Archive for category games
Time4Cat and Indie Tech Demos
Posted by The Management in games on February 22, 2009
I think the first time I saw time-rewinding in a videogame was in one of EA’s NHL titles back in the 16-bit era. Granted it wasn’t a vital part of the game — just a way to view replays — but it’s worth mentioning. No one really thought of tying it deeper into gameplay until Prince of Persia: Sands of Time rolled around. SoT not only presented the concept in an attractive wrapping, but also made it a crucial part of its gameplay and storytelling.
Then, of course, there was Braid.
I was a bit sceptical about Braid at first. It was getting lots of attention from the indie community after only a short demo that showcased a rewinding mechanic very similar to that of SoT. In the end, though, Braid turned out to be so much more. It tied numerous time-manipulation concepts into one of the most interesting and unique games to be released in the last couple of years.
As a result, it’s not too surprising that smaller-scale games have begun to pop up and try to experiment with similar concepts. Which brings us to Time4Cat.
It’s a relatively simple, single-screen game where the player’s mouse cursor is a cat. Moving the cat around sets random pedestrians in motion, while holding the mouse still stops them in their tracks. The main point of the game is to gather up leftovers that spawn on the playing field but don’t follow the cat-moving time mechanic; wait too long, and the leftovers disappear. Power-ups also sporadically show up and can aid you in not touching any of the pedestrians (which results in a game over screen).
It’s a casual experience reminiscent of Braid’s fourth world, but it’s not nearly as well executed. The reason for this is that it’s simply not tied into much of a game.
In Braid, the Time and Place world was a theme in a larger story, and its time mechanic was central to solving its puzzles. In addition, really good audio and visual effects accompanied the time manipulation (a particularly nice touch was the music playing normally when walking right, rewinding when walking left, and nothing playing while the player stood still). Being part of a larger game also meant that it had a role in its pacing and could be used to reference other parts of a larger experience, i.e., reusing the by-then familiar Donkey Kong level with an all new toolset.
Now Time4Cat and similar titles don’t have to shoot for the scope of Braid, but they’d benefit from being more complete games. After all, proof-of-concept tech demos tend to be forgettable (Tower of Goo), but well executed games are not (World of Goo).

Monster World IV Bits
Posted by The Management in games on February 21, 2009
Monster World IV is something of a semi-official sequel to Wonder Boy 5: Monster World 3. It’s a cutesy, large-sprited side-scroller in which the player takes on the role of a young girl named Arsha.
The game is mostly a linear platformer with some rudimentary puzzles and RPG elements, but its highlight is the cute little sidekick Pepe. It’s easy to initially assume that Pepe will help you fight the various enemies you encounter, but he never actually attacks anyone. Instead, he can be used to help Arsha traverse the game’s environments. This might not sound like a big deal, but the there’s lots of variety here:
S.T.A.L.K.E.R.: Shadow of Chernobyl Bits
Posted by The Management in games on February 18, 2009
S.T.A.L.K.E.R. is a non-linear FPS developed by Ukrainian studio GSC Game World. Thematically and conceptually it’s based on the novel Roadside Picnic and the movie Stalker, but gameplay wise it’s a mishmash of various genre conventions.
It’s also very much a hardcore game that’s difficult to play because of its mechanics and its dreary atmosphere. Still, there’s a lot of interesting stuff here:
The Trap Door Bits
Posted by The Management in games on February 15, 2009
The Trap Door is an old claymation TV series that also got a videogame treatment. It’s particularly noteworthy because it came at a time when videogame genres were not that well defined. This resulted in some unique mechanics transplanted directly from the show.
The highlights:
- The game contains only basic movement, and the ability to raise/pick-up or lower/drop-down various objects.
- There’s no inventory or in-game menus of any kind.
- The game is split into multiple missions, each one involving creating a different meal for “the thing upstairs.” Making these meals involves navigating a handful of screens that comprise the castle and utilizing the various bizarre items and monsters at hand.
- Only a single item can be carried at any one time, but items can also be flipped upside-down. This often results in other items falling out, which can themselves also serve as containers for other items, and so on.
- Raising/lowering a lever opens/closes the titular trap door. You have to open it to let certain monsters out, and quickly close it to keep others in. If something is standing on the door while you open it, it gets launched into the air.
- Although the monsters that come out of the trap door directly relate to your current quest, they’re still randomized and give off a feeling of wonder — you never quite know what to expect next.
- Part of the HUD is a constantly growing meter that represents your overlord’s impatience. When it reaches the top in easy mode, the mission is switched (each mission requires making a different dish), but on the hardest difficulty you simply get the game over screen.
- Certain objects are too big to be picked up, but they can be pushed around the environment. Properly positioning them is part of numerous puzzles and goes hand-in-hand with the context-sensitive process of dropping items (they can be placed back on shelves, dropped into other items, thrown into the trap door, etc.).
- Jumping down the trap door kills you.
- Picking up the talking skull will cycle through a series of clues dealing with the current mission.
- Monsters can travel from screen to screen and even interact with one another, i.e., the ghosts — for some reason — will hunt down the worms that you use as ingredients.
- One of the trap door creatures hops around and is used to squeeze juice from a vat full of eyeballs. Another one breathes fire and can be tricked into boiling a cauldron of slugs. Another one still will fly around and will need to be stunned by launching something at it using the trap door. Once hit, it will become stunned and will lay an egg onto a frying pan, a key component of one of the dishes.
- A drop-weight in one of the rooms can be used by manipulating a lever — this allows the player to crush objects and kill rampaging monsters.
- Once all the dishes are done, you have tidy up. This actually involves throwing every item in the game into the trap door and getting rid of all the creatures! Your skull buddy is not exempt from this either, screaming “wheee” as he gets catapulted into the air and “owww” on his way down.
- At the end of The Trap Door, you’re paid by having “the thing upstairs” lower (using the same dumbwaiter you used to send up food) a safe. To open the safe, you need to crush it with the drop-weight, adding a nice element of interaction to the game’s conclusion. Raising it all the way up, though, will destroy the safe and its contents!
Paper Moon Bits and GAMMA 3D
Posted by The Management in games on February 13, 2009
Edge (probably the best overall videogame magazine still in print) recently ran a feature on Kokoromi‘s GAMMA 3D challenge. The focus of the event was stereoscopic imaging in videogames; in layman’s terms, the red and blue glasses that make things “3D.” Jason Rohrer‘s Passage made waves after last year’s GAMMA 256 challenge, so I was curious to see what Kokoromi’s latest event would showcase.
Well, Fireflies definitely looked interesting, as did all the other entries, really, but most of them haven’t yet been made public. The demo of Infinite Ammo‘s Paper Moon is available right now, though, so I decided to check it out.
Bullets:
- Obviously, a stereoscopic graphic presentation.
- All art consists of jagged paper cutouts. The art was initially hand-drawn on paper with a Sharpie, then scanned in and touched up in Photoshop.
- Jumping is only accompanied by “shifting,” a mechanic that — in real-time — swaps the layer property of certain on-screen objects. This effectively pushes things into the background pulls them into the foreground, with the character usually finding himself somewhere in between.
- Death is not really penalized on account of frequent checkpoints and unlimited continues, and it’s actually required to solve some of the puzzles.
- Paper Moon contains a hard, 5 minute time-limit, but that’s simply a result of Kokoromi’s submission guidelines.











