Posts Tagged ‘ feature

Monthly Musing: More than just noise 01 September 2010 at 8:00 am by Admin

Monthly Musing: More than just noise screenshot

A critical part of the gaming experience, yet one that doesn’t get discussed very often, is sound. I’m willing to bet the vast majority of people reading this right now have an mp3 library full of video game music and remixes, and I’d even go so far as to say most of you probably have something video game themed as your ringtone & text message alert.

Yet, even though the sounds of gaming are, to many of us, immediately more recognizable than whatever is currently popular on the radio, it rarely comes up in any significant form when we talk about games. Reviewers (myself included) usually just briefly mention sound design when reviewing a game — a paragraph at most. When asking friends for game recommendations, I’ve yet to have anyone suggest a game to me for the sole reason that the sound/music is stunning. Sound, sadly, is often ignored, or at the very least marginalized in the overall gaming discussion.

Let’s change that. For this month’s Musing, you’re to write a blog that discusses the role sound plays in the gaming experience. Instead of giving you a list of ideas like I’ve done the last couple months, I’m going to leave this one completely open and see what you guys come up with — talk about sound and/or music in games, and be creative.

To participate, just click “Post A Blog” up there in the upper right of the screen, title your post “More than just noise: WhateverYourTitleIs”, make sure you pick the “Monthly Musing” from the tag list (this is important!), write it up, and set it live. If your article is particularly well-written or sparks interesting discussion, we’ll stick it up on the front page.

+ Monthly Musing: More than just noise By Admin 01 September 2010 at 8:00 am and have No Comments

Monthly Musing: More than just noise screenshot

A critical part of the gaming experience, yet one that doesn’t get discussed very often, is sound. I’m willing to bet the vast majority of people reading this right now have an mp3 library full of video game music and remixes, and I’d even go so far as to say most of you probably have something video game themed as your ringtone & text message alert.

Yet, even though the sounds of gaming are, to many of us, immediately more recognizable than whatever is currently popular on the radio, it rarely comes up in any significant form when we talk about games. Reviewers (myself included) usually just briefly mention sound design when reviewing a game — a paragraph at most. When asking friends for game recommendations, I’ve yet to have anyone suggest a game to me for the sole reason that the sound/music is stunning. Sound, sadly, is often ignored, or at the very least marginalized in the overall gaming discussion.

Let’s change that. For this month’s Musing, you’re to write a blog that discusses the role sound plays in the gaming experience. Instead of giving you a list of ideas like I’ve done the last couple months, I’m going to leave this one completely open and see what you guys come up with — talk about sound and/or music in games, and be creative.

To participate, just click “Post A Blog” up there in the upper right of the screen, title your post “More than just noise: WhateverYourTitleIs”, make sure you pick the “Monthly Musing” from the tag list (this is important!), write it up, and set it live. If your article is particularly well-written or sparks interesting discussion, we’ll stick it up on the front page.

+ You keep using that word: "trial and error" By Admin 30 August 2010 at 11:00 am and have No Comments

Words. They’re like tiny nuggets of enriched uranium. They hold great power and potential energy, but they’re also extremely fragile and unstable. When harnessed correctly, they can galvanize people behind a concept; when handled sloppily, they’re likely to blow up in your face. Despite the potential fallout, humans continue to rely on words as their primary currency for information exchange.

Immersion?” “Compelling?” The overuse and misuse of these terms and others in videogame discourse has led to a grand muddying of the waters. The different factors and variables that go into either of those concepts are legion, but the words themselves strangely become vague placeholders that somehow magically absolve the writer from describing what specifically about a game drew them in or transported them to that other world (i.e. doing their job). As such, we end up with lazy writers and confused readers.
 
The abuse of words and phrases like “immersion” has thankfully seen a decline in recent days. But, like a game of linguistic Whack-a-Mole, there’s always a new idiotic rodent in dire need of flattening. Our target for the sweet hammer of logic today? “Trial and error”.

The most frequent misuse of the term seems to be concentrated in the discussion of platformers, where you’ll find it sprinkled liberally like salt and pepper on a piece of grossly over-cooked chicken. Reviews, critiques, and comments of games in this genre have been getting it wrong for years. From classic franchises like Mega Man and Rayman to modern indie titles like Braid or P.B. Winterbottom, you’ll inevitably find a gripe that summons the phrase “trial and error”.
 
I actually read a review of Limbo that said the game “suffered from a reliance on trial-and-error gameplay.” If you take a closer look at the meaning of the term, the absurdity of that statement becomes more apparent. A game cannot suffer from trial-and-error gameplay, because trial and error is a fundamental component of gameplay. There is no other kind.


 
All games employ trial and error. Trial is interactivity — providing the player with a set of tools/options and an environment to play with them in. Error is defining the rules — determining what actions result in success and which lead to fail states. There is no game that doesn’t utilize this system; rhythm games, shooters, and even artsy-fartsy titles like Passage employ it (in Passage every playthrough technically results in a fail state: death).
 
Essentially, saying that a game suffers from trial and error gameplay is no different in meaning from saying that a game suffers from being a game. If games were self-aware, that would be a very cool nihilistic meta-statement to make. Since they aren’t self-aware (yet), it’s just wrong. Telling developers that their games are bad due to trial and error gives them absolutely no substantive or constructive information with which to push the quality of their games forward.
 
When a writer uses this term in the context of game critique, it generally indicates a lack of ability to accurately zero in and elaborate on the source of their dissatisfaction. I’ve misused the phrase myself recently in an attempt to use the accepted meaning of the term rather than the actual meaning. No more. Particularly because there is no accepted meaning. It’s all about context.
 
