Why Lollipop Chainsaw Could Be Just The Game We Need

I’m not alone when I say that I’m a little nonplussed by the tidal wave of first-person shooter, war-themed video games that have been assaulting (pun intended) our shelves as of late. The resounding success of these types of games is impossible to deny. I mean, Modern Warfare 3 has already grossed over $1 billion worldwide, which is more than most Hollywood smash hits can say.

However, play these types of games enough and they eventually begin to meld together into a lump of rusty, gray slag comprised of infinitely-spawning AI and terrorist plots. There is little surprise or story left in these games; they are content to make their money feeding off of gamers’ insatiable hunger for multiplayer action and sweet weapon skins.

Of course, first-person shooter games only occupy a portion – albeit large portion – of the games available. There are always puzzle games, action/adventure games, RPGs, and a host of other genres to tantalize our palette. Yet even these often fail to captivate us or present any real margin of creativity. And when creativity and innovation are removed from the equation, it takes nothing less than a full-blown combination of mayhem, fun, and crazy to kick start our appreciation of video games.

I think that Lollipop Chainsaw could just be the salvation video games need in 2012. If you haven’t heard of this game yet, it’s worth a glance or two. What’s been released concerning the story is limited at this point. You play as a cutesy cheerleader named Juliet who proves to be anything but timid and delicate when her high school is taken over by a zombie infestation. When all of her teachers, classmates, rivals, and boyfriend are infected by the undead, what’s a girl to do except grab a chainsaw and dish out some carnage?

Where this differs from other zombie games is in its visual delivery. Lollipop Chainsaw includes a passel of gory dismemberments, disembowelments, and eviscerations complete with buckets of blood that gamers have come to expect from zombie games. However, Lollipop Chainsaw also garnishes these bloody activities with a generous portion of rainbows, bubbles, hearts, and pom-poms. The closest I’ve come to describing the game is as some weird spawn of Dawn of the Dead and My Little Pony.

Lollipop Chainsaw is, at its heart, a dichotomy existing somewhere between cute/cuddly and grisly/absurd. Most efforts to combine two very different genres of entertainment result in a production nightmare that either ostracizes its audience or fails to interest them in the slightest. Nevertheless, video games have always excelled at this ambitious venture. I’m reminded of games like Bioshock that combined two different genres (i.e. classical and horror) and succeeded in creating a visual masterpiece as well as a incredibly sound game. I doubt Lollipop Chainsaw will ever match the prowess of Bioshock, but I have high hopes that it will succeed in much the same way.

Why do I think this? Certain elements of the game, all of which have been mentioned in concise gameplay/story-related videos online, seem to point toward a product that covers its bases with great accuracy.

First, the gameplay looks absurdly fun. Your character, Juliet, hacks and slashes her way through hordes of zombies using her trusty chainsaw as well as a collection of adorable, but no less effective, weapons, including pom-poms and her sneakers. Juliet appears to be very athletic and adept at weaving her way in and out of zombies’ clutches, which hints at a functional combat system and a host of unique, acrobatic moves. Quickplay events do make a comeback in this game, which could easily break up the flow of combat. However, each successful quickplay event ends with Juliet dispatching her attackers in a creative, fluorescent manner. In other words, quickplay events aren’t drab or boring in the slightest.

Visuals, as already mentioned, are a bit of a sensory overload, which in this case could be a good thing. What other game can you play that mixes hearts, lightning, blood, rainbows, and flying zombie heads in equal proportions? I doubt gamers who play Lollipop Chainsaw will ever grow tired of what they see. Background visuals (or at least those I could extract from online videos) appear to take a backseat to combat-related visuals. They are a bit cut-and-dry, which could negatively affect visuals and give the game that “unfinished” look. However, visuals still have time to sharpen up before the game goes public, so I can’t really make an official call on that yet.

There is definitely a strong aspect of humor contained within Lollipop Chainsaw. The zombified versions of Juliet’s classmates and teachers still retain a semblance of their original personalities (i.e. the crabby math teacher is still crabby). This will undoubtedly lead to a plethora of high-school-related verbal jabs and puns that are sure to draw chuckles from gamers’ mouths. Some of Juliet’s combat moves (and supermoves?) end with hilarious results. I watched one video in which Juliet faces off against a zombie in the school gymnasium. After she succeeds in severing its neck with her chainsaw, the freshly dismembered head careens through the air and lands neatly in the basketball net at the opposite end of the court. Swoosh.

Also, Juliet’s sidekick, combat partner, and source of company looks extraordinarily entertaining. Her sidekick is none other than her boyfriend’s severed head, which Juliet was forced to remove from his body after he was infected with the zombie virus. She slaps the head onto an artificial carrying case and attaches it to her hip. As she cuts down zombie after zombie, her significantly-diminished significant other offers both advice and the occasional nibble of sarcastic humor. Brilliant.

Lollipop Chainsaw appears to be a game that abandons conventional methods in lieu of wacky, insane fun. It honestly looks so stupid and unbelievable that it ultimately appears endearing. I have several reservations about the game, most poignantly the game’s focus on upskirt shots and sensuality, but I have no doubt that it will be fun to play.

Despite the fact that Lollipop Chainsaw could easily be a resounding success or an absolute car wreck, I admire the producers for taking the initiative to create a game that pushes the typical boundaries of entertainment. I respect games that rely more on imagination and creativity than they do on rigid formalities. I hope Lollipop Chainsaw will help save us from our inane reliance on first-person shooters and help propel us into a new age of embracing games for simply being fun, if a little bizarre.

Lollipop Chainsaw is set to be released sometime late Spring or early Summer. Mark your calendars.

Skyrim Predictions

We are now less than a week from the release of Bethesda’s newest addition to the Elder Scrolls saga, Skyrim. Previous installments of this sage, such as Oblivion and The Shivering Isles, immersed gamers in a unique, mystical RPG full of beauty and endless possibilities. There were classes and races to experience, weapons to wield, magic to craft, lands to explore, choices to make, and stories to unveil. Anyone even remotely invested in the Elder Scrolls could easily spend over 100 hours playing them and still fail to experience everything they had to offer.

It seems as though Skyrim will continue this epic sage in much of the same way, adding new possibilities in terms of combat, inventory, and character design. I’ve watched footage of Skyrim released by E3 and G4 and have read a brief overview of Skyrim in Game Informer Magazine. It appears the game is trying very hard to broaden its appeal to non-RPG players and, all things considered, is succeeding magnanimously.

I enjoy RPGs, but have never found myself incredibly invested in them. Games like Final Fantasy, Oblivion, Mass Effect, and Dragon Age are simply too lengthy and too in-depth to captivate my attention in the long run. As an intrinsic connoisseur of video games, I have often considered why RPGs tend to operate outside my preferential dome. The only solution I can procure is that RPGs make it more difficult to complete a video game in its entirety. As a gamer, I like to experience everything a game has to offer, finishing it as close to 100% completion as humanly possible. With games like Darksiders or Bioshock, it’s not impossible to imagine myself accomplishing this within a week.

With RPGs, however, 100% completion is improbable or nigh impossible. There are literally thousands of situations, quests, and skills to experience or hone, some of which take hours to complete. The result is that a gamer must either accept a partial performance or be willing to devote weeks of his life to a single video game. This has always been difficult for me to grasp, hence my reluctance to cling to an RPG.

