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Saturday, September 3, 2016

A Connecticut Town’s Plan on Collecting and Destroying Video Games: A Sign of Moral Panic

(Originally posted for The Voice of Heard on January 4, 2013)

Last night, I read a Gamespot article that briefly describes how community leaders at Southington, Connecticut are planning to have volunteers give away violent video games, CDs, and DVDs for destruction in exchange for “a gift certificate to a local restaurant, the Lake Compounce amusement park, or a bowling alley.” This is in the wake of last month’s shooting at the neighboring town of Newport that left 20 children and 6 adults dead. While they are not directly linking the games to the tragic incident, the organizers said that this is “suitable time for parents to engage their children in discussions about whether or not playing violent games is appropriate” when “there’s evidence that [they] cause increases in aggressiveness, fear, anxiety and desensitization about actions of violence.”

Scapegoating Video Games in the Wake of the Connecticut Shooting

(Originally posted for The Voice of Heard on December 21, 2012)

Yesterday, I read a Gamespot article about Senator Jay Rockefeller introducing a bill that would call the National Academy of Sciences (NAS) to study the violent effects of video games on children, an area in which numerous studies have been done in the past that are either poorly designed or show no correlation between violent video games and aggression. This came in the wake of the recent shooting in Newtown, Connecticut, which raises some serious questions. What does children’s exposure to video games, violent and otherwise, have to do with the actions done by the mentally unstable man responsible? Professional studies and works like Grand Theft Childhood by Lawrence Kutner and Cheryl K. Olson have consistently found no link to playing video games and psychological instability. Yet, there are still a few politicians pressing for more studies to find a link between the two, which I consider to be a waste of time and money.

Kung Fu Superstar: One of the Most Interesting Video Game Ideas of This Generation

(Originally posted for The Voice of Heard on July 5, 2012)

Tonight, I have read a Gamespot article interviewing Kostas Zarifis, a former employee of game company Lionhead Studios (known for its Fable franchise of role-playing games or RPGs), about Kung Fu Superstar, a motion-controlled video game being made for the Xbox 360 and its Kinect motion-controlled peripheral by his recently established independent company, Kinesthetic Games. The game would place players in the role of Danny Chang, a practicing martial artist who dreams of becoming a star in his own martial arts movies. Using the Kinect, players would increase Chang’s skills as well as learn real martial arts moves and skills in what Zarifis called ‘the ultimate RPG.’ Since I play video games and am currently studying karate, I would have to say that Kung Fu Superstar is one of the most interesting video game ideas of this generation. That’s not to say it will replace martial arts schools when it comes to studying martial arts .At the moment, there are no details as to how the Kinect motion-controls will function in the game and when it will be released. I will have to keep an eye out for new information on Kung Fu Superstar as news of the game develops.

The Business of Making Video Games and Buying Them

(Originally posted for The Voice Of Heard on May 6, 2012)

When you want to buy a video game, what factors do you take into consideration? Would you pay $60 for a new game after launch or buy a used copy at a cheaper price? Would you be willing to pay extra for downloadable content? Do you prefer a game made by a major well-known company or one made by an independent and less well-known company; to be more specific, would you rather have a game developed by people working under a strict corporate hierarchy or one by people who follow their own creative principles? Do you want the game to strictly follow a formula, complete with clichés and traditions, that has been established and followed for a number of years or do you want it to bring something unique and innovative to your gaming experience? Upon reading all of this, I’m certain a single question immediately pops into your mind: why ask so many questions about buying video games? To put it simply, my questions stem from a few recent articles I read that raised some interesting and concerning issues regarding video game development, marketing, and sales.

The Latest Info on DmC: Devil May Cry, My Latest Thoughts, and My Conclusion on the Game

(Originally posted for The Voice Of Heard on April 19, 2012)

