Wednesday 11 January 2012
Saturday 15 October 2011
Unit: BA4: Project 3: Creating Coherent Worlds
Introduction to the Project
How are narratives formed and implemented within digital games? What importance is placed on story and plot in comparison to the games mechanics and functionality and where is this balance met? How does one address the issues of originality when considering also its marketability and with the potential for cross-media mobility, what challenges and advantages does an intellectual-property face in the advent of transmedia-storytelling? These questions and more, I have sought to answer throughout the project and since its initial inception, I have had a particular focus in not only studying the somewhat scientific methods writers employ when 'deconstructing' their stories to suit their chosen medium (be it a screenplay or design document etc.) but also how one attempts to take so abstract a concept as a story and implement it effectively within such an inter-disciplinary industry.
The project essentially tasks us with researching into the techniques and practises associated with narrative, challenging us to disassociate or 'remove' ourselves from the wonderment experienced as a reader and force us to re-examine as to why the writer has made the creative decisions that they have, considering also the effects that this might have on the reader; this in-turn will inform our own working practises as we each develop a story within project one of this unit, the resulting 'world' in which will be implemented into a working game title (essentially, we are to construct an intellectual property of our own.)
As a principle mode of discourse, narration has been a defining characteristic within human culture for many a millennia. Through writing systems, symbolism and oral tradition, the intrinsic value associated with the art of storytelling is unquestionable and whether as a means to educate or to entertain, many aspects of the practise have changed very little since its initial origins (with early genres, symbols and motifs still influencing contemporary writing today.) Though with the advent of new media, storytelling has adapted and whilst many new opportunities and advantages have come into fruition because of this, as a result, so to have there been challenges.
Games as a story-telling medium are highly unique and advantageous, in that they provide a degree of interactivity and participation from the audience, simply not attainable from similar media within the entertainment industry. The ability for the player to physically take control of and manipulate the story at a whim, whilst the plot is unfolding, provides an unprecedented level of intimacy and sense of immersion and is unlike anything we have seen within this mode of discourse before. It is the possibilities resulting from this level and form of interactivity that holds a deep fascination with me and forms really the cornerstone and main focus of my research throughout this project; though equally, one must also recognise both the techniques, merits, the advantages and the disadvantages of developing narratives in other media such as literature, film and music and the myriad of disciplines that they each cover. The influences exerted amongst these practises also help to define new methods of delivering stories to an audience, highlighting really the breadth of possibilities that narrative offers and truly the depth that storytelling extends both as a form of entertainment and within the psyche of the individual.
"If you want to build an interactive storyworld, you must banish all notions of plot and storyline from your head and instead think in terms of a storyworld: a universe of dramatic possibilities, revolving around a central theme and exploring all the variations on that theme." - Crawford, C.
Contextual Studies Seminar One - 07/10/2011
The primary focus of this seminar was in recognising the importance of stories as 'worlds' and in not only having this 'world' retain a level of cohesion but also developing it as a character in unto itself (eliminating or attempting to avoid the possibility of your narrative losing any credibility and believability from the audience, by not having all other elements reduced to simply a background or 'stage' from which your characters occasionally interact.)
Using a simplified symbol of Earth's composition, the diagram above helps illustrate the importance in achieving a balance between the core game-mechanics and the limits of the game's world if one is to retain believability for the player.
Interactivity as the main advantage to game storytelling was addressed and discussed and directly related to this was the idea of viewing the formation of a convincing game world in a diagrammatical format, where two circles were drawn, an outer circle--representing the eventual boundary or limitations to your story from which the world/'universe' no longer extends--and an inner circle (the 'core') representing the core game-mechanics that provide the player with the ability to interact with your world and the story as it unfolds. Providing a harmonious balance between the two (the outer limits or 'boundary') and the core, will ensure that the world does retain the level of cohesion necessary for it to hold together all other elements and ultimately its believability. The inherent challenge to this is in constructing the narrative to be easy to comprehend/understand, but have its complexity be underestimated and almost 'taken for granted' by the player.
