30 Days: To Be Played

This is one of a series called “30 Days of Video Games“, an exercise on daily writing.
Follow the link for the full list.

I don’t have a lot of time today for a proper entry, so we’ll just do this visually:

tomb_raider

Tomb Raider (2013): The retcon of Lara Croft’s adventures. I’m a little concerned regarding the opening act, having heard that there is some problematic story telling. I’ve also heard that it’s been blown out of proportion due to some ill informed comments. Also, see: internet.

the_binding_of_issac

The gloriously odd Binding of Issac (2011), which is still sitting in my Steam library begging to be played. I just need to find the right fucked up headspace to do so, as evidenced by the above image.

TF2-EApcSLP03

Portal (2007) and Portal 2 (2011) have been on my list for a long, long time, but I keep getting distracted due to lack of RPG stats. Silly, silly boy.

 

 

 

30 Days: Turn-based or Real-time

This is one of a series called “30 Days of Video Games“, an exercise on daily writing.
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Well, this is a topic.  It’s keeping in theme at the very least from the previous entry, which kept in theme from the entry previous that, so we’ve got ourselves a nice little chain here, don’t we?

Turn based or real-time strategy games… this should be  tough one to decide as I have favorites on both sides of the question here.  On one hand, we have the indomitable Civilization series in all its turn-based glory, along with other favorites such as Final Fantasy Tactics. However, on the other side live some of the most beloved games – Starcraft, Age of Empires and the Paradox series of strategy games (Europa Universalis, Victoria, Crusader Kings, etc.)  This is a stacked battle, without a doubt…

… but why choose?  I say both!

30 Days: Surprising Sequel

This is one of a series called “30 Days of Video Games“, an exercise on daily writing.
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(Note: this was previously slated to be “Favorite art or graphics style”, however, I feel like I had already covered that in the previous 30 days series.  So riffing off the previous entry, I changed this entry’s topic to be ‘a sequel that exceeded expectations.’  Enjoy!)

This is a harder choice than it seems.  So many sequels generate a lot of hype – and reasonably so.  The whole idea of a sequel is to essentially capitalize on previous success, and most importantly, to grow on that success.  Merely selling the same number of copies of a sequel is a loss, so publishers will attempt to expand their product’s base by aggressively marketing sequels, usually appealing to what made the previous game so successful.  This makes the previous entry such a loaded field: history is full of failed and disappointing sequels, and those that were successful usually release in an orgy of hype designed to increase initial sales.

Perhaps time has dulled my perception of things, but I don’t recall a huge marketing blitz, nor do I really recall any massive hype for the game.  I do, however, remember leaning back after my first game in Age of Empires II and thinking, “This is what this game should be.”

A little background – I’ve made reference to my time at Ernest & Allen, a small web design startup in San Luis Obispo that was my professional home for several years.  As befitting the age, ours was an office that worked hard and played harder, and the original Age of Empires was a surprising entry into our gaming library.  Many a late night was spent as we battled over randomly generated patches of land, all dreading the “nuh nuh naaaah” of Monks that would convert and wreak havoc upon our armies.

Age of Empires II offered a lot of promise and it delivered – AoE II is a pantheon-level RTS game, coming along in a “golden age” of sorts of real-time strategy games.  The addition of better villager controls (inactive villager button, y’all!), the strategic component of castles, unique units and the new victory types (especially the Wonder victory where you could turtle up and try to out build your competition) all made for a incredibly rich and replayable game (one that’s still played and supported on Steam.)

Hrm, I might need to reinstall my Conquerors disks…

30 Days: Disappointing Sequel

This is one of a series called “30 Days of Video Games“, an exercise on daily writing.
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There’s really no debate about this one.

Caveats aside – the recent expansion and revamp of the loot system has made Diablo III a much better game than it was on release.  However, the highly anticipated sequel to the beloved (and often imitated) Diablo II, was, without question, one of the most disappointing video games of all time, let alone sequel.  The matter has been discussed ad nauseum – the questionable choice to make the best loot come from the in-game auction house (with real money option, I mean, really Blizzard?), the god-awful story line (seriously, they fucking killed Deckard Cain, what the fuck,) and the initial inescapable cutscenes and dialog options which made replaying act 3 akin to wanting to gouge your fucking eyes and ears out (okay you beat that last ‘unbeatable’ lieutenant of mine, but wait until you see the next one, muahahaha for the 50th time.)

