Netrunner : NetDecking Anarch

So I've been playing a bit of Android: Netrunner in my time off.  I thought I'd post some deck lists. First up is a deck I've been enjoying quite a bit. It's probably not the strongest or most consistent runner deck, but it has been working alright for me in casual games.  It's funny, I like card games that have a lot of player interaction but in the end I'm always drawn towards decks that don't give a shit about what your opponent does. This deck is quite a bit like that, with a final goal of digging deep into your opponent's R&D, it doesn't care about their remote servers, and agendas or potential traps.  All it does is try to build an unstoppable running engine to grab those agendas before the corp even has them in the HQ.  Here's the list:

Identity
Noise - Noise is one of two available Anarch identities as of the time of this writing.  The other, Whizzard, is not suited to the strategy that this deck will run. We're going to be heavy on viruses, so we want to use Noise's ability to trash cards into the archive.  Assuming the corp has three 3 point agendas and six 2 point agendas in their deck, that's about a 20% chance of trashing an agenda into the archive every time we install a virus.

Hardware (4)
2x Grimoire
2x Cyberfeeder

Grimoire serves a dual purpose in this deck. It's a much needed +2 MU and also a free virus counter whenever we install a virus, which will help speed along our deck.  Opening hands with grimoire are great, but even if we don't have it from the outset we will have a good way to draw it with Wyldside.

Cyberfeeder helps with this deck's weak economy.  Without Magnum Opus, this deck can have trouble consistently earning bits, so anywhere we can save is good.

Programs (20)
3x Djinn
3x Datasucker
3x Parasite
2x Medium
2x Mimic
2x Yog.0
2x Corroder
2x Wyrm
1x Crypsis







Djinn is one of the key cards in this deck.  It's ability to tutor up viruses is going to have some redundancy with Wyldside, but sometimes you just really need a Datasucker or Medium.  The other advantage of Djinn is that it acts as a nice reserve of spare MU for your datasuckers and mediums, which you'll be needing.  Three copies might be one too many but I'd rather consistently draw into this card.

Datasucker might be the most important card in this deck. One is good, allowing you to efficiently use Mimic and Yog.0 which can't raise their strength.  It also can push parasite over the edge and allow you to blow up pesky ice that's costing you on repeated runs.  Lastly, it is the only really effective way to use Wyrm, which would be prohibitively expensive otherwise.  Getting virus counters on Datasucker is extremely easy, since you can usually run the archives or HQ which tend to be less defended, and then use the accumulated counters on the important R&D run.  I mentioned that one Datasucker is good before, but two is a wrecking machine. Use your Djinn to tutor up the second one and install it for free off of a Cyberfeeder.

Parasite is a pretty straight forward card. play it on annoying ice and force your opponent to waste a turn clearing virus counters or just take the loss.

Medium is crucial to this deck, but I only run two because they're expensive and one tends to be sufficient.  Digging deep into R&D is really the key to this deck, so install it early and start building those counters up.  If you're reveling 4 or 5 cards chances are you'll score an agenda.

Mimic, Yog.0 and Corroder are serviceable ice.  Yog.0 and Mimic are actually quite good once you find a way to lower ice's strength (i.e. datasucker), but Yog.0 basically requires a Modded to install without feeling horrible about it. If you can install all three of these, you're in good shape, otherwise there are some swiss army knives in this deck that can pick up the slack.

Wyrm and Crypsis are those swiss army knives.  Wyrm is bad, but it's cheap and can break any kind of ice so sometimes it'll just have to do. It also has an added synergy with parasite, allowing you to just blow up annoying ice without having to bother paying the expensive 3 bits to break subroutines.  Crypsis is in as a singleton because it is unique in its dual nature as a virus and an icebreaker. It's expenisve to install and cumbersome to use, but sometimes it's nice to be able to tutor it up with a Djinn and start running.

Resources (7)
2x Wyldside
2x Ice Carver
3x Armitage Codebusting
Wyldside is an important engine that this deck needs to draw into money saving event cards.  I lose a click, but basically never have to spend clicks drawing cards once I install this.  It's worth it, and I only run two copies because you can't install more than one anyway.

Ice carver enables a lot of our other programs. It's another unique card, though, and pricey to install so we only run two.






Armitage codebusting is just good click/bit economics.  It gives  us kind of a poor man's magnum opus, which we can't run because our MU are already strained by the tons of viruses we're going to be installing on top of our regular suite of icebreakers. It's got an added benefit of being cheap to install, so it's a good card to help you recover a stash of bits after a particularly expensive run.

Events (14)
2x Sure Gamble
3x Easy Mark
3x Modded
3x The Maker's Eye
2x Stim Hack
1x Deja Vu

Sure gamble, Easy Mark, and Modded serve the same purpose in this deck. All of them are there to save us money.  Modded is worth it even to install 2 cost programs and hardware because it does it all on the same click, albeit at the cost of the click it would have taken you to draw modded. However, card draw should not be a problem if we've landed a Wyldside.  Easy Mark is better than Sure Gamble since you can use it to quickly recover from being broke, however sure gamble does net you the most immediate bits assuming you've got at least 5 to pay its cost, which isn't always the case!

The Maker's Eye works well in this deck, and on against an early undefended R&D you can dig 3 cards deep and hopefully score something.  Late game the effect stacks with Medium so it's still useful.

Stimhack is included as a last ditch card that can sometimes just win the game.  You hate to play it, but when you know the corp is desperately trying to advance an agenda while you're low on bits this card can pull out a surprise run that takes it.

Finally theres a singleton Deja Vu.  This card exists for the sole purpose of recovering parasites from the heap after you blow up ice, or getting back a crypsis that you just had to use without any counters.  You can also use it to grab a resource that's all used up (armitage codebusting) or an important card that the corp trashed while you were tagged (like Wyldside).

Anyway, that's the deck. Try it out and let me know what you think. Like I said, this is probably not as competitive as the more straightforward Shaper/Criminal decks out there, but it has the advantage of not really having to care about what the corp does.  Let them build their remote servers and advance agendas there, you don't need to run those. You want the cards they haven't seen yet.  If they stack a ton of defenses on the R&D, there's nothing stopping you from then running their remote servers.  Next time we'll take a look at my NBN deck.

