Critical-Gaming

Monday, July 14, 2008

Wrapping up the Xbox

Halo Wars

video1
Many are hoping for Halo Wars to prove that a console controller can work for an RTS game.
The main issue I have with Halo Wars is tied to the source that created such hopeful people in the first place. Halo Wars, though designed for the 360 from the ground up, still looks like a PC RTS. The reason why so many other developers have struggled to adapt the PC controls to a console controller is because they're still trying to play a PC game on a console.
If Halo Wars is really designed for the Xbox360, then the developers would have created their own unique brand of RTS gameplay that would only make perfect sense using a console controller. I can't tell whether they did or not at this point.
Pikmin did it. Pikmin 2 did it again. Both of the excellent games feature the best console RTS controls around. Is it a surprise that the gameplay in Pikmin1&2 is some of the most unique gameplay in grand scheme of RTSs?
I will be watching Halo Wars in the future for its overall gameplay style and its controller scheme.

Fable 2

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The graphics are nice, but the combat looks really weird.
In the heat of battle the graphical clutter increases and the frame rate drops.
From what I know about the approach that's being taken with Fable 2's combat, it seems like the idea of simple (one button)/fun combat was taken too far. From what I can gather, it looks like after the combat was simplified, the developers sped up the combat while reducing the dynamic interactions between the elements in order to keep things "fun." This is very dangerous because it's far to easy to sacrifice weight, timing, commitment, and dynamics in the process.
The result is a game that is designed to feature cool combat on the base level instead of creating situations for the cool combat to emerge.

Too Human

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Looking better animation wise.
I don't have a 360, otherwise, I'd simply play the demo instead of watching videos.

Fallout3

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Looks a lot likeBioShock... especially with the menus.
The turn based combat looks a little too much like an RPG, which means it's bad.
Lock picking reminds me of BioShock's hacking.
The gameplay looks silly. Even the simple interactions within the action combat seem very unpolished and even laughable. On some levels, it seems like Fallout3 isn't taking itself seriously.
An open world means nothing if there's no "game" to experience it with.

Mirror's Edge

video 1
walkthrough video
I'm afraid that Mirror's Edge will be like Price of Persia: The Sands of Time's platforming mixed with Assassin's Creed's free running. In other words, I'm afraid that Mirror's Edge will be all looks and no play.
POP's platforming is so strict, linear, and unforgiving that the game heavily used the rewind time power to cover up the substantial trial and error platforming. I've heard from 1up Yours that Mirror's Edge is very similar and that you'll be falling to your death a lot. When this happens the game resets you to the point before you died. Sound familiar?
Assassin's Creed's free running looks amazing. Unfortunately, Altier practically does all the work for the player. Such a high level of automation takes away a lot of the play from the player and the game.
How deep can Mirror's Edges puzzles be when the Runner's Eye turns important areas red?
How tight can the platforming be in first person? Hopefully we won't have to relive Turok on the N64 again.
So far the game is in first-person, features bullet time, and has the "yellow brick road" that paints the way to success. This game is going to have a tough time overcoming these design hurdles. Nonetheless, I'm rooting for this one.

Geometry Wars 2

Information
video 1
I own Geometry Wars: Galaxies for the Wii. After writing my article on clutter, I've been slowly realizing how limited the design of Geometry Wars is. Even in the Wii version's 40+ levels and with the addition of personality bots, , there is very little variation to the gameplay.
So now we come to Geometry Wars 2 for the Xbox360. And it's 4 players.
It was hard enough to see through the clutter of firework like special effects with just one person playing. Good luck with this game. Strictly from a design perspective, this game will probably be a mess.
Also, there's no word of online play. Because of the nature of Geometry Wars, there is a 90% chance that there will not be any co-op online play unless they want to slow the game way down.

It's been a busy day, and it's only going to get busier tomorrow. See you then.

Out of the XBox

Resident Evil 5

video1
video2
I'm not at all impressed with RE5 so far.
Looks like RE4 with a different main character.
The destructible environments look like graphical embellishments.
The co-op play looks stiff and forced.

Face Breaker

360/PS3 version
Wii version
Oh really? What makes old school gaming so great if you don't mind me asking? Because form the looks of things, Face Breaker (Wii) looks pretty shallow.
Designing a game where players will get hit no matter how skilled one is or how inexperienced their opponent is, is a big mistake. From the looks of things, Face Breaker isn't a good game. I don't know why a developer would spend so much time trying offset the advantage a pro has over a new comer. Sakurai made this mistake and now all the Brawl players are suffering. Developing games is hard enough without fighting battles you should be involved in.
The 360/PS3 version looks much better than the Wii version gameplay wise. Two different teams are working on these games, and the Wii teams looks like they're far behind the 360/PS3 team.

Far Cry 2

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Flushing enemies out from places, and shooting them while they're going through any type of non aggressive animation has been done many times before. It's not deception as much as simply shooting enemies when they come into range. It's nothing special.
No matter how you mask exploding barrels, they're still exploding barrels. In this case the ammo pick ups and the propane tank are two new examples of things we've already seen many times before.
Putting bombs on things and detonating isn't as satisfying when the game practically tells you to do it. Perfect Dark, a first-person shooter on the N64, feature dynamic objectives and remote mine explosion opportunities. Far Cry 2 isn't as even as good as Perfect Dark. Nothing new here.
The enemy animation looks very questionable. With the upgrade to more realistic graphics, the enemies look like they're still a few gens behind.

