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Interactive Friction: Watch_Dogs: Episode 7: CALM AND WELL ADJUSTED!

July 15th, 2015

“Hopefully we won’t have anymore audio problems that prevent us from posting for a week.”
“Now we’ll have to play the game all over again.”

Oh, past Sam. You have no idea.

The fight at the motel is one of those silly tropes that constantly rears its head in all sorts of generic action movies and video games. Of course, since Watch_Dogs IS a generic action movie, it is compelled to indulge.

There are so many things wrong with this scene that it’s not even funny.Why does Aiden Pearce have a bomb ready to blow up his apartment? Where did this bomb come from, and is he even remotely concerned about the potential harm that could come to his next door neighbors? What about his landlord and the costs that they will have to pay to fix that building? In the event of armed intrusion, is this seriously the best plan that we have?

And as for the guys who broke in to kill Aiden: Why didn’t they just wait outside the door, because he only had one way out? If they had all been in the hallway, and just waited for Aiden Pearce to leave, he’d be screwed. Even that stupid bomb of his wouldn’t be able to help him. Hell, you don’t even need to have them right in front of the door. Just have them train their sights on it, and fire when it opens. They have more than enough men to surround the building and stop him in his tracks.

In order for this scene to work, everyone aside from Clara has to be stupid. None of this makes sense, and it should have ended with Aiden Pearce’s bullet-riddled corpse on the balcony.

Interactive Friction: Watch_Dogs: Episode 6: Once Taken, Twice Recorded

July 13th, 2015

Firstly, I must apologize for how long this episode has been in the making for. There were compounding issues with this episode.

As we explained in the video, our original footage for this episode was incomplete. My audio got recorded, yet Sam’s didn’t. That is what caused the re-recording.

Then, as Sam went to start editing, his motherboard in his computer needed replacement. This set us back an additional week, on top of his real life obligations.

So, there you have it. We hope that this doesn’t happen too often, but it would be naive to expect nothing but perfection from our setup. With that said, today’s episode:

I honestly cannot see what the point of this jailbreak mission is. There is not a single thing this game does, either narrative or mechanically, with the premise of a jailbreak in a CT_OS controlled city.

On the narrative front, the only reason we are doing this jail mission is because someone in prison saw us as we unleashed a terrorist attack upon a stadium full of unsuspecting citizens. Therefore, we must threaten him into silence. We’re not doing this for a friend or to accomplish some other vital objective inside the jail. This mission exists purely to add a jailbreak level in the game. In terms of the story, we could eliminate the set-up, the mission itself, and the end without breaking any other plot element. It is filler in the most obvious sense.

But that could be forgiven if the game did anything interesting mechanically with this mission. However, that’s not the case either. Our biggest, most important tool in this game are the hacks made possible with Aiden’s cell phone. It is the basis for much of the gameplay, and gives us our omnipotence in the world. Yet instead of exploring how Aiden Pearce can manage without this tool, we get it back before we get control again and happen to end up in the only jail in the entire state that has CT_OS installed on it, which is other element needed for hacking.

This could also be an interesting non-combat mission, focusing primarily on stealth and staying undetected. That could also work, yet we are given a gun extremely quickly, and blast our way out with brute force. In other words, Ubisoft went out of their way to make this section virtually indistinguishable of most of the other missions in the games.

The only positive I can give it is that it delays the complete bullshit that is Damien Brenks, if only for about 10 minutes. I really can’t stress enough how pointless his addition to the plot is. In the entire game, Damien may be the only person who deserves to get killed the moment Aiden Pearce comes into contact with him.

He adds nothing to this story. We have a hacker (Clara) who already gives us an easy way out to explain how Aiden Pearce can learn whatever fact we need him to for whatever story beat we have cooked up. Furthermore, we have no need to motivate Aiden into seeking revenge, because his entire character is about his inability to stop seeking revenge.

And remember, at the end of the day, this entire plot happened because someone’s niece died, and his former partner-in-crime (literally) had his leg broken.

