2:16 PM on 05.20.2015
Maybe some of you guys caught my last blog about my first couple of hours with Bloodborne. In there, I layed out all of my early complaints and frustrations with the game in as much honest detail as I could. Over time, I grew to love the game, and never got around to writing the follow up blog detailing how I had changed my mind. So keep that in mind, and read on with your grains of salt handy.
But THIS TIME .... this time, I don't think I'll be changing my mind.
BEHOLD ... the Witcher 3 ...
As it says on the box's front cover, it "Defines Next-Gen" according to IGN, and has been the recepient of over 200 awards. My only question is, why is everyone crazy but me? Why does this keep happening to me? I begrudgingly bought GTA IV after reading how it had the best writing in any medium over the last CENTURY, and after seeing about 500 perfect 10 reviews. Rarely have I ever been so disappointed with a game as that. Then I watched all the trailers for Red Dead Redemption, read all the reviews saying how it's the digital emodiment of Citizen Kane meets Tombstone only to find a broken piece of garbage with the worst controls ever. I figured out then that no matter what I read online, I just now know that Rockstar Games aren't for me.
Well, I've heard about the same kind of praise for The Witcher series since 2007. I'm not a PC Gamer, so I never tried this series previously, and I didn't want to bother hooking up my 360 to try the 2nd one when it came out on consoles. I heard over and over how this is the pinnacle of PC gaming, how it's the most elite, mature RPG series, how the combat is very well done, and super tactical. Then I read all the buzz over the Witcher 3 over these last ... months, years? I read all the perfect reviews, and Destructoid's review. To Chris Carter's credit, he does point out a few of the bugs involved in movement, and I thought the review was probably fair.
Anyway, I finally tried this game. I told myself 100x I wasn't going to bother buying this. But on the way home from work I decided to go pick it up at Wal-Mart since I had the next two days off. Everyone can't be wrong about this game, right? I mean, there's no way I'd hate it, right? I even like middle-tier games, low budget games, and a ton of differnet genres. I love RPGs. I've enjoyed WRPGs in the past many times, but not for a few years admittedly. I'm watching Game of Thrones at the moment.
But sadly, no. Just like Rockstar, I now know that CDProjekt Red games are not for me, no matter what the reviews say.
1) Attempting to Move
The biggest flaw I can see with this game, is that the controls are fucking horrible, and attempting to move around always results in some alternate version of what you intended. Your character has so much forward momentum that you can't even control where he's going most of the time. I noticed this almost immediately, but it really became apparent when I was in this very narrow ditch of dirt. There were two boxes laying on the ground that I was attempting to pick up since they had some random alchemical items in them. I was standing right next to them, and I attempted to hit up on the joystick only to see my character move right past it over and over, clumsily missing the box right in front of him. It was so ridiculous I almost recorded a video of it and uploaded it to youtube to show you all, so I could make a gif out of it, but I just don't have the motivation to do all that. Trust me, his movement is not precise, at all. Coming from Monster Hunter 4 and Bloodborne, I'm just wondering why anyone even puts up with this? I just can barely even control how he moves.
Actual gameplay footage from The Witcher 3
Next, I saw a very gentle slope in the terrain. I tried to jump off it as I was running, and he landed and died. This surprised me to say the least. The drop was literally like, 4 feet. How could The Witcher die from just taking a small jump over some grass? Just moments before, I had to watch an extended cutscene showing Ciri training over the edge of a castle wall, by balancing her steps on small wooden pegs while she moves around a swinging hunk of wood and metal.
In their defense, they're really quite graceful when you don't have to play the game, and just watch cutscenes.
I figured these guys would be able to handle dropping 4 feet, otherwise, how are there any Witchers? Even one fall from this thing, and they'd all be dead. Am I supposed to believe that no Witcher has ever failed this training exercise? If that's the case, maybe they need some more difficult training?
Anyway, moving on to this gentle slope I referenced earlier ... my game loaded up again after dying, and I went back. This time I decided to see if I could slide down the slope, since it clearly had an angle to it. Sure enough, I took one step off the edge, and he landed on the slope and went into a sliding animation. Good I thought ... until he finished sliding to the bottom and DIED. He literally slid down a gentle 4 ft. slope, going very slowly, touched the end of the slope and died. How can this guy fight monsters again?
2) The combat choreography:
Apparently I'm the only one that this bothers, because I've never seen or read anyone else mention it. I've practiced martial arts for several years in the past, but I was never anything special. I watched a lot of martial arts movies, cartoons, throughout my life, but so have millions of people. So can anyone tell me why I appear to be the only one to notice that all of Geralt's combat animations are laughably stupid? Why does this guy spin around with 360 degree pirouettes prior to every 2nd or 3rd strike? For a game going so far out of their way to portray the kind of gritty realism + fantasy that you find in Game of Thrones, why is this guy giving his back to his opponent literally ALL THE TIME? Even if you're standing so close to the enemy that they are touching you, you hit the strong attack button and he starts spinning around for no reason.
Actual gameplay footage from The Witcher 3
I figured this guy would do some kind of HEMA combat, or fencing, or even just something slightly less flamboyant and less obviously ridiculous, but I guess not. This doesn't actually impact the gameplay, but when you combine the excessive forward motion, the clumsy movement controls, and wed that to this clown spinning around like an idiot in a realistic-styled sword fight, you come away from the game feeling like a moron - or at least I did.
3) The voice acting:
Is soooooooooooooooo bad. It's worse than Deus Ex: Human Revolution. It's just weird that no one seems to care. Little kids sobbing by their dead parents on the side of the road are making me laugh, not feel grief. Geralt is sounding more like Batman than Noctis did. This is not helping me enjoy the game.
4) The font size
I'm playing on a 1080p TV in a small bedroom in a one bedroom apartment, approximately 5-6 ft away from the screen, and I have to regularly strain my eyes to see what is on the screen when picking up items, or readintg through menus. I can still read it, but not comfortably. It's a small thing, but I think I need to literally sit on the floor in front of the TV to comfortably play the game.
Actual gameplay footage from The Witcher 3
So in closing, I just want to know, why does this keep happening to me? Am I the crazy one? This game will sell millions and I think most people will probably enjoy it a lot. It might even win Game of the Year from a lot of people and websites. Are my standards too high, or is everyone else's standards way, way too low? I feel like the game is almost comically broken from a gameplay standpoint.
Graphically, sure it looks nice if you enjoy looking at grass a lot. Maybe that pretty grass can carry the game for you, but so far I've already called my local gamestores asking about trade in options and they've only offerred me $30 in store credit.
So ... I guess I'm stuck with this terd, and will try it a bit longer. But if nothing about my opinion changes in the next 9 days, this embarrassment of a game is getting dropped permenently for Splatoon.read
2:24 AM on 04.07.2015
Did you enjoy the original soundtrack for Final Fantasy X? What if I told you that one of the 3 composers of that soundtrack just put out their first solo album on bandcamp for $9 a week ago?
Phantasm, released March 30th, 2015 is a 9 track electronic / ambient album worth checking out for fans of Nakano's unique style.
1) Signs (6:04)
2) Sampo (4:38)
3) Blue Cave (3:44)
4) Jungle (3:23)
5) Amagoi (6:26)
6) Missing Links (4:15)
7) Elfin Dance (3:52)
8) Niningi (4:58)
9) Phantasm (5:00)
Personally, I don't think this stands up to his very best work on Final Fantasy X, Threads of Fate, or Project Sylpheed, but it's still just amazing to have new music from such a talented composer who sadly has spent much of the last 13 years dormant since Final Fantasy X in 2002. Few people embody that Final Fantasy "crystal" feeling as much as Nakano, and you can see that front and center in several songs on the album - most notably Elfin Dance.
This sounds like someone took the spirit of Christmas and managed to distil it down to its base essence. I can't recall many composers that feel this comfortable toying around with high pitched melody for this long. The slow build up to 2:00 then turns into a full breakdown. By the time the climax hits at 2:25, I'm picturing Santa Claus doing barrel rolls in the sky with a huge smile on my face.
Jungle is one of the more upbeat tracks on the album, with a very interesting second half. Amagoi actually transitions to heavier distorted guitar in the 2nd half, and Niningi appears to be an album favorite for many of the people I've talked to.
If you're a fan of his past work, it's worth checking it out. While I don't think it tops his past stuff, it feels like a smaller side project anyway, and is clearly a bit of an experiment with some mellower, more ambient songs. Hopefully this is a sign that Nakano is going to return to full time composition. This is my top pick for my dream composer list for Final Fantasy XVI. After Masashi Hamauzu and Junya Nakano blew out the era of Uematsu on Final Fantasy X, we got to see Hamauzu really develop fully into one of, if not the single best composer of game music out there. His main peer, all along, was Nakano, and it would be great to finally get to hear him tackle a huge four disc, high production album again. His remixes and arrangements on FFX HD show that he's certainly still up for it.read
8:50 AM on 03.25.2015
I have been dying to discuss some of the intricacies of this game ever since I started it last night. Bloodborne is very much in the spirit of the past 3 Souls games, but some critical elements of the gameplay seem to have changed for the worse. I've been skimming comments and forums, and I can't find much if any criticism, and everyone seems to be really enjoying the game so far. Why is my experience with this game so far not in line with what everyone else seems to be experiencing? Am I missing some critical elements of the strategy? I'm hoping that this is the case, and I can learn how to play more effectively; because right now my experience has not been very enjoyable.
