By Simon Carless

GameSetLinks: Pom Manic Pom Miner Pom

[GameSetLinks is GameSetWatch's semi-regular link round-up post, culling from hundreds of weblogs and outlets to compile the most interesting longform writing, links, and criticism on the art and culture of video games.]

With GDC coming up early next month and DICE next week, there's a whole heap of busy out there, but we're going to keep up with the periodic GameSetLinks, since there's a lot of really cool content out there on the Internets that not enough people get to see, sometimes.

This time, some of the highlights include an in-depth look at all-time ZX Spectrum classic Manic Miner, a discussion on history and The Beatles: Rock Band, an interview with the still awesomely monikered Michael Michael at one of my favorite cult developers, PomPom, and rather more things besides.

Go go go:

The Making Of Manic Miner | NowGamer
'Matthew Smith talks us through every level of his classic platformer.' BLISS. Esp. for VVVVVV fans, heh.

Action Button Dot Net: Tim Rogers reviews FFXIII
Yes, there is a 'short version' of this review.

Indie | Artistic Vision | Resolution Magazine
'The EGP has again shown what developers can do when given a theme and just seven days to work on a game.'

RevisioNESt History: Comparing Made-Up Mythology in Retro-Style Games from 1UP.com
'Is making games purposefully simple and arguably ugly a piece of cake? Not if you want to properly represent their forebears.'

Hotmilkydrink: Cod liver oil and effective learning...
'How can parents make sense of games and how they can be used for good with their children when we are faced with the continual construction of them as modern day folk devils?'

Experience Points: I'm Looking Through You
Regarding The Beatles: Rock Band: 'As I play the game, I grow continually more interested in the narrative and its relationship to historical events. More than once, I found myself thinking of one of my favorite films, which also deals with the line between truth and myth: The Man Who Shot Liberty Valance.'

PomPom Games' Michael Michael Interview | Eurogamer
Super-rare interview with the talented UK shooter creators, personal indie heroes of mine.

By Simon Carless

COLUMN: @Play: Crawlapalooza Part 1, Skills and Advancement

Roguelike column thumbnail ['@ Play' is a monthly column by John Harris which discusses the history, present and future of the Roguelike dungeon exploring genre.]

This is the beginning of a sequence of articles on the popular roguelike game Dungeon Crawl. We've covered it once before, but considering the game's importance and continued development we have not discussed it nearly as much as it deserves. Hopefully this and the next few articles will go some way towards remedying this tragic situation!

Of the five major roguelikes (Rogue, Nethack, Angband, ADOM and Dungeon Crawl), Crawl is both the most recent addition the list and the one undergoing, by far, the most intensive development. A favorite of the Goons over at Something Awful, it possesses a very strong design which is difficult to exploit, and provides tradeoffs and drawbacks for most important actions. In this it sticks closely to Rogue, and other than the original Hack it is probably the popular roguelike that best recognizes its forefather's great strengths.

These articles are written based on the as-of-this-writing most current stable version of Dungeon Crawl Stone Soup, 0.5.2. Much of the information herein was gleaned through perusal of the Dungeon Crawl Wiki at http://crawl.chaosforge.org/index.php?title=CrawlWiki, and the spoilers found at http://www.normalesup.org/~grasland/Crawl/. It should be noted that a new version is under development as v0.6.0, and that a development build of this version is available for download.

Crawl’s experience system

To begin our discussion, I must first describe Dungeon Crawl’s unique experience system.

Characters in Crawl advance in two important ways. The first way is the usual one featured in most role-playing games, through the gaining of experience points towards raising character level from defeating monsters. Crawl is more conservative in its advancement rules than some other RPGs; unlike Moria and Angband or later editions of D&D, monsters do not grant less experience when they are outclassed by the player. The reduced benefit of defeating weak monsters comes entirely through the greatly-increasing experience needed to gain higher levels.

But while “character level” in Crawl has certain visible benefits (HP and MP go up, stat increases may occur, and more spells may be learned), a character tends to gain more profound advantages from increasing skill levels.

dcss1.pngCharacters have a number of skills, which can be examined in-game by pressing the ‘m’ key. These can be divided into fighting skills (which includes general fighting, all the weapon skills, and some additional abilities like Dodge and Throwing), utility skills (Traps & Doors being the most universal, but also the specialized magic-using abilities Invocations and Evocations), and magic skills (one per school of magic, and general spellcasting). These skills are what govern most of a character’s action success rates and power.