Hotline Miami Review - Trip On This

I'm not going to pretend that I can sum up what Hotline Miami is better than the game's publisher Devolver Digital, so here it is straight from the horse's mouth:

Gamers will step into the neon-soaked underground of 1980s Miami as bizarre messages on your answering machine seem to be urging you to commit terrible acts of violence against a nameless group of armed thugs. Overflowing with raw brutality and skull crushing close combat, Hotline Miami demands sharp reactions and a creative approach to navigate a gauntlet of 20 multiscreen missions. Wield 35 different weapons, collect 25 game-altering masks, and unveil a dark, surreal storyline that will force you to question your role in this murderous spree.

So there you have it: a nice basic summary of what this game is all about.  Hotline Miami that takes a very barebones story and wraps it around a few simple gameplay mechanics that have some depth in execution, and then presents them all with a perfectly tuned aesthetic that marries each element together into a cohesive package.  Three basic ingredients: Story, game, and presentation combined to make one game that is greater than each of those parts.

The Story in Hotline Miami takes place over the course of spring and summer of 1989.  The majority of it follows the same pattern: phone message, killing spree, brief encounter with a "friend" at the video rental or pizza parlor.  Most every day is like this.  Occasionally your character will meet in a darkened room with three other masked individuals who'll menacingly question him about what he's doing.  Somewhere around the midpoint of the game, it starts to get more and more clear that your character is becoming mentally unhinged or maybe has been all along.  How much of the story is really happening is unclear after playing through it once, and towards the end you'll wind up seeing some things that seem to directly contradict portions of the game you'd previously played through.  When it's done you'll probably have more questions than answers which really works in service of the story.  I'm not sure if there's any real depth to the story, or if it is merely the illusion of depth, but they've managed to make it so that one is just as good as the other.

The game plays mostly as a tactical twin-stick shooter.  Make no mistake though, charging in blindly guns a' blazing will just get you killed most of the time.  You'll need to sneak around and dispatch enemies quietly with melee attacks for as much of each level as possible, since melee kills won't draw attention like guns do.  Unless you're actively holding shift down and moving the cursor towards the edges of the screen, your field of view will be pretty limited. This gives the action kind of an up-close immediacy, forcing you to focus on one room at a time.  Punches, opened doors, and thrown weapons can knock enemies down, taking them out of the action briefly and also making them vulnerable to gruesome execution attacks.  Melee weapons are mostly one hit kills, and guns usually kill in one or two hits as well.  You're as vulnerable as the enemy is, so you'll die a lot, but respawns are instant, allowing you to jump back in the action quickly.

For the most part, the game plays really great. It gives you a limited toolset and then allows you to use it in an almost sand-box fashion to plan your rampage across each level.  It's very tactical and precise, but still occasionally devolves into a furious firefight or all out melee that'll have you improvising like mad in order to survive. It's challenging and unforgiving, but the penalty for failure is basically non-existent, so you won't get frustrated often. That's not to say the game is without any problems, though.  The mask-powers are a cool idea but in practice you'll wind up sticking to one or two masks for the majority of the game.  Boss fights are a frustrating low point that wind up requiring sheer luck and repetition in order to get through.  Enemy AI is also somewhat unpredictable, with some enemies spotting and shooting you from off screen while others don't even flinch when you've busted down the door and emptied a sawed-off shotgun into their buddies on either side.  These are minor gripes though, and added up are only a wrinkle in an otherwise compelling and addictive experience.

Finally, we get to the game's presentation, which in my opinion is the best thing about it.  The music is astounding, and probably the best soundtrack in any game this generation.  It fits the tone of the story, action, and visuals perfectly.  Also, unlike most games set in the 80s, which play on nostalgia with their soundtracks, the music in Hotline Miami manages to fit the setting of the game while feeling incredibly modern and relevant at the same time.  The visuals are another high point.  There's a subtle way that entire levels seem to tilt as you move across them, and the colors are over-saturated, bright, flickering neon things that really enhance the dreamlike narrative. It would've been nice to see more enemy designs, but that's really the only bad thing I can say about a game that otherwise looks and sounds amazing.

So, with all that said, I can recommend Hotline Miami almost without hesitation. I say almost because there might be some people for whom the difficulty level, especially on the boss fights, might be too much of a barrier.  Also, the game is really very short (I managed to finish it in about 3 hours), which might make the $10 price point sting a little.  Unlockable masks, secrets, and going for high scores might add some replay, but without an online leaderboard to compete against I'm not sure how much the average player might get out of that.  If you are at all interested, go ahead and buy it now on for the going rate.  I think it's worth it, and this game is neck and neck with FTL for my game of the year, as well as being one of my favorite games released this generation.

FTL: Faster Than Light - Review

It's been a busy couple of weeks since Gen Con, with lots of work, comics and games keeping me up late at night, but none so much as FTL: Faster Than Light.  Releasing tomorrow for PC, this is a game that had a kickstarter campaign a few months back to raise some additional funds for polish. The game was basically done at that point, but it seems the developers just wanted to add more content, art, and music.  I didn't play any old builds of the game or anything, but the 200k they raised was obviously put to good use since they released a stellar PC game.

The Basics

In the first sector: the rebel fleet hot on my heels.

FTL is a roguelike spaceship command simulator with a strong emphasis on exploration, ship customization and real-time combat.  The goal of the game is to deliver a message to the federation fleet in the 8th sector,  and defeat the rebel command ship there. To get there, you'll need to traverse 7 sectors filled with unexplored locations marked by beacons.  What you'll find at each beacon varies, but mostly it can be broken down into a few categories including ships to fight, stores to buy from, or events that require you to make a choice such as whether or not you'll dock with a burning station to try and rescue survivors.  As you progress you'll pick up scrap from battles and events that can be used to upgrade your ship's systems, as well as repair hull damage and buy new equipment, ammo, and crew at stores.   The challenges you'll face increase in difficulty as you move on to new sectors, so you'll want to grind in each sector for as long as you can, but there's a set time limit since the rebel fleet moves through each sector and you're in for a difficult battle with no reward if they catch up to you, so it's best to make it to the exit location and jump to the next sector before that happens.  I haven't yet beat the game, but it takes about 2-3 hours to get to the 8th sector on normal difficulty.  Death is permanent, and while you can resume a game after a break there are no re-loadable saves.

Perusing the goods at store Nothing for me here. 

I won't say much about the art and sound in this game, except to say that they're good. The graphics are clean and pleasant to look at, and the ship designs are varied and look cool. The sound effects are fine, and the music is outstanding most of the time and merely good the rest.

