Saturday, March 26, 2011

Recommendation: Spiral Knights



Spiral Knight Pod

(C) Three Rings Design, Inc.

Spiral Knights is a game by Three Rings, the same group responsible for Puzzle Pirates. It is also a game with a visual style heavily influenced by one Ian McConville, a web-comics artist who's material you may be familiar with from Mac Hall (no longer updated), or his newer site Three Panel Soul. Being a fan of Mr. McConville's work, and knowing that he was hired on at Three Rings some time ago, it wasn't hard to notice his artistic influence in Spiral Knights. You can hear a bit about his contributions to the game in a post by him here. Personally, I feel the style is utilized perfectly for this type of world, and adds immensely to its atmosphere.

So what kind of game is Spiral Knights? It's a "free-to-play" MMO of the action-adventure variety that involves dungeons, swords, and co-operative slaying. The game has clearly seen a lot of love, feeling very polished and approachable thanks to a clean UI and an intuitive, visceral combat style. Zelda seems to be the common analogy, and it's not far off. Dungeons involve a variety of challenges, from key/switch hunting, object manipulation, to hazard traversal. Combat can take place with a variety of weapons (the current crop: Sword, Gun, and Bomb), and each enemy type has a set of unique behaviors to learn and adapt to, which evolve slowly as you progress deeper into the game. Seeing the Zelda connection yet?

Spiral Knight
I bet you are. Although there are plenty of qualities to spice up the hacking and/or slashing, including a variety of status effects, power-ups, and elemental resistances, the combat experience seems clearly tied to the Nintendo variety of action-adventure puzzle solving and monster bashing. However, when it comes to the construction and arrangement of the dungeons themselves, the game is somewhat unique. The levels that comprise each dungeon (or "gate" as the game terms them) are rearranged randomly every few days. Or, not so randomly, as players can contribute specific materials to a gate's construction to manipulate the type of levels it will eventually produce.


Spiral Knights Gate

Deciding what resources to contribute to a gate can have an impact on the type of enemies you'll face later.

Even further than that, the path of levels within each finished gate are variable to an individual play-through. The planet Cradle (on which the game is set) is described as a gigantic piece of clockwork machinery, with the innards rotating and ticking slowly to new orientations over time. So the changes are constant, and every trip towards the core will feel a bit different. In that sense, the terrain harkens more to Diablo than it does to Zelda, with its stacked, randomly-arranged layers.

Out of combat, the game feels much like most other adventure-style MMOs, with player avatars running around the central hub shouting trade requests, crafting, or organizing PvP brawls. It is a socially minded creature in its co-operative adventuring (up to 4 players may take on a gate together), guild system, and its communal focus on the construction of new gates via shared resources.

There is one factor which distinguishes the game even from other free-to-play MMO models. Although there is no monetary subscription fee, the world of Spiral Knights runs off of one very limited resource: Energy. With every level completed, you must pay a little energy to run the elevator down to the next. For every item you craft, you must pay a little energy to charge the crafting machine. Energy, of which each player is allotted about 100 points daily, quickly becomes the defining resource for progress in the game. And, for those with cash on hand, it can be purchased in large quantities.

Purchasing Energy
"Polly wants a dollar! Polly wants a dollar!"
You might think that an arrangement like this would cause an imbalance between those who spend money for piles of energy and those who work off of the meager 100 points-per-day handout. But, in the end, this is a skill-based game. Proceeding deeper into a gate means keeping yourself and your party alive, avoiding damage and correctly exploiting each enemy's weaknesses. And while it certainly helps to have a massive stock of energy, it really only helps you play more, not better. There are other ways to gain additional energy, including spending the game's monetary resource, Crowns, in the active energy/crown market. And, as you adventure and successfully complete levels, in addition to Crowns you will also accumulate crafting materials and recipes that allow you to construct better equipment at a reduced cost -- although that too will require a bit of energy.

