Games Of The Year 2010 #2

Yesterday I offered you the first handful of games that stood out to me throughout 2010 and talked about the elements of them that I'd like to see pursued in the future. Today I give you the rest.

Limbo

Of all the games to feature on my list, this is probably the hardest one to describe and to articulate my thoughts with. Like Flower from 2009, Limbo left a strong and important mark on my gaming career, but for reasons of which I’m not entirely sure.

It’s a beautiful game, the silhouette, shadowy art direction being a pleasure to see in screenshots and an absolute wonder in motion. Its use of silence was particularly endearing, both because so few games use silence effectively and because it enhanced the imagery on screen to create an experience that is unique. It’s brutal; communicates a sense of longing and bravery; and what you discover is at once terrifying and ominous, yet it’s these factors that make progress through the game so compelling and rewarding. It’s also short, sweet, and surprisingly emotional: the very example of the potential downloadable games have as well as what amazing things can be achieved within the indie space. Despite some claims that the farther it goes along, the sillier it gets, nothing in Limbo feels out of place and all of it feels like it was included for a reason. The obligatory discussion about whether it’s an example of art or not is, in my mind, irrelevant -- what Limbo is, is an experience like no other, and a game that deserves to be played regardless of whether you end up liking it or not. It takes an aesthetic, simplicity in its presentation yet complexity in its design, and contends with themes that don’t exist anywhere else, combines them, and creates a game that is just a sheer delight to experience. And, perhaps, it is that last word that explains why it features on this list: it’s not just another game and when you are done, it will stay in your mind rather than be forgotten. If that’s not the sign of something worth attempting again in the future, nothing is.

Minecraft

Indie darling, breakout hit and my personal addiction, Minecraft surprised everybody when it became a phenomenon, including the game’s creator Notch who was suddenly a millionaire. But, when you look at what Minecraft provides and the kind of game it delivers, it’s not as surprising as it initially seems.

A true sandbox title, Minecraft’s best asset is you, the player. The reason for that is simple: Minecraft is what you make of it. Much has been said about the game’s creative side, reminding people of Lego due to its blocky worlds and the enjoyment people have had making insane creations such as replicas of various real life constructs, interpretations of fantasy locations and the demonstrations of ingenuity, particularly using Red Stone. Others again have focused on the kind of experience Minecraft delivers, discussing its survival horror elements thanks to the need to find shelter at night to defend (read: hide) from the game’s enemies; its breed of fantasy born out of ‘waking up’ in a strange new land, uncertain of what you may find; and even on the platforming elements that come from climbing the game’s many mountains and caverns. That last one is a bit of a stretch but such is the imagination that Minecraft inspires in people and the dreaming they can’t help but do when it comes to the game’s world, crucial due to the way in which it is procedurally generated and unique to each individual who plays. So far, I’ve focused on my own feelings that I’ve had during the game, and the subtle but effective ways in which it can tell a story, despite not having a predetermined narrative (yet). There’s plenty more I want to talk about in the near future so I won’t go into detail here, but needless to say, Minecraft is on this list because it caters to a variety of play-styles and player desires, puts us in a world that is at once fascinating and entirely our own, and contains an insane amount of complexity hidden behind its simple art direction and accessible mechanics. It’s popular for a reason, amazing for so much more, and is the perfect example of how to captivate an audience and keep them interested through regular additions and, more importantly, through their own, personally defined goals. This is emergent gameplay at its purest and definitely a game other developers, indie or otherwise, should look to as they chase the ever elusive emergent gameplay prize. Amusingly, the game isn’t even finished yet and as we play, we’re all helping to develop it into something that should be even more special. Based on what we have already, the future is incredibly exciting for not just the game, but the impact it will have on the medium as well.

F1 2010

It is pretty obvious by now that I’m absolutely in love with this game, my praise shortly after release coming thick and fast, and the role-playing series that followed demonstrating a desire to not only experiment with my writing and approach to games, but to inhabit the world of Formula 1 and see what comes of it. Whether that series has been successful or not is up to you but as far as the game itself is concerned, it is the best F1 game to come out in a long time and does everything a licensed game should.

F1 2010 is more than just the tracks, the drivers and the cars; it’s about the lifestyle, the spectacle and the celebration of speed, technology and engineering (sound familiar?) as well. It’s about the ability to go as fast as possible around a track, as smoothly as possible and with a skill and finesse that isn’t just tricky to master, but something that can’t be replicated anywhere else. It’s about the highs and lows that come with each race, the drama and the emotion that result from it, and the desire to work harder than before to overcome and ultimately master any issues that may arise, be it from performance, mechanical components of the car, or the constant need to improve one’s driving style. It’s about entertaining the fans whilst satisfying the team, and meeting your own personal expectations, whatever they may be. In other words, it’s about the sport of Formula 1 and as such, it delivers the life and passion of motorsport as well as the brand and culture, culminating in a game that transcends its genre (and thus, competititon), elevates a sport that’s sometimes hidden behind the celebrities and controversy, and puts people on the track instead of behind the (virtual) wheel. The fact it was Codemasters’ first attempt, while impressive, is irrelevant; that it goes above and beyond what it means to utilize a license effectively highlights not only what can be done, but why it should be in the first place.

Which begs the question: when’s F1 2011 coming out…? ;)

Heavy Rain

Something has to be said for a game’s quality if it has the power to whisk someone obsessed with another title -- which we’ll get to in a minute -- away and obtain their full attention through sheer amazement over what was just experienced. Heavy Rain did this for me, and even now, months after release and after a series of posts discussing the game, I’m still not sure I can explain why.

Ever since it was announced and I heard what Quantic Dream were attempting with Heavy Rain, combined with my enthusiasm for their previous game Fahrenheit, I was hooked and couldn’t wait to see what the final product would bring. Despite devouring any morsel of information I could find, the end result still surprised me and, like Alan Wake, I think it is purely because of the story and its characters. Unlike Alan Wake, however, Heavy Rain’s narrative was about as real as you can get in games today, focusing on themes that have never been explored (in a serious way, at least) previously, and centering the entire game around a father’s love for his children, and the lengths he would go to ensure their safety and wellbeing. Its mechanics may be a mixed bag of success and frustration; some of its characters may have not met their potential or were exploited in an unnecessary, silly way; and the eventual outcome and reveal of the Origami Killer may be disappointing -- both because it may have not been who you were expecting or wanted it to be, and because no matter how your personal story pans out, the person is the same -- but Heavy Rain delivered on its promise of a realistic narrative which ensures its position here. Its characters -- like it or not -- get under your skin, and that’s something few other games can achieve. To say Heavy Rain had to happen would be an understatement; to be thankful that it did would be to appreciate what it did manage to achieve, as well as highlight to the industry that this sort of thing -- regardless of how successful or not it happens to be -- needs to be explored further if we’re to truly obtain legitimacy as a creative, artistic medium, if not the dominant one.