I hate this game.

#94: Batman: Arkham Knight: The Ghost of Confidence

July 12th, 2015
(Spoiler Alert: This article contains major spoilers of crucial plot elements in Batman: Arkham Knight.)
Though I do not talk about them much, I am a huge fan of the Batman: Arkham games. So when Batman: Arkham Knight came out on June 23rd, I was eager to purchase and play through what developer Rocksteady states to be the final entry in the Arkham series. With all of the spare time that I had that week, I completely finished the game. Ultimately, I was very happy with the game that I had played, and the way it ended the series. Despite fulfilling the promise of a satisfying conclusion to the franchise’s story, there is an underlying problem with the writing of Arkham Knight.
To be blunt, Rocksteady’s inclusion of the Joker was not necessary to the game’s story. For those of you who haven’t finished the game and don’t care about spoilers, one of the early reveals is that Batman is slowly turning into the Joker. Back in Arkham City, Joker injected his Titan-infected blood into both Batman and a large supply of blood bags going to hospitals across Gotham City in order to motivate the Dark Knight to develop a cure of Titan-poisoning. Though the cure was eventually developed for the Titan half of the infection, Joker’s blood acts as a virus that transforms those infected with it into a clone of the clown prince of crime, taking on many of his physical and psychological traits.
On its own, Batman has enough willpower to resist the mutation and still retain his moral code, albeit with slightly sharper edge. However, when Scarecrow gases him with a powerful dose of fear toxin, the combination with the virus manifests as visions of the Joker himself. Because Batman’s greatest fear is succumbing to baser instinct, every hit of fear toxin strengthens the Joker’s hold on him, leading to a climactic battle in his mind.
While these plot elements are fine, and there is nothing inherently wrong with them, they are unnecessary when both Scarecrow and the titular Arkham Knight are both effective villains with their own schemes and set-ups. At the very beginning of the game, Scarecrow is able to force authorities to call for a mandatory evacuation of Gotham’s 6.3 million citizens with the threat of literal terrorist attacks via fear toxin. Proving himself to be one of Batman’s most capable adversaries, he then manages to convince Penguin, Two-Face, Harley Quinn, and even the Riddler to unite together in an effort to finally destroy not only the Batman, but his legend and legacy. In the game’s grand finale, Scarecrow succeeds at apprehending and publicly unmasking Batman, revealing his secret identity to the world.
Yet Scarecrow isn’t the only character whose limelight is stolen by the inclusion of the Joker. The Arkham Knight also loses out on screen time, despite being two-thirds of the game’s title. Even before his true name is revealed, it is obvious that the Knight has a grudge against the caped crusader. Most of his lines to dedicated to exactly how badly he wants Batman dead. Furthermore, he has a clear in-depth knowledge of Batman’s gadgetry, skills, and tactics. When Batman battles his militia forces, he will often coach them on, directing them to avoid Batman’s most common tactics.
Even if the game does make his identity fairly obvious about half-way through, this element of mystery is an important plot point. However, it isn’t until the mask comes off that this plot is allowed to develop beyond a mere “Who is the Arkham Knight?”. For those who are unaware, Jason Todd, the second Robin, is the Arkham Knight. Having been tortured by the Joker for an entire year before even the events of Arkham Asylum, he grew to blame Batman for all of his pain, assuming the guise of the Knight in order to take his revenge. During and after his boss battle, the two reconnect and reconcile, leading Todd to realize the error of his ways and don the persona of the Red Hood. During the finale, after Scarecrow has revealed Bruce Wayne to the world, he uses this new identity to swoop in and save the day.
