Game Review: Control
505 Studio’s Control is game that seems like it should have been a good game. Unfortunately, it’s an average third person shooter with a lot of problematic game design elements sporting one almost redeeming concept. Let’s explore.
What kind of Game is it?
Control is a game about, well, control of sorts. Not so much the control you might expect, but the control that the game designers want you to come to know. Basically, your player character, Jesse, is thrown into a world of objects dubbed O.o.P. or Objects of Power. These are everyday objects that contain a supernatural force. In this sense, the game ripped off Friday the 13th The Series and Warehouse 13. Both of these TV series revolved everyday objects imbued with a supernatural element that, if harnessed, would typically lead to wanton destruction.
In this same vein, the game world in Control has this same problem. These everyday power objects not only allow people to harness the supernatural forces within, these objects bestow unique abilities upon the bearer. However, in those aforementioned TV series, their objects not only gave the person a supernatural ability, it typically sapped the good out of the person leaving only evil behind. In this video game, this object situation does not similarly exist. The player character remains in full control of their faculties and remains sane and able to ward off any evil that may be part of the object.
As you might surmise, as you progress and find more and more power objects, the player character grows in strength and abilities. That’s how the skill tree opens and progresses. The game is much like other similar superhero games like the Infamous series, The Darkness series and, to a lesser extent, Ubisoft’s Assassin’s Creed series. Basically, as you find and gain abilities, your character’s strength grows. It’s obvious that this setup is leading to a final boss level where you’ll have to close out the game using many, if not all of the character’s abilities to defeat that final boss. It’s a fairly standard and cliché setup for a video game.
Story
The story in this game is mostly utilitarian. It primarily exists for the purpose of creating this video game. The story is essentially there to support the character’s gaining of new abilities, not the other way around. The character finds herself in a building called the Federal Bureau of Control (FBC)… it’s this video game’s equivalent of the FBI or CIA… with the added twist of also investigating all things of a supernatural nature. This situation she finds herself in affords her new abilities along the way. Though, she already has one ability that she’s already gained as a result of exposure to a power object when she and her brother were both kids.
Now, Jesse finds herself confronting the very outfit that kidnapped her brother, but at the same time becoming the FBC’s savior because the building has somehow gone completely out of control… which, this story setup is probably predictably obvious.
The first object of power that Jesse finds (well, technically the second) is a gun which now affords her protection. There’s nothing really very special about this object of power other than it’s a gun. I was a little disappointed to find the game developers offering up the weakest of all power objects as the first that she finds. I mean, what’s the point in finding an object of power if it doesn’t somehow confer a new supernatural ability? No, instead we find a gun that’s just a gun. It shoots bullets, but other than that it doesn’t do much in the way of anything else. It’s not even a very powerful weapon. It’s simply a pistol. So far, the game is starting off weak.
Abilities
As the game progresses, Jesse gains more and newer powers and abilities. The difficulty is that this is a slow row to hoe. Meaning, this game is about as slow burn as it gets. Don’t expect to get many abilities very fast at all. They definitely come to Jesse at a very, very slow pace.
Still, her abilities and powers grow as she slowly finds the objects to help her improve her situation with “The Hiss”. As I said above, the building itself has gone out of control. Most of the people in the building are floating catatonic many feet above the ground. These unfortunate people are under the control of what Jesse dubs, “The Hiss”. It’s basically a form of mind control that forces people into this catatonic floating state. Jesse and any who are wearing a Hedron Resonance Amplifier (HRA) can avoid becoming a casualty of “The Hiss”.
As Jesse progresses into the game and into the building, she finds all sorts of departments investigating all sorts of paranormal activities, including ESP, telekinesis, mind control and so on. Unfortunately, the game throws all of this information at you, but Jesse makes no comments on any of it. It’s like she’s simply expecting to see all of this stuff as she makes her way through the Bureau of Control building. Nope, to her it’s not a surprise at all. Yet, to the player, the questions all remain open as the story addresses none of this.
Control Points
As Jesse makes her way through this labyrinthine maze of a building, she finds red circular zones with 3 parabolic dishes aiming at the center. These control points, once “cleansed”, allow Jesse to fast travel to these points in the building. As a game mechanic, fast travel points are convenient. For the game’s story, this whole system feels contrived. Regardless, the control points not only allow Jesse to straighten out screwed up parts of the building through “cleansing”, it allows her to use these points to move around the building more easily… which is needed in this convoluted design of a building.
Puzzles
As with many games of this nature, Jesse’s challenges sometimes involve cryptic puzzles to be solved. This means working out how to solve the puzzle, sometimes using abilities, sometimes not. For example, one puzzle involves getting punchcards into the correct order in each terminal of five total terminals. Once done, the machine dependent on the correct order of cards inserted into the terminals can then be started. Of course, once started, the machine fails leading Jesse to yet another area of the building to get something else.
When Jesse isn’t solving puzzles, she’s fighting enemies, she’s conversing with an NPC or she’s running around in the building. Many of Jesse’s quests involve either fetching something, doing something for someone or attacking enemies or being attacked.
Combat
Since we were just talking about this very topic, let’s expand on it. Combat is part of any first or third person shooter; otherwise, it’s not a shooter. The enemies in this game are The Hiss, a nebulous set of voices that invade a person and can eventually possess that person and have them do things, including fight. All of the enemies in the game are former FBC officers who have been possessed or transformed by The Hiss. The Hiss is a nebulous enemy who lives in an alternate dimension from the game’s 3D human inhabited world. This supernatural force can reach through into the “real” world and control humans. The Hiss doesn’t seem to have any special agenda other than taking up arms against the game’s protagonist… at least, none that the game has let the gamer in on.
In other words, The Hiss is pretty much like The Flood in the Halo series. It’s a nebulous enemy who uses humans to possess and propagate itself into the real world. Unfortunately, like The Flood in Halo, possessing a human corrupts and transfigures the human into unrecognizable creatures that afford only basic life or death instincts… much like The Flood in Halo.
Jesse uses her ever evolving supernatural abilities and supernatural weapons to dispatch these unwanted abominations. That’s where the player comes in.
The combat is fairly straightforward, but with some glaring problems. The game strongly recommends using manual aiming throughout the game. However, in the options panel, there is an aim assist mode. If you enable this mode, the game, again, strongly recommends playing the game through with this mode off making some nebulous statement about being rewarded for doing so.
Okay, so I tried to do this for a few levels. However, what became painfully obvious is that the over sensitive camera movement makes manual aiming in this game next to impossible. Most games suffer from this same design flaw, but this super sensitive movement is way more pronounced in Control than most games I’ve played. This makes manual aiming a chore. I could live with this chore, however, were it not for the next additional glaring flaw.
Enemies in Control have near perfect aim every single shot even when hidden behind obstructions. While my bullets miss enemies when I’m shooting at them with the reticle directly over the top of them, enemy bullets connect almost instantly. Wait, it gets worse.
Enemies can shoot Jesse in the head from behind objects with perfect aim and take nearly 99% of her health, sometimes all of it, in one shot. Yet, Jesse’s shots do maybe 10% damage to an enemy even in the head. The enemy’s perfect aim when combined with being so overpowered make the game a joke to play. This game isn’t supposed to be another Dark Souls, which Dark Souls is intentionally designed with combat so difficult so as to make you throw the controller across the room on occasion.
It’s one thing when game developers attempt to make enemies operate at about the same damage level as the player. It’s another when developers clearly don’t give two shits about this and set the enemies as one-shot player kills, yet can absorb every bullet in the player’s gun and still not die. Worse, enemies can literally appear out of thin air, standing right next to you and then summarily execute Jesse in one hit. It’s so absurd that you have to laugh to keep from throwing the controller at the screen.
As a result, I enabled aim-assist. If the game is going to cheat by making enemies so overpowered they can kill Jesse in one shot, it was only fair that Jesse obtains a similar advantage. There’s nothing worse than seeing the death screen in a game over and over and over. It gets worse again.
Death Mechanic
If Jesse falls in battle, the game reloads Jesse back to the closest save point. Because save points can be quite far away from where you were playing, that forces you to spend time sprinting all the way back to that point again. It’s not only annoying, it’s an incredible time waste. It can sometimes even become a challenge to get back there if it requires using lifts or yet more combat to get back there. Therefore, doing something to help mitigate the death loading screen and being forced back to the load point is well worth it. This is part of the reason I decided to enable aim-assist from the beginning.
While I’m okay with a small death penalty, such as consuming points that could be used towards upgrades, we don’t need multiple different penalties. Penalties such as this game has:
- Loss of points that can be used towards upgrades
- Being forced back to closest save point
- Loss of current battle in progress
- Confusion over where you end up after respawning
Thankfully, the game doesn’t lose the progress or force you to start everything over from scratch after Jesse dies, but you must determine where you are, figure out where you were and then spend time traversing back over there. You might even run into more Hiss along the way just to get back to where Jesse fell.
It’s not the worst death mechanic in a game, but it’s pretty close to it. Control will lose points for its weak death + respawn mechanic.
Graphics
One shining spot of this game is its world lighting, background objects and atmospherics. It has some of the best atmospherics I’ve seen in a game. It gives the world depth and it serves to give the office space a sense of realism. While the lighting doesn’t work 100% in every situation, there are some lighting conditions that are exceptional. This is one of the shining points in this game, but not the sparkle in this game… that’s coming below. Unfortunately, a lot of game developers put a lot of effort into choosing an engine that offers a substantial level of lighting realism, but then forget to put that same level of effort into the character models.
Speaking of character models, the 3D character models are average in this game, specifically the main character, Jesse. However, even the supporting character models lack. If you want to see character models that look genuinely and stunningly real, you need to look at the Call of Duty series. The character models in Call of Duty are some of the most outstanding and realistic models I’ve yet seen in a game. Sure, even those models look video gamey as all 3D models ultimately do, but they’re probably the closest to using a human model as I’ve seen from a 3D game character. Unfortunately in Control, Jesse (and the rest) aren’t the greatest of 3D models. You can even see that depending on the lighting, the character models can look okay or they can look flat, dull and unconvincing. The hands are particularly bad. It’s like playing a game using Barbie and Ken dolls.
Audio
Unlike many video games which offer the player character no voice, this game does give Jesse, the game’s protagonist, a solid voice. Not only does Jesse have a voice to speak to other characters in the game, this character also has thoughts of her own. It’s a refreshing and welcome change to see a game developer voice the protagonist and give them a backstory that unfolds as we’re traversing through the narrative. Unfortunately, the musical audio portion doesn’t fare as well. The music chosen is not inspiring or powerful. If anything, I’d use the word utilitarian. The music serves its purpose to cue the player into skirmishes, but that’s about as great as it gets. There’s just nothing much inspiring about the music included in this game. There is one exception and that’s discussed below.
Problems
As with most games that have been released in the last two or three years, I find game developers more and more relying on cliché game tropes to carry the story. These tropes make game development easier because most game developers already have toolkits built which can insert these tropes right into the game. Tropes like the press and hold to interact. Tropes like dead enemies dropping health pickups. Tropes like enemies with perfect aim. However, if the tropes were the end of this game’s problems, I might not even mention them. Combined with a bunch of other problems, it just exacerbates Control’s overall problems.
