Blood 1 starts a new game, Blood 2 continues a game, and Blood 3 quits.
I realize as I sit down to write this just how difficult it is to explain or describe Space Funeral. You play as Tim in the macabre and bizzare world known only as Space Funeral. Tim is sad — so sad that it’s his class in the game — and he yearns for the meaning of form and the nature of the world, for it was not always as it is now. Join Tim and his domineering companion, Leg Horse, as they search for the answers to this baffling world.
Tim is so sad he cries constantly, even during combat.
History
Space Funeral was developed by Stephen ‘thecatamites’ Murphy, who’s made over 50 short games. With such titles as The Astonishing Adventures of Captain Skull and Murder Dog IV, with art styles ranging from pen on paper to 3-D animation Murphy has been making games for almost a decade now. Most of his titles are short and almost all of them are free.
Space Funeral was completed and released on September 17th 2010. It’s competition was Plants Vs. Zombies (Xbox Live Indie Arcade), Cladun: This is an RPG (PSP), and Civilization V (PC).
Experiences
When I first heard about Space Funeral I heard about Leg Horse, a horse made entirely out of human legs. Hearing this, I almost wanted to dismiss the game out of hand as Youtube fodder that was meant to market to the “Lul, so random,” crowd but I couldn’t resist investigating further. Leg Horse is just the tip of the weirdness ice-berg and what impressed me more is that I came to care about everything. The world of Space Funeral uses its weirdness as an element to tell a story. It serves a very vital purpose without which would destroy the artistic meaning of the game.
Well, the Dracula part seems needlessly random. Maybe thecatamites just likes Dracula?
Gameplay
Space Funeral is a pretty stock role-playing game with turn based combat. Tim and Leg Horse can attack, defend, use items, or special techniques to thwart their enemies. There are towns and dungeons to explore and all sorts of colorful characters to meet like the Shopkeeper who desires ALL RUBLES — also, the currency of Space Funeral is rubles which has got to count for something. The game could quite easily not be a game at all. The quality of the experience wouldn’t really change if this wasn’t a game. But if it wasn’t a game, if there was no combat, then what would you do? What would it be then?
This dialogue deserves an award or a metal… quite possibly an honorary sash.
The Gush
The music in the games is really good and really creepy. It’s got moody electronica with spoken word lyrics and even some surf rock thrown in for good measure. The music always feels a little out of place and unnerving and I love it because of that.
The game borrows a lot from Earthbound. Enemies are on the field –so the battles aren’t random –, the game is pretty easy, they both have a hellish otherworld — the difference being that in Space Funeral you live in the hellish otherworld–, and Tim even has a mystery command. So if you like Earthbound then you’ll like this game. If you haven’t played Earthbound then you can listen to my long-winded diatribe about it. https://aproximatelytoomanygames.wordpress.com/2014/02/14/earthbound/
And when they say MYSTERIOUS THINGS they’re not kidding.
This game is wonderfully dark. People live in constant torment or emotional anguish. Beds are coffins with Tim’s body in them. It’s insane and I love it.
The Kvetch
This game is extremely easy, strategy is strictly optional here. The game never poses a real challenge at the player, you’ll probably go through the whole game without losing a fight. Despite it’s ease, it’s so weird that it probably wouldn’t be fitting for a newcomer to videogames or RPGs.
The Verdict
I heard the name Space Funeral and knew I should check this game out. The next words out of someone’s face were about something called a Leg Horse and then I knew I HAD to play this game. Throw in a solid thesis, a perfect length, and a kick ass sound track and you’ve got a remarkably balanced and yet compact experience. To top it all off, it’s free. If Space Funeral sounds even remotely appealing to you then I suggest you check it out.
The fables and characters within that we know and love weren’t actually born on the page. They lived in their own world, a place they referred to simply as the Homelands. But were driven out by The Adversary and his empire which lead them to our world. They consolidated their survivors, forgave their past crimes against each other, and established a community in New York City. There’s another community upstate called The Farm for the inhuman characters — don’t worry about it, no one else does… You play as Bigby Wolf, the sheriff of Fabletown. Something’s stirring in the rotten underbelly of this city and Bigby’s going to get to the bottom of it — because detective things.
History
I can sum up the development of The Wolf Among Us in one word, delay. The game was announced in June of 2011 and announced again –for some reason– in on October 2012. It got named in February of 2013 and was going to be released in January-March of 2013 and was postponed until June-August of 2013. The first episode was finally released in October of 2013.
Fun Fact: Adam Harrington is the voice of both Bigby and the Woodsman. As such, Harrington spends a lot of time talking to himself.
The Wolf Among Us was completed on November 4th 2014. It’s competition was Flashback (Playstation Network and PC), Batman: Arkham Origins (PC, WiiU, PS3, and XBox 360), and Deadly Premonition: Director’s Cut (PC).
Experiences
The Wolf Among Us offers an incredible experience as an investigator, the detective that CSI has taught us to think we are. Telltale gives us the choice to play our Bigby however we want and I chose to play him with one simple rule: Everyone gets one warning, no more, no less. And sometimes that bit me in the ass. So it’s your Bigby and your rules. The replay value of the game is seeing what happens under different circumstances cleverly disguised as offering the pleasure to make a different Bigby.
I mean, is it worth it to be the fairest? But being a tyrant is fun.
Gameplay
The Wolf Among us is a narrative and choice driven walk and click adventure with quick-time-event combat sprinkled in. You control Bigby, walking around, picking stuff up, looking at evidence, and talking to people. And you’ll do a lot of talking. Every dialogue section has 4 options — and silence is always an option. The other big part of the game is choice. Every so often the game will offer the player a mutually exclusive choice i.e. if Bigby goes somewhere he can’t be in the other location at the same time. Meanwhile, anything could happen in your absence. Telltale, as always, does a wonderful job of making your choices feel like they really matter even when they might not. Especially considering some of your choices can have huge impacts on the state of the game.
Sometimes it’s literally a matter of life…
… And death.
The Gush
The music in this game is wonderful. The menu music puts me in a contemplative mood and the chapter beginning music gets me all fired up to play. It creates this moody and sleazy atmosphere for this modern film noir setting.
The story is top notch. It reacts to your decisions marvelously and those decisions aren’t always cut and dry. The story also tackles big issues that people face today like the nature of government, law enforcement, and fear. You’ll learn something about yourself going through the story.