When the player earns experience in Crawl, both the overall experience total goes up and an extra total called the experience pool. Points live in the pool until they get assigned to one of the skills through practice. Pretty much any action the player can perform that has a chance of failure belongs to one of the skill categories, and practicing that action provides a chance that some of those skill points will be moved to that skill. Higher skill levels require vastly more points than lower levels, just as with character level, but will also increase the number of points that are diverted to that skill with a single practice.

The most interesting thing about Crawl’s skill system is how it deftly avoids the many problems of a skill-based development system.

  • - There is no feeling a character doesn’t improve over time,
  • - nor that skills are watered-down to prevent one from being unbalanced compared to the others
  • - nor that one is overpowered
  • - nor that characters are generic, infinitely-malleable bags of properties interchangeable with each other
  • - nor that a character quickly maxxes out and becomes unable to advance
  • - nor that rapid, early advancement in one area makes improving in others impossible or nearly so,
  • - nor that a character can easily advance in all areas and become a super character without proper effort and playing skill.

Crawl’s system avoids all these problems. It is probably the best skill system yet seen in any roguelike; it could make a claim at being one of the best in any CRPG. Aimless practicing only improves skills so long as the player has successes, measured in monster kills, to power them, and also requires an opportunity to train them. The skills are broad enough that no experience diversions feel wasted, but sufficiently narrow that characters don’t become, functionally, generalists. If a character has low aptitude in a skill it costs more points to train, a significant but far from insurmountable amount. And most skill practice events require some opportunity, meaning even if the player has pool points to spare, there may not be the opportunity around that the player wants to spend them on.

(Oh by the way, the maximum experience level, skill levels, and dungeon level of Dungeon Crawl all are 27. Don’t ask why; it’s kind of the magic number of Dungeon Crawl.)

Race, Class, Stats and Deity: the four facts of Crawl existence

A starting Dungeon Crawl character is, generally speaking, a combination of race, class, statistics and god.

Races are a bundle of skill aptitudes, some starting equipment, skills and stats, and sometimes a few special rules. Aptitudes determine how difficult it is to train a specific skill. Special rules are sometimes profound changes to the basic gameplay of Crawl, like an inability to use most armor or a rapid metabolism. A hill orc character, of whatever class, will have certain abilities that a deep dwarf of the same class is not capable of and vice-versa. Many of the game’s races have special abilities like this. Some of these differences may overcome with the right mutations, but that process is random and dangerous.

A Crawl character’s class provides a further development of items and skills, sometimes with a couple of extra perks. Class plays a much greater role in starting skill allotment (but not aptitude) than role, but both factor into it. The following fact is so important to understanding Crawl’s class system that it gets a paragraph to itself, and in boldface too, just to impress its importance:

Class provides no benefits to a character beyond startup; once the game begins, everything a character follows from his actions.

Just because you’re a “conjurer” does not mean you have to cast even a single spell. You could pick up a knife and start training combat skills, and win the game with them, and the game will not make it any harder for a character to do this other than the difficulty he will have starting out with no skill in that area, and whatever stat deficiencies he might have, which are due more to race than class. Likewise, a character beginning as a “Fighter” can pick up the basics of spellcasting from reading random scrolls, then find a starter’s spellbook in the dungeon and begin using magic, provided he is willing to go with light armor and has a good-enough Intelligence stat. It would not be an easy road, but it is possible.

dcss2.pngThose stats are also quite important. Dungeon Crawl has only three: Strength, Dexterity and Intelligence. Their improvement is mostly tied to experience level. At periodic levels one randomly-chosen stat (which is picked depends on character race) is increased by a point. Additionally, every three levels the game asks the player for a statistic to improve. Strength influences combat damage and skill using some weapons. Dexterity plays a role in combat hit chances, attack evasion and skill using the rest of the weapons. Intelligence is needed to memorize spells, and to cast them more successfully once memorized.

