Preparing For GTA V

Tomorrow, after a surprisingly long duration of silence, we will finally know what is happening with Grand Theft Auto V. Announced last week with nothing more than a suggestive logo (seen above), the appearance of the game came out of nowhere after a few years of Rockstar focusing on their other titles, namely Red Dead Redemption and L.A. Noire. We all knew a new GTA was coming but when was another story, so the arrival of the game's trailer will certainly be interesting. 

If you have been following me on this blog for a while then you would be aware of how much love and respect I have for the last Grand Theft Auto: GTA IV. While I wouldn't necessarily consider it to be one of my most favourite games from this generation, the fascination I (still) have with the game's version of Liberty City elevates it to a level that few other games reach -- simply put, I believe Rockstar's achievements with Liberty City in GTA IV are incredible, and the place still manages to blow my mind every time I pop in for a visit. I've covered this many times before, however, so I won't expand on this point but it goes without saying that, due to my love for Liberty City in Grand Theft Auto IV, my anticipation for whatever Rockstar have in the pipeline for GTA V is sky-high. As soon as I heard the news last week that it was finally coming, it shot straight to the top of my most desired games from next year. Yes, even over BioShock Infinite and the new Tomb Raider -- how's that for excitement, eh? 

Anyway, I thought I'd take the time to make some personal predictions and disclose some of the things I want from the new game, particularly given that it's a numbered title rather than one with a subtitle. Usually when this happens it is because Rockstar believe they've made a ground-breaking step with the franchise, as was clearly demonstrated with the step up from the GTA III era (which includes Vice City and San Andreas) to GTA IV (whose continuation lied with the downloadable episodes, rather than individual titles). I know, I know, everyone jumps on the speculation train when it comes to something new in the Grand Theft Auto franchise so by doing it myself I'm just adding to the noise that, eventually, no one will even remember. But part of the beauty of the GTA series is the personal takeaways and anecdotes that its open-world, free-form nature allows for, so as a result it's only natural that its players have their own personal desires and expectations for each new title. That and, if you ask me, it's about time Grand Theft Auto as a whole started to do some things differently, so you'll find my desired changes below.

If GTA V can eclipse this, it's doing something right.

Things I Want To See 

A Continued Push Towards Realism: Grand Theft Auto IV divided the fanbase into two camps, those who enjoyed the more realistic and mature approach Rockstar took with the title, and those who missed the more zany, outrageous antics of the PS2-era GTAs. Naturally, as we approach details of GTA V these two camps are being very vocal about which direction they'd prefer to see the game take, complaining whenever the opposing one suggests something they don't like. Personally, I fall into the GTA IV 'mature' camp, but not because of the same reasons these people do. I want Grand Theft Auto V to continue focusing on maturity and, in particular, a more realistic approach because the ramifications of that direction appeal to me more. Rockstar have made some intriguing experiments with videogame storytelling in their recent titles and as someone interested in seeing games allowing us to inhabit these fictions, that's something I'd like to see continue with the new game. But if not for the narrative's sake, then I want a realistic approach to permeate Grand Theft Auto V because of the way in which it gave consistency and coherency to Liberty City in Grand Theft Auto IV -- put simply, I believe the game was more immersive because of the attention to detail and atmosphere that a more realistic style required. I thoroughly enjoyed the physics and handling of GTA IV's vehicles, for example, and how they behaved a little more like real cars (as opposed to floaty boxes) due to the sense of weight they now had. While obviously nowhere near the levels of racing simulations, this weight allowed for the game to communicate things like grip in a believable way, giving tactile feedback and a more informed sense of control to the driving mechanics of the game, as well as ensuring that these vehicles actually felt connected to the road and, more importantly, that they belonged in the environment. While Niko's (and later, Johnny and Luis') movement controls were inconsistent and arguably a little slow, his animations and weight also gave the impression of a connection to Liberty City, enhancing the ability to assume his character as we explored the environment and developed the story. These minor details, plus many more, really lifted Grand Theft Auto IV above other open-world games for me, something that continued in Red Dead Redemption -- it'd be nice to see GTA V follow the same direction, if not for the potential in storytelling than certainly because of the way in which it affects the game space. 

A Female Protagonist: It remains to be seen whether we will ever be granted a female protagonist in a Grand Theft Auto game, but if any developer was going to try it and actually do a meaningful job with it, it's Rockstar. You only need to look at a character like Bonnie MacFarlane from Red Dead Redemption to know what they can do with female characters, so extending that to a playable woman (or girl -- think along the lines of Bully) for GTA V would be an interesting outcome for the franchise. They've already experimented with characters of colour (San Andreas; Luis from The Ballad Of Gay Tony expansion) and other, less explored territory for their characters (Gay Tony would be another example -- it's up to you to decide whether these experiments have been meaningful or not) so seeing a female protagonist in Grand Theft Auto V isn't necessarily as big a stretch as it may initially seem, particularly when rumours abound suggesting that this new installment might contain multiple playable characters for the main story, rather than just one like its predecessors. But whether one dominates the game like Niko did for GTA IV is another story (if one is included at all), so I guess we will find out either through the trailer tomorrow, or as more details about the game show up as we head towards its release. Personally, though, I would absolutely love it if the whole game was led by a female protagonist, as the result of that wouldn't just be interesting from a Grand Theft Auto point of view, it'd also be interesting from an industry perspective, too. Rockstar are usually regarded as pioneers and it's not unusual for developers to follow their lead -- if Rockstar were brave enough* to use a female protagonist then that could indirectly motivate other developers to use them for their games, too, improving the videogame medium by making it more diverse and catering to a wider spectrum of players. Time will tell on this one. 

