Well a new Tomb Raider game is now on the horizon, going by the name of Shadow of the Tomb Raider.
Meaning Lara Croft will be rubbing shoulders with a Beast and a Colossus.
Joking aside, the Tomb Raider series has a nasty reputation for being formulaic - even for outsiders like myself. I only hope that this new game does something new with Lara as opposed to retreading the ground made by the reboot.
But therein lies the dread that such a statement may turn out to be wishful thinking....
Showing posts with label Shadow of the Colossus. Show all posts
Showing posts with label Shadow of the Colossus. Show all posts
Monday, May 7, 2018
Friday, June 23, 2017
A Shadow of Colossal greatness.
Recently it was announced that a new version of Shadow of the Colossus will be coming to the PS4 as a remake.
What interests me however is that this is the first we have heard from Team Ico (or what's left of it) since The Last Guardian. Considering the delays and dramas that went into The Last Guardian's development and the lukewarm reception it received, one would think that relations would become frosty with Sony and Team Ico. And that appears to be the case with the newest release from Team Ico would be in the form of a revamp of it's greatest success.
It's a worrying sign and a legitimate concern that the genius and vision of Team Ico has now hit a wall. Granted no one can keep such talent going for so long (the prolonged development of The Last Guardian being one such example) but it is unfortunate that the generate perception of Team Ico's output is a truly great game, an experiment and a flop (so to speak).
Needless to say, it will be interesting see what comes next out of Fumito Ueda's imagination - provided that particular well hasn't run dry.
What interests me however is that this is the first we have heard from Team Ico (or what's left of it) since The Last Guardian. Considering the delays and dramas that went into The Last Guardian's development and the lukewarm reception it received, one would think that relations would become frosty with Sony and Team Ico. And that appears to be the case with the newest release from Team Ico would be in the form of a revamp of it's greatest success.
It's a worrying sign and a legitimate concern that the genius and vision of Team Ico has now hit a wall. Granted no one can keep such talent going for so long (the prolonged development of The Last Guardian being one such example) but it is unfortunate that the generate perception of Team Ico's output is a truly great game, an experiment and a flop (so to speak).
Needless to say, it will be interesting see what comes next out of Fumito Ueda's imagination - provided that particular well hasn't run dry.
Wednesday, June 17, 2015
Guardians of the Galaxy
Big news has emerged with the announcement that the Last Guardian is set for release in 2016. This has come after years of delays and confusion.
And we have a video to go with it:
Make no mistake, that I'm a big fan of Team Ico's (two) games and this video is interesting from that perspective: Here, we have shades of Ico with a protagonist wandering through a crumbling fortress with a companion. And, at the same time, we see the monster-climbing mechanic lifted straight from Shadow of the Colossus.
Considering that Shadow of the Colossus was a much bigger seller than Ico, I suppose it would be unsurprising for Team Ico to go back and revisit that territory. But such a prospect mirrors the comparisons I found between System Shock 2 and Bisohock: It's the same game but with a different coat of paint. Whilst the Griffon-esque creature seems a far more effective companion than Yorda, one can't help but think that perhaps Team Ico may be running short of ideas - especially considering the long gestation time this game has been in.
But, of course, all of this is speculative: It's too early to call on this game when it has yet to be released.
If anything the real question here is: Could the Last Guardian be enough to sway me back to Sony? Only time will tell.....
And we have a video to go with it:
Original video located here. Accessed 17th June 2015
Make no mistake, that I'm a big fan of Team Ico's (two) games and this video is interesting from that perspective: Here, we have shades of Ico with a protagonist wandering through a crumbling fortress with a companion. And, at the same time, we see the monster-climbing mechanic lifted straight from Shadow of the Colossus.
Considering that Shadow of the Colossus was a much bigger seller than Ico, I suppose it would be unsurprising for Team Ico to go back and revisit that territory. But such a prospect mirrors the comparisons I found between System Shock 2 and Bisohock: It's the same game but with a different coat of paint. Whilst the Griffon-esque creature seems a far more effective companion than Yorda, one can't help but think that perhaps Team Ico may be running short of ideas - especially considering the long gestation time this game has been in.
But, of course, all of this is speculative: It's too early to call on this game when it has yet to be released.
If anything the real question here is: Could the Last Guardian be enough to sway me back to Sony? Only time will tell.....
Friday, July 25, 2014
An Ode to Ico
Something I put together in anticipation for Good Game's greatest game special:
Favorite game? Ico. On the PS2
No joke: you’ve heard exactly what I’ve said
Not for me Portal, Halo and Wow too
No, give me a lad with horns on his head
Who meets a princess in a big fortress
Who can open doors and make black shapes dead
Both doomed to die: A fate to readdress
So an escape Ico and Yorda plan
Hand in hand through the castle they progress
Contending with: puzzles, solved as they can
And bashing, with a wood stick, black shadows
And, worse of all, Yorda’s attention span
Under bloom lightening the game flows
Showing Legend of Zelda how it’s done
Along with a loneliness this game knows
Oh Ico, you poor selling ball of fun
Father of Shadow of the Colossus
Now on the PS3 for everyone
Ico: Who does so much more with so less
Who proudly passes the ‘game as art’ test
And a real tear jerker I must confess
Yes, my favorite game’s Ico. It’s the best!
Mood, emotion: There’s nothing quite like it.
Even though it’s one big long escort quest
Favorite game? Ico. On the PS2
No joke: you’ve heard exactly what I’ve said
Not for me Portal, Halo and Wow too
No, give me a lad with horns on his head
Who meets a princess in a big fortress
Who can open doors and make black shapes dead
Both doomed to die: A fate to readdress
So an escape Ico and Yorda plan
Hand in hand through the castle they progress
Contending with: puzzles, solved as they can
And bashing, with a wood stick, black shadows
And, worse of all, Yorda’s attention span
Under bloom lightening the game flows
Showing Legend of Zelda how it’s done
Along with a loneliness this game knows
Oh Ico, you poor selling ball of fun
Father of Shadow of the Colossus
Now on the PS3 for everyone
Ico: Who does so much more with so less
Who proudly passes the ‘game as art’ test
And a real tear jerker I must confess
Yes, my favorite game’s Ico. It’s the best!
Mood, emotion: There’s nothing quite like it.
Even though it’s one big long escort quest
Friday, May 30, 2014
I will rue the day
Recently I had the pleasure of striking another game from my Hall of Shame. And which title is out on their rear end? Yet another indie/adventure/Steam game: Gemini Rue!
I find this game impressive on a number of fronts: Firstly it was the product of one guy. Secondly the art direction is simply staggering, with some truly beautiful backgrounds and some well-crafted environments. Thirdly, the atmosphere is superb what with being drawn heavily from the likes of Blade Runner and a suitably moody soundtrack. Finally the sense of immersion is compelling enough for me to finish the game all the way through.
But in spite of what I may have said about the plot, I do take issue with one aspect of it: What did Saiyuki and Six do before they were incarcerated? It is particularly infuriating at the conclusion for Saiyuki to have a change of heart. And it’s suggested the Six did play a part in the Gemini War but what was this role? Was he a deserter? Or a soldier that had gunned down hundreds?
