Red Dead Ruminations: Life In The West

Red Dead Redemption is a fantastic game. It was last year when it was first released, it continues to be now and, in a decade or so when people look back at important videogames (again, since we all love doing it so much), Red Dead Redemption will stand out as a significant and crucial release. The reasons for this are many and have been detailed plenty of times elsewhere, particularly last year when it was the focus of everyone’s conversation, but it is still worth pointing out anyway because games like this don’t come along very often, and deserve all the attention that they can get. That is why, over a year since it released, I’m still going ahead with my own series of posts about the game -- simply put, it inspires a lot of thoughts and discussion, and I’m certainly not excluded from that fact.

So, what do I think about the game? Well, as I’ve said twice now, it was my introduction to the Western genre, so it was especially interesting playing the game with that in mind, discovering and learning about the core qualities of that particular genre. Perhaps even more fascinating, however, was how I came to realise that Red Dead Redemption is an even better take on the old Wild West because it doesn’t specifically focus on the genre’s tropes or quirks, and instead treats them as mere details in a much larger, broader experience. Beyond that, my fascination with game spaces saw another intriguing game to consider, given how incredible RDR’s environment is -- both in scope, and in detail. Of course, being a Rockstar game the atmosphere and sense of place in Red Dead Redemption isn’t surprising, but it’s still very interesting to think about because, I feel, the game stepped it up another level again -- even over Grand Theft Auto IV, in some respects. Finally, I was interested in the game because it seemed like Rockstar were intending to continue their more mature approach to their storytelling, first seen in Liberty City and GTA IV. While some characters are questionable, for the most part it really came across as if Rockstar were trying to pioneer, yet again, with Red Dead’s narrative, and the end result of that is remarkable, depending on the context. I will address the game’s characters, general plot and my connections to both in future posts but, for now, let’s talk about my introduction to the genre, and the game’s interesting use of its environment.

Why hello, Mr. Marston

Entering into a game (or any entertainment product, really) that adheres to a specific experience with no idea of what to expect is, somewhat, surreal. Red Dead Redemption’s general adoption of Rockstar’s open world template, however, ensured that there were enough features in the game that were familiar to me whilst I learned about all of the elements that were foreign: I knew about their emphasis on atmosphere and a sense of place in an expansive environment; I knew how the game ‘felt’ due to its similarities to Grand Theft Auto; and I was also quite familiar with the game’s structure of cut-scenes, objectives, and then rewards. This allowed my attention to be firmly focused on everything that was new (to me), meaning that I was able to get engrossed a lot quicker than I initially expected to. What I wasn’t expecting, however, was how the Western status of the game took a back seat to the rest of the experience -- it is a videogame based in a Western setting, not necessarily a Western itself.

This was surprising to me because, before release, I was totally expecting the videogame version of a Western. That was how (I thought) the game was advertised throughout its hype campaign and the various previews and interviews, and that was what I wanted because, as I keep on repeating, I was new to the genre and wanted to use the game to see whether I liked it or not. And it did answer that question, too -- I did get to see what a Western entailed, and I did get to understand what my own personal stance on such a specific experience would ultimately be, but I acquired that insight indirectly as I engaged the whole adventure and not just certain aspects of it. On the surface, the tropes and incidental details that you’d expect from a Western -- duels, train robberies, cowboys saying “giddy-up”, etc. -- are present and accounted for but these traditional elements of the genre simply aren’t thrown in your face in Red Dead Redemption. Instead, they exist in the background: just like sheriffs and ranches do, like cacti and wolves, and, indeed, like the desolate landscape itself. They aren’t included in the game to ensure its authenticity to the genre or to inform its players that, yes, Red Dead Redemption is a Western; they’re merely details in a world full of them, and they give this world weight through their beautiful, delicate, coherency. Recognising that fact -- that RDR is a game with a Western setting, rather than one that is a Western -- took some time and didn’t occur until well after I had finished the game. But once I did acknowledge this subtle distinction, I realised that it enriches the experience in the same way that the little things do for other titles.

