Side-By-Side: Timeline and +Me

April 20, 2012 in Reviews

 

Embedded within my (rather scattered)  web routine are the inevitable, all-too-frequent checks on Facebook and Google+. I visit the former far more frequently than the latter: partly because notifications are built in to a number of other Google products; mostly because the people I’m connected to on Google+ tend to share articles rather than thoughts. It’s only today that I thought to compare the two networks’ profile pages, though.

Google launched its current layout just this month, with many improvements to its UI and a profile layout which bears much more of a resemblance to Facebook’s Timeline. I commend both ‘sites for introducing a banner space, which really helps to personalise a profile where custom themes are never allowed. I’ve also publicly decried Facebook’s approach to Timeline, which forced me to delete my account and start a new one, for personal reasons. Despite the fact I still have to tidy my re-booted Timeline every other night, I am generally a fan, though. I only tidy as I prefer to keep timely stories on there, since I believe that Facebook’s layout does not lend itself well to my occasional, rambling thoughts and linked media.

Of the two social networks, I do find that I prefer Google+’s approach, and I’m now beginning to look upon Timeline as a missed opportunity. Certainly neither is a perfect service, but I begin to wonder why Facebook devotes so much on-screen space to the cover image (the horizontal banner), when very few people seem to have photographs worthy of putting in here. I have had to rely upon a raygun gothic-themed image, choosing to carry my business card branding through, because unlike a couple of my friends and most of the celebrities I follow, I do not have any professional portraits. Compare this with Google+, and it’s clear that the user’s square-format portrait takes precedent. It is as though Facebook expects each user to treat their Timeline as a page rather than a profile, and I wonder now if that was a good move.

My criticisms achieve very little, of course – I use these services at no financial cost, and my fellow users learn to work around anything which they too might consider to be a shortfall. With that having been said, I’m somehow confident that Google+ represents me better, particularly for not displaying my connections so prominently. Google profiles do include a small panel, just below the user’s portrait, which will show any mutual connections you (as the viewer) may have, but that is something I consider very relevant and reassuring to social networking. The fact I have gone to the effort of manually tagging 243 photos with locations (because Facebook still stubbornly refuses to read meta-data, even for dates) is considerably less relevant, to my eyes. I also mourn the photo bar of yore, in which Facebook would allow you to hide those photos in which you were tagged in, but might not want shown on your profile. Now, if I want to be tagged in photos of a fun night out, I have no choice but to allow them on to the top of the pile, under that ‘photos’ thumbnail. Google+ seem to have responded to this, and it offers an alternative to the horizontal ‘cover art’ bar, which comprises a series of photos of your choice, as below:

At the end of the day, it seems to me that Google+ has found a worthy niche, breaking away from Facebook by actually sticking to what its elder competitor used to do. Where Facebook channels its users into making profiles which look like corporate pages, Google+ have offered a design which puts the user themselves further forward, also giving them a little more control over how they appear. It may lack the vibrant activity which Facebook still enjoys, and I experience this in the fact I’ve never physically met any of the people who appear in my stream, but in many ways I feel it is now a more appropriate home for me as a person.

If only some social networking APIs - and more importantly, other people – would actually use the thing…

Incidentally, you’re welcome to follow me on Facebook and Google+, though the latter is a bit light on anything but posts from Google Reader.

Pinterest: For All to See?

April 4, 2012 in Reviews

Pinterest has had something of a buzz about it in these past few months, and although I’m now late to the party, I’ve finally been granted access to create an account of my own.

I first encountered Pinterest after hearing word of it and duly proceeding to pinterest.com. What I was saw seemed a little too busy for my eyes, but the concept was clear: post ‘stuff’ onto a web-based board of your own devising, sorted into a variety of categories. It seemed to be something between the ‘likes’ section of a Facebook profile and a tumblelog, of which I have many.

Now that I’ve been allowed in to try Pinterest, I find it has much more in common with Tumblr than I had first thought – right down to the reblogging and the dashboard stream, albeit one which is presented differently. The only major difference I can find is that Pinterest does not allow pseudonymity between blogs. I now feel quite strongly that this is something of an understated feature in Tumblr.

On Pinterest, every one of a user’s boards is available to view under their profile. Tumblr allows users to post to their individual blogs, or to view the comments and activity for each, but does not have this style of profile. This means that unless a user explicitly links to their other blogs in the description or layout, no-one may know there is any sort of link between them. This is because Tumblr portrays each blog as a username, so if you follow my Maps in Games project through your own Tumblr dashboard, you will only ever see posts attributed to either “maps-in-games” or the user who submitted a post – never “sinnyo”, “ludometer” or “raypunk”, which are the usernames for some of my other “tumblelogs”.