The Chewy Bits

The real meat of FTL is the ship combat.  Each of your ships systems performs some critical task, such as raising shields, charging weapons, scanning enemy ships and allowing you to jump to a nearby beacon.  Most of those systems work better when a crewman is manning them, so it's important to keep them at their stations.  Crew also level up the more they do a certain task, so as the game goes on you'll get pretty attached to Jones the human pilot or Rebekah the Engi engineer.  You can target specific systems on enemy ships, so depending on the ship you're facing it might be best to target their shields first and knock them down so you can then pound relentlessly on other systems.  Timing is crucial, since your weapons have different cool-downs it is often best to wait until they're all ready to fire so you can launch a devastating volley.  Alternatively, it might be best to go straight for their weapons or drone control with a missile so you can mitigate the damage they're doing to you.  Ships even try to escape sometimes, so you'll have to make sure you keep their FTL drive knocked down so they can't charge it up and jump away.  If the fight is going badly, you only need to survive long enough to charge your FTL and then assuming the pilot controls or engine aren't disabled you can jump away too.

The Rebels caught up to me but I got them after a close fight.

While you're managing all this, the enemy is doing it right back at you so you've gotta keep a close eye on your systems and crew.  Damaged systems, fire, and hull breaches can be repaired by crewmen so you've gotta order your crew around to take care of these things, but doing so often means they leave their station so for a while so you can expect to be operating at less than 100% efficiency.  Sometimes that means you need to just go without life support briefly and watch the oxygen levels on your ship drop, or deal with shields that only charge up to half strength, or simply vent parts of your ship to space instead of sending someone to put out a fire. These are the decisions you'll have to make, and it can seem like a lot is going on at times but luckily the game allows you to pause at any time to issue commands, Baldur's Gate style, so the focus is placed firmly on decision making and not manual dexterity.

This nebula has cut my power by half, meaning i gotta turn some systems off to fight.

The combat is fun and challenging, and the variety of weapon configurations you can mount on your ship mean that you'll find yourself playing differently on each play.  Rapid fire lasers, for example, are great at knocking shields down, but don't do much damage to systems or the hull.  Missiles and bombs, on the other hand, breeze right through shields but consume ammunition.  Drones use ammo too, but tend to provide more of an edge over time rather than doing a lot of damage up front.  Then there's beam weapons, which do a ton of damage but have very little capacity to deal with shields. Finally, there are a lot of special weapons that do things like start fires, kill crew but cause no hull damage, or knock systems off-line for a short period of time.  There's even additional systems and upgrades you can get like teleporters for boarding actions, cloaking devices and scrap recovery arms. Mixing and matching these weapons and systems, and seeing how they change the way you approach encounters is a lot of what makes FTL so much fun.

The Bottom Line

FTL is a blast to play. The sheer variety of what I've seen on each play has kept me coming back for more night after night all week.  Last night, for example, I was fighting a boarding party with my crew of four when the AI decided to retreat its boarders and bomb the section of the ship where my crew were fighting, killing all but my 2 rock men who have 50% more health than other races. A routine fight with an automated sentry in an asteroid field can become an absolute mess when an unlucky missile knocks down your shields and suddenly every asteroid is damaging systems on your ship, causing fires and hull breaches.  You might find that you've warped into a system experiencing solar flares and now you've got to manage a fight with an enemy ship as well as the fires breaking out all over yours damaging systems and hurting crew whenever the solar flares get too intense.  There's really just too much to talk about here. I've put about 10 hours in so far and that's only with the starting ship. There are a bunch of unlockable ships and even alternate configurations for each one.  The game even changes a bit depending on how you're upgrading your ship, with events having special options if you've upgraded along a certain path or have certain systems installed on your ship.

I barely made it through this one. My Defense Drone II was a huge help!

Buy this game. It's just $10, but would be a steal at almost any price. FTL takes the addictive "one more click" gameplay that used to belong solely to games like Civilization and crams it into the Star Trek game we've all been waiting for.

*Update*

So I have completed a single victorious play of FTL now, and wanted to make a few points about how to go about winning this game with the starting ship, the Kestrel.

1)  If you can, get a cloaking device. Cloaking increases your evade by 60% which is a great way to dodge missiles, additionally it keeps your enemy from charging their weapons during the duration of the cloak but yours charge normally.
2)  Don't neglect engine upgrades. Charging your FTL faster and increasing your evade rate (which paired with a cloaking device can get you over 100% evade while cloaked) can help turn a hopeless combat into one you get away from quickly.
3)  Upgrade your shields to level 2 ASAP, it only costs about 70 scrap or so including a power upgrade and the 2nd shield will pay for itself in the early sectors. Later on get the 3rd level shield.
3)  Get a second laser that shoots more than 1 shot.  Volley firing your lasers can put 5 or 6 laser shots on target in one go, which is enough to work through even the most powerful shields. Burst laser II is already a super good weapon so a Hull Laser or another Burst Laser will give you a good starting point.
4) Conserve your missiles. The Pegasus missile will suit you fine all the way through the game.  Don't waste missiles if you don't have to. Save them for knocking down shields or weapons on tough ships with lots of shields.
5) Pay attention when ships offer to surrender, gaining a crewman is worth 40-65 scrap. Gaining missiles and fuel can be worth more than a scrapped ship also. Try and do the math a little.
6) Blast doors are awesome, and make fighting fires and enemy boarding teams way easier.
7) Have a diverse crew. Having crew members of different races can open up a ton of dialog options for random encounters.

Android: Netrunner - Review

Some of the new Android:Netrunner Cards

Based on the beloved 1996 cult classic CCG Netrunner, Android: Netrunner is a relaunch of the game with new and updated rules, new art, and a departure from the randomized boosters of its CCG roots.  The new Netrunner has adopted the LCG format, which is characterized by fixed card sets and non-randomized expansions.  This is great news for people who are interested in CCGs but are wary of the expense of getting into a game like Magic: The Gathering, where rare cards command high prices in the secondary market and drive the cost of top tier tournament decks up into the $500+ range.  Released in limited quantities which quickly sold out at Gen Con this year and due to ship at the end of the month, Android: Netrunner was the talk of the convention. Over the course of numerous games in the event hall I was amazed as people stopped to stare at our copy of the game as though we were not just playing a card game, but were in fact carefully brushing the mane of a tiny unicorn.  They were right to be envious, Android: Netrunner is a pretty good game.