Now I kind of like stories that don’t give straight answers as it invites the reader to draw their own conclusions. Indeed, I have enjoyed Ico and Shadow of the Colossus – two games that have thrived on presenting one half (or less) of a story while keeping the other half tantalizing out of reach. However I didn’t get that with Gemini Rue – I just came away feeling somewhat empty. I didn’t find the same sense of mystique I found within Ico and Shadow of the Colossus, I just found myself feeling empty. I don’t know if this is a fault of the story or if the game didn’t make that great enough impression, but somehow I didn’t find myself theorizing about what Saiyuki and Six did before their incarcerations. A true warning sign of anything.
Still in spite of my gripes, I did enjoy Gemini Rue and found much to admire. So it’s fine by me.
I find this game impressive on a number of fronts: Firstly it was the product of one guy. Secondly the art direction is simply staggering, with some truly beautiful backgrounds and some well-crafted environments. Thirdly, the atmosphere is superb what with being drawn heavily from the likes of Blade Runner and a suitably moody soundtrack. Finally the sense of immersion is compelling enough for me to finish the game all the way through.
But in spite of what I may have said about the plot, I do take issue with one aspect of it: What did Saiyuki and Six do before they were incarcerated? It is particularly infuriating at the conclusion for Saiyuki to have a change of heart. And it’s suggested the Six did play a part in the Gemini War but what was this role? Was he a deserter? Or a soldier that had gunned down hundreds?
Now I kind of like stories that don’t give straight answers as it invites the reader to draw their own conclusions. Indeed, I have enjoyed Ico and Shadow of the Colossus – two games that have thrived on presenting one half (or less) of a story while keeping the other half tantalizing out of reach. However I didn’t get that with Gemini Rue – I just came away feeling somewhat empty. I didn’t find the same sense of mystique I found within Ico and Shadow of the Colossus, I just found myself feeling empty. I don’t know if this is a fault of the story or if the game didn’t make that great enough impression, but somehow I didn’t find myself theorizing about what Saiyuki and Six did before their incarcerations. A true warning sign of anything.
Still in spite of my gripes, I did enjoy Gemini Rue and found much to admire. So it’s fine by me.
Wednesday, May 14, 2014
Monday, July 15, 2013
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
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
Wednesday, January 16, 2013
Fit for a King
Another post, another game struck down from my Hall of Shame. Once again, it was something I played over my Christmas break: Kings Quest 6.
Once upon a time, Sierra had a substantial reputation for their Adventure games. They had several series that featured over numerous installments and enjoyed much success during their heyday. I myself never really bothered much with them. Yes I played about two installments of the Leisure Suit Larry (keep in mind I was ten/eleven at the time), and I had seen the first Police Quest being played but was largely unfamiliar with the Sierra adventure games.
In the years since, time has not been kind to the Sierra adventure games with most of them being dismissed for obnoxious difficulty, game-killing puzzles (one slightest slip up and it's game over), cheap deaths and solutions to problems that make absolutely no sense whatsoever. Still I was interested to take a look so I may as well try one of the best: King's Quest 6.
Now coming into Kings Quest 6 I had absolutely zero knowledge about the series beforehand - thus leaving me with little idea as to what to expect. And the first thing that struck me about this game was that it was genuine attempt to build a fairy tale within game - something that doesn't happen very often. Okay so the Super Mario and Zelda games may have taken their inspiration from fairy tales whilst Braid and Shadow the Colossus seek to deconstruct them, but for me King's Quest 6 feels genuine in it's attempt to present a prince going around a fantasy world to rescue a princess.
But at the same time, one feels this was trying to deconstruct the fairy tale genre whilst celebrating it. Thus the prince, Alexander, comes across as committed to his quest to the point of tunnel-vision that one starts questioning his mental state. Likewise the princess, Cassima, is revealed to be practical and hardly the type to sit around waiting to be rescued.
In fact a lot has to said for the writing: The characters are well written and likeable, there are some interesting allusions to other fairy tales, the puzzles actually make sense, the humor is well handled (ie the Chess Piece queens) and the climax is actually really exciting.Okay the amount of deaths were stupid but the setting and characters that inhabited it were compelling enough to see me through.
Also, I particularly enjoyed the voice acting - I'm still trying to wrap my head around Alexander being voiced by the same guy with did the Beast from Disney's Beauty and the Beast. And special mention must go to that guy who voices Saladin - He's great!
But I'm not quite sure what to make of the ending theme though ("Girl in the ToWAAAAHHH!!!").
Now considering Sierra's reputation this game didn't cause an epiphany to inspire me to check out more Sierra games. Still, I enjoyed it a lot and its fun to see a genuine fairy tale in gaming - I mean you can't keep shooting zombies forever....
Once upon a time, Sierra had a substantial reputation for their Adventure games. They had several series that featured over numerous installments and enjoyed much success during their heyday. I myself never really bothered much with them. Yes I played about two installments of the Leisure Suit Larry (keep in mind I was ten/eleven at the time), and I had seen the first Police Quest being played but was largely unfamiliar with the Sierra adventure games.
In the years since, time has not been kind to the Sierra adventure games with most of them being dismissed for obnoxious difficulty, game-killing puzzles (one slightest slip up and it's game over), cheap deaths and solutions to problems that make absolutely no sense whatsoever. Still I was interested to take a look so I may as well try one of the best: King's Quest 6.
Now coming into Kings Quest 6 I had absolutely zero knowledge about the series beforehand - thus leaving me with little idea as to what to expect. And the first thing that struck me about this game was that it was genuine attempt to build a fairy tale within game - something that doesn't happen very often. Okay so the Super Mario and Zelda games may have taken their inspiration from fairy tales whilst Braid and Shadow the Colossus seek to deconstruct them, but for me King's Quest 6 feels genuine in it's attempt to present a prince going around a fantasy world to rescue a princess.
But at the same time, one feels this was trying to deconstruct the fairy tale genre whilst celebrating it. Thus the prince, Alexander, comes across as committed to his quest to the point of tunnel-vision that one starts questioning his mental state. Likewise the princess, Cassima, is revealed to be practical and hardly the type to sit around waiting to be rescued.
In fact a lot has to said for the writing: The characters are well written and likeable, there are some interesting allusions to other fairy tales, the puzzles actually make sense, the humor is well handled (ie the Chess Piece queens) and the climax is actually really exciting.Okay the amount of deaths were stupid but the setting and characters that inhabited it were compelling enough to see me through.
Also, I particularly enjoyed the voice acting - I'm still trying to wrap my head around Alexander being voiced by the same guy with did the Beast from Disney's Beauty and the Beast. And special mention must go to that guy who voices Saladin - He's great!
But I'm not quite sure what to make of the ending theme though ("Girl in the ToWAAAAHHH!!!").
Now considering Sierra's reputation this game didn't cause an epiphany to inspire me to check out more Sierra games. Still, I enjoyed it a lot and its fun to see a genuine fairy tale in gaming - I mean you can't keep shooting zombies forever....
