MetaFilter posts tagged with PC

Obsessive-Compulsive Development: Retro/Grade Postmortem

SpacemanStix — Tue, 28 May 2013 15:07:20 -0800

An honest, heartbreaking, and ultimately informative postmortem on the positively rated game Retro/Grade presented at the 2013 Game Developers Conference.

Permadeath. Puzzles. Portals. Pong

boo_radley — Tue, 09 Apr 2013 20:56:29 -0800

2x0ng (and its predecessor, Xong) is a hybrid roguelikes that has the appearance, sound and mechanics of Atari age games. Levels are randomly generated, and the rules are up to you to discover. Here is a video review for your elucidation. Available for PC, Mac and Linux.

Peddling the jump-shoot-dodge cycle.

cthuljew — Fri, 08 Feb 2013 01:17:26 -0800

Flash Friday: Intrusion is a 2008 run'n'gun side-scrolling flash game by Russian developer Aleksey Abramenko. Try the demo of Intrusion 2, his 2012 follow-up, finally out after three years of development.

EPIC RAP BATTLES OF HISTORY! ...RHAOMI! ...VERSUS... RHYTHM! ...BEGIN!!!

Rhaomi — Mon, 10 Dec 2012 12:33:49 -0800

The Typewriter at the Gates of Dawn

Wordshore — Tue, 20 Nov 2012 00:25:16 -0800

The BBC reports that the last typewriter to be built in the UK (according to its manufacturers) has been donated to London's Science Museum. "Brother said it had stopped making typewriters because demand had fallen to 30 a day, with most of those being sold in the US." From less than five years ago, another BBC news story: "The Japanese multinational Brother sold 12,000 electronic typewriters last year in the UK..." The first typewriter was patented (but not commercially manufactured) in 1714. Though many other mechanical typing devices were invented thereafter, the Sholes and Glidden typewriter (developed between 1866 and 1874) was the first commercially successful model, and the one which gave us the world 'typewriter'. Though in decline, the typewriter industry is not - contrary to recent reports - completely over. As recently as last year, one manufacturer was producing machines for the US prison system. New Brother typewriters are still for sale on Amazon. And Mom and Pop and independent stores, from Oregon to Massachusetts, are still around. The Flickr Writing Machines group contains many pictures of typewriters.

Fixing Windows 8

JHarris — Mon, 29 Oct 2012 12:06:59 -0800

Classic Shell is an open-source program that fixes two of the biggest problems users perceive with the newly-released Windows 8: it brings back the Start Menu, and it allows users to log-in directly to the Desktop instead of the Start Screen. (8.4 MB WINDOWS DOWNLOAD)

The best free games from across the web

Rhaomi — Wed, 24 Oct 2012 09:24:45 -0800

For about three years, the A.V. Club ran Sawbuck Gamer, a regular column reviewing the week's most notable free and cheap games across all platforms, from web games to handhelds to console downloadables. It's a treasure trove of content, especially since more literary sister site The Gameological Society took the helm, and it's publicized great desktop projects like the luscious platformer Frogatto (previously), feature-rich Super Mario Bros. X (previously), the evocative faux-web Digital: A Love Story (previously), interactive fiction gem Rover's Day Off, and the hyperkinetic RunMan: Race Around the World (previously). But if you're in the mood for something more immediate, why not start with a list of all the original column's free A-rated online titles? [All descriptions are excerpts from Sawbuck Gamer reviews] 2009