The Basics

So what sets this game apart from the scores of other two player card games in both the CCG and LCG format?  Well, a lot of things, not the least of which is the fact that it's an asymmetrical game where both sides play completely differently.  Without getting too bogged down in details, one player is always the corporation and one player is always the runner. The corporation's job is to advance and protect agendas that they install face down in servers behind layers of ice.  Ice is also installed face down and kept secret from the runner who is trying to steal the agendas. It's only when the runner encounters the ice that the corporation must pay the rez cost of the ice to activate it.  Ice has numerous negative effects on the runner, which are represented by its subroutines, but in general the purpose of ice is to end the run.  The corporation can win if it advances its agendas and scores 7 before the runner can steal that many points.

An agenda worth 2 points.

The runner's job is to steal agendas, which they do by running servers. Central servers are the corporation's hand (HQ) and draw pile (R&D).  Remote servers are places on the table where corporations install agendas and other assets.  To break the ice that the corporation installs in front of its servers the runner must use icebreakers that are capable of doing that. There are a couple of different kinds of ice including sentries, code gates and barriers. Each icebreaker might deal with one or more type of ice, so a runner will need to probe the defenses of each server to see what they're up against, because most of the cards in a server will be face down until the corporation rezzes them.  If the runner can access an agenda in a remote server, they score its value immediately and are one step closer to victory. If they can access a central server like R&D or HQ, then they can look at a card or sometimes multiple cards in that server, possibly trash them, and if they get lucky and reveal agendas they can score agendas that way too.

An icebreaker

A tough piece of ice.

Some Comparisons to Magic: the Gathering

That's the basic gist of the game, and it works totally fine.  I'd like to change gears now and say a little about some other ideas that make Android:Netrunner stick out from the rest of the crowd.  I'll use Magic: The Gathering as a reference point here because it's a game that I'm very familiar with, it's from the same designer, and it's probably the most well known non-traditional card game in existence. In MtG you can do any number of actions per turn so long as you pay for them with mana that is generated from land cards you play each turn. This is one of MtG's most defining attributes and also one of its greatest flaws, because drawing too few or too many lands means that you might just not be able to do anything, and with very few ways to draw more cards some percentage of games will find you either "mana-screwed" or "flooded" with too little or too much mana and no chance to win the game simply because of the luck of the draw.  Android: Netrunner avoids this problem by giving you a limited number of actions per turn.  The corporation receives 3 (but always draws a card at the start of their turn) and the runner receives 4, and with these actions they can draw a card, draw bits (resource), install cards (paying the bit cost, if the runner), advance agendas by paying a bit (if the corp) and more.  The main thing to pay attention to here is that you can always draw more resources or more cards, so you're unlikely to get very far behind if you have a sub optimal draw.

There is a second difference that really makes this game stand out.  That's the idea that you must interact with your opponent. In many other card games it's possible to build decks where your opponent's actions have no effect on how you play.  A classic example of this might be the mono-red burn deck played in the Legacy format of MtG.  Mono red burn actually doesn't care what its opponent does, its goal is to simply spit out as much damage as quickly as possible.  By not playing any creatures, it invalidates a large portion of its opponent's decks and makes those cards "dead" cards.  A deck like this does not seem possible in Android: Netrunner.  For starters, there must be a certain number of agenda points in the corporation deck, so the runner will always have a chance to find them.  The corporation can win by damaging the runner and forcing him to discard past zero cards in hand, but in most cases the runner must be actively doing runs in order to be targetted by the corporation's attacks.  It's also difficult to find out what the corporation has installed in its servers without running them, so the runner must probe the corporations servers to find out if they contain agendas or if they are traps. Yes, the corporation has access to traps that look just like agendas until revealed, and it's awesome.  All that said, interactivity is good and a thing that should be aspired to in games, and Android: Netrunner has a ton of it.  Nothing is worse than sitting down to play a game and feeling like you've lost because of forces completely out of your control. That won't happen here.

One of the corporate factions.

Lastly, Android: Netrunner takes a unique approach to deckbuilding that makes it stand out from the rest of the crowd.  Using MtG again as an example, that game allows you to build your deck using any legal cards so long as there are not more than 4 of each non-land card, and your deck contains a minimum of 60 cards.  Android: Netrunner allows you to build decks containing a minimum of 45 cards so long as there are no more than 3 copies of each cards, the corp deck contains X number of agenda points based on total card count in the deck, and so long as you don't have more than 15 loyalty points worth of off-color cards.  That last bit is important, because in the base set of Android: Netrunner there are 3 runner factions and 4 corp factions that differ by cards available and also sort of a unique static ability that's always on.  Every card has a set loyalty value between 0-5 which is represented by little blue pips on the card, so as long as your deck doesn't have more than 15 pips worth of off-faction cards then you're good to go.  This sounds restrictive, but i think it's the "less is more" kind of restriction that will actually inspire more creativity and a more diverse meta-game than just having totally open deckbuilding.  Additionally, the 45 card deck size with 3 copy limit is great since it maintains the classic ratio set by MtG but requires less cards to do so.

The Bottom Line

Operation with 3 loyalty pips (bottom left)

Phew, that's a lot of Android: Netrunner. I'd like to end by closing on some standard review type stuff.  The cards are high quality, the same as any other LCG or CCG you might be used to.  The art is nice, and the theme is dead-on perfectly represented by the gameplay if that's important to you. There's a number of thick tokens used to track your bits and also various status effects.  The box is big enough to support an additional set, which you'll probably want to buy if you're dead-set on building more competitive decks.  FFG made the mistake of AGAIN including singleton cards in a core set which means you'd really need 3 core sets to build every possible deck but at least it's only a few cards this time, not like it was with Call of Cthulhu the LCG.  They haven't announced any expansions yet, but I've heard they'll have 3 of each card so that's good news for your wallet. The game plays in 30-60 minutes, so it's a bit longer than most card games but it never seems to drag.  I played tons of games with just one set that my friend managed to get his hands on.  I'm ordering two for myself and I suggest you all do as well.

Gen Con 2012 After Action Report

So I just got back from Gen Con 2012, and much like last year, I played a ton of games.  I'll mention some of the ones I enjoyed there.