BioShock 2

Surprise, surprise, a BioShock game is on the list. Come on though, as if it wouldn’t be -- you are reading a blog whose name was inspired by the franchise.

Personal bias aside, however, BioShock 2 would have made the list anyway because, quite frankly, it was just so damn good. It isn’t easy releasing a sequel to a game that has gone on to become one of the medium’s best, and one that is constantly referred to when discussing important subjects. Not since Grand Theft Auto III have we had a game (and now franchise) that has inspired such reverence and discussion (Portal aside), and as such any follow up would be scrutinized. And BioShock 2 was, copping criticism by people who were strangely (in my opinion at least) sick of Rapture; who didn’t enjoy the gameplay a second time around; and who wanted it to be, perhaps unrealistically, better than the first game. The thing is it was better than the first game, maybe not in terms of the awe and beauty that the original displayed but certainly in terms of refinement of the game’s mechanics and definitely in the way in which it framed the hallowed, empty halls of Rapture in a new light. And it is this last point that is the most important: the new perspective BioShock 2 brought to Rapture didn’t just show us another side of the city, it changed it from being Andrew Ryan’s baby to being everyone’s, through its emphasis on highlighting the people rather than the power. The areas we visited in the first game were created for Rapture’s dignitaries and people of importance, as well as designed to showcase the unique personality and extreme attitudes that Andrew Ryan so incessantly portrayed, further exacerbated by the opposition struggle led by Fontaine. BioShock 2’s version of Rapture, on the other hand, doesn’t just showcase the areas in which the ‘common-folk’ live, it showcases why they’re just as important, if not more so, than the big-shot personalities found in the likes of the Medical Pavilion and Fort Frolic. By doing so, it provides insight into the inner workings of the city as a whole and illuminates the emotion, morals and resolve that its inhabitants have -- whether Ryan or Fontaine recognised it or not. It may have introduced a new power, of sorts, with Sophia Lamb, and the importance of family -- particularly as far as the Little Sisters are concerned -- certainly played an integral role, but it was this new perspective with which to view Rapture that elevated BioShock 2 beyond sequel status and into the history books as a game worthy of attention, perhaps more so than its predecessor.

Throw in the astonishing and incredible downloadable add-on Minerva’s Den, which further defined the city through yet another perspective and demonstrated so easily just how many stories are still yet to be told within those walls deep in the depths of the ocean, and you have a game that doesn’t just improve on what’s come before, but reinvents it and boasts to the world that anything you can do, can be done better. It is this mantra, whether you believe it fits the game or not, that needs to be acknowledged in the wider industry and, with any luck, is one that will become a motivation in the years to come. Best of all, for someone like me? Rapture may be dead as far its production and celebration of the self is concerned, but it has never been more alive when it comes to its potential and what can be discovered amongst its walls. All we have to do is visit it and explore it, the rest will happen naturally.

***

So there you have it, my choices for 2010’s best games. Like all of you no doubt, I didn’t get to play everything that I wanted to during the year -- and I’m frustrated with myself for not being able to play games that were particularly high on my anticipation list -- but what I did experience was amazing and certainly suggests to me that gaming hasn’t just evolved, but that it is well on its way to a bigger, brighter and important future. Personally, the ability to inhabit brave new worlds whilst experiencing fascinating stories -- if not creating them ourselves -- was a really strong thing to take away from 2010, as was the celebration of the old, new and the processes in which they are made. Game spaces, stories and new perspectives were all important to me and, I have no doubt, will continue to be as we turn our attention to 2011. Based on the games I'm already chomping on the bit to play, it looks like this year will certainly give the last a run for its money -- no mean feat when you recall just how packed it was, and just what it brought to the table. Don't you just love videogames?

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.

The Year That Was: 2010

[Note: This post is a reflection on the entire year of 2010, as it was here on the blog. In it I'll reflect on how I thought the year fared, as well as add some thoughts on some of the posts I published throughout the year.]

Monday marked the third birthday of Raptured Reality.

Not many blogs reach their third month, let alone their third year, so the fact mine has is a feat that is both surprising and pleasing. I never expected this, I never intended to be writing for so long, yet here I am and I couldn't be happier. Life has been rocky for me in recent years and blogging, no matter how inconsistent or irregular, has been my outlet. Without the ability to convey my opinion or express myself, my life would have taken another path and I'm not so sure it would have been a pleasant one. To put it simply, blogging has been nothing but a positive aspect of my life and, since you guys have played a significant part in that, I thank you from the bottom of my heart for engaging a passion that made me happy when other areas of my life were trying to bring me down.

But enough about the emotional celebration; what did 2010 mean for Raptured Reality, and did it pan out as I expected? To answer that question I thought I’d break the year down into each month, to offer how I feel about the way they went, and to comment on any individual post that I feel is worth focusing on.

January was a great month last year with quite a few interesting things happening throughout. To start with, it featured my first ever Games Of The Year series of posts. Normally I hesitate when it comes to these things but my unique approach made the idea enjoyable. Instead of following the expected template and selecting favourites, I elected to highlight a smaller bunch of games and explain why I wanted to see certain elements and trends that they exhibited continued in the future. This meant my choices were limited but in doing so it allowed me to think about why these games were important and convey that on here. The results were interesting, I thought, and due to their intended succinct nature, the posts challenged me to summarise my feelings concisely and effectively, something I believe I did do.* January also marked the beginning of a series that, unfortunately, wasn’t continued, in which I looked at the ways in which games could teach and how that could be enjoyable. If I’m to be honest for a moment here, that series came out of nowhere and really was born from my enjoyment of watching the Australian Open. It was completely unexpected and so was the strong desire I had to attempt the series and see what happened. Unfortunately life matters saw it go dormant after just one post but even so the experience was enlightening and definitely something I’d like to revisit in the future. January also stands out as an important month due to the beginning of another series, one that did go on to see future posts and one that is of particular importance to me. My Space Invaders series is yet another subject that I never thought I’d be writing about, but suddenly I realised that game spaces were important to me and that I needed to find out why. While all I really did is start the series -- with a short suggestion of what was to potentially come in the opening paragraph -- it’s crucial because it is, perhaps, the series I am most passionate about doing, even if I haven’t been able to do it as much as I have wanted to. Aside from that I had a quick muse on the importance of creativity versus profits, and I continued to discuss the Assassin’s Creed series with a good friend of mine. On that point, that conversation was never completed and I have more thoughts on the series, particularly ACII, which I plan on revealing in the near future.

