Win scenario: Escort the VIP into the Assault base (Escort).  Tag the VIP entering the base (Assault)

One team escorts the VIP, one team assaults the escort. Game is over when the VIP is tagged.  VIP takes guidance and advice from the teams, and may comment on the soundness of a strategy, or [...]]]> Classic VIP

Win scenario: Escort the VIP into the Assault base (Escort).  Tag the VIP entering the base (Assault)

One team escorts the VIP, one team assaults the escort. Game is over when the VIP is tagged.  VIP takes guidance and advice from the teams, and may comment on the soundness of a strategy, or alert teams as to incoming troops, or call for additional cover (eg ask for respawning players to accompany them)

Variants

• No respawn: Escort and assault drop numbers as the players are tagged. Can lead to a fast imbalance after the first clash. Win Scenario includes wiping out the opposing team.
• Base Respawn: Unlimited spawns, but spawning from the starting base – as the VIP gets closer to the end zone, the reinforcement waves for the attackers are faster, and the escort has to play more cautiously because of the lag between tagged and respawning
• Hostile VIP: VIP is not playing for the Escort team, and doesn’t contribute comments, ideas or mention incoming troops.  Hostile VIP can be “captured” by a hand tag from the Assault team (or a 3 or 10 second count. Like a medic revival). Assault win Scenario is liberation rather than tagging the VIP.

One Way VIP (TF2 Bomb Cart mode)

Time Limit (15 minutes for a walking distance that can be covered in about 5 to 7 minutes)

Win Scenario: Escort the VIP into the Assault base (Escort).  Prevent the VIP entering the base (Assault)

VIP is immune to all tags/darts/discs. The VIP starts at the Escort Team base, and walks forward on a predetermined route to the Assault team base.  They move at a walking pace when one or more of the Escort team is within arms length of them (number required determined by team sizes). If the Escort Team does not have players in range, the VIP stops walking.  If the Assault Team has players in arms range (1 to 4), then the VIP stops and kneels (Captured) until the Escort team clears the Assault team from the VIP.  Both teams have unlimited respawns (the only way to ensure that the VIP can continue to be captured)

Variants

• Non immune VIP: Being tagged stops the VIP for a 10 count. This encourages body shielding, and players getting taken out by saving the VIP, rather than using the VIP as a meat shield.

Two Way VIP (Walking Flag):

Time limit 20 minutes for a walking distance that can be covered in about 5 to 7 minutes. This is not going to be decided easily.

VIP starts in the middle of the map, and can travel along a preset path (marked by cones) either towards Team A or Team B’s bases. Win scenario is to escort the VIP into the opposing base, or to have the VIP closer to your opponent’s base eg on a map divided into five stages (A2 A1 0 1B 2B), having the VIP in Zone A1 or A2 is a win for Team B.

Variants

• Non immune VIP: Being tagged stops the VIP for a 10 count.
• Grenade!: Only sock hits immobilise the VIP for a 10 second slow count
• Tug of War Mode: The “VIP” is a box that must be carried, rather than a player. Useful to have a moderator/referee hang around the box for dispute resolution.

Think about it. A starship captained by Janeway, with co-pilot Leia Organa. The Blockade Voyager will be fast, small, and immensely in need of upgrade and repairs as Engineer Kaylee Frye tapes back together what the Borg and Empire just tried to blast apart.  Heading up the rest of the onboard crew is [...]]]>

Think about it. A starship captained by Janeway, with co-pilot Leia Organa. The Blockade Voyager will be fast, small, and immensely in need of upgrade and repairs as Engineer Kaylee Frye tapes back together what the Borg and Empire just tried to blast apart.  Heading up the rest of the onboard crew is First Officer Eleanor Ripley as the away team leader, and primary mecha pilot.  No surface going exploration of anywhere doesn’t start with a flamethrower, minigun and grenade launcher being loaded onto the back of a powerlifter (it’s the only way to be sure).  Diplomacy is negotiable, but if it needs to burn, explode or be pulverized, Ripley has the hardware at hand (just in case).

Ensuring that where they go contains trouble most identifiable is the combined team of Science Officer Donna Noble and Magic Officer Hermoine Granger. What ever the universe has, they’ll be able to spot it, catalogue it, and determine whether it’s run, befriend or shoot time.  (Or which combination is best suited).  For shipwise security, the corridors, ducts and ceilings are checked by Operational Security (Deputy Chief of Violence) River Tam. 