Video games that rely on quests, particularly where the game can carry multiple quests at the same time, have learned to mark not only on the map where the quest destination is, but also mark on the player’s directional HUD system which way to head to get to that destination. Unfortunately, Control does none of this. Not only does it fail to adequately alert the player where on the map is the destination is, it fails to offer a directional HUD or floating marker to lead you in the correct direction.
Instead, the player is forever fumbling his or her way to get to the destination. Sometimes the destination is so obscure and not marked, it’s impossible to find a way to get to it. This problem is compounded by the building’s convoluted and overly complex layout. I realize the building itself is a kind of extra-dimensional structure, able to rearrange itself at will. Regardless, the structure is overly complex requiring traversal of many stairs and small doors to move between and around areas.
Combine this with the fact that doors are level locked, the player has no way to know how to get into an area until you finally and magically hit upon the correct quest that drops the key in your lap.
Map
Yes, the map itself is also a problem. Unlike many games which choose to utilize a separate map screen, this game uses a map overlay. The map overlay obscures the screen itself, yet the screen stays live with the character able to move while the screen map marker moves. This is mostly a negative for the game. It’s great that you can see you’re heading in the correct direction, but because the screen is so overly obscured by the map, trying to traverse the interior of the building can be impossible with the map overlay open.
The only other game that has offered a similar map overly screen was Technomancer. Technomancer‘s game’s map overlay screen, however, chose not to obscure the gamer’s view of the game play field while still allowing the map to be visible. This meant you could leave the map open and traverse the map to your destination. If Control had chosen to allow visibility of the play field at all times, the game play experience with the map open would have been far, far better. As it is now, Control’s kludgy map overlay system is made worse by its failure to be useful other than for quick glances.
This map situation gets much worse. There are times where the map doesn’t even draw in. It’s just a bunch of question marks and words floating in space with no image underlay showing the room layout. You simply have to guess where the hell you are. Even worse, this undrawn map can stay like this for minutes at a time, sometimes eventually drawing in, sometimes not. It’s also weird that the map worked just fine 5 minutes ago, but just a few minutes later it’s not working. I find it exceedingly difficult to believe that a bug this functionally problematic has been allowed to exist in a 505 studio game over a year after release. Though, admittedly this game studio has had a very rough start with Death Stranding… a game that confused a lot of players, was too slow burn and afforded mixed critical reviews. Control also falls into this same boat, but for very different reasons.
Telekenesis (aka Launch)
Yes, this power also falls under a problem area of this game. In a game that allows you to pick up and throw objects, an accurate object targeting system is imperative. Unfortunately, that targeting system fails more often than it succeeds. For example, there’s a point in the game where you’re required to run through an obstacle course in around 60 seconds. As part of this course, you are required to pick up cube structures and throw them into wall plugs to activate them. Far too many times, the game will, instead of picking up the cube which is right under the reticle, it will yank ceiling or wall material down forcing you to send that flying and try again. Sometimes it will fail to grab the cube multiple times in a row using up the precious telekinesis power bar. You only get about 3 tries at this before running out of power and being forced into a slow recharge.
Even with the fastest recharge speed mods, you still have to wait 10-15 (seconds) for the bar to recharge ensuring that you fail the course. I don’t know how many times I had to run through that course before I was able to succeed simply because of this single stupid game design failure.
If you’re developer planning on including short duration timed activities, you need to make damned sure that the mechanics required to complete the course function reliably 100% of the time. Control really failed the gamer with this course. That’s not to say the course cannot be run and succeeded. It will, however, take many trial and error attempts until you can manage to get luck to line up properly with all of the kludgy game mechanics.
Ashtray Maze
Let’s get past all of these pesky problems. What I will say about this particular level is that this level is the payoff for the entire game. It should have been the final thing you do that ends the game. My guess is that this level was designed first. Some developer came up with this level idea which wowed everyone who played it and then a game was wrapped around this one level as a reason for this game to exist.
This puzzle level requires a special object of power to be obtained before it can be run. If you enter into the maze without this object of power, you can only run in circles. Once you have this object of power, the entire level opens up and boy is it impressive. The entire run is so precisely timed to the player that it’s like watching a music video. Yes, even the soundtrack on this level is awesome. As I said, impressive. This level is the sole reason to play Control and, while fleeting, the level is amazing to behold and is the single most impressive thing about this game. After I was done running the level, I was thinking that I want to do it again… it was that impressive.
Unfortunately, one outstanding level can’t redeem a mediocre third person shooter. But, nonetheless, the Ashtray Maze is definitely a must see (and hear) level. It’s too bad the rest of the game couldn’t have been quite so impressive.
Overall
Control is a game not about control, but about being controlled. It’s about, well, nothing much in particular or even too interesting to be honest. This game combines a lot of its not-so-subtle cues from a lot of different games series including Bioshock, Halo, Portal, Assassin’s Creed, Infamous Second Son and Half-Life. In fact, it feels like a mashup of the game series just mentioned. It feels way less original than it should and, thus, it ends up far less impressive overall. However, the developers had a gem of a concept in the Ashtray Maze that they simply squandered away, but which could have been used in many ways all throughout the game to bump up the playability and fun factor of Control.
For example, the silly and repetitive Oceanview Motel sections were not only intensely boring and repetitive, they were completely unnecessary. If those segments had been replaced each with slightly modified runs of the Ashtray Maze, this game could have been much, much better and way more satisifying. I could have done the Ashtray Maze run several times and loved running it every single time. Instead, we got saddled with the trite Oceanview Motel, which is insipid, uninspired, slow and unnecessary. Maybe 505 can learn from these mistakes when crafting the sequel to Control.
One final thing I’ll state is that this game has two endings. This information doesn’t at all spoil the game. However, know that it has a fake out ending and a real one. The fake out ending is still part of the game and there’s a small amount more gameplay (maybe 15-20 minutes) after it, but before you get to the real ending. I’m uncertain why 505 decided to add a fake out ending, particularly so close to the end, but they did. I thought I’d mention it so if you choose to play this game you don’t get caught off-guard thinking that the game ended early and abruptly and put the game away before completing Control.
Graphics: 8.5 out of 10
Sound: 8 out of 10
Game Control: 4 out of 10
Playability: 7 out of 10
Replay value: 1 out of 10
Overall: 4.5 out of 10 (an average third person shooter with only one redeeming level)
How to get the Living Starship in No Man’s Sky
You’ve recently updated No Man’s Sky and you’re wondering how to get the new Living Starship? Let’s explore.
[Update for 2023]
If you’re interested in getting a new Sentinel Ship, please check out Randocity’s newest NMS article, How to get a Sentinel Ship. Let’s continue onward. You may be wondering if you can expand a Living Starship. Yes, you can. You’ll want to read Randocity’s Benefits of Organic Frigates article for complete details on how to obtain the items needed to expand your Living Ship’s slots and technology using Organic Frigates.
[Update for 2022]
Since this article was written, new things have been introduced into No Man’s Sky by Hello Games that increases the efficiency of this quest. One change has majorly improved the speed at acquiring all of the pieces. A new Target Sweep scanner has been introduced into the game. It is also integrated as part of the basic scanner functionality. No need to add anything new.
Formerly, you used the old Analysis Scanner to locate coordinates. It was clumsy and very slow. In 2021, Hello Games required finding specific X-Y coordinates using this hackneyed clumsy scanner. However, the newly added Target Sweep scanner simplifies pinpointing locations. No longer do you need to skim in and out of the atmosphere looking for specific X-Y coordinates. Hello Games now offers up a “general vicinity” HUD marker. You can then target and fly right to that marker easily. This marker is only “near” the intended location. It might be over 1,000u away. Once you land, pull out the Target Sweep scanner to determine the general direction to head and how far away it is.
Note that while it might be possible to locate the intended destination in your starship, it’s easier to do this locating on foot. I also don’t recommend using an exocraft for this part because you’ll be jumping out and in often simply so you can whip out the new scanner.
This change makes finding each of the monoliths (which gives you your individual living starship components), much much faster. Though, you’ll still need to wait between 19-22 real clock-on-the-wall hours for each of the items to “mature” or “harden”. You still can’t progress further on the Starbirth quest until each of the items has matured/hardened. However, because the new Target Sweep scanner is available, it’s so much faster than mucking about with coordinates.
Additionally, the 5 starship limit has now been increased to nine (9), now twelve (12) total ships (increased again to 12 as part of Expedition #9 – Utopia for the Speeder reward). This means there’s less pressure on players to delete or trade ships quickly.
Expeditions
In an effort to bring players back, a new Expedition system has been added. We’re on number 6 as of this article’s publish date. You can think of this new mode as a kind of campaign. The Expedition is to No Man’s Sky as the SCOREBOARD is to Fallout 76. It’s kind of a “seasons” addition that runs for several weeks. The good side is that it offers up unique rewards to the player for completing each milestone. The bad side is that you must start a brand new game from scratch to play this new mode. This means obtaining new ships and bases all over again. Unfortunately, base building is disabled in the Expedition until Phase 5, meaning no base building until the Expedition is over.
However, one of the milestones in this 2022 Expedition (Blighted) gives you a Void Egg as a reward. This makes obtaining the Living Ship much, much quicker (and cheaper). Though, there’s no guarantee to get a Void Egg with each Expedition, it’s always worth checking to see if it’s one of the rewards before getting it the old-fashioned way, through the Quicksilver store.
[END UPDATE]
Now, back to our regularly scheduled article…
Instructions
It all starts with a Void Egg. There may be several ways to obtain the Void Egg, but let’s discuss the most straightforward way to get one. Before you start, make sure you have the prerequisites.
Prerequisites
- 3,200 Quicksilver
- Literal days of time to kill
- One free Starship slot
A Starship that shows you planet coordinates on the HUD screen.The multi-tool’s new Target Sweep scanner replaces this older, slower, clumsier requirement.
If your starship obscures the coordinates off screen, much of this questline will be even more of a pain in the ass. Choose a ship that has the coordinates front and center and fully visible.
Further, if you don’t have a free available Starship slot, you may not be able to accept the Living Starship once it’s available for pick up. If your slots are full, you will need to free up a slot by salvaging one of your Starships. I’d highly recommend doing this step WAY BEFORE the game allows you to pick up the ship.
Obtaining a Void Egg — Overview
- Head into space and call the Space Anomaly station
- Enter the Space Anomaly station and land
- Open your inventory and see how much Quicksilver you have
- If you have 3,200 or more Quicksilver, you’re all set and you can skip Step 6
- If you don’t have enough Quicksilver, you’ll need to head to the Nexus and complete Quicksilver missions until you reach 3,200 Quicksilver. Note, weekend events can award anywhere between 1,000 and 1,200 Quicksilver. These start on Fridays. Complete these missions to get you to 3,200 Quicksilver faster. Otherwise, you’re limited to ~250 per day. Though, the game will gang up QS missions if you play the game daily, but don’t perform the QS missions daily… thus allowing you to do several QS mission in a day.