When someone dings Mega Man for trial and error, what they usually mean is that they are frustrated with the difficulty level or that they feel the game relies too heavily on pattern memorization. When Demon’s Souls was slammed for trial-and-error gameplay, it wasn’t just the difficulty that reviewers were concerned with, but also the steep penalty for hitting a fail state. In the case of Limbo, the penalty for a fail state is minimal, so many reviewers used the term to refer to their concern that the conditions for success aren’t more implicity communicated (i.e. if you die even once and it’s not your fault, it’s always bad design).
 
If you’re familiar with the game in question, it’s possible to work backwards and make an educated guess as to what they mean by that phrase. But asking a reader who is coming to a review or editorial without having played the game to try and properly infer which meaning of trial and error the author intended is simply bad writing. It does nothing to inform the audience or strengthen the dialogue.


 
I personally think part of the problem is that really drilling down to that level of detail exposes the subjectivity of the craft involved in game writing. Games writers are not the arbiters of objective quality when it comes to things like trial and error.
 
We can say, “this game has massive bugs, therefore it is a bad game.” However, it is not our job to say, “this game is extremely difficult (or easy), therefore it is a bad (or good) game.” It is our job to say, “I enjoyed this title in part because it possesses x level of difficulty, and that meshes well with my tastes.”
 
It is the readers’ job then to plug their own tastes into the equation and base their own decisions accordingly. The writer acts as a compass needle; based on how the writer’s opinion, style, and reasoning resonate with a given reader, that reader can then use the point to chart a course either towards or away from the writer’s stance. When a writer relies on an ambiguous catch-all phrase like “trial and error,” the needle becomes wobbly and therefore a less valuable tool to the reader. It’s asking an audience to adopt an opinion based on faith rather than specific reasoning, and the Internet’s not so good at that.
 
Avoiding “trial and error” outside of its actual meaning can only elevate the quality of videogame discourse. It will force us as writers to bring more specificity and logic to our arguments, and that will provide us with much more benefit as readers. And by that, I mean it will make game analysis more immersive and compelling.


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+ New releases: Shank, Mafia II, Scott Pilgrim and more By Admin 26 August 2010 at 6:00 pm and have No Comments

New releases: Shank, Mafia II, Scott Pilgrim and more screenshot

[New releases is your weekly look at all the hot new titles coming out this week.]

Oh. Hell. YES! It’s time to get Shank’d! The awesome beat-em up is coming out for Xbox Live Arcade and PlayStation this week and I couldn’t be any more happier. This game is a ton of fun and it’s violent as F*CK too. You’d be an idiot to skip it.

Also un-skippable this week is Mafia II for the PlayStation 3, Xbox 360 and PC. Xbox 360 gamers also get Scott Pilgrim vs. the World: The Game, another game you’d be dumb to skip.

What’s look sw33t to all of you this week, Dtoiders? Hit the break for the full release schedule!

[Editor's note: This post did not go live on Monday as planned. So here it is now!]

PS3: Mafia II

PSN: Shank

X360: Mafia II

XBLA: Shank, Scott Pilgrim vs. the World: The Game

Wii: Gunblade NY and LA Machineguns Arcade Hits Pack, Ivy the Kiwi?, Grease: The Game, The Bachelor, Martian Panic with gun, Gunblade NYC & LA Machine Guns, NHL 2K11

WiiWare: And Yet It Moves

DS: G.G Series: Ninja Karakuri Den, Crazy Pig, Grease: The Game, Ivy the Kiwi?, The Bachelor, Harvest Moon: Grand Bazaar

PC: Worms Reloaded, Mafia II

And Yet It Moves (WiiWare)

Releasing 08/24:

Gunblade NYC & LA Machine Guns (Wii)

NHL 2K11 (Wii)

Mafia II (PS3, X360, PC)

Scott Pilgrim vs. the World: The Game (XBLA)

+ The rubbing of breasts on faces in Dragon Quest IX By Admin 21 August 2010 at 11:00 am and have No Comments

The rubbing of breasts on faces in Dragon Quest IX screenshot

The Dragon Quest saga began for me in earnest only with Dragon Quest VIII. I had played previous games in the series, but not in any capacity other than “OK let’s do this oh WTF this is shit?” I never even got around to finishing DQVIII despite the fact that I loved it like my own magical Japanese/British love child. But the point is that I’m hardly an expert on the entirety of this crazy Dragon Quest thing, and that’s especially true of a little thing called the “puff-puff.”

What the hell is the puff-puff? I’m glad you asked. Just last week, I found myself asking that same question — around the same time I was writing that two-part thing. When all was said and done, the puff-puff just wasn’t relevant to what I was saying in those two pieces. So now it’s time to answer once and for all, “What is the puff-puff?”

It’s a story that begins, as so many others do, with getting high. And it ends with boobs.

One of my favorite things about Dragon Quest IX is the DQVC service, a specialized store offering new items and quests. A couple of Fridays ago, I unlocked a quest called “Puff-Puff Performance.” To any true Dragon Quest fan, this would have immediately meant something quite glorious, but as for me, I simply wandered over to the quest giver expecting a fairly typical mission, perhaps one involving dancing.

However, the quest giver asked me to find an herb called “cheer-me-up.” Hmm … something called a “puff-puff” that involved a magical herb? I thought I had an idea of what was going on now. This silly little JRPG with an E10+ ESRB rating was going to get me high as fuck. Ah, the perks of being an angel. Innocence? Ha!

The reality was quite a bit less innocent than this.

So I set out to find a cheer-me-up. Fairly straightforward. Go out, steal the cheer-me-up from a big-ass troll, and return to quest giver Tuya. That’s when the true fun begins. The music cuts out and the screen goes dark as Tuya makes your character close his or her eyes, and the ritual begins. You see only the text come on screen, telling you of the magic you are about to experience.

This is where things start to get really weird. Tuya begins talking some really random nonsense, like “Come to me! Good! Now stay!” Uhh, yeah lady, I’m just sitting here with my eyes closed. Then the “puff puff puff puff puff” begins, and a strangely bouncy sound effect plays through the speakers. Is that supposed to represent taking a hit from a pipe?