When Pigs Fly...: After your poor little piggy falls down a hill, she sprouts wings and attempts to navigate its craggy innards. If your impressive wingspan so much as brushes any surface, you’ll plummet to your death while a dusting of feathers peacefully drifts down and an annoyingly hilarious squeal serves as your death rattle. Get used to that sound—you’ll be lucky to scrape by with only 500 “accidents” after one addictive play-through of this ingratiating exercise in frustration.
Wonder Bounce: Never has a terrifying out-of-body experience been so adorable. Darthlupi’s Wonder Bounce puts you in the ghostly shoes of “Ishmoo the sweeper,” who stumbles on a sacred book that casts his soul “to the land of the damned to train in the art of wonder bounce.” That's all a fancy way of saying that you play a spooky janitor who must hop on wave after wave of lost souls to prevent them from commandeering your vacant body at the bottom of the screen.
Labyrinth Hero: Hero’s 10 dungeons all follow the same pattern (every floor has two enemies, a treasure chest, a switch, and a hidden staircase to delve deeper), but it rejuvenates these conventions by limiting your view to what you can see immediately around you with a conveniently aimed spotlight.
Guardian Rock: It lets you control an angry block of stone (like Mario’s Thwomps) that must eradicate the invading fedora-wearing explorers from your temple. It isn’t as easy as it might sound: Chess-like strategy and patience must be employed, as the temple’s traps can harm your blocks in addition to the marauding archaeologists. Since you move like a rook, you must plan ahead for your next three moves at a bare minimum.
Time Fcuk (previously): You’re greeted at the outset by yourself from 20 minutes in the future. Your future self is a rude sort, shoving you into a bottomless box where the normal rules of physics cease to apply. In each level, you shift back and forth between 2-D universes layered atop each other, and as if that weren’t enough, Time Fcuk introduces further complications at an aggressive rate. What really sets the game apart from forbears like Braid, though, is a muted visual and aural palette that lends it an eerie, oppressive feel.
Canabalt: Imagine Mirror’s Edge as a 2-D NES game with your control stick stuck, forcing you always to dash to the right over city rooftops. That’s Canabalt. There’s little margin for error—let a single stray office chair or anything else trip you up, and you probably won’t be able to properly time your next jump. The widescreen, black-and-white presentation gives Canabalt a striking cinematic quality, and since it only allows you to decide when to jump, and makes you surrender all other control, you’re forced to be completely in the moment and just react to the unfolding rooftops ahead of you, trying to lengthen the survival time before you inevitably splatter against some unyielding surface.
Icycle (previously): As a naked bald man in search of some company on glaciated post-apocalyptic earth, you pedal your squeaky bicycle through vistas that are tricky to navigate, but never unfair. Frozen soap bubbles from a mysterious source hint at the one ideal path through each stage. The game draws visual inspiration from diverse sources, including Soviet propaganda and Japanese woodblock prints, yet it all works together, united by a sense of lonely fatalism: You can never go back, but at least you can go forward.
Sweaty Boy: This puzzle game asks you to navigate a shivering pale kid over to a warming fire and keep him there for three seconds. He can’t move on his own. Instead, you use gravity and moving blocks to navigate him over to the goal. Clicking on a white object makes it disappear, so if your guy is on a white rectangle hovering over a ramp, clicking on the rectangle sends him tumbling down. Running into enemies, like a snowflake cannon, forces you to start the level over. While all this is going on, the background flashes shades of orange, and the creepy, slowed-down house/trance hybrid music pulsates. [...] Everything operates in harmony, from the scribble-like drawings to the sound of the raging fire underneath the musical score, casting a melancholy shadow over this inventive puzzle game.
Closure: Using the arrow keys and spacebar, your simple figure carries only tiny, light-shedding orbs in a mysterious black-and-white world where objects are only solid when illuminated, and cease to exist in the dark. Achieving each stage’s single objective—reaching a door, sometimes shuttling a key along—requires creative use of this shadowplay. Leave the guiding light behind or place it in a traveling sconce to pass through a solid wall, but if you end up alone in the dark, you’ll fall through nothingness to your death. Solutions always feel like they’re just outside the range of your little sphere, a mesmerizing effect that grows as the nine stages increase in complexity. [The heart is a loading bar, btw]
Miami Shark (previously): You’re a shark, and you’re hungry. That’s the premise of Miami Shark, a sidescroller where players control a pissed-off great white wreaking havoc on Miami’s coast. You gain points by diving into the water and leaping up to crush boats and chomp on planes, which you can drag out of the sky to produce huge destructive explosions. These in turn blow up more stuff, with people pouring out of the wrecked vehicles. Chase swimmers down for snacks, and they leave behind bloody stains on the water, which is the only real hint of gore the game provides. Otherwise it’s just hilarious and addictive as your victims freak out, screaming "OMG!" and "Shark!"
Hell Is Other People: Hell Is Other People is haunted. That is, it’s a straightforward top-down shooter with a novel twist: The enemies you face in dogfights are previous human contestants. Their bobbing and weaving and bursts of gunfire have nothing to do with you—it was their turn in a prior life. The longer you endure your mysterious opponents’ maneuvers, the more ghosts emerge. Hell Is Other People starts off simple, with a battle against just one enemy ship, but it gets downright insane when 15 or more ghosts fill the screen.
Cuboy: Back To The Cubeture 1: With his every move backed by an a capella soundtrack (which is 90 percent less annoying than you’d expect such a thing to be), Cuboy chases an evil cat back in time to the Wild West, where he tries to stop him from traveling through time—and fails, obviously. This adventure and its simple puzzles are a nice diversion, even if the controls can feel a little muddy, but for once the highlight of a game is the huge dialogue trees.
Small Worlds (previously): At the outset, Small Worlds looks like little more than a clichéd pixel-art lightshow, with huge blocks of color dominating the screen. As you maneuver your 1-by-3-pixel protagonist through his surroundings, though, the camera pulls back and the details fill in. You’re in a bubble. The bubble connects to an underground facility. The facility has suffered serious damage. The joy of Small Worlds comes in painting the scenery yourself through exploration, so it’s hard to say much more without ruining the experience. The game ought to be savored—it offers patient players more poignancy than the modest setting would suggest.
The Fantasy of the Sord: The game itself plays out like a combination of The Legend Of Zelda 2 and the original Metroid: Your pixelated character (chosen from a few purely aesthetic options, like a rock monster or a tree guy) makes his way through a handful of platformer-type levels, slashing enemies with pointy weapons he finds along the way. Each new one is more powerful than the last, and you pick up spells from killing bosses—early ones heal you, later ones provide abilities like invisibility and the ever-helpful teleport. Because there are multiple ways to get to each new area, the game lacks a linear progression. But that’s part of the fun: When you start over by slaying the final boss, you get a second chance to collect what you didn’t before.
Full Moon: Each level features a sparse screen where the centerpiece is a wide-eyed bunny longing for something to eat. The colors are stark: a white moon on a deep blue sky above black grasses, trees, and occasional unlit light bulbs or brooding owls. Players must figure out what to click on, drag, or drop to help the rabbit find his snack. It’s the best sort of challenge, where experimentation eventually unlocks the right answer, though you might need to restart a level to undo mistakes you’ve made.
Cat Got Lost: The feisty feline’s position changes along a plus-sign-shaped track with randomly generated but strategically placed colored doors and keys in 20 levels. Move too fast and you’ll wind up accidentally squandering a key when you didn’t mean to, leaving the poor puss to grow sadder and sadder in its newfound freedom. The reward for retrieving your kitty is an adorable mewling noise and a strangely fragmented musing on why he keeps absconding (“My cat gets lost some more,” and “Why do you run away, cat?”), suggesting a tragic subtext that maybe your cat doesn’t want to be rescued.