February was also an important month, mostly because it marked the start of my Space Invaders series proper with an in-depth look at -- what else? -- the city of Rapture from BioShock. While on the outside it may be predictable that I’d start with such a place, on the inside it was fully intentional: Rapture is, without a doubt, my favourite place that I’ve inhabited in videogames and also the city that really enlightened me to what games could do in terms of immersion, curiosity and discovery. It was the inevitable choice not because I’m a fanboy, not because the city is so incredible, but because Rapture was the turning point for me and my interest in game spaces and, thus, my desire to understand them through analysis here on the blog. Despite everything I said in those two posts about Rapture, however, I didn’t cover everything I wanted to and now, with BioShock 2 showing a different side to the underwater metropolis, I definitely feel like it’s time to revisit it in order to further understand just why Andrew Ryan’s baby is so damn compelling. Speaking of BioShock 2, February saw the release of my most anticipated game ever and the game itself went on to become even more important to me than the original did. I haven’t explained the reasons why yet, but in that month I did offer my initial thoughts on the game and discussed the reaction others had, as well as the potential future of the franchise. In news that surprises no one, this is another area in which I have more to say, so look out for that soon too.

March rounds out the trio of important months but, in a move that surprised me, it was because of a different game rather than BioShock 2. I honestly was expecting to spend March discussing 2K Marin's new game at the expense of anything else, but then Heavy Rain came along -- another game that was high on the anticipation list -- and completely rendered any content I may have had irrelevant until further notice. Heavy Rain blew me away and because of this, I just had to write up my feelings even if it meant forgetting about BioShock 2 in the meantime. I talked about the story that felt unique and personal to me, as well as the mundane actions that make up a good portion of the title's interactivity. Both of those posts were surprisingly popular and, based on the comments I received about them, seemed to resonate with other people. This was notable to me because, prior to these two posts, no one really complimented me on anything I wrote. Sure they commented and responded to what I may have said, but no one really engaged the posts beyond that so it was particularly interesting to see such a change occur. March also saw me start the wonderful and overlooked Rockstar game Bully, as well as muse on what I saw to be an increasing trend in the industry: the proliferation of quality games and how the general standard had been raised.

Heavy Rain discussion wasn’t exclusive to March, the continuation of The Origami Collection starting April off with yet another popular post, this time talking about the themes the game contended with and, by extension, Quantic Dream’s attempts to mature the medium of videogames. The important thing for me with this one was the sheer amount of themes -- most of which are seldom seen in any other game -- that were included in Heavy Rain, and while not all were successfully implemented, the attempt to include them was certainly noteworthy. March also saw a discussion of my feelings about Super Mario Galaxy and MotorStorm -- the latter being a lot more popular than I was expecting -- as well as the beginning of my Preview Power series, a short bunch of posts explaining why I’m excited about certain upcoming games.

May was another interesting month, this time because of yet another series that was started but dropped quickly thereafter. The Friday Night Forza series was intended to be weekly and was created to talk about my thoughts on not just the game itself, but any other topic that it inspired, including but not limited to: rival racing game franchises, the genre as a whole or even real life racing. I managed to talk about the various mentalities that exist while racing, as well as a phenomenon that is hard to explain but easily understood if one enjoys racing around a track like I do. Was the series successful despite its short-lived existence? I’d say so as it gave insight into some of the thoughts and feelings that come into my mind while I revel in a sport and a genre that I absolutely adore. Why didn’t it continue? Well, I didn’t want to inundate my readers with a barrage of Forza related posts, and because it wasn’t the right format to discuss my thoughts on the game effectively. I also managed to continue my Heavy Rain series with a post on its unique use of weather; as well as consider what Grand Theft Auto IV’s Liberty City would be like if it was viewed in the eyes of Jimmy Hopkins, Bully’s protagonist. That post in particular was a pleasure to do, both because it gave me yet another perspective on a city I’m so utterly enamoured with -- on top of the ones already offered by GTA IV’s downloadable episodes -- and because it’s a concept that I’d like to see experimented with in the future. May also saw an embarrassing moment for me in which I panicked more than necessary about a computer that, to put it nicely, wasn’t co-operating with me at the time. You win some and you lose some, I guess.

June was a quiet month, the massive distraction of E3 as well as the newly released Red Dead Redemption and Alan Wake taking up the majority of my time. Even so, I did manage to have a rant about the biggest gaming event of the year, offering my thoughts on the show whilst also complaining about the sheer stupidity I thought was demonstrated by both Microsoft and Sony. I still fail to understand the appeal of Kevin Butler, all these months later, and have come to accept that either I just don’t get him, or that I do but just find the guy -- and the marketing material that comes with him -- uninteresting, overrated and simply unnecessary. I also posted another installment in my Space Invaders series, a post I’m particularly proud of as it looked at the town of Bullworth from Bully, a game most people wouldn’t consider when talking about interesting, compelling and unique game spaces.

July was also relatively quiet, the only thing appearing on the blog being a discussion of Quantic Dream’s other well-known game, Fahrenheit, with my good friend Michelle. Once again I’m proud of this series because it challenged me (and her) to knuckle down and find out the why when it came to my feelings on the game, and it was particularly poignant doing this directly after playing Heavy Rain. The series also marked the continuation of my interest in collaborations, something I still would like to do throughout this year.**

August was practically silent but particularly prominent for me personally as it was the month in which BioShock Infinite was announced. Predictably I reacted with a post discussing my feelings on the new game, showing my enthusiasm for the new direction Irrational were taking but also my disappointment that, seemingly, the developer had listened to the complaints of some people who found Rapture boring and believed the series should move on. I vehemently disagree, for reasons I didn’t really explain, but regardless of their thoughts or my own Infinite comes across as important both because of the new direction it is taking and because of what it may mean for the series going forward. I also posted a rather popular post talking about the advantages that silence can have in games, particularly titles intent on providing atmosphere and putting the player on edge.