- With 3,200 Quicksilver in hand, head over to the Quicksilver store and shop. Inside this shop, you’ll find the Void Egg for sale. Buy it.
Once you own a Void Egg, you’ll perform a new set of actions to unlock its secrets.
Unlocking the Void Egg
To begin unlocking the Void Egg, follow these steps. There may be many ways to get this to work, but these are the easiest steps. Though, I’m not going to say that the steps are in any way “easy” or “fast”. In fact, it literally takes days to complete most of the steps.
Before you begin this process, you might want to jump down to the bottom of this article under “Living Starship” to get a better understanding of what you’ll be getting out of this deal. That way, you can determine if you think this process is worth the time for you.
Step 1 — Getting the Egg to Sing
- To begin the process and with the egg in your inventory, hop in your ship and head to space.
- Once in space, use the Pulse Drive between any two points in a solar system. Eventually, you’ll get a notification to drop out of pulse for an Anomaly. Once you do, any of a number of things may happen. You may see a living ship just in front of you. If you get this one, then your Void Egg will begin singing. If you get anything else, admire it if you wish, but that isn’t what you want. You’ll want to keep using pulse drive between points until you get a Living Ship anomaly. This one happened really quick for me once I had a Void Egg.
- Once you see the Living Ship anomaly, it will either give you a set of coordinates to a new solar system or it will have the egg send you to visit one of the planets in your current system.
- If it has to jump to a new system, once there is where the “hurry up and wait” starts.
Step 2 — Visit 4 worlds and find 4 Monuments
These steps are tedious because this portion of the Starbirth quest vaguely leads you to various worlds. Once on the world, it will give you a set of two coordinates to a monument on the planet. This is the pain in the ass portion of unlocking an egg. In the past, they would mark a point on your map and you could simply fast travel there. With this questline, Hello Games has you pilot your ship manually to a set of coordinates. It’s a pain in the ass because it’s entirely slow, manual and requires a lot of mucking about with flying the ship in and out of the atmosphere to speed up and slow down.
- Once the egg is singing, open your inventory and hover the cursor over the egg. The egg will reveal a “type” of planet to visit. Read the “type” carefully and then find world that matches where you presently are… or jump to the system where it wants you to search and look there.
Once you land on the world it is wanting, the quest will switch to a set of coordinates on the current world that will look something like +45.??? -170.??? Sometimes the coordinates are static and sometimes they hop around. They will stabilize as you get closer to the monument.The newly introduced Target Sweep scanner makes this process much faster and no longer requires using the silly (and insanely slow) X-Y coordinates.- To locate the monument, hop out of the ship and locate it on foot. You will need to use the Target Sweep device to lead you in the correct direction.
Step 3 — Final World
Once you have received and matured / hardened all 4 components needed for the living ship, you are led to the final world. To reach this world, the Void Egg will sing one last time. Continue reading down to “Final Wait” to see what you need to do.
Step 4 — Assemble and Pick up your ship
Inhospitable Worlds
Many of the planets that the egg leads you to are inhospitable worlds with frequent storms. This can make locating a monument even more difficult. This is why it’s recommended to do the last locating portion on foot or in an Exocraft.
Once you reach the monument, it will have you supply it with one of the newly crafted items listed immediately after this section. In fact, it will ask you to supply it with something that you won’t, at the time, know how to make. You will need to “Leave” the monument menu and then it will teach you the recipe. After that, you may need Hexite (or other unique resources) to make the recipe. If you need something like Hexite, it will lead you to a location to pick up the Hexite. This part is easy, but you’ll still need to go get it, craft the item and head back to the monument.
Once you have found a monument, it does put a marker onto the HUD so you can get back there easily. Otherwise, you’d be forced to drop a Save Beacon to easily find your way back. Thankfully, you don’t need to place a Save Beacon as a game marker is set up. It’s always worth keeping enough resources handy to create a Save Beacon so you can easily mark and then head back to a unique planet feature without having to build an entire base.
Once you’ve crafted the required item from the recipe the monument has given you, head back to the monument and supply it with the item you’ve just crafted. The monument will give you a new component. This is where the “hurry up and wait” part begins. The item it gives you will be something like an Immature Neural Stem or a Fragile Heart. These items require maturation of between 22 and 27 clock-on-the-wall real world hours. Yes, that means you can’t make any progress on this quest for at least 22 hours.
You can’t do anything else with this quest until these items have “matured”. You might as well put the game down and go do something else while that timer ticks down. You can do other things in the game, but you cannot progress the Starbirth quest until that timer has expired. Note that the timer ticks down regardless of whether you are playing the game.
Four Items to Craft
You will need to craft 4 different items for the Living Ship, each with unique components required to craft the recipes:
- Consciousness Bridge
- 250 Hexite
- 80 Pugneum
- 1 Korvax Casing
- Pulsating Core
- 250 Liquid Sun
- 100 Gold
- 80 Mordite
- Impossible Membrane
- 100 Chromatic Metal
- 1 Hypnotic Eye
- 150 Living Water
- Seeds of Glass
- 100 Magnetized Ferrite
- 100 Fragmented Qualia
To locate the items which are “unique” like Liquid Sun, Living Water, Hexite or Fragmented Qualia, the game will lead you to a deposit. For standard items like Gold or Ferrite, you’ll be expected to locate or have these yourself.
Once the items are crafted, you will give each to a monument and that monument will give you an immature ship component in return. You will then wait, again, for the item to mature before you can make any further progress on this quest line.
Rinse and Repeat
After you have received your first ship component, likely the Immature Neural Stem, it will take a fair amount of time (22 hours or more) to mature into a Mature Neural Stem. Once you’ve waited for it to mature, the item is closed with nothing else to do with that item until you assemble the ship. From here, it’s simply rinse and repeat.
- Hop in your ship and fly into space
- Pulse drive between any two locations and wait for a Living Ship anomaly to appear
- Once it appears, the egg will again sing and tell you which type of world it wants (hover over the egg in the inventory).
- Search the local worlds, then head to the HUD marker, locate the monument, get the recipe, source its unusual requirements, craft it, give it to the monument and get a new item that needs to mature.
All told, you’ll need to repeat this 4 times to assemble the ship with its Neural Stem, Shell, Singularity Core, Membrane and so on. It takes 4 times, and each one is at least 1 day apart. All told, it takes at least 5 real days to finally get to the point where you can assemble and pick up the ship. Most of that time is spent waiting for something to “mature” or “harden” or whatever. This ship is easiest to obtain with Creative Mode and more difficult when using Normal mode or harder.
Hello Games would have done this quest much better to allow us to continue to find the rest of the components without waiting on the previous components to “mature”. Let us pick all of the items up and wait the time it takes for the longest component to “mature”. This would have meant waiting up to 2 days rather than 5.
Note, some players have stated you need to hyperdrive travel to trigger singing. I haven’t found that to be the case. Simply pulse drive between two points and wait for an anomaly “Living Ship” to appear after dropping out of pulse drive. Finding a living ship anomaly is all you need to trigger the egg to sing.
Final Wait
With the final “Cracking Void Egg” step, the egg will again sing once more. However, this time instead of giving you a vague description of a world to locate in your local system, it will give you a set of portal coordinates in the form of words. In my case above, the “lyrics” are:
- The Hunter
- The Reflection
- The Hunter
- The Spiral of Reality
- The Star Over Water
- The Ascending Orb
- The Obscured Companion
- The Hunter
- The Lowly Insect
- The Anomaly
- The Sailor
- The Ocean King
If you’re looking for how to translate these words into symbols, you can either guess based on the symbols or the easier method is to visit this page. The three “Euclid” means that it’s in the Euclid Galaxy somewhere. The Starbirth quest also states that you’ll need to use unconventional travel, indicating travel by Portal. The above also implies that you need to know where a portal is so that you can use it to travel to the final world to, again, locate a monument and complete the final steps.
Once you reach the final world by portal, you will be required to locate four sets of different coordinates on this portal planet. The final three coordinates may take you some time to reach as you have to locate the coordinates manually by flying to them. The first set of coordinates (the only to have a planet marker) will lead you to an abandoned building. Here you will obtain a Soul Chamber, which you are given by accessing a terminal at the abandoned building. Once you receive the Soul Chamber, you will then need to locate three gravestones each at separate specific coordinates given to you in a small panel on the screen. You will then interact with each gravestone, which will fill the chamber by 33.3%. Once you have filled the Soul Chamber with 3 souls (channeling The Elder Scrolls here much?), you will then be asked to head back through the portal to your origin world.
Once you are back at your origin world, you will then fly into space and use the pulse drive to make contact one final time with the living ship anomaly. It will sing one last time then the egg will crack open, disappear from your inventory and give you a set of coordinates to your new starship shell on a planet. Head to that planet marker to claim your new ship.
It is here where you’ll need to make sure you have a free Starship slot available. Once you reach the Living Starship coordinates, you will drop in all of the “matured” or “hardened” components you have received over the previous 4-5 days or so, including the Soul Chamber. This will then outfit your Living Starship to be fully functional. Once it’s functional, you can then claim it (assuming you have a free slot), enter and fly away in it. Just be aware that it has limited functionality due to its small Hyperdrive capacity and low gun damage levels. Don’t expect a hugely overpowered ship here. Don’t expect that you can upgrade it quickly, either. I’ll talk about those limitations next.
Note, since the introduction of even more galaxies into the game, ensure that when you portal to the final destination that the Cracking Void Egg requires that you enter the glyphs into a Euclid portal. The glyphs only lead to the correct world when using a Euclid portal. If you are in the Umirpaiya galaxy, for example, entering the Euclid glyphs into a Umirpaiya portal will lead you to the wrong world. In other words, make sure you have a Euclid portal world handy and known if you go into an Expedition that begins in one of the many other galaxies in the game and you want to obtain a Living Starship.
Living Starship
Note that Hello Games has added what is effectively a “Cargo” area, called “Inflated Sacs” to the Living Starship since this article was written. This means that it can now hold cargo, like all other ships. Additionally, the modification station in Space Stations will also now modify the living ship.
Is the ship worth it? I’ll leave that up to you to decide. The “Living Starship” is a new class of Starship. However, there are definitely drawbacks. Specifically, notice that the ship’s areas are called “Storage Sacs” and “Organ Chamber” unlike standard ships where you have “General” and “Technology” areas. Here are the drawbacks around this new class of starship:
- Cannot use existing “Technology” from “regular” ships for this new living ship.
- Cannot expand the ship using the Starship upgrade tool at a space station
- Cannot use storage augmentation to increase slots
- Cannot extend base Hyperdrive range because “regular” technology doesn’t work
- Cannot pay to increase slots like a standard starship
- Cannot scrap the ship, but you may or may not be able to trade it for another
Basically, the ship you get is all that you get quickly. However, you can get new components by using the pulse drive between two points. If an egg appears, crack it open to reveal a new starship component to install. It will be a random component with a random class. You can then install it. After installation of the component, it takes Nanites to upgrade the level of the component. You can find components for the hyperdrive, weapons systems and shields. However, getting these is a very slow process. You can’t get these items in any other way than by using pulse drive between two points and it can sometimes literally take an hour or more to find one component.