This is the only game where someone can experience the Fables setting and it’s a treat to see. Being a fan of the Fables comic enhanced my experience but it’s not a necessity, the game does a great job explaining the setting on its own. It’s also just wicked fun to be Bigby — such stronk, much wolf punch.
It’s also beautiful watching Bigby and Snow be awkward as hell.
This game looks great, it’s incredibly stylized. Everything just pops out even though it’s gritty and grimy. The setting design naturally draws the eye right to where it needs to go.
The voice acting is evocative and incredibly emotive. From Toad’s cheapskate complaining to Gren’s rebel without a cause attitude every voice actor is bringing their A-game.
The Kvetch
The combat is a little weak. It gives the player a sense of agency when it comes Bigby’s violent side but the failure scenario just takes the player back to the beginning of the fight. It’s a tough situation from a design perspective. They couldn’t just hold the player’s hand because that might seem insulting and taking it away from the player means they’d be lacking agency during the fights, like they were watching Bigby and not controlling him. It all just seems a little odd because Telltale games are about choice and in combat I get incredibly worried that I’m going to mess up, not make the wrong choice.
We get it, Bigby will beat ’em up.
The Verdict
The Wolf Among Us is a wonderful Telltale game and a wonderful narrative driven experience in general. That being said, the player doesn’t actually do much. They’ve got a lot of input, they’ve got a lot of options, but it’s a very passive game. If you want a game where you’re doing stuff all the time then this is not be for you. This game is much more thinking about the character you’ve got int your head and what they would do or say, then the game generally does it for you. If that sounds like the sort of experience you want then go for it. It’s going for $25 on Steam right now and I’d wait until it dropped to about $20.
Faerun’s west coast, known as the Sword Coast, is no stranger to peril, war, and upheaval. Far from it, these things love to rear their heads like uninvited guests on a regular basis. The latest trouble is an iron shortage. No problem on its own but the situation is made worse by frequent — one might almost think scheduled– bandit raids on ore shipments. You play as the adopted child of the sage Gorion (Because they needed there to be a reason you could play any race.) living in the library/castle of Candlekeep. Gorion has become more and more agitated of late — even given his humorless and private demeanor. One day he tells you that you must leave Candlekeep behind. With some gold for your equipment you prepare to face the world outside wondering why Gorion is in such a hurry.
History
Baldur’s Gate was developed by Bioware, as a matter of fact it was THE FIRST RPG THEY EVER DEVELOPED — do you like Mass Effect? This is where it all started! And it shows. They also made the Infinity Engine for the game. At this point Bioware was 60 people and they were so green that none of them had released a game by this point. They worked together with Interplay, creators of the Fallout series, because they had experience adapting a role-playing system to a video game and were a veteran company of the time.
Fun fact: Fallout was meant to be based on the GURPS roleplaying system.
Baldur’s Gate was released on December 21st, 1998. It’s competition was Starcraft (PC and N64), Fallout 2 (PC), and Might and Magic VI: The Mandate of Heaven.
Experiences
This is a game that demands to be played correctly. It might seem like an open world but that’s an illusion, a dangerous one at that. You CAN play it your way but it’s bound to leave you destitute in the gutter without two gold pieces to rub together. At this point you’ll be pawning your equipment to rest at the inn or try to get enough cash to bring your allies back to life at the local temple. Get a guide or make a plan because it’s the only way to get the stuff you need to adventure properly so you can start taking risks. It’s an utterly merciless experience. But! The Enhanced Edition comes with the benefit of highlighting important areas of your world map. I guess your character has adventurer sense — which almost makes sense in the fiction.
No longer is a fan-made map like this NECESSARY to figure out where to go.
Gameplay
Baldur’s Gate runs on the same rules as 2nd edition Dungeons and Dragons — as such it’s a bit of a confusing mess. What you need to understand is that you want to keep your hit points high and your Armor Class low. Now the dungeon delving is pretty simple; go in to the camp/cave/ruin, kill everything that looks at you funny, and then loot the bodies. The problem is in figuring how to destroy the monsters and, oh yeah, fucking traps. There are goddam traps everywhere — I mean, there are so many traps that I seriously question who built so fucking many and who fronted the money for all these god forsaken lightning bolt spells.
Lightning Bolts are literally hell. They will kill you and your whole party in one go.
It’s your job to create a party of fighters to fight, clerics to heal, rogues to find traps, and wizards to cast spells in the right combination to handle the traps, wizards, ogres, armored thugs, and hoards of gnolls. Unfortunately your party is more likely to be made of the other adventurers that you’ll find and some of these guys don’t generally get along — I thought the paladin and the sadistic murderer would be fast friends!
The Gush
The plot is genuinely compelling, especially for the first time experiencing this sort of story, even if you know nothing about Faerun. When I was playing it as a kid I was reading books in game to figure out more about what was going and — this game got 14 year old me to read fake books. It asks a pile of questions and then drip feeds you answers IF you dig a little.
This game oozes with charming characters. Between Khalid’s anxiety, Erwin’s blatant evil, and Minsc’s pet miniature-giant-space hamster I’m more than content to interact with everyone just to see if they’re cool people. All of these important characters are marvelously voiced and if they start to grate on you just mute ’em.
Behold Minsc and, his adorable companion, Boo
The only Advanced Dungeons and Dragons based game better than Baldur’s Gate I is Baldur’s Gate 2. And it would just be untoward to play the second game before the first. It’s not just untoward, skipping this game will leave you in the dark pretty hard.
The Kvetch
Luck should have nothing to do with whether you complete a quest or not and Baldur’s Gate has got dice role quests. A 50/50 chance between 500 and 2000 experience points based on the roll of the dice is just bad design. There’s not even anything you can do to effect the outcome and it’s just lame.
Almost every fight at the higher levels include a spellcaster, usually of the arcane variety, who will typically cast all of his defensive spells before you even walk through the door. You’ve got no chance to interrupt them and they never seem to run out of spells. I don’t know what level they are but I’m level 8 and they’re casting spells I’ve never scene and that I don’t know how to avoid or overcome.
Ah yes, I remember the days when winning a boss fight meant simply summoning as many skeletons as possible.
For some, plot based but otherwise unexplained reason, if your main character dies they are dead forever and the game is over. Reload from your last save and do it better. As such it’s really fucking hard to play as a wizard or any other class that doesn’t come with buckets and buckets of hit points. It’s possible but it’s an uphill climb on a sheer cliff.