Both of these story arcs are strong on their own, and each serve to examine the mind and psyche of Batman. Scarecrow helps us, as the audience, to better understand what drive Batman and what he is truly afraid of. With the Arkham Knight, Rocksteady is able to illuminate some of his previous failures, adding extra context and forcing the narrative to be more introspective. Putting the two together gives Scarecrow a powerful advantage by giving him access to knowledge of and the ability to get at the most important people in Bruce Wayne’s life, like Commissioner Gordon and the Oracle. At the same time, the fact that Jason Todd does care about those same people affords a justification for why they aren’t brutally, systematically slaughtered in order to break the bat. There is an odd chemistry between these two characters, their abilities, and their motivations that works to drive the events of the game.
And then, the Joker comes in with his signature dark humor. While his writing is solid and the legendary Mark Hamill once again delivers on the voice acting, I cannot help but feel disappointed by his inclusion. The moment the clown prince of crime makes his first appearance on screen, he steals the show. Almost every story beat is punctuated by a quip about current events or his past misdeeds and relationships with various characters. Since he is only an illusion in Bruce Wayne’s head, this is mostly unobtrusive from a gameplay standpoint. It can even lead to some interesting and amusing little diversions.
Unfortunately, it also robs both the player’s attention and valuable screen-time from the other main villains, who aren’t dead and have their own designs upon Gotham City. One particular instance stands out that really demonstrates this point. About halfway through the game’s campaign, the Arkham Knight manages to pin down Batman. Taking out his sidearm, he pinpoints the weakness in the Dark Knight’s armor, where he is most vulnerable, and fires straight into him. Leaving Batman to wallow in his injury, the Arkham Knight departs, leaving his militia forces to clean up. It is then that Joker appears on screen, commenting on how foolish it is to think that a single bullet can defeat the Batman. With this one line, all the threat and mystique that Rocksteady developed for the Arkham Knight in that scene is immediately shot down. Other similar examples happen so frequently that the non-Joker villains are severely undermined by these quips.
What this tells me is that Rocksteady didn’t feel confident in their ability to conclude the Arkham storyline without using the Joker. That’s honestly sad, because the set-ups and plot threads with Scarecrow and the Arkham Knight demonstrate an obvious understanding of how to write a good Batman story and why Batman is an interesting character. Adding Joker into the story make the other two major villains feel less like threats in their own right and more like tools for Joker to assert his dominance from beyond the grave. It is Scarecrow’s fear toxin that awakens and empowers the jester’s control over the Dark Knight. Even Jason Todd only resents Batman because he was trained over an entire year to do so by the Joker. In this light, neither one of them can be seen as inherently threatening.
The resurrection(?) of the Joker also deprived Rocksteady of a valuable opportunity to explore not only how Batman is coping with his inability to save everyone, but how Gotham and its criminal underworld are adjusting to the fact that the single biggest threat has been eliminated. There are shades of this sprinkled throughout that narrative. Not only do many of the random mooks expressed surprise and remorse about his passing, but it is implied that Scarecrow’s opportunity was only opened by the power vacuum left open. It is interesting to think that his insanity might have been accidentally aiding Gotham PD by preventing any one criminal enterprise from obtaining too much power over the others, yet the game does not give much time to the thought.