Games I played

Spartacus

If I recall correctly, the first game we sat down to demo was Spartacus.  I have a fondness for ancient Rome and especially gladiators, but at the same time am kind of turned off by games based on television shows, so it was really going to come down to how the game played. The demo consisted of just one round, but what I can tell you is this: it seems kind of cool.  The parts I like are the first phase where intrigues (event cards) are played and you can share the cost (influence) of playing those cards with other tables. You can make deals however you want to accomplish this, trading money, slaves, and gladiators for a hand in playing your card. However, you can also trade the PROMISE of those things, so a wise bargainer would ask for the goods up front. Even still, after the event is played there is no assurance that it will be played in the agreed upon way, which seems like it could result in a lot of shenanigans.  After the intrigue phase there is a market phase where new gladiators, slaves, and items are bid on, followed by the opportunity to bid on hosting the next fight.  The host of the fight gets to invite players to send their gladiators to their fight and that's where things seem like they might fall apart a bit.

I was kind of underwhelmed by the combat in Spartacus. As it stands the combats are only one on one.  They take place on a hex grid but it seems like the maneuvering is somewhat unimportant, as once gladiators get locked in there is little point to maneuvering unless there's a difference in the speed of the gladiators, at which point the faster gladiator is at a huge advantage because attacks can take place before or after movement. The dice resolution for attacks, defense, damage and initiative are kind of cool, but I think the combat might get a little shallow after a while especially because of the aforementioned limit of single combat.  There's some betting that takes place on the fight which is kind of fun and winning gets you influence which is the key to winning the overall game (there are other ways to get influence too).  All in all it seemed kind of promising, but the one round we played was not enough to convince me of a purchase and I didn't get time to play a longer full game in the event hall.

Relic Knights

This might be my new favorite model from the line. It's bigger than it looks.

I got two demos of Relic Knights, one at the booth which was kind of railroaded but still fun and another more open demo with the designer talking me and another player through the game which was a bit more informative.  Relic Knights is an anime-inspired miniature skirmish game that is characterized by fast action and match-3 inspired gameplay mechanics.  Unlike most wargames, there little emphasis on judging ranges since ranged attacks have an infinite range and models tend to move very quickly across the battlefield.

Gameplay consists of alternating activations where you can move a model's first move distance, do an action, and then move the model's second move distance.  The part where you do the action is where Relic Knights really shines, since there are no basic attacks in Relic Knights.  Instead, every attack is done by playing a combination of power cards out of your hand to activate the ability.  There's six colors of power, and it seems like most factions are focused on two primary colors with an extra third color thrown in to make things more challenging.  Power cards have one major color worth two and one minor color worth one, and an example attack might have an activation cost of two red and one purple, so you could make that attack with any combination of cards in your hand so long as it added up to two red and one purple.  Models are placed in an activation queue that specifies the order in which you'll activate them, so hand management becomes super important because you need to make sure you have the right colors in hand when the next model comes up.  Luckily, the game mechanics allow you to cycle through your hand quickly enough that you won't get "mana-screwed."

There's a kickstarter going for this game right now that looks very promising in terms of value for your dollar. I've been a fan of the models since last year and playing with them at the con cemented my commitment to backing this game.

Alcatraz: The Scapegoat

Alcatraz is a semi cooperative boardgame from Z-Man games that was debuting at the con.  Z-Man runs full demos of their games which is very cool, and it was cool enough for me to buy it.  Expect a full review soon.

Android: Netrunner

Probably the talk of the con, Netrunner is the re-release of the cult classic TCG from the early 90's, dressed up all fancy in Fantasy Flight Game's LCG format.  I played a ton of this over the weekend and will be doing a full review. Great game, even if the Android setting is kind of scraping the bottom of the cyberpunk barrel in my opinion.  It's far more I, Robot staring Will Smith than it is Neuromancer.

Sky Traders

The six regular goods and two special goods in Sky Traders.

Sky Traders is a game of shipping goods and manipulating prices with an airship theme.  Each turn involves buying goods and taking them around to different cities around the map which is made entirely out of hexes.  There are six regular goods and two special goods, and at the end of each turn the six regular goods go up and down in price depending on dice that are assigned by the players.  Each round you roll three dice and each of those dice has the power to change the value of a regular good by one step up or down.  dice results can be traded for other dice and even for goods and money so this seems to be the main meat of the game: making sure you can sell your goods for more than you bought them for and turn a profit.  This might be harder than it sounds because of limited cargo space forcing you to sell goods to make room for better ones and the chance to take damage which can eliminate one or more of your six holds and everything in them.  At the end of the round players have a chance to buy influence, and the game ends once you've reached a certain influence level.  Sky Traders seems like a fun game, but after two rounds I was worried that it might be kind of a one note song.  It's not a bad song by any means, but I didn't sense a whole lot of strategic depth in the game.

Aerotech

My Sai didn't get shot down!

Not a new game by any means, i played in an aerotech event designed to teach new players familiar with Battletech the rules of the game.  All I have to say about aerotech is that it is a totally awesome game for crazy people, and actually far less complicated and ponderous than Battletech. The combats are far more lethal, determining line of sight is much simpler (cause, you know, you're in the air), and the game is an all around blast to play.  I picked up a few Inner Sphere aerospace fighters and the 3039 technical readout so i could get the background stories for all the inner sphere designs that would later fight during the clan invasion. I don't normally like to play clan vs inner sphere, but we were told that the clan have less of an overwhelming advantage in aerotech than they do in battletech, so I'm looking forward to playing that game.

phew, that's enough for one day.  I think I'll save my impressions of the show in general along with some of these reviews for some other time.

Ouya, Kickstarter, and Backpedaling

So the Kickstarter for Ouya started today.  They were asking for a fairly large sum as far as kickstarters go, just short of $1,000,000 to produce their Android based open source console.  Here are the specs directly from the kickstarter page:

Tegra3 quad-core processor
1GB RAM
8GB of internal flash storage
HDMI connection to the TV, with support for up to 1080p HD
WiFi 802.11 b/g/n
Bluetooth LE 4.0
USB 2.0 (one)
Wireless controller with standard controls (two analog sticks, d-pad, eight action buttons, a system button), a touchpad
Android 4.0

That controller does look kind of sexy.

I managed to snag one of the $95 console spots on the kickstarter as they were running out. Only 1000 were available at that price.  I'm not sure that I actually want this thing, in fact I'm pretty sure I'll be cancelling my pledge before the kickstarter is over, and there are a few reasons why.  

Android is not a platform with a strong history of awesome games.  Anyone who says otherwise is fooling themselves.  Android and iOS have eaten up a significant chunk of the handheld market, with a focus on less demanding, inexpensive games that are more suitable to gaming on the go then something like Dragon Quest, but I don't know that it has much to offer console gamers at home.  This is an assertion based on an assumption that we're going to get a lot of janky mobile games on this platfrom, which I think is a safe bet.