I really wasn’t a fan of the music. It felt dull, repetitive, and undynamic. I eventually started playing my own music and muting it for character dialogue or to read something.
The Verdict
If taking a trip down Second Edition based memory lane sounds like a keen way to spend your time then I recommend giving Baldur’s Gate I, enhanced or not, a look. The game may begin with the illusion of an open world but after a few chapters of linearity it DOES make good on its open world promise. The enhanced edition even has multiplayer so you can play this game with a friend if you don’t want to rely on the less optimal NPCs. I recommend Baldur’s Gate to anyone with an interest in roleplaying games and a firm knowledge of D&D.
The vampire kingdom, the zombie kingdom, and the… human(?) kingdom have lived in peace for a long damn time. The Zombie lord Von Hessler has broken this peace, declaring war on both of the other kingdoms. No one can figure out why he’s invading nor can they figure how he’s winning! The vampire lord and lady send their son, Spike McFang, to adventurer camp — you know, where you send the kids for the summer– to get ready for the impending invasion. When Spike returns his family’s castle has been conquered and he won’t take that lying down. Join spike as he liberates the conquered kingdoms, walks at an awkward pace, spins, and uses magical cards to thwart his enemies.
This fairy riding on a tooth is the instructor of Adventurer Camp. No, it doesn’t make sense in context.
History
The Twisted Tales of Spike McFang was developed by Bullet Proof Software. A company most known for porting Tetris a dozen goddam times — and making the slow, awkward, barf-fest known as Faceball 2000 (but that’s for another day). This game had small differences between the US and Japanese releases. For example Spike no longer fully heals upon leveling up and monsters have more hit points, making the game longer by forcing the player to backtrack and use more items. The shopkeeper’s visual design was also changed.
From a cute girl to a mummy squid thing.
The Twisted Tales of Spike McFang was released in June of 1994. It’s competition was Super Metroid (SNES), Sonic the Hedgehog (Sega Genesis), and Final Fantasy VI (SNES).
Experiences
This game was the one that got away for me. I rented it once when I was a young and impressionable child and loved it — but you know… kids are stupid. I got stuck before I finished the first chapter but that just made me want to beat it more. There was only one word that I remembered from the title, ‘Twist’. Before the internet’s day it was hard to find but as the compilation of useless information grew in size I was able to find the game at last, play it, and finish it. It all went downhill from there.
Gameplay
The Twisted Tales of Spike McFang consists of a Vampire in a blue onesie and a top hat on an isometric plane jumping around and beating up sentient onions and other weird monsters. He can attack by throwing his hat and spinning his cape — but if he spins too man times he’ll lose his balance. Spike also explores dungeons avoiding traps and searching for keys — Legend of Zelda style. Spike can also buy and find cards that can do all sorts of stuff like healing him or helping him deal more damage.
The Gush
The music is pretty good. It’s memorable enough that I still have a few of the tunes rattling around in my noggin — I still remember the Batland theme. The boss theme always got me pumped and ready to dish out some damage — whether that was strictly possible or not.
I don’t know why the world is populated by golems with Easter island heads but I like it. It certainly doesn’t hurt that they’re almost always around to help.
I will admit that I’m a little weirded out by their stony stares.
The Kvetch
I just figured out that there’s a two player mode. It’s only available if Spike has a companion with him, which is only during certain parts of the game. But it’s only unlocked BY PUTTING IN A SECRET FUCKING CODE! It’s not in the manual, no one knew it when I was growing up, no one had even heard of this game. You’ve basically got to buy a cheat book to play with a friend in this game.
Spike’s main attack is his cape spin. It’s incredibly cool but totally impractical. It immobilizes Spike so it’s more than likely that the bosses –as they jump nimbly-bimbly– will knock his fangs out. Spike’s hat throw also immobilizes him but has the benefit of attacking from a range.
That white flash there is the total range of the cape.
The plot, that which it exists, is weak as hell. I’m not really rooting for anyone and the only reason I’m willing to play Spike is because he’s a vampire wearing a top hat and a blue onesie.
When you get to the end of the game you’d best have everything you need because there is no shop and no going back. To boot, the final boss is a tough sonovabitch which almost requires cards to defeat so if you used them all reaching him then you’re in for a tough fight. A fight so tough that I restarted the game and stockpiled cards instead of facing him.
The final area is also a jungle maze. If you go the wrong way you get sent back to the beginning.
Spike’s walking speed and jumping speed are so abysmally slow that you’re probably not going to be able to get out of the way enemy attacks.
There’s a sort of invisible experience point system, when Spike vanquishes an enemy he gets XP and can level up. But all leveling does is increase Spike’s health and damage. With no other features it just leads to a lot of grinding because you gotta stay ahead of the curve.
The Verdict
This game is lame overall. The gameplay is weak, the design promotes unfair difficulty, and the story is nonexistant. I was totally nostalgia blind when I went back to it and I was taken aback at how simple and hollow the experience was. This game is at the same time too short and too long. There’s not enough exporation of the world and at the same time I’m so glad when it’s over. Avoid The Twisted Tales of Spike McFang.
You from the future bursts through the wall of your home with a giant laser cannon. You know it’s you from the future because the first words out of his mouth are, “I am you from the future. There’s no time to explain.” And before he can say another word he’s grabbed by a giant crab and drops his cannon. You take it upon yourself to travel through time… a lot and save yourself — I mean you from the future. And other yous from other futures or something. Just jump around and shoot your cannon all over the place in this puzzle platformer.
Everything you need to know right here.
History
No Time to Explain started out as a flash game on Newgrounds by Tom Brien. After it garnered a couple of thousands of plays Brien contacted Alex Nichiporchik and formed tinyBuild Games to make a larger full release. They started a Kickstarter to fund this full version and they raised $26,000 — $19,000 more than their $7,000 goal.
No Time to Explain was released on August 15th, 2011 and a Remastered version was released on July 17th, 2015. It’s 2011 competition was Bastion (PC), From Dust (PC), and Temple Run (iOS).
Experiences
This game is I Wanna Be the Guy lite. If you’re not familiar with the masochism simulator of a game I Wanna Be the Guy is then all you need to know is that it’s hard. Although No Time to Explain can be quite difficult it’s never unfair. As a platformer puzzle game with plenty of checkpoints it’s totally possible to brute force a solution and continue on. The game just keeps getting sillier and sillier, I keep playing just to see the crazy stuff that’s gonna happen next. the plot is incredibly difficult to follow because they game takes full advantage of the multiple universe and time travel heavy setting it takes place in.
