Two's Company and Three's a Crowd

An age-old debate: 2d platformers or 3d platformers?

Honestly this question isn’t something I really need to think about: 2d all the way. I grew up with eight bit and 16 bit games and, as far as I’m concerned, they did the job nicely and still do today.

My experience with 3d platformers has been varied: I recall the first time I played Super Mario 64 on the N64 and, having enjoyed both Super Mario World and Super Mario Bros 3, experiencing some kind of culture shock: I had no idea what I was supposed to do with Mario or where I was supposed to go. Consequently much of my time in Super Mario 64 was spent running around like a headless chook. Latter still I found many 3d platformers seemed unclear as to not only where to go but how to get there: At times my experience with 3d platformers was awash with difficulty in distinguishing what was a ledge and what was scenery – And anyone who tells me they haven’t slipped up a complicated jumping onto  something they thought they could hang onto is a liar.
I also didn’t appreciate the fact that much the graphics looked really ugly – a fact not helped years later as many fifth generation games have not aged well in the graphics department.  And matters were not helped by a wonky camera that seemed to refuse to go where the player wanted it to.

And that pretty much sums up my feelings towards 3d platformers: Unclear paths, hideous graphics and a resentful camera. Major problems that, to me, was more than enough as a deal-breaker. And having come from the 16-bit era, these flaws came across as being a major regressive step – why try and ruin that which was working so well already? Indeed, these problems were, and still remain, the reasons why I loved 3d platforms: The screen moved with the PC, they looked nice (some even hold up really well today) and it was always clear where the player was meant to go (not to mention the thrill of finding new paths to get to the exit). That and they were tremendous fun to play.

Now that’s not to say that I’ve found 3d platformers that I’ve enjoyed – Prince of Persia Sands of Time comes to mind – but that had a great narrative and a fun time-rewind mechanic to back it up. In fact I’ve found that when a 3d platformer is offering something else, I will latch onto the ‘something else’ and lo and behold, I find I can really enjoy the game itself (ie Ico, Shadow of the Colossus, NiGHTS and God of War).

As for the 2d platformers, I love them and I still do. And I suspect I’ll still be enjoying them ten years from now. I still finding some being made today (Eversion anyone?) and they are still as compelling as ever. I think that is how I feel about the conflict between 2d and 3d – I’ve become so accustomed on 2d so for 3d to grab my attention it had better offer something else on top.

Your move 3d platformers

Prince Megahit

I was expecting that last post to inspire a tsunami of disgust and contempt - but none such came. Somehow, it seems strangely disappointing.

Anyway, here's something I came across recently: Footage of the Commodore 64 version of the original Prince of Persia:



I heard about a C64 conversion of Prince of Persia about twenty years ago: back then the C64 was slowly on the way out but I knew of Prince of Persia and was kinda excited about it. Of course, the conversion was started but never showed up - and it is only now, as in the past twelve months, that the someone has finally completed the game and unleashed on an unsuspecting world.

Looking at the video itself - I'm....astonished. I was a loyal C64 user for many years but seeing this I never knew the C64 could produce something like this. Sure there were some great games on the C64 that involved the system being pushed to the limit (the Last Ninja series comes to mind) but this is staggering. I said last week in my assessment of Double Dragon that the C64 was capable of so much better and here is all the proof I'll ever need.
It goes to show that sometimes great games can come out of an then aging system being squeezed for every last ounce of oomph (see: God of War and Chrono Trigger for other examples)

Angels brought me here

I've been away from my blog for a week because I've been in that horrible place known as the outside world hiking in the Tasmanian wilderness. Thus I haven't had much time to play games but now normal business can be resumed

It’s been stated before in this blog that I’ve not played any of the Tomb Raider games. It’s true: They never really grabbed my interest and the mass exposure didn’t help: Indeed, there was a time where Lara Croft’s mug was everywhere to the point when I just got sick and tired of her. Of course such a stance isn’t the brightest of moves but I’ve personally maintained that there is often great clarity to be had being on the outside looking in.

But you can only stick your head in the sand for so long. I may have said some nasty things about Lara but it was kinda stupid to do so seeing I’ve never played any Tomb Raider. Needless to day I’d painted myself into a corner and needed to get out – solution? Shut up and play a Tomb Raider game.

So it may come to a surprise to some of you that I’ve actually had a Tomb Raider game lying around in my collection for a number of years. How long it’s been there I don’t know but I know how it came into my hands: I made an order with Australian game store The Gamesmen and, for some reason, Tomb Raider: Angel of Darkness came with it. I’m not sure why this so - Maybe they thought me a loyal customer? But whatever: I’m certainly not one to pass up a freebie.
So whilst Angel of Darkness may not have been my choice of game, I had heard a little of it beforehand – namely that it’s now recognised as being one of Lara’s lesser moments. In addition, Angel of Darkness was notable for introducing the playable character of Kurtis Trent who was obviously made out to be a male counterpart to Lara – although the fact that the character hasn’t been seen since speaks volumes at the effectiveness of such a move (maybe he changed his name to Nathan Drake and relocated to a different game? I don’t know).



So far, playing Angel of Darkness hasn’t gotten off to a good start. As this is the PC version I’m using, I’ve found using a keyboard awkward and the controls rather stiff and anything but engaging. And Lara herself moves with an odd lack of urgency: At one point she needs to escape a building that’s being filled with gas but she does so strolling casually around – as opposed to say, oh I don’t know, running?! I mean I did use the sprint button but it didn’t seem to last long and it did trigger a bleeping noise – as if the game resented me for doing so.
And I’m being reminded why I’m not too keen on 3d plat formers: Most often than not, they usually involve a sequence of acrobatic flips that the player must perform correctly – should the player fail to do so, they will need to perform the sequence all over again. I hate it when games make me do that – it takes one slip up and bam! You’re back where you started facing the dictating demands of a game that doesn’t seem to like you. Hey at least Prince of Persia Sands of Time had the saving grace of the rewind time feature but, alas and alack, such sequences seem to be the lifeblood of the Tomb Raider games.

But what is particularly interesting is that, more than any other game I’ve played, I’ve found playing Angel of Darkness a battle of wits. This is a game I’ve picked up with reluctance and, as such, the expectations are high. This is not a game I’m prepared to love and therefore it had better pull something off something tremendous to win me over. So far I'm not getting that vibe: Aside form the terrible controls and troublesome platforming sections, I’ve found Lara uninteresting and have pointed and laughed whenever she’s died.
Yet somehow, I’m not prepared to quit playing Angel of Darkness. Whilst there have been times when I’ve come close to chucking in the towel, something happens that pulls me back into the action. Despite the awkward nature of the controls, I’m somehow growing accustomed to them. And even when I ground my teeth at the platforming sections, I somehow win over them and keep going into the game. Thus it would seem that whereas I’m coming into the game with reluctance, it however won’t go without a fight.

So in the end, the stage is set for an ultimate battle of wits.
Who’s going to win, the game or the player? Stay tuned…

Chronicles of a Gamer (Michael Revisited)

Here's a little something I bashed out - inspired by the legendary Michael ad:

I’m the one who walked with Link on his journey
The one Princess Zelda calls when danger nears
To Ganondorf I’m his constant enemy

I told Snake how to destroy the Metal Gears
Through me he found a sense of meaning in life
And we still meet regularly to drink some beers

I showed John Marston how to kill with a knife
With me he became a Legend of the West
And I got him back with his son and wife

I went with Commander Shepard – he’ll attest
I was with him through the Omega Relay
As everyone ‘round us gave their very best

I walked with Yuna every step of the way!
Got Ico and Yorda out of the fortress!
I’m that which makes Cyberdemons run away!

I got Samus Arun through planet Zebes!
Kefka, Loughain, M Bison, I did fracture!
Even Morrigan Aensland I did impress!

I got the Little Sisters out of Rapture!
I’ve faced down lines of relentless invaders!
Made friends with a wolf god and a space hamster!

