2012: A Year Of Awesome Tunes

OK, so let me tell you about my year, because I’m sure you’re DYING to know.

So after I single-handedly brought about the introduction of a carbon tax in Australia – the best and most positive and progressive piece of legislation introduced in my lifetime – I thought I’d become a teacher. Can’t be too hard, right?  So I moved back to my home town of Ballarat, did a teaching degree, started playing the trumpet again for the first time in twenty years, joined the brass band, just the usual stuff…

But it wasn’t all smooth sailing let me tell you.  It was a long, cold winter in this freezing cold pocket of Victoria. And the course was pretty tough going at times, what with all those essays and the like. And Richmond didn’t make the finals AGAIN.

But, as always, it was music that got me through the tough times, and was there to celebrate with me when the good times inevitably rolled around again.  I frikking love music and you all do too, right?

So let me tell you about the music that I will remember from this crazy year. Most of these albums were released this year, so this list can also serve as a preliminary ‘Best of 2012’ list, with the disclaimer that there have been a heap of great bands releasing albums recently which I’ll be listening to through the festive season.

I won’t bother with the album covers (although they are great click bait!), but I’ll give you a nice little Youtube clip for each one so you can have a listen. I won’t put ratings in either because quite frankly I can’t be arsed. They’re all good and highly recommended.

Let’s go:

Mark Lanegan Band – Blues Funeral (4AD)

That voice. Oh my. Mark Lanegan surely has the best voice in all of music. Dripping with cigar smoke and whiskey and sadness, it is simultaneously primal and ethereal, almost spectral, like a voice from before time.

Alain Johannes provides the music and production, and while it’s hugely stripped back from the layered complexity of QOTSA’s Lullabies To Paralyze, there is a dark sexiness here (along with the presence of Lanegan) that recalls that classic Queens album. Johannes does a great job of putting the voice front and centre, while adding enough musical variation to keep the album interesting all the way through.

Jack White – Blunderbuss (Third Man Records)

OK everyone knows this guy is basically a songwriting genius. I mean the man can play, but lots of people can play. It’s the ability to write that is truly valuable. There’ll be White Stripes fans who will argue with me about this, but I’ve never heard Jack White’s music sound this good. I’m a sucker for a 3/4 song every now and then, and the title track is a typically doleful example. Every song is a timeless classic.

Pelican – Ataraxia/Taraxis (Southern Lord)

Are you familiar with the teachings of Epicurus? Well you bloody well should be. If everyone followed his teachings the world would be fine. Here’s how ataraxia is defined on Wikipedia: “ataraxia was synonymous with the only true happiness possible for a person. It signifies the state of robust tranquility that derives from eschewing faith in an afterlife, not fearing the gods because they are distant and unconcerned with us, avoiding politics and vexatious people, surrounding oneself with trustworthy and affectionate friends and, most importantly, being an affectionate, virtuous person, worthy of trust.”

Nice, huh?

I would add to this “listening to Pelican” to this list. There is something so comforting about listening to a Pelican album. You’ll get the heaviness and expansiveness of a great post-metal band, but without having to worry about some dude yelling at you every now and then. It gives you time to think, to feel, to write an essay if you will.

Long time readers will know how much I love me some Pelican. They released my favourite album of 2009, and although Ataraxia/Taraxis was only an EP it played a big part in getting me through 2012 with in a state of “robust tranquillity”. Ahhhhh…

Torche – Harmonicraft (Volcom)

Another former Three Paper Album of the Year winner, Torche are simply awesome. This album continues the crossbred pop-meets-heavy genius from their previous albums, but if anything finds them reaching a new level of confidence, complexity, musicianship and bold experimentation that pays some remarkable dividends, with the band at times finding some previously uncharted musical territory. There’s also a couple of those slow, doomy tracks (Solitary Traveler and Looking On) that they do so well.

Then when they decide to play it straight and just write a great song, there are few in the world today that can match them for catchiness and the ability to make you feel damn good about life in general. And this film clip is hilarious:

High On Fire – De Vermis Mysteriis

Do you know what a grimoire is? It’s a book of magic spells, chants, curses and other occultish instructions.

If you are a fan of metal you really should read H.P. Lovecraft, because his writings have inspired so many heavy metal songs, lyrics and images over the years. I’ve been reading his stories this year, perhaps prompted by my return to my dank and chilly ancestral home. (The Rats in the Walls is my favourite) In his stories he often referred to a famous fictional grimoire called the Necronomicon, but he did mention others, including De Vermis Mysteriis.

Anyway, enough of the QI style fact sharing.

High On Fire released an album in 2012, and it was pretty good. Not great, but pretty good. The early excitement from High On Fire albums has worn off a bit, it’s true. All their albums have been excellent, but I don’t think they’ve progressed much since Blessed Black Wings. Still if you love their swinging doomy riffs and thumping toms then you’ll love this too. Romulus and Remus is my fave track.

Trap Them – Darker Handcraft (Prosthetic)

OK, I’m a sucker for pretty much anything that sounds like Entombed, which is why I love this album. It was actually released in 2011, but I gave it a pounding throughout 2012.

Of course, every Entombed album is different, so you can’t just say a band ‘sounds like Entombed’, you have to say which one, and this is probably closest to Uprising in sound and punk rock attitude. It’s probably more accurate to say it sounds like Doomriders mixed with Disfear, but of course both of those bands were heavily influenced by the Swedish death gods.