Just a quick disclaimer: I have beaten the first 3 Souls games when they came out, and I love the series. I have been looking forward to this game ever since it was announced, and it's one of the only PS4 titles I've been excited about coming out before September.
I'm going to focus on gameplay elements that I think severely impact the game design. But since I've read virtually unanimous praise for this game, I'll throw in a few other brief observations about the aesthics as well that I found a little lacking. I'm also still on the first level of the game, so whatever spoilers are included are extremely minimal.
1) Backstab is worthless now:
They removed the ability to backstab enemies and get that satisfying finishing animation. Now, you can only get the damage boost if you do a charged strong attack on someone's back, which is extremely slow, but also doesn't seem to trigger any kind of finishing animation. It barely seems worth it to even attempt this after messing around with it briefly. Circling enemies and getting into a flanked position is something that happens quickly. Trying to immediately land a slow charge attack after that is not something you're likely to do, and that's just on the easiest enemies I'm facing in level 1.
2) Jump has been removed:
Unless I'm missing how to do it now, there's no jump after you run. The jump was so small anyway, that I don't know why they felt the need to remove it.
3) Forward + R1 has been removed:
There is still a lunging strong attack that is Forward + R2, but the guard break (Forward + R1) is no longer there as far as I can tell. It just does a normal attack.
4) Losing the ability to block is crippling the game for me:
I was open to trying a new system, but so far I'm simply hating what they have come up with. Instead of blocking, they added two new gameplay systems. First, you now carry a pistol that can be used to interrupt enemy attacks instead of having a riposte. This leaves enemies vulnerable so you can do what was a backstab finishing move in past games. Second, now when you take damage, you have a small window of time where you can attack the enemy back and regain some of your life.
Losing the ability to block results in several changes to gameplay balance that are not exactly positive changes. Any enemy with a projectile weapon is now 100x more threatening. Your gun does so little damage, and ammunition is so limited, that it's literally only useful as a counter to interrupt enemies at near point blank range. So you don't really have the option of using the gun to combat other projetile enemies with any kind of high success rate. You have to close the distance without any ability to defend yourself. This goes from mildly annoying to crippling when you face multiple enemies, because you often do not really have the option of closing the distance on a projectile enemy in a good shooting spot until you dispatch 3-5 other enemies first. This usually results in the enemy repeatedly pelting you with annoying pot shots until you have the chance to mount an effective counter attack.
Losing the ability to block means that all sneak attacks that the series throws at you usually now result in you getting hit in the face with little options for defense. Let's say you're playing Dark Souls and you're walking into a threatening area that you suspect has hidden enemies lying in wait for you just around the corner ... somewhere. What you usually do in that situation is walk forward slowly with your shield up, tip-toeing forward until you see the tiniest hint of movement anywhere. Even when doing this, the Souls games would often throw enemies at you that were entirely hidden and the first time you would see them is when they hit your shield. Now, all of those moments result in you taking a hit to the face.
Losing the ability to block means that all those cheap hits the enemies have always done in this series are now actually cheap because you don't have a way to reliably defend yourself. A brief example of what I mean is the zombie enemies you would face in the beginning of both Demon's and Dark Souls, armed with swords usually. These enemies are largely slow and easy, but every once in a while they would rush forth with an unusually quick flurry and just get the drop on you unexpectedly. Those moments, you have the ability to riposte, or block with the shield. Now, you usually take a hit to the face. Here's one example I encountered in Bloodborne so far that was particularly frustrating. I saw one of these slow enemies facing a wall in the distance, and I slowly walked up to him so that I didn't make any noise. I did my slow charged strong attack to hit back, which gives you the damage boost but no longer results in a finishing animation as I mentioned earlier. Literally instantly after being hit in the back when he didn't even know I was there, he spins around before the recovery for my attack animation is even done, and does 3 super fast jabs with his torch resulting in all my life being gone. And this was an enemy I got the drop on completely?
Losing the ability to block feels particularly stupid when you constantly face enemies that carry shields and can block with their two handed weapons. Nothing is more frustrating than trying to launch a "regain" attack after being hit so that you can recover some health only to have the enemies sit there and block it. Not to mention, now you don't have your guard break attack (Forward + R1), so there isn't really an effective strategy for breaking the defense of anyone with a shield. You basically have to just hit them with jabs until they do an attack and then hit them when they're open. If they don't drop their guard, you're not really going to have a way to gracefully get past their shield.
Now onto the pistol. Just think about the balance issues involved when assigning your only defensive maneuver to a limited resource (ammunition). In past games, block is not tied to any kind of limited resource aside from fatigue. Riposte is not tied to any kind of limited resource. In this game, you not only lose block and riposte, but your only substitue is tied to limited ammunition. You start with 20 shots, and you find ammo lying around on the ground as you play. I haven't actually run out of ammo yet, but I got down to 8 shots left once when only attempting to do a counter shot once on every 5th enemy or so. That means that the overwhelming majority of the time, you won't even attempt a counter shot because if you tried to counter shot at every available opportunity, you would surely run out of ammo. This means that most of the time, you have basically no defensive options aside from the dodge.
Setting that aside, let's talk about the times you do decide to use the countershot. I'm still pretty damn early in the game, but it's been my experience so far that the gun basically does almost no damage and is useless at any kind of range. If you use it while an enemy is attempting an attack, with precise timing you can interrupt their attack and leave them prone, open to a strong melee finisher. This means that you have to basically be shooting at point blank range for the gun to have any kind of real value, because enemies won't be swinging to attack you until they're in melee range. That just seems like extremely odd design to me.
In addition to that, the gun is not as fast as a riposte in past games. I've been hit more than once waiting for an enemy to initiate a counterattack, but simply eating the attack to the face before my shot can even go off. That happens, and I'm still learning the timing for everything. But even in early levels, enemies have melee weapons that provide them with quite a bit of range, and almost every enemy is able to quickly run at you. This is especially true of the beasts and even the small dogs I've run into. Remember how nice it was to have a shield when a fast dog is running at you, and does their fast bites and claw attacks? I know what you're thinking, just dodge then. Fair enough. But what about if you face 3 fast dogs? That takes me to my next point.
5) There are a lot more enemies on screen at once:
This isn't actually a negative for me, as it shows that the PS4 can put more enemies on screen at once probably, and I like combat in games and facing tough odds. But what about in this game makes it feel like a negative?
Well, you can't block obviously, and your only means of defense is a limited ammunition counter shot that can only hit one enemy at a time (unless you use the bigger gun, which I didn't start with). This leads to a lot of enemies constantly running directly at you to gang up on you when you have nothing to do besides dodge or literally run away. Even dodging is problematic, because it's not like this is DMC or Ninja Gaiden. Dodging is tied to fatigue still. I honestly have to ask myself ... why? This seems like something they just decided to carry over from Souls without really thinking it through. In Souls, fatigue was a constant reminder of the slow, measured pace you were supposed to take. It was intimately tied to your ability to block. In this game, you can't even block and you're supposedly supposed to play more aggressively, and dodging is literally your only defensive option when facing multiple opponents, and is your only defensive option the rest of the time when you want to conserve ammo. So why tie it to a small fatigue meter? You can do 2-3 dodges before you are tired. You're even encouraged to dodge forward to close the distance for attacks now, or when closing the distance to do your finisher move after a countershot. If they deleted fatigue entirely in Bloodborne, what element of the gameplay would players be losing? I don't see the downside in letting people dash more in a game that forces you to dash as much as this game does. Especially when enemies have no fatigue, and you'll often face multiple fast enemies that consistently dash and run after you.
6) Regain (health restore) counter hits are not satisfying, and they don't look cool:
The other main gameplay element they added is the ability to attack an enemy right after getting hit and regain some of your health. I haven't heard an explanation of what is going on with this storywise, but the effect is not very satisfying. You take a hit from an enemy and it has a pretty crushing sound effect. You hit them back and all you really see is your character glowing a light, pale red. Are you absorbing blood? Well ... I don't know, and I can't even tell. You just glow. There isn't a cool effect with blood coming from their wounds, flowing into you. You just glow, and it's dumb looking. This seems like your primary advantage as the player character over your enemies, and it doesn't even look cool, it doesn't feel satisfying, and it's not really explained in any way so far.
You know what else doesn't look cool? Your one finishing move. I believe it's the same for all weapons, unlike past games. A lot of blood shoots out, and it's probably the neatest looking move,b it doesn't feel particularly tied to your character, or your playstyle since I don't think you're even using a weapon but instead punching inside an enemy's chest with your fist.
7) All 3 of the starting weapons have been a disappointment:
You arrive at the game's lobby area (more on that in a second) and find random ghost kids bubbling up from the floor that offer you weapons. It feels cheap honestly in how its presented. No explanation of any kind. So, you pick a weapon and a pistol from 3 weapon type options and 2 pistols. You have the sword, axe or cane, and they can all transform into something else.
