Demo-lition

I think I should start with the reason I placed the pre-order in the first place, which is that I enjoyed Dragon Age: Origins a great deal. I didn't particularly care for the combat, which suffered from having continuous time and lousy AI. I also thought that much of what BioWare did to make the game seem gritty, especially the blood spattering, was unintentionally comical. However, I thought the game had some interesting ideas hiding behind its surface pageantry of turgid Tolkienism, and the writing for some of the characters (Shale!) was really great. So, when I heard Dragon Age 2 was coming out I placed an order, and when I heard there was a demo, I downloaded it. Having thoroughly gone through the demo, however, I decided to cancel the pre-order.

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Capsule: Kirby's Epic Yarn

Status: Game completed; some extra levels still locked

Put this on your box: The hardest easiest platformer ever made!

Most intriguing idea: That a platformer can be challenging without forcing you to restart a level every time you fail.

Best design decision: Getting rid of "death".

Worst design decision: The method for getting the extra levels in Grass Land.

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The Text Blues: But I Digress...

It seems like most of the people who wrote reviews of 999 thought very highly of it. I'm not sure why that was; I found the game to be a fairly tedious exercise in the repetition of insufficiently interesting puzzles. 999 creates this problem for itself because of its structure. The enforced replays that are central to 999's design and fiction ask for more from the puzzles and dialogue than they are able to contribute as art or entertainment. In addition to that, I felt that 999 had a tendency to undermine its plot and atmosphere during its moments of exposition, because it did not make proper use of the communicative elements on hand.

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Capsule: Katamari Forever

Status: Normal mode and vast majority of drive mode complete

Put this on your box: Katamari is too unique to be derivative of anything else, so we made it derivative of itself!

Most intriguing idea: That a Katamari game would benefit from HD graphics. (It says "intriguing, folks, not "correct")

Best design decision: Katamari Drive compensates for some of the older games' deficiencies.

Worst design decision: The Prince's jump, which proves that the Move is an improvement on something.

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Why HisH doesn't fire until it sees the whites of PRFAR's eyes

The enzyme imidazole glycerophosphate synthase (IGPS) can be a bit of a lump. If you bind just one substrate it doesn't do anything, even though its two active sites are separated by more than 30 Å. Only if the second substrate also binds does catalysis actually go at anything like a respectable rate. In a recent paper in Structure researchers from Yale report evidence that this change of pace results from a change in dynamics.

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The Text Blues: Silence is Leaden

A few days after the Christmas snowfall in Alabama, while we waited for the lasagna to finish cooking, we popped a copy of Epic Mickey into the Wii and I played a bit of it. I got past the first, easy battle and entered the hallway, where a cutscene began. My mother, who mostly plays Snood, wanted to know why Mickey wasn't speaking. "He's always talked," she noted, and for almost anyone alive that's true. Mickey started talking in 1929, just a year after his famous appearance in the sound-synched Steamboat Willie. Sound has been a famous part of Mickey's history, so it's alienating, especially to non-gamers, to run into an essentially silent version of the Mouse in Epic Mickey. I think the decision to eschew spoken dialogue is defensible, and even clever. However, I also feel that the way dialogue was handled didn't serve the game's aesthetic, because it replaced speech with text.

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Obligatory "Year in Games" post 2010

Well, it has reached the time of year when we harvest the crop of retrospectives, the best-of and worst-of lists that one can accuse of gratuitous iconoclasm, corporate servitude, or trolling as suits your fancy. I continue my habit of not naming a "Game of the Year", nor even a "Game (that I played) of the Year" because it's a hollow designation, and (rightfully) nobody cares. That said, since it is customary to roll out some kind of year-end wrap-up, here is one.

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Are you experienced?

My review of Assassin's Creed: Brotherhood has gone up at GameCritics, but in case you don't want to bother, the summary is that Brotherhood is great and you should get it. It's not great like War and Peace is great. Brotherhood completely squanders all the awesome things you could do thematically with the horrible Papacy of Alexander VI and instead uses that as a backdrop for more of its tediously silly techno-conspiracy mumbo-jumbo. And, it's not great like Saint Peter's Basilica is great, because its poor design choices and occasionally slapdash construction deny it any real feel of majesty. Brotherhood is great like a really delicious dinner at a new restaurant with horrible decor. It's different, and fun, and you just can't understand some of the choices that were made in the setup.

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Dynamic origins of PBX1 homeodomain allostery

In the Monod-Wyman-Changeux model for cooperative binding, proteins exist in an equilibrium of low-affinity and high-affinity states in solution, absent any ligand. In this view, although it may appear that the binding of a ligand causes a conformational transition, it actually stabilizes one conformation from a pre-existing equilibrium. In the past several years, advanced NMR techniques have yielded increasing evidence that these structural equilibria exist for a number of proteins, suggesting that this model for linkage between conformational change and binding may be quite general. An upcoming paper in the Journal of Molecular Biology (1) is typical of such findings.

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Game notes - Falllout: New Vegas

As usual, I have more written down than I can put into a review or even a coherent essay. So here's a new occasional feature where I dump my game notes onto the blog. There's no structure to this, just a series of thoughts I had as I was playing.

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Flipside

A review will eventually go up at GameCritics.com, but because Fallout: New Vegas is such a large game I couldn't cover everything I wanted to in the detail it deserved. The shorthand for this game has been that it is "more Fallout 3", which is, in a limited sense, a fair assessment. Obsidian doesn't revolutionize anything about the way the game plays, except for the superior hardcore mode. What I would say instead is that New Vegas is more of a complement to Fallout 3 than a supplement. Bethesda's version of Fallout was one in which the environmental storytelling was very strong and the traditional storytelling was fairly weak. What I'd hoped was that Obsidian's talent would combine with Bethesda's in a productive way and produce a more cohesive whole. But instead it was more like two ships passing in the night. Fallout: New Vegas has a very strong story in the traditional sense, but the way exploration plays out makes it seem like Obsidian didn't really get what made Fallout 3 compelling.

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Cinematic Action Games: A Brief Critical Assessment

Many of the games I named in my previous post about the cinematic action genre have been criticized for their lack of value. Because these games are short and linear, and rarely have life-extending multiplayer modes, the validity of charging full price for them has been questioned. Simplistic gameplay and action-movie inspired plots have led some critics to call these games shallow. Yet, several games that belong in this genre — Ico, Shadow of the Colossus, and Sands of Time — are regularly trotted out as examples of the best that the medium can achieve. To categorize cinematic action games as intrinsically shallow or lacking in value would be the worst sort of genre-as-pejorative thinking. Their approach to game storytelling has produced many strengths, but one central characteristic of the genre is also a critical weakness. The great artistic limitations of cinematic action games come from their disinterest in the player as a creative force.

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