So, with patience and prudent use of resources, you can progress at an acceptable rate early in the game without spending any real dollars. Whether this holds up at higher level play isn't as clear, but, if the experience is enjoyable enough, would spending a little money on it now and then really be such a bad thing? I mean, someone's got to feed those cute little birds. Or would you have them go hungry? You monster!

Turtle Fight
Some denizens of the Clockwork are larger than others.
With its gorgeous art, engaging co-op gameplay, and creative level design, Spiral Knights is a lot of fun to play and feels set to become a successful MMO if the player base manifests (and if the Energy model ends up being financially viable for Three Rings). I would recommend this game to anyone interested in some co-op hack n' slash with plenty of twists. Just watch your energy tank -- the first charge is always free.

Tuesday, December 14, 2010

Gaming Archaeology: Specluation

What a difficult job future archaeologists are going to have with this medium. I'm only partly talking about the trade off we've made in moving so much of our culture on to hard disks. The other part I'm talking about is the vast quantity of work being generated, and the nature of the work itself -- a husk waiting to be explored, rather than a voice dictating its words to the future.

I wonder if those future data-recovery agents digging through all of the editions of Deer Hunter could only assume that this era was one of sloth. What purpose do we have in generating ten new post-apocalyptic shooters every month? We pour so much money into something that seems devoid of lasting substance -- can the experience of a game speak to future generations in the way that words have? When I consider how many lines of dialogue the average game has, and the fact that this dialogue is organized in a fashion directed partly by the player's actions, I wonder if it has the kind of personal focus to have an impact on future humans. In the event that the dialogue itself was even written with a focus.

"Class, I direct your attention to the next line. Guard Eleven states: 'Watch out, there he is!'
What can you tell me about this example? You, in the first row."
"Well, I mean, this is about Guard Eleven's suffering, isn't it? He's afraid. He has been for a long time, probably. And now his fears are being realized. And the number Eleven--"
"Yes, that's fine. Anyone else? Alright, in the next line, we have some phonetic work to do. Guard Fifteen states 'Urrrghgh!'..."

To be fair, I'm certain there will be those obsessed by the intricacies of these creations, whether or not we consider them Art today. Age just seems to lend credibility to cultural productions. The archaeology departments of the future may have divisions devoted to working out the intricacies of each genre. Or, possibly, they'll dump it all on to one professor, who got the position as the one graduate student masochistic enough to cobble together virtual simulacra of every olden gaming platform ever created to enable research. Actually, in view of these difficulties it might remain the realm of private enthusiasts who amass a collection of dust-encrusted electronics for the only purpose of inducing a nostalgia based high.

Can we really preserve this library in the long term, a library of experiences and/or play? Perhaps the one fact in favor of this medium's survival is that it begs for interaction. A museum dedicated to games could have potential as a hub for participating in simulations designed for an early kind of culture, and might tell those future people something about us and what we expected out of our made-up worlds.

But then, I'm thinking about this from the perspective of that earlier culture. Based on the progress technology is making, after several years a version of every game is available in virtualized form, and it may be that when computers are truly ubiquitous there will be no problem finding and running a recreated copy of Super Mario 30X or FutureZombie 2033 or any other construction of a bored culture.

What we will think of these artifacts after a hundred years, again, is another matter entirely. I probably shouldn't speculate -- I always loved reading that jet packs would be widespread by the year 2000 -- but I've already started so I might as well finish. Maybe all of these simulations will contribute to some cultural thesis in the same way that other forms of entertainment have. Maybe we will be able to look back and understand why so many more of us each day are playing and whether we gained anything from it. Or maybe digital optic filters will have become so ubiquitous by then that our modified view of reality will seem more game-like than the arcade screens in the Museum of 21st Century Electro-Fun.

Saturday, December 11, 2010

This game is hilarious

Realm of the Mad God, which I spotted on RPS It's an in-motion and fully functional parody of multiplayer fantasy games.


The art of combat reduced to its purest digital expression: PEW PEW PEW


You can even pause it.


I have it paused right now, actually. Back to the grind...