With my contract in limbo, it makes me feel better to sell a few games. Just in case. The capsule reviews are free:
So there's the story behind an acclaimed niche game, taken from Mobygames:
Our hero must embark on a quest to slay 16 colossus, giant creatures that tower hundreds of feet above the Earth. Using his ancient sword and his horse Argo, he must travel across the immense landscape seeking the colossi to save his love. Taking the form of various animals and other bipedal creatures, these colossi are tough and fierce. Their skin is tougher than leather, and the armor they wear is literally rock. However, by using his ancient sword, the man can penetrate the weak spot on them and destroy the towering beings and free his love's soul.
And then there's the plot summary for an acclaimed niche movie, taken from IMDB:
No, that's not entirely fair--but I'm not trying to be fair. After all, I could nominate any number of movies to take the place of that latter description. They might not have the exact same theme as Junebug, but films with shaded or outright unlikeable characters, open storylines, and no clear sense of resolution are a dime a dozen. Whereas you'd be hard-pressed to find a game that doesn't put the player into the position of being a Hero in the classical sense, complete with journey and bold nemesis to be defeated. You almost certainly can't find an interactive narrative that centers around Southern family dynamics.
This isn't about the violence, per se. It's about the kinds of stories that these media can tell. See, I'm just not sure that you actually could make a game that doesn't put the player into the position of an active, heroic force. Interactivity grants agency, and agency for most people means trying to make "better" choices. Even assuming that someone could make an interactive version of Sherrybaby, for example, who'd want to play it? Would it honestly have the same impact?
The form of the medium shapes the stories that it can tell, and I wonder if we are reaching the limits of that for interactive entertainment. Maybe that's a good thing--that it is ultimately a hopeful medium. But it is also a narcissistic one. By necessity, it casts its audience as someone who can Make A Difference, and sets aside any of the smaller stories about people who can't. That might even encourage a false hope--we don't all grow up to be President, you know.
Netjak put up an editorial that scooped me on this a little, but I think they're ultimately addressing a more limited problem. Healey is asking for more than just "save the world" plots--I'm hoping for a plot that doesn't save anything at all. What do you think? Is this an inherent lack of depth in interactive entertainment? Is hopelessness part of the button-pressing palette?
Answers that we are better off without the angst in the first place will not be accepted. A little angst is good for you. It builds character.
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Apparently this is now a Round Table post. Who knew?
Corvus's gaming Round Table this month asks about goals. I'm guessing he's talking about goals inside games. I'm more interested in the ones outside.
I just finished writing the documentation for Basin IT, a water policy simulator that the Multimedia Center put together for some clients. As a game, it's not terribly captivating--the primary aim was to provide a more accessible front end to the existing river basin model. But the goal for the designers was to teach a certain skill and let people explore a situation. The goal for players is to learn how to effectively manage their water policies. To some extent, although it is (as far as I know) factually based, Basin IT expresses a judgement about what management is effective, and that too is a goal.
This may be true of so-called "serious games," that they have a real-world goal, but it is also true of entertainment to a greater or lesser degree. We discuss fictional movies and books not only in terms of their story, but also the worldview that inspires them. Spielberg's War of the Worlds is not just a movie about Tom Cruise and his alien friends (no easy jokes! we are classy joint here!), but is also (supposedly) a comment on our reactions to September 11th. Snow Crash (like much science fiction) is stuffed full of opinions on religion, libertarianism, and private enterprise. Do these works say how the world is, or how it should be? Probably that's why they're art.
It's hard to get past the initial impressions of a video game to even ask the question of its worldview. You might be tempted to ask if Super Mario is Nintendo's expression of hatred for turtles. I suppose that's possible. But I was thinking more along the lines of the Crackdown review that PeterB wrote a while back, where he refuses to excuse its racist point of view just because the mechanics of the game are enjoyable. In fact, it raises the question of whether the subject matter is even more despicable because the designers have made it fun to be a fascist supercop.
I am hard on games that waste the player's time or give simple answers to simple questions. But I think we should be. Even if it's condescending to state that violence in games causes violence in real life, it isn't improper to ask what the violence is trying to say about the real world. Nor is it impolite for design teams to come out and place both their gameplay and storylines into a real-world context, as has happened before (Metal Gear) and may be increasingly common (BioShock, by all accounts, is partly a satire of Ayn Rand's capitalist Utopia).
