Rowan Kaiser

Rowan Kaiser is a freelance writer currently living the Bay Area, who also writes for The A.V. Club, and has been published at Salon, Gamasutra, Kotaku, and more. He still occasionally finds Ultima VI Moongate maps and mantra notes when he visits his parents' house. Follow him on Twitter @rowankaiser.

Articles by Rowan Kaiser

Building a better role-playing game story
This is a weekly column from freelancer Rowan Kaiser, which focuses on "Western" role-playing games: their stories, their histories, their mechanics, their insanity, and their inanity. Getting story right in role-playing games is crucial. Even if narrative is not your primary motivator, it's a key element to the RPG genre. But not all role-playing games have discovered the right formula. Its been my experience that there's no set checklist to ensure a successful story, but I've found that there are key components that can appeal to players with a narrative focus. I'd love to say "follow these pieces of advice and make a great RPG story!" but stories are never quite that simple. Still, I do think that these are good general guidelines for why some RPG stories are forgettable, while others are shine through.
Why Defiance's 'fun now, depth later' is great for MMORPGs
This is a weekly column from freelancer Rowan Kaiser, which focuses on "Western" role-playing games: their stories, their histories, their mechanics, their insanity, and their inanity. I had my World of Warcraft year. In 2007, when 'The Burning Crusade' came out, the game clicked with me and it became almost the only thing I played for months on end, to the point where I started raiding with an up-and-coming guild. I know many other people who've had that year, with WoW or some other massively multiplayer game, before they lost interest, burnt out, or continued out of habit more than joy. In the last year or so, I've tried several massively-multiplayer role-playing games – Star Wars: The Old Republic, Guild Wars 2, The Secret World – and couldn't find that magic again. I could admire the design, but quickly lost interest in playing them. I was starting to think I'd never really like a massively multiplayer game again – and then, on a whim, I decided to check out Defiance. Defiance is the main game I've been playing for two weeks now, and this may continue. It's not that it's less flawed than the other MMORPGs, but instead that the parts of the game that it focuses on hold much more appeal to me. To put it another way: Most games within this genre are focused on combat, and Defiance's combat is significantly more fun for me than its competitors'.%Gallery-152577%
Mars: War Logs brings the resistance back to RPGs
This is a weekly column from freelancer Rowan Kaiser, which focuses on "Western" role-playing games: their stories, their histories, their mechanics, their insanity, and their inanity. I probably wouldn't have noticed Mars: War Logs except for the PR email I received which included a line about how it had been influenced by the French film "Army Of Shadows." This piqued my curiosity for two reasons: first, it seems utterly astonishing to me that a game would advertise itself as being based on a 45-year-old foreign film that was buried for decades due to its politics. Second, after I discovered it via a feature on cult films, I watched it and enjoyed it, and have come to cite it as an excellent example of one of my favorite types of narrative: the resistance story. Role-playing games have a long and storied association with resistance stories. Many of the classic JRPGs of the 1990s began with the premise that an evil empire or corporation was taking over the world (and probably awakening an ancient evil), and only you and your ragtag band of spiky-haired misfits could stop it. Final Fantasy 6's Returners and Final Fantasy 7's Avalanche were two of the most famous resistance groups of their era, but they weren't alone. The Suikoden games, The Secret Of Mana, Wild Arms, and Grandia all had the equivalent of evil empires of their own. It's not limited to that era and type: there are also modern JRPGs like Radiant Historia, as well as classic PC RPGs like Ultima 5, Ultima 7 and The Magic Candle 2.
