Critical-Gaming: Critical Casts ->12/05/07

Thursday, December 13, 2007

Critical Casts ->12/05/07

Developing a critical eye and ear for gaming will not only allow you to delineate the quality between games, but it will also allow you to be more critical of comments and opinions from any gaming community. Critical Casts is a blog series where I will highlight any noteworthy comments from the weeks worth of podcasts and video reviews. The aim is to give listeners the opportunity to identify and ponder issues and ideas raised in the podcasts and compare their reactions to mine.

For the first entry in the series, I've selected three podcasts from the weeks surrounding Thanksgiving. With the Christmas break ahead of me, I will be more prompt with posting my responses.

GFW Radio 12/5/07

29:29: Flip-Flop: "Letting something critical slip through and then immediately back tracking and apologizing it away"

Flip-flopping is fairly common and it was one of the issues I pointed out in my Game Informer Mass Effect Re-reivew. I believe part of the problem stems from a lack of a sound foundation in videogame critique. It seems that many reviews don't know how the conflicting impressions and feelings they have after experiencing a game can exist simultaneously. Understanding the difference between a well designed game and a game where you can have fun requires understanding the relationship and balance between game mechanics and their execution. Without such a working knowledge, it is immensely difficult to write about a complex game cogently in a review. Not only does this require knowledge of game design, but competent writing skills, both of which are hard to come by.

40:33: "Disparity between content between previews and reviews"

I've found that when writing previews, many videogame journalists or "enthusiasts" will keep their "niggles aside" under the assumption that the game is still being polished and little issues will hopefully be removed before the release of the final product. However, these issues often go unfixed when the game is finished. Even when they are, such tweaks are often insufficient to warrant the high scores the previews have projected these games might receive. This disparity leads into the next highlight...

41:10: Judging early builds accurately. "Dishonesty by omission"

Because developing games is such money and labor intensive undertaking, as the project moves past the middle stages of its development, it becomes increasingly difficult for the game to change in significant ways. At some point, the graphics can't be tweaked. Some issues, however small, would simply require too much time and money to fix. Assassin's Creed suffers from pop-in despite the stunning graphical presentation of its environments. Additionally, Mass Effect has terrible frame rate and loading issues. We were well aware of these graphical issues throughout the multiple previews of the game. Obviously, hoping they would be fixed wasn't enough. These are just two games out of many.

Because of this resistance to change, critically judging early builds of games does have merit. The reviewing industry stresses playing a game as completely as reasonably possible before reviewing it, which is a good policy. However, for the purposes of understanding and speaking critically about games, small sections of a game can provide plenty of material for discussion. Generally speaking, controls, graphical style, and presentation are consistent from the beginning of a game through the end. Lair's lack of adequate controls and Assassin's Creed's lack of variety are two issues that are apparent from previewing the game. Yet, many previews gave glowing reports about the potential of these games. By not talking about these crippling issues, as time has shown, the reporters effectively lied by omission.

For the experienced gamers, often times a bad preview for a game "turns out exactly like you [were] thinking." Keying in to the structures that support the foundations of game design is an effective way of judging whether a game works or not upon limited impressions.

1up Yours 11/30/07

15:40 Geometry Wars Galaxies is "unplayable if you don't have a classic controller"

This is a strong statement claiming that the default controls for this game are insufficient. Are we really to believe this? Any critical listener should want such a statement to be supported by arguments or valid points. John does just that. He claims....

The Wiimote pointer moves the tip of the laser sight.
The Wiimote pointer controls the extremity of the screen.
You "wipe it around" to shot in various directions.
You are unable to quickly and accurately shoot in various directions.
The control are unintuitive.

A critical listener who has not played Geometry Wars Galaxies, assuming all of these points were valid, would most likely accept John's claim. I, however, own the game and have experience with the Xbox360 version, DS version, and the Wii version with the both sets of control options. For Geometry Wars controls, I have much experience. Here are my impressions...

The Wiimote pointer shoots where you point and isn't restricted to the tip of the laser sight.
The Wiimote pointer does not control the extremity of the screen.
Pointing and shooting is as accurate, intuitive, and versatile than the duel stick counterpart or more so.

The only way our two impressions can be so conflicting is if John played an earlier build of the game that supported an alternative control method. Otherwise, my only other conclusion would be, John is a poor judge for discerning nontraditional controls.