I’ve been with Avalanche and Raynor’s Raiders!
When all’s gone to hell I’m the one they rely!
And I’m a friend of many a gun trader!

I’ve fought sand demons, zombies and colossi!
For I am the gamer and I’ve done it all
And in the eyes of my comrades, I’m their guy

Curse of the Burnout 3

I've spoken a lot about the brutal, unforgiving nature of the AI in Burnout 3 before. No other game has such a nasty AI and no other game has left me screaming insults at the TV screen.
So today, I present, a list of things I have uttered upon crashing in Burnout 3:

"BULLSHIT!" (most frequented)
"Where did that come from?!"
".......................................HOW?!?!?"
"Are you shitting me?!?!"
"Come on come on! You can make the Afte.....OH COME ON!!!"
"HELLLOOOO?! Steering?!?!? Where are YOOUUUUUUU?!?!?!!?"
"Is this for me getting a Perfect on that last lap?!?"
"These cars can't be made of metal! They must be made of cheap Taiwanese plastics!!!"
"That was miles away!!!!!!"
"Where's the Time reverse mechanic from Sands of Time when you need it?!?"
"You know sometimes I wonder why I bother with Aftertouch"
"Well there goes the first place"
"Well looks like I won't be catching him now"
"Somehow I bet the physics programmer is jacking off to this..."
"Well excuse me for trying to keep up!!!!"
"Well excuse me for playing!!!!"
"What the hell is a rage quit?!"

31 Songs (no.4)

And here go with another installment to this series - Hope you've been enjoying what's been written up about already!
So, the sixth generation. Well I've said a lot already so there any more that can be added to it? Well yes there is.
So here we go!

Final Fantasy X - To Zanarkand

It’s a moment frozen in time: My first encounter with Final Fantasy. I pop the disc into my new PS2 and am immediately confronted with a solemn piano piece – that eventually leads to the images of the ruined Zanarkand and an introduction to the main cast.
So yes, I’ve always enjoyed this theme – but looking back in the five years since I first heard it, I can actually see something different: I’m really impressed by its simplicity. Sure that may have been the factor that won me over initially but now, having played more than a few JRPG’s where simplicity and subtlety a more or less foreign concepts, hearing something handled in such a manner is indeed a rare treat to behold. And besides it’s not often you hear a game tune being played out entirely as a piece on a sole piano – so to hear this – and as an opening theme no less – is a bold move but a welcome one at that. Matters are helped considerably in that the tune itself is a pretty damn good one.
Interestingly enough, I went to a friend’s wedding back in 2007 and they actually had this playing for the Bridal entry theme. It’s kind of funny when you hear this in such a serious context and you immediately recognise not only the theme but where it came from (as a footnote, I happened to be standing next to the person playing this theme on the piano and said “You’ve got taste!”).


Ico - You Were There

Much of the Ico soundtrack is minimalist, indeed much like the game itself, but for a concluding theme it seems they went all out with this one. Aside from the wonderful use of the mandolin and the rather unusual percussion, what really makes this them stand out for me is the child soprano. It may seem a complete left-of-field decision to have a child soprano for gaming theme but then again, Team Ico have practically made a career out of not playing by the rules of gaming convention.
Ultimately this is one theme that evokes plenty of emotions: the despair that the liberation that came may not have been the one that Ico and Yorda were hoping for, the sense of the stepping out from the shadows of the ruined castle and into the sunshine, the completion of the quest, the end of an era with the collapse of the ancient castle and the end of the evil queen’s very long life. And the fact that it shows flashbacks of Ico and Yorda’s adventure is the icing on the cake and works even more to the theme.
There’s not much more I can really say about this really. Ico is indeed a game that reaps a lot of emotional investment from the player and this is really the pinnacle of the experience. It’s a great theme and indeed one of the few game themes I can listen to eagerly without the game itself.
But what I am doing harping on about this? Just listen to it and draw your own conclusions.


Okami - Shinshu Fields

Well what can I say about the soundtrack to Okami? For starter’s how about it’s loaded with the most beautiful pieces of music I’ve ever heard in a video game? Yeah that’ll do.
On paper, the incorporation of classical Japanese instrumentation may sound bizarre for a video game but here it works. It’s in line with the theme of the game, which drew heavily from classical Japanese artwork and mythology, and works a treat. And I believe that unique nature of Okami’s music, the taiko drums and the pipes, make it stand head and shoulders over a lot of other game soundtracks out there. It fits the mood and tone for the rest of the game and really seems like music fit for a god.
And Shinshu Fields has to rank as my favourite piece in the game. It really encapsulates the mood of running out into a wide field in the sunshine to take up a glorious adventure (with a thousand flowers blossoming in one’s wake). Apparently the makers of Okami were inspired to build a connection with nature and this theme really represents that goal achieved in more ways than one. It starts of really simple and glorious and then halfway, it gets busy with some other instruments coming into the song – now whilst this may sound like bad thing, the new direction never ones loses it’s way and never once overpowers the rest of the song. And for a game theme to do that, when all is bombast, is actually a feat indeed.
Indeed, when playing Okami I always looked forward to coming back to the Shinshu Fields just to hear this glorious theme. If that isn’t the mark of a great video game theme then I don’t know what is.


Prince of Persia: Sands of Time - Farewell Princess

Here's a fun fact: The composer who wrote the music to the Sands of Time games was Stuart Chatwood, bass player of Canadian Gothic Rock band the Tea Party. This band was one I followed through High School and College and eventually became the first band I saw live back in 1999 ;)
This in turn influences my assessment of the soundtrack to Prince of Persia: Sands of Time. I enjoyed the Tea Party for it’s combination of Middle Eastern and rock guitars. So it’s interesting to see what they were doing being replicated into a video game soundtrack. Of course, the sound track to Prince of Persia: Sands of Time sounds pretty cool on its own but it’s indeed fun to see something you grew accustomed to as teenager being taken into a different context.
And in the case of Farewell Princess, thing about that strikes me straight off the bat is the rhythm in this song: namely the relentless drum beat and the rumbling bass line. Indeed, there is really a sinister feel, which makes the tune all the better for it, accompanied by the synthesizer effects and the horn sound. It’s perfect music to listen to when traveling across a large expanse of desert. The intro part (note the reversed section!) is also kinda cool too.
So which do I like better: this or Time Only Knows? Good question. I suppose I have to go with this because I found that once you take out the vocals, the attention is immediately drawn to the instrumentation itself which still sounds pretty fantastic on its own.


Shadow of the Colossus - To the Ancient Lands

It’s the first theme the player hears in this game and pretty much establishes the rest of the game. In fact so much is explained in this theme that watching the introductory movie – where Wander journeys with horse to a forbidden land and eventually crosses a bridge that can’t possibly exist – comes across as more strange than exciting. Not that that’s a bad thing of course but it’s interesting to inspire attraction from the bizarre and unusual rather than an adrenalin rush.
I’m impressed by how many moods are conveyed through the course of this theme: Wonder, bewilderment, journeying, trespassing, defying an ancient order, and the thought of taking up a quest that is somewhat questionable. Also, there is a lot going on in this theme with strings, choral vocals, an organ and a zither. But here everything is arranged in an economical sense and never once does anything feel out of place. It’s never over-powered and sounds to perfectly fit. Each portion of the song comes in, says its part and then makes way for the next one.
But ultimately, I really like this theme for the many ideas and emotions it manages to convey within the space of three and half minutes. In fact now that I think of it, this theme really does represent the ultimate of game music: Explaining what they’re all about within the context of the music. Many games may try to but To the Ancient Land, IMHO, nailed it.
And you know what? I don’t think it was even trying.


