Tagged: game

Jen Krueger: The Gaming Sweet Spot

Until very recently, the thought of spending a hundred dollars on a board game would have seemed like madness to me. If it actually is madness, then I guess it’s appropriate that Betrayal at House on the Hill is what had me considering it. It’s a game in which you and your friends explore a haunted mansion by building it out room by room with tiles that reveal objects, events, and traps to test your sanity. Everything changes in the middle when a haunt is triggered to reveal one player as a traitor out to kill the others, and playing it just once at a board game cafe was more than enough fun to make me want a copy of my own. Unfortunately, it’s currently out of print and procuring a copy would mean spending around a hundred dollars for a used set through a reseller.

So what about Betrayal at House on the Hill was so fun that a single experience with it made me actually consider dropping that kind of money on a type of product for which I’ve generally paid no more than fifty dollars? The fact that the mechanics for both the layout of the house and the type of haunt that occurs mean it’s never the same game twice. Knowing that even if I happened to run through all 50 different haunts the rule book contains, the unique layout of rooms and the randomness regarding which player becomes the traitor would keep the gameplay from ever becoming rote. As much fun as it can be to play a classic like Monopoly or a modern hit like Ticket to Ride, whenever I play something of a more fixed state like these, I find myself less engaged with the game itself as well as the other people I’m playing with. There’s never really any surprise to this kind of game, and at a certain point I end up on autopilot. There may be variation in which specific spaces I land on or cards I pull, but the range of possibilities is firmly set from the start, diluting the replay value and leaving me content to play them but never dying to own them.

But as much as I want board games I play to give me a unique experience every time I sit down to them, there are of course games that go too far down that path. Risk Legacy builds on the foundation of the classic game Risk, but is meant to be played by the same group of people 15 times because each session results in the players making alterations to the game based on their specific experiences with it, like scarring a territory with a negative effect on any future combat that takes place there, or naming a territory so that only the player who named it can start in that territory during future games. These alterations are permanent, and affect every session that follows, making every Risk Legacy set that’s sold into a completely unique experience for the group that plays that set. I was pumped to try the game when my friend Art wrangled a group to play. More friends of mine, Farley and Clay, were playing with a separate group around the same time, and as each group got more sessions under our belts, we’d check in with each other about our impressions and strategies for sessions to come. The incredibly customizable nature of the game meant that both of our groups were constantly realizing we’d been doing something wrong due to not fully understanding the understandably complicated rules, but the continuing effect of each session on the ones that follow it make it very hard to rectify mistakes. And though correlation doesn’t imply causation, I can’t help but think any game with such a high level of customizability runs the same (cue groan) risk.

For me, the games that do it right are the ones right in the middle of this spectrum of uniqueness per session. Cyberpunk card game Android: Netrunner gives players a wealth of cards to pick from with multiple expansion packs on the market and new ones released every month, making the possibilities endless when putting together a deck to sit down with a friend and, depending what side of the table you’re on, either hack their servers or foil their hacker. Betrayal at House on the Hill gives a different board and set of circumstances every time, but the rules governing play are constant and basic enough to let the players get them under their belts in a few turns on a first play-through, then simply immerse themselves from that point on. And if a game can be as simple in concept yet as different every time it’s played as Betrayal at House on the Hill, a hundred dollars for a set gives you unlimited replay value. In my book, that’s actually a bargain.

Dennis O’Neil: SHIELD, Arrow, and Superstuff

Both prime time comic-book based television series had their season finales this week, a day or two after I write this, and so any commentary on them might be premature. I mean, maybe some humungous game changer is in the offing, some gobsmacking surprise that will leave us gasping for breath, numbed and awed by the storytelling splendor we have just witnessed.

Or maybe not.

The shows I refer to are, of course, Marvel’s Agents of S.H.I.E.L.D. and Arrow, and although they are, as noted above, comics-derived, they aren’t two heads of the same critter. I think that Arrow is the more… well – I’m lacking precise terminology here, so let’s call Arrow the more “comicbooky” of the two. It is all about superheroes, comics’ prime export: one such hero in particular the Arrow of the show’s title, who wears a costume and has a double identity and has tricks up his sleeve – his quiver? – that might make an Olympic archer seek another sport. And over the months he’s acquired some friends who might qualify as superheroes and some enemies that might qualify as supervillains. SHIELD, on the other hand, is a hybrid, a series that occurs in a world where superheroes exist, but which is not about superheroes per se. (And yes, o astute reader, I did exile a bunch of periods from the show’s name. Sue me.) The SHIELDers aren’t super themselves, but they’ve got some supers in their Rolodexes.