New Faces, New Places: While GTA: Vice City and GTA: San Andreas were interesting from a character development point of view, it wasn't until Grand Theft Auto IV that I believe Rockstar begun to make real progress as far as creating decent characters was concerned, something that only improved as the two downloadable episodes were released, and then later again when Red Dead Redemption hit the market. Now that they've gained some experience in creating multi-layered, unpredictable and intriguing characters, I'd love to see what Rockstar can do with a completely new cast that is separate to anything and anyone that we've seen before. I don't want to see cameos by Niko, Luis or Johnny, and I certainly don't want to see Claude, CJ or Tommy Vercetti appear either; instead, I want new people to get to know, new people to make friends (and enemies) with, and new relationships to be born. It doesn't matter whether this is in the form of multiple protagonists (as is rumoured), an emphasis on relationships (family or otherwise) as in GTA IV, or in the list of characters that make up the rest of the game -- all I want to see is new faces who continue to embody the direction that Rockstar appear to be heading in and who, more importantly, become people we care about as they join the ranks of the medium's other wonderful characters, such as the aforementioned Bonnie from Red Dead Redemption, the cast from Mass Effect or the companions from the Uncharted series. 

On top of that, I don't want to see a return to Vice City or the large, diverse environments that made San Andreas so compelling, even though a modern take on them would be quite fascinating (think of the way in which Liberty City changed from GTA III to GTA IV). Instead, I want to see a completely new city or expanse of land, one that gives Rockstar the chance to take us somewhere new and to show us something different, and one that can join those wonderful places as being some of the best videogame locations of all time. Aside from rumours floating around about a return to Vice City or Los Santos (GTA's version of Los Angeles, suggesting that the new game could be set in San Andreas), there's also some suggesting that this time around the game could be set in Washington D.C, particularly poignant given the material such a setting would give Rockstar, political or otherwise, and because of the proximity of that city to places like Baltimore and Philadelphia (not to mention New York or, in GTA terms, Liberty City). While nothing more than a rumour right now, I actually really like the sound of a Washington setting so while I'm not going to commit to expecting it, I do definitely think it would be an interesting change to what we experienced with Liberty City just a few short years ago. Wherever Grand Theft Auto V is set, be it a return to familiar places or new environments entirely, I am sure that the same care and attention will be given to the setting and as such, I can't wait to inhabit and explore GTA V's locations, no matter what they end up being. But it would be nice to see something new, so here's hoping that Rockstar's feeling the same way. 

Will GTA V see the same level of detail?

Some Predictions

A First-Person Perspective: This may be somewhat bold (not to mention surprising), especially considering how crucial a third-person viewpoint is for things like driving and brawling, but I predict that Grand Theft Auto V will have (because I'd like to see) a first-person perspective because that would represent the kind of shift Rockstar like to make whenever they do another numbered installment in the franchise. Grand Theft Auto IV was already incredible due to its atmosphere and attention to detail, where walking around the city was just as exciting as participating in an intense battle was -- imagine if GTA V provided this in a first-person perspective, where we were even more up close and personal with the environment and where things like shooting could adopt the insane progress we've made in recent years from other genres. Imagine driving with your focus behind the steering wheel as opposed to the car you're driving, or the potentially visceral brutality of melee as you fight against your foes. By using the first-person, Rockstar could fix a lot of the issues that GTA IV still exhibited despite immense improvements over the PS2-era titles, because our medium's obsession with First-Person Shooters has resulted in great gun-play while things like movement have been advanced thanks to titles like Mirror's Edge. The likelihood of Grand Theft Auto V being completely in the first-person perspective is probably rather slim, despite my desire to see Rockstar attempt such a thing with the series, but I have a feeling with GTA V so I guess we'll have to wait and see. If anything, they could opt for a mixture of first-and-third-person, similar to what Bethesda does with their Elder Scrolls and Fallout franchises. 

Multiple Cities: Whether it's revisiting old favourites or taking us to where we (and GTA) have never gone before, I believe Grand Theft Auto V will feature more than one city. The first reason I think this is because that's a direct way to improve on what was managed with Liberty City in GTA IV, signifying the next step up that the 'V' in the title represents, and the second is because Rockstar are ambitious like that and would want to send this generation out in a way that only they can. If the main game doesn't contain at least two cities (with rural areas and etc. in between), then I think they'll do it using downloadable expansions after the success they had with GTA IV's DLC. If the rumours about LA/Los Santos are true then it is quite possible that we will see the entirety of San Andreas, recreated as Liberty City was last time around. If it is a new setting altogether, like the aforementioned possibility of Washington D.C, then we could be seeing places like Baltimore, Philadelphia or Chicago appear for the first time. Wherever it will be, and whether it's on the disc or through expansions after release, I definitely believe GTA V will have multiple locations for us to explore and inhabit, so I look forward to seeing what those places will be when Rockstar reveal them. In some respects, they can't not offer more than one city: the fans have been pining for a new San Andreas for years and whilst what we may be getting with GTA V might not satiate that particular desire, I dare say the new environments -- and the fact that multiple locations offers the diversity that these people are after -- certainly will. 

Storytelling Progress: Whilst I already covered what I'd like to see Rockstar do with storytelling above, what I believe they will do happens to follow the same path -- after playing Red Dead Redemption I have no doubt in my mind that Rockstar have made it their goal, somewhat, to focus on and emphasise the importance of storytelling in videogames, and that they will be demonstrating their progress in this area with Grand Theft Auto V. Whether it is driven by a strong suite of characters, the journey that its protagonist(s?) will take or through the environmental information its setting can convey, I definitely think Rockstar are keen to continue telling tales and if they expand upon the progress they have made so far, then GTA V will be very interesting from a narrative point of view. Ultimately speculating on this aspect of the series is difficult because it's hard to know what direction they want to take the franchise in, let alone what they may or may not want to do on the storytelling front, but their approach to this generation thus far has all but confirmed to me that they are trying to advance the medium, once again, because few other developers seem comfortable in doing so. Will it result in the same levels of controversy that previous Grand Theft Auto titles have received? Maybe, but then again it is because of this controversy in the first place that we've made the progress we have in such little time, so I do think we will see it continue with Grand Theft Auto V. I just can't see them returning to the immature, juvenile antics that they used to revel in. Sure, it has its place in the medium as Saints Row clearly exemplifies, but Rockstar had their adolescent fun so now it is time to see how they're faring as an adult -- something I'm sure they are just as eager to find out as we are. Guess we'll find out with the trailer tomorrow!