Skies of Arcadia - Kingdom of Ixataka

Throughout this series I’ve made mention that there have been several game soundtracks where every track is a gem. So do I have a favourite? Oh come on! I’m having hard time enough as it is selecting one piece from the soundtracks I like! But I have to say, without hesitation, that the Skies of Arcadia soundtrack is definitely up there in amongst the best.
Whilst the soundtrack to Skies of Arcadia may never reach the same level of respectability that the Final Fantasy achieved, that’s not to say that there isn’t anything of interest in it. Indeed, the soundtrack to Skies of Arcadia boasts a lot of diversity in styles & mood and some really delightfully charming pieces. Some are energetic and exciting, some are goofy and comical, and others are solemn and serious. It may sound like a scattershot score but never once does the Skies of Arcadia soundtrack lose its footing.
So what to choose? Good question: The Main Theme’s great, Gilder’s Theme’s great, Sailor Island’s great, Ruins Dungeon’s great and I even like how the music in the Boss themes change to reflect the state of the battle (calamitous for losing, energetic for winning). But I have to admit one stands out more than any of the others. Which now brings me to Kingdom of Ixataka: I’m not sure why this theme has managed to win me over: maybe it’s the tribal feel, the pipes melody or maybe it really fits the jungle setting it originates from. Maybe it really suits the summer feel? Or maybe it’s a damn snappy song? Yeah let’s go with that.


And thus there is my thoughts and recollections of some of my favorite video game themes. I pretty much set out to do in taking you readers along on a journey through time and picking out the themes that I loved over the years. And what you've just witnessed is thirty of the best.
So what about the current generation then? Well I have to confess: Nothing I've heard have really grabbed my attention. Whereas the music of the previous generations have provided a substantial selection, the current generation has left it hard to think up a handful. I could mention Still Alive from Portal but I refuse to submit to the obvious. That and it kind of breaks the limit of thirty songs.
But what the hell! I saw a book in my local library called 31 Songs - so if the author of that book can over the three-zero limit then I can make room for one more!
What could it be? Step forward....

Mass effect 2 - Suicide Mission

Much like its parent series, the music of Mass Effect has an epic feel, perfectly suited for a story encompassing many planets, stars, lifeforms and a universe to save from calamity. I’ve enjoyed the electronic soundtrack that backed the Mass Effect series but Suicide Mission from number 2 is really the standout piece for me. This is the sound of heading off to battle. The sound of stopping a colossal monster that can destroy a galaxy. The sound of not taking one step backwards. The sound of the weight of thousands resting on the shoulders of a scant few. The sound of a battle that may have been won but the knowledge that there’s a war that’s coming rumbling at full pelt towards you. So much commands attention in this tune: The pounding drums, the choral chanting, and the full orchestral effect. It’s epic in every sense of the word and best captures the mood of saving the universe.
True there have been many games that have worked with a world/galaxy saving plot but Mass Effect, I feel, stands out by actually addressing the stakes: It shows the preparation into going into a galaxy saving mission. It shows assembling the people you need for the job and where each one has their own character arc that needs to be resolved. It shows how every little thing can count for so much when you’re heading off to save the universe from disaster. And this theme, I feel, deals with such issues better than anyone else has ever done before or since.
So all in all, Suicide Mission is gripping, edge-of-your-seat, piece of music that leaves me with a lump in the throat every time I hear it. It's that good
And hey, you can never do better than Commander Shepard.


And so there you have it: 31 Songs and I hope you've enjoyed listening to them.
Come back later when we wrap this series up....

Suit yourself

As I was working on my list of My Favorite Gaming Heroes I heard that the Leisure Suit Larry IP has been dusted off and is set to make a return. And unlike the debacles that were Magna Cum Laude and Box Office Bust, Larry creator Al Lowe has returned and in full creative control.

And whilst I would rather new IPs being developed I do find something to like in the way that this is going: With the man who created Larry in charge it seems a welcome opportunity to erase the aforementioned duds from history. The idea that Larry is back in the hands of the man who made him and away from the people who made the terrible games is also a triumph of IP everywhere.
In addition to this announcement comes the news that the previous Larry titles will be remade and a new Larry title will be on it's way. Now normally, I would frown at the idea of remakes but here I don't mind... just as long as they:
a) take the opportunity to fix some of the errors and problems from the originals
b) maintain a degree of graphical/animation quality akin to LSL7 and
c) retain the LSL4 joke.

But there does arise a potential problem: Larry is essentially a product of his time. In the late eighties and the early nineties, anyone who was going out of their way to get laid was seen as creepy, pitiful, pathetic and a loser. Thus much of the fun from the games stemmed from Larry's efforts failing in various ways and the character himself getting his just desserts.
Nowadays, that idea has been challenged with both the arrival of the nerd/geek subculture and the notion that anyone trying to get laid isn't a loser but more along the lines of a diamond in the rough (ie American Pie). Thus the Larry of yesterday is going to come across as being completely unlikable in the era of today.
There may be a way around this problem with Larry being rewritten from a smarmy perv to a lovable, luckless, 'tomorrow's another day'-esque character. But will it work? How much can one tamper with a workable formula before the potential buyers start smelling BS?

Personally I would like to see what becomes of this plan: I can hope that some of the flaws in the original games be fixed (seriously, some of the puzzles tend to kill the gameplay horribly) but it would be interesting to see a character get a new lease of life in an industry where such things are rare. Has there ever been a character from a previous generation go under a dramatic revamp and work in a completely new generation?


















Okay, apart from this guy....

Favourite Gaming Heroes

Well who would've thunk it? I've hit two hundred posts in this blog! Yay me! Well any feat is as good as any so to acknowledge this milestone, something special.
Last year I posted a length post about my favourite gaming heroines. Since then it’s become my most popular post on this blog. So what the hell – I may as well do a long post about the other side of the coin: My Favourite Gaming Heroes!
Admittedly, taking up this task is a lot harder than coming up with a list of favourite heroines – purely because there are a lot more candidates. Nevertheless, I eventually settled on heroes that I liked, were unique in their own way or established some sort of connection with. That being said, there may be some glaring exclusions (well at least in someone else's eyes) but in that case either a) the missing hero didn't make that much of an impression or b) I haven't played (or have yet to play) the game in question.

So here we go: My favourite gaming heroes. If I ever needed to get some people together to form a posse, these are the dudes I’ll call:

11 – Kratos (God of War)
I love this guy. At a time when Playstation games were defined by pretty-boy types (ie Final Fantasy and Kingdom Hearts) along comes a protagonist who’s completely different: Ugly, muscular and violent in a brutal unflinching method. Of course, such qualities would make anyone a detestable character but here it works: I don’t know why though - maybe it’s the fear that arguing with Kratos would probably result in one getting their head caved in.
Of course, part of the appeal is that the original God of War game benefited from great writing. Seeing the lead character commit suicide at the very beginning is a strong opening move and commands attention. And as the story progressed, decent motivation was supplied in the form of revenge. In addition, the fact that it was pretty much all Kratos’ stupid fault and the extraordinary lengths he had to go to undo it all made the narrative ever the more epic and compelling.
Sadly, in the subsequent sequels, Kratos has become less interesting. Without a decent motivation, Kratos now comes across as being a violent jerk just for the sake of it. Suddenly the striking first image we see of him (plummeting to his death) is forgotten and Kratos comes across as being a parody of himself: Being a kill-crazy, revenge-obsessed psychotic because that’s pretty much all he’s good at. But that isn’t true and, as a result, Kratos claims the lowly position on this list.
Still, if you need something big and ugly dead, this is the man to call.