It’s possible that Hello Games may introduce a new living starship upgrade system and merchant some time in the future. Hello Games may eventually open up more details about the Living Ship such as the world where the eggs come from, where the ships are likely to be found and so on. This means that we may be able to enter star systems where the living ships are easily found and can be augmented. There might even be star systems that may only be entered by the living ships.
For now, though, you can’t add on a Positron gun or any other “standard” Starship weapons to a Living Ship… even though this new “Living” technology type is basically the same as the old technology, just with a new name and new description. The weapon type it has is all it has. Same for the Hyperdrive with its base drive range at 164.9 (at least on mine), but can be extended by finding components. Considering I’ve gotten some ships to around 1,800+ Hyperdrive range, the base Living Ship’s range is next to nothing.
Even though it is a living ship, it doesn’t really need to be “fed”… you know, like an actual living creature. I guess Hello Games thought that might be taking things a bit too far. Though, considering it is a type of living creature, it should need to be fed.
Why this ship now?
I’m not entirely sure the reason for the introduction of this new class of starship. It’s interesting, yes, but what’s the point? As bare bones as this new ship is, there’s very little it’s actually useful for, other than being a novelty item in the game. Until Hello Games decides to introduce vendors that sell Living Ship technology upgrades, it’s not very useful.
Regular ships are still way, way better options than this Living Ship for functionality, combat, upgradeability, support and travel distance.
Is it worth having? Perhaps it is… as a novel collectible simply so you can say you’ve gotten it. But, it’s not a very useful starship at this point. Until or unless Hello Games decides to add more quests and features into the game that only activate or become useful when you’re using a living starship, the ship doesn’t really have a point to exist.
The point to adding any new feature to a game is that you have also have planned a whole wider set of other features around that item and which are “unlocked” by obtaining access to the ship. Until Hello Games introduces those additional pieces to support the usefulness of a this living starship class, as I’ve already stated several times, it’s simply not very useful addition.
I was actually hoping that this new ship class would offer a completely new and different faster than light (FTL) drive technology, such a technology that could go twice or three times the distance of travel using new ways that standard ships can’t. Or, perhaps, a better class of weapon. But, no. No such luck. Effectively, the Living Starship is basically the same as any other “standard” bare bones basic ship that you can find. Except that now you have to jump through about 5 days of hoops to get it. In fact, standard ships can be outfitted much, much better than the Living Ship can. This ship needs a whole lot more game support and effort by Hello Games than it presently has. Here’s what the interior looks like:
The interior looks much the same as a regular ship, wouldn’t you say? If Hello Games is going to make us spend all of this time and effort to build this ship, they should have at least had the decency to give us something improved over regular Starships. Yet, Hello Games doesn’t offer us something better here. I’m not calling this exactly a fail, but it leans heavily in this direction.
Should I Get A Living Ship?
That’s up to you. I’d suggest reading above if you’re unsure if it’s worth your time. Perhaps in time Hello Games will make it more useful, but for now it’s mostly a novelty ship. Hello Games is going to be required to do a whole lot more quest building work to create a game that better supports the Living Ship and that gives us reasons to want to use this ship over regular ships.
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Review: Pokémon Let’s Go! Pikachu
[Updated: 11/19/2018 for Pokéball Plus Controller] I’ll make this one short and sweet. This is the first Pokémon for the Nintendo Switch and in some ways it’s fun, but in many ways it’s a sheer disappointment. Let’s Go!
Pikachu
In this review, I’m playing the Pikachu edition. I’m sure that the Eevee edition will likely be very similar in play value, with the exception of certain Pokémon you can only collect in each separate edition.
Controller Problems
Here’s the first disappointment with this game. I want to get this one out of the way right up front. The Nintendo Pro Controller doesn’t work at all in this game. When you press the connect button, the light Cylons back and forth, but never connects.
Unfortunately, you are forced to use the JoyCons with this game. This is an extreme disappointment. But wait, it gets worse. If you pull the JoyCons off of the console and hold them in your hand and use the JoyCons wirelessly, you can’t use both of them together like you can when they are connected to the console. When they are separated from the console, the game mistakenly assumes that two people will be using one each. An entirely stupid decision. If there’s only one player, then let the player use both. If a second player wants to join, then remap the keys so each player is separate. Don’t just make bad assumptions about this.
Even if you place the two controllers into a JoyCon Grip to make the JoyCons feel like a Pro controller, the game still assumes one controller per person. Bad, bad design. It gets worse, again. If you want to hold the JoyCon horizontally so that the buttons are on the right and so you can hold the single JoyCon with both hands… not possible. The only possible orientation for holding the JoyCon is vertical.
I’m very disappointed in Nintendo and Game Freak here. It keeps getting worse. Because the JoyCons are not capable of the same distance away from the Switch as the Pro Controller, the connectivity to the console is entirely spotty using the JoyCons when it is docked several feet from you. Unless you intend to game with the console just a few inches in front of you (in which case you might as well attach them), using the JoyCons at a distance is entirely problematic and frustrating.
So, the only way to use both controllers to play the game as a single player is when they are connected to the console and that means holding the Switch in your hand playing it using the built-in screen. You CANNOT play Pokémon Let’s Go using the Pro controller at all or by using both JoyCons together when they are not attached. You are forced to play this game using a single JoyCon per player when detached. A stupid and unnecessary requirement and decision. And people wonder why Nintendo is in third place for its consoles.
Pokéball Plus Controller
Now that I’ve found, purchased and have had a chance to use a Pokéball Plus controller, I understand Nintendo’s reasoning not to support the Pro controller. It’s all in the name of making yet more money off of a new gadget. Considering that the Pokéball Plus controller costs $50 (just $20 shy of a Pro controller), this Pokémon game is simply a scam means to get you to buy into this new Pokéball controller.
With that said, the Pokéball Plus controller plays the game substantially better than using the JoyCons wirelessly and it has a longer wireless range. Though, with this controller, it’s still nowhere near perfect. However, I do see the attraction in using it.
The Pokéball Plus controller has two main functions:
1) To toss at your screen (cables hopefully keep it in check) and capture Pokémon with Pokéballs. When you toss, it simulates the action of throwing a Pokéball. The throwing action is heavily reminiscent of using a Wiimote.
2) The center knob acts as a joystick and the A button. On the red half, there’s another button that acts as the B button. I’m concerned with the longevity of this controller as you push through a rubberized surface to depress the button. I’m not sure how well that rubberized material will last.
Like the Wiimote, there’s a speaker in the ball. So, you’ll occasionally hear noises coming from the Pokémon when you trap them in the Pokéball. It’s a cute feature, but it’s really just a gimmick and the volume is no where near loud enough.
The downside is that the Y button is used throughout the game, but there’s no Y button on the Pokéball Plus controller. This means you’ll miss all of the areas where Y is used. Worse, there’s no way to take a screen snap or begin a video. You’ll still need to have your JoyCons sitting out for these functions. There’s also no button to get back to the Switch’s main desktop (to easily share videos and snapshots). Because you can only have two controllers active at any one time in this game, you can either have the left JoyCon active (sharing button) or the right JoyCon active (desktop button) in addition to the Pokéball Plus controller. This means you need to choose either to have the sharing button active with the Pokéball Plus or to have the desktop button active with the Pokéball Plus.
Basically, sharing anything from Pokémon Let’s Go is a pain in the rear. It’s just not easy, and it should be. If the single active controller could be the Pro controller, having both the sharing and desktop buttons available would be simple. Nooooo…. they can’t do that. This is only a problem if you have your Switch in the dock. If you’re carrying the Switch around with you and the JoyCons are attached, this isn’t a problem.
For the price of the Pokéball Plus, it’s a hard sell. Thankfully, I got it for about $36, but if you have to pay $50 for it, I’d certainly think twice. There is the game bundle where you get the game and the controller in one package. I don’t think it saves you any money, but it’s one way to give both as a gift. I bought the controller separately.
The round shape, unfortunately, leaves some to be desired. I’ve had problems with spherical shaped input devices in the past and these same problems arise here. If you don’t put the strap on correctly, you’ll always end up holding the ball backwards. You’ll have to take it off and flip it around. This makes it tedious to use this controller. Even if you are holding the ball in the correct orientation, if the controller position in your hand is slightly off, moving the character can be difficult. I find myself constantly readjusting my grip on the ball so that the joystick moves the character correctly.
The accuracy of “throwing” the Pokéball controller is hit or miss. Sometimes I think I’m throwing it correctly, but the ball goes off to the left or the right and misses. It’s a cool idea, but the accuracy and execution of this controller just doesn’t work all of the time. However, I will say that it is more accurate than trying to use a JoyCon. So, there’s at least that.
If I’ve somehow managed to sell you on getting a Pokéball Plus controller, I’d recommend looking for it at your local Best Buy store. Amazon appears to be out of stock and third parties on Amazon are selling it for $75 or higher. It’s also likely to be a hot seller over the holidays. If you’re considering it as a gift, I’d suggest going and getting it now. Don’t wait for Black Friday sales. It’s not likely to go on sale anyway. Just find it at Best Buy for $50 and pay for it at that price. If you have a Best Buy rewards card, I’d suggest using that with your purchase. You can eventually get some money back on it.
Dock
This game almost completely ignores the fact that there’s a dock and, as a result, doesn’t properly support it. Instead of allowing use of the Pro controller when docked, it forces you to pull the JoyCons off of the Switch or use the Pokéball Plus controller instead. I found the JoyCons to be cumbersome, problematic and unwieldy. We spend $70 for the Pro controller and we can’t even use it. To not be able to use the Pro controller on Pokémon (one of Nintendo’s flagship properties) is just an extremely bad design choice. It also ignores the the idea of using the dock to play your game on your large screen TV. It almost seems the developers want to force you to play this game out of the dock by holding the Switch in your hand. In fact, I’d consider Pokémon Let’s Go to be Nintendo’s first real misstep on the Switch platform. Let’s hope this is not a sign of things to come as missteps like this could doom the Switch to failure.
Game Play
Not completely ignoring the stupidism that is the controller system (which is stupid), the gameplay is underwhelming. Sure, Nintendo finally added the ability to see the Pokémon running around in the weeds before you collect it, but that’s of little concession when the game is basically the same game as every other DS version.
Let’s go back to the controller again, but for a different reason than above. When you are attempting to capture Pokémon with the JoyCons attached to the Switch, it’s much, much easier and simpler to throw Pokéballs. The ball throwing motion needed when using a detached JoyCon is much, much more difficult for no apparent reason. Worse, when using a loose JoyCon, the hand on the screen when trying to interact with your Pokémon is entirely difficult, where using the touch screen is easy peasy. Here’s another place where forcing the use of a JoyCon a tremendously bad idea. The motion to throw a Pokéball with the Pro controller would mimic the same motion used when holding the console… where using the a detached JoyCon for throwing a Pokéball is … well … strange.