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So there you go, my personal desires and predictions for Grand Theft Auto V. I can't wait to see what Rockstar will be revealing in the trailer and, indeed, as the game gets closer to release (I strongly suspect Game Informer's next cover will feature the game, too). Despite having these preferences and forecasts, I'm excited for the game no matter which direction they choose to head in. The franchise is one of the few in this industry that transcends the medium it exists in and is truly a global, cultural phenomenon -- the explosion on the Internet after that simple logo was shown proves this -- so, no matter what the game actually involves, it's just great to have a new GTA on the horizon and something to reinvigorate people's passion for games again after an arguably dull period in recent times. A new Grand Theft Auto is an event as much as, if not more than, it is a new game in a successful franchise so yeah, absolutely, I'm going to indulge in the emotion and attention that such a thing inspires in so many people. Something like this doesn't happen every day so the fact it is happening tomorrow is an incredibly exciting thing. Bring it on! 

*It irks me having to call using a female protagonist a “brave move” but, let's be honest, male-centric campaigns dominate the medium currently and whilst some developers have made inroads (think BioWare, or Valve), the reality is that most are too comfortable with using male characters for their games' leads. Things are changing, slowly, but they would change even faster if Rockstar led the way and showed them how things can, or should, be done. Here's hoping.

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?

Red Dead Ruminations: Overview

I wasn’t supposed to play Red Dead Redemption.

That’s the feeling I have after finishing it a few months ago, and after many instances where I almost gave up on playing the game because of circumstances (mostly beyond my control) that tried to ruin my experience with it. It’s not that I didn’t enjoy the game -- quite the opposite, actually -- but, for whatever reason, various things tried to get in the way of what should have otherwise been an awesome time. Anyway, I’m past that somewhat bizarre mish-mash of extremely positive moments and strange, negative situations, so now it is time to actually talk about my time with Rockstar’s Western epic.

In my preview of the game I mentioned the fact that before Red Dead Redemption, I hadn’t experienced anything in or related to the Western genre, and that I was using the game as my first foray into this unfamiliar territory. Sure, I had heard plenty over the years about the genre and had a fair idea of what made a Western a Western, but it was still interesting to head into the game with no preconceptions about what to expect or how I should be feeling. Not only that, I wasn’t sure whether I would actually like the genre, so I looked forward to using the game to satisfy my personal curiosity.

Now that I have played it, I have a fair bit to say and this series will cover everything that came to mind during my time with the game. While originally I was playing it when everyone else was, I stopped after just a short time due to an unfortunate spoiler that essentially rendered the game, particularly its story, meaningless and irrelevant (one of the aforementioned instances that nearly ruined my enjoyment of the overall experience). The spoiler was so strong that it turned me off the game and it has only been recently, months after release that I was finally able to return to it.

It has been incredibly interesting experiencing my very first Western. There have been some great moments and some unfortunate ones, some things that have captured my attention and others that I found utterly boring. All in all I recognise Red Dead Redemption for the great game that it is and firmly believe that it deserves all the praise and respect it continues to receive, but it isn’t perfect (what game is?) either, and I’ll discuss both my positive and negative responses to the game over the next few posts. I hope you’ll enjoy what I have to say about something that was so new to me.

Liberty Blues

Images taken from the glorious DeadEndThrills.com

Grand Theft Auto IV's Liberty City is, easily, my favourite videogame setting around. That may surprise you given my bias towards certain games and, indeed, their own locations, but Rockstar's faux-version of New York is king because it continues to surprise me each and every time I visit.

Every three months or so I fire up GTA IV simply to go for a walk or drive around Liberty City. I do this, I guess, because I want to relive my experiences of playing the game when it first came out, or when the Episodes proved that the city had many stories to tell. I also do it because its huge size, impressive design and sense of life is unparalleled in this medium, even three years after its release. You know something was incredible when even L.A. Noire's Los Angeles -- already impressive in its own way -- can't match Liberty City's scope or awe. It truly does feel like Liberty City exists whether you're visiting it or not, and this distinct difference elevates it above any other game setting as the best one I have ever had the luxury of visiting; of inhabiting.

Verisimilitude is wonderful and certainly something that has seen substantial progress within this current generation, but it means nothing if these wonderful worlds that get built for games like Mass Effect, Fallout 3 and Red Dead Redemption are under-utilised or, worse, forgotten about. Obviously that's a non-issue at the moment as these games and their amazing environments are absolutely relevant to us right now, but my fear is that as we continue to progress and continue to move forward with technology, new hardware and new, amazing intellectual property (IP), these places of wonder will exist only in memory and nothing more. This might have been acceptable (to a degree) in the past where the medium's evolution was such a significant force, but as we reach and surpass the uncanny valley and photo-realism, I don't think it will be right to forget about Venice in Assassin's Creed II, Empire Bay in Mafia II or, yes, Liberty City in GTA IV. So much effort, time and resources go into making these virtual masterpieces but, because of the always looking forward mentality (that I keep bringing up on this blog) and the perception that what has come before must be outdone, I'm seriously worried that these wonderful game settings, these amazing spaces, will be left behind. Whether they are or not remains to be seen, but if it does happen then losing the brilliance of Liberty City will be the biggest loss, I think.