There’s some fast and aggressive stuff, and enough d-beats in here to keep Discharge fans happy, but plenty of fun rocking riffs too.  Here’s a song called The Facts:

OK that’s it from me for the time being, I’ll get back to you as I digest some more awesome tunes over the next month or two.

– Hazizi


Civilization V: Gods and Kings (PC) – Firaxis

Hazizi: OK Felix, nice to be back in the Cave. I’m glad you got rid of that smell! How did you manage it?

Felix: I drilled a ventilation shaft through the back of the cave.  The shaft runs for 163 metres in a straight line and has a diameter of only 2 cm.  The exit hole is somewhere in the study on the ground floor of your Palace of Enlightenment.   Drilling such a narrow shaft for such a distance was incredibly difficult, painstaking, and required me to jerry-rig some equipment and develop engineering techniques hitherto unseen by man.  I have sold some of my discoveries to mining companies, surveillance groups and espionage agencies.  This skinny air shaft may win me a Nobel Prize or land me in Guantanamo.

Anyhoo, that’s why you haven’t heard from me for a few months.  It’s also how I knew about your NFL fantasy draft choices….BEFORE YOU DID!!

Rightio.  I wondered why my study ponged a bit.  I thought it was an egg sandwich I left in a desk drawer.

Now last time I was in here we did a joint review of Civilization V [here it is], which we both quite enjoyed.  I’d also like to add that the patches they’ve added since that early edition have done wonders (Wonders!!!  BOOM BOOM!!!) for the game – removing glitches, improving the AI and balancing out the power of different buildings, units and social policies.  And I think we might in part have Steam to thank for that, as the game designers can now monitor the success rates of different civilizations and strategies and tinker with the game mechanics to rebalance it.

That’s a good point about using game data for designer analysis … but I am still ambivalent about Steam.  Although Steam is good at managing patches in the background and keeping the game up to date, it’s suckered people into accepting an always-on DRM regime.  I’m not 100% comfortable with Steam being the doorman for my Civ, even if it currently is a very polite doorman who tells me if my friends are in the building.  That could all change one day … what if Steam sold out to Facebook or Disney or something?  Yeah.  Think about it.

Now unlike last time we can’t review this one together because, well, I haven’t actually bought this yet.  But I have spent an afternoon on mate’s couch watching him play, and I know you’ve been pumping some hours into it, so I’m thinking we do this one as a bit of a Q&A session, where I play the role of Tony Jones and take everything you say as a comment.  I did make some preliminary judgements so I’d be interested to hear if my hunches were correct. So here goes…

Q. Firstly, the big ticket changes and additions, in no particular order, are religion, espionage, new Civs, new units, new resources, new wonders and improved AI.  Is there anything I’ve missed there?  And can you tell us about your early impressions of the game and thoughts as you started trying out the new stuff?

What you’ve missed in your list are the amendments to the existing Civ systems: combat, diplomacy social policies and science.  Not every single change is a winner in my book, and it’s hard to itemise them all here.  Here’s some notable biggies though.

Combat has been overhauled, largely for the better.  Most notably, units now have 100 health rather than 10.  This effectively means they can take more hits before going down.  The insta-heal promotion doesn’t fully heal anymore either, it gives 50 points.  There are new units and upgrade trees, most notably being the inclusion of First World War units before the more modern units.  Crossbowmen upgrade to Gatling Guns, a ranged unit with only 1 tile range.  Gatling guns are wicked.

Best of all, naval combat has improved to the point that ships are actually relevant.  Ships now have either melee or ranged attacks, and melee ships can take cities. That’s right — beware the ancient era trireme rush!

On top of this, as I will discuss later, the AI is way better at combat.

Diplomacy has been substantially improved, mostly by being made more transparent.  The diplomacy screen now tells you the consequences of different positions to take with a Civ.  Finally I understand the significance of making a declaration of friendship or being denounced!  You can check your diplomatic history with a Civ and see why they hate you so much.  You can establish embassies – a great way to find their capital on the map.

Other Civs will change their opinion of you depending on your social policies.  It’s funny when you secretly go Autocracy then other Civs pop up out of the woodwork to welcome you to the International Brotherhood of Fascists.

There are more things to do with City States: a larger variety of missions you can do to gain influence, and the option to bully City States for cash or units.  Some City States also have unique resources that cannot be found on the map.

The tech tree has been puffed out to accommodate faith and for other reasons I suppose.  Great Scientists and Research Agreements don’t give one free tech any more — they give you a number of turns’ worth of your research output.  Instead of hoarding scientists for that advanced tech that takes 33 turns to research, there is incentive to hoard them until your science output is at its peak and then cash them in for maximum beakerage:

Overall, these improvements to the pre-existing systems of the Civ V make Gods and Kings a must-have, before you even get to the religion and espionage.

Q. Well, let’s go through the new systems.  Firstly, religion.  My first thought was that it was great to have religion back again. And while in some ways it is handled similarly to in Civ IV, there do seem to be some major differences.  Your thoughts on religion in Gods and Kings?

Religion doesn’t spread along trade routes like in Civ IV.  First you send a Great Prophet to a city and found your religion there.  This city becomes the Holy City for your religion and it starts emanating religious pressure to other cities within 10 tiles.  Cities subject to religious pressure will start to sprout followers of that religion, based on population size.  The rate of follower-sprouting will depends on how many cities that follow the religion are nearby.  If the city is near cities that follow different religions, it will sprout followers of each religion.  Once more than 50% of a city’s population follows a religion, the city is said to follow that religion, and it becomes a node from which religious pressure exudes to other nearby cities.  This process can be hurried along by missionaries, who go to other cities and convert people into followers of your religion, or inquisitors, who purge cities of followers of other religions.

