Corporate Capcom Conundrum!

Disappointed? Yes. Surprised? No. That was my train of thought upon discovering that Capcom was blatantly plagiarising indie gem ‘Splosion Man. Released in 2009 exclusively for XBLA, the development company Twisted Pixel took their game to Capcom initially, but it was rejected. The similarities between the original title and Capcom’s iOS game (cleverly titled maXplosion) are startling and you’d be hard-pressed to truly believe that this was all spooky coincidence. Now, of course, the App store is ridden with copycat games- but the fact that this title was such a small one makes the whole situation feel a lot more…below the belt. Also the irony is not lost on me that, in 1993, Capcom sued Japanese company Data East for copyright infringement after claiming their fighting games were just too
similar to Street Fighter II.

Obviously the crying shame is that Twisted Pixel is a small company that just doesn’t have the resources to challenge a company as big as Capcom. Co-founder and CEO Michael Wilford highlighted this in a series of recent Tweets; “Just sucks because we're too small to do anything about it, and I bet Capcom's counting on that” he said.

But what does all this mean? I don’t want to be sensationalist and claim it’s one giant symbol for the way in which big corporations are running the gaming industry. Certainly with the astronomic success of indie games in 2009/2010; this year, Limbo and Minecraft are the obvious staggering examples. It seems silly, for want of a better word, to claim that small companies are being pushed out by large publishers. However, for a moment direct your gaze to May 23 of this year- the date of the show trial. The above speculation may prove prophetic, or not, depending on the outcome of that trial; as big, scary Activision (lead, of course, by the 8th horseman Bobby Kotic) take on poor, defenceless Infinity Ward.

SOCOM 4 thoughts

’ve played through 50% of the SOCOM 4 single player at this point, and for the most part I’ve enjoyed it. The shooting is satisfying, controls are functional, and there have been points at which I was legitimately impressed by a detail or set piece. I like that often the levels allow for multiple approaches to any given situation. I could try one approach, and if it failed, I could try again from a different path, with completely different results.

The weapon system simultaneously encourages the player to try new weapons and rewards the player for using the same weapon often. New weapons are unlocked by picking them up from fallen enemies and finishing the level with them, and the game also issues “experience” for using individual guns, unlocking scopes and barrel attachments to improve stats for that gun.

Giving commands to team members is simple and usually works fine. It’s not terribly complex, but it does provide the ability to issue delayed orders – useful in setting up ambushes – and to give numbered orders that the team will fill in sequence. Squad AI will likely get you and themselves killed more than once, but for the most part they are competent.

I have a few minor complaints, mainly stemming from playing either definitely better (Uncharted 2) or possibly better (Army of Two: The 40th Day) 3rd-person shooters. Whether it’s a roll move, a slide, a roadie run, or whatever method, the ability to enter cover early is a small detail that makes a big difference. I shouldn’t have to crash into the barrier before I can press the cover button. I want to signal my intentions before I get there and transition into cover smoothly. Speaking of cover, a blindfire mechanic, while probably not strictly militarily accurate, would be appreciated in heavy firefights.

Hands-On Miegakure

Miegakure is a game of the fourth dimension. Featured for an hour at Chris Hecker's Spy Party booth the Sunday of PAX, it only took a few moments of gameplay and speaking with creator Marc ten Bosch to see why Hecker would appreciate the game: both Hecker and ten Bosch are wildly smart and making wildly smart games.

Miegakure is about existing in a three-dimensional world while exploring a fourth physical dimension, and what that means. In many places the gameplay is conventional three-dimensional platforming, but in order to solve the puzzling levels you have to use that 3D platforming in conjunction with the fourth dimension. What amounts to a simple button press is a bit mind-boggling.

As ten Bosch explains, "I'm a programmer so I knew that I could make a game in more than three dimensions, but I didn't know what that would be. Then, I started reading about it, and there's a lot of books that talk about it. The most famous one is "Flatlands" and it talks about how if you were a two-dimensional character on a two-dimensional plane that runs inside three-dimensional space, what kinds of things could happen, and that it would feel like magic. I felt like that was the game I should make, but in one more dimension where you're stuck in a three-dimensional plane inside a four-dimensional one, and all the cool stuff that you could do if you could move in four dimensions, and have that be the levels in the game."

As three-dimensional creatures, we cannot see the fourth dimension, but ten Bosch can program it so that we can explore it in gameplay. Tackling the levels and puzzles I had to wonder, at some point is it better to just turn off part of your brain? Sort of, according to ten Bosch, "Sometimes I'll program something because I know what the math is about, but I have no idea what it's actually going to look like until I program it and then try it in game. I know how this works, it's just math - and then you see it and wow, I don't even understand what's going on. So I have the same discovery as the player, initially."

With the notion of making the mathematical concept of the fourth dimension something that players can come to understand through gameplay, Miegakure can sound a little intense. Fortunately, things unfold simply enough. Dropped into a three-dimensional hub world scattered with gates, each gate transports you to a level that needs solving. You can jump, interact with objects, rotate your view of a level and make use of the fourth dimension. That last one is kind of impressive, no? In practice, the best I can describe it is that each stage is comprised of multiple sub-levels that exist as three-dimensional platforming spaces. Within those levels are what you need to get to the gate, but you can only occupy one at a time. By using the fourth dimension each sub-level of a stage appears as slices of that stage, and moving between them and back into the third dimension allows you to manipulate the space and objects within it to solve the puzzles. Beginning, for example, on a level with a wall of mountain in the middle, you can see the exit gate on the other side. Swap into the fourth dimension to cross a space that the mountain occupies otherwise, then swap back, placing you on the other side of the obstacle. The gameplay is very addictive - you've no sooner solved one mind-bending puzzle as you're clambering to the next gate for another!

Within each level are characters that can offer advice, or sometimes just idle commentary, as well as maps that you can collect that make it easier to swap between the areas while using the fourth dimension. These maps are training wheels, you can avoid picking them up for a greater challenge, and ten Bosch says that, "After awhile, you should be able to hold all of the world in your head, right?" We'll do our best, Marc!

As the game progresses even the characters will fall away, because once you become a four dimensional object characters just don't really make sense. Where early on you interact with a wooden block as a three-dimensional object, eventually it can be aligned along the fourth dimension allowing you to see parts of it in each world. Later, there are objects the player can rotate around a fixed point in the fourth dimension, as well. Largely a solo project, ten Bosch works with a 3D artist and modeler. The visuals we see in game now aren't final, and as he points out the cubes morph but the trees do not - yet.

Reaching a stage's exit gate takes you back to the hub stage to travel through more gates, some of which transport you to 2D explorations of the dimensional idea just so you can see more of what ten Bosch is getting at with the Flatlands concept. While you may feel a bit brain dead thinking about it, there is no actual death in game: I leapt down a crevasse and was happily dropped right back into the level! Once all the gates in a world are cleared, you have to figure out how to manipulate the fourth dimension to get to the next hub world full of new levels. I had to laugh when I struggled initially, because it was clear that if I couldn't figure out how to get to the next area I probably wouldn't be able to solve those puzzles. Talk about scaling difficulty!

Playing Miegakure makes you want to talk about it intelligently, and even now I'm not sure I'm up to the task. Marc ten Bosch has made the fourth dimension something you can enjoy through gameplay, and that works for me - Edwin A. Abbott can have the rest!

Currently in its second year of development for PC/Mac/Linux and one unannounced console, look for Miegakure in 2012.