Game Design
I was actually expecting a whole lot more use of the player camera than what is being offered. It’s effectively a 3DS version ported to the Switch. Nintendo completely missed the opportunity to give this game a much needed facelift for the Switch, like they did for Breath of the Wild. It is effectively the same game as every other Pokémon game. This is quite disappointing, but it’s also a double edged sword.
For some players, it is like a comfortable glove. If you’ve played Pokémon in the past, then you can fall right into this game without any problems at all. It’s old hat and feels old hat. The graphics are improved, but it needed a more open world RPG style update rather than this constrained old-school Pokémon conversion.
I’m sure a lot of people will absolutely adore this game. Because Nintendo has chosen to play games with how the controllers work, it really constrains this game to feeling rushed and unfinished or a really bad port.
Graphics
To be honest, the graphics are very low res, flat and cartoony. I sort of expected this, but not at this low of a level. It’s at such a low level, that it looks like a Nintendo DS. Though, as I said above, it is somewhat better than the DS only from the fact that the resolution is higher… but that’s not really saying much.
Overall, I was expecting a whole lot more from this game.
Score
Graphics: 4.5 out of 10 (Underwhelming)
Sound: 2 out of 10 (Music is way too loud and unnecessary)
Controls: 2 out of 10 (Controller system is strange, no Pro controller support)
Overall: 4 out of 10 (Antiquated, strange controller design, seems unfinished or bad port)
↩︎
Should I beta test Fallout 76?
While I know that beta testing for Fallout 76 is already underway, let’s explore what it means to beta test a game and whether or not you should participate.
Fallout 76
Before I get into the nitty gritty details of beta testing, let’s talk about Fallout 76. Fallout 76, like The Elder Scrolls Online before it, is a massively multiplayer online role playing game (MMORPG). Like The Elder Scrolls Online which offered an Elder Scrolls themed universe, Fallout 76 will offer a Fallout themed universe in an online landscape.
How the game ultimately releases is yet to be determine, but a beta test gives you a solid taste of how it will all work. Personally, I didn’t like The Elder Scrolls Online much. While it had the flavor and flair of an Elder Scrolls game entry, the whole thing felt hollow and unconnected to the franchise. It also meant that Bethesda spent some very valuable time building this online game when they could have been building the next installment of the Elder Scrolls.
It is as yet undetermined how these online games play into the canon of The Elder Scrolls or, in Fallout 76’s case, in the Fallout universe. Personally, I see them as offshoots with only a distant connection. For example, The Elder Scrolls Online felt Elder Scrollsy, but without the deep solid connections and stories that go with building that universe. Instead, it was merely a multiplayer playground that felt like The Elder Scrolls in theme, but everything else was just fluff. I’m deeply concerned that we’ll get this same treatment from Fallout 76.
The Problem with Online Games
Online games have, in recent years, gotten a bad rap… and for good reason. The reason that this is so is because the game developers focus on the inclusion of silly things like character emoting and taking selfies. While these are fun little inclusions, they are by no means intrinsic to the fundamental game play of an actual game.
Games should be about the story that unfolds… about why your character is there and how your character is important in that universe. When the game expands to include an online component, now it’s perhaps tens of thousands of people all on the server at the same time. So, how can each of these characters be important to that universe? The answer is, they can’t.
Having many characters all running around doing the “same” things in the universe all being told by the game that they are “the most important thing” to the survival of that universe is just ludicrous.
This leads to the “importance syndrome” which is present in any MMORPG. As a developer, you either acknowledge the importance syndrome and avoid it by producing a shallow multiplayer experience that entirely avoids player importance (i.e., Fortnite, Overwatch, Destiny, etc) or you make everyone important each in their own game (i.e., The Elder Scrolls Online). Basically, the game is either a bunch of people running around doing nothing important at all and simply trying to survive whatever match battles have been set up (boring and repetitive) or the game treats each user as if they are individually important in their own single player game, except there are a bunch of other users online, all doing the same exact thing.
The Elder Scrolls Online fell into the latter camp which made the game weird and disconnected, to say the least. It also made the game feel less like an Elder Scrolls game and more like any cheap and cheesy iPad knockoff game you can download for free… except you’ve paid $60 + DLC + online fees for it.
I’ve played other MMORPG games similar to The Elder Scrolls Online including Defiance. In fact, Defiance played so much like The Elder Scrolls Online, I could swear that Bethesda simply took Defiance’s MMORPG engine and adapted it to The Elder Scrolls Online.
Environments and Users
The secondary problem is how to deal with online users. Both in the Elder Scrolls Online and Defiance, there were areas that included player versus environment (PvE). PvE environments mean that players cannot attack other players. Only NPCs can attack your player or your character can die by the environment (i.e., falling onto spikes). There were also some areas of the online map that were player versus player (PvP). PvP means any online player can attack any other online player in any way they wish.
In The Elder Scrolls Online, the PvP area was Cyrodiil, which was unfortunate for ESO. The PvP made this territory mostly a dead zone for the game. Even though there were a few caves in the area and some exploring you could do, you simply couldn’t go dungeon diving there because as soon as you tried, some player would show up and kill your player. Yes, the NPCs and AI enemies could also show up and kill your player, but so could online players.
The difficulty with Cyrodiil was that if another player killed your player in the PvP area, that player death was treated entirely differently than if they died by the environment. If another player killed your character, you had to respawn at a fort, which would force your character to respawn perhaps half a map away from where you presently were. If your character died by the environment or another NPC, you could respawn in the same location where your character died. This different treatment in handling the character death was frustrating, to say the least.
With Fallout 76, I’m unsure how all of this will work, but it’s likely that Bethesda will adopt a similar strategy from what they learned in building The Elder Scrolls Online. This likely means both PvE areas and PvP area(s). Note that ESO only had one PvP zone, but had many PvE zones. This made questing easier in the PvE zones, but also caused the “importance syndrome”. This syndrome doesn’t exist in single player offline games, but is omnipresent in MMORPGs.
MMORPGs and Characters
The difficulty with MMORPGs is that they’re primarily just clients of a server based environment. The client might be a heavier client that includes handling rendering character and environment graphics, but it is still nonetheless a client. This means that to use an MMORPG, you must log into the server to play. When you login, your character information, bank account, level ups, weapons, armor and so on are kept on the server.
This means that you can’t save off your character information. It also means you can’t mod your game or mod your character through game mods. Online games are strict about how you can change or manage your game and your character. In fact, these systems are so strict that if a new version of the game comes out, you must first download and install the game before they’ll let you back onto the server… unlike standalone games that let you play the game even if networking components are disabled. This means that you cannot play an MMORPG until your client is most current, which could mean 50GB and hours later.
This means that you’ll need an always on Internet connection to play Fallout 76 and you’ll need to be able to handle very large client downloads (even if you own the game disc).
Beta Testing
Many game producers like to offer, particularly if it’s a server based MMORPG, the chance for players to beta test their new game. Most online games allow for this.
However, I refuse to do this for game developers. They have a team they’ve hired to beta test their environments, quests and landscapes. I just don’t see any benefit for my player to get early access to their game environment. Sometimes, characters you build and grow in a beta won’t even carry over into the released game. This means that whatever loot you have found and leveling you may have done may be lost when release day comes. For that early access, the developer will also expect you to submit bug reports. I won’t do that for them. I also don’t want to feel obligated to do so.
Bethesda stands to make millions of dollars off of this game. Yet, they’re asking me to log into their game early, potentially endure huge bugs preventing quest progress, potentially lose my character and all of its progress and also spend time submitting bug reports? Then, spend $60 to buy the game when it arrives? Then, rebuild my character again from scratch?
No, I don’t think so. I’m not about to spend $60 for the privilege of spending my time running into bugs and submitting bug reports for that game. You, the game developer, stand to make millions from this game. So, hire people to beta test it for you. Or, give beta testers free copies of the game in compensation for the work they’re doing for you.
If you’re a gamer thinking of participating in beta testing, you should think twice. Not only are you helping Bethesda to make millions of dollars, you’re not going to see a dime of that money and you’re doing that work for free. In addition, you’re still going to be expected to spend $60 + DLC costs to participate in the final released game. No, I won’t do that. If I’m doing work for you, you should pay me as a contractor. How you pay me for that work is entirely up to you, but the minimum payment should consist of a free copy of the game. You can tie that payment to work efforts if you like.
For example, for each report submitted and verified as a new bug, the beta tester will get $5 in credit towards the cost of the game up to the full price of the game. This encourages beta testers to actually submit useful bug reports (i.e., duplicates or useless reports won’t count). This also means you earn your game as you report valid and useful bugs. It also means that you won’t have to pay for the game if you create enough useful, genuine reports.
Unfortunately, none of these game developers offer such incentive programs and they simply expect gamers to do it “generously” and “out of the kindness of their hearts”. No, I’m not doing that for you for free. Pay me or I’ll wait until the game is released.
Should I Participate in Beta Tests?
As a gamer, this is why you should not participate in beta tests. Just say no to them. If enough gamers say no and fail to participate in beta releases, this will force game developers to encourage gamers to participate with incentive programs such as what I suggest above.
Unfortunately, there are far too many unwitting gamers who are more than willing to see the environment early without thinking through the ramifications of what they are doing. For all of the above reasons, this is why you should NEVER participate (and this is why I do not participate) in any high dollar game beta tests.
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Toys R Us: Say Goodbye to an Era
For many, we grew up with Toys Я Us as the go to place to find that cool new toy, game, doll, action figure, Teddy Ruxpin, train set, learning toy, crayons, movie or even video games. Times are a changin’ folks and Toys R Us now finds itself way less than one Barbie away from permanent closure. Let’s explore.
Update from the News Desk — 2018-03-14
Toys R Us headquarters has apparently informed all US and UK employees on Wednesday, March 14th that all US and UK locations would be closed, a move that would lose 33,000 jobs. This would be one of the biggest retailer liquidations. CEO David Brandon intended to file paperwork to begin the liquidation proceedings on Wednesday.
From small to BIG to defunct
In the 70s, I remember toy stores primarily consisting of smaller retailers in malls, usually carrying Lincoln logs, wooden toys or learning toys. While I didn’t mind visiting these places, they felt more like a library than a toy store. They also didn’t carry much of the things that I liked. It wouldn’t be until sometime the mid-70s when a Toy R Us opened near my house. That’s when toy shopping all changed, at least for me.
I’m sure my parents hated taking me to Toys R Us, just as so many parents do. For us kids, it was like a day at Disneyland: a gold mine, a treasure trove, a place of dreams. Unfortunately, the parents were having none of it… or at least, as little as they could walk out of the store carrying. Good on them, but that didn’t make Toys R Us any less magical to a 8-10 year old. We loved it, we loved going there and we especially loved it when we got to take something home with us.