"Wait!" You're saying, "but every Ouya is going to be an SDK so that will mean more people making more games so inevitably some of them will be good!"  Sure, that's kind of true in principle, and one of the basic premises of Rise of the Videogame Zinesters, but more games does not necessarily translate into more good games.  In fact, looking at the current mobile app marketplace you'll see a few glistening gems bob up and down in a sea of complete shit, so regardless of how open this platform is it's still going to require some amount of curation to make sure that we can have access to quality software without having to sift through a huge pile of garbage. This kind of curation is completely antithetical to the open market that the Ouya proposes though, and it leaves me wondering how this is in any way, shape, or form better than the highest existing standard for game distribution: STEAM. 

I can sort of see where this thing has a place, but it's not for me. I have access to basically every platform already, so a $95 console that might give me access to some good games is not really appealing, since I already have access to a smorgasbord of quality games across PC and console.  Also, those games might already be coming to those other platforms, so why should I care?  The Ouya does circumvent a lot of the bullshit inherent in publishing a game on a home console but my PC is already a home console that smashes a ton of those limitations.  Tons of games have gamepad support and I've already got HDMI out to my TV so what is the big deal?  Hell, I'm typing this post on my couch with a wireless keyboard, watching the text scroll along on my TV.  

This is what I want. It's a sickness. I don't want the cure. 

Maybe for the casual market (I don't mean that in a bad way) this will be a big thing, I mean, they've raised like $2,000,000 in the first day already (woohoo for Kickstarter hype i guess), so this thing is going to happen no matter what.  It's a good value, there's no denying that, but I'm guessing that a large portion of the core demographic are people like me that are totally willing to drop twice as much on a terrible platform like the 3DS just so we can then go and pay another $40 for Final Fantasy Theatrythm, which brings me to the most important consideration of all for the Ouya.  Show me the software. Every game in that Tegra youtube video looks like complete garbage.  Seriously, when you open your video with Sonic 4 you know you've got a real fucking problem.  Show me the software that will make this thing worthwhile, and convince me that the Ouya is the optimal platform to play it on.  Right now this thing is riding high on the candyland kickstarter warm fuzzy feeling train but that shit won't make good games.

**update**

The unnoficial day 1 number for Ouya from kicktraq was $1,929,312.  They sent out the following survey to backers so that we could request games we would want to see on the platform.  According to the survey, what I really want is to hook up my SNES.

C'mon Lucas Arts do something with the Metal Warriors franchise.

Diablo III Review - I'm Addicted to Hating This Game

I recently had a trip back to the west coast to visit my family. As is often the case when I'm traveling, I end up sleeping very little, staying up very late and waking very early, which leaves me with a lot extra hours with which to catch up on some PC gaming.  Last winter it was Civ V that ate up my free time, this spring I decided to check out Diablo III.

I have a lot of experience with the Diablo franchise.  I played a lot of the original game back when it had come out and for many years after until Diablo II was released.   I completed it numerous times with all 3 classes and really just wrung it dry.  Diablo II was an obsession for me.  I played so much that I had NIGHTMARES about mis-allocating stat points. I quit playing one afternoon after I got the Buriza Do-Kyanon for my high level amazon.  I remember feeling so elated and then so horribly depressed that finding a crossbow in a video game could stir up such emotions, and so i gave my account away to some random sucker on battle.net and that was that.

Since then, I picked the game up occasionally and played some other action RPGs (Titan Quest, also Torchlight) but they never really recaptured the magic of Diablo II.  I had decided that I was pretty much done with the genre until an article I read on sirlin.net about the skill system in Diablo III piqued my interest, and so here I am again playing Diablo.

Diablo III

First rule of being a demon hunter: Always wear high heels.

In case you didn't play the previous ones, Diablo III is an action RPG that pits your character against hell's minions in randomly generated dungeons.  The story takes place over 4 acts, during which you'll kill tons of enemies, collect loot, and learn who is behind all the terrible things happening across the kingdom of Khanduras.   It's all very grim, with native Khandurans having gone so far as to name their wilderness areas the "Stinging Sands" or the "Fields of Misery."  Hell, there's even a farmer in the fields of misery and his farm is called the "Carrion Farm." What the hell sort of farmer names his farm that?  Needless to say, the story is absolute rubbish; you're basically going to go from point to point collecting this or killing that until you find out who the big bad primeval behind it all is.  In case you're dense, it's DIABLO.  Spoiler!

Khanduras is a sucky place to live, but at least it's scenic. 

So the story is terrible, but how does it play- fantastically, actually.  The combat feels extremely thick, with loud meaty sound effects, tons of destructible objects, and swarms of enemies to vanquish.  It's incredibly satisfying to fell a horde of minions and then get a nice on-screen indicator that tells you exactly how many you killed in succession and what your xp bonus for that is. The entire genre is predicated upon our desire to be rewarded for clicking with magic items, and this game doesn't dissapoint. There are tons of bad guys, and tons of magic items, so click away to your heart's content and prepare to be loading your pack full of more axes, staves, daggers, and rings than you know what to do with.  Add on to that multiple new game plus style difficulty levels and five distinct character classes, and you've got a grind-fest loot addict's action-rpg fantasy.

Blizzard also cut a lot of the extra non-combat clickery out of Diablo III. There are no more scrolls of identify or town portal; you can just do those things all the time now.  Also, there are no more stat or talent points to assign (which is actually a good thing as discussed on sirlin.net and on the video below), and you're basically free to play with any combination of 6 talents active at a time. In addition, each talent can be modified by one of 5 runes that changes its effects, and you can assign up to three passive skills so there are quite a lot of builds to play around with for each character class.

So why do I hate this game? Well, a lot of reasons, most of which are related to the horrible effect that the auction house has on the game.

1)  It sure is nice to pick up all that loot, but most of it is rendered completely fucking worthless by Blizzard's inclusion of an online auction house.  My level 37 demon hunter never picks up anything that's as good as what I can get on the auction house, so everything i pick up either gets sent to the magic item chipper to be made into crafting materials or listed on the auction house for gold.  For a game about loot, why is it that I'm more excited about picking up gold than I am magic items? That ain't right.