September was key for a few reasons, the most important being the beginning of my F1 2010 role-playing series Living The Life. I did not expect to be doing such an experiment but the idea hit me after the completion of the first race in Bahrain, and the end result was a series that I’m not only committed to, but one that has brought to light some really intriguing, fascinating things. I won’t speak about what they are right now as I’m saving that for another post, but needless to say, this experiment and unique approach to a racing game has been nothing but a success, changing me as a person and illuminating the different ways in which games can be meaningful. It has also been quite popular with you lot, so there’s that too. Also popular was a post expressing my disdain and exhaustion with the consistent use of weapons and violence in the medium and in particular, how easily areas of the industry -- the media, publishers, developers, consumers -- are able to glorify the content without thinking about the consequences. It was mainly an excuse to show how bored I’m becoming with the notion that the FPS genre is the be all and end all of videogames, as well as my feelings that the medium of games should be past this point by now. Even so, it focused on an issue that in reality probably shouldn’t exist but as it does, was worth considering. My subtle post about how art directions can be timeless also received a positive response. Last but not least for this month, I talked yet again about BioShock Infinite, this time in reaction to the ten minute gameplay demonstration that was revealed to the masses. The game is going to be something, that’s for sure.

October was unintentionally and unfortunately quiet, the only posts to be published being a continuation of my enjoyable F1 series, as well as a “heartfelt” look into the emergent moments that Red Dead Redemption so easily creates, and the impact they had on me. While other games are also able to achieve such immersion and meaning with their own moments, there’s no denying that Rockstar’s Western is particularly special in this regard. November continued the relatively quiet trend, though it does stand out as the month in which I started to exhibit my strong attachment to, and affection for, the indie sensation that is Minecraft. To say I’m in love with this game would be an understatement, that’s for sure. Last but not least we have December, rounding out the trio of quiet months that finished my year. Still, I like to think I finished with a bang -- so to speak -- focusing for the third time on the R18+ issue that continues to arise in this country, as well as continuing, yet again, my F1 2010 series. The latter was important because it had been some time since the last post, the publication of the latest one proving that while I had fallen behind in writing them up, I was still absolutely dedicated to the series; while the former was key because it highlighted the absolutely appalling response and abysmal attitudes that gamers in this country seemingly have when they don’t get their way. It was important to do this, I feel, because of the irony that these people demonstrate when they irrationally and hastily react to key developments in this ongoing issue: these people are arguing for the introduction of the rating because they feel adults deserve to have access to mature content in videogames. Yet here they are acting immaturely when the result doesn’t benefit them, even if it could in the future. Impatience and childish behaviour doesn’t help anyone, and it certainly doesn’t help our cause of eventually getting the rating we’ve been so desperate to acquire -- if only these people could recognise and acknowledge that. I also talked about the impending narrative due to be introduced to Minecraft, though in hindsight the post fell flat -- despite being quite popular -- due to the fact that it hasn’t been added to the game just yet.

So there you have it. That’s a summary of the year that was and an insight into how I feel about what I’ve written, what I’m proud of and disappointed by, and where I feel things could improve. My goals for 2011 and beyond aren’t defined in any way just yet, but I do know what I want to work on and as such, they will be the focus going forward. At the very least, I’m as passionate about writing as I have ever been, I’ve gradually improved as the years have progressed and I’m definitely dedicated to continuing my writing for many years to come. I’m not the most prolific, popular or eloquent blogger out there, but I have established myself in the community and I hope to continue to exist within it well into the future as we celebrate the medium we all know and love: videogames.

Happy gaming.

*In case you’re wondering where my GOTY choices are this year, stick around for the next couple of posts.

**And on that note, if you’re interested in collaborating on a project then by all means get in touch and let me know -- I love doing it and am open to any ideas you may have.

Living The Life: China

[Part of a series of posts in which I detail the events that occur during my first championship season in Codemasters' F1 2010. These will be written in a diary-esque form describing my thoughts and reactions as I participate in each event. I'd like to take this opportunity to apologise for the delay between this post and the previous one; see here for why it took so long.]

Yet another track that I haven’t been to and need to learn, one that is apparently similar to the previous track in Malaysia due to its unpredictable weather, the same designer in Hermann Tilke and tight but fast corners. I go into this round ill with a cold or perhaps even the flu, which will no doubt make the race harder to endure, particularly after the other sessions leading into it. After a fairly decent result in Malaysia I approach this track with some confidence but also some apprehension -- the fact I have to learn it means that anything could happen and, if rain does indeed play a part, the conditions could either suit my driving style or hinder it, so time shall tell as the weekend progresses. I do have to say, though, the track is quite amazing architecturally, the structures sitting above the track on the front straight (easily visible from the paddock and pit garages) screaming futuristic, sleek and perhaps even alien design; it’s really quite remarkable and definitely a sight to behold.

