Happening now: Watch us game for charity for 24
hrs live

Destructoid's Extra Life 24-hour gaming marathon is here!

Streaming from Topware Interactive in the Bay Area, come watch as your favorite staff members on the West Coast play games for 24 hours straight while we ask for your donations to benefit Children's Miracle Network hospitals. By donating, not only are you helping children but you also have a chance to win prizes from our $10,000 pile of goodies. Check below for our stream, and click the link below to head to our Donate Page!

Destructoid Extra Life Donation Page

Watch live video from Destructoid.com Live Shows! on www.twitch.tv

Here's our upcoming schedule!

Destructoid Presents: Extra Life 24-hour gaming schedule on October 15 (all times PST and subject to change) 
 
12:00PM -- Square games: Square has given us tons of games to give away, so we are going to spend some time playing these games, and giving them away!

2:00PM -- Warhammer: Space Marine: Space Marine was a really fun game in which you can jet pack around with a huge hammer. What's there not to like about this game?
 
4:00PM -- Pokemon Snap with Tara Long: How much does Tara Long love Pokemon? Enough to play an hour of a game where you take pictures of them while Max Scoville cheers her on! 

5:00PM -- Fighting game exhibition with Jesse Cortez: This segment is dedicated to fighting games! Come play some exhibition matches against our resident fighting game expert Jesse Cortez and enter some online tournaments for Capcom goodies!

7:00 PM -- BioShock 2:  We take a trip down memory lane with one of the best game franchises in recent years. Join in as we play BioShock and harvest some ADAM!

9:00PM -- Dancing with the Stars: We are almost halfway through our marathon at this point, and what better way to keep the energy going than by DANCING! Come watch as your favorite Dtoid staffers come shake their groove things to the games Just Dance 3 . Donate to pick the songs we dance to!

11:00PM -- Retro games: We plan on playing a few retro style games such as Cho Aniki, courtesy of Monkeypaw games. Come check out this bizarre shooter with us!

12:00AM -- Scary games with Max Scoville: Tara Long gets her revenge on Max by making him play his favorite type of game, HORROR GAMES!

2:00AM --  BRAAAAAAINS: The sun has gone down, so what better way to celebrate than by playing games inspired by zombies! We will play Call of Duty: Black Ops zombie mode and other zombie games.

4:00AM -- Rise of Nightmares: Not content to play horror games sitting down, we take a stand to play Sega's recent Kinect release, Rise of Nightmares

6:00AM -- Deus Ex: Human Revolution  -- Deus Ex has highly been praised for being an amazing game, and therefore we will check out the newest game with you on the stream. Watch as we augment our way to the end of the marathon!

8:00AM -- Moment of Zen: For the last leg of the marathon, we will celebrate art of pinball by playing Zen Pinball and giving away some game codes! Come tune in to the end of the marathon to give last minute donations and help us reach our goal!

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Zen Studios has even more Marvel Pinball FX2 on
tap

by: Jeremy Duff
NEWS - Did you think that Ghost Rider was the only Pinball FX2 announcement coming out of the New York Comic-Con? Of course not; Zen Studios has a whole new X-Men table lined up and ready to go for the hit pinball suite. Watch out as Magneto makes his presence felt while you try to assemble the X-Men in time to save the world.

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Escape from the Tweens Room

Escape from the Tweens Room is another Japanese point and click type room escape game by Springdays. In this game, you try to escape the room by finding items and solving puzzles. Good luck and have fun!Play This Game

Read The Full Article:
http://feedproxy.google.com/~r/escapegames24/~3/M8uDuhdceOE/escape-from-tweens-ro
om-walkthrough.html

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Kristen Schaal wants you to put her in a
Minecraft coma

As the above video explains, Kristen Schaal (spokeswoman for the Xperia Play) is looking for a Minecrafter to build her something awesome in the game. Besides the satisfaction of knowing you've made something great for someone as cool as Ms. Schaal, the winner of this contest also wins a trip to New York to meet her. If that isn't incentive I don't know what is.

Interested parties can submit their video entries to the facebook app page until November 7th. I know you guys will come up with some incredibly epic creations, the Minecraft crowd is nothing if not creative and fun. So good luck to you, but keep in mind:if your creation really is so awesome that it puts Kristen in an epic coma, you're going to have to wait until she wakes up to meet her.

