A Look At ‘Project Zomboid’, or, My Parting With Kate

Project Zomboid is a work-in-progress zombie-apocalypse survival game by British development team The Indie Stone. It’s very far from being finished, but by paying five pounds you can get access to the game in its current bare bones state, as well as guaranteed access to any future updates (including the full, final release when it appears). It’s hardly possible to offer a solid appraisal at this point, but I thought I might tell the story of my first encounter with the game:

Project Zomboid offers two modes – a storyless sandbox mode in which you create your own character, and a story mode. Currently there’s only one story on offer, Till Death Us Do Part, and it functions as a basic introduction to the mechanics of the game. I fired it up.

Immediately I was looking down on a scene in a bedroom, with a woman lying sprawled on the bed, bleeding, and a man standing over her. The measured dialogue between the two establishes that they’re married. They seem to have been lasting out this outbreak of zombies for quite a while, and it seems that they managed to draw the attention of other survivors, who robbed them and injured Kate in the process. Taking the role of her husband Bob you have to perform some simple tasks to ensure the continued survival of the couple.

The game does a great job of using the situation to teach the player how to perform various important tasks they’ll need to survive. Kate is injured, so you need to find some bandages. A quick look in the wardrobe reveals some sheets, among the clothes and the pillows, which can be cut up into strips. Then you need to find a way to barricade the house’s entry points.

The dialogue between Bob and Kate is so strongly written it makes me kind of angry at most other videogames. While giant, millions-of-dollars games have routinely struggled for countless years to make me believe in even the most broadly painted characters, I instantly believe that Bob and Kate are married, that they love each other, and that they’re dealing in a very human way with a horrifying situation. Kate apologises for messing up. Occasionally she swears as one would – out of frustration and guilt. At every moment that they were speaking I believed that these were people. And it’s really astonishing that that was accomplished with only a few lines of dialogue placed over a largely static scene.

After I boarded up the house’s doors and windows I returned to Kate, and in the morning I went out to scavenge for food. I went into the house next door, opened the door to the kitchen and with a lurch of music I encountered my very first zombie. I decided it was best to avoid it entirely, for risk of infection, and I quickly found some food and left.

Once I got back I re-barricaded the front door, briefly checked on Kate and went back down to the kitchen. I turned the oven on and set the food inside. Immediately Kate called from upstairs that the radio was finally working. I decided to rush up and listen with her. As the minutes raced by we heard more from the radio – mostly static, but it did give us some indication of what was going on outside. The tenderness between Bob and Kate remained, and they seemed hopeful for once – they were in a relatively safe place, Kate had stabilised, and they now had food and a means of defence.

Almost at once Kate asked a question – ‘do you smell burning?’ A light went off in my head and I raced downstairs, only to find the oven alight and the fire already spreading. I watched it for a few seconds as the curtains, the wooden furniture, and eventually even the walls caught alight, and I panicked. I went upstairs again to get Kate and find a way to get her out of there. But as I reached her I knew that there was little chance of her going anywhere with those injuries. The fire was spreading, and soon I heard a another sound. I went to the windows, opened the curtains, and saw a street full of zombies attracted by the glow of the fire. Soon I heard thudding on the front door as they tried to force their way in.

I stood there for a good ten seconds, deciding. I could fight my way through the slow horde, but I knew there was no way I could drag Kate with me. Flames rose up from the floorboards, and as I stood there I genuinely, as the player, came to this decision – I couldn’t leave her. The game had done such a good job of establishing their characters, and the bond between Kate and Bob, that I couldn’t simply leave Kate to die. So I did the only thing it felt possible for me to do, and I stayed there with her. I paced back and forth, waiting for the moment, and I kept thinking about how I didn’t want her to suffer when she went.

I don’t know exactly how I came to it, but I remembered the contents of the wardrobe. I picked up the pillow within, then went to Kate, lying there in the bed. I went to place it over her face, to end her life quickly before she burned to death, but as I did so the horror of the situation registered in her eyes. She panicked, and I thought she was going to argue, or scream at me in betrayal. But immediately she said the following: ‘I’m sorry I slowed you down. I love you.’ I did it then, but I was left with the knowledge that, there at the end, she thought she was just slowing me down, and that I was doing it so that I could move on by myself. And in that knowledge I decided again for a final time not to leave.

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A Look At ‘The Snowfield’

Though anyone close to me knows that I’ll cry at pretty much any sad film, novel, or plastic bag being blown around in the wind, there are comparatively few games that have made me well up. And while I have played a few games that have managed to make me do so, I’ve rarely been moved by a small, short game you can play in a browser. The Snowfield, a small, short game you can play in your browser, bucks that trend. And while it didn’t make me cry and then start coughing awkwardly to mask the fact that I was crying, it did do something to genuinely move me.