Think about it for a second. The Episodes From Liberty City downloadable content bucked the trend of DLC by redefining the city through new, fresh perspectives, adding a different take on a place we had all become familiar with. Like, say, Minerva's Den (also fantastic) from BioShock 2, this content took what we knew about these worlds and showed us that this was only just a small part of their overall make-up, that our insight was just a small component of a much bigger, much more incredible picture. They made something old new again, and definitely enhanced our overall enjoyment (and perception) of Liberty City as a whole. But, now that those episodes have been and gone, where do we go from here? Towards the next instalment of GTA (whatever that happens to be), of course, leaving Liberty City as nothing more than a memory -- an amazing memory, sure, but still a memory.

This year's E3 is the perfect example of this situation: every single press conference that opened the show was met with gamers everywhere anticipating the announcement of the next Grand Theft Auto. Like Half Life Episode Three (or, indeed, Half Life 3) the announcement never came, but the point is that everyone is ready to move on and experience the next title in Rockstar's seminal franchise, and they can't wait to hear about even just confirmation that it is coming. These people have moved on, in other words, and while they can reflect upon their time in GTA IV's Liberty City and acknowledge how great it is, it's no longer relevant to their gaming habits because they're too busy awaiting the future. This is understandable, of course, and I don't begrudge anyone who is excited to see where the GTA franchise goes next (both literally, in terms of where it is set, and figuratively in terms of the impact it will have) -- I know I'm anxious to know as well -- but as such an immense fan of Liberty City, it's somewhat disheartening and definitely disappointing to know that no one cares about it like they used to.

I don't know -- I look at Liberty City and see a gigantic metropolis with so much to see, so much to do, and also get the impression that we know so little about this remarkable city. Sure, we may have it memorised (I certainly do, thanks photographic memory!) and may know where we can go to play darts or go bowling, but as a whole we are a very small element in the city's massive scale, and despite three adventures within it, we've made such a little impact on it overall. At the end of the day we're just one person roaming the streets, with thousands more like us clearly visible amongst Liberty City's hustle and bustle. We may be the protagonist and, like all games, the experience may be centered around us and us only, but as I suggested before Liberty City leaves me with a sense that it exists whether I am there or not, and that my presence won't affect its ability to be home to so many civilians. It is kind of like New York for me in real life -- I know it is there and I'd like to visit one day, but it means nothing to my life here in Australia unless I actively seek to change that by hopping on a plane and flying to America. My concern is that no one will make the effort to make the trip to Liberty City any more, and the reason for that will be because they are always more interested in visiting the places that the various videogames out there take us next.

That's not necessarily a bad thing, but Liberty City isn't exactly a disposable thing, either -- it is still the most stunning technical achievement and fascinating environment videogames have ever seen, but all of that will be forgotten once brand new games, perhaps even the next GTA, come along to wow us with their own amazing locations. New York will never be forgotten -- why does Liberty City have to be?

Beautiful Disaster

Destruction caused by war is fascinating, but what if Mother Nature caused it instead?

War. Death. Destruction. Turmoil.

These are all things that videogames are synonymous with, so much so that brown and grey textures, muddy environments and charred ruins are, perhaps brazenly, more common than colour itself. But most of the time this significant imagery -- the “Destroyed Beauty” of Gears Of War; the apocalyptic ruins of Washington D.C. in Fallout 3 -- is the result of war, the remnants of the past now nothing more than ruins. Why is this? Obviously war and combat are important from a gameplay point of view, justifying these settings, but what if there could be other causes behind the destruction? What if the perdition came not from humanity’s struggle or fight against an enemy but from something out of our control? What if Mother Nature was responsible instead?

This is something I have been considering for a while now and something that I’m reminded of every time another game with an environment impacted by disaster comes along or, this year, another tragedy in real life occurs. In fact, this year’s sheer quantity of natural disasters has been so significant that I have felt compelled to delay this post out of respect for those who have suffered from them or, worse, lost their lives. The floods and cyclone in Queensland; the Earthquake in Christchurch, New Zealand; Tsunami (and subsequent nuclear disaster) in Japan; floods in Brazil; the Californian fires or, indeed, the recent tornadoes in America, including the recent one which wiped portions of the city of Joplin off the map -- all of these and more have been exceptionally serious, extremely unfortunate events that, when combined, make this year absolutely horrific and inherently depressing. I put off this post because I felt uncomfortable publishing it -- much like the creators behind those games that were either delayed or cancelled, I imagine -- when so many things were happening and where so many people were being affected. But I can’t put it off forever and, forgetting the tragic brutality we’ve seen so far this year, for a moment at least, I think that natural disasters in videogames could be something important and definitely an area worth exploring. Allow me to explain.

Videogame spaces, in this generation in particular, have come alive, with thematic settings, incredible atmosphere and multiple stories to tell. Discovery has been particularly strong, finding an abandoned shack in Fallout or a messy room in BioShock an intriguing affair, both because it gets us, as players, asking questions -- why is this room like this? What happened here? Where did the owners of this shack go? -- and because it adds weight and meaning to the environment we are exploring, the locations we get to inhabit. More than any other generation the combination of visuals, sound and atmosphere allow for videogames to take us anywhere, to places we can’t go. Mass Effect enables us to travel the galaxy and mingle with other species; L.A. Noire and Mafia II take us back to a time period long ago and incredibly different to our own today. Red Dead Redemption, finally, showed us what it was like to exist in a Western setting, enlightening us, indirectly, to how things were back then and how far humanity has come. But all of these settings, all of these locations that games allow us to visit -- both ‘real’ and fictional -- are static, mostly unchanging environments, only alive when our consoles are on and only existing to serve a story, mechanics or a particular intended experience. Rapture is, bless its soul, already in ruins when we get to see it, the levels built to convey the narrative and service the combat dynamics rather than to demonstrate how things can change, how characters and civilians alike can leave their mark or have an impact on the city or proceedings. If something changes it is because it was supposed to, a scripted moment to benefit or influence a particular facet of the overall experience. A good example of this is Mafia II’s transition from Winter to Spring: snow and blustery conditions give Empire Bay one kind of atmosphere (which, I might add, is quite charming) while the brighter, more positive aura of a warmer season gives the city another. What if this changed? What if Mother Nature’s ferocious but beautiful power -- if weather -- changed an environment or setting in a meaningful way? What if a tragedy in a virtual world could impact gameplay, the story, or the demeanor of a game’s characters in really interesting ways, changing our experience in the process and reinforcing our connection to that world and everything in it?