I restarted several times and tried all 3, and I found them all to be lacking. The sword's original form is similar to a dagger, but not as fast or as satisfying, and with no stab move available. It can transform into a one handed sword that has extremely slow start times when you launch your attack, often leaving me wide open. And the increase in range you get doesn't feel that substantial so it barely felt worth it to me. The axe is faster than I expected, does the most damage, and can transform into a two handed axe / halberd type weapon with no stab options available. You gain some range, and some wide, sweeping circular attacks that aren't bad. The cane is basically the new substitute for the rapier, so naturally I tried to master this one since I tend to like the DEX melee weapons from past games in the series. The cane form feels weak and underwhelming. You don't have much range, don't have any real stopping power, and only have access to one stabbing move. When you charge up your stab move, it sparkles blue for no reason, and it looks pretty stupid. Your biggest damage melee strike doesn't feel heavy or intimidating, it sparkles like something from Twilight. The cane can transform into a whip sword which has greatly increased range, and a strong attack with wider range. It's slightly slower than the cane form, but not by much, making it more useful to stay in whip form in almost all situations. The range in this game seems a bit off as well, as enemies still can instantly close the distance on you even when attacking at the very edge of your whip's range. You barely have time to fire a shot off for a countershot in time if an enemy decides to rush you for an attack from mid-range.
8) This looks like the worst nexus area yet:
I wasn't very impressed with "Hunter's Dream" as a level, with gravestone warp spots and a house with locked doors. It's the same gothic architecture as the rest of the city, and doesn't really feel like a distinct place. You have white flowers that sprouted up from the grass, and some fences also. That's about it. It doesn't feel like a rest area, or a reprieve from the horrors of the world, like past nexus areas in this series. The music theme in that area is the weakest yet. It's not a terrible theme, but doesn't live up to the past 3 (especially Demon's Souls). I don't like the vocals, and the song doesn't have that feeling of exhaustion and sorrow that all 3 past themes did.
9) Is there really no substitute for sitting by the fire?
That was one of the most iconic elements of the Souls series, and as far I can tell it wasn't replaced by anything. I'm literally so early in the game that I might not have even seen it yet. I hope that's the case!
So far I touched a "demon lamp" and a bunch of little ghost kids scramble up to show you a lamp. That's it. You don't really sit down or rest. I hope I'm missing it somewhere. I'd often leave my game on for several minutes in the past to just see my character sit by the fire, especially in the nexus area. After a particularly stressful level or boss, it was soothing to sit by the fire and meditate on the horrors you just overcame. Where is that soothing, meditative feeling now? Ghost kids?
10) My game seems glitched when checking messages:
I always try to check the ghost kid tombstones to see the ghost images of other players, and 9/10 times the tombstone rises up, and I hit X, and nothing happens.
11) Worst loading screens in the series:
I don't mind the loading time as much as I mind the lack of music while it's loading, or the lack of any text, and lore to read while it's loading. You literally learned most of the story in past games from reading item and character bios while the game loads. Now? You read "Bloodborne." That's it, just the game's logo. Over and over and over again.
The game does look gorgeous most of the time (aside from the atrocious and glitchy, stuttering character creation section). It has a gorgeous art style that I love, and very neat looking, dark designs for most of the enemies. I'm going to stick with it and make it until the end. Given how great the past 3 games were, I'm positive the game is going to get better and have lots of bosses and levels worth seeing.
But I'd be lying if I said I wasn't extremely disappointed with the gameplay so far. I haven't even encountered a boss yet and I'm utterly frustrated with the decisions they've made. I am scared to see how frustrating it is to face an aggressive boss without any compelling options to defend yourself.read
1:12 AM on 01.27.2015
The Legend of Legacy just came out in Japan on 01/22/15, and was released with a small 10 track "mini-OST" previewing the game's full OST. The full OST releases on 02/25/15 in Japan, and was composed by Masashi Hamauzu, famous for his work on Final Fantasy XIII, Final Fantasy XIII-2, Lightning Returns, Final Fantasy X, Brave Fencer Musashi, and many other games. I personally hold up the FFXIII OST as the best video game OST ever created, and Hamauzu as the single most talented individual involved in game music today. This new OST sampler reveals without any room for doubt that this is his next full blown follow up to Final Fantasy XIII, and just these 10 tracks have some of the most breathtaking, and striking music I've ever heard in gaming.
I strongly urge all of you to listen to these tracks on nice headphones, and to keep coming back to them over and over in the coming days. This is the best music you will hear in gaming in 2015. The arrangements, the sheer quality of the recording, the layering of electronic drumming, and ambience with strings; it's literally unmatched. Hamauzu's music requires a little more effort from the listener to truly appreciate; it's deeper, more sophisticated, more intricate, more subtle, more layered, with less obvious simplistic melody for people without a musical ear, and more deep, thoughtful layers of sound that are pushing music to it's progressive limits. Challenge yourself to really listen and catch everything going on in these tracks.
Originally, I planned on writing several paragraphs explaining each song in detail, and elaborating about exactly which parts I loved and why I love them so much. But in the end, I think it's best to just let the music speak for itself. The mini-OST is only 10 partial tracks while the final one will have 35 tracks total.
4:03 PM on 01.02.2015
Full disclosure. I haven't completed all of these games, because I found them so disappointing.
1) Danganronpa: Trigger Happy Havoc
I decided to give this a try because of all the high praise I keep seeing for this title everywhere I read about games. I'm a huge fan of 999, and Virtue's Last Reward. I love Ace Attorney as well - the small amount of it that I've played. So I wasn't particularly skeptical about this game, but I still wasn't rushing out to buy it because it just looked low budget, and low quality. After it dropped to $20, I decided to give it a try.
I'm actually currently playing through this title right now, and I'm still pretty early on in the game, so it is theoretically possible that I could have a seismic shift in opinion and change my mind at some point. But let's just say that I seriously doubt it.
I'm struggling to come up with anything to compliment in this game. The writing isn't good. The main villain so far is not clever, and is not even close to as well done as the similar villain in Virtue's Last Reward.
The cast is really not compelling to me either right now, and seem like an annoying collection of cliche's and bad art. Ultimate fanfic creator? Ultimate swimmer? I mean ... this is pretty much the bottom of the barrel in terms of casting. Ultimate gothic lolita gambler? (okay, that ones' a little more interesting). Ultimate .... what was it, clairvoyant with stupid hair? Ultimate class president guy that yells and is annoying every single time he speaks about anything? Ultimate fashonista that doesn't even do anything in the story or speak about a single thing related to fashion ever? Even Ultimate martial artist, which sounds cool on paper, is basically turned into a joke instead of daring to take any aspect of the design seriously.
Next up, the music. It sucks. And the thing is, I actually love this composer. He did most of the best tracks on Vanquish, which is one of my favorite OSTs of all time. How does he come up with drivel like this?
What a boring, low quality song.
Then there's the fact that - as far as I can tell from my early hours playing - the entire game takes place in only a handful of hallways and rooms that you are cursed to perpetually wander around scouring for clues with an awkward camera system. Characters are portrayed as literal cardboard cutouts. And painfully, you are encouraged to repeatedly search the same camera and monitor in every single room, over and over with the same text description in the hopes you might get a random coin for the shop.
I'm not going to comment on the trial systems yet, since I want to see more of it, but this represents basically the only gameplay in the game.
I'm going to play this one until the end so that I'm more qualified to trash it as the disappointing, overrated garbage that it appears to be. The popularity of this title is baffling to me. It appears that all that one has to do to wind up on GOTY lists these days if you're a Japanese developer not named Nintendo, is fill your game full of trendy high school hipsters, fill it full of ultra cheesy dating sim elements, and get it released from a publisher not named SQEX, and you're well on your way. I'm shocked Mind Zero wasn't on people's GOTY lists if people are pumping up low quality stuff like this. Ignore the actual quality of any aspect of a game's design as long as it reminds you a bit of Persona and has a story you like. If the story somehow manages to salvage this trainwreck, I'll recommend people watch the anime instead at this point.
999 and VLR are about 1000x better, in every category. We'll see if I change my mind when I get further in.
2) Drive Club PS+ Edition
I have been waiting for this since it was announced in 2013.
2:13 PM on 01.02.2015
I decided to pick up this game on Wii U two nights ago, and I seriously cannot stop playing it. DK King of Swing was originally released on GBA in 2005, but now it's available on the virtual console for $6.99 in NA (released 11/20/14).
At first glance, the game is pretty ugly looking, but everything that makes this a special experience is part of the gameplay anyway. You can play the entire game with just the L and R buttons, and the d-pad. L controls your left hand, and R controls your right hand. If you hit both buttons together, you jump. You progress through the game by grabbing the colored pegs and swinging around each level in a truly unique combination of platforming and puzzling. Holding with your left hand makes you spin counter-clockwise, and holding with your right hand makes you spin clockwise.
That's really all you need to know to jump into this game. It's almost like Nintendo's "Angry Birds," in that it takes an extremely simple and accessible concept and makes a game around it. But they take it so, so much farther. The platforming feels fantastic as you really get a unique feel when traversing through the levels only with your hands. The grabbing feels extremely precise. You have to grab each peg at the correct time.
What continued to impress me is how they take such a simple concept and then manage to build on it with creative puzzles. There are valves that only open when you swing the correct direction, so you need to grab it with the correct hand. You can grab rocks and throw them mid-swing. There are jack pegs that have to be cranked repeatedly to open various aspects of the levels (see this video below). There are boss fights, and various enemies, secret collectibles in the levels, and more.
I haven't gotten past the second main world yet (around level 10 at the moment) but the instructions say that you can also play as Diddy, Dixie and Funky Kong at some point, so I'm looking forward to that. It's possible they're limited to just the mult-player levels, so I guess I'll find out as I progress.
I had never even heard of this game on GBA, and I had a ton of GBA games. It doesn't have the best art style or graphics, so I imagine a lot of people probably skipped it even if they did hear about it. That's why I felt so compelled to recommend it, because it truly is a fun, and extremely original game.