Friday, January 11, 2013
Braid Damage
Earlier this week I had the satisfaction of striking another game from the Hall of Shame – this time it was Braid. But what made this victory particularly satisfying was for two reasons: a) it was the endpoint after numerous frustrations and b) the achievement for completion of the game was enough to reach the ten thousand mark in my XBLA achievement total. Whilst Specs Ops the Line may have contributed heavily to this goal, beating Braid was enough to cross the finish line (that and saying both games in the same sentence makes me laugh).
So about Braid: To be honest approaching this game has always carried a weight of intimidation: It is one of those games that has lauded with praise so much that one would think there may not be a lot left to say about it and saying something different may come across as treason. So did I think of Braid?
Well I enjoyed it: There is indeed a lot going for this game that certainly deserves the praise. The game mechanics are clever and inventive, the music is great, the puzzles creative and the art direction mind-blowing. All of which sound like great but, as there always seems to be, a problem raises its head. You see, many people regard Braid as the go-to game for the ‘Games as Art’ proposal but I’m not getting it. Where Braid works for me is a deconstruction of the whole ‘rescue the princess’ gaming trope and it there it works best: Thus adding all this stuff about the atomic bomb seems …well…unnecessary. To me it comes across as tacked on, convoluted and dropping an actual good idea. In fact the title of ‘Art Game’ continuously bestowed upon Braid seem more a ‘Get Out of Jail Free’ card so its problems won’t have to be explained – but I’m not so easily fooled.
Still I did enjoy Braid and am glad to have played it.
As a side note though, I am now imagining Tim being drinking buddies with Wander from Shadow of the Colossus.
So about Braid: To be honest approaching this game has always carried a weight of intimidation: It is one of those games that has lauded with praise so much that one would think there may not be a lot left to say about it and saying something different may come across as treason. So did I think of Braid?
Well I enjoyed it: There is indeed a lot going for this game that certainly deserves the praise. The game mechanics are clever and inventive, the music is great, the puzzles creative and the art direction mind-blowing. All of which sound like great but, as there always seems to be, a problem raises its head. You see, many people regard Braid as the go-to game for the ‘Games as Art’ proposal but I’m not getting it. Where Braid works for me is a deconstruction of the whole ‘rescue the princess’ gaming trope and it there it works best: Thus adding all this stuff about the atomic bomb seems …well…unnecessary. To me it comes across as tacked on, convoluted and dropping an actual good idea. In fact the title of ‘Art Game’ continuously bestowed upon Braid seem more a ‘Get Out of Jail Free’ card so its problems won’t have to be explained – but I’m not so easily fooled.
Still I did enjoy Braid and am glad to have played it.
As a side note though, I am now imagining Tim being drinking buddies with Wander from Shadow of the Colossus.
Monday, August 27, 2012
The things you find in Northrend
I look at this image and for some reason I feel like playing the soundtrack to Shadow of the Colossus...
Wednesday, June 13, 2012
Shadow of the Beast
Last week I heard that there is a Shadow of the Colossus movie in development and it has a director, Josh Trank, attached to it. Normally I don't pay much attention to game-to-film adaptations as they tend to have a rather terrible reputation (one well earned mind you). But SotC is a favorite game of mine and, as a result, this is the first I've heard of such an adaptation.
So in order to talk about this, let me share my thoughts on video game-to-film adaptations: It is something I have mixed feelings about. Sure they nearly always turn out to be terrible movies but consider this: Any movie can work if the effort is put into it - even to the point where any dubious origins can be ignored. Take the first Pirates of the Caribbean movie - great movie but looking at now, one wouldn't think that it was inspired by a theme park ride in Disneyland.
But ultimately though, unlike movies, books or TV series, video games hold the unique position of being a form that entertainment that requires participation form the viewer. As such there are many scenarios in a game that will never work in a movie.
Having said that however, it also works the other way. I never liked how games bill themselves as movies, or on par with movies, because that really defeats the purpose of it being a game. If you're going to make a game that requires the player to sit quietly when the action is being played out then why are you making a game? If you're billing movie-like quality to a game then why isn't it a movie? As such I have seen some games that present scenarios that could work great as a movie but fail when placed in the context of an actual game. Having said that, when is a Dreamweb movie going to get made, hrmmm?
But having got that off my chest, let's talk Shadow of the Colossus.
How on earth can one hope to make a movie out this scenario? There's only three characters in the entire game: One of which is in a comatose state and another one is an equine. There's the colossi true but whereas the game was sold on the seemingly insane principle of sixteen boss fights, making a movie out of that principle sounds impossible.
And that's not even considering the ambiguous nature of the game: When you think about it, Shadow of the Colossus presents a story but only half of it - or even less than half. So what would the movie hope to achieve with half a story? Will it explain the origins of Dormin? Describe the exact relationship between Wander and Mono? Illustrate how Emon knows Wander? Somehow having such mysteries explained for me loses their allure.
Personally if I were to make a game based movie I would do one based on those Space Marine combat games (ie Gears of War). But I'd take one of the macho space marines and then place him in a world AFTER victory has been achieved and he must learn to reconnect with the real world and function as a proper human being :)
So in order to talk about this, let me share my thoughts on video game-to-film adaptations: It is something I have mixed feelings about. Sure they nearly always turn out to be terrible movies but consider this: Any movie can work if the effort is put into it - even to the point where any dubious origins can be ignored. Take the first Pirates of the Caribbean movie - great movie but looking at now, one wouldn't think that it was inspired by a theme park ride in Disneyland.
But ultimately though, unlike movies, books or TV series, video games hold the unique position of being a form that entertainment that requires participation form the viewer. As such there are many scenarios in a game that will never work in a movie.
Having said that however, it also works the other way. I never liked how games bill themselves as movies, or on par with movies, because that really defeats the purpose of it being a game. If you're going to make a game that requires the player to sit quietly when the action is being played out then why are you making a game? If you're billing movie-like quality to a game then why isn't it a movie? As such I have seen some games that present scenarios that could work great as a movie but fail when placed in the context of an actual game. Having said that, when is a Dreamweb movie going to get made, hrmmm?
But having got that off my chest, let's talk Shadow of the Colossus.
How on earth can one hope to make a movie out this scenario? There's only three characters in the entire game: One of which is in a comatose state and another one is an equine. There's the colossi true but whereas the game was sold on the seemingly insane principle of sixteen boss fights, making a movie out of that principle sounds impossible.
And that's not even considering the ambiguous nature of the game: When you think about it, Shadow of the Colossus presents a story but only half of it - or even less than half. So what would the movie hope to achieve with half a story? Will it explain the origins of Dormin? Describe the exact relationship between Wander and Mono? Illustrate how Emon knows Wander? Somehow having such mysteries explained for me loses their allure.
Personally if I were to make a game based movie I would do one based on those Space Marine combat games (ie Gears of War). But I'd take one of the macho space marines and then place him in a world AFTER victory has been achieved and he must learn to reconnect with the real world and function as a proper human being :)
Monday, January 9, 2012
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
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
Friday, November 25, 2011
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....
