Disco Elysium - title

It's kind of hard to play a lot of video games while holding an infant child. It's certainly possible, but I had to accept that I was going to be less precise in my inputs whether I was holding a PlayStation controller or a keyboard and mouse. It seemed like a perfect time to try out a game that only requires a mouse to play -- a perfect time to finally try out Disco Elysium!

Disco Elysium is a unique and experimental RPG that straddles the line between RPG, point-and-click adventure, and walking sim. Most RPGs have combat of varying degrees of complexity in order to give all the various character stats and progression systems something to do. Disco Elysium completely eschews those conventions. I think I fired a gun maybe three times in my entire play time with the game (across a campaign and a half that I played prior to reviewing), and one of those gunshots was against a corpse hanging from a tree. Oh and I roundhouse kicked a a racist beefcake (you know, in order to establish my own racial superiority). Not exactly Call of Duty over here.

It may not require the twitch reflexes that many "gamer bros" expect every game to have, but games like this have been a godsend for those of us who only have one free hand to hold a mouse, because the other arm is holding a sleeping infant. It also happens to be a really good game.

I maybe fired a gun thrice, and roundhouse kicked a racist once, in 40+ hours of gameplay.

Inner dialogue

Instead of channeling character stats into gauntlets of filler combat encounters as a way of accumulating experience to improve those stats for the next combat encounters, Disco Elysium channels all of its character attributes into conversation trees. But these conversations aren't just with the other characters who I interview as part of the murder mystery plot. These conversations are also with the character's own inner monologue.

You see, the skills in Disco Elysium aren't like the skills of most other RPGs. They don't determine the character's physical strength, or agility, or skill with various weapons, or a blanket "charisma" attribute that determines if people believe your lies or are swayed by your arguments. No, instead, all of the skills of Disco Elysium represent elements of the protagonist's personality and psyche. Those skills will even pop up during dialogue and allow the character to have arguments or conversations with his own inner monologue. Each skill is like a voice in the protagonist's head, telling him what to do, or how to interpret the events he encounters. Each skill is sort of a character in its own right.

The character's skills talk to him, giving the player insight into the game world and current circumstances,
and also (sometimes flawed) advice about how to proceed.

I'm reminded of the psychosis voices of Hellblade: Senua's Sacrifice, with each voice shouting over the others trying to tell Senua what to do or telling her that she's worthless and can't do anything right. Except in Disco Elysium, the player can actually have conversations with those voices. You can talk back to them.

These skills will pop up from time to time as interjections during conversations to make observations about what is happening or to recommend specific courses or action or responses. It's also a great way of delivering exposition and ensuring that the player knows any relevant details that the character should know. But they aren't always completely reliable. Sometimes blindly following the advice of these skills can land you in trouble.

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The Orville

Discovery isn't the only Star Trek show on TV this fall -- at least, in spirit anyway. September saw the premiere of Seth McFarlane's Trek-clone The Orville. Orville stumbled out of the gates at first with a premiere episode that I really didn't like. But it's been slowly getting better -- or at least, less bad, with each of the first few episodes being substantially better (though still not entirely effective) than the premiere.

A lot of this has to do with a shift in the show's tone. The show was advertised and marketed as a comedy (basically, a televised version of Galaxy Quest), and I went into the first episode with a comedic mindset, and that premiere episode definitely went out of its way to try to tell jokes. That was a problem because the jokes (and by extension the show) just wasn't funny. The focus on comedy and gags also detracted from the serious drama, which was poorly-written, sloppily-executed, and which revolved around a dumb sci-fi MacGuffin. Further, much of the comedy involved stupid pop culture references which are going to quickly become dated; thus, hurting the show's lasting re-watchability if it ever becomes good enough to warrant rewatching.

If you think Star Trek needs more dick and fart jokes --
or more dogs licking their balls in the background, then The Orville is for you.

The problem is that MacFarlane just isn't that good at writing jokes. It pains me to say this because I was a huge fan of Family Guy when it first premiered, and I'll still defend the quality of those first two seasons. But MacFarlane seems to be completely arrogant in his own joke-writing ability, while simultaneously completely dismissive of the audience's ability to grasp the jokes that he seems to think are much more complex and clever than they actually are. Most of these jokes boil down to being fart or sex jokes, and very few work on more than the most juvenile and immature of levels. Perhaps the best example of this is a joke in which the Captain Mercer puts a distress call on the viewscreen. The distressed scientist has a dog in the background who spends the entire conversation licking his balls. It was mildly funny due to its relative subtlety. Yeah, I guess that probably happened occasionally to Captain Archer in Enterprise. Ha ha. But then as soon as the conversation was over, the viewscreen flicks off, and the navigator and helmsman say "Hey, did you see that dog licking his balls?" What little subtlety is gone; joke ruined!

It's like McFarlane thinks he has to remind the audience that there was a joke, and that you should have been laughing, even though the joke wasn't that funny to begin with. This is the same problem that I've always had with laugh tracks in sitcoms: all they do is remind me that the jokes aren't funny. Except McFarlane doesn't use a laugh track, he writes the "hey, there was a joke here. Did you get the joke?" into the script!

"Command Performance" had humor more appropriate for its sci-fi set-up and relationship drama.

The next two episodes, however, seemed to plant their feet more firmly in the territory of genuine sci-fi concepts and character drama, and the show was stronger for it. The execution, however, is kind of hit-or-miss...

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Ultimate General: Civil War - title

Colbert: Total War Civil War, give it to me!

I've asked on numerous occasion for Creative Assembly to build a Total War game based on the American Civil War. I thought for sure that Total War: Shogun 2's second expansion Fall of the Samurai -- with its focus on industrialization, trains, telegraphs, gatling guns, and ironclads -- was setting the series up for a Civil War game. Sadly, that wasn't the case. Creative Assembly decided to move onto Rome II, then to Attila, before diving into all-out fantasy with -- not one, but two -- Total War: Warhammer games!