Gears of War 2

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This game looks very impressive. Sequels are always at risk of being too similar to their predecessors, or adding things that diminish the game. RE5 is suffering from both of these pit falls. Fortunately, Gears looks like it's doing things right.
According to Cliff Bleszinski, the multiplayer options and balance have gone under considerable tweaking based on how the meta game of Gears of War's multiplayer developed. Paying attention to the community is always a good thing. But making the best design decisions is always best.
Aside from the new party based matchmaking options and adjusting the net-code to reduce the extreme host advantage when playing online, the cover system is being refined even further than the original gears.
The graphics and sound will all be there I assume. But the thing that has me most excited for this game is the interplay that's being added. Remember Gears of War's interplay?
Now players can pick up downed opponents and use them as shields. Downed players can also mash the A button to crawl away to a safer/hidden area hopefully unnoticed. Hopefully there are ways for you to break out of an enemy's grasp when they're using you as a shield. Once again, RE5 showed some of these same scenarios. In RE5 case, the animation and gameplay looks a lot less polished.
In addition to the interplay with downed players, bullets now have stopping power meaning, you can slow down your opponent by shooting them. Depending on how this mechanic is incorporated, the gunplay in Gears can be expanded. If leg shots are the inverse of head shots (trading off damage vs. stopping power), when coupled with the new cover system, a rich new level of play may be opened.
Gears of War already featured the familiar guns and then some. But the new weapons in Gears2 seem to be designed to work well with the new options that I've just described. One gun, as Cliffy B. described, is great when fired while holding an enemy as a shield and makes a great addition to game because of the unique space it fills within the range of the game's gun variation. With a game like Gears, with new abilities and properties should come new weapons that accentuate them.

Mortal Kombat vs. DC Universe

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I wanted to just say "yuck" and be done with this game, but that wouldn't be very "critical" of me. Ignoring the premise/conceit of the game, I'll say this...
The animations look stiff.
Why is Superman bleeding when he gets hit?
I thought the DC characters couldn't be subjected to fatalities because of some kind of agreement with DC. I wonder what happened to that.
It's not very nice to say that a certain game series is dead. Still, from the looks of things, this game doesn't help Mortal Combat.

Tom Clancy's EndWar

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This video was simply confusing.
RTS is a genre that has become quite complex and at times unnecessarily so. And this video proves that point.
I can't understand the mechanics of this game, so all I can say is there is a lot of attention put into little details in the graphics.

Fracture

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The graphics and the style are definitely cluttered. Between all the dark tones and shadows, I can hardly see what's going on in the video. Throw on top of that the explosion effects and the physics based sharpnel and the focus of the game becomes highly unstable.
Manipulating the terrain creates some interesting potential for interplay. ie.using hills to create walls/cover on the fly can be countered by using borrowing missiles. In this case, the interplay is gunplay because the terrain changing ammo is shot out of the player's gun.
According to the developers, Fracture sounds like it's designed with simple/open rules that allow for unique emergent strategies.
From how the terrain changing mechanic looks, the game seems to be moving a bit to fast almost as if it's trying to mimic the gameplay of another shooter while adding terrain effects on top as a bonus. Hopeful these developers can focus on what's most unique about their game and let everything else (controls to game speed to graphics) support the core.

More Critical-Hits to come.

G4's Massive E308 Coverage Announced

As the title indicates, this is your guide to keeping afloat for the next week. Every entry in bold (beside the dates) are the events that I'm looking forward to most.

Read the line up. Study it. And buckle up.

Monday July 14th
1PM ET – Half-hour pre-show followed by the entire Microsoft Press Conference – live and commercial free on-air and online.
6PM ET – EA Press Conference - Live streaming coverage on G4tv.com
7PM ET – Two-hour E3 Preview Show featuring the following DEMOS:

Fallout 3
Fable 2
Halo Wars
Ghostbusters : The Videogame
Silent Hill: Homecoming

Tuesday July 15th
12PM ET – Live on-air and online streaming, commercial free coverage of the Nintendo Press conference
2:30PM ET - Live on-air and online streaming, commercial free coverage of the Sony Press conference
5:30PM ET – Ubisoft Press Conference - Live streaming coverage on G4tv.com
6:00PM ET– Live three hour E308 Special featuring the following DEMOS:

Gears of War 2
Resistance 2
Killzone 2
Rock Band 2
Star Wars: The Force Unleashed
Prince of Persia
Street Fighter IV
Lord of the Rings: Conquest
Dark Void

7:30PM ET – CAPCOM Press Conference - Live streaming coverage on G4tv.com
11:30PM ET – ACTIVISION Press Conference - Streaming coverage on G4tv.com

Wednesday July 16th
5:30PM ET - KONAMI Press Conference - Live streaming coverage on G4tv.com
6PM ET – Live three hour E308 Special featuring the following DEMOS:

Resident Evil 5
FarCry 2
LittleBigPlanet
Dead Space
Spore
InFamous
Mercenaries 2: World in Flames
Left 4 Dead
Mortal Kombat Vs. DC Universe
Crysis: Warhead
Shaun White Snowboarding
Deadly Creatures

Thursday, July 17th
6PM ET – Live three hour E308 Special featuring the following DEMOS:

Mirror's Edge
Madden NFL '09
Tom Clancy's H.A.W.X.
Tom Clancy's EndWar
Project Origin
Banjo Kazooie
Face Breaker

Friday, July 18th
7PM ET – Attack of the Show E3 Wrap-up Special
8PM ET – X-Play “Best of E3” Special

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.

Monday, July 14, 2008

Wrapping up the Xbox

Out of the XBox

G4's Massive E308 Coverage Announced

Updated Critical-Glossary

...about Critical-Gaming

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