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....
Wednesday, October 19, 2011
Weekend Edition
Last weekend I was at a friends place with some other friends - much of this time was spent around a PS3. Now whilst this isn't my first time using a PS3 (that story is something I may come back to in the future), this was an opportunity to have a quick bash at some of games that are only available on the Playstation.
So what got played? Well....
Marvel vs Capcom 3
Always good for a laugh. I will admit to being familiar with this series but I've never actually took the time to play it. But I did enjoy playing this game: Maybe it's one of those games that need the right atmosphere to get the most out of (ie played with a group of other people). I used a team of Wolverine, Morrigan (Darkstalkers) and Amaterasu (Okami) and did rather well. Sure it was odd to see Amaterasu present but there is indeed some amusement value in seeing her, a wolf god, trump the thunder god Thor....
Little Big Planet
One of the bigger hits to spawn from the PS3, Little Big Planet is something that left me with mixed feelings. I do like both the inventive graphics and the four-player malarkey (whilst being very reminiscent of New Super Mario Bros) but other times, the controls aren't really that welcoming - as I found out, it's hard to try and work out how to do things when the more experienced players are screaming ahead of you and taking the rest of the screen with them, leaving little time to work within! Still, Little Big Planet has some degree of charm and for that I give it props.
Dark Souls
What a reputation this game comes with - being perhaps the most fiendishly difficult RPG ever made. No pause button, a stacking of unbelievable odds and the sense the game is taunting the player with every step. And that reputation isn't kidding: I saw my com-padres each getting slaughtered by the same monster and it certainly made for a frustrating sight. Also notable is seeing announcements declared in large lettering and the many, many cheap deaths. Now normally I would hate a game for doing that but in the time I spent playing Dark Souls I can say it some elements going for it with the great skeleton animations and setting.
Ico / Shadow of the Colossus in HD
Well I've been singing the praises for these games many times before on this blog so there's not much to add. However, I'm astonished by the HD remake and how everything looks so much better - so much so it's near impossible to go back to the original PS2 incarnations. Also, there is indeed a sweet satisfaction to play games you thought only you knew about and seeing other people showing an interest.
So what got played? Well....
Marvel vs Capcom 3
Always good for a laugh. I will admit to being familiar with this series but I've never actually took the time to play it. But I did enjoy playing this game: Maybe it's one of those games that need the right atmosphere to get the most out of (ie played with a group of other people). I used a team of Wolverine, Morrigan (Darkstalkers) and Amaterasu (Okami) and did rather well. Sure it was odd to see Amaterasu present but there is indeed some amusement value in seeing her, a wolf god, trump the thunder god Thor....
Little Big Planet
One of the bigger hits to spawn from the PS3, Little Big Planet is something that left me with mixed feelings. I do like both the inventive graphics and the four-player malarkey (whilst being very reminiscent of New Super Mario Bros) but other times, the controls aren't really that welcoming - as I found out, it's hard to try and work out how to do things when the more experienced players are screaming ahead of you and taking the rest of the screen with them, leaving little time to work within! Still, Little Big Planet has some degree of charm and for that I give it props.
Dark Souls
What a reputation this game comes with - being perhaps the most fiendishly difficult RPG ever made. No pause button, a stacking of unbelievable odds and the sense the game is taunting the player with every step. And that reputation isn't kidding: I saw my com-padres each getting slaughtered by the same monster and it certainly made for a frustrating sight. Also notable is seeing announcements declared in large lettering and the many, many cheap deaths. Now normally I would hate a game for doing that but in the time I spent playing Dark Souls I can say it some elements going for it with the great skeleton animations and setting.
Ico / Shadow of the Colossus in HD
Well I've been singing the praises for these games many times before on this blog so there's not much to add. However, I'm astonished by the HD remake and how everything looks so much better - so much so it's near impossible to go back to the original PS2 incarnations. Also, there is indeed a sweet satisfaction to play games you thought only you knew about and seeing other people showing an interest.
Wednesday, September 28, 2011
Morale Kombat
I'm not a big fan of morale choices. They are undoubtedly a mechanic that's growing in popularity in games these days but just becuase one guy does it doesn't mean everyone else should. It's for this reason that I approach morale choice systems with caution.
But that's not all: What I don't like about morality choices is the pretensions of challenging the player. Now I applaud any game that tries to break down the barrier between player and game and connect them at a level of emotion and thoughtfulness. BUT! With the morality systems in today's games I'm not getting that sense at all.
Let's compare Mass Effect with Shadow of the Colossus. In the former, the player is faced with key choices but the choices they make will have many a drastic repercussion throughout this universe Bioware have given us. Now there is a sense that these choices are meant to make the player think but strangely I don't get that sense at all: Instead I adopt the sense of 'make the decision and live with it as you can't go back'. Now there is nothing wrong with that approach but I doubt that was Bioware's intention.
Shadow of the Colossus on the other hand features a guy destroying a series of unique creatures for the sake of restoring a single life. The player has no say in this and they're just going along for the ride - And yet the game itself is far more successful at triggering an emotional reaction. I guess it goes to show that the less control you give the player, the more likely you'll have them embracing any point you give them.
It's a cruel equation: Give players more control and the more likely they'll mess things up, oblivious to anything you might have to say.
The other issue I have with morale choice systems is that it's one of extremes. Most often than not the player has the choice of being a complete bastard or a panzie goody-goody. Well what about some middle ground? Granted the choices offered by the morale system can shape the player character but what good is it when all the results of these choices are all in black and white? I've played through Mass Effect where my Shepard was a bastard to everyone but eventually made the right choices with the major missions. It was a fun roleplay action and it was most enjoyable. But alas, it annoyed me that it ultimately didn't mean anything at the end of the game. What's wrong with playing a 'grey' character? Anyone would think the game resents such players for being so stupid. And what's the point in being a roleplaying game if the roleplaying options are so restrictive?
That being said, the only I've played which did the morale system right was Red Dead Redemption. The implementation of the Honor/Fame system offers a lot more freedoms than ever before and finally allows the player to play a grey character: A true neutral who can do as many good things as bad things.
So in the end, I can see that morale choices as an interesting tool in shaping a character as the player sees fit. The more choices being offered to the player, the more freedoms they have in playing the game and building a character they can connect with. The honor/fame system in Red Dead Redemption is a step in the right direction and I hope that other developers take note. Because the more grey area there is, the more fascinating the player character becomes.
Because the world isn't as black and white as people would like to think it is (and I speak from experience).
But that's not all: What I don't like about morality choices is the pretensions of challenging the player. Now I applaud any game that tries to break down the barrier between player and game and connect them at a level of emotion and thoughtfulness. BUT! With the morality systems in today's games I'm not getting that sense at all.
Let's compare Mass Effect with Shadow of the Colossus. In the former, the player is faced with key choices but the choices they make will have many a drastic repercussion throughout this universe Bioware have given us. Now there is a sense that these choices are meant to make the player think but strangely I don't get that sense at all: Instead I adopt the sense of 'make the decision and live with it as you can't go back'. Now there is nothing wrong with that approach but I doubt that was Bioware's intention.