Seven days ago (or perhaps eight days by the time this was posted), a new trailer and gameplay footage of the video game DmC: Devil May Cry, set to be released sometime this year, have been revealed at Capcom’s annual Captivate event. After viewing them a couple of times, all I can say is this: my impressions are mixed at best and sour at worst. While the graphics (at least those in the demonic-dimension Limbo) and character modeling have been updated and polished since last year, the gameplay looks recycled, slow, and dumbed-down. Ever since the gameplay footage from last year, the enemies seem easier to fight that the ones in the past Devil May Cry games; the “small-fry” in this game seemed like even lesser enemies when compared to the marionettes from the original Devil May Cry and the sin scythes from Devil May Cry 3. The enemy design doesn’t appear too threatening either. Before I get into the latest details regarding the story, I would like to briefly touch upon a movie I’ve seen just a few days ago. That movie is called They Live, a science fiction action film made in 1988, staring professional wrestler “Rowdy” Roddy Piper and directed by John Carpenter. The film itself is a parody of consumer culture in which all-powerful aliens from a distant planet are running Earth and manipulating the human population from behind the scenes via consumer products, the media, and the government. This is done with constant bombardment of one-to-three-word messages hidden in signs, labels, and magazine pages, saying things like “Obey,” “Submit to Authority,” “Stay Asleep,” “Marry and Reproduce,” and “No Independent Thought.” Now what does all this have to do with DmC: Devil May Cry, you ask? The story in this game, when taken as a whole, is going to be a consumer culture parody in which all-powerful forces (in this case, its demons from Limbo instead of aliens from outer space) manipulate and control humans via consumer goods, the media, and the government from behind the scenes. When Dante gets dragged into Limbo, messages appear on billboards and signs saying things like “Spend,” “Submit to Debt,” “Gluttony is Good,” and “Homeless for You.” The Captivate trailer also revealed another antagonist that Dante goes up against: a news anchor for the Raptor News Network, a sort of parody of real-life news anchor Bill O’Reily and the real-life news network Fox News, who refers to the main character as a terrorist of the worst kind and “a sexual deviant.” In the latest game demo featured at Captivate, a plot device that strongly suggests a major role in the story is Virility, an energy drink presumably engineered by the demons as another means of subduing the humans. The newly revealed story details I just discussed is sure to raise questions as to originality and, for that matter, actually telling a dark mature story as the game is said to tell.

The Latest Update on DmC: Devil May Cry and My Suspicious Impressions

(Originally posted for The Voice of Heard on March 4, 2012)


The design of Dante's trademark arsenal, the sword Rebellion and the set of handguns named Ebony and Ivory, has been revamped for the upcoming DmC: Devil May Cry.

Just a few days ago, Side Mission, a blog for the gaming website Gametrailers, posted an entry regarding newly revealed information about DmC: Devil May Cry, the latest production of one of Capcom’s most famous video game franchises under development by Ninja Theory and due sometime this year. That information consists of a few new details regarding the past of the game’s revamped protagonist, Dante, and his trademark arsenal, a sword named Rebellion and a pair of handguns named Ebony and Ivory. Dante has been described by Capcom as “[An orphaned] young man with no respect for society in general…[and who is also] caught between the worlds of humans and demons, [making him feel like] an outcast.” As for the arsenal, the design philosophy behind it has been described by GregaMan on the Capcom-Unity blog as:

“[Creating an] impression that they were crafted a long, long time ago and since their creation they have sent innumerable demons to their doom.”

“Ebony & Ivory have straight, clean looking barrels that make them look like contemporary firearms, while the addition of ornate embossing is used to give the guns a feeling of mystique and uniqueness. As you move into the grip you can see that the guns have a more fluid, liquid-like look that adds further mystery and a demonic flavor to their design.”

“Rebellion is designed to look like a powerful sword, with the detailing in the handle giving it a feeling of historical significance coupled with a demonic heritage. The same design ethos that was used for the Ebony & Ivory grips is also true for Rebellion’s hilt, making the weapons match stylistically.”

Should Video Games Focus More on Cinematics, Storytelling, and Spectacles than Gameplay?

(Originally posted for The Voice Of Heard on February 20, 2012)