2:51 AM on 12.21.2014
2014 was an interesting year of gaming for me. It was a year of transition, personally, and in gaming. It was the first year I got a PS4 and tried out "next gen" gaming. But instead of PS4 leading the way, many of the best experiences were seen on other systems.
1) Rusty's Real Deal Baseball (3DS)
April 3rd, 2014
I feel like this is the most underrated title of 2014. This is the "Wii Sports Resort" of the Nintendo 3DS system. The game was built entirely to capitalize on 3D vision, and is structured in a bite sized format that is perfect for handheld gaming.
Iwata pitched the game in Nintendo Direct by describing how hard the team at Nintendo worked on capturing the "real feel" of specific baseball actions. When you see a game being pitched to the public not on story, graphics, or premise - but instead just on the quality of the controls and the feel of the gameplay, you know you have something special on your hands.
I logged probably 50 hours into this game and still didn't finish all the various trials, or tire of going for more high score challenges. But in addition to the gameplay, the game is probably the funniest and most interesting depiction of a working class comedy I've seen in gaming in the last several years. This is Nintendo at their weirdest - depicting a canine version of the 90s sitcom "Roseanne," with a litter of juvenile delincquint pups out to terrorize their over-worked and hopeless father as he runs his business on the razor's edge between staying open and bankruptcy. It's silly, it's goofy, but it's got a feel all it's own, and it's not something you're likely to see in other games any time soon.
In addition to the phenomenally polished gameplay, and the quirky story, the game innovates even in the pricing model - with the whole game incorporating haggling to lower the real life / real money price of the mini-games you purchase by persuading the father to lower his store prices in the story. It's pretty ingenious to see them set the story up with the ultimate loser underdog, but then encourage the player to haggle him down to the bone so he doesn't make any profit at all. Almost every aspect of this game is fun.
2) inFamous: Second Son (PS4)
March 21st, 2014
This is pretty much the most gorgeous looking game of 2014, and the game that showed off what the PS4 is really capable of. Not only is it visually stunning (I mean .... REALLY visually stunning), but it incorporates some of the most original and unique super powers I've seen in any comic setting in a long time. It's more reminicent of the television show "Heroes" than it is a video game, and each power is gorgeously depicted and fun to use.
Another big surprise for me was just how likeable Delsin was as a main character. I'm sick of Troy Baker, but this felt like the role he was born to play. This felt like he was closest to playing a version of himself in real life. It was charming, natural, believable, and engaging. It was infinitely better voice acting than he did in The Last of Us with that awful fake accent, or in Shadows of Mordor, where he was good but largely monotone and forgettable (not to mention outclassed by the voice acting of his game co-star Celebrimbor). Delsin wasn't a tortured anti-hero. He wasn't raised by a pack of wolves and misunderstood by society, with a chip on his shoulder that justifies mass murder. He was just a normal guy that suddenly got access to incredible power, and he had fun with it! And he tried to do the right thing. That simple premise was power, and believable, and more importantly, just fun to play as.
The story also had a great villain who had her own interesting motivations, and was one of the only middle-aged women I've seen in games. It had interesting side characters like Eugene, Reggie, and Fetch (played by my favorite voice actress ever, Laura Bailey). And it was set in a very cool city that we don't see enough of.
3) Lightning Returns: Final Fantasy XIII (PS3)
February 11th, 2014
This, on the other hand, was the #1 OST of 2014. That's one track out of 80. This could literally win a spot in the top 10 just from the music alone. It outclasses everything else this year easily. It's a mix of 3 top tier composers going for about 10 different styles. You could spend 3 months just digesting the music alone. There are single tracks that pack in more emotion than anything in The Last of Us.
I loved this game, despite some obvious imperfections that come with the package. It has some graphical blemishes, and some side quests are trial and error, but it's easy for me to overlook flaws like that when the total package is so fearlessly original, creative, and full of fun and emotion.
I actually loved the story. I followed the story throughout all 3 games, and read all the datalogs, and debated about the mythology, and wondered and speculated and dreamed about where it might go. And this game tackled that mythology head on and doesn't hold back. It introduces wild new concepts and most importantly, it really makes Lightning a likeable character. There were moments before the first boss fight where I was almost jumping out of my chair because the dialogue was so badass. There were other moments where it was campy, silly, and totally cheesy. But at no point was I bored. At no point did I set the controller down or leave the game unplayed. I was sucked into the world and it was unlike anything else I'd ever played.
The exploration is vast and provides a ton of space for discovery. But at the same time, you have a clock ticking in your face and the urgency to push on where ever possible. It's the odd feeling of having a vast open world, but at the same time - constantly timing your sprint button so you don't lose max fatigue, or jumping over railings on a staircase to shave a second off your traversal time as your round a corner around town. That combination of opposites is unlike anything I'd played before. Do I want that in every single game ever? No. I'm not someone who traditionally loves time limits. But as a unique experience to play once in a while, it is definitely different.
The battle system pushes farther into action than the series ever has before. And did I mention the game is diabolically difficult? It's literally the only game besides Soul Calibur V that I needed a strategy guide for since 2006. And I didn't use a guide for Demon's or Dark Souls.
4) Diablo III: Ultimate Evil Edition (PS4)
August 19th, 2014
I have played several top-down view action games like this over the years, but actually never got into Diablo before. I was way more into Hunter, Champions of Norrath, Dungeons and Dragons (Xbox), and X-Men. That all changed with this game.
It's a 10/10 game. There aren't really any flaws. You put it in the system, and you're going to keep playing without downtown, with perfect pacing, until you hit the ending credits. And you'll be shocked at just how long the game actually is. Then when the credits are done, you'll keep playing for hours and hours more. Then, you'll start all over and do it again with a new character.
The game is that good.
5) Metal Gear Solid V: Ground Zeroes (PS4)
March 18th, 2014
This is the perfect example of the "year of transition" that was 2014. This game is a demo. But it still absolutely belongs on the top 10 list of anyone serious about gaming. That's a statement about how weak the launches of PS4 and Xbox One have been this year, and also a statement about just how truly insane this game actually is.
Yes, you can run through it in 2 hours, or 10 minutes. But I probably spent over 40 hours just playing this stage over and over and over again. Each time I'd find some new, subtle detail that fascinated me. The guards would react in a way I hadn't seen prior. I'd find a new item. I'd find a new pathway. I'd find a new order of events. I'd find something I knew I could do better next time if I played it just one once more. The gameplay is insanely polished, and it all feels fair. When you lose, you feel the urge to immediately try again.
Nothing else this year really compares to the feeling of pure wonder and excitement I had when I did my first extraction under heavy fire in this game. I was playing for about an hour, doing a perfect stealth run throughout the whole base. I rescued all the hostages - battered, and broken as they are. I snuck into the heavily guarded base without killing or even alerting anyone - pure ghost run. I got to the main target to extract, and saw how brutalized and tortured she was. Then as I'm trying to extract her from the base, I get spotted and draw first blood. Do I restart and try again? No, I was sucked into the moment and pressed on. This girl needed out of here, no matter what it took. I was in the middle of an intense firefight while I was trying to call in a rescue chopper on my iDROID. I tried to hold them off as they attempted to flank me and call for backup. As I saw the chopper approaching I knew I had to make a move for it so I tossed out smoke grenades all over to cover my escape and grabbed the hostage and ran through a hail of bullets to get on the chopper. They're firing on us as we fly off, and I'm firing back from the open doorway, all with no loading, all totally seamless.
And it's all 1080p, 60fps. And MGS V will be 200x bigger.
6) Donkey Kong Country: Tropical Freeze (Wii U)
February 21st, 2014
Pretty much among the top 3 most polished 2D platformers in the history of video games. What does this game actually do wrong? I can't think of anything. Running left to run is engaging, because it's so silky smooth, and the controls so perfectly weighted. Just the simple act of jumping in and out of water as you transition between land and water blew my mind ... because it's just flawless.
That sums up this game. It's just platforming P-E-R-F-E-C-T-I-O-N. A 10/10 game. There is really no weak link. The graphics, the OST, the characters, the gameplay, the level design. It's all there, and it's hard as hell too. Probably still the most difficult Nintendo franchise out on Wii U. There's no holding back for casual gamers here. They can buy power-ups at the shop if they want which is nice for them. But everything about this game's design is for serious players wanting to master the gameplay.
7) Velocity 2X (PS4, Vita)
September 2nd, 2014
This is the most shocking one on my list personally. I hate indie games for the most part. They're often over-hyped in the press, have shoddy gameplay, and almost always are a lesser version of something I played 25 years ago on NES, or SNES.
This game is one of the rare exceptions to that rule.
As far as I can tell, Futurlab has managed to create the best and most creative shooter since Ikaruga. Let that sink in, because I've thought about it a lot and it's absolutely 100% true.
Everything about this game is pushing the boundaries, and it's pushing it where it counts - the gameplay. You can warp in any direction, you can warp fast, you can warp slow over long distances. You can even get out of your ship and run as the pilot in platforming levels and warp there, or throw warp grenades and go over longer distances. Some of the levels are brilliant speed runs. Some are elaborate PUZZLES. Yes, a shooter with stages that are puzzles. You won't even know what I mean until you play it for yourself.
It also has one of the best boss fights of 2014, without question. There's a really satisifying gameplay gimmick they throw in the fight that is extremely neat when you first see it.