For other gamers, RPGs are the highest echelon of entertainment. One of my closest and dearest friends enjoys RPGs like Oblivion and Mass Effect more than he enjoys most other types of games. As one might expect, this friend also tends to exhibit a high level of patience and long-term tolerance with video games. I, on the other hand, am often content to operate within the realm of first-person shooters, action-driven games, and more finite forms of entertainment.

Skyrim might just change all that.

Developer Bethesda’s attempts to broaden the appeal of Skyrim to more gamers is impossible to deny. The game’s focus on aesthetic beauty, magic wielding, a functioning inventory system, exploration, expansion, and scope is too incredible to ignore. This doesn’t mean I will buy Skyrim the instant it hits shelves across America, but I admit I am drawn to the potential success of this game as a stand-alone hit and trendsetter.

What exactly about Skyrim has prompted me to so quickly abandon my reservations about RPGs? The better question is what about Skyrim has not prompted this change?

The first thing that caught my attention concerning Skyrim was, as already mentioned, its incredible beauty. When I glanced through the first 15 or so minutes of Skyrim gameplay released on IGN, I couldn’t recollect a game that even came close to matching the visual quality of what I saw. I thought for a while that Rage could have given Skyrim a run for its money and, indeed, it succeeded greatly in terms of visual beauty. Nevertheless, Skyrim will undoubtedly be Rage‘s visual successor simply because it provides stunning graphics over a much larger spectrum of the imagination. Within Skyrim, snow falls, waterfalls bubble, trees sway listlessly in the breeze, magic flashes in vivid colors, and characters move and speak with remarkable clarity. Honestly, I don’t think there exists a game that more closely represents the real world than Skyrim. That is, if the real world had dragons and woolly mammoths.

On that note, Skyrim‘s choice to include dragons is a interesting one, albeit gutsy. Dragons will undoubtedly be the closest equivalent to boss battles the Elder Scrolls has witnessed to date. They appear to be extraordinarily powerful, fast, armored, and generally difficult to bring down. This will provide an added challenge to hardcore gamers that I believe they will enjoy. Furthermore, Skyrim‘s choice to equate the slaying of dragons to the leveling of your character is a unique move that I believe will add an appreciable flair to the game. Because your character in Skyrim is dragon born, you are able to draw upon the souls of slain dragons to reap  a sort of “dragon speak.” By discovering their lost language and then slaying the few living dragons left in the world, you will gain the power to speak special “words” that come with extraordinary powers, such as the ability to cast storms, move with remarkable speed, or breathe fire and ice. It’s a very original idea, and I am definitely a fan of gameplay methods that have never been utilized before.

Of course, the inclusion of dragons and spectacular visuals doesn’t even bring to mention the incredible inventory system and overworld map Skyrim uses. When leveling your character, Skyrim doesn’t simply bring up a boring stat sheet or screen clogged with slider bars and graphs. No, Skyrim turns your character’s eyes to the stars, where your leveling system takes the form of a constellation unique to your class type and build. As you level certain skills – such as blocking, armor, and magic – individual stars contained within your constellation begin to connect and form pathways. The end result is that you are left with your own unique imprint upon the sky that will continue to morph as your skills continue to develop.

The overworld map provides you with a bird’s eye view of the entire land contained within Skyrim. It is simple, yet complex enough to contain an exact depiction of every mountain range, forest, town, and road you can traverse. The developers of Skyrim have promised that “if you can see it, you can go there.” This is hefty promise considering the vast, expansive nature of Skyrim‘s overworld. Furthermore, this doesn’t even include the large number of caves, underworlds, dungeons, and underground passageways Skyrim is sure to contain. Overall, it appears to be a game that you could spend days doing nothing but wandering around and still fail to see everything it had to offer. And personally, that’s fine with me.

Another integral part of Skyrim is contained within the system of magic. As with Elder Scroll games of the past, your character is given a wide variety of spells – illumination, destruction, summoning, etc – with which to experiment. Unlike its predecessors, however, Skyrim has removed the ability to craft your own spells. This worried me initially, seeing as spellcrafting seemed too important to the customization aspect of the Elder Scrolls to consider removing. Nevertheless, Skyrim has filled that void with a spellcrafting element that will substitute just as well in my opinion. This element is the ability to duel-wield any two spells, one spell in each respective hand. This means you can illuminate a dark cavern with your left hand and cast destructive lightning bolts with the other. Combine two of the same spell and you can create an ultra-powerful version of the base spell complete with additional damage and area of effect. I am still unclear as to the level of synergy duel-wielding spells will have, but the potential is virtually limitless. Imagine sending lightning bolts snaking along the ground, seeking out enemies and then freezing them solid on contact. Imagine fire that engulfs enemies and then reanimates their corpses into undead minions. Again, the fact that I haven’t heard mention of this level of synergy means that it probably won’t be included in Skyrim. Then again, it’s possible developers are just keeping it on the down low until November 11, 2011.

I could continue talking about exactly how amazing Skyrim will be, but the fact is that we’re not going to have to wait much longer to see for ourselves. Keep your eyes fixed on your calenders, gamers. Skyrim will be rocking your world with its own before too long.

VERDICT

Skyrim is going to be awesome, no doubt about it. It is being released alongside other incredible titles, such as Arkham City, Uncharted 3, Rage, Skyward Sword, and Modern Warfare 3 (to name a few). Despite the excellence and gravity of theses other games, I believe Skyrim is an apt contender for 2011 Game of the Year. Really, the only thing holding me back from preordering the game right now the issue of money (which is in short supply right now). Nevertheless, I can’t help but feel as though Skyrim is going to sneak its way into my life one way or another. Will it do the same for you?

Rust: The New Obsession

After reading the title of this post, some of you might be wondering if you missed a new game release. No, I’m actually talking about real “rust” here. You know, the stuff that causes natural erosion on metal and turns it that groovy orange-green color. What does this have to do with video games, you might ask?

Last night, I watched Silent Hill, the popular video game/movie crossover. It was good, certainly preferable to most video game/move crossovers. It was genuinely creepy and had great set/costume design. I don’t suggest it to anyone who is easily disturbed by visual images or is even remotely squeamish, seeing as the movie is both claustrophobic and overly gory at points. Should you consider yourself in possession of an iron stomach or simply in the mood to be scared, you might notice something unique about Silent Hill, however. At least, I did.

Silent Hill is one of those movies that specializes in set design completely overrun with rust. Seriously, half of the movie is colored that familiar orange-green hue. It’s a phenomenon I can only describe as “metallic.”

It got me thinking about all the movies, and especially video games, I had watched or played that heavily featured this theme. Consider games like Fallout, Bioshock, Rage, Borderlands, and Gears of War. All of these, at least to some extent, contain the element of rust. Some rarely contain anything else.

It seems as though humanity has developed an obsession, or at least a keen interest, in all things rust. At some point in the past, rust stopped becoming just an annoyance and an indicator of the decrepit and became an art form.

I live near Portland, Oregon and the phenomenon is here too. I have seen an innumerable amount of artwork, paintings, and especially photographs that feature rust as the central element. Sometimes it seems all you need for an intriguing senior high school photo is stand in front of a rusty brick wall and not look at the camera.

