Sharing: Stereotypes of Native Americans in Video Games

I'm quite the fan of Sociological Images, but when they bring up the topic of gaming, I admit I feel a little nervous. However, today I read this article, about a specific topic I think about frequently:

Sociological Images: Stereotypes of Native Americans in Video Games

I don't have anything to add, other than I really appreciate the comprehensive video, and I hope you will get something out of it as well!

A Response to Philip Zimbardo: "The demise of guys?"

A friend shared this on Facebook and I found it rather interesting and provoking, so I thought I would share it here as well:

http://www.ted.com/talks/zimchallenge.html


Now, by no means does this offend me in anyway, I feel that I may be an exception to the population Zimbardo is referring do. So I don't particularly have an urge to defend myself as a gamer, but I do have a bit of an urge to defend the medium once again.

The Building Blocks of Life

Hello my comrades, my sincerest apologizes for the absence. I'm thinking of making an entry detailing my disappearance, but meh. Just know that this is how my brain works, jumping from one creative project to the next. Flighty? Perhaps, but without the promise of monetary or academic reward, I don't like being chained down by my own work.

So anyway, I was motivated to start a new post after reading this on Kotaku... (yes yes, two entries in a row where I've linked to the same site, I'll keep that to a minimum from now on)

How legit is this? Even if this fails to live up to the quality that Euclideon is promising, how can you not have immense respect for the resemblance that Point Cloud Data has to actual organic life in the real world? It's so breathtaking... the possibilities are absolutely awe inspiring!

What does it say about technology when it begins to render reality in the same way as the universe? This is way bigger than video games. Spiritual comes close to describing it, but that's not quite accurate.

Perhaps I'm being histrionic or abstract, but these implications are just far too fascinating. But, as for the actual uses, I suppose time will tell.

For some interesting perspective, you might find this interesting as well...

My Deepest Sympathies

I just want to begin by expressing my most deepest and sincere sympathies to the victims of the Oslo, Norway terrorist attacks. The acts were despicable and tragic, but I feel completely unqualified to make comments on them.

As I type this, I consider my reasons for doing so... this Kotaku article more or less sums it up, so please give it a read.

Now I ponder why I would even bother publicly stating my own personal feelings on this matter, clearly it is because of the "gamer angle". And well honestly, it feels on the verge of being crass.

What's important here is that citizens were murdered... and not just citizens, but children. All in the name of ideology and in aggressive "defense" of said ideals.

That said, as of the present, I have little to say regarding gamers and the attacks. In my best attempts to be respectful as possible, I don't choose to invoke the deaths of one hundred innocent humans to make a point about anything at this time.

Perhaps, in short time, there will be a day where it feels more appropriate to make a probing analytical comment, but it is not now... but I speak only for myself. Events like this can help to put things into perspective, and there is a lot at the moment to consider.

But, I encourage all who are willing to use this as a catalyst to promote heightened understanding in your own local community. And to Norwegians and all those around the planet who have lost those who are most important to you, know that my love and thoughts are with you... for whatever that's worth.

Passage

Maybe it's just a unique night, but this is the first time that I can think of that I was moved to tears by a game.

That's all I really need to say, download here: Passage

What's your all time favorite idle animation?

Hello internet, I thought I would update with my recent activities.

After my Alice review, I promised an analytical critique of the symbols of the game, because I find that entertaining in it's own right and also because I want to demonstrate that video games are fully capable of provoking deep thought about something other than timelines, character relationships, and general canon. I thought before doing so, it would be suitable to read through the source material of Alice's Adventures in Wonderland and Through the Looking Glass, to see if that adds any gravity to particular elements in the game. This not only entails that I find a quiet place to read in, but also a quiet place in which I feel comfortable reading children's literature.

But aside from that, I've been messing around with Game Maker 8 in hopes of learning a bit more of what it's like to be a developer. It's been quite a fun experience, and I'd recommend it to any of my fellow code-illiterate noobs who would like to get a feel for creating simple games. As with any new program that let's me flex my creative muscle, I've had an alarmingly good time learning the program, made simpler by the fact that two basic tutorials are provided with the installation.

The little moments have been quite entertaining, such as: while working on the second tutorial for making a simple vertical scrolling shooter, I was having an issue with the testing wherein every time I shot an enemy plane close to one of the islands in the background, the explosion would also destroy the island. Not only was it neat to be able to pinpoint what I did wrong in the design, but it was one of those glitches where it unexpectedly inspires you to add a new element to the game.

Anyway, I'd recommend the program to all my fellow creative types, give it a whirl. I know it has inspired me to learn a little bit more about programming than I had wanted to in the past. Consider it a game design gateway program, so have fun with that, kiddos.

'Til next time, keep exploring digital rabbit holes.

Another Victory for Video Games

So today the Supreme Court struck down the California law banning the sale of violent video games to children in a 7 to 2 vote. This is an obvious victory for everyone in the gaming industry and perhaps one for the First Amendment as well. Of course I was on the side of the industry, but I thought it would be a worthy endeavor to examine the law and supposed repercussions from both sides of the argument. No worries, I shan't delve too much into the many overdone topics of violence in video games and how it affects children, as better people have handled that question anyway.

So what exactly was the law attempting to do? Well, obviously it was trying to limit the access that children have to video games. Does that mean it made it illegal for children to play violent video games or even for violence to be in the games themselves? Simple answer is "no". It would still have been possible for parents to make the purchase of such games for their children if they deemed it appropriate. So, that said, what reasons do we have to be glad the decision was made in the first place?

Alice Pressed Against the Wall: A Review of Alice: Madness Returns

It's been too long since I've had the pleasure of playing a game not only about the strange things that I find interesting, but also one that has only recently been released. Alas, the planets have aligned and now I find myself fully reviewing a game, almost like the big boys, except of course I got my copy after release and refused to unfairly speed though it for the sake of a timely review. All in all, I must say I have rather enjoyed the experience.

Before getting on with the review, I would like to mention that I've been using Lewis Carroll references throughout this blog since I began writing it. But now that there finally comes a time in which it would actually be fitting, I refuse to quote anything from The Adventures of Alice in Wonderland because that would be expected and I am a very petty person. Notice the title? That's the first non-Carrollinian thing I thought of with the name “Alice” in it, which is the first line of a Sisters of Mercy song, unsurprisingly entitled “Alice”. Proof that I too can make a sporadic decision about something without giving it much thought, and I actually frequently do... well I guess I couldn't survive for very long without that ability... Anyway, moot point, carrying on now!

I lied. I actually chose the line because Alice being “pressed against the wall” reflects the scrutinizing nature of the reviewing process. I thought about this for a very long time. :<

Considering how I have a few additional readers since my last review, I thought I would briefly reiterate the method in which I review video games (skip if you already read my Resident Evil review or if you just don't give a damn). Generally I begin with the theme of the game, it's ultimate raison d'etre and developer's intentions the same way one would begin evaluating any other type of art. I critique this by how the experiential elements of the game are presented. Such examples of a game's experience would be: story, music, atmosphere, art style, environment, characters, sound, pacing, etc. Then I evaluate whether the challenge factor supports or dissolves the experiential expression of the game. Game challenge may include things like: difficulty (always on “normal” for reviews), combat, boss fights, gameplay/mechanics, level design, mini-challenges (puzzles, minigames, vehicles, etc.), secondary content (hidden items, sidequests, unlockables, etc.), and so on... I think you get the picture.

