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bltngames · 4 years

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Review: Lloyd the Monkey 2

Back before TSSZ News imploded, I would often do write-ups for many of the games at the Sonic Amateur Games Expo (SAGE). SAGE is an annual online expo that I started all the way back in September of 2000. I personally ran SAGE for over a year, and remained deeply hands on for at least another two years as it continued to grow. The main focus of SAGE was primarily to showcase fangames, in particular Sonic fangames, but the event never limited itself to any one type of game. It's never been uncommon to see original games appear in the lineup -- especially now, given the modern indie scene.

One such original game was Lloyd the Monkey, a bit of a strange game, written in Javascript of all things and run through a webpage. That by itself was notable enough to stand out from most of the games at SAGE, but Lloyd was also a completely original product created by someone who possibly seemed to be young and new to game development. Making games is no easy feat, especially when they’re written in Javascript and you’re doing tons of original artwork yourself. Taken as that whole, the game impressed me, even if it was more than a little rough around the edges.

Now we have Lloyd the Monkey 2, written in Unity. The developer, Noah Meyer, sent me a Steam key in order to review the game. Up top, I just want to say how I think it’s kind of brave to go all the way in putting the game on Steam and everything. It felt like just a few years ago, newer indie developers sort of had to work up to releasing their game on Steam, usually getting a few releases under their belt first. People view games differently when they’re asked to pay for them, and critics may not be so willing to let circumstances influence their review. It can be a harsh world out there for a beginner.

Lloyd 2 is a much bigger, more ambitious game than the first. Whereas the original Lloyd didn’t even have sound effects, Lloyd 2 introduces voiced cutscenes, some of which are full-on animated cinematics. Quality is about what you would expect -- I would assume the developer sought out friends and acquaintances to voice characters in Lloyd 2, leading to wildly varying audio quality due to differences in recording hardware. Lloyd himself sounds fine, but some of the other characters are a bit quiet, while others have clear background noise. Nothing I heard was unlistenable, however.

The story is also a little hard to follow. Not much is done to refresh our memories as to who anyone is or what’s going on, we’re just kind of thrown into the middle of things and turned loose. On one hand, it’s nice that the story doesn’t slow the pace of the gameplay down too much. On the other, you’re given a map screen with different objectives to clear but there’s very little context as to what you’re doing or why. At one point I made my way to the end of a Power Plant level only to confront what appeared to be an evil monkey. Despite a whole cutscene involving a conversation between four or five different people, this evil monkey never seemed to say a single word. He just stood there in total silence with a sinister smile. Then I killed him.

I suppose maybe I missed something, however. With greater ambitions comes a number of unfortunate bugs in Lloyd 2, one of which happened not long after our monkey and his crew landed on planet Grecia. I entered what appeared to be a castle to talk to the Queen, but I think the game expected me to take a lower route, where I was apparently meant to overhear the Queen making secret preparations before my arrival. Instead, I took the direct route straight to her chambers, and triggered the cutscene with Lloyd standing in front of her while ominous music played, even though the camera was still clearly focused on the next floor down. I apparently still had some amount of control, because midway through her dialog I touched a teleporter that sent me to the game’s map screen before she was done talking. If that cutscene was meant to give context to what I was doing, I didn’t get a chance to see it.

That was one of the more harmless bugs in my time spent playing Lloyd 2. Harder to ignore was the fact that, within the first 30 seconds of getting control, I soft locked the game. Lloyd 2 opens with a short prologue section where you play as a man with black hair. If you decide to ignore the obvious and go left instead of right, you quickly run out of solid level tiles and begin falling indefinitely. Later areas feature invisible walls presumably to prevent this exact scenario, but for whatever reason they weren’t implemented in the prologue.

For the most part, Lloyd 2 seems to be a co-op game. Many levels see Lloyd teamed up with an alien princess named Lura, with gameplay vaguely reminiscent of Mega Man X crossed with the tag mechanic from Sonic Mania’s Encore Mode. At the touch of a button, you can switch between the Swordsman Lloyd and the more projectile-based Lura… assuming your partner is still alive, I guess. While playing alone, your partner is controlled by artificial intelligence, but it’s incredibly basic and prone to accidentally committing suicide. That wouldn’t be such a big deal (considering Tails in Sonic 2 never acted in self-preservation either), but once your partner dies, they stay dead. Your only option to bring them back is to either restart the stage or hope another cutscene triggers, since they’ll magically spring back to life in order to say their dialog (though, again, usually only seconds before they fall back into the next death pit).

