Some Thoughts On Reviews

It's nice to see superheroes get some love, but full marks?

Videogame reviews are an often contentious subject, their broad significance and final scores usually the biggest topics up for debate. They’re constantly complained about; their integrity is often contested; and it’s not uncommon to find people question the meaning of scores, particularly these days after the creation of aggregate sites like Metacritic. Add in the fanboy ingredient -- where people are so infatuated with their favourite franchises and/or developers that they can’t see things rationally or objectively, nor accept another person’s opinion -- and you have an egregious, somewhat explosive (unnecessarily) subject that does more harm than good, and which causes pointless hostility between people who should be sharing in their passion, videogames, rather than arguing over it.

Personally, it’s a topic that I have mostly avoided because I find the discussion over reviews to be, mostly, redundant, and because I’m open-minded enough to be interested in what other people think about a particular game, and how they felt about their experience with it. I couldn’t care less whether a big blockbuster game scores a perfect ten or only receives a seven; I have no interest in whether a review should be a “buyer’s guide” or if it should approach a game critically; and I certainly don’t care about the perceived narrow spectrum of scoring, where videogames are supposedly only scored between the seven-to-nine range. I’d much prefer to be talking about something else, in other words, so I have kept quiet about reviews because I know which ones are the kind I would like to read, and whose opinions are most likely to represent (or at the very least, correlate with) my own.

But lately, there has been a semi-related issue regarding reviews that I am more interested in, and one that, if I am to be honest, has me feeling somewhat concerned and uncomfortable.

As most gamers would know we are currently in the midst of what I call ‘Onslaught Season’: the period in which most developers and publishers release their biggest titles, and where we as players are insanely excited for these games as well as worried that we’re not going to be able to afford them all. This means that blockbuster franchises like The Elder Scrolls and Uncharted make their return, and publishers like Activision will make a lot of money due to yet another release in their Call Of Duty series. It’s crazy season, basically, and definitely one of the most enjoyable times of the year due to the enthusiasm and anticipation that drives it. A byproduct of this period, however, is the way in which these giant games are reviewed and, more importantly, whether the authors of these evaluations are able to cast aside their personal preferences and elation to make a better informed and more meaningful assessment.

Yet another GOTY in the making?

This year alone, we’ve already seen three titles that have received 10/10s at various publications. And while such scores might not be consistent with every website and magazine, the general perception is that these games -- Batman: Arkham City, Uncharted 3: Drake’s Deception and, seemingly, The Legend Of Zelda: Skyward Sword -- are the year’s best thus far, and the cream of the crop of modern gaming. Now I have no problem with games receiving full marks and actually believe they should get that level of recognition if they deserve it -- unlike others who believe that the aforementioned spectrum of 7-9 is more applicable -- but I do have some concerns if these scores are seemingly thrown around in a carefree manner.

By giving these titles top marks, whether they deserve it or not (I can’t comment on that since, aside from Uncharted 3, I have not played them), the reviewers of this industry send out a message that suggests that these titles are some of the finest you will ever play. That’s fine if these authors mean it and can justify their opinion, but it isn’t good if the result of that message insinuates something that mightn’t be necessarily true later, once this exciting rush of games has passed. It also suggests that these games are better than some of the big name titles from previous years, the ones that are otherwise agreed upon to be this generation’s defining games.

Are we really sure that -- as a collective industry that includes critics, developers and publishers, and players -- we want to claim that Batman: Arkham City or Skyward Sword is better than, say, Portal* or Assassin's Creed II, both games that are regarded exceptionally highly and yet didn’t necessarily receive those elusive 10/10s on release? What about the reputation that such high scores bestow upon the developers behind these wonderful games -- do we want to imply that Rocksteady or Naughty Dog** are better than a Rockstar or Irrational? If yes to both questions, why? Now I’m not saying that these developers or games don’t deserve such praise and adulation, especially when I haven’t had the pleasure of playing them yet, but what I am saying is that do we really want to convey that message -- that these games are better -- because they’re the ones getting perfect scores when other high profile games may not have received similar recognition? If we do then fair enough, but if we don’t because next year when the insanity has died down and we’ve gotten over the initial awe of playing these brilliant games we’ve realised that maybe they aren’t as good as this generation’s best names, then how are we going to deal with that? How are we going to assess and analyse these games, and their position within the wider medium, when we’ve already sent the message out that they’re so phenomenal that they deserve the best scores. When singing the praises of Portal or BioShock, yet again because they really are that good, will we put them above or below the games that have received full marks this year? And what of next year’s titles which have the potential to go even higher?