But it is also to remember that popcorn entertainment is not devoid of goals and implications. Michael Bay's movies may be vapid and anti-intellectual, but that doesn't mean that they don't present a desired worldview--they most certainly do, evoking goals of misplaced machismo and derision for the weak or the cooperative. It's unclear whether this is how Michael Bay sees the world, or (more likely) how he wishes it could be. It is clear that something of the same worldview does dominate in electronic entertainment, although to what extend it has been either percieved or critiqued by its audience, I couldn't say.
Who wants to talk?
I can maintain the puns forever, Internet. Don't try to stop me.
As far as I can tell, NitroTracker is the top of the DS homebrew world right now, if for no other reason than sheer physical convenience--any decent software really requires the GBAMP add-on for storage, and it sticks out about an inch from the DS, making it an unattractive package for MP3s or relatively shallow gaming. Music is more stationary.
Which is not to say that the experience is flawless, but the problems with it still lie mainly with the nature of the software and not with the program itself. NitroTracker is, well, a tracker. That means that it programs its sample-based music by stepping through a grid of notes like a piano roll, but less flexible. It's like writing a song in Excel (and I would know). For some genres of music--techno and house come to mind--having strict grid patterns of 4/4 eighth notes works well. But if you need to swing at all, or work in different time signatures, it gets ugly fast.
For example, the first slightly elaborate production I tried was the Galactica theme, because I knew that in 9/8 time it would be just slightly larger than a standard NitroTracker measure. It turns out pretty odd--partly because of the samples I used, but also because it's really hard to do decent timing this way (listen for yourself). This morning, on the Metro, I also put together a short version of Dave Brubeck's Take 5, which is even more difficult--not only is it 5/4 time, but it has a definite swing groove going on, which meant that I had to use 15 grid spaces to represent the song in triplets, and even then it sounds odd. To really get good exact timing, you'd need to break each quarter note into at least six grid spaces to get eights (every three spaces) and triplets (every two). That's a clumsy way to build a song. (here's an MP3 sample)
But for all that, I can definitely see this as one of the few applications where it is actually worth the hassle of putting homebrew together. After all, that Take 5 cover uses the DS microphone to sample my voice and whistling, which is pretty cool. A clever and patient programmer could use this to build songs out of ambient noise wherever he or she went. It's quick and fairly cheap, all things considered. As of version .3, it loads samples correctly (the Galactica snippet was built using .wav files I took from Ableton Live) for expandability, and it understands MIDI over WiFi. You could conceivably build a whole row of electronic instruments out of a PC and set of homebrew-capable DS's, especially if you used the other DSMIDIWiFi apps for control and simple synths.
After several months of stopping in at retail outlets every now and then and being told "well, we had them just yesterday," I broke down and bought a Wii on eBay. It should arrive today or tomorrow. The eBay premium on this comes to about $50 after you consider sales tax, so it could be a lot worse, I guess.
I looked at the XBox 360, and it's still tempting. But it's a bit high-priced for an impulse buy, and there's nothing I'm really dying to play. The media center functionality would probably be more appealing if we didn't have TiVo and Netflix. And I'm pretty sure Belle and I will get more enjoyment together out of the Wii than we would another system (where it would basically just be for me).
I'm still just amazed by how scarce the units actually are. I'm no industry analyst, but it's been almost a year now and I still haven't even seen a box on the shelves anywhere. The hardware isn't that complicated, from what I understand. The Freakonomics blog thinks it might be artificial, but no-one really knows.
But what's undeniably true is that there's more than a couple thousand of them up on eBay at any given time, selling for (including shipping) at least 130% of the retail price. How that figures into the shortages is hard to say--two thousand isn't a very big number, spread across the whole country--but it's a little galling to see the grey market flourish like this.
More than anything, Chocobo Tales makes me wish I was playing Magic: The Gathering. Which is impressive, because I haven't wanted to do that since high school.
