A while back, I wrote about Journey and how it reflected the events that were happening in my life. I still find myself going back to that game, as my life goes in, seemingly, every which way. When I last wrote about Journey, I said that I was at the summit, and that I was about to enter into a world of chaos. It seems as though that time in my life has come and gone.
In the game Journey, right before the end, you fall. You are beaten, and thrown back and forth by the strong winds at the top of the mountain and you meet what is most certainly your end. Then, you are picked up. The gods of the game come to meet you, and beckon that you get back up. When you do get up. You fly like you have never flown before. You fly so high, that you breach the clouds. Up there, the air is clear and crisp, and the music is that of victory and relief. You have made it. As you fly, your character dances in the air with its companions that were there to help you along the way to the top of that mountain. When you reach the end of the game, you slowly walk towards the light at the top of the mountain and you are enveloped by it. The camera cuts to a wide angle shot of the peak, as a shimmering comet shoots out of the top of it. The credits roll as the comet travels through all of the areas that you traversed during the game. It's going backwards, towards the start of the game.
This is also how the game opens. With a shimmering comet zooming over the landscape, until the camera focuses on your character. That shimmering comet was you. Each new game of Journey is another trial that you must face. Life is a series of ups and downs. There are highs and lows throughout each journey that we go through in life.
I think that this is represented rather well in the second section of the game. In this area, you have to make a bridge. Players do so by finding large ribbons scattered throughout the area, and singing your song to them. The ribbons disperse and reassemble into sections of the bridge that is built. What's interesting about this is where the ribbons are kept. Throughout the section, there are these long grey.... things; containers that the ribbons are coming out of. Having gone through the game already, you would recognize these containers as the corpses of the dragons in the game.
The last time that I wrote about Journey, I said that these dragons are the manifestations of our fears, doubts, and all of the negativity that holds us back. Here they are now: defeated. In life, when we are working to overcome something, we have our doubts and fears, but we always make it through. We are able to overcome these obstacles, and we then can use them to make it past whatever life throws at us next. This is represented in Journey by these fallen dragons. Before, these dragons scared us, and even attacked us. Now they are a way in which we can build bridges that help us ascend and reach new goals.
Journey is one of the most beautifully crafted games because of moments like this. Its minimalist style lends itself to interpretation and discussions such as these. We need more games like this, where the game can speak for itself, and not rely on a thick script. A game where players can both enjoy the experience and find hidden meaning in it. I love Journey because of how it pulls this kind of stuff off. It is a game that is still helping me get through some of struggles in my life. I am sure that I will be going back to it again in the future when another obstacle obstructs my journey.
Tuesday, January 13, 2015
Friday, January 2, 2015
Balance Is Key
It seems to me that there is a constant imbalance in video games. Games tend to either focus on story or gameplay. Rarely is a balance struck. It is not impossible to create a game with both engaging mechanics and story, it has been done before. However, developers seem to sacrifice one for the sake of the other.
A while back, I decided to play all the way through the first Bayonetta. It was sitting in my backlog, and I decided to dust it off. Bayonetta is a game that has really well made game mechanics, and it is a lot of fun to play. However, I couldn't understand a lick of what was going on in the story. That being said, the game had loads of style, but it lacked substance. I wasn't quite sure of any of the characters motivations, save for one who wasn't even the main character. On the other end of things, the controls and combat of Bayonetta were fantastic. Button presses felt responsive, and when I failed, I knew it was my own fault. The game challenged me more than most other games do. To the point where I'd like to revisit the game so that I can improve my score and earn higher ranks. It's a lot of fun to play Bayonetta, but I just don't quite understand why I was doing the things that I was in the game.
On the other side of the spectrum, there is The Wolf Among Us. A game by Telltale Games, which I completed a longer time ago. This game stuck with me because of it's well written characters, dialogue, and plot. A friend of mine had the game as well, and we were both in the process of playing through the game as the episodes were being released. After each installment we would geek out about what happened in that episode and the different choices that we made. That was a fun experience. Telltale has a crew of extremely talented writers and bring a lot to the table when it comes to engaging their audience. However the one thing about the game that didn't shine as bright, were the gameplay mechanics. The gameplay was broken up into two different segments: searching for clues in crime scenes, and quick time events. Searching for clues feels a bit clunky, and sometimes I made mistakes in interacting with certain objects because it was not clearly communicated to me what he button I pressed would do. The quick time events in the game were worse. At times, the game would ask the player to swipe the right control stick in a specific direction, or pull the left trigger, as is the standard for quick time events. However the game would forgive me, as I would move the left stick instead of the right, or pull the right trigger instead of the left. Quick time events are never fun, and never seem to work properly. The gameplay didn't seem to reflect the character of Bigby Wolf, the games protagonist and player character. Bigby may be strong headed and can make snap decisions at times, as he is often faced with these, but I could tell from his character and how he acted that he wanted to do things right and that he wanted to take his time. Most quick time events were action sequences, though I feel that they could have been executed a bit better by giving me more control over the sequences, as opposed to playing a forgiving game of Simon Says.
So then, what does a balance between story and gameplay look like? How is it executed? What games showcase this? To be honest, I'm not quite sure. I've played lots of games that really had an impact on me, but did they have that balance between story and gameplay?
I think that games strike this balance when the character is shown through the actions and animations that the characters perform. Joel of The Last of Us is a good example of this. I like Joel as a character because I see it in the way that he moves about the game. I see his brutality in the way that he takes out the enemies that stand in front of him. Even when he has the drop on them, he still ferociously brings them down. Or when Joel enters a fist fight; each one is tense, and each blow can be felt with a certain kind of "oomph". Each thrown punch was meant to do some damage. There is a certain kind of desperation to the way that Joel moves and attacks. The same can be said for the supporting character Ellie. There is a point in the game where players can take on the role of Ellie, and it plays out in much the same way. Ellie is only a 14 year old girl, and she skirts past enemies, in an attempt to go unnoticed. When Ellie has her shot to take down an enemy, she leaps on their back like an animal and tossed about as the enemy attempts to throw her off. Ellie's switchblade being her only point to hold on to as she stabs again and again into the chest of her enemy. It is vicious, and it is difficult to watch, as this girl might not be able to take down her foe. In Ellie's movements, there is fragility, and that same desperation to survive, just as Joel. Both of these characters shine in both cut-scenes and gameplay, and we as the audience get to take them in.
