Friday, March 23, 2007
Wanderer kills colossi
I finally finished Shadow of the Colossus a few days ago. I spent the last year and a half grappling with this game. Every few months I would put this in my PS2, take down another towering gigantes, and then lose my motivation. I just could not find a reason why I should finish this game. But because I play almost all my games through to the very end, I kept coming back to it. Something was causing people to go wonky with love. I wanted to find it for myself. Now that I have seen all that this game has to offer I am even more confused. The concept behind this game, of traveling around a barren land defeating dormant colossus after dormant colossus, is one of the most interesting premises I have ever encountered in more than 20 years of playing video games. However, it was not a particularly fun experience. Shadow of the Colossus is the video game equivalent of Philip Glass. You can turn art on its head and get people to notice you, but that doesn't mean it's actually good. SotC is a game that everyone should experience, but don't expect the most complete gaming experience out there.
Shadow of the Colossus takes the idea of minimalist story and strips away just about every aspect related to story. There are only three story sequences in the entire game and a few scattered symbols if you're really paying attention. I will talk about the story in more detail later on, but first I want to describe how far Fumita Ueda, the artist behind this game, takes the idea that less is more. Every aspect of this game further emphasizes the creative need for less. The story, as I mentioned, is infrequent and lacks details. There are two main characters. One of which is presumably dead throughout the entirety of the game. The other is a quieter version of The Legend of Zelda's Link. It was hard for me to care about this journey when these characters are a virtual blank slate.
The gameplay is just as sparse as the story. You can climb, swing a sword and shoot a bow. You'll use these tools during battle. Half of the game is spent atop a horse looking for the next colossus to unceremonious kill. The world is certainly beautiful, but traveling from place to place across this barren land only dulled my enjoyment as the journey dragged onward. Ueda may have dove into his minimalist approach to excess, but you have to at least admire his steadfast nature. As you travel through forests and into sand covered plateaus, you will be traveling by the soothing sounds of your horse's trusty hooves and nothing more. The music comes when it pleases, and that seems to only be during the tense battles with the colossi or when a cut scene needs little life. The graphics and music are certainly quite impressive, but their sparse nature only weighed me down more. The game lacks energy. It lacks passion. Like an old man telling a long story after downing some horse tranquilizers, SotC requires determination just to stay awake.
Unfortunately, while the artistic vision, the backbone of this game, is solid and daring, the technical aspects are anything but. In the hands of a more adept development team, this game could have mustered the quiet awe it is striving for while providing a compelling video game experience as well. But the gameplay, the controls and camera, feel sloppy and unpredictable. The motions of your main character are built upon his relationship with the ground. When you push left to move, you do not simply move left like other games out there. Rather, you begin to lean to that side, slowly picking your foot off the ground as you begin to move in earnest. All the moves behave like this. So if you are balancing on the wrist of a giant colossus later in the game and would like to jump across to his other hand, you cannot simply hold in the appropriate direction and jump. Your body needs to be positioned at the optimal angle for this maneuver to take place. This would not be a game breaking mechanism if the camera allowed you to see how your character was positioned. Sadly, it does not. The camera has a mind of its own and does not place a particularly high priority on gameplay visibility. While it strives to give you a picturesque view of the action, it is often hidden behind a rock or giant body part. Trying to swing the camera and move your character while trying balancing on a giant, swaying body all at the same time is tedious at best.
The gameplay may be frustrating, but is the story good enough to make this journey worth completing? Sadly, the story is just as amateurish as the gameplay. Throughout the entire game, as I found reasons to keep playing that the game never offered, I kept thinking about the minimalist approach. It was unavoidable and I needed something to think about during those lonely walks to my next victim. As a person who has studied literature for four years in college, I have some grasp of the value of a minimalist story. I also understand when it goes too far, offers too few details, and ends up falling on its own ass. The idea of subtlety in writing is a very difficult thing to properly implement. First of all, you need to have a strong feeling on where you want the story to end up. There has to be a defined goal at the end that you are constantly striving towards. Furthermore, you have to provide enough information for your audience to be able to logically happen upon that idea. A story told with a subtle hand can have many plausible explanations, but there is a very real conclusion as well.