Geoffrey
I was never a super big giraffe fan, but Geoffrey was a fun and charming mascot constantly pointing out cool new things in the store. I would come to see Geoffrey as cute mascot designed to help me find new stuff. Not always, but a good bit of the time. Sometimes he was just present, like Mickey Mouse. That Giraffe always made me smile because I knew that I was at that magical place, like Disneyland but local. Over the years, Geoffrey began being used less and less by TRU, but he’s still considered their mascot.
Every once in a while, Toys R Us would offer an enter-to-win a fill-your-cart shopping spree. I always wanted to win one of those as a child, but alas never did. To think what I would have filled my cart with. The mind boggles, if only because some of those toys are considered highly collectible today. Though, those toys most assuredly would not have remained closed in their packaging after making their way home.
Growing Up
As I grew into my 20s, got my own car and job, my relationship with Toys R Us changed. No longer was it that magical place, but it now had firmly become a store and I was a consumer. Still, it was a place to go to find that hot new toy that everyone’s talking about. It also became the place to find computers and video games. If I couldn’t find it at Target or Kmart or, later, Walmart, I could almost certainly find it at Toys R Us or Kaybee or Children’s Palace (competitors at the time) and to a much lesser degree FAO Schwarz. Toys R Us was always the first place to go, then the others as they were less reliable.
Dominoes
As the competitors fell over one at a time, first Children’s Palace in 90s, FAO Schwarz in early 00s, then in the middle 00’s, Kaybee Toys, Toys R Us was still standing and, in 2009 would acquire the FAO Schwarz brand, but would sell it off in 2014. It was (and currently is) the place to go to find all things toys. Unlike Target and Walmart that choose to stock limited toy items, Toys R Us (like the previous Children’s Palance and Kaybee) still carries aisle after aisle of wide ranging toys you can only find at Toys R Us. You simply can’t find this selection of toy items at a discount department store. This is why I always ended up at Toys R Us in search of fun, exciting new things.
The Mistakes
Throughout the later years, I’ve grown a love-hate relationship with the Toys R Us chain. Not only because I worked there for a short time while in my 20s, but also because the management does a lot of things that don’t make sense. For example, Babies R Us. For a time, Toys R Us stores devoted half of their space to baby goods. I don’t have a baby, so there’s no interest in that. Yet, Toys R Us decided to kill half of their store space to devote to these products. This meant, less space for toys, games and other items.
I understand that the management wanted to expand their selection into babyland, but it was a mistake to take away valuable Toys R Us aisle space to devote to all-things-baby. This, in my opinion, was one of the biggest mistakes the Toys R Us management foisted upon its stores. That was, until they finally spun Babies R Us into its own stores and gave it its own space.
Later, the management decided to do away with separate Babies R Us stores and chose to abut the two stores together for one seamless one-store experience. That was at least better than taking away shelf space from an already cramped toy store, but even that was unnecessary and, in my opinion, a mistake. They can be next to each other, but walled off and separate stores with separate stock and separate staff. I know why they did chose to hook them together. They did it so they could use one set of checkout lanes, one set of cashiers and one set of staff to stock both stores.
The X
At around the time that Babies R Us was coming into its own as a separate store chain, Toys R Us decided to change its shelving layout. Instead of the more logical long rows running from the front to the back of the store (with middle store aisle breaks) which made it easy to find everything, the store layout designer decided to change the aisles to be side to side and then create X shaped rows in the middle of the store. Not only were these rows much harder to navigate, the layout of the aisles were crippled as a result. This layout made finding things incredibly hard and it seemed like they had less shelf space.
Not only was everything now moved around haphazardly, it made finding what you’re looking for overly hard. Meaning, now you had to navigate the whole store looking at everything just to find that thing.
Maybe the designers thought this was a good idea? It wasn’t. This is the second mistake from Toys R Us management.
Overbuying and Stocking the Wrong Toys
I don’t know how many times I visited Toys R Us in the 90s only to find the same toys every time I visited, sometimes months apart. These we affectionately call peg warmers. This mistake continues to plague Toys R Us to this day. Not only did Toys R Us have incredible buying power way back when, they just didn’t use it to their advantage. Instead, they would continually overbuy on dud toys and not buy enough on the hot toys.
You can’t sell toys that you don’t have in stock. For example, Cabbage Patch kids. When that craze hit, they couldn’t keep them on the shelves. You’d think Toys R Us could have negotiated with the manufacturer and buy 10x the amount they originally bought… simply so they could fill the demand. Sure, there might be a drought while the manufacturer created more, but eventually they would have enough stock quickly to satisfy demand. Alas, they didn’t and the shelves remained bare until the toys were so cold you couldn’t even give them away. Too little, too late.
Further, Toys R Us needed to let the local managers order stock for their specific location to stock toys that are regionally hot. Not every toy sells the same in every store, yet Toys R Us felt the need to send cookie cutter stock out to every single store. If you walked into a Toys R Us in any state, you’d see identical stock. Each store manager needed to be given free reign to specifically order stock in sizes that made sense for amount of local demand they were seeing for a given toy item. If they couldn’t keep a specific skateboard stocked, then the manager should be able to order the proper amount to cover the local demand from their store. In fact, stores that couldn’t sell the item should have shuffled the stock over to stores where the demand was high. That’s smart inventory management. Nope.
Store managers should also be able to nix slow selling items from their shelves and replace it with hotter selling toys. Why continue to carry that obscure toy that you can’t even clearance out when you can sell 100x as many Tickle Me Elmos? Having great selection is fine as long as you’re not stocking 50 of an item you can’t even give away. Again, smart inventory management people. Stock them in small quantities, sure, but not in the quantities that each store was getting. Shuffle extra stock to other stores that have none. Remember, I worked there, I saw the stock amounts in the stock room.
Nope. Toys R Us continued to make this mistake year after year.
Over-expansion
Nearly every business thinks they should open as many stores as physically possible. But, you can’t do this when most of your stores are operating in the RED. Toys R Us was no exception. This chain continually felt the need to open new stores rather than trying to shore up their existing stores and get them each to an individually profitable status. If the management had stopped their expansion plans and, instead, focused their efforts on making each store profitable by the end of Q1 each year, Toys R Us would not be in this predicament.
Dated Store Displays
Not too long ago (perhaps early 00s), Toys R Us did away with the X aisle layout and converted them back into horizontal rows once again. However, the aisles now run left to right in-store rather than the original front to back design (which was arguably its best floor plan). Unfortunately, their fixtures are all incredibly dated pegboard and 70s style metal fixtures. They look like they’re straight out of a 70s store… even when the store is brand new. Maybe these are the cheapest fixtures they can buy? No idea, but they don’t look modern.
The store is also incredibly jam packed with stuff. The shelves are always full of stock yes, but it doesn’t help when the stock is old and is sitting on dated shelving units lit by 70s style fluorescent lighting fixtures.
The Business
Here’s Toys R Us’s primary operational problem and the problem that ultimately leads to where we are today. Toys R Us always relied on the holiday shopping season to pull its stores into the black. Meaning, Toys R Us always operated its stores in the RED through 80-90% of the year hoping for the holiday season to pull each store up and out and operate in the black for that year. This was the chain’s primary mistake. This operating model had been ongoing since the 80s. This was the way that TRU intentionally chose to operate its stores. This was also entirely their biggest operating failure and it’s the mistake that is now what’s threatening closure and costing TRU its business.
In addition to operating in the red, Toys R Us also didn’t wield its buying power to get the best possible credit terms, the best possible deals and the best possible return arrangements. If a toy doesn’t sell, package it up, send it to another store that can sell it or send it back to the manufacturer for full or partial credit. Let the manufacturer deal with that stock rather than trying to organically clearance out items on the shelves years later. No, get these old toys off of the shelves to make way for new toys. Fill the shelves with toys that can sell and that will pay the bills.
If you can’t pay your bills, you can’t stay in business. Business 101. Yet, Toys R Us management felt that they were above these rules. The management team felt they could continually run their stores in the red without ramifications. Well, fate has now caught up with you, Toys R Us.
Being Acquired by Private Equity Firms
Because of the way Toys R Us chose to operate its stores, it could not support being acquired in this way. This acquisition was entirely shortsighted on the part of the private equity companies involved and they (and us consumers) are the ones who are now paying the ultimate price.
In 2005, Toys R Us was acquired by a set of private equity firms. These firms included KKR & Co., Bain Capital and Vornado Realty Trust in a $7.5 billion buyout deal. These three companies (and their investors) sank $1.3 billion of their own funds into the purchase, leaving the rest of the purchase price of $6.2 billion to be made up in loans. These loans saddled Toys R Us with an over $6 billion debt burden. A debt that, because of the rather nonsensical business model that the stores had been following since the 80s, could never be recouped. All of this leads to…
Bankruptcy
In late September 2017, Toy R Us filed for bankruptcy protection against its creditors. This means that its creditors can no longer go after Toys R Us for not paying bills. It also meant that the loans left over from that terrible 2005 buyout deal could no longer collect on those loans. Of course, in return for this court issued bankruptcy protection, the company has chosen Chapter 11 to work through a plan to reorganize in a way to get themselves back to profitability and pay their creditors over time before time runs out. For the Toy R Us management, that meant finding a suitor to buy the business… because, of course, they couldn’t be bothered with actually trying to restructure the stores in a way to make them profitable. Oh, no no no.. that’s just too much work.
What? Are you kidding? Are you really expecting some well funded company to swoop into this ailing business holding onto a mountain of debt and offer to buy you? Really? The way that TRU operates is textbook operating procedure for failure. It cannot continue to operate in the way that it does. Even closing half of the stores may not be enough to solve this operating problem. It’s only surprising that it took this long for this toy chain to make it to this point. I expected this day to come a lot sooner.
Toy Collectors and Toys R Us
I full well expected to see Toys R Us fail in the 90s. However, Star Wars saw to it to keep Toys R Us in business. The Star Wars collectors came out in wild abandon to snap up tons of revamped Star Wars merchandise for not only the previous trilogy (including the Orange and Green carded Power of the Force series), but also snapping up the then new prequel trilogy toys. These toys still remained hot even after 1983’s Return of the Jedi cooled down. It all heated up again when the Prequels began in earnst in 1999 (toys beginning to appear in stores about a year earlier). Toys R Us got a reprieve from their red ledger problems due primarily to Star Wars collectors, Hasbro and a few other unrelated hot toys during the 90s (Tickle Me Elmo). Almost every year, there was some new fad that kept Toys R Us’s year end strategy in check. Though, this strategy would ultimately fail them when, in the last 10 years or so when there just haven’t been those must-have toys or collectible Star Wars toys. Even the Zhu-Zhu pets weren’t enough. Even the latest Star Wars trilogy from Disney has not had the merchandising power that the 90s saw. Though, Disney isn’t crying over what they have sold.
In fact, I’d venture to guess that the 90s collectors have all but stopped collecting and have moved on with their lives… which put a huge crimp in the Toys R Us budget. In fact, during the collector heyday of the 90s, Toys R Us did their very level best to chase away the collectors. Much to their own chagrin, they succeeded in doing so by the mid-2000s. It also doesn’t help that collectors can now buy full cases directly from places like Entertainment Earth, which no longer meant the need to scour the pegs at Toys R Us in the wee hours of the morning. You could order cases directly from the comfort of your own home, then see them delivered to your doorstep.