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Escape from the Tweens Room walkthrough

Escape from the Tweens Room is another Japanese point and click type room escape game by Springdays. In this game, you try to escape the room by finding items and solving puzzles. Good luck and have fun!Play This Game

Read The Full Article:
http://feedproxy.google.com/~r/escapegames24/~3/M8uDuhdceOE/escape-from-tweens-ro
om-walkthrough.html

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Review: A Game of Thrones: Genesis

Bearing no relation to the recent TV show, A Game of Thrones: Genesis delves into a world of politics and backstabbing, and puts less of an emphasis on the tired real-time strategy mechanics seen in so many licensed RTS titles. The world of A Song of Ice and Fire is not one filled with enough epic battles to make for a more traditional strategy game, after all.

More or less eschewing every audience other than a hardcore PC strategy crowd that knows the entire Targaryen family tree by heart, starting with Aegon the Conqueror's landing on Westeros, Genesis attempts to deliver an overly ambitious and deep strategy game and succeeds at it about as well as the average character succeeds at surviving in ASOIAF.

A Game of Thrones: Genesis (PC)
Developer: Cyanide Studios
Publisher: Focus Home Interactive
Released: September 29, 2011
MSRP $39.99, €39.99

The meat of Genesis is divided into two parts. A single-player mode filled with mini-campaigns lets you play through some of Westeros' historical events during the 1000 years before the first book, while a skirmish "House vs. House" and a multiplayer mode allow you access to many gameplay variables and options to use as you like.

In the spirit of the books, Cyanide has tried to turn this game into a back and forth of political maneuvering, spying, backstabbing, and shifting allegiances. During peace time, envoys can be sent to start alliances with neighboring towns. Enemy envoys can try to ruin such an alliance, lest you solidify it by marrying a Noble lady to that town -- which you can buy for a handful of golden dragons.

Alternatively, you can use spies to scout the roads and try to make secret agreements -- hidden alliances that yield you a town's income while the enemy thinks it remains loyal -- or to sniff out enemy secret agreements. Noble ladies can seduce (convert) enemy units, rogues can start uprisings in enemy-held towns, assassins can stealthily take out single units, and guards can protect single units from any such manipulation.

Essentially this leads to a feeling that you are managing a large postal service rather than forging together a kingdom. In most cases, an army of envoys needs to be micromanaged to gain as many alliances as possible, while you simultaneously try to manage your spies to keep an eye on turncloaks and enemy actions across the map. Units become increasingly more expensive as you build more of them and gold can take a while to start flowing, so it becomes a measured but hectic race to gain the most alliances in least amount of time.

As you do this during peace time, you can use gold to buy groups of mercenaries of the traditional cavalry, infantry, and archer variety. These serve as small protection and harassment units, or as a quick reaction force should your spies detect some enemy plots in the works. Carry out enough hostile actions, however, and war will eventually break out. Every house's alliances and secret agreements are laid bare, and towns can only be taken by force.

During wartime, gold primarily becomes a resource to create peasants that can be set to work on available fields to harvest food. Food, in turn, is the resource required to buy armies -- the only units able to capture towns and castles. If you are feeling particularly malicious, you can don your Ser Gregor helmet and take some knights to kill and pillage the entire food economy of an enemy House. Alas, in most cases during the campaign missions, warfare becomes a matter of waiting to build up resources, buying a few armies, and moving them from town to town until you win.

As a result, there are a lot of factors to manage just to keep your alliances strong, safe, and under your control, to the point of an overwhelming amount of micromanagement. You always feel like you are one small step behind as an assassin suddenly wipes out one of your envoys, and by the time you have enough money for a spy and a counter-force -- or by the time they are in position -- you've probably already lost the support of a few towns. This makes for a lot of chaotic and rushed clicking around in the skirmish modes, without ever feeling you are a House's Great Lord as the game intends you to be -- it feels more like struggling to keep up until you've suddenly won.