I've heard that the Total War: Warhammer games are actually pretty awesome, but I have zero interest in Warhammer, so I skipped them entirely. I'll admit that part of that was also because I was a bit bitter that I still hadn't gotten the Total War: Civil War game that I had wanted. Maybe Creative Assembly, being a studio based in the U.K. simply isn't that interested in the American Civil War? Or maybe they felt that Empire's American Revolution campaign already focused enough on the United States?

Addressing Gettysburg

But even though Creative Assembly isn't giving my that game [yet], there's no shortage of Civil War games from other developers. A few years ago, a little indie dev studio called Game Labs released one such game on Steam: Ultimate General: Gettysburg. It was a $15 budget title exclusively about the battle of Gettysburg. Not the entire Civil War, not battles surrounding or related to Gettysburg. Just Gettysburg. The game was praised for its simple UI, its historic details, and realistic, competitive, and highly-customizable A.I..

I played the game very briefly last year, but never actually finished the single battle provided, nor felt that the game was substantive enough (or that I had played enough of it) to warrant a full review. I was fairly impressed with the difficulty and challenge that the game provided, as well as the way in which it presented the actual history of the battle, while still leaving many individual tactical decisions up to the player.

If I had any complaints with that game, it probably only would have been that its narrow scope made it feel a bit overpriced at $15. I had bought it during a sale, so I didn't feel cheated, but I could easily see other people being upset by paying $15 for (basically) a tech demo of a single battle. $10 or less probably would have been the sweet spot.

Well, it turns out that Ultimate General: Gettysburg was basically a tech demo (and a financing plan) for Game Labs' larger, more ambitious project: Ultimate General: Civil War. The new game's scope encompasses the entire Civil War and includes a full campaign. It also sports a cleaner interface that clearly displays your objectives, better controls, and other improvements.

Ultimate General: Gettysburg - Seminary Ridge
UG: Gettysburg labeled historical points of interest on the map.
When it says, "Fall back to Seminary Ridge", you know exactly where that place is.

Oddly enough, UG: Civil War isn't a strict upgrade from UG: Gettysburg. There's a few features from UG: Gettysburg that have strangely been removed. The original Gettysburg game had some very pretty battlefield artwork that displayed the names of the various locations on the map. Hills, ridges, forests, and even some individual buildings and roads were all labeled with their real-life names! McPherson's Ranch, Culp Hill, Cemetery Ridge, and more are all here. It was an excellent way of providing a sense of place to the player, as well as some historic context. Sadly that feature has been removed from the full Civil War game. I wonder if the developer just didn't have the time or resources to research that level of detail for every battle included. Or maybe it's just because the smaller skirmish sites of battles like Bull Run, Shiloh, and Antietam aren't as infamous as the sites in Gettysburg? Or maybe there were licensing issues with some of the sites, and they decided that if they couldn't include some names, then they'd rather just not include any?

Ultimate General: Gettysburg

The maps of UG: Gettysburg also had a stylized, polished look to them, the movement arrows were bigger and stood out more (and they stayed on screen to remind you of where the units were headed, and to give the game a textbook-like appearance), elevation and line-of-sight were a bit easier to determine, and so on. This isn't to say that UG: Civil War is a particularly ugly game to look at. If you can get past the simplistic unit sprites, then the game still looks fine. It's just that UG: Gettyburg looked noticeably better!

A House Divided Against Itself...

The campaign of Ultimate General: Civil War will take the player through most of the major battles of the American Civil War. Not just Gettysburg. It also includes some optional smaller skirmishes and situations. In between battles, you'll be tasked with spending money and character prestige to replenish your troops, recruit new and larger regiments, equip your troops with better weapons, and assigning officers to command your corps and divisions. As you win battles, you'll be awarded experience levels that you can spend to upgrade your custom general in several different categories. Upgrading your economy skill will lower the cost of troops and provisions. Increasing your organization skill will increase the size of your army. Increasing your training skill will improve the fighting ability of your regiments. And so on...

[More]

There has been a lot of complaining this past month about the non-union, replacement officials currently being used in the NFL while there is an ongoing labor dispute between the NFL and official's union. These replacement officials are doing an objectively horrible job over the pre-season and first few weeks of the regular season, and this week might have been the worst.

However, the horrible officiating is rapidly becoming the best bargaining chip in favor that the official's union could possibly hope for. The NFL cannot afford to continue to allow these bad calls to continue to happen over the course of the year (and most certainly into the playoffs). This week, the NFL may have to just cave in to all the official's union's demands in order to get the trained, experienced professionals back into the zebra-suits and onto the field.

In Monday night's game between the Seattle Seahawks and Green Bay Packers, the game came down to a clear blown call by the officials. With no time left on the clock, Seahawks quarterback Russel Wilson threw a hail mary pass into the end zone. It appeared that Packers defensive back M.D. Jennings had intercepted the pass, but Seahawks receiver Golden Tate manages to get a hand or two on the ball as well. The play is ruled a "simultaneous catch", which, by rule is awarded to the offensive player.

Sept. 24, 2012, Green Bay vs. Seattle Simultaneous Hail Mary
One official signals "Touchdown", the other (with the slightly better view) give the signal that usually implies "Interception" and "Touchback". The play is ruled a touchdown on field, is reviewed in the booth, and is upheld.

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Grid Clock provided by trowaSoft.

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Welcome to Mega Bears Fan's blog, and thanks for visiting! This blog is mostly dedicated to game reviews, strategies, and analysis of my favorite games. I also talk about my other interests, like football, science and technology, movies, and so on. Feel free to read more about the blog.

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