The sudden “baa” pretty much shatters that idea.

Yeah, with the screen still blank, a voice begins to bleat. It’s not Tuya — she commands the bleating to cease. Is it me? Has my character become so mind-alteringly high that she believes herself to be a sheep? Soon, more puff puff, more bleating, and Tuya offers the cheer-me-up to the baaing voice. OK, so apparently I’m not high. Shit is fucked up.

The bleating reaches its climax, and the screen lights up. Mia, my character, is surrounded on each side by two little lambs who appear to be rubbing their asses upon her face as hearts emit like love fumes from the top of her head.

A couple of stoned lambs are humping me with their butts.

They bestow upon me the honor of the puff-puff once more before fleeing the scene like a couple of freelance hookers at a drug bust, and the “puff-puff experience” ends. I am given a piece of lambswool as a memento by which to remember the experience/ordeal. But, trust me, no memento is necessary. I have nightmares of being suffocated by lamb asses the next night.

The following day, I do a little research. Apparently, this is not the first puff-puff performance in the Dragon Quest series. Soon, I’m knee-deep in a history of puff-puffs, and I’m surprised to learn that the missing link in my comprehension was breasts.

In the Japanese version of the first game, Dragon Quest (which became Dragon Warrior in the States), a woman offers a “puff-puff” to the hero. Strangely, it’s hard to find a ton of information about this, but Gamasutra has us covered. According to that article, the idea of puff-puff comes from a Japanese onomatopoeia, “pafu-pafu.” The sound it’s supposed to represent? That of rubbing one’s breasts in another person’s face.

Oddly, I kind of think that onomatopoeia works!

Other sources suggest that the person receiving the “pafu-pafu” is supposed to make the sound vocally while his face is the meat in a breast sandwich. Whatever the true meaning is, this could never fly in America, so Dragon Warrior substituted a girl selling tomatoes for the girl offering the puff-puff. It’s amazing that this tale doesn’t end here. But against all odds, this silly replacement for the true “pafu-pafu” spawned a long-running series of jokes.

Throughout the Dragon Quest series (and Akira Toriyama’s other major series, Dragon Ball), there have been a variety of strange references to this bizarre fetish, though its inclusion in Dragon Quest VIII is perhaps the greatest of all. It’s hidden pretty well in the game, but if you do manage to find it, you’re in for a real treat — one that’s considerably more direct in its relation to the real “puff-puff.”

As the video above shows, the protagonist is placed in a chair with the promise that it “feels sooooo good.” He is then instructed to “let it all ‘ang out” (whatever “it” may be) as he is blindfolded. Naturally, he will have twice as much fun with his eyes closed. Sure.

As in DQIX, the screen goes dark and you’re treated to the sound of bouncing and the question “Ave you ever felt a pair as warm and soft as mine?” Oh, yeah, there that is. That’s definitely probably a reference to her breasts.

Of course, no real breasts can be involved in this ritual, so it is revealed that the woman has been rubbing two bouncy slimes on either side of the character’s head. Still, it’s a hell of a lot more obvious in this entry of the series what the puff-puff is meant to symbolize. And it’s just brilliant.

The game does include yet another instance of the puff-puff. Jessica, the party member best known for her gigantic mammary glands, learns the ability to perform a puff-puff in the hopes of “putting a huge grin” on the face of your enemy, making him so enthralled that he misses a turn.

The best part, however, occurs when an enemy attempts a puff-puff upon Jessica. If it fails, the game displays the message “But Jessica laughs triumphantly having won the battles of the bulges.” I really wish there’s something witty I could say here to make the effect greater, but there really isn’t. This level of writing in a game really speaks for itself.

As a bonus, 3D Dot Game Heroes made a reference to the puff-puff. You can see that here. Sort of vanilla, at least when it comes to the full glory of the puff-puff, but at least it’s there.

So there’s your exhaustive investigation into the puff-puff. If my other two posts hadn’t convinced you that Dragon Quest IX is something that you need to have, hopefully this will. Everyone needs a good puff-puff once in a while.


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+ New releases: Madden NFL 11, Scott Pilgrim and more By Admin 09 August 2010 at 12:40 pm and have No Comments

New releases: Madden NFL 11, Scott Pilgrim and more screenshot

The big release of this week easily goes to Madden NFL 11. No, it’s not just another rooster update, haters. Go check out Samit Sarkar’s review to find out what’s new and hot about the latest in FOOTBALL!

On the digital side, PSN gets Scott Pilgrim vs. the World and XBLA gets Monday Night Combat. Both are pretty awesome games and deserve your attention. Also, there is a massaging game for WiiWare. Yes, really.

What’s looking sw33t to you this week, Dtoiders? Check out the trailers after the break!

PS3: Madden NFL 11

PSN: Scott Pilgrim vs. the World

X360: Madden NFL 11

XBLA: Monday Night Combat

Wii: Madden NFL 11

PS2: Madden NFL 11

PSP: Madden NFL 11

iPad/iPhone: Madden NFL 11

WiiWare: Enjoy your massage, My Aquarium 2

DSiWare: Rhythm Core Alpha, TURN: The Lost Artifact, Absolute Chess, Did it Myself ABC123

Scott Pilgrim vs. the World (PSN)

Monday Night Combat (XBLA)

 

+ BritToid episode 3: Keep calm and throw down a beat By Admin 09 August 2010 at 12:00 am and have No Comments

BritToid episode 3: Keep calm and throw down a beat screenshot

Ladies and gentlemen, welcome to BritToid, Episode 3! We are Destructoid’s British-gaming-focused podcast that brings you some of Britain’s finest (plus one German) accents and all the biggest news from the UK.