Now, it's in the nature of this blog to be focused on creative and unique games, otherwise the theme and my review method would be futile. So, with that in consideration, realize that it's entirely likely that I will only be reviewing creative and unique games. This means that the games will be measured mostly within the narrow spectrum of other artistic games, rather than the much broader horizon of games in general. That way, I can favor games with creative merit without artificially praising them against the wide world of games that don't have any interest in taking artistic risks; think of it like choosing to remain within a particular genre, because the qualities you're interested in largely don't exist in other genres. This, I believe, will be the best method for keeping my reviews as objective and fair as possible within a frame that obviously favors subjectivity (also keep in mind, this is an extra precaution that I typically reserve for “new releases”). Well, here's to hoping this will actually be the last time I feel I need to preface an entry with the same old stuff, so without further ado...

My review of Alice: Madness Returns

For the Snark was a Boojum, You See: Not a Review of Alice: Madness Returns

First of all, let me say that this is most definitely not a review for Alice: Madness Returns. Why is this not a review of Alice: Madness Returns? Well... because I haven't finished Alice: Madness Returns yet, and until I'm getting paid, no arbitrary obligation I've made for myself to the internet will inspire me to speed through a game that I'm enjoying and have been waiting to play for the better part of a decade, such as Alice: Madness Returns.

Oh, since were in that neighborhood, I would have liked to do a comparative analysis of A:MR versus Duke Nukem Forever, considering they came out on the same day and they both had an absurd (nigh unethical) wait time before release (though the wait for Duke was about 4 years longer). Unfortunately, I can't do that because I've never really been a Duke fan, so it would be terribly biased. All I know is that I seem to be exponentially more pleased with my long awaited game than the majority of Duke guys... not that I'm gloating, I'm just... yeah I'm gloating. A goth chick beat out the Duke, breath that in and savor it for a moment. Actually, I wonder if Duke wouldn’t have been into that sort of thing behind closed doors.

As I was saying, this is a fluff entry and it's indicative of why I don't review new releases. When I'm enjoying a game (or trying to enjoy it), I want to savor the experience, not jump through it; plus, how am I supposed to form my valuable opinions if I don't experience the game in an intended rational manner? I may have already mentioned too much about my opinion thus far, just know that even though I'm enjoying the game, my review will be through objective eyes. So until I've finish said review, I've cobbled together some of the notes I've taken and some personal reflections about Alice in Wonderland and American McGee's Alice, to not only keep readers amused, but also to trim the fat while still getting to pass heaping bowlfuls all around.

First, some self-serving autobiographical fun facts, presented as always in smaller font: 

I've actually never been a PC gamer until very recently, from as long as I can remember, I've been a console baby. I didn't get my first laptop until I was 15, and even then, the only thing I wanted it for was gaming. The very first game I got for PC was American McGee's Alice, which had been out for almost 5 years at that point. When it was first released, not only could I not play it (due to an unworthy home computer), but I was also much younger and I was at an age in which I was beginning to outgrow the “everything scares the crap out of me” phase (for more info, see the tiny text paragraph here). But, by the time I was 15, I was reveling in all that was horror, and picking up the classic subverted fairy tale that I had missed out on was a natural choice. Barring the keyboard learning curve, I was in love from the start.

You see, I'm all into that Tim Burton-esque babybat stuff... which for all those somewhat familiar or unfamiliar with goth vocabulary, know that I don't use that as a pejorative against young, angsty Hot Topic shoppers (as is the standard usage), but rather as a term to describe a particularly somewhat cliché, somewhat commercial goth aesthetic. I have been watching movies like The Nightmare Before Christmas over and over as comfort material ever since it first came out in theaters (actually, that's one of the first movies I recall seeing in one), but when I came of that particular teen age, I wasn't down with dressing as many of my bondage pants-donning peers... as I much preferred making fun of them. So thus I obtained American McGee's Alice at a perfect time, allowing me to indulge in my closeted appreciation of all things that would be arbitrarily labeled “goth”, while not having to adopt that persona. Yes, for all those who have forgotten, when you are at that age, it becomes difficult to separate your actual personality from an amalgamation of the things that you are fond of.

Now, I am much older, and there was a significant portion of my senior year in high school in which I spent a lot of my free time studying the works of Lewis Carroll, which of course is the author of Alice's Adventures in Wonderland, for you cretins. That year I was reading a lot of what I fancied would magically turn me into an intellectual, guys like Dostoevsky and even Bukowski, and I have no rational explanation why I suddenly spent a few months pouring over Carroll. It was either because I was fishing for unfortunate similarities between a recently read Nabokov novel (yes, that one) or it was entirely due to my fondness for American McGee's Alice.

You see, now if I was to be presented AMA or A:MR without having a previous affection for it, I would arrogantly scoff and quip about how “Wonderland is dark enough without needing a fresh coat of gawth paint.” But, lucky me, I was fortunate enough to appreciate something before I became all jaded and pretentious! Which allows me to actually make an intellectual argument that if it wasn't for American McGee, as well as all others who would present to mainstream culture a dark take on Wonderland (as well as other fairy tales), then there is a significant risk that the cultural conscious would have forgotten how dark this story actually was... and that that is a good thing!

Looking at the bigger picture, we have the Brothers Grimm and the folks at Disney to thank for how palatable and safe the world of fables and fantasy have become. That last sentence was sarcasm by the way, so consider re-reading it with this knowledge. You see, even though American McGee's Alice utilizes many... many many many many... artistic licenses, it is arguably a much more accurate interpretation of the thematic elements of fairy tales... at least from a 17^th century perspective. See, it's a bit of a sticky wicket, because Alice's Adventures in Wonderland was written in 1865, a long time after the Grimm's made children's stories much less grim, and further literary and cultural evolution made darkness much less utilitarian. However, due to the surreal imagery, obscured political and cultural references, and the authors purported questionable reputation (though tarnished may be a better word), the works of Carroll are still worthy of intrigue for adult lovers of nonsense fiction and poetry.

Regardless, a stark and grim (oh wow, didn't realize how 90's it all was) version of Wonderland in the collective unconscious is a suitable counter-balance to the commercially innocent Disney version and the supposed psychedelia-encouraging nature that another percentage of the culture associates it with. You see, I do believe that Wonderland is a dark and frightening place in it's own right without needing tenebrous analysis. It is however, a very subtle type of uncanny. Whether it's the threat of beheading from the Queen of Hearts, a striking act of violence for children's literature that we'd otherwise be desensitized to. Or it could be something such as the ever so implied threatening nature of the Mad Hatter, that has been culturally retconned to be goofy and whimsical. Basically, the story is filled with disturbing elements that we have forgotten are disturbing due to over exposure, and sometimes it takes an obvious and blunt approach, such as delivered by American McGee, to remind us that this shit is creepy.

Gaze into the visage of MADNESS!

Certainly, I'm not getting into a lot of depth here, and I may be oversimplifying things, but you get the picture. That said, even though I haven't finished an actual review, I can perhaps suggest whether or not you should pick the game up, for those of you who may need a bit of encouragement (or discouragement) without waiting a few more days.

So here it is.

Yes, it's the same video I linked in my first entry about A:MR... But after watching it, you should have one of three separate reactions:

Reaction 1:

If you found the visuals and the music as stunning as I did, or even if you are only a little bit taken by the artistic approach, then what are you waiting for? If you like Alice in Wonderland, either Gothic or goth imagery, artistic games, Victorian era London, psychological horror, or crazy white people... then go pick this one up, this is the video game you deserve.

Yes... go do it now. Spend your consumer points for the stuff that you believe needs to be supported!

Reaction 2:

If you watched the clip and had a neutral reaction and just want to know how it plays, well to you, I say just check it out. Put it on your list of games to rent, even if it's not your thing, it could be worth exposing yourself to something new. I think that's something that can be healthy for us all, amiright?