Friday Morning, Practice 1

Well, China is a lot trickier to learn than I was personally expecting, its insane amount of bumps and tight hairpins really grabbing your attention if you’re not careful. The track in itself is indeed quite like Malaysia, even opening relatively similar with its right-hand, long and sweeping hairpin first corner before switching abruptly and immediately into a left-hand one. While China’s first turn is longer (which means a faster speed can be maintained in the initial moments of it, before a hard braking section to ensure you hit the late apex) than Malaysia’s, its second one is shorter, the chance to begin accelerating coming earlier than that circuit but trickier due to the four or so bumps that sit perfectly right where you want to accelerate. China also has a small straight after this corner whilst Malaysia veers to the right for another sweeping turn quite quickly, before both circuits mimic each other again with a tight fourth turn -- Malaysia’s characterized by the uphill, blind but not so tight apex, whilst China’s by its severely tight hairpin where it is very easy to run off. I mention the comparison not to offer an opinion on either circuit but to highlight how confusing their similarities can be: because the China round follows right on after Malaysia’s, it’s very easy to get caught out in your rhythms as your mental map tricks you into thinking you are running a lap of Malaysia rather than China. I found it an interesting -- if minor -- challenge to deal with and definitely a feature that defines the Shanghai circuit. Anyway, as you’d expect my first run saw quite a few times where I went wide at a few corners -- the tight hairpin after the back straight proving to be particularly tricky -- as I came to terms with the circuit. Its tricky corners caught me out more than a few times, the bumps in particular being my main concern (and surprise). The desire to accelerate out of the various corners early is very tempting but the bumps prevent it through their uncanny ability to induce wheelspin regularly -- something I had to be mindful of as I continued to learn the circuit. I was pleased, however, to see my track-learning skills remain, the Shanghai circuit quickly entering into my mental picture despite the similarities to Malaysia. It was confusing at times, but I got a handle on it a lot quicker than I expected to so that was nice. My second run was better though I did get caught out a few times in turn 3 where a bit of wheelspin saw me careening off the track as I tried to catch it. Nothing serious, though. In my third run the team wanted to try some research and development parts, expecting me to achieve a lap of 2:05.933 once the parts were fitted -- something I managed easily on my first timed lap. My success means that I will get reduced rear tire drag at 5.0%, though I have no idea what that actually means -- I just drive. It was around this time that I also noticed it was significantly overcast, however the rain never eventuated. My fourth run was average with a lot of moments including a few run offs, a few missed apexes and having to catch wheelspin on the bumps. I did learn, however, that short shifting (changing gears at lower revs) was my friend, as it helps maintain grip and lessens the chance of wheelspin out of those trickier corners. My fifth run was short and messy so I came in early to switch to the Option tires. In turn 3 I went into the gravel trap after missing the apex, and in the long sweeping turn that brings you onto the back straight I had a half spin, which incidentally ruined a good lap. My sixth run, on the Options, was better, the new tires surprising me once again with their insane levels of grip and faster times. I improved my lap time by 2 seconds with still more to find, but caught a bump in turn 3(seems to be my sticking point) just as I was accelerating out and over those tricky bumps. This caused another half spin, though again it was minor. I also went wide on that sweeping long corner (my other sticking point, apparently), catching the exit curb wrongly and had yet another spin, this time on my in lap back to the pits. It was sunny again by this point though quite hazy due to the severe amount of smog that was permeating the track’s complex. My seventh run was great with no mistakes and another second shaved off my lap time. My engineer made an intriguing statement too, suggesting that it becomes really obvious when I find confidence in a circuit and start to push its limits and those of my skills, referencing the data that they have in the garage and how it changed from cautious approaches to corners and later pushes on the throttle, to deep entries and earlier exits -- a really insightful thing to hear as it correlates with how I felt as I became more comfortable with the track. My eighth and final run was okay, my Option tires going off so I couldn’t match my time I had set earlier but it was still good practice, something I definitely needed with the still relatively unfamiliar circuit. Overall for the session I did a total of 22 laps, my fastest time so far being a 1:38.008 which netted me 7th place. Mark Webber was first, his teammate Vettel second (separated by 1 thousandth of a second no less -- absolutely crazy!) and Hamilton third. Definitely a great session in which I learned quite a lot and quickly too -- important, I think, in terms of the weekend’s potential.

Friday Afternoon, Practice 2

Sunny conditions yet again, with a 47% chance of rain. We’ll see what eventuates, however. My team wanted to try some more R&D tests, this time expecting a 2:05.759 which I thought was very easy given my knowledge of the track. My first run was over remarkably quickly, the bumps in turn 3 catching me out yet again and throwing me into the wall on my exit lap (no less), my front wing dislodging in the process. After sitting in the pits for repairs (and feeling slightly embarrassed), I went back out for my second run which was better, the team’s R&D goals met with ease. It was a good, clean run, and due to coming out behind Webber I was able to follow him for a few laps. It was fascinating seeing the different approaches he took to each corner and how well his Red Bull car performed generally -- it’s definitely in a different league to my Virgin. My third run was short as I decided I wanted the Options instead, due to the foreboding, overcast weather. I wanted to set a good time before the rain settled in, a decision that proved to be fruitful as my fourth run, now on the Options, was when the heavens decided to open their doors and start casting drizzle all over the circuit. Because of this I actually thought I had made the wrong call as I came out behind Buemi whom I had to pass heading into turn 1 just before a yellow flag thanks to two cars who had spun in turn 3, but my subsequent laps were good despite the rain, proving that I seem to perform quite well in unpredictable, uncertain conditions. The rain increasing rapidly, I switched to the Intermediate tires for my fifth run, it quickly proving to be a wise choice due to a puddle in turn 6 which I aquaplaned on, my front right tire dipping into the inside of the apex and thus inspiring the officials to give me a warning for corner cutting. Despite feeling like I had eliminated my corner cutting problems from earlier in the season, it was a warning I could accept quite easily as it didn’t feel intentional and certainly not my fault. The rest of the run was smooth, some good practice under my belt. The sixth run for Practice 2 was marred by the exit curb of turn 6, my weak exit catching it incorrectly and inducing an unnecessary spin. Strangely this resulted in yet another warning for corner cutting as I was trying to recover, simply because I was on the inside of the corner. I’ve accepted all of the warnings I have received so far, putting them down to rookie mistakes or errors but now I’m starting to wonder if the officials are being a little unfair. By this point the rain was steady and seemed like it was here to stay, a point I welcomed as I wanted more practice under wet conditions. It was funny, though, the track didn’t seem to be as slippery as I thought it was in the initial laps of P1 even as the track became increasingly saturated. My seventh run was clean and consistent, though the car did try to step out a few times thanks to the wet surface. The rain seemed to have eased a little as hints of a dry line were starting to appear, but it also seemed to be quite steady going down the long back straight. My eighth run was nothing, the rain no longer falling meaning the Intermediate tires were useless and it was better to switch to the Primes. I got a warning for gently colliding with Robert Kubica exiting the pits which I thought wasn’t right as it wasn’t my fault he didn’t give me any room by going a little bit wider. My ninth run, now on Prime tires was characterized by my amazement at how quickly the circuit had dried, the grip returning extremely quickly and as if there was no water at all. Chandok was coming up behind me as I exited the pits so I stayed wide in turn 1 to let him past but he spun instead. Not sure why. I also managed to only be a few tenths behind the time I had set earlier on Options, which was both good and bad -- good because it demonstrated that I was comfortable with the track but bad because it highlighted how insignificant my lap on the Options really was. I decided to go out for a tenth and final run just to confirm my progress over the session but only got one flying lap in due to the session expiring. A total of 19 laps with a time of 1:39.284 done on the Options before the rain settled in, which secured 12th position for the session. I think it was the rain that hindered my ability to match the times set in P1 though being a practice session it doesn’t really matter so long as I made progress which I feel I certainly did. The warnings were annoying though, mostly because they didn’t feel justified. I’m confident for tomorrow.