Sadly, you cannot take other religions by conquest.  If you capture the Holy City of another religion, you deprive them of their founding belief but you do not gain it for yourself in some kind of religious Highlander deal.  Also if you capture another religion’s Great Prophet, that unit will remain a prophet of the other religion and cannot be used for yours.

I’ve had games where I’ve been drawn into entertaining minigames around spreading religion.  I would compete with my neighbours as we sent missionaries and inquisitors off to vie for the hearts and minds of each others’ cities and the nearby City States, all while maintaining cordial diplomatic relations and pretending to be buddies.  Missionaries also burn strength each turn that they are in enemy territory without open borders, so you can block them from reaching cities until they burn out and die, without inciting war by attacking them directly.

The Eurythmics foreshadowed this strategy in 1987:

Apparently religion affects diplomatic relations, such that others of the same religion are nicer to you, but in most games I played each Civ had their own religion.  It may affect City States’ regard of you too though.  The main incentive to spread religion is for the cumulative benefits derived from the belief bonuses, speaking of which …

Q. The major difference is that this time around they’ve tried to shoehorn it into another ‘bucket’ system, where you accumulate faith points and go up ‘levels’ when you have enough points.  In the games I saw, each time you ‘levelled up’ in your religion you were presented with a bewildering array of possible bonuses. I much preferred the tree based system they used for social policies and just wish they had done something similar for religion. Maybe it’s not too bad once you get your head around the system. How are you going with it?

It is another bucket — you amass faith points through buildings or one-off boons and when you get enough to produce a Great Prophet, you can found a religion.

The belief bonuses are unique — once they are chosen by one religion, no one else can have them.  Also, each time a Civ founds a religion, the faith cost of a Great Prophet for everyone who hasn’t founded a religion goes up, and there are not enough religions for every Civ to have one.

Whenever you get a choice to add a belief bonus to your religion, the choices can be daunting.  Firstly, they are of different types — some bonuses that apply to your Civ as a whole, some only to cities that follow your religion, including other Civs and City States.  I liked having to make a difficult choice between something of immediate but limited benefit — say, extra culture from wine and incense when you have only 1 city near those resources — or something that starts small but may be of large benefit later if you spread your religion far enough.  The “best” choice may not be apparent,  however some of the cumulative bonuses can be slow burners that pay off grandly.

In particular there is a bonus called Tithe that grants 1 gold for every 4 followers, which stacks to great effect for sprawling Civs that spread their religion, especially if City States follow your religion, because those guys just keep growing.

While religion can be an amusing diversion, you can ignore it completely as there are no victory conditions tied to it.  That said, I kept getting sucked in to the faith game.  I think it’s the scarcity — not wanting to miss out on getting a religion when all the other Civs have one.

Q. Now you’re a big Civ Rev fan, and I always thought that game handled spies in a neat and intuitive way. The new game has espionage too, but now you never actually see your spies, they’re just numbers on a screen. Do you think espionage has added to the game, and how do you think the new system stacks up against the way spies have been handled in previous Civ games?

Yeah, it sucks that you don’t get spy units to move around.  It’s too impersonal.  Nor do you control when you get a spy — the game gives them to you at the start of Eras.  Spies’ functions are too limited to be useful. They can steal tech from other Civs, get some info about a Civ or its city (which is often useless) or be used to tinker with your influence rating with City States.  What about sabotaging buildings, stealing gold, or converting other Civs’ cities?

It’s fun to steal tech, but after a while the Civs that have the tech you want wise up and put in protective measures that make it impractical.  Using spies to shore up City State influence is handy, but also happens slowly over a number of turns and is too easily overridden by a Civ with deep pockets simply buying influence.  Most times I just used my spies to protect against other spies.  Perving on other cities is a little fun, I admit, but it’s hard to put that information to use.

Yep, it’s about as fun as it looks

This spreadsheet approach may be saying something about bureaucracy and espionage but it feels half-hearted.  Considering how versatile spies were in Civ Rev and other Civ games, it’s disappointing.  Those who hated spies in Civ IV and thought they were too powerful will be relieved that they’re not gamebreakers, and people like me who liked the extra layer of options they provided will be disenchanted.

Q. The first thing you notice when you start a game is, of course, that there a whole new bunch of Civs to try out. I had a look at the Austrians and the Dutch.  Austria was great – you could just save up your cash and use it to buy city states outright. Have you had a crack with them? And which other new Civs have you tried and liked?

I’ve tried Austria, Byzantium, the Huns and the Celts, playing on Emperor.  I haven’t won with any of them but had some enjoyable losses.

She looks like a fairy godmother, but wields her money ruthlessly

As you point out with Austria, cash is king.  One thing to consider is that allied City States often give food, happiness and culture bonuses that you lose if you annex them, so buying out City States isn’t always a good idea.  You can at least buy enough City States to deny a UN victory to other cashed-up Civs.

The Celts can be very powerful in the early game due to their Pictish warriors — pre-iron sword units who get a bonus outside friendly lands and earn faith with each kill.  The Celts can drop off once the Picts become obsolete though and you need to plan for the inevitable backlash that other Civs will orchestrate against you after licking their wounds for a few centuries.