I won’t say that Batman: Arkham Knight is a bad story. Nor will I claim that I didn’t enjoy seeing Mark Hamill return to show why people love his take on the Joker. All I want to say is that the narrative as a whole would have been stronger is Rocksteady had the confidence to soldier on feeling the need to bring him back. As I write this, I know that my opinion on this matter is going to be in the minority. However, it is important to point out ways in which even a good story can improve itself. With so much talk about the other flaws in the game, it is only right for the story to get its due.

The Texture Pop: Episode 48: The Magical Mind of Yoko Taro

July 9th, 2015

0:00:00 Gaming News
Destiny/Red Bull crossover codes being guessed.
This story could have been infinitely worse, but it’s still just more and more bad news for Destiny.

Warner Bros. knew of Arkham Knight’s bad PC performance months before
(Link to Shamus Young’s article on porting.)
I hope this teaches WB a lesson on why it’s important to take care of your customers.

Ubisoft learned from their mistakes with Watch_Dogs
(Interactive Friction talks over the Watch_Dogs trailer.)
I can’t add anything here that I didn’t already say in either the podcast or during Interactive Friction. You know my thoughts on Watch_Dogs by now.

0:16:06 Chris plays more Assassin’s Creed 4: Black Flag
And we discuss the pitfalls of the overuse and abuse of collectibles in both the Assassin’s Creed franchise and the Batman: Arkham franchise.

0:24:29 Chris and I have each been playing Nier, from Yoko Taro.
If you’ve been listening to this podcast for a while, you know about our collective fandom of Yoko Taro. This is a more tempered conversation of his works, but still a bit on the gushy side.

0:48:50 I played Paranautical Activity
Again, it is not a bad game, but it just doesn’t compare to The Binding of Issac, which does the same thing but better.

0:50:41 I played Devil May Cry 4: Special Edition
This time, I used Lady/Trish. I talk about how interesting it is to use a ranged character in a game with so many melee-focused characters.

0:56:30 Sam played Batman: Arkham Knight while his PC was getting fixed.
(Spoilers from 0:58:10 to 1:10:20)
This was a bit of a continuation of the conversation we had on the last podcast. We also take the time to discuss the potential future for Rocksteady.

1:19:25 Sam played more Weeaboo Anime Trash.
Y’know how it is with Sam. He plays something anime-related, and I crack a few jokes about it. I don’t hate anime, but I can’t resist.

1:28:45 Wrapping Up
Interactive Friction might come off hiatus soon.

The Texture Pop: Episode 47: Yaoi Fangirls Rejoice!

July 2nd, 2015

0:00:30 Gaming News
Arkham Knight pulled from Steam
Given what we were saying last week, this comes as no surprise.

Red Bull-exclusive quest in Destiny
It’s just… I mean…. why?

0:14:30 Garrett returns to the cast!
(Note: From 0:17:20 until 0:22:20, we get into a very spoiler-heavy discussion about Among the Sleep)
It’s good to have Garrett back on the show. He’s been busy as hell lately, so it’s sometimes hard for him to find the time.

0:24:35 Chris played Assassin’s Creed 4: Black Flag
A pirate’s life for him.

0:35:05 Chris played J-Stars Victory VS+
Anyone who is a big fan of anime would be well served by buying this game.
I should point out that is was pretty irresponsible of me to say that implementing Cross-Save is “easy”. Even without knowing the particulars of their code bases for each version, which would be a huge factor in how difficult it would be, I have no idea how complex the act of changing a save file from a PS3 or PS4-compatible format to a PS Vita compatible format would be or vice-versa. It could honestly be very complicated.
Cross-Play is also another really interesting, and difficult, programming challenge. Given the decidedly low-budget given to this game, I can totally understand why it wouldn’t get implemented. I imagine that relative to Cross-Play, Cross-Save is easier to implement, but I should acknowledge that both are probably a lot harder than I am giving them credit for in the podcast.

0:51:00 Chris saw the movie Inside Out
As with most movies, I will get this on DVD/Blu-Ray when it comes out. I can’t wait until then.

0:55:00 I played Batman: Arkham Knight
(Note: This section contains MASSIVE SPOILERS for the game’s story.)
Arkham Knight isn’t a bad game, but there a lot of things I wish they did better. It has some really noticeable flaws.

1:16:45 I played Devil May Cry 4: Special Edition
Since I just played the first three games, this was the perfect time for them to release the Special Edition of DMC4, at least for me. I’m really happy with the game.

1:29:35 Wrapping Up
Garrett’s Twitch Channel
Interactive Friction Plays Watch_Dogs
My article on Dante from Devil May Cry