On the flight deck, alongside pilot Kara “Starbuck” Thrace is Ensign Bella Swan who was rescued from a planet load of glow in the dark sparkling undead creatures.  Swan and Thrace have a ragtag collection of mostly borrowed small craft in the hangar bay, depending on what they broke last week, and what wasn’t locked at the last starport they visited. 

Rounding out the show is their go-to officer, Major Kira Nerys, who usually knows where to find them work, or at the very least, someone and something that deserves a considerable ass-kicking.

Specifically though, the new series is hysterically funny in parts – I [...]]]> I am a bit of a fanboy tragic about the My Little Pony series.  Given that I once said “Can I have a pony?” and received a flotilla of My Little Ponies from my friends and students, I have history with the franchise.

Specifically though, the new series is hysterically funny in parts – I had to stop and rewind to see if the series did comfortably parody every RPG video game in history with the arrival into the new village scene (it did).  The show does periodically induce incoherent noises from me as the level of cute goes into overload, and the catchphrase generator they’re running behind the scenes has created t-shirt and poster slogans by the dozen. (I am rather fond of the phrase “i simply cannot let such a crime against fabulosity go uncorrected. I want a poster that has Verity in Batmanesque pose declaring “Crimes against Fabulosity will not go uncorrected”.)

Also, Fluttershy is just amazing.  I mean, so amazingly amazing.  (Team Fluttershy!) although I am oddly fond of Verity and Applejack.  Pinky Pie is just a couple of skipped doses away from psychosis, and, well, Twilight Sparkle and Spike are great and all, but yeah.. Fluttershy (I marked out harder than a Cena fan at Wrestlemania).

This show you guys. This show! *flails incoherently*

And yes, I have my own custom generated pony . That would be Money Pony. What? You expected something else?

My Little Pony

Meanwhile, I’m having this sort of evening with my collection of Pendulum albums.

It’s rather epic being us.

The Good Part: Aka the reason I own the game: The Sandbox World

The open world sandbox is much more fun than the storyline. Seriously, the only reason I bought RDR was for the [...]]]> Summary:

• Gameplay, game environment, open world, music and visuals: Excellent
• Storyline and connected creator controlled elements: Moderate to Problematic.

The Good Part: Aka the reason I own the game: The Sandbox World

The open world sandbox is much more fun than the storyline. Seriously, the only reason I bought RDR was for the open world experience of wandering through the landscape with the incredibly well designed audio atmosphere.  In fact, I could seriously just live without the storyline.  The Rockstar Social Club Challenge was much more intense, dramatic and interesting than the at least half of the storylines – and all I was doing was trying to achieve three tasks in a short timeframe.

The sub-missions for hunting, gathering and trick shooting read like Grinding at first glance until you start trying them out, and it gets ludicrously engaging. Seriously, I spent several hours patrol one patch of the game trying to set up a knife fight with a wild cougar, and it’s provided some of the most intense, frustrating and funny moments of gaming in the process.  Random encounters with horse thieves have provided remarkably entertaining moments – one thief stole my horse up in the cougar country area, rode off, and when I whistled for the horse, the thief was bucked off into a herd of oncoming wolves.  It was ironic justice for the horse to use wolves as a defensive weapon.

Similarly, the interaction of the NPC elements has been surprisingly well done – there’s two recurring Marshalls who wander into scenes shooting aimlessly at an escaped prisoner.  These two show up in the cougar territory during the three hour hunting safari, and the damn cougar tackles one of them clean out of nowhere. They’re walking away, I’m watching them, and suddenly *bam* cougar strike, and gunfire, and one NPC is down, and the other is trying to fight off a wild cat.  It was quite awesome.

Same thing for the hunting – once you start downing various animals, skinning them, and building up a stockpile of animal corpses, the wild dog per square inch of game count does go through the roof. You can’t just farm away without getting increasingly more problems with the scavengers and predators (and it plays out that you can prime an area to get the bigger predators to appear).  Sure, the bit where 16 wolves in a row arrived was an unpleasant end to a day, but hey, taught me the lesson to MOVE THE HELL AWAY at key points in the body counts.

