A Take on RPG Classes

So I've been bouncing between Final Fantasy XIII and XIV lately, and a thought occurs to me.  I love the ability to change your character's class.

In Final Fantasy XIII, for those who don't know, you can change your characters from one "paradigm" to another.  A paradigm is a preset class set for your characters.  For example: Tri-Disaster has all three of your characters in their Ravanger roles.  Relentless Assault has One Commando and Two Ravangers.  The point of this allows you to alter your battle strategy mid-fight, in order to heal, rack up damage, debuff, etc.

The downside to this system is that you have to A) Preset your paradigms beforehand, B) Have a limited number of slots for paradigms (not that bad though, since it covers a wide spectrum of possibilities), and C) For a good chunk of the game, some classes are locked to certain characters, so say, character B can't be a commando.

All in all, it's a very interesting combat systems, and it keeps things interesting.

Onto Final Fantasy XIV, and how it contributes to this topic.

In Square Enix's latest MMORPG venture, you have a class that is determined by what type of weapon you are holding.  Holding a spear?  You're a lancer.  Holding a sword?  Gladiator.  The benefits of this is that it allows you to change what you can bring to a group immediately, instead of running back to town and changing your class there.  Actually, other, non Final Fantasy MMOs I've played lock you into your class at character creation, which is a huge bummer, and just forces you to have multiple characters, thus pay more, in order to see different playstyles.  In addition to this fluid class system, you can also equip some skills from other classes you've leveled up.  This means, you can have a Lancer who has Cure and Fire spells queued up to deal with monsters in your area.  The trade off of this is that it might not always gel well, what with Lancer's not having amazing spellcasting stats.  I'm willing to trade optimal synergy though for flexibility with my characters.

So, I kind of want to hybridize these systems with a few alterations.  I want you to have set classes you can level to learn the abilities, but then, after you hit a certain level, or reach an arbitrary story point, you can create your own class.  You could choose what stat bonuses you wanted for your class, so you can sort of spec your class to mimic main ones.  So for example, if the default Black Mage class gives you a bonus to Magic Damage and Magic Resist, you could make your homebrew Mystic Knight gain a bonus to Magic Damage and Vitality.

to determine your abilities, you would either have a set number of resource points to spend on abilities, or limited slots, either or could work.  Take some abilities from your Warrior class for an HP boost, ability from Thief class for increased Critical Hit Chance as passives, then take Thunder, Ice, and Fire from Black Mage, and then Guard, Provoke, and say, a special blade attack from Warrior to craft your custom class.

Do this for all your characters.  And now you add the Paradigm system from Final Fantasy XIII, and you can now flow between preset classes, custom classes, and other things on the fly.  This will allow the enemies to either be more difficult to compensate for increased player coverage, and you could even introduce new things like locking a character into a class as a status ailment.

This is just something I thought up.  I know the programming and implementation for this would be tricky as all hell, but it's something i could see people sinking tons of time into tinkering their characters to match how they like to play.

Enthusia Review

In 1997 one of the first console racing simulators, known as Gran Turismo, came out for the original PlayStation. The physics were, for the time, amazingly realistic, to the point where its tagline, "The Real Driving Simulator," didn't make people chuckle. From then on Polyphony Digital ruled the PlayStation's racing game world, but their throne was not uncontested. In 2005, the same year Gran Turismo 4 was released, a new game crashed into the scene from the likes of Konami. But unfortunately, not a single person noticed.

Yes, ladies and gentlemen. You're looking at the cover for Enthusia, the greatest console racing simulator that nobody knew existed. This game does not have nearly the amount of cars and tracks that Gran Turismo 4 has, and Polyphony Digital easily outdid Konami in the graphics department, but what this game lacks in content and graphics, it easily makes up for in gameplay. There are a few major aspects I want to discuss, so I split this review as such.

Enthusia Life

Enthusia life is basically the name of the "career mode". It is very different in that instead of a monetary system like most other games in the genre, you have "enthu points". Enthu points are sortof like your health; if you collide with a wall or cars, go off course, etc., you lose Enthu points. If you lose all of your points, you have to miss the next race. You can also obtain experience points (calculated from your enthu points) which you use to upgrade your car or your driver (upgrading your driver allows you to hold more or gain more points). You obtain cars via a "lottery" of cars that you have beaten in a race. Overall it is a very unique system.