The mini-campaigns that explore the events of certain time periods prior to the first book (and the TV show) are what could've been a fun way to engage players in the larger world and history of ASOIAF, but these missions are marred by the oddest of design decisions. Taking control of most of Westeros as Aegon I Targaryan might sound awesome, and it's fun enough to see him roast the hell out of Harrenhal mounted on his dragon Balerion, but the missions themselves are a bit drab. You'll mostly be making alliances with X required towns, securing at least Y alliances, or raising Z armies to win a mission.

Strangely enough, while the world of Westeros itself is rather ugly and filled with scores of random and anonymous towns spread around the land, the key cities are designed to look their part but are simply called Feudal Homes instead of actually having names. It's up to you to recognize Harrenhal, Highgarden, Casterly Rock, Winterfell, etc. Since the books offer plenty of town and city names and locations to draw upon, it's mind boggling why you can't even find them on the map of a game without already knowing exactly what they are called or where they are located. Even worse, half the missions are on random maps dotted with towns that depict some place in Westeros, but only the mission description will tell you where exactly.

The campaign's missions also suffer from some weird design structures. One mission, where it is your task to pacify newly-conquered Dorne, ends up simply requiring you to buy and send out a bunch of merchants, kill a few assassins and brigands, and wait for a set amount of gold to accumulate. Your reward? A mission victory screen that tells you that in the end Daeron I Targaryen lost 50,000 troops and had to give up Dorne anyway. Likewise, sometimes you can choose which of two Targaryen siblings has the right to the throne only to be told upon mission completion that your Targaryen of choice simply died a short while later, because that's how the story went.

While the game's mini-campaigns leave a lot to be desired from even a moderate fan of the books, the gameplay in Genesis does at least try to be different with its many layers of gaining and keeping control. The real meat of the game lies in the House vs. House skirmish mode, even if it becomes too hectic and offers too many gameplay options for its own good, while multiplayer can offer the game a long life provided you can find likeminded people to play with.

As such, despite not being particularly good, fun, and being about as pretty as the Maid of Tarth, A Game of Thrones: Genesis does offer some enjoyment provided you are willing to stick by it and have a couple of friends for multiplayer. You do need to be a pretty hardcore fan of the books to really get the most out of this game, though, and although it might sound cool to relive some of the more iconic wars, on the whole it never rises above mediocrity.

By trying too hard to capture the spirit of A Song of Ice and Fire, A Game of Thrones: Genesis raises curtain walls between the player and an expected level of fun, offering as many different strategies as George R.R. Martin has written descriptions of doublets. Yet in the end a doublet is meant to become bloodstained, and so it is with Genesis; a title that feels like control over its direction was loosened too much during development at the cost of becoming unwieldy and uninviting. Still, it never becomes insultingly bad either. You'll just get bored of it well before you reach mastery of all the aspects the game has to offer.

If you are that hardcore fan who just has to experience what Cyanide offers outside of the books, and if you have a friend or two who are willing to dive into it with you, there's a potential for fun to be found under a mountain of mechanics. At the current hefty pricepoint, however, it is impossible to recommend such an unfocused game to anyone. There's room for a good videogame based on A Song of Ice and Fire, but while A Game of Thrones: Genesis is the first of its name, it never becomes more than an incestuous child born from both media parents.

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On Being the Boss: Evil is Syndicate's true
legacy

You've read Conrad's preview, seen gameplay footage, and considered Maurice's analysis. You've looked at screenshots, heard arguments both for and against, and perhaps even pronounced your own. You've found out that it's coming next February, a rather short time for a game that existed as little more than a rumor for so long. Point is, EA is trying to bring back Bullfrog's old classic Syndicate in a big way, and it's making all the usual promises to "keep true" to the original game's legacy.

It raises the question, though. Just what is Syndicate's legacy? Some would peg it at an isometric viewpoint. Others would peg it at squad-based mechanics. Still others would peg it on high-tech cyberpunk. And those truly in the know would peg it on the Persuadertron. 

Me? I assert that Syndicate's true legacy, its essence, the quality that raised it to its pedestal, the greatest challenge to any game that would "keep true", is evil. Above and beyond all other things, Syndicate is about being evil.

(For convenience's sake, let's refer to the new reboot as New Syndicate.)

Before you dismiss this little piece as yet another anti-New Syndicate rant from a grumpy PC gamer who can't accept change, allow me to say this: Syndicate kind of sucks.