#93: Devil May Cry: Why Dante Shouldn't Be Taken Seriously

June 28th, 2015
For a long time, I avoided the Devil May Cry franchise. There was no real reason behind it other than a sheer lack of interest. During that time, people would tell me about how great the protagonist, Dante, was as a character. They would rarely get into specifics, because this was back in middle school and kids that age rarely think critically about anything, but it was clear that my peers held some reverence for him. Similarly, when the reboot was announced, and the backlash against his redesign was so great, I took the angry fans at their word that this new Dante had blasphemed upon the old one.
Then, the Devil May Cry reboot went free for the PS3 as part of Sony’s PlayStation Plus subscription service. This was the perfect excuse to satisfy my curiosity and discover exactly how awful this new Dante was. Much to my surprise, I found myself liking the redesign. There were a few poorly written and badly delivered lines, but nothing terrible. Despite this, I still took the word of those who believed that the Dante from the previous games was “superior”. This changed when, recently, I played the first three Devil May Cry games.
Though I like the old Dante, he was far from what he had been made him out to be. Frankly, he was not as great of a character as people seem to think that he is. In fact, he wasn’t even really much of a character at all, though that might not necessarily be his fault. The first two entries in the franchise were extremely light in story content, choosing to focus primarily on gameplay and level design. That’s not a problem for either game as a whole, but it gives Dante only scant few opportunities to express himself in any meaningful way.
It was not even until the third game that the developers began to delve into his character. Even then, most of that story focused on the rest of cast, with Dante himself acting more like a plot device that other characters had to plan around. He himself admits that there wasn’t a significant motivation for participating in the plot at first. The only reason the demon hunter was there is that killing demons is just a thing that he does, like breathing, or walking around without a shirt. It is rare for these three games to give him time to interact with other people, which hinders his characterization.
When Dante does get those chances, what we see isn’t bad, but it also isn’t enough to justify his loyal fandom. In the first game, most of his dialogue consist of the cheesy one-liners you might expect to hear in a low-budget B-movie. Almost every boss fight in the game is punctuated by insults or quick barbs from our protagonist. Even when mourning the death of his partner, Dante can’t help but deliver his line in the most cornball way possible. Devil May Cry 3, set before the events of the first game, placed even greater emphasis on these traits, giving a younger Dante more of a stereotypical frat boy personality. Channeling this persona, Dante can boldly walk up to Cerberus and jest about “taking the dog out for his ‘walkies'”, as only one example of what kind of individual he is.
Now, there is nothing wrong with this character archetype. It fits very well with Devil May Cry, since the franchise is clearly aiming for a campy, humorous tone. However, it’s not a style that is special in and of itself. The designers didn’t take it too seriously, and they didn’t want the fans to take it seriously either. Yet when Ninja Theory announced DMC: Devil May Cry, and Dante’s redesign, there was a massive backlash from the fans. The original trilogy would scoff at the mere notion of being anything more than silly romps through the story of a straight-to-DVD movie, yet fans had elevated them to the status of sacred cows.
The Dante from the reboot wasn’t even that much better or worse than the old one. His one-liners weren’t amazing, but neither were those from his progenitor. Compare this joke from the Beowulf boss fight in Devil May Cry 3 to this one from the Succubus fight in the reboot. Obviously the scene from the reboot is a bit “edgier” and more profanity-laden that the former. However, the actual content of both scenes is extremely similar. I remember hearing a lot of complaints the new Dante was trying too hard to look cool back when the reboot first came out. However, the scenes from the old Devil May Cry games make it clear that the old Dante was trying equally hard to look cool. The lines before both of those boss fights are lame: that’s why people enjoyed them in the first place.

So what is the underlying point behind all of this? Despite the nostalgia people feel for the old Dante, there is no reason why the two have to be incompatible. Neither one of them are inherently superior to the other. While the old Dante went for an “Awesome McFly Guy” persona, and the rebooted one went for a modern “edgy” identity, both are strong examples of characters who try their best to look cool without actually being cool. That’s why we like them so much. Even though they are clearly much stronger and more capable than we are, these cheesy lines and lame personalities help us to see parts of ourselves in them. And since both of them can fight these monsters with a sly grin and a quick wit, we don’t have to take those same monsters as seriously either. They both help carry the tone of the games they star in, and Devil May Cry as a brand is all the stronger for it.

