The Most Eye-Opening Things I’ve Ever Read

Every now and then, I run across an article where the amount of condensed epiphany simply blindsides me… so I’ve decided to start collecting them here. (Listed in the order I read them)

Against School by John Taylor Gatto
I first read this article back when I was in high school and it blew me away. It’s basically a condensed summary (with references) of Gatto’s longer works, which explain why the boredom and conformity of high school is a feature, not a bug, and the core purpose of compulsory education, as currently implemented, is to produce obedient sodiers and factory workers.

Sir Ken Robinson also touched on the value-neutral economic disadvantages this system brings in the 21st century in a great talk which had the relevant bit illustrated by RSA Animate.

Southern Values Revived by Sara Robinson
I already mentioned this before and it’s not quite as mind-blowing as some of the other stuff I read, but it definitely got me thinking.
It’s an explanation of how and why, in America, there have been two different definitions of “liberty” that have persisted since the very beginning… and how both the civil war and the current struggles between progressive and regressive ideas are part of the same struggle that’s been going on since the brutal Barbados slave owners expanded northward and their ideology came into conflict with that which spawned the U.S. constitution.
Who’s Cheating Whom? by Alfie Kohn
Now, back to the marginally mind-blowing. This heavily-cited article explains, in detail, why current attempts to stop academic dishonesty (cheating) are doomed to failure because cheating is a symptom of a fundamental flaw in our approach to education. It ends by pointing out how, if we were to stop cheating, we would have destroyed everything we claim to value along the way.
On Artificial Intelligence by David Deutsch
This is, without a doubt, the most mind-blowing of the bunch.

It starts by talking about how the laws of physics guarantee that artificial general intelligence (artificial sapience) is possible. It then moves on to explaining why self-awareness is merely a symptom and creativity is the true “tough nut to crack”, likening our “the brain’s parallelism is the key” addiction to emergent behaviour  rationalizations to expecting buildings to fly if we just build them tall enough.

Finally, if you’re already too educated for that to blow your mind, it ends with one more attempt by drawing attention to how primitive and arbitrary our definition of personhood is and how, by the time we successfully create an artificial general intelligence, we will have learned enough to formulate a concrete, objective definition.

The First Global Civil War by Lionel Dricot
Let’s just say that this article recasts the worldwide fight between established organizations (government, corporations) and things like “piracy” and “social media” by doing a point-by-point comparision between recognized civil wars and the current state of the world.
Why are companies like the Big 5 (now Big 3) record labels fighting piracy to the point where they have to merge to remain profitable? Because it’s not about money, it’s about control.

Finally, while they’re an ongoing thing and, hence, not easy to place in order, Rick Falkvinge’s articles on TorrentFreak provide a very thought-provoking alternate perspective on the nature and history of copyright and the cause and meaning of the fight against “piracy”.

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Working around the Cave Story+ “Soundtrack”

So I’m feeling like listening to the Cave Story+ remastered version of the title page tune that better fits the SNES-era ambiance of the game’s original visuals. No problem. The Humble Bundle gave me the soundtrack… but it doesn’t contain that version.

…it contains the version from the much maligned DS soundtrack (plantation.ogg) and some weird remix of the original NES-like version (intro menu.ogg) which uses the same instruments but with a different beat. I’m no expert but, judging by the way I hate it, I think it’s jazz.

Ugh. If I wanted to listen to a cover, I’d listen to Brentalfloss’s version with lyrics. Time to use what came in the game… OK, each track is two Ogg Vorbis files (a lead-in clip and a loop clip). I can work with this.

I whip out a lossless Ogg Vorbis concatenation tool and it works… but the abrupt end isn’t nice. Long story short, here’s a little script which uses oggCat and sox to produce a soundtrack-like output file with everything except the ending fade-out being a lossless repackaging of existing compressed data.

It does give a couple of warnings on the console, but they seem to be harmless and I think that’s just because oggCat contains code that expects correct frame timestamps.

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Game Review – Guacamelee!

Well, since I got it in a Humble Bundle, I guess it’s time for another game review: Guacamelee!

Guacamelee! is a metroidvania-style platformer themed around Mexican wrestling and the Día de Muertos (Day of the dead). In practice, this means that it’s very colourful, has a fair bit of backtracking, and expects you to punch and grapple with enemies rather than shooting or jumping on them.