2010

Continuity: A mix of n+ and a devious logic puzzle, with minimal Swedish design and a tinkling score that recalls Danny Elfman’s quieter work for Tim Burton, Continuity combines familiar ingredients, but gets unusual results. At its base, Continuity is the simplest sort of puzzle-platformer. Find the stark red key standing out from the gray and black of the game’s backgrounds, then get to the door. This becomes more difficult as the game goes on, of course, but it’s tricky from the start, since Continuity’s levels are broken into multiple windows. These windows can be rearranged at any time, creating a new path to the goal for your tiny stick figure.
Sushi Cat (previously): You drop the titular cat over segmented, single-screen stages that have happy sushi pieces spread between a variety of ramps and obstacles. Your cat bounces about, gobbling raw fish to fill its belly (signified by a stretching Long Cat lining the left side of the screen) and get high scores. Sushi Cat is score-attack pachinko with cartoon cats and a reggae-pentatonic fusion soundtrack. It’s delicious.
The Adventures of One-Button Bob (previously): You control an extremely pixilated Ranger Smith-looking guy as he marches from the left side of the screen to the right—how you control him is a mystery. The only sure thing is that the left mouse button does something. In some levels, clicking lets you jump. In others, you’ll climb ladders or merely hold still. As other games are getting more convoluted, it’s refreshing to be restricted—it makes you pay that much more attention.
Hoosegow: Tossed in a Wild West county lockup after a botched train heist, you’re joined by a dull-witted sidekick, a deranged preacher, and an assortment of inventory items that seem useless at first yet (surprise!) prove handy in breaking you out of the joint. Yes, MacGyvering your way out of a locked room is the oldest trope in the text-game playbook. With a tight prose style that’s half Buffalo Bill and half Oscar Wilde, though, the old standards don’t seem so bad.
Dual Transform: You’re trying to escape a subconscious realm that shifts in appearance in response to your conceptualization of simple forces: heat, electricity, etc. Sounds wonky, and it is, at first. But the idea gels around the second transformation or so, and the tale’s straightforward elegance comes to the fore. With almost no tedious inventory management—you only have one item, which can transform with the surroundings—Dual Transform sidesteps the trial-and-error dynamic of most interactive fiction, and lets players focus on the ideas behind its puzzles
Don't Shit Your Pants: A Survival Horror Game (previously): Don't Shit Your Pants opens with a bald man standing in his undershirt and pajama bottoms outside a closed door. The opening line, "You really need to take a shit…," joins Zork's classic "west of a white house" line in the pantheon of gaming's great first lines. Via typed instructions—for example, "remove pants"—various crap-related achievements can be discovered. The charm of the production comes from the 8-bit era graphics, MIDI keyboard soundtrack, and the ineffable poetry found in lines like, "You couldn't hold it anymore, you just shit your pants! Game over!"
Synopsis Quest Deluxe (previously): Every annoying convention of early RPGs—endless dialog boxes, lobotomized villagers parroting their one line over and over, item-fetching missions—is present in Synopsis Quest Deluxe, and those design crutches are the source of its wit. Over the course of 25 mini-quests, the game pokes fun at the creaky genre's old habits and twists them in tricky ways.
Mushroom Madness 2: The first Mushroom Madness was a reasonably cute browser game where players tried to protect mushroom patches from marauding animals by smacking them with a spatula, or occasionally gaining temporary guns for more satisfying splatter. Mushroom Madness 2 is bigger and better in all ways: It piles on more adversaries, achievements, weapons, goals, upgrades, modes, and mini-games. It also keeps Mushroom Madness' flexible play system: You can move freely through “adventure mode” even if you eke through each level with mere bare survival, or you can achieve side-goals to unlock additional levels in tower-defense and shooting-gallery modes. Finding a level too hard? Play mini-games or replay levels and upgrade weapons and powers. Finding a level too easy? Frantically smash trees in your spare time for extra cash. Either way, it's a fast-paced, appealingly designed, colorfully cartoony game, and there's a lot of it to unlock and discover as well.
Daymare Town 3: In Mateusz Skutnik's third warped merging of Edward Gorey, Dr. Seuss, and Myst, you awaken after an ill-fated hot-air-balloon outing to find yourself in a strange town with stranger inhabitants. They're more scared of you than you are of them, and not without reason: As you click around the alternately charming and eerie hamlet, you'll have the chance to drug, steal from, trade with—and yes, perhaps kill—some of the misfits holding the keys to the game's myriad puzzles and your eventual escape.
SteamBirds (previously): On a fatigue-green topographical map, you plot the attack course for your fleet of fighter planes, selecting a flight path that intersects with enemy planes. Your ships automatically fire, provided they're in range of baddies. You are awarded stars based on your performance, allowing you to progress through the stages and increase your rank. SteamBirds is deceptively simple, as bringing down even one plane can prove trickier than you first suspect. As the game advances, adding more abilities to your fleet and throwing cagier enemies at you, it becomes an exercise in delicious strategy.
Super Mario Bros. Crossover (previously): This browser-based game is a re-imagining of the original Super Mario Bros. in which you can play as Mario or one of five other characters: Link, Samus, Mega Man, Simon, or Bill R. from Contra. Each has his/her own set of skills, some of which upgrade as you pick up mushrooms and fire flowers. Samus, for example, goes from short-range cannon to long-range to wave cannon—while the whole time, she can roll into a ball and drop bombs. Of course, each character also has drawbacks: Link has a sword and a boomerang, but lacks size and easy maneuverability. So you have to choose the best character to face each level (especially given that power-ups stay with them as they swap out), and the Super Mario Bros. strategy becomes richer, more nostalgia-laden, and packed with unexpected mystery.
Enough Plumbers: Every time your anonymous mustachioed Italian plumber collects a coin in this game, he spawns a duplicate of himself. In the first few levels, this means little more than the fun spectacle of watching an army of squat little dudes hop across the screen chirping “It’s-a me!” In short order, though, those clones become more useful as you enlist them to solve the game’s increasingly elaborate puzzles.
BigTree Defense: BigTree Defense takes the tower-defense game to a weird place: Your towers are flowers, which you place on a tree seedling in order to fend off space bugs that are invading the stricken, polluted earth. Wait, don’t insects and flowers normally get along? Well, never mind. Point is, BigTree Defense adds a few nifty organic wrinkles to tower defense. For one thing, you choose how to construct your tree. Killing insects gains you water, which can be used to heal your tree or upgrade it with more branches. Branches can also be upgraded to permit more flowers, or more sub-branches. And branches can be manually angled outward for layered defense, or inward to pick off those pesky insects as they concentrate on your trunk. As a result, you can wind up with a slim, upright tree or a huge bushy one, depending on your design choices.
Viricide: Ever since Portal, the idea of a crazy yet funny female-voiced computer has been all over indie games. Call it homage or rip-off, depending on whether you actually like any of those games, but either way, give credit to 2DArray’s Eli Piilonen for taking it a step further with Viricide, a visually simple retro shooter in which you’re helping one such crazy computer debug herself, so that she becomes increasingly self-aware—and increasingly morose about it. The story is melancholy and creepy at the same time, but it succeeds more on the basis of the game, in which you zip around the screen shooting glowing geometric viruses, collecting the bits that result when you destroy one, and using the bits to fund upgrades.
Clockwords (previously): Word nerds who thrive under pressure should addict themselves to Clockwords, a browser-based game that applies the word-making mechanic of Scrabble to a tower-defense-style combat game. The player constructs words using letters of unequal value: R and S are small-bore, while a Q does serious damage. You can use any word in the dictionary—for extra points, you can use the dictionary.com word of the day—but you'll have to think fast to stop a series of steampunk spiders from invading your base; your carefully crafted "remunerate" and "callipygous" shrink to a stream of "toe"s and "not"s as the enemy creeps closer.