Listen this month as we kick off with the never easy to answer question of “what is your favourite game” as we all try to explain/justify our choice (I also may or may not descend into a hissy fit). We follow it up by taking another look at the UK sales chart, only to find we have no surprises that 2010 FIFA World Cup South Affica continues to sell well, despite the robbery followed by a sexual assult that was England’s exit.

We move swiftly onto the banning of the R4 in the UK, which of course none of us would ever own. We take a look at the Xbox 360 Slim which happens to be selling well in the UK despite the brutal pricing for Kinect. We end the show on Seto’s orders as we take a look at the developer awards only to finish off by discussing the end of top PC magazine PC Zone.

Download the show here or check us out on iTunes!

This week’s episode is a little longer than normal, so as a treat, you get two breaks! Hit the jump to see the show breakdown and any links we needed to include.

EXP magazine

Kill Screen magazine

01:25 Let the games begin!
32:44 Shut up Germany! BREAK
33:54 We are getting divorced – cracking Crackdown
49:40 Thank God it isn’t wine BREAK
50:30 NEWS! Pirates life, getting slim, costs HOW MUCH?! …the winner is and American gaming magazines suck.


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+ Games of the Week for 8/1/10: Lawn Jockey edition By Admin 01 August 2010 at 4:00 pm and have No Comments

Games of the Week for 8/1/10: Lawn Jockey edition screenshot

I am not Jim Sterling. Depending on your perspective, this could be a great or terrible thing. Jim’s plate is pretty full these days, so I will be taking over the posting duties for our weekly celebration of the games we played the week before. 

Let us begin as all things should begin: With a murderous lawn jockey. Hop along past the jump for everything we did last week.

Chester: Been playing Dive: The Medes Island Secrets on WiiWare, a surprisingly relaxing undersea exploration game. Also: Castlevania: Harmony of Despair on Xbox LIVE Arcade, and Ubisoft’s throwback Scott Pilgrim beat ‘em up on PlayStation 3, neither of which I can talk about yet. I can, however, talk about the Mafia II preview code I got on Thursday. Oh wait, I haven’t had time to play that yet. But by the time you read this, I hope to have shot a bunch of Italians. (that’s cool if I’m both Italian in and out of the game, right?)

Bennett: This week I have been keeping it simple by returning to The Legend of Zelda: Wind Waker on GameCube. I really underestimated this game when I first played it and probably dismissed it far to quickly. However since returning to it I see it in a whole new light and I have now fallen in love with it. On the more casual side of things, Angry Birds on the iPhone is addictive beyond belief and since I was told to download it while recording this months BritToid, I haven’t spent much time away from my iPhone. 

I have spent little or no time on my Xbox360 as of late but I did log-in long enough to purchase a ‘Save Carmine’ t-shirt. Seriously kids, SAVE CARMINE! 

Razak: I play about 45 minutes of Bowser’s Inside Story every week. I’m loving it, but need to find more time to pick up my portable. I’m also being dated with my console gaming as I’m working through Arkham Asylum right now. At first I was only digging the fact that the voice acting was so awesome, but the game is just getting better and better as it goes along. I don’t think I’ve had a feeling of a universe and characters so well developed and represented since I played BioShock. Hopefully it doesn’t end in such a disappointingly cliche way like that did.

Oh! And I got the Game of the Year Edition so I look insanely lame playing it in 3D. It’s pretty cool, but for the most part I’ve been keeping it two dimensional. 

North: Etrian Odyssey III is like crack. Really punishing crack. And my OCDness has me freaking out over perfect maps. Can’t. Put. Down.

Zimmerman: Oh, God, Matt. I’m so sorry. I’m so, so sorry. You need to have those hopes for the future of Arkham Asylum to be crushed in the absolute worst way. Now skip the next paragraph so I don’t outright ruin this for you if you’d rather be surprised.

Actually, now that I think about it, Arkham Asylum has exactly the same climax as BioShock. I don’t know why I didn’t draw the connection before because it’s so flagrant, but there are a ton of similar plot and narrative elements between the two games. I wonder if Rocksteady were conscious of that when they were doing it.

As for me, I’ve been playing Castlevania HD. And FrontierVille.

Holmes: Yeah Matt, you just said a mouthful with the Arkham Asylum/Bioshock comparison, especially in regards to the ending. I don’t want to give it away, but I will say that you’ll probably see Jasper Batt Jr. in a whole new light after finishing Arkham. 

As for me, I didn’t get to play videogames that much this week, which sucked. I got some time in with Persona 3 Portable every night before bed, weighed myself and played Wii Fit Plus for a bit, ran through a level or two in Sin and Punishment: Star Successor, and was beaten up on Tatsunoko Vs. Capcom a few times. All old games for me, as nothing new excited me this week.

I’m pretty excited about the games that other people played though, specifically Scott Pilgrim and Castlevania HD

You lucky fuckers!

Perlee: Beat LIMBO on a friend’s 360. Other than a couple ingenious puzzles, I was mostly unimpressed and apathetic. Oh well.

But other than that, I’ve been all over BlazBlue: Continuum Shift, got every achievement in LEGO Harry Potter, started Legend of Zelda: Phantom Hourglass, and played a bunch of games that you’ll know about next week.

All in all, it’s been pretty good.

Razak: Well, crud. I skipped Conrad’s second paragraph, but this doesn’t sound too good. Guess I’ll spend more time looking for those Riddler trophies to ward off the end.

Sterling: The Sims 3 took up a lot of time this week, and it’s a damn fine game. I wanted to give it a chance since everyone shits on it, but it’s compelling stuff, and I’ve found that when you admit to playing The Sims, you get a hushed “me too” from other gamers, as if it’s some social shame that everyone is secretly indulging in but never wants to admit. So anyway, I liked that. 

On the opposite end of the spectrum is Castlevania HD. I’m not talking about that. 