The Huns are also geared for early game aggression with their battering rams (which replace spearmen, subbing out a defensive unit for a city-taking unit) but it can end in tears if you’re not fully prepared for some protracted Classical Era war.  I wasn’t, and it did.

I’ve also tried the original Civs playing against these foes and they can be tough to beat.  As fun as it is being Austria, it sucks being against it.  Watching Austria buy an empire of City States, nullifying centuries of hard work pumping up your patronage and currying favour can be crushing.

Q. And the new AI plays a much better game, I’m sure you’d agree.  Have you noticed much of a difference? 

I have, partly because the AI is a lot better at combat and partly because I’ve started playing on Emperor.

The AI pulls far fewer boneheaded moves in combat, which makes me realise I wasn’t as good a general as I thought I was.  The newfound relevance of ships and the smart way the AI uses them makes coastal cities more vulnerable.  You can also dock a ship in town and it will stack with any land unit garrisoned there, doubling up on defence. This alone broke a number of my sieges.

The AI is better at combining different forces too.  For example, in one game I initiated a desperate modern era invasion of Sweden to distract it from building rocket parts.  Sweden basically had a continent to itself at this point.  I used boats, planes and land troops to take a couple of cities and establish a foothold, but the troubles started when I had to defend my new turf from the Swedish counter-attack.  I was begrudgingly impressed when Sweden started using its anti-aircraft guns offensively — rather than let them sit and wait for my planes, Sweden turned them on my tanks and artillery, softening them up to be finished off by helicopters.  Clever sods.  Needless to say, “Operation Hurdy Gurdy Burt Bork Bork” ended in failure.

Emperor Gustavus of Sweden was not happy when invaders had landed on his eastern coast

For a military aggressor like me, it seems that the defensive game is easier.  Taking cities is harder and it’s easier to take cities back on the counterattack.  I guess this brings other strategies to the fore, but when you play at difficulties higher than Prince, where the AI gets advantages over you in nearly every area of the game, it can be hard to come back if you lose the lead early.

Frequently I would “win my continent” and be the dominant Civ on my landmass, but then discover my true rival is the superpower on another continent — that other Civ that has also been expanding and outstripping me in tech, culture or gold (or all three).  If I try to buddy up and be friends, the Civ will just go on to get a science or UN victory, and if I try to invade, it takes me ages to amass an invasion force and then I face problems of resupply while the other Civ is fighting on home turf with cities and roads to resupply lost units.  Maybe Civ V is trying to teach me not to be such an invading jerkwad.

Q. And what about the new resources and buildings and technologies and stuff?  Whaddya reckon?  Huh?  Huh?

As alluded to before, there’s a lot of tweaks, pokes and fiddles, not all of which I’m sure about.  There are a few things I have noted.

Obviously, some of the buildings and Wonders have been adjusted to allow for faith producing buildings.  Temples now produce faith as you’d expect and the good ol’ Stonehenge culture rush is off the table as that hunka limestone makes faith now.  New Wonders are handy — Petra can make a useless village in the middle of a desert into a flourishing oasis, but if you don’t build it before someone else, you’re stuck with your crappy desert village.

Catapults no longer need iron and longswordsman have a reduced attack strength, so the rush to iron is no longer as effective a military strategy.

Resources give a little less happiness, but there are more of them.  You’ll be pleased to see copper and pigs (well, truffles) make a return.  It encourages more diplomacy to trade for resources.

Copper and Pigs, Baby!

The overall effect seems to be one that removes some strategic spikes and instead rewards the long slow grind, where you combine the decisions you make for your research, city building, tile improvement and social policies to augment your predetermined speciality.  It’s deeper but somehow feels more restrictive, like a shrunken pair of long johns.

Q. The big question this release raised for me was: what the hell is it really?  It seems to have lumped together a bunch of stuff that really should have been in a patch (the AI improvements), with a bunch of stuff that could have been optional DLC (the new Civs), with some other stuff that fundamentally alters the game (religion and espionage). It cost 50 bucks, so I guess you have to review it as a full priced game, but do you think the package justifies that?

Don’t forget the three scenarios!  Fall of Rome in particular was interesting: if you play as Rome, you get a degrading social policy tree.  Policies are penalties that are inflicted upon you as you lose cities.  Having to choose between reduced gold income or deserting soldiers — ouch!

Honestly, I would have been happy with the tweaks to combat, diplomacy and social policies without religion and espionage — at a reduced price of course. Of the two extra systems, religion is the more interesting and I’ve yet to explore its full potential.  The cumulative belief bonuses could provide some handy exploits.

For its price tag, it is a comprehensive package of changes, which they could have nickel-and-dimed you on by releasing in bits.  Many of the changes to the tech tree and building functions are consequential upon the introduction of faith, such that it would be hard to unscramble the egg.  Sure I wish it were cheaper, but it did what a good expansion pack should do — it dragged me back into a game that I had left alone for months.  It also brought some of my coworkers into the game.  They bought the Deluxe Civ V edition with Gods and Kings and all other DLC for the same price I paid for vanilla Civ V in 2010, so they’re up on the deal by $80 and a couple of hundred hours.

Q. I remember when Civ V came out I came up with a whole bunch of ways that Civ IV was better, yet after a couple of weeks of playing with hexagonal tiles, ranged combat and unstackable units there was no way I could have gone back.  I guess that’s the big test for you here Felix.  You’ve played this for a while now with all the new bells and whistles.  Is there any way you could take yourself back to the pre-religion, pre-espionage days of plain old vanilla Civ V?