Saturday Morning, Practice 3

Dry and sunny conditions, though a touch hazy once again due to the smog that surrounds the circuit. My team wanted some more testing with another easy target time of 2:05.759 which I achieved on my first flying lap in my first run, no problems. Those times were very lenient which was nice as it meant I could focus on other things. I turned in a bit too early on my second lap at the hairpin at the end of the back straight and bounced over the inside curb more than normal, spinning as I accelerated off it. A similar thing happened on the third lap at the turn 8/9 kink, the lap also featuring some debris a little earlier in turn 4. For some reason I wasn’t enjoying this session due to feeling uncomfortable in the car. My gloves weren’t on properly so it didn’t feel right as I gripped the steering wheel, and I also seemed to be sitting a little differently too. My second run was also uncomfortable, an off at turns 7/8/9 adding to the discomfort as the bumps in the gravel bounced me around a bit. The reason for the off was accelerating too early, and it didn’t affect my session other than some lost time as I recovered. On my fourth lap I went wide in the final turn but it didn’t matter as the lap was ruined earlier due to Schumacher exiting the pits in front of me and getting in the way a bit. My third run was clean though I wrecked my best lap yet by braking a tad too late heading into the hairpin at the end of the back straight. I was still feeling uncomfortable too, but was dealing with it reasonably well. My fourth run consisted of a switch to the Options and a spin on my out-lap exiting the hairpin due to turning in too early yet again. It was nothing severe and I pressed on to wind up behind Liuzzi who held me up on my next lap, so I aborted and passed him on the outside in turn 2 (yay for more grip on the Options!). I improved my time on the following lap, ensuring the run wasn’t all bad. My fifth run was where I noticed it was overcast again and it featured clean laps with nothing else to report. Run six saw a decision to attempt a hot lap under pressure from the time limit of the quickly expiring session. I crossed the line with only 2 seconds to go, allowing my flying lap to go ahead but yielding no improvement, unfortunately. Still, it was good to intentionally add some pressure to see how I handled it and despite no improved time, I think I handled it quite well so I’m quite pleased with that. I ended up 11th for the session with a 1:38.375, the 14 laps in total okay but perhaps not as good as I was expecting. The discomfort, mistakes inspired from it and various competitors impeding my progress combined to make for an average session, though when considered alongside the previous two I still made progress for the weekend. I didn’t quite match my time from P1, though.

Saturday Afternoon, Qualifying

Virgin expect 20th or better for Qualifying, which should be doable if Malaysia -- where similar expectations were required -- is anything to go by. An interview just before the session asked how I thought my team compared to the others, to which I replied that I thought we were travelling along nicely for a new team.

I only just got through to Q2 on my last flying lap which was done under pressure from the expiring time. It was the third sector which got me through -- instead of sector one which had been my best in practice -- and it was great to achieve a time under pressure. My earlier runs in Q1 were fine, all laps remaining clean and consistent but just not being fast enough so I was quite lucky. Q2, however, wasn’t so clean, my first flying lap in my first run aborted due to having to avoid two spins in turn 2; I think one was Jenson Button and the other Schumacher but I’m not entirely sure. Switching to fresh Options (the others were quite worn as I had used them in practice) my second run was consistent and clean, though the first attempt at a lap was slightly scruffy. Unfortunately for me I didn’t progress through to Q3, sitting outside of the top ten with a time of 1:38.714 and in 13th for the race. It’s a little ironic how the time I set in P1 is still my best for the weekend. I also found it quite remarkable that the top times in qualifying were basically the same as the ones in Malaysia, despite the different layout. Proves how similar the two circuits really are I suppose. Overall I’m happy with my performance in qualifying but definitely feel I could have done slightly better, and it certainly felt as if the weekend was going backwards slightly. I exceeded my team’s goal of 20th, and was much more confident in the session than I was in P3. Hamilton obtained pole.

A post-qualifying interview asked about my car’s performance and my thoughts on the session; I told them that I thought the car was working well for me and that we as a team are right where we want to be.

Sunday, Race

Due to my decent qualifying position and China’s similar track layout to Malaysia, Virgin expects me to finish in 18th or better which I think is possible. So much so, in fact, that I’m aiming at 15th or better but we’ll see how things go. I’m starting on the Prime tires for the race with a long first stint and then switching to the Options to end the race. There’s a 47% chance of rain according to the radar, something I hope eventuates as I need more practice in the wet and seemed to handle it nicely in Malaysia.