Since the only two-player support is for cooperative play, the game takes the opportunity to implement simplified fighting controls similar to Super Smash Bros. but with moves and combo chaining that are much more forgiving and satisfying for people like me who don’t play traditional fighting games. (After all, it’s not as if the enemies are going to get frustrated if you kill them with one massive combo.)

The game recommends an X-Box 360 gamepad and the Linux release detected and configured mine without so much as a hiccup. While the controls aren’t as delightfully “react to you every twitch and thought” responsive as in Super Meat Boy or Escape Goat, they are very solid and satisfying. I’d liken them to a faster-paced, 2D version of Nintendo 64 platformers like Super Mario 64 or Banjo-Kazooie… or, perhaps even closer, Super Smash Bros. Melee, since you can punch, kick, and grapple.

The art style and the music are very pleasing. In fact, it’s the nicest high-resolution 2D platformer I’ve played in a long time. (Generally, the really beautiful ones are either running on a 3D engine or mimicking the pixellated retro look of games from the SNES era and before.) However, as the game warns you on startup, it’s not for people at risk of photosensitive epilepsy since it uses bright flashing colours when you gain a new ability or upgrade your health or stamina. As for the music, it’s pleasing but, like most of the platformer music I’ve seen, it’s more for setting the atmosphere than to be listened to on its own. (Though I do have the rain/war temple music on my playlist.)

Given its Día de Muertos influence, it uses the same “switching worlds at the touch of a button” mechanic as in Giana Sisters: Twisted Dreams. However, it balances things a little differently. Guacamelee! relies much more heavily on the “present in one world, absent in the other” mechanic while allowing you to use your foll complement of moves in either. Also, the lack of morphing animation makes the visual differences seem more subtle, so pay attention if you don’t want to mistake it for just a palette swap. (Not to mention that I don’t remember Giana Sisters having enemies who can always attack youbut can only be attacked if you are in the same world.)

(It also improves upon the “please don’t share this DRM-free release” message in Giana Sisters: Twisted Dreams by only showing it the first time you start the game rather than as a nag screen… though the one in Giana can be disabled if you’re observant.)

One of the things that I found to be a very pleasant surprise was the characterization. The interactions between your character and the villains are entertaining and I especially like how human the villains feel. (I don’t want to give too much away, but I especially like the villain’s main sidekick who also happens to be his girlfriend.) I’m not sure I’ve ever seen that in the platformers I’ve played before.

Speaking of delightful little bits, I love their choice for an analogue to Samus Aran’s morph ball… you turn into a chicken. I won’t spoil the context but, as a whole, I found its use in the game very grin-worthy. (Especially once you realize that certain human-form costumes also come with alternate chicken-form costumes.)

…which brings me to the three problems I have with the game:

First, for something that’s otherwise so immersive, did they really need to break the fourth wall so brazenly? The hermit is a hoot… but if I have to smash his statue collection to get abilities, why must he collect chozo statues?

Less egregious but still at least as jarring as it is grin-worthy, why did they have to fill the billboards in the town with meme and game references like “Me Gusta Guavas”, “Angry Rooster awesomesauce”, “Casa Crashers“, and the like (or hide a QR code which only serves as a reference to Fez)? For a game that’s so polished otherwise, that kind of fourth-wall breaking is as jarring as it is grin-worthy.

Second, the length. I haven’t beat this yet, but it definitely feels like I’m completing it a lot more quickly than other metroidvanias in recent memory like Super Metroid, La-Mulana, Aquaria, or Unepic.

Finally, I was never clear on what acted as autosave points (there’s no manual save), so I kept losing the last bit of progress I made because I guessed incorrectly. (I suspect it’s the skull who also acts as a skill merchant, but if the flames and chattering were supposed to signify a saved game, I’d have preferred something less likely to be misinterpreted as “Hey, buy something, would ya!”)

All in all, I’d definitely say that it’s worth a play (especially since they’re fellow Canucks and the first people I’ve noticed acknowledging a national holiday properly :P)… but you might want to wait until it’s on sale again to make up for the length.

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Game Review – SteamWorld Dig

SteamWorld Dig claims to be a roguelike digging adventure. I’d call it a digging platformer which takes Terraria‘s side-on destructible terrain and elements from Spelunky in general.

Though their website only mentions Steam and the Nintendo ports, it’s available DRM-free and cross-platform from both GOG.com and the Humble Store. I highly recommend getting it from the latter since the GOG extras are nothing special while the Humble Store will include the Linux version and a Steam key.