You might think that I am going to unveil the answer to the mystery of rust in this post. But the fact is that I don’t really know why we, as humans, are so captivated by the presence of rust. It’s an element connotative of age, durability, and, in some cases, inevitable decay. All of these are core themes within art. It could be that rust signifies collective thought between these themes, ultimately beckoning in a sense of doom or death.

On the other hand, rust could be connotative of the undying hope of rebirth. Rust ushers in change, the itching need for a new beginning. The aforementioned video games all contain the need for a new order or system as a central theme within their plot. It could be that rust is the visual stimuli that prompts gamers to recognize the need for a fresh start.

More probable is the possibility that rust somehow connects all these themes into a collective story. It begins by ushering in the realities of decay and death. It then proceeds to answer these realities by encouraging viewers to pursue or simply hope for the potential of new life.

At this point, I am simply speculating. However, we recognize the importance of weaving the cycle of death and the promise of new life into our stories, which rust seems to do quite well. Death and the victory of life are key elements in all the greatest stories – most notably that of Jesus – and create the tension that keeps us, as observers, intrigued.

Exactly why themes like rust have taken such a dominant role in movies and video games lately is something I will discuss further in later posts. However, in the meantime, consider other artistic elements that commonly associate the presence of rust. A few of these elements include dripping or pooling water, heat, steam, dragging or sloughing noises, loud clanks and metallic reverberations, echoing footsteps, darkness or limited visibility, industry, fortitude, and resilience. What do these elements, when combined, say about what we, as a society, expect or enjoy about our methods of entertainment?

Borderlands 2 Predictions

When I first played Borderlands for the XBox 360, I was hooked. It was the perfect combination of shell-shaded graphics, FPS gameplay, and RPG elements. Character classes were unique and the looting system was downright addicting. I quickly beat the campaign and succeeded to purchase every DLC for Borderlands immediately following each’s respective release date. Like the original, the DLCs offered a unique playing experience that literally occupied hours of my time.

Upon my completion of the campaign and all 4 DLCs, I recall saying one thing. I said, “I can’t wait for Borderlands 2.” Now, it appears the long wait is almost over. Developer 2K has heeded the public outcry for a sequel and will bless the gaming community with the release of Borderlands 2 sometime next year.

The question at hand is will it exceed the original in popularity and quality of gameplay? This leads me to my predictions for Borderlands 2. Please note that my predictions are based solely on information contained within a recent edition of Game Informer Magazine, which featured Borderlands 2 as its central topic.

The story of Borderlands 2 seems somewhat basic, somewhat familiar. The original Borderlands ended with the gang of 4 treasure hunters (Brick, Lilith, Mordecai, Roland) stopping an alien threat from invading the wasted planet of Pandora and the Hyperion Corporation. Borderlands 2 picks up the story shortly thereafter, when a rich, audacious gentleman by the name of Handsome Jack takes credit for the treasure hunter’s actions and quickly rises to power within the Hyperion Corporation. After promising to rid Pandora of its “seedy underbelly,” Handsome Jack attempts to purge Pandora of every individual currently outside the corporate umbrella, including innocent civilians and the original band of treasure hunters. As the protagonist, you are expected to strap on your ammo belt and stop this power-hungry dictator from recognizing his vision of a tyrannical utopia.

Surprisingly, it appears as though Borderlands 2 will not feature the original band of treasure hunters as playable characters. Rather, they will appear in predetermined areas of the campaign as NPCs (perhaps as quest givers or sources or story-related information?). Players will adopt the roles of newly-introduced characters, only one of which has been announced. I’ll discuss this character further on.

For now, I’ll dive into the meat of this article with a heap of personal, educated predictions.

#1: IMPROVED GRAPHICAL QUALITY AND PURPOSE

This sounds like a no-brainer. Of course a sequel will have superior graphical quality when compared to its original. This does not mean that 2K will abandon its favored method of shell-shading graphics. Indeed, it seems as though 2K is content to stick with this animation style, seeing as all artwork released for Borderlands 2 is shell-shaded. These graphics, however, will undoubtedly be sharper and more pleasing to the eye.

Despite any new styles of animation, it appears as though graphics will play a more intricate role in Borderlands 2. Apparently, “characters are now fully animated and inhabit their world.” This statement by 2K seems to hint that the studio will place greater focus on NPC animations and perhaps even voice acting. Text-based quests could give way to auditory conversations between the player’s character and the NPCs. It’s been said that there will be even less focus on cut scenes in Borderlands 2, which means 2K will have to rely more heavily on in-game graphics to propel the story and plot.

2K has also said that players will gain a greater sense of back story concerning the original 4 treasure hunters. This could mean that the re-introduction of each original treasure hunter within Borderlands 2 will come with an in-depth conversation/epic explaining that treasure hunter’s life and motives for pursuing the Eridian Vault on Pandora. This is exciting considering that not a lot of information was released within the first Borderlands that explained exactly why your character was involved in the hunt for treasure in the first place. There was a great deal of internet speculation and fan-fiction surrounding the back story of each character, but nothing substantial or overly-intriguing. It sounds as though Borderlands 2 will fix this issue by weaving an engaging story connecting the playable characters to the original 4 treasure hunters, the Hyperion Corporation, and Handsome Jack.

#2 MORE CHARACTER DEVELOPMENT

2K has announced the return of several important characters from the original Borderlands, including the bombastic gun salesman, Marcus, and the comedic automaton, Claptrap. Chief among these returning characters is the enigmatic entity known as the Guardian Angel. This character, who served simply as a guide for the treasure hunters, will undoubtedly help propel players through the story, providing information about the Hyperion Corporation and the wiles of Handsome Jack. Exactly who, or what, the Guardian Angel is will likely be revealed in this installment of Borderlands.

It seems as though 2K has big plans for Claptrap too. The latest DLC for Borderlands, Robolution, depicted Claptrap as a mechanical dictator, attempting to rid Pandora of its human element. However, in Borderlands 2, it seems as though Claptrap has regained a semblance of sanity, blaming Hyperion for his brief departure from rationality. Claptrap may very well serve as a support character in Borderlands 2, teaming up with your character and the treasure hunters in an attempt to overthrow or restore order to the Hyperion Corporation.

Marcus will probably revise his role as gun salesman and narrator for the Borderlands saga. I am still unsure as to whether or not Marcus will adopt a more developed role in the overall story.

#3 THE GUNZERKER

The first new class 2K has released to the public takes the form of the Gunzerker. This gun-crazy class takes the form of a bearded man known as Salvador, whose obvious love of chaos is depicted in his character construct. This class will introduce players to the ability to duel wield guns, allowing them to combine any two styles or designs of gun they come across during their trek across Pandora. This means that duel wielding an SMG alongside a rocket launcher is no longer impossible.

This class will undoubtedly comprise the more offensive style of the playable classes. It may be overshadowed in the departments of health and fortitude by a larger, tougher class (much akin to Brick’s class in the original Borderlands), but the Gunzerker will undoubtedly take its position at the front lines of combat.

#4 NEW CLASSES

In addition to the Gunzerker, I believe 2K will probably introduce several new classes unique to Borderlands 2. Considering the game supports 4-player co-op, there will probably be 4 new classes, just as in the original Borderlands. There will probably be offensive classes, like the Gunzerker, in addition to classes specializing in elements and defensive/support capabilities. Personally, I’m hoping for a class specializing in an engineering/crafting skill tree, allowing players to construct new weapons or robotic minions on the fly.