This might not be much of a problem, depending on your viewpoint. There’s not much incentive to switch between Lloyd and Lura, so once you pick whoever you think works the best, chances are, you’ll just stick with them. You do unlock special team-up attacks after beating each boss, but this just reinforces the idea that Lloyd the Monkey 2 is meant to be experienced with another person holding a second controller, as most of the team-up attacks require both characters to do something specific that the single player artificial intelligence usually can’t interpret. Regardless, the team-up attacks never seem strictly necessary to progress, so they can be safely ignored if you’re playing solo.

I understand this is a pretty negative review I’ve written here. Lloyd the Monkey 2 aims high and tries to the best of its ability to get there. I assume it was a struggle to get even this far. Making games is hard work, and like any skill, takes practice to get good at. Just because this is Lloyd the Monkey 2 doesn’t mean Noah Meyer, its developer, is automatically an expert. I'm sure he's doing his best, and, quality aside, this game has a lot of heart put into it. This isn’t something cheap, quick, or lazy. It’s really, genuinely trying, and that matters.

I’ve said a few times here and there that I see pieces of myself in the releases of Lloyd the Monkey, and I still see them here. I remember, for an early SAGE event, I was working on a fangame project of mine called The Fated Hour. I was probably already a year or two or maybe even three deep in the game by now, and after a lot of hyping up the community, this was their first chance to play the game. I spent months and months coding this iteration of my engine, and by my standards back then, it seemed like bleeding edge technology. I felt like I was going to blow everyone's minds.

It was a mess. Few were impressed. Even worse, the game straight up didn’t even run correctly for some people. What followed was multiple patches, and even rebuilding some entire areas from scratch. My ambitions got the better of me and I unintentionally cut corners -- not because I was trying to cheap out on doing proper development, but just because I simply didn’t know any better. I may have done the best I knew how to do, but I was running faster than my body could keep up with and I stumbled.

When I see things like the missing invisible walls in the prologue, or how easily partner characters commit suicide by accident, I think back to that demo for The Fated Hour, and how I've been in this exact place myself. There’s even a side quest in Lloyd 2 where you have to track a floating girl as she drifts through a level -- there was a nearly identical set piece in The Fated Hour, where you were chasing a robot. It’s a very strange feeling to see something like that and think, “I’ve been here before.” Like looking through a window at a younger version of yourself.

It’s true that I stumbled, but I didn’t let that stop me. I learned by doing. I kept going. Three years later, a game of mine was featured on TV, leading to more than a million downloads. The mistakes of past projects did not weigh me down and I soldiered onwards, newfound knowledge in hand.

So where does that leave us with Lloyd the Monkey 2, then. Well, it's not exactly a game to compete with Super Mario Odyssey, but given the circumstances in which it was created, I don't think that's necessarily the point. As a learning experience clearly made for the fun of its own creation, I think it's a success. And who knows what awaits in the years to come?

#writing #review #lloyd the monkey 2 #steam #noah meyer

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howaminotinthestrokesyet · 3 years

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Behind The Album: Chinese Democracy (The History)

There exists only one way to describe the more than 10 year odyssey that was the album, Chinese Democracy, surreal. To put it into the words of a famous Doors song, strange days. Work on the album began in 1997 after a new lineup of the band has been confirmed upon the departure of Duff McKagan. The roster would change substantially throughout the next 10 years sometimes depending on the mood of Axl Rose. Geffen Records had hoped to release the album in 1999, but it was delayed again and again causing the budget to balloon to $13 million when it was all said and done. They pulled any financial backing of the album in 2005. This album became the most expensive one ever produced in the history of rock music. Many people, fans and writers alike, never thought that it would ever see the light of day. Writer Chuck Klosterman even wrote a fake review of it for April Fools’ Day for Spin Magazine calling it the greatest album ever made. Let me now take a look at the surreal odyssey that would probably be really hard to think up, if it had not happened for real.