SotC lacks any real point. Instead of being subtle, the story simply lacks detail. This is a very big distinction. There are various questions that can never be answered. An expert storyteller would lace subtle hints throughout the game to offer an explanation as to why this journey is taking place at all, who the main characters are, and what is their relationship to their foes. You would also have some idea what the relationship between the two main characters is. At the end of SotC, you could guess that they are lovers or siblings or maybe they never even met, but there isn't a concrete nudge in any direction. In essence, you are forced to create the whole story yourself. This is lazy storytelling. I read poetry because I love figuring out what the intention of an artist was. I enjoy dissecting the structure and words used to create a hypothesis why a poem was written in the first place. After scratching my head over SotC for the past two days, I can only come to the conclusion that there is no reason for this story to be told. Ueda merely wanted people to scratch their heads for awhile. Instead of enlighten he wanted to baffle. Because he had no concrete vision in mind, he left the storytelling up the gamer in the hopes that he would be immortalized in whatever direction they took the story.
Shadow of the Colossus is really a beautiful game. Anyone who thinks gaming has stagnated should play this game just to see how much more this medium can grow. But I do not consider this a fine example of gaming art. I look forward to the next adventure on the PlayStation 3. The industry needs people willing to take risks. I applaud Fumita Ueda for trying something different, but I don't feel SotC is anything more than a pretty picture lacking real depth.
Shadow of the Colossus takes the idea of minimalist story and strips away just about every aspect related to story. There are only three story sequences in the entire game and a few scattered symbols if you're really paying attention. I will talk about the story in more detail later on, but first I want to describe how far Fumita Ueda, the artist behind this game, takes the idea that less is more. Every aspect of this game further emphasizes the creative need for less. The story, as I mentioned, is infrequent and lacks details. There are two main characters. One of which is presumably dead throughout the entirety of the game. The other is a quieter version of The Legend of Zelda's Link. It was hard for me to care about this journey when these characters are a virtual blank slate.
The gameplay is just as sparse as the story. You can climb, swing a sword and shoot a bow. You'll use these tools during battle. Half of the game is spent atop a horse looking for the next colossus to unceremonious kill. The world is certainly beautiful, but traveling from place to place across this barren land only dulled my enjoyment as the journey dragged onward. Ueda may have dove into his minimalist approach to excess, but you have to at least admire his steadfast nature. As you travel through forests and into sand covered plateaus, you will be traveling by the soothing sounds of your horse's trusty hooves and nothing more. The music comes when it pleases, and that seems to only be during the tense battles with the colossi or when a cut scene needs little life. The graphics and music are certainly quite impressive, but their sparse nature only weighed me down more. The game lacks energy. It lacks passion. Like an old man telling a long story after downing some horse tranquilizers, SotC requires determination just to stay awake.
Unfortunately, while the artistic vision, the backbone of this game, is solid and daring, the technical aspects are anything but. In the hands of a more adept development team, this game could have mustered the quiet awe it is striving for while providing a compelling video game experience as well. But the gameplay, the controls and camera, feel sloppy and unpredictable. The motions of your main character are built upon his relationship with the ground. When you push left to move, you do not simply move left like other games out there. Rather, you begin to lean to that side, slowly picking your foot off the ground as you begin to move in earnest. All the moves behave like this. So if you are balancing on the wrist of a giant colossus later in the game and would like to jump across to his other hand, you cannot simply hold in the appropriate direction and jump. Your body needs to be positioned at the optimal angle for this maneuver to take place. This would not be a game breaking mechanism if the camera allowed you to see how your character was positioned. Sadly, it does not. The camera has a mind of its own and does not place a particularly high priority on gameplay visibility. While it strives to give you a picturesque view of the action, it is often hidden behind a rock or giant body part. Trying to swing the camera and move your character while trying balancing on a giant, swaying body all at the same time is tedious at best.