Introducing Worlds: A Comparative Analysis
The introduction of the player to the world itself is paramount, it establishes not only the initial premise of the story but the 'ambience' from which all other artistic devices will later be drawn; how the world is delivered shares a crucial importance with the content of the deliverance itself...
The person performing their story might employ oral techniques--the pitch of one's voice, the use of colloquialisms to denote character and similar linguistic devices--in combination with gesticulation and mannerisms to induce interest and elicit a reaction from the audience. In lieu of sound and visual stimuli, the written word relies on the author's diction in achieving a similar communicative effect. Through text and supporting imagery are graphic novels and comic-books able to deliver the narrative, though similarly to traditional prose and poetry, are often lacking in sound. Film, however, employs all of the aforementioned elements but requires less 'participation' from the audience, as the increased presence of information provides a much more linear experience. Finally, digital games are often all these things; with the addition of direct access to the story through control, is the player afforded choice.
The advantages and disadvantages of each are a matter of debate; does presenting the player with imagery enhance or retract from the experience? One's participation might be reduced but is the imagination any less receptive as a result? The method to which information is presented to the audience is also of a particular importance, provide too much and induce feelings of indifference, too little and one risks alienating the viewer; at no point is this more prevalent than at the beginning...
Discussed within the seminar was the idea of perceived literal structures, a fairy-tale for example follows certain ‘conventions’ that the reader both knowingly recognises and understands, already this provides a point of reference and position of engagement for the participant; how descriptive the author chooses to be defines the extent or limitations of the readers own creative input, how many dwarves are there, what does the wolf look like, how large is the forest? Etc. The characters and environment must both inhabit the same space if the ‘world’ is to be believed.
I’d like to briefly discuss the impact that a given medium has in constructing (and subsequently presenting) the world to which the narrative inhabits and the affect that this has on the audience. Taking a popular example of successful cross-media application, J.R.R. Tolkien’s The Lord of the Rings series of books represent not only an instantly recognisable, sequential narrative but a world that inhabits a far greater ‘space’ than can be seen in any one book or film alone.
Drawing heavily from the strong cultural references of his youth and education, J.R.R. Tolkien’s ‘universe’ comprises of a number of elements duly recognisable in other equally successful intellectual properties, from which expansive, story-driven worlds are the mainstay. The worlds themselves, for example, are always presented as a character in itself. George Lucas’ science-fiction opera, Star Wars, often defines a culture, time or event through its setting alone. Employing visual devices (through lighting, or choice of palette etc.) the viewer instantly recognises and then associates a given place with an element of that narrative, be it the race that inhabits it or the events which took place within it, the surrounding space is now an established character and is instantly recognisable as such. The success of this technique, however, is based on another important consideration if one is to form and retain any level of consistency within the world.
“Both Star Wars (the films, games and books) and Halo series reportedly had huge backstories that were never entirely revealed to the players. Having everything in the world thought out provided consistency and allowed a large number of titles to inhabit those universes.” – Mcguire, M; Genkins, O.
The viewer approaches any given work with pre-conceptions, as discussed within the previous lecture, fairy-tales follow accepted rules and in the knowledge of such pre-conceptions are they able to actively participate or engage with the narrative from a place of familiarity. Design elements within film are employed with a similar convention in mind; no matter how fantastical the world, one must first bind this to a reality from which the audience can begin to engage with the story (such as an historical context, a tangible ‘real-world’ reference, or recognizable cultural ideology) the audience needs a position of familiarity to begin to define the world as an inhabitable, coherent and believable place.
The Influence of Film in Developing Coherent Game Worlds, a Comparison of Narrative
‘Narrative’, essentially, is a sequence of events, with the ‘world’ providing the context in the deliverance of these events. The permeation of narrative into alternative media is of a great fascination to me and no more so than when cross-media transferral occurs between film and the digital gaming ‘arena.’