Another example of character and story meshing together is Spec Ops: The Line. This was a gmae that went rather unnoticed, despite the massive praise from critiques. Most of that praise came from how the game delivered it's story and characters. The character that stands out the most is the one which the players control. Captain Walker, voiced by the talented Nolan North, is a soldier of the Delta Force who was to survey Dubai after a catastrophic sandstorm nearly destroyed the entire city. His orders were to call for support when he determined that it was time to extract civilians. Instead, Captain Walker decided to go on a conquest to rescue a general that he once served under. In this crusade, Walker chooses to take many actions to justify his end goal. Players see how this affects not only his outward appearance, but his persona as well. Captain Walker evolves from soldier to psychopath. Walker is ruthless in his pursuit to accomplish his mission, and it takes its toll on him. His uniform becomes tattered and torn, and instead of trying to resolve any conflict that comes his way with tact or stealth, by the end of the game he actively seeks it out, and mercilessly kills anything that stands in front of him.
Let's move on to something a bit more lighthearted. Shadow of the Colossus is a game about Stabbius Horatio McDudeman III Esq. and his quest to stab big monsters with a sword that he stole in an effort to raise a girl from the dead. Well, the main character's name is actually Wander, but that's only mentioned in the instruction manual that nobody reads, so it doesn't count. What I like about Shadow of the Colossus is how it demonstrates character. Wander, or SHMDIII, is not a soldier. He is not coordinated, and I'm pretty sure that he hasn't hunted a day in his life, but he can shoot a bow with the best of them. The game illustrates this by the way that the character stumbles about when he's attempting to walk on one of the sixteen hulking beasts. When standing idol, players can swing Wander's sword, which he does with very little finesse. It's almost forced, and it looks like he nearly throws out his shoulder in the process. Shadow of The Colossus showcases character in its nonhuman characters as well. Agro is your horse that is miraculously with you through all of the crazy stuff that you have to do in the game. I'm not an expert on horses, but I'm pretty sure they would bolt after having to help me fight the second Colossus, but for some reason this horse stands by you through the thick and thin. Agro is definitely Wander's horse, and is as loyal as they come. Another example of nonhuman characters, are the Colossi themselves. Each one has a distinct personality. So far as you can tell, they were just minding their own business until this kid with a sword shows up on their doorstep. Some just kind of fly about, others just stare at you, others try and kill you immediately. They may literally be stone faced creatures, but they have character. This helps to tell their stories. There is a reason why the bird Colossus just sits atop its perch, there is a reason why Agro always comes back, there is a reason why Wander has no idea how to properly use a sword.
Meshing both story and gameplay together helps to make a game more of an immersive experience. This is what games need to strive for, if they are to tell a compelling narrative.
On the other hand, I don't think that every game should be striving to accomplish equilibrium between gameplay and story. Some games just put the story on the back burner and let that set as the extremely vague reason for why the characters are doing what they do. John Carmack said that his design philosophy was that game story should be like that of a porn-o, it should only serve as the setting for the action in the game. I'm not a huge fan of that notion, however there are some games where it works. I certainly don't want to become emotionally attached to the block in Tetris, those things leave as soon as they arrive. There's also Super Meat Boy, where the game does just that. The reason for Super Meat Boy to run through these super complex levels full of saw-blades and pain is as simple as "get the girl". I'm not even sure why I do half of the stuff that I do in Just Cause 2. Well, I guess the answer is in the title on that one.
Not all games need to have an engaging story, and some games don't need to have super tight gameplay. If a story is good enough, it can trump how the game plays. The same goes for a game that is fun to play. Games are art, and they can be whatever they want to be. Though, in my opinion, a game is a masterpiece when everything comes together to make a cohesive whole.
(This song has nothing to do with video games, and the meshing of gameplay and story, but it's just my jam right now)
A while back, I decided to play all the way through the first Bayonetta. It was sitting in my backlog, and I decided to dust it off. Bayonetta is a game that has really well made game mechanics, and it is a lot of fun to play. However, I couldn't understand a lick of what was going on in the story. That being said, the game had loads of style, but it lacked substance. I wasn't quite sure of any of the characters motivations, save for one who wasn't even the main character. On the other end of things, the controls and combat of Bayonetta were fantastic. Button presses felt responsive, and when I failed, I knew it was my own fault. The game challenged me more than most other games do. To the point where I'd like to revisit the game so that I can improve my score and earn higher ranks. It's a lot of fun to play Bayonetta, but I just don't quite understand why I was doing the things that I was in the game.
On the other side of the spectrum, there is The Wolf Among Us. A game by Telltale Games, which I completed a longer time ago. This game stuck with me because of it's well written characters, dialogue, and plot. A friend of mine had the game as well, and we were both in the process of playing through the game as the episodes were being released. After each installment we would geek out about what happened in that episode and the different choices that we made. That was a fun experience. Telltale has a crew of extremely talented writers and bring a lot to the table when it comes to engaging their audience. However the one thing about the game that didn't shine as bright, were the gameplay mechanics. The gameplay was broken up into two different segments: searching for clues in crime scenes, and quick time events. Searching for clues feels a bit clunky, and sometimes I made mistakes in interacting with certain objects because it was not clearly communicated to me what he button I pressed would do. The quick time events in the game were worse. At times, the game would ask the player to swipe the right control stick in a specific direction, or pull the left trigger, as is the standard for quick time events. However the game would forgive me, as I would move the left stick instead of the right, or pull the right trigger instead of the left. Quick time events are never fun, and never seem to work properly. The gameplay didn't seem to reflect the character of Bigby Wolf, the games protagonist and player character. Bigby may be strong headed and can make snap decisions at times, as he is often faced with these, but I could tell from his character and how he acted that he wanted to do things right and that he wanted to take his time. Most quick time events were action sequences, though I feel that they could have been executed a bit better by giving me more control over the sequences, as opposed to playing a forgiving game of Simon Says.
So then, what does a balance between story and gameplay look like? How is it executed? What games showcase this? To be honest, I'm not quite sure. I've played lots of games that really had an impact on me, but did they have that balance between story and gameplay?
I think that games strike this balance when the character is shown through the actions and animations that the characters perform. Joel of The Last of Us is a good example of this. I like Joel as a character because I see it in the way that he moves about the game. I see his brutality in the way that he takes out the enemies that stand in front of him. Even when he has the drop on them, he still ferociously brings them down. Or when Joel enters a fist fight; each one is tense, and each blow can be felt with a certain kind of "oomph". Each thrown punch was meant to do some damage. There is a certain kind of desperation to the way that Joel moves and attacks. The same can be said for the supporting character Ellie. There is a point in the game where players can take on the role of Ellie, and it plays out in much the same way. Ellie is only a 14 year old girl, and she skirts past enemies, in an attempt to go unnoticed. When Ellie has her shot to take down an enemy, she leaps on their back like an animal and tossed about as the enemy attempts to throw her off. Ellie's switchblade being her only point to hold on to as she stabs again and again into the chest of her enemy. It is vicious, and it is difficult to watch, as this girl might not be able to take down her foe. In Ellie's movements, there is fragility, and that same desperation to survive, just as Joel. Both of these characters shine in both cut-scenes and gameplay, and we as the audience get to take them in.
