Reviewing Games on Boîte à Jeux – Previously Reviewed Ones

Boite a Jeux logoI’ve been playing a lot of board games recently on the web. I discussed these in general a couple months back, but I should start talking about the specific games as well. It actually seems a little tricky to review: How do I tell if my opinion is based on the game itself, or the way it plays on the site? So I’m going to start by looking at games that I had already played in person and reviewed before I played them online. Today, I’ll look at four on Boîte à Jeux, and next week I’ll talk about ones on Yucata.

My reviews for these games are focused mainly on why they work, or don’t, online. I’ve already covered the mechanics in earlier articles. My grades here do account for whether or not I enjoy the games in general, but also how they work in a turn-based system and how well they were implemented.

It turns out that the games I already knew are some of the best ones on Boîte, so the reviews here are very positive in three of the four cases. Strangely, the Yucata games I have reviewed already are some of the more disappointing ones there. Don’t think the extremes in these reviews represent the whole sites, though. As you’ll see when I get around to reviewing other ones in a month or two, both sites have their good and bad games.

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Webcomics Roundup for the End of 2013

It’s been a while, but I want to get one last webcomics post in for the year. True to my headline, this will be an unfocused roundup of topics.

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Neko Case – The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You (Music Review)

The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You cover

Neko Case – The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You

Neko Case has covered a wide variety of styles in her career, from sedate to swinging and from honest to impenetrable. Since finding success, though, she has stayed fairly settled: Simple symphonic music sets off her clear voice, letting her seem simultaneously exposed and in control. Her lyrics are compelling, but usually impossible to interpret clearly, and even the songs that sound personal are not. This paradoxical mix has won her acclaim, but honestly it’s been a few albums since I really enjoyed her songs. They seem to promise a lot, but aren’t very satisfying.

That changes with her new release, which has the attention-grabbing title The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You. It is similar to those last few, with very little sign of the Case who used to sing with Maow, The New Pornographers, or on solo country albums. But this finally has a strong personal feeling to it. Maybe it’s as much an act as the old albums, but for once I feel like I’m listening to a person, not to a brand carefully test-marketed to hipsters.

That makes a huge difference, because Case’s power and confidence is incredible when I can accept it. These songs are beautiful, and while there are still some inscrutable lyrics, there are also entire songs that are straightforward. If the only frequent theme in the last few albums was cheering on nature and animals against mankind, this one has her taking a place among humanity. The repeated theme here is of woman standing up for themselves and reaching their potential. There is also “Nearly Midnight, Honolulu”, a message to an abused child which contains too many details not to feel true. That song has no musical accompaniment and feels emotionally naked. In less confident hands, it would seem like a cynical attention-grab, but here it’s an honest attempt to struggle with a difficult topic.

Not that everything on The Worse Things Get is straightforward. There are plenty of lines like “I’m a Friday night girl bracing for Sunday to come”, and those messages of female empowerment come from unexpected angles (“hey little girl, would you like to be the King’s pet or the King?”) This is an album that feels both complex and simple at the same time. Of course, that sort of dichotomy has always been a part of Case’s appeal, but this time it’s finally working for me. If you’ve spent the past several years wishing you appreciated Case’s songs, this may be the album you’re waiting for.

Grade: B+

 

Interactive Fiction Competition: Results and Final Review

The IFComp 2013 results are out. I only found the time to play nine games, and for the most part I was disappointed in what I saw. I’d expected that this would be similar to two years ago, when it turned out that my random list mainly focused on the middling games. This time, though, I played the fifth and eight best out of the thirty-five, and I was disappointed to see that there were seven rated at least as bad as the two I disliked. I suppose that the influx of new games did include a lot on the low end of the scale. On the other hand, Coloratura is the highest-scoring winner in years, so there was apparently some great stuff on the high end as well. I’ll have to check that out.

I see that my impressions largely matched the consensus. Saving John is the only one I was way off on. Yes, searching through scattered memories is already a Twine cliché, but I thought there was an evocative personality behind it all. On the other hand, I’m happy that Machine of Death did well; I’d worried that my interest in the general MoD community made me overrate it. The game I still need to review, Tex Bonaventure and the Temple of the Water of Life, came in at #5. I’ll just go ahead and review it now.

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Interactive Fiction Competition: Machine of Death and Trapped in Time

There are only a couple days left in IFComp 2013. (You can always play the games, of course. That’s the deadline to participate in the voting.) I have a couple more reviews today, and fortunately they’re more positive than last time.

I don’t expect to have time to post again by Friday. Even if I do, I’ll probably write about something else. I want to write my last IFComp article after I can see the full results.