10 - Auron (Final Fantasy X)
The Final Fantasy games have no shortage of heroes so choosing from them is a daunting task. So after much consideration, I eventually decided to go with Auron – I mean I could’ve gone with Cloud but that seemed too obvious.
Final Fantasy X may have Tidus as the main character and Yuna’s quest as the focal point, but it is still Auron who steals the show. And who can blame him? A hard-bitten veteran warrior carrying a blade as big as himself, a man of mystery and wisdom about the alien world that is Spira, a modern-day samurai who carries with him a huge bottle of grog and perhaps the only sane one in the entire party. What’s not to like?
Whilst there have been warriors of the noble/tragic vein in previous Final Fantasy games (Freya Crescent being one such example), Auron is perhaps the accumulation of them all – He is the sole survivor of Lord Braska’s party and taking the uncompleted mission onto the next generation through a promise made to both Braska and Jecht. He bares the burden of being a man out of time and one who won’t go until his uncompleted task is finally done. But with the task left undone, Auron has left a terrible trail in his wake: He openly defied a system and ended up being cursed and restless for his trouble. Whilst this is familiar fare for the ‘veteran warrior’ archetype, Auron pulls it off in away that is all his own. Not sure how he does it though: Is it his cool head in times of crisis? Is it his connection with Tidus that makes him the likely target to find what the hell’s going on? Is because his VA actually did a good job?!
Or maybe it’s because he can cleave through the monsters like a hot knife through butter.


9 - Leon Kennedy (Resident Evil 4)
I came into the Resident Evil games rather late: Although I knew of them, I never actually played them (although, admittedly, it wasn’t hard to identify Jill Valentine in her RE3 incarnation). Therefore, like a whole lot of other people, I only got interested in the Resident Evil series through RE4. So whilst Leon may have appeared in RE2 I honestly don’t care: No.4 is where he made an impression on me and that’s where he comes in with this list.
One of the golden rules for writing a story is never make things easy for one’s protagonist. And boy does Leon go through a whole lot of hell: Sure he starts off having to rescue the president’s kidnapped daughter but what he ends up doing is dealing with psychotic villagers, dealing with psychotic monks and then psychotic pirates. He has to contend with a potential love interest who knows more then she’s letting on, grotesque monsters that just won’t lay down and die, so many people who want to see him dead and, worst of all, a shrill little bitch who can’t do jack except whining and getting kidnapped. It’s a succession of increasing disaster that would break a lesser man but not Leon.
Thus I give credit to Leon: He’s a cop turned government agent. He carries around a case of guns and ammo that miraculously halt everything when he needs to change weapons. And he still goes through hell only to come out the other side still standing. Leon’s a hero worth cheering for every step of the way and definitely someone you’d want watching your back.


8 - The Prince (Prince of Persia Sands of Time)
As an aspiring writer, I can tell you one of the rules of writing a compelling character is something called a ‘resurrection’. The story begins with a character being presented but as the story progresses they go through various trials and tribulations – thus by the end they came out the other end as someone completely different and unable to return to the person they once were. Whilst there have been several gaming characters to undergo this process, the one I feel works best is the Prince from the Sands of Time.
At the beginning, I didn’t like the Prince at all. But as the game progressed, I found him growing on me. Through the progress of the game, it’s interesting to see how the Prince hardens through the various obstacles that come his way and how, as character, he evolves from a snobby prick. He is a capable fighter, an excellent story teller and, by the end, the journey really feels worth it. I particularly like the ending, how he is pretty much the only left who knew exactly what happened and he leaves Farah in a state of bewilderment.
Ultimately, I hold the Prince as a fine example of character development done right and perhaps the best example of the resurrection theory. Now if only other game developers will catch on….


7 - Armakuni (Last Ninja series)
I can imagine some of you young pups might be saying “Who?” at this point so allow me to explain: My gaming days began when I was a kid on the eighties with the Commodore 64 – and if you had a Commodore 64 you had the Last Ninja games. It was that essential game one needed (the Halo of it's day if you will) and for good reason. At the time (late eighties), it provided a then innovative mixture of action and adventure where a ninja traversed through a 3d isometric environment collecting items and weapons, fighting bad guys, solving problems and going through fiendishly difficult jumping sections all accompanied by a rockin’ soundtrack involving a C64 SID chip being pushed to the limit. Although mostly forgotten now, it’s hard to imagine many games existing without it (Tomb Raider comes to mind).
Which brings me to Armakuni, the titular character. The game manual revealed quite a lot about his motivations: His ninja clan defied the tyrannical shogun Kunitoki who responded by having then all killed in massacre at a sacred temple. Armakuni was the survivor (through not being at the temple for some reason) and he takes it upon himself to go out for revenge. And Armakuni must be extremely pissed off to do so. Why? His vengeance-filled eyes became the box art (see above), informing that this is a ninja who isn’t fucking around - and subsequently providing one of the most unforgettable images in gaming history.
And in the sequel things started getting weird with Armakuni and Kunitoki somehow being transported through time to modern day New York (?!?) where the ninja finds himself running the gauntlet with psychotic cops, homicidal motorcyclists and the dangers of the modern world.
Growing up with the Commodore 64, Armakuni was one of my heroes – he was smart, a capable fighter and his quest for vengeance was one worth following through with. The time-travel plot was odd to say the least but it was indeed compelling to see a warrior from the feudal era adapt to a completely alien environment. And hey, anyone who can make nunchucks out of the flusher chains found in women’s toilets (yes you read that right) deserves some credit.


6 - Zidane Tribal (Final Fantasy 9)
Well there’s always room for another Final Fantasy character.
Selecting Zidane for this list is more drawn from my own experience: of all the Final Fantasy games I’ve played, Zidane was the one who I had the greatest connection with. But I’m still not sure why this is so: Was he a character who’s actually likable? Did he win me over with his womanising and his humour? Was his romance with Garnet one of those rare gaming romances that’s actually compelling? Or was he a welcome change of pace following after the cheerlessness of Cloud and Squall?
No matter: I liked Zidane a lot and I found his adventures across Final Fantasy IX compelling enough to follow all the way to the end. Even for an old, grumpy gamer like myself I couldn’t help but like the thief and his chipper/plucky/never-say-die outlook on life. In the game itself, Zidane is the representation of Virtue. And whilst virtue is usually a formula for a wimpy, so-good-it’s-sickening type character, Zidane pulls it off so well you can’t help but cheer him on. It also helps that Zidane’s cheerfulness is balanced out with him bearing the burden of loneliness and the knowledge of what his purpose is. All of this makes for a fascinating character.
I think his character description in the game manual said it all: “You don’t need a reason to help people.” It’s a philosophy that many a game character may have followed but, IMHO, Zidane is the one who embodies it fully. Go the monkey boy!


5 - James Raynor (Starcraft)
As much as I resent the narrative of Starcraft I have must give at least some credit to the writers at Blizzard: They managed to create a universe and populate it with three very different races. Each one with their own personality, motivations and colourful characters who each have their own unique voice in the game.
That being said, out of the characters in the game, James Raynor has to be the most human - an obvious statement true but still an impressive feat in a game populated by hostile aliens. He is the guy who's giving it his all but all he does is come out the other side empty-handed. And that’s what makes him so fascinating. He tries to do the best for the human colonies but he’s persecuted for doing so. He sides with an idealistic revolutionary (Arcturus) who ultimately turns out to be a power-hungry prick no better than those in the Confederacy. He has an attraction towards Kerrigan who in turn gets corrupted by the Zerg and stabs Raynor in the back (multiple times). Raynor then sides with the Protoss only to get caught up in a civil war. He then joins the fight back against the Zerg and the UED only to have those he called friends and allies dropping like flies. And because of his past failures, he ends up hitting the bottle and being surrounded by various people who try to influence his line of thinking.
Yet in the end, it’s an impressive feat that Raynor manages to stay standing. Whereas any lesser man would’ve buckled and gone nuts, Jimmy Raynor somehow staggers onward. And give him credit: When the rest of the universe goes insane and everyone’s out for themselves, at least there’s someone putting himself on the line for so many others – more so when it yields little in return.
So yes Raynor works for me as a classic example of the thankless hero – and hey, if I saw him in a bar I’d buy him a beer ;)