Reaction 3:

If while watching the clip you thought something along the lines of “wtf is this emo shit?” well, in that case... enjoy your Duke Nukem Forever! Trololololololol

The writer of this blog would like to make it clear to fans of classic Duke Nukem that he mourns your loss in these dark times, and that all critical statements herein are all for the greater cause of what the kids call “teh lulz”.

So, as I've habitually stated thus far, stay tuned for a full review of Alice: Madness Returns.

Why is a Raven Like a Writing Desk?

I've been writing a screenplay for enjoyment and playing a lot of Yume Nikki recently, so I would have to say the past several days have had a theme of introspection. From my last entry I think I made it clear that I was a fan of American McGee's Alice, but I had been skeptical enough to avoid getting hyped about the sequel before launch to the point where I largely avoided any news or updates about it. You see, I'm quite the cynic when it comes to video games, especially in regards to series that I care a lot about. I never fangush about anything anymore, and that's really because I've just been disappointed so many times. So, generally I try and avoid games that I think will cause me to react in an overly subjective manner until I've actually played them.

Anyway to the point...

In my last entry, I promised a review, which I plan to deliver, but I thought I should go ahead and say a few things first. Typically, me reviewing a game around it's release date is a rare occurrence. This is mainly because games are way too expensive for my broke college student self when they first come out, and it's rare that I can make the investment right away. But also because I have this ethical perception of how games should be reviewed when they are new versus when they've been available for a few weeks or so. I believe anyone who calls himself a video game reviewer has the duty to review a game as objectively as possible when it's just been released, mostly because reviews have the ability to persuade gamers to spend money on a game or not, thus increasing or hindering the sales.

My review style is somewhat unique and basically revolves around subjectivity entirely. I discuss little about whether a game is "good" in the traditional since, and focus on the artistic merits instead, which is why I feel very self-conscious about reviewing a recently released game. So know that in rare situations such as this, if I do review a game so close to it's release, I will most likely stick to the same formula of the "challenge as a support for the experience". However, due to my self-implemented ethical policy, I will remain as objective as I possibly can be, while retaining my own style and voice.

So that said, stay tuned for a review of Alice: Madness Returns...

Curiouser and Curiouser

Finally got around to checking out this...

I - I - I just need a moment... HOT DAYUMN /fanboy seizure

Okay... honestly, I don't have anything intelligent to say about this. Just know that I love me some Alice, music, visuals and mood... I just love that game... Keep in mind, it came out long before the Tim Burton film, so at the time, a be-goth'd Alice in Wonderland was a very fresh idea, at least to my young innocent self. All I really have to say about this was that for many years I assumed by time the next Alice came out, I would have long outgrown the first. I was also worried that the imagery would be lacking in the wake of an overly Wonderland-saturated American culture.

But no... this looks awesome. The visuals and music will be enough for me to pick it up, even if gameplay is found lacking. So far, the only thing I have to nitpick about from the available videos is the voice acting, but I can forgive that provided the dialogue is as cleverly written as it was in the original.

My fetishism for grim girls and bald women aside, know that I am fully aware this game will be an exercise in corny goth-service... but I just find it to be too damn cute, and it's increasingly difficult to not go on and on about it. But, I shall nay do that! Instead, I will play the responsible Carroll-phile and await the completed game before getting my bloomers in a bunch. I would rarely say this, but expect a full game review for this one!




Now, if only someone would develop a game based on The Hunting of the Snark, the world would truly be a better place!

A Mind is a Terrible Thing to Taste: Impressions of Dead Island

No matter how weary I become of trendy references to zombies in culture, I have to admit that I'm still entertained by games and movies that feature them. Another thing I like, and this may surprise some, is melee-based first person combat, a la Condemned: Criminal Origins. I don't know why, but I've always been a fan of brawling in general as opposed to gunplay. So, of course I'm somewhat interested in the upcoming title Dead Island. Though, I'm far from being stoked, and I don't expect much from the game besides enjoyable game play... though the promise of realistic and dynamic wounds on the zombies does seem like something I've been waiting for since I was an adolescent.

But, I'm not here to talk about all that... nope, I'm here to talk about the trailers, which have earned some notoriety in their own right. Oh, before clicky and watchy, I warn you, these are as graphic as any reasonable person would expect them to be.

Okay... well let's break that down... a bit...

Basically, the people who put this together used the depiction of the death of a child and the destruction of a family to force the viewer to be emotionally invested in the product. Since we don't see any actual gameplay, I gotta say, I find this a bit exploitative and vaguely unethical. If this was a short film, I would evaluate the animators intentions before making the above statements... but since this is essentially a commercial, and the obvious intention is to move a product, then yeah... but I'm not really complaining, just making an observation. It remains a very unique and risky approach, which I can appreciate.

I gotta say, I like this one a bit more. It still utilizes emotional pandering, and shows very little of the gameplay, but I like how subtle it is. It's interesting how it goes into additional details about the environment, but I really like how it's really calm and peaceful even while showing scenes with the zombies. It rounds out nicely with the several dissonant notes at the end accompanying scenes of survivors being chased before ultimately resolving with the title and what I assume to be the theme music (which, I gotta admit I really enjoy, as it's very reminiscent of the music from the 28 series).

Now here's what's interesting. This trailer is definitely a sudden 180 from the two previous, thankfully it finally shows gameplay, and the mood is so much more violent then before. I can't say I like this trailer more than the others (in fact, I don't care for it much at all), but I do imagine this one to encompass more of the actual experience that this game will most likely offer. The game looks like it will be cinematic and quick, which are elements that I like to see, though (and this is more of a taste issue) I'm not very satisfied by the implication that the majority of the combat seems to now be firearm based... which is very underwhelming. If the game doesn't turn out to be more than a fps with zombies, a Left 4 Dead on an island instead of an urban area, then I probably won't bother picking it up.


But, aside from all that, what really excites me is the possibility of thoughtful social statements actually being made by Deep Silver. Zombies have frequently been used as a stand-in for the antagonizing "other", and have been used as vehicles for the discussion of themes such as apathy, violence, sickness, racism, nationalism/xenophobia, consumerism, oppression, and so on... That, and I can't help but wonder if the use of a tropical island resort as the location is a deliberate attempt at a statement. Typically, such resorts have been symbolic of class distinction, in that mostly it is the very rich who can afford to vacation while the workers are largely locals of "exotic ethnicity" who also essentially serve as part of the atmosphere and attraction. There are quite clearly individuals in grass skirts in those trailers, so it definitely seems like the issue will be presented in some form or another.

For some further insight, there are some related articles here, here, and here by Sociological Images. Hopefully the links will provide a much more eloquent and educated point-of-view to those who may be interested.

I'm not trying to make accusations or even assumptions, but I think there is an opportunity to address societal issues here, and it could be a stepping stone for the progression of the medium. The trailers proved Deep Silver's willingness to take risks with their product, and I for one, am interested to see if they'll go more Romero or more Resident Evil.

The Wii U...nimpressed

Okay so, I've had all day and some sleep to reflect on my impression on the Wii U...

First of all, I'm disappointed... not entirely with the false advertising that Nintendo was guilty of by displaying gameplay from the Xbox and PS versions of the third-party titles, but rather with the titles themselves.

Sooo boring and sooo predictable... since when did trying to appeal to hardcore gamers mean obtain more fps?... but I digress before risking getting off topic.

Know that I'm sure Mario, Zelda and other such staples will be as fun as they are expected. Know that I'm saddened by the value of Nintendo shares shrinking by 5% because of the aforementioned press release foible. Know that even though I am not a Nintendo fanboy, I still want Sony and Microsoft to suffer (as they have the past few years) for their devotion to the graphics race, and thus the intellectual and creative mediocrity of mainstream games... Know that I am aware that that makes me something of a prick.

