PARSEC - A Review.

Victory Point Games ascribes to the “Less is More” school of thought.  By taking the Desktop Publishing route, Victory Point Games (VPG) is able to release a number of interesting games, and expose the gaming hobby to designers and games that may have otherwise flown under the radar.  VPG was originally created by Alan Emrich as a way to showcase the quality games coming from his game design students at the Art Institute of California: Orange County.  Since then, VPG has grown to encompass games by other aspiring and experienced designers as well.

VPG’s tagline “The gameplay’s the thing” showcases the company’s focus on the meat of a game over shiny packaging and components. In fact, VPG games are very minimalist in presentation, forgoing the big box presentation of most hobby games for the simplicity of a plastic bag containing the game’s components.  The contents of a VPG game may be surprising at first to someone who is used to the expensive plastic, wood, and cardboard found in most recent hobby games, but after playing a few of VPG’s games, I think that I am coming around to the idea that the fun in a game isn’t necessarily found in expensive bits.

I had the opportunity to play PARSEC, a space themed euro style game designed and illustrated by Sean Young. PARSEC builds on the tile laying mechanics found in games like Carcassonne, but ratchets up the complexity by introducing pick up and deliver, area control, and set collection mechanics to the formula.

In PARSEC, each player takes on the role of a spaceship pilot, exploring the galaxy, and competing with the other players by scattering his army of robot minions across the expanse of space. The players score points by controlling and occupying planets, and are constantly jockeying for dominance as the landscape of deep space grows and changes. In addition to scoring points, players can also allocate resources to research technology, and gain money to assist them in their quest for points, because at the end of the game, the player with the most points wins.

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A review of Mansions of Madness

Mansions of Madness is fairly unique in the board game space, as it positions itself as a storytelling game. This started me thinking about story in board games, and how it impacts the play experience. Because Mansions of Madness is so closely tied to the concept of story, I want to give my take on story in games before I start in on my review of the game.

Story in games:

I enjoy a wide gamut of game genres, but when it comes down to it, I have a special affinity with those that are story driven. The game sessions that I fondly remember, and excitedly describe to my friends, always have a strong and compelling emotional element. This makes sense, because without an emotional component there would be no story to tell. When the human element is removed, what remains is no longer a story, but a series of empty machinations. People innately realize that there is a difference between abstract movement and meaningful movement – between description and story. This idea often manifests itself in discussion of board games as “Mechanics vs. Theme”. Mechanics are the movement of the pieces, and the rules that must be followed during play, whereas the theme consists of the art, player motivations, and the real or imaginary ideas that the pieces in the game represent. Many abstract games are accused of having a “pasted on” theme, which is often used as a thinly veiled way of saying the game does not deliver a story. This is where my opinion of story may differ from the mainstream.

Story can appear under many different guises outside of the typical cut-scenes in video games, or back-story narrative in board games, and is much more pervasive than may be immediately apparent. Even games like the epitomic abstract “Chess” can tell a compelling story through the give and take of positional advantage. In these instances, however, the story isn’t found on the board, or in the pieces, but instead manifests from the interaction between the players, and is facilitated by the mechanics of the game. Even when completely devoid of theme, games can tell stories of loss and victory; clever cunning and missed opportunity; and can hide within their simple interactions the gamut of human emotion. After all, most sports are abstract games that are watched and loved by millions, not for their mechanics, but for the inherent story that is created through the interaction of the players.

When refined into its essence, a game’s story comes from its ability to elicit this emotional response. Theme is often a key ingredient in facilitating these feelings, and does so by enhancing the player’s immersion in the game world, but in the end, theme is still only a tool to help develop the story. The players themselves fill the role of characters within the story of a game, and the emotion that makes the game’s mechanics meaningful must come from within the players. With this in mind, story becomes a non-corporeal concept that rises above simple mechanics and theme, and lives on its own as a separate idea. Story is the brass ring that game designers are reaching to grab, because story is synonymous with player engagement.

There is an ongoing discussion about what makes a good game. The term “Balance” is bandied about a lot in these dialogues. Balance is the perceived fairness in a game; the potential for all players to achieve victory, given the same amount of effort. Some go so far as to say that a game which is unbalanced is fundamentally broken. Unbalanced gameplay can elicit strong emotional response just like a good story, but in many contexts this response can be negative, and directed towards the game itself. The player who experiences this will still relate his gameplay story to others, but this story may very well consist of a string of colorful expletives, and end with the words “never playing again”.