Unfortunately for me I had yet another slow start, dropping a few positions to 16th but didn’t mind as I had nowhere to go with so many cars everywhere, piling into turn 1 and 2. I managed to pass Buemi between turns 6 and 7 which brought me to 15th but then went wide in the same section on the following lap, giving him the position back. I believe it was the heavy fuel load in the car -- and my inexperience with it -- that caused me to go wide so easily. On lap 3 Rosberg spun in turn 3, giving me 15th back in the process. On lap 4 there was debris on the track that I had to avoid -- probably from Rosberg’s earlier spin -- and on the same lap I went wide at the hairpin at the end of the back straight. This put Kobayashi on my tail, where he stayed for a handful of laps before something strange happening. One minute he was there, the next he wasn’t and I was told that Lucas Di Grassi, my teammate, was in 16th instead. I had a minor spin in turn 2 due to accelerating too early, allowing Lucas through while Chandok got past on lap 12, between the hairpin and the final corner. It was at this point I realised that my tires weren’t that great and they were causing me to struggle. These moments put me down into 17th place but that didn’t last long as I got 16th back on lap 14 due to Chandok pitting. I was lapped on lap 16 and noticed on the next lap that it was becoming overcast yet again. On lap 21 it began to lightly rain, the conditions welcomed by me but unable to be used to my advantage (I felt) due to me having to move aside for the frontrunners. This allowed Chandok to catch back up, but he pitted again on lap 26 and Senna -- who was behind him -- ended up being the one to pass me instead. I figured it was because he was on wets, because my pace was still pretty good in the increasingly wet conditions. I pitted on lap 27 as the conditions were worsening and I was aquaplaning a lot, opting for wets instead of the team’s recommendation of intermediates. Unfortunately I lost control heading into the pits on the wet surface and went straight into the wall, losing my front wing in the process. I got penalized, too, as I was trying to recover by reversing into the pit lane, resulting in a drive through. I did this immediately, coming back in for it on lap 28 to get it out of the way. Angry, I lost motivation and figured that this race was essentially done, an attitude I came to regret a little later. Now situated at the back and in last position, I continued the race with a disheartened approach, though quickly got over it when it came time to overtake Kovalainen on lap 29, something I managed into the hairpin. Up next was his teammate Trulli who I passed on the main straight as he pitted, then after that it was Kobayashi on lap 30 as we both headed into turn 1. On lap 31 I passed Hulkenburg who was in the pits and at the same time, Senna was exiting and came out in front of me. I quickly got by him on the next lap, giving me 17th position. In turn 6 on lap 35, I had a minor spin, the track severely wet and my recovery allowing Senna to retake the position, though a pitstop for him gave me the place back relatively quickly. On lap 39 Virgin informed me that Lucas had retired, giving me his position of 16th in the process. On lap 50 Chandok pitted for what seemed like the fifth time, giving me 15th, while on lap 51 the track started to dry out. On lap 54, with a dry line forming, I passed two cars for 13th, both of whom were in the pits changing to dry tires. Due to being 2 laps down, I stayed in 13th and finished there, my best result yet. It seems choosing the wets paid off as I gained positions while everyone else swapped to inters and then the wets as the conditions kept worsening. Their change back to the dry tires near the end of the race also benefitted my progress, since I elected to stay on my tires until the end. I was a touch nervous about staying on the wets as the track dried but I wasn’t slowing down, and I cooled my tires whenever possible in the puddles that weren’t on the racing line. All in all China was a great race for me despite initial signs suggesting it was another average one, my best result yet definitely being something to be proud of. Overall I think my performance in general is improving and while unpredictable conditions certainly helped me -- and certainly seem to suit me -- I think I can also say that I’ve stepped up and continue to progress as the season does. Webber won the race, Hamilton came in second and Alonso managed third. My 13th placing puts me into 19th in the driver’s standings, while Virgin went up to 11th in the constructors’, moving ahead of Lotus. I met both mine and Virgin’s expectations in the race, something they congratulated me on when I got back to the garage, my agent in particular expressing her delight in my performance. Onwards to Spain and the infamous Catalunya circuit, then!

Note: All images are of the PC version (save for the map) and were sourced from here; this game continues to prove difficult when it comes to finding images.

Talking About Minecraft #2: Narrative Implications

The Green House Of Harmony

[Edit: So it seems I was incorrect about the narrative and that it will come during beta -- which is now out -- rather than be implemented with it immediately. I apologise for the misinformation but still stand by my thoughts below.]

In two short days Minecraft will finally enter into beta. Saying that feels somewhat strange as I consider the experiences I’ve already had with the game and the fact that, intriguingly, the game as a whole feels more fully-fledged than a good portion of the so-called Triple-A titles that usually get all the attention. Reaching beta status will bring with it changes, keeping the future of the game both vague and exciting as it continues to evolve. Of these changes, one in particular stands out as something worth pondering: the inclusion of a narrative. What this will mean for Minecraft as a whole remains to be seen until Monday but after hearing about it, I can’t help but wonder if the game even needs one. Allow me to explain.

One of the main things that separates Minecraft from other games -- and something that I alluded to when talking about it earlier -- is its ability to let the player craft their own narrative rather than engage in a predetermined one. Despite putting you into a randomly generated world and expecting you to decide what to do with it, the Minecraft story, for me, has always been about the journey rather than the destination, and it’s this point that doesn’t only make me curious as to how a predetermined narrative could be implemented, but whether it should be in the first place. Aside from the odd anecdote on Twitter, in blog posts or articles on various gaming websites, the first story I heard about and came to enjoy was X’s Adventures in Minecraft. While David -- X’s real name -- was the cog in his adventure’s machine, his viewers were the ones who kept it turning through suggestions, participation and enthusiasm. It may have been him exploring his world, building the ‘X-System’, the ‘Green House Of Harmony’ or the ‘X-Light 9000’ but it was us, as viewers, who ultimately experienced the journey and shared in its delights. His adventure was almost like a biography, one told to hundreds of people but interpreted differently by each individual who saw it; it all meant something different to each and every one of us. Coe’s Quest, the second ‘story’ I experienced in Minecraft, was similar in that it took us along for the ride and allowed us to experience everything as Coe did. From the initial awe of the landscape that eventually became home to CQHQ, to the exploration of a distant land and the creation of Castle Dogbone, to the trip to the Nether, the discovery of Misty Island and, most recently, the construction of a train station to mark his 100th episode, each event and each outcome was a shared experience, performed by Coe but engaged by many. No other person experienced Minecraft in the way that Coe or X did but, by capturing it all on video and sharing it on YouTube, we all got to share in the pleasure of a narrative that we, ourselves, would never have gotten to experience otherwise. Personal quests that became public, unique yet unified.

Castle Dogbone suspended high in the sky

Consider my own story in the game, too, with its hardships and discoveries, unexpected moments and joyous success once my goals were finally finished. My second and now main world in Minecraft has been a constant struggle -- to gather the necessary materials; deal with the seemingly endless amount of Creepers insisting on destroying my hard work; and the constant need to re-appropriate my house design not once, not twice but four times as things like limited space and the aforementioned Creepers hindered my progress -- and yet, I couldn’t be more happy with how it has turned out so far, what events have occurred and what possibilities exist in the future. Success isn’t (or hasn’t been) measured in the completion of tasks, my progression from hapless wanderer to strong-willed survivor or the inspiration that comes from the sights and sounds that surround me, but rather by the journey I’ve taken, the things I’ve learned on it and the experiences that will reside with me for years to come. It might not mean anything to you -- and you certainly might not care -- but it has been my story and as it continues to be told, I’m learning, adapting and changing as a person simultaneously. It’s my personal narrative, relevant only to me and, quite frankly, I wouldn’t have it any other way.