The extent and methodology employed when constructing narrative can draw comparison between the two mediums as both employ technology and its related techniques as a means of portraying the narrative to the audience. The Metal Gear series of games exemplifies this concept. Cinematic conventions and stylistic devices are employed in equal measure in helping to narrativize the experience for the player, in effect; the games achieve a median between ‘interactive film’ and ‘cinematic game’. Examples ---àHideo Kojima, the director, producer and writer of the series, comments on [Edit.]
Narrative and Gameplay, an Act of Balance
The dichotomy of a compelling narrative and engaging gameplay is one best represented within the gaming genre of role-playing games (‘RPGs’) and more specifically, Western role-playing games and Japanese role-playing games, both now defined almost as sub-genres in unto themselves. The cultural differences between the two have meant that one has almost by its very definition, become associated with constructing an expansive open-world environment through which the player is able to freely explore, the ‘narrative’ is—as is often the case with games—developed at the player’s own pace, though this is ‘slowed’ to a much further extent as exploration is encouraged and assumes a greater focus; these are the defining characteristics of the Western ‘RPG.’ Conversely, the Japanese ‘RPG’ employs a methodology in which the player experience is narrativized to a far greater extent; the characters, pacing, plot and means of progression are often highly controlled, cut-scenes are frequent and often feature long-running times and the gameplay centres usually around a simple mechanic (such as ‘button-mashing’ as seen within fighting games) as a means of maintaining interest for the player as their experience is guided from one story-telling moment to the next. The Japanese ‘Role-playing’ genre of gaming has become synonymous with the development of ‘memorable’ characters and story-arches as opposed (usually) to the methods through which the player manipulates the games themselves and this is ultimately reflected also within the culture as each of these intellectual properties
Transmedia-Storytelling, Cross-Media Application and Convergence Technology
Constructing Narratives for Games, an Organic World with Technical Constraints
“Now more than ever, game writers need to be fully aware of the medium they’re writing for.” – Despain, W.
Digital gaming provides a level of interactivity currently unobtainable within other forms of entertainment media (novels, films, music etc.) Whilst this essentially affords the writer the ability to further engross the player/user within an ever-more immersive environment, the experience is inevitably constrained by the practises of the industry and its technical limitations. Ultimately the ‘Game Director’ (the technical and creative lead) and the ‘Producer’ (the financier) must decide whether the games narrativity should be of a primary concern, or focus more so on developing innovative gameplay mechanics; the communicative nature and level of user-input associated with gaming often ensures the latter takes precedence.
The inter-disciplinary structure of a game development studio, time and budget constraints, market research and competitive analysis, these are all determinates that the writer must consistently adhere and adapt to throughout the process of developing a coherent world. Often writers will be hired from other industries to ‘pen' the story—and on occasion, early on during the pre-production stage of development—but unlike writing for a screen-play or other literary source, all creative decisions (stylistic devices, character arches etc.) must maintain a malleability that is crucial for the highly iterative design process employed during the games development cycle.
The writer might decide the protagonist should ride a horse within the story, for example, the animation department begins key-frame animation work to ensure the horse is able to move convincingly in-game; the director is unhappy with the level of realism and proposes instead that a live horse be brought in and motion-capture be used instead. The producer determines that this would be far too costly and the entire concept of the horse is removed from the game. Suddenly the environment is too large and remote for the player, the gameplay suffers and a new mode of transportation will need to be written; the writer (in whose belief in the horse as an integral character to the plot) now must justify the inclusion of a car instead. The production pipeline of a game, whilst structured and regimented, can elicit many a complication for the un-expectant writer.
“The story, or at least the spine of it, had been conceived before the gameplay and levels had been completely nailed down, which almost never happens in the game industry.” – Despain, W.