I don't even remember where I got my first deck of Magic cards. I'm pretty sure that I never spent very much money on it, although I guess $10 decks and $1 booster packs can pile up over time. At lunchtime, friends and I used to go to the library and play a few games. We weren't very serious about it, and I was less serious than most--I tended to build strange, uncompetitive decks, like one that was completely themed around rats. Eventually, we stopped playing as much, and I sold my collection to another student for enough money to buy a nice harmonica.
So Chocobo Tales reminds me of the game in a couple of ways. First, it's got a card battle system that's a bit like Magic in its simplicity, although without the metagame rule-bending that really made Richard Garfield's invention fun. Second, getting cards is an expensive pain, if you consider time to be money, because it requires you to obsess over a set of minigames that would probably be more fun if you weren't trying them for the 300th time. If it were balanced, Squaresoft would make the value of the cards recieved inversely proportional to the amount of effort required. I'm not sure yet if they've done so, and don't know if I'll bother to try to figure it out.
It's too bad that this is a one-off game, though, because with some more meat it would make a fine central concept for a full title, instead of just a boss challenge. The CCG genre is well-suited to the DS, I think, especially since WiFi is a great environment for it. But to really give depth to the experience, it needs more: more cards, more oddities, and more room for people to build their own unique decks. Maybe someone will port Magic Suitcase or Magic Workstation to the DS homebrew and fill the gap.
PeterB reviews Crackdown:
I actually felt uncomfortable panning the game. Technically brilliant, this is still a game whose idea of a good time is shooting a rocket launcher into a crowd of racial stereotypes.
Later today I'll write about This Film is Not Yet Rated, which I think has something similar to say about the movie industry.
To: SquareEnix, makers of Chocobo Tales
CC: Everyone else making games for DS
Dear entertainment software teams,
So, how about those minigame collections? I see that you've discovered them again. As long as they don't wear out their welcome, either in the individual segments or the overarching structure, I approve. But let me make a quick suggestion: any game, micro or otherwise, that involves scribbling furiously at the DS touch screen needs to be redesigned, ASAP.
Because while you may be thinking that this is going to be an enjoyable diversion, I'm thinking it greatly increases the risk of gouging deep scratches into the screen, and that makes me twitch a little. Repeat after me: the stylus was not meant to be used as a replacement for button-mashing.
Tip for protective DS owners: If you don't particularly care for screen protectors, but you need to pass one of these obnoxious minigames, a piece of scotch tape makes a fine temporary solution. Just lay it down across the screen, scribble away, and then peel it back off. This used to be the height of Macgyver-style cleverness back in the early PalmOS community.
Eight years ago, Sega put out the first hi-def console. The Dreamcast was able to output in 640x480 VGA mode for most games, offering a sharper picture and more accurate colors than any other console out there. Then Sega made a lot of very silly business decisions and collapsed into a largely insensate heap. Today it only revives itself long enough to output terrible Sonic the Hedgehog spinoffs, and the Dreamcast is considered long-dead.
I still have a Dreamcast around, because you can't play Virtual On Garou: Mark of the Wolves, or the original Jet Grind Radio anywhere else. It's also really homebrew-friendly, if I ever decided to get back into that, and I used to have disks that would play movies or SNES games. And now I have an HD TV to go with it, one that even accepts a VGA input.
Unfortunately, I lost my VGA box for the Dreamcast. At least, I think I lost it. Maybe it's in the basement from when I moved last year, but I didn't see it after five minutes of looking around down there, and that means I probably threw it away. It was a little broken anyway. The point is, I need a new one. And unless there's a different, VGA box-filled Internet out there that I can't find, my only options are: A) pay $40 to have one imported from the UK, or B) make my own.
In other words, televisions finally caught up with the Dreamcast, and I still can't afford to play in high-definition.
Why isn't there just a VGA port on the back of the machine in the first place? Why don't most game consoles put their outputs out where you can get to them, like DVD players or other AV equipment? Maybe it's to simplify the circuit boards, and bring down costs. Personally, I suspect it's so that they can make more money by selling cables.
Anyway, if anyone's got a spare Sega VGA box, it's a seller's market. I've noticed that Gamecube cables are already getting hard to find, and they changed the socket on the Wii. Stock up now.