Crytek president Cevat Yerli announced recently that piracy is driving Crytek away from PC exclusives and towards the consoles. Though Crysis sold an estimated 1.5 million copies world-wide, Crytek, based on bittorrent tracker stats, feel their game has underperformed. Read that again: based on tracker stats their game under-performed. Noting that there were approx 15-20 pirate copies for each copy sold, and acknowledging that this does not equate 1 to 1 sales, Yerli still states “sales would be double without piracy”.
I am pretty sure the music industry ran this argument about 10 years ago and it is no more valid now than then. Pirated copies do not equate lost sales. Here are some thoughts about why Crysis “underperformed”.
1) Hype
Hype is an intangible fluid thing that can teeter in an instant from “just right” to “too much” depending on the sensibilites and tastes of the desired audience. A game announced early in development can drop off the radar unless it has a killer concept that “sells itself” (Brutal Legend and Dead Space come to mind). A game relentlessly promoted can become old news before it is released (ie.Black) and have to win back flagging interest.
The hype around Crysis encapsulates many of the reasons it “underperformed”, creating a whole much less than the sum of its parts.
For almost a year prior to the release of Crysis every gaming magazine and website whored screenshots and gushed preview “news” as the tiniest detail was revealed by the developers. The message behind it all: “This game will rape your last-gen or current gen top of the line hardware.” For hardware pigs with more money than brains, this is enticing as they are the ultra hardcore, the ultra-core, and they are a niche market. Knowing that a) the game is an FPS b) is coming soon and c) will require you to upgrade your PC that was great two years ago at considerable expense is not attractive to the mainstream. Add the generic “super-soldiers vs. aliens” plot, the details of which, when revealed, failed to excite, and you have a game that is over-exposed, to say the least. It’s as if the marketing team at EA had no clue how to sell the game, other than “Hey the guys who made Far Cry are making it”. To achieve mainstream penetration hype has to amount to more than specs and a thing plot, it has to be enticing to everybody. Thus far, games that have that level of marketability are accessible in terms of gameplay, hardware and content. Crysis is none of these things.
2) Hardware Specifications
Crysis was promoted from the get-go as the next step of PC gaming, in terms of the graphics. It was promised to punish current gen hardware and was designed, like Far Cry (to a lesser extent) to be “future proof” in that not-yet-released hardware would be required to run the game at its highest capabilities. While pushing tech is a hallmark of PC gaming, Crytek overshot this mark to the extent of alienating its audience. Buying a game knowing it will run on your machine but look like crap and knowing you can’t run it all are two different things. This is a failure on the developer’s part, simply because they either overestimated the install base of hardware that could (barely) run the game acceptably or their audience’s willingness to upgrade, or both. Taking a page from Valve’s playbook would have served this game well, given that the Source engine seems to be infinitely scalable and looks great, something Crysis, and its predecessor Far Cry fail at. As point of reference, I bought Far Cry to run on an over-clocked 1.8 gig Sempron, 2 gigs DDR and an ATI 512 meg 1650 video card. This same setup carried me through Quake 4, Half Life 2 Ep 1, and F.E.A.R., though in fairness, I had bought Far Cry prior to any of these games but never finished it (it would ultimately last me through 3 different PCs). While able to play the game, it was only until I upgraded my entire system to an overclocked 2.8 gig Core 2 Duo, 2 gigs DDR (dual channel) and a PCI-E overclocked XFX 6800 (256 megs) that I would be able to play it at 30+ FPS will all the bells and whistles turned on, at my monitor’s native res of 1440 x 900. This new hand-picked and built system cost a miserly (in Pc terms) $600.
This same system would wheeze through Crysis at 960 X 600 and manage at worst 11 FPS and at best 35 FPS with all settings on low. By comparison, I finished Half-Life 2 Ep 2 on the prior machine, with only the final strider battle giving unacceptable framerates and low visual quality. With the new system, I tore through the same sequence with everything maxed out and never dipped below 30 FPS. I also beat F.E.A.R on the Sempron box, but again can now run the game at native rez with settings maxed out.