It’s in this situation, however, that theme can actually turn a negative game experience into a positive one. An unbalanced abstract game gives the player no frame of reference as to why the game is unbalanced, and as a result, the player has nowhere to channel his emotional response. But when theme is added to the same game, the player gains a frame of reference which allows him to justify the difference in difficulty; and what was a negative aspect of the abstract game, can become a positive aspect of a themed game. If one player is representing a ragtag band of rebels, and another controlling an oppressive dictatorship, it would make little sense for both sides to be equally balanced from a theme perspective. In fact, by adding that element of skewed odds, the game experience is often made much more emotionally compelling for the players involved.

That’s not to say that theme fixes everything, though. The theme of a game is still just a tool to justify the game mechanics. The choices that the player makes must be interesting, and empower him to feel that he is driving the direction of his play experience. There is a term used in film study: “Suspension of Disbelief”. This describes the ability of a film to immerse the viewer so much that he doesn’t notice the limitations of the medium, or discontinuities in the story. This idea can be applied to games as well: A player has a very limited number of decisions that he can make during most games, and he must play within the confines of the game rules and components offered. What amounts to moving bits around a board, and generating random numbers transforms into something much more engrossing during play, because the player looks past the limitations of the cardboard and plastic that make up the game components, and instead becomes immersed within the confines of the game mechanics and theme. If those mechanics become too dull, or are overly complicated, that suspension of disbelief is broken, the game components revert back to being bits of cardboard and plastic, and the player can no longer justify his emotional reaction within the confines of the game.

Getting that perfect mixture of theme and mechanics can be a difficult proposition. There is no magical formula for creating a good game, yet there are a multitude of different paths to achieve compelling gameplay. Not every game hits that mark, but when a game does hit that sweet spot, the experience is sublime.

The Game:

Mansions of Madness is a game designed by Corey Konieczka, and published by Fantasy Flight Games. When it comes to theme, Mansions of Madness has it in spades, even more so than the typical Fantasy Flight fare – and that is saying a lot. Its story-driven design aspires to take that step beyond pure theme, and strives to deliver a marriage of balanced mechanics and story through a uniquely focused gameplay experience.

In Mansions of Madness, players take on the role of individuals who find themselves investigating strange, supernatural events in a creepy mansion.

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Sentinels of the Multiverse - A Review

I may be required to relinquish my nerd membership card for saying this, but I have never really been able to get into comic books. There was a time when I was a kid that I had a passing interest; mostly through the exquisite Frank Miller limited series “The Dark Knight Returns”, and I’m probably dating myself by admitting that, but I really haven’t experienced comic books since then. It’s definitely not for lack of desire, but whenever confronted with the overwhelming number of reboots, spinoffs, story arcs, crossovers, and alternate universes found in comics today, my eyes tend to glaze over trying to figure out where to start, and I decide that tackling the rules to Advanced Squad Leader may be a simpler proposition.

However, even though I am not a comic book enthusiast, I am not oblivious to the worlds and characters that live inside their pages. Superheroes have taken a firm grip on American culture (and more so in geek culture specifically), and no mere mortal has the power to wrest it free. Every year brings new blockbuster movies featuring superheroes, antiheroes, villains, and vermin straight from the comics. Music and literature reference comics, and pay homage to them by building on their familiar themes and character archetypes. This cultural love of comic books is not a new development, either; half of a century after the first comics were produced, superheroes and adventure filled my childhood, as I sat in Spiderman Underoos, glued to the television during the magic that was Saturday morning cartoons.

Despite this saturation of superheroes in the media, I am aware that my knowledge of the comic hobby is analogous to someone who immediately thinks “Monopoly”, when I mention my board game hobby. It was for this reason that I was a bit hesitant when I picked up Sentinels of the Multiverse, the first release from the indie publisher Greater Than Games. I was concerned that maybe I wouldn’t “get” the game, or that the theme would fall flat, because I didn’t have the background to fully understand it. I am happy to say, however, that my concerns were unfounded, and I had quite a lot of fun playing Sentinels of the Multiverse.  