#5 NEW ELEMENTS

Borderlands contained four elements – lightning, fire, corrosive, explosive – built into the firepower of several different guns. 2K has promised the addition of at least one new element known as Eridium, which will enhance the effect of other elements rather than just causing extra damage. Will there be other elements as well? Personally, I’m rooting for an ice element which will allow players to freeze or slow approaching enemies, leaving them vulnerable to being shattered by following explosions or impact. Seeing as at least a portion of Borderlands 2 will take place in the tundras of Pandora, an ice element certainly sounds feasible. On that note…

#6 NEW ENVIRONMENTS

2K has mentioned that the tundra will be among Borderlands 2‘s lineup of new and exciting environments. Probably my chief compliant with the original Borderlands was that environments looked somewhat drab, consisting solely of desert-like locations surrounding steamwork towns and establishments. Possible new environments for Borderlands 2 include the tundra, mountains, sewers, jungles, and even space-themed levels. In my opinion, the more lush the environments the better. There’s nothing that says a conflicted wasteland can’t look good in addition to being filled with fast-pace action. Artwork released for Borderlands 2 seems to hint at an extended color palette, so the possibilities are technically limitless.

#7 GREATER AI

Borderlands contained a lot of enemies who enjoyed running directly at your character, abandoning cover to stand out in the open and unleash hell. There was nothing wrong with this, seeing as Borderlands favored sheer force over intelligence. However, Borderlands 2 hints at a level of increased AI, promising that enemies will favor strategy just as much as they will offense. This could substantially increase the difficulty of Borderlands 2, perhaps even paving the way for multiple difficulty settings. Will enemies in Borderlands 2 be more akin to those in Rage, favoring the safety of cover and teamwork to blindly throwing themselves at your character? My guess is no. While enemies will likely possess a more keen sense of combat, Borderlands has always excelled in chaos, which could be lessened by the introduction of a cover system. Either way, though, combat in Borderlands 2 will likely take on a completely different feel than that of its predecessor.

#8 MORE CUSTOMIZATION

This is the kicker. While Borderlands possessed enough character customization to make gameplay interesting, much more could have been done in terms of skill points and abilities. It seems as though Borderlands 2 will fix that issue. Characters will still have skill trees, but more focus will be given to synergy. Artifacts introduced in Borderlands will also serve a greater purpose, providing additional skill perks and abilities as opposed to simply boosting stats.

I doubt Borderlands 2 will allow players to shape the appearance of their character beyond changing the color of their hair or clothes, but this is certainly a possibility. Conversely, greater differentiation between the skill trees and abilities of separate character classes is a much greater possibility.

VERDICT

Borderlands 2 has its work cut out for it. In order to exceed its predecessor in terms of overall quality, Borderlands 2 will need to tweak elements of character development, environment, story, AI, combat and, most importantly, customization. However, it appears Borderlands 2 is well on its way to accomplishing all of this and more. Information concerning Borderlands 2 is still in its infant stage; more information will undoubtedly be released in the months to come. As we learn more about Borderlands 2, we will likely gain a better understanding about the game’s potential success as a sequel.

Personally, I have great faith in Borderlands 2. I will post more subject matter concerning this game in the months to come as more information is released. Stay tuned!

How Video Games Mirror Society

When I was working towards getting my masters in business administration, I had a fascinating economics professor. When class would start, he would take his place in a fullback chair at the front of the classroom, fold his hands in his lap, and teach as though he were telling the world’s oldest fairy tale. He had a beard akin to Santa Claus and the demeanor of a kindly grandfather. He spoke about economics as if he were discussing a close friend. He knew his craft both in the cognitive and the intimate sense.

What made him fascinating, however, was the way he would pose questions or prompt answers. Before explaining a core concept, he would always say, “How do we tell this story?” Then one of us in the class would raise our hand and answer the question, to which he would always reply, “Continue telling that story.”

To my professor, every concept was a story, crafted long ago by an author, the work of which we only expound upon and revise as time passes. Our ideas and inventions are simply continuations of past works. As situations and circumstances evolve, we tweak and shape these works to meet our current needs and desires. An idea may be considered “original,” but it is rarely created from nothing. Instead, it is created using tools, ideas, or methods passed down to us over time.

So it is with video games. People often consider video games to be a solitary genre of entertainment created in just the past 40 years or so. To a large extent, this is quite true. I would agree that video games comprise a type of entertainment that is different than most other types, particularly in that players are able to immerse themselves within video games to a greater extent than most other forms of entertainment. Yet, video games too are the result of societal necessities and memes, such as the need to have fun, relax, create, and enjoy.

When I ask someone why they enjoyed a certain movie, I typically get answers like “It had a good story” or “The actors portrayed intriguing characters” or “It touched me emotionally.” Contrarily, when I ask someone why they enjoyed a video game, I typically get answers like “It was fun” or “It passed the time well.”

Why are video games often considered separate from the necessary elements of entertainment, such as story, acting, sound, and emotion? These elements are certainly present and, I would argue, often more developed within video games than in movies or music. Unfortunately, these artistic elements  are often dismissed by the audience members in lieu of their preconceived notions about video games.

Yet, I believe video games, like other forms of entertainment, were meant to mirror the norms and needs of their society. Video games are not fashioned simply with the desire of passing time in mind. Instead, they are products of their author’s unified sense of creativity, art, and preference. If you take the time to look, you will see key elements of society ingrained into the very fabric of video games.

In saying this, I am not saying that video games invented these elements. They merely purport them to a greater degree than what has become commonplace in society. Elements such as…

#1: A SYSTEM OF REWARD

What do credit cards, airlines, and supermarkets all have in common? If you said a point system, you are absolutely right. All of these things award users for spending more money, flying more regularly, or shopping more often. It is, at its core, a system of risk and reward. Putting more money on your credit is risky (and inadvisable), but the more money you spend, the greater your potential reward.

This promise of reward is what has fueled video games from their very inception. I think back to my days as a child, sitting on my parent’s living room floor, playing The Legend of Zelda for the NES. This game, both groundbreaking and phenomenal, introduced me to the video game system of risk and reward. By killing enemies, you garnered rupees, which you used to buy better weapons, which you used to kill more enemies and get more rupees, which you used to buy even better weapons, ad nauseum. It’s a simple system, but it contained the element that spurred future video games and the United States economy.

Think about it. I’m not an economist or a genius in any sense of the term, but I understand much of our country’s debt and greed stems, to an extent, from the promise of reward. Advertisements promise us happiness and well-being is simply “one purchase away.” Happiness, in this case, often takes the form of a product, lifestyle, or choice. Of course, you have to sacrifice or spend a little to get it.

Used in a wise manner, participators of this system – and we all participate – can get more bang for their buck. Used in a foolish manner, the system will dominate your money, your future, and your life.

It’s the same with video games. If you engage in their system of reward carefully, you can enjoy a deep sense of enjoyment and accomplishment. Do it haphazardly and you’re likely to spend a majority of your waking life propped up in front of the television or your computer screen.