It’s a short game set after a battle. You play as a soldier, with nothing but your uniform, your helmet, and the unexceptional ability to freeze to death. Immediately it’s sombre, immediately it’s strange. You move about, and your hug yourself in the cold. Snow falls around you, and while almost nothing in this game is made entirely clear it’s made instantly and entirely clear that  this has been a near-apocalyptic battle for everyone involved. Dead men lie everywhere, seeming to have crawled away and then frozen to death. There is a broken structure just ahead, a bombed-out barn maybe, and you hunch over further in the cold.

The game doesn’t tell you what you should be doing, though it hints at the possibility of interaction with others, and in the distance you see a figure wandering, moving back and forth aimlessly in the cold. There are a few objects scattered around – some sticks, a rifle that hints at the First World War, and a few discarded bottles. There is a warm, orange-toned fire roaring in the broken structure just ahead, and as you move towards it the soldier extends his hands to the flames for warmth.

As you wander you see more soldiers. Some seem to need something, some seem to notice your presence, and some seem entirely lost. It’s all very minimal – the art-style is simple and unclean, the music nearly non-existent, and the only method of interacting with the other wanderers is by handing them something. As I walked towards one man he started repeatedly slurring out the word Schnaps, and would only stop when I fetched him a full bottle of liquor. He sounded Germanic, but here’s really no indication of exactly where or when you are, or what side you’ve been fighting for. You look like you’re wearing the same uniform as the rest, but it’s so cold, and so dark, and so late, that no one seems to care much any more.

Through the simple interactions and the blocky, unclean, but surprisingly appropriate visual presentation, I became attached to a plan. As I searched the land for the few survivors I began to convince them to follow me. I led them one by one back to the warmth of the barn, and to the startling glow of the fire. Every time I steered my soldier out into the cold he buckled over a little, and the screen became slowly more and more awash with white. It was difficult and genuinely nerve-wracking to go out each time. And every time I finally steered him back, with another person saved from the cold, I felt a little better. I don’t know if I found them all, in fact I’m sure I missed some, but it felt good to watch them all there, sitting quietly in the glow of the light of the fire.

 It’s incredible how real this world feels. In the course of just a few minutes I came to care about the fates of these digital constructs. These aren’t well-built characters that I’ve slowly grown attached to – they’re really just marionettes lumbering around a sparse stage. But the coldness and sense despair conjured by the sound of the wind, and the sight of a cold, dead landscape makes that stage feel like something much more. And this stage that the soldiers you interact with wander back and forth upon is so convincing that all their odd movements and actions seem like those of a broken, cold soldier lost on a battlefield.

Sure, it’s not necessarily the most affecting thing in the world, but there was a certain poignancy to this simple interactive diorama that I would like to see recreated and explored elsewhere. Take five to ten minutes to try it out, and see what you think: http://gambit.mit.edu/loadgame/summer2011/snowfield_play.php

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The Games of 2011 – ‘Men of War: Assault Squad’

So right off the bat Men of War: Assault Squad is going to win the apparently highly coveted award for MOST GENERIC NAME IN VIDEOGAMES 2011. I say ‘highly coveted’ because videogame developers/publishers can’t seem to get enough of this shit – Gears of War, Medal of Honour, Warcraft, World of Warcraft, Call of Duty, Killzone, Bodycount, The Shoot, and so on. There is no one more prone to this amazing literal-mindedness than 1C Company, the Russian publisher behind, among others, Soldiers: Heroes of World War II, Fantasy Wars, Faces of War, and the Men of War series. Faces of War, for crying out loud. At this point they could release a game called Battles of War, or Guns of Combat, and I wouldn’t bat an eyelid.

Anyway, despite the uninspired name Men of War: Assault Squad, developed by Digitalmindsoft, is actually a frightfully intelligent, inspired effort. And it’s hard as nails -harder than that, even. After tens of hours grappling with this real-time strategy game I could barely force myself to edge the difficulty level up from ‘Easy’ to ‘Normal’. And when I did I was met by a sarcastic slow handclap and a world of pain.

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In Men of War: Assault Squad we revisit familiar videogame territory – the Second World War. As the player, you’re given a top-down view of a battlefield and the ability to generally tell people what to do. Across the battlefield are control points, and it’s your job to tussle with the enemy AI to capture and hold them. Each control point gives you a steady stream of revenue that you can use to call in various reinforcements from behind the front lines, and throughout each level you make decisions about which units to field, where to send each of them, and what to have them do when they get there. The enemy is doing the same, and will fight tooth and nail to take back any control points you capture. They don’t always need an excuse to do you some harm, however.

This isn’t particularly original fare for real-time strategy games, though. What’s special about the Men of War series is the level of control you have over your army. When you put a squad of infantrymen into battle you can order each man around independently, telling the medic to go help another squad, telling your machine-gunner to set up shop behind a sandbag and protect a control point, and so on. Each soldier or vehicle also has a full inventory with ammunition, health kits, and other equipment, and by using the items each unit holds you can do things like swapping weapons between your soldiers, scavenging equipment from dead enemies, or using a repair kit to fix the broken treads of a disabled tank, sending it back into action.