I’m not arguing any particular point here nor am I trying to suggest these games -- or any others in the future -- don’t deserve 10/10s. What I am saying, however, is that full marks have been appearing quite frequently lately and I just want to make sure it is for the right reasons, rather than because the people awarding these high scores are influenced by the gorgeous graphics, spectacle and riveting gameplay that these titles have to offer. I’m saying that the industry as a whole needs to be careful, because once it has committed to a perspective there is no changing it and we should be wary of the future whilst we are enjoying the present. You only need to look at games like The Legend Of Zelda: Twilight Princess or BioShock 2 to see an example of the way in which these titles can have a backlash post-release, so just be mindful of what you’re doing when assessing these games and please, ensure that you own your opinion and mean every word you use to convey it -- failure to do so is failure to represent the medium sincerely, and none of us want that.

**It should be noted that The Orange Box, the package that Portal originally came in, did receive full marks at a variety of publications, but it wasn’t until subsequent rereleases (such as on XBLA) that the game itself got judged individually.

**Disclaimer: I personally do believe that Naughty Dog deserve to be seen in the same light as a Rockstar or a Valve, and can only hope that the success of Uncharted 3: Drake’s Deception will get them there. Guess time will tell on that one.

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!

****

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.

F1 2011

Pixel Hunt, an E-Zine and online website, recently posted their review of F1 2011... meaning that after many years posting here on the blog, I have finally been published elsewhere!

Yes, it's true, I wrote the review of Codemasters' latest installment in their rather wonderful Formula 1 series, and it was an absolute pleasure to try my hand at writing a review rather than whatever I feel like here on Raptured Reality. Writing a review means that you're writing for an audience, basically, so with that in mind I tried my best to keep things simple and cover a variety of things about F1 2011 that I thought would be beneficial to anyone who may end up reading it. F1 being what is, however, it was rather challenging as the sport is just too complex to be able to describe without venturing into motorsport jargon territory, or at the very least areas in which only automotive enthusiasts would understand. Still, I thought the review came out pretty well considering it was my first, so do let me know what you think.

While we're on the subject of Formula 1 games, I suppose I should address a few things. First of all, reviewing this year's title suggests that I have moved on from last year's F1 2010 and, by extension, that I might be done with my Living The Life story or, indeed, covering that game from an analytical point of view. Not true! Whilst I have slacked off, again, with coverage for the game and my story, I don't consider myself to be finished with either and will continue to focus on that game until I am. This means that you can expect the story to resume (sooner than you may think, too!) and that I am still dedicated to seeing it through to the last round, in Abu Dhabi. You can also expect me to start posting about why I fell in love with F1 2010 so much as well as pick up on some of the issues I think the game has -- some of which I actually mention in my review of F1 2011. 

Once I have done that, then I will shift my focus over to F1 2011 and begin discussing what makes that game worth playing, as well as why it is so different (surprisingly) from Codemasters' first effort with the license.  I will also elaborate on some of the things I covered in the review, and point out some of the things I left out. Then I'll begin the second season of my Living The Life story because I'm interested in what it would be like to experience another season using that mentality (or persona) and to then convey those findings, once again, here on the blog. 

As far as other content is concerned, both the Metroid Marathon and Red Dead Ruminations posts will continue (apologies for the delays) and I will also be taking a look at both L.A. Noire and Test Drive Unlimited 2, finally, as I am now ready to think about my experiences with them.