Shadow of the Colossus on the other hand features a guy destroying a series of unique creatures for the sake of restoring a single life. The player has no say in this and they're just going along for the ride - And yet the game itself is far more successful at triggering an emotional reaction. I guess it goes to show that the less control you give the player, the more likely you'll have them embracing any point you give them.
It's a cruel equation: Give players more control and the more likely they'll mess things up, oblivious to anything you might have to say.
The other issue I have with morale choice systems is that it's one of extremes. Most often than not the player has the choice of being a complete bastard or a panzie goody-goody. Well what about some middle ground? Granted the choices offered by the morale system can shape the player character but what good is it when all the results of these choices are all in black and white? I've played through Mass Effect where my Shepard was a bastard to everyone but eventually made the right choices with the major missions. It was a fun roleplay action and it was most enjoyable. But alas, it annoyed me that it ultimately didn't mean anything at the end of the game. What's wrong with playing a 'grey' character? Anyone would think the game resents such players for being so stupid. And what's the point in being a roleplaying game if the roleplaying options are so restrictive?
That being said, the only I've played which did the morale system right was Red Dead Redemption. The implementation of the Honor/Fame system offers a lot more freedoms than ever before and finally allows the player to play a grey character: A true neutral who can do as many good things as bad things.
So in the end, I can see that morale choices as an interesting tool in shaping a character as the player sees fit. The more choices being offered to the player, the more freedoms they have in playing the game and building a character they can connect with. The honor/fame system in Red Dead Redemption is a step in the right direction and I hope that other developers take note. Because the more grey area there is, the more fascinating the player character becomes.
Because the world isn't as black and white as people would like to think it is (and I speak from experience).
Monday, August 15, 2011
Losing My Religion
Evil religions are easy fodder for JRPGs aren't they? Look at any JRPG and you see it's more or less all the same: There is some religion which everyone follows run by some corrupt officials who gleefully have the populace under their thumb - also these leaders have their hopes set on the the return of some messiah figure who ultimately turns out to be some kind of demon.
How many times has that scenario been used? In fact, very few in number are the JRPGs that portray religion in a more positive light (the churches in the Shining Force series comes to mind)
But when I consider the afore-mentioned scenario, what fascinates me the most is what happens next. In challenging, and subsequently defeating, the evil demon, the player character effectively destroys the influence of the evil religion and frees it's flock from it's grip. But then what? Exposing one's religion as a sham and then destroying it is a big thing - hardly the type one can walk away freely from. So what happens next? What do the followers do? Are they happy? Now that they have free will do they know what to do with it? Do they spend their days in confusion? Or do they form a big mob and go after the killjoy player character?
You know, as I type this I want to know what happens next. I would like to see an RPG (or indeed any kind of game) of two halves where the first half deals with the 'evil religion' scenario and the second half deals with the afore-mentioned 'aftermath' scenario. Why not? It would certainly make for an interesting twist to the tried/tested/run-into-the-ground 'evil religion' scenario. I know Final Fantasy X-2 sort of tried this but it didn't take the idea far enough (that and the rest of the game was total rubbish). I also know that Shadow of the Colossus sort of tackled this idea but that's more speculative.
The door is open so any takers?
How many times has that scenario been used? In fact, very few in number are the JRPGs that portray religion in a more positive light (the churches in the Shining Force series comes to mind)
But when I consider the afore-mentioned scenario, what fascinates me the most is what happens next. In challenging, and subsequently defeating, the evil demon, the player character effectively destroys the influence of the evil religion and frees it's flock from it's grip. But then what? Exposing one's religion as a sham and then destroying it is a big thing - hardly the type one can walk away freely from. So what happens next? What do the followers do? Are they happy? Now that they have free will do they know what to do with it? Do they spend their days in confusion? Or do they form a big mob and go after the killjoy player character?
You know, as I type this I want to know what happens next. I would like to see an RPG (or indeed any kind of game) of two halves where the first half deals with the 'evil religion' scenario and the second half deals with the afore-mentioned 'aftermath' scenario. Why not? It would certainly make for an interesting twist to the tried/tested/run-into-the-ground 'evil religion' scenario. I know Final Fantasy X-2 sort of tried this but it didn't take the idea far enough (that and the rest of the game was total rubbish). I also know that Shadow of the Colossus sort of tackled this idea but that's more speculative.
The door is open so any takers?
Monday, June 13, 2011
So GLaD you decided to join us
Recently I finally got my claws on the Orange Box. It may have taken me awhile but I saw a sale and snapped it up for $25. Five bucks for a game? Sounds like a sweet deal for me!
And once I got it home, I made a beeline for Portal. Having heard so much about this I had very high hopes for it and was keen to see how it would hold up.
And what did I think of it?
To be honest I'm not entirely sure.
To begin with, lets get what we know out of the way: When Portal came out in 2007, it was a completely new title that came packaged with two well-established brothers (Half Life and Team Fortress). In the time since then, Portal has scooped up plenty of praise, awards and spawned a whole lot of memes. And it's into this environment I step into.
Maybe I'm an interesting candidate to assess Portal: Unlike everyone who first played it back in 2007, I know exactly what to expect, I have an understanding that this is a highly regarded game and I have become familiar with both the phrase 'The Cake is a Lie' (although more through accident than design) and the song Still Alive (to the point I have downloaded for use in Rock Band).
But that's the thing: Through many words being written about Portal and the prevalence of the Cake is a Lie meme, a lot of the mystique about the game is gone. Anyone playing Portal now is going to go through a completely different experience then those playing it for the first time in 2007 had.
That's not to say that I didn't enjoy Portal: Far from it. I liked the black humour, I liked the challenge of the puzzles and the final confrontation with GLaDOS was intense - yet bizarrely counter-balanced with her witty insults.
But for me the popularity of Portal has more or less killed the subtle nature of the game itself. With Portal being a huge hit and inspiring more than a few catchphrases, there are no surprises left. Sure seeing 'The Cake is a Lie' scribbled on the wall may be a surprise but it's not when you've heard many times elsewhere. And I found the promise of Cake isn't really featured that many times in the game itself - which left me wondering why that aspect of the game got more attention than it did. There were some great ideas being put to work in Portal but it a shame that many of them got lost in GLaDOS' witticisms and endless youtube clips of Still Alive. And I find the reaction to the heart-cube puzzling - and indeed the presence of the heart cube plushy's seem more of an undermining of the point Valve were trying to convey (although personally if you're going to invoke feelings of remorse towards the player you may as well not bother becuase Shadow of the Colossus has already been made).
I guess humour is really hard to pull off in a game: If it's not funny then the game looks silly. But if it's really funny then it ends up being repeated endlessly in chatrooms and e-mails everywhere and it gradually loses it's impact.