A clarification: it's not as if Syndicate was a bad game. In fact, it was pretty great. Notice that I'm using the past tense here. Syndicate sucks in that it isn't nearly as "timeless" as some would have you believe. Eighteen years haven't been as kind to Syndicate as to, say, the original X-COM. Syndicate simply hasn't aged well, and in its original form, it offers few lessons to the school of contemporary game design.

There are lessons to be learned from it, of course. It's just that Syndicate's lessons, the most important ones, aren't rooted in camera angles, genre conventions, control schemes and platforms.

Into details for a moment. Syndicate was a real-time, isometric-angle strategy game. You, as an executive at the mega-conglomerate Eurocorp, clicked on little cybernetic agents to make them go places and kill things. Occasionally you'd click on little gauges to regulate doses of various drugs, ones that corresponded to setting your agents' AI behavior. Dope them up on one drug and they'd get paranoid, killing anything in sight. Pump them full of another drug, and they'd walk a little bit faster. Between missions you'd spend money to upgrade your agents, making them more adept at killing things without being killed themselves.

And that was pretty much it. There's little in Syndicate's mechanical repertoire that isn't already accounted for, iterated upon, or incorporated into the games of today. Modern games don't need to use such crude methods to manage AI behavior. Modern games use upgrade systems, often with more complex effects and allowing more tactical freedom than anything Syndicate offered eighteen years ago.

If Syndicate represented the gold standard for classic gaming, the argument that today's titles are "dumbed down" would be weak indeed.

Oh, and the cars were shaped like eggs. That was cool.

Now that I've trashed the original game thoroughly, let's talk about what Syndicate does have, the lessons it can impart upon game designs of the present, and the aspects that New Syndicate must keep in mind if it is to stay true to that legacy. If Syndicate's legacy is not related to its mechanics, what is it related to?

As I said up above, where Syndicate is timeless, classic, and perhaps even unequaled, is in its evil. 

Good and Evil, Black and White, Paragon and Renegade, Law and Chaos, Dark Side and Light Side, the various names for judging a player's behavior are an intoxicating feature for any game aspiring to hold meaning.

However, one might argue that one of the true draw of incorporating moral choice isn't the choice itself but the fact that an evil option is present at all. So many games (as well as real life) demand that people behave nicely that the ability (or mandate) to be naughty is a tempting, memorable proposition.

That would help explain the success of titles like Dungeon Keeper, Overlord, Evil Genius, and, of course, Syndicate. Those games make you play the villain, and they're fun because you usually can't be the villain.

That said, the difference between the first three games and the fourth, though, is in their approach to making players act villainous. The likes of Dungeon Keeper and Overlord present the player with cartoonish parodies, the kind of mustache-twirling shenanigans that would make Dick Dastardly and Cobra Commander proud. In a word, the former games concentrate more on being "naughty" than being "evil".

Syndicate, on the other hand, trades in a more subtle and nuanced variety of evil, one much closer to the sort people in the real world are all too used to seeing or hearing about on the news. It is the kind that, if handled poorly, can spark outrage or open disgust. At the same time, though, Syndicate's brand of evil, if handled effectively, can disturb, provoke, and entertain in a way that kicking puppies and being naughty cannot.

To use an analogy, if Dungeon Keeper and Overlord club seals because they hate cute, fuzzy things, Syndicate clubs seals because their fur trades well on the open market. Syndicate would also go and kill the witnesses to avoid having to go through a class-action suit from the seal rights lobby.

Being a game called Syndicate, we're dealing with corporate evil, the stuff of news exposes, conspiracy theories, and indictments of the military-industrial complex. This position puts it in that weird gray area of morality, the kind we encounter in everyday life, or see on the news, where evil is characterized not by malice and spite but by nihilism, greed, and callousness. Being unethical can be even scarier than being hateful, when represented correctly.

While global corporate domination is hardly a new concept to fiction, Syndicate from other games in that the player is the instigator of the evil rather than the agent. 

As an executive of the evil corporation, you are the boss rather than the henchman. It's evil on an organizational level. Rather than being a simple cog in the machine, carrying out orders, Syndicate puts all that responsibility in your hands. The wanton violence and calculated brutality typical of a Syndicate mission is your job, and you know it. There's no hiding from responsibility when you're the one calling the shots. 