There was also speculation that the game was initially planned to have an actual story. This rumor is fueled by the intro sequence, which would be easier for me to show via a video than explanation.

Driving Revolution

Driving revolution is probably my favorite mode in this game. Konami is well known for their Dance Dance Revolution series, and they actually managed to incorporate similar gameplay mechanics into a racing game. I am not joking. In fact, to prove I am not joking, here is a video of one of the stages:

This game mode is an awesome twist on the license tests in the Gran Turismo series that is equally challenging and occasionally frustrating. There are these gates that you have to drive through (which may or may not be on the optimal racing line) and they have little bars that go up and down based on your speed. You have to match the correct speed when passing through these gates. You're given points for each gate based on how well you match the speed, docked points for missing gates or hitting barriers, and if you gain enough points you move on to the next stage. Utterly brilliant! I have spent countless hours in this game mode, particularly on the challenge level. The challenge level is unique (unique level in a unique mode in a unique game. uniqueception? We must go deeper...) because it has you complete 4 tests where it has the car going full throttle and you cannot use the brakes (though on two of them you do have access to the e-brake). These were a bitch to complete, but it felt so great once I beat them. I love this mode, and it alone makes the game worth it.

Physics

As much as I love Polyphony Digital's series, this game drives much better than Gran Turismo 4. GT4 has an issue where there is too much rear grip, which induces understeer (some drivers refer to it as "tight") in cars that don't actually have it. Enthusia essentially nailed the grip balance compared to other console racers of the era. The other thing that gives Enthusia an edge is the force feedback given to racing wheels. Force feedback in GT4 was poorly implemented. In the turns it felt fine, but at very high speed on straightaways the wheel simply rattled back and forth in a very unrealistic fashion. Konami did not do such a half-assed thing, and it really makes the driving experience so much better. It also actually penalizes you for driving like a dumbass. If you hit something or go off course, it knows and tells you "hey, you screwed up". In these days, damage was not a major feature to consider, but this was definitely a step forward.

Content

I did say Enthusia lacked content. It did.  Compared to Gran Turismo 4's astonishing 722 cars, Enthusia makes you feel like a kid looking at a grown man's hotwheels collection when your mother only occasionally bought you one or two at the Target checkout line just to shut you up.

what an asshole. I would have played the shit out of those

However the catch is that a lot of Enthusia's cars are not in Gran Turismo 4, and these "exclusives" were some damn good icons. BMW M1, De Tomaso Pantera, Bugatti EB110...
Right. The game also lacks tracks, especially real ones, but the fantasy tracks that it has are pretty cool and are just as fun and interesting to drive as the competitor's offering, so there isn't too much problem there.

Final Thoughts

So what Konami did was create a damn good racing game engine, infused elements from RPGs and music games, did it really well, and not promote it hardly at all. The result is an amazing game that will never see a sequel (apparently a sequel was in the works at one time, but never actually came to fruition). That said, the masterminds were not suddenly lost. One of the physics developers from Konami has their name in the Gran Turismo 5 credits, which explains why there was so much improvement in that aspect over 4. I'm going to give this game a rating of 8.5/10. They nailed the physics and made the game very unique, but the lack of content and unappealing graphics compared to competitors brought the score down. This game really did not get the popularity it deserved, but it has become a bit of a cult classic, much like old Volkswagen Beetles and Reliant Robins are in the automotive world.

Ingress Review

I'm not sure how many people can relate, but I used to be a very secluded person. I would wake up, go to school, come home, and go straight to my room to play video games and do other stuff on my computer, only coming out for the bathroom and food. I had a small, close-knit group of friends, and overall I didn't get out much. That changed when I got my requested invite code to Ingress in late January.

Ingress is an augmented reality MMO game for Android phones (official iPhone port is apparently in the works, though there are some unofficial ones) which some people may consider like "geocaching on steroids". It was created by Niantic Labs, which has a tie to google of some sort (I forget the details on that, you can look it up yourself). The game has little markers scattered around everywhere known as portals. These portals are associated with public attractions and other places of interest. This includes things like statues, historical buildings, murals, historical markers, etc. The whole point of the game is to gain mind units for your faction, which is done by capturing portals and linking them together into triangles.

The game itself, like many other MMOs, consists of trying to level up so that you can be more useful, and "farming" for supplies. The backstory for it never really caught my attention, so I don't have an opinion on it. I've heard mixed thoughts on it. But that's not what makes this game awesome.