I agree, there is no turning back.  The improvements to combat and diplomacy combat make it a must-have.  Religion, espionage and the extra Civs and scenarios are bells and whistles.

Gods and Kings reinforces Civ V as a game about specialisation and steady accretion.  It flattens out potential game changers like instant techs and megapowered Wonders and adds in more cumulative benefits.  Pick a victory condition, choose a Civ that is geared to achieve it and grind out your strategy.  I used to play Civ games with a “let’s see where this goes” approach, but such generalism hasn’t worked for me in Civ V beyond Prince difficulty.

On one hand, Gods and Kings has smoothed out some of the exploits and strategies on which I used to rely.  As a result I have had to use more of the mechanics and systems to eke out an advantage, thus learning how better to play the game.  On the other hand, I feel that if I don’t get a perfect start, I am doomed.  It can still be fun to play out one’s doom, but it would be nice if there were more ways to dig yourself out of a hole, especially given that higher difficulty levels handicap you in relation to the AI.

Ok, thanks for letting me into the cave again man.  See you back here for Civ VI.  Wow, now there’s a scary thought.

In the meantime, there’s this other Firaxis game called XCOM … wait, where are you going?

Isis Things

Hey folks,

Just quickly wanted to let you know that THERE WILL BE SOME ACTIVITY on this blog in coming weeks and months.

I’ve just finished a very hectic teaching degree and will now have some time to talk metal.

And Felix has done a great review of Civ V: Gods and Kings which I’ll post soon too.

In the meantime here’s a couple of things from Isis, who broke up in 2010 but are releasing a few things from their back catalogue at the moment.

The first is a new film clip to an old song that was on a 2010 split EP (with the Melvins).  It is called Pliable Foe and was recorded during the Wavering Radiant sessions.

The second thing is a link to a cover of Streetcleaner by the mighty Godflesh which they did back in 2000.

Streetcleaner – Isis

Enjoy, and I’ll see y’all real soon.


Portal 2 (PS3) – Valve Software

Portal 2

Regular reader of my output will know that this year I’ve forsaken playing games from the ever-shifting Quicksand of Currency in favour of reducing my teetering, vertiginous Pile of Shame.  Within the Threepaper household I refer to this project as my Pilgrimage to Yesterday, and then Mrs Threepaper rolls her eyes and mimes the wanky-wanky motion.

Anyway, there’s this little puzzle game called Portal 2.

It came out in April 2011, so you all probably missed it while you were tweeting about the Arab Spring and listening to Adele’s Rolling in the Deep or (though no one admits it nowadays) LMFAO’s Party Rock Anthem.  Back then Snoop Lion was still Snoop Dogg.  In many ways it was a simpler time.

Portal 2 is like Terminator 2, in that it is a sequel to something that didn’t strictly need a sequel, but manages to expand and improve on the original instalment.

It starts out in a manner a little too similar to Portal.  You wake up at the Aperture Science test facilities with a portal gun and test rooms to complete at the behest of GLaDOS, the governing computer that says snarky things to you between levels.  The first few test rooms are like a “previously on…” clip to bring rookies and veterans alike up to speed with how the portal gun works.

At least this time we have the bot Wheatley, voiced by Stephen Merchant.  He does a great job here.  I found the opening levels to be slow going, and the Wheatley bits dragged me through it, providing a nice foil to GLaDOS’ passive aggressive banter.  Merchant’s stellar voicework aside, had that been all there was to the game I still would have said “ho hum”.  Although the test rooms introduced new elements to each puzzle, it all feels a bit like a Portal remake.

The Oggmonster is back

Thankfully, Portal 2 really cranks up for its middle and end, and it does so in a surprising way — by delving into backstory.  It’s surprising because “more backstory” was not what I felt a hankering for after Portal.*  Portal 2 gives it to you though, getting into the origins of Aperture Science and GLaDOS herself.  It even ties in to the lore of that other venerable Valve series, Half-Life.

During this segment of the game we are treated with more awesome voice work, this time from JK “That Guy From” Simmons as the founder of Aperture Science.

You know, THAT guy

The game reveals Aperture’s history in a manner reminiscent of exploring a ruined Vault in Fallout 3.  You’re exploring a rundown area while listening to audio logs* recorded at a time before everything went to poo.  It shares that doomed “Yay Science” motif that Fallout has too, where you derive some sort of dramatic irony from the juxtaposition of a voiceover talking about the exciting future of science while you walk among the devastation that such thinking wrought.

The puzzles are more interesting during the mid to late game too.  For this we can thank coloured goo.  First there’s bouncy blue goo, then speedy red goo and finally white goo that allows you to spray portals on to them.  Then — gasp — you may have to use a combination of goos!  These puzzles are where Portal 2 hits its straps.  Once the straps are hit, they stay hit for the rest of the game.  Some of the more fiendish puzzles are between test rooms, moving around behind Aperture’s creaking facade.

I adapted the game’s advertising slogan for use as my personal puzzle-solving catchphrase.  Each time I solved a puzzle, I turned to Mrs Threepaper and said:  “Now THAT’s thinking with Portals”.  As a result, Mrs Threepaper has developed RSI in both of her wrists.