2) Crafting is absolute shit.  So I can convert my useless magic items into materials for crafting, but then i still need to spend 1500 gold to make a crossbow with all random properties that'll most likely be shit.  Gee, I'm sure glad I decided to spend 6000 gold crafting 4 random crap crossbows with +intelligence instead of just going and getting a good one on the auction house. Wasn't that fun?

3)  There are a lot of talents and runes, but most of them are absolute crap.  It's not REALLY a choice if you're picking between multi-shot which fires a spray of death out in a 60 degree  arc that pierces through everything in its path, and a sentry turret that does 20% weapon damage to one target every once in a while when it decides to fire.  Hmmmm, serpentine chakram with a tiny hit box that misses everything or a ball of fucking lightning that streaks out shocking tendrils at everything that even looks at it.... how do I even choose?

Welcome to the real game in Diablo III.  

4)  Diablo III is not difficult.  Previous diablos had sort of a rogue-like quality to them where you could just get stuck on some heinous shit.  This could happen in late act I and early act II in Diablo II.  I played through the entirety of Diablo III without any real challenge until the final boss.  I'm most of the way through Act I on nightmare difficulty and am just now occasionally needing to drink a healing potion, and that's only when a rare monster has a particularly challenging set of special abilities.  Everyone is probably thinking, "well of course silly, you're only on Nightmare!"  I don't care! I shouldn't have to play through even 1 difficulty of practice mode before I get to the real game.  Give me the real game right from the start, I'm 20 hours in at this point and have other shit to do.  Please!

5) On that note, what the hell is even the point of health potions?  Health potions are on a timer now, so you can only drink them every minute or so. You'll wind up with a billion goddamned potions in your pack that are worthless 'cause you can only drink them every once in a while. Why not just make it so that your potions got more potent as you went up in level, and you just have unlimited potions? Obviously the limiting factors for potions are potency and cool-down, not quantity.  That's just bad design.

6) Damned if this game is not seriously repetitive.  I mean, I know that's the genre, but really almost every combat encounter boils down to spamming multishot until everything is dead, and if anything lived I can just vault away and bola shot it, and even then if it survives i can hit a fan of knives and probably kill it at that point.  That's it, every encounter is: right click 3-4 times, hit the 2 key, hold down left click, hit the 3 key.  Occasionally I need to use some shadow talent to get health back.  Sometimes I hit the 4 key to rain down a hail of arrows, JUST FOR FUN.

Fan of Knives! 

Whew, all that said, I'm probably going to keep playing this game off and on.  It's not a good game, really it's bad, but I'm not above playing bad games.  Despite being a one note song, the combat is still extremely satisfying for a reason I can't articulate.  There's also some part of me that's hoping I'll eventually get to the REAL game.  I suppose I could just not use the auction house, but really then I'm making up some new game to play with Diablo III.  It would do me just as good to try playing with my feet or wearing a blind-fold. Hardcore mode sounds like a good solution, but with no offline mode available, the idea that I might get dozens of hours into a character only to die to a poor internet connection is dissuading me.  Newcomers to the genre might enjoy it more than I do, but for me it seems like they took one step forward and two steps back with this one.

Rise of the Videogame Zinesters - Review

A little while back I heard Patrick Klepek mention this book, Rise of the Videogame Zinesters by Anna Antrhopy, on the Giant Bombcast which I listen to regularly.  It sounded interesting and at the time I didn't make the connection to the game Dys4ia which Anna made and Patrick had posted a link to on his worth reading segment a few months earlier.  I had played Dys4ia and thought it was alright, but then swiftly forgot about it because while it was interesting there wasn't very much to it.  Rise can be summed up pretty much the same way: interesting, but not much to it.  To break it down, Rise is a book about how now through the power of free tools and distribution made easy by ubiquitous internet access, we should all start making smaller more personal games so that there is more art.  It sounds good in theory, but Rise fails in its execution.

 The most interesting, largely because it's the most problematic chapter in Anna's book is the first one, entitled "the problem with videogames."  Anna starts by making a lot of bold claims about how most games are about "men shooting men in the face," and if not, they must be abstract games or games where female characters are in some position of servitude.  This is on page 3 for Christ's sake, and is just the start of a whole book full of super reductive claims that there are no worthwhile games coming out of the mainstream anymore.  She proposes a model where an industry dominated by white males suppresses innovation and perpetuates what she perceives to be a stagnant medium.  This is her foundation for the rest of the book, which is unfortunate, because it's a really crappy attitude to have about games.

Anna Antrhopy - just THRILLED with games.

Maybe Anna didn't play the same games that I did this generation, or even last generation, or even the one before that.  Is Mirror's edge a game about shooting dudes in the face?  Catherine? Demon's Souls? Limbo? Trials HD? Flower? Heavy Rain? Mass Effect?  Isn't it horribly reductive to say that Bioshock is mostly about shooting dudes in the face, even when it's a first person shooter?  Is that what that game is really about?  I don't think so. Is Bastion a game that a stagnant industry produces?  If so, don't you ever change, game industry.

Machinarium - I'm pretty sure nobody is getting shot in the face.

It's not all bad, though. There's a pretty soberly written brief history of games. There are good descriptions of tools that are available for people to make games.  Anna even spends some time talking about games that' she's made, and her unusual perspective is kind of compelling, though honestly her ideas of what constitutes a "game" deviate wildly from mine and what most gamers might consider a game.  Hell, if you think quick time events suck some of the game out of a videogame, wait until you read the description of the stellar "gameplay" in her game, Gay Sniper.

If you still enjoy games, this book probably isn't for you.  I lent it to a visiting friend to flip through one night and she summed it up as "feminist smut."  That's a pretty astute description of Rise.  This is a book that's preaching to the choir, specifically designed for the already converted.  It's for all those folks you see trolling news blogs making hyperbolic comments about how there's no variety anymore, despite this being arguably the most diverse market for games that's ever existed.  It's a shame, because there are some good ideas in Rise that wind up taking the back seat to the author's mission to shit all over the existing establishment when she writes statements like "fuck Steam" without irony.

Legend of Grimrock - So Old School

You want to ride on this bus? Are you BADASS enough?

So, a while back I mentioned that I would not be buying any new games in 2012.  This was a lie.  Well, at the time it was true, but in retrospect my desire to buy new games was greater than my resolve to finish the pile of unplayed games in my collection.  I should have seen this coming, but I have a mental disorder that causes me to buy games I don't need. I've been trying to be good about it though, and so far have only been buying games using proceeds from old games that I sold on half.com (where you really ought to be selling games, by the way) and my amazon rewards from my credit card.  My latest acquisition was Legend of Grimrock, which I paid $12 for and has been worth every penny so far.