There are pros and cons to doing this:

  • Pinterest quickly becomes a simpler way to share all your interests, making it much more social, while Tumblr stands as more of a curating service, with isolated blogs on a particular theme.
  • Pinterest becomes yet another service in which we find we may have to self-censor, while Tumblr maintains an easy anonymity, allowing people to create dedicated channels if they feel they need to.

One of the joys I find in Tumblr is the sheer diversity of its content, and this includes content of an erotic nature, which can be deeply moving, artistic and inspirational. I make no real secret of my ‘main’ tumblelog, which does include ‘NSFW’ work, but nor do I want to expose people to it in inappropriate settings. It’s a tough call for a service whose ‘mission’ is to have its users express what inspires them.

Like I’ve said, there is a clear ‘pro’ – Pinterest is evidently a fun tool for people making wishlists, sharing fanart and fashion tips, or who feel confident (or free) enough to abandon privacy concerns about the content they post. I was simply fascinated by this little-publicised feature (or lack of one) in Tumblr, which actually leaves me feeling freer to express myself.

An Adventure of Sorts

May 18, 2011 in Reviews

Magicka is a game which has crept up on myself and my game-playing friends, and taken us all completely by surprise. It isn’t a perfect game, but it is one of the most innovative – and definitely the funniest – games I’ve played to date.

Magicka: An Adventure of Sorts

This Arrowhead Studio project was released on Steam at the beginning of the year. Were I forced to fit it into a genre or theme, it would be something of a ‘fantasy adventure shmup’. Take bits from World of Warcraft and dungeon-crawlers like Baldur’s Gate, smother in a Monty Python glaze, and you’re getting close to a recipe for this delightful oddity.

"Magicka" 's selection of spells is not only vast, but spectacular.

The game allows you and up to 3 friends to pick up wizarding staves and don colourful robes, and embark upon a quest to rid the land of marauding orcs, led by Warlord Khan. In fact its entire premise is summed up within minutes by the game’s delightful narrator, Vlad – a mentor who literally hands you a bullet point list and shoves you on your way to play the game.

Following a short introduction, in which we learn of the corrupted wizard Grimnir and his wish to unite the world’s magicks, we are ushered through the halls of a wizarding academy in order to attend a party in our honour. Jocularity has its pitfalls when wielding arcane forces however, and the party is accidentally dropped into the castle’s dungeons. An obstacle course follows, in which on-screen popups and handy switching devices teach the new wizards their craft.

It is at this time – in co-op games of Magicka at least – that all hell breaks loose, and the game designers are well aware of this. Grant four players some cartoony avatars and the power to set things aflame, and chaos can only ensue. Indeed my party of 4 had to replay the tutorial 4 times, simply because we kept ‘accidentally’ destroying each other.

To the game’s real credit, its formula does not change from here on out. Ever the lurking mentor, Vlad (who assures us that he is most definitely not a vampire) guides our valiant wizards from village to city to forest, most of which run rampant with goblins and other foul creatures. Rid an area of its foes, recover, and move along; its formula leaves the game experience very open to player input, best sought through voice chat.

Combining beams of complimentary magic can devastate enemy ranks; crossing opposites will reduce your party to bloodied chunks.

The players are quickly given a full suite of 8 elemental forces (water, life, shield, cold, lightning, arcane, earth and fire), which can be combined to form different spells. Some of these ‘magicks’ can also be learned later on, often after defeating certain groups or bosses. By encouraging us to experiment, the game further establishes its light-hearted and laid-back approach, making for some spectacularly gory battles indeed. It’s hard not to learn a valuable lesson in crossing opposite forces, when attempting to heal someone who’s casting an arcane spell. I didn’t think seeing dismembered chunks of wizard spatter across the battlefield could be so funny.

Above all else, Magicka is a game experience, and its writing acknowledges this. The FMVs are short but hilarious, and its characters and parodies are truly memorable. It is, however, an experience to be shared, and while group play can be a tricky environment in which to learn the game’s nuances – in which case a solo run through the tutorial might be wise – the game is very tough upon a single player.

Its challenges do not – as far as I can tell – scale depending on the number of wizards present. Indeed, having so many criss-crossing magic beams on screen at once may lend further difficulty to the game, but it’s as nothing compared to the overwhelming difficulty curves a solo player will have to climb, even early into the game. Indeed I would struggle to recommend this game to anyone looking for a comical, solo game; try Psychonauts instead.

We as a group also had some difficulty with the game’s default controls, and as I understand it, a patch which allowed users to alter these key bindings does not always come bundled into the Steam download. A verification of files later, and I was able to fix the developer’s controversial choice: to place self-healing functions on the middle mouse button of scroll-wheel peripherals.

Pre-empt the control issues however, find some friends to play with, and you’re set for a laugh a minute. Magicka manages to be  technically impressive game indeed, and its magic abilities are delightfully complex, but simple in their logic. They and the other gameplay elements allow players to have their own fun with a game rich in cult parody and memorable battles.