But the truly unforgivable, the real salt in the wound, was the forced online gameplay, coupled with the wide release that resulted in Error 37 (and it’s younger cousin, Error 3003,) the dreaded “you just paid $60 for a game where you hit connect 3,467 times before rage quitting” error that greeted, well, just about everyone.  Again, Error 37 has become quite the meme, so there’s not much else to discuss.  The game was a trainwreck on release.

It has got better.  It’s actually closer to what it should have been on release with the expansion, the new loot system, and improved performance.  But its release will go down in infamy.

 

 

30 Days: Best Story

This is one of a series called “30 Days of Video Games“, an exercise on daily writing.
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Diablo!

I kid, I kid.  Diablo’s video game porno – set the scene, get some plot lines laid down and start with the um, action.  The most frequent complaint about Diablo III?  Too much story, of course.  It reads like a bad soap opera, which, I think, if you tried to lay down too much plot in a porno, you’d probably get the same result.

Let’s diverge from porno, shall we?

Er, or not.  But, thumbs in alternate erogenous areas aside, my selection for best story is Dragon Age 2.  And this is probably not the first choice for many – a lot of people found fault with the second installment of the “New Shit“, mostly due to the overly repetitive adventure areas, though.  That aside, I really enjoyed the story of Dragon Age 2; it was not an epic tale like Dragon Age: Origins – we can’t all be Grey Wardens, after all – but the life of times of the Champion of Kirkwall made for an amusing “choose your own adventure” story.  I would have liked some alternate endings, but you can’t have it all, I guess.

30 Days: PvP or PvE

This is one of a series called “30 Days of Video Games“, an exercise on daily writing.
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I think (all two three, there’s three now, of) you already know the answer from the featured image.

Oh, I suppose I could spin off some prose about the oppressive origins of labeling those who prefer Player vs. Environment as ‘carebears’.  I could definitely write a good thousand words about how this feeds into the patriarchy by enforcing the masculine stereotypes of a warrior culture, and degrades those who do not fully participate within that culture as being both less masculine; and therefore degrades femininity as being lesser and an object of scorn.  I could.  I could wax political about how the hyper-competitive nature of PvP, especially that in MMOs, lends itself to reinforcing gender stereotypes in a culture that’s already struggling to be more inclusive and less harmful towards women.  I could, I could.

Yeah, you know what, fuck it, let’s do this.

Let’s stare into the abyss and mind not what stares back.  Let’s discuss video game culture, especially that of an MMO (where this conflict comes into question the most, for varying reasons) and the division and denigration of players based on their gameplay preferences, and, how that culture is fed by and feeds back into gaming culture as a whole.  And yes, we’ll tie this into the patriarchy as well because goddamnit, I’m feeling like breathing smoke.

So.  Some terms.  PvE.  In most MMOs, the default state of play – you create a character, you either by yourself or cooperatively gain experience and sometimes items by defeating computer-controlled opponents, collectively, referred to as “mobs” (short for “self-mobile units” from old MUDs).  Usually a very controlled environment, the computer’s advantages are typically a higher threshold for taking damage and a higher capacity for dealing damage, tuned in a way that usually requires coordination and communication, or just overwhelming force to defeat.

PvP.  In many, but not all, MMOs, an alternate style of play that can either conflict or complement the base PvE game.  There are a few MMOs where PvP is more of the focus or the default state.  (A good, modern example of this would be Guild Wars 2, which is tuned around PvP balance with PvE adhering to PvP rules and not the other way around.  Players again can individually, or cooperatively, gain experience, currency or some form of advancement by defeating other players.  The challenge is that other humans are unpredictable and less constrained by AI, and are (in theory) equally matched in power.  In some games, the PvP and PvE experience are mutually exclusive, including EverQuest, where most of these terms, and the divide between them, originated.