Legend of Grimrock  is a modern take on old school dungeon crawlers in the vein of Ultima Underworld, Dungeon Master, and Eye of the Beholder.  If you've played and enjoyed any of those games, you should run off to the Grimrock site or Steam and just pickup your copy now. You won't regret it.  If don't know what any of those games are, they're basically first person grid-based RPGs where you navigate a dungeon one tile at a time, explore, avoid traps, solve puzzles, and fight monsters all in real time.  Your 4-man (or woman, insectoid, minotaur, or lizard-man) party is represented by little portraits in the lower right hand corner.  You never see them, but you'll become deeply attached to them as you scavenge equipment from the dungeon and level them up in one of three classes: fighter, mage, and rogue.



I'm only on the 2nd floor of the dungeon right now, but this game has really brought to the forefront a bunch of thoughts that have been swirling around in the back of my head.

1)  You don't need to re-invent the wheel, you just gotta make a good one.  Originality is nice, but taking an existing concept and refining the hell out of it can be just as good.

2) The PC is going to change how we value games.  As time goes on, the $60 console game is looking less and less appealing.  Some of these less expensive PC games might not have all the bells and whistles of your average console title, but they play just as well or even better depending on what genre of game you favor.

3)  The success of western RPGs (Fallout 3, Skyrim, Mass Effect, etc.)  is wrecking the genre a bit.  What do all of those games have in common? They're all too EASY.  It's nice when a game like Grimrock comes around and beats the stuffing out of you a little.

Anyway, that's all.  It's hot tonight and the laptop is starting to melt my nether regions. 

Final Fantasy XIII & A Better RPG

I've been playing a fair amount of Final Fantasy XIII since I fixed my blu-ray drive, and it has got me thinking about a couple of things:

1) People need to stop complaining about Final Fantasy.

Any time there is a new installment or even an announcement regarding the series, there's a collective moan from the gaming community that the series needs to take a break, or that Square Enix need to go back to making "good" Final Fantasy games.  This is ludicrous.

Neil Gaiman may have been talking about a game of thrones when he said: "George R.R. Martin is not your bitch," but this sentiment applies equally well to Square Enix and their Final Fantasy games.  Square Enix does not owe anyone a Final Fantasy game that lives up to their expectations of what the series should be. I think that Final Fantasy VI was the best one followed by IV and then Tactics, but I don't need them to make those games again the way that some people think it would be the best thing ever if they made VII again.  Did I like Yoshitaka Amano's character designs better than Tetsuya Nomura's? Of course I did, Nomura's designs are mostly terrible. Does whining like a spoiled baby about it on the internet solve anything? No.  Grant Morrison said it well in his design manifesto printed in the back of the New X-Men hardcover: "Longtime fans will read the book and bitch about it no matter what."  What he's saying here, is that fanboys are irrelevant.

Internet, you are ludicrous! Stop it!

Yes some of the criticisms that have been leveled at this game are accurate. It's incredibly linear. You don't interact directly with random NPCs the way you do in many JRPGs. It's extremely slow in introducing gameplay concepts.  All of those things are true, but you know what's also true? It looks great. The voice acting and cinematics are very well done. The combat system is very interesting. The story is actually kind of cool and not just crazy unintelligible JRPG nonsense.  This game has a lot of really cool stuff going on, which probably explains why it wound up with generally good review scores (metacritic of 83 on the PS3) and went on to sell millions of copies worldwide.  That doesn't sound like a series that's in dire shape to me.

FF-XIII is a game about Kurt Cobain and two pink haired girls.

2) Final Fantasy, along with other video games, can help us make better pen and paper RPGs.

I've been playing a lot of pen & paper RPGs lately, mostly D&D 3.5 and also the occasional Rogue Trader when I can get my group together.  D&D 3.5 is a good game; it's a better game than 4.0 really.  However, it suffers from a lot of the same problems that 4.0 suffers from.  One of these problems is that hit points are a terrible abstraction of how wounded a character is.  In D&D, a character can be hacked apart by double handed swords with no ill effect until he drops below 0 hit points.  Really then, only that last hack of the great sword really does anything to change the dynamics of the game.  Rogue Trader solves some of this problem by giving characfters an extra 7 or 8 points of critical damage beyond 0 hit points where they suffer progressively worse and sometimes permanent injuries.  Still that doesn't solve the major problems that hit points cause for games.

Most of the time, the adventure will proceed until characters become sufficiently wounded and the risks of carrying on outweigh the rewards of going back to town and resupplying their healing items or regenerating whatever restorative abilities they might have. This puts DMs in a terrible (possibly impossible) spot where they have to carefully design adventures that will just exhuast the party's supply of abilities, otherwise they risk creating a narrative that makes no sense.  If the party only makes it through half of the bandit cave before having to turn back to town, do the rest of the bandits just sit around and wait for them to come back when half of their comrades have been slain? If they do - it's crazy. If they don't - all that carefully designed bandit cave has gone to waste and the DM must quickly come up with some convenient resolution to the adventure.

I will sleep until the party finds me, or maybe go to another cave. Whatever.

So, we have a situation where players are healing wounds (most of which don't matter anyway) at the expense of manageable games and stories that make sense.  In older Final Fantasy games I remember carrying around loads of cheap potions so that I could heal up between fights or save spots in dungeons, preserving my precious magic points for combat rather than healing.  Final Fantasy XIII does something to solve all of this by making hit points automatically regenerate between combats and not having any kind of magic points or limits on the number of times class abilities might be used.  On In a way, it's similar to the way health, magic and abilities regenerate in other modern games like Skyrim or even non-RPGs like Call of Duty.  This system is itself an abstraction.  After all it seems silly that you could get shot in a game like Gears of War and that ducking briefly behind a broken piece of chest-high masonry could somehow make that go away.  Still, it's what allows those games to maintain a sense of forward momentum and constant excitement. There must be some middle ground to be found for pen and paper RPGs. That's the game I want to play.

On the other side of this chest-high wall there are good ideas.

Maybe someone has made that game already and I don't know that it exists. A game where each encounter is a self contained challenge where the players don't have to worry about how many more times their wizards can cast fireball.  A game where being wounded is not a binary condition (that's the tricky part).  Let's find that game, and if it doesn't exist, let's make it.