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3:51 PM on 03.13.2011  

The 'double-A' game is dead. Really?

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.   read


10:53 AM on 02.28.2011  

Deadly Premonition

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.   read







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