Ex Tenebris Ad Astra.

The Long Dark is one of my favourite gaming experiences, and I'm eager to see how Blackfrost, the followup to the original, will build on the strong foundation that it has built.  But, in a way, I'm also  disappointed by the decision by the game's indie developer Hinterland to do a sequel.  

I realize the attraction of telling more stories in a world you've already created, lord knows I've seen enough sequels, series and spin-offs that were created for that very reason, but in this case I was hoping that Hinterland might decide to do something that was a complete departure from their previous work.

I've always been impressed by the combination of thoughtful creativity and hard work that went into The Long Dark - the attention to detail, the quality of the artwork, the fantastic range of lighting conditions, the incredibly accurate sound effects, the constantly evolving and changing weather, the geographic complexity of the various maps, all the bits and pieces that make it such a playable experience. 

I'd love to see the same people apply the same approach to developing something completely different, like an asteroid belt exploration game for example, something that would take advantage of their experience with survival programming but expanding into a whole new area - resource mining, cargo shuttles, trading posts, space stations, claim jumpers, iceteroids, meteor storms, alien artifacts, the whole catalogue of possibility for what life - and possibly death - in the Belt would be like. Let's face it, there must be some people at the studio who would enjoy a change from animating trees, ptarmigan and blizzards at this point.

What do you say, Hinterland - maybe it's time to shoot for the stars?

- Sid

P.S. In the incredibly unlikely event that Raphael van Lierop, the founder and CEO of Hinterland, should happen to read this and thinks that an asteroid belt game is a good idea, please get in touch, I would LOVE to talk about it.  I work just around the corner past Gastown, we could do lunch.  

On the other hand, maybe it's too much like No Man's Sky.*

* Which may just be the survival version of The Outer Worlds, which is perhaps the poor man's Starfield, which could be considered to be Fallout in space. It's such a slippery slope.

"Somewhere in the heavens...they are waiting."

My Saturdays tend to fall into a pattern: my lovely wife Karli and I enjoy a leisurely morning together, including breakfast in bed, then she often goes shopping or to a movie with her sister Stefanie while I stay at home, do laundry, and play games on the computer.

Today, when I logged into Steam™ to continue my Fallout 4 replay, I was happily surprised to see that Marathon, Bungie’s classic 1994 Macintosh first-person shooter, had been added to the site as a free download - an opportunity which I instantly took advantage of.

First in the eventual Marathon trilogy, Bungie's 8-bit masterpiece holds a special place in the hearts of old-school Apple fans. Developed solely for the Macintosh platform, Marathon provided Mac users with their own version of Doom - and, as with Doom and Doom II, Bungie followed up on their success with Marathon 2: Durandal, and Marathon Infinity, continuing the elaborate storyline established in Marathon.

When I launched Marathon, I was surprised by how much I remembered, considering that this was a game I hadn't played for over 25 years.  Full credit goes to the developers, who created a distinctive environment with dynamic lighting, unique sound effects*, and (for the time) elaborate graphics.  I even had some recollection of the maze-based maps that helped to make the game a challenge.

Bungie might have been a minor entry in the early history of games development were it not for their better-known sequel to the Marathon games: Halo, which became Microsoft’s award-winning flagship game for the Xbox debut in 2001.

Apparently there's an updated version of Marathon being planned, which, sadly, will be a team-based extraction shooter** rather than a first-person game.  Personally, I'd love to just see the original Marathon given the Halo treatment - why mess with success?

- Sid

* The first time I shot one of the alien Pfhor, I laughed a bit - I hadn't heard that combination of sound effects for such a long time.

** In an extraction shooter, your team must successfully make its way to an extraction point without dying in order to keep whatever loot you've collected from either the map or the opposing team. 

Cheap Thrills: Titanfall 2

Baby, I don't need dollar bills to have fun tonight
(I love cheap thrills).

Sia, Cheap Thrills

I do my PC gaming on a 27 inch iMac running Windows 10 via the Apple Bootcamp software - I have complete Windows functionality, it boots directly into Windows rather than running in a window in the Mac OS, but it's an older computer that relies on a ten-year-old AMD Radeon R9 M290 video card that wasn't that powerful in the first place.  

That being said, it's actually kept up well with my simple gaming interests, and I spend a certain amount of time wistfully browsing Dell's Alienware™ gaming hardware page and dreaming of what could be with the latest version of Battlefield 2042 running at full resolution.