And that's what bothers me about Portal: There were some great ideas at work but they seemed to have been lost in a tidal of wave of fandom. Imagine if someone wrote a novelization about Ico and gave their own interpretation on the characters and events in the game. Wouldn't it suck to have all that mystery taken away? Wouldn't it suck to have your own ideas squashed by someone else's? Wouldn't it ruin your own perception of the game?
But then again, Valve have made more games and more fans then that of Team Ico so maybe the adulation should come as no surprise.
Mind you, one consistent theme in this blog is how I've been discovering games in my own time and how I've come out better for it. Indeed this is not the first time I've been intimidated by a game through reputation alone. But in the case Portal, it has made such an impact within such a small space of time - is it any wonder why someone like me would be intimidated?
I don't know: Maybe I should've left it for a few more years.....
And once I got it home, I made a beeline for Portal. Having heard so much about this I had very high hopes for it and was keen to see how it would hold up.
And what did I think of it?
To be honest I'm not entirely sure.
To begin with, lets get what we know out of the way: When Portal came out in 2007, it was a completely new title that came packaged with two well-established brothers (Half Life and Team Fortress). In the time since then, Portal has scooped up plenty of praise, awards and spawned a whole lot of memes. And it's into this environment I step into.
Maybe I'm an interesting candidate to assess Portal: Unlike everyone who first played it back in 2007, I know exactly what to expect, I have an understanding that this is a highly regarded game and I have become familiar with both the phrase 'The Cake is a Lie' (although more through accident than design) and the song Still Alive (to the point I have downloaded for use in Rock Band).
But that's the thing: Through many words being written about Portal and the prevalence of the Cake is a Lie meme, a lot of the mystique about the game is gone. Anyone playing Portal now is going to go through a completely different experience then those playing it for the first time in 2007 had.
That's not to say that I didn't enjoy Portal: Far from it. I liked the black humour, I liked the challenge of the puzzles and the final confrontation with GLaDOS was intense - yet bizarrely counter-balanced with her witty insults.
But for me the popularity of Portal has more or less killed the subtle nature of the game itself. With Portal being a huge hit and inspiring more than a few catchphrases, there are no surprises left. Sure seeing 'The Cake is a Lie' scribbled on the wall may be a surprise but it's not when you've heard many times elsewhere. And I found the promise of Cake isn't really featured that many times in the game itself - which left me wondering why that aspect of the game got more attention than it did. There were some great ideas being put to work in Portal but it a shame that many of them got lost in GLaDOS' witticisms and endless youtube clips of Still Alive. And I find the reaction to the heart-cube puzzling - and indeed the presence of the heart cube plushy's seem more of an undermining of the point Valve were trying to convey (although personally if you're going to invoke feelings of remorse towards the player you may as well not bother becuase Shadow of the Colossus has already been made).
I guess humour is really hard to pull off in a game: If it's not funny then the game looks silly. But if it's really funny then it ends up being repeated endlessly in chatrooms and e-mails everywhere and it gradually loses it's impact.
And that's what bothers me about Portal: There were some great ideas at work but they seemed to have been lost in a tidal of wave of fandom. Imagine if someone wrote a novelization about Ico and gave their own interpretation on the characters and events in the game. Wouldn't it suck to have all that mystery taken away? Wouldn't it suck to have your own ideas squashed by someone else's? Wouldn't it ruin your own perception of the game?
But then again, Valve have made more games and more fans then that of Team Ico so maybe the adulation should come as no surprise.
Mind you, one consistent theme in this blog is how I've been discovering games in my own time and how I've come out better for it. Indeed this is not the first time I've been intimidated by a game through reputation alone. But in the case Portal, it has made such an impact within such a small space of time - is it any wonder why someone like me would be intimidated?
I don't know: Maybe I should've left it for a few more years.....
Wednesday, May 4, 2011
Where There's a Will
Whilst I have yet to play Bioshock, I am well aware of the thinking that went into it - Not that I could escape it anyway. Much has been made of how the makers were inspired by the writings of Ayn Rand and it’s implementation of the concept of free will into the game mechanics. I like the idea of the gamer having their perceptions challenged through their actions and the game progression – and it would seem that game makers are following suite.
I’m also interested in games that pull the rug out from under the player: leading them for on so long before the gradual introduction of an idea that challenges the gamer’s actions and makes them consider what they are doing before they realise it (ie Shadow of the Colossus).
These two ideals seem to have given many game developers pause for thought in how convey the story they want to tell and the response they want to get out of the gamer. So, to shamelessly capitalise on these trends I present my own spin on these ideas: Using the ingredients of ‘free will’ and the ‘bond of trust’, I present my own synopsis for a game plot in the (seemingly vain) hope that someone important is reading this.
A compelling scenario and one which has the potential to work. It deconstructs the notion of free will in game and provides some spins on some gaming formulas.
If anyone would like to take up such a challenge, contact me. We’ll talk.
I’m also interested in games that pull the rug out from under the player: leading them for on so long before the gradual introduction of an idea that challenges the gamer’s actions and makes them consider what they are doing before they realise it (ie Shadow of the Colossus).
These two ideals seem to have given many game developers pause for thought in how convey the story they want to tell and the response they want to get out of the gamer. So, to shamelessly capitalise on these trends I present my own spin on these ideas: Using the ingredients of ‘free will’ and the ‘bond of trust’, I present my own synopsis for a game plot in the (seemingly vain) hope that someone important is reading this.
The game begins with a character who, for the purposes of this synopsis, is named Barry. Barry is released from something – cryogenic suspension would be the most workable source – to find himself on a medical table. Barry’s memories are jumbled and unclear but the thing he remembers the most is a glorious Hawaiian beach. However, the facility is under attack from some unknown enemy so Barry takes up arms to defend himself and to find some answers to his existence.
So far this sounds like it’s all been done before but this is but the first step towards a massive twist: As the game progresses Barry is driven only by the memory of the Hawaiian beach – the only thing he recalls and the only thing that seems closest to peace of mind. But as he progresses, Barry picks up clues to his past, suggesting he was a former secret agent and a murderer of many.
BUT! The big twist is at the end: At the end of his journey, Barry realises his journey has been a sham: he was indeed the product of scientific experiment and he was indeed released from cryogenic suspension but it wasn’t by the scientists who operated the facility: It was the antagonists he been fighting all through the game. It turns out they were some liberational force (or something) who opposed humans being operated on in such a manner. And the memory of the beach was fabricated: The one thing he been driven by doesn’t really exist at all and was merely implemented into his mind by the scientists as a test for brain research. Beyond that, his entire memory has been wiped clean.
And thus the game ends with Barry liberated from experimentation and fabricated memories. But then he makes a choice: He rejects it. Instead, Barry makes to conscious decision to return to cryogenic suspension, favouring to remain with his dream for all eternity.
A compelling scenario and one which has the potential to work. It deconstructs the notion of free will in game and provides some spins on some gaming formulas.
If anyone would like to take up such a challenge, contact me. We’ll talk.
Friday, April 15, 2011
Don't You Want Somebody to Love?