As a sandbox game, however, Minecraft loses its appeal to some players due to the lack of structure and tasks that need to be completed. That first night of survival -- and the hastiness that occurs before it -- is about the only actual thing that should be done in the game, the quest to discover diamond perhaps being another. The thing with these two objectives however is that, while probably smart to carry out as early as possible, they’re not necessary to the outcome of the game nor the experience a player can have. It’s not necessary to ensure survival on the first night; instead, you could pick a direction and travel towards it as a nomad, dealing with the situations that arise as you constantly trek forward. Or, instead of searching for the elusive diamond, you could instead gather wood and stone so that the building of a large structure can commence. The point is, the world that befalls you is open to your whims and desire as and when you see fit and while this is most certainly the appeal of Minecraft for a lot of people, it won’t satisfy everyone. Adding in a narrative could (and most likely will) give the game some structure, setting goals for those players who are happy to follow a guided (yet still quite open) path and engage with the ever-changing landscape gradually rather than spontaneously. Giving the game a format, if you will, will open it up to more people and, ideally, ensure that anybody who chooses to play the game has something they can do and (more importantly) enjoy. It might seem unnecessary to those of us who enjoy the unexpected, usually impetuous moments, but for those who crave goals they can work towards and accomplish and a set path with which to walk, the addition of a narrative to the game will be welcome.

So, does Minecraft need a predefined story? Personally, no, it’s already a strong storyteller; but as far as the game itself is concerned? It couldn’t hurt -- sandboxes are fun because they are essentially what you make of them, but sometimes they can be just as enjoyable when someone else is digging out the dirt and creating that epic sandcastle. Perhaps it might even be in the sky…

R18+ Rationale

Will Australia ever see this logo on games? I think so.

Last Friday the Attorneys-General for each state and territory of Australia, as well as the federal government met to discuss the possibility of introducing an R18+ rating for videogames in this country. The most prominent hot topic on the Australian gaming scene in recent years, the debate that has surrounded the various issues related to the classification system -- how it is currently and what it could be should it be changed -- has been argued both in favour and against for what seems like countless times now, the issue constantly arising whenever a game is refused classification (see my previous two articles about it here and here for more); an important figure, usually a politician offers their view on the subject; or when a developer or publisher, usually international, decides to edit their own game or not bother submitting it for classification in this country at all. Naturally, as gamers, our wide-ranging and general view is that it should be introduced, our arguments being for the accessibility of content that we -- as adults -- can relate to, as well as the issue concerning younger gamers who, under our current system, find themselves easily able to get their hands on games that are absolutely not intended for them, such as the inevitable (for our main example) Grand Theft Auto series or games such as Fallout 3, Left 4 Dead 2 and Aliens Vs Predator. While my personal view is shared with the majority of gamers, I’m more concerned with the attitudes it has inspired both in those against the introduction of such a rating, and those in favour: the gamers. I am, however, also impressed with how the issue in general has been handled in recent months. Here’s why.

Media Spotlight

The biggest thing to come from the recent SCAG meeting last Friday, I think, was the way in which the issue was handled in the various media outlets that chose to cover it. While it was inevitable that the gaming press would cover it strongly and focus on the angles that would benefit the medium in which they cover, the more mainstream press outlets also handled it, in my opinion, well, approaching the subject from both points of view -- for and against -- and not displaying the bias that coverage just a few years ago so obviously did. While admittedly, certain facets of the media didn’t report the facts accurately (suggesting, for example, that it was only related to PC gaming rather than the entire medium), for the most part the newspapers, TV current affair and news shows and online websites covered it maturely, objectively and even enthusiastically -- something that’s heartening to see as a gamer, clearly desiring the rating’s introduction, after years of biased reports and sensationalist, usually negative, headlines. But personal opinion aside, I think the coverage the recent developments have received is a good thing for gaming generally, as it’s treating the entertainment medium fairly and not treating it -- as it did in the past -- like something only intended for kids. Instead of being an inferior medium to the already established film, television and literature, the media approached the issue and games generally as an equal, (dare I say it) artistic medium who deserves to be considered among the mainstream population, and who deserves the coverage those established mediums already receive. It might be a baby step in the grand scheme of things, but it’s a step that hadn’t been taken previously and most certainly one in the right direction as both the medium of videogames, and we as gamers, move forward. The coverage wasn’t perfect, some outlets still approached it subjectively without realising it, and once Friday had passed very few areas of the media cared anymore, but it was a start and one I’m proud to see after observing the issue from the sidelines for so long. Progress is being made, even if it is just gradual, and that’s an accomplishment that didn’t seem likely just a few short years ago, and one that paints gaming’s overall image in a positive light rather than the negative one it has had for so long.

Just one example of the imagery that may only be seen if an R18 rating was introduced.

Gamer Feedback

Less impressive, however, was the response that gamers -- the very advocates for the introduction of the rating in the first place -- exhibited once the news of yet another delay arose on Friday evening. So intent on seeing an outcome that pleased them on an individual level, the news that no result was to occur until next year didn’t just disappoint them, it infuriated them -- the message of frustration abundantly clear in the various forum posts and website comments that were made that night and over the weekend. Instead of thinking about what the outcome meant and where things could go from here, these people reacted impulsively, slamming the various people involved in the debate’s process immediately with no concern for anything else. While it might be understandable that these people are angry, their irrational actions don’t get their disdain across and highlight their opinions, it demonstrates to those involved -- as well as those observing from afar, unbiased in their views due to not featuring in either camp -- that gamers (and thus, those that support the rating’s introduction) aren’t as mature as their arguments constantly suggest and instead are quite aggressive, juvenile people who probably don’t deserve the rating to begin with. This anger and animosity towards the outcome on Friday was remarkably annoying for me personally, watching their insults and irate behaviour play out as if gamers in general were trying their absolute best to bring the videogame medium down with their tirades. Swearing at politicians and hurling abuse at their opinions, or their desire to seek clarification from their particular constituents -- as was the case with Friday’s outcome -- doesn’t prove anything other than immaturity and it’s these attitudes that conflict poorly with our overall message and lobbying to get the rating introduced in this country. The attitudes were atrocious, the immediacy with which they were demonstrated appalling and, overall, it reflected yet another negative light onto a situation we worked so diligently to bring out of focus and put to bed.

To say I’m disappointed would be an understatement but to say I’m surprised would be lying. While the very people who have ensured this medium’s constant growth in recent years won’t admit it, gamers need to grow up and accept that, from time to time, things aren’t going to go their way. The ironic thing is that Friday’s outcome was positive, the various Attorneys-General approaching the issue with an open mind and, for the most part, agreeing that things needed to be changed -- be that introducing the rating or changing the current system to bring it in line with more modern times.

No doubt the R18+ rating will continue to feature prominently on the Australian gaming scene and, after seeing how the most recent development played out, progress will continue to be made. If gamers don’t get their act together and prove that our arguments were justified and that we do deserve the rating though, then I’m not sure I want the rating after all -- not if we’re going to act like that.