The greatest example I have witnessed concerning this system rests in the most expansive MMO to date: World of Warcraft. This is nothing against those who play World of Warcraft. I myself played it for over a year. However, the game has an uncanny way of trapping its players in a never ending cycle of rinse and repeat, all with the promise of greater reward at the end of the tunnel. The most difficult and powerful items in the game must be either bought with insane amounts of in-game gold or farmed from the most difficult areas of the game. Spending the greater portion of a day or week or even month farming for one item borders on insanity. But the promise of your avatar being “just a bit better” than the competition is more than enough to get people to do it. On that note…

#2: COMPETITION

Competition, to a large degree, is what fuels innovation and success in corporate America. The company that maintains a competitive edge over other companies in its industry is the one that will survive. We wouldn’t have incredible inventions such as the iPad or the 4G smart phone if there didn’t exist a competitive need for them.

Likewise, competition helps to fuel the video game industry and especially the manner in which video games are played. In order for a video game to be mainstream successful, it can’t just be fun to play; it must also be engaging, visually-stunning, and contain a thoughtfully-crafted story. It must also have a competitive element built into it. Why do you think games like Gears of War, Halo, and World of Warcraft have garnered such a massive following? I would argue that all three games have ingrained a deep system of competition into their core gameplay. Players spend hours finding every possible strategy, nuance, and position to help them gain the edge over other players. This obsession with competitive edge has extended to big league tournaments. Players that have perfected the art of competitive edge can now use those skills to win large sums of money in sponsored tournaments.

The greatest benefit that competition gives to video games, however, it not that it has allowed a sparse few to gain national recognition for their skills. It is simply that it keeps players playing games. And when players keep playing, developers can continue producing their craft.

#3: CONTINUAL IMPROVEMENT

This goes hand in hand with the concept of competition. In order for any product to retain its usefulness, it must consistently adapt to change. Remember those big league tournaments I mentioned? Someone who places first one year is never guaranteed a title the following year. This is not because he or she has lost a margin of talent; it is simply because the competition has adapted to better combat his or her strategies and skills.

Rules are modified, expectations shift, and preferences change over time. If a player or video game is not willing to change, chances are they will be left behind, ultimately becoming a relic. Some relics remain popular for an extended period of time before they are forever committed to memory. Titles such as Shadows of the Colossus and Silent Hill 2 have gone down in history as trend setters or historical gems. However, no title, however popular, will ever last the test of time.

So it is with everything else in society. Change is a natural part of life. Whether or not society chooses to change with it is, essentially, a choice, one that ultimately bears a consequence. Change need not be feared, however. In my opinion, change should be embraced, for it is the catalyst through which the institutions of innovation and progress are measured.

#4: CREATIVITY

I’ve heard so many times, mostly from older individuals, that my generation has lost the spark that once made America great. The fact is, every generation, theirs or mine, is going to struggle with some great issue (responsibility, work, foresight, money, etc). Yes, my generation has struggled greatly in certain areas. However, there is one area in which I believe my generation has succeeded greatly: creativity.

My generation has seen a great many entrepreneurs, inventors, and artists – Mark Zuckerberg, Bryan Singer, etc – who, at a very young age, have taken the initiative to either challenge social norms or pursue an ambition greater than what was deemed possible at the time. Without minds like theirs, our society would not be what it is today.

I believe video games, to a degree, are testament to the deep level of creativity that exists within my generation. A video game is essentially a conglomeration of the work of every artist imaginable: writers, actors, programmers, animators, musicians, and illustrators, to name a few. To disregard a video game is to disregard the work of many dedicated individuals. Now, when I say “disregard,” it is not the same thing as saying you don’t like video games. Playing video games is as much a preference as it is an activity. If you don’t play video games, more power to you. You have that much more time to do other things you enjoy. But please do not pass judgement on those who do. Uneducated opinions do little more than aggravate sensitive issues.

I, on the other hand, thoroughly enjoy playing video games, not simply because they are “fun” or “great passers of time,” but primarily because they are dynamic proof of the level of creativity and thought that runs deep in my generation.

Rage

When I first saw previews for Rage, I was enthralled. And apparently, I wasn’t the only one.

Rage won 20 separate awards when it previewed at E3, including the highly coveted “Best of E3” award. This is made all the more impressive considering the caliber of games released, or soon to be released, in 2011 (Portal 2, Arkham City, Dead Island, Gears of War 3, Skyrim, etc).

Developer Id, alleged father of the first-person shooter genre and groundbreaking franchise, Wolfenstein, designed Rage to challenge what gamers perceive as “good graphics.” By using a newly-developed graphics engine, Id crafted an echelon of visuals and AI that will undoubtedly rival games over the next several years.

Rage stars a nameless survivor (you) of the “Ark Program,” an attempt by society to preserve chosen individuals in cryogenic sleep for a future era. Upon emerging from your cryogenic capsule, you find that the earth has not fared well over the past several years. A meteor has destroyed society as you knew it, leaving only a few scattered remnants of civilization amid a mutant-infested wasteland, ruled over by something known only as “The Authority.” As you make your way from one dusty steamwork town to the next, you must battle through hordes of mutants and Authority enforcers in an attempt to unveil a deeper mystery and potentially the key to the world’s salvation.

If this explanation of Rage‘s story sounds concise, that’s because it is. Rage is not heavy on story or plot, instead hopping on the “sole survivor” bandwagon of countless video games before it. I found this interesting, especially considering Id had promised to weave a unique story into the game prior to its release. However, Id had also promised “not to release Rage until it was awesome.” Was it as awesome as Id promised it would be?

I’ll start with what I enjoyed about Rage. As I’ve already mentioned, Rage is a graphical masterpiece. The wasteland through which your character traverses is both expansive and strangely beautiful. Colors are sharp and textures flawless. Level design is varied and easy to enjoy from beginning to end. The countless NPCs you encounter throughout the campaign are all unique and exquisite to behold. Skin textures are perfect and clothing styles typical of something you’d expect to see within a town crafted solely of metal and steam pumps.

The graphics are so impressive that Rage actually had to be released on 3 separate discs for the XBox 360. Downloading it to your hard drive will cost you no less than 22 gigabytes of memory space. Yikes. However, if you have the space to spare, I highly suggest doing it. I downloaded Rage before I played it and never once experienced hitching, lag, or frame rate issues that often plague games of similar graphical quality.

The only thing I found more impressive than Rage‘s graphics was the behavior of the AI. Without a doubt, Rage has the smartest enemies, the most crafty foes I’ve ever fought in a video game. Enemies literally react to every little movement and decision you make. Draw your gun’s cross hairs over an enemy, it will combat roll away. Kill enough enemies in a room and the remaining few will retreat to regroup with others. Enemies rarely charge at your character directly. Instead, they leap with remarkable agility from wall to wall, floor to ceiling, and side to side.

Enemies also react perfectly to being shot. Hit one in the leg and he will stumble forward or crawl to the nearest cover. Hit one in the arm and he will reel backwards, clutching his wound. Injure one further, and he will drag himself across the floor, shooting a gun haphazardly in your direction.

This level of artificial intelligence extends beyond the realm of enemies. NPCs in town constantly mill about, preferring to visit various points of interest rather than being confined to a single spot. NPCs react accordingly to quests you’ve completed. Finish first in a dune buggy race and they’ll complement you for it. Raise too much of the Authority’s attention and they’ll question your motives.