The Game Design Document (or ‘GDD’) determines/outlines all aspects of the games development and as a result, the writer will often be included much later within the design process as the fundamentals of the document and the nature of the gameplay are determined. Decisions within the document—whilst rarely finalised until much later—mean that the narrative is often written as a means of facilitating or enhancing the experience induced by the gameplay, acting as almost an ‘after-thought’ or even excluded altogether (as is the case in Nintendo’s Super Smash Bros series of games, or Tetris.)
Where games once consisted of designers with whom their knowledge of ‘script’ was concerned only with programming on the mechanics of the game itself, now, a
Saturday 14 May 2011
Unit: BA3: Project 3: Representation and Space
Initial/Opening Presentation to the Project
My response to the task, simply, is money. Money and finance have always been the driving force behind progress, throughout the history of art and whilst there has always been this romantic view of progress for progress’ sake, art has ever strived and continued to develop to meet the demands of its audience and targeted market and this is especially true with the games industry.
A lot of people would argue that recent innovation has been in light of realism, realistic characters and realistic environments, when in fact quite the opposite has been true, in most cases. The Wii, for example, whilst a console that doesn’t appeal to me personally, is undoubtedly the gaming industry’s most successful export; where, in recent years, graphics are not a priority but innovative gameplay, attracting the most lucrative of today’s audiences which are simply those seeking easy accessibility. The Wii is also attracting one of the industry’s most ‘untapped’ markets, which is women; within an otherwise male dominated industry (our chosen examples of female characters evidence this.)
I mentioned realism previously. I asked a lot of people who do not play games, as to why this is and the majority replied that whilst they could appreciate the technical innovation within visually realistic games, that they were often ‘put off’ by the complexity or perhaps the lack of accessibility inherent with a lot of these games. It’s in fact very interesting that the more realistic game characters and environments come to emulating real-life, that the more mundane and ‘limiting’ they can become, especially when attempting to depict contemporary culture (this was an issue I had with Grand Theft Auto IV for example.) This idea follows suit with the theory of the ‘Uncanny Valley’ and whilst I am a fan of realism within games (and indeed I am) I cannot help but notice the effects of this myself.
In terms of the progression witnessed within the examples that we [the group] chose to use, the influx of money and subsequent interest has simply meant that the games industry has become a bigger business, providing the artists and designers with tools, that, if available back then, would have readily been in use; and as the audiences have matured, in most cases, so to have the themes depicted within them.
Primary Research
The information displayed below remains entirely un-edited and reflects only the answers given, exactly in the way that they were delivered (including all grammatical and spelling errors) with the exception of information that was removed due to its irrelevance to the answer (such as message correspondance between the interviewee and myself.) Note that the latter does not apply to the initial email to Ms. Harvey.
Email to Auriea Harvey of ‘Tale of Tales’
Thank you Auriea, this is extremely helpful. I really do appreciate you taking the time to respond to the questions, especially in the way that you did and in your honesty. Again I'm very grateful, it was really insightful. Thanks a lot.
Yours Sincerely,
Jay Carpenter.
> Subject: Re: University Student - Quick Question
> From: auriea@tale-of-tales.com
> Date: Fri, 6 May 2011 15:53:01 +0200
> To: jay_carpenter@hotmail.co.uk
>
> Dear Jay,
>
> I have done my best to provide answers to your questions below.
>
> On 2011/05/03, at 10:06, Jay Carpenter wrote:
>
> > Dear Mrs Harvey,
> >
> > I’m very sorry to bother you (I understand that you’re a busy person) though I just wanted to say I'm very impressed with your work to date and find it extremely refreshing in its innovation, so thank you. I’m writing mainly because I have a few very quick questions concerning research I'm collecting for a paper I'm writing. I'm a student currently studying at University and I'm in the process of writing a paper on how women are represented in both video games and within the industry; the questions that I have written below represent some of the focal points in my writing and you can choose to answer any or all of the questions that you feel comfortable with, to any degree that you like. I'm very appreciative for you having taken the time to read this.
