Tag: pc

Terraria port for Google Stadia Cancelled.

After backing down from a threat to leave Australia over new regulations, and pulling the plug on in-house Stadia game development, the last thing Google needed was more bad press. Well, Google has dug their own grave as Re-Logic, the creators of Terraria, have cancelled their planned Stadia port after Google disabled and removed access to the Re-Logic YouTube account and attached Gmail and Google Drive accounts due to an alleged Terms of Service violation.

After three weeks trying to resolve the issue, co-creator Andrew Spinks turned to Twitter, burning any bridges with the multinational company by publicly tweeting “Doing business with you is a liability.”

Re-Logic has confirmed that while they will continue to support all current purchases of Terraria on Android and Google Play, any future games by Re-Logic will not be supported on Google platforms.

Cyberpunk 2077 and CD Projekt; the Saga continues.

Since the PC release of Cyberpunk 2077, mods have been coming to the rescue to help with some of players’ issues and desires. Sadly, the way in which Cyberpunk 2077 utilised external DLL files allowed hackers to remotely execute code when malicious mods were installed on a player’s computer. This security vulnerability was quickly fixed by the Cyberpunk 2077 community before the 1.12 Hotfix was released by CD Projekt just three days later.

CD Projekt has also announced via twitter that they were recently the victims of a cyber-attack. The announcement included a copy of the ransom note with the attacker claiming to have copied the source code for their most popular games and an unreleased version of the Witcher 3 as well as other files. CD Projekt has stated that to the best of their knowledge, none of the compromised data contained any player or user data. The incident is currently under investigation by the relevant authorities. After the announcement, CD Projekt’s stock dropped by 5%.

Nemesis system patented.

After almost 6 years since the original application, Warner Brothers has finally had the patent approved for the Nemesis system. Originally utilised in Monolith Productions’ Middle-Earth: Shadow of Mordor, the Nemesis system is where hierarchical NPCs are physically and hierarchically effected by player interaction. The patent is already being criticised by developers for the vagueness of the patent’s wording and how this may stifle any similar games from being developed.

The patent is optioned for renewal till 2035.

And finally, some game releases:

On February 11^th you can look forward to the console release date of 1bit minimalist RTS game Death Crown, the Switch Release of the action-adventure roguelike Undermine, and the PC and console release of the side scrolling adventure Little Nightmares 2.

We also have Super Mario 3D World + Bowser’s Fury coming to the Switch on February 12^th. And the Mega Man X-inspired multiplayer roguelike 30XX (thirty ex-ex) is coming to PC on February 17^th

Developer: Wube Software
Publisher: Wube Software
Music: Daniel James Taylor
Platforms: PC only – Windows, macOS, Linux
Released: 14^th August 2020
Genre: Simulation / RTS / Building / Management / Tower defence

Factorio in my house has a reputation, for my wife knows I will be lost for two days, rave of mathematical ratios and alien biters, and somehow gain the focus of a cramming uni student abusing caffeine and amphetamines.

But what is this, my game of 2020 and drug of choice?

Factorio was successfully crowdfunded in 2013 and released into early access on steam in early 2016. I first played Factorio later that year after binge watching youtubers creating vast belted megafactories. Visually, it is a top down, 2.1D isometric game like RTS games circa 1999, while also having a dreary diesel punk aesthetic. Despite this the world is rich with biomes, natural fauna, and easily identifiable resources to feed the factory.

Game play wise it is a beast of real-time strategy, automation, resource management and base defence.

The basic premise of Factorio is that you have crash landed on a planet and need to survive. This is really only present in the tutorial and when you set off your first rocket, the endgame trigger. The rest of the game is the dieselpunk version of Man Vs Wild while you set your mind to the machinations of the machine, engineering an extravaganza of a mega-base while protecting yourself from the natural life forms attracted by your pollution and hell bent on destroying your creations.

To create your first factory you mine, belt, chop, hand craft and build before progressing to automating with belts, inserters, and trains. The final step, if you are brave enough, the birth of true automation with flying robots, wires and storage all controlled through logistics and programming.

Your factory is now vast and consuming, both in resources and time. You stare bleary eyed at not only how long you have been staring at the screen, but how many hours you have now accumulated in your steam profile. Calculations and spread sheets strewn across your desktop as you have calculated the exact ratios of ore to final products.

This game captivates the engineer in me. The organisation to compact and replicate, modularise and expand. But I’ll be honest, I play on peaceful. For without this, those biters, worms and spitters come in ever increasing waves. They expand and search for weaknesses, and one day you look up from your hard work and hear the alarm and they’re chomping at your power station and everything goes dark.

