2015 Kingdom building game, developed by Thomas van den Berg and Marco Bancale
Kingdom is a small, focused, effort aimed at providing a very particular experience. The interesting thing about the way that Kingdom conveys this experience is that it does so almost entirely without words, letting the player work out how the world works for themselves.
Continue reading “In the Silent Kingdom.”
Rule The Waves
2015 Grand Strategy, developed by NWS Wargaming
Other pictures courtesy of the internet.
The history of warfare is the history of mistakes.
Continue reading “A Sea of Troubles : Rule the Waves”
There will be a short hiatus here on Know Thy Game, in virtue of the fact that I just quit my job and now I need to actually go and be a human for a bit. The plan is to get things back to normal next week and start kicking out posts again. For now however, sleep and CVs beckon.
2015 RPG/Rythum Action Game, developed by Brace Yourself Games
Guitar Hero 3 was my favorite game for a long time. Probably the best thing about it, other than the swish plastic guitar it came with, was the fact that I did not need background music on to play it.
The second or third thing I tend to do when I open up a game for the first time is turn the music off and supply my own. I am aware that this is often a terrible thing to do, that I am missing out on the orchestral brilliance of many game soundtracks.
Music is too important, however, to leave to orchestral soundtracks. Music is the way by which we express the mood of life, and only rarely do I wish to express that mood in terms of hollywoodesque sweeping orchestral scores. Most often I want to play games to a handpicked few tracks, which evoke the right feelings. If I want to feel like nothing can stop me Dessa’s punchy and forceful “Fighting Fish” does nicely; like I want to curl up into a ball and have the whole world disappear, nothing better than The National’s soulful and moaning “Anyone’s Ghost” and if I just want to melt into whatever I’m playing basically anything by Pure Reason Revolution will do nicely.
Crypt of the Necrodancer does not do background music, instead it ties the whole experience of the gameplay right back to the fantastic electronic beats that lie at its heart. Crypt of the Necrodancer (henceforth “Crypt”) is the product of a happy marriage between a turn-based rougelike dungeon crawler and a rhythm game. The game wears its dungeon-crawler RPG aesthetic like an ironic tee-shit, attractively designed, but outwardly misleading. There are dungeons and treasure, monsters to fight and shrines to pray at but the barest essence the game is the beat. The monsters, traps and the player (if they are doing it right) moves in time with the beat, each one counting what might be thought a turn in a more traditional RPG experience. Different levels have different soundtracks which vary the beat every time one descends further into the “zone”. Further, after every three levels there is a boss, who has their own theme, usually doing something slightly different and irregular with the beat. The music throughout is completely excellent (although only for those with a taste for the electronic), aping a variety of different musical styles, while still remaining grounded in a distinctive signature chip tuney sound. However, I am no music critic, and we are not here to talk about music. The reason that I would like to talk about Crypt today is the way it demands the player interact with it. You see, the experience of playing Crypt is most similar to the experience of dancing in a nightclub, and the way this is achieved is very clever. Continue reading “Learning to Necrodance”