> >
> > I'm interested to know your opinion on:
> >
> > The degree to which you consider both genders (particularly the female audience) when developing new projects
>
> I wouldn't say I consider the female audience at all, as such. But being a woman I make what I make. I try to consider that many people I do not know are going to interact with these characters and in these worlds. Whatever vision I have for the game is shone through the prism of my own experience. It is not a science.
>
> > and perhaps the possible challenges (if any) when attempting to represent this in-game?
>
> The challenge is always to balance the desired narrative communication with the players expectation, how those expectations are fulfilled or thwarted by what we make. Also by who the characters are... asking a boy who plays the game to be an old woman, asking a middle aged woman to be the ghost of a dead man etc. I ask: If they go along with my game, what do I want them to take away from that experience. What story might they have in their mind? What stays with them as a memory?
>
> >
> > How you feel women are represented within the industry
> Are women represented within the industry?
>
> > and, being a woman yourself working within the industry,
> I do not consider myself to be working within the industry.
>
> > the importance of women as role-models in helping to encourage women to both participate within playing and possibly developing/producing games themselves?
> I find it far more urgent to get people from outside the industry to develop this medium. The geeks have almost ruined it. There isn't enough variation in games. It could help if women felt more welcome in the industry, to make these things. But videogames are still (unnecessarily) presented as ugly 8-bit things played by children or penis-powered war fantasies. And, most often, women just aren't into that shit.
>
> Video games haven't been only 8-bit or shooters for years. But only by some miracle will the industry allow itself to be viewed in a different light. Then maybe, maybe, people who can expand the medium might show up to play. Role models can only come after the reputation of the games medium is rescued.
>
> >
> > Finally:
> >
> > Since your initial involvement within the industry, have you noticed any changes in perhaps the way other games represent women in-game,
> not at all.
>
> > and whether games have been successful in encouraging women to play them,
> no.
>
> > if not, why do you think this is? (Noting reasons, perhaps along the lines of under-representation, in-equality/sexism in the way that the characters/in-game avatars are developed or marketed etc.)
> To many young boys with nothing to say using an artistic medium with no talent.
>
> >
> > Again, I’m very grateful for you having taken the time to read this; your opinion on this subject would prove invaluable towards my research, thank you.
>
> i hope so Jay.
>
> thank you for asking,
> Auriea.
Responses from my Female Peers
Niqi Chasseaud
• The degree to which you consider both genders (particularly the female audience) when developing your own work and perhaps the possible challenges (if any) when attempting to represent this in-game?
In my own work I do try to keep a feminine and masculine balance so that it isn't one sided and unfair on either genders. I'm aware that games have predominantly been masculine and aimed at males more than females, however this has not deterred us from playing them. I think has a lot to do with one's personality and outside influences, as well as the content of the game which makes it appealing to both genders. In essence, games are about having fun, right? And there's no boundary for that.
• How you feel women are represented within the industry and, being a woman yourself looking to work within that industry, the importance of women as role-models in helping to encourage women to both participate within playing and possibly developing/producing games themselves?
I think they're represented rather well and almost as something "new" and "fresh". When I went to a university fair last year before deciding to come to Norwich I went around the numerous university stands offering a Games Art/Design course and immediately I was told by the person I was talking to that I'd do well "because I'm a girl". I'm not sure why, but I found it interesting that I was immediately judged by my gender. Perhaps female roles in the industry are strengthening, and I think that's a good thing as long as they don't become too over confident. I'm going to be honest.. In certain situations, a woman may not be the best authoritative figure to guide a game development team. Though saying that, our course leader Marie-Claire is quite inspiring and encouraging and a good role model (not just saying that :P).
• The types of games that you yourself play and what you personally look for/ would like to see within these games (citing any of the titles to the games that you do like playing.)