Portal 2 is a superbly crafted game.  It feels honed like a katana blade.  Unlike Portal, it’s been optimised for consoles.  It’s not just the mechanics — every aspect of Portal 2 subtly compels you to keep playing, in the same way a sunbeam beckons you to go outside.  The menu screen and UI are crisp and uncluttered, making it easy to jump right into the game.  The short load times and generous checkpointing within levels mean you can take up pretty much right where you left off.  These sound like minor things, but they are done so well it makes you wonder why others find it so difficult — like when you go to a restaurant and get truly good table service, or when you sit in a chair that feels so much more comfortable than other, punier, chairs.

The levels themselves contain almost subliminal visual cues to hint where you need to go, through lighting and framing.  The size of the environments and the partitioning of levels ensure that there’s no tedious trekking or backtracking.  You can never get stuck.  The controls and the physics are so smooth that when you hit the sweet spot in a level, it lands you right where you need to be without any cheap “missed by that much” moments.  If you progress, it’s because you figured out what to do rather than by fluke or exploit.

Portal 2 doesn’t have moments of heart-thumping tension, teeth-grinding frustration or fist-pumping elation, but it gives you frequent doses of “A-Ha!” moments (no, not those A-Ha moments!) doled out like bits of neural cheese to a lab mouse getting through the maze.  Which is kind of what you are in this game.  Think about that.

It has co-op multiplayer and a level editor too, so … yup.  Those things.

Category Rating
Game mechanics: 9
Atmosphere: 8
Addictiveness: 10


– Felix

* Strangely, “more test chambers” was what I wanted, and that’s the bit I found to be ho-hum … shows that I would probably not enjoy a game designed by me.

** Currently my 5th favourite videogame narrative device, sitting above “Message scrawled in blood on wall” but below “Fake emails from Brucie”.

Trine 2 (PS3) – Frozenbyte

Trine 2

Not every game has to be a blockbusting 50+ hour epicsaga.  Online marketplaces for consoles are teeming with smaller games that don’t demand so much investment of your time, money or headspace.  Trine 2 is certainly one of these.

Trine 2 is more Trine.  It’s Trinier.  The same set up is there:  you play as a wizard, rogue or fighter and can switch between them with the press of a button. Or your buddies can join you for co-op and you each play a character.  The wizard can levitate stuff and conjure boxes and ramps, the rogue shoots arrows and has a grappling hook and the fighter … fights with sword and has a shield.  You side scroll through picturesque levels, solving puzzles and having some combat.

During levels you collect orbs that go towards upgrading the Triners’ skills, such as fire arrows for the rogue, more boxes for the wizard or a frost shield for the warrior.  Some of the skills are necessary for solving puzzles, and at any time you can reset and reallocate the skill points you’ve earned.

Combat is rudimentary.  The rogue can twang at critters with her bow but the fighter does the heavy lifting.  Group encounters often involve being surrounded and the fighter is the only one who can block attacks.  Critters’ AI can be pretty dumb though — I’ve seen critters jump into bottomless chasms that lay between me and them and fall to their deaths.  I was glad that I wasn’t the only one stuffing up my jumps in the game.

Combat is not the game’s strong point anyway — the puzzles are.  The puzzles are a combination of platforming challenge and physics-based object manipulation.  Objects can behave oddly at times and there are some exploits to be had (plank surfing!), but generally the physics system works well.  I liked the addition of elements such as water, shooty plants and acid.  Some puzzles had red herrings, where not every object in reach was necessary to solve the puzzle.

Trine had an infamously teeth-grindingly, screen-endangeringly frustrating end stage.  Trine 2 replaces this with a fight that’s almost too easy.  As with most boss fights in Trine 2, you can win by attrition– bosses’ health doesn’t reset when all the Trinians die in combat, and when all the Trineteers die, you respawn from the nearest checkpoint orb (like the portals in LittleBigPlanet).  So you can spawn the fighter, run over, give a boss a few mashy sword licks before he is smote, let the other two get smote, respawn and do it again.  I suppose you could also win by dodging attacks and waiting for breaks in attack patterns to strike back, but who does that in videogames?

More bloom than when Orlando Bloom met Judy Blume in the flower section of Bloomingdale’s

For its duration, Trine 2 is adequate.  The story serves as the plate on which the game is served and is about as interesting as one.  The levels ramp up in difficulty, both of combat and puzzles, in a manageably linear way and there is a genuine feeling of progress when you get past some tricky bits.  Because the puzzles must be solvable by either one player acting alone or players in co-op, many of them do not have only one right solution, so it is about finding what works (plank surfing!).

It’s hard to say much more about Trine 2.  It would probably be cool to play with your 5 year old kid, if the kid is into age-appropriate games and isn’t raiding on WoW, teabagging noobs or dismembering necromorphs.  Trine 2 didn’t get me philosophising about the state of the world but it was a suitable diversion on a sick day.

The best thing about it was that it reminded me of this:

Category Rating
Game mechanics: 7
Atmosphere: 6
Addictiveness: 4


– Felix

Anthrax – Worship Music (Nuclear Blast)

Album of the Year 2011

Music reviewers have piles of shame too you know.

One of the reasons I decided to take up this gig as one of Australia’s most narrowly read heavy music reviewers was that it gave me an excuse to buy some new CDs.

I don’t get sent a whole stack of free stuff.  Well, people have tried but it’s often ended up rotting on my ‘to listen to pile’ so they never sent me anything else.  To all you people I say this: don’t hate me, please.

So I tend to end up buying most of my own stuff.  And by ‘buy’ I mean buy.  You know, order the CDs and wait for them to arrive in the post.  Or go to the shop, pick up the album, take it to the cash register and pay for it.  I know, it’s bizarre isn’t it?  But I like having the original CD, and I like knowing I’m supporting the artist, and downloading torrents makes me feel like a dirty scumbag.