What makes Ingress well worth trying to nab an invite for (it's currently in a closed beta, but they've been giving out invite codes like crazy to people; more on this at the end) is that it can really change you as a person. As I said, I used to be very secluded and stuck inside my shell. This game is great to break that, because often times, especially just starting out, it's hard to do things solo. So you get a chance to connect with people that are just as nerdy as you are and interact with them in person.

this was from an event some local faction members did. Long story...

The other benefit to Ingress is that it's almost a fitness game without trying to be. You have to actually get out of your house and visit these locations (which can also cause you to get out and find something new, regardless of how long you've lived somewhere). Admittedly, some people tend to play from their cars, but in many cases it's easier, more legal, and a lot more fun to actually get out and walk from portal to portal. I actually lost 15 pounds in my freshman year of college because I really got into this.

I would give this game a 9 out of 10 simply because while they do still have bugs and balance issues to work out, it's a damn good idea, a damn good game, and it is still in beta so they have time to work it out.
If you want to play (it is free!), first try requesting an invite code to your email address at their website

If that doesn't work after about a week, get onto Google+, join the Ingress community, and make a post asking if any local players have an invite code for you to play. Chances are you'll get plenty of responses from people that want you to join under the condition that you join their faction (either enlightened or resistance). As I said, this game is well worth it, so give it a shot.

Agent belisario93, signing out

Scale and Gravity

No, no, no, this isn't about space games, where you have to worry about flight trajectory and whatnot.  This is about the plot of a game.

I was recently thinking about what was lacking in Arkham City, and why I couldn't shake this feeling that I'm missing something.  Something about the story in Arkham Asylum immediately sucked you in.  The peril seemed much more dire at the same point I'm at in City.  In Arkham Asylum, we know the score.  Joker has taken control of the island, and now has some control over the villains within.  in Arkham City, Batman was injected with a life threatening virus by the Joker, so he'd be forced to find a cure for the both of them.

The second situation seems more dire, does it not?  For some reason though, it doesn't seem like it.  The only time that the disease seemed like an issue was for a short, few seconds after I chased down this assassin in the underground of Gotham.  Vision got blurry, Batman falls down, and coughs up some blood.  That's the first time we see how serious this illness can be, but you wouldn't know it by the two hours I spent between getting injected with the virus, and getting to Mister Freeze, who was working on the cure before being kidnapped.  In Arkham Asylum, going from story point to story point felt like progress was being made.  Joker would taunt you at every turn, but it Arkham City, the open world actually takes away from story.

While yes, it is fun, and yes, getting around the city via hookshot/gliding, and the characters are very interesting (the villains, natch), but the situation doesn't feel as important.  there is this overlooming "Protocol 10" thing that Dr. Strange keeps yammering on about, but that's been vague.  Maybe that's the way they're trying to get the tension up, with an unknown event lurking on the horizon.  But it just isn't working all that well.  Some games can do intrigue well, but it missed the mark here.

Let me contrast this with Final Fantasy VII.  I'm not huge on the game as some people are, good game, just not 'best ever' category.  What it DID do well though was letting you know EXACTLY what the stakes are. Disk one, Sephiroth is the clear cut villain, starting as a SOLDIER gone manic.  He commits a massacre in the ShinRa building, which is one of your first indicators that he's snapped.  As the game progresses, he gets more and more genocidal.  By the start of disk three, he's turning himself into a god among men, and plans on slamming a Meteor into the planet in order to siphon all the planet's energy into himself to make himself a globetrotting vehicle for Armageddon

Pictured: Sephiroth if he decided to play basketball.

.This is the goal post.  You are shooting to stop him.  This is established in the first few hours of the game.  Every subsequent event in which you see him, aboard a ship, in Nibilheim, Temple of the Ancients, etc, the stakes just keep getting raised.  Not only the whole "save the world" thing, but the main character has reasons for going after him for more reasons than "I go because I must".  Sephiroth messes with Cloud's psyche so much, that the end fight is one of the more cathartic things in video games.

Pointing to another example from the same series, Kefka in Final Fantasy VI.  Here's how grave the situation is.  He succeeds at destroying the world and becoming a god.

Not as a game over, not as a bad ending.

He succeeds.

Final Fantasy: now with 100% more Killer Clowns.