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Interactive Fiction Competition: Mazredugin and Our Boys in Uniform

I thought that the big story of IFComp 2013 would be all the Twine-based games, but now I’m wondering if I was wrong. Admittedly, I’ve only played through six entries, but so far the dominant theme seems to be that they aren’t very good. Hopefully this is just bad luck on my part, as I used a randomizer to choose the order I’d play them in. It’s worrisome, though. Today’s two are the weakest yet. With one using Twine and the other using a traditional text adventure engine, it’s clear that the problem isn’t just one technology or community.

I should also say that I was hesitant to talk too much about these. Giving bad reviews is always a little weird, especially here when I’m talking about freely-released amateur works. Both of these entries had a sympathetic purpose, and I don’t want to insult the authors. On the other hand, they were submitted into a contest which relies on ratings from anyone who wants to participate. Besides, my good reviews don’t have any meaning if I don’t talk about the things that disappointed me as well. So here is a discussion about two IF games that didn’t work well at all.

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Lindi Ortega – Tin Star

Tin Star cover

Lindi Ortega – Tin Star

I can’t believe I only discovered the incredible Lindi Ortega at the start of this year. I’ve learned my lesson, though, and I picked up her new album as soon as I heard about it. Tin Star is different than Cigarettes & Truckstops in a lot of ways. Where that last album incorporated a goth-tinged blues and lounge sound, this one is pure country. Also, Cigarettes usually sounded like a performance, while Tin Star seems like a view directly into Ortega’s soul. Possibly because of that, it feels like the younger work of a person who would grow up to sing Cigarettes. Don’t think that means this is worse, though. Tin Star is the rare gem that reminds us why country is considered timeless. The entire genre is justified by the way it produces things like this.

Ortega’s voice is clear and soulful, with just a touch of smokiness that she can call on when needed. Her band sounds like, and may be, a collection of Nashville’s better sessions players who are thrilled to be finally working on the kind of music that drew them into the business. The tracks include a few songs about love and loss, but the dominant theme is Ortega’s career and love of music. The title track is a sad (and hopefully mistaken) acceptance that she’ll never become successful, while “All These Cats” is the ass-kicking answer to that: Ortega adopts a rockabilly style and tells the haters that they’ll never stop her. “Gypsy Child” and “Songs About” are also about the way she could never take music out of her life, and she sounds very happy despite the sadness in the title track.

I unironically and unthinkingly love this album. Ortega’s beautiful voice and personal-but-polished style makes it seem wrong to examine this critically. Part of me does know that absent her style, most of the songs would be generic country standbys. But how could I subtract the artist’s unique style from my calculations? Besides, she does have a dark sensibility that makes her unique in Nashville. That only shows up once here, on “Lived and Died Alone”, but that song is a stunner. It’s a disarmingly beautiful tale of necrophilia as metaphor for a lonely, overly-empathetic life. It’s not off-putting or gimmicky at all, and it gives Tin Star the twist that protects it from any claim of being filled with “standard country songs”,

I also can’t bring myself to proclaim this a classic, because I hope to hear about more than just her love of music, and also songs like “Lived And Died Alone” show us how much more Ortega is capable of. Every track on Tin Star deserved to make the cut, but I still expect to see a day when she’s gone even beyond those. I may wish that I’d discovered Ortega years ago in her fully independent days, but I can at least be glad that I found her while she was still on the rise.

Grade: A-

 

Interactive Fiction Competition: Saving John and Who Among Us

Continuing very slowly through the IFComp 2013 games, I’ve tried two of the web-based entries. These are both Twine games, a hypertext system that has become common in the past year. Think of it like a classic Choose Your Own Adventure, though the computer can track variables and make more complex choices than “turn to page 45”. This is very different from the more free-wheeling text adventure format.

Below the fold, I discuss Saving John and Who Among Us.

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Future of the Left – Human Death (Music Review)

Human Death cover

Future of the Left – Human Death

As a quick follow-up to last week’s Future of the Left review, I want to mention that in addition to How To Stop Your Brain In an Accident and Love Songs for Our Husbands, they released an additional “sessions EP” to people who backed their crowdfunding project. Human Death shows that the band definitely has a firm grasp on its strengths; This is twenty minutes of perfectly fine songs that, with one exception, would never have any chance of making it to a full album.

That’s not to say it’s bad. In some ways, there’s something very relaxing about listening to B-sides from a band you like and knowing that none of them need to very good. Future of the Left’s albums always distract me with worries about whether the band is living up to my expectations. For a side project like this, I don’t have any expectations.