4 - Vyse (Skies of Arcadia)
Back in 2000, when everyone was intent on arguing on whether or not Cloud could out-emo Squall, along came a breath of fresh air: Vyse, the star of the ace RPG Skies of Arcadia. Now I will admit that I have a soft spot for this guy. And how could I not? He certainly has a lot going for him: He’s courageous, witty and certainly able to keep a cool head in any crisis situation. He is hardly one to back down from a challenge – when faced with the impossible Vyse wouldn’t run – in fact seeing it as impossible would be more than enough reason to try it himself. In addition, Vyse has an adventurous spirit, and is an able commander of his own ship who isn’t afraid to get his hands dirty and lead from the front.
But what I get the most out of Vyse is indicated by the opening sentence to that last paragraph: It seems he was made out to be an open defiance to the moody anti-heroes popularised by SquareEnix. When trouble arose, Vyse wasn’t the type to sit around moaning or grumbling – no way, he was too busy taking a stand and finding his own path. When placed in a group of companions, Vyse didn’t act resentful or anything – no he made every effort to inspire his crewmates. And when he was deemed a criminal by the opposing tyrannical empire, Vyse was laughing every step of the way.
In short, whilst Vyse may not be as well-known as other JRPGs leads but there certainly is a lot to like about him. So much so, it made his journey through Skies of Arcadia one worth taking. And for me, Vyse is a strong enough lead to make good reason to hang onto my Dreamcast and Skies of Arcadia - I'm not one to replay JRPG's but Skies of Arcadia is a rare exception.
So yeah, Vyse certainly a captain I would follow – and anyone who can fight with a blade in each hand is a winner in my book.


3. Link (Legend of Zelda series)
Link! He come to town! Come to SAVE! The Princess Zel-Dah! Ganon took her away, now the children don’t play, but they will when Link saves the day – HALLUJEAH!!!!
*ahem* Well what can I say about Link that hasn’t been said before?
Well for one thing, Nintendo seem to be very good at building an everyman figure: The hero whom the player can latch onto and serve as their avatar in a world that’s waiting to be explored. Like stable-mate Mario, Link is an ordinary Joe who gets thrust into some world-spanning adventures and ultimately ends up saving the day. And it is indeed important to build such a connection between player and character - something a lot of game designers these days seem to forget.
Also kind of cool is that Link is something of pioneer: the child/youthful character who goes on an epic quest to save the world (or something). Along the way, he goes through various trials and tribulations but he doesn’t seem at all bothered at all – all he knows is that his quest is a noble one and worth seeing all the way to the end. Such a metaphor is taken to a literal sense in Ocarina of Time as Link starts as a child but ends as a young adult. Indeed, it’s hard to imagine the likes of Sora (Kingdom Hearts), Ico, that kid from Limbo, or even both the afore-mentioned Zidane and Vyse without Link.
Granted it’s a bit annoying that Link is a silent character – He has a face and a name so from the perspective of being a player avatar, as opposed to a character, it is kind of off-putting. As such I’ve often wondered what Link really felt being hailed as the Hero of Time and constantly being roped into doing various small tasks from one end of Hyrule to the other. He’s described as being humble in this adulation but to me he strikes me as being caught up in something whether he likes it or not. One has to wonder if Link ever stops and wonders ‘Do I have to do EVERYTHING?!?!?!?’ (or is it my job as the player to do so?).
But from a personal level, Link is my bridge to the world that is Hyrule: Through countless hours of exploring and adventuring, I actually felt a connection to the character like no other. I went with him on an adventure and I felt every blow, the delight of finding something new and the relief of solving a baffling problem. For a silent character he certainly has loads of personality than his more talkative brethren. In a way, Link is my buddy and a guy worth traveling with.
That being said, I like Link a lot and he still claims the number three position on this list. The fact that I’m willing to cosplay as this guy does indeed say a lot (pun not intended).


2. Solid Snake (Metal Gear Solid)
Snaaaaake! Snaaake! Oooooh it’s a snnnnaaaaaaaaaaaaaaaake!!!!! (okay I’ll stop that now)
Those who’ve been following this blog will know that I’ve talked about Metal Gear Solid, Solid Snake and the emotional impact the game had on me so what more can I add? Well Snake is a capable fighter, intelligent and the best in the infiltration/sneaking business. He is the reluctant hero – one who knows all about doing right but being far from willing to actually do it. He may save the day true but mostly because he’s got nothing better to do.
But most importantly of all, much like the Prince, the Solid Snake in Metal Gear Solid 1 is another fine example of the character resurrection. He starts out without direction and in a state of resignation but by the end he comes out a completely different person determined to make his limited time on earth count – but whilst it may sound cheesy in text, in the game itself it’s pulled off in a manner that seems genuine, believable and not in any way that could considered false.
Really, the mark of a great character is when they leave an emotional resonance on you, the audience, or this case the participant. The only difference is whereas in a book or a movie the audience are watching a group of characters run through a course of pre-determined actions and events, a game presents a situation where the audience becomes an active participant and has a say in the way things proceed. Therefore, the participant can become more of an accomplice to the character, the journey they take and the actions they do. Whilst I may have built up such a connection with Link on several occasions, Solid Snake however is in a class of his own. His journey is much less saving the world than it is saving himself – and we went along with the whole odyssey to a point where it rubbed off on myself, the player.
So much so that in the days since whenever I’ve faced a problem or difficult decision there have been times when I’ve caught myself wondering: What Would Snake do? It may sound daft in theory but really if a character has made such an impression then you know you’ve done something right.


And my number one favourite gaming hero is….

1. John Marston (Red Dead Redemption)

Why? Because he’s John fucking Marston. That’s why.
Okay now let’s get serious: A relative newcomer to this list, John Marston still charges through to the top. So what makes him so special? Oh where do I begin? John Marston has to rank as one of the most compelling and well-realised characters ever in the history of gaming –a tough call considering his game was only released last year but damn, I have never seen a character make such an impression on me – and I doubt that I ever will.
Firstly, when gaming these days seemed confined to a rigid good/bad, black/white system, John Marston is a true grey: In his hands is a much wider and diverse morality system and enables to do has many goods things as bad things. Such a wide offer of options shapes his character and forms him into a compelling character. He may have moments where he’s a ruthless killer but other times he’s trying to do some good after so much time spent doing wrong – it’s that clash of personality that makes for a fascinating character.
Secondly, John has a substantial motivation: He’s trying to put his violent past behind him and try to be a decent father to his son Jack in raising him in a better world than John knew. But no matter how hard he tries, John can’t really bury the secrets of his past, no matter his assertions that anyone can change.
Thirdly, John is man out of time: His era of the Wild West is coming to an end and far too often is he comes across as an anachronism. Through the game, we see the world through John’s eyes and there is a whole lotta bad people and bizarre shit going on – thus challenging the idea whether or not the world is worth living in and whether John truly has a place in it.
Fourthly, this is a genuine adult character. Yes this is a father who’s trying to do the right thing by his son and wife but this is game that will be played by adults. And for the designers to realise that and take it seriously is a credit to them. I feel like I’m being taken seriously and the developers are using this canvas to say what they want. I mean, if I were to do type this out ten/eleven years ago, when I was in my late teens, the youthful characters, Link, Zidane and Vyse would’ve ranked higher. Instead they lose out to Mr. Marston.
And finally, John Marston strikes me as the type who doesn’t take shit from anyone. And I like that.
So hats off to John Marston. He may have only had one shot at making an impression but what an impression it was.

And that's my list of eleven best gaming heroes - the one's who've made their mark on me and for good reason. Hope you've enjoyed reading this list and a big thank you to everyone who has ever visited this blog over it's lifespan so far.
So here's 200 posts in this worthless corner of cyberspace!!!

Ico Sucks!