The Texture Pop: Episode 46: Devil May Cast

June 25th, 2015

0:00:30 Gaming News
Arkham Knight’s PC Port is awful
Just to reiterate, the PC port was outsourced to a different studio. Still, this is another example of the PC audience getting shafted when it comes to big publishers.

Eurogamer Interview with Destiny’s Creative Director makes him look like a jerk.
This is one of the worst interviews I’ve ever read. Eurogamer did a great job staying professional and asking all of the right questions, but the responses were just awful. You have to read it just to get the full force of it.

0:14:08 Chris has beaten Murdered: Soul Suspect (Spoiler Alert after 0:15:56)
Though it isn’t the first time we’ve talked about it, I am glad that Chris finally played the game. It may not be the best game out there, but it does a lot of interesting things with its premise.

0:25:00 Chris and Sam played Dragonball: Xenoverse together.
I honestly think the Chris and Sam sold me on the game during this conversation. The only catch is that they play on the PC. Even with my new laptop, I’m unsure if I could run it well. I’ll do some research and wait for the next sale before making a decision.

0:39:23 Sam and I talk about our escapades recording Interactive Friction: Watch_Dogs.
Alternate  sub-title: The Watch_Dogs save system is GARBAGE!
When the next Interactive Friction episode comes up, I will go into more detail about why this particular problem perplexes me.

0:43:30 I played the Devil May Cry HD Collection
This convinced me to get the Special Edition of DMC4. That tells you enough about my time with the game.

0:55:45 I played Call of Juarez: Gunslinger
I love the unreliable narrator trope, so of course I would love this game.

1:02:01 I played Rayman: Legends
Really, you can’t go wrong with Rayman Legends. It’s scientifically impossible to dislike it.

1:05:30 Chris, Sam, my friend Ryu, and I played Lost Planet 2 together.
It’s…. a game.

1:11:30 Wrapping Up
My Dark Souls article
Interactive Friction

#92: Dark Souls: The Use of Estus

June 20th, 2015
From Software is very skilled at what they do. Coming off of my Demon’s Souls playthrough not too long ago, I continued on into its spiritual sequel: Dark Souls. While Demon’s Souls allowed players to gather and grind for healing items, Dark Souls uses a new system to manage health. The first NPC that players interact with will give them an item called the Estus Flask. This flask has a finite number of charges, and consuming one of these charges heals the player. When resting at a bonfire, a safe haven where players can recover their health and manage their inventory, this flask will be recharged.
What I found was that this one change had a profound effect on the game’s design. The most obvious of these changes is that the ability to mend wounds becomes limited. In Demon’s Souls, there were several varieties of healing grass, and players could hold up to 99 tufts of each type. Personally, I recall constantly have at least 40 or 50 tufts of whatever grasses I was able to obtain at any given point during my playthrough. Towards the end, I had so much that I couldn’t pick up any more. In fact, grass was so plentiful that I had 99 tufts both on my person, and in the excess-item stash.This is definitely not the case in Dark Souls. Resting at a bonfire will only fill the Estus Flask up to 5 charges. It is possible to upgrade bonfires so that this limit is raised up to a maximum of 20. Doing so requires the use of “Humanity”, an uncommon resource that, like souls, is lost on death. The act of “kindling” a bonfire is rare for this reason. During my playthrough, I only upgraded most bonfires enough to hold 10 charges in the Estus Flask.
The difference in these limits strongly manifested itself in my playstyle. If a fight left me with even a small scratch during my adventures in Demon’s Souls, I would immediately consume a tuft of healing grass (or several, depending on how wounded I was) before moving on. With 99 tufts in my back pocket, there was nothing stopping me from making use of one or two.
In Dark Souls, this same decision became a much more tactical choice. When I finished a battle with only minor damage, it would be smarter to keep going without using the Estus Flask to heal, because that healing will be more useful later on. Once I figured out where a stage’s boss was and how to get to them, it was imperative to take as little damage as I could so I could save Estus Flask charges for the boss fight, where I would need them the most. Even without the looming threat of an impending boss, running out of healing while exploring a stage was a big enough threat that there is always a natural reluctance to avoid using it when I didn’t have to.
If a single run of a level in Dark Souls was going badly enough, me being badly injured surprisingly early on and heavily imbibing of the Estus Flask, a choice needed to be made. I would often seriously consider whether it was wise to keep going, or to just return to the bonfire and try again. While bonfires do recharge the Estus Flask and mend any lingering wounds, resting at them also respawns every single enemy at full strength. In other words, trekking back to the bonfire and restoring my lost Estus is also resigning myself to starting an area over again almost from scratch. Through the Estus Flask, Dark Souls moved away from the war of attrition that Demon’s Souls sometimes wandered into. Instead, every area is a test of not just character build and player skill, but also of the ability to manage resources.
The Estus Flask also lessened Dark Souls’s need for grinding, especially in comparison to its predecessor. Despite having large quantities of healing grass in the original Demon’s Souls, repeated attempts to clear areas and fight bosses could and would deplete reserves. This meant that it would eventually be necessary to revisit old areas and grind for additional grass to replenish the player’s supplies. In the early game, I frequently found myself returning to the Boletarian Palace in between boss attempts, once my grass count had fallen below 20, to gather more. Consequently, this meant that the time between boss attempts would sometimes be a little too long.
The Estus Flask fixes this problem. Since one can no longer grind for restoratives, there exists no incentive nor need to do so. For this reason, the downtime between boss encounters is reduced only to the time it takes for one to get from the nearest bonfire to the boss chamber. Even though my overall playthrough of Dark Souls was longer than that of my Demon’s Souls playthrough, this reduced time between boss attempts gave the illusion of an accelerated pace. I could fight a boss as many times as necessary to defeat it without having to stop and grind for healing items, which is a boon in the Souls franchise.