The plot is simple. In a world where everyone is a steam-powered robot, your uncle dies and leaves you his old west mine. You mine and use the earnings to upgrade yourself and a fairly simple story unfolds as you dig down. (On that note, I like the game’s choice of subtitle. “A Fistful of Dirt“)

The game’s graphics are nice. They sprites are crisp and high-resolution and the animation cycles are fluid and react well to the snappy controls. More importantly, the art style didn’t annoy me while I was playing. I’ve seen a lot of games where “art sharper than the SNES had” carries an ill-defined but unsatisfying air of “cheap smartphone-ness” to it.

The game’s music is nothing to write home about, being so forgettable that I can’t even remember what it sounded like, but I remembers that it did set the tone and it didn’t wear out its welcome while playing.

That’s not a bad thing, but it’s also not a good thing like the music from these games:

The gameplay is also engaging.  The controls are responsive and the spread of abilities (wall-jump, running, run-jump, high-jump, double-jump, etc.)  make moving around very satisfying. Almost all terrain is destructible with the right upgrade and you can upgrade the speed at which you break blocks, and the “steam punch” upgrade means that, unlike Minecraft, getting treasure in a ceiling isn’t a hassle.

It also has “caves” within the mine which have a puzzle platforming element to them. However, I can’t imagine they’d be different on subsequent play-throughs since randomized puzzles would have a very low return-on-investment compared to other things they could have done.

That’s actually my biggest problem with it: For something that claims to be roguelike, it has low replayability because it feels like I can do everything interesting in one play-through. (Trying for gold stars on speed and number of deaths is not interesting.)

I’m not a big roguelike player but I replayed FTL obsessively because, even as a skilled player, there’s a certain aspect of luck to surviving to the end and it’s impossible to unlock every ship on a single play-through. I continue to play Brogue off and on because every time I start a new level, things which matter are randomized.

In SteamWorld Dig’s case, the things that feel like they matter are character upgrades and the minimal discovery-based plot. I bought every upgrade and beat the boss on my first play-through… so why would I care if the positions of the minerals, monsters, and unbreakable rocks are different the next time?

Diablo remedied that by having multiple character classes, so you got different play styles to explore. Dungeons of Dredmor took it even further by having a lot (I believe crap-ton is the technical term) of character customization and big levels such that, even if you disable permanent death, it will take forever to exhaust all the different abilities and play styles you get… and then there are expansion packs too. (Plus, it’s hilarious)

As far as replay value goes, SteamWorld Dig is in an uncomfortable spot:

  • You get too invested in your progress for the FTL/Brogue-style “die, die again” play style that true roguelikes use and they acknowledged that by not having permadeath.
  • The levels aren’t as variable as in Minecraft, so I can’t replay for exploration value.
  • The game doesn’t force me to choose from one of several play styles or tech tree maturations.
  • The levels may be random, but the game is still too short and the single ending doesn’t help.

My verdict? I beat it the same weekend that I bought it, so I’d have waited for a bigger discount, but I like it.

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Frozen: Musical Cinema ≠ Musical Theatre

Well, I finally saw Frozen and my brother and I pretty much agreed that, while it’s nice, it does have significant flaws.

What’s really interesting, though, is the kinds of problems it has: They all fundamentally stem from Frozen being structured as musical theatre and then fleshed out with entertaining characters, rather than as musical cinema.

1. Narrative Flow

The first effect of this, though one of the more subtle ones, is that Frozen’s scenes feel somewhat disjointed when they should flow together. This is because it’s written as if constrained by the limitations of storing and exchanging sets on a live theatre stage while the viewers aren’t prepared to excuse that limitation. Cinematography and editing have advanced far beyond that and everyone knows it. (Too much influence from someone whose experience and training are in theatre rather than cinema, I’m guessing.)

Of course, this isn’t limited to theatrical writing. This lack of coherent progression also crops up in films like Wrongfully Accused and Dudley Do-Right… which are still good comedies. The problem is that, if you think back on them, it’s harder than it should be to piece together your memories of the movie into a complete flow from beginning to end. You’re likely to either miss some or put them in the wrong order.

The key point is that it’s a problem and that, just as writing for a cinematic video game isn’t the same thing as writing for a movie, neither is writing for the theatre and experience in one doesn’t translate perfectly.

2. Role of Songs

The other half of that problem is that the songs dominate the narrative when they arrive rather than complementing it, which makes the characterization feel weaker than it should. This is actually the same thing I noticed in The Princess and the Frog and, if you’re not used to picking apart your impression of a film, it makes it feel like there are too many songs or the songs are too eager to jump in.