The idea of PvE being a “lesser” version of gaming style in MMOs has strong roots than the pubescent male warrior state of mind.  In fact, in EverQuest while it was a “harder” way of playing, it was a poorly implemented and frustrating experience for those who “went red” (PvP players had red names to notate their status.  The default for names was blue, hence “bluebies”, a thinly veiled reference to “newbie”.)  This higher degree of difficulty wasn’t due to any additional requirement of skill, the switch to go red was simply an afterthought.  It was fairly easy to see that the frustration of playing as PvP character led to the need to denigrate those who did not.

The term “PK” or player killer, came from EverQuest’s predecessor, Ultima Online, a game, which, in full disclosure, I haven’t played. The model of the player killer was well cast when EverQuest came around, indicated in no small part by the name.  Misappropriation of the “gangsta” image and persona happened fairly rampantly, birthing the image of the overly masculine (but barely pubescent) male gamer content to “own” people at a sociopathic rate.

Where does this all tie together?  Let us then take a look at the phrase, “care bear” as it’s applied to PvE players.   Care bears, for those unfamiliar, are multi-colored anthropomorphic bears with various cheerful images on their bellies, like a smiling sun, or a heart or a rainbow.  They’re toys and cartoons marketed toward young girls and are renowned for their dealing with adversary by their “care bear stare”, in which rainbow colored beams shoot out of their bellies and I don’t know, rainbow you into happiness or something.  It’s fairly cloying and overly saccharin, and applied as a label towards people not interested in player vs. player combat, completely intended as a degrading label.

I think you can see where this all leads.  It’s the ultimate denigration that I’m concerned with here, so let’s jump a few paragraphs into the good stuff.  It’s one thing to be upset at others that want – and get – things you don’t, especially when a lot of MMOs will try to cater the experience to the broadest market.  For many MMOs, PvP considerations can be considered secondary, if at all. While nobody likes being treated as if their interests are secondary, consider the target market for video gamers – heterosexual males from teenage to early-mid adulthood (as best illustrated by the “straight male gamer” a few years back.)  This is a very privileged group – a group that is quite steeped in their own privilege especially in American patriarchal society.  And by the same story as linked above, that privileged group doesn’t like it when they are not catered to.

There is also the competitive nature of PvP versus the cooperative (or at least non-competitive) nature of PvE.  This is, I believe, the root of the term ‘care bear’, painting the PvE landscape as an overly saccharin cooperative paradise, with not a single competitive drive to be found.  Again, this language is that of hyper-masculinity, and lends itself towards degradation of those who don’t participate as unable – unable to compete, unable to handle the supposed ‘rigors’ of competition (as if there were some stake outside of virtual points), and so on.   Consider also the language of the victors in a PvP competition – gendered terms as insult, or just as often, sexuality terms as an insult.  (Author’s note: I really don’t need to spell these out here, do I?)  These terms are all either feminine or referencing homosexuality, which is often in homophobic constructs, a form of femininity as well.  Again, these are oppressive terms meant to degrade an individual, but reinforce culturally the idea that women, and femininity, is the lesser, is less able to compete and is something to be scorned.

So why use the term “care bear” in my post?  I honestly enjoy the term and embrace it.  Gaming culture is filled with colloquialisms and acronyms that often are nonsensical that are appropriated from many sources.  While there are some words and phrases that are beyond redemption (seriously, calling someone a ‘naga’ in World of Warcraft is not funny and incredibly oppressive,) there is certainly power in taking a word or phrase and owning it, embracing it and making it something that’s a positive.  Personally, I think my PvE tendencies are awesome – I could camp a spawn like a BOSS back in the day, and my role play?  Mmmmm chiilllld…

Plus there’s not a damn thing wrong with rainbow lasers.  So there.

30 Days: Least Favorite Gameplay Mechanic

This is one of a series called “30 Days of Video Games“, an exercise on daily writing.
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Can I choose a whole genre here?

I had originally planned this to be about mandatory mini-games, especially that of Final Fantasy X, from which my hatred stems.  To name my pain is to say “Blitzball” which I felt the introduction to as a side game was poorly timed within the narrative.  But, that’s not my final answer.  No, today we’re going to be discussing First-Person Shooters.