That leaves deity worshipped. Most, but not all, Crawl characters begin the game without a religion, and can choose to remain unaligned in that way. (Characters of the Demigod race, in exchange for markedly higher stats and stat growth, are forbidden from joining a religion.) In a special dungeon branch called the Ecumenical Temple some way down, a character can pick out one of twelve gods to worship, each providing special gameplay advantages in exchange for following its dictates. Once a religion is joined, the player can leave at any time by using the Renounce Religion ability, but depending on how much time the player has spent in that religion and which god (if any) he changes to, doing this will incur the wrath of his former deity.

All of these aspects combine to provide a very deep set of gameplay possibilities for each combination of race and class.


How Crawl steers characters along their path

A fact that is not obvious to the Dungeon Crawl newbie is that all of the character races and classes have the same skills. When you check your skills at the start of the game with the ‘m’ key, you will only see a few options available. Despite this, all skills are possessed by the player character. The skills not displayed are just considered to be at “level zero,” and progress towards advancement in them is still tracked, just not displayed. These skills are also called untrained. Whenever the player does something that involves an untrained skill, a couple of points will be diverted to it. Since one of the functions of having levels in a skill is an increase in the number of pool points that can be diverted to it in from a single practice, even with a full experience pool it may still be awhile before the skill advances as points get diverted to the player’s higher-level abilities. (A foresighted player can help prevent this by disabling skills from the 'm' screen, which doesn't actually turn them off, it just makes the game much less likely to assign pool experience to them.)

So every character class can learn every skill, and no class uses special rules to provide its gameplay features. How, then, does Crawl avoid the problem of classes being too similar to each other, such as with most of Nethack’s classes?

Starting out is difficult without a “gimmick,” a system by which a character can prosper in the early going.

A character with no skill in anything would be quite hard to play. The numbers are stacked against such a character; starting stats and skills tend to be just enough that most players will need to rely on class-specific abilities to get a leg-up on the monsters. These skills make possible the character’s engine, the system by which he kills monsters and earns experience within acceptable levels of risk. Having an engine is not strictly necessary, and for some race/class combinations is as simple as walking up to monsters and hitting them with stuff, but without one the player will have to resort to making use of random items and extreme tactics more often, strategies that bring with them necessary dangers.

The hit-them-with-stuff “gimmick” is more conventionally termed melee speciality. Spellcasters that start out with conjurations can also survive in a straight-forward kind of way. But then there are centaurs, which are very fast and great with missile weapons, but must eat more often than most other races, and so must keep on the move more. And then there’s Spriggans, who are extremely weak physically but naturally stealthy, and so they can make a good living off of stabbing sleeping monsters before they wake up. A Spriggan Enchanter (about which more will be said before long) gets a spell that can often put a single monster to sleep long enough to get in a single, almost certain-to-hit, ultra-high-damage critical strike that can wipe out even some very strong monsters instantly.

dcss3.pngMany of the races are built off of these kinds of tradeoffs. The more extreme the tradeoff, the more the player will have to deviate from basic walk-up-and-smack-em play to survive and prosper. This can change the game a lot for some classes, restricting some basic abilities and/or making interesting new ones available. In a way, Crawl is actually a variety of different roguelike games that happen to take place in the same dungeon; the path for success for a High Elf Wizard is very different than that for a Minotaur Bezerker, but they are both quite alien compared to a Vampire Anything.

Beyond race, it must be remembered that Crawl’s classes are, for the most part*, identical after the game begins. Chances for advancement are the same for a human Fighter, Wizard, Assassin, Transmuter or Wanderer. What matters is how they make use of the skills they begin with, and how well they can diversify away from it, which usually relies on item generation.

* What do I mean by “for the most part?” Some classes start out with a god that other classes cannot pick up until they find an altar, usually in the Ecumenical Temple found between dungeon levels 4 and 7. This is a fairly major advantage for those classes, but it mostly just gives them a good start. Additionally, elemental magic skills, including any levels possessed at the beginning of the game, make other elemental skills harder to learn. These differences may delay character advancement in some skills, but the player can always overcome them with more practice... provided he lives that long.