I mentioned game changers a couple of paragraphs ago. Both Arrow and SHIELD have already changed the game a bit. SHIELD, as part of a nifty crossover with a movie, has gone from being a CIA/NSA-type spook organization to being a bunch of noble folk running from the authority figures, outlawed by the baddies’s takeover of whatever agency controls SHIELD. (I confess that I’ve never quite understood who signs SHIELD paychecks. A U.S. government honcho? Somebody as the United Nations? A scientologist?)

Some of you may want to read political commentary into SHIELD’s status change. Be my guest.

Arrow’s game has also changed, on a smaller scale than SHIELD’s, but kind of drastically nonetheless. The storyline replicated some comic book stuff from years – nay, decades – back. To wit: bow-twanging hero Oliver Queen loses his fortune. He’s no longer a member of the one percent. No more rich kid. I don’t know why the television guys made the change and, after all these years, I’m not sure why we comic bookers did, either. Maybe so our archer would be less like Batman/Bruce Wayne. Maybe to give him some (fictitious) street cred. Or maybe we just weren’t all that fond of mansion dwellers. Or… all of the above?

To end on a what-the-hell-difference-does-that-make note: In the comics, the Arrow was the Green Arrow, as many of you know. I approve of the renaming. I mean, why green?

 

Microsoft to sell Xbox One Without Kinect… and…

Microsoft announced via their Xbox Wire blog a number of changes to its Xbox One Console and related services.  A new package without the Kinect camera and motion control accessory will be available starting June 9th for $399, putting the system on par with the better-selling PS4.

The Kinect allows users to play a small number of games,as well as enable many of the interactive features that Microsoft hoped people would find exciting and useful, but many have instead found superfluous and creepy. Users without the Kinect will lose the ability to use voice and motion-related commands to power on the system and perform functions like changing programs and display options. They will also lose the ability for the unit to recognize the users face as they long, as well as many of the potential “Big Brothery” features like being able to count people in the room (and charge accordingly), being able to deliver targeted advertisements based on response data the device picks up, and the fact that the peripheral is “always on,” ready to pick up your voice commands, features that many users feared could be used in the future for more monetized strategies.

For those who change their mind after the fact, the Kinect peripheral will become available separately this fall, but no details on exact date or price have been revealed.

This is the latest in a series of reversals in the Xbox One’s marketing.  Before its release, gamers railed at what they saw as prohibitive and restrictive requirements to loan a game to a friend. A requirement that the system be always connected to the internet vanished shortly after when people took them to task for assuming that every player had full-time internet access – many pointed out that soldiers in other countries were frequent gamers but their limited web access effectively excluded them from playing the new system.

The general PR boondoggle around the launch resulted in Don Mattrick, Microsoft’s President of Interactive Entertainment, leaving the company after some extremely short-sighted comments about the console’s potential users. Many have continued to complain about the console’s higher price, based mainly on a peripheral that some find unnecessary, a complaint this change finally addresses.

In other Xbox news, Microsoft announced that many Internet services like Netflix, Hulu Plus and Skype would no longer require the Xbox Live Gold (paid) membership, but would be available for people with the unpaid Silver accounts. Gold is still required for online play of multiplayer-equipped games, something also required on the PS4 via the PlayStation Plus service. Following the lead of the Plus service, Microsoft has offered free games for Gold members for some time, and would soon offer “Deals with Gold,” offering discounts on games, a service also already part of PlayStation Plus.

In their blog post, Microsoft states:

We’ve heard that you want more choices from Xbox One. You want a wide variety of options in your games and entertainment experiences and you also want options in your hardware selection.

While it’s good that Microsoft has heard these wishes, one would not be out of line in wishing that they had responded more quickly after processing what they had heard.

Jen Krueger: Permanent Pop Culture

My friend Dave has decided to get a tattoo of a Recognizer from Tron. It’ll be his first (and probably only) tattoo, and I wasn’t at all surprised that’s what he wanted when finally making the plunge into getting ink. But while it’s far from the first time I’ve encountered the idea of a pop culture tattoo, Dave’s Recognizer is the first instance of a pop culture tattoo that hasn’t made me cringe a little bit.