When I first heard that Lightning, the lead protagonist from Final Fantasy XIII, was intended to be a female equivalent of the legendary Cloud from Final Fantasy VII, my first thought was:
What does this mean she is going to have to contend with the attentions of two guys? And will one of which get killed off by the main baddie while the player is helpless to intervene?
Okay so maybe that previous sentence was me being silly (personally I had no idea how to word it for the purposes of this post) but my initial reaction got me thinking: Has there ever been a decent gaming romance where the female is the focal point?
Now I have spoken about romance in games many times. True I may be a hopeless romantic but because I feel romance is such an over-looked element in games. Most of the time it is something of a player motivation (You control Mario to rescue Princess Peach being one such example) but when done right a romance can work wonders. True there may not be many hopeless romantics here in gaming but personally if romance in video gaming is an alien concept, maybe there could well be some potential worth realising.
But going back to that thing called the focal point: Many games I‘ve found, the male half seems to have the greater say: It is them doing all the work and them trying hard to win the female half over – who seems quite willing to along with it all. Thus, Mario continually rescues Peach, Link keeps saving Zelda and Cloud has the option of going on a date with either Tifa, Aerith or Yuffie.
Strangely, you never see the female half do the chasing. Why is this so? Has years of being a male character rescuing their partner from an antagonistic figure been imprinted in our minds? Is having a female actively seeking a relationship a threat to the need to a hero and save the day?
Really, being a female in a video game romance is really getting handed a raw deal: You’re pretty much there to be some kind of romance to the main character and to provide some notion that at the end of the journey will be all the more worth it. You don’t have much of a say – no you’re only abiding to wishes of the player and the designer. And if you’re a female character actively working to getting the male’s attention, you’re setting yourself to be dismissed as a horny wench.
Personally, I like video game heroines to be more than sex objects but that’s not to say that a female character can’t be allowed to work as hard as the males to find herself a romantic partner.
Are we so used to active males working hard to win over passive princess figures? Anyone can challenge the nature of this theory – by way of example look at Ico and Shadow of the Colossus – so why not more of it?
But as video games are a male-dominated market, seeing a woman in some degree of control can be labelled as a threat - case in point: I heard that Enslaved: Odyssey to the West earned some backlash for placing the male lead in a servitude role.
Why can’t the woman actively pursue a relationship?! Is it true that we may laud the chasing male as a stud whilst dismiss the chasing female as a whore?
Now that I think of it, what makes a video game romance command attention? Is it determined on how much say the player has in its growth and development? Indeed, many people seem willing to accept Tidus and Yuna but others grow passionate when debating whether Tifa or Aerith is the better fit for Cloud. Perhaps having name, a face and an identity on both sides makes for a more compelling romance than, say, Morrigan being won over by (the Grey Warden).
And speaking of Bioware, I think the only example of a female character actively perusing a relationship (or at least I can think of) would have to be the female Shepard in Mass Effect 2. As stated before, she has the better selection of partners and is helped by a great performance from her VA Jennifer Hale. And whereas anyone would dismiss the active female as a whore, no one would say the same for Shepard – perhaps she’s a tough cookie. The type that can use a gun, kill the baddies and take command of chaotic situations - just as easily as trying to get into Garrus’ pants. It may be a single step but it’s one in the right direction – I just hope more developers catch onto this idea and expand on it.
That being said, would I play a game where I control a female lead who finds herself drawing the romantic attentions of two guys? Possibly – such a game may not get made but that idea has some potential to say the least.
What does this mean she is going to have to contend with the attentions of two guys? And will one of which get killed off by the main baddie while the player is helpless to intervene?
Okay so maybe that previous sentence was me being silly (personally I had no idea how to word it for the purposes of this post) but my initial reaction got me thinking: Has there ever been a decent gaming romance where the female is the focal point?
Now I have spoken about romance in games many times. True I may be a hopeless romantic but because I feel romance is such an over-looked element in games. Most of the time it is something of a player motivation (You control Mario to rescue Princess Peach being one such example) but when done right a romance can work wonders. True there may not be many hopeless romantics here in gaming but personally if romance in video gaming is an alien concept, maybe there could well be some potential worth realising.
But going back to that thing called the focal point: Many games I‘ve found, the male half seems to have the greater say: It is them doing all the work and them trying hard to win the female half over – who seems quite willing to along with it all. Thus, Mario continually rescues Peach, Link keeps saving Zelda and Cloud has the option of going on a date with either Tifa, Aerith or Yuffie.
Strangely, you never see the female half do the chasing. Why is this so? Has years of being a male character rescuing their partner from an antagonistic figure been imprinted in our minds? Is having a female actively seeking a relationship a threat to the need to a hero and save the day?
Really, being a female in a video game romance is really getting handed a raw deal: You’re pretty much there to be some kind of romance to the main character and to provide some notion that at the end of the journey will be all the more worth it. You don’t have much of a say – no you’re only abiding to wishes of the player and the designer. And if you’re a female character actively working to getting the male’s attention, you’re setting yourself to be dismissed as a horny wench.
Personally, I like video game heroines to be more than sex objects but that’s not to say that a female character can’t be allowed to work as hard as the males to find herself a romantic partner.
Are we so used to active males working hard to win over passive princess figures? Anyone can challenge the nature of this theory – by way of example look at Ico and Shadow of the Colossus – so why not more of it?
But as video games are a male-dominated market, seeing a woman in some degree of control can be labelled as a threat - case in point: I heard that Enslaved: Odyssey to the West earned some backlash for placing the male lead in a servitude role.
Why can’t the woman actively pursue a relationship?! Is it true that we may laud the chasing male as a stud whilst dismiss the chasing female as a whore?
Now that I think of it, what makes a video game romance command attention? Is it determined on how much say the player has in its growth and development? Indeed, many people seem willing to accept Tidus and Yuna but others grow passionate when debating whether Tifa or Aerith is the better fit for Cloud. Perhaps having name, a face and an identity on both sides makes for a more compelling romance than, say, Morrigan being won over by (the Grey Warden).
And speaking of Bioware, I think the only example of a female character actively perusing a relationship (or at least I can think of) would have to be the female Shepard in Mass Effect 2. As stated before, she has the better selection of partners and is helped by a great performance from her VA Jennifer Hale. And whereas anyone would dismiss the active female as a whore, no one would say the same for Shepard – perhaps she’s a tough cookie. The type that can use a gun, kill the baddies and take command of chaotic situations - just as easily as trying to get into Garrus’ pants. It may be a single step but it’s one in the right direction – I just hope more developers catch onto this idea and expand on it.
That being said, would I play a game where I control a female lead who finds herself drawing the romantic attentions of two guys? Possibly – such a game may not get made but that idea has some potential to say the least.
Friday, January 14, 2011
Bad to the Bone
(EDIT: Since publishing this post, a friend has pointed out problems with this post. That being said, what may follow may be weird and unnecessary to some readers. So pointing that out doesn't make you a genius...
....Becuase I beat you to it! Ha!)