Look at a song like In Summer. It feels unnecessary because it feels like it just comes out of nowhere, develops something not significant enough to merit the time taken, and drags you away from what you care about right here and now. In musical theatre, that would be more acceptable because it’s acceptable for a stage show to present a story as a compilation of songs tied together by non-musical introductions, similar to an album like Tanglefoot’s Captured Alive.

The problem is that movies don’t work like that. Movies may have a visual basis in theatre, but their narrative structure has more in common with graphic novels (which explains why storyboarding is similar in nature). Look at a more cohesive Disney production like Aladdin or Beauty and the Beast. Aside from being too contrived to happen in real life, the songs feel like they’re just a musical presentation of what would have been shown anyway and, if they take longer than the non-musical equivalent, it’s only because the music itself made the viewer willing to give that extra time.

Look at One Jump Ahead from Aladdin. Aside from the music, it’s an action sequence which establishes Aladdin’s and Abu’s characters, some minor characters, and their relationship to the setting. It’s basically the musical version of the chase/heist scenes you see in movies like Blue Streak to establish the main character(s). It tells you a lot about who they are and what they want in a nice, tight package and it doesn’t yank you out of the flow of events.

Now some of the songs in Frozen do do that. Let It Go would be an example of a song that does that well. Yes, it’s suddenly a song but, scene transition aside, both the content and the pacing follow naturally from what came before. Yes, it’s nearly four minutes long, but those four minutes are well-spent:

  • Conveying the isolation of the spot Elsa has fled to
  • Equating it to the isolation she’s felt for so long
  • Showing her view of a youth that, so far, had only been conveyed from her sister’s perspective
  • Showing her view on the decision she just made by fleeing
  • Demonstrating the versatility of her powers
  • Showing the degree of power and control she consciously wields when not actively wrestling with her emotions for control of the same manifestation.
  • Providing an origin story for her ice palace (while actually “building the set” in an appealing fashion. Something you could never do in live theatre.)

It also helps that it saves time and pleases the viewer’s sense of aesthetics by using the cold as a metaphor to simultaneously speak about both her relationship to the people around her and her relationship to the effects of her powers.

2. Depth of Character Exploration

Note that, “Depth of Character” and “Depth of Character Exploration” aren’t the same thing. The problem with Frozen is that, because of how much it takes influences from musical theatre, we don’t know how deep the characters are and we don’t feel what depth we can see because the movie never tries to explore them properly.

This narrative superficiality combined with the aforementioned differences in the role of musical numbers make for a style which reminds me of Harry Potter and the Goblet of Fire. (For those who haven’t seen the Goblet of Fire film, they chopped down a very long book that really should have been a mini-series and produced a movie that skims over events so much that, without reading the book, it can be hard to follow.)

Frozen isn’t hard to follow, but scenes keep feeling like they either end or start winding down just as the character-exploring aspect should be starting to get going. As a result, they feel like they should either have been longer or had more happen in the time given. I found it left me see-sawing back and forth between laughing at the movie’s jokes and a perpetual sense of anticipation… waiting for deeper character pieces which never came.

Now, I have to be honest in saying that, because I don’t watch movies that often anymore, I did read the Wikipedia summary before deciding to see it. However, I think that the contrast between what I expected and what I got is also telling.

First, the interaction between Anna and Elsa when Anna visits Elsa’s ice palace. It felt like a huge disappointment for me because of how little was actually accomplished, character-wise. If you actually look at it, the entire scene can be summarized as:

Anna: Come home.
Elsa: No. [walks away]
* Anna follows Elsa and asks again.
Elsa: I have to stay here where I won’t hurt anyone.
Anna: You didn’t know? Even here, your powers are hurting people.
* The knowledge makes Elsa lose control and she freezes Anna’s heart.

If any relationship is central to the film, it’s theirs and, just by how the dialogue was phrased, it ruled out a whole continuum of easy ways to explore it. Possibly worse, aside from recognizing Olaf, the movie is never clear about whether Anna has regained any of her memories or inferred that they’ve been changed.

If only Elsa had just said something like “I already hurt you once. I won’t do it again,” this scene could have had a much deeper interaction between them. Even without some more time between Anna’s arrival and Elsa losing control, that would have made for a much more satisfying scene.

(Speaking of which, of all the contrived plot devices, that’s probably my #1 most hated: When a story relies heavily on a character remaining silent about something when there isn’t sufficient reason to believe they would. Given how often it pops up in stories that are otherwise OK on that front, I think it’s probably the worst kind of “the plot is obviously driving the characters when it should at least appear to be the other way around” mistake.)