You see, my early excitement (mild as it was) was inspired by the fact that the Wii U seemed to be the next evolution in the way we perceive and interact with games, and so too another evolutionary step of storytelling in general. But know that I'm worried this new system won't amount to much more than the second screen of many DS games, i.e. a glorified menu screen or some such. And I worry only because I see the potential in it, that is all.

Obviously I want creative games and inspiring games to be derived from this. As much as I love Nintendo staples, and as much as I'm sure that the various third-party games will still be fun, I want more.

"More? More like what?" You may be thinking...

Howabout this... You play as a blind individual with a seeing eye dog. The television screen could display a representation of the blind character's point of view, with blurry silhouette's, effects that represent sound waves, and even abstract things like trippy mental imagery. While the controller screen will be through the point of view of the seeing eye dog, with visual clarity and an added sense of smell. You could do things like instantly target enemies for the human to attack using the dog's keen senses. I mean, the story could write itself, and could be quite interesting in it's own right, but the real intriguing element would obviously be in the gameplay.

There, I shat that out in two minutes... but that's the kinda thing I'm talkin' about. If there is one company capable of taking the risks to see adventurous projects like that through, it would be Nintendo.

Typically I don't form opinions before games and consoles are actually released, but I want to believe in the progressive future of the industry. My allegiance to brand is thin these days, but know that I will get behind the banner that waves the colors I've been preaching, and right now... who else could come so close but Nintendo?

The Wii U...nexpected

I'm not really a console kind of guy, I never have been as I've always just been about the games. I don't care about the graphics arm race which has only caused games to cost more while the consoles become less dependable. However, I do believe in Nintendo products, as they are always fairly priced and reliable... in that they don't break unless you really want them to. My issue with the Wii, however, was that motion control just seemed awkward and gimmicky. From my personal experiences, that has been mostly true as I would still prefer to play with a traditional controller.

But there is something about the Wii U... I dunno why, but I have high hopes for it. If you know me and my opinions on the progression of consumer tech, you would definitely find my intrigue rather uncharacteristic. Hopefully Nintendo can continue what they do best, while also advancing the ergonomics of game/player interaction and simultaneously gaining increased third party support. As with all things, time will tell... but this is perhaps the first time in many years that I've been even remotely excited about a next gen console.

edit:
Perhaps I'm wrong for calling this next gen. There appears to be an updated console to match the controller, but then again, it doesn't appear to be a new system. Anyway, how much added functionality will there be besides that of the controller? My excitement has kind of waned as of this update after watching more of the few available videos, mainly because I've had more time to think it over; because to me it's not about the technology, but rather how the game developers utilize it.

I think when I first saw the controller, my imagination jumped to great lengths, but I hope designers will have the creativity to make the device more capable than just say, a glorified inventory screen and the like.

Blackwater: Virtual civilian-killers based on the real ones...

I'm re-blogging this from overly analytical ally MovieBob aka the Game Overthinker.

Check out what Bob has to say about this shit.

Now, here is where we need to tread lightly and examine this situation. This game will most likely be made, and 505 Games has every right to develop it. My message isn't to censor anyone, even when crap like this is far from what I would consider art.

My message, is that if you care about the medium of video games, and believe as I do that they deserve to be more than tools of those who would like to propagate violence as proper politics, then you gotta voice your opinion on this. Chances are, the more hate this game receives, the more advertising will be provided; and from where I'm sitting, it seems inevitable. But as gamers who want more for our culture than exploitation, if you want to shake the label as a generation trained from childhood to be virtual soldiers, then we have to be the first to voice our opinions against games like this. If we fail to express our disgust and our rejection of this level of pandering, then our medium is at risk of further backsliding.

And yes, this is exploitation, this is marketed controversy. We've seen it again and again, and it's something that is inescapable for video games, due to their nature and the adolescent stage of existence. If you enjoy violence, that's fine, so do I. But it's our responsibility, not the government's or the ESRB, to tell us what should be acceptable. We know the difference between fiction and reality, we know the difference between art and commercial, and we know the difference between soldiers and thugs. Regardless of our varying opinions on the Iraq war, we as consumers can't support these murderers with our consumer choice. The government may have paid them, but we can draw the line here.

Oh Lara, you just never say die.

Okay, I haven't been a Tomb Raider fan since I was 12, and in my opinion (and most rational people's as well) we've seen way too many re-imaginings of the series, and each one was a successful jump of the shark.

Buuuuuuut... check out the trailer from E3 of the newest Tomb Raider.

Now, it's against my nature to get excited about a trailer that doesn't show any gameplay... however, I'm somewhat interested in where their gonna take the survival theme... also Squenix?... Well, it will be interesting regardless!

Make sure you read the review of the gameplay footage, which goes on about how it looks to be a very cinematic and fluid game. As you may know by now, that's what I'm all about (at least on this blog)! So, I have to say... I'm interested, but very, very skeptical.

After all these years, I still have dim hopes of Lara Croft being a feminist gaming icon. But like the vast majority of game girls, she suffers from male appeasement syndrome, which negates a legitimate empowering message that her dialogue and kick-assery would otherwise suggest.

You know what I would like to see? Call me a nutter, but I would love if instead of another retcon of the series, they instead featured a game starring a more mature and wise Lara. Maybe somewhere between the age of thirty and forty, with a more intellectual focus on archaeology, history and culture. The game could still be centered around action-oriented and dynamic gameplay, but with a (dare I say) educational twist.

Man... I must seem really fucking old.

Hollowed Ground: A Retrospective Review of Resident Evil (GC)

(Note: I felt it necessary to incorporate into this review a further explanation of how I go about forming my opinions. Thus I have achieved an epic level of verbosity that I have no intention of replicating in later reviews. So for those of you who want the abbreviated version, skip down to the little image of Imogene to begin reading the actual reviewy parts.)

I thought it would be fitting for my first review on this new blog to start with a game we are all familiar with and which has personally impacted me since way back when I was far too young to play it. Resident Evil for the GameCube, a re-release of the PlayStation classic that was already well known and loved by gamers and non-gamers worldwide. It boasted graphics that were jaw-dropping back during its release date of 2002, and sought to update the theme of the series, which by that time had begun to enter into a realm of campiness in the mindset of most gamers, typically due to the amazingly absurd voice acting from the original. Even though it's been out for nearly a decade, you can still find it on mainstream store shelves for the Wii, packaged as Resident Evil Archives.

I chose to review this game for a few reasons, the first being my own personal connection to this series as I mentioned earlier. While Resident Evil wasn't my first survival horror experience (nor was it even my first Resident Evil experience) it is still the original of a series which had a severe impact on my outlook on life in general. Before I go on, let me go ahead and warn you that the next few paragraphs are all just self-gratifying reminiscence, so feel free to skip.

When I was but a lad, I used to be afraid of damn near everything. I blame an early accidental viewing of that scene from Aliens in which the character Bishop gets ripped in half and begins to spew an interesting yellow fluid that took me half my life to realize doesn't actually come from people when they are eviscerated. That shit scarred me for many a year and prompted me to run screaming from any scenes of horror or violence in anything ever... That is until somewhere between the age of 10-12. I had gone to a new school, away from all my sheltered friends into a different environment where the gamers my age didn't trade games with Mario on the cover, but instead such foreign titles as Metal Gear Solid  and Tomb Raider. It was at this time that such a friend let me borrow his copy of a game called Dino Crisis, which scared the shit out of me, but I found to be fun in some masochistic way. Dino Crisis came with a demo for a game that I had heard about, but never dared to even bother playing. That game was called Resident Evil 3... And somehow that demo had me hooked. 

