanics—and, paradoxically, highlight your character’s suit-enhanced strengths—to a higher degree than is typical.

With that preface out of the way, it appears that Crytek decided to play it a little safer with Warhead. It is a much less “pure” expression of the design ethic demonstrated in Crysis before that game’s tonal shift. Gone—or, more accurately, significantly reduced—are the hours upon hours of pure tropical openness, in which you essentially began at Point A, then were given a Point B and little else. Those experiences still occur, but they are less frequent, and generally less sprawling. Here, they are less of the main experience and more like the occasional stretches of relaxing, open-road highway freedom between rest stops—if your rest stops consist of blowing a whole lot of shit up. (more…)

Most of the recent conversation I had with Crytek’s Crysis producer Bernd Diemer wasn’t actually about the Warhead PC—we actually discussed in considerable depth the lessons the studio learned after developing Crysis, and how those lessons were considered to make Crysis Warhead a better game.

Today over at Gamasutra we published a feature based on that interview, which ends up kind of like a postmortem of the original game as as applied to its followup. For example:

“From a pacing standpoint, we switched almost entirely to alien combat at a certain point in the game, and from then onwards the expectations were set. The players knew, ‘From now on, it’s aliens.’ Forum posters talked about the first part of the game, and the second part of the game. The public perception was really driven by these design choices — there was ‘pre-alien Crysis‘ and ‘post-alien Crysis.’

“In Warhead, we tried to stay away from that. As a team, and as a company, we’re now a lot more familiar with the IP we created. Crysis‘ nanosuit actually came into development rather late, while we were building the game. As a game designer on Crysis before I moved into the producer rule, I had to convince level designers into changing levels to be more suitable to the nanosuit gameplay. If somebody had spent three months working on a level, it can be tough to accept a different mindset for that level. Now, as a team, we are much more comfortable with how levels have to be built. The nanosuit makes sense.”

It’s a pretty good read, if I do say so myself (and I can say so myself without feeling bad about it, since the whole thing is in Diemer’s words). If, like I was, you were a fan of Crysis but were also aware of its flaws, it’s encouraging to see that the Crytek team recognized those flaws as well. Diemer is straightforward and demonstrates a strong grasp of design, and I’m looking forward to playing the result of that.