Another example of character and story meshing together is Spec Ops: The Line. This was a gmae that went rather unnoticed, despite the massive praise from critiques. Most of that praise came from how the game delivered it's story and characters. The character that stands out the most is the one which the players control. Captain Walker, voiced by the talented Nolan North, is a soldier of the Delta Force who was to survey Dubai after a catastrophic sandstorm nearly destroyed the entire city. His orders were to call for support when he determined that it was time to extract civilians. Instead, Captain Walker decided to go on a conquest to rescue a general that he once served under. In this crusade, Walker chooses to take many actions to justify his end goal. Players see how this affects not only his outward appearance, but his persona as well. Captain Walker evolves from soldier to psychopath. Walker is ruthless in his pursuit to accomplish his mission, and it takes its toll on him. His uniform becomes tattered and torn, and instead of trying to resolve any conflict that comes his way with tact or stealth, by the end of the game he actively seeks it out, and mercilessly kills anything that stands in front of him.
Let's move on to something a bit more lighthearted. Shadow of the Colossus is a game about Stabbius Horatio McDudeman III Esq. and his quest to stab big monsters with a sword that he stole in an effort to raise a girl from the dead. Well, the main character's name is actually Wander, but that's only mentioned in the instruction manual that nobody reads, so it doesn't count. What I like about Shadow of the Colossus is how it demonstrates character. Wander, or SHMDIII, is not a soldier. He is not coordinated, and I'm pretty sure that he hasn't hunted a day in his life, but he can shoot a bow with the best of them. The game illustrates this by the way that the character stumbles about when he's attempting to walk on one of the sixteen hulking beasts. When standing idol, players can swing Wander's sword, which he does with very little finesse. It's almost forced, and it looks like he nearly throws out his shoulder in the process. Shadow of The Colossus showcases character in its nonhuman characters as well. Agro is your horse that is miraculously with you through all of the crazy stuff that you have to do in the game. I'm not an expert on horses, but I'm pretty sure they would bolt after having to help me fight the second Colossus, but for some reason this horse stands by you through the thick and thin. Agro is definitely Wander's horse, and is as loyal as they come. Another example of nonhuman characters, are the Colossi themselves. Each one has a distinct personality. So far as you can tell, they were just minding their own business until this kid with a sword shows up on their doorstep. Some just kind of fly about, others just stare at you, others try and kill you immediately. They may literally be stone faced creatures, but they have character. This helps to tell their stories. There is a reason why the bird Colossus just sits atop its perch, there is a reason why Agro always comes back, there is a reason why Wander has no idea how to properly use a sword.
Meshing both story and gameplay together helps to make a game more of an immersive experience. This is what games need to strive for, if they are to tell a compelling narrative.
On the other hand, I don't think that every game should be striving to accomplish equilibrium between gameplay and story. Some games just put the story on the back burner and let that set as the extremely vague reason for why the characters are doing what they do. John Carmack said that his design philosophy was that game story should be like that of a porn-o, it should only serve as the setting for the action in the game. I'm not a huge fan of that notion, however there are some games where it works. I certainly don't want to become emotionally attached to the block in Tetris, those things leave as soon as they arrive. There's also Super Meat Boy, where the game does just that. The reason for Super Meat Boy to run through these super complex levels full of saw-blades and pain is as simple as "get the girl". I'm not even sure why I do half of the stuff that I do in Just Cause 2. Well, I guess the answer is in the title on that one.
Not all games need to have an engaging story, and some games don't need to have super tight gameplay. If a story is good enough, it can trump how the game plays. The same goes for a game that is fun to play. Games are art, and they can be whatever they want to be. Though, in my opinion, a game is a masterpiece when everything comes together to make a cohesive whole.
(This song has nothing to do with video games, and the meshing of gameplay and story, but it's just my jam right now)
Saturday, December 13, 2014
All Over The World
I currently live in a house with three other dudes. They're all very cool, and even let me be openly gamer about my lifestyle. In that: they will let me play video games in the living room. Which is a lot better than my last living situation where I restricted myself to my room and became a cave troll of sorts. My roommates also like to play video games themselves. It's a really good feeling to be among friends and people who accept me for who I am. This past week, though, I've been trying to get one of them to play video games. I wasn't trying to conduct some kind of experiment or test with them, it was just an urge to play some good old fashioned splitscreen with them. However, every time that I asked I got turned down. Which is fine, life happens. So, I went to my room where I had my Xbox hooked up to the internet to play some online multiplayer.
I've noticed that I've been doing this a lot, lately. For as sacred as I hold same room multiplayer, I really enjoy the online realm. I'm the only person in my circle of friends that plays video games on a regular basis. As a result, I've become quite good at them, and therefore can pretty much beat the pants off of all of my friends. Online, however, is a different story. In the online universe, I have met my match on more than a few occasions. In fact I have absolutely decimated. When I play online multiplayer, I do it because it's a good way to fill time. Players are unpredictable and provide a challenge that AI cannot. I like playing against other people. Truth be told, there isn't much of a socialable about the games that I play. It isn't very likely that I'll be able to hold a conversation with someone after I have just shot them in the face. Though people have gotten married through competitive multiplayer games. I myself have never held a friendship online for longer than a few matches in Halo, but that's just me. I think that I might have to give MMORPGs a go.
I've tried out a trial of World of Warcraft and met some very nice people there. However, the trial ended in two weeks, and I was restricted to level 20. The MMO is a foreign thing that I could never get into because of the fact that a majority of the game is just grinding levels to get stronger to get better loot. That is only the game end of it, however. Forming friendships and meeting people is more likely the core of these experiences. As it is with WoW, the gameplay is pretty simple stuff. There are complexities, to be sure, but this is all standard fair for the MMO. Strong friendships have been formed over MMO games, and again, even the marriage thing has happened. Yet, there is still something about playing with someone in the same room that is special.
I grew up playing the Nintendo 64. My family game nights were sometimes just playing the N64 with my family. I've made many good memories playing games with friends playing on the same console, and have had a lot of fun doing so. People may say that games like Mario Kart is a friendship destroyer, but I've never had a moment where I wasn't talking to someone because they managed to snipe me with a blue shell right before the finish line and take first place. It is upsetting, however, to see that splitscreen multiplayer is going away. Very few games these days have it as a feature.
Borderlands and Halo maintain the ability to play on the same console. The same with Diablo III for the PS3. Mulitplayer has its time and place, but were it not for a shot in the dark made by the team behind 007 Goldeneye, we would not be here. There truly is something special about playing games with people in the same room. It forms stronger relationships with those that are around you. But, people can't always be around to play with you.
That's why there is online multiplayer, for those times when you want to play against someone and tell them that they have no life because they are much better than you at the game.