Ponce: I played a really fun game all week called “Fry alive in Orlando in 100-degree weather with 80 to 90% humidity, then return to your shit motel room where the AC doesn’t even fucking work.” When I wasn’t suffering from heat stroke, I too was playing Bowser’s Inside Story.

Ross: StarCraft II all day every day. And Bejeweled Blitz for when I wasn’t home with my computer.

Carey: Finished up the Autobot campaign for Transformers: WFC, and it just kept getting better and better for me. I’ve been wounded by too many crappy tie-ins to that franchise, so I think it just took me a while to get over my trust issues; I ended up loving it. Also got sucked into a binge session of Puzzle Quest 2 yesterday, I guess Castlevania Puzzle got me in a match-3 RPG kind of mood.

On iPhone, been playing Helsing’s Fire for good puzzling and because Helsing will periodically give his partner a brofist after beating a level. Got a kick out of Fastar!, which is a fun time-attack RPG where you fight squares. Finally, I started Shining Force, which is the only decent game so far using SEGA’s emulator on the iPhone. Really enjoying the simplicity of the old-school SRPG.

Devore: Castlevania HD, StarCraft II (only the campaign, so far), and New Super Mario Bros. Wii now that I have four Wii remotes. The rules of the house are basically “make it to the end as the only survivor utilizing any means necessary.” Fun times!

Concelmo: Finished Sin & Punishment: Star Successor (adored it!), a little more Dragon Quest IX: Sentinels of the Starry Sky (love it!), and, I don’t know, a little something called StarCarft II!

StarCraft II is the reason I recently bought my fancy new computer, and the purchase was totally worth it. StarCraft II may be my favorite thing that has ever been created. EVER BEEN CREATED!

Sarkar: I played the Madden NFL 11 demo and wrote up some impressions, but my review copy showed up on Friday afternoon, so I’ve been spending time with the full game for a final preview that will go up tomorrow. Last night, I went to a Dtoid NY party and joined Dtoider Nintendoll in singing, like, 30 songs in The Beatles: Rock Band. Good times!

+ Top ten videogames that don’t star a Ben Affleck-type guy By Admin 19 July 2010 at 11:00 am and have No Comments

Top ten videogames that don't star a Ben Affleck-type guy screenshot

Last week, Chad Concelmo told you all about all the stubbly, brown-haired game protagonists that have glutted the gaming scene of late, and how we could use a few less of them. We’ve got nothing against stubbly Caucasian males, of course. Radical cartoon characters with attitude may have owned the gaming scene in the 8-bit and 16-bit eras, but after the CD-ROM came along with its capacity for voice acting and detailed cut scenes, it was time for “Hollywood leading men” to take over games as well. That’s just the way trends work. They tend to beat things into the ground until they aren’t interesting anymore.

The Ben Affleck-looking action star isn’t the only visual archetype that has made the leap from movies to videogames. We’ve also got the busty leading lady, the funky urban sidekick/pimp/arms dealer, and the colorfully coiffed anime star, among many others. The closer that gaming gets to the mainstream, the more it’s bound to get infected by mainstream entertainment’s least interesting qualities. In other words, generic, lowest-common-denominator heroes are inevitable in any art form that’s made for profit.

That’s the bad news. The good news is that there will always be game developers that make it a point to give us an alternative to that. Whenever there is a mainstream, there is a counter-culture, and gaming’s counter-culture protagonists have never been more interesting.

Here’s a quick list of some of my favorite atypical videogame mascots, none of whom look anything like Ben Affleck.

10) The Viewtiful Joe series


On the surface, Viewtiful Joe doesn’t seem that different from a lot of mainstream anime/action stars. He’s basically a super-deformed Power Ranger with a goatee and tight abs. It’s only when you see him alongside more standard game characters in something like Tatsunoko Vs. Capcom that it becomes clear just how weird Joe is.

Combining big-head-little-body cuteness with Western superhero muscles and a pink scarf is not normal. Made up words like “Viewtiful” are also not normal, and Joe exclaims them on a regular basis. Although it’s easy to trace the influences that went into creating Viewtiful Joe, it’s pretty hard to think of another videogame character that looks or plays quite like him.

If Ben Affleck played Viewtiful Joe, he’d have gone from a bizarre tribute to both Western and Eastern geekdom to being just another random superhero. There is no way his adventures would have been as memorable as “Viewtiful Ben.”

9) The LEGO series


The LEGO games get a lot of crap for being uninspired. That may be true now, but when LEGO Star Wars first hit the scene, it bucked a lot of trends. The game was released at a time when game adaptations of live-action properties were focusing more and more on realism. Then the LEGO series came along and turned that notion on its head.

Developers that are in love with the idea of making their games look “real” have to resort to creating lead characters that look like the primary demographic (Ben Affleck look-a-likes) in order to assure that their games will appeal to a wide audience. The LEGO games (and most Facebook games and Nintendo’s Miis) prove that developers who are willing to forsake realism can go on to appeal to an even larger demographic: everyone with two eyes and a mouth.

8) The BioShock series


I guess the general consensus is that BioShock 2 isn’t as great as BioShock. I could never get into either game myself, so I can’t really say. That’s not to say that I didn’t want to like them. Upon first sight, I really thought I was going to love the game, and that has everything to do with the series’ figurehead: the Big Daddy.

There was no reason to think that a game about gigantic deep-sea divers who live to protect creepy little girls would take off. Deep-sea divers are not what’s “hot on the streets” right now, and they never were. Ken Levine and company could have just as easily made the Big Daddy with a more time-tested enemy design, like a zombie or a Nazi, if they wanted to assure some mainstream comprehension of their work.

Instead, they stayed true to their Delicatessen/City of Lost Children influences and created the Rapture and Big Daddy that we know and love today. Good show, 2K Boston! If you’re going to rip off a movie, it might as well be something from Jeunet and Caro, sans Ben Affleck.