As is, we’re left with a film where one of the central focuses of the film is the least explored. Even if we stick to the extraordinary and avoid ordinary human interactions, we don’t even have a clear idea of what Anna thinks of Elsa’s powers without her childhood memories, let alone their origins. Given how monumental it would be if I discovered that my memories had been tampered with, I can only assume that she didn’t get them back and thinks Elsa’s powers manifested spontaneously on the day when she was hidden away and the castle closed to visitors.

Another similarly strange piece which I found underwhelming after reading the Wikipedia summary is Olaf’s origins. Aside from the brief cameo during Let It Go when Elsa is showing off her powers to the viewer, he just comes out of nowhere. It would make much more sense from a storytelling standpoint if she’d built him after the ice palace as a way to have someone to talk to.

Making a “Wilson the Volleyball” provides an easy way to drive home that her apparent joy in isolation stems from being “too relieved to grieve” (Let It Go, credits version), not from truly wanting to be alone. However, it would also give a chance to show the nuanced nature of her powers. She gives Olaf form out of a desire for a companion but then she’s surprised when her powers act on her emotions and give him life. Most importantly, it would set the foundations for her realization of how to control them in the end.

Speaking of which, that is another scene that could use work: Elsa’s realization of how to control her powers. The more I think about it, the more I’m reminded of the phrase “Show, Don’t Tell” from prose writing. Whenever the characters’ actions are “plot” rather than “flavour text”, they are much more likely to “just do” something without adequately exploring the thoughts and emotions under the surface which drive that action.

…which brings me, finally, to Hans. I didn’t notice this initially, since I was enjoying the movie enough to not see it at first, but, if he just wanted to marry into the crown by killing Elsa anyway, why did he put so much effort into saving her at the ice palace? Was he that driven to have her approve of their marriage before he killed her? Did he think that “Elsa falls to someone else’s crossbow bolt, he consoles Anna and eventually marries her” had too much risk of Anna changing her mind while mourning? Regardless of what his motivations were, his reveal feels too abrupt. Again, it feels like he’s being driven by the plot rather than by complex scheming. (In which case, until the plot called for it, he literally was a good guy. Hence the surprising disconnect.)

Given how our tribal gossip-seeking instincts drive us to care about people, all of this makes for a film where it doesn’t feel like much was accomplished along the way to the resolution because the viewers don’t have strong associations between the events and the characters’ thoughts and emotions.

(Even in stories that are clearly about the setting and the humour, like the Hitchhiker’s Guide to the Galaxy series of novels, we need an uninteresting everyman character like Arthur Dent to give us a frame of reference, act as a lens, and tie things together. Even in stories with no people, we require characters so strongly that we must ascribe human characteristics to things like the wind.)

The end result is a movie that, when you finish it and look back, feels like you were watching for thirty minutes rather than an hour and thirty.

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QuickTile 0.2.0

As of yesterday, QuickTile requires the Python bindings for libwnck. What advantages does this bring? Well, here’s a changelog for the more significant of the recent commits:

0.2.1 (changes made not long after this post):

  • Redesigned the help output with better explanations of what the commands do.
  • Bugfix for toggling horizontal/vertical-only maximization.
  • Added commands for:
    • Switching workspaces (virtual desktops) or sending windows to them.
    • Toggling various common window states like always-on-top/bottom.
    • Triggering keyboard-driven move/resize.

0.2.0:

  • Applications like Wine and OpenOffice/LibreOffice which change the window gravity no longer mess up positioning. (Fixes #3)
  • QuickTile now announces itself to the window manager as a pager-like utility. (Probably removes the need for a workaround for #5)
  • Lots of code pruned out since it’s now handled more cleanly by libwnck.
  • A cleaner internal architecture (though there’s still work to be done)

0.1.6 (in testing since last weekend):

  • Proper handling for desktops where panels or monitor sizes render the usable region non-rectangular. (Fixes #4)

This should also mean a much faster rate of development because…

  • It was becoming prohibitively complicated to use python-xlib to reinvent functionality already present in libwnck.
  • Each piece of libwnck functionality reinvented via python-xlib was an additional hurdle to eventually supporting Python 3.
  • libwnck offers Glib events like window-opened which should greatly simplify some planned features.