Music and sound are the best two NPCs in the game – another massive feature of the environment are the audio cues, and the way gunfire rings out in the night differs from the daytime. There’s directional sound cues, audio triggers when you’re about to hit a tough area to patrol so you’re amped up as a player, ready for the action.  I’m playing on a standard stereo rig, and I’d love to experience this game in 5.1 Surround so you can hear the directional information.

Visually, the game has to be run on an Xbox360 or any other fixed component system. If I was running this on the PC, I’d have cranked down all the environment settings, graphics, field rendering, and I’d be missing the point of the open world.  The weather effects make a massive difference to the immersion in the game. Bounty hunting  through a rainstorm with blinding flashes of lightning, and squalling rain is a totally different sensation to trying to sneak up in the break of dawn (or just on dusk), or brazenly walking into the camp under the midday sun.  It’s the visual and audio cues that make world so engaging – wander through the night under different moonlight conditions, and have different ranges of vision.  Camp fires flicker in the distance, gunfights sparkle, and wolves appear out of bloody nowhere. It’s immersion done well.

The Problems: Storyline

Mostly ignorable rubbish.  The Libertarian per square inch of dialogue is tedious, but if you mostly ignore it, it goes away.  What’s fascinated Jen is the idea that you can jump various cutscenes and are forced to endure the dialogue between the NPC/PC whilst riding off to missions.  It’s like mandatory storyline lessons. I’d add that the “Ride with Character X to Location Y whilst engaging in prerecorded Story Conversation” is a low point of the mission design.

The storyline has been the weakest part of the process for me as it seems to be a selection of forced training exercises for various other skills – horse riding skills, more horse riding skills, a forced jumping puzzle sequence to demonstrate what the blue X button does, a round of lasso training to give you a lasso and the imperative to use it, and something about horse back shootin’ and ridin’ at the same time. Oh, and a forced duel + a forced use of the bullet time, just in case you weren’t already using both skills.

I’m slugging through the storyline simply to open up larger areas of the game environment.  All I want is to clear the minimum level of story so I can play in the sandbox world, because the story is really struggling.

In summary…

You! (The Player Character)

Plays White Guy with(a) a mysterious past (b) a secret (c) a hidden agenda (d) a missing voicebox (wait, that’s Halo)

Who has the motivations of: (a) seeking Revenge Against Former Best Friend! (b) save offscreen female character (c) avenge dead offscreen character (d) resolving threat to Offscreen Child Character (e) Kill every last living creature you find

To achieve this, you must team up with (a) Strong Female Sidekick Who Gets Removed Two Thirds into Story! (b) Wacky Sidekick Mage!  (c) Creepy Sidekick!  (d) Wacky Ethnic Stereotype!

To perform (a) Unrelated Skill Development Based Missions! (b) Cutscenes (c) Forced acquisition of routine objects from your daily life including Bonus New Vehicle Mission (horse wrangling) ! Bonus new weapon mission (lasso) and The Bigger Gun Mission (shotgun/repeater).

All of These Wacky Hi-jinks lead to the (a) a SUPERWEAPON for use in the end of level Boss Fight (b) The trigger for the END LEVEL BOSS (c) Poignant Moment of Death of Support Character (d) Permanent Fridging of Female Character for Story Purpose.

The story culminates with (a) rescuing the princess from the right castle (b) a cut scene (c) a David Caruso one liner (YEAAAH)

I think I’ve played this game before somewhere.

The Problems: Gender issues

1) Forced Male Lead Role: Would it kill the game to have a choice?

2) The Fridge: It was doing so well until the main female NPC interaction turned into a Damsel In Distress, and then disappeared entirely. This was after hinting that said main female NPC might have been a gang leader or retired bandit. Alas, I knew this was always going to be a problem with the game – when praise was utter in reviews for the existence of brothels with non-hireable prostitutes, that’s low standards and low praise.   It’s tedious to have another round of rescue-the-girl. Frankly, if I’d stormed the homestead to be told “Sorry Mario, the princess is in another castle”, I’d not have been surprised.  It’s an older than dirt trope, and it’s one that’s boring in the predictability of a misognystic “Oh Girls Need To Be Rescued Because They’re Girls, and Girls need to be rescued”.