Fortunately, thanks to the generosity of the gaming companies like Steam and Epic, there's an ongoing opportunity to get games that are reduced in price, or in some cases even free - cheap thrills, if you will.  Epic is the strongest supporter of this, with a rotating pair of free downloads every week.

The games tend to be a few years old, but they're certainly not scrubs. My free Epic acquisitions to date include Shadow of the Tomb Raider, Guardians of the Galaxy, the entire remastered Bioshock series, Star Wars Squadrons, and a handful of less well known games. It's an admirable treatment of older games with excellent playability that have been eclipsed by more advanced programs or sequels, and they fit nicely into the capabilities of my gaming setup, such as it is.

My latest Cheap Thrills acquisition is Titanfall 2, originally released by game developers Respawn Entertainment in 2016.  Steam had the game on sale for a staggeringly affordable $3.99 CAD, which seemed like a manageable expense. 

The original Titanfall, released in 2014, was a dedicated multiplayer game without a single-player option, although it did have an offline tutorial level that let players learn the game controls before being exposed to online competition. I was aware of the original's release, and watched a trailer video or two, but by and large I'm only really interested in single-player gaming*- preferably first-person. As a result, it never made my play list, in spite of my ongoing interest in operating giant robots.

The sequel attempts to be the best of both worlds, adding a single player option as an alternative to multiplayer encounters. Titanfall 2 features a narrative campaign in which you play as Jack Cooper, a rifleman in the Frontier Militia. Your ambition is to pilot a Titan, a seven meter tall warbot with an AI personality interface - Titans can be equipped with a wide range of add-on weaponry and defenses, and have the ability to operate autonomously as well as under the guidance of their pilot. 

When Captain Tai Lastimosa falls in combat, you find yourself in the pilot's seat of his Vanguard-class Titan, BT7274 - aka BT - and part of the struggle to defend the Frontier from the Interstellar Manufacturing Corporation  The IMC abandoned the original settlers of the Frontier in the early days of the colonies, but now they've decided to regain control by force. 

A pre-game training sandbox called the Gauntlet allows players to hone their skills before they start the game, which relies heavily on being able to jump, double jump and run along walls to complete challenges.  The system also uses this information to choose an appropriate difficulty setting for the game, although it only took me two tries to upgrade from Easy to Normal.  

Playing the game, I realize that I've been spoiled by the expansive nature of open-world games such as the Fallout franchise and The Outer Worlds, rather than the more linear goal-oriented parameters that Titanfall 2 relies on - it's very much what I think of as a level-based dungeon game. Some of the levels, such as the manufacturing plant, are quite large and complex, but ultimately, there's one entrance, and one exit.  

Combat with the IMC forces offers the player a standard selection of hand weapons - light machine guns, sniper rifles, grenade launchers, and so on - and a similar range of loadouts and options for Titan to Titan battles. If I have one complaint about the game, I'd like to have seen more time spent in piloting my Titan in order to lock in weapon skills and defensive options.

The wallrunner/double jump challenges give the game a bit of a platformer feel at times, but they're well integrated into the flow of the game, and the developers have helpfully included a holographic guide that demonstrates the path that players need to take to reach their goal. Even with that guide, I struggled a bit with the exact angle of attack to maximize my runs, but after a few fatal falls I seemed to have it locked in.  

Which is good, as it turned out, because wall running is definitely a crucial part of moving forward with the game. This can cause its own problems - as an example, it took me more than a few tries to work out the exact jump kit/wall run timing for the trio of generators in the Beacon level, to the point where I had almost given up on the game.

I did eventually hit the right combination of running, jumping, and double jumping, after which I was relieved to see that the game did a save before subjecting me to any more barriers.  

The addition of time travel capabilities adds some clever puzzles to the game. Your character obtains a time controller that lets them hop from the present to the past and back again as necessary - it's a clever idea that requires the player to jump back to a functional research facility in order to access undamaged passages and bridges, and to jump back to the present to avoid security forces.  At one point, it's necessary to coordinate time travel jumps to be able to travel along support walls that don't exist in the present, requiring a carefully timed series of literal leaps of faith.