The entire second half of the game is spent regrouping your forces after they've been scattered, and taking him off his pedestal.  Kefka succeeds when you're around, because you get distracted by something else.  He then becomes an omnipotent deity, who as the final boss goes through 3 stages of ascension into godhood, who has a cult worshiping him, and shoots laser beams of death when he gets bored.  Again, this is the scale of events in the second half.  The first half is spent keeping the Empire from obtaining this sort of power.  The effects of the statues, the artifacts that grant the power, are brought up fairly early on, so it's not like this comes out of nowhere.

This breaks so many tropes it's not even funny.  How many times do you see that the villain has succeeded in his huge, grand plans?  It really leads to some great storytelling in the second half.  You don't HAVE to go out and find everyone, but it's recommended.

In Psychonauts, someone is stealing campers' brain. In Red Dead Redemption, your old gang member betrayed you and left you for dead.  Alpha Protocol has you interacting with the 'final villain' throughout the course of the game.  You see Halbech all the time, as he tries to profit off a full scale war.

I'm fine with games going for an intriguing storyline, I really am.  They just need to have enough of a pull or mystery to get you invested.  Being vague, or too avant-garde can just leave me feeling that something is coming out of thin air.

For a quick example of how I feel this worked out well, I'll point you to BioShock.  Wonderfully done game, with an ending that was a bit off, considering the rest of the quality in the game.

Album Review: Krallice - Diotima

The Pretentious Version:

Picture, if you will, the very concept of music. At its core, it is merely arrangements of sound that some may find pleasing. To the listener, however, music transcends what it is composed of to stimulate the listener's mind and even his soul at times. Each piece of music, in its own way, creates a world, some glimpse of another plane within the human mind, some more so than others. Diotima, the third album by New York progressive metal band Krallice, is one such work; each song a piece of the darkly serene world that the work as a whole creates, one of chaos, yet beauty amongst its ruins.

The intro track "-" (This review may be pretentious as hell, but even I can't justify that title) is brief, but sets the scene efficiently, where tremolo picking and blast beats combine to weave a dark tapestry. It gives way to a solemn guitar riff, which itself crossfades into the feedback of Inhume. There are few moments like this on the album, the other two such moments occurring on the title track and Telluric Rings, but these moments are a stark reminder that despite the beauty of the landscape, its jagged mountains and foreboding gloom still render these lands hostile and uninviting. Krallice are not a band known for being "evil" or "brutal", but the atmospheres evoked by these passages are quite dark indeed, and would work well if reworked into a black metal album. (Note: I don't consider Krallice to be black metal, despite their classification as such. If an artist uses the techniques of surrealism in addition to his own skills and vision, the painting is not exclusively a surrealist work.) Despite the overall solemnity of the album, there are still plenty of points at which some hint of celestial essence can be seen, as moonlight penetrating the clouds. The riff at 5:26 on Inhume, which is repeated shortly after, is an example of this, as is the first climax of Telluric Rings at 6:41.

A work of art is only as quality as its artist, and on that front Krallice certainly deliver. The twin vocalists, Mick Barr and Nick McMaster, complement the surrounding music perfectly, and, while some may find Barr's higher-pitched vocals grating, the album takes more of a focus on McMaster's growls, which are the deepest they've been throughout their discography on this record. The dual guitarwork of Barr and Colin Marston always strikes a balance between flashy and reserved, with solos used sparingly. Special mention goes to McMaster on bass duty; his playing does not mirror either of the guitars, but cuts its own path to augment the surroundings, often to the effect that lesser bands try to accomplish with over-the-top keyboards or orchestras. His work is the subtle undercurrent to the rest of the band's waves.

The album holds plenty of stand-out moments, but the most interesting of which to my ears is the track "Litany of Regrets". The production is compressed heavily, not to produce a lower sound quality overall, but to create a sort of motion to the song based around the bass drum pedal. The song keeps a consistent up-beat tempo throughout, which combined with the aforementioned compression, lends the track a sort of hypnotic quality. The music itself is heavily focused on repetition, with occasional theme changes, but ultimately returning to the central riff. "Litany of Regrets" is essentially the modern metal realization of an ancient shamanic trance ritual, a theme with the lyrics touch upon as well: "And the anchorite dreams/He dreams a shaman carving blood unto/Darkened cavern ribs/While shadows dance/To the ecstatic rhythms/Of the Pacan/He dreams of pages of gossamer and spider web/Whose words will not survive their altercation back to dust." The repetition may easily be seen as a weakness, but it fits the concept quite well. The album ends with another example of one of the things Krallice does best; taking a moment and building upon it until it envelops the listener. While not as bombastic as the last minutes of "Monolith of Possession" (from their previous album, Dimensional Bleedthrough), the outro of "Dust and Light" is a more than satisfying conclusion to Diotima, providing a fitting end to the sonic journey through forgotten lands.

