Not Starved of Emotions

                There is no more emotionally engaging medium than video games.  Unlike movies, music, books, or art, video games make the player more than just a spectator.  I become involved in the story because I interact with it to push the narrative forward, but this interaction is more than merely button inputs.  When a game forces me to make decisions a part of me becomes embedded in the character. I begin to make decisions based on what I would do or say.  The character that I am controlling becomes me and sometimes that is a scary thing, especially when horrible things happen because of my actions.  The Walking Dead Episode Two: Starved for Help is one of those games that makes me scared of myself.

Not the most positive of title screens.

                Starved for Help begins three months after the events of the first episode.  The group has made the motor inn their home, but things are looking grim.  Food supplies are almost nonexistent so the present supplies have been rationed.  In need of more food the survivors begin to try their hand at hunting which is where the episode opens.   Lee and a new member named Mark hunt for food in the forest.  It does not take long for trouble to arise causing the episodes second most gruesome moment (the first occurs near the end and had me feeling sick to my stomach).  As the group returns to the inn, it becomes apparent that these three months have caused riffs among the survivors.

The group is pretty high-strung this time around.

                Lilly has been promoted to the de-facto leader of the group.  She and Kenny constantly argue about what is best for the group, but when it comes down to it, Lilly has to make all the hard decisions like rationing the food.  After arguing with Lilly, Lee has to pass out rations for the day bringing about one of the worst moments for me in the whole episode.  There is no right decision.  No matter what I decided, someone was going to hate me and someone was going to starve.  This is the kind of decision making that the whole game is built around: the no win scenario.  The only obvious choice was to not feed myself.  I am not nearly a big enough p.o.s. to feed myself while other group members starve.

If you feed yourself you deserve to be eaten by zombies.

                Before long, two brothers named Danny and Andy St. John stumble upon the survivors.  They are looking for gasoline to power the generators of their dairy farm.  In exchange for gasoline they agree to feed the group and even let them checkout the farm to see if it is to their liking.  After years of reading the comic, I knew these two were not to be trusted.  Everything spewing from their mouths was too good to be true.  Electricity, food, a safe compound, room for everyone, all of these were promises they made, but nothing good ever happens in The Walking Dead.  I repeat, nothing good ever happens.

Looks can be deceiving.

                Every conversation with the St. John’s brothers is a tension filled chess match.  They always seemed to be probing me.  How many people are in our group?  Are we heavily fortified?  Do we have enough food?  Who is the leader of the group?  Each question seems friendly enough, but the multitude and curiosity behind them brings unease.  Countering and answering with a volley of my own garners an equal amount of unease from the brothers.  They are hiding something.  This nerve wracking chess match continues for two hours all the way up to the big reveal at the end.  I could see the twist coming after almost 30 minutes on the farm, but that does not mean the conversations or actions it causes are any less impactful.

Gas is not the only thing they want.

                Telltale really streamlined the experience for this episode.  The puzzle moments of the last episode are pretty much gone.  The focus this time around is solely on the conversations and the interactions they cause.  While I welcome this wholeheartedly, it does not present much difficulty.  Animation seems to also have taken a tiny hit.  I found more moments of lip syncing being off and animations freaking out in this episode than the previous one.  This is only slightly distracting though, and does not harm the experience much in the long run.

A nominee for most awkward dinner ever.

                No game has ever left me more emotionally spent than this episode.  I finished the game with a migraine, heavy heart, and a yearning for alcohol to soothe my wounds.  No decision made in this game makes me the hero.  If anything, every decision makes me closer to the likeness of a savage.  One stat in particular at the end of the game hit me in the gut.  Only 31% of the millions who had played the game made the same brutal decision I made.  At first I thought that maybe 69% of these people are better human beings than me, but I’ve slowly changed my mind about this.  I’ve decided that those 69% don’t understand the world of The Walking Dead.

Approach everything with caution.

In the words of Rick from issue #24, “We're surrounded by the DEAD.  We're among them -- and when we finally give up we become them!  We're living on borrowed time here.  Every minute of our life is a minute we steal from them!  You see them out there.  You KNOW that when we die -- we become them.  You think we hide behind walls to protect us from the walking dead?  Don't you get it?  We ARE the walking dead!  WE are the walking dead.”  No one walks out alive.  69% of the people who played this game just don’t realize that yet.  I may end up emotionally drained again, but I’m ready for The Long Road Ahead.

A New Day But Not A Brighter One

 (This post is going to be a bit different than my previous ones.  This isn't so much a specific moment from a game as it is a short article about my impressions after having time with The Walking Dead game.  Enjoy.)