Bottom line?  It's an enjoyable challenging game. It's nicely locked into my difficulty zone so that it's demanding but not impossible (although I was starting to wonder during the Beacon level), the environments are well mapped out, detailed and visually interesting, it uses a standard interface pattern for all of the basic functions, making for a more manageable learning curve, and the various Titan weapon and defense choices provide an interesting strategic challenge in terms of selecting appropriate options for each opponent.  As above, my primary interest is first person shooters, but the various platform/runner challenges are cleverly constructed and unexpectedly interesting.

Online estimates have the run time for the narrative storyline to be about six hours, which works out to sixty-six and a half cents an hour based on the price I paid - I didn't time my play, but it still sounds like a good return on investment to me. 

- Sid

* I've had some minor experience with online arena gaming, but it doesn't really speak to me - I'm much happier banging away at computer opponents without having to deal with judgemental critiques of my skill level.  As an example, I very much enjoyed the original Battlefield 2142, now sadly defunct, but I was completely unprepared for the chaos of competing with dedicated human competitors online when I attempted the co-op PVP mode.

You know, the other kind of gaming bugs.

If I have one complaint about the otherwise stellar Fallout series, it's the lack of monsters. I've spent a lot of time in the Wasteland, and it's a LOT more dangerous than it's portrayed in the show.   We only see two monsters - one yao guai mutant bear, and one gulper, and gulpers aren't even from the original game, they're from the Far Habor expansion pack 

Seriously, where are the Deathclaws, the most iconic danger of the Wasteland?  Or the mirelurks? Why didn't we see a single radscorpion?  Bloatflies, bloodbugs, stingwings - even a mutated mole rat or two would have provided some welcome representation from the regular cast of hazards.  

Season Two will apparently take us to the Mojave Desert, and damn it, I'd like to see some fire ants.  But, I'm willing to be reasonable, they can just leave the cazadors out of the show, or else Lucy and the Ghoul going to need some serious plot armor to survive more than an episode or two.

- Sid

"I don't want to set the world on fire..."

According to the Steam™ game management system, I've spent 1,405.4* hours in the post-apocalyptic world of Fallout 4, not to mention extensive untracked time in Fallout 4, Fallout 3 and Fallout: New Vegas before switching to Steam™**.  (Sadly, my Fallout 76 online experience has not led me to a return visit.)  

As such, it's safe to say that I'm more than a little familiar with the alternative future of the franchise, which fully prepared me to bring a critical eye to the new Fallout series which made its streaming debut on Amazon Prime Video this week.  To my intense relief, the adaptation is excellent, using all the building blocks from the source material to combine drama, humour, action and violence into a clever, gripping storyline.

For readers unfamiliar with Fallout, it takes place in an alternative version of the United States which diverged from our timeline somewhere in the 1950s. Atomic energy has become a commonplace power source, to the point that even cars are powered by small atomic reactor units.

In 2066, China invades Alaska in order to seize its oil reserves, and eventually the conflict escalates into a merciless exchange of thermonuclear weaponry that destroys the world in 2077, leaving behind a legacy of death, chaos, and conflict. The series is set in 2296, just over 200 years after the disaster.

The opening scene in the first episode is a disturbingly realistic introduction to the end of the world, as mushroom cloud after mushroom cloud rise over the future Los Angeles, after which we are taken to the post-war paradise of Vault 33, one of the underground Vaults created by the Vault-Tec Company to preserve a chosen few survivors whose descendants will eventually emerge to rebuild civilization.  

The writers have chosen to focus on characters from three areas of the Fallout world: Ella Purnell plays Lucy Maclean, who has left her secure home in Vault 33 in search of her kidnapped father; veteran character actor Walton Goggins is the Ghoul, a victim of severe radiation poisoning which has left him a damaged and distorted parody of humanity but granted him near-immortality; and Aaron Moten takes the part of Maximus, an aspirant in the Brotherhood of Steel, a paramilitary organization dedicated to restoring civilization by any means necessary.

As in the game, Fallout uses the naive character of Lucy the Vault Dweller, and her quest for her missing father, to introduce us to the post-war Wasteland and its various perils, monsters, inhabitants and communities. The show does a superb job of evoking the look and feel of the game, and is loaded with background Easter egg references: Vault Boy bobbleheads, laser rifles, two-headed mutated Brahmin cattle, raiders, cannibals, and feral ghouls - not to mention the beloved Dogmeat the dog, a stalwart companion for any quest. 