Again, personality, preference and outside influences make this aspect different for everyone. And also like I said before, simply being "fun" makes a great game. I like many genres, but one thing that is important to me is that there is an excellent and consistent storyline and characters which are easily associated with or likable. I also find it good when there is a blend of reality with fantasy elements, which makes it easy to identify with but also enjoyable to escape to. Music adds so much to a game, also. I think the best aspect of games in my opinion is the nostalgia from playing a game again after having not played it in a long time. It genuinely makes me happy, as sad as that is haha.
I think the list of games/series I like is pretty cliche, but I'll give you a few in a random order: Tekken, Nanosaur, Shenmue, Pokemon, Super Mario Bros., Spyro the Dragon, Final Fantasy, Devil May Cry, Kingdom Hearts, Dynasty and Samurai Warriors, The Legend of Zelda, Crash Bandicoot, Okami, Ninja Gaiden, Metal Gear Solid, Uncharted, Grand Theft Auto, Tomb Raider, Need For Speed, Beyond Good and Evil, Dead or Alive, Burnout, Genji: Days of the Blade, Gran Turismo, BlazBlue, Eternal Sonata, etc etc.. I've probably missed so many it's difficult to think.
• How you feel women are represented within video games and whether you yourself are satisfied with this form of representation and if not, what you would like to see changed (perhaps citing any titles to the games you feel do represent women fairly, or those you believe to miss or under-represent.)
It's 50/50. Some of them are portrayed as helpless "maidens" being kidnapped or just showing inferior qualities and unable to fend for themselves, or aren't given a substantial role and are usually annoying and whiny. While others are shown as independent and strong willed and acutely trained in multiple forms of self defence with fiery personalities . They're both actually the extreme opposites of each other, and the "average" real-life woman usually lies somewhere between those two roles. For a fabricated environment I think games can get away with this, but only just. The former usually adds comic relief, and the latter may inspire some women to set higher goals and attempt to achieve the impossible. An example perhaps could be Princess Peach contrasted with Lara Croft.
• Have you noticed any changes in perhaps the way games represent women and whether games have been successful in encouraging women to play them, if not, why do you think this is (noting reasons, perhaps along the lines of under-representation, in-equality/sexism in the way that the characters/in-game avatars are developed or marketed etc.)
I haven't really noticed any changes myself, but I haven't been able to play many current games recently. But from what I'm aware of, women are being given strong roles with complex personalities, like Lightning from FFXIII. Maybe character design and environment design interests women to play games and explore the stories, but it depends on the game and genre. Some may just lead busy lives and can't seem to find the time to play games, or they may be put off by the extreme sex-appeal some female games characters are given by their designers, specifically to target men. But then there is another point about the individual's orientation/preference. I'm not sure what I could say about this to help for your research. The industry seem to be dealing with both genders well.
Kerrie Shreeve
1) When I made our app game for our first assignment I didn’t really consider genders as such. I just made a game that I would enjoy and that I thought other people as a whole would enjoy. I tried to follow the trend of games already available on itunes. I didn’t think ‘ because im a girl im going to make a game for girls’.
2) I don’t think theres a lot of women in the industry. I think it would be good if more women were in the industry, but at the same time I don’t think women MUST be there. If they want to, then they should be treated as equals to men, and taken seriously. I don’t think we really need role models as such: I got into gaming through my brother and peers, and then developed my own personal taste of games I like.
3) Im a fan of driving games (forza, dirt, GTA, GT5) im not an avid gamer if im honest, I play in moderation and when I feel like it. I also like the old school games)spyro, crash bandicoot, prince of Persia, sonic and tails). I also like games with good storylines that are easy to follow ( like prince of Persia, sands of time) because then you realise why you had to do all the things you had to do to in the game (I like reading so maybe that’s why I like having stories to games?).