               A news reporter, a farmer, and a tech nerd walk into a drug store.  They are each completely different people with dreams, motives, and unique stories, yet they all share the same fate: you are the architect of their future.  There is a good chance that someone will not make it out alive, but how do you decide who lives and who dies?  Is there even a fair way to make that kind of decision or do you just decide on a passing whim?  People will hate you; grudges will be held, but in the end you cannot dwell on the dead, because they are the ones trying to kill you and time is not a luxury that they will allow.  This is the world of Telltale Games’ The Walking Dead, and it is a world of despair and harsh consequence.

This looks deceivingly peaceful.

                By now if you do not know what the world of The Walking Dead is then you have probably been living under a rock.  For you rock dwelling folk, Robert Kirkman’s The Walking Dead is a critically acclaimed graphic novel set during the zombie apocalypse.  If the comic was not already enough, it also became a hit TV show that continues to set basic cable viewing records with each new season.  To put it simply, the Walking Dead is a huge deal.  Telltale Games had some very big shoes to fill coming into this project and I am delighted to say that they have done a pretty astounding job.

Some characters from the comics make appearances like Glenn here.

                The game sets you in the shoes of Lee Everett, a university professor turned convicted killer.  At the start of the game, Lee finds himself in the back of a police car being driven to prison.  It isn’t long before all hell breaks loose as the car hits a walker (term for roaming zombie) and careens off the road.  Injured and confused, Lee crosses paths with a cute first grader named Clementine who manages to save his life.  Indebted to her, Lee and Clementine band together and venture off to find more survivors while protecting each other along the way.

The relationship between these two will be the core of the whole game.

                I need to make one thing drastically clear: this is not a traditional adventure game or even a traditional video game for that matter.  The game is more of an interactive movie.  You won’t be fighting off hordes of zombies or solving intricate puzzles.  What you will be doing is largely talking with gruesome zombie murder peppered here and there to break things up.  The conversations are the true heart and soul of the game.  Each conversation brings with it a quick time event giving you four different responses.  Whichever response you choose is final and people remember and react based on your decisions.  Whether it is siding with someone in an argument or lying about your true identity, your choices shape the world around you.

One of the more grisly yet heartfelt moments in the first episode.

                The conversations are wonderfully acted and strongly emotional making this one of the most personal games I have ever played.  The Lee that I created through my choices is a caring yet no bullshit individual.  He is governed by realism and a desire to protect those around him.  I will start a fight to save a friend’s child one minute and allow a bitten woman to use my gun for suicide in the next.  These are not easy choices, but these are ones that I could see myself making in real life.  This Lee is me, and the attachment that I already have for him through one episode speaks volumes for the astounding job Telltale has done on the dialog for the game.

Choose your words wisely.

                There are only a few things in the game that stood out as slightly off and most of them have to do with animation.  The comic book style of the game is beautifully fitting.  Hard lines accent the characters giving the art the same feel I get when I read the comic, but the look isn’t perfect.  What bothered me most were some of the facial animations.  For example, there were multiple occasions during my talks with Clementine that I found the positioning of her eyes to make her look slightly possessed.  She looked like her eyes had rolled into the back of her head.  It completely undercut the conversation taking place between us.  In a game that heavily relies on the conversations, facial animations cannot be distracting during these moments.  There are also moments where animations will glitch or lip syncing will falter.  This doesn’t ruin the game by any means, but at times it can be bothersome.

Clementine's babysitter has seen better days.

                At the end of the two hours that it took to complete the first episode, I was itching to continue Lee and Clementine’s story.  Telltale has crafted an incredibly faithful adaptation of Kirkman’s comic in both style and tone.  The first episode taught me many valuable lessons.  I cannot save two people; old men are ass holes; Clementine is friggin’ adorable; and, most importantly, fear the dead.  Going into the second episode, I am ready for the game to teach me the greatest lesson of the comics: sometimes the living are worse than the dead.

A Date with the Rasklapanje

                On October 2^nd “Resident Evil 6” was released as part of the long-running survival-horror franchise of the same name.  Ever since the game’s release I have been playing it constantly.  When looking back on the franchise’s roots, the game has changed so much from the tank controls and confined nature of the first.  I love the new action oriented direction of the franchise but there is a schism amongst fans that features a very adamant group who abhor it.  This group does not seem to understand that franchises have to adapt to stay fresh, so with a franchise that has been around as long as “Resident Evil” there is going to be a lot of changes.  Even with the abandonment of a straight survival-horror experience, “Resident Evil 6” had at least one sequence that had me at the edge of my seat.