Total War: Arena's ongoing quest to reshape competitive strategy
Creative Assembly has a good thing going with its Total War franchise. For seven games now, it's been remarkable successful at combining real-time tactics and turn-based strategy, making money and consistently expanding its studio. Their next game, Rome 2: Total War, a sequel to the most beloved game in the franchise, is as close to a sure thing as exists in the game industry. But the game after that? That's Total War: Arena, announced at the Game Developers Conference, and it's a major risk, one with even greater potential reward.Create Assembly has enough confidence in its games and its audience that the reveal wasn't a movie or demo of the game. Instead, it used a set of abstract illustrations to demonstrate its ideas for Arena. A few of these examples used Rome 2 assets, and that game will provide the initial base for Arena, but it wasn't graphics that were announced.Total War: Arena will be an online battle between teams of a maximum of ten players apiece, with the individual players controlling up to three units. It will be free-to-play, with in-game experience and currency used to upgrade your units or purchase new ones. The monetization scheme will be based on purchasing "accelerators" which will help you gain experience and/or currency quicker, as opposed to pay-to-win or gated content.
Two new indie RPGs tackle the genre's history, but only one succeeds
This is a weekly column from freelancer Rowan Kaiser, which focuses on "Western" role-playing games: their stories, their histories, their mechanics, their insanity, and their inanity. If there's one thing that would improve the role-playing genre, it would be a stronger indie community. The biggest blockbuster RPGs are doing quite well these days, but indies are less common for a variety of reasons. Two recent RPG releases, Evoland and Driftmoon (above), each demonstrate a common focus for indie games: playing with the genre and its history. We've seen this in the side-scrolling platformer. Super Meat Boy's love of the past is visible in its title, and the game itself reveled in the past by stripping the genre down to core tests of speed and difficulty. Braid was a subversion as much as a celebration – it took the division of mechanics and story, typical of so many platformers starting with Super Mario Bros., and found a way to marry the two with the theme of regret and the player's ability to turn back time. Both Evoland and Driftmoon (the former available on GOG and Steam, the latter on GOG and in the Greenlight process) are likewise firmly engaged with the history of role-playing games, but they come at it from different directions. Evoland is overt about its relationship to genre history, making it a core part of the game's structure.
Remembering the life and legend of LucasArts
LucasArts has become one with the Force. The venerable studio and publisher was shuttered by owner Disney yesterday, halting production on its games, including Star Wars 1313. Though the amount of content coming from the studio had been drastically reduced over the last few years – well before Disney acquired Lucasfilm in October 2012 – LucasArts was a beloved studio finding success in multiple decades. But what made LucasArts games so special? Although LucasArts may be best known for its Star Wars games – starting as the gaming branch of Lucasfilm, George Lucas' production company – the developer's biggest successes in the 1980s were point-and-click adventure games. The classic Maniac Mansion, released in 1987, introduced the SCUMM engine, that would provide the model for most of their two-dimensional adventure games (including several Indiana Jones games, Loom, Day Of The Tentacle, and The Dig). It has a very familiar look to a certain type of gamer: a collection of verbs like "Look at" or "Open" on the bottom of the screen, and bright inventory. It looks somewhat ungainly now, but at the time it was a revolutionary step toward mouse-based interfaces and away from text adventures that forced players to type in all actions.