As with the games, the series has stories within stories, plots within plots, and mysteries within mysteries.  The quest-driven nature of the computer versions translates well to the narrative format, combining a larger overall storyline with smaller sidebar interludes.  The episodes alternate between the post-war plot and a pre-war storyline about Vault-Tec, in which Goggins portrays Hollywood cowboy Cooper Howard before his transformation into a mutated monster.

The writers make full use of the same oddball humour that characterizes the game dialogue - and the same level of violence, perhaps more than expected by some viewers. To be fair, the source material is a first-person shooter computer game, but even so, it's a bit more graphic than the standard television fare in terms of gore.

Based on the final episode, Season Two will take its cast of characters to New Vegas, a logical step from the Los Angeles setting of the first season which will allow the writers to integrate material from Fallout: New Vegas, which is generally considered to be the best of the Fallout game franchise. 

And, finally, the season ends on an appropriate note with Walton Goggins uttering the franchise's iconic motto: 

"War.  War never changes."

Let's hope that's true, at least in terms of future episodes.

- Sid 

* To give some perspective to this, if playing Fallout 4 was my job and I worked seven hour days (with an hour for lunch), five days a week, I've spent about seven months living in the Wasteland.

** I actually started all three back in the days of installing from physical media.  (Oh, sorry - for the younger readers in the audience, games used to be sold on discs - originally floppies, later CDs, finally DVDs - all of which involved switching out disc after disc as prompted by the installer, and then requiring that the first disk to be in a drive for the game to run.)

"WARNING: Choking Hazard. Small parts, not for children under 3 years."

The pandemic isn’t really over, but now that it’s become more of an ongoing state of affairs rather than an emergency, I’m enjoying the opportunity to cautiously resume attendance at public events like the Capital City convention that we visited in Victoria or the historical fantasy discussion at the Vancouver Writers Fest.

Earlier in the week, my sister-in-law Stefanie kindly and considerately forwarded an ad for the Vancouver Comic and Toy Show for my consideration.  It's fortuitous timing:  my wife has a social event to attend that will occupy most of her day, leaving me at liberty to do a little comic and toy shopping, so here I am, standing in line at the PNE Forum at 11:00 AM on a seasonally cool and cloudy Saturday morning.  I don't really need to buy anything - to be honest, I feel that my recent Disneyland purchases have fulfilled my toy quota for 2022 - but I'm curious to see what the show has to offer.  I'm also a bit curious as to whether or not it would be a suitable venue for a future sale of the greater part of my book collection.

As a minor sidebar, I save about 10 or 15% off the ticket price by paying fifteen dollars cash as a walk-in.  The ticket's not actually cheaper that the online option, it's just that there are no fees associated with paying at the door, whereas the web site had a couple of mystery charges attached.  It's a shame it's not the other way round, I would have been happy to see that extra money go to the cheerful volunteer who stamps my wrist and wishes me a enjoyable visit to the show, but life is rarely that fair.

The Vancouver Comic and Toy Show is exactly what it says it is: comics and toys. There are a few outliers on display: a handful of t-shirts, one table of trading cards, a lunch box dealer, and some books, but really, people are here to buy comics and toys, and they're serious about it.  (It's also immediately obvious that this isn't the venue I want for selling my books.)

The crowd ranges from hard core collectors down to hopeful children with their parents, although a lot of the merchandise might appeal more to dad than junior in terms of when it originally hit the market.  The choice of dad over mom in that description is deliberate, it's very much a male crowd - not entirely, but female shoppers are definitely in the minority. There's a smattering of costumes, but only a few, again, it's not that kind of a show.

The dealers are equally serious.  There are a lot of professional retailers such as Langley-based Toy Traders, who have an extended multi-stall footprint, ranging down through smaller sellers to an individual with crossed arms and a grim poker face seated at an unlabeled table covered with with about 20 bagged comics. 

There's a certain freedom in attending a show like this without a mandate, it's like wandering around a grocery store when you don't need any food.  As such, I'm able to survey the booths without being captured by their contents, I don't need to stop and obsessively sort through a collection of Hot Wheels cars in hopes of finding the rare 1969 pink Volkswagen Beach Bomb for sale, complete with original surf boards.

