Showing posts with label essay. Show all posts
Showing posts with label essay. Show all posts
You're in a game... now move along
The good news: gaming narratives do seem to be progressing, in general. Whether looking at mainstream titles that far surpass their predecessors, or an ever-growing independent movement without the need to actually sell their game to consumers, there is a noticeable increase in the amount of quality games that are actively trying to use the full potential of the medium, and an increase in the tact of those games.
… Partially.
I cannot deny that there are good, or at the least, entertaining narratives in some of these games, but the problem is that these games don’t seem to fully attach themselves to the idea of telling a story in a game. The problem since the very beginning of narrative defined games is that they want to tell a story that resides in a game, rather than telling a story with a game. I’m not breaking down doors with this revelation, and (if this were directed at game makers) I’m really just preaching to the choir, but even with those that are attempting this, it doesn’t quite seem like they understand how their ideas are actually translated, or even that they just don’t give the player the credit they deserve.
When Bioshock came out earlier this console generation, there was no shortage of fanfare. From people remarking on how wonderful its city locale was to people going as far as to assert this is the first game that can be called art, it’s hard to look at the game without a little cynicism and some heavy criticizing glasses. With that said, Bioshock does do some things quite well. The atmosphere is thick enough to drown in occasionally, and the story presented as it is keeps the pace at a nice flow, and allows the player to take in the story naturally. There is a problem, however, and it seems glaring to me.
… Partially.
I cannot deny that there are good, or at the least, entertaining narratives in some of these games, but the problem is that these games don’t seem to fully attach themselves to the idea of telling a story in a game. The problem since the very beginning of narrative defined games is that they want to tell a story that resides in a game, rather than telling a story with a game. I’m not breaking down doors with this revelation, and (if this were directed at game makers) I’m really just preaching to the choir, but even with those that are attempting this, it doesn’t quite seem like they understand how their ideas are actually translated, or even that they just don’t give the player the credit they deserve.
When Bioshock came out earlier this console generation, there was no shortage of fanfare. From people remarking on how wonderful its city locale was to people going as far as to assert this is the first game that can be called art, it’s hard to look at the game without a little cynicism and some heavy criticizing glasses. With that said, Bioshock does do some things quite well. The atmosphere is thick enough to drown in occasionally, and the story presented as it is keeps the pace at a nice flow, and allows the player to take in the story naturally. There is a problem, however, and it seems glaring to me.
Hotline Miami: Senseless Violence?
When discussion turns to video games it’s often easy to centralize the topic around violence, American fascination with the subject as entertainment, how it distorts the lives of our children or caused this or that murder, etc. Some games, are of course, more prone to such discussion than others, yet a general sentiment that the video games are a realm ruled by violence, where gore sells, permeates through advertising as well as fear mongering news reports, looking for something to blame for a tragedy rather than focusing on alleviating the devastating results of tragedy itself.
Enter Hotline Miami a top-down gore-filled extravaganza.
Now, you’ve likely heard about Hotline Miami and how violent it is at some point. Maybe you’ve played it, maybe not, but the game is undeniably fun. If any mantra can be applied to the gameplay of Hotline Miami it’s “Be quick or be dead” death in the game comes only in one form, instantaneous, and enemies are just as vicious killing machines as the player. The game requires a wiring of reflexes—effeciency and discretion, a delicate blend of frantic execution with examination of one’s surroundings and knowing when it’s optimal to strike, and when a speedy retreat is necessary, combine this with the intense gore, and the game is an undoubtedly visceral, heart pumping experience.
Of course, here the perennial question arises; frantic muscle movements, great; shifting gameplay elements by way of masks and weaponry, fine; ultra violence, why?
Enter Hotline Miami a top-down gore-filled extravaganza.
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| In a minute there will be blood. Lots of it. |
Of course, here the perennial question arises; frantic muscle movements, great; shifting gameplay elements by way of masks and weaponry, fine; ultra violence, why?