In conclusion, Diotima must be viewed as a whole work, not on a song-by-song basis. It, like all Krallice albums, is not to be viewed on merits of its status as "metal", although to the patient listener, it has more than enough moments to satisfy those listeners as well. It crafts a world within the listener's mind, and then guides him on a journey, bearing witness to both beauty and savagery. If you are a fan of music as an artistic medium, or simply like quality progressive metal, Krallice is certainly a band to check out, with Diotima as another shining example of their status as craftsmen of sonic landscapes.

NON-PRETENTIOUS VERSION:

Krallice are clearly skilled musicians, with plenty of guitarwork to keep metalheads interested, if they can bear a bit of repetition in "Litany of Regrets" and each song blending together to create a whole instead of simply crafting memorable songs with hooks, choruses, etc. It's worth a listen to see if it's your thing, certainly, but I can't guarantee the appeal of it to a standard metal audience.

Replay Value

So, recently one of my friends has finished a game, and he feels underwhelmed by how it wrapped up because it doesn't have the same replay value as older versions of it.  He's referring to DmC vs the old Devil May Cry games, in this instance.

One one hand, I want to agree with him on his point.

On the other, I can't.

Let's look at some older games, and see why they've become such mainstays in our libraries.

We're gonna start old school with these first games.

Remember these guys?

The replay value from these games comes from, not the complexity of their design, but from their gameplay.  There are a finite number of paths through each of these games.  Of course you can skip levels in Super Mario Bros via world 1-2, but it's not really altering your path through the game.  You'll still end up going through the same levels you would have otherwise.  You can fight Heatman before Crashman in Mega Man 2, but it doesn't really change much beyond what order you get your powers, which you'll still have all of them at the end.

So how do some people get replay from these?  Self-imposed challenges.

Mario Speedruns.  Megaman 2 Buster-Only playthrough.  Hell, there are complicated as HELL playthroughs for Pokemon games.  Clearly, there are ways to make your games last longer.  Mind you, these aren't for everyone.  Personally, I won't ever do any of those playthroughs, but there are some people who want to do this.

So why else do I go back to Super Mario?  Well, just because it's fun to play.  That's all I need.  If a game was fun to play, I will go back to it, despite knowing how it ends, despite knowing all the plot points, or whatever.  I've beaten Final Fantasy VII a few times, but that game doesn't really change with each playthrough.  Most times, your first playthrough is the best one, simply because you're seeing it with new eyes.  What's nice about subsequent playthroughs though is that you can notice new details of the game that you didn't know before.  You pick up on foreshadowing that you may have missed, or subtle nods to other things.  

Now, on the newer game side, I've nearly 100%'d Saints Row the Third (all collectables, just missing some wave defenses), and you can sure as hell bet that I'm going to keep that in my library.  Same with Arkham Asylum and Arkham City.  

Onto where I agree with him though.  There have been some companies who have been known to sort of "sever" their core game in favor of making people pay for DLC.  I say "some" for this.  Capcom is notorious for their On-Disk DLC policy that they had for some of their games.  We'll be talking about DLC in a podcast in the future, so keep an eye out for a more comprehensive take on that.  Let's just say I'm fine with DLC made outside of the normal development cycle.

Another thing is that some games have been shortening their single player campaign to about 8-12 hours, which can seem short for the investment.  Then we have to remember that old games from the SNES and NES cost about the same.  Now, I'm not saying that we should be having half hour games, or non-ending games now, because that's what we had in 1990, I'm just putting things into perspective.  Expectations change, as they should, due to the evolving technology.  We also need to look at each genre and how long we expect games to be in them.  An RPG?  I expect 20+ hours from.  An Action game a la God of War?  If the game is satisfying, 10-15 hours.  An FPS?  Well, if it's a straight up one, 10 hours is fine.  Hybrid it with an RPG, jump that number to 15+ (hi there Borderlands, Deus Ex, and from the Third Person Side Alpha Protocol)

Bet you thought this was gonna be an Alpha Protocol picture.