Return to “WarCraft”

November 18, 2010 in Reviews

After a good five months in which my lack of purpose, funding and available time kept me away from World of Warcraft, I have finally renewed my subscription in order to enjoy the Cataclysm prequel events ahead of the expansion’s launch in December. It’s felt quite strange, attempting to engage with the game again after so long. World of Warcraft was my first MMO RPG game; thus it is the only game I’ve had to return to without the luxury of starting at the beginning.

Many patches have passed me by since I played ahead of the Ruby Sanctum, back in June. I expected a few changes as a result of this. The largest of these changes came in the switch from version 3 (Wrath of the Lich King) to version 4 (Cataclysm). Though announced well in advance, the changes this patch brought were sweeping and disruptive. My ‘main’ is a warlock, and she bore the brunt of the biggest changes. The entire warlock mechanic shifted, from gathering Soul Shards as enemies fell in order to power spells, to these reagents now powering upgrades to spells which now required no such soul-draining. The UI changed; my inventory shifted now it was no longer bogged down with bags of 28+ soul shards; Spellstones and Firestones, once applied to my weapons in order to boost spell damage, have become inert mementoes; most of my gear was rendered inappropriate, as outfits featuring spirit no longer provided useful statistics. This on top of the facts my UI had been changed, many character abilities were removed or altered, and my destruction specialisation points had been reset, all made for a hefty bout of housekeeping as I attempted to re-learn the game.

Talent points were reset in order to facilitate widespread change; the panel now comes with useful pop-up tips.

There are some unique challenges inherent in re-learning a character who, at level 80, is expected to be fairly confident in their role within the game. I’ve written about the social expectations within the so-called ‘endgame’ many times before, as peer pressure can mount upon even the most regular of players; this frankly becomes overwhelming when you attempt to engage with the game after a few months’ break. Whereas I would start a console game again from scratch rather than attempt to follow on halfway through a save file, MMO RPGs like World of Warcraft rely upon weeks and months of accumulated knowledge – and often upon the choices made with finely-tuned reflexes as well.

There is, of course, an element of muscle memory involved with these games. Though the rules had changed quite dramatically for warlocks, it didn’t take more than a few hours’ practise for my spell rotations and spacial awareness to kick back in. Trickier was the navigation of my UI, as it had literally taken a year for me to arrange each character’s spells and abilities in such a way that summons, silencers, healing spells and other types of shared ability could be found within roughly the same area on-screen. Now that the number of abilities has actually been reduced for many of these character classes, I find myself having to start again from scratch.

All this adjustment comes within an exciting time for World of Warcraft‘s visiting players. Though I arrived too late for a much-hyped assault upon the Echo Isles – and thus the formation of a home city for the troll race – I came at a time when cataclysmic events have begun to rock Azeroth. Blizzard has arranged similar ‘prequel events’ in the past, such as a largely player-run gathering at the Dark Portal prior to The Burning Crusade and a Scourge invasion upon each faction’s capital to announce Wrath of the Lich King.

Rumblings of the changes this year have been in place for quite some time, with mysterious earthquakes having long rocked the cities of Orgrimmar and Stormwind. Emissaries from both factions – including the disputed Horde warchief, Thrall – have departed Azeroth in order to research the threat, and currently stand at a cliffhanger in quest chains related to the event. City guards also have players working on undermining the persistent Twilight’s Hammer cult, and their efforts to summon elemental beings into each capital. Their efforts have succeeded this very week, as players who might have thought their work against Twilight’s Hammer done were confronted by thunderstorms and inferno.

Blizzard orchestrated their launch of Wrath of the Lich King with vast numbers of undead foes and ice dragons; razing these havens for players of all levels, when often the only threat they’d face would be an organised raid of 40 or more players of the opposing faction. No NPC enemies had been allowed inside these areas of player commerce and training before. Similarly for Cataclysm, the darkening of skies, the cries of desperate citizens and the eventual eruption of elemental portals triggers an invasion which fundamentally disrupts all activity within the city. Players who might have been minding their business in auction houses, guild vaults and smithies will find themselves alone and unable to work; instead they are recruited into war.

Panic strikes the Horde capital of Orgrimmar.

I’ve been deeply impressed with how war efforts have been arranged. As one would expect, it is largely a level 80 player’s game. Weaker elemental foes give way to elites who can only be realistically beaten by high-level players, and once players have beaten the attack back (with help from boss characters like Rexxar, Vol’Jin and Garrosh) they are allowed entrance to four quick boss battles. There is a role for lower-level characters though, as instead of being called to arms they are directed to build barricades and rescued citizens, trapped in elemental prisons. This rather frantic effort runs alongside pitched battles in which your character may find themselves targeted by an indomitable foe, only to be saved by a level 80 ally. The player community does not often come to each other’s aid in this way before, and so it is refreshing to see such change upon the social scene as well as the game world itself.