Seriously though, online multiplayer is a great innovation of the modern gaming era. It has provided us with very innovative titles and allowed us to connect with people that we may never meet in person. Games bring us together, even though we might get sniped by a blue shell right before the finish line.
I've noticed that I've been doing this a lot, lately. For as sacred as I hold same room multiplayer, I really enjoy the online realm. I'm the only person in my circle of friends that plays video games on a regular basis. As a result, I've become quite good at them, and therefore can pretty much beat the pants off of all of my friends. Online, however, is a different story. In the online universe, I have met my match on more than a few occasions. In fact I have absolutely decimated. When I play online multiplayer, I do it because it's a good way to fill time. Players are unpredictable and provide a challenge that AI cannot. I like playing against other people. Truth be told, there isn't much of a socialable about the games that I play. It isn't very likely that I'll be able to hold a conversation with someone after I have just shot them in the face. Though people have gotten married through competitive multiplayer games. I myself have never held a friendship online for longer than a few matches in Halo, but that's just me. I think that I might have to give MMORPGs a go.
I've tried out a trial of World of Warcraft and met some very nice people there. However, the trial ended in two weeks, and I was restricted to level 20. The MMO is a foreign thing that I could never get into because of the fact that a majority of the game is just grinding levels to get stronger to get better loot. That is only the game end of it, however. Forming friendships and meeting people is more likely the core of these experiences. As it is with WoW, the gameplay is pretty simple stuff. There are complexities, to be sure, but this is all standard fair for the MMO. Strong friendships have been formed over MMO games, and again, even the marriage thing has happened. Yet, there is still something about playing with someone in the same room that is special.
I grew up playing the Nintendo 64. My family game nights were sometimes just playing the N64 with my family. I've made many good memories playing games with friends playing on the same console, and have had a lot of fun doing so. People may say that games like Mario Kart is a friendship destroyer, but I've never had a moment where I wasn't talking to someone because they managed to snipe me with a blue shell right before the finish line and take first place. It is upsetting, however, to see that splitscreen multiplayer is going away. Very few games these days have it as a feature.
Borderlands and Halo maintain the ability to play on the same console. The same with Diablo III for the PS3. Mulitplayer has its time and place, but were it not for a shot in the dark made by the team behind 007 Goldeneye, we would not be here. There truly is something special about playing games with people in the same room. It forms stronger relationships with those that are around you. But, people can't always be around to play with you.
That's why there is online multiplayer, for those times when you want to play against someone and tell them that they have no life because they are much better than you at the game.
Seriously though, online multiplayer is a great innovation of the modern gaming era. It has provided us with very innovative titles and allowed us to connect with people that we may never meet in person. Games bring us together, even though we might get sniped by a blue shell right before the finish line.
Monday, December 1, 2014
Feelings.....
This past week was Thanksgiving. It was a treat to be able top see family and friends whom I have not seen in a long while. My job keeps me super busy with 6 day work weeks, so getting out of town is kind of a rarity. There was good times and good food to be had around the table, and afterwards in a food induced coma. Taking the time off from work and getting to go see my family (and eat copious amounts of food) certainly did the body and soul good. I wonder if video game characters get a chance to do anything like this?
I know, I know, I know. They're just video game characters and don't need things like food or air, but video game characters are digital representations of human beings. Despite these characters being heroes, legends, and doing the impossible on a daily basis, they're still human... ish. Part of that disconnect that players experience with video game characters, is that there isn't really anything to relate to. There's always the assumption that there is some kind of human emotion that drives the characters towards their goals, but it's lost in the poor writing or even the gameplay.
What drives Mario to save Peach? Love? What drives Link to save Hyrule? Destiny? What drives Nathan Drake to save the world? Responsibility? I know that when undertaking anything, there is more than just one emotion that goes through our heads. Emotions are weird and complicated things, and I can't claim to fully understand them, but we as humans are emotional beings. We think, we feel, we want, we need. This is part of what makes us human, and to see video game characters lack the basic human trait of emotion creates a divide between them and their controller.
Games are getting better. It's true. The Last of Us, The Wolf Among Us, Gone Home, Brothers: A Tale of Two Sons, are all games that show emotion. These games get players emotionally invested, as well getting them engaged with the gameplay. When playing The Wolf Among Us, I was conflicted and confused several times throughout the game at what decision I should make. I related to Bigby because of his emotions towards different characters. In Gone Home, I discovered the story of what had happened to my family during my time away. I related towards the characters in their day to day struggles of the mundane, and the conflict that came when something out of the ordinary entered their lives. These games are relatable, and the fact that I am the one who takes control over these character, the fact that I am the one who controls their actions, not guiding them but rather controlling them, that is what makes the difference to me. I assume the roles of these characters. I have to become them. I have to understand their world, and how they fit into it. If I stand on the outside and do what I, the player, want to do, there is a disconnect. If I become that character, and do what I think they would do, it becomes a different experience.
Of course, there are games out there that let me, as the player, take control of a character that is a complete blank slate and I am the one who makes the decisions for them. In a sense, these charactes are better, because they are a way for me, the player, to experience the world that has been created. Not only that, but to shape it as well. I'm no space marine, nor will I ever be, but Commander Shepard from Mass Effect can give me a small taste of what that is like. I'm no Jedi, I really want to be but chances are slim. Knights of The Old Republic gave me that opportunity to be a Jedi, and I did it my way.
Video game characters may just appear as a collection of polygons arranged in a way that looks human, but they really can be so much more than that. These characters can be us. We can take on the roles of these characters, and become someone else for a day. We can break free from our day to day, and do something awesome. We can save the princess, we can slay a dragon, we can fight robots, explore far off lands, distant planets, and become the hero. As Richard Peck says, "I read because one life isn't enough, and in the page of a book I can be anybody; I read because the words that build the story become mine, to build my life; I read not for happy endings but for new beginnings; I'm just beginning myself, and I wouldn't mind a map;...." And I think that the same can be said for video games. To pick up a game and become invested in its story, characters, and its universe can be an experience that is most excellent. Perhaps we can even learn to be a bit more human from playing something truly extraordinary, or just laugh at how badly it's written and screw around with NPCs. Ah video games, what a strange medium you are.
I know, I know, I know. They're just video game characters and don't need things like food or air, but video game characters are digital representations of human beings. Despite these characters being heroes, legends, and doing the impossible on a daily basis, they're still human... ish. Part of that disconnect that players experience with video game characters, is that there isn't really anything to relate to. There's always the assumption that there is some kind of human emotion that drives the characters towards their goals, but it's lost in the poor writing or even the gameplay.
