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Contest:
2:20 PM on 07.16.2009
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Also, how do you feel about the whole "gritty and realistic" movement in the industry and the way they tent to execute these kinds of games?
Interactivity doesn't need to be mutually exclusive of cinematic control. I mean, God of War managed to maintain a relatively happy medium.
Yeah, I keep censoring my comments because I want to save it for an actual article, so I'ma just go now.
Oh, by the way, I thought that "cinematic pseudo-controls" made perfect and appropriate sense when you said it.
http://www.youtube.com/watch?v=bp-Vu3XwEWg
I share your Splinter Cell worries - Sam shouldn't be aiming for me, that what I have hands for. Equally there is no need for a 'Last Known Postion' marker, that's what my brain is for.
If I'm supposed to be that character, let the world behave in the way the world actually behaves. Let me assess my environment using sight and sound, and let me interact with it using a specific control scheme. Don't dumb it down and NEVER make my character do something I can't make him do myself.
Also AIDS.
Go back to 2005.
I almost... almost like the cut scenes in MGS3, where you can "look through Snakes Eyes," or in MGS2 where you can make Raiden comment on the current Codec call. It's kind of a cute gimmick that makes me feel more engrossed in what would otherwise be a boring Kojima cutscene.
Shadow of the Colossus made their cutscenes more engrossing by letting you shift the camera around. This devolved into me "rolling my eyes" while I got my next assignment for Colossal assassination, but it was still better than a static cinematic.
I actually kinda disagree with you where the Last Known Position thing is concerned. Enemy AI, especially in stealth games, is often so erratic that even when you have very good reason to assume you know exactly where your LKP was, a soldier will somehow spot a single pixel of your ankle from around a corner or something and suddenly your entire strategy is ruined. By letting the player know exactly where the enemies last saw him, you're more empowered to make informed strategic decisions about how to deal with baddies.
I mean, in theory, anyway.
Also, the advent of QTEs is basically thanks to Capcom and RE4. That started it. What continued it was God of War and similar stuff. Gamers like to see brutal kills, and the Force Unleashed example is exactly that. It provides a way to show the cool stuff without actually leaving the scene.
I'll admit, QTEs are used FAR too often, but I actually like what God of War did with them. That said, if we could get to the point where it actually required more input, I would very much be in support of it. The problem is that to add that input, they'd probably have to put in a break in gameplay, as the world moved from "normal play" into "execution play"
Really, as I think about it more, this could pretty much be said for any super in any fighting game, except for Alpha-like custom combos/Genei Jin/etc, since in those you're still responsible for each individual move.
I haven't actually played any games yet with QTE. So I don't understand the hate. I do however agree that a player should be in control at all times. I mean Windwaker did it awesomely, on the final boss.
Also, good video. I hate them too.
The idea of breathtaking, cinematic set pieces in games is great, yeah, but not when I'm just sat watching them like I'm actually at the cinema.
I guess this is a result of how costly and time consuming it is to model and render things in modern games. In a some cases it just isn't feasbile or realistic to offer the player full control, though a lot of the time it's just down to lazy and/or unimaginitive developers.
I agree with the idea that: most of the time, taking away control to show something spiffy isn't gratifying for the player, there are glorious exceptions to that rule.
I'd be curious to hear what you thought of that fight, Rev.
The "one miss and you die" is rarely a good idea, especially in the qte realm.
Also, MGS really does use cinematic "gameplay" in clever ways.
It played a clip, the button popped up and then the next clip depended on whether you hit the button in time. So yeah, in some cases it literally is like pushing buttons on a DVD remote.
But i disagree with you on the Splinter Cell M&E Rev, when you're talking about the Bionic Commando ending you said that it was a well done cinematic gameplay, because it was just a little "wall", just a couple of seconds and done. I think that this is exactly what happens at Splinter Cell: Conviction, of course there is cinematic gameplay, but they are very quick and i think they actually improve the action of the game, they're just little walls.
Oh, and great rant!
I think that QTE's work when the player actually "earns" it. Pressing a button in time or repeatedly doesn't really satisfy the player when the game just does something awesome anyway. For example, RE4 and 5 are examples of quick input actions which look pretty sweet but you don't really feel like you accomplished it. Games where the player does majority of the work (for example, a slightly difficult command) and then you see what happens for succeeding in the input of the command makes you feel a bit more interested into what's going on.
There was that bit in Heavenly Sword where you play as the other woman or whatever and you fire the arrows in slow-mo and direct them by moving the PS3 controller via. SIXAXIS, which was vaguely cinematic and kind of satisfying.
Anyway, great rant. Can't wait to see the next.
And no pic this time. :)
Which MGS4 scenes were you referring to by the way?
Also, something looks different about you Anthony. New tie?
Perhaps when you're older you'll appreciate this kind of insight into the matter, if you appreciate games.