Just imagine if rain flooded Liberty City, and just what that could mean.

We’ve already seen how a thunderstorm in Red Dead Redemption or showers in Liberty City can change their respective games, even if it’s momentarily. It changes the atmosphere, makes driving (for example) harder because things are slippery, and breaks up the pace and alters the dynamics of our session. But what if Liberty City was flooded, its rivers overflowing and spilling onto the roads? What if the weather was so ubiquitous and ongoing that the streets were covered with water, buildings inundated and the result was a different city -- even if it did eventually recede -- than the one we’re already accustomed to? It would force us to reassess our approach to what we were doing or how we’d do it, and test our knowledge of the space we have inhabited for so long, making us find alternative routes or different means of travel. Furthermore, narratively, it could affect the people who we come to know, showing us sides of their personality we couldn’t see previously and how they would deal with such adversity. What if these quest-givers -- because, let’s face it, that’s all they really are -- couldn’t offer us things to do or tasks to perform because they simply had more important things to attend to? What if, god forbid, these characters -- some of whom we might actually have a connection to or relationship with -- died because they weren’t prepared for an excess of water to come and flood their houses, their home? What if, to go in a slightly different direction, Liberty City was hit by an earthquake, unexpectedly, because like the weather it was dynamic, unpredictable and unforeseen?

Such scenarios can pose many questions and, if done effectively, really impact upon a game world and the things inside it in meaningful ways. Part of the reason Heavy Rain resonated so much with me is because it used rain as a significant, serious part of its narrative -- something that hadn’t been done before. From a technical standpoint serious events and tragedies in games might be unrealistic to do, but surely there is incentive in trying if it can add weight to a world, make our connection to it as players more meaningful, and ultimately ensure that games as a whole can be as deep, emotional and affecting as products in other mediums? Mother Nature’s fury in real life is nothing more than a negative, unfortunate and unpredictable series of events, where loss is prevalent everywhere and the need to rebuild is essential. But in a virtual sense her wrath could be absolutely beautiful, especially if it engrosses us into our games more thoroughly than ever before. The result might not be pretty but it sure beats having yet another war be the justification for why all of our games are always... well, in ruins.

Lasting Appeal

“A good game is a good game forever”

The above quote comes from a post written by fellow blogger and good friend Michelle Baldwin which discussed her recent disdain with the pace that this industry travels at, and the incessant focus everybody has on playing the newest and brightest game. It’s a feeling I can understand because I too struggle to keep up and because I am, quite frankly, sick of the always looking forward mentality that permeates the medium. Furthermore, the above quote resonates with me because of how straight to the point and honest it is: a good game is good forever, and nothing will ever change that.

It also stands out to me because it correlates with some feelings I have been having lately. There’s no denying that over my time blogging I have expressed frustration: firstly, with myself for taking on far too many games and overwhelming myself in the process; secondly to a disconnect with fellow gamers and their seemingly always looking forward mentality; and, finally, with the emphasis on shooting, combat and violence in general that our medium has become synonymous with. Whatever the reason for my frustrations, a core theme applied throughout: the way I feel does not appear to be the way the majority of gamers feel, leaving me with the implication that I’m out of the loop.

But I’m not. Like many gamers, I’m fully engaged with the medium and what takes place within it. I’m aware of news as it breaks, I look forward to upcoming games with as much anticipation as others and -- despite my desire to slow down and focus on individual games a little more closely -- I still buy games as they release much to the detriment of my backlog. I’m informed, I’m keeping up and, therefore, I have the capacity to be a part of the conversation -- something that gamers, hardcore in particular, seem to want to be involved with, even if they won’t readily admit it. So why do I feel excluded, and why should I care anyway?

Those are questions I’ve been asking myself lately and pondering even more. Videogames as a medium are moving along so fast -- exacerbated by the aforementioned looking forward mentality, as well as the incredible pace with which things continue to evolve -- that it’s easy to want to keep up and see where the unknown will lead. But that act is exhaustive and frankly, unnecessary, because what we have now and what we got in the past are just as good, if not better, than what may come in the future. No one seems interested in stopping, taking a breath and looking at what’s in front of them. Nobody seems to care that Super Mario Galaxy, a game that released in 2007, still has a lot to say about the status of the platformer genre, or where Mario as a franchise currently sits. In some respects, why should they? That game has a sequel and practically everything else does these days too. But that attitude, that approach to the medium where only the current -- which gets forgotten about once the next big thing arrives -- and future matter, is dangerous and is one I wish would change. It won’t, however, because we as gamers and the industry who caters to us won’t let it. But I can change and it’s something I’ve been attempting ever since I wanted to chew my food (that analogy still resonates with me, all these years later) way back in early 2009. Thinking about my current gaming situation and how, for example, I only just recently played Mass Effect 2 and finished Red Dead Redemption (many months after their release), suggests that I’m finally reaching a position where that change is starting to bear fruit. With each day that passes I find myself contemplating what I have rather than what is to come. 2011, like every year, is set to bring us some absolute delights but personally, I’m more interested in the pleasures that still sit on my shelf. Instead of buying the 20-plus games that I’m attracted to this year, I’m settling on buying just four (I hope). This doesn’t mean anything to any of you who may be reading this, but to me it’s cathartic in the sense that, I’m playing games on my terms and refuse to be influenced by my friends or, indeed, the industry as a whole. I think it’s great that Portal 2 is coming out this month, wonderful that there’s a new Zelda game on the way, and excited about what E3 may bring (particularly after last year), but I can be enthusiastic about these things whilst ensuring that I’m not being pressured by them, and that’s a crucial thing that I had to personally realise.