Attention to detail is one of Red Dead Redemption’s most significant qualities, but I think it would be fair to say that most people wouldn’t think about what it does or doesn’t do with the genre as one of the areas in which the game carefully creates its overall experience. I would argue, however, that this is why the game is so remarkable to begin with: it took a genre from another medium, adopted the essence of it for a new one, and masterfully turned it into something that wasn’t just unique, it was only possible as a videogame.

On The Lone Prairie

Not too long ago I wrote a post expressing my disdain with the notion that, eventually, Liberty City from Grand Theft Auto IV would be forgotten in favour of more impressive environments, perhaps even from another GTA. As technology and graphical fidelity continue to progress -- among other things -- I can see a future in which Liberty City is no longer considered a technical achievement or a sense of wonder, indirectly allowing for it to become a memory much in the same way that, say, the entirety of San Andreas has -- a particularly fond memory, undoubtedly, but a memory nonetheless.

Well, unsurprisingly, I feel the same way about Red Dead Redemption’s magnificent depiction of the Wild West. Like Liberty City, I believe that the game’s environment is one of the best examples we have yet of a world that feels like it truly exists; only this time the game’s particular setting ensures that we’re revisiting a bygone era, rather than a modern metropolis. The sense of place, life and, of course, atmosphere in Red Dead Redemption is unparalleled, and somewhat conveniently exists as the demonstration of what the opposite of Liberty City could and should be. Instead of the urban jungle we have an expansive piece of land which teams with wildlife, sporadic hints of civilization, and which features a surprising amount of variety. I will address that last one in a future post but the point is that there is simply nothing like Red Dead Redemption’s landscape, and the fact that it is so incredibly detailed and full of unexpected surprises is not only a testament to Rockstar’s prowess with creating these virtual worlds in which we get to inhabit, but to their ability to showcase some of this generation’s most significant technical achievements, too. Few other developers can pull off such a large environment that is full with things to see and do, and fewer still can also provide a place in which key, personal moments can occur for each and every player.

But it’s not about how impressive or special it can be; rather, it’s about how in the not too distant future I get the impression that, yet again, Red Dead Redemption’s landscape is going to be forgotten in favour of something else that is bigger, better, and certainly more beautiful. Right now that sounds absurd but we’re talking about a videogame, too -- the medium progresses at an insane rate and, as we’ve seen time and time again, it only takes a couple of years before a game is completely outclassed by something newer. Just look at the differences between The Elder Scrolls IV: Oblivion and The Elder Scrolls V: Skyrim for an example of what I am talking about: both games are amazing at the time of their release, but the inevitable iteration and technical advancements of the medium ensure that, eventually, they’re seen as less impressive and even, at times, ugly. As we reach and surpass the uncanny valley and photo-realism that problem becomes less significant but, right now, it’s still an issue and because of this I fear that, like Liberty City, Red Dead’s world will become nothing more than a memory for the majority of people because there simply won’t be any reason to visit it anymore. There will be better and, while I can’t wait to see what that might actually be myself, I also dread it because I personally believe that these environments that we already have now -- today, in the current generation -- should be cherished and even celebrated -- if not for their impressive coherency, than certainly because of all the resources, hard work and effort that went into making them.

Ultimately this disdain I feel for the (potential) future of these game spaces is a personal thing that I have developed alongside my passion for virtual spaces as a whole, and while important it doesn’t necessarily reflect how I feel about the future. I’m eagerly awaiting what might appear on the horizon, and already have some idea of what that future entails with games like BioShock Infinite taking us to places that, once again, we cannot go in reality. The future is very bright when it comes to virtual worlds, but I’m not going to jump up and celebrate their arrival if, as a consequence, what we already have now is left behind and forgotten. That’s not the kind of approach I want to take with a medium I hold so dear, and that’s why I’m a little more reluctant to proceed than the majority of gamers out there.