Rome 2 looks to continue building Total War's empire
Showing off a strategy game like Total War: Rome 2 at a convention can't be easy. With only so much time to show off to the awaiting journalists, games have to rely on spectacle. Yet the greatness of Total War derives from longer play sessions. There, the series' two halves – tactical battlefields and grand strategic decisions – work in harmony. Those moments are impossible to achieve in a single gameplay demonstration, but developer Creative Assembly still has to make that attempt, which it did, with the historical Battle of Teutoburg Forest. The most notable part of the demonstration was that the game's graphics are fantastic, but that's also the least surprising aspect of a new Total War game. After all, the Total War series has taken major leaps forward in graphics ever since its inception over a decade ago. 2011's Shogun 2 may still look great, but Rome 2 appears to surpass it. The background geography, like the trees, cliffs, and marshes look particularly detailed, while the soldiers had a slightly grittier, less cartoonish look than their samurai counterparts. It was left to a question and answer session after the demo with three of Rome 2's developers to understand what might make this installment particularly interesting. Much of what they said indicated that they understood the series' flaws and were actively working to fix them. Although not directly stated, many of their statements implied a move away from micromanagement, the bane of Total War and many other strategy games.%Gallery-167504%
Mass Effect 3's 'Citadel' DLC demonstrates the franchise's messy, wonderful soul
This is a weekly column from freelancer Rowan Kaiser, which focuses on "Western" role-playing games: their stories, their histories, their mechanics, their insanity, and their inanity. One of the reasons that the Mass Effect series has been one of the most-discussed franchises of the generation is because the games are many different things to many different people. They're science-fiction epics. They're cover-based shooters. They're dating sims. They're long-term serialized stories. They're slowly wandering through cities in space, engaging in long conversations. They're tough battles against overwhelming odds. The core divide is between the self-serious saga of Shepard versus the Reapers that the franchise attempts to convey, and the entertaining – if slightly goofy – glorious mess that some perceive it to be. The final story-based expansion for the series, the recently-released 'Citadel' add-on, demonstrates how big that divide can be and then it bridges the gap.%Gallery-179472%
Alpha Protocol is the new Deus Ex
This is a weekly column from freelancer Rowan Kaiser, which focuses on "Western" role-playing games: their stories, their histories, their mechanics, their insanity, and their inanity. Alpha Protocol is the new Deus Ex. This may seem like a strong statement, given the original Deus Ex's regard as an all-time great, but that wasn't always the case. Time has been very kind to it, and Alpha Protocol seems perfectly positioned to undergo a similar process. Both games' weaknesses are transparent, and both games' strengths point toward the future of video games. When Deus Ex was released a little over a decade ago, I remember reading a review in Computer Gaming World, which gave it 3.5 stars out of 5. CGW justified that score by pointing out glaring flaws with Deus Ex, primarily its ugly graphics and pathetic artificial intelligence. I remember that review specifically because, a month or two later, they printed a letter to the editor that said roughly "I was going to get angry because I obsessed about the game for two weeks, but as I started writing I realized your criticisms were entirely valid." This, to me, strikes at the very core of what makes a cult classic: a general, all-encompassing analysis may find obvious flaws that prevent full-throated praise, but for those who can forgive those flaws, the strengths aren't done better anywhere else.%Gallery-19776%
When sports and role-playing games collide
This is a weekly column from freelancer Rowan Kaiser, which focuses on "Western" role-playing games: their stories, their histories, their mechanics, their insanity, and their inanity. I'm in a tense conflict. My party of five characters faces off against another. The battle is balanced on the edge. I see a slight opening and make my move, pressing the X button and hoping that my attack succeeds. My character charges at the enemy, with his attacking stats and the enemy's defensive stats seeming to be in rough balance, which tends to favor the defender. But wait! My character has the "Finisher" perk, which gives him a 30% bonus in situations like these! That's enough for a critical hit, which gives me a massive advantage in this tense confrontation. It's a layup and foul, allowing me to take the lead in my NBA 2K13 game. But it also feels like an RPG. That nebulous feeling of similarity to RPGs isn't one I've had with basketball games before, going back 25 years to Omni-Play Basketball. But I get that feeling here, with NBA 2K13, because, in an odd way, it aims for a realistic presentation. It wants to look and feel like real basketball. But there's a lot of difference between the intensely physical real-world sport of basketball, and the abstract form of a video game. Compromises have to be made.