Kill Me!: The game stars Invincible Man, a masked superhero who is weary of eternal life and wants only to experience what he calls in his suicide note the "sweet relief" of death. It's up to you to guide him to his demise. The goal is to penetrate a top-secret government lab in search of X-12, a poison that will put Invincible Man down for good. Each level requires you to hurl Invincible Man onto spikes or from great heights—go ahead, he asked for it—and then to use the corpses left behind as stepping stones to reach the exit.
Larry And The Gnomes: The once-peaceful, cute gnomes have gone berserk, and it's up to the chosen one, Larry, to stop them. His quest in Larry And The Gnomes involves a spectacular amount of carnage, as he culls mobs of the little forest folk using anything from swords, hammers, and axes to the heads of his fallen foes. The comically gory game has excellent voice acting and absurd humor from characters like the clueless king and the patronizing wizard who sends Larry on his journey. It also provides a solid balance in difficulty.
Fault Line (previously): The protagonist—a curious little metal man—is lost in a maze of twisting passageways occasionally interrupted by spiny things or death-lasers. Naturally, he has to navigate his way to an exit point in each level. The wrinkle that makes the game work involves just how the hero finds his way out—making new paths by folding together pre-selected points within the passages, as if they were Mad magazine back-cover fold-ins. Threats disappear, new platforms and passages appear, and the mazes tangle further or detangle completely.
60 Seconds To Save The Queen: Using the arrow keys and space bar, you navigate a pixelated king through the halls of his castle as the walls collapse around him. Each room is exited through a looming black door, and if you fail—by falling in a pit, say, or getting pierced by a spear-toting guard—you give that room another shot. But you have to finish the game once through (in spite of occasionally wonky controls) to realize the title is mercilessly accurate: If you’re even one second past 60, you fail. Then it’s back at it again, blindly bouncing past obstacles, surrendering to sheer momentum.
Halo 2600 (previously): Former Microsoft executive Ed Fries has transplanted the soul of the Halo series into an Atari 2600 game whose code occupies 4 kilobytes, or 0.000045 percent of a modern Xbox 360 disc. This is no slapdash hack job. If Fries’ game had been released in 1978, it almost surely would have been a system-seller for Atari, just as the modern Halo series has been for Microsoft. As a sort of Cro-Magnon Master Chief, players soldier through a world that’s four zones deep, peppered with equipment upgrades, and populated by low-res but recognizable Covenant enemies. Much of the game’s excitement comes from the screen-by-screen exploration that was standard in games of that era. (Think Adventure.) When you walk off the edge of the screen, you have no idea what’s on the other side.
Gravity Hook HD: The original Gravity Hook predates Canabalt and has now been overhauled and enhanced in this pretty update. What hasn’t been touched is the punishing difficulty, sure to aggravate those not patient enough to tackle the learning curve of swinging your robot’s grappling-hook arm from floating buoy to floating buoy. You’ll have to harness both centripetal and centrifugal force early on, as many of the higher-up buoys are land mines that explode if you touch them. In other words, it’s as frustrating as Canabalt, but much more skill-based—and another example of why the world needs many more grappling-hook-based games.
Achievement Unlocked 2 (previously): It’s a meta-gaming riff on piddling awards doled out for ultra-trivial accomplishments, and includes such gems as “Mission Accepted” for starting the game, “Silence is Golden” for pushing the mute button, and “BILLY MAYS” for enabling caps lock. Instead of the original’s 100 nigh-random tasks and its single room full of lifts and death traps—themselves required to access medals like “Impaler” and “Multideath”—this installment stretches the running gag across 250 achievements and five floors, most of which are only accessible after you exchange your elephant’s easily earned cash for ineptly “marketed” expansion packs.
Tower Of Heaven: The protagonist is a tiny ragdoll of a man who longs to reach the top of a tower. The tower’s owner sets out a variety of rules he must not disobey (all in the “Thou shalt not” format), but our hero plunges forward nonetheless, as the rules get more and more ludicrous and the master’s wrath grows ever more vengeful. By the time the game insists the little man may no longer run left, lest he be smote, while a giant saw blade bears down on him immediately from the right, it reaches a level of ultra-difficult insanity that few browser games achieve.
Robot Wants Ice Cream: The boxy unicycle robot, alongside his mostly useless brown puppy, flits around a tropical grassland to build up his strength (with gradual upgrades) and conquer the flying saucer that hovers ominously overhead. The quest is dotted with small boss fights that are unlikely to test anybody’s patience, thanks to a generous respawn system (think BioShock’s Vita-Chambers, but twitchier). The bosses do offer variety, though, and Robot isn’t so much about challenge anyway: It’s about basking in the game’s unabashed cuteness.
Electric Box 2: As in the first game, Electric Box 2 asks players to connect a power source to the target using a Rube Goldberg-ian system of transmitters. A tea kettle pours water into the turbine, which powers an electric fan that sends a burst of air into a set of wind chimes, which make the music-loving hamster spin his wheel—and so on. The puzzles are all excellent, and the ambiance really brings the game home.
Pixel Purge: Using the arrow keys to maneuver and the mouse to aim and shoot, players must weather an unending barrage of monstrous invaders floating through space. The game starts out with simple peons who move in a straight line and are only a threat if they crash into you. As you level up, the combat gets significantly harder, as new types of invaders fill the board with explosive mines, split into other invaders upon death, or spawn tiny monsters that zoom in on your ship. Leveling up also grants skill points that can be used to upgrade your craft. The game is enhanced by solid music and ominous thunder-and-lightning effects that show silhouettes of monsters yet to come.
The Room: The Game (previously): In paying homage to their favorite poorly acted, poorly plotted would-be Skinemax film, the creators of The Room: The Game breathe new life into the already vibrant, lumpy “film.” (Here’s more about The Room’s glory.) The game is a point-and-click RPG, spinning the characters, the city of San Francisco, and even the ridiculous soundtrack in 8-bit. You guide hero/household-provider Johnny through the events of the film, and always from his perspective. Johnny actually goes to buy the red dress for Lisa, and actually carts Chris-R to the police. The tiniest details make the cut: When Johnny and Denny play catch on the roof (a mini-game of sorts), they only toss the ball back and forth once, as per the film. There are also plenty of Easter eggs for longtime fans of writer-director-producer-star Tommy Wiseau and his vast mythology—like the poster from Citizen Kane in the hallway—as well as those who’ve speculated about this film for far too long.
Warlight (previously): Warlight is Risk-lite, online—at least in concept, as the execution is far more engrossing than a simple port. The rules remain roughly the same: Using an ever-growing army, conquer the world and vanquish your opponents via a battle simulator (dice in the board game, a simple algorithm in this version). There are cards to collect, just like in the board game, but that’s where the similarities end. The online version includes gameplay enhancers like fog (you can only see territories right next to you) and a savvy simulator that mixes enemy actions with your own for dynamic, unpredictable battles. Of course, board games can’t be played alone, and Warlight comes equipped with an AI, proving a worthy opponent when friends aren’t around.
Give Up Robot 2: The original’s slick presentation has been made warmer with an earth-tone color palette, and the tight grappling-hook play for navigating the game’s single-room obstacle courses has been complicated and improved with more moving parts. Smiling blocks carry you once you’ve grappled on, other blocks must be dragged down to open doors, rockets must be ridden to open new paths—it’s a whole new game.
Reachin’ Pichin: Your little avatar shoots up into the sky, and you use the mouse pointer to guide him onto platforms to bounce ever higher. After each failure, you upgrade your character and make another—hopefully loftier—attempt to reach the stratosphere. Kurechii Interactive, unlike their predecessors, have managed to gussy up the type with impressive and satisfying depth. Pichin, a flying blob, has five basic stats (launch speed, max speed, bounce speed, strength, and luck) that can upgraded. Additional stat-augmenting items can be created in the lab using objects and experience acquired during launch attempts stages. Up to five items can be equipped, provided your experience is high enough. Pichin himself can be evolved into four new versions, going from infant to tween to mature to champion. Taking a run at one of the game’s stages to earn quick points and level up is consistently joyful, in spite of the grating giddy tunes.

