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Games of 2012: FIFA 13

I’ve spent a lot of time in 2012 playing games, but not a lot of time writing about them. As I did last year, I’d like to tell some stories or share some thoughts about the ones that meant the most to me this year. I’ll be posting one a day until Christmas. See all Games of 2012 posts.

FIFA 13

I was originally hesitant to include FIFA 13 on my list this year. Despite playing more in my third year with the series than either of the two previous, most of my confusion from last year remains. The game remains difficult to learn the nuances no matter how much time you spend with it. Just a week ago, I finally figured out that when you’re taking a free kick, up and down are for the direction of spin, not where you want to place the ball (ala how you take a penalty). Yes, this took me three years with the series to figure out.

Even with its obtuseness, I have a much deeper appreciation for FIFA this year, because I’ve had a chance to see what an institution it is worldwide.

– Just about every soccer player cares deeply about how they’re represented in the game. There’s a certain measure of self-worth and pride related to how close to reality one appears in the game. Stats, placement in the lineup, and accuracy of the player model all matter on different levels. Dax McCarty, the defensive midfielder for the Red Bulls, was perhaps the most glum on the team about FIFA 13; mostly because he wasn’t in the team’s starting lineup (despite starting nearly every game this season), but also because his character model had been given clown-red hair instead of his actual strawberry blonde hair.

– It’s become the sort of game where EA must blow millions of dollars on promotion. There were a variety of game changes from 12 to 13, but the biggest (and most costly) was easily EA wrenching away the image rights for Lionel Messi from Konami. Observe this year’s “JOIN THE CLU13” ad and try to ponder the budget involved in getting some of the top names in the sport crammed in for so many little cameos. Even the parties are absurd, as best illustrated by Graham Parker’s amazing recap of the NYC launch party. (I didn’t get an invite this year; clearly this is the next big step towards my legitimacy as a sports journalist.)

– If you think free-to-play games on Facebook are terrifying, then you must not be familiar with FIFA Ultimate Team (or more commonly, “FUT”). FUT has a simple enough premise: open packs of cards, assemble a team, play as that team through seasons or tournaments. But the cards have limited contracts, so they can only be used so many times before you have to apply a contract card to extend their usefulness. You have to be cognizant of preferred formations, chemistry with nearby teammates, fitness, morale, and possibly which month the player’s birthday is. The in-game currency for winning matches is rarely enough to keep your team operating for very long, so soon you’ll turn to the marketplace in an attempt to buy and sell cards to achieve enough of a profit to keep things going.

There was a big rash of Xbox Live account hacking last year that was linked to FIFA. People would crack accounts, quickly purchase Microsoft points, buy gold player packs, and transfer all the cards to another account. It became known as “getting FIFA’d”. How many freemium games do you know that get used as a nickname for a specific type of criminal activity?

FIFA 13 is so engrained in soccer culture, it’s hard to not be into it if you’re into the sport. Journalists, players, front office staff, musicians, fans – everyone’s in. Come on – how many other games are going to lead to me talking smack with a player I respect?

FIFA 13 is available on just about every system known to man. My experiences were largely with the PS3 and Windows versions.

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Games of 2012: Dishonored

I’ve spent a lot of time in 2012 playing games, but not a lot of time writing about them. As I did last year, I’d like to tell some stories or share some thoughts about the ones that meant the most to me this year. I’ll be posting one a day until Christmas. See all Games of 2012 posts.

Dishonored

If my post on Skyrim last year didn’t make it clear: I love games with a sense of place. I love games with plenty of ephemera and tiny things to explore off the beaten path. I love games where you can disregard the main plot and still have plenty to do.

It will then come as no surprise that I love Dishonored, this year’s big title from Arkane Studios and Bethesda. The world is not quite as wide open as Skyrim was, but I’d argue it has more character. The elaborate confines of Dunwall are a strange cross-pollination of London and steampunk, and the game gives you room to explore and plot your own paths rather than being shepherded down a straight line.

Dishonored – or rather, someone writing about it – opened my eyes up to an aspect of game design I hadn’t considered much before. Alec Meer’s “Dishonored: The Onion” was probably my favorite piece of writing on the subject of games this year, and may have also been the article that pushed me over the threshold to buy the game at all. Alec’s main message: *turn off the quest markers and slow down*.

If you want to rush around with a gun, shooting anything that moves, don’t buy Dishonored. It has put those things in there for you, and it offers slick, brutal, varied permutations on how to use them, but they are not its all. If you’re looking for 10+ hours of shooting men, or even stabbing men, you are well-served already and forever by games that do that, do it well, and do it for a long time. You and those like you are the victor of the great games race, and you have the spoils, many times over.