It was an absolute pleasure to try something new and do a review of F1 2011 for Pixel Hunt. I'd like to take this opportunity to thank my editor for the review, Dylan Burns (if he's reading this), for giving me the chance to experiment with my writing. Will I do more reviews in the future? I'm not sure yet but considering this experience was nothing but positive the entire way through, I am certainly willing to consider it if the chance arises once again.

Anyway, if you're interested then by all means give it a read and let me know what you think. Thanks again for reading my work, everyone, and happy gaming.

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.

***

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.

Metroid Marathon: The Beauty Of Bosses (MP1)

[Part of a series of posts in which I discuss my favourite videogame franchise: Metroid. Today, some of Metroid Prime's bosses and how they are designed to teach players through intensity and strategy.]

The boss battles contained in each Metroid game are one of the franchise’s staples, their challenging but not impossible design sitting as some of the highlights of each installment. Metroid Prime’s bosses are no different and follow the tradition of offering some intensity to the isolated adventures of Samus Aran, not to mention ensuring that the skills learned prior to each battle and the abilities obtained throughout the game are utilized in an effective manner.

Combining organic creatures already native to Tallon IV and those created or influenced by the strong presence of the Space Pirates and their operations, the boss battles in Metroid Prime contrast nicely with the otherwise lonely journey of the game to create its diversity whilst simultaneously also appearing to enhance the game’s narrative, themes and overall outcome. Ranging from mutated (not to mention enlarged) creatures such as the Parasite Queen found on the space frigate Orpheon, to the giant, lumbering beast that is the Omega Space Pirate, each battle and each foe offers something new and distinct from what has been seen previously whilst also continuing the trend of more difficult and menacing foes as the player (and thus, Samus) progresses. What this means overall is three different things: first, the chance to test and master the skills that have been formed over the course of the game; second, moments to look forward to after long sessions of exploration and loneliness; and lastly, a change of pace (and intensity) after slow, gradual progress and enemies that pose little to no problems. It’s about challenge and strategy but not at the expense of progress or the other key elements that make up a Metroid experience, namely the exploration and discovery.

Interesting, too, is the way in which these battles take place -- and, perhaps more importantly, why. Right from the very beginning of the game, as players gently ease themselves into the 3D, foreign feel of a Metroid title viewed from Samus’ own eyes rather than from a side-on perspective, a boss battle exists, designed to teach a skill that will become key later on in the game: that of strafing from left to right (or vice versa) to avoid enemy fire. The battle is simple in that there’s hardly any strategy to defeating the Parasite Queen, with quick, rapid blasts or powered up singular shots from Samus’ beam cannon making quick work of the easy opponent. In fact, the only challenge the battle poses is from a spinning force field that protects the queen, but it has enough holes in it that it’s not a problem -- if there’s no gap, you don’t shoot, simple.

Samus staring Flaahgra down in the first major boss battle of Metroid Prime.

Contrast that with Flaahgra -- the mutated plant boss found in the Chozo Ruins and the source of the poisoned water that posed a small problem in traversing the remnants of a lost civilization -- who does offer a challenge and requires some strategy in order to attack. Not only is strafing important in avoiding Flaahgra’s acid attacks, confidence with locking onto the solar panels that is providing sustenance to the enlarged plant is key to efficient success as, later on in the battle, Flaahgra can knock them back down with one of its many stems. The goal of the fight is to knock the solar panels away so the sun’s rays are no longer providing energy to the plant boss, causing it to collapse with exhaustion and its tentacles to retract, allowing Samus to quickly morph into a ball so she can slip through the tunnels that were previously blocked and let off a morph ball bomb in the mechanical slot -- a technique learned prior to the battle not long after the ability was acquired -- in order to deal damage. Rinse and repeat the process -- a staple of Nintendo’s library of games and certainly not exclusive to the Metroid series -- and before long Flaahgra is down, alleviating the problems of a contaminated area by allowing the water supply of the Chozo Ruins to become clean and pure once more.