The unpalatable and frankly intimidating aspect of Crysis is that not only will the game require a $5000 dollar machine to play it max, but just to look at it you need to be running a $1000 machine built in the last 2 years. What percentage of the hundreds of millions of PC’s in North America meet the minimum specs alone? 10%? Maybe 2% meet the max and that would be a generous estimate. The absolute maximum attainable sales this game could have at and around launch would have been 2-3 million units because no one else would be able to play it even if the wanted to. Yerli feels that the exclusivity of being a PC only release should have driven more sales, while ignoring the concept that Crysis was not only PC exclusive, but exclusive to a very few PC’s.
The end result is that Crytek effectively developed their way out of the market with this game, leaving behind 75% of the install base in their wake. This is especially glaring given the Sims franchise has just reached the 100 million sales mark. While they are two different genres and two different audiences, it is a clear reminder that accessibility will trump specs any day.
3) Quality
Crysis, if you can run it, is a spectacular looking game. The enemy AI is reasonably good, the environments are detailed and beautiful and the effects used in the game are excellent. However, while it is a massive step up from Far Cry in terms of story, pacing, character animation and voice-acting, it is still a fairly run-of-the-mill by the numbers FPS.
Game quality seems to have three distinct subsets: graphics, story, and gameplay. A great game excels at all three, while a good game has two. No game can be successful resting on the laurels of only one of these subsets as Doom III and Quake 4 can attest. While the gameplay in Crysis did achieve some moments of tension and excitement, it failed to reach the heights set by games like F.E.A.R. Despite the latter’s repetitive environments and so-so story, the intense and unrelentingly gameplay, aided by superior A.I. and beautiful visuals drove sales. Crysis raises the bar in visual fidelity while being average in gameplay and story. If your game requires a significant hardware upgrade then it better be really good at least two of the above, and Crysis is not.
Comparisons to Crytek’s previous effort may well have hindered sales also. Far Cry is a beautifully rendered game, with open non-linear exploration of its environment. It has reasonably tight gameplay and A.I., however the story is just plain awful with some of the worst voice acting on record. Gamers non-plused by Far Cry may well have skipped Crysis if only because they expected more of the same. In a market where your reputation precedes you, you are only as good as your last release.
In the end, Crytek were their own worst enemies in this case and unfortunately it appears to be a lesson unlearned.
Tuesday, July 8, 2008
Wednesday, April 9, 2008
The Evolution of Narrative:Gaming and the language of film
As with any burgeoning artform, game developers over the last 20 years have made their stumbling baby steps towards maturity of the art. Narrative, until recently (and with a few notable exceptions) has long taken a backseat (or no seat) to gameplay. The many constraints of the hardware and software capabilities until recently have precluded developers from exploring narrative (outside of text based games like Zork) as the challenges in just making a game run as a finished piece of code and be fun is daunting enough. However, with ever expanding technology in both hardware and software, and the maturity of over twenty years as an industry, gaming has finally begun to stretch its legs in terms of what can accomplished within the art.
I believe that interactive gaming is the next step in narrative and easily the most immersive. However, like any other maturing form of expression, gaming has come to consider other artforms as the mold on which to base itself, rather than seeking to create something the is unique unto itself. In this case, the language of film and terms like "cinematic" are now tossed about as identifiers of pedigree. Like the comic book industry, gaming is turning to Hollywood screenwriters to pen the storyline of a game as well as seeking ways to implement the visual language of film in the storytelling. While this in and of itself is not necessarily a bad thing, it can lead, as it has in comics, to a turn away from the strengths of the form to become something that is less than the sum of its parts (ie. decompressed storytelling).
The language of film has developed over the last century to become a short hand in the public unconscious and this can only serve, if used well, to immerse the player deeper into the world. The greatest strength of cinema is the ability to elicit emotion, an area precious few games are able to reach. To use the visual vocabulary of film without understanding how that language developed does developers a disservice as it creates built-in limitations. By imitating the image without understanding the intent meaning is lost.
As an example, during the recent GDC conference, Canadian developer Silicon Knights previewed their new game "Too Human". While the development history of this game has been controversial and public, the gameplay demonstrated looked solid. While previewing the gameplay, the phrase "the language of film" was used multiple times, and to their credit, moments in the game gave credence to the developer's intent. Not having played the game I can only comment on the brief moments I saw but what struck me was the use of "standard" film shots in much of the cinematics (ie. establishing shots, over the shoulder dialogue scenes etc). While refreshed to not see the spastic camera moves of many cinematics (ie. Devil May Cry) it was strange to see a locked off panning shot, which established the epic locale as a character entered the area.