Gameplay within Rage is, at its core, fun and frenzied. Your character is given a small selection of guns that don’t stray far beyond the typical pistols, automatic rifles, shotguns, sniper rifles, and rocket launchers. However, most guns have several different types of ammo that vary combat in unique ways, from darts that allow you to briefly take control of an enemy’s mind to shotgun shells that emit EMP blasts. Proper use of these ammo types will grant your character the greatest chance of survival on the field of combat. You can only assign four separate guns to your D-pad at any one time, but switching between these guns and their respective ammo types can be done on the fly during combat.

Ammo, as well as several other items, can be crafted at any point in the game using Rage‘s engineering system. By combining recipes and components, such as gears and cables, players can craft not only ammo, but gizmos that unlock doors, bind wounds, and temporarily increase health and attack power. Chief among the items you can craft in Rage are automatic turrets and spider drones. These, once deployed, will shoot any hostile force in the area until they run out of bullets or are destroyed by enemies. The spider drones, in particular, are very entertaining. They not only fire at enemies, but will physically pounce or swat at any mutants that come too close to them. They can also vault over obstacles, skitter across vertical levels, and follow you from room to room, guarding your back from rear attacks.

Rage has several mini games scattered throughout the wasteland that players can engage in when breaking from the main story progression. Most are short games of chance where players can bet in-game money in the hopes of winning it big. Other mini games include races, demolition derby style combat, and a unique card game that utilizes the collectibles found throughout the game. This latter mini game most resembles Magic the Gathering in that it allows you to customize a deck of character cards with their own individual stat points and abilities. Combine the right amount and kinds of cards to increase your chances of winning more money.

Sound quality in Rage is excellent. Guns fire and motors rev with deep intensity. Mutants growl and shriek while swinging on pipes dangling from the ceiling. NPCs are voiced beautifully, each with their own inflections and personalities. Voice syncing is perfect and doesn’t detract from overall gameplay. Music in Rage is also excellent, mostly consisting of twangy guitars and harmonicas reminiscent of the Old West. Music picks up dramatically during combat and racing sections, which it should, and slows down whenever you’re in town or away from enemies. The song that plays during the ending credits, “Burning Jacob’s Ladder” by Mark Lanegan, fits the style of Rage quite well.

These are all complements to the core of what makes Rage a fun, fast-action game. Before I even picked up the game, I was ready to call it my favorite addition to my video game library this year. Unfortunately, the game ended up having a few major issues in my opinion.

First, there is the fact that you can’t customize your character beyond choosing one of three initial classes. There are no stat points to distribute or skills to upgrade. Even the character classes don’t have a lot of variation between them, adding only a few perks to certain aspects of gameplay.

Second, there is no overworld map. Maybe I missed it during my playthrough, in which case please correct me in the comment section below. This issue didn’t detract from gameplay at all, but there were a few times when I got lost in town or during a dungeon sequence because I couldn’t remember where the exit was.

Third, Rage is short for a game of its scope. Despite being split across 3 discs, the campaign took me less than 15 hours to complete, and I did every side quest, mini game, and errand I could find.

Fourth, the inventory system is drab and generally confusing. The entire menu looks like something created from MS-DOS and consists only of gray, brackish colors. There is hardly any organization for the component section of your inventory, leaving you to cycle through a high number of random junk before you find a specific item.

VERDICT

Rage is, overall, a great game and a lot of fun to play. Yet, after beating it, I am left only with the sensation that the game could have been much more. For how much hype it received over the past year, more detail could have been given to certain aspects of the game. I thoroughly enjoyed playing it the first time, but there is nothing that convinced me I would ever find the unshakable desire to pick up and play Rage in the near future.

SCORE 8.8/10

The Worst Kinds of XBox 360 Achievements

Imagine you’re reading a book. You read every word, line, sentence, paragraph, and page, ultimately arriving at the book’s satisfying conclusion. Upon closing the cover and sticking it back on your shelf, you recall the excellent manner in which the author crafted drama, plot, tension, and development into the story. As you pause, staring at the occupied spot on your bookshelf, you quickly decide to take the book back down and meticulously count every usage of the word the in chapter 8. After that, you break for some coffee and return to read the book backwards and upside down while wearing an eye patch and listening to the Jonas Brothers.

It sounds stupid, but I’ve just described XBox 360 achievements. For anyone who doesn’t know what these are, they are the developer’s strategy for keeping gamers playing games long after the sequels have usurped the original’s right to Christmas stockings everywhere. For every XBox 360 game released, there are typically anywhere from 40-60 achievements that accompany it.

It’s almost impossible to get every achievement on an initial play through, unless you are somehow omniscient or know how to use YouTube (please post helpful comments on how to do this below). As a result, a gamer is usually forced to replay certain sections of the game over and over until he or she satisfies some absurd request. Upon doing so, a familiar blip will sound and a message will flash across the screen signifying that another portion of your soul is now forfeit.

What does the gamer get for these achievements? The bad news is that the gamer gets nothing. The good news is that you’re now familiar with the word that will forever describe your ambitions.

Why would a gamer sacrifice so much time and effort for something that ultimately possesses the same amount of impact as a marshmallow hitting the Charmin Labrador? The truth is, XBox 360 achievements are big business. There exist entire websites devoted to strategy guides and videos showing gamers every meticulous step necessary to reap every possible XBox 360 achievement. That’s right, people are paid to tell gamers how to get Xbox 360 achievements.

So, if Xbox 360 achievements amount to nothing, they couldn’t get any worse, right? Well, turns out some games have invented what are essentially the achievement equivalents of negative integers. Achievements such as those that require gamers to…

#1: ABANDON STRATEGY

Guiltiest Games: Borderlands, Gears of War 3.

Both Borderlands and Gears of War 3 have achievements for which there exist no conscious strategies for pursuing them. Most achievements require some level of skill or careful planning to get, but not these. Instead, you must literally join public match after public match until you run across someone who already has the achievement.

Development studios wanted these achievements to act as viruses, beginning with the studio’s employees and ultimately trickling down to everyone who played their games. It sounds like a solid strategy, but it requires players to methodically join and quit public matches, hoping someone they play with is at most six degrees of Kevin Bacon removed from the development team. It’s like if you bought an airplane ticket and then sat in the terminal asking every passenger to sneeze on you as they walked by in an attempt to catch typhoid fever.

#2: TRADE

Guiltiest Games: Fable 2, Fable 3.

I’m just going to come out and say it: trading with other players absolutely sucks. It’s akin to jumping in the pool at a party. It needs to be done in order for it to be a party, but nobody wants to jump first.

Fable 3, in particular, excels at asking players to exhibit the three traits that, when used in tandem, are in complete violation of a large percentage of the gaming community’s personalities: patience, trust, and nobility. There is an achievement in Fable 3 that requires you to collect 50 different weapons. These 50 weapons don’t appear in a single play through, so you’ll have to play the game multiple times to get around 35 of them. This, as you might expect, takes a great deal of patience. In order to get the other 15 or so, you’ll have to trade other players for their weapons.

This sounds easy enough. Unfortunately, the developers of Fable 3 forgot to create that ever-so-important device that allows players to trade items simultaneously. This means that you’ll have to trade an item to another player before he trades one to you, or visa versa. This takes an obscene amount of trust, seeing as “absconding with other player’s hard earned items” is practically a job description for some people who play these types of games. There is absolutely nothing stopping the other player from taking your item, backing out of your game, and sending you a text message equivalent to a dropkick the the groin telling you how stupid you are for trusting other people.