Future bosses provide even more complexity and challenge, the Omega Pirate and Metroid Prime itself standing out as the game’s most difficult boss fights, but regardless of whether it’s at the start of the game or at its end, the bosses in Metroid Prime serve a purpose in teaching, using (abilities) and changing (the game's pacing), even if only for a short period of time. They’re fun distractions more than anything else, but the lessons learned in fighting these monsters go on to serve the rest of the game, and in doing so only enhances the experience rather than hinders it. It’s a shame other games can’t get this process right more often, not to mention as elegantly as Metroid Prime does.

Metroid Marathon: The Little Things (MP1)

[Part of a series of posts in which I discuss my favourite videogame franchise: Metroid. Today, a look at the incidental details in Metroid Prime that are so easy to overlook, but enrich the experience when noticed.] 

If three big moments characterized Metroid Prime’s transition from 2D to 3D for me personally, then it is the little things that form the game’s unique personality, give it its atmosphere and constantly surprises almost wherever you turn. It’s the little things that, when combined as a whole, give Metroid Prime a level of detail that few other games can achieve, and when separated provide a subtle, if even unnoticed, addition to the game’s immersion.

Attention to detail isn’t new in videogames, however, the effort some developers put into their games to create an experience that is unlike any other often being the key contributing factor as to whether the overall product -- the end result of a carefully considered vision or idea -- is successful or not. Games like the Uncharted series, Grand Theft Auto IV and BioShock all take care to include the little details, minor additions that will cooperate and assist major ones in forming a particular point of view, understanding or atmosphere, each enhancing the overall experience rather than detracting from it.

A Sap Sac hanging on the side of a wall.

But Metroid Prime’s attention to detail is, I would argue, a lot more subtle than the aforementioned games -- and it’s worth pointing out that they’re all current generation games, too -- using existing features of the game’s world to enhance the immersion. Rain droplets fall onto Samus Aran’s visor if she looks up towards the sky, whilst other drops splash and bead on her infamous beam cannon. Flamethrowers in the Magmoor Caverns area of Tallon IV -- initially something to be avoided -- can be frozen once the Ice Beam has been acquired, progress beyond them now achievable with relative and quick ease. The electricity of Samus’ Wave Beam pulsates whilst the Ice Beam leaves a tiny, cold fog as she moves her beam cannon around. Juice from a Sap Sac drips once it has exploded, whilst acid from a mindless creature’s attack splashes on Samus’ visor upon impact. Fish gently swim amongst the water, quickly scurrying as Samus draws near; a reflection of Samus Aran’s eyes and face can be seen as a burst of light emanates from a nearby explosion; steam clogs up her visor and limits visibility for a brief period of time. When submerged underwater -- particularly before the acquisition of the Gravity Suit -- movements become slow and subdued, with a pleasing sense of weight and a floaty feel making for a nice contrast to the usually quick, agile movements enjoyed on land; the morph ball’s bomb jump ability also shares a similar feeling of weight and casual buoyancy, bobbing up slowly rather than bouncing immediately as on land. Continuing the underwater theme, it actually feels like you truly are submerged when traversing its many depths, the cold, blue and translucent water stretching out beautifully while the aforementioned movement and the game’s clever use of sound enhances the feeling and ensures its effectiveness. Few other games can achieve this submerged feeling -- BioShock 2 is one of the only other examples that comes to mind -- keeping the immersion high and the game’s unique attention to detail amazing.

Fish scurrying about as Samus approaches.

Enemies also receive this level of attention, with a variety of ways to kill them coming to mind. The environment plays a part, a carefully placed shot on a nearby Sap Sac instantly killing something upon its explosion, whilst an idle defense turret can explode on impact from a missile or be disabled by a few shots of the Wave Beam, collapsing it in confusion. The Space Pirates aren’t immune either, their weaves and dodges of one beam quickly turned around as you freeze them, their bodies crumbling to pieces upon another concussive shot. Even boss battles contain subtle ways in which to attack, allowing for strategies that might not be immediately obvious.

The little things may not be unique to Metroid Prime nor might they be instantly apparent, but they all combine to enhance the game overall and assist with immersion, leaving a tiny but acknowledging smile on the face of those who notice them, and indirectly improving the experience of those who don’t.