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That’s some of my initial observations about Red Dead Redemption. A review, if you will, of some of the things that stood out to me upon the game’s completion. Naturally, being a Rockstar game means there is plenty more to talk about, and what I’ve covered above is only scratching the surface. In my next post I will discuss the opening moments of the game, and how they effectively set up the overall experience whether we realise it or not -- where better to start covering such a large game than the beginning?

Columbia's Call

Yeah, you knew this was coming.

With the gameplay footage for BioShock: Infinite finally revealed for all to see, it was only natural that I’d have some things to say about it. But surprisingly, for me at least, it didn’t inspire as strong a reaction as I was expecting, instead piquing my interest for what is to come but leaving me satisfied that I can forget about the game until its release in 2012 -- I don’t think I have ever had that feeling about a game that I’m highly anticipating.

When the footage starts and it seamlessly transitions from what appears to be a picture into the perspective of player character Booker De Witt looking at a banner, I couldn’t help but sit back and just watch the footage on its own terms, letting whatever was demonstrated occur and not caring too much about what I may or may not think. Approaching the footage so casually was a smart thing to do as it meant I could just enjoy it for what it was rather than analyse it for what it could be -- something I won’t know until the final product hits. I chuckled when I saw the mechanical horse trotting down the path; watched in awe at the large, looming tower in front of us, clearly damaged and about to collapse, the birds chirping in the background an amusingly cheery contrast to the destruction. I pondered quite why someone would be sweeping while the surrounding building was on fire; I viewed with interest as I saw various posters, features and elements of Columbia pass by as the demonstration continued, curious as to what they could mean in the context of the game. I smiled with delight as I realised that the characters seemed to not only be more varied than in previous BioShocks, but also a lot more disturbed and insane, reminding me -- strangely -- of Zeno Clash’s unique inhabitants. And I didn’t know what to think when the Skyline was used for transportation in pursuit of an enemy, though was happy to know that it wouldn’t be a passive ride from one place to another and that combat could take place during momentum. I appreciated the fact that upon entering the bar, the denizens weren’t hostile, and then laughed when the shotgun was turned against its original owner. I recognized the strong BioShock elements in the combat scenarios that occurred afterwards, seeing Infinite’s interpretations of everything from Telekinesis to Electro Bolt and beyond, curious about the new dynamics that would be offered by the cooperation with Elizabeth. I was reminded of the Brute Splicer when the Big Daddy-esque figure appeared, then the Big Sister when the cry of Elizabeth’s pursuer, Him, was heard.

It was there the trailer ended. I was impressed to be sure -- how could I not be with such a fascinating and intriguing idea for a game setting -- but also quite nonplussed: here is a game with a city that is the complete opposite of my beloved Rapture, contains familiar elements from the two previous games, and appears to be trying new things both in narrative terms and with the characters that drive it. It’s a game that should and does appeal to my tastes supremely well, but still seems so vague that I just can’t get on board the hype train yet. Perhaps its distant release date correlates with this feeling but either way, my response to the footage was positive yet subdued.

But enough about my response, what did the trailer show that I’m personally interested in?

The first and perhaps predictable aspect is the game’s space, Columbia. I spoke briefly about my thoughts towards it when the game was first announced but now that I have seen it, I’m excited. It still appears to be quite linear, with each building and surrounding areas seemingly limited by the fact that something can only be so big when it is floating in the sky. The fact it’s amongst the clouds, though, gives it a sense of openness that the confines of the Pacific Ocean couldn’t, despite Rapture’s sprawling metropolis always plainly in sight. The aforementioned Skylines open Columbia up even more, traversal around the city seemingly interactive rather than segregated by Rapture’s districts and its bathyspheres or the Atlantic Express. Whether these are interactive or not, whether combat takes place during travel or not, is almost irrelevant: instead of exploring room by room as you would in Rapture, in Columbia, you can do that and go and visit that building in the distance. Instead of being teased by what could be, you can instead go and investigate at will (seemingly) and for someone who really likes exploring and just being in a space, that’s extremely enticing.