2011

Mother Robot: You’re in a cave illuminated by only a single light source. There’s a lone robot with a beam attached to its head, capable of pointing in any of the 360 degrees. After some trial and error, players can determine how to cast light farther down the cave. Suddenly, there are two robots. As players proceed deeper into the world, a third joins, then a fourth. Soon the puzzles become too complicated; a robot slips into the darkness, only to instantly fizzle along with his brothers. The robots work together, digging down into nothingness, praying their light isn’t extinguished by a careless slip-up.
Tag Attack: With all the hubbub about touchscreens, Kinects, and Wii-motes, it’s easy to forget that the computer mouse was the first great motion controller. Players get a nice reminder with Tag Attack, a Galaga-style shooter controlled entirely by pointing the mouse at targets. The shift in focus from shooting toward aiming has a subtle soothing effect. It doesn’t hurt that Tag Attack is gorgeous to look at and listen to, with great sound effects and delightful firework explosions with each alien ship destroyed.
Fotonica: It’s a minimalist browser game whose black-and-white vector look adheres to both schools and uses negative space, sound, and fast play to elicit visceral responses in players. There are two stages, Cairoli and Cardona, the first with a “broken bridges in the woods” theme and the second a ruined highway. Both are also available in “Pure” modes, where the loose aesthetics are tossed aside in favor of unadorned abstraction. You hold a single button to run forward and release it to jump between sections of track, managing speed to clear gaps, and collecting orbs that increase your velocity. The speed, the stages, and the clicking electronica soundtrack all cohere into a beautiful package.
The Great Gatsby (previously): Nick Carraway is the high-jumpin’, hat-slingin’ hero, battling his way through butlers, flappers, boxcar hobos, and gangsters as the story of The Great Gatsby unfolds. Daisy and other characters appear, as does the giant pair of spectacles, as a boss fight. Everything in Gatsby services its 8-bit inspiration: The screen is laid out like Ninja Gaiden, graphics are charmingly simple, the music recreates frantic ragtime in retro tones. It all works—so well, in fact, that it’s disappointing when the game ends after only four levels.
Jorinapeka: The goal of Jorinapeka is to clear all the colored circles on the board by clicking the colorless circles. Each time you click one of the discs, it sets off in the direction indicated by its arrow, gobbling up other pieces and changing direction according to their arrows. Early levels can be solved by clicking the first move you see to clear a colored circle. To beat higher levels, you’ll need to plot your moves carefully, trying to clear away as much of the board as possible with a single move.
The Man With The Invisible Trousers: The first surprise in The Man With The Invisible Trousers occurs when your character takes his first step—or whatever word you’d use to describe a floating upper body moving forward an incremental amount. It's amazing how much of a cognitive tizzy it is to guide a gliding torso, especially when navigating the puzzling levels, which require jumping, running up walls, and dodging inconveniently placed spikes to find an exit. Invisible Trousers subverts its novelty premise, demanding players to constantly question the mechanics of how the character leaps and squeezes through tiny holes—or what even constitutes a hole when platforms are viewed at unexpected angles.
Sushi Cat 2: How do you improve upon perfection? Such is the dilemma facing Armor Games when creating a second sequel to Sushi Cat, a game whose praises we were singing just a year ago. (We missed covering the interim game, Sushi Cat: The Honeymoon, which continues the story.) The solution? Put Sushi Cat in a goddamn ninja costume. Sushi Cat 2 is the Platonic form of a great sequel: It’s a bigger and better version of the pachinko-based, excessively cute fat-cat adventure where the solution to romantic difficulties is to overeat.
Test Subject Blue: You star as the blue enzyme, enemy of all things orange, and wielder of a big-ass gun that lets you destroy the different varieties of blob (regular, shield-carrying, dodging) and trigger switches that temporarily dismantle the game’s ubiquitous transporters. The same task lies before you at the beginning of every stage: Reach the keycard that opens the way to a tasty pill. The variety of obstacles you’ll face in order to reach that pill keeps the game’s 25 levels fresh, with some relying more on fancy footwork and bullet-dodging, and some calling for a bit more gray matter.
The Legend Of The Golden Robot: Armed with a weapon and a shovel, your vaguely Homer Simpson-looking explorer heads out to one of many grids. On each grid, there are enemies to fight and levels to gain (bolstering the usual stats), but the focus is on digging up treasure until the break-o’-dawn. Players are guided by numbers in each square that indicate how many treasures are in adjacent squares, à la Minesweeper. And as with that free Windows productivity-killer, there’s a certain thrill in being a completist—leaving levels completely free of treasure. The game matures as you play: Different shovels are ideal for digging into different surfaces, so shovel selection plays a part in effective time management. In addition, certain treasures are usable in battle, and the most powerful ones are must-haves when facing the ever-stronger enemies.
Monster Castle: Monster Castle flips the script by requiring players to protect an evil queen from invading do-gooder heroes, but that little inversion wouldn’t mean bupkis if the game weren’t so fulfilling. Tough even from the first round, Monster Castle calls for careful positioning of spitting flowers, skeleton knights, and passively powerful, movement-slowing blobs. There are a variety of humans to plan for: suicidal saboteurs, fleet-footed Hermeses, and tough-as-nails heavies. It takes some trial and error to capitalize on some of the game’s imbalances, like the overpowered ranged plants. Once the somewhat simple mechanics are mastered, however, it’s intoxicating to watch your lines of defenses swell, level up, and take on new sprites and abilities.
Gemcraft Labyrinth: Gemcraft Labyrinth at core is a basic tower-defense game: earn mana over time, convert it to gemstones that produce various attacks, place them in towers to eliminate waves of creeps. But players can choose a wide variety of play styles, due to a complex range of options. The many, many strategies include using traps instead of towers, merging the gems in various combinations, and rejiggering upgrade points between levels. The result is an intimidating amount of choice and replayability, particularly given the extensive map of unlockable levels, a bunch of new battle options, and the ability to customize levels with more or tougher or different monsters for additional XP.
Silly Sausage: Silly Sausage fits right into a late-’80s/early-’90s mentality, but also feels new. It has traces of classics like Bubble Bobble and Snake without seeming like a facsimile of any one game. The star of Silly Sausage is a sausage dog with a Stretch Armstrong-esque ability to extend his torso to ridiculous lengths. Anchored to the wall, the dog can twist around corners to collect gems and snap back to normal size in a hurry to avoid enemies. The presentation is cute yet not cutesy, and the cartoonish humor of the impossibly rubbery dog doesn’t get old.
Samegame Fighter (previously): An intriguing mixture of turn-based combat mashed up into puzzles, Samegame Fighter has you face down nefarious enemies like goblins and giant spiders by carefully selecting icons like axes, swords, shields, and potions from a Columns-like grid. There is no correct order of attack; it’s a matter of maintaining your offense and defense depending on the enemy’s tactics. Axes are more aggressive, and therefore are more likely to miss; swords are more reliable but deal less damage. It sounds simple, and while the guiding concept is straightforward, Samegame Fighter is anything but.
The Adventures Of Red: Poor Red. The strange yellow creature just wants the free muffin he was promised, but to get it, he has to navigate a vast, puzzle-filled castle. Solving the point-and-click riddles gives you color-coordinated keys to unlock more rooms. The first challenge is often figuring out how you’re supposed to proceed when, say, you’re shown a tapestry of dots and lines, or you’re staring at two pictures accompanied by the line “Five is a lucky number.” At other times, it’s easy to intuit that you need to light all the torches or move rings around, but actually figuring out the steps is tricky. The riddles are challenging, but rarely exasperating.
58 Works: Works isn’t a single game, but a growing compendium of small puzzle-based adventures, a creative box of infuriating chocolates that can take hours to unpack. The small creations that make up 58 Works are escape games, in which players make their way out of a room by uncovering cryptic clues amid seemingly innocuous surroundings. In Escraft, an easy claymation escape, the goal is to collect five colored balls and feed them to a monster in front of the door in the correct order. Others, like Snowing, are more complex. Though the difficulty fluctuates, all the escapes are strange.