IGN Wii-k in Review11/20/07

8:00 "even if you don't have a classical controller, you can still play Geometry Wars [Galaxies Wii]. It plays fine."

Even without having access to Geometry Wars Galaxies, Casamassina and Bozon have stated that the Wiimote controls that were supposedly "unplayable" (according to 1up) are in fact "fine."

20:09 "terrible Wii Sports Boxing"... "[Throwing] punches just doesn't feel good when you have no contact"

Being a Wii Sports Boxing fan, I find the lack of support for these bold claims detracts from Casamassina and Bozon's credibility. Technically, you don't have any contact with the tennis ball, golf ball, baseball, or bowling ball in any of the other Wii Sports games. If Wii Sports Boxing is no different, then this claim falls apart with IGN's praise and support of the other Wii Sport Games. "It's like air boxing." Likewise, the whole game is like air sports.

22:55 A listener writes in inquiring about IGN's lack of understanding and appreciation of Wii Boxing.

It's disheartening to hear the conversation regress into name calling. With that aside, the only statement Casamassina offered in his defense was that many other reviews dislike Wii Sports Boxing. After making up statistics about the percentage of reviews who dislike Boxing, he goes on to make huge generalizations about how the game is neglected because "nobody" plays it. Unfortunately, this kind of unprofessional-middle-school-antics does nothing to support Casamassina's stance on Wii Sports Boxing. Granted this is an informal podcast, the truth of the matter still stands. Of all the words that were said, listeners still know little about what makes Wii Sports Boxing good or bad.

37:23 Forgiving Ambitious Games

Casamassina expresses his tendency to lean toward a double standard for reviewing "ambitious" games like Mass Effect: "If that happened in Galaxy we would knock a point off for that... But I guess because Mass Effect is so huge in scope... you have to forgive all these crazy things that happen... I find it really hard to forgive stuff like that." Fran Mirabella backs him up saying, "When a game is super ambitious you do that. It's hard because you gotta balance out like how you feel about it over all."

Reviewing games is difficult due to the different types of elements that composes a game (art, technology, sound, music, mechanics, design). Clearly here, the reviewers at IGN have to figure out their own way to compare these elements and the short comings found therein.

I feel that the industry as a whole has grown too forgiving toward "ambitious" games and efforts. Any company can be ambitious. It's easy to bite off more than you can chew. Not enough credit is given for the companies who make great polished games within their limits like Super Mario Galaxy. At the end of the day, a bad frame rate is just bad, and no amount of the game's story is going to make the game smoother.

1 comment:

Softliner said...: There's a relevant article that will be pretty hard to find, I think: "Why Modern Literature is a Monster: Canon, Innovation and Cultural Economy" by Clemens Ruthner. Ruthner's argument might be phrased as "Unrelenting fascination with novelty destroys art." These days, we have literature that is simply unreadable and unlikable to anyone except academics who have been trained to like it, basically. Literature (and art in general) like this is often created in the name of novelty or originality.
Game reviewers seem to have a similar obsession with 'the new,' probably because it's one of the only things about games that they can actually analytically recognize. I don't think there's any problem with trying to encourage original projects... The problem arises when games are critiqued for being like their predecessors. By this logic, something like Michelangelo's David deserves little attention, because people had already been making figure sculptures for millennia. The lack of respect for QUALITY inherent in such a judgment drives me crazy.
A counter-example to the pro-novelty rhetoric: ask an avid Mega Man fan what the ideal next Mega Man game would look like, and he/she will probably say something like "Remake Mega Man 2 (or one of the first three X games) with new bosses, levels and music."; January 20, 2008 at 10:54 AM

