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Community Discussion: Blog by Jose Pedro Abalos | Jose Pedro Abalos's ProfileDestructoid
Jose Pedro Abalos's Profile - Destructoid






About
So... I'm a Chilean who's currently studying Computer Science with the purpose of creating videogames, so yeah, I'm a super nerd who enjoys a fuckton of stuff, from the obvious such as videogames and movies and music to others as "niche" as religion.

I got into gaming just like most people do, via the NES, but as my parents considered the NES "evil" (maybe because I woke them up at 6 AM to play Mario 2 on their bedroom :P), I could only play on a PC. Now I've reconsidered and basically have a PS3, Wii, PC, DS and PSP. Sorry 360 owners, don't flame me with the "HALO rox lol u suk monk dixs trollz".

Favourite games:
- Silent Hill Series
- Final Fantasy IX
- Tomb Raider 2
- The Last Express
- Any point n' click from Lucasarts
- If I remember it I'll put it here!

Currently playing:
CoD: Black Ops on PS3: tons of fun!
Just finished Sly Cooper and the Thievius Raccoonus :D
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Do gamers know what they want?

At first glance, the obvious answer should be "duh, OF COURSE". However, I think the answer depends on what do you want with your game: polish or innovation.

If you want polish, especially on a proven concept like a Call of Duty FPS or Bejelewed or whatever is out there in the market now, sure, asking for people's opinions can be rewarding, even though it can be frustrating filtering things like "YOUR GAME SUXXX HALO FTW DERP HERP" or statements as vague as "Your camera sucks" (note to readers: if you want to comment on a game, be specific. It REALLY helps developers if you give concrete examples).
A great example of this is Bioware with Mass Effect. I'm not a big fan of the first one, but Bioware listened to the criticism and delivered a kickass game with Mass Effect 2. Or Treyarch addressing Modern Warfare 2's balance issues and delivered a much more balanced game with Black Ops (regardless of how you feel about the game).

However, if you are looking for innovation, for concepts that have not been commercially proven, I think gamers don't know what they want and developers should just go with their gut.
The reason for this lies in the fact that we can only give an honest opinion about things we already know. We tend to associate new things with stuff we already have in our subconscious. For example, if I ask you to tell me what "Rock Band" is, how would you describe it? It wouldn't be off-mark to say "It's like "Guitar Hero 2" but now with drums and a mic". Focus on the "It's like..." part. THERE we make a reference to something people already know.
But what happens when you tell people about a concept that they don't know? They lose all kinds of reference points and thus they can't really make a good judgement about it. And developers, hearing the negative reaction, don't follow on with their concept afraid that this will be the reaction of the market at large when that will not be necessarily the case.
Let's take an example. If you had asked me in 2004 "Would you like to have a game where you mimic rock and roll songs with a plastic guitar with 5 buttons?" I would have said "For what? Why not playing the real thing instead? It sounds stupid". And I think a lot of people would have said the same. Well, if Harmonix had done, perhaps we wouldn't have Guitar Hero and Rock Band today.

So, to recap: trust gamers when you want polish in your game. For innovation, just go with your gut.

As Henry Ford said regarding the creation of his first car:
"If I'd asked my customers what they wanted, they'd have said a faster horse."








Man, technology sure is amazing! With the latest technological advances you can do tons of things: awesome HD graphics, online playing, and all sorts of bells and whistles that enhance our gaming experience... except our ears.

Allow me to elaborate a bit more.


Music was half of the appeal of this game


It's no hidden secret that for a long time games have been trying to emulate movies.One example of this are the cutscenes in the NES Ninja Gaiden. And one crucial way in which they try to do so is music. And what most movies have in common? Orchestras! Having lots of people playing tons of different instruments: the violins, chellos, pianos, trumpets, they all give a single theme that bigger-than-life quality that is just plain awesome.



The movie wouldn't be the same if the soundtrack was played in a MIDI format.


But until the PS2 era, that just wasn't possible because of technology restrictions. In fact, during the NES era, you only had seven possible sounds you could make (I don't know the technical details), and the sound quality is something we could call "shit" nowadays. Yet the number of instant classic tunes it generated is astounding.
Don't believe me? OK everybody, exercise time! What is this song?

Da-ra-da-dara-DAT-dat

Recognized it? If you didn't, I'm sorry for my awful music skills, it was Mario's theme. Now, I only need to mention "Mario" and you already have the melody in your head and, what's better, you also IMAGINE the game in your head, with the goomba, the clouds and bushes that just were the same sprite, and your memories of level 1-1 in your head.
That, my friends, is the true power of a legendary theme song. But the question: why we remember it so much, if the technical quality of the song was awful?

Simple: it had personality.
In this case, the technical capacities were so low that for games to stand out, composers had to get really creative and make a theme so quirky that it would distinguish itself from the crowd. Now, let's not get romantic, for a lot of the music on the NES was pretty shit, but the standout themes (Mario, Zelda, Castlevania, Sonic, Final Fantasy, Chrono Trigger, etc.) are really amazing, and each of them are really distinct from one another.



If you can't sing the tune, I'll take your nerd badge away :P


But what happens today?
We can finally put movie-quality in our games! YAY!! That means that the power of themes like the Star Wars or Back to the Future will finally be ours, right? Right? RIGHT?!
Not necessarily.
The thing is, a lot of composers today think that is so important to be like a movie that believe that they need to use an orchestra and presto!, your game is "cinematic". The problem is, most people are doing precisely that, and the end result is that most AAA games sound exactly the same: big, epic, but without a quirkyness, without personality, without a SOUL.



Do you remember the main theme from this game? No? Don't blame ya, neither do I.


Can you distinguish the main theme from Bad Company 2 from Splinter Cell? Or the latest Prince of Persia? What about Kane and Lynch? Any of the recent Tomb Raiders (haven't played The Guardian of Light so I can't say)? Heavy Rain? Sure, they can fit the situation perfectly, but can you distinguish one from another?


Now, let's be fair. There's still great music being made today. All I'm saying is: if your music doesn't have balls, if it's not quirky, if it doesn't have CHARACTER, not even the best orchestra in the world will save it from being mediocre. And also, orchestras don't have to be mandatory. Honestly, we'll be perfectly fine if our games don't sound like Hollywood blockbuster #33.


Really, we love this kind of music :)



An example of a game that uses orchestra to great effect.