4) I think women are quite sexualised in games. I sometimes find it quite off putting ( like in dragon age, one of the women is dressed in what I would call ‘revealing’ clothes, and it’s a bit distracting and unnecessary. But at the same time I’m a bit indifferent to it as I appreciate good artwork, and it’s a fantasy world so things are going to be better than real life. It would be nice to see women characters who aren’t sexualised, but its not something im insistent on, I don’t mind games as they are.
5) I think games are aimed better to include women now. I’m not a ‘girly girl’ so I don’t really play games aimed specifically for girls, so I cant really comment, I think its just attitudes are changing and its now easier for girls to be accepted into the gaming community and its not so much of a ‘guy thing’. We like to play too .
Ilze Cakste
How you feel women are represented within the industry and, being a woman yourself looking to work within that industry, the importance of women as role-models in helping to encourage women to both participate within playing and possibly developing/producing games themselves?
Im happy to see that more and more females are starting to get interested into male-dominated gaming field and even considering to working in games industry. I think that womens can help the video game industry to grow and explore new ways how to reach new audiences. However, being a female who is interested in video games industry, sometimes I have to deal with people who still think that video games are not meant for womans and they don’t understand why I have chosen exactly this path of carrer. But on other hand, It’s good to see that the society is starting to change and actually most of the people now accept females as a part of the gamer society and industry.
I’m always happy to see new names of succesful females in games industry. I think that one of the best role-models for womens who are considering to work in games industry is Jayde Raymond, a well-know game producer who came up with the idea of one of the „hottest” videogames „Assasins creed”. It’s good to see someone who is so succesful in this industry. She’s defeneatly one of my role-models.
The types of games that you yourself play and what you personally look for/ would like to see within these games (citing any of the titles to the games that you do like playing.)
For me, One of the most important things that I’m looking for in video games are the exciting storyline, interesting characters and original/beautiful game worlds that can capture my attention. I have always been a big fan of „Mass Effect” series, original „Prince of Persia” trilogy, „Silent Hil”,„Resident Evil”. However there are many other titles that are listed between my favourite games. Actually I think that my taste in videogames is very similar to regular male player’s taste.
How you feel women are represented within video games and whether you yourself are satisfied with this form of representation and if not, what you would like to see changed (perhaps citing any titles to the games you feel do represent women fairly, or those you believe to miss or under-represent.)
Note: I’m not sure if i grasped the right idea of the question, but still, here is the answer:
I think that Video game industry works very similar to film industry – sometimes women’s in these forms of media are represented quite „poorly” and „cliché”. Half-naked and impossibly proportioned girls with minimal dialogue appear very often in videogames. Everyone knows that sex sells well, but I don’t find that kind of characters (such as Rachel fro Ninja Gaiden and The Girls of Dead or Alive) original, interesting and appealing. However there are plenty of other games where woman are represented very well, such as: Alyx Vance from Half-Life 2 and even Lara Croft from Tomb Raider series.
Have you noticed any changes in perhaps the way games represent women and whether games have been successful in encouraging women to play them, if not, why do you think this is (noting reasons, perhaps along the lines of under-representation, in-equality/sexism in the way that the characters/in-game avatars are developed or marketed etc.)
I think that games slowly start to encourage more womans to play games, however I think that more womans working in game industry are needed to create even more female-friendly games. Womans know what kind of videogames they would like to play so they could do a great job by working in games industry and represent teir ideas for games that are more friendly for female gamers. Step by step games are becoming something more than just a „killing” and „shooting”, they are not so „cliché” as they used to be. There is a huge variety of videogames and I think that for example, video game console called “wii” and gadgets such as “xbox360 kinect” and “PlayStation Move” are making a great impact on video game industry by opening a new ways for different game play experiences. I think that game industry is slowly getting there and I hope that soon video game environment will be completely friendly for every woman’s taste in videogames.