3) Rockstar Still has problems with female characters: The frequency with which I have shot male NPCs for threatening the female NPC prostitutes is becoming numbingly repetitive, and doesn’t stop being problematic in that Rockstar coded a specific scene of murdering a woman in front of you so you could decide whether to watch or intervene. Someone sat down and coded this sequence, and it went through many many levels of QA, voice actor recruiting and a range of other sign offs before becoming a recurring part of the gameplay.

Boring, predictable, repetitive and disturbing are not features I like in a game.

The Problems: Race issues

Yeah, well, anything set in 1910 “Western” America that doesn’t come out if it with massive race issues is remarkable.  All the front end speaking roles have been white male so far (bar one white female character who gets effectively stuffed into the fridge). The sheer number of characters of colour in the rest of the supporting cast is notable, and they do get speaking roles in card games, barrooms, as characters in side missions, and simply just being a part of the landscape.  That’s done well, but it’s hard countered by the creator controlled aspects.

Some of the race issue of the 1910 America including xenophobic, anti-Jewish lines by the shopkeepers just plain didn’t need to be there, don’t advance the story, and if they’re applied for “Historically Accurate” purposes, that could have been skipped since the game features a lead character that never needs to sleep or eat, and is some form of immortal who can return from death (and tends to reboot next to their coffin ^H^H in their bed in the township).

Speaking of the anti-Semitic character – the shopkeeper Herbert Moon kept rattling off anti-Jewish sentiment during a poker game. As a gamer, I just got so sick of this bullshit during the poker match, I quit side-game, drew a shotgun, blasted the annoying bastard to the next life, and walked out of the bar, and straight into an NPC side-mission trigger with the shopkeeper Herbert Moon. Okay, Rockstar? Seriously? If zombie immortal teleporting respawning NPCs aren’t a game breaking shift from reality, then not piling random racist crap into the storyline shouldn’t be a problem.

“Realistic for the time” doesn’t mean a damn when you let teleporting zombie NPCs exist. Anyone wanting to justify the racist content needs to show me proof of teleporting immortal zombies in the “Wild West” before I’ll hear an argument as to why the anti-Semitic crap needed to be there.

The Problems: Gameplay Flaws

Automated trigger points for cutscene annoy me.  Particularly when they’re not triggered by visible cues – there’s a scene where you go to rescue the princess from the castle. Wait, the formerly capable, competent and multidimensional female NPC from a cutscene, and if you get too close to the gallows, the rope-rescue sequence automatically triggers, and you tend to die of a slight case of bad guys who are standing right next to you the second you drop out of the cutscene.

In fact, I’ve died in three cutscene related incidents now – I got killed whilst ambushed on the stage coach – with no control over the character because it’s a cutscene equivalent, and no skip function, or anything to do but die.  That sucked.   It also sucked to be attacked and start taking damage during a skinning cutscene where I come back from the scene to find five coyotes attacking me. Cutscene ran uninterrupted whilst I could hear damage and see damage being taken. I come out of the cut scene badly injured into an almost immediate death.

I know it’s been said around the forums that “nowhere in the game is safe”, but seriously, the cutscenes shouldn’t count as kill zones.

Special Note: Horses and Animals.

I have a bad track record with horses in this game.

Horse 1 crashed on a corner, bucked me off into a rattlesnake (fatal!) whilst it crashed into 2 coyotes (fatal!). It was GTA IV on horseback.

Horse 2 survived until forceably retired by a horse upgrade in the story line.  This gave me the stupidest AI in my gaming history.

Horse 3 was immensely stupid. I mean, unbelievably, immensely, deeply and passionately stupid for AI. It would overshoot any time I called for it to come to me to be ridden.  This ended up with the horse flying off a cliff, into a river, and drowning because I was standing a good four hundred meters from the cliff edge.  I was not remotely sorry to see that horse die. I was deeply sorry I was killed before the save game allowed me to condemn that horse to history.

Horses 4 to 25* are best described as The Horse Meat Flak Jacket or “Cougar Bait”.  I rode one over the top of a cougar which appeared to be the Wild West version of a landmine. You don’t see them until they go off, and then you die. Now I count the number of seconds between New Horse and Dead Horse.  Once I finished the “Stab Cougars” mission, my rate of horse increased for a while, but seems to have plateaued.