None of this would matter for much if Crawl were not a hard game. The game is very finely balanced, with the knife’s edge very close to the limits of most characters’ abilities at the start of play. Further, the player does not have the luxury to do much grinding for skills due to the food system which, while not as hard as Rogue’s, does limit the amount of food that can be reliably found in a game. It is useful to think of character advancement in terms of experience gained vs. food consumed, with more efficient improvement techniques providing for a potentially more-powerful character later on.

If food were not a resource of hard scarcity, then the player could use the monster generation of early levels as a way to gain experience points, and those points could then be put into skills through practice a lot more easily. So it could be said that Crawl’s food system drives its design. Even the small number of Crawl races that do not need to eat have some mechanism that forces the player to search for resources. The need to find more treasure is what makes the opportunities for experience and skill gain meaningful.

That is enough for this time. Next time we’ll take a look at some of those skills and whatever dungeon-related itches they scratch.

Roguelike news:

It's a little later than expected, but Keith Burgun informs us that his company’s iPhone roguelike, 100 Rogues, has entered closed beta. We interviewed him about that some months ago if you’ll remember. He also mentions that they're having an open beta before too long.

An interesting new roguelike, just over a month old of this writing, is Brian Walker’s BRogue.

In Japan, the awesome videogame TV show Game Center CX, in which a middle-aged man tries to complete old video games, recently tackled Shiren the Wanderer! It was hard enough that they did it over two episodes. No English translation of those episodes yet exists, but episode descriptions are available at Crunk Games. Episode 1 - Episode 2

While I find the show interesting, we have noticed a couple of problems with the playing of this one, notably, just randomly getting swords up to +11, before finding out about the Blacksmith? Seems a little questionable (I have similar problems with the episode about Solomon's Key honestly), but even with some admitted cheating (copying save files) and assistants farming items it takes poor Arino 26 hours of playing to beat the Tainted Insect. Now let's see him do the Final Puzzle!

By Simon Carless

GameSetLinks: The Trials Of Sleep

[GameSetLinks is GameSetWatch's semi-regular link round-up post, culling from hundreds of weblogs and outlets to compile the most interesting longform writing, links, and criticism on the art and culture of video games.]

As we stumble into Thanksgiving week here in the States, time to rumble happily through a few more highlighted GameSetLinks, starting out with a note that Cory Doctorow's next book seems to stray into game-related areas in perhaps entertainingly meta ways - looking forward to the results.

Also in here - a chat with the Trials folks in Finland, an XBLIG game that sounds extremely intriguing, sleep challenges as games, the Pinball Hall of Fame moves to bigger digs in Vegas, and lots more besides.

So much closer:

Doctorow's Next Book is For the Win, Literally | Game Culture
Cool, Cory Doctorow's next book is set among Asian gold farmers, or similar.

Experience Points: Layton's Linearity and Halo's Heuristics
'Both Halo and Layton follow largely in the tradition of author-controlled narratives. However, Halo offers the opportunity to stray off that well-warn path, thereby opening up the possibilities for unique challenges and unexpected lessons.'

The Trials of Trials Article | Xbox 360 | Eurogamer
A nice look at the relatively obscure Finnish developer who hit it out of the park with Trials HD.

Xbox Indie Game: The Headsman - The Gameshelf
Hadn't heard of this, and it looks really interesting.

Pinball Hall of Fame’s new home. | driph.com/words
I've been to the old location, this looks even more expanded and a must-visit when in Las Vegas.

BriceMorrison.com » How to Defeat the Alarm: My 30 Day Sleep Challenge
Interesting to discuss games that involve... life.

Exoriare: Exploring the Darknet | ARGNet: Alternate Reality Gaming Network
Smoking Gun Interactive are trying something clever here for their big original IP console game, ARG and obscurity-wise - good luck to 'em.

By Simon Carless

The Week In Game Criticism: Cursed, Pets, Less Than Charted

[GameSetWatch is partnering with game criticism site Critical Distance's Ben Abraham to present a weekly 'This Week In Game Criticism' column, rounding up inspiring writing about the art and design of video games from commentators worldwide. This week: discussions on Cursed Mountain, Neopets, and humorous riffs on Uncharted 2.]