Reading about this game won't do it any justice because everything good about it is in the actual feel of playing it, and the gameplay and controls. It's in the intricacy of the level design, and how it's designed to help you creatively and smartly use your powers. I didn't even feel like I had a handle on playing it well until level 30. Then it "clicked" and I couldn't put it down until the game was beaten. Then I went back and replayed everything and again and destroyed my old scores. There is a legitimate learning curve to it, and it's so satisfying when you reach the top of that curve. It's worth the effort.
8) Bayonetta 2 (Wii U)
October 24th, 2014
This one has been covered so much in the press and in GOTY lists that I don't feel the need to elaborate too much. It's the most polished action game of the year.
What most won't tell you though is that the story is actually fantastic. It's a really interesting mythology, and a world rich with history and detail. Every enemy has an interesting name and history. Every location has a history. Every character has a history. You get to see more history of the Umbra Witches. None of this is bad. None of this is cheesy. It's awesome, and Bayonetta remains one of my favorite characters ever.
Please make a Bayonetta Amiibo Nintendo ...
9) Mario Kart 8 (Wii U)
May 30th, 2014
This doesn't need to get covered much either as you all know the drill. It's just insanely polished, and fun to play. It makes most PS4 games look ugly. It's gorgeous. It's fun. It's a 10/10 game.
10) Strider (PS4)
February 18th, 2014
I almost didn't want to put this one on my list to be honest with you. If I change my mind about any of them, I'd swap this one out for another one. Regardless of that, I felt compelled to give it the last spot on the list because it deserves recognition.
Strider has the best 2D action combat and action platforming ..... ever? Yes, ever.
I remembrer when I first realized that I might be thinking that was the case. I was alarmed. Better than the old Striders? Yeah. Better than Ninja Gaiden on NES? This is a tough one, but honestly, yeah it's significantly better. Better than Symphony of the Night? Yeah, it blows it away actually. What 2D combat is better? There isn't any. It's silky smooth and extremely fun. You have a ton of options and every action feels good to do.
The game has it's limitations; lackluster story, environmental design that blends together a bit. But how anyone can put other 2D games like Shovel Knight on their list over something like Strider - that is just massively more polished, I will never know. The combat in this is just light years ahead - and it all feels responsive, snappy, fluid and fun. And it's 1080p 60fps.
The Legend of Korra (PS4), Kirby Triple Deluxe (3DS), Geometry Wars 3 (PS4), Captain Toad: Treasure Tracker (Wii U), Super Smash Brothers (Wii U), Castlevania: Lords of Shadow 2 (PS3), Hyrule Warriors (Wii U).read
3:30 PM on 12.03.2014
Feminist Frequency has a new video up, so let's break it down and see if any of this is fair criticism and commentary. One interesting fact about this video is that it has several gaming journalists reading their script instead of Anita this time, including 3 from IGN that I recognized, one from Polygon, the retired Adam Sessler, and Tim Schafer.
I'm skeptical that these benefits they are going to list are actually "invisible," so let's see how it goes. If they were actually invisible, it would be pretty tough to point them out.
1) "I can choose to remain completely oblivious or indifferent to the harassment that many women face in gaming."
I don't know if this is really a gender-based privilege at all, considering that anyone really has the ability to be indifferent about people they don't know. It's basically implying that men have no empathy for people that get harassed, and that women will automatically have more empathy. It's really not a strong point that I would have placed as my #1 at the top of the list. For example, anybody, regardless of their gender, that is not into gaming at all will likely be completely indifferent to this point. Anyone that primarily games on their tablets or phones, or plays offline games, or doesn't spend most of their time reading gaming websites is also indifferent to it. Anyone that doesn't go to conventions (the overwhelming majority of all gamers do not go) are indifferent to what goes on there.
Then even if you take the reverse perspective here and describe what it's like to be a male gamer today, you're not exactly given a pass to be indifferent to everything. All you have to look at is gamergate to see that people get harassed, banned from twitter or gaming websites, doxxed, or even threatened in real life if they don't have the right opinion. If you're a male gaming journalist, you're not allowed to be indifferent, you're heavily pressured to say the right thing. And the press is what creates the narrative for the hardcore gaming community's day to day discussion. So I really don't think this point is valid, for several different reasons.
2) "I am never told that video games and the surrounding culture is not intended for me because I'm male."
I would have maybe had some sympathy for this point if it was 1987. But it's 2014, and in something I like to refer to as "reality" - even my 65 real old aunts enjoy gaming on their phone, and asked me about what to get this thanksgiving. Even my 20 year old sorority girl coworkers enjoy playing candy crush and fighting for high scores with their friends. If you include all forms of gaming out there, including every type of casual game, women make up over 50% of gamers today. So this point really seems like a relic that doesn't apply in any meaningful way. Any kids being raised today are being raised by parents that played games growing up.
3) "I can publicly post my username, gamertag, or contact information online without having to fear being stalked or sexually harassed because of my gender."
This is a valid point. Harassment is not okay, it's not condoned by the gaming community collectively, it's moderated everywhere, and at conventions, and within the legal system. I have no problem condemning harassment.
Now watch as they basically repeat this same point to pad the list.
4) "I will never be asked to prove my gaming cred simply because of my gender."
This one, I don't have any sympathy for. Proving your gamer cred is part of how gamers socialize with everyone. Jonathan Holmes can post an article saying that a lightsaber crossguard was in No More Heroes first, and within minutes someone points out detailed Star Wars expanded Universe material using it first. That is what enthusiastic hobbyists do. That's literally almost all that they do, and they do it to everyone. When you get to know a new gamer, you are asking what they like to play, how much they know about games, and if you play any kind of competitive game, of course you are assessing how good they are.
I just don't see how this one matters, and it's never going to go away.
5) "If I enthusiastically express my fondness for videogames, no one will automatically assume I'm faking my interest just to get attention from other gamers."
It's not "automatic." People trying to assess someone's sincerity and honesty is never going to go away. When there's a heavy monetary incentive involved in talking about games and gaining publicity, people should be skeptical.
I know it's the new taboo thing to say there is no such thing as a fake gamer girl. But the politically incorrect reality is that it is true sometimes. I only say that because I literally watched a friend of ours do it on purpose. One of my best friends is a hardcore gamer, and she's a girl. If we're out at the bar or meeting new people, and it comes up that she plays games, it's an automatic point of connection and point of mutual interest for most of the guys she would be talking to. They find that attractive, and feel like it's easier to talk to her about things they like. So this other girl would watch this all the time at the bars, and started mentioning how she's all about NES games and was trying to work it in to flirt with guys. She never was into video games at all, and actually kind of talked shit on us both for liking them at various points. So yes, she was doing that for attention because a lot of guys like gaming, and want to share that with their significant other.
Is that a majority of women? No. She's literally the only person in my life I've met who did that, but it did happen. Do I even think it's a bad thing? No. She's literally trying to be social and flirt with guys on points they are interested in, so I think it's probably the least offensive thing out there. However, would I want to go to this girl for the latest news on gaming, or opinions on gaming? No. The only time I can see this being problematic is if someone without any interest in games tries to use gaming for publicity, and ends up giving out bad information. If you're not an expert on games, just say that up front, and no one is going to care. Gamers deal with people every day who aren't experts on games - it's called their friends and family. Just don't be dishonest about it.
6) "I can look at practically any gaming website, show, or magazine, and see the voices of people of my own gender widely represented."
So, they're saying the gaming media is almost entirely made up of white men? This is a fact, so I agree.
7) "When I go to a gaming event or convention, I can be relatively certain that I won't be harassed, groped, or, catcalled, or propositioned by total strangers."
Same as point #3.
8) "I will never be asked, or expected to speak for all other gamers who share my gender."
This just simply isn't true. This whole video is basically speaking for all men. Generalizing both genders happens literally all the time. Most of feminist critique in gaming is actually the most guilty of presuming to speak for all women of their own accord, without anyone asking them. And they're not afraid to generalize all men either. This point is a complete fail.
9) "I can be sure that my gaming performance - good or bad - won't be attributed to, or reflect on my gender as a whole."
This is the same as point #8. People generalize the genders all the time. If there are lots of good male gamers, that is what is used to generalize the gender as a whole. If there are trolls online that harass people, that is used to generalize the gender as a whole. People generalize the gender as a whole literally all the time, for all kinds of things, including gaming performance, and many other more important things.
This isn't going away, and it happens to everyone.
10) "My gaming ability will never be called into question based on unrelated, natural, biological functions."
I literally don't know what this means. What biological functions are they talking about?
11) "I can be relatively sure my thoughts on videogames, won't be dismissed or attacked based solely on my tone of voice, even if I speak in an aggressive, obnoxious, crude, or flippant manner."
This is 100%, flat out false. See gamergate. See Jim Sterling 6 years ago. See Tim Robbins on Kotaku.
12) "I can openly say that my favorite games are casual, odd, artistic, or cute, without fear that my opinions will reinforce a stereotype that women are not real gamers."
It's not a stereotype that women, statistically prefer more casual games. They are the majority of mobile and facebook gamers, and they have preferences in genre as well. There are a lot of women who like more hardcore games too, but it's not the majority of women. It's one of those stereotypes that is based in fact.
Still though, it's never a good idea to generalize anyone, and I don't ever do that. Everyone's a unique person who has their own taste in things. If your biggest worry is "reinforcing a stereotype," I don't know if it's a big problem. What that is basically saying is that you are worried that your taste in gaming is the same as the majority of female gamers. Why are you worried? How about just be yourself and enjoy your casual, artisitc and cute games.