This whole fiasco doesn’t even account for the fact that by trading weapons, you’re essentially throwing dirt into each other’s holes. When the goal is to get every weapon in the game, no ground is made by a one-for-one trade.

Better get cracking, gamers. There are a bounty of life lessons to be learned online, most of which require you to take a kick to the groin smiling.

#3: DO EVERYTHING

Guiltiest Games: Gears of War, any game with a 100% stat completion achievement.

I’ve made note of the flak gamers get for “wasting time” or “being lazy.” These achievements exist to prove correct every stereotype heaped upon the gaming community since we discovered that Rock Stars and Doritos are viable supplements for showers and sanity.

Take Gears of War 2 for example. There is an achievement in Gears of War 2 called Seriously 2.0, the only requirement of which is to kill enemies. At first glance, that sounds right up the game’s alley. I mean, killing enemies is as close to a description of Gears of War as I’ve ever heard. Seeing as you can rack up kills in a variety of game modes (averaging anywhere from 1-50 per public match), an achievement like this should be no problem.

Let’s see, how many kills does this….100,000!!!!!! Crap!!!

If you want a greater perspective on how long something like this actually takes, keep in mind that beating the Gears of War 2 campaign will reap you about 2,000-3,000 kills in exchange for 7-10 hours of work. I’ll let you do the math. Better yet, go out and buy a math book and read it, cover to cover. You may be able to save the margin of your sanity that didn’t already die once you realized the Seven Deadly Sins were authored with this achievement in mind.

To add insult to incredible injury, Seriously 2.0 will only reap you 50 achievement points. That’s out of 1,000. Darn you, Gears of War 2.

#4: DO NOTHING

Guiltiest Games: Deus Ex: Human Revolution, ‘Splosion Man, Prince of Persia.

Quick, what does the word “achievement” bring to mind? Success? Hard work? Accomplishment? How about none of the above? If you chose the latter, you’re familiar with what’s required to get certain achievements in the aforementioned games.

These are achievements which require you to at times, no joke, turn on your game and walk away.

Prince of Persia (the version with all the light seeds in it) is particularly to blame when it comes to achievements like these. Not once, but twice in the campaign you’re required to essentially put down your controller and look at the screen. It’s as if the developers ran out of stuff to challenge gamers with and decided to just start giving away achievements. However, by doing so, they are basically telling gamers to buy games and then not play them.

Eventually, the achievements are just going to come stamped on the outside of the cartridge. That way, you don’t even have to unwrap the plastic to get your $60 worth.

Welcome to corporate America, kids. If you’re not getting what you need inside 10 seconds, you’re playing Gears of War 2.

*******

And now that you’re thoroughly convinced of the utter meaningless of all things achievement, here’s one more:

blip

*ACHIEVEMENT UNLOCKED: READING ALL 30 AFOREMENTIONED USES OF THE WORD ACHIEVEMENT*

You’re welcome.

Gears of War 3

*CAUTION: THE FOLLOWING CONTAINS SPOILERS*

The long-anticipated finale to Epic’s gory, testosterone-fueled trilogy has finally arrived. The tales of Marcus Fenix, Dom Santiago, and their band of tough-as-bones COGs are finally brought to a gritty conclusion.

Gears of War 2 left with the humans of Sera sinking their capital city in a last ditch effort to drown the remnants of the Locusts, a feral species no longer content to dwell in caves beneath the surface. At the conclusion of Gears of War 2, players were still unsure as to the Locust’s endgame. Had they invaded the surface of Sera for selfish gain? Or did they, like the humans, have survival at the forefront of their minds?

Turns out the latter explanation best describes the Locust’s actions. An underground fuel source, known as emulsion, has infected many of the Locust’s members, turning them into a rapidly-mutating, enraged subspecies called Lambent. In an attempt to save themselves, the Locusts broke the surface of Sera and declared war on humanity. Now, with the Lambent at their front and the Locusts at their back, humanity is taking its final stand against what appears to be inevitable doom.

The last hope for survival lies at an resort nestled on a Locust-occupied island, hidden for years behind an artificially-created storm, known as the maelstrom. Here, Marcus Fenix’s father, Adam, thought to be dead for the past two installments of Gears of War, has developed a catastrophic weapon that he believes will end the Lambent invasion for good. Hope rests solely on the success of Marcus Fenix and his fellow COGs to invade the island, free Adam from Locust control, and unleash the weapon in one, final strike against the growing threat of human extinction.

If that introduction didn’t hint at the violent nature of Gears of War 3, I’ll say it up front: Gears of War 3 is a violent game. Whether its ripping a Locust’s chest cavity in half with a chainsaw or curb-stomping an enemy into mush, players will get their share of blood and guts. Anyone who has played the previous installments already knows this. Epic wanted this game to appeal to the more visceral nature of gamers, and it certainly does.

In comparison to the first two games, Gears of War 3 exceeds in every department. Characters move with great agility, graphics are sharper, story plot is more intriguing, and blood flies and splatters with greater intensity. Action is fast-paced and enjoyable. Characters are voiced accordingly and complement the plot throughout the campaign.

Gears of War helped make popular the system of cover-based combat. The efficiency of this system is made prominent throughout both the single player and multiplayer aspects of Gears of War 3. Characters duck, slide, and roll with relative ease from cover to cover. Walls, overturned tables, and sandbags become your closest allies when battling with familiar weapons as well as a few new additions to the COG arsenal. These few new weapons, such as an ultra-powerful sniper rifle known as the oneshot, aren’t groundbreaking, but they do add a tad more diversity to the already-effective system of combat. In particular, the digger, a gun that fires an explosive round underground to seek out its enemy, changes up combat enough to differentiate it from the system used in Gears of War 2.

The single player campaign rounds off the story of the COG beautifully. Epic has had a knack for crafting stories and developing characters in the Gears trilogy that tug on the most human aspects of player’s hearts. One scene in particular, which I won’t spoil for those who haven’t watched it, is so soul-crushingly despairing that I couldn’t help but get a little choked up over it. Epic succeeds in weaving enough emotion into the story for players to root for the COG, whose individual personalities can seem stand-offish at first glance.

The multiplayer section of Gears of War 3 is where Epic really succeeded. Matchmaking is quick and easy. The new leveling system is addicting, and there are always new characters, weapon skins, and executions to unlock. The updated horde mode, complete with a fortifications system, really pushes the necessity for strategy and teamwork. Beast mode, the newest addition to multiplayer, is also entertaining and gives players the chance to experience the newest members of the Locust horde firsthand.

Sound quality in Gears of War 3 is as satisfying as ever. Heads squish, guns fire, and explosions rock the earth in convincing fashion. There’s not a lot of difference between the sounds of the third installment and those of the second, but there doesn’t need to be, seeing as not a lot has changed in terms of story or action that would require it.

The music of the Gears trilogy has always been a highlight for me. Epic brings back the commanding “Hope Runs Deep” theme from Gears of War 2, which is definitely one of the most memorable video game tracks of the past few years. Strains of Michael Andrew and Gary Jules’s “Mad World” are also strategically placed throughout both the single player and multiplayer modes, which adds beautifully to the air of hopelessness and struggle.

There are not many things I would have liked to see improved within Gears of War 3. I had to search long and hard to find complaints, which were very few and far in between. The one prominent complaint I had with Gears of War 3 was in the color palette. The Gears trilogy has been known for using three primary colors: grey, brown, and red (for muzzle flashes and blood). These bring across the sensations of despair and death quite well, but don’t add much to the overall beauty of the game.