Had a laugh in watching these week’s Zero Punctuation. Far be it from me to recommend someone away from these words but seeing Yahtzee tear into World of Warcraft Cataclysm was a treat indeed. Somehow, I can’t help but think the declaration of ‘Fuck the Alliance’ may be cause for Blizzard to consider some incentive to make people reconsider joining the Horde.
I’ve never played Wow and I don’t see any reason to start – personally I like games that have at least some kind of goal to make all the hours invested in the game worth it in the end. To do the same thing over and over again (which is pretty much what RPG’s usually entail) but no destination in mind doesn’t really sit well with me.
Of course, this may make me the wrong choice to talk about WOW but sometimes, an outsider’s view can make a whole world of difference (pun most certainly intended).
As is my understanding, players of Wow are divided into two groups: Alliance and Horde. The former are ‘goodies’ and the latter are ‘baddies’. As a result, the Horde commands the larger number of players and anyone in the Alliance is considered a pansy.
Many games these days usually present the option to players, through their actions, be a good guy or a bad guy. But it would seem that no game commands more appeal to be a bad guy than World of Warcraft. Thus the Horde outclasses the Alliance in Warrior Classes, Weaponry and Spells. Seems the Devil really does have the better toys.
True playing the bad guy in a video game is escapism at work offering the player to do things they wouldn’t normally do in their real life but I’m not sure what offering the option of doing either is meant to accomplish: Some games expect you to be the bad guy whilst other games have offered better rewards/power-ups for being a bad guy over a good guy (Infamous being one example). But in WOW, it would seem that being in the Horde means you can cleanly get away with being a prick – being one of the Horde means you don’t have to deal with any moral choices (ie Mass Effect) and you aren’t forced into some guilt-trip bollocks for the things you do (ie Shadow of the Colossus).
Thus it would seem that in Blizzard’s world being a good guy just plain sucks: Diablo ended with your warrior serving as vessel for demonic possession and Starcraft ends with the player siding with the Zerg and destroying the factions they previously worked hard to build up – both effectively ruining the work the player put into the game. Does someone in Blizzard have a prejudice against good guys? Maybe – but it would seem that many WOW players think so.
But I don’t: I enjoy playing both the good guy and the bad guy in equal amounts. I prefer to see things in shades of grey as opposed to black and white. Unfortunately for me though, the moral systems that proliferate games these days think otherwise.
And this is the problem I have with moral choices: It’s one or the other. You can either be 100% good or 100% bad with no room for any middle ground whatsoever.
But why not? I like heroes, and villains, to have some depth to them. I like heroes that do more than be heroic just for the sake it (By way of example I prefer Batman over Superman). Thus, the heroes that appeal to me are those who do good things however reluctantly or have some kind of weight on their shoulders, ie Solid Snake and Vincent Valentine. On the flipside, villains that appeal to me are those who show some degree of humanity even with blood on their hands, ie Magneto and Shishio Makoto (Rurouni Kenshin). I mean just because a villain shows some emotion doesn’t make him a pussy – it shows he has some depth.
So yes, the moral choices only work for me when there is some middle ground to add some grey into the mix. Being entirely white or entirely black may be all good and well but ultimately it’s so damn boring! Indeed, I would like to see a Commander Shepard score more than a few Renegade points on their way to becoming a Paragon. It makes for a more interesting character that way.
In the end, I don’t see a point for prejudice against good guys: You need them to keep the bad guys in line, to give an opposing force to add to conflict and, ultimately, a reason for the bad guys to be bad guys.
So perhaps Blizzard could add some more incentive for Alliance players?
Some cheaper thrills maybe?
....Becuase I beat you to it! Ha!)
Had a laugh in watching these week’s Zero Punctuation. Far be it from me to recommend someone away from these words but seeing Yahtzee tear into World of Warcraft Cataclysm was a treat indeed. Somehow, I can’t help but think the declaration of ‘Fuck the Alliance’ may be cause for Blizzard to consider some incentive to make people reconsider joining the Horde.
I’ve never played Wow and I don’t see any reason to start – personally I like games that have at least some kind of goal to make all the hours invested in the game worth it in the end. To do the same thing over and over again (which is pretty much what RPG’s usually entail) but no destination in mind doesn’t really sit well with me.
Of course, this may make me the wrong choice to talk about WOW but sometimes, an outsider’s view can make a whole world of difference (pun most certainly intended).
As is my understanding, players of Wow are divided into two groups: Alliance and Horde. The former are ‘goodies’ and the latter are ‘baddies’. As a result, the Horde commands the larger number of players and anyone in the Alliance is considered a pansy.
Many games these days usually present the option to players, through their actions, be a good guy or a bad guy. But it would seem that no game commands more appeal to be a bad guy than World of Warcraft. Thus the Horde outclasses the Alliance in Warrior Classes, Weaponry and Spells. Seems the Devil really does have the better toys.
True playing the bad guy in a video game is escapism at work offering the player to do things they wouldn’t normally do in their real life but I’m not sure what offering the option of doing either is meant to accomplish: Some games expect you to be the bad guy whilst other games have offered better rewards/power-ups for being a bad guy over a good guy (Infamous being one example). But in WOW, it would seem that being in the Horde means you can cleanly get away with being a prick – being one of the Horde means you don’t have to deal with any moral choices (ie Mass Effect) and you aren’t forced into some guilt-trip bollocks for the things you do (ie Shadow of the Colossus).
Thus it would seem that in Blizzard’s world being a good guy just plain sucks: Diablo ended with your warrior serving as vessel for demonic possession and Starcraft ends with the player siding with the Zerg and destroying the factions they previously worked hard to build up – both effectively ruining the work the player put into the game. Does someone in Blizzard have a prejudice against good guys? Maybe – but it would seem that many WOW players think so.
But I don’t: I enjoy playing both the good guy and the bad guy in equal amounts. I prefer to see things in shades of grey as opposed to black and white. Unfortunately for me though, the moral systems that proliferate games these days think otherwise.
And this is the problem I have with moral choices: It’s one or the other. You can either be 100% good or 100% bad with no room for any middle ground whatsoever.
But why not? I like heroes, and villains, to have some depth to them. I like heroes that do more than be heroic just for the sake it (By way of example I prefer Batman over Superman). Thus, the heroes that appeal to me are those who do good things however reluctantly or have some kind of weight on their shoulders, ie Solid Snake and Vincent Valentine. On the flipside, villains that appeal to me are those who show some degree of humanity even with blood on their hands, ie Magneto and Shishio Makoto (Rurouni Kenshin). I mean just because a villain shows some emotion doesn’t make him a pussy – it shows he has some depth.
So yes, the moral choices only work for me when there is some middle ground to add some grey into the mix. Being entirely white or entirely black may be all good and well but ultimately it’s so damn boring! Indeed, I would like to see a Commander Shepard score more than a few Renegade points on their way to becoming a Paragon. It makes for a more interesting character that way.
In the end, I don’t see a point for prejudice against good guys: You need them to keep the bad guys in line, to give an opposing force to add to conflict and, ultimately, a reason for the bad guys to be bad guys.
So perhaps Blizzard could add some more incentive for Alliance players?
Some cheaper thrills maybe?
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