Snailiad (previously): Unlike Metroid’s Samus Aran, the hero of Snailiad can slide up walls and receive advice from fellow snails to guide his quest, which is simply to take out the mysterious Moon Snail. Weapons come in only a few varieties, but each becomes more frantic with the addition of add-ons that increase your firing rate. Snailiad isn’t so difficult until the end—the final boss is impossible. But then Act II begins; the worlds now contain hidden shells that when collected, power up your final weapon, and it’s time to forge on through a second time.
Curvy: The coolly involving Curvy is a basic puzzle game, yet it’s so easy to pick up and play that it makes for the perfect occasional diversion. Players are asked how many rows and columns (which can extend to the infinite in the browser version, though anything more than 10 is not recommended) they would like in their puzzle, as well as whether they would like one or two colors of lines in that puzzle. The game then generates said puzzle, which is a field of hexagons, decorated with colored lines that dip and curve toward and away from each other. The player rotates the hexagons to hook the lines up so there are no loose ends anywhere, eventually ending up with long, curving snakes of completed lines, often ending in oblong loops.
Superfighters: Life in the state of Superfighters is solitary, poor, nasty, brutish, and short. It’s also thrillingly fast-paced and as barbarically stupid or cunningly strategic as you make it. As many as eight combatants—working solo or in teams—trade buckshot, bombs, or bare-knuckle punches over toxic pools and vertiginous drops. Each arena comes equipped with weapon caches, breakaway glass, and floating platforms galore, which gives the game’s simple, River City Ransom-lite mechanics room to mutate from match to match.
Alight (in dreams): The game cold-opens on an abandoned house that’s been torn to shreds. You play an unnamed boy attracted to smoke, and walking to the billowing pillars reveals a bit more of the story each time. The boy is a student of astronomy, you learn, and all his life he dreamed of soaring through the great unknown. Soon he sprouts wings, exploring the world by leaping and gliding between platforms. Life is peachy until you’re confronted with a choice: Pick up a candle, a feather, or an alarm clock. It doesn’t matter at first—each one turns the world suddenly dark, and you’re forced to navigate your way back to home while avoiding shadowy walls à la the old helicopter game. Returning the item to where you started makes the world pleasant again, for a spell. Later, the choice of items becomes more important, as each one leads you down a different dimly lit path. And as the story unfolds, it becomes clear that the boy is running from something deep inside himself, and seeking respite, whenever he can, in the heavens.
Intruded: Intruded uses its security-cam views to make an entire game out of the interface problems that plagued early 3-D games. The tank-style 3-D character controls in the original Tomb Raider and Resident Evil games, where the movement controls don’t reorient themselves to follow the camera’s direction comprise the game’s central aesthetic. You play as a nameless woman navigating hazard-laden corridors, and you must accommodate wild shifts in perspective. It’s easy to time your crossing over a retracting walkway if it’s directly ahead, but when its presented from the angle of a security camera moving right to left, even a straight line becomes difficult to navigate.
Kingdom Rush: The increasing popularity of the simple, potentially deep tower-defense genre has led to some clever revolutions in how the genre is played. Kingdom Rush isn’t one of those revolutions. It’s a Platonic form of the tower defense game, doing nothing surprising. The game is set in a fantasy world, with four different types of towers, each of which can be upgraded between missions. Instead of changing the form, Kingdom Rush just does everything really well. The towers are sufficiently different, upgrades are notable, and the levels are interesting. Most important, the difficulty and balance are almost perfect.
Wonderputt (previously): Completing all 18 holes unlocks wonder. This is the promise made by Wonderputt, and navigating its compact world not only fills players with wonder, but also with deep satisfaction. Wonderputt is a single-screen miniature-golf game, and the course is an evolving, neon-and-pastel-colored series of dips, cliffs, and traps. You putt the ball by aiming a power meter and clicking. Completing a hole usually causes an enjoyable chain reaction that reveals the next one. And there are more delights after you complete the game.
CycloManiacs2 (previously): CycloManiacs2 developer Turbo Nuke threw everything against the wall for this bike-racing game, and here’s what stuck: 50 riders, a dozen or so tracks, hidden mini-games, customizable upgrades, and unlockable trophies that effect a bizarre, unexpected story. The art is squiggly and the controls are fussy. In fact, every aspect of the game falls a little short of greatness, but the complete product has an irresistible go-for-broke attitude.
Experimental Shooter: Experimental Shooter consists of a square playing field with a tank in the center, amid a swarm of white spheres. The point of the game is to shoot down the bouncing balls, but the question is how you shoot them down. It’s different for each of the 21 levels. In one stage, you’ll have to use the tank as a pool cue, and in another, you’re invited to play freeze-tag. The combination of puzzle-solving and smart level design turns what would just be a simple Asteroids clone into an ingenious little game.
Frantic Frigates: Frantic Frigates’ control scheme makes it a wildly different experience from platform to platform. You control a small ship that sails around wildly autofiring at the nearest target—attacking sharks, enemy ships, treasure chests—and collecting gold to buy upgrades. But rather than controlling the ship itself, you use the cursor to indicate where it should go next. This is nearly impossible on a touchscreen, since your fingers tend to cover your ship and the cannon fire it’s trying to dodge. It’s a little clunky but manageable on a laptop touchpad, much smoother with a mouse, and downright liquid via the iPhone’s tilt controls. And on any platform, it’s a well-executed game, with bright, cartoony design, challenging bosses, and a structure that lets you increase your starting game-cash between play sessions in order to buy upgrades earlier and get a little farther each time.
Bla Bla: It’s a charming set of simple games, divided into chapters, using similar aesthetics. Click on the screen, and something entertaining will happen. Click on the right things, and the chapter progresses. The joy of Bla Bla comes from seeing just what happens, like when a click creates multiple little men, who wander over to one another and start talking or hugging. Bla Bla doesn’t do much, but it helps create the joy of discovery by playing it, and that's more than enough.
Encyclopedia Fuckme And The Case Of The Vanishing Entree: Encyclopedia Fuckme And The Case Of The Vanishing Entree is a juicy work of interactive fiction billed as a “lesbian dating sim.” But that somewhat-innocuous warning doesn’t do this choose-your-own adventure justice—the trigger warning for this violent BDSM fantasy would be longer than A Song Of Ice And Fire. Anthropy’s second-person prose binds readers into the role of a voracious submissive paying a visit to the sex kitchen of a dom named Anni. Things quickly go awry, and readers wind up trussed, vulnerable, and doomed to die.
Mushroom Madness 3: You’re still protecting your mushroom patches from marauding animals, but now there are more weapons, more play modes, bigger upgrades, more new goals, and more critters—each of which pose specific challenges. This is essentially a gussied-up take on whack-a-mole (and perhaps in recognition, the moles are the most annoying opponents in the game), but it features an impressive amount of gussying, with tower-defense levels, “adventure” levels, a survival mode, different flavors of pure whacking mode, side goals, and more. It’s also professionally slick-looking and smooth, with a well-balanced difficulty system that still lets players charge ahead if they’re enjoying themselves, or drop back to earn upgrades to make things easier if they aren’t.
Gyossait: Genuinely unsettling at times, thanks to a mixture of excellent sound design and chunky, impressionistic pixel graphics, Gyossait is an Orpheus story. It’s a platformer about descending into the underworld to rescue someone you love, and the difficult decisions that descent entails. The play is simple: Beneath the gnarled visuals are eminently familiar platforms, pits, and enemies that are fulfilling and difficult, but the best part is halfway through, when the game gives you the option to do violence. It doesn’t explicitly spell out some overwrought moral choice, it merely gives you the option to defend yourself or become aggressive, a fitting embodiment of the choice to give up your humanity for what you want. Saying more would mean giving up Gyossait’s admirable ghosts.
Bullet Bill 3: If the high speed and higher difficulty of these levels wasn’t enough to get players gritting their teeth, the blaring remixes of iconic Mario tunes should do the trick. (Some are obnoxious, some are awesome. The dubstep twist on Desert Land’s theme should be especially polarizing.) In Bullet Bill 3, unlockable characters bring their own unique stats and special powers to the fight, and a level-editor extends play beyond the standard eight worlds. Polished and punchy, BB3 is a potent time-suck, even though moving the cursor outside the play area still results in a quick, cheap death.