The inspiration for the album began in 1994 when Axl Rose became quite enamored with electronica and industrial rock with an eye towards the work of Nine Inch Nails at that time. By 1997, lead guitarist Slash had already left the group leading Rose to replace him with Robin Finck. He was the touring guitarist for Nine Inch Nails. That same year Matt Sorum was fired for objecting to the inclusion of Rose’s friend Paul Tobias in the band. He was replaced by Nine Inch Nails drummer, Chris Vrena. Yet, his tenure with the band did not last long, so he was replaced by Josh Freese. Former replacements bassist Tommy Stinson would replace Duff McKagan by 1998. Several producers were approached to help with the album including Steve Lilywhite and Rick Rubin. At one point, they even considered asking Moby to sign on as producer. Surprisingly, he had nothing but good things to say about the possibility of working on the album. “They're writing with a lot of loops, and believe it or not, they're doing it better than anybody I've heard lately." By the middle of 1998, the producer Youth was brought in to work on the album. Previously, he had worked on projects with U2 and the Verve. He immediately felt very pessimistic about any recording sessions that could occur because of Rose’s state of mind. “He kind of pulled out ... He was quite isolated. There weren't very many people I think he could trust. It was very difficult to penetrate the walls he'd built up." Youth quickly left the project after growing increasingly frustrated by the lack of interaction from Axl. For his part, the singer was still reeling from his break up in the mid-1990’s with Stephanie Seymour. He would go on to talk about this in a later interview saying he had stopped writing any music for a couple of years due to it. Rose completely disappeared from anything to do with the album, but he told recording engineers to write down any ideas other band members had for songs. He would receive CDs and data files each week that eventually were combined to make almost 1000 discs.

The goal of the album was to create a Guns N’ Roses record with an electronica influence. Mainstream media had described it repeatedly as an industrial rock album, but Rose argued with that assessment saying that many different genres would make up the album. In 1998, the band began working at Rumbo Studios in the San Fernando Valley, which was the same place that parts of Appetite For Destruction were recorded. Geffen Records had offered to pay the band $1 million to finish the album by March 1, 1999. This was on top of the initial payment of $1 million. Of course, the band completely missed that deadline, but by the spring of 1999 they had recorded 30 songs. Brian May had been brought in to play on the song “Catcher in the Rye.” His part was eventually removed, but nobody from the band told him that until the record was released in 2008. The album had been originally titled 2000 Intentions, but Axl changed it to Chinese Democracy in 1999. He would say, “There's a lot of Chinese democracy movements, and it's something that there's a lot of talk about, and it's something that will be nice to see. It could also just be like an ironic statement. I don't know, I just like the sound of it." According to Rose, the band had recorded enough material for two albums by 1999. Singer Sebastian Bach who contributed on the album said that Rose told him the initial plan. They were going to release one album, then tour for a year or two, then release a second album. The hope was to eventually release a trilogy of albums. At the end of 1999, GNR released their first song in several years as part of The End of Days soundtrack entitled, “Oh My God.” Reviews of the song were quite mixed as it did very little to increase the enthusiasm for the new album. The song had been personally selected by Jimmy Iovine, the head of Geffen/Interscope, after listening to all the tracks. At the same time, several members of the band left to join other projects. Robin Finck rejoined Nine Inch Nails, while drummer Josh Freese joined A Perfect Circle. Current producer Sean Beavan, who worked on 35 tracks, also left the project. In 2000, Axel said in a Rolling Stone interview that one big reason for the delays was the fact that he needed to learn the ProTools technology.

In early 2000, manager Doug Goldstein said that the album was 99% finished, which meant most likely a summer release. Yet, Rose hired Roy Thomas Baker as a new producer at that time, who persuaded him to completely re-record the entire album. Around the same time, he also hired a new guitarist by the name of Buckethead, who always wore a white mask and a Kentucky Fried Chicken bucket on his head when playing live. Based on Buckethead’s recommendation, a drummer by the name of Brain was hired to re-record all the previous drum parts from Freese. The issue had been that Axl wanted people currently in the band to be heard on the record, but the problem was Freese had done a very good job on all of the tracks. They essentially asked Brain to literally copy the style of the previous guy rather than use what had been produced in the first place.

