61 Frames Per Second : tomb raider

In Defense of the QTE: Ninja Blade

John Constantine — Mon, 06 Apr 2009 23:00:00 GMT

Now that the man’s winding down his career, let us honor Yu Suzuki for his most important contribution to game design: the QTE. Hey now. I can hear you rolling your eyes. We might be sick of pressing the X button every single time Crystal Dynamics wants Lara Croft to kick a tiger with style, but the quick time event provides us with some of videogames’ most satisfying thrills. They aren’t inherently bad. They’re just implemented very, very poorly. This week, you’ll be able to walk out into the world and pick up a copy of From Software’s Ninja Blade. Hell, you can go home right now and download a demo of Ninja Blade just to have a taste. One level is all you need to exemplify just how good quick time events can be in a game.

Here’s why.

First, a definition. In God of War’s wake, “quick time event” has transformed from a noun into a sort of critics’ short hand. It’s a blanket term to describe when, in a game where you have direct control of a character, the normal control is taken away and you watch a unique or atypical animation. While the animation plays, you must press a specific button as prompted on the screen. If you don’t, you’ll have to replay the sequence. Now, there are many parts of modern games that can be described this way and not all of them are quick time events. For example, in action games like MadWorld and Yakuza 2, you’re prompted with special inputs — press X next to a car, swing the Wiimote down — to finish off enemies. The most colorful finishing moves have you stringing these inputs together. These are not quick time events. They’re contextual actions. A quick time event is a choreographed, dramatic sequence where prompts imitate an action that you do not have direct control over. Resident Evil 4 has some classic examples. You, the player, steer Leon to the top of a hill and move forward. The game then shifts the camera to a group of enemies on a cliff above you. They push a boulder off said cliff that chases you and to escape you repeatedly press a button, which keeps Leon running. That button has nothing to do with movement during regular play. If you don’t press it here, the game ends. That’s a quick time event. They can, and have, enrich games with emotionally charged moments the game wouldn’t have otherwise.

The chief argument against quick time events is that they pull you out of a game by stripping away control, if only partially. They’re gaudy cheats to mask the passive storytelling devices of film instead of relying on a game’s interactivity to inform its drama and incident. It’s a valid argument against bad quick time events. The most recent games starring the aforementioned Lara Croft, particularly Tomb Raider Legend, have terrible quick time events made up of sixty second cinematics halved by a single, easy to miss button press. When implemented well, though, a quick time event is anything but a mask for inactive game sequences, as in Quantic Dream’s Indigo Prophecy. The game allows you limited sequences of full character control, relying on quick time events with inputs that imply the action to make up most of the play. Lucas Kane is running from police officers and needs to dodge left so you’re prompted to press both analog sticks in that direction. You aren’t moving Lucas, but the movement of both sticks translates as urgency, and agency, for you. These QTEs are fast to match the pace of the game and end up making for affecting play because of their speed and mimicry of the action. That’s the key to QTE success; tying your input as close to possible to dramatic actions that are impossible to depict, or make interactive, in the game itself.

Ninja Blade’s first level is about half quick time events and they are incredible spectacles. The level ends with a fight against a giant, grotesque spider on top of a skyscraper. The first part of the fight is familiar three-dimensional action; you move around with the level analog stick and press X, Y, and B buttons on the Xbox 360 controller to slice and stab with a sword. The second part, after whittling down the spider’s defenses, has you riding the spider up a skyscraper before riding a wrecking ball across the night sky, and then crushing the spider with it. There isn’t a way in games to make this one-hundred percent interactive and retain its presentation. Not yet at least. So sequence is a quick time event, and through a mixture of rumble in the control, speed of button prompts, and inputs that approximate other actions in the normal game, it’s completely engaging.

Like I said, QTEs don’t damn a game. They’re just another tool. Quality depends on the craftsmen.

Related links:

Love-Hate: In Defense of the Cutscene
Overpowering the Flavor: Cooking Mama World Kitchen and Cutscene Clutter
Whatcha Playing: Weight of the Stone
Sonic Unleased: Worse Than Syphilis
Sega's Yu Suzuki Steps Down
Where is Yu Suzuki?

Discount Friday Gaming Deals

Bob Mackey — Fri, 03 Apr 2009 22:30:00 GMT

If you're a frugal--or in my case, incredibly cheap--gamer with a working PC, then you probably know that Friday is a very special day. Yes, in some cases, Friday is payday, but more importantly, the last day before the weekend always means amazing deals from Steam and Good Old Games, which both do an excellent job of getting me to buy games I won't have time to play until 2019. If you're willing to forego a cheap lunch or an expensive coffee, you may also find yourself with far too much gaming on your hands, as this week's bargains are especially sweet.

Steam's weekend deal is the 2006 Tomb Raider remake, Tomb Raider Anniversary, available this weekend for just $4.99. Most people regard the original Tomb Raider as the best of the series, but it's a bit hard to go back to do to the overly-mathematical, grid-based control. Anniversary takes everything great about the original Tomb Raider and deep-fries it in about 10 years of 3D game design evolution. The result is a crispy little classic that may be the most perfect take on Tomb Raider to date. Definitely give it a try if you're unfamiliar with Lara's recent Renaissance.