Once upon a time, I posted the following on an Ico page on Facebook (of course said page has now disappeared so I may as well give this rant a home here):

You know what I’m so sick and tired of? People shouting praises to the game ICO. I have heard time and again how “it’s the greatest game ever!” and “it’s criminally under-rated!”
Well I’m here to tell you all something: It sucks. It is under-rated but for a very good reason. It has some glaring obvious flaws, it is undeserving of all the praise it got and it deserved to be a poor seller, forever condemned to obscurity which is where it belonged.
That being said I have taken the various arguments made for ICO and prepared a series of retorts that will show up ICO for the tripe that it is.

It was made on the motivation of being something that had never been seen before
Are you joking? This is the gaming industry we’re talking about here! The age of ideas is long gone and now we’re all thriving on recycled ideas! If you’re going to bring in something completely new in this age of five second attention spans then of course you’re going to fail.

It shows what can happen when you experiment with the hardware you’re utilising
Come again? When was the age of experimentation? In the eighties when people were making games? I appreciate they’re pioneering spirit but please: They’re old so sod off. Currently, we have lot’s of ideas floating around so why make up new ones when the old ideas are working just fine as they are?
Furthermore, you call a white-washed graphical look experimentation? Hate to break this to you but a limited colour palette does not make for a great game! No, give me the spectacle over substance any day.



There is no story: All of it is left to our imagination
Tell me one thing: Who the hell plays games in this day and age when there is no story? I’ve been told that people that people play games that are actual games as opposed to interactive storybooks but I digress. I like to know where I’m going and I’ll gladly follow a strictly rigid path to get there.
As for imagination, who on God’s green Earth uses their imagination these days? I prefer to let someone else do my thinking for me and to have everything spelled out for me in large letters. I’ve been told that I should relate to Ico and feel confused as he is. And to that end I will admit I did feel confused: as to why anyone would fall head over heels in love for this nonsense.

It succeeds in having puzzles over conflict
Well dur! If you don’t have violence and blood in games today of course you’re going to fail! Instead, blood and gore is such a mainstay in gaming today that any game being slapped with G logo is a death warrant. G games are strictly for kids! Anyone knows that without needing to pick up a controller! But seriously no one thinks things through anymore. Any game in this day and age can’t succeed without violence and gore. That’s like saying people play God of War for the gameplay.

Yorda
The object of the game is for ICO to guide Yorda through many of the puzzles and obstacles that litter the castle. And no wonder she needs rescuing: She is hopeless! She can’t jump very well, she can’t defend herself and she is continually relying in on Ico for help. If Lara Croft has taught us anything, its women characters are useless if they don’t have a rack big enough to land stealth bombers on.
Also, why is Ico helping her? What the hell are we meant to feel without any dialogue or narrative? How are we meant to feel for his (and her) predicament? Correct me if I’m wrong but in this era of modern gaming, subtlety only works when it’s applied with a sledgehammer.



Emotional Weight
Hahahaha – you’re kidding right? What place does emotion have in gaming today? None whatsoever if the death of Aerith Gainsborough in Final Fantasy VII is anything to go by.

So much attention has been paid to the castle design: It is detailed, very realistic looking, atmospheric, an architectural marvel and demands interaction. The castle is even a character in itself.
You can’t expect me to pay attention to a character if it doesn’t talk. End of story

It succeeds on an ambient level.
Hate to break this to you but I expect my games to loud bombastic and wrapped in a big package of WOW to be of any use to me. Minimalism? Which requires a need to pay full attention? Give me a break.
And on that note, where the hell is the music in this game? Some crummy sounds used in sparing moments? What is this, a crappy game from the 8-bit era? Where are the loud rock/metal guitars that proliferate games these days? It’s not as if any game can succeed without them – After all, look at Guitar Hero!



It succeeds on so many levels that it’s a single entity rather than a bundle of features.
Sorry but I thought that you can succeed with crummy gameplay once you have awesome graphics and music! What type of douche puts so much thought into each and every levels of a game?! ICO is an entity? Pull the other one

It is short but had it gone on any longer, the maker’s intention would have been lost
What? The intention to bore me senseless with even more ‘subtly’? Isn’t bad enough that I’ll never be able to get those five hours of my life back?!

It have provided a subtle influence to other games namely, Legend of Zelda; Twilight Princess, Metal gear Solid 3 and Prince of Persia: Sands of Time
All of which were infinitely better games and based on established franchises. Good day!

And there you have it: A complete dissection of Ico and why it’s not as great as everyone believes. Why people still think it’s a marvel despite age and lack of sales is beyond me.

This was then followed immediately by the following:

No doubt you’re all clenching your fist with rage having read that opening post but before you all start sending me death threats, I’ll let you in on a secret:

This is a JOKE

That’s right, that essay was written purely for satirical purposes.
I myself love ICO, I think it’s one of the greatest game ever made and I’m mystified as to why it was never a big hit.



So with no reasoning behind ICO’s obscurity, I decided to come up with some.

Thus, you can all breathe a sigh of relief. But still even if the above essay as written as a joke, there is always the sad thought that people like the one I’ve described above quite possibly exist in the world…

All in Good Time

Another game has been struck down from my Hall of Shame: Prince of Persia Sands of Time.

This one has been a long time coming in completion: I have played this game on and off at random intervals since 2006. Call it a long time between drinks yes but not without good reason. Like most people, I enjoyed the platforming jumping, the time-shifting mechanic, the puzzle-solving, the well-realised script and the interactions between the Prince and Farah. But at the same time, again like most people, I found the combat to be complete rubbish.

Indeed, this is worth dwelling on becuase for me it was a game killer: The combat sections are stiff, dull and come across as a chore to play. It is particularly irritating that, with each sequence, you keep killing the same guys over and over again as they keep coming back for whatever reason. It's also annoying that you get swamped quite easily by the baddies and getting knocked down only once leaves you unable to prevent a second, or third, blow coming down and beating you into a pulp. Particular contempt is held in the 81% mark where the Prince and Farah are attacked whilst riding a elevator. In such a confined space, the Prince needs to defeat the baddies and make sure they don't take out Farah at the same time. This was a particularly infuriating moment for me and many failed attempts to clear it turned me off the game for many months.

Ultimately though, this assessment is doing nothing more than reiterating what has been said before: The combat in PoP:Sot is crap but everything works well. But for me, the combat failing is a such a fatal error. True, I enjoyed Sands of Time on numerous levels but I don't see myself rushing back to play it again (and I'm not touching the sequels either).

Oh well, easy come easy go.

Best Game Endings

Endings sure are a crucial point for gamers aren’t they? Seeing as people are willing to invest so many hours of their life in a game, it thus becomes a cardinal sin for games to have endings that are inconclusive or end on a cliff-hanger. Does anyone want to spend so many hours of their life only to arrive at a sloppy ending? Or a blank screen with ‘Game Over’ or, worse yet, ‘To be Continued’? Of course not! Thus it becomes apparent that to have a crummy ending is seen as a betrayal – betrayal to the player from investing so much time and reaping so much enjoyment.
And in some cases, a betrayal beyond forgivable.
We’ve all heard the story before: Someone plays a game and enjoys it a lot. They get to the ending, which turns out to be one big anticlimax, and the gamer gets mad. Within seconds, so many hours of fun and enjoyment are erased instantly and the gamer starts venting their disgust to some internet blog or message board.
To me, an ending needs to provide a proper resolution to the hard effort put into the game. It needs to convey a sense of achievement - or even something that sticks in the player’s mind – to really make all the hours worth it. So today, I’m going to talk about some of my favourite endings to a game and how they made an impression on me.