Another thing I noticed was the way the sky got darker as the footage progressed. Sure, that was aided in part by storm clouds Elizabeth summoned to help Booker in combat, but even so I thought it was getting darker which suggests to me that Infinite will have a day/night cycle. It’s a small thing and probably won’t mean much for the game other than the opportunity to view Columbia in a new light (literally), but it’s a welcome and appreciated feature after the artificial light that permeated Rapture. As an extension to this, the fact that Columbia exists amongst the clouds leads me to speculate that it’s also quite plausible that there would be some kind of weather system in the game, either scripted or dynamic. If I’m right then that is also awesome as I think it’d be great to be overlooking the city as the sun slowly disappears and a thunderstorm rolls in. Aesthetically, the setting opens up a lot of possibilities that Rapture just couldn’t have: a nice contrast to the ubiquitous but beautiful ocean surrounds.

It also comes across as more natural, the aforementioned birds just a small example of what we might be able to see. It did seem odd to see a horse up there, as well as hear the sounds of a barking dog -- though if humans can live up there why can’t animals? -- but plateaus littered with trees, fountain displays and visible farmland below will provide a nice ambiance that, again, Rapture couldn’t have.

Last but not least, I’m intrigued by the game’s narrative. Obviously the footage doesn’t reveal much other than particular hints towards how characters might be or why they may behave the way they do, but even so I’m interested in the game’s story because of the new dynamic the duo of Booker and Elizabeth will bring, as well as the fact it is set well before the rise and fall of Rapture. Columbia is clearly heavily influenced by American ideals and culture, its purpose to extol the virtues of the country internationally, but it’s not all that meets the eye, either, and I’m definitely eager to learn more. Combine that with the idea that the game is set around the same time that cars, film and other things were enjoying their infancy-- not to mention around the same time that Red Dead Redemption’s Wild West epic took place -- and you have a baffling but blissfully enticing set up for a story that, for now at least, really could go anywhere. Columbia, the residents who call it home, the ideals and emotions it’s based on and what our role within it will be, is a mysterious city with the same allure that Rapture once had before we entered it for the first time, and when you think about it, it’s rather amazing that Irrational Games have managed to captivate us like that not once, but twice.

So overall, BioShock Infinite is a game that is at once foreign and familiar, mysterious and mesmerizing, and something to get excited about, just like Rapture and the original BioShock was way back in 2007. The wait may be long and arduous, the many other amazing games that will release during that time will be quite the distraction, but when it’s time to enter Columbia I’ll be ready. Will you?

Columbian Shift

It has been four years since we last heard from Irrational Games, and while their name may have changed twice since then, their ability to capture an audience and design games that get people thinking certainly has not: BioShock Infinite was announced on Thursday and immediately afterwards gaming websites and places like Twitter went into overdrive, going crazy over the news. And for good reason, too: on name alone there’s reason to be excited, as the BioShock franchise has established itself as one to watch and one that explores some really intriguing, incredible themes, but beyond that it’s a new game from Irrational, creators of the original BioShock and many other great games -- whatever they’re working on next is something to keep an eye on. But with BioShock Infinite, there’s more to contemplate than the obvious pedigree of what has come before. Here are just some of the thoughts that went through my mind after the announcement.

First and foremost: the new city. At first glance, Columbia -- a city in the sky -- looks amazing, delivering a completely different vibe to the murky depths and neon-flavour of Rapture, and exhibiting a vibrant display of colour that is punctuated by the American flag, its colours and indeed, the stars and stripes. Clearly then, this new city has an American flavor that Rapture did not, and on that merit alone it’s interesting to ponder just what that might mean for this new game. Even its name is rife with implication. Beyond that, the notion that there’s a floating city in the sky, above the land of real world locations that were only ever briefly mentioned in the depths of Rapture, is an enticing prospect. As soon as I saw it my mind was doing two things: sitting there in awe at what I was seeing, and then racing in a multitude of directions about what it means for its design -- and thus, the design of the game’s levels -- and also for its gameplay. By not showing any actual game footage, it’s unclear just what we will be doing in this new game and while it’d be easy to assume that the mechanics and dynamics will be similar to those in Rapture, we don’t know for sure until we learn more. Even if they are similar, how will they fit in with this new floating metropolis? The trailer shows sections of the city moving about to new areas, meaning that buildings will be connecting and disconnecting at will, completely changing the layout and presumably our ability to traverse between them. There’s also a rail network of some sort that connects the city, so it’ll be interesting to see how that works as well.