Amazon and Online Shopping
Because of the power of the Internet, Amazon and eBay, it’s pretty easy to find that hot toy at more reasonable prices. Yes, Toys R Us is still a staple in the current shopping landscape. When it closes, both Amazon and Entertainment Earth will simply pick up where Toy R Us left off without missing a beat. If anything, I’d suggest that Amazon pick up the Toys R Us branding at a fire sale during liquidation and rebrand the Amazon toy section to Toys R Us. Keep the TRU brand alive, but not with all of that bloated store baggage. Then, dump the Babies R Us brand entirely. You can still sell baby things, but branded as Toys R Us.
Toys R Us Closing
As I said, I have a love-hate relationship with Toys R Us. I do enjoy visiting and seeing what’s new, but every time I walk into a store, I’m confronted with the dated shelving and decoration, the continual nagging reminder of just how careless the management is and how much of a wasted opportunity that Toys R Us was when it could have become the biggest most profitable toy chain in the world. Yet, they’ve failed.
If Toys R Us can manage to pull a rabbit out of a hat at the last minute and keep the lights on, I’ll be fine with that. Sadly, I think this is likely where it will all end for Toys R Us.
Gift Cards or Rewards — Use em’ or lose ’em
If you have any remaining unused gift cards from Toys R Us, be sure to visit a store now and use them immediately. Don’t wait until after Toys R Us begins closing its stores.
Likewise, if you have any rewards points left on your rewards card, log into Toys R Us Rewards, issue certificates and use them up now. Same for Babies R Us Cashback Endless Rewards program. Otherwise, forfeit your chance to convert those points into dollars. Representatives for Toys R Us have said that they will honor gift cards, rewards points and cashback programs for 30 days. The 30 day clock likely began on Wednesday March 14th, when they filed their liquidation paperwork with the court.
I guess in an odd way, I do kind of get that shopping spree after all, and many years later. I just found that I have over 2500 points in my rewards account. That equates to a $100 shopping spree.
For my $100 in rewards points, I got a Nintendo Monopoly set, a Care Bear Grumpy Bear, Two Schliech Geoffrey branded figurines, 5 different Halo Hot Wheels, a Pit Amiibo, a Pain-Yatta Skylander, a Playmation Vision figure and two Geoffrey branded reusable shopping bags. I ended up paying $9 to cover the tax. I also bought a $5 Geoffrey gift card and immediately used it to get dock protector straps for a Nintendo Switch. I wanted the Geoffrey branded gift card as a souvenir. I’d also previously purchased the day before, two Geoffrey 18″ plush and one Geoffrey plush gift card holder, which I’ll put that used Geoffrey gift card in.
Returns and Exchanges During Liquidation
Check any purchased merchandise thoroughly for defects the same day you buy it. If there are any problems, return it the same or next day and exchange it. Don’t wait even a few days to exchange as you may not be able to find the same item. According to Toys R Us representatives, all sales are final. This means, no refunds. However, they may continue to honor exchanges for a period of time. If you’re uncertain of any of this, ask for details at the service desk before you buy.
If you’re thinking of shopping for gift items, you might want to buy elsewhere. Buying a gift for someone could mean the gift recipient can’t return or exchange the item. You don’t want to force a gift onto someone when it’s not something they want only for them to find they cannot return it.
Be that Toys R Us Kid one last time
If you grew up visiting and are as fond of Toys R Us as I am, I’d suggest for you to take a few minutes out of your day and visit your local Toys R Us to reminisce about the good ole days. Once the liquidation sales start, they’re quickly going to look like half-filled shells of a store. Note that the deadline for Toys R Us to find a buyer is early April of 2018, so visit them quick. You have less than a month.
You might even want to pick up a souvenir, such as a plush Geoffrey, to remember what was Toys R Us and what it meant to us as kids. If you want a plush Geoffrey, ask at the Customer Service desk. It seems they keep them there for some reason.
Bioshock Infinite: Or, why circular time paradoxes suck!
Note: If you haven’t yet played Bioshock Infinite yet, this article contains spoilers. You should stop reading now! You have been warned.
Many people are awed and dumbfounded (even Wikipedia) by the story within Bioshock Infinite. Wikipedia is supposed to remain neutral, yet the article for Bioshock Infinite is extremely biased towards Infinite containing a ‘great’ story. It most definitely isn’t ‘great’ by any stretch. For some odd reason, gamers (and critics) think what’s in Infinite is a good thing and somehow even like and see it as some sort of thought provoking experience. Well, perhaps it is in some small way thought provoking, but not thought provoking in the right (or even a good) way. Let’s explore why Bioshock Infinite’s type of thought provoking experience is not a good thing and not something to be wanted or desired in storytelling.
Breaking the Rules
There’s something to be said for people who break the rules. Sometimes breaking the rules can lead to good consequences. Most times, it ends up in failure. Story and narrative creation rules have been in existence since the earliest fiction book was written. Yet, these rules have minimally changed throughout the years to keep stories satisfying and fresh. The rules for well written storytelling are already firmly established. Granted, the storyteller can take liberties if the diversion leads you back to something profound within the story. Basically, the idea behind storytelling is to keep the pace and momentum going and to flesh out characters who the reader can feel good about. Plot devices are used to keep the story on track, to know where that story is heading and what the end goal is for the characters. With the ultimate goal being to produce characters whose situations seem real and profound. The characters are the crux that ground the story even if the rest of the world is fanciful. Without this grounding, the story falls apart. With that said, every story has a beginning, a middle and an end. All three of these should be clearly defined so that what transpires along the way leads to a satisfying conclusion of the characters lives where the readers have invested their time.
Video Game Storytelling
With video games, the way to tell a story hasn’t substantially changed and not every video game company ‘gets’ it. Every entertainment experience today should become a cohesive character driven story to be successful. Within video games, there are two pieces to the story puzzle. The gameplay and the storytelling. Both are symbiotic relationships. One feeds off of the other. Neither should really become dominant in this mix. If the game falls too much into a storytelling role, it loses the interactivity needed to be a great video game. If the gameplay is all there is and the story only happens at the beginning and end, the story becomes an afterthought. Both have to work together to create the whole and to keep the player engaged in the game and the story. However, should one become more dominant than the other, the gameplay should win. It is a game after all.
Time Travel and Storytelling
Unfortunately, too many novice storytellers decide to use the extremely overused, trite and cliché device known as time travel via time anomalies to create and tell their (ahem) story. Worse, without clearly reasoned ideas, time travel can easily make a story become a Deus Ex Machina blunder. As it’s far too easily done wrong, time travel should be avoided in most stories as it really has no place in any quality storytelling experience. And, it’s usually not needed. For example, J.J. Abrams uses this device within the newest Star Trek film reboot. He, unfortunately, uses it to create an alternative universe where the original Star Trek crew don’t actually live. Instead, he creates a rebooted universe of his own choosing and design. His storytelling approach is to toss out the baby with the bathwater and start over on his own terms. Not only does this completely dismiss and insult Gene Roddenberry’s vision of Star Trek, it completely smacks of pretentiousness. J.J. Abrams apparently thinks he’s better than Gene Roddenberry and can somehow improve upon what Roddenberry has created. In fact, there is no need for this in the Star Trek universe. The original Star Trek universe works perfectly fine as it is for setting J.J. Abrams’ story.
In J.J. Abrams’ Trek, the only true Star Trek original crew was the aging Spock who somehow accidentally stumbled through a time hole into J.J. Abrams’ fabricated new time paradoxical Star Trek universe. After you realize this, you’ll understand just how horrible the new Star Trek film really is. The events that took place in J.J. Abrams’ Trek movie don’t exist in the universe that Gene Roddenberry created. This also means that you’ve wasted 2 hours of your life watching a contrived useless film.
Bioshock Infinite is a video game who’s designers decided to use time travel and alternative dimensions (string theory) to explain the story. The only thing the writers successfully accomplish is to produce an incomprehensible mess of a story with characters we ultimately don’t really care about. Some players saw the story as thought provoking. The only thing that Infinite accomplishes, if you begin to think on the story, is unravel its own story and you’re left with questions like, “Did it really even happen?” or “Is he alive or dead?” or “Is the story really over?”. Questions that, if you really want satisfying closure to a story as a writer, you don’t want people asking. These are not the kinds of questions that should be left over at the end of your story. These are the kinds of questions that lead people to critique the story as being trite, cliché and poorly written. You want people to value and cherish and like the story. You want them liking and asking questions about the characters, what happened to them after, where the story might go from here. You don’t want to leave your story open to ‘Infinite’ possibilities where the story leads effectively nowhere and there are so many of the same characters that you can’t even wrap your head around it. In storytelling, infinite choice is the same as no choice. Meaning, if there is no way to tell what happened, that’s the same as saying that it didn’t happen. Which then means that playing the game is pointless.
Time Travel and Time Paradoxes
Time travel is a concept that we do not know if it’s possible. It’s all theory and conjecture at this point. It could become a reality in the future, but we’re not there yet. Telling fanciful stories about time travel and multiple universes may seem like something good, but most times isn’t. The single biggest problem with using time travel and string theory in storytelling is the circular time paradox. That is, a situation that would lead the viewer to logically conclude just how the story came to exist if changing a small piece caused the creation (or unraveling) of the situation in the first place. As a concrete example, in the film Terminator 2, Skynet effectively creates itself. That is, a Skynet robot from the future is sent back in time to kill the then kid, John Connor. Yet, it fails and is destroyed. Its robotic brain technology chip is recovered by Cyberdyne Systems. Cyberdyne Systems employees then reverse engineers the chip which, through technology breakthroughs as a result of that chip, then causes the conception of the technology that leads to the birth of those exact robots and the Skynet computer. Effectively, the technology creates itself. Because of this circular time paradox, this makes stories like Terminator 2 unwieldy, unsatisfying and poorly written. Technology simply cannot create itself and stories should never be written that even hint at that. Humans should always have a hand in that creation of something or the logic of the whole story falls apart.
Likewise, Bioshock Infinite creates a time paradox where the death of Booker unravels the game’s entire reason to exist. Why would you, as a writer, intentionally negate the reason for your story’s existence? Basically, you’ve just told your readers, this story sucked and it didn’t really happen. Or in the case of a video game, the designers are saying, “Yes, we understand you’ve invested hours and hours playing this video game, but really, the story and game just didn’t happen.”
Bioshock Infinite
Oh, this game seems like it tries to keep itself on track in the beginning, but fails because its writers and the story simply get more and more lost with every new time hole (tear) that Elizabeth creates. The writers eventually can’t keep up with the time paradoxes and begin ignoring them entirely in hopes that the player will too. Unfortunately, I can’t overlook this issue. It’s one of my pet peeves within stories. While I don’t plan on keeping score of exactly how many time paradoxes take place over the course of the game, the one that matters is at the very end of the game.