If you're a fan of classic adventure gaming, you may want to head on over to Good Old Games this weekend for their $9.99 double-pack featuring Broken Sword 2: The Smoking Mirror and Broken Sword 3: The Sleeping Dragon. While I can't speak to the quality of BS3, the first two Broken Sword games were heralded at the time for their quality 2D graphics and similarity to the legendary Lucasarts point-and-click games. Worth checking out if you've got that old-school adventure gaming itch--and if you're wondering why the first game isn't included, it's because it was remade and re-released for the Wii and DS last month. Fans of that one may want to look into its mega-cheap sequels.

Related Links:

Steam Weekend Sales Will Save Us All (Money)
Ridiculously Cheap Indie Gaming: The Impulse Weekend Sale
Indiana Mackey and the Kingdom of the Cardboard Box

The All New Retro: Bust-a-Groove and Low-Poly Love

John Constantine — Wed, 01 Apr 2009 00:00:00 GMT

I won’t deny it. My gaming tastes are a little unusual. Take my emulation aversion. Does a normal person spend months and months tracking down a rare and expensive cheat device so they can play an imported SNES game when they could download a ROM and SNES emulator in about ten seconds? No. This is not how a normal person behaves. As I slowly morph into something approximating an adult, I’ve been noticing another strange predilection in my gaming brain: a love of low-polygon graphics.

Some games do not age with grace. Their mechanics, and especially their graphics, develop the distinct taste of vinegar when they used to be wine just five years before. Yet the games of the 32- and 64-bit era, games that I thought were repulsive even at the time, are starting to take on a strange allure. Take a look at this screenshot from Tomb Raider 3 as a prime example:

It’s a relic, no pun intended. The cliff face is made of perfect right angles, covered in muddy textures doing their best to look like rock. Lara herself looks like a drawing dummy. This screenshot should be a text book example of why early polygonal graphics are best-forgotten growing pains from the medium’s adolescence. Given, low-poly graphics like these have survived. Most 3D Nintendo DS games are comparable to this screen, though they can be much better. Square-Enix’s Final Fantasy IV is not unlike graphics seen in the best the Playstation and Nintendo 64 had to offer ten years ago. DS games of its ilk though feature graphics of necessity, not of stylistic choice. Style is where I see the potential beauty of low-poly graphics. Ugly as they are, they could make for a whole new style of retro game design.

In the same way that Retro Game Challenge and Mega Man 9 have leveraged NES-level visual limitations to inform and color compelling game designs, I can see a designer intentionally choosing a low-poly presentation to inform their game. Instead of the game looking antiquated and ugly, you have a ready made cubist style that can make for extremely expressive games. Just look at Katamari Damacy.

Bust-a-Groove, Enix’s long forgotten rhythm game pictured at the top of this post, is what got me thinking about the potential of low-polygon design. Its models are primitive, but appealing in their simplicity and expressive thanks to the game’s excellent motion captured dances. Imagine if that game hadn’t come out in 1998. Say it came out in 2016. Would we say it’s ugly? Or would we say approvingly, “That’s old school.”? Retro even.

Mark my words, dear reader. It’ll happen. And it will be, if nothing else, interesting when it does.

Related links:

Not All Games Age Well
Question of the Day: Why Can’t I Emulate?
The 61FPS Review: Retro Game Challenge
Continuing the Old-School Conversation
Don’t Call It Retro: Mega Man 9 and Design Resurrection

Jerking Your Fans Around

Amber Ahlborn — Tue, 03 Mar 2009 15:00:00 GMT

Console exclusivity; to gain sole rights to that singular game with hopes for drawing in the crowds. Game and franchise exclusives have been part of the strategy to gain fan following since the first video game machines began competing. In the early days, consoles had pretty distinct catalogs. It was easy to determine what games would appear on what systems and pick where to spend your dollars. These days almost everything not developed by a first or second party is cross platform (for the moment, we will be ignoring the Wii which plays by its own rules). However, don't think for a moment that exclusivity is a thing of the past, it has merely evolved into a new, sinister form.

Made possible in an age of downloadable content; extra levels, costumes, and other goodies are becoming the new system exclusives. An example of this trend was pointed out in a blog post by Zachary Miller. People who bought Tomb Raider: Underworld for the Xbox 360 are getting all sorts of new content while gamers who bought it for the PS3 are getting the shaft. In my opinion, this is a terrible way to treat your fans.

When games are exclusive to a system, or even when different versions of a game with unique content are made console specific (see Soul Calibur II as an example), fans know up front what they are getting and can make choices on which system to buy for which game. Downloadable content, however, is something that tends to come down the pipes later on, long after the game itself has been purchased. If downloadable content becomes the new console exclusive, consumers can't make informed choices about what version of a game to buy because not all of the information is available up front. One group or the other is going to end up punished for buying the game for the “wrong” system, and that's really not cool.