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And the complexity expands – there are numerous different kind of every unit-type, each with different uses and weaknesses. And each of the five factions (Russia, Germany, USA, the Commonwealth, and Japan) has different units from the others. So while American anti-tank infantry will fire a powerful rocket, the Commonwealth counterpart carries a significantly harder to use anti-tank rifle, that has to be lined up perfectly to be of use against all but the lightest armour.

Fortunately, you have the ability to take direct control of any unit on the battlefield at any time. So while you hope that your defences on another front hold you can take control of a tank and drive it deep into enemy territory, ducking behind buildings to avoid enemy artillery fire and peeking out at just the right time to hit them when they’re reloading. It’s intensely satisfying when you throw a grenade into an enemy trench at exactly the right moment, and it’s hard not to be just a little bit amused when your expertly-thrown grenade collides with a tree branch and falls at your soldier’s feet before he has the chance to run for his life.

Units fire and return fire without your input, but otherwise they need direction – you’ll need to order them into cover and make sure they aren’t flanked or faced by overwhelming force if you want them to survive. And since the battlefield is so large you’ll be fighting on multiple fronts. So you’ll have to move back and forth across the map to ensure everything’s going as planned.

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The AI is particularly impressive, and though you’ll be alternately quietly seething and loudly calling it out as a cheater to no one in particular, it never really seems unfair. Sure, it has the advantage of being able to make calculations far better than most humans, but it never seems to cheat – it’s given the same information you have, and it acts exactly as you would act if your brain had about a hundred times more computational power. And let’s not even talk about the harder difficulty modes. On those levels you’re basically running up against a brick wall, except the brick wall is smarter than you by  orders of magnitude.

It’s a hugely complex game – overwhelmingly even. Jumping into this game with little to no experience with similar war games led me into a huge struggle to understand exactly what does what, what is useful against what, what this button does when you press, and just what the hell is actually going on at any one time. It’s not intuitive, but with so many controls and tactical options – explosive or anti-tank shells, crawling or running, machine gun emplacement or anti-tank artillery- it’s almost impossible for it to be intuitive. And it’s never going to hold your hand fully: while there are small-scale prologue missions that teach you the basics, after that you’re thrown into a warzone with countless possibilities and countless pressing concerns, and it’s really up to you to figure it out.

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And it’s probably one of the hardest games I’ve ever played, to the point where I imagine many people won’t have the patience to keep going after a few tries. But the difficulty isn’t even really in placing your troops and outsmarting the opponents, since if you focus on one part of the battlefield you can steamroll the enemy and capture control points with relative ease, at least on Easy and Normal mode. The real difficulty is in keeping track of the bigger picture. You need to think about what is going on at all parts of the battlefield at once, and you need to constantly respond to the enemy’s actions across the entire map. I can’t count the number of times I’ve moved my attention away to one side of the map in order to confidently advance troops only to come back to another front to find all my soldiers shot to pieces.

It can be frustrating at times, partly because it often just seems impossible to keep track of everything relevant all at once – if you focus on one front the other might suffer, if you focus on directing your reinforcements to the front lines your enemies will start to notice how enticing you front forward troops look. But that all-encompassing responsibility, and the vast scale of detail and complexity, leads to grand things once you’ve got your head around the way the game works. Grand things like intense encounters in which you succeed gloriously or fail embarrassingly because of overarching strategies and split-second decisions.

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There are countless little stories I could tell about my time with Men of War: Assault Squad. The time I spent ten minutes sneaking a squad of men behind enemy lines, where I eventually got them to commandeer tanks and decimate the enemy’s undefended artillery. The time a single surviving soldier held out, completely without my intervention, against advancing enemy tanks by hiding in a trench and throwing molotov cocktails at their engines. The first time I called in the Russian army’s special power, which flooded the map with hundreds of poorly equipped conscripts.

Sometimes, what with the huge scale of the battles, the game can become a bit too big for its own good. You sometimes find yourself facing a functional stalemate for tens of minutes with the enemy, and towards the end of a big game the process of slowly tipping the battle in your favour and then meticulously mopping up enemy forces can often be more of a grind than anything. But when it all works it’s a beautiful sight, and when it all blows up in your face it’s satisfying in its own strange way. Whether you’re taking out a heavy beast of a tank with a single canny rifleman, or seeing a whole squad of your advancing soldiers mowed down by a gun emplacement hidden behind a tree, it’s all endlessly, endlessly compelling.

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And with several (purchasable) mini-expansion packs you can now enter into different kinds of battles. Instead of attempting to advance across a sprawling, pockmarked battlefield you’re tasked with setting up a running defence of a fixed location while overwhelming enemy forces stream towards you. I haven’t tried that out too much yet, but  it’s entertaining as hell so far. So excuse me while I don my incompetent general’s hat and try not to set fire to my own troops.

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