What drives Mario to save Peach? Love? What drives Link to save Hyrule? Destiny? What drives Nathan Drake to save the world? Responsibility? I know that when undertaking anything, there is more than just one emotion that goes through our heads. Emotions are weird and complicated things, and I can't claim to fully understand them, but we as humans are emotional beings. We think, we feel, we want, we need. This is part of what makes us human, and to see video game characters lack the basic human trait of emotion creates a divide between them and their controller.
Games are getting better. It's true. The Last of Us, The Wolf Among Us, Gone Home, Brothers: A Tale of Two Sons, are all games that show emotion. These games get players emotionally invested, as well getting them engaged with the gameplay. When playing The Wolf Among Us, I was conflicted and confused several times throughout the game at what decision I should make. I related to Bigby because of his emotions towards different characters. In Gone Home, I discovered the story of what had happened to my family during my time away. I related towards the characters in their day to day struggles of the mundane, and the conflict that came when something out of the ordinary entered their lives. These games are relatable, and the fact that I am the one who takes control over these character, the fact that I am the one who controls their actions, not guiding them but rather controlling them, that is what makes the difference to me. I assume the roles of these characters. I have to become them. I have to understand their world, and how they fit into it. If I stand on the outside and do what I, the player, want to do, there is a disconnect. If I become that character, and do what I think they would do, it becomes a different experience.
Of course, there are games out there that let me, as the player, take control of a character that is a complete blank slate and I am the one who makes the decisions for them. In a sense, these charactes are better, because they are a way for me, the player, to experience the world that has been created. Not only that, but to shape it as well. I'm no space marine, nor will I ever be, but Commander Shepard from Mass Effect can give me a small taste of what that is like. I'm no Jedi, I really want to be but chances are slim. Knights of The Old Republic gave me that opportunity to be a Jedi, and I did it my way.
Video game characters may just appear as a collection of polygons arranged in a way that looks human, but they really can be so much more than that. These characters can be us. We can take on the roles of these characters, and become someone else for a day. We can break free from our day to day, and do something awesome. We can save the princess, we can slay a dragon, we can fight robots, explore far off lands, distant planets, and become the hero. As Richard Peck says, "I read because one life isn't enough, and in the page of a book I can be anybody; I read because the words that build the story become mine, to build my life; I read not for happy endings but for new beginnings; I'm just beginning myself, and I wouldn't mind a map;...." And I think that the same can be said for video games. To pick up a game and become invested in its story, characters, and its universe can be an experience that is most excellent. Perhaps we can even learn to be a bit more human from playing something truly extraordinary, or just laugh at how badly it's written and screw around with NPCs. Ah video games, what a strange medium you are.
Saturday, November 22, 2014
I've Got A Fever
Often times when I'm talking to someone about video games, I'm usually met with "Oh, I can't play video games, I'd get too addicted", and that always bothers me. I feel like people should be able to exercise more self control. Video games aren't a drug that one can get addicted to. However, looking back there have been many cases of the masses getting addicted to video games. Back in the days of the arcade there was PAC-MAN Fever. Later on in the mid 90s, there was Pokemon Fever. Maybe video games can be addicting. Maybe video games have the propensity to get people hooked without them ever intending to be.
Surely, one can exercise self control when playing video games. After all, how simple is it to just hit the power switch and turn off the game console? Apparently pretty dang tough. I know this all too well. I have spent many nights arguing with myself that this will INDEED be the last try, and if I fail I will turn it off. Alas, there was that moment of "I almost had it! This next time will be the one." time and time again: no. It took me seventeen years to put my initials at the top of the scoreboard of Star Fox 64, so there must be some reason as to why I keep on trying.
Games are a challenge, and there is something within us as players that it beckons to. We feel the need to overcome that challenge, and when we do we feel accomplished and empowered. Video games make it very easy for us to pick ourselves up and try again. It's just one "retry?" away from another endeavor into whatever game we were playing. Too many times have I faced down that "Game Over" screen, and thought to myself that I could beat this. It's something that goes beyond pride, I feel. There's something withing us, a will, a strength, that drives us to go for the finish line. We want to win. It feels good, but it is so much more than that. I'm sure that athletes, after training and training and training, when their hard work finally pays off and they bring home the gold, it's more than just a feel good sensation and a stroke of their ego. No, they've invested heavily into that victory. It was months before kickoff that player spent running plays. It was years before that runner got to the Olympics that he started training. We gamers are very similar on a number of levels.
This is where that addiction comes from. Games are our battlefield, our track, our court, our test of worth. We feel that accomplishment when we finally overcome.We spend nights working on our leveling, working on our strategies, working on our skills, to overcome whatever may come our way. How are we not to get pulled in, when the promise of greatness is on the horizon? It's right there, and it is within our reach. Just one more continue away.
Thursday, November 13, 2014
New High Score!!!
Today I have set a new high score on Star Fox 64. A game that I've had since its release back in 1997. It feels like it's been forever that I have been gunning for that top spot on the score board, and today, I finally did it.
The top score was 1028 and it always felt just out of reach. Today, on a whim, I decided to play some Star Fox 64, without even making an attempt for the high score. I just wanted to relive some glory days. By the time I finished up Sector Z, where I only got 49 hits, it didn't seem like I was going to make it. Until I looked at my score of 623 and realized that I could get over 200 hits on the next level, and I was guaranteed another 200 on the one after that. All I had to do was fight my way through Area 6 and score over 200 points. It was quite the harrowing tale.
Two of three members of my squad were in good shape, except for Slippy. Oh, Slippy, you will always be a disappointment to me. The level started off, and I began to shoot at everything on screen with extreme prejudice. Even if it didn't move I shot at it. The points started to quickly rack up. "HIT +2", "HIT +3". More and more enemies filled the screen and my lasers were shooting down all that they could find. "Great Fox will cover you" called ROB 64 over the comms. Frantically I mashed down on the A button to take out the targets before my allies could. I had to score these points. I had to get that high score. I had never played more aggressively than this night. I deftly maneuvered my ship through the onslaught of enemy fire, making my way towards the end of the level. Just before reaching the boss, Slippy was shot down. She was nowhere in sight, and there was nothing that I could do about it. I thought nothing of it, until I reached the end. The only thing that makes me, or anyone, appreciate Slippy is his ability to analyze the health of the boss at the end of each level. Not having any idea of how much damage I was doing to the end boss made me fight even harder. The boss at the end of Area 6 is the most difficult, and my least favorite, though this boss had no idea what he was in for. My heart was racing, and my nerves were tense. As the adrenaline surged through me, I reacted faster than I have. Shot quicker than I ever have. I had slain the boss without taking a hit. It was awesome. What came next was the final level: Venom.