So let us have Dishonored. Let us have this one expensive, luxurious game that only truly works, only sings a glorious tune, only becomes a 20+ hour game if met by those who treat it in the spirit with which it is offered. Don’t tell us it’s too short and too slight just because you don’t find combing through its many layers, peeling back every last millimetre of artfully subdued skin, of interest. Because you want to rush to the conclusion, and you don’t believe anything that doesn’t explicitly inform reaching that conclusion is worthwhile.

I had not yet completed Dishonored. It was a conscious choice, as I’m saving the rest for after I can upgrade my desktop later this month. But I had experienced and greatly enjoyed the “layers” Alec describes: stumbling my way down unknown streets; creeping in the shadows through a house I’m not sure I needed to break into; opting to not go straight through the front gate but always around the side.

And he’s absolutely right – turning off the quest markers DOES make the game better. Without an omni-present waypoint beckoning you into the distance, you are left to your own devices. You’re more prone to wander down a side hallway and discover something that helps enrich your understanding of the world. You’re less likely to know when a set piece is coming. It wouldn’t work if Dishonored was meant to be played linearly, but with so much in Dunwall that’s worth exploring, it’s a better choice than becoming a slave to the marker.

The next time you’re playing something, and that waypoint pops up in your view, ask yourself: can I find my own way? It may just be the better choice.

Dishonored is available on Playstation 3, Xbox 360, and Windows. My experiences were largely with the Windows version.

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Games of 2012: The World Ends With You Solo Remix

I’ve spent a lot of time in 2012 playing games, but not a lot of time writing about them. As I did last year, I’d like to tell some stories or share some thoughts about the ones that meant the most to me this year. I’ll be posting one a day until Christmas. See all Games of 2012 posts.

The World Ends With You: Solo Remix

I remember getting my hands on The World Ends With You for the first time. It felt like an eternity since the last time I was had my world flipped by a Square RPG. A weird blend of modern Japanese culture and supernatural plots to destroy the world, TWEWY tied together a unique combat system, well-polished art and music, and memorable moody teenagers (this was a Square game, after all). It felt revolutionary, and possibly the start of a great new RPG franchise.

But that was 2008 – and following its release on the DS, nothing more came out of the franchise – until this year. Out of nowhere in August, Square Enix quickly announced and released The World Ends With You: Solo Remix. It didn’t launch on Nintendo’s floundering 3DS, nor was it a near-launch title for Sony’s Playstation Vita. No, it came out solely for iOS, at price points rarely seen on the platform: $18 for the iPhone/iPod Touch version, and $20 for the iPad version. People flipped out.

There are plenty of takeaways from the release – you could spend months trying to break down Square’s pricing strategy, or the effectiveness of reducing a dual screen game to a single screen, or lambasting Square for blocking the iPhone version from running on the iPad and/or not releasing a universal version. But I’d rather focus on the biggest takeaway: it marks the clearest turning point that the mobile gaming landscape has turned away from Nintendo and Sony to instead concentrate on smartphones.

This writing has been on the wall for a while, but it feels inescapable this year. If we’re going off of Metacritic scores to judge quality, there was a single game above 90 on both the 3DS (the eShop re-release of Cave Story) and the Vita (Persona 4 Golden). But somehow, there are 18 games in 2012 that met this threshold on iOS. Many of these are from indie developers; the major studios are represented (EA, Namco, Popcap, Warner Brothers); and the iPad version of TWEWY tops out the list at 95, technically the best reviewed title of the year.

Such a marketplace shift is anathema to long-time mobile gamers, as it seems inconceivable that a platform not dedicated to gaming could provide experiences on par with the big handhelds. But here it is: one of the most lauded, most beloved games in the DS generation, available for the half a billion iOS devices out in the wild.

Some may try to argue the release means little. Isn’t TWEWY:SR just a remake to rake in quick cash? If you’re willing to believe that, then you also have to discount the highest rated game on the Vita (Persona 4 was a Playstation 2 game), and you have to doubly discount the Cave Story release for the 3DS, a veritable remake of a remake! (Cave Story was released for the 3DS as a cartridge in 2011.)

I can’t understate how much of a disruption this is to a handheld market that was rock solid for the last 10 years. It’s almost reminiscent of the gaming market crash of 1983 – although a bit slower, and there’s already a new business model in place to save us waiting a few years for a new savior. If we don’t have dedicated handhelds after this cycle ends, I won’t bother to feign surprise.

(As for TWEWY:SR itself? It’s pricey, but you get what you pay for – a high quality RPG in a unique setting. It doesn’t feel any different compared to the DS version, save the combat – and I actually liked the single screen version better. If you didn’t play through it in 2008, I highly recommend you save up and splurge on it.)

The World Ends With You: Solo Remix is available for iPhone and for iPad, but not in the same app, because Square Enix doesn’t believe in such things.