Had this been a live-action film of the same fantasy environment it would have been a matte shot, panning off a digital painting to a holdout area for the live action to be place, shot against a greenscreen and/or partial set. In real world terms, if the same shot was used to show a character stepping into a cavernous area, the camera would physically be on a crane or a skycam, limiting its mobility. Such limitations do not exist in the digital world and by copying the staging of a shot without understanding the reality of it, the developer does the game a disservice.
Should developers go camera crazy and move the digital camera around spaces that would be impossible in the real world? No, as this would destroy any verisimilitude necessary to immerse the player. Developers need to come to understand why a shot exists in a film before emulating it in the game. Once understanding the intent, they can begin to create a new language, combining the emotional dynamic of film with the unlimited potential of digital imagination.
Only then will gaming truly become a narrative force.
I believe that interactive gaming is the next step in narrative and easily the most immersive. However, like any other maturing form of expression, gaming has come to consider other artforms as the mold on which to base itself, rather than seeking to create something the is unique unto itself. In this case, the language of film and terms like "cinematic" are now tossed about as identifiers of pedigree. Like the comic book industry, gaming is turning to Hollywood screenwriters to pen the storyline of a game as well as seeking ways to implement the visual language of film in the storytelling. While this in and of itself is not necessarily a bad thing, it can lead, as it has in comics, to a turn away from the strengths of the form to become something that is less than the sum of its parts (ie. decompressed storytelling).
The language of film has developed over the last century to become a short hand in the public unconscious and this can only serve, if used well, to immerse the player deeper into the world. The greatest strength of cinema is the ability to elicit emotion, an area precious few games are able to reach. To use the visual vocabulary of film without understanding how that language developed does developers a disservice as it creates built-in limitations. By imitating the image without understanding the intent meaning is lost.
As an example, during the recent GDC conference, Canadian developer Silicon Knights previewed their new game "Too Human". While the development history of this game has been controversial and public, the gameplay demonstrated looked solid. While previewing the gameplay, the phrase "the language of film" was used multiple times, and to their credit, moments in the game gave credence to the developer's intent. Not having played the game I can only comment on the brief moments I saw but what struck me was the use of "standard" film shots in much of the cinematics (ie. establishing shots, over the shoulder dialogue scenes etc). While refreshed to not see the spastic camera moves of many cinematics (ie. Devil May Cry) it was strange to see a locked off panning shot, which established the epic locale as a character entered the area.
Had this been a live-action film of the same fantasy environment it would have been a matte shot, panning off a digital painting to a holdout area for the live action to be place, shot against a greenscreen and/or partial set. In real world terms, if the same shot was used to show a character stepping into a cavernous area, the camera would physically be on a crane or a skycam, limiting its mobility. Such limitations do not exist in the digital world and by copying the staging of a shot without understanding the reality of it, the developer does the game a disservice.
Should developers go camera crazy and move the digital camera around spaces that would be impossible in the real world? No, as this would destroy any verisimilitude necessary to immerse the player. Developers need to come to understand why a shot exists in a film before emulating it in the game. Once understanding the intent, they can begin to create a new language, combining the emotional dynamic of film with the unlimited potential of digital imagination.
Only then will gaming truly become a narrative force.
Friday, February 15, 2008
To all the games I have demo'd before...
I am a big believer in game demos-When well executed they give a snapshot of the fundamentals of the game, including narrative, gameplay, graphics and sound design. When poorly executed or worse just bad examples of worse games its like being slapped in the face with a wet salmon.
Recent demos done right (ie. make me want to play the game) included Conan (360), Timeshift (360), Crysis (PC) PG4 (360) Forza 2 (360). Demos that done daddy wrong include Vampire Rain (360) (I mean, Splinter Cell VS Vampires how do you screw that up?) and strangely enough Burnout Paradise (360).
