The Tank Army Out Of Nowhere

It may be implausible, but I love the concept of the tank army out of nowhere. I’ve seen it in a few cheap thrillers of dubious quality, and if the context allows it, I love it. It’s just a sign that the author simply does not care about those silly things like “logistics”, or “direct plausibility”.

Where I think I love the tank army out of nowhere (again, assuming the right context, which boils down to not taking things too seriously) has to do with my own hang-ups, where I’ve been too focused on “plausibility”. As a literary tool, seeing the tank army out of nowhere without any explanation save for a lame excuse (and sometimes not even that) makes me think “Ok, here’s tanks-this is going to be ridiculous, whether the author intends it or not.”

And I like ridiculousness in my fiction.

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If I read normal fiction

Sometimes I wonder what my life would have been like if I read “normal” books. And in some cases I do. But-I feel like I’d have missed something if I hadn’t read the undiscovered gems, the hilariously bad monsters, and even the bland potboilers I dig through to get the former two.

That’s just my taste to find the weird and different, I suppose.

Twilight 2000

Twilight 2000, the classic semi-postapocalyptic tabletop RPG, is a very contradictory game, one of the most so I’ve ever seen.

See, the plot is good enough. It’s more realistic than many WWIIIs in that the nukes fly, but manages to stay intact enough so that all the cool toys aren’t taken away. And whatever the many plausibility issues, it works for the sake of setting up an adventure.

The problem is in the dichotomy. The mechanicsĀ have a detailed, often-realistic unglamorous focus on the dirty work-logistics, disease, and the like. Characters are quite vulnerable. This mixed with the shattered, post-nuclear war-bandit setting means it should be poised for a low-tier, somber look, right?

Wrong. Sharing equally with the dirty-work mechanics are detailed stats of individual guns, tanks, and artillery pieces, starting dubious already but taken to excess in supplements. The post-apocalyptic setting is there to provoke challenges, but it’s also clearly there to take away the command post and those pesky orders. The target audience and themes are for the “bored soldier and military enthusiast” crowd, not exactly something somber. It’s like This War of Mine was jumbled together with Medal of Honor Warfighter and printed, to use later video games as analogies.

And then some of the later supplements got-weird. I’m talking “save Arkansas from evil airships” weird.

It’s still fascinating, both as a product of its time and for the “excesses” and contradictions it has.

 

(W)VGCW returns!

So, VGCW has ended in an appropriate style, and its “developmental” show EDBW has followed suit.

However, Women’s Video Game Championship Wrestling has continued, and they’ve gotten around WWE 2K17’s lack of a create-a-story mode in the following way:

I’d been advocating doing something like this, but it’s still a little jarring. Oh well, it’s the best they can do given the technology and in-game resources that they have.

Urban Dead

I loved this game, and was fortunate enough to play it at its height. But I can also see the reasons for its decline.

The free browser zombie game Urban Dead was an example of player-driven gameplay. With no NPCs, humans and zombies could organically fight for territory, set up groups and plan battles with real consequences. It was a unique and fun experience.

It was also a horrifically and inherently unbalanced game that managed to give both sides gigantic advantages, in likely unforeseen ways. Individual humans could do far more than individual zombies. Zombies essentially cannot communicate in game at all, and it’s far easier for a human to build barricades than a zombie to destroy them. In individual play, a human can do a lot more.

However, groups of zombies are more or less unstoppable. Because they can just stand up after being killed, in a weird “DETERMINATION”-style system that preceded Undertale by a decade, the only method of actually beating them was to outlast the willpower of the players controlling them. And zombie metagamers turned the in-game communications weakness into a strength, setting up out of game networks.

Because of the PVP nature of the game, any balance changes were bitterly contested, making the community an often unpleasant place. This, combined with the inherent limitations of the game, made the playerbase drop.

There are other factors, most notably the game being incredibly beginner-unfriendly. But its balance was, in my opinion, the biggest reason.

Now, it’s exacerbated. A human can hide in a heavily barricaded building and be safe in normal play (too bad there’s little to do), to a ridiculous extent. Yet with even malls being virtually empty, a small organized group of zombies can attack with basically no resistance. Like its namesake, the game is reduced to shambling on.

But it was fun in its heyday. I remember playing it when I was younger, finding it through (what else) Spacebattles.

Changed Tastes

In some ways concerning fiction, I’ve become far less judgemental. In others, I’ve become far, far more so. In some cases, it’s authors I used to like becoming bad, in others it’s me changing in tastes and sophistication, and seeing them as bad.

Three “rules” remain for me:

  • The more something is hyped, the more skeptical I become.
  • If something aims low, I will be less critical than if it aims high.
  • I will find criticism of everything, even stuff that I like. But fiction without pretense is critic-proof.

Not just the FE Battalion Anymore

My crazed mind continues.

So instead of stuffing the Fire Emblem cast into one battalion, I spread them out all over other units. This I’ve found is a little different than the battalion idea, in many ways for the better.

  • I can sideline physically incapable units.
  • I can go across all levels, rather than from “private” to “Battalion commander”.
  • I can make the protagonists argue amongst each other about strategy in ways that they couldn’t as small-unit commanders.
  • From a meta example, I can put them in different technology levels in a way that’s easier than “Hey, you’re WWII cavalry now, then you’re a Gulf War battalion, now you’re a modern light infantry one!”
  • Pegasus knights as pilots, anyone?

Book cleaning

So, I’ve been helping my mother move, and have been cleaning out my old books. A lot of memories returned. Good books, bad books, and everything in between.

The in-betweens are getting tossed.

  • Legitimately good books are occasionally going with me. I was keen on saving Stephen Baxter’s Exultant, one of my formative science fiction works. And save it I did.
  • Legitimately mega-bad books all stay with me too.

The books getting removed are mostly mediocrities, or ones from series I no longer have an interest in but did back in the day-the embarassingly large number of Warhammer 40,000 ones certainly qualify.

VGCW Grand Finale

So, VGCW has had its ridiculously incredible End Game. After a lengthy Q&A session and behind-the-scenes look, it wrapped up.

I don’t blame the creative staff for stopping when they did. Viewership was declining, the WWE 2K14 server cutoff meant that they had to stockpile content, and the wrestling (no pun intended) with the interface of a rushed yearly sports game.

In fact, the behind-the-scenes look showed that despite the server cutoff, they still had characters not used yet. This seemed to confirm my suspicion that the characters were getting in each other’s way. They were also becoming more in-jokey. While the non-famous, non-wrestling characters played a big role in the series’ theme, I can understand why they’d be daunting.

And as I wrote before, the novelty was wearing off, especially when it was the same dated game. The plot was what made it-and broke it. Not only was it increasingly hard to set things up in 2K14’s engine, but the improvised nature (especially since, unlike real pro wrestling, matches were not predetermined), made things hectic. A big example is in Season 12, where the villain stable kept losing, thus not being a serious threat.

So, it’s probably best that the series ended when it did, and the End Game itself was a masterpiece.

It’s weird

It’s weird that I can rattle off a huge number of books I found bad, but when, in a conversation, it came to recommending ones I legitimately enjoyed, I had to struggle a bit.

Maybe I could recommend books I found enjoyably bad or mediocre to see if others liked them unreservedly?