Including the Estus Flask could be seen as a minor, seemingly meaningless addition. In truth, it is one of the biggest, most vital changes that came with the transition from Demon’s Souls to Dark Souls. This one change transformed the dungeoneering from a gradual and methodical war of attrition between the enemy forces and the player’s healing reserves to a test of how well they can management resources. When it comes time to brave the stronger enemies and boss encounters, it also accelerates the pace of repeated attempts. This kind of attention to detail is why people love the Souls games more than anything else. Each new design decision is carefully considered before it is implemented and the final product is all the strong for it.  

The Texture Pop: Episode 45: Everyone's Exhausted Expo.

June 20th, 2015

This week, we take a break from our usual fare to give you a breakdown of our thoughts on the E3 press conferences.

Also, this is the first podcast that I have personally edited. Let me know how I did in the comments.

To make it easier, we went through each conference one at a time in chronological order.

0:00:00 Bethesda

  • Doom
  • Dishonored 2
  • Elder Scrolls Online Expanion
  • Elder Scrolls Card Game
  • Fallout 4
  • Fallout Shelter

0:17:40 Microsoft

  • Backwards Compatibility with 360 games
  • Halo 5
  • Recore
  • Xbox Elite Controller
  • Fallout 4 Mods 
  • EA Access
  • Garden Warfare 2
  • Forza
  • Dark Souls 3
  • The Division
  • Rainbow Six: Siege
  • Gigantic
  • Indie Games
    • Tacoma
    • Cuphead
    • Ashen
    • Beyond Eyes
  • Microsoft Game Preview
  • Ion
  • Rise of the Tomb Raider
  • Rare Replay
  • Sea of Thieves
  • Fable: Legends
  • Minecraft and Hololens
  • Gears of War 1 remake
  • Gears of War 4


1:08:20 EA

  • Mass Effect: Andromeda
  • Need For Speed
  • The Old Republic Expansion
  • Unravel
  • Garden Warfare 2
  • EA Sports
  • Star Wars Card Game
  • Minions’ Mobile Game
  • Mirror’s Edge: Catalyst
  • Star Wars: Battlefront