If I had to choose one franchise that dominates the show, it would have to be Star Wars, both in terms of current products and various vintage toys from throughout the nearly 40 years of the franchise's existence.  But really, the broad range of toys from all eras that are laid out on the tables demonstrates that fame can be fleeting: yesterday's prized plaything quickly becomes today's abandoned interest - and tomorrow's collectable. 

The toys on display are broken down into little clusters of pop culture: Transformers, Star Wars, Star Trek, The World Wrestling Federation, He-Man and The Masters of the Universe, The Simpsons, Hot Wheels, and so on. There's even a display of the classic 12 inch GI Joe dolls from the 1960s, which probably don't even have prices on them:  as the saying goes, if you need to ask, you can't afford them.  Or, perhaps more accurately in the collecting environment, if you want them, you don't care how much they cost.  And there are countless Funko Pop! figures for sale - as their website says, everyone's a fan of something, and the range of choices on display reflects that fact.

It probably shouldn't be a surprise, but a lot of the toys for sale are loose or in plastic baggies rather than in any kind of of original packaging, let alone MOC or MIP (Mint On Card or Mint In Package).  I suppose this speaks favourably to the number of toys that children actually take out of the box to play with.  

There are any kinds of one-offs to balance out the mass market selections:  what appears to be a fully functional Pip-Boy from the Fallout gaming franchise; some quite expensive robots from 1970s Japanese animated series; an equally expensive Elvira statuette; what I think is a Mega Man arm cannon; Gumby and Pokey together in their original packages;  a small herd of Furbys; and a lonely copy of Beatrix Potter's Rabbit Nutkin, that I can't help but feel has just wandered into the wrong neighbourhood by accident. 

I'm a bit saddened to see that there are bins of comic books on sale for a dollar, it's a telling comment on the uncertain nature of the comic book collecting marketplace.  It's a bit tempting to take a look, I suspect that everything in those boxes is selling well below cover price, but fortunately my subscriptions to Marvel Unlimited and DC Infinite eliminate any need for physical copies.  And really, there's no need to add to my current burden of storage challenges if I can help it. 

In spite of the abundance of options, there actually isn't very much on display that speaks to me.  I stop briefly to look at a half dozen or so ranked Macross Valkyrie VF-1 Veritech fighters from the 1985 Robotech animated series, but they look a bit the worse for wear, they don't seem to have their gun pods, and as such I don't really need to spend $80 on one of them. 

I do find one table that catches my eye: it's a selection of art books and comic portfolios, with a massive limited edition copy of The Incal, a graphic novel series written by famed filmmaker Alejandro Jodorowsky and illustrated by French fantasy artist Jean Giraud, better known as Moebius.  However, my interest is quickly extinguished by the $995 price tag, that's quite a long way over my budget for this sort of purchase.

Just over an hour into the show, and the relatively narrow aisles between booths are virtually impassable.  At this point, I decide that I'm done and make my escape, without having made a single purchase. It's partially because I still haven't seen a lot of toys that match my specific range of interests - apparently I mine a narrow vein of fandom, in my own way* - but the real reason is that I'm just overwhelmed by the massive range of choices.  

Even so, I’m actually a bit pleased with myself for leaving empty handed.  Even if you put yourself on a diet, it’s not easy to go into a candy factory and come out without a single chocolate bar.

- Sid

* Admittedly, it's impossible to make a complete survey of what's for sale, but in my casual walk through of the show I don't see a single toy from my own little collection on display, although my Pop! Tron was probably in there someplace.
 

01.04.2277

This year, WestJet chose April 1st to proudly announce WestJetX, its new affordable orbital passenger service, on Twitter™:  "Taking payloads without making you pay loads."

It's quite elaborate and fairly clever, featuring videos and stills with quite high production values featuring space planes, floating pretzels, and a convincing looking spacesuit, along with some well-written copy regarding pressurized cabins ("for breathability and comfort") and the option of one-way tickets to "cut the cost of spaceflight in half".  

However, I can't quite give it full points as an April Fools event, because it ultimately just becomes a commercial for WestJet, albeit a somewhat tongue-in-cheek one.

By comparison, Ian McCollum's video review of Fallout 3 weaponry has that perfect combination of absolute seriousness and complete randomness that makes for a good April Fools gag.