*Horse 8 survived several wolf packs, a stabbing, and a large volume of coyotes.  The hunting mission where you have to stab wolves resulted in Horse #8 running into the melee to stomp on coyotes whilst I was trying to stab the wolves. I think I only stabbed that horse once in the process.  Unfortunately, the Horse died to an IEC – improvised explosive cougar – a few minutes later.
*Horse 18 was shot when I was aiming at a wolf in DeadEye mode which proceeded to run under the horse whilst I was firing. It was moderately embarrassing for me. It was worse for the horse.
*Horse 22 survived a cougar encounter only to come second to a wolf moments later. I really hate wolves.

Horse 26 was shot by enemy fire.  I have now lost two horses to bullet related outcomes.

Horse 27 to 30 were coyote and/or wolf related losses. Did I mention I hate wolves?

Horse 31 has survived for over ten minutes of gameplay. I think it might be my personal best.

Other Animals

1. Coyote. Dumb but tasty. At one point, Jen remarked that I was carrying a two packs of coyote skins around, so it’s no wonder they kept swarming to attack – I looked like a family reunion to them

2. Wolves. Blasted wolves.I really hate wolves. Seriously, when the game said “Stab 5 wolves” my only thought was “Why stab? Why not shoot?”

3. Cougars. I hate those things slightly less than I hate wolves. I encounter them a lot less than I encounter wolves. I really, seriously, passionately hate wolves.

4. Boars. When I needed three for a mission, could not find them. After the mission? I’ve started the Asterix and Obelix Catering service.

5. Everything else except the horse: I am not even going to consider the ecology of this game. I am just going to shoot as much of it as possible on the way from Point A to Point B. Owls, hawks, songbirds, cougars, deer, more deer, rabbits, skunks, raccoons, cactus and rocks.  I don’t shoot the wild horses for some reason. Possibly because I get more horses killed by riding them than any other outcome.

5. Wild Horses: I can’t bring myself to shoot them. Sure, I’ve skinned my own fallen mounts (often with the replacement horse protesting in the background of the cut scene), but, and I say this with a puzzled look, it feels wrong to shoot the horses.  I’ve blasted an armadillo with a shotgun, and used a excessive firepower on crows, but taking down a horse? Just ain’t right.

6. Goddamn wolves.

Overall Impression: Less story, more open world, better game. The bits where I get to tell my own story in the game is winning out over the story being told to me. This could be the future for open world environment gaming – have an option to drop the cutscene driven story in favour of more random encounters.

I think the Fame / Honour score that sits within the game could become a new driver for open world story-telling.

As your Fame rises, the more you’re in town, the more people will challenge you to fights and duels to prove themselves to their world. If the fame metric time expires as well, you could chose to head into the wilderness to burn off fame so you were less known, and less hassled. More fame would also put more demanding missions on you, and you’d lose more honour points for failing to met the increasingly unrealistic expectations of the community.

Honour scores could become a trigger for different mission types – including falls from grace, proof of mortality by shooting the wrong person, or just a case of whether you can get a drink in this town or not. High fame, low honour, and everyone shuns you, making it harder to get NPC missions, but easier to get fights started, banks robbed and other crime sprees.

If you’re famous, highly skilled in a sub-mission area (eg dead shot / hunting), then you’d get the corresponding types of missions cropping up to support your reputation (or cause it to fall as you lost face in a public showdown).  Less forced story, more organic evolution of the gameplay.

At least, that’s a game I’d find fascinating to play judging by how I’m using the RDR world.

Steampunk LARP: Started the game as a Gentleman Boxer nicknamed “The Doctor” (for a boxer, I had disturbingly high medical knowledge), and the bodyguard/meat shield for The Patron. Over the course of the game, I was [...]]]> Short version.
Zombie Apocalypse LARP: Started human, ended human, participated in six of the game’s major explosions. Good times.

Steampunk LARP: Started the game as a Gentleman Boxer nicknamed “The Doctor” (for a boxer, I had disturbingly high medical knowledge), and the bodyguard/meat shield for The Patron. Over the course of the game, I was involved in assisting the timely disposal of a large bomb (somedays, you really can get rid of a bomb) and the untimely disposal of an escape vessel (somedays…wait, used that line).