Post a Comment

Updated Critical-Glossary

All + All -

Critical-Glossary

+ - Alphabetical
- + - abstract mechanic
  - Some gameplay mechanics are completely artificial, meaning they do not make logical sense based on the form of the game. When such mechanics are privileged within a game's design, we tend to label these games as being "arcade" like. I describe these gameplay mechanics as being abstract.
    ~ see article
- + - accordion level design
  - Folded level design that folds back and forth at multiple creases that creates a pattern either in the types of creaes or a patten of some concerte nature.
    ~ see article
- + - asynchronous time (async)
  - It is a design innovation that applies to games that are played in real time. By taking the progression of real time and breaking it down in specific contextual ways, a new level of game design can be reached. This is the essence of asynchronous time, or async.
    ~ see article
- + - clean design
  - Following form fits function and relatively simple gameplay that is layered for effect.
  - ~ see article
- + - cluttered design
  - Design elements/choices that create more negative space than actual space. Also, design elements that ignore form fits function.
    ~ see article
- + - conceptual variation
  - adding or subtracting a different elements than what was modified in the previous step.
  - ~ see article
- + - counterpoint
  - In music, Counterpoint is the writing of musical lines that sound different on their own, but harmonize when played together. How the melody of a song interacts with the other lines is the focus of Counterpoint.
    Counterpoint, in gaming, is a word for the way gameplay develops past optimization by layering interactive elements into a single gameplay experience. When each layer influcences, interacts, and enhances the functions/gameplay of each other layer the gameplay emerges into a medium of expression that reflects the individuality of a player and the dynamics that reflect the complexity of the world we live in.
    ~ see article
- + - crease
  - The point at which a level folds upon itself.
  - ~ see article
- + - diminishing trend
  - A diminishing trend is one where game elements are either added or subtracted that reduce the amount of consequences and allow for mechanics to be executed less precisely.
    ~ see article
- + - direct (mechanics)
  - A measure of how the changes in the method of input are paralleled with the action in the game according to the form of the mechanic. If you quickly press the green button on your controller, does the game quickly press the button on the screen? If you hold the button on your controller, is the button on the screen held down as well?
    ~ see article
- + - distinct section
  - When a section contains an individual gameplay idea that isn't significantly and directly related to another section, then that section is considered a distinct section.
    ~ see article
- + - dynamic (mechanics)
  - An measure of how the game world responds to the action. According to the form of the game world and the mechanic, does the world react realistically? What is the extent of the properties of the mechanic? Are the reactions to the mechanic special cases or can the resulting actions continue to effect the game world?
    ~ see article
- + - elements
  - Any variable element in a videogame.
    