7) Scribblenauts


The star of Scribblenauts is a brilliant example of truly effective character design. He’s simple and easy to relate with, but still has personality. Though it’s likely that Scribblenauts would have gotten some critical acclaim regardless of how Maxwell looked, it’s hard to imagine that the game would have gone on to be as famous and profitable as it has without such a memorable and likable lead character.

It’s all in the accessorizing.

If Scribblenauts starred a “wacky” anthropomorphic animal, or a handsome leading man, or a generic anime protagonist, it would have had a much tougher time gaining people’s trust. Before you play a game, you have to have some faith that you’ll enjoy it. You have have to be curious about what it has to offer, while also feeling some immediate kinship with the game and its world.

Maxwell pulls all of that off, and he does it using just one thing: his rooster hat. It immediately tells us that he’s weird, he’s creative, and he’s up for something different. He’s the kind of little dude that most gamers want to be, and represents what a lot of us want our games to be.

Can you imagine Ben Affleck wearing a rooster hat? That might even be worse than Daredevil.

6) The Katamari series


Katamari Damacy is weird on every level. The way it looks, the way it sounds, the way it plays; everything. Given how drenched Katamari Damacy is with insanity, it’s understandable that its protagonist, the Prince, actually looks somewhat normal in comparison to rest of the game. Compare him to other videogame characters, though, and he he’s clearly doing something different.

The Prince lacks almost all of the features that are present in most “cute and cartoony” videogame characters: no funny sidekick, no catchphrases, and no arched eyebrows. He doesn’t have eyebrows, let alone arched ones. He barely even has eyes. No Pixar movie, no fast-food chain mascot, and certainly no big-budget videogame character would ever dare look like the Prince. Someone like him might end up on some bizarre Japanese stationery at best, or as a “common enemy” in someone else’s game at worst.

That’s what makes the Prince different; unlike almost every other central character, he’s totally unassuming. His games are never named after him. In fact, he’s barely seen for the majority of his own games due to the size of the giant clump he’s packing. Where most games make a point to constantly drive home the fact that their lead character is the most charismatic and personable creation ever, the Prince is lovable because he is truly an underdog.

That’s the real reason I’m happy that Ben Affleck doesn’t play the Prince. Big-chinned guys like him just can’t believably play underdogs. As a big-chinned guy, I know this from experience. People automatically assume we’re good at sports and can destroy planets with our bare hands. Affleck could maybe pull off the King of All Cosmos, but for the Prince, he’s a no-go.

5) The Meat Boy and Bit.Trip series


These two characters are about two very different things, but from a design philosophy perspective, they are similar enough that I’m lumping them together (also, top ten lists are always more enticing than top eleven lists.)

On the surface, Meat Boy and Commander Video both appear to be throwbacks to the forced-minimalism era of gaming: a time when games simply couldn’t give you characters that had more detail than two hands, two feet, a body, and a couple of eyes (or in Commander Video’s case, one eye). The difference with these two is, the minimalism here isn’t forced. The minimalism is part of their messages. Sometimes, these messages are obtuse and fuzzy; sometimes, they are crystal-clear. But at all times, they defy expectations of what a videogame mascot can mean.

Don’t believe me? Do you think it’s meaningless that Meat Boy is constantly expelling blood, and that Commander Video is always gushing rainbows? Then maybe it is for you. That’s the beauty of using minimalism and abstraction to send your message. It’s up to you, the player, to figure out exactly where the meaning is.

Would Ben Affleck work in the role of Meat Boy or Commander Video? Trust me, I’d love to find out. I’d love to play a game where Ben Affleck is constantly bleeding and/or shooting rainbows out of his ass. Sadly, though, that would probably get old fast, and wouldn’t work to express anything other than goofy good times.

4) The Chibi-Robo series


Chibi-Robo is a lot like the Prince in that he barely demands your attention, and he lives to make others happy. And like Meat Boy and Commander Video, Chibi-Robo is almost completely featureless. He’s got two eyes, a head, two arms, two legs, and a body. That’s it. No face, no color; nothing. He’s the very definition of un-design.

As for his adventure, it’s a journey into the world of minutiae. It is the anti-blockbuster. Where most games work hard to give you an experience that’s larger than life, Chibi-Robo takes you to all of the smallest things that life has to offer. Cleaning stains, washing dishes, and watering flowers; these are the big moments in Chibi-Robo’s world. These are the moments that define Chibi-Robo. These are moments that could only work with a character like Chibi-Robo.

Can you imagine a little Ben Affleck running around your house, cleaning up stains and picking up after your pets, with no quips to quip, no Phantoms to fight, and no Armageddons to Armageddon? I don’t think it’s possible. If cast as Chibi-Robo, I don’t think he could resist blowing up a giant meteor and/or mouthing off a few one-liners. A little Justin Bieber could maybe make it happen, but not Ben Affleck. He’s just too alpha.

3) The Okami series


I’ve been playing videogames for a long time, and Okami and its upcoming sequel are the only two games I can think of that star non-verbal, four-legged animals. Sure, there are tons of games that star anthropomorphic animals, or have “realistic” animal sidekicks, but Okami and Okamiden are the only games I can think of that star animals who are totally incapable of talking, walking on their hind legs, or doing any of the things that people do.

I’ve always thought that casting a dog as its lead character is the main reason that Okami didn’t sell that well. People may hear all about how great the game is, but when it comes time to put their money down, they just can’t wrap their heads around playing a massive action/adventure game as a non-human. The concept is just too foreign. People even balked at a few wolf-moments in Twilight Princess. A full-on wolf game was just too much for people.

This is one entry on the list that might have done itself some good by getting in on some sweet Affleck action. There’s no way in hell I would have preferred that the game star a handsome man like Affleck, but I bet it would have had a much easier time finding an audience (but only if he put some pants on.)