So here we go:

11. Ninja Warriors

And we start with an ending (badumtish) that certainly leaves a substantial impression. For those not in the know, Ninja Warriors was an arcade game from the late eighties (although the above video is from the SNES conversion), where the player controls a robot ninja assassin dispatched by revolutionaries to kill a corrupt politician. At the end of the game, the ninjas confront their target when suddenly they explode taking the politician’s mansion with them. It turns out the mission was a suicide one – thus enabling the revolutionaries to seize control and end up doing an even worse job than their predecessor.
This ending works on two levels: Firstly, it is thought-provoking in its handling of it’s themes of terrorism (perhaps more so in this modern, post-9/11 age we live in). Secondly, it is the notion that not all endings are happy ones. Sure it means all the player’s efforts were ultimately for naught but that doesn’t mean the player won’t walk away with something to ponder. I like games that challenge the relationship between game and the person playing it – and whilst this move has become popular in recent years, Ninja Warriors may just well have been a pioneer.
Audacious maybe but Ninja Warriors is still a worthy way to start off this list.


10. Prince of Persia: Sands of Time

One of the most well-realised stories ever in the history of video gaming yields the cleverest of endings. Allegedly, Jordan Mechner was inspired by Tales of Arabian Nights in development of the original Prince of Persia – so it’s interesting to see the ideology of stories being carried over into Sands of Time.
The narrative of SoT is guided by the voice of the Prince himself, explaining things as they happen to an unseen audience. As the story progresses, the gamer is constantly wondering just who this audience is – and the urgency that the prince narrates with adds to this mystique. Indeed, it is an interesting motivator to keep playing just to find out who the Prince is telling this story to.
And when this audience is finally revealed, not to mention HOW the prince got there himself, is truly a moment even I did not see coming. And that for me represents a mark of exceptional storytelling: keeping the audience in suspense without breaking step once. Indeed, SoT makes it look so effortless you can’t help but wonder if other game developers were looking and taking notes.
Granted I haven’t included this revelation in the video above (actually I couldn’t find it but really maybe it’s something one has to see for themselves) but, as the ending indicates, I do like the ideology of stories that SoT has. A story is a narrative device, being told by the Prince, to someone who, as the above video indicates, is left in a state of disbelief. It’s a clever idea and the fact that it’s conveyed successfully throughout the whole game is an achievement in itself.


9. Skies of Arcadia

And here we have the very first JRPG in this list – and there’s more to come.
RPGs have got to be the most time-demanding game genre ever: After accomplishing so many quests, levelling up and building up characters in wealth and combat prowess, an RPG really needs to have a killer ending. So many RPG’s have been condemned for a lame ending, so it is interesting to see how that the developers handle the task of providing a decent pay-off. Some do a half-arsed job whilst others really put in an effort not shown by any other genre.
So what does Skies of Arcadia offer up? Well, after so many hours gone into the game, the gamer is treated to a cinematic displaying a sense of victory: The adversary is defeated, the heroes have won and the player is treated to a sense of accomplishment. Okay so the outcome of the efforts of Vyse, Fina and Aika was probably never in doubt but dammit, if any game ending did convey a sense of accomplishment then Skies of Arcadia does so in spades!
The real treat however is the end credits sequence which presents a montage revealing what everyone got up to following the events of the game. Granted this may not have been the first JRPG to do this but for me, it’s the one that does it best.


8. Super Mario Bros 3

I remember seeing this one when I was a kid: Mario defeats Bowser and runs to the rescue of Princess Peach – only to be informed that the Princess is in ANOTHER castle….. before Peach reveals she was only kidding.
Why does this ending work for me? Two reasons: The first is the idea that Mario is an everyman. He doesn’t look in any way the heroic type – he’s just a regular guy. And yet he still goes on fantastic adventures and manages to save the day (and a princess!). Indeed, it is that everyman quality that may attribute to his continuing popularity. And for me, the Super Mario bros. 3 ending exemplifies that quality more than it’s SMB1 and, quite possibly, even more that it’s successors.
The other reason is the joke Peach plays. While it’s a nice surprise to see Nintendo poking fun at their own franchise, one can only wonder how the player, after so many hours spent playing the game, reacted. What may have started as screams of disbelief and frustration eventually gave way to either a huge sigh of relief or shouts of “FUCK YOU BITCH!!”
Seriously though, this is an ending that, again, exemplifies the connection between the player and the game. And this is one ending which may have inspired a reaction – it may not have been the best one but it’s still one nonetheless. And not many games can lay claim to such a feat.


7. Terranigma

Whilst Australia may have missed out on Chrono Trigger, we instead had to settle for Terranigma. Okay so it may not compare on a level of complexity to Chrono Trigger but Terranigma can boast some great ideas being put to work.
The player controls a guy named Arc who lives in a village that seems to know largely little of the outside world. But through a series of misadventures, Arc eventually discovers an empty world and is thus charged with the task of resurrecting it. He does this through bringing life back to it and furthering scientific progress for it’s human inhabitants. However as the game goes on, the game puts forth some ideas on existence that’s kind of unexpected in a game of the 16-bit era.
As stated before, any game that can make a player think is a winner in my book. And no way is this exemplified with the ending: His task done, Arc is then left with one last day to spend on the mortal plane. This is indeed a challenging prospect that one wouldn’t find in a video game: What would you do if you had one last day upon this earth? How would you spend it? How would the thought of having made a difference weigh upon you’re mind? These are challenging ideas and for a game to convey them is indeed an achievement in itself.
In particular, I love that concluding dream sequence – I can’t really explain it as it's something that really needs to be seen to be comprehended. but, for me, it’s one of those moments of perfection that few games can match.


6. Chrono Cross

Okay so I’m cheating here seeing as I’ve never played this game (as it was never released here in Australia) and I’m relying on someone else’s assessment of it but this ending video is a gem indeed.
As the above link suggests, Chrono Cross is game aimed at breaking down the borderline between player and game. Throughout the game itself, there are key moments which suggest the player is having a more interactive role in the proceedings than what is usually associated in a video game. This eventually reaches its pinnacle at the end when the character of Schala speaks through a passage of text directly at the player. This is then followed by the ending cinematic which includes live action footage of an actress, representing Schala, searching for the player (ie YOU).
Quite disturbing yes but I take my hat off to the makers who seem to be keen on trying something different, intent on challenging the gamer’s perceptions and say something unexpected and unique – particularly in a medium which is usually associated with killing lot’s of dudes, buxom chicks and young men who look more girly than the females who control them.
Fortune, it would appear, truly does favour the brave.


5. Shadow of the Colossus





One of the big ones (pun most certainly intended). No other game has left me with a mixed reaction to this ending. With this ending, the rug is pulled under the player’s feet: Suspicions are confirmed and suddenly Wander’s quest is nowhere near as noble as one was originally led to believe.
Of course, at first I was annoyed that the hard effort I put into playing the game had, ultimately, all come to naught. But when I look back at it now, my view has softened - somewhat. You see, I can now appreciate the game for being able to challenge my perceptions and direct me into a quest that, upon closer examination, has me asking questions of a morale nature far more effectively than the Mass Effect series. In addition, the fact that not all endings are happy ones hits really hard in this cinematic.
Really though, I have no idea whether I should praise or condemn this ending but there is no need: If a game has inspired such a divisive opinion then it must have made quite an impression – indeed the type that some games can dream about. If game triggered a debate and a closer look, then it must’ve been a pretty damn good one.


4. Final Fantasy X

A mark of a great game is one that elicits an emotional reaction – and in that field, you can’t go wrong with this. Final Fantasy X may have had it’s fair share of emotional moments but the apex of it all comes in the form of the ending.
One thing I’ve enjoyed with the Final Fantasy games is that, unlike a lot of RPGs, their approach to story-telling is that not all endings are happy ones. Sure some good may have been done come at the end, but the protagonists can’t really save everyone. Which now brings me to Final Fantasy X and, in particular, the doomed romance between Tidus and Yuna. At the end, Spira may be saved but one of the main protagonists has fallen: One who didn’t really belong in Spira’s world and who made a lasting impression on the one who was supposed to die. Some say, the romance was kinda uninspiring but I give credit to Square to take a chance with this ending: It wasn’t a happy ending and it’s indeed interesting to see a romance that doesn’t work out. Sure Mario may keep saving Princess Peach from Bowser's constant clutches but no such thing seems to happen on Spira’s world.
Plus I have to admit, there is always the emotional punch of seeing Yuna running to Tidus and subsequently through him. This is then followed by those three words uttered by Yuna showing more emotion (or at least her voice actress) than she ever did in the entire game. It is a moment like this that still hits hard on my cold jaded heart.
Of course, this is all ruined with the advent of FFX2 but still, for a game to break the rules and convey such emotion, this is a shining example.