Gameplay
You play as a dude using a laser cannon as a jetpack who uses it to travel through time. If that doesn’t grab your attention right there then this game has got nothing for you. Each level requires you to go through a bunch of obstacles that become increasingly difficult to navigate in order to reach a time portal that leads to the next level. These obstacles range from spikes, to water, jump pads, to walls that can only be destroyed by lighting them on fire with your own flaming body. Every world has got a boss and this game has got some crazy bosses.
This used to be strange, now it’s just Tuesday in the Multiverse.
The game’s challenge isn’t too punitive. Every time the character touches a stable section of floor it acts as a checkpoint in case they die. Falling into a bottomless pit or getting extremely dead — like immolating oneself — will restart the level however. The Remastered edition has sharpened the graphics and sound. It’s also added a lives counter to boss fights and lowered boss health. This is a mixed blessing as some boss attacks would kill the player and others would simply return them to the nearest stable platform in the classic version. Which would lead to situations where the player would dive toward attacks that wouldn’t kill them so it wouldn’t reset the boss’ health.
If you’re looking for an even greater platforming challenge then you can look for hats.
The Gush
This game has got variety. Just after the point I’m comfortable or bored with a certain playstyle the game throws something crazy at me.
Bullet Hell section while riding on a thief version of you shooting a dinosaur from the dinosaur universe? Very yes.
The movement mechanics change as often as the playstyle. One second you’re using the laser cannon and the next you’re playing a crazy psychic version of you that can move himself with his mind.
The plot is delightfully campy — fully equipped with an evil version of you with a goatee. It’s a little hard to follow with all the time travel shenanigans but even after I got lost I knew who the bad guy was and I knew enough about what was going on to keep playing.
It’s got Giant Enemy Crabs! What could possibly go wrong?
The Kvetch
You have to fire the cannon at the right time during a jump to get the maddest ups. Sometimes I can’t get the timing right when I’m almost damn sure that I am. Maybe I’m getting mad at video games but it’s really frustrating how small the sweet spot is.
The game can kinda drag a little bit. It’s great for short bursts but I’ve never been able to marathon this one — I know, I’m scraping the bottom of the barrel here.
The Verdict
This game is a tight package. It’s $15 on Steam and I love it to death but I’m not sure it’s worth the price tag. It’s almost there, almost. Catch it on Steam when it’s 20% or something. The controls are a little wonky sometimes but the plot is wonderful, the music is catchy, and the core platforming is to die for. I recommend No Time to Explain.
Have you ever had a nightmare? What was it that was chasing you down the halls of your mind? Was it a vampire, a horde of zombies, maybe a werewolf, the ghost of a bitter relative, the Boogie Man? The World of Darkness is a place where a bad dream of these things would not be ill-founded. A world where all of these monsters are quite real in the modern day — well the jury’s still out on the Boogie Man– and they hide from humanity while preying on it. You play as a newly turned Vampire, thrust into a world of generations old politics, rivalry, and violence in the city of Los Angeles. You’re a pawn in a greater game to the elders, just trying to survive. Fight, feed, use your sweet vampire powers, and figure out what is going on in Bloodlines.
History
Strap yourselves in because this one’s a doozy. Bloodlines was published by Activision and developed by a little studio called Troika Games, development began in 2001. Troika wanted to make a first person RPG, thinking that the genre was going stale, and Activision wanted to make the most of the Vampire license they had acquired from White Wolf in ’98. Development began with 5 developers, 27 others, and no head writer — they wouldn’t get a writer for about 9 months.
And the writer paid off with dialogue like this.
Troika began debating whether to make the game 3D or not. At the time Valve was working on their Source Engine for Half-Life 2. It would be fully 3D and have all the bells and whistles but it wasn’t done yet. Despite it’s incomplete nature Troika gambled on using it. This lead them to finish incomplete sections of code themselves with only Valve to go to for technical support. Because Valve was making Half-Life 2 in the Source Engine, Troika was forced to put off Bloodline’s release until Half-Life 2’s released. Further delaying things, Valve suffered a security breach that lead them to put more security into the engine. Leading Half-Life 2 to delay, which lead Bloodlines to Delay.
The scope of the project continued to grow. Every new system introduced additional models and animations for the characters. Most games have a static 10-20 models whereas Bloodlines had over 150 characters and almost 3000 animations for them put together. Levels were designed and then scrapped. The game planned to launch with a multiplayer mode but that was also scrapped for time. The game’s development dragged for so long that the team put off finalizing things because they didn’t know when the deadline truly would be. Things were further slowed as every decision had to be approved both Activision and White Wolf.
When Activision put their foot down and set a deadline Troika hadn’t even begun testing yet. Troika also didn’t respect the deadlines because they knew that Activision wouldn’t let this money go to waste. The money Activision offered to finish wasn’t enough to pay the whole team and some employees took pay cuts while others worked for nothing to push the game as close to completion as they could. The game released on November 16th, 2004 in an incomplete, untested, and unpolished state. Creative Director, Jason Anderson said that only 2 months of its 3 year development wasn’t spent in overtime.
It’s competition was Metal Gear Solid 3: Snake Eater (PS2), World of Warcraft (PC), and Lord of the Rings: The Third Age (Gamecube, PS2, and XBox)
Experiences
I can’t think of a game that I put more into, from a technical perspective. I can’t think of another game that was so broken that I also refused to abandon. I was playing this game when it chugged on my 1999 Compaq and I gave it another go when I finally upgraded to my next machine. Giddy with anticipation at the bug-fixes that came with the latest patch. Every time I play through it I play as a different clan and keep notice more dialogue differences. I struggle to differentiate between patch added content and stuff I just missed my last time through. Whenever I relate to someone about this game we have completely different experiences from our in game choices and it leads to a, “I wonder what happens if I do this,” marathon.
So many options and I want to see what happens for every one of them.
Gameplay
Vampire the Masquerade: Bloodlines is a first person/third person (your preference) action RPG game. Every vampire is defined by their clan, whether they want to or not. A characters clan determines their attribute points, skill points, and what abilities they can use — wanna dominate someone’s mind? Not as a Toreador you won’t. Every clan has also got a certain strength and a crazy weakness. Some weaknesses are as benign a losing more humanity when they do something untoward to looking like a literal monster like those of the Nosferatu Clan. Every character has feats scores which determine how effective they are at actions. Each of these feats is the sum of the relevant attribute and ability scores.