Sentinels of the Multiverse is a cooperative card based game set in a fictional world of superheroes and villains. Full of tongue-in-cheek humor, it embraces the multitude of different types of environments, heroes, and villains found in comics. Sentinels of the Multiverse does not work too hard to tie these environments and characters together into a cohesive world, but this juxtaposition of characters and locations is where much of the game's enjoyment comes from.  Heroes may find themselves under the waters in the lost city of Atlantis, or battling evils on an abandoned base on mars; or facing off with villains that range from the sci-fi themed alien space conqueror “Grand Warlord Voss”, to the communist threat of “Citizen Dawn”, and her legion of art deco minions that hearken back to the Red Scare.

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Letters from Whitechapel - A Review.

Between the years of 1888 and 1891 a series of brutal slayings captivated the media of Victorian England. Unsolved to this day, the murders that shocked and terrified the downtrodden Whitechapel district, were perpetuated by a man who, in his shocking letters to the police, assumed the pseudonym “Jack the Ripper”. To this day, the unsolved nature of the crimes and the taunting correspondence from the infamous serial killer invoke a morbid curiosity in people, generating an unending stream of novels, movies, and speculation about what really happened under the soot filled skies over a century ago.

Letters from Whitechapel is a deduction based board game, designed by Gabriele Mari and Gianluca Santopietro, illustrated by Gianluca Santopietro, and published by Nexus Games. In the game, one player assumes the role of Jack the Ripper, who commits crimes, and attempts to avoid police detection through a mechanic of hidden movement across the winding labyrinth of streets and alleys. The other players portray the police detectives historically assigned to the Whitechapel Murder cases, and attempt to search out, and apprehend Jack through the use of logic and deduction.

The game takes place over the course of four nights, with a total of five murders committed. Although these numbers make for a tense and exciting game, they certainly aren’t arbitrary.  Of all of the murders that actually took place in the Whitechapel district while the police case was open, only five of them are considered to be canonically associated with Jack the Ripper, and of those five, two occurred on the same night, dubbed the “double event” by Jack’s own hand - and faithfully represented in the rules for Letters from Whitechapel.

This attention to detail in both the rules and components of the game makes it engrossing on a visual and intellectual level. So many of the rules and components have a solid grounding in the history of the Whitechapel Murder cases, and this adds greatly to the macabre theme of the game. From a mechanics standpoint, Letters from Whitechapel could have been a simple cops and robber themed game, but the art, components, and rules really bring 19^th century Whitechapel to life, and really pull the player into the history.

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The Devil Went Down to Georgia - A Review of Nightfall: Martial Law

Hot on the heels of the debut release of Nightfall, game designer David Gregg and publisher Alderac Entertainment Group are unleashing the shadowy creatures of Nightfall: Martial Law into the sticky summer nights of Atlanta, Georgia.  With a new setting, and a new cast of characters, Nightfall: Martial Law serves as both an expansion to the original Nightfall game and a standalone introduction to the series. Martial Law also ups the ante a bit by introducing a new game mechanic called “feeding” to the game, as well as a new wound card Ability.

In the Nightfall universe, the world has mysteriously fallen into perpetual darkness, with humankind and the supernatural locked in a deadly battle, vying for the future of Earth. You are secretly controlling these Ghouls, Vampires, Werewolves, and Humans to the benefit of your own nefarious agenda, and unleashing their rage upon your opponents. Players bring cards representing creatures and actions onto the table through an innovative process called “chaining”, where cards can be played off of one another by matching colored icons. Since I have already discussed the rules and theme of Nightfall in my review of the original game, this review will focus on the changes that Nightfall: Martial Law brings to the series.

The Game:

The first thing that is apparent when looking at Nightfall: Martial Law is that its box is the same size, and shares the same build quality and card organization system as the original Nightfall box. With so much space in the original box meant for expansions, it may seem confusing that Nightfall: Martial Law doesn’t come in a smaller box. But, Martial Law is more than just an expansion for the original; it is also a standalone game that contains the starter decks and wound cards included with the previous release. With a limited production pipeline, AEG had anticipated that the first printing of Nightfall could sell out before Martial Law was released, potentially alienating new customers who would be unable to find the original game.  By including all of the components in Martial Law, AEG is ensuring that players can jump straight into the world of Nightfall, even if they cannot find the base game on their retailer's shelf.

