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About
I'm a young gaming enthusiast with a passion for writing about all things relating to my favourite pastime. I devour news from the industry and enjoy coming up with new angles on interesting stories. I'm also a keen reviewer, but lack the sharp knife edge necessary to write accurate critiques which highlight a particular game's good points and bad points.

As for my gaming proclivities, I'll admit to being one of those evil creatures who has had more experience with recent releases than the classics of yore. I have installed various emulators on my laptop and experienced the classics of different eras, but my area of expertise is definitely from the 2000s onwards. That doesn't mean I lack respect for these games and their respective generations; I'm just a younger gamer who, unfortunately, missed out on the hype and has been lured by the sins of shiny graphics and that omnipresent god, Microsoft. I enjoy games with slight or even major flaws - it says something that my favourite game of all time is Access Games' Deadly Premonition, a sublime game which received a lowly 2/10 score from IGN.

I joined Destructoid about a month ago from the time of writing (15/03/2011) after stumbling upon a review by Jim Sterling. Since then I've written a few blog posts, none of them hugely popular but none of them hugely unpopular. I stumbled upon Destructoid from a dark corner of the internet, and found it to be a veritable oasis of fine writing, interesting news, and slightly frightening intellect and experience.

So, that's it. Around 70% of my life - mainly virtual - condensed into a short passage. If you've taken the time to read this, I thank you.
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Cliff Blezsinski - the man behind the behemoth (some would say Epic) Gears of War series and three-time winner of the ‘Most Awkward Last Name’ award - claims that the ‘double-A’ game is dead. He goes on to state that the games of the future will either be ridiculously overblown blockbusters like Activision’s recent Call of Duty efforts, or whimsical indie games created by developers with small budgets.

Before I continue ranting, I should probably define what a ‘triple-A’ title is. A triple-A title is: a game which sells well; a game which reviews well; a game which helps to shift consoles. Examples of triple-A titles include the Call of Duty series, the Halo series, and, yes, Blezsinski’s own Gears of War series.

However, just because a game sells well and shifts a pleasing amount of consoles for a particular company doesn’t mean it’s instantly worthy of your money. Activision has pocketed a disgusting amount of money from its Call of Duty series, yet it has become as fashionable to mock Black Ops in gaming culture as it has to mock Justin Bieber in…well, any culture. I’d rather buy Activision’s Singularity - by no means a triple-A title - than any entry in the blockbuster series the publisher is known for.

So, what say you? Would you be content playing big dumb blockbuster epics, or low-budget indie games with interesting ideas but little means to convey them? I think that would be a very miserable existence. The gaming market is, literally, staying afloat on the ‘middle class’ games Cliff Blezsinski obviously holds so much disdain for. A triple-A game is truly something special, but a triple-A game isn’t able to push the creative boundaries in the same way a double-A or even single-A game can.







FKinthecoffee
10:53 AM on 02.28.2011

Deadly Premonition, undoubtedly, is my game of the last decade. Despite its ludicrous storyline, horrid graphics and under-developed gameplay mechanics, the game was a masterpiece of off-kilter humour and a surprisingly well-written storyline which surpassed the plots of games with triple Deadly Premonition's budget.

I've actually just completed Deadly Premonition's main storyline, and so I believe I'm qualified to wax lyrical about the game's strengths. Its decidedly strange sense of humour is a major selling point, as is its eclectic mix of characters and the sheer personality of the leafy little town of Greenvale itself. Its action is serviceable, though nothing special if you've played Resident Evil 4, and functions well without any unnecessary show-off additions. The character of York is an interestingly insane persona whose somewhat eccentric manner is not merely a comedic device, but a major plot point with a sad tale behind it. I would go so far as to declare York one of the most interesting protagonists I have ever had the privilege of playing as.

As I've said, Deadly Premonition's plot is stellar. It starts well, introducing the character of York and the colourful town of Greenvale smoothly, and ends well, with the satisfying tying up of loose ends and the sad inevitability of Zach leaving Greenvale for good. The game is a lengthy affair, with over twenty hours of gameplay for your money - and at a bargain bin price, Deadly Premonition is worth the money for such a content-packed, oddly enjoyable game.

So, there you have it. A brief summary which I hope outlines Deadly Premonition's good points while skimping over the bad (horrendous graphics, odd musical accompaniment, etc). I hope I've convinced you, dear reader, to give the game a go, while leaving plenty of space for the player to discover what the game has to offer.