By ancient law and tradition everyone you meet will make you do something before they help you. I’m totally serious on this one, not only is it written into the rules of the table-top that all newbies have to work for the higher ups but they implemented that into the game. And I mean every-fucking-body will tell you to kill someone or find something before they’ll give up the goods.
If you thought no one would send the Mac-10 toting raver on a fetch quest, you’d be wrong.
The real meat of the game is exploring, wandering around, and messing with people’s lives for good or ill. And there’s something brewing in the Heart of LA, something that mixes together all the clans and supernatural into a giant pot that’s at risk to boil over. Naturally as the chose one — or whatever– it’ll lie to you to deal with it.
The Gush
I guess all of that content made but unimplemented paid off eventually because the programming in this game is really robust. Every character will remark on the character’s clan, attributes, and actions. Some things are effected by a characters humanity, preventing them from using their social graces if they grow too inhuman. Playing a Malkavian completely changes the game’s dialogue into nearly indecipherable babble that only makes sense in hindsight.
Complete with talking televisions and arguments with stop signs.
I’ve never played a game where I was more interested in speaking with characters. Usually I troll around, trying to find someone with a quest or something interesting to say but Bloodlines lead me to talk to everyone. Sometimes they would say crazy things, sometimes they would have cryptic hints about the crazy stuff going on, but they always had something interesting to say.
Speaking of characters, the voice acting in this game is really good. With VAs like John DiMaggio, Steve Blum. Phil LaMarr, and Grey Griffin they really knock it out of the park. The performances create characters I come to care about and really want to listen to. Combine this with Brian Mitsoda’s character driven writing and it creates an experience that’s oozing with charm and style.
This is THE White Wolf RPG game, accept no substitutions. There are no other games with the White Wolf license that are better designed or more well known. If you want to play Vampire but can’t get an RP group together, then this game will scratch the itch.
The Haunted Hotel. That is all.
The Kvetch
This game will not run or operate well without an unofficial patch and maybe a few mods. It’s almost absurd to purchase something with the knowledge that it won’t run on purchase but it’s something that comes with Bloodlines. The patches are easy to find and free (And the latest update was on April 20th, 2015) but it means plugging and playing isn’t an option. It’s a wonder to me that the distributor doesn’t just bundle the patch in with the game.
Sometimes the animations and textures are just downright ugly when I don’t think they’re supposed to be. I played a Toreador my first time through and they’re all a bunch of vain art divas so I checked myself out and I looked pretty good — especially for a dead guy. I went to open a lock and BOOM, I’m looking at one of the grossest hands in video game history. Then there are cinematics which include hoodlums shooting recoilless uzis into the air while the most stock sound effects I’ve ever heard for gunfire blast in stereo. It’s rough and blocky and breaks my immersion something fierce.
This game is pretty glitchy and crashy even when it’s been patched. I’ve seen bosses freeze, dialogue get skipped or misfire, and certain quests become broken for completely unknown reasons. This is just the stuff I’ve seen, mind you, there are horror stories out there about glitches in this game.
Unless my character has obfuscate, the power to go invisible, I can’t stealth. I don’t know what’s up with the stealth system but it seems like no matter how many points I cram into it it’s never enough. Normally it’s not a problem but there are some quests that can only be completed stealthily.
The fucking sewers. That is all.
The Verdict
This game has got its ups and downs but as I said, it is THE White Wolf RPG bar none. If you want to play in the Vampire setting or you want a satisfying Vampiric gaming experience in any variety then it’s either this game or nothing. It’s still being patched today and let that be a testament to how good this game is and how much work people are willing to put into it to help it flourish. I would suggest at least grabbing it on sale and then seeing where the night takes you.
We return to The Zone in the aftermath of shenanigans at its center. The zone is becoming more unstable — and yet safer in some ways. The military is stepping up their efforts to investigate the zone — although they’re shockingly ignorant of its workings. They begin operation Fairway, their bid to take over Pripyat and the Chernobyl Nuclear Power Plant and investigate the goings on there. They sent four helicopters into the center and they’ve lost all radio contact. You are Major Degtyarev being sent into Pripyat undercover as a Stalker to figure out what went wrong with the operation. You’re underequipped, underinformed, and otherwise unready to handle the rigors of the zone but it wouldn’t be a Stalker Game otherwise.
History
Sorry Stalkers in the making, I couldn’t find much of note about the development of the game. It was released by GSC Game World, like the other Stalker games and was distributed to the world by a cadre of different publishers. GSC was able to publish it in the CIS but Viva Media and Deep Silver released it in North America and Europe respectively.
It was released on October 2nd, 2009. It’s competition was Demon’s Souls (PS3), Saw: The Video Game (PS3 and XBox 360), and Brutal Legend (PS3 and XBox 360).
Experiences
If there was a feeling I felt the most in this game it would be confusion. I can think of no other FPS I’ve gotten lost in more. Between unmarked quest objectives, mysterious Zone stuff, and unclear instructions it’s difficult to figure where to go or what to do. It might seem like certain conversations are just they for flavor but many of them hint at tasks and most of those tasks offer no instruction whereas as some topics are just dead ends. ‘Find Barge and Joker’ translates into look it up or get lucky finding some dead bodies. It’s frustrating to have no clues whatsoever. If they mentioned something like, “Barge and Joker went west after the argument” or “They mentioned something about artifact hunting,” then I’d have some direction and feel like I wasn’t just wandering around and hoping for completion.
Gameplay
Like Stalker games before it Call of Pripyat is a horror based first person shooter. Unlike Clear Sky, however, there’s no longer a relationship between primary mechanics and story. There are no territory control mechanics or zone destroying threats this time around, the scales are much smaller and much more personal. The game is very much a sandbox that rewards the player based on how much they put into it. The reward for exploration is usually more powerful weapons or achievements that give the player additional benefits like free ammo or medical restocks in settlements. This game highlights the elements of survival in the zone much more, Degtyarev must keep himself fed and rested or his stamina, and eventually health, will suffer.
Even though it’s got fewer locations I’d say they’re better designed overall and they look great.
The game takes place in Zaton, a large swampy area, Yanov, a former train yard, and Pripyat, an small town. These areas form a sort of new frontier for the zone, these are areas that the player has not visited in either Clear Sky or Shadow of Chernobyl. Though the artifacts, mutants, and anomalies might be similar the politics and atmosphere have changed quite a bit. There’s no more Sidorovich, no more faction wars, and much fewer of the comforts they provided. Getting better gear will take a greater toll on the characters’ wallets or they’ll have to do some hunting. As such you’ll find fewer enemies in Exo-Suits or with incredible gear unlike Clear Sky which had a heavy soldier in nearly every squad.