3. Ico

On second thought, forget what I said about Final Fantasy X: When it comes to eliciting an emotional response from the gamer, nothing can hope to match the ending that is Ico. Much like Team Ico’s other game, the afore-mentioned Shadow of the Colossus, there is no sense of a happy ending as it becomes clear that the player’s efforts have ultimately come to naught – except for leaving an emotional resonance that most games can only dream about.
There are so many magic moments in this ending that I don’t know where to start: The symbolism of Ico’s horns coming off, the Queen/Witch’s dying taunt, the realisation that Yorda can’t escape the castle even when the way out is finally open, the collapse of a seemingly ancient castle, the indication that Yorda and Ico belong in separate worlds and, of course, the slow creeping in of ‘You Were There’.
Funny thing is all of these aren’t really spelled out for the viewer: they are just presented for the viewer to draw their own conclusions. As a result, the mind works in the fashion that the designer intended and an emotion connection is built up. It is an effective method and one that works a treat.
Like FFX, the ending of Ico did indeed leave an impression on my cold jaded heart. And for a video game to do this is a feat indeed – enough to secure it in the third position in this list. What could top it? Funny you should say that…..


2. Metal Gear Solid

For me, Metal Gear Solid is a character driven game done right: Among the many achievements this game accomplished, paramount among them was the idea of taking a character and building a world around him for which to inhabit.
That being said, Metal Gear Solid is a game that deceived me: At the start, it is established that Snake is sneaking into Shadow Moses Island to thwart some terrorists who pose a considerable threat through being in the possession of nuclear warheads.
However, like many games on this list, by the end, the game has switched gears and revealed its true intentions: Metal Gear Solid isn’t about sneaking into a base, beating up some bad guys and eventually destroying a giant mech – no it represents a personal odyssey for Snake. It’s about him starting out with emptiness in his life only to come out the other side with a sense of meaning. It is indeed a relief to see Snake, through all his trials and tribulations come out the other side with a much better outlook on life. Of course, a feel-good/life affirming ending may have done many times before but here it works well – perhaps because, unlike a book or a movie, a video game demands participation from the player. Thus, there is the sense that Snake got to where he ended up with the player’s assistance. It is impressive, in the terms of story telling, to see Snake decide to make every day of his remaining time on earth count. What's even more impressive is this revelation is conveyed through to make an impression onto the player.
Of course, this ending is made redundant with the puzzling presence of the Metal Gear Solid’s 2 and 4 (why would Snake go back into combat after deciding to make every remaining day of his life count?!) but still it’s not everyday you see a life-affirming ending in video game.
And that’s why it works so well.

And my number 1 ending to a video game is…..

1. Final Fantasy IX

In this list, I’ve described various reasons to why certain endings work: Some challenge my perceptions as a gamer. Some give me something to think about. Some present situations designed to inspire an emotional response. Some present me with character and make me wanting to go with them on their adventures every step of the way.
But in the end, what I ultimately want is the sense that I achieved something: The sense that the many hours I put into the game have amounted to something grandiose. I want a payoff that was worth the effort. Step forward: Final Fantasy IX.
So why this one? Firstly length: The RPG demands the greatest investment of time than any other game – having an ending that stretches out for over half an hour is a perfect counter-weight to the many hours spent playing the game.
Secondly, throughout the ending, we get to see the character’s lives afterwards. Each of the key characters have their own cinematic which shows what they had gotten up to since the adventure ended. Whilst not all of them may be happy (Freya’s comes to mind), it is a credit to the designers for showing us that life does indeed go on (something that, I wish, would happen more often).
The real treat however is in the video shown above where Garnet and Zidane are finally reunited. Of course, it is a bit annoying that it isn’t really explained HOW Zidane managed to get back to Alexandria but it is interesting to see what Garnet’s character eventually developed into (note the moment when she loses the Alexander pendant). Indeed, I particularly love the moment when she throws away her tiara before charging into Zidane’s arms: Sometimes little things can mean so much.
Also pleasing is seeing the crowd, with Zidane and Garnet’s former comrades, bursting into applause. It is as if that after the grim undertones of 6, 7 and 8, Square just decided “Bugger this, let’s just do a happy ending’. It may not have been their intent but even if it was, it works a treat. A sweet relief maybe but there is the thought that, after so many dark themes lurking within the Final Fantasy games, if Square can put their mind to it a happy ending can work out well.
Some may dismiss the tried and tested notion of ‘And they all lived happily ever after’ but what would they know?
More to the point why would I care?

So that’s my thoughts on what makes a good ending. A diverse list but all work in different ways: I like having my perceptions as a gamer challenged. I tip my hat to a game designer for presenting something to think about. I love a sense of accomplishment whilst other times I just love a happy ending.
Really games should be self-contained stories with a properly defined beginning, middle and an end. And whilst many games can start of great they can fumble with the other two. But whereas people don't remember the middle of a game, it's the ending that can prove most critical. Having said that, I've just written out eleven different endings that work in different ways so really there is no excuse.
Until next time....

Your DreamWeb is just about to fall

Continuing on with that rant I made earlier this week about subtlety, I am reminded of a game that came out in 1994, for the Commodore Amiga (and later PC).
For the unfamiliar, Dreamweb is a adventure game where you control a dude named Ryan. Through a series of recurring dreams, he is informed by a group of monks that seven evils are in the city he lives in and whose continued presence will eventually bring about a global calamity. Thus, Ryan is assigned to hunt them all down and kill them, in the name of restoring the balance and saving the world.

Sounds familiar? Not this time: You see whilst the game itself may run through a tried and tested gaming plot formula, it soon becomes clear that something about this game just doesn't sit well. A quick peek into the manual reveals a diary kept by Ryan which reveals a lot about his mindset: He has problems with his girlfriend, he's been lacking sleep and he is showing signs of paranoia. Ultimately, Ryan is losing his marbles.
Thus whilst the game is a standard kill-dudes-to-save-world-scenario, the manual, and hints throughout the game, tell a different story: Is Ryan deluded? Is he a serial killer? Is he using the rationale of the Dreamweb as an excuse to gun down people in cold blood? Ryan is not all bothered by motives - and if the player questions them, progress through the game is stalled.



At first, Ryan is in a kill-or-be-killed scenario. That changes, in the second mission where Ryan has to gun down an innocent person, a security guard no less, simply because they are in the way. This unfortunate adds more to the questionable morality of the game, simply through having no function beyond being in the wrong place at the wrong time.
Yet there a few clues that suggest that the DreamWeb is real and Ryan more not be deluded. Indeed, by the end of the game, the player has to arrive at a conclusion about Ryan and the state of his character.

Dreamweb as a game inspires many questions - all of which are never resolved by the game's end. That it does so, is a masterstroke - adding further to the punch this game provides. Indeed, the strength in this game is in it's story-telling and the way it challenges it's audiences. So much so, it makes me wonder why no one else has tried to replicate this scenario (maybe they're too scared of subtleties. Or too busy trying to match Halo's thunderous success). It's been sixteen years - we could do with some more ways of telling the story, addressing key themes and, indeed, something to point to to verify a maturity in gaming.

You know, to hell with Prince of Persia: They should a game-based movie out of this!

References:
http://www.hardcoregaming101.net/dreamweb/dreamweb.htm
http://www.ntsc-uk.com/review.php?platform=ipc&game=Dreamweb