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Ever grown up in a small town, only to leave it and explore the world once you come of age? Ever leave your safe little bubble in favour of the unknown dangers and risks that lead to greater rewards and ultimate awareness? No? Me neither; but I feel like I was able to have my own little Rumspringa vicariously through the adventure of Sable exploring the surreal and beautiful world around them.
When I was younger, I had dreams of writing and drawing my own comic book (or 'graphic novel' if you will), but it always seemed like more work than I was willing to put in. I wasn't the fastest artist in the land and producing that much art regularly and quickly enough to keep the whole thing moving was a bit overwhelming. Although, I'm not one to be put off so easily, and I tried out a few alternate methods, which came with their own levels of success and complication.
I think one of the most interesting things about discussing art in any form, is that one hundred different people will give you one hundred different interpretations. Of course there are often common threads to each understanding, but every one of us brings our own past experience and context to every piece of art we encounter. At least, this is what I tell myself when I fail to connect as deeply and meaningfully as everyone else around me does.
Are all games art? Or are art games actually games? How much art makes a game art instead of a game? At what point does a game with great art become nothing like a game, leaving only the art? What if the art is split between visuals and music, while the game focuses on generic elements, overshadowed by the art? When does a game become art, or when does art become a game? After all, games are an artform, but they rarely contain beautiful art.
There's something about the latest Tomb Raider trilogy that always leaves me with unanswered questions. After finishing each game, I think back on the story and the gameplay, and find a large hole where something important seems to be missing. Even though I've enjoyed these games and have been wonderfully entertained by the updated adventures of Lara Croft, I feel like I'm still left wanting. Now that I've finished the third in the recent series, I feel like I might be able to put my finger on precisely what could be missing.
Expectations are an interesting thing when it comes to entertainment media. In many ways, we're thrilled to have our preconceptions subverted and we love twists and turns. On the other hand, our monkey brains love the consistency that allows us to keep track of what's happening and follow a story from start to finish. Perhaps this is why so many of us feel short-changed when our expectations are completely thrown out the window.
Ever since I was a kid I've loved science fiction, but mostly one particular kind of science fiction that doesn't always stand out. I suppose a lot of the time when I mention science fiction, people tend to think up fantastical future things like Star Wars, or something completely off the wall like Transformers. While I do enjoy that side of the genre, what really gets me going are the stories that seem to be firmly tied to what's actually possible.
Finding a truly original game is often like finding an original movie. These days they're mostly remakes and reboots of stories and actions that have already been proven to work. Turns out we're a simple kind of animal and seeing the same thing we always expect to see is a good way to sell products. Although, sometimes we need to leave those expectations at the door if we're to experience something truly special.
Sometimes I find it quite difficult to sum up my feelings on a big budget game from a large studio. Partly because the good studios have a track record of making decent games with few issues and that doesn't really make for much of a discussion. When my opinion of a game is a simple "it's good", I tend not to make much of a stink about it, even though it probably deserves some praise.
These days it seems like there's another game being re-released or remastered every second. It seems like publishers have decided that cashing in on old classics is a much better idea than making something new and interesting. Unsurprisingly, I'm often sceptical when I see an acclaimed title getting the re-release treatment, and Shadow Of The Colossus (2018) was no different.
Hype can be a double-edged sword, as it's often a result of aggressive marketing that never lives up to its promises. Over time we've learned to avoid buying into the huge swell of praise and applause handed out to big budget "hits", thanks to a long list of disappointing experiences that were supposed to be transcendental. It's a shame then, that when a truly excellent game comes along, it's mired in doubt on account of all the hype built up in its wake.
Across all forms of media, a reboot can be a risky undertaking. The good ones revitalise an idea and bring it up to date with modern techniques and technologies. While the bad ones leave fans of the original betrayed and wronged for having their beloved art bastardised into something else. Unfortunately it seems like a lot of reboots fall into the bad category, but I actually enjoy rebooted video games for a number of key reasons.
Is it a sin to dislike a game, simply because it caters for an audience that you're not a part of. Or should we be more objective and consider its merits, somehow attempting to guess what a different gamer would think of the same game. Well, this isn't that kind of blog, and I ended up not liking Dirt Rally very much.
There once was this game called Bastion, which I played to death and loved every aspect of. The story was unique and original, the graphics were gorgeous and colourful, even the gameplay was simple and compelling. I often listen to the soundtrack, just because it's a good album of music, and surely everyone saw the hype around the clever narration guiding you through the game's story.
If I had to nominate a big budget series that I always play and enjoy, despite its mainstream shortcomings, it would be Assassin's Creed. The main thing I love about the series is how much detail and effort is put into recreating the cities and time periods of each instalment. There's an epic quality that's only within reach of the big budgets and big development teams, which often makes up for the cookie-cutter gameplay and story.
I often try and think about trends in gaming and attempt to figure them out as they're happening. It's an impossible gamble that results in nothing more than a bit of a fun thought process, but I find it interesting either way. Spotting past trends is easy with hindsight; the real challenge is figuring them out as they happen.
Looking back, it feels like there's been a long-standing side quest happening throughout the history of PC gaming: who can make the best pinball game?! At the very least it's been an element of PC generations that stands out to me as a marker of technological advancements. A new pinball game meant that there had been a breakthrough and a new generation of tech was on its way; but it seems like this pursuit may have only been a fetch-quest after all.
For the longest time, I didn't have a console in the house to play games on. Since the SNES I had been a PC gamer, but when the shiny new Playstation 3 was released, I knew it was time to dive back in. One of the first games I played on this fancy new generation was Ninja Theory's hack and slash Heavenly Sword. It was the pinnacle of graphics, but suffered from a short campaign with uninspired combat. I didn't care at the time, because I was blown away by the experience, so continuing the journey with Enslaved: Odyssey To The West couldn't go wrong.