Does everyone enjoy casual, artistic, and cute games? No. Those people who don't like those kinds of games have a different opinion on what they like. They want to listen to the opinions of people that are like the same kind of media they're into. I don't see how this is a problem honestly.
13) "When purchasing most major videogames in a store, chances are I will not be asked if, or assumed to be buying it for a wife, daughter, or girlfriend."
This is the same as point #12. One time after work I went to wal-mart, and someone asked me if I knew where a product was. I realized that I had on a polo shirt that was blue, and they thought that maybe I worked there. I politely told them that I didn't work there, and went on with the rest of my day.
People in retail trying to sell you a product are not the bane of your existence. Honestly, I will just straight up call this one first world problems. How about instead focus on something important, like the way black people are treated in stores sometimes, as threatening suspects of shoplifting even after they buy the product.
Not to mention, let's just think for a minute about the proposition raised here. They are claiming that we will not be asked if we're buying it for a wife, daughter or girlfriend. Really now? Well, what about if you go buy imagine babies at Gamestop? What about if you go buy Barbie's Horse Riding Adventure? People at retail making basic assumptions is just the epitomy of a first world problem. Shop on Amazon then like I do. I hate going to Gamestop because they harass everyone about upselling and get up in your face about it, every single time. That's their job. That's how they're trained.
14) "The vast majority of game studios, past and present, have been led and populated by people of my own gender, and as such, most of their products have been specifically designed to cater to my demographic."
That is true, but you have to ask yourself why? Probably because they are businesses and they are catering to the demographic that was interested in paying for the content, developing it, and reading about it for decades. As that changes, you see the games changing too. It's really a non-issue in my opinion. EA and Microsoft aren't plotting to ignore women. They want to sell units to anyone who will show up with money. They are corporations. They are legally required to do just that. Film is definitely doing that now, and you can look at the demographics of theater turnout to see why.
15) "I can walk into any gaming store and see images of my gender widely represented as powerful heroes, dastardly villains, and non-playable characters alike."
I can find images of both. It's not that hard. Hunger Games is in the theaters too. Tomb Raider, Final Fantasy, Resident Evil, Mass Effect, Dragon Age, Portal, and on and on. It's definitely there, in major AAA series. It's not non-existant, no matter how much they seem to want it to be.
This really seems like a case of a privileged class ignoring reality. Yes, I am calling white women a privileged class in this case. I imagine that most other minority groups would be ecstatic with the kind of representation that women get in gaming, in terms of the quality of the characters, the quality of the series, and the frequency that they're included. I can count how many Arab characters there are worth mentioning in gaming on one hand. They even include NPCs on this point, which tips the list absurdly in favor in women.
Could there be more? Sure. Is it even a priority at this point worth mentioning, when you consider how little representation other minorities get? Honestly, I can't say it is. I just can't. There's already quite a bit of attention on this issue, and quite a bit of major games meeting this need already. Compare the outrage we saw about AC Unity not having a woman and compare it to the outrage we saw at AC Unity not having any Arabs.
There's no legal mandate at this point for what artists are supposed to create. There is no quota. They seem to be doing okay if you ask me.
16) "I will almost always have the option to play a character of my gender, as most protagonists or heroes will be male by default."
Hollywood and gaming have a bad habit of using the same style of character repeatedly. Agreed.
In this case though, there are alternatives out there. If people want to buy those and make them multi-million dollar series, you'll absolutely see more.
17) "I do not have to carefully navigate my engagement with online communities or gaming spaces in order to avoid or mitigate the possibility of being harassed because of my gender."
Same as point #3.
18) "I probably never think about hiding my real life gender online, username, my avatar choice, or about not using voice chat for fear of harassment for my being male."
Same as point #3.
19) "When I enter an online game, I can be relatively sure I won't be attacked or harassed, if and when my real life gender is made public."
Same as point #3.
20) "If I am trash talked or verbally berated while playing online, it will not be because I am male - nor will my gender be invoked as an insult."
Same as point #3.
21) "While playing online about people I don't know, I won't be interrogated about the size and shape of my real life body parts, nor will I pressured to share intimate details about my sex life for the pleasure of other players."
Same as point #3.
22) "Complete strangers generally do not send me unsolicited images of their genetalia or demand to see me naked on the basis of being a male gamer."
Same as point #3.
23) "In multi-player games, I can be pretty sure the conversations between other players will not focus on speculation about my attractiveness or sexual availability in real life."
Same as point #3.
24) "If I choose to point out sexism in gaming, my observations will not be seen as self-serving, and will therefore be seen as more credible and worthy of respect than my female counterparts, even if they are saying the exact same thing."
I just don't agree, at all. People are critical of ideas, not their gender. The guy writing this video literally has his own joke hashtag devoted to critizing him. #FullMcIntosh. You would think that might make him pause before regurgitating this point.
If anything, white men are pretty routinely demonized in these types of conversations and seem to have the opinions that are not being allowed on this topic. As a class, I see them generalized the most. For example, I am not a white man. Just stating that adds validity to my blog. That shows you the sad state of affairs we find ourselves in at the moment.
As far as whether or not your points are worthy of respect, I'm looking for two things. 1) logic, 2) evidence.
25) "Because this video was created by a straight white male, this checklist will likely be taken more seriously than if it had been written by virtually any female gamer."
This simply isn't true. Look at how well people responded to Arthur Gies rating down Bayonetta 2 at Polygon. Not to mention, Jonathan McIntosh writes ALL their videos. So why is he saying that this is going to be more well received than other videos he's written? If he thinks that's true, he could open up the comments on youtube and the ratings and we could objectively see instead of empty theory crafting.
Ending) "In order to make change, first we need to acknowledge the problem, and then we must take responsibility for it as a community, so we can actively work together with people of all genders to dismantle the parts of gaming culture that perpetuate these imbalances."
This is where they jump the shark completely. We've established one major problem on this list that I agree with. Women are often times harassed in unique ways during online games, or at conventions. Fair enough, I don't disagree. My girlfriend still plays online all the time, but she gets weird comments sometimes. If the goal here is to improve moderation of genuine harassment, I'm fully supportive.
What this video conveniently leaves out though is a description of what the parts of gaming culture are that they intend to dismantle? What are the parts that perpetuate harassment? If they're pointing to their previous videos that critique video game content, and are making the leap to saying that fictional content is turning people into harassers, she is leaving the field of science. That's where you put your sign post in the ground and stop and note the departure from evidence, from objective fact, from every scientific consensus we know of. That's where we note the rise in gaming happening at the same time that violent crime falls. That's where we note the rise in gaming at the same time that women's rights and economic standing keep improving. That's where we note the rise in gaming at the same time that gay rights have advanced with historic speed.
There is no proof that gaming content perpetuates any of these imbalances. Zero. Notice that Sommers in this video cites "researchers at UCLA," and shows a peer reviewed study. She cites another Texas A&M study showing once again, for the 1,000th time that violence and gaming are not linked in any kind of concrete way. She makes a simple claim, and then demonstrates the evidence for it in a reasoned way. In fact crime rates and the rise of gaming have an almost directly inverse relationship. Notice that she's a professor with a PhD in the field, with decades of experience in peer reviewing research, and lecturing on this topic.
Compare how she handles discussion of evidence to the author of this video. Compare how many times she has been in debates and discussions with people challenging her ideas compared to how many debates McIntosh and Sarkesian have allowed. Just look on youtube for yourself.
"Amazing" how those peer reviewed scientists arriving at a decades-long support of the claim that media doesn't directly correlate to violence in real life are in "denial." Luckily the press has decided to ignore scientists and side with a feminist on youtube trying to rally us all to "dismantle gaming" in vague, unspecific terms.
Harassment in real life is not related to gaming content according to science.
They are entirely separate things. If anyone tries to tell you otherwise, then you need to ask for a whole lot of proof before you turn your mind off and agree to let 25 people in a rapid-fire video think for you.
This parallels the saga of Jack Thompson extremely closely. Now look back up at what they claim is point #24. It's literally almost the exact opposite of what they claim when you look at Thompson vs. Sarkeesian. Thompson said this decades ago, and went to court over it and the press had a field day with this guy. Sarkeesian says it on youtube and now multiple members of the press are literally in their video! Does that tell you that when women raise points like this, it's automatically seen as LESS credible? Again, what is this based on? Literally nothing. Just pulled out of thin air to fit a predetermined narrative.
So we've analyzed the latest moral outrage video objectively and fairly, and where does that leave us? The exact same place we started. Everyone is against harassment already. Even gamergate has anti-harassment teams, and harassment in online gaming certainly pre-dates gamergate so that can't be the cause.
What specifically needs to be dismantled and why? What is the evidence supporting your claim? Still waiting ...read
6:10 AM on 11.15.2014
I thought this was a video that gamers familiar with the gender debates of the last several years would like to see; and need to see. This is a video from The Young Turks, a liberal, feminist-leaning online news site with multiple female staff members. In this video, they react to an article from Chris Plante, founding editor at Polygon, who now works at The Verge (Polygon's sister site).
Plante wrote an article at The Verge condemning one of the scientists responsible for landing a spacecraft on a speeding comet millions of miles away from earth. Plante condemns this poor scientist because he was wearing a shirt that Plante found in poor taste, and called the shirt sexist.
As you can see in the video, the scientist later apologizes and is fighting back tears.
The kicker is that the shirt was a gift from a female friend who makes the shirts.