Don’t get me wrong, I love tattoos. It’s just that, oxymoronic as it may sound, I’m kind of traditional when it comes to them. I dig the old maritime culture of tattoo designs that are like badges of particular skills or experiences, and while I don’t have anything against the idea of getting ink just for fun or decorative adornment, I tend to look at tattoos today more as an opportunity to represent something meaningful and personal. So no matter how well done the tattoos themselves are, whenever I’ve seen photos of Marvel back pieces, Disney sleeves, or Nintendo chest pieces, my first reaction tends to be an assumption that they’ll one day be regretted. As much as I may love certain comics, movies, or games, I’ve found it hard to imagine someone would really want the Avengers, a collection of princesses, or a bunch of video game bosses on them forever.

That being said, I didn’t bat an eyelash when my friend James decided on a Fahrenheit 451 tattoo. Ray Bradbury is his favorite author, and Fahrenheit 451 his favorite Bradbury work, so the burning paper man illustration from one of the Fahrenheit 451 covers struck me as the perfect choice for James when it came to putting an image permanently on his body. But if it’s this easy for me to understand getting a tattoo that references a book, shouldn’t a tattoo referencing a comic, movie, or game be just as easy for me to understand? After all, they’re all pieces of entertainment, and I’m sure there are people who love the Hulk or Ariel or Mario just as much as James loves Bradbury. If I cringe at the idea of a pop culture tattoo but like the idea of a literary one, am I being a snob?

I don’t think so. Because I don’t think it really has anything to do with the content at all. It’s actually about the relationship to the content, and how likely that relationship is to change.

Get me talking about Doctor Who and it’s immediately apparent I’m a huge fan. It’s definitely my favorite show, has been for a number of years at this point, and I’d even go so far as to say the Doctor is one of the best television characters I’ve ever encountered. But no matter how much I love Doctor Who, I’d never consider getting a Who tattoo. Even though I’ll likely always love the episodes I do at this moment, the still-evolving state of the franchise means I can’t be sure I’ll always love the show as a whole. If I put a TARDIS on my arm today and next season goes in a direction I hate, I not only get disappointed by a show I love, I also get a permanent reminder of that disappointment. Comics and video games go through the same amount of (if not more) evolution as TV shows, and though non-franchise movies are less likely to be subjected to it, the popularity of the reboot is high enough that I’d be hard-pressed to be positive a movie I love won’t end up mangled in the future with a remake or sequel.

Books, on the other hand, are obviously much less fluid. Sure, a series of novels can go through as much evolution as a TV show, comic, movie franchise, or game franchise, but with fewer hands at the helm of a series of novels than tend to be involved in most other forms of entertainment, I find it easier to assume I’ll like the next book in a series than I do to assume I’ll like the next offering of something I’ve previously enjoyed in one of these other fields. Shift the focus to stand-alone novels, and I can say with certainty that whenever my feelings about a book have changed, they’ve only become more positive over time. If there was an obvious and simple visual to be pulled from my favorite book, I probably would’ve gotten a tattoo of it years ago because I can be so confident my love for it is a lifelong love.

So what was it about Dave’s Recognizer tattoo idea that kept me from cringing? Knowing that for him, the tattoo is about more than Tron. His love for the movie stems not just from the film itself, but also from the fact that his first experience with it was special because of who shared it with him. This kind of love for a piece of entertainment is the caveat I was overlooking in the past when considering pop culture tattoos, and it’s made me realize there may have been more meaning to some ink I’ve seen and assumed wasn’t very personal. From now on, I’ll look a little harder for the story behind these kind of tattoos. But if there isn’t one to be found, I won’t feel bad about reverting to a cringe.

We’re removing Google AdSense until they reinstate The Beat

  • News
  • April 24, 2014

Okay, two can play that game. We’re taking off all of our ads from Google until they reinstate The Beat. We call on other comic sites to do the same.

In related thoughts, have you donated to the Comic Book Legal Defense Fund lately?

Mindy Newell: Reading Is Fundamental

Dorothy: What kind of a horse is that? I’ve never seen a horse like that before!

Guardian of the Emerald City Gates:  And never will again, I fancy. There’s only one of him and he’s it. He’s the Horse of a Different Color you’ve heard tell about.