Related Links:

Millions of Disappointing Tomb Raider Sales for Eidos

The Uncanny Valley: Tomb Raider and Lara Croft Are Starting to Freak Me Out

Pitying Lara, or How to Make a Million Seller and Still Get Fired

Millions of Disappointing Tomb Raider Sales for Eidos

Bob Mackey — Mon, 02 Mar 2009 17:00:00 GMT

Tomb Raider: Underworld was one of those games I was a little bummed about missing out on over the busy 2008 holiday season. I'd pretty much abandoned the series after the second installment, but flirting with both Tomb Raider: Legend and Anniversary over the past few years proved to me that the series might once again deserve my full attention. Because I was without some sort of device used to stop time, though, my winter break was filled to the brim with other games, some of which I really shouldn't have been playing. So I couldn't help but feel guilty after hearing multiple reports on podcasts, blogs, and websites about the disappointing sales of Underworld; did my lack of care doom this underdog series to an undeserved death, just when it was getting good again? Well, according to Gamasutra, the rumors of Tomb Raider: Underworld's retail death have been greatly exaggerated:

Although Eidos previously admitted disappointment with Tomb Raider: Underworld’s sales, the title racked up 2.6 million unit sales in the period, with a faster rate of sell-through than either Tomb Raider: Legend or Tomb Raider: Anniversary.

It's unclear what exactly Eidos would consider "not disappointing," but it's safe to assume at this point that Tomb Raider: Underworld has made a very healthy profit--unless they happen to be supplying their development team with an endless supply of cocaine and high-class prosititutes. But even if these extremely unlikely employee perks did exist, Underworld literally made hundreds of millions of dollars, and that's nothing to sneeze at, especially as the American economy continues to circle the drain. Brain disease and blockbuster game development might not always go hand-in-hand, but with incidents like this one and EA's John Riccitiello claiming that the recession is good for gaming, it might be time to consider dishing out Thorazine in the company cafeterias.

Related Links:

The Uncanny Valley: Tomb Raider and Lara Croft Are Starting to Freak Me Out
Gamepro Feature Mourns The Loss Of Mammaries
If This is True, RIP Eidos

If This is True, RIP Eidos

Cole Stryker — Tue, 13 Jan 2009 22:00:00 GMT

The Silicon Valley Insider reports on a rumor that Lara Croft may be shedding some clothing in order to boost sales in upcoming installments in the longsuffering Tomb Raider franchise.

Over on tombraiderforums.com, a poster believed to be (but not confirmed as) "Tomb Raider: Underworld" creative director Eric Lindstrom says future Lara Croft games may go for a "Mature" rating.
The Teen rating meant we couldn’t do things we wanted to or were done in the past, but it was a publisher mandate at the tmie [sic]. It won’t always necessarily be so, though, the future can always be different.

If this is true, it can't speak very well for the future of the franchise, or Eidos in general. However, I think that SVI is perhaps inferring a bit too much from the message board post. For instance, he could be referring to more violent content, as opposed to sexual imagery. Whether it's violence or sex, I suppose making a genuinely fun game that people want to play is out of the question.

When will developers learn that ramping up mature content does not necessarily translate into sales?

Pitying Lara, or How to Make a Million Seller and Still Get Fired

Joe Keiser — Mon, 12 Jan 2009 22:00:00 GMT

There’s a whole lot that bothers me about the layoffs at Crystal Dynamics that went down recently. There’s the fact that it seemed like nobody could muster up any enthusiasm for Tomb Raider: Underworld—a marketing problem. Then there’s the fact that, despite it selling 1.5 million copies, it “underperformed” according to Eidos—a problem with the bean counters who apparently couldn’t see that the enthusiasm for the game just wasn’t there. So of course there’re layoffs at the developer, who made a game that…well, reviewers couldn’t decide if it was better or worse than Legend, but that in and of itself is a high compliment. From where I’m standing, it looks like only one group in the equation did their job, yet they’re the ones being thrown out into the vast expanse of misery that is the early 2009 job market.

You can see the full fallout in the Tomb Raider fan forums, where alleged former employees of Crystal (including one who claims to be industry veteran and Underworld creative director Eric Lindstrom) are answering questions about their final days. The discussions are dramatic, filled with anger and conflicting information as such things will often be, but they’re still loaded with what it’s like to work on a troubled project and there’s a very deep look into the alleged Lindstrom’s mind with regards to design and creative decisions. As an example:

“I was pretty much against boss fights from the start, because they require a lot of special code and script and work that takes away from the rest of the game, and I'd rather a buildup of excitement and commitment rather than some big one-off monster sitting in the last room all the time...it's so predictable and often aggravating when the mechanics to beat the boss are ones you have to learn right before or during the fight itself...a pet peeve of mine.”

Kotaku’s pulled some additional meat from the bones, if you’re not the sort of person who likes pore over incredibly long forums dedicated primarily to sad times.