2) Retro Game Challenge


Retro Game Challenge is one of the only games that truly pays tribute to the gamer. While there are hundreds of movies about movies, and thousands of books about books, there are only a handful of videogames that are about videogames. Among those few, Retro Game Challenge sits close to the top of the list.

In the game, a guy in his late 30s named Arino relives his childhood by tasking his pre-adolescent self with playing a variety of fake videogames from the late ’80s and early ’90s. You play Arino’s friend, but in reality, you’re just playing yourself, hanging out with Arino in a virtual living room, and playing some awesome new videogames.

The game presumes that you, the player, love videogames more than other forms of entertainment. It’s not such a strange thing to suppose. Why else would you spend your time and money on the game in first place? It also presumes that as a videogame fan, you like videogame fans. Logical, right?

Sadly, if the game’s U.S. sales are any indication, the developers were wrong. In the United States, gamers aren’t always so proud of the fact that they love videogames. There is an ongoing chase on the part of many gamers to find a game that’s as legitimate and important as movies are, that closely resemble that more culturally accepted art form. Maybe that’s because most gamers have been made fun of for at least a portion of their lives, just for being gamers. That kind of prolonged mockery can lead to internalized shame that doesn’t go away overnight.

Personally, I love Arino. I love the gamer archetype, despite how many times I’ve been mocked for fitting into it. I think gamers deserve to be celebrated, more so than most athletes and movie stars do. That’s why I’m probably in the minority when I say that I think that Arino is much more awesome than Ben Affleck. That said, I still would have bought Retro Game Challenge if it starred Ben Affleck. The games it contains are too fun to ignore. In fact, I’d probably like Ben Affleck more if I could associate him with something awesome like videogames, and not something not-awesome like Reindeer Games.

1) The Uncharted series (no, seriously — hear me out)


In case you haven’t noticed, I’m not a fan of most Hollywood hunks. I’ve always been this way. The first time I saw Star Wars, I thought to myself, “Jesus, that Han Solo guy is a real dick. Glad I’m not forced to hang out with him in real life.” The first time I saw a James Bond movie, I thought, “Man, I hate guys like that, always pushing you around and making you feel small.” As you might have guessed, my real-life experiences with “the popular kids” have not been so great. Of course, there are exceptions to that, but in general, the super-confident, super-good-looking, super-outgoing men of the world have not been easy for me to be around. They may be fun to watch in a movie, but hanging out with them in real life can really suck.

That’s one of the reasons I don’t like the fact that those “leading men” are taking over videogames. The other big reason is that they’re just… boring. Seeing a good-looking, athletic guy climb a wall, beat up a bad guy, and get the girl is just so… expected. Of course he can beat up the bad guys! Of course he can get the girl! Just look at him! What can’t he do?

It’s much more interesting to see a regular guy, or a kid, or better yet, an irregular guy achieve the same goals. That’s why I love Donut Drake.

In case you don’t know, Donut Drake is the code name for a fat-guy mod created for Nathan Drake. Who’s Nathan Drake, you ask? That’s a matter of opinion. To me, Nathan Drake is the epitome of the dull, predictable, wanna-be Hollywood movie star that I don’t want to see in a videogame. Everything about the character — his look, his voice, his lines — is all textbook Hollywood, by-the-numbers mediocrity made to appease the lowest common denominator in the Uncharted series.

Once Drake gets fat, that all changes.

Sure, his dialogue is still pretty sitcom-worthy (in a bad way), but there is something about a 400-pound guy hitting on two beautiful women that I can get behind. Just add a thick layer of blubber, and Drake stops being Brad Pitt and starts being Angus. He starts being relatable. He starts being likable. More importantly, he starts being exceptional.

It’s a given that a good-looking athlete will get the girl, climb the brick wall, and take out the hordes of trained mercenaries. Seeing an action-movie star act out action-movie cliches is the antithesis of evocative. Seeing a 400-pound man do the same stunts (particularly the one about climbing the brick wall) is something else entirely. Even though I know it’s fake, it’s still amazing, inspiring, and exciting.

Yeah, I love Donut Drake. I want more videogame characters to be like him. I want more gamers to pay tribute to their imperfect selves, instead of dreaming of being the captain of the football team.

But will we ever get there?

It’s nice that certain games’ alpha males, like Solid Snake and Max Payne, have grown into more physically flawed, “human” characters, but that’s just two guys out of the hundreds of dull-but-pretty male bimbos that current populate the majority of non-Nintendo AAA games (the difference between Nintendo’s AAA games and everyone else’s AAA games is worth noting, but that’s probably best saved for another post). For the most part, it looks like the male-model game protagonist is here to stay.

How about you? Who do you prefer — sexy and predictable regular Drake, or fat and amazing Donut Drake? Do you want to play a game that pays tribute to you, flaws and all, or a game that stars characters cast by the values and standards of a Hollywood talent agent?


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+ Why games should play the player By Admin 14 July 2010 at 11:00 am and have No Comments

Why games should play the player screenshot

[Editor's Note: We're not just a (rad) news site -- we also publish

opinions/editorials from our community & employees like this one, though be aware that it may not jive with the opinions of Destructoid as a whole, or how our moms raised us. Want to post your own article in response? Publish it now on our community blogs.]

People don’t really like to be f*cked with. I can’t think of a compelling reason why any person would want to be lied to, led on, or strung around on a regular basis. Sure, some people get off on doing this to others, but they’re also the types that are likely to get their windshields smashed in with golf clubs.

Yet in fiction, we can’t get enough of stories that mess with our minds, our perceptions of events, or our ability to trust the players involved. Some of the best pieces of fiction from recent memory (and many from history) have done this. Of note is Shutter Island, which presented a story from the perspective of a completely unreliable narrator/main character. The story was effective largely because of this single choice.