—The Wizard of Oz, 1939

I love to read.  I read every chance I get, including always bringing a book with me to read on my lunch hour.

I don’t get people who don’t read.

They make me crazed.

(more…)

Marc Alan Fishman: How To Lose Your (Convention) Virginity

On a recent jaunt into the social media interwebs, an old foosball buddy of mine asked that I help him discover the creepy, crazy, wacky world of comic book conventions. By proxy, I assume he also means sci-fi cons, pop culture cons, and possibly the auto show. In any event? Todd Burrows, I got your wonderfully tattoo’ed back. Consider this your introduction and survival guide all rolled up into one easy to read article. Forgive me though, this ain’t Buzzfeed, so don’t expect 10 glorious animated gifs for scrolling.

Let us assume you’re not a comic guy, but this whole comic thing is mildly intriguing to you. Perhaps a person you used to know back in high school is now a small indie publisher, and you think it’d be neat to see him again. Perhaps that publisher from time to time uses his or her friends in model reference shots, and you think that maybe you’d like to see yourself as a superhero or nefarious villain. And maybe, just maybe, you think dipping your toe into the waters of these new-fangled cons would be a good way to know if all your intrigue is just a waste of your time. I know, that’s a lot of supposition. But I digress. The question is simple: Why Go To A Comic Con?

It’s inclusive.

Since the first time I’ve stepped onto a convention floor, I’ve never once felt on the ‘outside’ of the industry. Once your badge is flung around your neck – be you a complete noob or a working professional – you’ll find most every con filled with folks in the exact same situation. In the pair of decades I have considered myself a fan, I’ve not once found a fellow con-goer not willing to lend an opinion, give a bit of backstory, or make an education recommendation on a good read. It can be daunting, no doubt, to jump in head-first to a world you think you don’t know. But lucky for you? Comics have permeated TV, movies, and pop-culture now for so long, there’s little to no chance you haven’t been introduced already without even knowing it. (more…)

ComicMix Six: Comic Book Characters Who Were in the Olympics

  • News
  • February 21, 2014

It’s time for the Winter Olympics! That special time every four years where the world tunes in to watch athletes from all over compete for medals. I myself am reminded that perhaps I should take up running or some form of exercise other than getting up to grab myself a new book to read. Until that fateful day however, I bring to you this list of six comic book characters that were involved in the Olympics in one form or another.

  1. jonsablefreelance7-8252258

    Cover to Jon Sable Freelance #7. Art by Mike Grell.

    First on the list is Jon Sable.  A now freelance mercenary who previously was an athlete in the 1972 Munich Olympic Games. After having witnessed the terrorist outrages in the Munich games, he married a fellow athlete and moved to Rhodesia. Becoming a game warden and a tourist guide for safari tours. Unfortunately however, life did not go so simply and he returned to the USA to go freelance.
    Not the happiest of Olympic tales to start out on, I know. But it is interesting to say the very least. You can also catch up on the latest Jon Sable right here, with Jon Sable: Ashes of Eden.

  2. (more…)

Dennis O’Neil: Cold Weather Fans

oneil-art-140206-2992554Went into the living room this morning, looked out the big window and… what do you know? Snow! That was four or five hours ago and it’s still coming down: small flakes, but a lot of them. I guess we should be thankful that this weather wasn’t happening Sunday, because Sunday, as some of you may have heard, was the day of the Big Game, which was played at New Jersey’s Meadowlands, which is a quick drive to New York City (unless Governor Christie’s minions are conducting a traffic study) and New York City is a quick trip to where I’m sitting and so I’m guessing that the snow’s falling on the Meadowlands as it is falling here and if that had happened yesterday it might have interfered with the game. And wouldn’t that have been the worst, most horrific, most devastating, civilization-crumbling event in recorded history?

Oh sure, I guess the Meadowlands has guys who tend to the playing field and maybe they could have made it playable, but still… And imagine being a fan huddling in the stands. No matter how big your thermos full of hot coffee might be, you’d be cold! And being cold might have interfered with your enjoyment of the game and that might have wreaked psychological trauma upon you, leaving you a quivering shell of your former self.

The Broncos lost. That was the team I was rooting for, though not rooting very hard, because although I’ve visited both Seattle and Denver within the last year, I was in Denver most recently – ergo, the Broncs are my guys!