This post doesn’t really have a meaning and contains me mostly just rambling, but they are thoughts that have been boiling for some time and it feels wonderful to finally get them out. A good game is a good game forever and time, pressure or a desire to keep up should not dictate the way in which we engage the medium we love. If we are truly passionate about videogames in all forms, their age will not matter: we will still read about them because they mean something to us. As a writer, I will still write about them because they mean something to me. Together, their release should be the farthest thing from our mind because we’ll be so engrossed in our passion that it simply won’t mean a thing.

Games Of The Year 2010 #1

I was flicking through an older issue of EDGE recently when it dawned on me that, despite only being just over a year old, 2009’s games feel like a long time ago and in some ways, from a different period. They aren’t, obviously, but I suppose it’s the sheer quantity of games that came out in the past year that leaves the impression that the likes of Left 4 Dead 2, Modern Warfare 2 and Uncharted 2 all came out ages ago. Right from the get go 2010 started with a bang, three games coming out that sought attention instantly -- perhaps due to the satisfaction that there were actually things to play after Christmas, instead of the usual dull period everyone is accustomed to. Bayonetta, Darksiders and Mass Effect 2 all came out in January, opening a year that, seemingly, had big-name titles in every single month that followed. It was an incredibly packed year -- we knew it would be as we approached it in 2009 -- and while a lot of titles were probably a let-down in the end, there’s no denying that the general quality we saw in 2010 didn’t just raise the bar for the medium as a whole, it exhibited a shift in the way games were perceived in general -- a step in the right direction. It gets said every time we see GOTY awards but I think it would be fair to say that 2010 was the best year for videogames yet, due to many reasons, so going forward it will be interesting to see how long it is until the bar is raised again. There seems to be a pattern where every three years or so the standard increases with 2001, 2004 and 2007 being sublime examples. Anyway, despite always hesitating with these things I’m here once again with my own nominations for last year’s best games. Unlike most other outlets however, I decide to go ahead with my picks for Games Of The Year because of two reasons: it highlights the games I’m interested in to you guys, allowing you to get to know me a little better; and it lets me explain why I’d like certain elements of these games to be pursued in the future, for better or for worse. It’s an approach that I find interesting simply because I can revisit my thoughts at any time and see if other developers have taken on board some of the great things that were demonstrated in 2010’s games, and it is one that I hope you will enjoy as well. Last year I celebrated Forza 3’s comprehensive dedication to car culture; Uncharted 2’s creation of characters that seemed like friends or companions rather than AI constructs; and Flower’s wonderful, serene combination of emotion, wonder and discovery. This year, I have even more games to look at, starting with the first handful below.

Mass Effect 2

Of all the games I had to pass up on last year -- including titles that were important to me such as Metroid: Other M and Mafia II -- Mass Effect 2 was the one that I deeply regretted. I loved the first game but for some reason forgot just how much, meaning I was interested in the sequel but believed I could ignore it -- a big mistake. I knew ME2 was a quality game due to the critical and commercial acclaim it received, but I still felt comfortable casting it aside until hype started to surround the release of the PS3 version. I played the game’s demo and was instantly reminded of a world that is exactly my kind of thing: a game set in space featuring cool planets, aliens and science fiction. Suddenly, I had Mass Effect fever and since I did actually own the game thanks to a friend who purchased it on my behalf, I immediately requested that he send it to me so I could finally play it. I wasn’t disappointed.

Where the original Mass Effect introduced us to the universe of this new and wonderful franchise, allowing us to learn about its species, planets, politics and personality, Mass Effect 2 allowed us to finally inhabit it. This distinction is small in comparison to the refinement and iteration the game received -- particularly in its mechanics -- but is still crucial in explaining why Mass Effect 2 is so damn compelling. By letting us exist within the universe rather than merely see and hear it, the game does what so many other recent titles have done so well: take us to places we can’t physically visit in reality. When you boil it down the world of BioWare’s space opera is nothing but an illusion -- just as every other game is -- and its characters, locations and general fiction don’t exist, but when you play Mass Effect 2 you truly feel like you’re traversing the galaxy, interacting with these still new and foreign -- but now wonderfully familiar -- species and ultimately learning about a universe that is not only worlds apart (literally) from Earth, but is characterized by a scope and scale that humanity’s home planet just cannot compare to. In the end it may just be a game, but the way in which it puts us in a setting that we’ve only seen and heard of before makes it one of 2010’s best, if not one of the best ever. Incidentally, I'll have more in depth coverage of BioWare's two games in the near future.

Red Dead Redemption

This belongs on the list for so many reasons that have already been discussed elsewhere and, of all the games to have come out in the past year, is easily the one that stands out the most. However, despite its amazing quality it didn’t make as much of an impact on me as I was perhaps expecting and as such, it doesn’t compare to some of the other games you’ll find in my choices. My overall impression of the game could be hindered by the way in which I always feel like I am fighting to enjoy it -- mostly due to outside elements such as a massive spoiler which turned me off the game for a while and my inexperience with the Western genre -- but, whatever the cause, it’s worth mentioning here.