The gameplay may be frustrating, but is the story good enough to make this journey worth completing? Sadly, the story is just as amateurish as the gameplay. Throughout the entire game, as I found reasons to keep playing that the game never offered, I kept thinking about the minimalist approach. It was unavoidable and I needed something to think about during those lonely walks to my next victim. As a person who has studied literature for four years in college, I have some grasp of the value of a minimalist story. I also understand when it goes too far, offers too few details, and ends up falling on its own ass. The idea of subtlety in writing is a very difficult thing to properly implement. First of all, you need to have a strong feeling on where you want the story to end up. There has to be a defined goal at the end that you are constantly striving towards. Furthermore, you have to provide enough information for your audience to be able to logically happen upon that idea. A story told with a subtle hand can have many plausible explanations, but there is a very real conclusion as well.
SotC lacks any real point. Instead of being subtle, the story simply lacks detail. This is a very big distinction. There are various questions that can never be answered. An expert storyteller would lace subtle hints throughout the game to offer an explanation as to why this journey is taking place at all, who the main characters are, and what is their relationship to their foes. You would also have some idea what the relationship between the two main characters is. At the end of SotC, you could guess that they are lovers or siblings or maybe they never even met, but there isn't a concrete nudge in any direction. In essence, you are forced to create the whole story yourself. This is lazy storytelling. I read poetry because I love figuring out what the intention of an artist was. I enjoy dissecting the structure and words used to create a hypothesis why a poem was written in the first place. After scratching my head over SotC for the past two days, I can only come to the conclusion that there is no reason for this story to be told. Ueda merely wanted people to scratch their heads for awhile. Instead of enlighten he wanted to baffle. Because he had no concrete vision in mind, he left the storytelling up the gamer in the hopes that he would be immortalized in whatever direction they took the story.
Shadow of the Colossus is really a beautiful game. Anyone who thinks gaming has stagnated should play this game just to see how much more this medium can grow. But I do not consider this a fine example of gaming art. I look forward to the next adventure on the PlayStation 3. The industry needs people willing to take risks. I applaud Fumita Ueda for trying something different, but I don't feel SotC is anything more than a pretty picture lacking real depth.
Tuesday, March 20, 2007
God of War 2
Tchaikovsky's violin concerto is playing in the background. We will soon find out how Kratos mixes with the serenade of a dead man.
If the question is ever asked, "Why do video games need a story?" you should point your inquisitive friend to the sublime God of War series. This may be the best example of video games working on the same level as the high art found in other mediums. The characters have real emotions, real motivations, and have a purpose beyond merely filling up space in a video game. The story, though one filled with hate and vengeance that would make Martin Scorsese blush, has a sense of pacing that even skilled authors struggle to match. Plus, there is a reason for its existence other than an excuse to shed more blood. The graphics themselves are jaw-dropping on a technical level and breathtaking in their sheer beauty. The score is able to subtlety move the player to quiet desperation and then, with a quickening of tempo and a crash from the percussion section, remind players of the anger and grief welling inside. And finally, the reason why this game is a perfect example of high art in video games, the controls and gameplay are refined to perfection. One can close their eyes and feel the rhythm of battle just like a cellist may vibrate slightly with each C plucked. This is the game the industry has been building towards.
I played through the entirety of God of War 2 during two glorious days last week. I could feel something special taking place from the moment I picked up the controller, but I almost took the experience for granted. The original God of War was so amazing I actually expected a nearly flawless sequel. The perfect combination of technical prowess and artistic beauty was merely some other game to be dissected and probed. Another game to find faults with. The sometimes obtuse puzzles or a silly animation glitch was cause for ridicule. As I neared the end, surviving an epic battle with the Sisters of Fate, I realized what I was experiencing. I realized how perfect the last ten hours have been, how they made every previous adventure seem trite by comparison. I realized that I wanted nothing more than to exact my revenge on Zeus. While at the same time, I wanted the game to go on forever. I had finally dropped my critical gloves and allowed myself to enter this experience.
God of War 2 has no peer. It is the most riveting, complete experience of last generation. While other games are content with mere levels, GoW2 gives you an entire civilization to roam. Where other stories offer a quick breather between battles, GoW2 takes full advantage of the medium. Tearing through Olympia with the fury of an angry rhinoceros would still be a compelling experience. But this story is much deeper. It is about trying to destroy an immortal. A being that has lived without equal for hundreds of years. It is the powerful message that no person, no matter how invincible they may seem, is immune to the arrows of a hero scorned. It is a warning to anyone who thinks they are untouchable while they sit on their throne. If Kratos can go after the God of Gods and survive, no one should get too comfortable in their own lives.