I just wanted gamers, and especially gaming journalism editors and writers at Destructoid to see what a prominent liberal news site's reaction is to the same kind of feminism the gaming community has been subjected to for the last several years. If this shirt was reviewed by Polygon, I predict it would have gotten a 7.5.
"Look, every single group has ... extremists, fringe group that's somehow associated with it. And so ... I hate, I hate that this has taken on the feminist tag because this is not feminism okay? Real feminism focuses on gender equality."
- Anna Kasparian (TYT anchor) (3 minutes, 40 seconds)
I hope that everyone can listen to the diverse opinions of women on this issue without trying to erase their opinion. I'd hate to see someone as prominent as Anna Kasparian have to join #notyourshield just to try and prove she exists.read
4:39 PM on 10.30.2014
I finally found an article with the full interview up and got a chance to watch it. I was honestly pleasantly surprised by Colbert's questions and I think this was an interesting watch. This is the kind of questioning that I wished the gaming media was doing from the very beginning, and I think it's worth looking at this interview critically.
We can all agree it was a great PR victory for her just on visuals alone, but the actual content discussed doesn't seem to really back up many of her claims or positions. Even with this being a relatively softball interview, I think it's actually the most pushback and questioning I've ever seen her get ... ever. That is a sad statement on how little discussion has actually occured around her videos and her theories. It's sad that it took a comedian that is completely outside of gaming to be the first to do this in a mainstream way.
Anyway, let's look at some of the exchanges I chose to highlight. They also talk a bit more about harassment, and her Utah speaking event that got canceled. I think everyone but extremist trolls agrees that harassment is not okay, so I don't find it to be a particularly compelling topic to discuss since there's really not much to discuss. Report it to the authorities, which she did. Good. Okay, moving on to her actual ideas now -
I. Colbert: "It's a culture war, it's a sub-culture war."
Anita: "There is something going on, and what it is is women being harassed and threatened and terrorized -"
Colbert: "After you first attacked male gamers for enjoying looking at big-breasted women with tiny armor that barely covers their nipples. What is wrong with that? I like that. I like what that looks like. I'm a man baby!"
Anita: "Well -"
Colbert: "Newsflash, I like it."
Anita: "Well, one of the problems with that is that it actually reinforces this cultural myth that women are sexual objects and sexual playthings for male amusement. And, we're not."
I thought this was actually a pretty interesting exchange, because Colbert is basically arguing that heterosexual male fantasies are entirely normal, healthy parts of male sexuality. "News flash, I like it." He's arguing that there is nothing wrong with games that are purposely made to cater to male sexual fantasies, because sexual fantasies are healthy, normal parts of what it means to be a human being.
Anita says that male sexual fantasies are "problems." They reinforce a cultural myth that women are sexual objects. I just don't find that compelling at all. What is the evidence for that statement? Is there even a way that anyone could scientifically prove that? It just sounds like an idea that is plucked out of the air and can't be proven. I could just as easily say that violent fantasy games reinforce a cultural myth that murder is fun and death has no consequences. But that doesn't prove true in reality. Violent crime continues to decline nationwide in the US at the same time that violent gaming rises.
I just find her whole message here to be anti-inclusive, anti-sex, and anti-tolerance. I'm all for supporting any and everyone's sexual expression whether it's LGBTQ or anyone else. That also includes my support for heterosexuality. How can we casually demonize someone's sexuality, or sexual art? Many men are attracted to women, and like to spend their money on fantasy games where they can interact with women they are attracted to. Would anyone feel comfortable calling a game allowing gay men to explore their sexuality a "problem?" No they wouldn't, and they shouldn't. But the same goes for heterosexuality as well, which is being unfairly demonized here.
II. Colbert: "We're saving them. Damsels in distress. I'm saving the princess, am I supposed to let the princess die? Is that what you want? That's kinda harsh, that's kinda hostile."
Anita: "Well maybe the princess shouldn't be a damsel and she could save herself."
Colbert: "They've got games where - [interrupted by crowd]."
This seems like a very unconvincing comeback from her that doesn't persuade me in any way that the damsel trope is problematic. As Colbert argues here, most games portray a story of trying to save someone you love, someone that is more important to you than anyone, someone you are willing to risk death to save. Is that really a story about objectification? Sometimes it may be in extremely simplified NES games that barely even have the capability to tell a story. But sometimes, it's a game merely about selfless heroism and risking your personal safety to save someone. That is a positive message, and she doesn't really have any criticism of that here at all.
Maybe the princess shouldn't be a damsel? Sure, that's fine for some games, and those games exist already and continue to be made. Colbert said it right here himself. Anita even says it later in the video. So if those games exist, and will continue to be made, why demonize a story about selfless heroism in other games?
III. Colbert: "By criticizing these, male fantasy games, male objectification of women games -"
Anita: "Some of them that would be an accurate description"
Colbert: "So, give me some names, name some names."
Anita: "Well, in the work that I do, I look at hundreds of examples of videogames that -"
Colbert: "So, can you think of 3?" Can you think of 3?"
Anita: "I can, but I think it's a bigger issue to talk about the industry as a whole and how it perpetuates these ideas of sexism and mysogyny as opposed to just Grand Theft Auto example."
I thought this section was also pretty convincing, since she basically fully runs from repeated, focused questioning here, and simply refuses to answer his question. Instead, she wants to discuss how the entire industry, collectively perpetuates sexism and mysogyny. I just don't think that's really true. The entire industry doesn't perpetuate hatred of women. If it did, why are 48% of gamers female? It just doesn't make sense. How would any prove her claim scientifically? Can it even be proven scientifically? It doesn't fit with reality.
IV. Anita: "Women are perceived as threatening because we are asking for games to be more inclusive."
Colbert: "Why not just have a separate game? Have separate but equal games."
Anita: "Well, we do have lots of different kinds of games that -"
Colbert: "So, what are you complaining about?"
Anita: "That's one of the things that I think is happening here is that, we have this wide range of games that - we're seeing mobile games, we're seeing indie games, we're seeing this influx of different kinds of games, and that's what gamergate is responding to. They're actually responding to the fact that we're saying that gaming can no longer be this little boy's club anymore. There are many of us women who have been playing games our whole lives, and so they're lashing out because we're challenging the status quo of gaming as a male dominated space."
Colbert uses charged language here that harkens back to segregated schools and it gets a laugh from the audience. But his actual question and premise here are perfectly valid. Lots of content is segregated across gender lines, simply because they have different intrests. Men don't call Ellen and Oprah sexist because the talk shows don't have enough action segments in them. They just find something else to watch; seperate but equal TV shows. That's basically what Colbert is advocating for here; and he's asking if she's even comfortable allowing games made specifically for men to even exist. In response to that, she basically says that gaming can no longer be a "little boy's club." Does that mean that no games purposely made to appeal to men can exist? It doesn't really mean anything specific because it's just a catch phrase. If 48% of gamers are women, if games where women are the heroes exist, if diverse indie games exist, why would anyone call it a little boy's club? She basically entirely dodges his question here, which is saying that not every single game will be designed to appeal to every person. Some games will, and some games will be designed for a more specific audience. If she agreed to this obvious, non-confrontational point, she would have little reason to demonize games or criticize the industry.
V. Colbert: "What about the accusations of collusion between gamers, designers and journalists? Do you understand how important it is? We are talking about ethics in G-A-M-I-N-G J-O-U-R-N-A-L-I-S-M. Do you understand how huge that is? I mean, what if there was no ethics in Hollywood journalism? If we can't trust Entertainment Tonight or TMZ where would we be? Is that what you want for gamer journalism?"
Anita: "I think that that is a sort of compelling way to reframe the fact that this is actually attacks on women. Ethics in journalism is not what's happening, in any way. It's actually men going after women in really hostile, aggressive ways. That's what gamergate is about. It's about, like, terrorizing women for being involved in this industry, being involved in this hobby."
Colbert's question here is basically saying, "of course gaming journalism is corrupt, just like Hollywood. It will always be corrupt." He is probably right here as well. But what does that actually say? That says that there is of course going to be corruption, and so of course the claims of ethical issues in gaming journalism deserve more serious attention because they almost surely exist due to its inherent sensationalist attitude and conflict of interest built in as a consumer press. Gamers complaining about the press has been a consistent theme for years, and it does exist. Just ask any game journalist and they'll tell you that a lot of their audience is hostile, and suspicious of them.
But Anita basically dodges that point completely and goes out of her way to really eggregiously mischaracterize the whole gamergate movement with broad, generalized strokes. It's really a very bad answer that tries to blatantly simplify, demonize, and marginalize a diverse and complex collective of people and complaints.
VI. Colbert: "As a man am I allowed to be a feminist?"
Anita: "Well, do you believe that women should have equal rights to men and that we should fight for those rights?"
Anita: "Great, then you're a feminist."
He asked if he was "allowed to be a feminist." The answer is yes. He didn't ask what a feminist is. Feminism is something you self-identify with, you don't label people as feminists against their will if they don't want to be included. This is something that feminists have a huge problem with, because huge numbers of people (including large percentages of women), purposely go out of their way to not label themselves as feminists even when directly asked. For example, I of course think that women should have equal rights to men and that we should all fight for that equality. But I'm not a feminist, no matter how badly she wants me to be. Feminism is not that simplistic, and it includes numerous sub-ideologies that have various beliefs and views about all kinds of things that go well beyond this purposely reductionist definition. She basically ends the interview on a misleading cannard that is parroted online very frequently.