2012

Verge: In order to successfully navigate your inkblot-faced hero from one door to the next, you must kill him and move forward in the upside-down underworld. While the main world isn’t exactly the jolliest of fields, there are still plenty of fire-breathing dragons to stomp on. By contrast, the underworld is nightmarish and barely visible, populated by specters that sneak out of every corner to steal your soul. As you run in fear through the life and death worlds, killing yourself becomes not a chore, but something gleeful—an everyday ritual that loses any sense of the macabre. Soon, the barriers between life and death are reduced to nothing, and your little guy has taken on the form of his own executioner.
The Ocean Around Me: Week One and Week Two: Behind the low production values of The Ocean Around Me is a multifaceted game that keeps players on their toes by operating like Myst one moment and a platformer the next. Ocean’s stick-figure protagonist wakes up on a very small desert island with no memory of who he is or how he got there. Scrounging for food is a first priority—the game provides entertaining (and sometimes challenging) mini-games involving coconuts and fish—but soon, players are knee-deep into figuring out the island’s mysteries. The game is cut up into episodes that last seven days, and each day has its own obstacles and revelations, making the passage of time a thematic part of play.
All That Matters: The goal of each level is to get all family members—represented by rolling circles with faces—to a portal. Each character behaves differently. When you’re controlling Walter, his wife, Sydney, will move the opposite way. Switch control to Sydney, however, and Walter will mimic her movements. Baby Toby can’t jump, but he can roll around with reckless abandon, while teenage son Billy can double-jump, and grandpa’s delirium allows him to float. Each level explores a specific rapport or event, such as bringing everyone together for dinner, or the brothers helping each other reach the goal without their parents’ aid. The piano piece playing in the background adds a nostalgic flavor, while the characters’ cute monosyllabic utterances paint a vivid portrait of the family.
Cuboy: Back To The Cubeture—Era 2: For this long-awaited sequel, Cuboy journeys back to the Classical era (“Cubathens,” to be specific) in his quest to recover a cardboard time machine from an unpleasant cat. As the creators openly admit, Cubeture 2 isn’t terribly hard, but the game’s merely average craftiness is secondary to its wit.
Chuck The Sheep: At first, the game looks straightforward—you control Chuck as he launches himself to freedom, dodging mines and wayward birds—but plane upgrades and achievements change the dynamic entirely. Upgrades are fashioned out of collectible materials like water, oil, and iron. Chuck can get water by catching floating droplets, but to gather wood or oil, he has to crash his plane into trees and silos on the ground. Crashing damages the ship, so the trick is figuring out where and when to gather certain materials—likewise for pursuing achievements, some of which directly contradict others.
Memohuntress: You play as a young runaway trying to earn the money to return home by finding people’s lost items. The poignant, well-acted story takes you through gorgeous, lively scenes filled with bizarre characters and creatures. Hints are available as often as you want them, so the later levels’ difficulty doesn't need to get in the way of enjoying the story.

Sandpaper not included

Artw — Tue, 23 Oct 2012 17:31:23 -0800

Today saw Apple has enter the competitive 7" tablet market with the iPad Mini. But what if your tablety desires run to something larger, not smaller? Sony has you covered with a 20-inch, 11-pound "tabletop PC".

The Last Thing You'll Ever Desire

Rhaomi — Tue, 23 Oct 2012 05:26:46 -0800

Derek Smart has been making games for over 20 years. He sold his first games in plastic baggies at hobby stores. Yet his longevity is somewhat of an anachronism. Many gamers today don't even know who is is, in spite of the fact that his games have sold well enough to keep his company in business since 1992. And the games themselves, well they're mostly terrible. Especially his first, Battlecruiser 3000AD. The Verge takes an in-depth look at the hotheaded perfectionist millionaire game developer whose impenetrable, terminally overhyped games sparked one of the most legendary flamewars in internet history.

Anacreon: Reconstruction 4021

valkyryn — Wed, 12 Sep 2012 06:07:42 -0800

Got a few hours to kill and want to spend a little time in gaming history? Don't have anything else to do until 2013? Check out Anacreon: Reconstruction 4021 (wiki) (previously), one of the earliest 4X games ever made, dating to 1987-88. The original version was DOS-based, but the creator, George Moromisato, released a Windows version in 2004 which has significant updates. The premise of the game is fairly straightforward: you take on the role of the emperor/empress (the game permits you to select your gender, though it doesn't make much of a difference) of a fledgling interstellar empire. The goal is to conquer your section of the galaxy, which contains nineteen different planetary classes and three species of nebula, using seven ship-types and four kinds of planetary defenses with eight megastructures thrown in to keep things interesting. Of the four types of raw materials, three--metals, chemicals, and supplies--are available in functionally unlimited quantities, while the fourth--"trillum"--used as fuel for your starships, is exceptionally limited. The game can be viewed as a sort of long-term efficiency engine, where players try to maximize their allocation of trillum. Too much spent on planetary defenses and logistical matters and you won't have enough to move your fleets. Too little, and someone else will come around and ruin your whole day. More details. The original 1988 DOS version had one arguably crippling limitation: no more than 9999 of any given type of object could be present in one location. So a fleet with 9999 of the toughest kind of ship was almost impossible to overwhelm with larger numbers of weaker ships, because it was impossible to concentrate forces that way. Even worse, you could wind up losing vast quantities of precious trillum to the void if a planet produced more than 9999 units in a single turn: the excess was simply wasted. The 2004 re-release fixed that problem. Now, conquering undesirable worlds, stripping them of their trillum reserves, and casting them off is an entirely viable if not necessary strategy. Moromisato is reportedly working on Anacreon 3. Moromisato is also the creator of Transendence (wiki, game wiki), an Elite/Escape Velocity successor (previously) with a decent amount of Nethack thrown in for good measure which is now in version 1.01.

Is it curtains for Windows 8?

Egg Shen — Thu, 23 Aug 2012 15:54:11 -0800

Some early reviews of Windows 8: "The worst computing experience I've ever had." "A technological, ideological and functional failure." "I’ve felt almost totally at sea — confused, paralyzed, angry, and ultimately resigned to the pain of having to alter the way I do most of my work." (previously) "Guaranteed to disappoint nearly everyone." "An unmitigated disaster." "A catastrophe for everyone in the PC space." Microsoft says: we believe in people and their ability to adapt and move forward. (previously) And if they don't? ... Windows 8 becomes the new Vista. Microsoft's anticipated revenue from Windows 8 upgrades does not materialize, hurting the company's stock price and forcing layoffs to maintain earnings. Microsoft's hardware partners are left with big stockpiles of unsalable Windows 8 PCs which they have to write down. This accelerates the share growth of the Asian PC makers, who can best withstand a price war. HP kills its PC division, and Dell is in deep trouble. Developers who bet on Metro have to live on canned tuna and string cheese. Nokia, stuck with a minority platform that European operators don't want to carry, wrestles with huge cash flow problems.

What do today's kids make of the Commodore 64?

modernnomad — Wed, 01 Aug 2012 06:29:35 -0800

What do today's kids make of the Commodore 64? BBC News invited Commodore enthusiast Mat Allen to show schoolchildren his carefully preserved computer, at a primary school and secondary school in London.