Related Links:

The Uncanny Valley: Tomb Raider and Lara Croft Are Starting to Freak Me Out
The Five Greatest Enhanced Remakes - And Five That Weren't So Great, Part 1
Gamepro Feature Mourns The Loss Of Mammaries

Irrational Gaming Fears

Bob Mackey — Fri, 31 Oct 2008 15:00:00 GMT

As I've pointed out in the past, I'm a huge gaming wuss--though I like to think I'm much better than I used to be. This particular brand of cowardice started very early in my gaming life, with a system that probably didn't instill fear in anyone aside from stockholders: the Atari 2600. It was the abstract, blocky representations within these simple games that played hell upon my young mind. Sure, a dragon usually ended looking like a duck on the system's puny hardware, but to the boundless imagination of a young child, that duck's about to leap off the screen and peck out your heart.

One 2600 game terrified me so much that I actually had to hide it: Berzerk. Maybe it was the killer robots, maybe it was the creepy, tense atmosphere--but I'd break out into a cold sweat anytime it was near. And to make me look even more pathetic, the commercial for Berzerk featured an octogenarian and her small grandson playing the game with absolutely no reservations.

Note: This is the one time I felt a sassy grandma was not nearly sassy enough.

A new, irrational gaming fear reared its ugly head with the dawn of 3D gaming: underwater navigation. I'm much better than I used to be, but being trapped underwater in a video game with a steadily-decreasing O2 meter unlocks some sort of primal panic in my brain. The first Tomb Raider was nearly unplayable for me because of this reason, which is why I got a chuckle when it was referenced by two of The Monarch's most notable henchman (24 and 21) in the latest season of The Venture Brothers.

24 (on being asked to swim through an underwater tunnel): No way! I got freaked out when I had to do that playing Tomb Raider!

21: Oh, and she did that creepy drowning contortion thing. That was grisly!

There's never been a better time to admit your irrational gaming fear than on this most Hallowed of Weens. What gets you all palm-sweaty for no logical reason?

Related Links:

Question of the Day: How Do You Make a Horror Game Horrifying?
Overworld: Friday the 13th
Yahtzee's Homecoming

Klonoa: Careful, Namco. You Tread On My Dreams.

John Constantine — Thu, 30 Oct 2008 19:00:00 GMT

I’m not a purist. No, really. When it comes to classics being revisited, modernized, or remade, I don’t need every facet of the past perfectly preserved just the way I remember it in order to get a desperate nostalgic thrill. I delight in Mega Man 9 because it’s a great game whose presentation and technological limitations are carefully made design choices, not because it’s a new NES game. I’ll let you in on a secret: I actually like Mega Man 7 and 8. Yeah, that’s right. I think they’re good games. Not as good as their forebears, but all the same. When the new Bionic Commando was announced last year, even before Rearmed was revealed, I didn’t balk at Radd Spencer’s Adam-Duritz-makeover. I think the new look is cool, especially the way his dreads flow behind him like delicate willow branches as he soars through dystopian cityscapes and… oh! Excuse me. What I’m getting at is that not everything from yesterday is sacred. Some things, especially in games, should be changed. Final Fantasy III DS is a good thing. The NES original is just too slow now. Tomb Raider Anniversary preserves a revolutionary game’s best qualities while also making it, you know, playable. In with the new, out with the old may not be an all-encompassing maxim, but it’s more often than not good advice.

That said, Namco, if you go through with this, I will hurt you.

The Raw Meat Cowboy himself over at GoNintendo received a survey from Namco-Bandai today, the subject of which was their impending Wii remake of Klonoa: Door to Phantomile. RMC has smartly inferred that Namco is testing the waters to see if Klonoa should be localized for North America. One of the questions in the survey asks which of these two character designs is preferable:

Yes, there on the right is Klonoa, already slightly altered to more closely resemble his 21st century self than the Klonoa of 1998. It’s great, he’s looking good. On the left, is some monstrosity, a Japanese Poochie, his raised ears giving off a deliberate whiff of the EXTREME. He has just enough buckles and straps to satisfy a Nomura. The implication is that Namco thinks this bastard would be more suited to North America’s indelicate palette.

Now, there are going to be some vague spoilers here, so beware. Even beyond the fantastic platforming, level design, and soundtrack, what makes Door to Phantomile so special is that it subverts expectation. Klonoa himself, and his introduction in the game, portray complete innocence, a cutesy cartoon anthropomorphic at play in a pleasant fantasy world. But the game quickly becomes melancholic, and by game’s end, the pleasant Disney aesthetic is pulled away, violently, to reveal that the story is, in fact, a tragedy. The game is about a loss of innocence, and the character’s design is essential to that theme. This redesign places the character more firmly in a recognizable, and marketable, anime tradition, where existential angst is an expected component. Remaking Klonoa in this image completely betrays the point of Shuichi Sakurazaki’s story.

Don’t do this, Namco.