Publish those numbers! Why RPGs must be transparent about their mechanics
This is a weekly column from freelancer Rowan Kaiser, which focuses on "Western" role-playing games: their stories, their histories, their mechanics, their insanity, and their inanity. The debate about what makes a "real" role-playing game flares up from time to time, with articles, comment threads, or message boards torn up about whether a Mass Effect or a Skyrim deserves to be treated as a true RPG. The arguments about these games tend to hinge on them being too action-oriented, or not offering enough customization. Turned on their side slightly, though, I think these arguments reveal a core value of the genre: RPGs are built on transparent, simplified abstractions of complex real-world concepts. How role-playing games have dealt with and continue to deal with transparent abstraction defines the genre in many ways. Most all games abstract some manner of real-world behavior. Press the jump button in a game that allows it, and it'll make your character leap into the air in an animated approximation of how humans jump, but that's usually it – the rest of the jump has more to do with the needs of the game's level design than anything else. Even those aspects that aren't real, like casting magical spells, have consistent in-game rules, which often abstract other concepts, like a mage theoretically chanting magical words in a way irrelevant to the player. What separates RPGs from most other genres in terms of abstraction is the style's origins in pencil-and-paper games. You want to punch an orc? You can punch that orc, but game rules simple enough to work with a couple of die need to exist in order to make that orc-punching workable for a group of people playing a game. Players need to know what the numbers are in order to make informed decisions. So you have things like 'strength statistics,' 'unarmed damage skills,' 'orc hit points,' 'dexterity rolls,' and so on. Shifting to the computer may have allowed these mechanics to be calculated faster as well as potentially more complex. But critically, even though those mechanics could have been masked, RPGs generally kept the numbers transparent and public.
For the love of leveling
This is a weekly column from freelancer Rowan Kaiser, which focuses on "Western" role-playing games: their stories, their histories, their mechanics, their insanity, and their inanity. I gained one thousand seven hundred and twenty-one levels in the last year. Around the end of 2011, fellow game writer and RPG fan Phil Kollar asked his Twitter followers how many levels they thought they'd gained over the course of the year. The idea of calculating my progress seemed fascinating and throughout 2012 I decided to keep track of my earned levels. The levels were earned from a variety of different sources. Some levels came easily: I played two BioWare games, for example, both games have a large casts of characters and 30 or 40 levels to gain. Allies in those games gain levels alongside the protagonist, so if those characters ever made it into my rotation, I counted each level. Some levels were more difficult to earn: the post-30 levels in the immediate aftermath of Star Wars: The Old Republic's launch, when repetition, lack of motivation, and some nasty bugs slowed my progress and eventually drove me away. Some games featured both: In The Elder Scrolls V: Skyrim my pyromaniac mage torched her way through 15 levels easily, but upgrading to fireballs in the game's odd skill system brought her leveling to a screeching halt.
2012: the year in RPGs
This is a weekly column from freelancer Rowan Kaiser, which focuses on "Western" role-playing games: their stories, their histories, their mechanics, their insanity, and their inanity. What a fun, odd year it's been for role-playing games. The genre in theory is looking as good as it has for over a decade. In practice? The year was light on pure RPGs, even as aspects of role-playing spread to many of the year's best. Still, (almost) every month saw something interesting happen in the world of western RPGs, so let's look back, shall we?
Waiter, waiter! There's an RPG in my FPS!
This is a weekly column from freelancer Rowan Kaiser, which focuses on "Western" role-playing games: their stories, their histories, their mechanics, their insanity, and their inanity. It would be easy to say that many of today's first-person shooters are more RPG-like than ever before. Between the Borderlands franchise, Dead Island and the recent Far Cry 3, several high-profile FPS games have included quests, experience points, and skill trees. The mix seems like a great match – first-person shooters are built around perspective and interface, whereas role-playing games rely more on mechanics and statistics. Nothing says they can't go together. Indeed, they traditionally have gone together. Many RPGs during the 1980s and into the 1990s used the first-person perspective for dungeons or the entire game, although it was usually tile-based (you moved forward, sideways, or backward one large step at a time). In the early 1990s, there was a race between the shooter Wolfenstein 3D and the RPG Ultima Underworld to become the first free-movement first-person game. As the FPS genre became increasingly popular, deviations from simple shooting became more common, like Strife, a game that used the Doom engine but added non-player characters and branching quest lines involving player choice, or Jedi Knight, which included Force skills to develop. At the end of the 1990s, the superb Deus Ex managed to fuse both role-playing games and first-person shooters into a coherent whole. This wasn't an RPG with shooter bits, nor was it a shooter with RPG elements; it was both genres, in their totality, together at once. This was a neat trick, and one that hasn't really been duplicated, not even by Deus Ex's sequels.