Having played the full versions of Conan and Timeshift I enjoyed the heck out of Conan. All the visceral action and gore that one could expect neatly wrapped in a God of War type gameplay. I have yet to finish the game but having played 3/4 through its loaded with gratuity of all kinds and tons of mindless fun. Timeshift? Not so much. The demo I played was 2nd demo created after the game underwent some fairly radical design changes upgrading it from the Xbox to the 360. The visual polish is there, but the relentlessly unimaginative and linear gameplay really undercuts the goodwill generated in the demo. The time powers are essentially point and click affairs for scripted moments, never allowing the player to really harness this power at will to any meaningful effect. I was only able to play 3 stages of Timeshift before giving up, which is a shame, because the game is very polished but simply never lives up to its potential.
Vampire Rain is the gaming equivalent of an Uwe Boll film, competent in that it has all the elements assembled to call it a game but really just a slice of your life you will never get back. Its almost criminal because the concept of the game is brilliant and exceptionally poorly executed.
Burnout Paradise was bittersweet as I will come out as the lone voice in the crowd and saw I hate the direction this once beloved series has taken. It has reduced itself to a clone of Need For Speed, barely redeemed but its unmatched intensity and sensation of raw speed. I even rented to full game just to see if my initial reactions were misguided but to no avail. Me no likey. Burnout Revenge can be my only succor.
Lately Crysis has been the only demo I have played that compelled me to buy the game, (after upgrading my system of course). Even with new(ish) hardware I was only able to play the game on one of the lowest resolutions with the visual setting facilitating between low and medium depending on what the game was throwing at me. I even, and I am ashamed to admit it, dug out a free upgrade install of Vista to dual boot so I could experience Direct 10 on this game. Of course, after watching a slideshow, I immediately bumped it back down to DX9 so it was playable. It was pretty for a short time at least.
I have skipped the demo idea for Devil May Cry 4 and rented the full game, so we shall see, Zur, we shall see......
Recent demos done right (ie. make me want to play the game) included Conan (360), Timeshift (360), Crysis (PC) PG4 (360) Forza 2 (360). Demos that done daddy wrong include Vampire Rain (360) (I mean, Splinter Cell VS Vampires how do you screw that up?) and strangely enough Burnout Paradise (360).
Having played the full versions of Conan and Timeshift I enjoyed the heck out of Conan. All the visceral action and gore that one could expect neatly wrapped in a God of War type gameplay. I have yet to finish the game but having played 3/4 through its loaded with gratuity of all kinds and tons of mindless fun. Timeshift? Not so much. The demo I played was 2nd demo created after the game underwent some fairly radical design changes upgrading it from the Xbox to the 360. The visual polish is there, but the relentlessly unimaginative and linear gameplay really undercuts the goodwill generated in the demo. The time powers are essentially point and click affairs for scripted moments, never allowing the player to really harness this power at will to any meaningful effect. I was only able to play 3 stages of Timeshift before giving up, which is a shame, because the game is very polished but simply never lives up to its potential.
Vampire Rain is the gaming equivalent of an Uwe Boll film, competent in that it has all the elements assembled to call it a game but really just a slice of your life you will never get back. Its almost criminal because the concept of the game is brilliant and exceptionally poorly executed.
Burnout Paradise was bittersweet as I will come out as the lone voice in the crowd and saw I hate the direction this once beloved series has taken. It has reduced itself to a clone of Need For Speed, barely redeemed but its unmatched intensity and sensation of raw speed. I even rented to full game just to see if my initial reactions were misguided but to no avail. Me no likey. Burnout Revenge can be my only succor.
Lately Crysis has been the only demo I have played that compelled me to buy the game, (after upgrading my system of course). Even with new(ish) hardware I was only able to play the game on one of the lowest resolutions with the visual setting facilitating between low and medium depending on what the game was throwing at me. I even, and I am ashamed to admit it, dug out a free upgrade install of Vista to dual boot so I could experience Direct 10 on this game. Of course, after watching a slideshow, I immediately bumped it back down to DX9 so it was playable. It was pretty for a short time at least.
I have skipped the demo idea for Devil May Cry 4 and rented the full game, so we shall see, Zur, we shall see......
Thursday, December 27, 2007
I play a hell of a lot of games it seems--
so I figured I would compile a list of the games I have played, beaten, loved and hated for this year. Please note, this does not necessarily mean games released this year as I have a tendency to walk away from games that frustrate me until the itch to play them starts again...