(Link: GoNintendo)

Related links:

Where is Shuichi Sakurazaki, Creator of Ninja Gaiden?
Klonoa's Truimphant(?) Return
Christmas in Nintendoland: The Tokyo Conference
The Tale of the Identical Box Art
Lowering the Standard: Why Nintendo’s Hardcore vs. Casual Commitments Aren’t the Problem
Abominations of Technology: Pre-Rendered Graphics

The Videogame Ages, part 2

John Constantine — Mon, 27 Oct 2008 22:00:00 GMT

In part one of The Videogame Ages, I discussed the inadequacy of “generation” language in gaming, and laid out The Golden Age of gaming. In part two, I look at the Silver and Bronze ages before taking a look at the modern era and the future.

The Silver Age – 1983 to 1996
8-Bit, 16-Bit, Early Handheld, Early 3D, Advanced PC and Arcade

The silver age of games is defined by expansion, in not just playability but breadth of experience. When home computers became affordable and home consoles began diversifying, games started transforming from immediate, single-mechanic experiences into more lasting forms. Silver age games were still about escalating challenge, but high scores ceased being the goal, replaced by definitive endings. Games started becoming more explicitly narrative-driven, as aesthetic justification on consoles and as the focus of many PC games (see the entire adventure game genre.) Portable gaming also started to rise to prominence during this period, early single-screen LCD games replaced by multi-game consoles like the Game Boy and Atari Lynx. Arcade and PC game technology pulled far away from home consoles, but all games were shifted from the rough visual abstraction of golden age games, into more aesthetically recognizable presentations – albeit still cartoonish impressionistic rather than realistic. The rise of polygonal 3D graphics, both real-time full 3D (Yu Suzuki’s Virtua series) and pre-rendered (Myst, etc.), at the end of the silver age marks the transition to bronze. In 1996, with the release of Mario 64, Tomb Raider, and Quake, the silver age comes to a close.

The Bronze Age – 1996 to 2006 (maybe)
32-bit, 64-bit, 128-bit, Death of Arcades, PC Equalization

While golden age games’ boundary was a single screen and silver age games were largely confined to movement from left to right or down to up, the bronze age is the birth of 3D space as gaming’s chief concern. This isn’t to say that games that take a place on a 2D plain ceased being important or a valid medium for experimentation (though they certainly became marginalized on consoles, PCs, and in arcades.) But creating spaces with depth similar to the physical world took center stage in design. This push toward realistic spaces is mirrored in game aesthetics. Nearly all the technological benchmarks of the bronze age have come from creating as lifelike a facsimile of real life as can be achieved on any technology. PC games typically set that high water mark, though by the end of 2006, home consoles had largely caught up to PCs, much as they did with arcade games during the first few years of the 20th century (arcades are close to extinct now.) Game narrative started heavily borrowing from film’s storytelling language, relying on scripted scenes voiced and acted by digital characters in an attempt to tell deeper stories, but games also started developing there own unique storytelling language during this period, some games allowing the player to always be immersed in drama through play (see: Half-Life.) Multiplayer games no longer required physical proximity with the rise of online play on both PCs and consoles, and portable gaming started offering richer, longer play experiences, akin to those found on consoles.

I’m not totally convinced that the bronze age has ended yet, but the telltale signs of gaming’s latest age-defining shift have been popping up with some frequency over the last few years. The argument can be made that the Heroic Age of gaming is one of community via online networks and MMOs, user-generated content (see: Spore, LittleBigPlanet, Halo 3, Boom Blox, etc.), and experiential gaming. Experiential gaming is a big one whose mettle has yet to be tested, whether or not broad physical activity, from waving a Wiimote to playing fake musical instruments, will catch on. It’s certainly a dramatic shift to see experiential gaming leave its one-time home, the arcade, and transform into a driving force of home gaming. Then again, who knows? Maybe the golden age of gaming has only just ended, and its now, when players can finally build games themselves inside of other games, that the silver age has begun. Let me know, dear reader.

Part 1

Related links:
Comparison of Wiki Articles Proves Geeks Inherited The Earth
MMO Predicts Life in 10 Years
Men Are From Hyrule, Women Are From Simville: If Gender Defines the Games We Play, Why Does Everyone Play By the Same Rules?
9/9/99 9 Years Later
Fix It: Alone in the Dark, Tiger Woods, and the Death of the Glitch
Everyone Will be Able to Rock

The Videogame Ages, part 1

John Constantine — Mon, 27 Oct 2008 21:30:00 GMT

This past Friday, I tried to slip a little piece of language into a discussion about game emulation that I was wary about using at all. At this point, the go-to boundaries for discussing videogames’ admittedly small history is console-technology generations. We say 8-Bit or 16-Bit because these are easy identifiers based on competing, contemporary technologies. But the language “The 8-Bit Generation” doesn’t account for arcade technology, PC games, or portable gaming. Now that Bob Dvorak’s Tennis for Two is officially fifty years-old, I think we can finally start applying broader terms to gaming’s evolutionary eras. Obviously history is fluid, and chances are these classifications won’t hold true in 2050, but for now they work. The Hesiodic ages, as laid out here, consider games on every platform; the rigid parameters of home consoles, the advanced nature of PC and Mac gaming throughout the 1980s and ‘90s, the fast strides made by arcade technology throughout that same period, and the predominantly inferior technology available in handheld gaming. Unlike Hesiod’s Ages of Man, however, the videogame ages are (mostly) a positive progression. Please note: these are not strict definitions. This is a discussion, and I want everyone to make their opinions heard in the comments section. Now then, onward to the Golden Age.