       * player: character(s), cursor, avatar, HUD
       * level: non aggressive interactive (physical) pieces
       * enemy: hostile/aggressive forces
       * audio: sound effects, music
       * visual: non-interactive on screen elements
       * rumble: force feedback
    ~ see article
- + - elemental variation
  - see conceptual variation
- + - emergent structure
  - the coming together of a few rules in "unexpected" ways.
- + - expanded game idea
  - In counterpoint, If the player must combine secondary functions with primary functions to progress, then the game idea is considered to be expanded.
    ~ see article
- + - feminist criticism
  - Like Marxist criticism, the most successful Feminist critique of a game involves analyzing how the range of player functions that affect female characters directly or indirectly reveal the operations of patriarchy. When the player is encouraged or forced to play in a way that depicts men as strong, rational, protective and women as weak, emotional, submissive, and nurturing, then the game can be said to support and reinforce patriarchal genders roles and ideologies. Patriarchal values work to oppress women, and all feminist theory and criticism works to promote women‘s equality. A Feminist analysis can become more complex when finding examples of actions toward women if a game doesn’t feature any women or the game allows for limited interaction with women. Writing essays about such games often leads to finding evidence by absence. In other words, a Feminist critic’s central piece of evidence may be what can’t be done to women instead of what can.
- + - flow
  - How a game accelerates or creates forward momentum. This factor of gameplay isn't necessarily about speed. More specifically, it looks at how a game's interactions feed back into the player's options/experience like a snowball rolling down hill.
- + - folded level design
  - Level design that resuses a space with the second use containing an extra layer to the gameplay that builds on the knowledge and experiences established on the first layer.
    ~ see article
- + - form fits function
  - Form fits function is a powerful game design principle that has powered many of Nintendo's greatest games. Using familiar visuals, games can use their form to communicate to the player. If there is a ball resting on a tee and the player avatar has a golf club in their hands, they better be able to swing the club and hit the ball. Otherwise, why put such things in front of the player in the first place? Keeping the form true to the functions and limits of a game creates the cleanest most easily enjoyable experiences.
- + - function creates form
  - When a game's mechanics inspire, shape, and define the creation of ancillary parts of a game. ie. story, setting, premise, characters, music, audio
    ~ see essay
- + - game idea
  - The influence of a game element or group of game elements on a game's mechanics in a specific way.
  - ~ see article
- + - gimmick
  - A sometimes hidden innovation intended to attract attention and increase the unique value of a product or work. dictionary.com
- + - individual (mechanics)
  - A quality of a mechanic. Does the input yield the same action every time? Or can the input result in a variety of different actions?
    ~ see article
- + - interplay
  - Interplay is the back and forth encouragement of player mechanics between any two elements in a game. Put simply, interplay is where actions and elements in a game aren't means to an end, but fluid opportunities that invite the player to play around with the changing situation.
    ~ see article
- + - intuitive (mechanics)
  - A measure of the degree to which input method matches the form of the game. If there's a green button on the screen, and a green button on your game controller, the form of the game is liked to the input of pressing the green button on the controller.
    ~ see article
- + - linear variation
  - adding or subtracting a single game element or fixed group of elements in a specific arrangement.
  - ~ see article
- + - marxist criticism
  - Like Psychoanalytic criticism, Marxist criticism can seemingly critique a game by looking solely at a its fiction. However, both of these critical modes, in relation to videogames, achieve a deeper, more profound level of analysis when the elements of interactivity between the game and player are taken into consideration. Many Marxist critics of literature believe that film, literature, art, music, and other forms of entertainment such as videogames are the primary bearers of cultural ideologies. While we’re being entertaining by these medias, our defenses are lowered making us all the more susceptible to ideological programming. A Marxist critic of videogames looks for how a game supports or condems capitalist, imperialist, or classist values. Perhaps the best and most obvious place to look toward in games is the role and function of money. Some games represent money with actual U.S. dollars or some other form of real world currency. Others use fictional currency from bell, to gil, to star bits, or even points. What the player can purchase, how these items or services function, and how the money circulates within the game world all become important areas of analysis.
    ~ see essay
    ~ see example
- + - minimum difference
  - The smallest degree of change needed for a change to be significant for a particular mechanic. (minimum degree of difference)
    ~ see article
- + - momentum
  - is created when player mechanics layer and/or link into resulting states that create opportunities with a higher amount of risk/reward
- + - multi-element whole
  - emergent gameplay
- + - multi-fold level design
  - A level that is designed with multiple layers and creases that fold onto each other more than once.
  - ~ see article
- + - negative space
  - see static space.
- + - new classical criticism
  - "New Classical criticism focuses on identifying a game's primary function/action that sums up all of the player's actions, functions, and abilities into a single expression. This expression can be thought of as the interpretation of the game or what the gamer is actually doing when he/she plays. Sometimes the primary function can be encapsulated in a single word. For example, the primary function of the Super Mario platforming series is "jump". After the primary function is identified, the New Classical critic then looks at a game's formal elements to analyze how they promote the primary function. The formal elements include Sound, Music, Art style, Story, Graphics, level design, enemies, etc. Because the New Classical critic privileges interactivity over passivity (especially when focused into a limited number of rules and actions), such a critic is only concerned with how these elements shape the gameplay experience, and assumes that any formal element in a game is only meaningful when it supports the primary function and exists in a lower state of priority to that function. In other words, elements like story can't be more stressed and more important to a game than the gameplay. Even if a game is designed according to the conventions and assumptions of Western game design, it can still be critiqued in the Classical mode."
    ~ see essay
    ~ see essay 2
- + - open variation
  - Doesn't look at examples from the game, rather it focuses on arrangements and groupings that the researcher creates. Such an approach looks at possible scenarios than existing ones.
    ~ see article
- + - origami level design
  - A type of multi-fold level design where the creases and layers are so flexible and/or dynamic that considering the possibilities within a single level are interconnected and complex. Considering the shape created from a multi-fold level is similar to observing an origami figure.
    ~ see article
- + - primary mechanic
  - Whether a game is defined by an action or a group of actions, a small set of mechanics rests at the core of every game. This mechanic is the primary function.
    ~ see article
- + - psychoanalytic criticsm
  - For those who aren’t careful, a Psychoanalytic critique of a game appears to only be concerned with the fiction of a game and the relationship of the characters. Unless the game is Psychonauts, most games seem to have little to nothing to do with the human psyche. Neglecting how the game fiction and the gameplay (or game rules) come together to create the Psychological work in a game is a common pitfall. Another easy pitfall is to get wrapped up in Psychoanalyzing the developers of the game, or what may be infinitely more embarrassing, accidentally analyzing one’s own psychological state while trying to pass it off as an analysis of the game. Though it is true that the fiction of a game is an important part of any Psychoanalytic analysis, the gameplay is where the most profound sources of material because the interactivity of the game can influence and transform the player in more powerfully subtle ways than a passive medium.
    ~ see essay
    ~ see essay2
- + - quantification
  - Breaking down the range of possibilites for a game mechanic into distinct parts for the purpose of analysis.
    ~ see article
- + - refining trend
  - And finally, the refining trend is one that increases consequences that force the use of mechanics in a more precise manner by adding or subtracting game elements.
    ~ see article
- + - secondary mechanic(s)
  - The set of mechanics that do not make up the set of primary mechanics. These mechanics usually aid and help shape the primary mechanic.
- + - sections (sub-sections)
  - All games can be broken down into sub-sections or sections. Whether a game is broken down by rooms, loading sections, cut scenes, stages, levels, rounds, or turns, if a game has a mechanic that is repeated, then it can be divided into sections.
    ~ see article
- + - species
  - The 4 varying levels of counterpoint with the last being a combination of the previous three.
  - ~ see article
- + - static space
  - The static distance between player and objective. Can occur when a strategy is repeated without escalation.
- + - static trend
  - A static trend is where there is no change between sections, or when the changes are inconsequential because they fall short of meeting the minimum requirement for the quantified mechanic.
    ~ see article
- + - strict variation
  - Examines the exact way the game "levels" are arranged or grouped
  - ~ see article
- + - structuralism/deconstruction criticism
  - Structures are probably the most recognizable feature of videogames. Because structures create the foundation for the game rules and player to learn these rules, analyzing structure develops a clearer insight into how a game works at its core. We're all familiar with the structures of genre. Any gamer can instantly recognize a first person shooter like Halo from a puzzle game like Tetris. Each gaming genre has a certain look to it that is the result of the gameplay structures. Like with any genre, the degree to which the conventions are followed or deviated from varies greatly from game to game. Recognizing a game's structure is an acute way of talking about how a game works in or outside of its genre.
- + - suspension
  - In counterpoint, when a game element or game idea is offset form the established pattern of game ideas to create scenarios where the element/idea can carry over and influence other game ideas.
    ~ see article
- + - tertiary mechanic
  - Any mechanic that is contextual to external forces to the players natural state.
- + - translation
  - The rewording or paraphrasing a game idea into another medium (typically words).
- + - variation
  - how a game's elements influence the use of game mechanics over increasingly larger segments of the game
    ~ see article