A few years ago I had not yet grasped the importance of story in video games. Cut scenes were excuses for me to get food from the kitchen or, if I was already full, a chance to slam on the Start button. Although every other aspect of gaming has grown through the years, story has taken a back seat for some reason. People have been content with alien invasion tales and teenage love triangles. They have accepted poorly translated dialog and two dimensional characters cut from the back of a cereal box. God of War 2 proves that a compelling story is as important as graphics and sound. It is the segment of a game that urges you forward and will stay in your cerebrum years down the road. GoW2 is able to combine vast environments, towering enemies and a reason why you should care in the first place. It's not only fun to kick Perseus' ass, but it's immensely rewarding to desecrate his corpse afterwards because of what a little rat he was.
I could write an entire paper about the motivations behind Kratos' rage, but I will condense his tale to a mere paragraph. Kratos does not realize he is the star of a video game noir. He will never be happy. There is only one way this trilogy can end: Kratos falling in battle, not quite able to overcome the overwhelming number of selfish and despicable beings in the world. He is a doomed figure. His goal is to right the many wrongs of the world, but that is an impossible order. With each fallen tyrant a new one will spring up. It is a dark message and one that can only lead to depression and death. But Kratos is an interesting figure because of his predetermined fate. To watch a man struggle against immortals only to be brought down by his inflated sense of duty is a fascinating look at the human mind. Given the proper motivation, one can destroy the very makers of fate if they desire. But fate is a human idea. Kratos will never be able to change what drives him.
God of War II is the best game on the most impressive system of all time. It combines every element of gaming into a masterpiece that raises the bar higher than most developers can even see. It may be years before another video game as complete as God of War 2 is created.
If the question is ever asked, "Why do video games need a story?" you should point your inquisitive friend to the sublime God of War series. This may be the best example of video games working on the same level as the high art found in other mediums. The characters have real emotions, real motivations, and have a purpose beyond merely filling up space in a video game. The story, though one filled with hate and vengeance that would make Martin Scorsese blush, has a sense of pacing that even skilled authors struggle to match. Plus, there is a reason for its existence other than an excuse to shed more blood. The graphics themselves are jaw-dropping on a technical level and breathtaking in their sheer beauty. The score is able to subtlety move the player to quiet desperation and then, with a quickening of tempo and a crash from the percussion section, remind players of the anger and grief welling inside. And finally, the reason why this game is a perfect example of high art in video games, the controls and gameplay are refined to perfection. One can close their eyes and feel the rhythm of battle just like a cellist may vibrate slightly with each C plucked. This is the game the industry has been building towards.
I played through the entirety of God of War 2 during two glorious days last week. I could feel something special taking place from the moment I picked up the controller, but I almost took the experience for granted. The original God of War was so amazing I actually expected a nearly flawless sequel. The perfect combination of technical prowess and artistic beauty was merely some other game to be dissected and probed. Another game to find faults with. The sometimes obtuse puzzles or a silly animation glitch was cause for ridicule. As I neared the end, surviving an epic battle with the Sisters of Fate, I realized what I was experiencing. I realized how perfect the last ten hours have been, how they made every previous adventure seem trite by comparison. I realized that I wanted nothing more than to exact my revenge on Zeus. While at the same time, I wanted the game to go on forever. I had finally dropped my critical gloves and allowed myself to enter this experience.
God of War 2 has no peer. It is the most riveting, complete experience of last generation. While other games are content with mere levels, GoW2 gives you an entire civilization to roam. Where other stories offer a quick breather between battles, GoW2 takes full advantage of the medium. Tearing through Olympia with the fury of an angry rhinoceros would still be a compelling experience. But this story is much deeper. It is about trying to destroy an immortal. A being that has lived without equal for hundreds of years. It is the powerful message that no person, no matter how invincible they may seem, is immune to the arrows of a hero scorned. It is a warning to anyone who thinks they are untouchable while they sit on their throne. If Kratos can go after the God of Gods and survive, no one should get too comfortable in their own lives.