The Golden Age – 1958 to 1983
Dvorak, MIT, Early Arcade, Early Home Console

The golden age of gaming began in 1958 and was, for almost a decade and a half, almost exclusively concerned with tennis. It took Nolan Bushnell getting clever for us to start calling it Pong. Tennis for Two, Magnavox’s Odyssey, and Bushnell’s advice to “avoid missing ball for high score” was pretty much the only game in town until the mid-70s with some notable exceptions. The second videogame ever made has a more recognizable legacy in today’s games. Steve Russell’s Spacewar!, started in 1961 as a side-project of the Tech Model Railroad Club at MIT (history’s first hackers, dontchaknow,) shares the two-player, two-object dynamics of Pong but the gameplay focused on actually destroying your opponent in a science-fiction setting. These games set the standard for the golden age: individual play mechanics presented on single screens. By the late-70s and early-80s, as Atari and other early consoles that could play multiple games were becoming common, games started expanding in both scope and ambition. Adventure, Pitfall, and others introduced continuity in their worlds, while Pac-man and Donkey Kong made the first stabs at introducing narrative. On the technology end, 1980 saw scrolling action in Defender and the larval form of 3D play, vector graphics, in Battlezone. The game industry crash and the release of the Famicom in 1983 mark the end of this period.

Part 2

Related links:
Comparison of Wiki Articles Proves Geeks Inherited The Earth
MMO Predicts Life in 10 Years
Men Are From Hyrule, Women Are From Simville: If Gender Defines the Games We Play, Why Does Everyone Play By the Same Rules?
9/9/99 9 Years Later
Fix It: Alone in the Dark, Tiger Woods, and the Death of the Glitch
Everyone Will be Able to Rock

The Uncanny Valley: Tomb Raider and Lara Croft Are Starting to Freak Me Out

John Constantine — Tue, 12 Aug 2008 16:00:00 GMT

The world has seen a lot of Lara Croft. Back in the mid-90s, it was downright hard to avoid videogames’ so-called first sex symbol and even more difficult after the Angelina Jolie “films” started coming out in 2001. Lara as ridiculous-looking-game-character has always been more of an icon than Lara as actual-human-being. Of course, that hasn’t stopped Tomb Raider’s publisher Eidos from paying models to dress up like her from the beginning. It was pretty silly back in 1996; Lara Croft looked more like the freakish offspring of Barbie and a Dire Straits video than a woman. The only thing the model had in common with the character were guns and leotard. But as technology has advanced, and photos of models have gotten more photoshopped, over the past twelve years, the real and fake Lara’s have been getting more and more similar in appearance.

Frankly, it’s starting to freak me the hell out.

Let’s take a look at the eight Laras that coincide with the soon-to-be eight Tomb Raider games. See if it freaks you out too.

Here’s Katie Price in 1996 for Tomb Raider 1. Like I said, pretty silly.

Nathalie Cook in 1997 for Tomb Raider 2.

Rhona Mitra and Tomb Raider 3. Game character still looks scary but is losing the whole jagged edge thing.

Nell McAndrew on Tomb Raider: The Last Revelation. Here’s where it’s starting to get a little freaky.

Lara Weller and Tomb Raider Chronicles. Lara Weller does not look like a real person.

Jill de Jong and the ill-fated Tomb Raider: Angel of Darkness. The crappiness of this first PS2 version of the series provides some respite from the uncanny valley because Jill de Jong looks like an attractive young woman in a costume and Lara Croft has got angles again.

Karima Adibebe in 2003 for Tomb Raider Legend. Lara’s a little bit more realistically rendered in the game (a little, mind you.) Karima looks a whole lot like the character though.

Alison Carroll. Tomb Raider Underworld. 2008. This is fucking terrifying.

Yeah. Well, now I don’t know what’s scarier. That real and imaginary sex symbols are converging, that I noticed this, or that I put the time together to write this. Sheesh.

Related links:

Feeling It: Social Versus Primitive Emotion in Videogames
Gamepro Mourns the Loss of Mammaries
The Five Greatest Enhanced Remakes – And Five That Weren’t So Great
Video of the Day: Judah Friedlander Explains the Uncanny Valley

Gamepro Feature Mourns The Loss Of Mammaries

Nadia Oxford — Wed, 23 Jul 2008 20:28:00 GMT

"Top __________ Whatevers" lists are the lifeblood of games journalism, so Gamepro's decision to squeeze out a roster of the Eight Worst Game Character Remakes is not surprising.

Some of the entries are pretty expected, too. Maskless Scorpion from Mortal Kombat 3 is a no-brainer, and I'm sure a few psychologists would have a field day analysing Bomberman's re-design for Bomberman: Act Zero.