Because I had gone through the hard route, I would get the true ending, along with the true last level where I would face down a modified Star Wolf. Even though I hadn't fought Star Wolf in this particular campaign, they still acted as though they were taking revenge for my defeating them earlier. The standard format for a Star Wolf fight, is that each member of Star Wolf will chase down each of my team respectively. Only, I was down a member: Slippy. That means that I would have two ships on my tail, as opposed to just one. I would have to take care of the other ships that were dogging my wigmen as well as the two ships that were on me. The start of the battle had me chasing down Pigma, who chases down Peppy by default. After landing a few hits, the AI had Pigma do a somersault to avoid my incoming fire. However, this did not go according to plan as he crashed into one of the many pillars that dot the level. I lucked out, and had a moment of hysterical laughter. One down. Next, I had to take down Leon, who chases Falco by default. On my way to circling around to get to Falco, there was a great deal of enemy lasers coming from my 6 O'clock. I pulled a successful somersault, unlike Pigma, and my assailants scattered under me. I scored a few solid hits on them before I lost sight of them. I found Falco and his mark, and started lighting him up like the Fourth of July. Leon managed to escape my blasts with a somersault of his own. The somersault seems to be a pretty reliable move. Enemy ships seemed to be everywhere, even though they were down to just three. I shot at anything that I could paint my reticle over. I managed to score some decent hits on the ships that would pass me by. The remaining enemies would chime in with taunts that went over my head because I was so focused on dog fighting that I didn't have time for any of their guff. The only thing that mattered was to see their health that was dwindling further and further to the left. I had one in my sights, and I refused to let him go. I hunted him down, and viciously attacked him. Star Wolf cried out in agony as his ship exploded into oblivion. Two down. I went back to Leon because I knew where I could find him. Sure enough, he was right on the tail of Falco. I lined up my shot and let loose on the A button. Three down. Finally there was Andrew. As he was the last ship to take out, his movements were erratic, and he managed to lose me a couple of times. Moving like a fly that got lost inside of a house, he was hard to hit and just as annoying. In my effort to find him, I lost track of where my ship was and ended up running into a couple of the pillars that claimed Pigma. Andrew Eventually made the mistake of getting in front of me, and his days of flying came to an end. That's all of them. Now, it was on to the final boss.
Before reaching Andross, the game has you going through a small labyrinth with a few forks in the path. This forced me to choose either left or right. I've played Star Fox 64 many times, but I still don't know where to find the best pick ups to take on Andross. This made things difficult, as my health was low. Low enough to get a slow warning sound from my Arwing. When I finally reached Andross, I exhaled and began the fight. First I fired at the left hand and then the right. I was rather careless with my movements, as he landed a few good hits. When he clapped his hands together to draw me in to his mouth, I let him get away with that, too. This fight was not going well. I managed to defeat his first form with only a sliver of health left. I wasn't going to win this one.
Andross' final form is a brain, and he makes a pun about it. It's super lame and super annoying. His two eye stalks chase after you, and they are relentless. Not only do they shoot lasers, but are also tethered to the brain via lightning. Running into that lighting will do a number on your ship. This was going to be a tough fight. It didn't last long, because I was so low on health, but because I hadn't died this entire run, I had a few lives in stock. The second attempt had me at full health but with only a single laser. I ended up choosing the wrong path, and got no bonuses for my ship. Single laser it is. Taking only a few hits from Andross' punches, I got back to his final form. This time around I tried a somersault to lose the eyeballs, and it worked. I got behind them and handily took care of them. All that was left was the big ol' brain. For a brain, he moves pretty quick. The key to beating this boss is to get behind him and shoot the cerebellum. However, this brain is faster than you, and will pull you in when you get too close. When he does pull you in, Andross drains your health and usually takes off a wing, hindering your maneuverability. He ended up taking off both of my wings and I ended up dying because I was too slow, and couldn't make those turns that I needed to. The third try, I was determined to beat him. I missed the powerups again, and was facing down Andross with only a single laser. Well, beggars can't be choosers. I nimbly flew past his defense of giant hands, and blew up his face to reveal that Andross is in fact, a brain. I exhaled another time, and got straight to work on the eyes that flew about the area. Taking care of them, I did my best to get in good range of the brain. I peppered it with a few shots, but fewer connected with the hit spot. Without Slippy, I had no idea how much I ended up doing. I managed to set up for another attack run, this time it didn't go so well I was caught. I lost one of my wings and a good deal of health.
Relying on my last wing, I was flying in big circles to get some distance. I managed to get a clear shot, and let loose. Just before I was pulled in to get trapped by the giant brain, I had killed it. I did it. I won. All that was left was to escape with the ghost of my father. I was so ready to be done with this nightmare that I boosted the heck out of my one winged plane. I got so giddy, that I ended up crashing into the walls and died. Oh dear. Luckily, the game started me off after defeating the big brain, and I had both my wings were back, as well as a full bar of health. This got me even more excited and I boosted the heck out of my two winged plane. Again, I crashed into the walls and died. My next life, I decided that I would take it slow. I wasn't going to lose him, so I boosted only when I thought it necessary. The ghost of my father led me out, and I really had beaten Star Fox 64. "I'm going to do it! I'm going to do it! I'm going to do it!" I shouted as I rose from the couch. I met with the end of the tunnel and triggered the ending cutscene. I sank back into the couch with exhausted ecstasy. I laughed hysterically as the credits rolled. I was so elated to beat Star Fox 64 with a new high score. I had been chasing down that number for so long. To finally get that number, and blow past it, was an extraordinary feeling.
Feeling limp, and basking in the afterglow of achieving something that is as lame as it is awesome, I wore my smile with pride. I may not always give credit to points in games, but damn, did it feel good to get that score.
The top score was 1028 and it always felt just out of reach. Today, on a whim, I decided to play some Star Fox 64, without even making an attempt for the high score. I just wanted to relive some glory days. By the time I finished up Sector Z, where I only got 49 hits, it didn't seem like I was going to make it. Until I looked at my score of 623 and realized that I could get over 200 hits on the next level, and I was guaranteed another 200 on the one after that. All I had to do was fight my way through Area 6 and score over 200 points. It was quite the harrowing tale.
Two of three members of my squad were in good shape, except for Slippy. Oh, Slippy, you will always be a disappointment to me. The level started off, and I began to shoot at everything on screen with extreme prejudice. Even if it didn't move I shot at it. The points started to quickly rack up. "HIT +2", "HIT +3". More and more enemies filled the screen and my lasers were shooting down all that they could find. "Great Fox will cover you" called ROB 64 over the comms. Frantically I mashed down on the A button to take out the targets before my allies could. I had to score these points. I had to get that high score. I had never played more aggressively than this night. I deftly maneuvered my ship through the onslaught of enemy fire, making my way towards the end of the level. Just before reaching the boss, Slippy was shot down. She was nowhere in sight, and there was nothing that I could do about it. I thought nothing of it, until I reached the end. The only thing that makes me, or anyone, appreciate Slippy is his ability to analyze the health of the boss at the end of each level. Not having any idea of how much damage I was doing to the end boss made me fight even harder. The boss at the end of Area 6 is the most difficult, and my least favorite, though this boss had no idea what he was in for. My heart was racing, and my nerves were tense. As the adrenaline surged through me, I reacted faster than I have. Shot quicker than I ever have. I had slain the boss without taking a hit. It was awesome. What came next was the final level: Venom.