It wasn't too many months before I owned every game that existed in the Resident Evil series at that point. In fact, I even read the books and collected the action figures. Resident Evil pretty much became one of those series in which I would gladly have purchased a console if it were to feature an exclusive RE game. In fact I think I did that twice, to be exact. Though they weren't at all the exclusive reasons for my purchase, I bought a Dreamcast for a copy of Resident Evil Code: Veronica and a GameCube for the game this review is centered upon. Maybe I liked it so much because I was already a huge Capcom fanboy, but at the core I believe it had more to do with the same reason why I still love the horror genre to this day, which is really a topic that would be worth it's own entry and saved for another day.

The next reason why I chose this game is because of another personal reason which is the inverse of the first. Meaning, my current disillusionment with the series. Okay, don't get me wrong, Resident Evil 4 has to be one of the greatest games of all time. But in my opinion, this series (like many other strong 90's classics) just feels like it's starting to go stale. Resident Evil 5 was mediocre, and let me down in a myriad of ways and games like Resident Evil: The Umbrella Chronicles just don't seem worth dropping the money for. I mean, Resident Evil hasn't scared me in a long time, and that's what it's all about. I feel if Capcom continues to pander towards a more generic mainstream action game audience, then they are really doing the series and it's fans a disservice.

On to the main point I want to make. You see, when it comes to big mainstream games such as this one, you have many ways to perceive it. A video game by nature is far more complex than a movie, in that not only do you have the story of the game being unfolded, but you also have the player's interaction (i.e. gameplay), and in between you see how those two elements are interlaced. For brevity let's call this the experience versus the challenge. The experience of Resident Evil encompasses all the immersive (there's my favorite word again) elements, those being: the story, the music, the atmosphere, all the scary monsters that merrily frolic through closed windows into narrow hallways. While the challenge defines all the gameplay mechanics such as: combat, ammo conservation, item management, and challenging oneself to get a high ranking at the mission complete screen. So to reiterate, when I say experience, I mean all the artistic things in the game that provoke an emotional reaction from me as a player and draws me into the world that the developers created; when I say challenge, I mean all the parts in the game where my desire to overcome obstacles, accumulate a high body count, and all the other parts that ultimately make me feel like I'm playing a game.

Now, I've been a gamer all my life, and at one time I alongside many of you bemoaned the idea of games becoming more mainstream. So, lest you should ever think otherwise, know that I love me some challenge... I mean I own a copy of Ikaruga. So 'nuff said.

But this blog isn't about that. By now you should know that I'm here to discuss my opinions about the narrative and artsy shartsy parts of games. That said, know that I'm not here to ignore the gameplay and whine about how the hunter keeps decapitating Jill Valentine, thus delaying my beloved sense of immersion. While all that stuff won't typically receive my focus, it is still an obviously important part of the game...

Thus the reason I've developed my own method for reviewing these types of video games, i.e. mainstream games which were intended to be a product that would sell, as opposed to being "lasting pieces of art". Basically it works something like this: First, I identify the basic theme of the game, ponder the developer's intent and measure them with the experiential elements. Second, I focus on how the challenge and other various gameplay elements either support the theme and experience, or hinder it. So you see, it's really not too different from the way countless other video game critics have done their reviews. But rather than dissecting into categories like graphics, sound, control, etc.; I instead chop it up into two very general areas, and see how they cooperate and mesh to form a lasting emotional experience. There's probably been dozens of other reviewers who've done it in a similar way, but that would be news to me, and anyway as Melville said "there is nothing new under the sun" (replace sun with internet, and we're set). Anyway, shall we carry on?

And look, you made it to the actual review! I'm very proud, here let me show my appreciation by giving you 1000 experience points, redeemable with any character in any tabletop RPG. If your DM calls foul, just tell 'em that Rook said it was A-Okay, ya turkey.

Imogene says: "Here's where the review starts, you impetuous scoundrels"

So, as I was most likely saying before, the Resident Evil remake for GameCube is the perfect game to start with. I mean... it's fucking gorgeous and the level of detail still holds up today nine years after it's release. This game, like the original, still manages to capture archaic tropes about Gothic mansions and present them in a way that doesn't feel like it's been done a thousand times over. Down to every be-gossamer'd corner and tipped over candelabra, this game is a feast for the eyes that should still make any jaded horrornaut squee with beloved familiarity. Sure, the character models are getting on in their years, but despite that, the lighting tends to keep Chris, Jill and all their undead buddies draped in a ghostly dismality that keeps the dated visuals appealing. Unfortunately, those gorgeous backgrounds are all pre-rendered, so don't expect too much in the way of interactivity with them, aside from a few windows shattered by enemies and the like. However, Capcom uses this to their advantage in several situations. As the experienced Resident Evil-er should feel safe on the other side of doorways from attacking undead, the developers use this sense of security to totally mess with the heads of the players, as there are frequent, yet seemingly random situations where the zombies kick in doors and continue to chase the player.

This is where I think Capcom was incredibly brilliant. This is a must-play for newbies to the series, but it was also made with so many playful, yet spiteful winks at the veteran S.T.A.R.S. members. The Spencer Mansion looks a lot like it did back in 1996, but there are just enough changes to confound old school players. There are so many little things too, like the infamous dog hallway, which is just tweaked enough to contort my expression into the troll face and say "oh Capcom, I see what ya did thar." This remake really makes me feel like Capcom loves this series and their players, and face it, that doesn't always happen when it comes to overhauled classics. Aside from the minor changes, there are a few original things added into the game, many are to retcon details of the series with later titles, and others are just put there to increase the soil-yo-britches factor for a new generation. And you know, when it comes to spooky things, one of my favorite tactics is the subversion of familiarity, that's where something you recognize is altered just enough to cause a deep subconscious anxiety, and while it's most effective for things that you don't actually find scary (take Majora's Mask for example, 'effin nightmare fuel, itellyawat), it does works here to some additional fright factor.

And it's that said fright that is the core of this game. Yeah, the series has a flimsy theme about the horrors of biological weaponry and how big conglomerates make people eat other people and whatnot, but Resident Evil has always been about scaring your face 'til you fart frosting. Everything else is really a vehicle for that, so does the remake deliver? Yeah... a good majority of the time. You see, fear like everything that ever was, is entirely subjective. And while it's relatively easy to appreciate a piece of art that may not be your taste, it's entirely another matter when it comes to fear and frights. I mean just because something scares the giblets out of one person, doesn't mean it won't also make their little sister laugh at them for decades to come. So, I can tell you about all the things that really scared me, but then for everything else I can just shrug and say that I'm sure it would scare someone. While zombies and window-hating dobermans (dobermen?) will probably be a newcomer's nemesis, I, along with other RE hawdcores will most likely expect them and will only greet such series staples with a smug Ash-like grin and the binitz-end of a shotgun. But Capcom packed quite a surprise for even the most intrepid horrornauts... Ohmzigog! Fast zombies!

Yes, with this update, those fancy random headshots no longer become a trivial thing of masturbatory glee, but instead become a tactical element of combat. As it turns out, if you no kill brain, then you no kill ghoul. Yes, un-faceshooted zombies eventually rise for a second time as the further mutated Crimson Heads, which for me, never become not scary ('cuz they run like weirdos). So therefore, all floored zombie corpses must then be burnt using very limited and ever dwindling sources of kerosene, providing yet another thing that must be planned out carefully. Added to those guys is a new un-killable stalker enemy, similar to the Tyrant/Mr. X of RE2, Nemesis of RE3, and James Marcus of RE0 (or as I like to call him, Jiggly-Boon). This character is named Lisa Trevor, and the only difference between her and the aforementioned stalkers, is that she is actually quite disturbing and has an emotional backstory. I won't spoil any of the special moments the player gets to share with Lisa, but I will say that she is the driving force of scary in this game, and managed to keep me OF ALL PEOPLE sufficiently creeped out.