Speaking of sound, the atmospheric sounds are inconspicuous. I don’t mean that in a bad way, rather everything sounds right for the situation. Footsteps on grass, sand, concrete and metal all sound right for the situation. The intervals between the musical interludes are filled with the wind in the wilds, or if you are in your factory the hum of machinery and belts, the crackle of arching electrics or the soft bells of sonar from the radar tower.

The musical composition of Daniel Hames Taylor highlights the desolation and feeling of isolation while still remaining calming and optimistic, it is also memorable and repeated enough so that years after playing, reopening the game and listening to the game’s music brings back instant nostalgia to the hours of gameplay you previously invested. However, should the music grate on your psyche, as in most things in this game, there’s a slider for that.

Overall while I’m sure you can tell I enjoy the game there are some teething issues for new players. The controls and key board shortcuts are extensive and while the tutorial shows a good selection of the basics, the huge selection of inbuilt shortcuts can be overwhelming to learn. There’s also little after the tutorial to tell you what or how to do things. You are left to your own devices, a research tree, and your own brain to guide you. This tends to lead new players to restart their first map a few times before getting into their stride. And when you set up your map everything has a slider, from the progression of the biters to how rich ore patches are, how many natural cliffs, water fronts and trees you need to cut down, destroy or pave over to expand your ever growing factropolis.

The developers Wube Software continue to actively develop the game, while also developing new toys and squashing bugs. The modding community is also highly active and can add different gameplay loops and complexities to your engineering marvel.

If this has wet your whistle for a play you can find a demo available at factorio.com, or you can buy if from that same website or from steam.

Developer: Frolic Labs
Publisher: Frolic Labs
Music: Jake Butineau
Platforms: Steam, Switch
Released: 10 – 10 – 2019
Genre: Side-scroller, adventure

You are a goose, and it’s time to fly.

Perched on the edge of a cliff, you don’t know what’s ahead of you, but with a leap you spread your wings, embarking on a journey.

The destination isn’t important, the joy of Dune Sea is in the journey. The process. Watching the landscape go by, making your way through the air, finding and coaxing friends to join your ramshackle flock, avoiding obstacles, learning how to soar with acrobatic grace.

Dune Sea is a side-scrolling adventure game, if adventure meant a meditative zen-like experience with a little bit of a challenge. With a simple, low-poly art style, soothing music, and a steady pace, Dune Sea is exactly what I needed to play, when everything was too overwhelming, too noisy, or just took too much energy.

Gameplay is soothing, if that wasn’t clear already. It introduces controls simply and slowly. First, let’s figure out how to hop off the cliff and spread your wings. Next, figure out how to fly quickly, change directions, and how and where to land for a rest. A some of the controls are explained to you, but a lot you are left to figure out. You’ll pick up some little collectables and learn that it’ll give you a bit more stamina. You’ll also learn what happens when you do run out of stamina.

A lot of it is very straightforward, and what you’d expect from a game like this. But you have a few interesting tricks to learn. If you encounter a flock of birds, honk at them! One of them may decide to tag along for a little while. And with enough bird friends, you’ll be able to unlock new and interesting pathways, and move past difficult obstacles. Is it necessary? Not really! But who doesn’t want a ragtag flock who can help you blast rocks?

Sometimes, the lack of explanation can be frustrating. I had quite a lot of trouble at the very first launch, where I was told to press two buttons, but I didn’t really know how to, or how long, or in what order.

I’m not afraid to admit I crashed off that cliff at least half a dozen times. But once the mechanics of flight clicked, it clicked, and the rest just fell into place. It helps that it is a forgiving game, with plenty of checkpoints. You don’t get punished harshly for a mis-timed dive. Instead the game goes ‘hey, let’s give that another go’. So you spend less time struggling, and more time just enjoying the journey.

In addition, there is a Zen Mode, where you don’t even have to worry about obstacles or crashing. You can choose to only have to fly.

Like the simple art style, and soothing gameplay, the music just ties it all together. You don’t HAVE to listen to the music, but I think you need to. It’s so gentle, melodic, easy to allow into the background of your flight. It really ties it together, giving pace to your experience. Gentle guitar tones, violins in the background, an echo of the melody rings in the background. It feels open, and warm. I wouldn’t fall asleep to it, but I found it relaxing. I had a better meditation experience playing this game, than I did in my last yoga class. Everything just compliments each other so well, woven into one experience.