GAMES I HAVE BEATEN IN 2007 (for the first time)
Easily the best game I have beaten for pure entertainment value has been Bioshock. Despite a mediocre tacked on ending, this is the first game that for me has displayed the true potential of games as an artform. The painterly art direction combined with thematic depth and subtext of the story make this a true masterpiece, topped off with a real emotional punch.
The Darkness and Mass Effect also demonstrate the power of the next(current?) gen hardware when combined with real storytelling and a commitment to quality, especially in voice-acting. While Mass Effect delivers a ridiculous amount of value in its 25+ hours of gameplay it does suffer from tech issues, such as slowdowns and framerate drops. It is also not as revolutionary as hoped, with an overall feel of Knights of the Old Republic redux. The Darkness delivers top quality writing and performance with a story and delivers a real emotional gut punch early on. While it never again reaches that level of immersion, the graphics and gameplay are excellent.
God of War I & II deliver visceral intensity and pitch-perfect gameplay-the third in this series will be the only reason I buy a PS3 (to date)
VAMPIRE THE MASQUERADE:BLOODLINES is one of the rare FPS/RPG's works. Despite the game developer going under and the game being under-cooked at release, a thriving mod community has continued to patch and upgrade the game past the official releases. While the staples of RPG's (grinding, leveling up) are present, the content which explores a mature rating in the best possible way (i.e. not gratuitously) provides massive game play value and entertainment. Like many games of this type, (Mass Effect, Dark Messiah) the combat is nowhere near as tight as one would expect from an FPS/action game but not a deal breaker.
F.E.A.R-FPS action combined with Asian-horror scares makes for a good but short time. The A.I. in this game is unparalleled and even with the visuals scaled down for a low-end machine, it is extremely playable and looks good too. Repetitive level design drag down the imaginative story but the intensity of the action keeps the heart pumping.
GEARS OF WAR & HALO 3 led the action assault in the past 12 months on the Xbox360, each dropping in time for the holidays of 2006 & 2007 respectively. While I originally derided Gears for its repetitive "stop & pop" game play and paper thin story, in the end, the pure intensity of the combat and gorgeous visuals won me over. Halo 3's story is not only thin, but launches itself past ambiguity to incomprehensibility. It is still the perfect FPS for the xbox, with tight responsive controls and well-executed (pun intended) enemy A.I. The graphics are strangely variable from drop dead gorgeous to placeholder matte art that seems to have been missed. The finale (post credits) is a satisfying wrapup to the storyline (such as it is) and solidify the emotional resonance between the Master Chief and Cortana.
CALL OF DUTY 4 was a non-stop thrill-ride from start to finish, with stunning visuals, good (if not original)storytelling and even some resonance. It hides the linear aspect of the game with the intensity of the firefight, though the players squad often take on more than they should, leaving me less the leader of the fight than a follower. Fantastic game.
CRACKDOWN is one of the hidden gems of this year, a game many people only to access the Halo 3 beta unfotunately. Much like Hulk:Ultimate destruction, the open world aspect of the game is fantastic, as is the vertical play, with towering skylines to ascend. Grand Theft Superhero is the best description to apply, though I skipped the driving aspect entirely. A very entertaining way to spend some time shooting things and leaping from tall buildings.
Prince of Perisa:The Sands of Time: After finally reading the manual I figured out how to beat the elevating room sequence and then game....years later. A fantastic entry, improved upon by the second sequel The Two Thrones, which I still haven't beat. The Warrior Within was acquired recently and thought it is a much prettier game visually, it is not as good as the 1st nor the last.
When I have time I will post the games I am still playing, and those I played and ditched.
GAMES I HAVE BEATEN IN 2007 (for the first time)
Easily the best game I have beaten for pure entertainment value has been Bioshock. Despite a mediocre tacked on ending, this is the first game that for me has displayed the true potential of games as an artform. The painterly art direction combined with thematic depth and subtext of the story make this a true masterpiece, topped off with a real emotional punch.