So, as scientists have figured out, most scary comes in through our ears, so how does the game sound? Well, it's not spectacular, but it does what it needs to do. Enemy sounds effects are creepy enough, and are really what you would expect. Often times, you must rely on sound to help you figure out what you're immediate next move should be, which works great when there's a blind turn in a narrow hallway, but is entirely pointless during the times the camera just doesn't want to show you the rest of the room (but I'll get to that later). The music is about what you'd expect. There are some great ambient tracks that layer on the creepy, but Akira Yamaoka this isn't. Though I must confess, that safe room music is wonderful and undoubtedly my favorite track, maybe because it does have that kind of striking melancholy vibe that I've come to cherish from more psychological-based horror.

Speaking of psychological, I gotta vent one of my biggest gripes about this game and series as a whole, being that all the characters are so unfortunately one-dimensional. It's very seldom that any emoting is done correctly by anyone, and in a game all about fear, that's rather important. In my pre-pubescent years I did have the quintessential fascination over Jill "Sandwhich" Valentine, but other than that, I never really cared about any of the characters. I think it's definitely the empty feeling characters that keep me from getting emotionally attached to them. I dunno about everyone else, but that really keeps me from feeling like I'm enjoying a story, and instead simply navigating a paperdoll avatar, with matching facial expressions, through a haunted house. Saddest part of all, this is a pattern that Capcom seems to adhere to throughout the entire franchise, and considering the rampant action hero cliches of RE5, it's really just getting worse.

When it comes to personality in Resident Evil, it's impossible not to think about the so-called voices of so-called acting. As I mentioned earlier, this game was really trying to update from the mega cheese-factor dialogue that the original was known and actually loved for. And was that goal accomplished? Well, as much as I can recall from my first playthrough back in '02, it was well presented for a video game. Unfortunately in this age of blockbuster games, the voice acting hasn't aged well. Though it's not terrible, it does contribute to the aforementioned blandness of the characters. I mean, such unique idiosyncrasies as Barry Burton's affectionate pet name for Jill, the Master of Unlocking Things, aren't present. Thus for better or worse, we are left with dialogue that is really... well, just kinda unmemorable.

Before I go on to delve into the more concrete aspects of the gameplay, allow me to indulge myself with some fanboy-esque wishes. Okay, so it's clear that Capcom isn't going to make the RE series any slower paced or methodical, instead the developers have chosen to trade the creepiness of suspense for fast paced action. So you know what I would like to see? What if the next Resident Evil game went in a deliberate B-movie horror theme. That way all the over the top action, cheesy dialogue, and gore-based horror could then be awesome in a self-aware throwback retro cliche... rather than just a normal cliche. Beating RE5 unlocks a mode that lets you put a grainy black and white filter over the game (a la classic horror cinema), so clearly Capcom has toyed with the idea. So what do you guys think, wouldn't you like to see the original Resident Evil remade yet again with a heavily stylized old school horror theme, or am I the only one? I suppose Resident Evil has become too much of it's own sort of classic to retcon itself, but I would still like to see it done.

Well, enough with that, it's time to get down to the gameplay, or as I like to call it: the challenge factor. First and foremost, I gotta say, this is a hard game. It's not too hard to enjoy, but it's definitely the hardest survival horror game I can recall playing in recent memory. I think that might be because unlike many other survival horror titles, the difficulty of this version doesn't merely rely on the player's fear as the main obstacle. So, if your into that sort of thing, then therein lies accomplishment, but unfortunately that's not why I play games (or this type of game I should say). The difficulty itself doesn't detract from the enjoyment of the experience, not at all, as it actually does an adequate job of establishing an emotional connection to the game. To sum it up, there aren't many games I can think of that have made me really want to savor the calm and serenity of the save points while I grimly count the few remaining rounds in my firearm.

But that's where it ends for me, 'cause there's one thing I just couldn't cope with, and that was the item management. And no, I don't mean having to conserve my ammo and weeds for the most crucial moments in the game, I'm cool with that part. What I can't stand is the absurd lack of realism when it comes to how the characters handle items. "Slots" are not accurate measurements of space, and the fact that I'm limited to just 6 or 8 "slots" (depending on chosen character) is incredibly annoying. I know this is where some of the challenge is supposed to come from, but it's just stupid and to seems me like a pointless programming limitation leftover from the PlayStation days that could have been altered for the remake. Even if I can get over the fact that a small key takes up the same space as say, 100+ shotgun shells, I can't... nay, I refuse to accept the fact that my character can't just leave some shit on the ground when I've run out of space in my inventory. This is what I call an arbitrary limitation, one that is such a distorted and unnatural representation of reality that I can't get past it. This one gameplay mechanic time and time again removed me from the sense of immersion that the other areas of the game provided for me. Thankfully, they began to fix it in RE0 which was released that same year. Though the removal of the magic toybox and the ability to leave items was a bit awkward in that particular game, they did manage to perfect it for RE4, which is something I'm sure we are all grateful for.

Now the other big control elements that get brought up when people review classic Resident Evil's are the tank-like movement and the dramatic camera angles, both of which I have mixed feelings about. The tank controls are definitely outdated, but I like to think of them as sort of a video game representation of that feeling of paralyzing fear. Maybe it's corny or a cop out, but let me put it this way: even if I was trained in special tactics and rescue services, if I found myself trapped in a mansion with zombies and shit, I would probably lose my ability to sidestep too. The camera angles are a different story... In most rooms and hallways, I love them. It really says to me that Capcom attempted some definite cinematic elements even in basic gameplay, I can respect that. But (and this is a huge but), half the difficulty of the combat is based on the fact that these examples of cinematography prevent me from seeing what the fuck I'm supposed to be shooting at. Yes, I love the angles when I'm just wandering around examining the decor, but when I'm fighting something, I would typically like to see it.

All in all, this is a great game, and even after 9 years it's still a must play. In fact, it's a good example of how to remake a classic game right. But, ultimately that's exactly what this is... just a game. A barely there story, empty characters, and frustrating mechanics never allowed me to transcend into the sense of flow that I really love to find in games. This is a gorgeous game to look at, and it's frequently frightening as it should be, overall it's a great challenge and worth it for the history if you can't get a handle on the original. But it just doesn't deliver in terms of the theme of this blog, in that it lacks that engrossing cinematic quality and emotional investment that I seek out in the medium of video games.



To wrap it up, Resident Evil for GameCube is required gaming... but this is one digital rabbit hole that I couldn't get lost in.

Video games sans the game

Since I'm still getting in the swing of blogging, I thought I would continue with another general idea that I wanted to express. Many gamers who are already into indie gaming are already aware of what I'm gonna be explaining, which is more or less about redefining video games. Just a few short years ago, the gaming industry made a definite push towards making games more cinematic , which is something I can of course get behind. One of my favorite elements about games is the immersion factor, and with mainstream games taking this direction, particular conventions will need to be reconfigured. I mean, if games are truly destined to become the next great universal medium (which is inevitable in my opinion), then there are some basic alterations that need to be made to the rudimentary concept of game theory.