Like any socially awkward and sexually repressed teenager, I embraced Wolfenstein and Doom with a passion for carnage and the primal thrill of shooting demons and Nazis until they were dead, dead, dead.  But the genre never really got its hooks into me, and by the time Half-Life came around, I was rating FPS games a solid “Meh”.  However, around the time when Ernest & Allen was discovering that we could, in fact, get paid to play video games, Unreal came out.  I too joined the fragfest until one day, I started to have a new feeling towards the game.

Nausea.

I don’t know what it was.  The buzzing of flies over freshly splattered corpses?  The way blood & entrails streamed in every direction after seeing someone (or yourself) take a direct hit from a grenade?  Or perhaps the way someone’s head… okay, I can’t complete this paragraph.  Let’s try again.

I know exactly what caused it.  Call it a weak stomach, or that I’m just a sissy, or not a “real man” (I literally cannot roll my eyes hard enough at that phrase) or maybe just acute motion sickness, something about that game just caused me to beg out after a few minutes of play.  About that time, I would load up EverQuest or Starcraft and be content to play a less volatile gameplay experience.  This was further exasperated when I went over a friend’s house years later to play the otherwise excellent Jedi Knight II, which apparently affected quite a number of people.  I still get queasy thinking about it – I lasted about five minutes and had to go lay down and close my eyes.

It is a shame – there are a lot of great first-person shooter games out there, but just the thought of them makes my head feel light and my stomach to churn.

I need to go lie down for a bit.

30 Days: Favorite Protagonist

This is one of a series called “30 Days of Video Games“, an exercise on daily writing.
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We’ve given the bad guys their day, let’s talk about our heroes.  For as much as I lauded the role of villains in video games, its the heroes that we adore and remember and sometimes want to be like.  And what a bevy to choose from – video games have given us some of our most iconic heroes through the years: LinkMarioSonicCommander Sheppard, Master Chief, Gordon Freeman, Samus Aran, Guybrush Threepwood, Mega Man… oh, the list goes on and on.  But as I said, the best protagonists have the best antagonists, so there can be no other answer than Tassadar, Executor of the Protoss.

It’s odd to me that I should choose Tassadar over so many of the other fine examples above.  It’s equally stunning, I’m sure, to my readers (all two of you) that Link isn’t the go-to choice here.  But the issue with the Zelda games is that Link is, for the most part, a shell for the player.  TFG answered “me” for this entry, and I think that’s a great answer – many RPGs will present to you the skills, the abilities, the tao of the character, but it’s up to you to decide the personality.  Even the excellently written & voice acted Commander Sheppard bears some resemblance to the player’s own view of morality, though Sheppard is probably a close second or third in this category.

Tassadar wins out for me because the player never shapes his outlook, never changes his destiny, and is ultimately driven by the executor towards Starcraft’s ending, setting a rich world for Brood Wars and Starcraft 2 where perhaps the finest example of nobility in the universe hangs ever-present as a backdrop to the dirty dealings of Terran, Protoss and Zerg alike.  Within a few playthroughs of the Brood War campaign, the constant “En Taro Tassadar” became to ring a little hollow to me – at first I thought I was just annoyed at the self-reference, but I realized that the Protoss were no more noble than their enemies and without Tassadar to serve as their conscience, they too would fall in line with the corrupt Terrans and insane Queen of Blades.

That’s another reason why I liked Tassadar as a protagonist over Jim Raynor.  Raynor’s a great character, a timeless archetype of tough guy/loner with the heartbreak turned enemy in Kerrigan.  However, I liked that Tassadar and Kerrigan never had a personal relationship, and that Tassadar’s triumph really had nothing to do with Kerrigan.  If anything, his act of sacrifice helped propel Kerrigan into her role as the “Queen of Blades” – but stopping Kerrigan wasn’t Tassadar’s role.  In relation to each other, Starcraft’s protagonist and antagonist were on disparate arcs, only coming within contact as diametrically opposed forces.