Having said that, I have thoroughly enjoyed Rockstar’s latest and still find surprising new things each time I play, so it’s definitely deserving of a nod here as well as the adoration and respect it’s receiving elsewhere. Red Dead Redemption, I think it would be fair to say, blew everyone away in terms of how effectively it translated a common genre from another medium into our very own, its production values and ability to capture the Western feel being unparalleled in the industry. If anyone was going to achieve such a feat though it was going to be Rockstar, so while its extreme quality was a surprise, the achievement is not. What is a surprise is just how real it all feels while playing. Like Mass Effect 2 the best thing about RDR for me is its ability to not just show us a Western game, but to put us in one and allow us to experience what that is actually like. We’re not observing as John Marston hunts, rides into the sunset or pursues Bill Williamson, we are doing those things and, no doubt, having an absolute blast along the way. We’re not being shown the likes of Armadillo, Blackwater or Mexico, we are visiting those places ourselves, existing within those spaces just as much as -- if not more so -- than the people who actually live there. It’s a distinction that, once again, not only separates RDR from everything else but elevates it to a level that few games can match and is my main reason, I believe, for loving the game as much as I do. I appreciate the things attempted with the narrative (well, what I’ve experienced of it so far anyway) and the advances and refinement demonstrated by the mechanics, but it is Red Dead Redemption’s space and my ability to exist inside it that makes the game one of the best to have come out of last year.

Gran Turismo 5

I find it slightly amusing that now Polyphony Digital’s latest is finally out, everyone has forgotten just how long it took to come. For so long -- years even -- people whined that Gran Turismo 5 was taking too long and jokingly stated that it would be the racing genre’s very own Duke Nukem Forever (and, on that note, look how that turned out…) but now that it is here no one cares and the game has, mostly, been put behind in favour of others. This could be down to the general disappointment that Gran Turismo 5 became, being nothing more than a refined, high definition version of what has come before, or it could be as a result of the always looking forward mentality that gamers and the industry so easily portray, but whatever the reason it’s as amusing as it is ironic and interesting to observe. Personally and not surprisingly given who I am, Gran Turismo 5 hasn’t been forgotten and in fact is a game constantly on my mind despite having not played it in a while. Its release brings about so many intriguing things to consider, not least of which is its dedication to the passion for and celebration of the automotive industry.

More than anything else, Gran Turismo has always been about the cars: the speed, the technology, the thrill, and the engineering. This is evident in Gran Turismo 5, too, right from the opening clip. You can have your racing and celebrity drivers; in Gran Turismo, the cars take center stage and nothing else. Whether it’s a small, slow and agile car like the Mazda MX-5 or a supercar like the Pagani Zonda, each car has the chance to shine in Gran Turismo and each car is worth a drive. The original game brought with it the moniker of ‘The Real Driving Simulator’, a phrase that implied that no other game gave you a realistic simulation of what it was like to drive these cars, fast, around the various circuits. With Gran Turismo 5, that definition changes and instead represents what it means to simply drive: nothing more, nothing less. Sure, the driving is still done on the track and the game is still structured the same as it ever was, but after GT’s competition stepped up and, in some instances, overtook the successes of Polyphony’s famous franchise, the ethos changed and, upon doing so, changed the series -- a move that was necessary, and one that separates the game from anything else. It may go unnoticed when the game’s graphics, quantity of cars and tracks, and new additions such as NASCAR, WRC and weather effects take up all the attention, but the difference is there, subtly, and defines Gran Turismo 5 as a shift in the franchise. Whether this change proves to be successful remains to be seen, but it is this passion and celebration of cars that puts Gran Turismo 5 on my list, and makes me excited to not only revel in such adulation in the months to come, but excited for what the next installment will bring too.

Alan Wake

When I previewed this game, I made sure to be clear on just how important its emphasis on telling a good, mature story was to me. Now that I’ve played it and can reflect on my thoughts, I’m delighted to see that it delivered on my expectations.

Alan Wake was a disappointment to a lot of people. Its long and arduous development period, combined with exaggerated hype, ensured that people wanted more from the game than it was probably capable of delivering, ending up in a fair bit of criticism as it fell short. That’s not to say Alan Wake is a bad game -- far from it in fact -- it’s just, people expected one thing and ultimately got another, and this left a lot of people feeling unsatisfied. From its somewhat strange collectibles to the linear level design -- a direct conflict to the open-ended structure it was originally revealed to have -- what we got with Alan Wake wasn’t what we thought it would be, and yet, somehow, it was at the same time. Right from the start Alan Wake promised to tell a decent, mature story, featuring characters that we could relate to and a setting that was both awe-inspiring and natural. The final product delivered on all these fronts, telling a tale that while not new in other mediums was certainly new territory for games; using characters who, despite the supernatural elements of the game, were grounded in reality; and gave us a small, quaint town in Bright Falls in which we could inhabit, get to know the locals and, in my case, ultimately fall in love with. On this last point, the game dropped the ball a little by focusing so much on the light/dark mechanic, setting most of the game at night and ensuring that I couldn’t fully enjoy the beauty of Bright Falls, but this point is minor and I still came away satisfied with my visit. Even more enjoyable was the story, its realism -- even if inaccurate in terms of its depiction of a writer -- resonating with me where so many other games fail. Instead of flair and spectacle, Alan Wake had a sense of elegance and poignancy to it, something that was enhanced by the subdued nature of its tale of a couple trying to get away from their everyday life for a break, and by the laidback, happy attitudes of Bright Falls’ residents. Sure it has a strong element of supernatural, perhaps horrifying spectacle, but despite its prominence in the overall story -- particularly in the later stages of the adventure -- it can be overlooked when considering the realities demonstrated in the game, and what they mean for games going forward. It wasn’t the best story in gaming and the ways in which it was told were inconsistent, but the fact that it was telling a story in the first place makes it a game that I didn’t just enjoy, but one I hope is considered in the future as more and more developers shift their focus away from the bombast and flamboyance, and towards the potential of interactive storytelling.

Donkey Kong Country Returns

How do you take a series of games that, while fondly remembered, hasn’t been relevant for well over a decade and whose genre has moved on in a multitude of ways since? Donkey Kong Country Returns is how, and Retro’s latest game is a demonstration of how to take a quality product of years ago and give it the modern sensibilities necessary to make it successful today.