The Walls Are Shifting...

naju — Thu, 05 Jul 2012 11:01:55 -0800

What is Spelunky? Well, it's a game that's "as generous as it is bloodthirsty," with "astonishing creativity and spectacular depth." First appearing as a freeware PC game in 2008, Spelunky (previously) is a hilariously brutal and oddly addicting marriage of roguelike, platformer, and puzzler. A new version was released for Xbox Live Arcade on July 4th, with updated visuals and a warbly soundtrack that recall the days of SNES gaming, as well as a deathmatch mode that's been compared to the mayhem of Bomberman. If you're anything like me, you'll get hopelessly consumed. (Trailer. Original freeware version for PC and Mac.)

Why Windows 8 Scares Me - and Should Scare You Too

Trurl — Fri, 01 Jun 2012 18:42:38 -0800

Why Windows 8 Scares Me - and Should Scare You Too The most important message I want you to understand is this: Windows 8 is not Windows. Although Microsoft calls it Windows, and a lot of Windows code may still be present under the hood, Windows 8 is a completely new operating system in every way that matters to users. It looks different, it works differently, and it forces you to re-learn much of what you know today about computers. From a user perspective, Microsoft Windows is being killed this fall and replaced by an entirely new OS that has a Windows 7 emulator tacked onto it.

Evil is Back

Avenger50 — Mon, 14 May 2012 15:00:06 -0800

You may have heard that evil is returning to Sanctuary tonight. Your Diablo 3 launch day preparation guide includes opening cinematics, a cartoon, the story so far, a primer on the new Auction House (now with real money), and build guides for the Demon Hunter, Barbarian, Monk, and Witch Doctor. Since no one at Blizzard beat Diablo 3's Inferno difficulty, death is guaranteed.

Chat with the minds behind the Death Machines

FatherDagon — Fri, 13 Apr 2012 09:38:34 -0800

Wasteland 2 has become a certainty due to the massive outpouring of fan support. At this moment on Reddit, two of the big names in the project - Brian Fargo and Chris Avellone - are having a live QA session about the upcoming project, as well as the state of the game publishing industry in the Kickstarter era and similar subjects.

Dark Souls PC

Cloud King — Wed, 11 Apr 2012 11:32:17 -0800

Dark Souls, the critically acclaimed hardcore RPG released last year, is coming to PC!

PRINT "Donkey loses!"

Ad hominem — Sun, 29 Jan 2012 00:02:48 -0800

First PC game, DONKEY.BAS, comes to iPhone and iPad. DONKEY.bas, discussed previously on metafilter,was a computer game written in 1981 and included with early versions of the PC-DOS operating system distributed with the original IBM PC. The history of this weird little program is covered in a 2001 TechEd keynote by Gates himself. The game, written in 1981 consists of less than 150 lines of BASIC.

Writing machines

fearfulsymmetry — Thu, 19 Jan 2012 10:48:50 -0800

Previously the Guardian has done a series on Writer's Rooms, now they have started on Writer's Desktops - "where writers show us around their working lives by revealing what's on their computer desktops" (Previously)

Space Quest II! Starring Sludge Vohaul (The Alien MORE Hideous than Your Aunt Hildegard)!

zarq — Sat, 31 Dec 2011 21:08:14 -0800

16-bit color schemes, in a classic retro VGA interface! New soundtracks and voiceovers! No typing required! Infamous Adventures resurrects and lovingly remakes Sierra Games from the 1980's: Space Quest II: Vohaul's Revenge and Kings Quest III. SQ2 was released yesterday after more than five years in production, and comes complete with a cheesy trailer. Available for download for PC and Mac, but be forewarned, the game is a total memory hog, and uses up a whole meg of RAM.

Will Wright's Next Game: Hivemind

reenum — Sat, 10 Dec 2011 18:25:25 -0800

Will Wright, of Sims and Simcity fame, now wants to have users use their personal data to shape the game playing experience in his new game, Hivemind.

Competing with the MacBook Air

Jasper Friendly Bear — Mon, 05 Sep 2011 21:04:32 -0800

The PC industry is built around an idea of almost infinite variation: different Wi-Fi adaptors, different Ethernet chipsets, different GPUs, different USB3 controllers. This variety is then reflected in the systems available from manufacturers—and more importantly, it's reflected in the way the systems are actually built. … The big reason that HP wants to get out of the PC business is that it's simply not very profitable for HP—and that's true for all the major PC OEMs, Cupertino excepted. Cheap PCs are certainly important for making computing accessible, but they also mean that PC vendors have made themselves vulnerable: endless price cuts and a failure to emphasize the value of a quality product have cut revenues and slashed profitability. Desperate to compete on pricing and pricing alone, the mass-market PC OEMs have ended up cutting their own throats.

Ars technica explains why the PC industry is having such a difficult time trying to build a competitor to the MacBook Air.

The CRPG Addict

kittensofthenight — Mon, 29 Aug 2011 18:12:23 -0800

The CRPG Addict is playing every PC role-playing came in chronological order. Currently, he's playing Ultima V. The CRPG Addict is sort of like Chrontendo for Computer Roleplaying Games. It's a relatively new blog with a LOT of content. On the right side of the blog is a list of recent and upcoming games. Scroll down for lists of highest rated games, lowest rated and longest played, then popular posts and the author's favorites. The playthroughs vary from a description of gameplay and a few screenshots for a minor, exasperating game, to extended series of posts with many screenshots, videos and scans of supplements. Some posts are overviews of big CRPG issues(Turn-based vs. Real-time combat) or thoughts on a specific genre (Roleplaying and Roguelikes). The List and an explanation of The List. Why? and some ground rules. An explanation of his complicated reviewing criteria, the Game Innovation, Merriment, Likability and Engagement Test, or GIMLET. Good posts on weird games: Swords of Glass, Scavenger's of the Mutant World, The Seven Spirits of Ra, Le Maitre des Ames, Alien Fires: 2199 AD. Discussion of the Pools of Radiance review at Rpg Codex (like 4chan for RPGs, be warned) where the author drops in. And finally a post linking CRPG tropes to TV tropes, in case you were worried about getting to sleep at a reasonable hour.

Protected by the legendary Jedi Order, the Galactic Republic stood as a bastion of peace in the galaxy for a thousand generations...

_paegan_ — Tue, 23 Aug 2011 14:32:35 -0800

Can't wait for Star Wars: The Old Republic? You'd better be Jedi fast! EA wants you to pre-order its game real bad. SWTOR or TOR, is an upcoming MMORPG based in the Star Wars universe that allows you to play whatever you want! Champion the Dark Side, be a force for good, or something in between. Webcomics, trailers, and developer blogs to catch you up on the lastest Empire doings. Why SWTOR needs to succeed/fail.

Is it possible to use a 1981 IBM PC 5150 for real work?

desjardins — Sun, 21 Aug 2011 19:43:50 -0800

Our intrepid reporter spends a week trying to write, browse the Web, edit photos, and even (shudder) tweet on IBM's first PC. PC World takes on the IBM 5150. Watch the original marketing video (CNET) or a modern homage to the 30 year old PC. Happy belated birthday, 5150! Wait, one of your inventors doesn't even use PCs anymore?