Starcraft would have had a terrible ending if Raynor was the one pulling the sacrifice move – trying to pull too many heartstrings at once.  Raynor’s broken heart is just another force in the world, not the focus.  The story of Starcraft, the war, the fight for control of the galaxy, these are concepts too big to be ruled by a guy like Raynor; his effect on the world is supplemental.  However, his heartbreak does cause ripples within the world they’ve built, and Tassadar’s sacrifice & Kerrigan’s ascension just add to his continued suffering, allowing him to effect the world without making the story about Jim Raynor.  That’s good story telling there, and probably Blizzard’s best writing.

30 Days: Favorite Antagonist

This is one of a series called “30 Days of Video Games“, an exercise on daily writing.
Follow the link for the full list.

Oh we do love our bad guys.  The best bad guys make the best games, it’s really that simple.  While a good antagonist isn’t all you need to make a great game, a well-written villain can make a game memorable, tense, fill you with dread as you play, and then, relief and joy when you, along with your protagonist, throw down your enemy and smote his ruins on the mountaintop.

Sorry, I was getting a little dramatic there (not me!)  Let’s delve into what makes a, uh, good bad guy.

It’s a funny thing that so many games delve into the realm of good & evil.  Most bad guys are evil, but a handful of games have got it really right – the best bad guy isn’t an insane evildoer with no reason to cause a ruckus (see: Diablo, or Wart getting all up in Mario’s dreams – omg spoiler!) but rather has a drive that the gamer can identify with.  I would say that the best bad guys are NOT evil, per se, but pushed to their limits, or just opposed to the protagonist.  The antagonist is the reason for the game, after all – it’s why your protagonist has their panties all up in a bunch to go save the world, after all.

Or… is that true?  Sometimes the best antagonist is not the primary enemy, but rather the thorn in your side, the stinging pest with their own agenda that sometimes aligns with, and oft contends with your protagonist.  Sometimes that pest is incredibly powerful but you just can’t do anything about it at the moment, focusing on the greater challenge or direct threat.

Sometimes the best bad guy really is bat-shit insane.  But that great kind of insane that endears you as you just have to admire the perfection of it all, the pure beauty of their deadly plan, their grace in destruction, their plans within plans.

That’s quite the list, no?  Well I think there’s one antagonist that meets those requirements.  Her name is Sarah Kerrigan, The Queen of Blades.

Over at TFG’s site (who answered the same), I suggested that Saren Arterius, the primary antagonist of Mass Effect, was my favorite antagonist.  In Saren, you had somewhat of a sympathetic villain, a rogue agent that had touched the veil and made somewhat of a Faustian pact in order to save the galaxy.  Saren was pretty hardcore, a prototype that Commander Sheppard wouldn’t deviate too far from (especially the renegade version,) but with a coldness that was pretty brutal to behold.  Saren ended up being a pawn of the galaxial reset-button known as the Reapers, and after Mass Effect, a footnote in the series.  After giving it more thought, Kerrigan is the clear winner, and one of the all-time great video game bad guys.

 

30 Days: Best Cut Scenes

This is one of a series called “30 Days of Video Games“, an exercise on daily writing.
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In a previous post, I had detailed out one of my favorite moments of video gaming, during Ocarina of Time, when a young pre-teen Link first encounters Ganon face-to-face and rashly challenges him with a wooden shield and a hand-me-down sword.  Ocarina was a hallmark game for Nintendo, and the use of then state-of-the-art Nintendo 64’s graphics engine was best shown in that scene, where a resolute Link is able to express emotion & thought for the first time, and the game’s tone is set on a more serious note for its duration.

But, it’s not the best.  Ocarina of Time might have been the best video game ever made, and its cut scenes are incredibly well done, but no game has ever got the narrative power of the cut scene better than those of the Final Fantasy series.

Choosing one out of that series is tough – technology and growth being what they are, the quality of the games steadily improved over the years.  Final Fantasy VII was a huge step forward from its predecessors but now the limitations of the platform are pretty apparent.  Final Fantasy 8 is incredibly well done as well, being that first step into the quality that one expects now from Square Enix.  I have a soft spot in my heart for Final Fantasy X, but that might not be due to the game, but who I had played the game with.  It might also be due to crashing a wedding by sliding down anchor chains from an airship.  Either way, Final Fantasy X is my answer.