If Booker and Comstock are one and the same person, and Booker kills himself as a child, Columbia can’t come to exist and neither can Elizabeth. Of course, what happens is that multiple Elizabeths drown Booker in a mock baptism which also negates the entire Comstock Columbia story. Which means, Booker would never come to visit Columbia and Elizabeth would never have been stuck in the tower. Who’s to say Anna/Elizabeth would have even been born? Yet, self-preservation and survival is the strongest human instinct that humans have. Why would Elizabeth knowingly do away with her own existence by killing her own father or even allow that to happen? That’s just not logical or rational from a character self-preservation perspective. Worse, because Irrational’s designers postulate the possibility of ‘Infinite’ realities with infinite Elizabeths, Comstocks, and Bookers, there never could be complete destruction of any one of those characters or of every infinite possible version of that story. Even worse, thinking thorough the possibility of infinite stories, how do we even know that the story we played is even the one that matters in the Grand Scheme? Likely there is a universe where Booker doesn’t become Comstock and Elizabeth and Booker have a normal happy family relationship and live happily ever after along with her mother.
Ultimately, what does any of the Infinite story have to do with Rapture? Yes, we got to see Rapture through one of Elizabeth’s doors, but the only relationship between Bioshock Infinite and the other Bioshock games is strictly in that short visit to Rapture. Nothing in this multiverse story has anything whatever to do with explaining the existence of Rapture (other than being just another alternative reality). It doesn’t explain splicers, big daddies, little sisters, big sisters or anything else that transpires on Rapture. In other words, the writers of Infinite fail in two ways:
- They fail to give us a story in Infinite that ultimately makes any sense in the end
- They fail to explain the creation of Rapture or of those people who end up on Rapture
They even fail at explaining how Columbia comes to exist. If the multiple Elizabeths are successful at drowning Booker, Comstock can’t come to exist and neither can Columbia. That means that the entire story in Bioshock Infinite doesn’t even happen. Which, unfortunately, leads to a circular time paradox. Such circular time paradoxes should always be avoided when writing time travel and string theory stories. Why? Because they leave the viewer with the question, “What was the point in that?” and provide a less than satisfying ending. It’s also not the question you want your viewers left asking after it’s all over. You want them to be thinking about the story and how they like the characters along the way. If the characters are all completely toss-worthy, as in Infinite, then it’s all pointless. You don’t want the viewer fixated on how the story even came to exist because that then turns the viewers to realize just how bad the story is and how worthless the characters are. Further, as an author, why would you ever intentionally write your entire story and characters out of existence via a time paradox? Is your story really that unimportant to you and your readers?
It’s the same reason you never write a story that ends up with the main character waking up from a dream at the end. Stories that end up as one big dream sequence are completely unsatisfying. Viewers think, “Why did I waste my time watching that?” It’s definitely the wrong thing to pull from a story. Time travel stories with circular time paradoxes are just as equally unsatisfying for the same reason as waking up from a dream sequence. In fact, these two plot devices are born from the same mold and should never be used unless there is a very good reason to break that rule. This is especially true if primary storyline’s time paradox negates the whole reason to even tell the story because the characters never existed. So far, I’ve not read one recent book, seen a recent movie or played a recent game that had a story that could successfully navigate time travel or multiverses as plot device.
The closest any recent filmmakers have ever come to making time travel actually work without producing circular time paradoxes is Robert Zemeckis’ Back to the Future series and Alfonso Cuaron’s adaptation of Harry Potter and the Prisoner of Azkaban with its Time Turner sequences. Both stories are carefully crafted to avoid circular time paradoxes. In Prisoner of Azkaban, the Time Turner sequence isn’t used as the main story driving device. Instead, it is used in a noble way to save Buckbeak from death, which allows the film to have a very satisfying closure despite the inclusion of time travel. Zemeckis’ Back to the Future films do use time travel as the main plot device. However, these films’ stories are also very carefully crafted to avoid time paradoxes and leave each film with very satisfying conclusions. So, you ultimately care about the characters and ignore the silly time travel plot device. I would also include that the original H.G. Wells’ Time Machine movie is probably the most successful story at navigating time travel as a device within the story without creating a circular time paradox, while still providing engaging likeable characters along the way and a satisfying conclusion.
Overused plot devices
Time travel use as a plot device, while extremely popular, is mostly carelessly used. It has been used in such popular franchises as Lost, Stargate, Star Trek (series and movies), Terminator and is now being used in video games like Bioshock Infinite. Writers need to be extremely judicious with their use of this plot device. Time travel should only be used in a way that advances the story forward, but never in a way that becomes the story itself (as in Bioshock Infinite). Unfortunately, Irrational’s writers just don’t understand how to properly use this plot device within the story context and they use it incorrectly. It should never be used in the way it is used in Infinite. Instead, Columbia could have been shown to exist for other reasons than because of infinite realities.
At the end of Bioshock Infinite, it’s quite clear that the time travel piece is poorly conceived. It ends up making the main character appear as if he is having a psychotic episode rather than actively part of multiple dimensions and realities. I full well expected to see Booker wake up in a mental facility (on Rapture) with nurse Elizabeth administering sedatives to him. At least that storyline would have dismissed the time paradoxes as unreal events and showed us that Booker is just a mental patient among many. This is what is needed to ground the story and tie in the Bioshock Rapture story experience to the Bioshock Infinite story experience full-circle. Yes, that ending would have invalidated Columbia as a non-event, but the writers already did a good job of that in Infinite. Yes, I realize I’m advocating explaining off Infinite as a dream sequence (which is generally to be avoided). Because the Infinite writers already negated their own story, that mental hospital ending would at least start to explain how Rapture came to exist in the state it is in when we played the original Bioshock which is still a far better ending than negating your entire story. At this point, the Infinite story is just a jumbled disarray of ideas that didn’t congeal and that basically made the entire Columbia story a complete time wasting experience. We don’t care about Comstock and now we don’t know what to think about Booker. Anna/Elizabeth ends up simply being a facilitating plot device, but we really don’t feel for her plight at all during or after the story. At the end, she ends up a pawn (as is everyone else including Booker and Comstock). In fact, because of the time paradox story negation, we really don’t care about any of the characters.
As an FYI to future writers, ending your story with infinite universe possibilities and infinite versions of your story’s main characters is the worst possible ending for a story if you want your characters to be remembered. Because you as an author should value your story’s existence above all else, negating your characters and story with a time paradox simply sucks. If you don’t value your story, why should we?
Sony PS4 announced.. blah blah blah
So Sony officially announced the PS4. But, before I say anything, let’s let their specs do the some talking:
Main processor
- Single-chip custom processor
- CPU: low power x86-64 AMD “Jaguar”, 8 cores
- GPU: 1.84 TFLOPS, AMD Radeon™ Graphics Core Next engine
AV output
- Analog-AV out
- Digital Output (optical)
Communication
- Ethernet (10BASE-T, 100BASE-TX, 1000BASE-T)
- IEEE 802.11 b/g/n
- Bluetooth® 2.1 (EDR)
Optical Drive (Read only)
- BD 6xCAV
- DVD 8xCAV
Super-Speed I/O USB (USB 3.0), AUX
Hard Disk Drive Built -in
Memory GDDR5 8GB
In addition to the actual console specs, Sony also announced a Dual Shock 4 controller with a touch surface on the controller. Nothing like the Wii U controller, mind you, but a finger touch surface (like a glide pad on a notebook).
Wait.. What? Is this real?
Let me start by saying whoopee! =sarcasm off= My first thought after reading this spec sheet is, “WTF? Is this for real? This has got to be a joke, right?” And then it sank in, this wasn’t a joke and it is for real. This hardware is so 5 years ago. It’s basically a glorified PC with 8 cores and a reasonably slow one at that. I’m definitely not impressed. This is most definitely not what I expected to see from Sony. A glorified PC with a Radeon card as the new PS4?
So, why is this a problem? Let me count the ways…
1) No backwards compatibility to the PS3. The AMD chip is in no way compatible with the PS3’s cell processors. So, unless Sony has asked AMD to build in cell core backwards compatibility, the best we can hope for is emulation. And, with emulation comes slowness and games that feel sluggish, choppy and crappy. Sure, they might play, but they’re not likely to play WELL. That’s the difficulty with emulation.
B) It’s a PC. I’ll say that again, it’s a PC… and not a particularly great one at that. The graphics card might be somewhere close to a mid to mid-high end card in today’s market, but again Sony has trapped themselves into outdated graphics before the console is even released. Unless they plan to release this ‘PC’ in the next 3-6 months, this thing will be outdated and worthless when it arrives. Sure, it may be faster than the PS3 today, but what difference does that make in the grand scheme? If a then $300 netbook runs rings around the PS4 in speed, it’s a DOA device. Sure, I love consoles, but I want them to be cool, sleek and unique, not mundane and something I could buy anywhere.
What Sony should have done here is ask for a modular slot for a graphics card. Then, when the card gets outdated, pop in a new updated card. This does two things for Sony. 1) A modular slot allows the console to remain relevant independent of the processors. The processors will remain relevant far longer than the graphics processor. In addition, the GPU can be used for game processing. 2) A modular graphics card slot would allow for many uses all across the board. Placing components into modern PCs should become easier and also allow upgrading graphics cards in such devices as netbooks and notebooks easily. This is a pioneer and innovative approach to creating a new device.
iii) Ok, so I have to concede that it will be compatible with PC games IF Sony doesn’t blunder the PC part of it. That is, if they license Windows (of any variety) from Microsoft, they can at least pull in all of the PC game titles that get released (or at least have them ported much more easily). But, that’s not necessarily going to save this turd… ahem, console.
Sony’s day is Done
Sony has been the odd man out in gaming recently and their lack of innovation in gaming is very much apparent. What Sony needs is something innovative, and the PS4 isn’t it. The Wii U is innovative. Sure, it’s got issues due to launch immaturity, but that will be corrected through updates. Sony’s product is immature and it will clearly remain that way throughout its life. You can’t turn a Hyundai into a Tesla. That just doesn’t work. Sony’s product is clearly a crap attempt at a new console.
Sony, take this idea, rework it and make it loads better. Then come back and re-release the specs. This is a crap first attempt at a new console. Let’s start from here and make it better. Otherwise, your current PS3 lackluster sales will turn into no sales when the PS4 arrives.
Right now, the only thing Sony has going for their entire gaming market is the PS Vita. They better damn well hope they can get some decent games out for the Vita because the PS4 is even less attractive than the PS Vita.
Next Gen Gaming
This is definitely not what I expected to see for a next gen gaming platform. We need to move towards more realistic 3D gaming, not towards commodity hardware. The Wii-U definitely heads in the right direction with innovation. It’s not going to take much for Microsoft’s new Xbox to kick it out of the ballpark. In fact, if Microsoft can in any way integrate a Surface tablet into the gaming experience of the new Xbox, it’ll be a whole lot more innovative than this Sony console has any hope of being. Sony, take it back to the drawing board and rethink it. I think I’ll call it now, the Playstation home console brand is now officially dead. Sony better hope the PS Vita can carry SCEA onward.
Random Thoughts - Randocity! 
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