Hell, Syndicate's intro cinematic shows a man being run over by a car deliberately, as part of the process of being "recruited" into the ranks of the company's agents. The idea that you might have given the order can be, well, delicious in a way that simply killing do-gooders because they do good cannot.

And that's where the biggest challenge lies for New Syndicate. Everything we've seen of the game to date shows you, the player, to be the cog in the machine, rather than the man in charge. After all, you play one of the cyborg, chipped-up agents that in the original would be seen from above, directed by mouse clicks rather than analog sticks.

That reduction in scope runs in the face of classic Syndicate's be-the-boss branding. Being an agent rather than an executive absolves you of responsibility. "I had to do it or I would be fired," would be your excuse, and it's quite a valid one in a world where being fired means being reduced to your component parts and having your organs harvested for sale to the highest bidder. Probably.

But as in any business, risk brings opportunity. Starbreeze still has a chance to infuse New Syndicate with old Syndicate's soul, without going isometric. The key, I believe would be to make players both acknowledge and relish their roles as cogs in the machine of corporate domination.

Today's games, particularly modern shooters, are criticized for being little more than on-rails rollercoasters, simply shuttling players from scripted set-piece to scripted set-piece. It's gotten kind of ridiculous, in some instances. Players feel like they're being given no choice, no motivation, and no freedom of will.

Well, in Syndicate, that's kind of the point. Agents don't get to have a mind of their own. They do the bidding of the suits. They're supposed to be regarded as little more than investments, more numbers on a spreadsheet than people. If there was ever a game which excused having a silent protagonist with no personality, it would be this one.

If played right, Starbreeze can use that freedom from having to take responsibility can convey the same sense of disturbing callousness and nihilism, taking it out of the player's hands, but leaving that joy of catharsis and indulging one's inner sociopath, without the guilt-ridden aftertaste.

Take, for example, Modern Warfare 2's infamous "No Russian" mission. In that game, it felt like an unnecessary, gross sequence placed in the game for little reason other than shock value, an excuse to add in that "edgy" disturbing-content warning. That sort of mission was, in classic Syndicate, a typical day at the office. Gathering crowds of innocents using the Persuadertron and then shooting through them as they served as human shields was a valid tactic. In Syndicate, there is no need to justify a "No Russian"-esque atrocity as some kind of stupid deep-cover operation "for the greater good." You're just doing your job. Business, right?

Syndicate's legacy is one of uncaring disregard for the things society deems valuable. Turning violence into a force for profit rather than justice is par for the course in the world of executives and their pet agents. To stay true to that legacy, Starbreeze needs to muster the will to follow through on that vision, and allow players to appreciate just how ruthless that kind of world is.

Better still, they should be able to enjoy their being part of that world. It's a hefty challenge, but one that was surmounted by a little strategy game from Bullfrog some eighteen years ago. Starbreeze need only step up and do it again.

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Freddie Wong's heart-wrenching inverted aim PSA

We recently learned that inverted aim was removed from the Splinter Cell Trilogy. That's most likely for the best, as its inclusion may have led to some rather unfortunate scenarios. Freddie Wong is perfectly aware of the potential hazards, thus he made the above public service announcement to illustrate the dangers of mixing normal and inverted aim styles.

Of course, something confuses me here. If Brandon was flying with inverted controls, that would mean that pulling back on the flight stick would have made the helicopter climb. Instead, Freddie tilted back and sent the copter into a nosedive. That means that it was Freddie who was playing inverted, not Brandon! Unless, that is, we act under the assumption that "normal" flight controls would operate identically to "inverted" FPS controls, in which case, normal would be inverted and inverted would be normal for the purpose of this video...

... My head hurts.

Inverted [YouTube]

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Payday: The Heist shields itself well

_{[This is the second in a series of five guest blogs from OVERKILL Software creative director Simon Vicklund about the forces that stand between you and incalculable wealth in Payday: The Heist, coming soon to PlayStation Network. Stay tuned to Destructoid as we continue this series up to the release of Payday on October 18th]}

Hi there! This is Simon Viklund of OVERKILL Software again. We have developed a robber co-op action FPS called Payday: The Heist and it's coming out later this month.