You never know what you’ll run into in Call of Pripyat.
The Gush
Praise be to The Zone, the player can now shoot Bloodsuckers while they’re invisible. This might seem small but those bastards have been getting the better of me and wasting my ammunition for too long. They’re cloak is much less obvious to balance but I can throw a grenade and kill the damn things.
Not to say that they’re still not vicious as hell.
The world of Pripyat feels very alive. Squads of Stalkers go to anomalous areas to look for artifacts — and they can find them if the player doesn’t — while bandits will be on the look out for Stalkers to ambush and loot to steal. Mutants, zombies, and monolith leave their lairs and fortified areas looking for supple Stalkers to eat.
The quests in this game offer real choice as how to complete them. It’s no longer a matter of going here and doing this, it’s a matter of guys not knowing what to do and you fill in the blank. You go to pay someone’s debt and the assholes try to charge you interest, what do you do? You find a PDA holding information about someones secret weapons warehouse, who do you sell it to? The choice and consequences are yours.
Anomalous zones are now marked on your map so it’s much easier to find where to go artifact hunting. In addition you can now sleep in settlements so you can explore at night or during the day, whichever is your preference.
The Kvetch
Apparently the whole voice acting department died in a fruit punch anomaly between this game and the last and GSC got their replacements from people on the street. The voice quality has dropped off hard since Clear Sky. I think they’ve got 5 voice actors, all told, and 2 of them voice almost everyone and they’re really bad. I don’t know what happened but get ready for some grating voices and painful deliveries.
Back on that whole direction problem I was talking about in Experiences, it would be so much better if they told the player that certain quest objectives are just on certain maps. I needed to get some poison to eliminate a Bloodsucker lair and I found some locked tanks on a jeep holding the stuff. I figure there’s a master key in a military or industrial facility somewhere and I check every factory or barracks I can get my hands on. I ask everyone about the damn things. As it turns out the keys are on other parts of the motercade the tanks were on. There’s no hint or indication where the key is whatsoever.
And I’m not the only one with this problem. There’s a whole Gamefaqs post devoted to this quest.
I don’t know if it’s a glitch, I wouldn’t put it past a Stalker Game — this game’s the most stable of the three but still has issues –, but there’s a mutant called the Burer — remember Mr. Ugly face up there? That’s him — who can knock your gun out of your hands. It’s an interesting mechanic and a little annoying but I think it’s cool. The problem comes when I can’t find the gun afterward. I don’t know if it’s falling through the floor or flying to some part of the room where I just can’t find it. But it means my prized shooter is gone and I’ve gotta reload my last save even if the beast is dead. It’s unfun, unfair, frustrating, and happens to me at least once a playthrough.
The Verdict
The gameplay is much improved and everything feels more thematic overall. There’s a lot of unfair or non-existant signposting that leads to frustration. Quests are sometimes difficult to complete because you won’t know what to do next and there are just too many hidden objectives and goals in the game overall. This game is a guide game. You’ll play it with a strategy guide for WHEN you need it. It’s still fun and it’s still Stalker and it’s interesting to see the ecosystem of the Zone just go. But it still scratches that Stalker itch.
A distant Uncle(?) has left you the family estate but, like Luigi’s Mansion or the estate from Eternal Darkness, all is not as it seems. As it turns out this Great Uncle(?) dug too deep, performed dark experiments, communed with Outer Gods, and basically did every bad thing Lovecraft ever wrote about. As the sole beneficiary it lies to you to restore the homestead and the nearby hamlet. And defeat the evil your… Father(?) unleashed. Hire some eager adventurers and set them on the monsters of the dark — or have I gotten that the wrong way around?
This disclaimer shows up everytime you boot up the game reminding you that this isn’t a game you win, it’s a game you survive.
History
Darkest Dungeon started out as a conversation between Chris Bourassa and Tyler Sigman about how a real person might react to a crazy dungeon delving scenario filled with monsters, demons, cultists, undead, and giant vermin. Inspired by psychologically heroes, particularly Hudson from Alien, they formed Red Hook Studios in order to make this a reality. They funded the game through Kickstarter, raising $75,000 for the project. Darkest Dungeon is still in Early access and as of yet is incomplete.
Darkest Dungeon entered Early Access on February 3rd, 2015. It’s competition was Hand of Fate (Linux, PC, Mac, PS4, and XBox One), Oddworld New and Tasty (PC, Mac, Linux), and Evolve (PC, PS4, XBox One)
Experiences
It’s natural that the player connect with the party… and doing so will hurt you. Eventually the character you rely on will fail you. The best of them will go mad and jeopardize everything. The one you love the most, the one you named after yourself perhaps, will die. At this point, after 30 expeditions, I’ve grown cold to the lives of the adventurers in my employ. I send them with no supplies sound in the knowledge that if they die then I can replace them. If they survive they’ll soon join the higher ups who perform the really dangerous tasks. The whole while the cash keeps coming in and I keep getting ready for a huge expedition with my most powerful party members. But the bodies are piling and I almost feel a tinge of guilt that my best must stand on the corpses of so many others… almost.
So far, the dead number 22 and the game keeps track of their names and how they died.
Gameplay
You take control of a party of adventurers who are about to learn what horrors live below, and in, the estate — I love the eagerness they begin with and how it turns into jaded paranoia and fear of having to go back. They move forward in a formation of four ranks, with certain combat abilities only being usable in and of certain ranks — your opponents will try to fuck up your formation… but you can also mess up theirs. Every quest has a certain objective and when it’s complete your people can go on home. They can also leave prematurely but that’ll stress them out.
And too much stress is really dangerous.
Speaking of stress, when your characters reach 100 stress points they’ll reach a breaking point which will typically cause them to acquire an affliction which makes their behavior more unpredictable and stresses everyone else out — but rarely causes them to fight more powerfully against the darkness. When a character reaches 200 stress they suffer a massive heart attack and die. Characters don’t die when they run out of health, they instead enter a state called ‘Death’s Door’ at which point the next attack against them has a chance of killing them.
Being on Death’s Door stresses them out and it’ll stress you out.