What does the term "game" imply? Well, back during the dawn of games, when technology was very limited, it usually meant obtaining a high score so you could compete with other players. Think classic Pong arcade cabinets with people standing around all sides of the machine, cheering at the two players; or y'know, that scene in the original Tron where Flynn was playing Space Paranoids as onlookers cheered. It was a social experience centered around competition, which is very much the base definition of gaming.

Then fellows like these came along.

They gave games a personality. The player's avatar (as well as the antagonist) now had a face and a relatable goal to identify with. So began a natural evolution of the medium towards more narrative based games with characters and stories that would soon begin to rival movies and television. In summing up the last decade or so, I find the industry to be at an interesting level of development. Like most forms of mass media that are designed to entertain us in exchange for our monnies, most gaming companies by and large have stuck to predictable formats for games. We see the same basic and well understood mechanics, and that's all well and good for many genres, but rarely (especially for American companies) have we seen games that took risks with what qualifies as a video game.

Basically what it comes down to is that in order for games to make sense to a wide audience, they need to be identifiable as games, in that they must possess objectives and game mechanics that enable the player to achieve those objectives. There have been several examples of mainstream games that have attempted to re-evaluate the idea of "game mechanics" and "playability", typically with the underlining goal being to put more emphasis on the presentation or narrative of the game. Some examples would be Shenmue (one of my all time favorites), Heavy Rain, and Indigo Prophecy. Despite the cult success and at times ridiculous budgets (Shenmue being the current biggest budget for any game), these games weren't very commercially successful, typically because mainstream American audiences still aren't prepared for games that don't resemble the cultural idea of a video game. Usually these games have been lacking in some area or another, maybe it was a wonky control scheme or pacing issues, I'm not going to lie and say these games were anywhere near perfect. But I see them as wonderfully flawed in their own right, stepping stones towards the next evolution in game genre. Though, we also have to understand, the majority of American audiences prefer to be entertained over anything else, and there isn't anything wrong with wanting that every so often (I know I'm guilty). These types of games however, asked more from the player than the standard fare, in that more emotional involvement is needed to immerse oneself in the worlds created. Commercial fiction is called that because it is indeed commercial, and submits to the expectations of what's in demand; and while I wish standards were somewhat different, I'm not really anyone to make sweeping judgements... or maybe I'm just saving those for another entry... but I digress.

These narrative heavy and immersion based games are really beginning to push the boundaries of what we can call a game, and I'm okay with that; I mean, we're always going to have games that do what they've always been doing, and I love them all too. But with the advances of technology and the exponentially growing indie culture, I can't wait to see more interactive narrative type games. If we go into the past, we can actually see how this somewhat awkward genre has had strong roots that go back to the arcade. I'm sure we all remember Dragon's Lair right? That game was hardly a game at all, but hell was it entertaining, and quite the coin muncher at that. I'm also pretty sure that most old school gamers still have a favorite point and click adventure or even a text based game, which are both genres I think of as being grandfathers of current gen interactive narratives.

All in all, what I'm getting at is that this genre (if you can call it that) has been around, has an audience, and is definitely progressing. With the thriving culture of indie game developers and awesome mainstream support systems like the Xbox Live Arcade, I think we will see game-less games really flourish. In turn, I believe that this genre will truly bring games into the hands of everyone. Once the challenge, competition, and play mechanics have been reduced and simultaneously perfected for the genre, then we will be left with a medium that is accessible for anyone. Which in turn may bring about it's own brand of overly commercialized and predictable banality, but will ultimately pave the way for more revolutions in interactive art and storytelling; endless possibilities will be in store.

But y'know, talking about these particular elements in games as if it's just one genre is doing a disservice to the many other beautiful works of art that mastered fluidity and simplicity while focusing on the emotion of the game. But these particular titles deserve their own entries, and I'm definitely looking forward to giving them all the individual attention they deserve.

So here's to games and all those that dare not to be.



Never stop exploring digital rabbit holes.

"You don't like any of your games."

The quote in the title was from my fiance, who uttered it after putting up with hours of me complaining about some particular games. At the time I found it subtly hilarious, but now feel that it's increasingly poignant... in a dark, tongue-in-cheek kind of way.

These past couple weeks since the semester ended, I've decided it would be good to finish playing through all the games in my collection in which I have yet to finish. Actually, calling the games I own a "collection" is absurd, because I feel that the term implies that there must be some sort of cohesive theme. When really, a surprising percentage of the games I own seem to have been purchased sporadically with little rhyme or reason. This has lead me to into numerous situations in which I began playing through a game, found no incentive to finish, and thus said game ends up gathering dust on my shelf for years. Typically the lack of incentive came from how often these randomly selected games ended up being completely uninspiring wastes of time (i.e., big slices of fecal surprise). These past weeks have only been a reminder of that, as my patience has been tested every time I've picked up a controller.

I thought this was worth sharing, because it has reminded me of what I can and can't stand about less than perfect games. And as we shall see, many of the games I love the most are far from perfect. It's been interesting to see how many flawed mechanics or half-baked ideas I can suffer before my reason for playing a game becomes lost or desperate, and also, it's been somewhat educational to find how much less of said bullshit I can tolerate as I've gotten older. I guess it's always good to go back and review, problem is now I'm a bit intimidated about going back and playing many of the obscure games that I've claimed as some of my all time favorites.

Perhaps it's time to dust off the beloved ones and get ready to dash away the good (albeit cloudy) memories. Should be interesting.

The digital shadow under the proverbial umbrella.

Okay, now it's time for me to pony up an explanation and definition of how I'm going to be evaluating the supposed art of these supposed vidya games. But first, allow me to remind you now (in hopes of never having to in the future) that these are all purely my opinions. Which by nature, are not actually affronts to your opinions if they should happen to contradict. Obviously this blog is purely of an editorial nature for most entries, but there will be many situations in which I will forsake my own bias to invoke a proposed "higher purpose".

Next, in this pre-ass-covering preface, I will admit that YES, video games are art... every single one of them. Just as every movie, song, or thing ever written down anywhere is also art... But only in certain perspectives! We can go back and forth about the ultimate nature of art, but as of this moment, I am far from qualified at even attempting to do so. That said, while I will acknowledge this perspective that all human (or animal for that matter) creations qualify as art, I will not adhere to it. So, like countless reviewers and critiquers before me, I will make an easy answer all the more complex while simultaneously imposing my opinion on the work of another. Fair enough?

Clearly as far as a definition is concerned, I will be using a loose, colloquial representation of the word "art". But really, what I will be focusing on are revolutionary, creative, and otherwise unique ideas implemented in games. This will relate largely, but not limited to such elements as: style, story, immersion factor, music, atmosphere, game mechanics and so on...

Some people might be thinking to themselves: "Well, if you're so concerned with art, why don't you look at a painting, or read a book... hell you could even watch a movie." Which is a response that I imagine to be held by non-gamers and only small percentage of the actual gaming community. But to which I reply: The inherent nature of games is one that puts the player literally into the shoes of the protagonist of the game. The character's goals become our goals, and thus a level of immersion is reached that is far more literal and deliberate than any other vehicle of media. The nostalgia and emotional reactions that I've had from certain games is completely unmatched by any other movie or novel that I might also have great affection for. And it's because of that, that I feel this medium is truly worthy of the same deep analysis that we would give to any other classic storytelling format. I know I'm certainly not the only one who must feel this way.

That said, on frequent occasion expect that I will deviate from the pure spectrum of "art in video games" and will delve into other topics as well. Things like: social issues raised in games, how culture has impacted games and vice versa, gaming culture, how elements of games relate to other media, and so on and so on.

Oh yeah, also be prepared for a heavy horror theme here and there... it's kinda mah thing.