The upshot of all this is that I have a lot of freedom as a reviewer to pick and choose the things I really want to listen to (which is why so many of them end up with good scores).  And I don’t get flooded with stuff I have to listen to just to keep the reviews ticking over, but I can take my sweet time to absorb a new album and give you my considered opinion on the album in question.

So when a great album comes along, and I take the time to listen to it, to absorb its subtle nuances, to consider its influences and its historical context and to gently sauté it in my brain’s auditory cortices over a period of weeks or months, but then I don’t actually bother to follow up and review the damned thing, well, that gives me the guilts big time.

And when I purport to run a reputable reviews blog that up until now has previously provided ‘best of’ lists, but then one year I don’t provide one and don’t even give an excuse or any mention of the concept whatsoever, that takes me from just vaguely guilty to a negligent prick.

So it’s time to fess up.  To come clean.  To lay prostrate at your feet and beg forgiveness.  And to present you, my humble reader, with the best album of 2011: Worship Music by Anthrax.


Yep, Anthrax produced the best album of 2011.

Obligatory history lesson: Anthrax brought the d-beats and attitude of New York’s punk rock scene to the self conscious posturing of their West Coast thrash peers.  While the others wore leather and spikes, Anthrax wore shorts and skate shoes.  They still played awesome heavy metal, but without the bullshit that went along with it, and they were always more inclined to experiment and collaborate outside the confines of their genre.  And I think this made some metal heads uncomfortable.

They wore their pop culture influences on their sleeves too.  Without Anthrax I would probably never have seen Killer Klowns From Outer Space, and my youth may well have been devoid of Judge Dredd comics, Blue Velvet and Stephen King’s Misery.

The fans dropped off with the departure of Joey Belladonna after the classic Persistence of Time album (and the rise of grunge, blah blah blah), but Anthrax kept producing quality albums with John Bush on vocals.  Critics panned them and fans ignored them but all of the John Bush albums are excellent and worth seeking out if you skipped them.

Rob Caggiano has been the lead guitarist since 2001, and he’s great.  He’s a producer as well as a player and has an ear for clean, classic metal riffs.  You might be more familiar with his recent work with Scott Ian and others in supergroup the Damned Things (who feature on the Friday Night Footy song on Melbourne’s SEN radio, but more importantly had a song on the Batman: Arkham City soundtrack).

Anyway, the big news is that Joey Belladonna is back for the latest album and, as good as John Bush was, this feels like they’ve really got the band back together (apologies to former guitarist Dan Spitz a.k.a. the Shortest Man in Metal, but I prefer the new guy).

Now let me step you through a few of the songs.

After a great, atmospheric intro, the album kicks off with the manic Earth is on Hell, a song about worldwide riots, anarchy and revolution.

Fight ‘Em Til You Can’t was released for free when the album came out (available here), and is a “zombie killing thrill ride” whose verses call to mind the manic thrashy goodness of the A Skeleton In The Closet off 1987’s Among The Living.

i.e. This…

…reminds me of this…

There are other examples of songs that riff off their earlier work, but why the hell not? As I’ve always said, if you can’t rip yourself off who can you rip off? And the production on this album is great so it’s nice to hear a new take on that old sound.

The standout song is the anthemic chugger at the centre of the album called In The End.  The vocal performance by Belladonna on this song rivals Dickinson or Dio at their sky-punching best.  It’s the tragic story of the fallen hero who decides to rise up and take one final stand, only to find he’s left it too late and the battle has already been lost.

Maybe that’s the story Anthrax want us to take from this album.  This is a work of metal genius – one (possibly) final, mighty effort from a metal behemoth that has so often been underrated and dismissed, and like the hero in this song, they’re pounding on the door, but it’s already over – the music scene now a fragmented, hedonistic mess.  Old warriors like Anthrax are destined to swig their mead and trade old war stories in musty taverns while the spotlights are turned on the pretty boys, autotuned cardboard cutouts and tepid folk rockers of today.

I know where I’d rather be.

Category Rating
Production: 10
Songwriting: 10
Creativity: 7


– Hazizi

InFamous 2 (PS3) – Sucker Punch

InFamous 2

Sucker Punch is an apt title for the developers of InFamous 2.  This game looks generic at first glance, but it contains some design choices that provoke deeper political meditations on the social contract.  It may not be Chomsky, but it certainly makes you think more than the faux-intellectualism in Modern Warfare games where “War’s bad, mmmkay?” quotes are sprinkled between triumphalist gun porn.

Let’s deal with the first glance — it’s set in an open world, you play as a superhero with electricity powers that upgrade as the game progresses, and there’s a binary morality system that influences the story and the powers you get along the way.  Nothing particularly new in that, but it’s in the details that things get interesting.

The first interesting detail is the choice of open world setting — New Marais, a recreation of New Orleans, post-hurricane Katrina.  Apart from mimicking the colonial architecture of the French quarter, they have simulated the effects of flood.  The town is dilapidated and largely without power.  One sector in particular is especially slummy and semi-submerged.  The citizens are struck by disease and there is no government to assist.  Sucker Punch has based its broken city on a real disaster, rather than an imagined one.  This more affecting than the more typical fare of apocalyptic New York or the Fallout 3’s “Independence Day” depiction of iconic DC landmarks being destroyed.