Completing quests nets you Heirlooms, gold, and trinkets which you can take back to the Hamlet and spend. The Hamlet is equipped with buildings that relieve stress, train and upgrade your adventurers, buy trinkets, and remove negative traits from characters such as phobias or diseases. Buildings are upgraded with heirlooms– which can never be taken away– and adventurers are improved with gold — which can easily be spent on expeditions that end in disaster.
The game has got his marvelous pre-Victorianesque setting where crossbows and flintlock pistols cohabit.
The game’s still in early access and as such has no definite goal. Doing quests in areas unlocks bosses and conquering the challenge is a reward in itself but other than that there’s not great conclusion yet.
The Gush
The designs of all the characters is unique and expressive. The different color palettes of the heads alone allow me to differentiate between characters of the same class. After so many battles animations get a little old and sometimes they drag and make battles seem like they take forever. The characters convey a lot based on appearance alone.
There’s something immensely satisfying about my party having their back to the wall and someone reaching their breaking point and becomes virtuous. The pause between the initiation and the reveal builds so much tension. It’s a small victory and I usually pump my fist or launch my hands into the air shouting, “YES!” repeatedly whenever it happens
YOU GET ‘EM PLAGUEY!
The game has created this bizarre system where the town’s upgrades are really what push the difficulty down. Nothing can be done to harm it or undo the work you’ve done to it. You can dump comically large sacks of money into an adventurer, keeping their mind and weapons sharp, when they suddenly turn into a critical hit magnet and die.
If you put together a particular team of adventurers the game will sometimes give them a themed title. I don’t know why I like this so much but I will occasionally mix and match team members just to see if they’re ‘The Misbegotten’ or ‘The Merciless’ or something.
The Kvetch
This game relies a lot on luck. Between your crits, enemy crits, getting surprised, surprising other parties, where the goal is in the dungeon, whether you scout or not, what every interactible item in the game does, and what enemies you fight, it’s difficult to determine where your strategy ends and the Random Number Generator begins.
Sometimes you get the triple crits, and sometimes they get you.
The game has got this really weird difficulty curve. Instead of getting more difficult as the game goes on, the game kind of gets easier. It takes more time to keep your high level characters in ship shape but it’s easier now than it’s ever been to me to reduce the stress of my characters or upgrade their gear. The big reason my people keep dying is because I use them like cannon fodder and pinch my pennies a little too hard, not because the challenge has gone up. Then again, higher level enemies grow more powerful to match the skills of your higher leveled characters.
The Verdict
This game scratched an itch that I didn’t even know that I had. It’s wonderfully eldritch and addictive in the same way that the Binding of Isaac is but it gives me a little more control. I’m really curious about what they turn it into, what classes they make next, and what or if there will be a grand conclusion to this all. I’m not sure if it’s worth 20 dollars but it’s definitely worth 15 so I’d recommend catching it when Steam runs its next sale.
In another world there was once a man, a wizard named Eldred. He was not a hero, he was more a villain in truth. Wanting to destroy his enemies he summoned a creature that had a hard time differentiating enemies from everything — perhaps it was a cruel bit of irony as Eldred saw enemies everywhere. In any event Eldred fled across the astral void to another world. This world had five gods vying for power and would appreciate the service of a capable wizard. But… history has a nasty way of repeating itself. Run, cast spells, endure death, and choose your deity wisely in this third person Real Time Strategy game.
History
Sacrifice was made by Shiny Entertainment, the makers of Earthworm Jim and MDK. David Perry directed the project with music by Kevin Manthei and creature design and modelling by Joby-Rome Otero. The total team was around 25 people. Sacrifice also had stellar voice acting. With performances by Brad Garret, Tim Curry, Jennifer Hale, Tony Jay, and Paul Eiding — this game has got a near dream team of talent voicing it.
Sacrifice used the same engine as their previous game, Messiah which drew a lot of fire from expectant fans and people who opposed its religious connotations. These attitudes lead Shiny’s director, Perry, to make Sacrifice in total silence only breaking it months before release to advertise the game.
Sacrifice was released on November 17th, 2000. It’s competition was Megaman Legends 2 (PS1), Banjo Tooie (Nintendo 64). and Tomb Raider Chronicles (PS1 and Dreamcast).
Experiences
When I played through the game I was a goody-lil’-two-shoes 12 year old so naturally I chose to follow Persephone, the goddess of justice– justice spelled in all caps while decapitating something–, because I’m a good guy and that’s what good guys do. I played through the game and beat the big bad and felt accomplished because I saved the day but then I wondered what happens when I play someone else. As it turns out, the story is exactly the same but there’s so much more going on than any individual god is aware of. Playing through every campaign is the only way to get the full story. Some of the events and betrayals and backstabbing blew my mind.
Gameplay
Sacrifice is an odd game. It’s a third person real time strategy game and it’s just as weird as it sounds. Instead of playing an omniscient commander who has full knowledge of the battlefield who orders things around, you play as a spell casting ground commander with no combat capabilities — soooo you’re Gandalf without the swordplay. Every wizard serves one of the five gods of the realm except for a few who are freelancers or mercenaries.
The wizards have such interesting designs and the altars are so spooky.
Wizards can summon creatures, cast spells, and order troops.. A wizard can only produce as many troops as it — and there are some wizards that are ‘its’ and not ‘whos’– has souls. Wizards can purify souls captured from enemies in order to add more souls to their supply and some creatures are worth more souls than others. Contrary to popular adage wizards do not die when they are killed, they are merely rendered incorporeal and incapable of casting spells until they get enough mana shoved back into them. As such the goal of most missions is to desecrate your opponents altar which banishes them from the realm.
The Gush
It should come as no surprise that the voice acting in this game is super good. Tim Curry’s voice is delightfully sleazy while Tony Jay’s is appropriately wise and yet off in some way. Everyone delivers an absolutely amazing performance — except some bit parts and peasants which sound like they were recorded from across the room.
The Good Old Games version of this game comes with a digital version of the manual and each of the sections concerning the gods is written in that deity’s voice. It also includes an abridged history of the world which sheds some light on situations in the game. If you get the game get it through Good Old Games.
The creature design is really great. Even the palette swapped creatures look incredibly different from their counterparts and it’s explained that all the palette swapped creatures are the same creature but raised in a different environment — nice save developers, nice save.
The way the textures slide over things makes everything look alike but not the same.
Everything in this game is oozing with character. From the gods and the wizards with their taunts and incidental dialogue to the creatures and their descriptions and actions in the game.