A few years ago I had not yet grasped the importance of story in video games. Cut scenes were excuses for me to get food from the kitchen or, if I was already full, a chance to slam on the Start button. Although every other aspect of gaming has grown through the years, story has taken a back seat for some reason. People have been content with alien invasion tales and teenage love triangles. They have accepted poorly translated dialog and two dimensional characters cut from the back of a cereal box. God of War 2 proves that a compelling story is as important as graphics and sound. It is the segment of a game that urges you forward and will stay in your cerebrum years down the road. GoW2 is able to combine vast environments, towering enemies and a reason why you should care in the first place. It's not only fun to kick Perseus' ass, but it's immensely rewarding to desecrate his corpse afterwards because of what a little rat he was.
I could write an entire paper about the motivations behind Kratos' rage, but I will condense his tale to a mere paragraph. Kratos does not realize he is the star of a video game noir. He will never be happy. There is only one way this trilogy can end: Kratos falling in battle, not quite able to overcome the overwhelming number of selfish and despicable beings in the world. He is a doomed figure. His goal is to right the many wrongs of the world, but that is an impossible order. With each fallen tyrant a new one will spring up. It is a dark message and one that can only lead to depression and death. But Kratos is an interesting figure because of his predetermined fate. To watch a man struggle against immortals only to be brought down by his inflated sense of duty is a fascinating look at the human mind. Given the proper motivation, one can destroy the very makers of fate if they desire. But fate is a human idea. Kratos will never be able to change what drives him.
God of War II is the best game on the most impressive system of all time. It combines every element of gaming into a masterpiece that raises the bar higher than most developers can even see. It may be years before another video game as complete as God of War 2 is created.
Monday, March 19, 2007
Who doesn't want new games?
There is a Titanic-sized boatload of new releases coming out this week. If I didn't write about a game you care about, it's either too expensive (Cooking Mama: Cook Off), too much like real tennis (Virtua Tennis 3) or I just feel dirty talking about it in the first place (The Godfather). Just remember: if it is based on a license that should have stayed dormant (Ubisoft's new Teenage Mutant Ninja Turtles game) or forces you to imagine that your Wiimote is a tiny biplane (Wing Island and Blazing Angels) you should just turn up your nose and walk away. And don't forget about the Xbox Live Arcade release this week. It may not be multiplayer, but it is Castlevania: Symphony of the Night.
Earth Defense Force: 2017 (X360) - To see a small spider climbing up my apartment wall is to look into the eyes of fear itself. The only defense to such a strong threat is distance, and lots of it. After years of unbridled torment I will finally be able to exact my revenge upon the entire world of arachnids. Only this time, the insects are bigger than a blue whale and have at least twice as many legs. The Earth Defense Force was the unfortunate team hired to fight Godzilla back when he was young enough to destroy entire cities with a burst of his magma hot breath. After years of hanging out at the EDF headquarters, waiting patiently for another massive monster attack that never materialized, the crew has all sorts of pent up energy. While my girlfriend may use a sheaf of paper to exterminate my mortal foes, it is rocket launchers, homing lasers and dynamite rocket plungers (guess where you shove that) used to spill green blood upon the Earth in this fictional retelling of all my vengeance fueled dreams. This is only $40 so I fully expect every person reading my pleas to procure a copy in whatever manner they see fit. Sure, you can't actually play co-op online or even with a Local Area Network, but it does have single screen co-op. I ask you, would you really want to fight giant insects alone?
Kororinpa Marble Mania (Wii) - Would I be more excited for this unpronounceable ball rolling sim if it included giant creatures of some kind? Yes. But is it fair to hold such a weakness against it? After my run in with Excite Truck and Wario Ware: Smooth Moves, I am all over the Wii again. And what better way to show my slowly swelling love of tilting controls than a delicate marble adventure? I'm sure this game is seven rings of hell difficult, just like every other marble starring game ever thrust onto the world, but that is not going to deter me. I am going to guide Mr. Marble over mountains and through tunnels until he reaches the goal, and eternal happiness. It is my duty, after all, to please this inanimate being. Who else but I has the courage to tilt my controller in the pursuit of freedom?