During the course of my research for my entry on the history of UK-based video game developer Ninja Theory, I have noticed a pattern among their games they have made so far. These games, Kung Fu ChaosHeavenly Sword, and Enslaved: Odyssey to the West, have an Asian theme and their design is generally influenced by cinema. Speaking of cinema, the two latter next-generation games have received critical acclaim mainly for their cinematic storytelling, environmental design, character modeling, motion capture, voice acting, and production values similar to those of Hollywood movies. The gameplay in both games, meanwhile, have been described as having limited depth and is therefore standard or average. In fact, in most of the reviews on Heavenly Sword and Enslaved I’ve read, including those at Gamespot, IGN, and 1up, the cinematics and presentation have received more attention than the gameplay. This observation leads me to ask this question: When it comes to making and selling video games, is it a good idea to place more emphasis on cinematics, storytelling, and spectacle than gameplay, the core of video games? I doubt anybody who has been buying games like Super Mario BrothersSonic the HedgehogMetroidZeldaStreet FighterMortal KombatCall of Duty, BattlefieldGears of WarGod of WarTekkenResident Evil, and many other titles would do so just to watch spectacles. And to the best of my knowledge, my older brother and my oldest nephew would be a few of those people who just want to play a game. There were a couple of occasions when he or I played Metal Gear Solid 2 and 3 on the PlayStation 2 at a time when we shared the same room. He would complain about the number of cutscenes overlapping the gameplay of both games, which did not sit well for him. On those occasions, I remember him exclaiming “Less movies! More kicking ass!” When I play fighting games with my nephew, he would often skip the character introductions, which last for a few seconds, in order to get to the fight, which is obviously the meat of fighting games. Now I wonder what he would think and how he would feel if he is unable to skip the intros, forcing him to watch them for a few seconds, a few minutes, ten minutes, or even twenty minutes. Based on those observations, I am positive that my brother and nephew would agree with David Jaffe.

Recently, I have read on a 1up article that at last week’s Design Innovate Communicate Entertain (D.I.C.E.) summit, game developer David Jaffe, known as the mastermind behind the Twisted Metal and God of War franchises, expressed his feelings that the video game industry is wasting time and money on story-driven games, which are a disservice to gamers. He argued that by making video games like movies and books, it would take away the one aspect that makes the medium special in the first place: interactivity. The full details of Jaffe’s philosophy can be found in this interview conducted by the game developer website Gamasutra a week after his appearance at the D.I.C.E. summit (Warning: The interview contains strong language. Reader discretion is strongly advised).

As a gamer, I would have to agree with Jaffe on many of the points he made. Video games are not movies nor should they ever be even though most of the former have cutscenes that function like the latter. The main reason most people buy video games is that they want to play with them, plain and simple.  And interactivity is the key. Now before moving on, I would like to briefly discuss video games in terms of cinematics and storytelling. In that regard, they can be divided into three categories: games with a lot of cutscenes, games with less and brief cutscenes that generally last no more than five minutes, and games that use either very few cutscenes or none at all. From off the top of my head, video games that fit the first category are Japanese role-playing games (JRPGs for short), likeXenosagaFinal FantasyValkyria Chronicles, and the tactical espionage action series Metal Gear Solid.  While the cutscenes and storytelling generally don’t overlap the gameplay, they form the core of their respective titles alongside the gameplay. While those games are good enough for the fans, the vast amount of cutscenes just don’t sit well with casual gamers. Video games that have cutscenes lasting at least five minutes include ResistanceHaloKillzoneNinja Gaiden, and the story mode of the most recent incarnation of the fighting game Mortal Kombat. While the cutscenes, cinematics, and storytelling in those games are generally good, they do not detract from the action and gameplay, which are placed in higher importance. The third category can be divided into two sub-categories: games that have very little cutscenes and games with none at all. Games that would fit neatly into the former include fighting games like Street Fighter and Tekken because cinematics take a backseat while the gameplay dominates the show. The two best examples of the latter sub-category I can think of are the first-person, third-person shooter, RPG hybrid sci-fi game Fallout 3 and the third-person sci-fi horror franchise Dead Space. From a storytelling perspective, cinematic cutscenes are unnecessary in those games.

There is one more factor in video games that I think is of as important as storytelling, presentation, and gameplay combined: replay value. If you enjoyed the experience of a game, would you go through it again at higher difficulty levels, uncover secrets you may have missed, beat it faster, and enjoy the cinematics and story they present? Is one or more of the said reasons enough to justify the game’s shelf life? Or would you prefer to play the game with other people for a different experience, whether they are sitting next to you or online? What type of game would you prefer? A game that places cinematics, storytelling, and spectacle above gameplay, a game that balances all of these aspects, or a game that makes gameplay the highest priority? Your thoughts on these questions as gamers would be of great interest to me as a gamer. And you are free to express those thoughts in the comments section below, as always.