The Typing of the Dead: Overkill

There’s a certain perverse joy found in killing digital zombies. They’re people, but they’re monsters, so it’s OK to annihilate them because if you don’t, you become one. Fair enough.

It’s something that’s fuelled a lot of games of late, but nowhere perhaps more enjoyably than in the rejig of The House of the Dead: Overkill called The Typing of the Dead: Overkill, which I picked up for cheap on Steam a while ago, but have only just been able to move to the top of Mount Backlog for its moment in the wintry sun. (I figured I needed a break from crowbars and headcrabs.)

The main attraction of the game is that it is fantastically over the top, even by the fairly low-culture standards of zombie media. Basically, it’s presented as an adults-only grindhouse-style series of films, with all the out-of-focus film, bad sound and clichés which go with the territory.

Let's all go to the lobby.

Yep, down to the Intermission sign. Continue reading “The Typing of the Dead: Overkill”

Recent gaming: Half-Life, Half-Life 2 and Portal

I’ve been playing through a couple of Valve’s games over the past few months. They’ve taken longer than I expected due to, you know, Life, but I’ve enjoyed them enough to consider posting some thoughts about them.

The games have been played as part of my ongoing attempt to minimise my frankly terrifying to-play list. It spans generations of consoles and about the past two decades of PC gaming, so there’s more than enough to be going on with. The PC playing has ramped up in the past little while as I built my own computer and now can play modern games at at least the native resolution of my lounge TV, with all bells and whistles on.

Continue reading “Recent gaming: Half-Life, Half-Life 2 and Portal”

It’s all a game (piece)

I like the idea of process music. I like it a lot. Something about the idea appeals to me. I suppose it’s the fact that I’ve always wanted to be an artist, but have lacked a sense of mastery over any form of tools. I don’t know how to paint, how to draw, how to sculpt. I only barely know how to create music, and even then I am not able to write down or record what I do, so it tends to be lost to the ether. Continue reading “It’s all a game (piece)”

Exploring The Old City

Today marked my first completion of a game on my newly-built Steambox.

(Catch-up: Steam is a very successful online games marketplace/management tool which I’ve successfully used to enable a virtual hoarding proclivity while simultaneously ameliorating my physical collection, so win-win I suppose. Anyway, the company is in the process of creating PCs for the lounge-room – called Steamboxes – and I recently built one of my own which, miraculously, didn’t catch fire. It’s named after Stephenson’s Rocket.)

The game I completed was Leviathan: The Old City, which has copped a lot of stick for being nothing more than a walking simulator. Continue reading “Exploring The Old City”

The luck of the Irish

Sydney’s holding a St Patrick’s Day parade today so it’s fitting that I finished my playthrough of The Saboteur today. Or, as I like to think of it, Paddy O’Guinness Kills Nazis, Sees Boobs. 

Heard of it? I didn’t think so. It was pretty quickly forgotten, even by the standards of derivative sandbox shooters. But there was a reasonable mix of Continue reading “The luck of the Irish”

2014 consumption: a look at some stuff I liked

It’s a new year, and for me that’s as good a time as any to look at what I did last year. More specifically, to look at my consumption of books, music, games and stuff over the past year. I’m not certain it’s interesting to anyone other than myself, but given that I’m a stats nerd – odd for someone who was definitively crap at them during my university years – and because I’m into recording stuff. What I’ve listened to. What I’ve read. What movies I’ve seen. Et cetera. Some of the data’s incomplete but it’s a reasonable portrait I suppose. This’ll be a long one.

Music
I record most of my listening on last.fm, as I have done for years now. For ten years, this year. Basically, any time I play something on my computer – which, at work, is where I listen to most of my music anyway – or now, on my iPhone, it’ll send a record of it to my profile. I try to record the stuff I listen to at home – usually with this thing – but far less reliably. Given it’s been running for the longest of any recording I’ve done, there’ll be more data here to work from.

It’s a useful source of information – the sidebar listing what I’m listening to comes from last.fm data – and provides enough statistics to keep me happy. For example, the counter on my profile tells me that since 2005, I’ve listened to 132,000 tracks, more or less.

But how did I fare last year? Well, here’s a graphical representation of my top artists for 2014:

Some things don't change.

As to how those listens were distributed, there’s this helpful chart – which you’ll have to click to read, undoubtedly.

Continue reading “2014 consumption: a look at some stuff I liked”

L.A. Noire (2011)

Otherwise known as James Ellroy: The Game.

Ah, I kid. Sorta. L.A. Noire is pretty indebted to Ellroy’s canon. It’s a mostly historically-accurate presentation of downtown LA in the 1940s, with some not-so-accurate versions of famous faces attached. It’s dark, long, a bit convoluted and full of wonkiness – but it’s as compulsive and endearing as any crime novel, largely because you’re made to feel that you’re in one.

We’re talking Los Angeles at the time of the Elizabeth Short killing. Corrupt cops, the birth of the freeway system, returned soldiers and streets awash with drugs and booze. There’s detailed clothing, excellent cars and bystanders who jump out of the way of your terrible driving with a spirited “Holy Toledo!”, while the movie plays on film noir tropes like there’s no tomorrow. Continue reading “L.A. Noire (2011)”

Driver: San Francisco (2011)

I’ve just finished the main story mode of Driver: San Francisco on the PS3. I’d originally bought it as part of a Playstation Plus discount deal – I think it cost me about six bucks? – and it had sat on my hard drive for months, unplayed. Which, given how stupidly great it turned out to be, was something of a mistake.

If you imagine any cop buddy movie, then change the setting to San Francisco, while adding in car-swapping superpowers resulting from a coma then you’re getting close. There’s prison breaks, terrorism, tourism and an ungodly amount of film tributes all fleshed out through the undeniably enjoyable experience of pushing a range of expensive cars to their limits with no regard for pedestrian safety. Continue reading “Driver: San Francisco (2011)”

Through the looking-glass

All smiles
Fancy seeing you here.

I recently completed both American McGee-penned games based on Alice in Wonderland. I’m pretty sure “American” is not really a legitimate first name, but regardless, I’d been interested in these games since the first came out in 2000 – you know, back when having an ex-NIN guy make your soundtrack was cool, and when a Cheshire Cat with tatts was a good idea.

A while, then. Continue reading “Through the looking-glass”

Papo & Yo (2012)

There’s a lot of chatter online about how games merely reinforce stereotypes and play it safe with narrative. This game – albeit a very short one – takes bold steps with narrative but is let down by the actual game experience. 

The story – an exploration of how a child hides from an abusive parent and how they must learn to let go to proceed – is a strong one. It’s also rooted in the childhood experiences of game designer Vander Cabellero. It’s a serious topic, and one not really covered in the gaming world, except when it’s providing an excuse for arse-kickery. Continue reading “Papo & Yo (2012)”