I'm not as impressed with some of the other selections. In fact, their write-up for Tomb Raider's Lara Croft gave me a big frowny face. I'm afraid I'm going to have to be one of "those" women for a second.

From the feature:

"To prove that Tomb Raider's iconic female archaeologist is more than just a top heavy Englishwoman in hiking boots, the series' developers forced their lovely protagonist to undergo a drastic surgical procedure. In Tomb Raider Legend, Lara emerged equipped with what could be compared to tangerines in place of what was once more akin to honeydews. But the game was good, and that's all that matters... right?"

Oh yeah, of course.

I know games journalists (my lumbering self included) aren't exactly one tier away from writing for the New York Times, but come on. If you'll allow me to sound like a teenager for a second, how juvenile can you possibly get? Lara Croft II, despite her wasp-waist and perfect figure, looks like she might actually pass as a female member of the human race. Do you know what Lara would be doing if she was a real woman with PSOne-era barbell boobs? Not a whole lot, thanks to chronic back pain and shortness of breath.

Maybe I'm a poor judge of girls, but how could anyone find PSOne Lara Croft sexy compared to Tomb Raider Legend Lara? Are that many guys so desperately infatuated with breasts that they can't appreciate a well-rounded package (to say nothing of the fact that Lara II's eyes actually have the expression of a living thing and not a dead fish)? I don't know what to say except keep wishing hard enough and maybe science will genetically engineer a woman who's composed of ten tits protruding from a faceless orb.

I don't ask for much out of other people, but I like folks who try to remember that games are a hobby for both sexes.

Grr, snort, etc.

Related Links:

The Five Greatest Enhanced Remakes--And Five That Weren't So Great, Part 1
A Letter to the Industry: How To Destroy the Female Gender Barricade

The Ten Videogames That Should Have Been Controversial, Part 3

John Constantine — Fri, 20 Jun 2008 17:13:00 GMT

Mike Tyson's Punch-Out!!

We cite Punch-Out!! here not for starring Mike Tyson (a controversial figure, even before his rape conviction), but for the degree to which it epitomizes a trend that would dominate gaming in the late-'80s and early-'90s: the "beat up stereotypes from around the world" gameplay model. Granted, most of Punch-Out!!'s characters are too ludicrous to really offend; it's hard to imagine Pacific Islanders getting all up in arms about King Hippo being kind of a jackass. That said, the sight of cross-eyed Piston Honda babbling "Sushi, Kamikaze, Fujiyama, Nipponichi!" as a mid-match battle cry is a little unsettling. — PS

Persona 3

I’ve written about Persona 3’s disturbing imagery before: “It’s always strange when games filled with truly troubling imagery go unnoticed by the most vocal anti-game pundits. Persona 3, Atlus’ exceptional RPG in the long running Shin Megami Tensei series, has been released not once but twice in the past twelve months without eliciting even a peep out of Joe Lieberman or Focus on the Family. For those unfamiliar with the game, the reason Persona 3 might ruffle some feathers is its protagonists, a team of troubled high school students who control guardian spirits to battle demons. And oh yeah, they release these spirits by shooting themselves in the head.” Seriously! Teens! Shooting themselves repeatedly in the FACE! No one even said anything about all the teens shooting themselves in the face. — JC

Metroid II: Return of Samus

Metroid II is about xenocide; your goal is to slaughter an entire alien species. Yes, there are many games about destroying evil alien species. Usually, though, said species are attacking the Earth or something. Or they're at least competent to make moral decisions. Metroids are space jellyfish. They're not evil, they're just hungry. And the series storyline establishes pretty clearly that the Space Pirates are breeding the things for their own evil ends. Exterminating the Space Pirates would be one thing, but the Metroids are mere low-functioning animals. As you proceed through the game, you watch a steadily declining count of how many of the poor little bastards you have left to vaporize. Imagine if this thing was set in a nature preserve. — PS

Fable

Peter Molyneux may not have delivered on his promise of creating the greatest role-playing game of all time with Fable but it was still a remarkably forward thinking game. Consider this: Fable was released in the United States on September 14th, 2004, a mere four months after Massachusetts started issuing same-sex marriage licenses and two months before senatorial, congressional, and presidential elections where constitutionally banning same-sex marriage was a tent pole issue. I applaud Molyneux for creating a game where a man can fall in love and marry another man. But I am shocked that Fable didn’t cause videogame content to be another talking point that election season. — JC

Click here for Part 1
Click here for Part 2

Previous Top Tens:
The Ten Greatest Opening Levels in Gaming History
The Ten Most Adventurous Sequels
The Ten Greatest Fire Levels