The Darkness and Mass Effect also demonstrate the power of the next(current?) gen hardware when combined with real storytelling and a commitment to quality, especially in voice-acting. While Mass Effect delivers a ridiculous amount of value in its 25+ hours of gameplay it does suffer from tech issues, such as slowdowns and framerate drops. It is also not as revolutionary as hoped, with an overall feel of Knights of the Old Republic redux. The Darkness delivers top quality writing and performance with a story and delivers a real emotional gut punch early on. While it never again reaches that level of immersion, the graphics and gameplay are excellent.
God of War I & II deliver visceral intensity and pitch-perfect gameplay-the third in this series will be the only reason I buy a PS3 (to date)
VAMPIRE THE MASQUERADE:BLOODLINES is one of the rare FPS/RPG's works. Despite the game developer going under and the game being under-cooked at release, a thriving mod community has continued to patch and upgrade the game past the official releases. While the staples of RPG's (grinding, leveling up) are present, the content which explores a mature rating in the best possible way (i.e. not gratuitously) provides massive game play value and entertainment. Like many games of this type, (Mass Effect, Dark Messiah) the combat is nowhere near as tight as one would expect from an FPS/action game but not a deal breaker.
F.E.A.R-FPS action combined with Asian-horror scares makes for a good but short time. The A.I. in this game is unparalleled and even with the visuals scaled down for a low-end machine, it is extremely playable and looks good too. Repetitive level design drag down the imaginative story but the intensity of the action keeps the heart pumping.
GEARS OF WAR & HALO 3 led the action assault in the past 12 months on the Xbox360, each dropping in time for the holidays of 2006 & 2007 respectively. While I originally derided Gears for its repetitive "stop & pop" game play and paper thin story, in the end, the pure intensity of the combat and gorgeous visuals won me over. Halo 3's story is not only thin, but launches itself past ambiguity to incomprehensibility. It is still the perfect FPS for the xbox, with tight responsive controls and well-executed (pun intended) enemy A.I. The graphics are strangely variable from drop dead gorgeous to placeholder matte art that seems to have been missed. The finale (post credits) is a satisfying wrapup to the storyline (such as it is) and solidify the emotional resonance between the Master Chief and Cortana.
CALL OF DUTY 4 was a non-stop thrill-ride from start to finish, with stunning visuals, good (if not original)storytelling and even some resonance. It hides the linear aspect of the game with the intensity of the firefight, though the players squad often take on more than they should, leaving me less the leader of the fight than a follower. Fantastic game.
CRACKDOWN is one of the hidden gems of this year, a game many people only to access the Halo 3 beta unfotunately. Much like Hulk:Ultimate destruction, the open world aspect of the game is fantastic, as is the vertical play, with towering skylines to ascend. Grand Theft Superhero is the best description to apply, though I skipped the driving aspect entirely. A very entertaining way to spend some time shooting things and leaping from tall buildings.
Prince of Perisa:The Sands of Time: After finally reading the manual I figured out how to beat the elevating room sequence and then game....years later. A fantastic entry, improved upon by the second sequel The Two Thrones, which I still haven't beat. The Warrior Within was acquired recently and thought it is a much prettier game visually, it is not as good as the 1st nor the last.
When I have time I will post the games I am still playing, and those I played and ditched.
Wednesday, October 31, 2007
Much ado about nothing
Led by the rantings of the once-respected now soon to be disbarred Florida Lawyer Jack Thompson, "controversy" has erupted over the release of Rockstar's Manhunt 2. Much maligned as a game that originally received an "AO" rating (ensuring it would not be sold in Walmart or Bestbuy" the developer revisited the code, toning down some of the more extreme moments to receive an "M" rating.
What befuddles me about this "issue" is that not 5 days ago the fourth installment in one of the most gruesome, violent (but entertaining) spectacles in mainstream torture porn was released (Saw IV) earning a $32 million dollar opening weekend. As an adult with kids, I have seen the Saw movies and I have played Manhunt, and brother, Manhunt ain't no Saw. My kids have neither seen nor played either and will not be for years to come because as a responsible, discerning parent I refuse to expose them to this material.
Having worked for years in a video game store I can tell you this attitude towards parental responsibility is rare, as most parents have NO CLUE what their kids are playing or watching. They just nod and smile and give Jimmy what he wants to shut him up.