Because I had gone through the hard route, I would get the true ending, along with the true last level where I would face down a modified Star Wolf. Even though I hadn't fought Star Wolf in this particular campaign, they still acted as though they were taking revenge for my defeating them earlier. The standard format for a Star Wolf fight, is that each member of Star Wolf will chase down each of my team respectively. Only, I was down a member: Slippy. That means that I would have two ships on my tail, as opposed to just one. I would have to take care of the other ships that were dogging my wigmen as well as the two ships that were on me. The start of the battle had me chasing down Pigma, who chases down Peppy by default. After landing a few hits, the AI had Pigma do a somersault to avoid my incoming fire. However, this did not go according to plan as he crashed into one of the many pillars that dot the level. I lucked out, and had a moment of hysterical laughter. One down. Next, I had to take down Leon, who chases Falco by default. On my way to circling around to get to Falco, there was a great deal of enemy lasers coming from my 6 O'clock. I pulled a successful somersault, unlike Pigma, and my assailants scattered under me. I scored a few solid hits on them before I lost sight of them. I found Falco and his mark, and started lighting him up like the Fourth of July. Leon managed to escape my blasts with a somersault of his own. The somersault seems to be a pretty reliable move. Enemy ships seemed to be everywhere, even though they were down to just three. I shot at anything that I could paint my reticle over. I managed to score some decent hits on the ships that would pass me by. The remaining enemies would chime in with taunts that went over my head because I was so focused on dog fighting that I didn't have time for any of their guff. The only thing that mattered was to see their health that was dwindling further and further to the left. I had one in my sights, and I refused to let him go. I hunted him down, and viciously attacked him. Star Wolf cried out in agony as his ship exploded into oblivion. Two down. I went back to Leon because I knew where I could find him. Sure enough, he was right on the tail of Falco. I lined up my shot and let loose on the A button. Three down. Finally there was Andrew. As he was the last ship to take out, his movements were erratic, and he managed to lose me a couple of times. Moving like a fly that got lost inside of a house, he was hard to hit and just as annoying. In my effort to find him, I lost track of where my ship was and ended up running into a couple of the pillars that claimed Pigma. Andrew Eventually made the mistake of getting in front of me, and his days of flying came to an end. That's all of them. Now, it was on to the final boss.
Before reaching Andross, the game has you going through a small labyrinth with a few forks in the path. This forced me to choose either left or right. I've played Star Fox 64 many times, but I still don't know where to find the best pick ups to take on Andross. This made things difficult, as my health was low. Low enough to get a slow warning sound from my Arwing. When I finally reached Andross, I exhaled and began the fight. First I fired at the left hand and then the right. I was rather careless with my movements, as he landed a few good hits. When he clapped his hands together to draw me in to his mouth, I let him get away with that, too. This fight was not going well. I managed to defeat his first form with only a sliver of health left. I wasn't going to win this one.
Andross' final form is a brain, and he makes a pun about it. It's super lame and super annoying. His two eye stalks chase after you, and they are relentless. Not only do they shoot lasers, but are also tethered to the brain via lightning. Running into that lighting will do a number on your ship. This was going to be a tough fight. It didn't last long, because I was so low on health, but because I hadn't died this entire run, I had a few lives in stock. The second attempt had me at full health but with only a single laser. I ended up choosing the wrong path, and got no bonuses for my ship. Single laser it is. Taking only a few hits from Andross' punches, I got back to his final form. This time around I tried a somersault to lose the eyeballs, and it worked. I got behind them and handily took care of them. All that was left was the big ol' brain. For a brain, he moves pretty quick. The key to beating this boss is to get behind him and shoot the cerebellum. However, this brain is faster than you, and will pull you in when you get too close. When he does pull you in, Andross drains your health and usually takes off a wing, hindering your maneuverability. He ended up taking off both of my wings and I ended up dying because I was too slow, and couldn't make those turns that I needed to. The third try, I was determined to beat him. I missed the powerups again, and was facing down Andross with only a single laser. Well, beggars can't be choosers. I nimbly flew past his defense of giant hands, and blew up his face to reveal that Andross is in fact, a brain. I exhaled another time, and got straight to work on the eyes that flew about the area. Taking care of them, I did my best to get in good range of the brain. I peppered it with a few shots, but fewer connected with the hit spot. Without Slippy, I had no idea how much I ended up doing. I managed to set up for another attack run, this time it didn't go so well I was caught. I lost one of my wings and a good deal of health.
Relying on my last wing, I was flying in big circles to get some distance. I managed to get a clear shot, and let loose. Just before I was pulled in to get trapped by the giant brain, I had killed it. I did it. I won. All that was left was to escape with the ghost of my father. I was so ready to be done with this nightmare that I boosted the heck out of my one winged plane. I got so giddy, that I ended up crashing into the walls and died. Oh dear. Luckily, the game started me off after defeating the big brain, and I had both my wings were back, as well as a full bar of health. This got me even more excited and I boosted the heck out of my two winged plane. Again, I crashed into the walls and died. My next life, I decided that I would take it slow. I wasn't going to lose him, so I boosted only when I thought it necessary. The ghost of my father led me out, and I really had beaten Star Fox 64. "I'm going to do it! I'm going to do it! I'm going to do it!" I shouted as I rose from the couch. I met with the end of the tunnel and triggered the ending cutscene. I sank back into the couch with exhausted ecstasy. I laughed hysterically as the credits rolled. I was so elated to beat Star Fox 64 with a new high score. I had been chasing down that number for so long. To finally get that number, and blow past it, was an extraordinary feeling.
Feeling limp, and basking in the afterglow of achieving something that is as lame as it is awesome, I wore my smile with pride. I may not always give credit to points in games, but damn, did it feel good to get that score.
Saturday, November 8, 2014
The PS2 Shot My Pa
The other night I dusted off the old PS2 so that my friend could watch a movie on the living room TV. After the show was finished, I decided to take a trip down memory lane and dust off some of the games that I have for my PS2. I noticed that of the consoles that I have from that generation of consoles, all of them, the PS2 had the most games. It's rather interesting, as for most of my gaming career I had been strictly anti-Sony.