The Ten Videogames That Should Have Been Controversial, Part 2

John Constantine — Fri, 20 Jun 2008 17:12:00 GMT

Call of Duty 4: Modern Warfare

Call of Duty 4 is a game obsessed with realism, its depiction of combat situations and the tools of war meticulous to an almost terrifying degree. Early in the game, you are placed in the gunner’s seat of an AC-130 Spectre over a Ukrainian field, the night vision view of an aerial assault looking no different than an Iraq war newscast, the radio confirmation of kills unsettlingly casual; a game so realistic that it mimics a soldier’s detachment from killing. It’s strange then that the game, for all its incessant specificity, sends the player to kill Arab soldiers in “the Middle East”, and not an actual nation. Call of Duty 4: Modern Warfare has sold over seven million copies in a war-weary United States in under a year. Am I the only one who finds this sort of depersonalization unsettling? — JC

Mick and Mack: Global Gladiators

Fast-food promotional games are pretty fucked up, as a whole. Selling this nasty grub to kids via smiling cartoon characters and hop-and-bop platforming — well, it may not cross over into "immoral", but it's certainly sleazy. The 1992 McDonald's promo-piece Mick and Mack: Global Gladiators, however, crosses that line by hopping onto the kid-friendly environmentalism in vogue at the time. (See also Captain Planet, Sonic the Hedgehog, etc.) The problem here is that McDonald's' own environmental record was far from clean; as a massive distributor of factory-farmed beef, the company was (and is) directly responsible for a huge amount of pollution, deforestation and energy wastage. Bastards were cutting down the same sparkling-green rainforests through which their grinning shills were merrily traipsing. — PS

Heavenly Sword

It might seem strange that we’ve chosen to single-out Heavenly Sword as our example of an absurdly over-sexualized female protagonist. Dead or Alive, a series that’s persisted for just over a decade now without causing a kerfuffle despite its bizarre, hyper sexuality, might seem like a more logical target. You might even say that Heavenly Sword’s a poor example considering its emphasis on Nariko’s empowerment in a male dominated fantasy world. But let me ask you, if Nariko is such a great warrior, savior of her people even though they hate her for being a woman, why does she go to war in her underpants? She is fighting people with swords in her underpants. No one thought mention to developer Ninja Theory that underpants are not effective armor? Nariko stands in for the legions of silly, objectified, hyper-sexualized female game protagonists. We’re giving Lara the day off on this one. — JC

Click here for Part 1
Click here for Part 3

The Ten Videogames That Should Have Been Controversial, Part 1

John Constantine — Fri, 20 Jun 2008 17:11:00 GMT

Games have been raising hackles since their inception. Howell Ivy kick-started gaming and controversy’s relationship when he designed Death Race in 1976, a simple black and white game that was, well, about running people over for points. That was enough to get America riled up, prompting 60 Minutes to run the first of many, many televised news stories about the psychological effects of gaming. But public outrage is unpredictable. Politicians and parent groups have been shocked by d-list titles like Manhunt and Night Trap while more popular, widely played games with far more inflammatory content have passed by unnoted. Today, 61 Frames Per Second presents The Ten Videogames That Should Have Been Controversial. A number of these are games that we are surprised did not cause uproar in a number of communities. The rest are games that we ourselves find seriously questionable in content. How do you feel about these videogames? Indifferent? Appalled? Leave a comment and let us know. — John Constantine

NARC

I don't know about you, but I have at least a couple of friends who have occasionally sold drugs. They're pretty lucky they grew up in the relatively permissive '90s, and not in the merciless, Reaganite '80s presented in NARC. Sure, NARC gives you bonus points for arresting dealers instead of killing them, but that's because it's almost impossible to do. Far easier is just perforating them on the spot. As my fellow blogger Cole notes, "I guess dismembering hundreds is okay if they're pushin'." In fact, there was some parental outrage over NARC's unprecedented level of gore, but its moral assumptions went pretty much unchallenged. — Peter Smith

Pokémon

Have you ever noticed that there are no regular, powerless domesticated animals in any of the Pokémon games, cartoons, comics et cetera? Let's say your pre-teen brother/sister/cousin goes out for a walk one day and comes across a pigeon in the street. They then capture this pigeon in a small cage and train it to fight the dogs, lizards and ponies that the other neighborhood kids have captured and trained to fight, as well as stray cats and sewer rats that can then be captured and trained for similar purposes. Yeah, that scenario is a little awesome, but it's also pretty horrifying, right? When Michael Vick is involved in a dogfighting circuit, the media explodes with rage, but when your kids do it in a Nintendo game it gets rated E for Everyone by the ESRB. — Derrick Sanskrit

Final Fantasy Tactics

As much as Final Fantasy Tactics’ tale of political intrigue in the feudal fantasy-scape of Ivalice is concerned with a power struggle between church and state, it’s hard to get past the game’s barely veiled indictment of Christian lore. Tactics' villains are essentially the Catholic Church. Their central figure is Saint Ajora, a 'child of God' with twelve disciples, one of whom betrayed him and sent him to his death. 'Cept it turns out Ajora wasn't really the son of God, but a power-hungry war-mongering mortal who was sneakily made divine through church skulduggery and historical revisionism. Good thing RPGs require so much reading, otherwise there might have been some good ol’ fashioned game burnings back in 1998. — JC

Click here for Part 2
Click here for Part 3