There’s no rush, no glaring need to keep flying, no overwhelming drive to DO things. It just lets you fly.

What is Dune Sea? It is a journey, an experience, that serves no other purpose than to just let you experience it. Your destination doesn’t matter. Your goals can be to just stay off the ground. You can build a giant mega-flock, or you can just see where the game takes you, for as long as you want. It’s not exciting, it’s not busy, it’s sort of boring. But in the way that paddling down a quiet river in a canoe, and you look up at the sky and watch the clouds drift by is boring. In the way that sitting by a stream, and tossing sticks into it and mentally betting on which stick will reach the big rock first is boring. In the way that sitting on the train and watching the landscape change and the buildings go by is boring.

It just felt like, for a few minutes at a time, I could just breath. And fly.

That is Dune sea.

Reviewed by Zahra Pending @Degari_rose on 2nd of December 2020

In studio: Jody Macgregor, Lee and Razor.

Lee and Razor have a lengthy discussion about Metal Gear Solid V: The Phantom Pain – one of the year’s most eagerly anticipated titles. Jody talks us through Warhammer 40,000 – Regicide, a chess game with a twist of space-marine.

Aired 22 September 2015.

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In studio: Razor, Candi Payne, Jody Macgregor and Alanah Pearce

Alanah and Razor talk about Mad Max, the first videogame starring the iconic Australian wasteland dweller. Candi Payne reviews Lara Croft GO, a mobile puzzle game starring everyone’s favourite tomb raider.

Aired 16 September 2015.

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In studio: Razor, Candi and Lee.

Lee reviews Submerged (PC), a third person combat-free game where you explore the mysterious ruins of a flooded city. Razor talks Grow Home, a quirky climbins-simulator about a robot trying to climb a giant plant back to it’s home planet.

Aired 9 September 2015.

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In studio: Razor, Lee May and Sean Mccarthy.

This week we chat with Rebecca Cheers and Kaitlyn Plyley, writer and director of TITS OR GTFO , a play about navigating geek culture as a woman. We talk about the themes that the performance touches upon as well as some of the stories surrounding the show’s conception. Lee reviews Broken Age Part 2 (PC).

Aired 6 May 2015.

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Platform: PC
Developer: Big Robot
Website: http://www.big-robot.com/2012/03/12/sir-you-are-being-hunted
Australian rating: Unrated

The robots in Sir, You Are Being Hunted are more English than tea and racism. They wear tweed coats and top hats, smoke pipes, stalk about on the moors shooting pheasants, talk endlessly about the weather in their whirr-buzz-click robot voices – they’re like characters from Sherlock Holmes made out of brass.

Oh, and they want to kill you.

Sir, You Are Being Hunted is a game of stealth and survival in which you’re stranded on a string of islands with very little to protect yourself, and must gather fragments of scattered scientific equipment to rebuild a teleporter so you can get the hell away. Between you and those fragments are packs of robot gentlemen and their robot dogs, forcing you to crouch in long grass and behind hedges to evade their shining red eyes whenever a hunting party approaches.

You spend a lot of time in this game toggling in and out of crouch mode. Sir, your thighs are getting a heck of a workout.

(more…)

Platform: PC
Developer: Fatshark
Website: www.warofthevikings.com
Australian classification: Unrated

The Viking swings his axe and you backpedal furiously, swapping your bow for your sword in time to parry his next swing. The blow after that bites into your arm, but you’ve delayed the warrior long enough for one of your Saxon brethren to arrive. He stabs your enemy in the back and the Viking falls to his knees. You raise your sword for the finishing blow.

Unfortunately it takes three tries to get your aim right because your sword keeps bouncing off the rocks beside the fallen Viking, and in the meantime an arrow from someone you never see – possibly another Saxon who hasn’t realised you’re on the same side – takes you down.

Then you respawn in the middle of a group of enemies who decapitate you instantly. Then you respawn again, in time for the server to collapse and boot you back to the menu.

You have been playing War Of The Vikings.

(more…)

We are joined live in-studio by Cameron Davis – “grizzled games industry veteran” and author of Blow The Cartridge, a web comic series about retro gaming. We discuss comics, games, life, the universe and everything – including hilarious stories about the games industry and Street Fighter 2. Check out his work here.

Lee and Jody collect the bounty on Mercenary Kings (PC/PS4)

Aired 9 April 2014

Zed Games Podcast – Episode 214

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