Let's start this week with Michael Clarkson, who talked about a Wii game that no one else seems to have even heard about, let alone given the same level of thoughtful critique. In ‘Touch The Void’ Clarkson discusses Cursed Mountain, saying,

"In its best moments…Cursed Mountain truly inhabits the persona of a man whose entire existence relies on his understanding of space and distance, whose whole world is the howling wind and the biting cold and the lonely rock of a mountain that must be ascended, even if it means brushing up against the realm of the dead."

If there were a “blog of the year” award, I’d be putting forward Robin Burkinshaw’s ‘Alice and Kev’ for it. The story of two homeless Sims in The Sims 3 finished up this week and, while the story on the blog is done, you can download that character of Alice and continue it on for yourself. A fitting way to end and one that embraces the potential multiplicity of stories in video games.

The Experience Points blog posted a sequel to an earlier post about game endings with ‘Dead Ends Part 2’.

Chris Dahlen’s Edge column turned to the topic of Modern Warfare 2’s Capital Wasteland-esque setting, as revealed in one of the more recent videos of the game. Quoth Dahlen; “this summer, small clutches of angry Americans fantasized about shooting up the city for real” and they should have just played Fallout 3 or waited for MW2. Talk like this always reminds me of this song by The Herd. Dahlen also wrote about the Sonic The Hedgehog comic book in a more recent, delightfully-tangential-to-gaming column.

Do you fancy an interview with some of independent gaming’s best composers? This GameSetWatch interview is for you, then.

Lewis Denby talked about ‘How possibly to do good games journalism maybe’, and I read his four part article. Which was good. In it, Denby seems to suggest that games journalists’ opt out of “reviews” for more in-depth features and while it’s not a new suggestion, he certainly makes a better case for it here than I’ve seen elsewhere.

Michael Clarkson talks about the experience of writing the recent Critical Compilation for GTA IV, and goes into some detail about the process. You might not think it, but applying organisation and classification to even something as seemingly straightforward as video game articles is fraught with danger. It’s all too easy to have one’s efforts seen as a colonizing incursion or read as an attempt to form ‘the last word’ on a subject. Clearly, we’re still learning and missteps will be made, but I for one value Clarkson’s efforts in this area regardless, as well as our readers' patience and assistance.

In what is my pick for this week's (or rather, last week's) must read, David Carlton thinks about why games categorize genre according to technical issues such as ‘first person’ or ‘third person’, whereas most other media use a content approach – i.e. sci-fi is often about exploring the themes of technology, humanity, and fear of the unknown. He uses Justin Keverne’s comments in the Brainy Gamer Summer Confab volume 3 as a springboard. The money quote comes when he looks at The Beatles: Rock Band as a non-fiction video game:

"The picture that I’m getting from this is a game that, on a non-mechanics genre level, is profoundly different from the vast majority of video games. At its core, the Beatles game is a non-fiction game in the sense that most video games are fiction games"

I find his suggestion terribly exciting, and the prototype of a whole new way of thinking about games entirely. Like I said, must read.

A good friend of mine is in the middle of a final year university project, and she’s writing about the online game / sim / casual game Neopets. Her thesis is that many people of her generation (that is, roughly 18-25 year olds) got their first experience with online worlds and online gaming via titles like Neopets, and I think she might be right. She talks about the Neopets ‘Battledome’ in an early post, and more recently about “The Gambling Controversy” that erupted in the Australian media in the early 00’s about a certain feature of Neopets. Mary’s a fantastically good writer too, so even if you never played or heard about Neopets, it’s worth a look.

Inspired by this rather insipid article from IGN Australia, Tracey Lien offers some much better tips on how to encourage girls to be more interested in video games. Her biggest and best Pro Tip: “Stop being so patronizing”.

Ian Bogost talked about Kickstarter’s relationship with art as a commodity. It’s a bit tangential, but it’s entertaining and insightful and I’ve wondered since its inception if it will be able to sustain its donation/support model for the long haul. Incidentally, if you’re interested, Borut Pfeifer talks about some of the stats for projects that succeed on Kickstarter. Since we’re on a bit of bender for articles about the website, let’s also mention that Deirdra Kiai has started a project for her new indie game ‘Life Flashes By’ this week.