...about Critical-Gaming

We have come to a point where how we talk about video games is insufficient in expressing how we feel and think about them. With each year comes increasingly complex games, yet we are still, for the most part, writing and talking about games on a shallow consumer level.

It is time to start thinking and writing critically about games. However, before we can do this, we must approach gaming from a critical mode or mindset. To do this, we must first understand of how the different parts of a game work together (game design). Unfortunately, many of the who have experience in this area spend their time making video games. Beyond that, the body of knowledge that does exist is scattered at best. For this reason, it is hard for a thorough understanding of game design and critique to become widespread.

I have started this blog in efforts to inform both gamers and non-gamers of the complexities of gaming and how it compares to any other art form (music, literature, movies). Using literary critical theory and music theory as a starting point, I have developed a comprehensive set of critical modes for video game critique. By writing in these critical modes, and by critiquing other video game reviews, I hope to raise our understanding and expectations of video game journalism, critique, and even video games themselves.

We already have a loose idea of what it means to be a core gamer. A casual gamer. And a hardcore gamer. I hope with the right mindset, we can become critical-gamers, who don't shun our fellow gamers for thinking deeply about games but embrace the change we wish to see in the world.

Thursday, December 13, 2007

Critical Casts ->12/05/07

1 comment:

Updated Critical-Glossary

...about Critical-Gaming

Downloads

[Insert Game Here] Discourses

Blog Archive

Labels

Books I'm Reading

Games I'm Researching

Links

Critical-Casts

Podcasts I Listen To

About Me