(By the way… Colorado recently legalized recreational marijuana and what happens? Their team gets clobbered in the Super Bowl. So the right wingers must be… er – right. Go ahead, quarrel with logic!)

But something’s wrong here…

Oh, wait, yes. Comic books. This column – hell, this entire website – is supposed to be about comic books. Not football, not Governor Chris Christie, not the lovely snowfall – comic books! So, could a canny blathermeister somehow mix football and comics? Well. I do believe that everything is related, but putting those two topics together in the same column might be a challenge. Comics have never been much about sports. There were a few sports-themed comics in the 40s – All Sports and Babe Ruth Sports, to name two – but not many. And later? The pickings are sparse. DC published six issues of Strange Sports Stories in 1973-1974 that, under the editorship of Julius Schwartz, conflated sports and science fiction. Let’s give it a “nice try.”

So why the de facto segregation? Maybe the stereotype is valid; maybe humans who enjoy reading aren’t often the same humans who enjoy violent contact games. Enormous generalization, sure, but maybe one with a grain of truth buried within it. Or maybe the creative folk never sussed out how to do sports in panel art narrative. Maybe the timing was never right. Maybe maybe maybe…

…I’ll write about something entirely different next week.

FRIDAY: Martha Thomases

SATURDAY: Marc Alan Fishman

SUNDAY: John Ostrander

 

John Ostrander: Upsides & Downsides of Writing

ostrander-art-140102-6226367There are some days that I love being a writer. When the everything is cooking, when the words are flowing, when the characters are speaking to you, when you’re on the top of your game, it’s all magic. That’s not every day. Not by a long shot.

There are the days when you’re staring at the screen and it stares back – and the screen does not blink. You pray and the gods/patron saints (depending on your belief system) do not smile, do not answer, do not share their favor with you. There are days when I have considered offering blood sacrifices to these gods/saints. On those days, the cats hide.

I make my living off of my writing. There are upsides and downsides to that. On the upside, I’m my own boss. On the downside, I frequently hate my boss. He always knows when I’m goofing off and I can hear his voice in the back of my head saying, “Are you making money doing that?” It’s hard to get a day off; there’s no paid holidays, there’s no paid sick days, no paid vacation.

On the upside, I work out of my home. The commute’s a breeze. The only traffic jam is when one or more of the cats gets in front of me as I head towards the office and decides to stroll or flat out lie down right in my path. A semi jack-knifing in front of you is not as likely to stymie your passage as completely as a downed cat. Swearing sometimes clears the path; sometimes it just gets me a blank look.

On the downside, it’s hard to get away from the office. It’s always there and that damned boss keeps on asking “When are you getting back to work?” Yes, I have my own separate office in my home and, yes, I could close the door. I’ve done that. I think there’s a small gravity well at my desk and it keeps sucking me back.

There’s the Freelancer’s Disease. If you’re offered work you tend to say “yes” even if you’re overbooked because you fear if you say “no” the aforementioned gods/patron saints won’t send you any more work. And there’s the corresponding Freelancer’s Nightmare when the work does stop flowing. Will the work ever come again; how will you pay bills, how will you eat if the work doesn’t come back? It’s not a rational fear but it’s a very real one and you can wake up in the middle of the night or first thing in the morning with an attack of it. Been there; felt that.

There’s a corresponding hope that lightning will strike. I was on a plane once and the guy next to me began talking. We were both in our forties. I told him what I did and he told me he was a corporate lawyer. I expressed some envy at him; he had a steady paycheck. He agreed and he said that was the problem: he knew how much he would make this year, and the next year, and pretty much ten years down the line. “You,” he said, “on the other hand, could be hit by lightning.” I could write something, come up with an idea or a concept that could make me millions. It could happen at any time. It hasn’t yet… but it still might.

That’s one of the things that keeps me at it, that and the joy I get when the writing works. I’m also too damn old to work in an office. I can’t see anyone hiring me. I really don’t have any marketable business skills and no résumé.

Nope, for better or worse, for all the upsides and downsides, writing is what I do. I’d better get back to it before the boss yells at me. Again.

The bastard.

MONDAY: Mindy Newell

TUESDAY MORNING: Jen Krueger

TUESDAY AFTERNOON: Michael Davis

 

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