Radio Allergy (GC) - The PlayStation 2 issued its first of many dying gurgles last week when God of War 2 finally came out. Possibly the best game on the greatest system of all time put a proper exclamation point on the eulogy of our favorite Emotion Engine. And then there is the Gamecube, the little lunch box that no one wanted. Its swan song? A 2D shooter originally released for the Dreamcast. Laugh if you must, but don't you dare leave the baffling name out of your hate filled chuckle fest. I am not sure what the premise is, but I will bet a suitcase of cash for your bucket of krill that it does not actually involve a being whose throat closes shut when in the vicinity of amplitude modulation. If this game featured some two player, co-op action like that bug blowing up game at the top of this entry, I would order my denizens to plop down their $20 to briefly rekindle some GC lovin'. But it's a solo experience. I don't play these games to die repeatedly alone. Hopefully, some relevant exclusive game will come out in the distant future so I can give the Gamecube a proper pat on the back. Just a quick note: Radio Allergy has been pushed back at the last minute before, so don't ignite your pitchforks if it gets delayed again.
Earth Defense Force: 2017 (X360) - To see a small spider climbing up my apartment wall is to look into the eyes of fear itself. The only defense to such a strong threat is distance, and lots of it. After years of unbridled torment I will finally be able to exact my revenge upon the entire world of arachnids. Only this time, the insects are bigger than a blue whale and have at least twice as many legs. The Earth Defense Force was the unfortunate team hired to fight Godzilla back when he was young enough to destroy entire cities with a burst of his magma hot breath. After years of hanging out at the EDF headquarters, waiting patiently for another massive monster attack that never materialized, the crew has all sorts of pent up energy. While my girlfriend may use a sheaf of paper to exterminate my mortal foes, it is rocket launchers, homing lasers and dynamite rocket plungers (guess where you shove that) used to spill green blood upon the Earth in this fictional retelling of all my vengeance fueled dreams. This is only $40 so I fully expect every person reading my pleas to procure a copy in whatever manner they see fit. Sure, you can't actually play co-op online or even with a Local Area Network, but it does have single screen co-op. I ask you, would you really want to fight giant insects alone?
Kororinpa Marble Mania (Wii) - Would I be more excited for this unpronounceable ball rolling sim if it included giant creatures of some kind? Yes. But is it fair to hold such a weakness against it? After my run in with Excite Truck and Wario Ware: Smooth Moves, I am all over the Wii again. And what better way to show my slowly swelling love of tilting controls than a delicate marble adventure? I'm sure this game is seven rings of hell difficult, just like every other marble starring game ever thrust onto the world, but that is not going to deter me. I am going to guide Mr. Marble over mountains and through tunnels until he reaches the goal, and eternal happiness. It is my duty, after all, to please this inanimate being. Who else but I has the courage to tilt my controller in the pursuit of freedom?
Radio Allergy (GC) - The PlayStation 2 issued its first of many dying gurgles last week when God of War 2 finally came out. Possibly the best game on the greatest system of all time put a proper exclamation point on the eulogy of our favorite Emotion Engine. And then there is the Gamecube, the little lunch box that no one wanted. Its swan song? A 2D shooter originally released for the Dreamcast. Laugh if you must, but don't you dare leave the baffling name out of your hate filled chuckle fest. I am not sure what the premise is, but I will bet a suitcase of cash for your bucket of krill that it does not actually involve a being whose throat closes shut when in the vicinity of amplitude modulation. If this game featured some two player, co-op action like that bug blowing up game at the top of this entry, I would order my denizens to plop down their $20 to briefly rekindle some GC lovin'. But it's a solo experience. I don't play these games to die repeatedly alone. Hopefully, some relevant exclusive game will come out in the distant future so I can give the Gamecube a proper pat on the back. Just a quick note: Radio Allergy has been pushed back at the last minute before, so don't ignite your pitchforks if it gets delayed again.
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