The Kvetch
There are some situations where I wish so dearly that the wizard had a melee attack. No matter how weak or useless or utterly crappy it would be I wish they could do something besides getting punched in the face. Naturally, wizards have attack spells but the cooldown on them is so long that there’s usually not enough attack spells to go around. What really irks me is that some wizards even have weapons — the Hachimen have a sword — and they make no use of them.
SWING IT! SWING THE SWORD! IT’S RIGHT THERE!
Melee attacking creatures are typically not very good. It stands to reason that they’re meant to take out weaker ranged attackers but enemies can move out of the way and sometimes they do so seemingly out of reflex. The only thing Melee units are really good at is destroying structures but if they’re something guarding it then they’ll usually die before they can rush the gap.
The main mechanic of a real time strategy game is selecting units and ordering them around but the 3D environment makes this really difficult. It’s usually best or easiest to order a unit to guard you or a structure and let them make their own decisions.
This game has got multiplayer but I’ve never been able to get in a game. The community’s probably too small to support a multiplayer atmosphere. So it’s just this bizarre vestigial limb or redundant organ that no longer serves a purpose.
The AI is really predictable and gets easy to counter.
It’s really difficult to select and order units without using control groups. If you don’t keep on top of what creature is where then it’s really difficult to get things in order. The minimap is useless for controlling multiple units because everything on it is just a colored square. Are those my melee guys or my ranged guys? I don’t fucking know they’re all just white dots! This game demanded that I be more organized than ever and it was a real chore.
The Verdict
This game is rock solid. It’s well worth the ten dollar price tag. It’s an experience that wasn’t recreated until Brutal Legend did something similar. It’s got a compelling story and just enough character to keep me wishing there was a sequel.
The evil lich Dredmor held the world hostage with his host of monsters and magical ability. The wizards of the age, a little drunk and completely tired of Dredmor’s shenanigans, locked him away magically and physically deep beneath the earth. Dredmor, tenacious as he was, wiggled his body and soul until he was able to slip the bonds. The King and his court are certain that he means to take over the world again. He’s sent you, an eager young adventurer, to “prove your worth” by slaying Dredmor. With skill sets like Tourist, Fungal Arts Student, and Tinkersmith uh…. good luck kiddo.
Hop to it, Eyebrows.
History
Dungeons of Dredmor was published and developed by Gaslamp Games and a small team of five people. The main developer, Nicholas Vining, had been working on the game since 2006 and when Gaslamp formed in 2010 things really got in gear. Vining is known in the game’s industry for making something so bad that it inspired Penny Arcade to create the Fruit Fucker 2000 apparently — whatever it was Vining has redeemed himself by making Dredmor. PC Gamer US awarded Dungeons of Dredmor the Indie Game of the Year for 2011.
Dungeons of Dredmor was released on July 13, 2011. It’s competition was Bastion (XBLA), Ms. Splosion Man (XBLA), and Catherine (PS3 and XBox 360).
Experiences.
I’ve been playing Dungeons of Dredmor for three years and I’ve seen Dredmor once — at which point he threw a spell at me that obliterated my face. I cannot think of another game in which I’ve had such trouble. My latest and most successful run was interrupted by a vacation to Diggle Hell in which I got bushwhacked by Vlad Digula. In short, this game is hard. I created skill combinations that made me unable to defeat the first enemy I ran into. And yet, I can’t stop playing. I can’t stop trying to kill Dredmor with weirder and weirder skills. I know I can probably beat him with a martial artist, shield master, archeologist but can I beat him with a perceptive, burgling, Tourist?
For reference, that’s a diggle on the left — look at the cute little guy. That’s Vlad Digula on the right. The jump in difficulty is equivalent to the jump in creepy.
Gameplay
Dungeons of Dredmor is a dungeon crawling Roguelike. It’s got everything a growing dungeon needs, item-crafting, traps, levers, secrets, side-quests, magical anvils, vending machines, shops, and monsters — a fuckton of monsters. Every floor is randomly generated from randomly generated rooms with random items on the floor and bequeeth to you randomly generated artifacts — items that have additional random stat ups and downs with randomly generated names — oh yeah, and all the rooms have random names. You can even randomly select your skills but I wouldn’t recommend it. Your goal is to get to the bottom floor and kill Dredmor, leveling up along the way, and trying to find good loot. The game is turn based so when you move or act so will everything else, in turn — although it all looks instantaneous.
And you’ll die… a lot. But dying is fun too!
The Gush
I love this games sense of humor. Sometimes monsters taunt with bizarre and funny phrases — I’ve seen screenshots of Vlad Digula remarking that he’ll “be in his bunk.” You can destroy statues of Dredmor in the dungeon and are awarded experience points for engaging in heroic vandalism — or so the narrator booms. There are even skills like Totally Not Drizzt — for all you Forgotten Realms fans.
Seriously, there are a lot of skills.
I love how crafting tools have a bunch of incidental crafting recipes that aren’t related to their primary use. It’s super cool that I can use my ingot press to make grilled cheese sandwiches and omelets.
I really like the design of all the different dungeon levels. Each floor of the dungeon is like an entire dungeon from another series. There’s the fungus floor, the ship floor, the sewer floor, the space ship floor, IT’S GREAT!
The monster design is bizarre and interesting and they don’t pallet swap too many monsters. I mean, I’m totally comfortable fighting a mustache spirit on one floor and then a grandfather mustache 3 floors down because that’s hilarious. The funniest monsters are the ones they reuse.
And every floor has a new kind of diggle who wants to kill you.
The Kvetch
The game is meant to be played on a meticulous level that really breaks the flow. Don’t want to step on a trap? Then you’d best take your steps really slowly unless you’ve got skills that increase your trap spotting range. But this is all in line with it’s Rogue roots.
It’s really easy to get screwed really fast. Open up the wrong door, take the wrong path, or walk on the wrong satanic displacement glyph and your adventure will be over faster than you can say Diggle. This game is designed to kill your character and it’s difficult to get it not to.
They have entire rooms devoted to it — but but but… loot!
The music is this sort of 16 bit synth stuff and I kind of like it although I’d rather listen to my own music or a podcast in the background as I play.
The Verdict
This game is a heckuva deal. For 5 dollars, and three pieces of DLC — total cost being 11 dollars. This game is definitely worth a look if any of the above aspects seemed interesting to you. This game is a solid and difficult adventure that will test your skills and ingenuity. The systems have a lot of depth. Dungeons of Dredmor will have you laughing through the fury.