Yesterday I wrote this piece about the "basic" enemies in the game - the "meat and potatoes" of the law enforcer army that stands between you and the money (and a safe getaway) - today we're going to start looking at the special units in the game!

Special units are - as you may have guessed - tougher-than-normal enemies with unique attributes that make them trickier to defeat.

In Payday, you have the guy on the radio (Bain) warn you if he's intercepted some message on the police radio indicating that a special unit is being deployed. In case you miss this you might hear a nearby law enforcer shout something like "make way for the Shield!" Each special unit also makes its own unique sound to indicate its presence.

In Payday, all special units can be "tagged" by using the "shout-out" command. This outlines that unit so that you and all your teammates can see the enemy even through walls for a few seconds, and thereby more easily focus your tactics and firepower to take him out.

This is the Shield, and it's not tricky to guess why he's called that. The riot shield he's carrying is extremely durable and cannot be penetrated by any weapon. We've seen people foolishly run up to the Shield trying to take him out - or possibly make him drop his sheild - with a melee attack, but that just doesn't work. He's quick to rotate too so circling around him all by yourself is also for the most part useless.

One of the fundamental ideas behind Payday is to encourage teamwork and throw challenges at the players that require them to cooperate. The Shield follows this design principle in that the best way to take him out is to split up and attack the Shield from two different angles - effectively flanking him.

The levels in Payday are designed to allow alternative routes from one point to another, allowing you to flank a Shield even if he has positioned himself in a narrow corridor. Trip mines is also very effective against Shields.

While Shields are deployed randomly from the police's first assault wave and go in with the objective to simply track you down and make whatever situation youy're in a living hell, Shields can also get orders to guard specific key positions.

More than once we've been running out of the vault in the First World Bank heist - thinking that since we shot our way through the ambush the SWATs had set up in the vault corridor, we're home free - only to be stopped dead in our tracks by a couple of shields waiting for us in the lobby! Even as developers, our own game constantly surprises us!

Payday: The Heist is a downloadable co-op FPS game for PSN (PS3) and Steam (PC), and it comes out this month. Check out www.overkillsoftware.com, www.payday-theheist.com and our Twitter account "overkill_tm" for news!

Return tomorrow to read about the special unit called the "Cloaker".

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Cover to Cover: Adventure International Spring
1981 Catalog (pp. 17-18)

As we continue our nostalgic trip through the Spring 1981 Adventure International catalog, we encounter a number of long-forgotten products, but many of them have well-known descendants active in today's market.


Page 17 features more interpretations of classic early gaming concepts -- most of these ideas appeared on multiple platforms under multiple titles, and many continue to surface in today's casual and portable gaming market:


Stan Ockers' Angle Worms / Crolon Diversion features the early competitive line-building game best known today from the movie TRON's light cycle sequence, as well as a space target game of some kind that the catalog copy can't be bothered to describe.  Richard Taylor's Concentration is a version of the popular image-matching game -- somehow none of the computer game publishers were ever sued by the game show's producers, even though most of them appeared under the name Concentration; there may just have been too many to sue, as this is actually the second such game in the Scott Adams catalog, if we count the one packaged with Kid-Venture #2.  Scott Carpenter's The Great Race adapts the traditional card game Mille Bornes, John Warshawer's Poker Tournament is a player-vs.-CPU game of poker, and Musical Yat-C by Ricky H. Cates and Walter Fuller adds music and a trademark-skirting name change to the popular game of Yahtzee.  Jeff Jessee's Mountain Shoot puts two opposing cannons on a randomly-generated landscape, using another early competitive game concept that eventually evolved into the long-running Worms series.

Page 18 presents one of the few non-entertainment products in the Adventure International lineup, the database system Maxi Manager:


The system's capabilities aren't bad at all considering the hardware and diskette space available at the time -- while today's databases handily deal with millions of records of arbitrary size, this system was probably powerful enough to serve its customers well back in the day.  The feature comparison table is interesting -- all of the products listed are long gone, but either Maxi Manager was significantly ahead of the pack or the competition was carefully cherry-picked.  And I imagine the makers of AIDS III were rather relieved to be out of business in the mid-1980s.

Tomorrow, our historical trip continues...

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