Next up, Jason Nelson released a new weird art game that looks and plays exactly like all his other weird games the other week. It’s a bit of a pity really, as once is genius, twice is prodigious, but three near-identical works is stretching the bounds. Or that’s how I kind of feel about the new game, anyway.

Elsewhere, Jesper Juul talks about ‘objectionable content’ in games, saying:

"…video games are still being hampered by the strange idea that they, somehow, should be the only clean and non-objectionable art form in existence. This shows up in Apple’s rejections. It shows up in the fact that the platform holders continue to decide what is published. It shows up in the fact that Australia does not have a mature rating for video games.

And yes, I do think it is holding video games back, as an art form."

This is something I’ve tried to raise before in recent columns, but was misunderstood about at the time. I’m just glad that someone has gotten the point out there eventually.

An article by Steven Totilo on Kotaku investigates the Xbox massage toys that are predictable cash-cows of the XBLA Indie Games. It’s like a case study in backlash.

Matthew Kaplan wrote this week about what he sees as Namco’s ’irresponsible marketing‘ of the latest Tekken game.
He says:

"What IS rather dangerous about the ad…is that it places just as much emphasis on those real-life fighters who, with brutal honesty, declare that their draw to fighting has to do with being a “bully” and the pleasures of destroying another human being as they do those who have seemingly honorable intentions…"

Which, having not seen the advertisement in question makes me go, ‘Hmm’.

I have this theory that in a production environment where a team is big enough not to know everyone’s name, the end product will probably only ever be as good as the lowest common denominator. I mention this because a feature on the Lesbian Gamers site picks up on the juvenile depiction of Commander Dare in Halo 3: ODST. Some of the examples they highlight are enough to make me cringe. In summary:

"Commander Dare might as well be Doris Day from pretty much any Doris Day movie. Slap Helfer in a gingham apron, lipstick and have her waiting on her man Buck with dinner and a smile at 6pm. That’s about all the power Dare has in game, so why dress her up in armor and pretend this is anything other than what it is, a ploy and a bad one at that."

Someone linked to this short story on the UK’s The Register website, and I found it highly entertaining. The connection to gaming? Well, it’s in there somewhere.

This week, Lyndon Warren expresses that he thinks “Atton might be gay”. He is talking about Knights Of The Old Republic II, of course, and how a fan-made reconstruction of some of the content omitted from the retail version of the game adds some very real evidence that he may be right.

Lastly, Hardcasual skewers the “Nice guy who murders people” trope in their piece on Uncharted 2. Seriously – why do games still do this?

[Critical Distance (RSS/Twitter) was set up in April 2009 "to serve the burgeoning field of games criticism by highlighting the excellent writing being produced by video game bloggers and journalists".]

By Simon Carless

GameSetLinks: The Brain Hex Hats’ Worth

[GameSetLinks is GameSetWatch's daily link round-up post, culling from hundreds of weblogs and outlets to compile the most interesting longform writing, links, and criticism on the art and culture of video games.]

How about those links, then? This time, we begin the regular GameSetLinks round-up with a look at a conference that's made just for those DM-ing pen and paper games - actually a rather compelling idea.

Also in here - a discussion of the PSN title Blue Toad Murder Files, which is a really different approach, I think, plus Henry Hatsworth and self-improvement, a close look at the underexposed Trash Panic (and not 'Tash Panic', as I just typed, although I like the sound of a facial hair fear simulator), and more besides.

Gotta gotta go:

gameplaywright.net // Looking at SAGA’s GM Conference
Cute idea, a conference for dungeon masters, essentially.

Experience Points: Henry Hatsworth's Harried Heroics
What the v.difficult Hatsworth teaches you about self-help, basically.

Blue Toad Murder Files Interview | PS3 | Eurogamer
Relentless are thinking different here - could this be a Professor Layton-style hit, or will it not be right for the PS3 audience? Undecided...

BrainHex
A new player identification system from the iHobo folks - definitely intriguing.

Daniel Primed:: Gaming Analysis, Critique and Culture » Trash Panic: Causing Much Mayhem, Dropping Drama!!
Haven't seen much analysis of this game, which is genuinely interesting.

Digital Foundry/Eurogamer - 'Media Manipulation: the "Bullshot" phenomenon'
Less the 'bullshot' that's made up than up-res-ed screenshots, an excellent and precise article.