Plus, given that QuickTile is a GTK+ app which deals with window management and libwnck is the GTK+ library for building such apps, I really should have been using it from the beginning anyway.

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Game Review – FEZ

Since I managed to find time to make a lot of progress toward beating FEZ before the Humble Indie Bundle 9 finished, why not a review…

FEZ is an interesting mix of a game. On the upside, it’s a very pleasant puzzle platformer:

  • The art style is enjoyable and the intentional pixellation reminds me of a lighter, more whimsical-feeling Cave Story.
  • There’s a wide variety of environments. (Though a level editor would be appreciated.)
  • The concept is excellent and the levels tease some very clever 2D-3D rotation-platforming puzzles out of the game mechanics.
  • At times, it even gets touches on artsy.

However, on the downside, the creators don’t seem to have fully grasped the distinction between “puzzle platformer” and “platformer containing puzzles” so, if you want to complete the game rather than just get the ending which becomes available at 50% completion, it gets downright cryptic in a somewhat ill-fitted way:

The regular cubes are collected using the “interact with 2D projections of a 3D world you can rotate” mechanic (as is how it should  be in a puzzle platformer with this mechanic) and it works very nicely indeed but the anti-cube puzzles really have nothing to do with platforming. (They’re still fun if you’re the right kind of person –which I am– but they’re still an odd thing to see in a platformer.)

For example, out of the 32 anti-cubes, I’ve collected roughly half a dozen by recognizing that certain environmental elements form a substitution cipher, finding the primer in what you probably dismissed as greebling, and then keying in the decoded “message” wherever I see the cipher. (Thankfully, the map does give you a clear readout of where there are still things to find and what type.)

Another three are QR codes that, when scanned, give you a sequence to key in. (And if you don’t have a smartphone and don’t want to use a walkthrough, you’d better hope you know how to feed a screenshot into something like the demo app for libdecodeqr.)

The clues for the puzzles I haven’t yet solved are similarly cryptic, probably also involve pressing sequences of buttons that don’t necessarily move your character, and may require me to wander the world with a sketchpad in order to pull all the clues together enough to make sense of them.

As for the stuff which can fit naturally into a platformer, there are also a couple of flaws I’d like to point out:

First, the owl scavenger hunt, while not out-of-place for a platformer, is made much more annoying by the fact that owls only show up at night and you can’t fast-forward the day-night cycle, so you’re needlessly slowed in your quest to find all of them.

Second, I feel that it gave an inappropriate first impression since the introduction starts you off in a village where you can talk to the NPCs and have some light but effective characterization and storytelling but, once you get out into the game proper, that’s just dropped, giving you a pure platformer.

Still, for all its flaws, I obviously like the game, given how I’m still working my way toward 100% completion… I just wish they could have saved the clue-collecting, cipher-decoding puzzle action for something more along the lines of a later King’s Quest or a SCUMM game so they could’ve more fully explored the potential of the perspective rotation mechanic.

Also, the ending I got without 100% completion was a bit too demoscene for me to enjoy it when, moments ago, I’d been playing an interactive game with a bit of a narrative at the beginning… but whatever. I found the movie version of 2001: A Space Odyssey slow and boring too, so what do I know?

If you like puzzle platformers and can find it cheaply enough to take a risk (eg. by beating the average on the Humble Indie Bundle 9), definitely get it… just don’t expect to fully complete it without help unless, as a kid, you loved cryptic stuff like those Usborne Puzzle Adventure books or early computer adventure games.

Update: Having finished FEZ (admittedly, with a little help), I have two more things to say:

First, some of the puzzles were designed to use force feedback on the Xbox (and apparently don’t warn you if you have it turned off) and the compromise in the PC port is… flawed. They changed it to use sound instead but, even if you are playing with headphones, the stereo separation is so terrible that, even after I googled for instructions that told me to use headphones, I still couldn’t localize the sound enough to solve the puzzle myself… which was very dissatisfying since I love solving puzzles!

All in all, while I enjoyed both facets of FEZ and I admire their attempt to satisfy the kinds of minds who love classic hard games like Zork, it doesn’t work when it’s schizophrenically mashed together with a puzzle platformer because, when I’m in the mood for a platformer, I’m not in the mood for Zork and, when I’m in the mood for Zork, I’m not in the mood for a platformer. (Plus, I’m kind of surprised that they’d release something like FEZ on Xbox first, given the demographics involved.)

In summary, while fun, FEZ really should’ve been two separate games: A puzzle platformer based on rotating the world, and a Myst-like adventure game.

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