Even though the story is fictional, you can’t help thinking about New Orleans as you traverse the space.  Katrina said to Americans (not for the first time): the government has not got your back.  Despite the myths America tells itself about how special it is based on whuppin ass overseas, it clearly cannot look after its own.

New Marais takes it one step further.  It is in anarchy — the state is not merely incompetent, it is absent.  Private interests emerge to fill the power vacuum.  Because this is a videogame, these private interests include superpowered mutants and militia groups.  Weird swamp mutants are terrorising the people and the militia seem to be the only ones who can keep them at bay.  The militia are mini-fascists who treat citizens like crap and aren’t big on the healthcare and food side of things; their claim to power is based on the protection they provide.  New Marais has been taken back to a near-feudal condition.

Your character, Cole McGrath, came to new Marais with his tail between his legs after being smashed the colossal Beast in the game’s opening.  The Beast is making his way to New Marais too and Cole’s personal mission is to power up so as to be strong enough to take him on.  Every time you start the game up it tells you how many miles away the Beast is, and he gets closer as Cole progresses through missions, which is a nice way to keep the endgame in mind and give a sense of pacing.

The flooded, depowered nature of New Marais city has ramifications for how Cole experiences the place.  Cole needs power to recharge his own electrical abilities and he is not keen on water.  Finally we have a decent narrative excuse as to why a character can’t swim!  The ruined slums also ruin Cole’s ease of traversal and regeneration.  The mutants and militia provide early game fodder for Cole to zap.  Just who he zaps depends on his moral choices.

The morality system is another interesting detail, more for the story it provides than the choice it allows.  It is basically a binary choice between playing Cole as “good” — someone who sublimates his own power to help the people of the city, or “evil” — where Cole regards the people as a means to his own end.  At the extreme ends of the karma meter, you unlock karma-based powers and story choices.  In order to get these benefits, you will have to decide early on to be good or evil and stick with it.  There are no rewards for playing it neutral.

Moral choice based on colour scheme

It is the lack of choice that made the system interesting for me.  I played as a goody-two shoes — which I always do, despite it all — and some of the “good” choices, especially towards the end, are not what I would have chosen for myself but I had to see them through because I was committed to that path.  It doesn’t make decisions difficult, but it makes them painful.  I was genuinely moved by the choices I had to make at the end.  I watched the “evil” endings on YouTube and there was some poignant stuff in there too.  The morality system is more a way to tell two different stories rather than a simulation of real decision-making, but the choices and stories were written better here than in InFamous.

Another interesting detail that made InFamous 2 shine is the mechanics of Cole’s electrical powers.  Many of Cole’s offensive powers are roughly akin to different guns — there’s weak bolts that are like pistols, higher powered bolts like rifles, a zoom-in sniper bolt, an area effect blast that’s like a shotgun, and electro-rockets and grenades.  The interesting bit is that, once they are unlocked, Cole has access to all of them and they use the same ammo — Cole’s own electricity reserves.  I love this for two reasons.  Firstly, it breaks the “2 guns only” rule that so many shooters seem to have these days.  Secondly, I didn’t hoard grenades and rockets.

In other shooters, I jealously hoard my grenades, fretting that there is an even bigger battle around the corner where I will need them, and if I use them now I will never be given another one and I tend to or stick to automatic rifles because of their high ammo capacity compared to shotguns, but here I could pull out whatever I thought was best for the situation.  Sometimes that situation involved grenade spam, I am not ashamed.  It was a revelation to open up my play style to the full arsenal of weapons and powers, instead of finding a few tried and true techniques.

The missions and enemy types are also designed to require you to use your full gamut of powers and I never felt the missions getting stale.  There are some truly large battles to be had, including fights that take part over many city blocks where you are beset by a combination of large foes and annoying small ones and you have to keep moving and switch up your attacks to prevail.  The ability to throw cars may seem like an overpowered luxury, but it’s strictly necessary when a mutant acid-spewing behemoth is stomping after you.

Throw that car … you know you want to

Certain upgrades only become available when you have completed a prerequisite task, eg get a certain number of headshots or whatnot.  This provides further incentive to mix up your tactics.  As I’ve said before, I don’t mind these tasks when they are tied to in-game rewards rather than mere trophies.

Checkpointing in missions is also handled well, which is good because many of them are multistaged affairs that involved going to numerous locations or taking down a beastie in various stages and you don’t have to start all over again if you fail halfway through.

Side missions and collectibles are compelling but not too overwhelming — in my older age, I get put off by too much distraction.  I like to grind to get extra rewards and powers but once I fill out the power tree, I am done.  There’s a reasonably interesting user-generated content feature here too, where players can design their own missions and upload them for others to play.  I gave some of these a go out of curiosity — they were OK, they do not count as side missions for the sake of unlocking upgrades, so there is little reward for playing them beyond just wanting more InFamous 2.  I found there was enough content in the story missions to sate me.

InFamous 2 has its niggles — traversal and building climbing are a lot smoother than in InFamous, but it can get frustrating.  For a guy who can scale the side of a building, Cole has particular difficulty getting onto a ladder.  Sometimes in big battles the camera can betray you But these are niggles.    InFamous 2, has a unique setting and a better-than-average story that combine to be surprisingly thought-provoking.  It’s also got a neat set of mechanics and mission design that encourages you to use them all.  Overall, it’s pretty damn smooth.

Oh and one last thing, sorry I couldn’t resist – I’ve made it this far!


Category Rating
Game mechanics: 9
Atmosphere: 9
Addictiveness: 7


– Felix