It might be easy to look at Columbia and be skeptical about its originality -- a city in the sky is not a new concept, after all -- but the trailer certainly did a remarkable job of highlighting why Irrational chose to go in this direction, and it demonstrates that once again, their creative talent is full of imagination. The concept may not be original, much like an underwater city wasn’t way back in 2007, but their overall design, aesthetic presentation and perhaps most importantly, personality, certainly is -- an exciting prospect to be sure.

As a fan(boy?) of the BioShock franchise, however, I was a little disappointed that it wasn’t set in Rapture. Back when discussing the reception BioShock 2 received, I suggested that Rapture is BioShock, and that to set it anywhere else would be a disservice to both the city under the sea and the series as a whole. I still maintain that Rapture is BioShock, but in the same way that the Assassin’s Creed series is able to redefine itself with new locations and settings, I’m open to the idea that Columbia -- and any other potential future city -- can also be the definition of the franchise. I mean, why shouldn’t it? Based on what was shown in the trailer alone Columbia already looks more amazing and unique than most videogame locations or settings, and knowing the ability of Irrational to inject personality and poignant, if not subtle, themes into their game spaces means that it has every chance of sitting alongside Rapture as one of gaming’s greatest settings. But even so, I am a little disheartened to see Rapture cast aside, especially when I know that its potential as a game space and setting hasn’t been fully tapped yet (more on this soon). Here’s hoping Andrew Ryan’s decaying dream is just having a break.

Another reason I’m excited for BioShock Infinite is because I can’t wait to actually go and be in Columbia. It’s no secret that I’ve developed an interest and passion for videogame spaces over the past few years, and despite my imagination running wild with possibilities I simply can’t fathom just what to expect when this new game finally releases. A city in the sky featuring the BioShock name -- just what does that mean, exactly? -- and set around 1912? Yes. Please. Furthermore, a byproduct of my newfound interest is the realisation that games allow us to inhabit their spaces, as players and as tourists, and what that means for the medium and each individual game has been on my mind a lot lately. Somewhat ironically, I came to the realisation while watching TV show The Sopranos. Midway through the show’s second season, I noticed that literally nothing else was on my mind other than what was happening with its characters, and that my desire to continue on and see more was stronger than anything else. Pondering it some more, I realised videogames achieve similar results and I find that process to be fascinating. When my entertainment connects with me for whatever reason, I inhabit it mentally and don’t stop until I’ve explored and exhausted every possible train of thought. Ranging from discovery to reflection, this process completely takes over and can be incredibly draining. But it is also very rewarding, and as it continues to happen and I learn to take advantage of it, the benefits I will gain are going to really help me understand the entertainment that I consume.

BioShock Infinite should be no different, then, as I immerse myself into the new location and let Irrational’s ideas, design and culture overtake my thought process. I’m looking forward to inhabiting Columbia, but even if, for whatever reason, this new game doesn’t grab me like the original and Rapture did, I can still take something away from a unique setting such as this. That’s one of gaming’s best assets in my opinion, their ability to take us to wherever we may want to go and (more importantly) to places we didn’t know we wanted to see, exploring fascinating themes and content along the way. It may have been done before or it may just be getting discovered, but to allow us to be in these places (as opposed to just having them shown to us) is a trait that games should be proud of. Red Dead Redemption took us to the Wild West; Mass Effect took us all over the universe. Batman: Arkham Asylum allowed us to be Batman, placing us smack bang in the middle of Gotham City as a result; and Columbia? Well, the sky’s the limit, is it not?

Trust a BioShock game to reinvigorate my passion for writing.