How Morrowind and KOTOR defined modern RPGs
This is a weekly column from freelancer Rowan Kaiser, which focuses on "Western" role-playing games: their stories, their histories, their mechanics, their insanity, and their inanity. In the early 2000s, two Western role-playing games grabbed the genre and shoved it into new and surprisingly popular directions. Bethesda's The Elder Scrolls III: Morrowind (2002) and BioWare's Knights Of The Old Republic (2003) modernized RPGs' technology, expanded the audience, and created the two most popular models for the genre moving forward.Before these two games were released, the term Computer Role-Playing Game (CRPG) was commonly used to describe the games in this column. Ultima, Wizardry, Fallout, Baldur's Gate, these all came out on computers (at least initially), with DOS/Windows becoming the computer platform of choice as the decade progressed. But Morrowind and KOTOR were designed and released for the Xbox – and they succeeded there. The realm of console RPGs was opened to very different styles of game from the Final Fantasies which had dominated. This successful move opened entirely new modes of money-making, allowing BioWare and Bethesda to become some of the biggest developers in gaming overall.
Struggling with The Elder Scrolls V: Skyrim one year later
This is a weekly column from freelancer Rowan Kaiser, which focuses on "Western" role-playing games: their stories, their histories, their mechanics, their insanity, and their inanity. This week Rowan explores the one-year anniversary of Skyrim, a game that – despite critical and commercial success, including a 5-star review from Joystiq – he still can't get a good handle on. The Elder Scrolls V: Skyrim hit the first anniversary of its 2011 release this month. Despite a year's worth of play, criticism, mods, and add-ons, I still don't have a good handle on Skyrim in its entirety. It's a game that I'm happy to have played, and recommend highly to anyone who might enjoy it and can afford it. But it's also a game that I give up on fairly quickly, every time I start a new character.The reason I want Skyrim to hold my interest is because I have a strong, positive gut reaction to much of what Skyrim does. Some of my favorite occasions in games occur when you come to an overlook and catch a moment of sheer beauty. When you wander into a snow-covered town and the music gently plays in the background. When game systems combine and something new emerges from what had been previously predictable. In these moments the experience feels just right. Moments like this help to enhance the experience, unfolding into something grand.And Skyrim is full of these occasions. Bethesda's latest title in the longstanding franchise has the relative beauty of Ultima VII, the magic of Daggerfall, and the emergent narrative of Far Cry 2. I get sequences in Skyrim where I'm faced with an impending dragon attack, introducing a beast much too powerful for my character. Worried about my survival, I duck into a tomb for safety only to be greeted by the most powerful undead adversary I've yet to meet. Stuck between both, and at the edge of a cliff, I fall and hope to catch tiny ledges on my way down. If I survive, the music calms and I can limp into town to lick my wounds and consider my next step.
The future of the Western role-playing game
This is a weekly column from freelancer Rowan Kaiser, which focuses on "Western" role-playing games: their stories, their histories, their mechanics, their insanity, and their inanity. Here in November, we're nearing the end of the current console generation, as the Wii U kicks off the next gen by replacing the Wii. That particular change may not affect western RPG fans – then again, with Mass Effect heading to the Wii U, it may – but it does mean that it may be worth thinking about what the future holds for role-playing games. Even for those of us who are PC gamers, console generations still work well as historical markers. The era of Diablo and Baldur's Gate evolved into The Elder Scrolls III: Morrowind and Star Wars: Knights of the Old Republic, for example.I am not anticipating immense changes, for two reasons. First, RPGs are more resistant to change than most other genres. Second, as a general historical rule, I tend to bet on "things staying roughly the same" over "things changing dramatically" unless there's reason to believe otherwise. And right now, I don't think there is. Video game tech seems to be getting shinier, faster, and smaller, but I don't see anything potentially disruptive in the way that CD storage was on the horizon. Moreover, I'd say that in general, the pace of change has slowed. Today's games are closer in looks and play than to KOTOR and Morrowind than those were to Ultima VII and Arena roughly a decade before.This doesn't mean that there won't be changes – I'm much happier with RPGs today than I was during the early 2000s – but rather, that they won't necessarily be technological changes. Still, there are some trends that I expect to see continue, or falter.