Crispy Gamer | Postmortem: Wolfenstein
Less of a postmortem than an 'I disagree with Crispy's official review and wanted to talk about it', but very readable.

By Simon Carless

GameSetLinks: That Kosmosis Psychosis

[GameSetLinks is GameSetWatch's daily link round-up post, culling from hundreds of weblogs and outlets to compile the most interesting longform writing, links, and criticism on the art and culture of video games.]

Continuing this week's GameSetLinks fun and games, we start out with another unexperimental shooter leftover from the Experimental Gameplay Project's first challenge - and rather charming it is, too.

But there's other neatness in here too - including an Earthbound anniversary, a discussion of how games really fit into your life (yes, your life!), an appreciation of Super Mario Galaxy, David Jaffe on some art plus games rebuttal intriguingness, and a few other things too.

Just not practical:

Play This Thing! | Kosmosis
Ah, another Experimental Gameplay Project entry, this time unofficial, from Molleindustria.

Why I Play Games: The Panel - Part I | Resolution Magazine | Diverse Commentary on Videogames
'Why are we doing these things? What makes gaming resonate with us to such a degree? These are questions we found too big to answer ourselves, so we did what any sensible publication would do. We brought up our list of freelance contacts, and nagged them until they wrote something.'

1UP's Retro Gaming Blog : Happy Birthday, Mother: EarthBound Zero Turns Twenty
'And so fans continue to fume as their favorite series remains stranded in Japan. It's a strange legacy that perfectly fits such an oddball game.'

Dementia, video games, and the end of the beginning » Infinite Lives
'Video games will not rot your brain, no. But—if your intentions are wrong, and no realizations come of them—they will wear you out. They will wear you out. They will wear you out. They will wear you out.'

Experience Points: Review: The Surprise of Super Mario Galaxy
'Super Mario Galaxy re-introduces 3D gaming, expands the rules of platforming, and demonstrates how the judicious use of motion control can augment traditional gaming mechanics.'

davidjaffe.biz: You Can't Teach A Dog To Sing...
Jaffe is a little incoherent in writing, but his points are v.important.

By Simon Carless

GameSetLinks: A Far Cry From Book Camp

[GameSetLinks is GameSetWatch's daily link round-up post, culling from hundreds of weblogs and outlets to compile the most interesting longform writing, links, and criticism on the art and culture of video games.]

Some more links? But where? Oh yes, that's what GameSetLinks is here for, and we've got another six for your delight and delectation tonight, starting out with OXM looking at where Xbox Live Arcade is nowadays, to within several nautical miles.

Also out there - controversial game maker Paolo Pedercini and machinima, another instalment of the practically transcendental 'Phantom Of Akihabara' translation, some intriguing discussion of Far Cry 2's politics, and a gigantic Street Fighter IV tournament-related tale.

King of fightings:

Coin Opps | OXM ONLINE
Thoughtful piece on Xbox Live Arcade's notable titles and future.

Paolo's Desert of the Real - News Games: Georgia Tech Journalism & Games Project
'Today we take a slight detour from our series on editorial games to celebrate an editorial machinima of exceptional quality, produced by everyone's favorite editorial game creator: La Molleindustria's Paolo Pedercini.'

Lively Ivy » Blog Archive » Bye Mom, I’m going to Book Camp
We need more people asking non-'core' game audiences about emotional experiences they've had playing games, I think. As a reminder that they do happen.

Experience Points: Lions and Jackals: The Politics of Far Cry 2 (pt.2)
Talking about a series that the author considers 'toys with that idea of videogames as educational tools, examining the game with a political lens.'

“The Phantom of Akihabara,” Chapter 3: “Taboos” @ Magweasel
Kevin continues to translate one of the most amazing pieces of game fiction writing I've ever read.

The Grind: SoCal Edition (SF4 Training) - iPlayWinner
Crazily detailed, interesting Street Fighter IV 'professional' tournament travelogue - via Versus City.

An innovative casual puzzle game for the whole family.In this game you are an inventor who tries to please people’s needs by making inventions, buying invention parts in the market, and making sure you are not making people hate eachother.Try it for free.