McCollum, aka "Gun Jesus", is a gun collector, researcher, author, and the genial host of Forgotten Weapons, a YouTube™ channel where he knowledgeably discusses rare and unusual firearms as well as historically significant weapons.  This odd niche has been ridiculously successful, accumulating almost 2.5 millions followers on YouTube.

For April 1st, Forgotten Weapons took its usual detailed look at the Type 93 Chinese Assault Rifle, familiar to anyone who served in the campaign against the Chinese invasion of Alaska and Operation Anchorage, which freed Alaska's capital from Chinese occupation.

I'm just a little disappointed that he didn't feature something more exotic like the Fallout 4 plasma pistol or the M42 "Fat Man" mini-nuke catapult launcher, but I can see how choosing the Type 93, which is in the style of a conventional automatic weapon, makes it less obvious that it's a joke. The casual viewer might not notice at all, although the additional of radiation signage in the background is probably a strong hint. 

I have to give Mr. McCollum full points for earnestly delivering the same degree of scholarly historical detail and in-depth analysis for the Type 93 that he provides for any of the weaponry that he profiles on his channel.  He glibly explains how the Type 93 probably first sees production during the mid 2020s, looks at modifications for enhanced hand to hand combat due to reduced ammunition availability during the Resource Wars of the 2050s, 60s, and 70s that precede the global thermonuclear exchange between the US and the PRC, and even discusses the different versions of the Type 93 that are chambered for 7.62x39mm, for domestic Chinese use, and the 5.56 version covertly smuggled into the United States as part of the planned Chinese infiltration of the Washington DC area.*

The most surprising part of the video is that the sample weapon appears to be a fully functional rifle (supplied to Ian by Elder Alex of the Brotherhood of Steel) to the point that Ian is able to break the weapon down and apparently try it out on the shooting range.  Wow - now I REALLY want to see him do a feature on the mini-nuke launcher.

- Sid

* And the resulting need to modify the original curved magazine to accommodate the straight-walled 5.56 cartridge as opposed to the tapered 7.62 - it really is impressively detailed.

OK Boomer.

I recently installed Fallout: New Vegas on the PC that I use for older games after realizing that, given its October 2010 release date, it qualifies as an older game now - how time flies. The game's age was driven home sharply when I began the Things That Go Boom quest, which involves dealing with a xenophobic conservative tribal group located at Nellis Air Force Base and armed with heavy artillery:  the Boomers, a phrase which has acquired unexpected meaning since the game's debut.

The accidental joke is that, in the context of the game, the Boomers are sort of, well, Boomers: their lives are based on an obsolete and outdated standard, they're gun nuts, and some of them haven't left their insular enclave for over 50 years.

- Sid

The Outer Worlds.

As I mentioned in the previous posting, my wife Karli purchased The Outer Worlds as one of my birthday gifts this year.  The download and installation process are complete - thank heaven we upgraded our internet access when we moved - and I've started in on the game.

Created by Obsidian Games and marketed by Epic Games, The Outer Worlds is a story-driven role playing game/first person shooter, although so far, it looks like more problems will be solved through negotiation than gunfire. (I admit to biasing my stats toward persuasion in the character setup.  This is not my first rodeo, and experience says that there's always someone with more firepower - not a bad thing if you can talk them out of using it.)

The game begins in an enjoyably tongue-in-cheek tone: after being rescued by rogue scientist Phineas Welles from an accidentally extended suspended animation on the Hope, an abandoned colony ship, you're deposited into a landing pod and dispatched to the surface of Terra 2 to meet with Captain Alex Hawthorne, a  smuggler who will help you to find the chemical resources required to rescue the other frozen colonists.  Hawthorne is a "dashing gunslinger, one of a kind ship, that sort of thing.  You'll like him, I'm sure," Welles announces confidently.

Which might well have been the case had the landing pod not crushed the good captain on impact, rather like Dorothy's initial meeting with the Wicked Witch of the East in The Wizard of Oz.  It seems that Hawthorne set up the homing beacon and waited beside it rather than moving to a safe distance from the landing site.  As Welles observes, "Shame about the whole 'squashing' thing, nasty way to go."

You then fight your way through some random marauders to Hawthorne's now captainless ship, the Unreliable, which immediately threatens to blow its airlocks and expose you to the fatal vacuum of space. Fortunately, ADA, the ship's AI, is bluffing with no cards - the ship is sitting on solid ground in a field full of rocks on the surface of a planet.