How RPGs colonized some of 2012's best games
This is a weekly column from freelancer Rowan Kaiser, which focuses on "Western" role-playing games: their stories, their histories, their mechanics, their insanity, and their inanity. 2012 may not be remembered as a fantastic year for pure western role-playing games (especially without a Skyrim to sweep the end-of-year awards) but it's been a great year for me as a video game fan. Why? Because many of the "best games of the year" may not be RPGs, but they've adapted some of the best components of RPGs to become stronger games.XCOM: Enemy Unknown, for example, is one of the best-received games of 2012, due in part to its use of RPG mechanics. Tactics games are often associated with RPGs (especially Japanese-style tactics games) but the connection isn't always so concrete with "western" games. For example, I don't really qualify the original X-COM: UFO Defense as an RPG, due to its too-large squads filled with personality-free squaddies, whereas Jagged Alliance 2 certainly fit the mold.XCOM tweaks the initial game's form in ways that align with traditional role-playing games. The squad size is limited to 4-6 characters, traditional RPG numbers, and only having one base means you rarely need large numbers of squaddies – I never had more than 15 at once, and even that was high due to playing on "Classic" difficulty. It also slightly decreases the importance of the strategic decision-making level, putting the focus on the characters in the field.
How Torchlight 2 gets character progression so right
This is a weekly column from freelancer Rowan Kaiser, which focuses on "Western" role-playing games: their stories, their histories, their mechanics, their insanity, and their inanity. Here's the moment I realized I loved Torchlight 2: It's the screenshot right above this. This is an Engineer. He's actually my second engineer, and probably the sixth or seventh character I made – although most of the others had only been played for a few minutes. In this case, I created him because my previous main character, around level 40, was running into extreme, frustrating difficulty in the third act. He was also intended to be used primarily in multiplayer, built upon the Engineer's more supportive skill tree (Construction) for which hand cannons are the ideal weapon.Then I bought him a helmet that looked like a mask, and I realized: I'd just made a Big Daddy from BioShock. And playing my Big Daddy was some of the most fun I'd ever had in an action RPG.Aesthetically, it's good to look at. It's not just the excellent paper doll effects, it's also the way the Engineer carries the cannon and the recoil when firing. I actually found the original Torchlight's aesthetics off-putting, but tweaks in setting, tone, and graphics did just enough that my distaste turned to enjoyment. While that's a necessary component of what made me enjoy my 'Construction' Engineer, it's not the most important aspect.%Gallery-166151%
What makes a classic RPG? Everything!
This is a weekly column from freelancer Rowan Kaiser, which focuses on "Western" role-playing games: their stories, their histories, their mechanics, their insanity, and their inanity. In the past few weeks, I've noticed a few different sources that have used isometric perspective as an indicator of classic role-playing games. First, GOG.com advertised the new throwback RPG Inquisitor by saying it was "true to the isometric roots of classic PC gaming." Then Obsidian's Project Eternity Kickstarter heralded its isometric perspective regularly.I found this focus on perspective to be a little confusing. Certainly I love Diablo and Fallout and other isometric RPGs, but the genre has such variety in it that focusing single components seems narrow. But what if I was wrong? What if classic RPGs actually are almost all isometric, or turn-based, or story-driven, or open-world? What if there isn't that much variety after all?So I decided to test my theory that classic RPGs come in a variety of flavors. I made a list of the most important and famous western, non-massively multiplayer role-playing games – which spanned 50 titles. Then I looked at the components that usually distinguish RPGs from one another: perspective, combat style, complexity of character development, story importance, whether there are puzzles, geography, and how the game provides the character(s) you control. What I found is that the RPG genre is not easily categorized. What I found was a genre filled of diverse titles.