A better question to ask would be, why in the world are so many people purposely against calling themselves feminists? That would require some self-reflection, and honest acknowledgment of their faults to determine though, so instead they will just use the broadest, most benign definition possible to label others as feminists after they go out of their way to disassociate themselves from the movement.
Ouch. And this relatively softball interview represents the most criticism she has ever had in an interview.read
3:56 AM on 10.20.2014
I've been reading about Gamergate and gender / political issues in gaming since the beginning, but for the most part, I've largely done so from the outside looking in. I don't have a twitter account, and the precise number of tweets I've sent in my life is exactly zero. But looking from the outside in on this most recent explosion of gender debate and harassment, I think I've finally found a working a thesis that explains what is happening in a way that makes sense to me.
Gamergate is a response to political disenfranchisement. The political process is controlled social chaos. That is how modern societies take differing views and peacefully negotiate a middle-ground in terms of policy, law, and the values we hold as a society. Journalism has always been a key aspect of politics (enshrined in the first amendment), and most political philosophers believe that without a free press, it is impossible to have an informed public, and therefore impossible to have any kind of a meaningful democracy.
It's in everyone's best interests to bring as many people as possible into the political process. The actual process of political debate is largely peaceful and non-violent. But when people are shut out of the government, or shut out of the press; when people feel that they have no peaceful means to express themselves and be heard, that is where we see small pockets of desperate people take up extremism, revolution, and protest. These are political actions you take when you no longer belong to a functioning political system.
I. the iraq war
As most of you know, a few journalists have infamously compared Gamergate to ISIS.
This was likely just a crude way of saying that GG is "the worst thing in the world." But if you actually think about this in terms of political disenfranchisement, I actually can see a few similarities that I think are worth thinking about seriously.
Drawing this parallel is controversial, so I want to first list my source; the fantastic documentary from PBS' Frontline series, "Losing Iraq." If you haven't watched it, I recommend doing so, as it really does a fantastic job of explaining the key political mistakes made after the beginning of the occupation.
The first road side bomb in Iraq was the very next day after the Baathists (Sunnis) were shut out of the Iraqi government. It wasn't when the US invaded, or during the first few weeks of the occupation. It's now referred to as "Order #1," Ambassador Paul Bremmor's first major order after arriving to Iraq; and it is now seen as the largest tactical bluder in the entire Iraq War.
"There are two reasons were wanted to keep the Baathist party intact. One, they were the only folks that had experience running the government. Number 2, the Sunnis needed to have a voice. And, if you don't give people a voice, they have relatively few options. [...] What history tells us is that the next option is violence." - Col. Thomas M. Gross (Office for Humanitarian Assistance) (15:00 min)
Transitioning from this severely serious example to discussion of gamergate is admittedly silly in just how vast the disparity is in terms of consequence, and severity. But what we're discussing is uprising, revolt, and if we can learn anything about the crowd psychology of political revolts. There are parallels worth noting.
II. The gaming press
For several years now, we've seen a surge of feminist-focused gaming stories on all the large gaming websites. Most of the major gaming websites are run from coastal cities in the US, made up almost completely of liberal, white male journalists. The infusion of an explicity political agenda into gaming journalism is the turning point. For several years now, that political discussion has consisted entirely of only one very narrow band of politics. All other political expressions and ideas have been systematically shut out from all mainstream exposure. Commenters expressing alternative views have been heavily moderated, whether it is on the gaming websites themselves, or the total lack of comments allowed on Anita Sarkeesian videos. The consistent theme has been to push one small slice of political ideology onto a large and politically diverse readership, and to silence and marginalize any opposing voices.
After years of this escalating tension, Leigh Alexander declares war on anyone outside of her narrow political spectrum, and declares that they are "dead." This was so extreme, that even with no representation over the last several years, I think most readers still expected to see dissenting views represented in a response article. That response article never came. What followed instead was a media blitz, and a wholesale endorsement of that declaration of war. Anyone outside of the accepted narrow political spectrum was not given a voice, and they were now under siege. Comments were censored, forum threads were crushed, dissenting articles never materialized at all.
You all may be aware of the existence of the "Gaming Journalist Professionals" google mailing list. It's a semi-secret, private list of email correspondence between gaming journalists from almost all the major sites. That list has been leaked by a whistleblower, along with several extended email conversations. In one of these leaked emails, we can see that even allowing a forum thread on The Escapist was seen as a threat that had to be systematically crushed. Journalists from completely different websites were secretely pressuring the Editor in Chief of The Escapist to crush a forum thread on his site. I think we can agree that political diversity was being systematically crushed.
III. political desperation, revolt
With no peaceful alternatives left to express their political views, small subsets of gamers have turned to extremism of varying degrees; some appropriate, and some inappropriate. Why? Because they were shut out of the political system, and their voices were systematically crushed.
You see an unfortunate, and dangerously threatening subset of these disenfranchised people take up violent reactionary behavior not unlike that first roadside bomb in Iraq in terms of the psychology of it at least. They tweet harassing behavior and make shockingly violent threats that have gotten the police justifiably involved. These people have escalated to the use of force, and have to be shut down by law enforcement. We can see how political disenfranchisement leads to a predictable backlash, but that doesn't justify violence or threats.
We also see people emailing advertisers in what is the gaming journalism equivalent of a BSD (Boycott, Divest, Sanction) political protest; like we've seen against South Africa's apartheid regime, or more recently, Israel. That's a perfectly valid form of political protest for someone that is marginalized and systematically excluded from political representation. What else should they do? They have no other options.
Understanding the psychology of political representation helps us understand how misguided "gaming journalism" at large has been; and how badly they've misunderstood what is actually happening here. The solution to this extreme tension is political representation. The solution is to give these people a stake in the political system because if they participate in politics, then they have a peaceful stress release valve. They have a way to have their voices heard, and they have no reason whatsoever to move to more extreme measures to express themselves. The solution is to include their viewpoints in more articles, and to increase their political representation. The solution is for the press to stop being driven by narrow ideological agendas and activism, and to start representing diverse political viewpoints and include more voices in the discussion.
Just like in Iraq, the solution is not merely a matter of involving the military. The solution is political. It is convincing people that they have a voice in their government, and that it represents them. The press is a critical part of how people interact with each other and with their government, and if if a society does not have a free and fair press, it makes democratic representation impossible. The last thing we need is a #stopgamergate movement that marginalizes these people even more and limits their political expression. The solution is more inclusion and more diverse representation of political views.
The current climate in political gaming discussion is equivalent to having not just one bised station that is a liberal version of Fox News; but rather having every single major station be a liberal version of Fox News. And I'm a liberal, but I still want a free press that represents multiple political views, and not an agenda driven press that shuts out any dissenting political ideas. It was journalists who decided to include politics several years ago. Their mistake was in thinking that once they opened that door that they could only include politics they liked and have no one react to that. Everything we know about history tells us otherwise.read
12:13 AM on 10.05.2014
I was listening to the inFamous Second Son OST today in the car, and I was again struck by just how great it really is. This is really of the most refereshing and unique OSTs I've heard in quite some time. It starts with two premises: capture the feel of 1990s - present Seattle rock, and convert that into an appropriate OST. So, it's not as straight ahead as most rock. It's more ambient, a little bit more muted and suited for the background , especially being an open world game. But, that unexpectedly ends up giving it a really original and refreshing sound. Finally, they combine electronics work with it, which I always love to hear in combination with rock. The final product is equal parts relaxing, and rock out, which is pretty unique - dark ambience, punctuated with playful rock. I can't recommend it enough for curious music fans. It's one of the only western OSTs I've enjoyed listening to front to back without skipping songs.
"Second Son" is built for the cinematic intro, and takes me back to that introduction with the skyline and the speeding car as the tension builds up, and it has an awesome melody on guitar. "The Vandal King" is almost like bluesy southern rock, and maintains a really laid back feel and just has nice warm tones. "Speed of Light" is super original, almost combining street drumming style with rock guitar and electronic vocal samples. I can't say I've heard anything quite like this, and it's awesome. One of my favorite songs. "Conflict Resolution" is just a solid song, similar to Vandal King with some bluesy rock. They turn up the heat a little bit and have a more pronounced, rocking chorus. "The Bio-Terrorist" is one of the best songs on the OST, with a super catchy build up and rock out line that I've listened to probably 100x and it never gets old. "Cumulonimbus" is the song that hit me the most in the car today, and it's just a really kick ass mixture of dark ambient electronics with rock that I'm in love with. "Martial Law" has a very cool intro, mixing electronics, drumming, and light bass before the guitar kicks in. The drum sound is interesting, and reminds me a bit of street drumming. "Freedom and Security" is one of the main melodic lines in the game, and it's stuck with me ever since I played it. "Serial Tagger" is also a personal favorite, and really is one of the more complete songs as a stand alone piece of music, and perfectly demonstrates this interesting intersection between OST, electronics, and bluesy/warm rock. I really love this one. "owning the Future" is one of the main boss fight rock tracks. It's fantastic, and despite being one of the heavier songs, has a great melodic line. "Smoke and Mirrors" is the big climax rock track for the game, adn it's one of the best. "Alibi" is one of the more relaxed tracks, but I love it. Really uses some interesting effects on the strings, and mixes it with rock drumming.
These are just my favorite ones. They're all pretty good. 22 tracks in total. Not only great to listen to alone, but really captures the feel of the city for the game.