I wonder if the issue with Manhunt 2 is more about tone and "realism" than about content. The original game placed the gamer in the shoes of a serial killer who is released by a "snuff" film producer in order to make his film. It shares more in game mechanics with stealth games like Splinter Cell than the ultra-violent action of a God of War, however each "kill" triggers a cut scene showing a graphic execution of the victim.
Unlike games like God Of War or even the recently released Conan, Manhunt is not set in a fantasy world and contains few elements that set it outside "reality". Conan allows the player to interactively, not passively observing in a cut scene, decapitate human enemies allowing great gouts of blood to stream from the severed necks. You can also "disarm" an enemy by lopping off both arms at the shoulder with your dual swords. Even a game like "The Darkness" which contains Sopranos level violence, language and drama performed wonderfully by the voice actors occurs in a world of fantasy. Sure you can sneak up behind an enemy and with a button press, stick your pistol in his mouth in closeup and blow the back of his head off most graphically, but your character also has tentacles growing out of his back.
The staggering hypocrisy of the ERSB combined with Rockstar controversy courting ways do gaming a disservice as an art form. For every step forward with a BioShock or a Mass Effect, two steps back are taken as parents continue to tune out to what their kids (and their spouses) are playing.
What befuddles me about this "issue" is that not 5 days ago the fourth installment in one of the most gruesome, violent (but entertaining) spectacles in mainstream torture porn was released (Saw IV) earning a $32 million dollar opening weekend. As an adult with kids, I have seen the Saw movies and I have played Manhunt, and brother, Manhunt ain't no Saw. My kids have neither seen nor played either and will not be for years to come because as a responsible, discerning parent I refuse to expose them to this material.
Having worked for years in a video game store I can tell you this attitude towards parental responsibility is rare, as most parents have NO CLUE what their kids are playing or watching. They just nod and smile and give Jimmy what he wants to shut him up.
I wonder if the issue with Manhunt 2 is more about tone and "realism" than about content. The original game placed the gamer in the shoes of a serial killer who is released by a "snuff" film producer in order to make his film. It shares more in game mechanics with stealth games like Splinter Cell than the ultra-violent action of a God of War, however each "kill" triggers a cut scene showing a graphic execution of the victim.
Unlike games like God Of War or even the recently released Conan, Manhunt is not set in a fantasy world and contains few elements that set it outside "reality". Conan allows the player to interactively, not passively observing in a cut scene, decapitate human enemies allowing great gouts of blood to stream from the severed necks. You can also "disarm" an enemy by lopping off both arms at the shoulder with your dual swords. Even a game like "The Darkness" which contains Sopranos level violence, language and drama performed wonderfully by the voice actors occurs in a world of fantasy. Sure you can sneak up behind an enemy and with a button press, stick your pistol in his mouth in closeup and blow the back of his head off most graphically, but your character also has tentacles growing out of his back.
The staggering hypocrisy of the ERSB combined with Rockstar controversy courting ways do gaming a disservice as an art form. For every step forward with a BioShock or a Mass Effect, two steps back are taken as parents continue to tune out to what their kids (and their spouses) are playing.
Wednesday, September 5, 2007
Bio-Shock redux
Little over an hour in now and the game is just stunning. The stylized art-deco designs mesh perfectly with the atmospheric world gone mad of Rapture. Unlike Doom III, where darkness was a more of a tech demo, the sparing use of light in this game only adds to the unrelenting tension. Vita-chambers are a god send as I am playing the game on Hard and clearly am not as L33T as I thought as I have died countless times already.
Most memorable encounter thus far: upon entering dental, an area already obscured in shadow, the lights suddenly drop out as a raving pack of splicers descend on me-lit only by the muzzle flash of my shotgun I strafe and whirl unable to discern which way is up and die multiple times.
Crazy
Most memorable encounter thus far: upon entering dental, an area already obscured in shadow, the lights suddenly drop out as a raving pack of splicers descend on me-lit only by the muzzle flash of my shotgun I strafe and whirl unable to discern which way is up and die multiple times.
Crazy
Tuesday, September 4, 2007
Bio-Shocked
30 minutes in and this is already my game of the year pick-un-fricking believable
-more to come
-more to come
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