In March 2001, Geffen head Jimmy Iovine hired Tom Zataut as a kind of middle man to get the band moving on finishing the album. The irony being that Zataut had been fired two years previously by Geffen. Yet, they brought him in because he had guided GNR successfully through other albums. At first, Rose did not want Zataut’s inclusion on the project. He did begin to change his mind was as he helped to re-create the opening drum sound of Nirvana‘s Never Mind for Rose. He was then welcomed with open arms after the approval by Axl’s personal psychic, who judged his aura based on photographs. The next crisis was that Buckethead decided to quit the band after the apparent lack of progress on the album. Zataut was able to convince him to return by building him a chicken coop within the recording studio, metal wires and all. The building of it was always downplayed as nothing serious, but a bit of a joke for Buckethead’s very unique sense of humor. A problem sprang up when he began to bother Axl in the studio by playing hardcore pornography too loudly in his chicken coop. Zataut also discovered that the band was spending almost $75,000 a day renting equipment that was not being used because Rose never came into the studio half the time. “These fucking people are getting paid shitloads of money and they're sitting on their arse doing nothing because Axl's not coming to the studio and they can't get him on the phone." In 2001, the band had completed 48 songs for the album, while they still had probably 5 to 10 more in development. Before the end of 2001, Rose fired Zataut because he failed to get him a private screening of the movie Blackhawk Down because Ridley Scott had asked if he could use “Welcome to the Jungle” in the film.

The band played the occasional live show as well including a headlining slot at Rock in Rio in 2001. In August 2002, they debuted their first new live song in over a decade playing “Madagascar” at the MTV Video Music Awards. That same month, Rose gave two conflicting statements to MTV about the status of the album. In one, he said they were just wrapping it up, while the other statement said that he would not use the word soon about its release. His reason for the delay now was the fact that the record company was not doing anything to help him as he had taken on many more responsibilities than previously on any other record. In the middle of 2003, they started to re-record the album once again. Tommy Stinson talked about why the album took so long to create. “What really happened was the record company stood back and left Axl to his own devices. He had to basically produce himself, and that's not what he (wanted to do)... the record company really dropped the ball on this one ... everything changed when Geffen merged with Interscope. Axl was told that Jimmy Iovine would play more of a role (than he did).” A sound engineer also had a particular insightful comment about the delays mentioning that Rose was too much of a perfectionist trying to make the greatest album ever made. There are going to be lengthy delays in that kind of attempt. By 2004, Buckethead had officially quit the group, but they were supposedly doing the masters at the end of the year. Another issue emerged at that time when the record company withdrew all funding for the album. They removed it from its release schedule and any future promotional efforts were abandoned. Rose would be required to fund the remainder of the album. Two years would pass before any news of note came from the band until early 2006 when several songs leaked online. Later that year, another song leaked within a Harley Davidson ad causing even more controversy. Leaks continued to come out for the next two years until the album was eventually released in 2008. Yet, the album did finally have a supposed release date of November 21, 2006. In anticipation of this, Rose held 10 listening parties throughout New York City showcasing some of the new tracks. In December, he quickly did a U-turn announcing that he needed more time to work on the album. The release date was pushed back to 2007, and for the first time there was an official date. Of course, the band missed this date as well.

By this time, Buckethead had been replaced by another guitarist with another unique name, Bumblefoot. The final vocals were recorded in January 2007 for the album, with the hope that it could be mixed by the end of the year for a Christmas release date. In January 2008, rumors spread all over the Internet that the album had actually been handed to Geffen Records. Yet, once again arguments between Rose and the record company ensued as they could not agree on any marketing plan for the album. In September 2008, the album had its first track released “Shackler’s Revenge” made available for the game, Rock Band 2. The full album would be released in October 2008. The fight with Geffen continued after the album's release. Rose did not give a full interview about the album until February 2009. There was literally zero promotion of the album except for advertisements for Best Buy, who exclusively sold the album. For his part, Rose refused to answer any phone calls or emails from the record company asking him to do anything related to promotion. Billboard would later report that both sides completely dropped the ball on the most anticipated rock record of the entire decade. In China, the album was banned because of the negative connotation the title had towards their treatment of government. In another development, Dr. Pepper had pledged to give anyone in the country a free Dr Pepper, if the album was released in 2008. Upon his release, they decided to maintain that pledge, but their servers crashed when too many people went on their site for a free coupon. This would end up in court as well as Rose blamed a part of the lack of promotion of the new album on Dr. Pepper’s failure to successfully manage this free giveaway. The group now went on tour for almost 3 years to promote the new album. They also needed to make money as their former manager had sued them for almost $2 million. The lawsuit was settled in 2011 for an undisclosed amount. The question now becomes as to whether the album was any good.

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