This also seems like it was a place to put songs that didn’t sound quite like the rest of them. Where the band usually relies on heavy percussion to underscore Falco’s staccato delivery, these songs are softer and actually more melodic. It’s a nice change of pace, and I’m not sure what to make of the decision to keep songs like this out of the way. Not that these tracks specifically should have gone on another album – the lyrics don’t live up to the standards of the A-sides – but I hope to hear more like this from the band in the future.

As a good sessions EP should have, there’s one standout track that fans need to track down. “Not Entirely Present” is a catchy, off-kilter pop song that features a simple folk-rock backing while Falco spits out inscrutable lines.

That one track doesn’t make me recommend the EP. Human Death is a pleasant but definitely inessential companion to Future of the Left’s main release this year. I’m strangely happy with it, thanks to the way it manages expectations, and I hope that this experimentation leads the band down new paths in the future, but I don’t have any illusions about the actual quality of it either.

Grade: C+

 

Article 27: The UN Security Council Game (Game Review)

Article 27 box

Article 27

Good negotiation games are rare. They always end up dragging on while two people bargain, or being decided by one especially significant deal, or maybe it’s just too easy to calculate everything’s relative value so the game becomes more about the math than the deal-making. Given all that, Article 27: The United Nations Security Council Game by little-known designer Dan Baden is a rare accomplishment, and I’m surprised it hasn’t become more popular. It has some flaws, but it’s still an excellent approach to a negotiation game.

The first flaw may be that the theme just wasn’t attractive enough. It’s named after the part of the United Nations charter that describes how any member of the Security Council can veto a bill. It sounds dry, but it’s a good foundation for a game.

In short, on each round one player will be the “Secretary General”. Five tiles are drawn, each with a color and symbol on it, and everyone has five minutes to negotiate over how they will be voted on. The Secretary General chooses which of these “issues” will actually make it to the table, and then everyone casts a single vote on the group of chosen issues. Any one “veto” vote will kill it, but that costs the player reputation points. Alternately, you can abstain from the voting, because if a majority don’t vote yes, the bill quietly dies without costing you points. If the chosen issues do pass, then everyone gets points. Each round, players secretly draw tiles from a bag to tell them how many points they gain or lose for a specific color tile being passed, and everyone also has a long-term goal to pass as many issues as possible with a specific symbol. Also, the Secretary General gets bonus points as long as something passes, so there is motivation to put issues to vote only if enough players like them.

There is also a system of “bribes”. If you want the current bill to pass (or fail), you can give some of your points to another player if they agree to vote the way you want. The Secretary General can be bribed to include or exclude certain items. Everyone has a play area where bribes are placed, with a token marking what player supplied it, so that it can be returned at the end of the round if you failed to live up to your end of the bargain.

One player's mat with a bit of the central board beyond. There are two bribes in front of the player's shield.

One player’s mat with a bit of the central board beyond. There are two bribes in front of the player’s shield.

And remember, all of this happens in five minutes’ time! It’s a lot of fun, with people negotiating how to vote at the same time they are figuring out what to vote on. At any point in the countdown, someone’s veto threat might convince the Secretary General to add or remove an issue from the bill, and then suddenly other peoples’ opinions about it change as well. Bribes are rescinded, new ones offered, and the people who were in favor of it might suddenly be arguing against it. If you don’t have much chance to get points from the issues, you might still be able to get points if other people bribe you to support them. But be careful, because someone might be pretending not to like something just to collect extra bribes, or they might be quietly planning to sink the bill that everyone else is agreeing on.

It’s fun because, with both the bribes and items up for vote always changing, everyone will always have something they can do to try to earn more points. Also, you have a bunch of people with different secret goals negotiating about multiple things at once, and one change may set off a domino effect. At about five minutes per player (with everyone being Secretary General once), it’s quick as well as fun.

The biggest flaw is probably that the game works much better with some groups of people than others. I’ve played sessions that were chaotic and active the whole time, but also sessions where everyone just quickly came to agreements that everyone could live with, and then they quietly stopped the voting. The latter isn’t very fun with this game. Also, though it claims to work with three to six players, I think that six players is the only good option. With less than that, you have fewer rounds, you exclude a random assortment of the symbols that people are looking for, and you also simply have fewer players. Six people talking something out is a lot more chaotic (in a good way) than four people.

So, Article 27 is a good game that requires exactly six players with the right attitude. That’s unfortunately a lot more limiting than “good games” usually are. But I can say that if you do find that mix, it’s an excellent experience.

Grade: B