Like Nightfall, the cards in Martial Law are beautifully illustrated, and capture the vivid, gritty art style found in many high quality graphic novels. I really enjoy the dark, urban style feel of the artwork, and find that it is very effective at communicating the theme of the game. I do, however, have one minor gripe with the cards in Martial Law. The order and draft cards don’t have any icons on them to differentiate them from those in the original Nightfall set. This made cleanup slightly more difficult after playing a game that mixed cards from both sets. However, the card dividers indicate the set that they are from, so I found that it was easiest to look for the empty spaces in the box, and then grab the correct pile from the table. Odds are, if you are mixing cards from the two sets, that you will be keeping all of the cards in the same box anyway, so the issue becomes moot.

A second issue I ran across with the draft cards in Martial Law was a printing error in the kicker text. The spacing between lines was incorrect on some of the cards, causing portions of text to overlap, contain misaligned letters, or exhibit strange blob-like artifacts.  I do not know if it is a widespread issue, or is isolated to my copy, but the cards were still readable, and the issue only manifested on the draft cards.

When looking through the cards, I was pleasantly surprised at the variety and relative number of the various types of minions. While the card selection in Nightfall was mostly dominated by vampires, Martial Law mixes things up a bit by increasing the number of humans and werewolves.  Even though there is more of a variety in the creature cards, the vampires still have the advantage of numbers - although this advantage is mitigated a bit by some new action cards that specifically target the bloodsuckers. ("Silver Stake - Chain: Destroy target Vampire. Destroy Target Lycanthrope." and "Shining Cross - Chain: Inflict damage on each player equal to the number of vampires they have in play.")

 Martial Law ships with a revised version of the Nightfall manual which adds some new rules, as well as some new fiction surrounding the characters found in the game. The biggest addition is a new mechanic called “Feeding”. Feeding allows a player to repeat certain effects multiple times by discarding cards from his hand. Each card that is discarded causes the effect to repeat once, and a player with a handfull of cards could produce potentially devastating results.  Feed effects can be found in both chain and kicker portions of the cards, opening up the possibility for some extremely brutal combinations.

Along with the wound cards found in Nightfall, Martial Law contains a deck of cards with a new wound effect that allows players to increase the strength of their minions. These new wound cards also take advantage of the feed effect, allowing players to discard multiple wounds to buff up their creatures. The inclusion of multiple wound effects adds a new layer of decision making. While the original wound effect fills the player’s hand with cards, and gives him an advantage when purchasing cards or creating combos, the new wound cards allow him to convert his wounds into raw power for his minions – if they can survive until his next turn.

Although the cards in Martial Law work great together, and form a solid gameplay experience on their own, I love throwing the cards from both sets together and drafting from a huge pool of options. With the larger number of cards to pick from, Martial Law includes some new drafting rules for mixing the game sets. Instead of the usual four card packets, five card packets are used. These cards are drafted normally, with the  exception of the last remaining card, which is discarded. The addition of that single card to each packet makes a big difference in the perceived selection available when drafting, and makes the drafting portion of the game much more enjoyable.

Conclusion:

Martial Law easily stands on its own. Even with the different selection of cards, it gives a satisfying experience on par with Nightfall, and the variety of cards and the story driven connections between the cards may even make it more compelling from a thematic standpoint. The cards in Martial Law are also more varied and interesting in their effects, but often much more brutal than vanilla Nightfall. The brutality can turn even more vicious when pumping pain into opponents through the unyielding feed mechanic. I can imagine that this would make Martial Law a bit more daunting for the new player, and Nightfall may serve as a better introductory experience.

For the experienced player, however, Martial Law invigorates the game by speeding up the pace, adding more complex card effects, and increasing the "take that" factor. Cards like "Hysteria - Chain: Target minion inflicts damage on itself and its controller equal to its strength. Kicker: Inflict 2 damage on target player" can be devastating to a player who isn't prepared. But the higher stakes of the new cards really force players to think critically about the cards they draft and play, and that really increases the fun factor.

If you didn't like the conflict in Nightfall, then Martial Law is not going to make a convert out of you. But, if you can't get enough of the brutal head-to-head confrontation of the original, then you are in for a definate treat. I look forward to many enjoyable hours of exploring the different stategies and card interactions within Martial Law and Nightfall, and can't wait to bring it back to the table.

Nerdbloggers.com was supplied with a copy of this game by its publisher for the purpose of writing this review. The content of this review was not influenced by advertisers or an affiliate partnership, nor was it written for the sole purpose of promoting a product.