1:32:30 Ubisoft

  • South Park: The Fractured But Whole
  • Aisha Tyler’s hosting
  • For Honor
  • The Crew Expansion
  • The Division
  • Anno 2205
  • Just Dance 4
  • Rainbow Six: Siege
  • Trackmania
  • Assassin’s Creed: Syndicate
  • Ghost Recon: Wildlands

2:00:20 Sony

  • The Last Guardian
  • Horizon: Zero Dawn
  • Hitman
  • Street Fighter V
  • No Man’s Sky
  • Media Molecule’s Dreams
  • Firewatch
  • Destiny Expansion
  • Assassin’s Creed: Syndicate
  • World of Final Fantasy
  • Final Fantasy VII Remake
  • Shenmue 3 Kickstarter
  • Batman: Arkham Knight
  • Playstation Vue
  • Call of Duty
  • Disney Infinity + Star Wars
  • Uncharted 4

2:28:00 Nintendo

  • Star Fox: Zero
  • Amiibo/Skylander Crossover
  • Zelda: Tri-Force Heroes
  • Hyrule Warriors 3DS
  • Metroid Prime: Federation Force
  • Fire Emblem: Fates
  • Shin Megami Tensei X Fire Emblem
  • Xenoblade Chronicles X
  • Animal Crossing: Amiibo Festival
  • Yoshi’s Wooly World
  • Yokai World
  • Mario and Luigi: Paper Jam
  • Mario Tennis Game
  • Super Mario Maker

2:36:50 Square-Enix

  • Just Cause 3
  • NIER 2
  • Rise of the Tomb Raider
  • Lara Croft GO!
  • Final Fantasy VII Remake
  • Kingdom Hearts: Unchained X
  • Kingdom Hearts 3
  • World of Final Fantasy
  • Hitman
  • Star Ocean 5
  • Deus Ex: Mankind Divided
  • Final Fantasy Portal App
  • New RPG Project by Tokyo RPG Factory

Interactive Friction: Watch_Dogs: Episode 5: It's Not the Pizza Guy!

June 17th, 2015

This episode, we wish for Aiden Pearce to suffer.

Continuing with the last episode’s theme of missed opportunities, Aiden Pearce himself is one walking, talking missed opportunity.

In this final version of Watch_Dogs, he’s sits in this incredibly awkward position. While it is clear that Ubisoft intends for us to sympathize with, and root for, Aiden Pearce, he exhibit almost no traits worthy of even slight praise. He stubbornly and dogmatically clings to his revenge despite his loved ones pleading for him to stop. He can only prevent crime in a violent and painful manner. And he’ll gleefully torture someone for a single new fact he could easily acquire through the MASSIVE CITY WIDE DATABASE OF EVERYONE AND EVERYTHING! In short, he’s a massive dick.

But they didn’t need to do this, even if we work under the conceit of the standard revenge plot we’ve been given.

One way they could have done it is by turning Aiden Pearce into a reluctant hero. He may think revenge is necessary, and he may even be able to justify his action. That could work if I could envision even the slightest chance that this jerkwad could feel bad about anything. If there were a few scenes where he expresses genuine remorse, or regretted that he had to take on that persona to achieve his ends, that would be wonders for his character.

Alternatively, Ubisoft could’ve gone in the opposite direction. Don’t even attempt to make Aiden Pearce relatable. I may not like that option, but it is valid. If done right, he could even be an interesting heroic/comedic sociopath. Such characters do have their entertaining qualities, like Jordi for example. Having the two of them play off each other’s insanity could even make for some great interactions.

But let’s say that both of those two options we’re unfeasible for some arbitrary reason, and they had to go for the current personality. Even that would be fine if Ubisoft didn’t portray him in such a positive light. As we’ll see later in the series, Aiden Pearce is never the one who deals with the consequences of his actions. In every case, the people around around him are the ones who suffer. Even the closest of his circle are sheltered from the most direct effects in the end. Despite all that, Aiden Pearce does not undergo any pain or trauma, nor does he learn a lesson nor redeem himself for his past deeds. He just exists in this completely insulated state of being.

God, I hate this game.

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