Games are in a unique narrative position, as they are able to play us as much as we play them. However, few games do this, and even fewer do it effectively. While games will always be at risk of pissing us off personally thanks to our personal involvement in the action, game narratives and game design are both in an ideal position to start f*cking with us, and some have already pulled this off to great effect. 

Forgive them, for they know not what they do

The unreliable narrator is a concept that has already made its way into videogames, though a lot has been lost in the translation from literature to games. Characters like GLaDOS have been cited as unreliable narrators, despite the fact that they aren’t actually narrating the action; they’re simply there to offer commentary and progress the story, much like any other major character.

BioShock takes this idea a step further. Its main voiced character, Altas, consistently spreads misinformation to the protagonist. Again, he is not a narrator in the most traditional sense. Narration comes from the person conveying the story to the audience. If we the players are the audience, we have to consider the character we inhabit to be the narrator, as his or her perspective is the vehicle for our own understanding of the events as well as the method in which we affect the story.

The true reliable narrator must be the player character, which presents an incredibly difficult challenge: how can the player play the character while the character is playing the player? It’s nearly as hard to say as it would be to implement.

Regardless, I think it’s more than possible. For instance, many games can support a main playable character that is mentally unstable, lies compulsively, or simply has views that unfairly taint his perspective on the game’s events. Maybe he’s even too naive to understand what’s happening around him.

For instance, imagine a game in which the main character’s mission is to infiltrate and destroy an evil organization. All the while, the player character keeps up a facade in all dealings with other characters. They’re treated like evil conspiracists who lie compulsively to cover up their true intentions, and they deserve to die for their crimes.

Yet at the game’s eventual conclusion, players would see the true intentions of the main character: perhaps all along he had simply been striving for power, or maybe it was all a matter of revenge for the corporation somehow ruining his life. Either way, the shock of realizing that nothing is what it seems can be incredibly compelling if the illusion is strong.

Braid pulled off a bait and switch similar to this, though the execution was far from perfect. Regardless, it serves as a proof of concept that it is entirely possible to create a game story in which you think you’re doing one thing, though you’re actually striving toward an entirely different, perhaps unsettling goal.

Silent Hill: Shattered Memories (spoilers will follow) utilized a sort of dual-narrator system, which at its conclusion not only revealed that the narrator and the player character were both quite unreliable but it also essentially changed the meaning of the entire story by revealing that you weren’t actually playing as the character you thought you were. It’s the sort of moment that can truly make or break a game, and in this instance, it turned a standard horror game into one of the best game stories of the year.

What these two games prove is that videogames don’t need to stop at just presenting the story from point A to point B, with one character who goes through it all just as Random Faceless Protagonist would. We’re given such specific objectives, such straightforward characters, and such typical scenarios that it can be quite powerful when we realize that we had no idea what we were really doing.

Humanity in a land of monsters

We’re programmed to kill. I mean, god, how many lives have we taken as consumers of interactive software? The best answer that any of us can come up with is likely something akin to “Uh, a lot.” We’re conditioned to see human figures on screen and believe that we’re expected to shoot them.

It’s really no wonder, is it? The worlds we’re placed into are constantly threatening, and it seems like any sense of humanity is better left at the door. If we want to survive, we had better be willing to abandon any reservations related to killing.

Cormac McCarthy’s The Road presents a similar world, one in which human compassion has all but disappeared, replaced by the inhumanity of a post-apocalyptic wasteland where survival is accomplished through theft and murder. With no humanity left, how can there be any other response?

At least, that’s the conclusion that we’re meant to come to during the events of the novel. The father teaches his son that they are the good guys, while everyone else they meet is simply out to take their food or perhaps cannibalize them. Nothing throughout the events of the story seems to hint that there is any other option than this.

However, (spoliers follow) after the passing of the father, the son is left alone in this hostile world, only to meet a man on the beach. Of course the boy is skeptical, though we soon learn that a group of survivors has been following the man and the boy, waiting for the man’s death so they can take care of the boy. It is in this moment that we realize the tragedy of the man’s intentions: his desire to protect his son has been keeping them from the salvation they sought all along.

It should be obvious where I’m going with this. We’re dropped into so many hostile worlds and expected to repay all of that hostility in kind. Occasionally, we’re asked whether we’d like to be good or bad, and we get to either bring a little light into the world or add to the darkness.

Rarely are we unaware of the expectations of a hostile world. We’re either told to kill everything, choose whether we want to be bad or good, or told to simply be good and make a difference. The variety provided by these three choices really isn’t enough. We’ve come to expect even those choices, and we know how we’re supposed to respond.

If a game were to shatter those expectations, the effect upon gameplay would be immense. It has happened at least once before; Chad wrote about a moment like this a few months ago. Of course, in a God of War game, you wouldn’t think twice about killing anything in your path (unless it happens to have its tits out, in which case you either twist its head off or have sex with it. Never both.). But this simple moment succeeds in changing all of that, and it’s one of the most memorable moments in the entire series. It didn’t exactly make players ask questions first and kill later, but it at least made us pause and consider the carnage we were creating.

Imagine this idea taken to an even greater level. Let’s say someone’s playing a game like Fallout 3, killing nearly everyone he meets in the wastes. Soon he come across a woman in rags, who quickly raises a rifle at him. Of course, not wanting to die, he shoots. The woman falls, and behind her stands a little boy, cowering and crying.

There’s absolutely nothing to this moment in terms of complexity, yet it and moments like it could change our very understanding of our role in a game. Above, the player has just shot a terrified mother doing nothing more than trying to protect a child in a world of constant danger. It’s what any player would be expected to do given the basic situation: person with gun trying to kill you. But just because we’re conditioned to do it doesn’t make it any less monstrous.

There are so many different ways to present a story that it’s a shame that game storytellers have largely fallen into a sense of complacency. Plenty of minor risks can be taken that don’t detract from a game’s marketability but still affect how we play a game and experience a story.

In other words, let’s see some games that have the balls to fuck with us.


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