It was my hope that Gears of War 3 would have added a few more lush environments to balance out this issue. Granted, the resort levels of the single player campaign did this to a small extent, but it wasn’t near enough in my mind. Levels like the ash-encrusted cities of Sera were simply too drab to overlook.

VERDICT

If you played the first two installments and are at all hesitant about playing Gears of War 3, don’t be. It is the perfect conclusion and epic finale the trilogy needed. Games of the future will be hard-pressed to equal the finesse and gut-wrenching action contained within this saga.

SCORE: 9.5/10

Fighting Passivity

I’ve been questioned about the negative influences and effects of video games many times. The main complaint I get about them is that they’re “a waste of time.” I imagine that when people make this comment, they’re not attacking video games themselves, merely their effect on those who play them. I also understand exactly why people would attack this element of the video game experience. I’ve seen several documentaries depicting real-life stories of individuals who have lost jobs, spouses, friends, and life savings simply because they do little more than play video games all day.

The truth is, it can be really hard to walk away from video games. They massage that small portion of the brain that responds to addiction. I don’t know what it’s like to lose a house or loved one to a video game, but I’ve certainly experienced these addictive qualities to a lesser degree. There have been times when I just can’t seem to step away from the television long enough to even grab a snack or go for a jog.

Intrinsically, I feel as though there’s not a significant difference between playing a video game for 9 hours straight and waiting in line all day for the midnight release of Harry Potter. Sometimes, there’s nothing wrong with treating yourself to a day of solid entertainment. Do this day after day, however, and you’re likely to raise some eyebrows.

The fact is, video games are as much about moderation as they are about entertainment. If you don’t play video games but constantly pass judgement on those who do, there’s a good chance you could be making uneducated verdicts. Conversely, if you do little except play video games, chances are you’re not experiencing everything life has to offer. And life has a whole lot to offer, let me tell you.

I have a college friend who, like me, thoroughly enjoys playing video game. And when I say thoroughly, I really mean thoroughly. He considers every variable of a video game (graphics, sound, music, story, gameplay, customization elements, theme, etc) before giving it the thumbs up or thumbs down. He and I have had several conversations, typically lasting from one to several hours in length, regarding the overall quality of a video game.

Such an individual might conjure up images of the overweight nerd living in his parent’s basement, playing Everquest and scrounging sustenance from the remnants of his daily bag of Doritos. On the contrary, my friend is an established writer (having written several unpublished novels), owns his own house, is in peak physical shape, has won awards for his poetry, is working on getting his master’s degree in literature, and knows more about worldview than anyone I know his age. He is one of the most comical, intelligent people I know.

What’s his secret? I would say it’s his attention to detail, moderation, and balance. Sure, he enjoys playing the latest video game, but he knows when to put down the controller and walk away. Such an individual should serve as an example to the rest of us. A life, such as his, that is balanced is just as full of activity as it is of enjoyment.

In my opinion, a video game’s greatest threat to its players is not that it wastes their time. Rather, the greatest threat is the video game’s opportunity to breed passivity in those who play it. A passive lifestyle is one that quickly loses respect and recognition in the eyes of its peers. Time spent playing video games should always be overshadowed by creativity. We, as humans, were not meant to be passive. We were meant to create and to enjoy the work of our hands.

It’s okay to love playing video games. Just make sure you spend more time doing other things you love. If you’re having a difficult time finding other things to do, consider dabbling in a few of life’s “finer” activities. Dress up and treat your girlfriend to a nice dinner for two. Learn to cook. Listen to classical music (I suggest Beethoven’s Pathetique Sonata or Berlioz’s Symphonie Fantastique). Read a work by C.S. Lewis or John Steinbeck. Take up learning about coffee or wine culture.

Do things that promote being a well-rounded, well-seasoned individual. And make sure to attend to life’s necessities. Keep physically active. Kiss your wife. Play with your kids. Take time to be alone, meditative, and quiet. Don’t settle for being a passive, negligent individual.

If you fear that your life has become too passive, grab someone you trust and ask them to give you an honest answer about what needs to change. Then listen without retorting or passing judgement. You may not like what you hear, but it will likely help institute a change for the better. Positive change is often difficult, but it will make all the difference in the long run. Plus, I guarantee you will enjoy your time playing video games all the more.

Are Video Games Art?

This is a conversation I’ve had with multiple people. I’ve discussed it with those that think video games are the new echelon of art and entertainment. I’ve also discussed it with those that think they’re the equivalent of empty calories for the brain. I’m here to offer my own opinions and insights, however helpful or insipid you might find them.

Are you interested in my opinions? Well, you’re reading my blog so I’m going to assume you are.

I would argue that video games weren’t originally produced with the intention of them becoming art. The 8-bit pixels that made Mario and Pikachu were designed to create nostalgia, entertainment, and fun. Art may have very well been the last thing on developers’ minds.

As video games have progressed and expanded over the past decades, however, society has witnessed a substantial paradigm shift. Video games stopped being solely about creating an environment of fun. Developers began hiring professional writers, voice actors, and musicians to take the reigns. Stories became more in-depth, more prone to tug at the heartstrings of players. Music moved from technical sounds and jargon to fluent orchestral scores. Plots moved from simple text-based conversations to epics told through the voices of people like Patrick Stewart and Sam Worthington.

You can probably already tell where my devotions lie. Yes, I do believe video games are a form of art. I think to say differently is to rob a lot of people of months of dedicated work. Video games have opened new realms of artistic design for individuals to explore and indulge. Freelance writers, composers and actors now have a new venue to pursue. It may not carry as much clout as a major motion picture or having your face on the cover of People Magazine. But in time, who knows?

I think a few video games are definitely worth mentioning. Shadows of the Colossus set a new standard for graphical quality, scale, and the creation of a fantastic story through limited conversation. Bioshock was the marriage of two very opposing styles of art held together by impeccable storytelling and plot twists. Enslaved proved that old classics could be retold through modern interpretation and phenomenal voice acting. Portal showed society that humor is still a viable asset when connecting his/her art to the audience.

Those are just a few examples. Several other games, such as Fallout and Limbo, have pushed boundaries and forced us to rethink exactly what it is we consider art.

On that note, I believe art often boils down to exactly what the beholder thinks of it. To try and boil down art to a singular genre or style is to limit oneself. Don’t believe me? Compare a Rembrandt and a Jackson Pollock. A Beethoven and a Lady GaGa. An Emily Dickinson and an Edgar Allan Poe. All of these have the word “art” in common, yet all of them are sublimely different.

Art was created for our enjoyment. If you can enjoy a video game for its artistic qualities in addition to its ability to captivate your attention and time, more power to you. I certainly do.

And for those of you who don’t think video games are art, I have two words for you. It’s okay. Art is as much up to you as it is to me. To me, saying that you prefer other forms of entertainment over video games is like saying you prefer meat over vegetables or black over white. Your opinions help shape the person that you are, and that is a beautiful thing. We should attempt not to impose our opinions as superior to our neighbor’s. There are times when a decision must be produced through hard evidence. But there’s nothing intrinsically wrong with agreeing to disagree.

I invite anyone who feels led to add to this conversation to post their replies below. Thank you for taking the time to read my opinions. They are certainly important to me!