The Donkey Kong Country trilogy was an amazing series of platformers that gave Mario a run for his money more often than not, if not in design than certainly in personality. They took a character that, while well-known, didn’t have the popularity the Italian plumber did, changed his perception from antagonist to lovable brute, and set him forth on adventures of bananas, evil crocodiles and the constant need to spell his (last) name. What followed was a fanbase and, as the years progressed nostalgia, leaving anyone who tried to revive the franchise with a lofty reputation to live up to. If you were going to choose anyone to give it a try it would be Retro Studios and, fast forward to the game’s release, you have a product that doesn’t just allow people to indulge in the familiarity of a series that they hold dear, but one that brings it to the modern era and establishes it amongst its more recent peers. And it is that word, modern, that summarises everything that’s good about Donkey Kong Country Returns: you’re still playing on a mostly 2D plane, going from left to right, collecting bananas and coins and jumping on the heads of your foes, but you’re doing it with better graphics and sound, and with level design that has had years of refinement and experimentation, rather than levels that emulate from one source. It’s a reinterpretation of what it means to be a Donkey Kong Country game, whilst still being a Donkey Kong Country game and as such it gave everybody what they wanted: it brought the franchise into the current times and made it relevant again, pleasing Nintendo; it let people relive their childhood whilst also experiencing a new direction for the series, pleasing the fanbase; and put the series -- and thus, Retro’s talent -- on par with its peers of today, pleasing the Texas based studio. It is everything you could want from a reboot and the example of how it should be done should any other developer, and any other franchise, decide to attempt a similar thing in the future.

***

So, the possibility to visit places that we can’t in reality, a loving nod to and respect for all things automotive, and a demonstration of how to make something from the past important in the present (and, I hope, the future). An interesting, if eclectic, mix of games then, all worth playing and worth considering. You may have noted that I have been fairly quiet about these titles despite expressing my love for them. This will change in the near future as I have a lot to say on each of them, and will be posting those thoughts up as soon as I can.

Stay tuned for part two tomorrow.

Moments

It’s a testament to a game’s atmosphere when it can inspire you, the player, to stop in your tracks, forget what you are doing and simply watch in awe at what lies before you. A gorgeous vista -- perhaps with a beautiful sunset accompanying it -- comes to mind immediately, the view so lush and amazing that it’s hard to resist taking it in; but no matter what the moment actually is, the beauty of the experience comes from what it makes you do rather than what it happens to be showing.

Think about it for a second. Games are made up of rules and systems, most of which give you goals and objectives to work towards for success, progression or other rewards. To physically make you stop, to get you to forget about your primary goal in favour of focusing on something totally unexpected and emergent, is a quality that few games manage to achieve. Sure, we all have our examples and it’s definitely something that has become a touch more frequent in the recent past, but that ability in itself is a strong example of good game design, of a carefully considered world or aesthetic and of rewarding the player’s immersion rather than their completion of a task. Because, despite the unexpected appearance of these moments, they only work if the developer -- who created the possibility of it appearing -- and the player -- the one who discovers it -- are working together, the former creating a believable world and the latter engaging with it in its entirety. Immersion has become a bit of a buzz word for those describing their experiences with games and for good reason: the more immersed a player is in a game, the more invested they are in the entertainment they’re consuming. The reasons for why differ for each player.

Red Dead Redemption is a fantastic example. Its ability to stop me in my travels in order to take in a view, observe the wildlife or watch as the residents of a local town go about their business, is certainly something few other games manage to emulate. It helps, of course, that the world is rich in detail and is quite the sight to behold but delve beyond the superficial elements and deeper into the environment as a whole, and you’re bound to come across some really fascinating, compelling places. Why, just this very evening I was wandering aimlessly around in the game’s world, surprised by what I came across. Rain caused me to slow my horse to a stop, jump off and bask in the atmosphere of its steady, consistent flow; walking inside a nearby house I was struck by how realistic it sounded as it pelted the wooden roof above; stepping outside once more, I simply watched as its density increased and the surrounding environments got darker. I walked to a nearby pond and watched the drops scatter across its water; I ventured to a dirt path and observed the puddles and mud slowly forming; I then let the game idle, eventually leading to it taking over and fixing a camera in a random location, simply designed to show off the view. The ambience was amazing, the atmosphere incredible, and it was enlightening to watch how the mere presence of rain -- something I’ve celebrated in the past -- completely changed the experience, halted any progress I may have been attempting to make and inspired a mood that I didn’t expect a game set in the Western genre to create. It was cathartic, but not in a way I could have expected -- an experience to relish as I continue on my Western adventure.

It’s not the only moment that has caused me to stop, however. The residents of MacFarlane’s ranch have enthralled me more than once, their casual and relaxed nature really moving after the many fights and close-calls I’ve had in my travels. Because of this, I try to ensure that whenever I stop playing the game I do so there, as it’s an environment I’m thoroughly comfortable in and it has a nice ambience that dictates the pace of my next session in a really engrossing way. To walk out of my house one evening, my horse hitched right beside it, and see the locals gathered around the campfire chatting about their day is alluring; to sit and hear one of them play tunes on his violin utterly enchanting; to walk out across the main dirt path and towards the barn, find a lady playing fetch with her dog and simply watch as one throws, the other receives, simply delightful.

On their own, each may be a simple moment, completely insignificant and unrelated to the core experience of the game -- the story, the characters that define it and the actions and events that occur -- but when combined with the other poignant, unexpected little treasures that can be found throughout one’s travels, they form a narrative that is unique to me and only enhances the time I spend in that world. Red Dead Redemption as a game may be about the Wild West slowly dying, but as my adventure it’s about the little hints of life that appear when I least expect them to, reinforcing why my own existence in this world is important. My impact may be little, but its impact on me will be with me forever.