Resident Evil 6 title screen.

                In Chapter 4 of Chris Redfield’s campaign I found myself searching the confines of an abandoned aircraft carrier off the coast of China with my partner Piers Nivans (or in the case of my human co-op partner, Will Browne).  Eventually we came upon a locked door requiring three keycards in order to grant us access.  Walking further down the hallway, we found the first key card next to a man lying in a pool of his own blood.  After picking up the card and turning to walk down the steps, we were greeted with a gruesome sight.

Let the Rasklapanje make out session begin!

                At the bottom of the steps was a Bio Organic Weapon called a Rasklapanje.  This BOW is a tall skinny looking creature with grey, glossy skin.  This creature was participating in what I have kindly denoted as a Rasklapanje make out session with a navy officer.  The navy officer was being straddled by the Rasklapanje as it proceeded to make out with his forehead not his face.  Blood sprayed everywhere while the creature’s huge tenacle tongue thing with razor sharp teeth burrowed through his forehead and ate his brain (further solidifying the brain eating stereotype of zombie-like monsters).  As the Rasklapanje finally finished and leaned up from his now ex-lover, it let out a high pitched screech that I could only take as a sigh of the utmost satisfaction and set its eyes on me and my partner.  To make matters even worse, apparently make out sessions with a Rasklapanje cause pregnancy even in males because the ex-lover began to convulse and a Rasklapanje burst forth from his abdomen.

"I just want to be loved!"

                Now after some investigating I found out that Rasklapanje is actually the Serbo-Croation word for “dismantling” or “to break apart.”  This became drastically clear when the two BOW’s attacked us.  One quick shotgun blast to the stomach and the first attacker was split at the midsection with his upper torso flopping onto the floor.  Any moment of success that we felt in this moment was immediately crushed as the torso and legs continued to approach us.  Repeated shotgun blasts later to both halves of the creatures caused them to turn an off white color and cease their attack, but they were far from dead.  They continued to let out grunting sounds and shake, almost as if they were just recharging.

The upper body of a Rasklapanje after it splits into two halves.

                The investigation for the keycards takes place in a mess hall area of the ship that forced us through confined blood spattered corridors with four of these creatures incessantly following us the whole time.  Like a real navy carrier ship there are a lot of rooms and hallways all in a confusing labyrinth style layout, so getting lost is a high possibility.  This happened to us or, more specifically, Will.  While I sprinted off in search of the keycard, he demanded the checking of every room available.  This forced us to be separated from each other in flashlight lit hallways while four unstoppable killing machines were stalking us.  To make matters even worse we were dangerously low on ammo.  The events that ensued were basically a lot of screaming and swearing as we ran around trying to find each other to no avail.  Finally I decided to wait in a room for Will to run past, but I was greeted instead by a Rasklapanje.

"My, what a big mouth you have, Rasklapanje."
"All the better to eat you with, my dear."

                The creature walked menacingly towards me in the glow of my flashlight and I could tell that he wanted to make me the father of another one of his twisted offspring.  I screamed and gripped the controller tighter in my hand as my palms began to sweat.  I had to run past him.  All I had was pistol ammo and it would take a ridiculous amount of that to stun him.  I prepped myself to sprint past, and as I took my first step the boat shifted so I was momentarily stunned as the creature lunged forward.  I let out a terrified prepubescent screech as the monster barely missed allowing me to run past.  Entering the hallway greeted me with the sight of another Rasklapanje stalking towards me, but I turned tail and ran the other way thankfully meeting up with Will in the process.  “Not your baby daddy today,” I yelled at the screen as we ran for the exit.  Unfortunately there was at least another ten minutes of us trying to find the exit as we ran from these monsters in the labyrinth of the mess hall.  When we eventually made it back to the keycard door we were completely exhausted and frantic to escape and end the chapter. 

Anyone who has not played “Resident Evil 6” is not allowed to say the game has no scary moments.  This tiny 20 minute stretch is one full of tension completely reminiscent of the old games.  The focus may be more on run and gun gameplay now but moments like this still pop-up in the game from time to time and I feel like the rarity makes them even more rewarding now.  “Resident Evil 6” is a great game and I look forward to playing it more and more in the days to come.

Have you played “Resident Evil 6” yet?  Did you find yourself wetting your pants at any moment in the game?  Let me know in the comments and give me a shout on Twitter if you enjoy what you’re reading so far.  I am @nevstorm5 and I constantly tweet about nerdy things for my own entertainment.  Until next time, folks!