Both LARPs were best described as First Person Actor games, and for a non-LARP player, I play a wonderfully devious characterisation with wicked lines to the straight people characters around me. All up, well awesome in game, and massive fun for close combat acting.

Day 3 sees me back on hallowed ground in the L4D tournament structure.

($) Dr Stephen Dann says: just burnt a potato in the microwave ($) Dr Stephen Dann says: trying not to trigger the fire alarm and dispose of the potato’s corspe ($) Dr Stephen Dann says: door wide open, aircondition on cold, Jen says: oh dear [...]]]> It’s okay, I’ve sent an e-mail to the fire brigade.

($) Dr Stephen Dann says: just burnt a potato in the microwave
($) Dr Stephen Dann says: trying not to trigger the fire alarm and dispose of the potato’s corspe
($) Dr Stephen Dann says: door wide open, aircondition on cold,
Jen says: oh dear
($) Dr Stephen Dann says: crisis mostly averted
Jen says: you’re telling the internet, right? :P

Fire + potato = good (most of the time)

I am now. FWIW, when you’re staying on the 15th floor of an apartment building, and you decide to sacrifice a potato to the microwave gods

a) open the pod bay doors Hal.

b) put the airconditioning down to the coldest setting it has available.

c) place exotically crisped potato in body of water

d) place still smouldering plate under extractor fan cranked to the max setting

e) hope like hell that alarm siren is coming from next door (it was)

f) plan something with rice for dinner.

Ashton Kutcher might just be the pinnacle point of the early adopters who usher in the massive wave (34% of a [...]]]> A few weeks ago, I was speaking at BarCamp Canberra. I mentioned that the early adopter/innovator phase of the internet was on the way out, and the next way of early majority was inbound.

Ashton Kutcher might just be the pinnacle point of the early adopters who usher in the massive wave (34% of a market, compared to innovator 2.5 and early adopter 16%). With the arrival of the Million Twitter Follower Contest, CNN and A2K’s measuring contest (get a ruler and a room people), and the impending @Oprah possibilities (which strike me as the potential for unmitigated levels of direct awesome in this space), we’re over the obscurity hill and into new territory.

Part of this new territory is the TwitterListener who picks up an account to follow others without having any real desire to post anything themselves – if Twitter wants to produce a monetized area, they should look into an paid placement / advertising sponsored Twitter Reader Client (iPhone, PC, Mac) that just draws the streams of content with offering any capacity to reply or post beyond an autoretweet/share function. There’s a new generation of twitter users who want to follow, to listen and to observe without participation. Time to accommodate their needs alongside our own early adopter broadcast models.

Of course, the amusing thing in this entire proceeding was that I distinctly recall a cohort of geek early adopters (A) bemoaning that nobody knew about Twitter. Right now, I’m amused to see a number of geek early adopters (B) bemoaning that too many people know about Twitter (Note: A and B have overlap in C, but A != C and B != C)

The only thing worse than being tweeted about is not being tweeted about at all

The other consideration with Ashton Kutcher, Oprah and famous rich people showing up on Twitter is that people who have cash, and enjoyment of Twitter are around when the technology sector angel investors start to dry up. This could be a really useful thing for a company like Twitter to have some deep pocket users if the well starts to run dry.

BarCampCanberra (#bcc2) also combined my love of liveblog journalism with the twitterstream plus streaming photos to Flickr (barcampcanberra2).  I was a quasi-sponsor this year, having set aside a budget to cover misc.cost.other and rolled out some [...]]]>

A glorious day of technology, people, ideas and political thoughts .

BarCampCanberra (#bcc2) also combined my love of liveblog journalism with the twitterstream plus streaming photos to Flickr (barcampcanberra2).  I was a quasi-sponsor this year, having set aside a budget to cover misc.cost.other and rolled out some on-the-day equipment (including putting my video camera into some serious testing with the 16gig memory card getting a good work out), and providing that sort of random cover fire for the commanding officers of BarCamp Canberra.

I presented on my rather odd sideline habit of “Documenting the Future” as I spend my time writing textbooks that need to be relevant and functional in the future, and thus far, they’re doing okay on that front.