I didn't own an original Playstation. Instead, I had the N64. The Playstation was such a foreign thing to me. Only a few of my friends, whom I didn't get to see that often, had a Playstation. As a dedicated Nintendo fan, I was opposed to this new brand of console trying to take over a market that was already a tumultuous battlefield between two giants. The age old battle between Sega and Nintendo was a heated one, and having a new challenger step in would only muck things up, and muck things up it did. As my fanaticism of video games grew, so too did my library of consoles.
A friend of my brother's brought over his Sega Dreamcast and my mind was blown by the cutting edge technology. Graphics and sound that I couldn't believe could come from a video game were on full display with the Sega Dreamcast. A short while after, the Playstation 2 was released, and me, my brother, and his friend were none too impressed with the new console from Sony. It had about the same amount of power, and the game selection was nowhere near that of the Dreamcast, or so we thought. Shortly after the release of the PS2, the Dreamcast went into a downward spiral of sales. The PS2 killed the Sega Dreamcast.
Some say that it was the console's ability to play DVD videos, others say that it was its superior library of games, all I know is, gaming lost one of its finest consoles. When the Dreamcast was officially declared dead by the gaming public, I hated the PS2. I hated Sony for stepping into a ring where it had no right to be in. This was a travesty, that a once great and fun loving company should be shut out by this newcomer. I swore that I would never get a Sony Playstation 2.
At the end of the school year in 2005, I had just finished the worst year of my life. Everything about my Freshman year was awful. On the last day, I came home to a big box that game in the mail from my grandpa. It was a belated birthday present. My birthday was over two months ago from that day. It didn't matter though, I would have taken anything after that year. In that box was the Playstation 2 that I still own today.
The PS2 quickly grew to be the primary console that would occupy my living room with many nights of playing games like Guitar Hero, DDR Max 2, Ratchet & Clank, Jak & Daxter, Metal Gear Solid, Shadow of the Colossus, and quite a few more. Sony may have killed off the console with some of the most imaginative games that I've ever seen, but to its credit, the PS2 did have a few games that stood out as rather artistic.
During that time, the debate of whether or not games should be considered as an art from was rustling about the internet. This very notion shook my world as a gamer, and helped me to understand games in the way that I do today.
Shadow of the Colossus, Metal Gear Solid 3, Katamari Damacy were all great games that did things differently from what was generally considered a game. The Playstation 2 library was expansive and diverse with many great titles that left their mark. These games have not, and should not, be forgotten. The Playstation 2 was a great console because of the games that it had available to it.
While the Playstation 2 may have killed off my favorite gaming console of all time, and may have beaten out Nintendo two generations in a row, as it outsold the N64, Sony has a place in my heart. Even with today's generation of consoles, or rather the last generation of consoles, my PS3 may have a smaller library than that of my Xbox 360, but it does have games which matter more. These games have a certain specialty about them, and they are unique. These games matter. Not just for Sony, but for the gaming industry as a whole. Games need not be defined by the standard formats of win/lose scenarios, or boss battles at the end of each level, or fighting the bad guys all the time. Games can explore so much more than just those basic concepts, sometimes they even use those concepts to explore them. Sony, at lest in their ad campaigns, understands the greatness that exist within games. How, games can turn players, into legends. How games can help us explore dark places, and come out of them stronger people. How games can encourage us to keep moving forward. How games can teach us that if we fail, we should try again. How games can help us find within ourselves, the strength to overcome that which we thought was impossible. So, here's to Sony, and here's to video games. Cheers.
I didn't own an original Playstation. Instead, I had the N64. The Playstation was such a foreign thing to me. Only a few of my friends, whom I didn't get to see that often, had a Playstation. As a dedicated Nintendo fan, I was opposed to this new brand of console trying to take over a market that was already a tumultuous battlefield between two giants. The age old battle between Sega and Nintendo was a heated one, and having a new challenger step in would only muck things up, and muck things up it did. As my fanaticism of video games grew, so too did my library of consoles.
A friend of my brother's brought over his Sega Dreamcast and my mind was blown by the cutting edge technology. Graphics and sound that I couldn't believe could come from a video game were on full display with the Sega Dreamcast. A short while after, the Playstation 2 was released, and me, my brother, and his friend were none too impressed with the new console from Sony. It had about the same amount of power, and the game selection was nowhere near that of the Dreamcast, or so we thought. Shortly after the release of the PS2, the Dreamcast went into a downward spiral of sales. The PS2 killed the Sega Dreamcast.
Some say that it was the console's ability to play DVD videos, others say that it was its superior library of games, all I know is, gaming lost one of its finest consoles. When the Dreamcast was officially declared dead by the gaming public, I hated the PS2. I hated Sony for stepping into a ring where it had no right to be in. This was a travesty, that a once great and fun loving company should be shut out by this newcomer. I swore that I would never get a Sony Playstation 2.
At the end of the school year in 2005, I had just finished the worst year of my life. Everything about my Freshman year was awful. On the last day, I came home to a big box that game in the mail from my grandpa. It was a belated birthday present. My birthday was over two months ago from that day. It didn't matter though, I would have taken anything after that year. In that box was the Playstation 2 that I still own today.
The PS2 quickly grew to be the primary console that would occupy my living room with many nights of playing games like Guitar Hero, DDR Max 2, Ratchet & Clank, Jak & Daxter, Metal Gear Solid, Shadow of the Colossus, and quite a few more. Sony may have killed off the console with some of the most imaginative games that I've ever seen, but to its credit, the PS2 did have a few games that stood out as rather artistic.
During that time, the debate of whether or not games should be considered as an art from was rustling about the internet. This very notion shook my world as a gamer, and helped me to understand games in the way that I do today.
Shadow of the Colossus, Metal Gear Solid 3, Katamari Damacy were all great games that did things differently from what was generally considered a game. The Playstation 2 library was expansive and diverse with many great titles that left their mark. These games have not, and should not, be forgotten. The Playstation 2 was a great console because of the games that it had available to it.
While the Playstation 2 may have killed off my favorite gaming console of all time, and may have beaten out Nintendo two generations in a row, as it outsold the N64, Sony has a place in my heart. Even with today's generation of consoles, or rather the last generation of consoles, my PS3 may have a smaller library than that of my Xbox 360, but it does have games which matter more. These games have a certain specialty about them, and they are unique. These games matter. Not just for Sony, but for the gaming industry as a whole. Games need not be defined by the standard formats of win/lose scenarios, or boss battles at the end of each level, or fighting the bad guys all the time. Games can explore so much more than just those basic concepts, sometimes they even use those concepts to explore them. Sony, at lest in their ad campaigns, understands the greatness that exist within games. How, games can turn players, into legends. How games can help us explore dark places, and come out of them stronger people. How games can encourage us to keep moving forward. How games can teach us that if we fail, we should try again. How games can help us find within ourselves, the strength to overcome that which we thought was impossible. So, here's to Sony, and here's to video games. Cheers.
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