The point is, not every game is going to be a monumental creation.  If we look at other mediums, not every book is going to be read multiple times.  The same goes for movies.  There are things that I've consumed once, and been satisfied with.  Then there are those games that are profound, interesting, or just plain fun enough where I want to keep them in my library, not for an immediate replay, but for one down the line.  That's where real replay is.  The one where you can dust it off after a hiatus, and pop it back in and have it all come rushing back.  The games where you can say "Why have I waited so long to replay this?".  Those are rare, and sadly, many people don't realize it.  

There are games that have a definite replay value, Okami comes to mind with the New Game + option.  In fact, any game with that feature adds a second playthrough.  The Tales series does this incredibly well.  

A good game shouldn't need these though.  When the option to keep your stuff for a second playthrough comes up, it's nice, but a game that sticks with you is one you'll start over to play it again.  

[Edit] Looks like we hit 100 posts on this blog (so what if I'm a tad behind)

Whoo, party.

The Shadowrun Returns Hype-Train

Alright, with Shadowrun Returns being about a month away, I'm here to run the Hypemobile for it.

Not sure what an ACTUAL Hypemobile looks like... Probably not this.

So, the goal of this post is to explain what exactly is Shadowrun and Shadowrun Returns, and why should you care.  

I did a few paragraph description of Shadowrun awhile back, so the link to that is here. 

Did you read that?  So we can continue right?

No?

Fine.

Here's a few key things to take from it.

• Cyberpunk Dystopian future.  Set around 2040-2060.
• Matrix is the global internet framework.  It has crashed on two occasions, both leading to some interesting developments, like Technomancers.
• Concerning the Matrix, everyone and everything is always connected to it.  It is seen as suspicious if your ID suddenly disappears off the 'grid', so, say 'hi' to Big Brother.
• Due to some weird events, humans aren't the only intelligent species.  Metahumanity has sprung up in the form of Elves, Trolls, Orks, and Dwarves (not just little people any more).
• Also, magic has returned, and it's mechanic is still a little wonky, but it works.
• If you think the companies NOW are bad, in the future there about ten AAA Megacorps that run everything.  They are considered independent entities that can have their own standing armies and security forces.  

So generally, it's a crapsack world.

In 1993 and 1994, Shadowrun games were released for the SNES and the Genesis, respectively.  The games aren't the same game, but they were both received as underappreciated games of the consoles, becoming cult classics.  They were both action-RPG-ish (for that time), and captured the feel of the tabletop game, according to players.  I've only ever played the SNES one, so we're going on a musical safari to the land of Genesis Shadowrun.

Or one of the SNES, since my Youtube Fu wasn't strong enough.

Whatever.  Moving right along.

Then in 2007, we have the Xbox/Windows cross-play Shadowrun.  This was a First Person Shooter that was pretty much panned by fans of the Shadowrun universe.  

But now the main reason why the hype train is in town.  Shadowrun Returns.

Toot toot.

Shadowrun Returns is a PC/Mac/Tablet/Smartphone game that's coming out next month.  It's being made by Harebrained Schemes, which contains people who helped develop the Shadowrun pen and paper game.  In addition, they've brought on the people who worked on the music for both the SNES and Genesis soundtracks to work on the SR:R soundtrack.  This game was funded via Kickstarter, and received over $1.5 million from it's backers. 

 It's going to be an Isometric 2/3D Tactical RPG.  There is no multiplayer planned for it at this time.  They are focusing on a strictly single player experience.  You will be able to create your character from about 5 archtypes, and able to customize further once you gain some karma (the game's XP system).  The makers are touting their AI system, that reacts in stages, to try to realistically respond to a potential threat.  This means, that you can talk your way past guards, or stealth past, or steal the keycards, and sneak in, or just kill them.  There is a bevy of different ways you can play this game.

In addition to the game itself, there will be a DLC expansion released after the game is out that takes place in Berlin.  Also, players will have access to the same builder that the developers used to make the game, so  people will be allowed to make their own campaigns, missions, and entire storylines using the same program they used, along with some additional art assets.

I'm going to sign off and leave you with a gameplay clip from the alpha build of the game being played by two of the devs.

HYPETRAIN

HYYYYYYYYYYPE