 
After establishing an understanding with ADA, you discover that she's stranded without a power converter for her engines. You leave the Unreliable in hopes of finding one, and members of the local constabulary direct you to Edgewater, the nearest population centre - such as it is.

Edgewater is a classic company town, where everything is part of the Spacer's Choice brand and the contracted workers don't even own their gravesites - they only rent them. The player is immediately thrust into a conflict between Reed Tobson, the town's bowler-hatted manager, and a group of workers who have broken away from the community under the leadership of Adelaide McDevitt.

The stakes are high: both sides have power converters that would restore the Unreliable to flight, but regardless of whether you support Tobson or the rebels, someone ends up starving in the dark.

This introductory plotline illustrates the manner in which the player's moral compass, rather than their quick draw, directs the flow of the game. Nothing is black and white, and both sides argue their case.

The initial portion of the game feels like a bit of a sandbox, in that it's clearly letting me get comfortable with the interface before sending me into the main storyline.  After all, I've got a spaceship - once I solve the question of Tobson versus Adelaide, the rest of the Halcyon System awaits! 

The look of the game is distinctive in terms of both the alien landscape and the vaguely 50’s pulp aesthetic of the ships, buildings and interiors, mixed with the early 20th century industrial feeling of Edgewater – factory town meets Astounding SF magazine cover, if you will.   

I’m enjoying The Outer Worlds so far, although it doesn’t break any new ground in terms of the action/adventure open-world model as established by games like the Fallout franchise: main quests, side quests, dialogue choices that dictate the direction of the story, picking up items for sale or use, buying better equipment, adding companions with different skills, gaining points to level up and improve attributes and abilities, and so on.

But those are just the standard tools from the gaming toolbox.  As with any good narrative, the game's real strength lies in the plot and the character interactions that move it forward, and so far I'm quite pleased with the manner in which The Outer Worlds is telling its tale. Given the number of games where you shoot first and ask questions later, it's a pleasant change to do things in the opposite order.

- Sid

"Fresh from the warp core!"

It’s strange to be having my birthday at home this year without any kind of travel planned in the immediate future.  As previous birthday posts indicate, I often celebrate my birthdays in other countries, or take a major trip shortly thereafter (depending on the circumstances and the flexibility of Karli's workplace) but as you would expect, circumstances have grounded us this year. 

Regardless, it's been a good day.  We had a socially distanced lunch at Harvey's (a favourite since my Ryerson college days, sadly the last outlet in the Lower Mainland is shutting down next month) and barbecue ribs for dinner in memory of my last birthday in New York.

On the gift front, my friend Colin weighed in this year with a great selection of vintage Star Trek collectibles (perhaps inspired by my Star Trek convention program purchases during my last visit to Toronto): movie memorabilia, which included promotional one sheets and programs for Star Trek: The Motion Picture, The Wrath of Khan, Star Trek IV, and a membership kit for Star Trek: The Next Generation, complete with cast photo* and sew-on patch.  (There’s a membership card as well, but without a Membership Number, I don’t feel that I can legitimately make use of it.)

Thank you for the additions to my little collection, Colin!

In addition to continuing the Star Trek theme with a tin of Pink Peppermint Dilithium Crystals, Karli added to my gaming library by funding the purchase of The Outer Worlds, a plot-driven single-person science fiction RPG game from Obsidian Entertainment, the developers of Fallout: New Vegas. The Outer Worlds was originally released by Epic Games in October of 2019, but I’ve been waiting for it to arrive on the Steam™ gaming platform before making a purchase. 

However, the Steam release has been delayed (for whatever reason), and the game was conveniently on sale at half price from Epic during the week of my birthday, which just seemed too fortuitous to pass up. 

The game has a sort of retro-futuristic 1950s art direction, and relies on a reputation-based system similar to the one from New Vegas, where the player’s actions result in better or worse relations with the local factions. I’m looking forward to playing it - it appears to be somewhat less of an open world than Fallout, but reviews indicate that the storyline has enough twists and turns to keep things interesting.  

Thank you very much, Karli, and thanks to everyone for their best wishes!  Let's hope for next year in England!

- Sid

*Wil Wheaton looks so painfully young, doesn't he?