1P

At the radical age of 3, my parents purchased for me my very own Nintendo Entertainment System. As the legend goes, I was apparently playing arcade games and a family member's NES from the moment I developed basic motor skills; or so say my parents, but that would account for early fleeting memories of Donkey Kong, Rampage, Smash TV, and various other titles that I can only vaguely recall the graphics for. Throughout that first decade of life, I was passively exposed to other hobbies and sports, but either due to lack of interest or talent, I never had any desire or motivation to continue doing any other thing besides gaming. So, for the most part I was raised by Nintendo (and Sega to a lesser extent), early 90's Nickelodeon, and the remnants of 80's culture that my older cousins had instilled in me. And in those years of being an only-child, locked away in my bedroom for long afternoons, I somehow developed a thing called imagination. Maybe it was all those simple pixel-sprites, or maybe it was all the ridiculous action figures and cartoons that were iconic for the time, but whatever it was, it established a recurring theme of bizarre creativity that would follow me for the rest of my life. I truly believe that if I hadn't led the childhood that I did, I might never have discovered a love for storytelling that has existed in me for as long as I can remember.

Growing up, I began to nurture the idea that when I became an adult, my career would center around video games and writing. Which I'm sure that's true for most young gamers, I mean, haven't we all wanted to come up with the ideas for our own games? Once I got a little bit older, I began reading gaming magazines; Electronic Gaming Monthly, Nintendo Power, and Expert Gamer to be particular. I would read those magazines front to cover, and they really helped to establish a critical reviewer mentality, which again, I think is typical for young gamers of our generation. So really, at a very young age I was confident in my future profession. If I never had the opportunity to develop games, then I could always pursue writing about games instead. These were ideas that I clung to for years to come, and obviously, I still have delusions of the latter.

Then came my teenage years... Like many the young angster, I became easily distracted by the bullshit that is high school socializing. In middle school and before, it was easy to just be another nerd, but from early on in my teenage years, I discovered that I could tweak my identity into something else, and thus I realized (sooner than most, I would say) that being creative and nerdy didn't mean I had to succumb to stereotypes. So while I wasted many of my best years trying to discover myself (nyuck), I simultaneously began discovering other things. What had been missing in my younger days?

Simple: movies, music and literature.

My love for imagination quickly became transfixed upon these classic and omnipresent mediums that I mostly ignored from the early ages, which I think, is the best time to introduce young children to the classics. As a kid, the only movies I enjoyed were The Nightmare Before Christmas, Star Wars, Jurassic Park, and whatever heavily commercialized crap was being pushed on family households. My taste in music was by far narrower, in that I primarily enjoyed 8-bit chiptunes (as well as later 16-bit tunes), "Hey Sandy" by Polaris, and little else. But that childhood love and fascination for creativity was yearning to discover more of what the world had to offer by the time I was a preteen.

I believe I can cite a viewing of A Clockwork Orange at the age of 14 or 15 to be the earliest catalyst for a rapidly growing obsession with cult films. This easily translated itself into an interest in obscure music as well. All throughout that time of discovery and the excesses of expanded nerdom, I never stopped gaming. However, I was maturing. My tastes and interests were growing, and no longer was I content to spend my imagination points fantasizing about cool game plots. Now, I was writing comics in my spare time, outlining novels and screenplays for short films and the like. Games still took up a lot of my time, but being a part of gaming community and culture took a backseat.

Over that period, games were making their arduous climb into a larger mainstream appreciation. It seemed like everyone was a gamer now, and I thought that was all well and fine. But the snob inside me realized that as games became more and more commercial, the more games would adhere to mainstream tastes and predictability. I'm gonna be honest here, I know games have always been heavily commercialized. From the Atari bust, to the NES gaming resurrection, all the way through the mascot-saturated 90's. But as a youngster, I wasn't aware of it then as much as I would become aware of it as a teen. So, it seemed in the early-mid 2000's, mainstream gaming and I were growing apart. Games like Halo and Call of Duty were beginning to dominate sells (much as they are now), and while I enjoyed them, I was never particularly fond of FPS'ers as a genre. At this point, it was easier to renounce myself as a gamer, stick to a handful of games a year, and ignore the wide-scope of the gaming community. Throughout this time, I pretty much stuck with horror themed games, various RPG's, and any big title game that had a damn good story or some kind of nostalgia factor.

And that's where I was until a few months ago...

To know one's self is important if one desires a life of creativity, and to forget the impact that video games have had on me would be a fallacy. That said, I know video games and I have more in common than I've been letting myself realize, and so I aim to not just rekindle that relationship, but instead probe the complexities and semantics of gaming and how it relates to my love for various forms of art.


So anyway, I thought it was important to give a brief summary of my relationship to games throughout my life; I mean, if we're going to be discussing games, it just makes sense. And maybe because if it ever seems like I'm asking too much from games, it's good to look back and see where it all started. If my opinions ever seem to deviate from standard gamer fare, know that I began as a gamer and will always be one at heart. For the most part, I've avoided mentioning any particular games that I especially care about because I didn't want to establish any bias too soon (in fact, I hope this blog will provide a personal exercise in looking past bias); and when the time comes to mention my favorites, you can beat I will, as well as any other important gaming milestones that have established my particular version of a gamer's mindset. As I mentioned before, horror (not just survival horror), RPG's, and retro games have been some of my preferred genres, but ultimately what I seek most in games (as in other media) are interesting and revolutionary ideas. So here's to a bright future for art in the gaming industry... well maybe sans the industry... I couldn't be happier to be a gamer in a time when so much potential is at our hands and our thumbs.

Start is left unpressed, and the demo repeats...

I should say, it's been a long time coming.

First and foremost, I would like to begin with a preface. A brief moment to orient myself in a return to blogging. 'Cause you know and I know and now you know that I know, that nothing said here will be anything new. I'm just another voice in the static of the cultural nether, talkin' about some shit or somethin'. So, the first thing you must understand is that my aim is to avoid all things ostentatious in favor of honesty, and though I may or may not be wearing a powdered wig at the time of this entry, know that any accusation of pretension will be met with doe-eyed confusion. Ya feel me? Excellent, me neither.

So check this out, this blog is all about video games, or to you lay persons: "vidya games". But not just video games in general, but rather the art of video games... or the lack thereof.

Now now... before you get out your beatin' sticks, allow me to explain that this only appears to be a dead horse. For you see, I believe that for this medium to be as valid as it deserves to be, then video games must too succumb to the same scrutiny as great literature, film and music. As you can imagine, I, being a man of great opinions, have a lot to say about this topic; so for the most part, I plan to conform each entry to a particular idea. An element, if you will (and yes, you will), of various aspects that will relate to the overall theme of gaming and art and their little arty game babies. Throw in a few odd game reviews, things that generally relate to creativity, along with the natural evolution of projects like this, and that's pretty much what you can expect from this blog.

All that said, I don't know shit about programming, nor have I ever had any extensive, formal study of art critique. I'm just a chap who loves thinking, analysis, and the beauty that is human imagination. So, I'm really hoping that I can get some good discussions going on here, so feel free to share your opinions. Here's to hoping they will be as thoughtful as I imagine they will be, cheers!

I'm sure some of you are wondering where the title "8-bit Baroque" came from, and if you weren't, then you really should have been (you really, really should have been, ya turkey). So allow me to explain myself: aside from the fact that Baroque is just one of my favorite words and my favorite era of classical music (real rock stars play harpsichord), I couldn't help but enjoy the contradiction between all that is 8-bit and all that is Baroque. The beautiful simplicity of necessity juxtaposed with overt and superfluous extravagance...

...Aesthetics, can you dig it?