Frances Young
• How you feel women are represented within the industry and, being a woman yourself looking to work within that industry, the importance of women as role-models in helping to encourage women to both participate within playing and possibly developing/producing games themselves?
answer: i feel that women in the industry have minor jobs and arent typyically working with the higher mangement positions in companys.and i think women should be more involved in the producing and developing of games to help the increase of women working in the industry.
• The types of games that you yourself play and what you personally look for/ would like to see within these games (citing any of the titles to the games that you do like playing.)
answer: some of my favertes are halo,castlevania,gears of war but i tend to play alot of role playing games such as world of warcraft,pokemon,guild wars and the fable series because i like the freedom and choice within them, the only negative i can fault in them is the way that some men playing them seem to think they can talk to girls in a abusive way e.g. "hey sexy" or sumthin because they can get away with it in the virtual world.
• How you feel women are represented within video games and whether you yourself are satisfied with this form of representation and if not, what you would like to see changed (perhaps citing any titles to the games you feel do represent women fairly, or those you believe to miss or under-represent.)
answer: women are obviously represented sexually in almost all games with very little clothing or tight clothing or a huge bust i.e. tomb raider,bayonetta. and i dont like how it sets a unrealistic image of women but on a positive note the women tend to have main roles in games or are very strong independent characters but maybe for the wrong reasons as its based on image then personality.
Finally:
• Have you noticed any changes in perhaps the way games represent women and whether games have been successful in encouraging women to play them, if not, why do you think this is (noting reasons, perhaps along the lines of under-representation, in-equality/sexism in the way that the characters/in-game avatars are developed or marketed etc.)
answer: games always represent women steroetypically either as strong sexual objects or as side characters.
i feel within the games industry that cute games aim to appeal to women more then action orintated games even though sometimes the main character can be female i.e.tomb raider.
Joyce Brabban
1. I do think of what both genders would like as I don't want to initially create a game for just one gender. However I also just draw what I like and so it would then most likely turn out to be more a femanine concept.
2. Women in the industry are fewer but growing to more numbers as games have become larger. As a woman I look up to other women game designers when they have made it without signifiying that they are a woman in a generally male industry.
3. I play a lot of role playing games an adventure type for example dragon age and final fantasy which a lot of other female gamers play. I don't have much intrest in first person shooter simply because I can't be bothers to improove on my aiming skills however I do enjoy trying them out every so often.
4. I think most women characters are represented quite pretty and sexy. Though I don't mins this because i know that it works as most gamers prefer this and so these games sell well. I don't really know what can be changed because it's what ever sells well, therefor the majority of opinion is from the gamers themselves which happen to be a majority of males. So if this sexy representation works then it has to be kept.
5, a lot of simple ds games have encourage more woman to play games. Women being represented in games as a lead role may also gae encourage woman to play as they may prefer to play as a woman than another butch male lead.
Bibliography:
My response to the task, simply, is money. Money and finance have always been the driving force behind progress, throughout the history of art and whilst there has always been this romantic view of progress for progress’ sake, art has ever strived and continued to develop to meet the demands of its audience and targeted market and this is especially true with the games industry.
A lot of people would argue that recent innovation has been in light of realism, realistic characters and realistic environments, when in fact quite the opposite has been true, in most cases. The Wii, for example, whilst a console that doesn’t appeal to me personally, is undoubtedly the gaming industry’s most successful export; where, in recent years, graphics are not a priority but innovative gameplay, attracting the most lucrative of today’s audiences which are simply those seeking easy accessibility. The Wii is also attracting one of the industry’s most ‘untapped’ markets, which is women; within an otherwise male dominated industry (our chosen examples of female characters evidence this.)
I mentioned realism previously. I asked a lot of people who do not play games, as to why this is and the majority replied that whilst they could appreciate the technical innovation within visually realistic games, that they were often ‘put off’ by the complexity or perhaps the lack of accessibility inherent with a lot of these games. It’s in fact very interesting that the more realistic game characters and environments come to emulating real-life, that the more mundane and ‘limiting’ they can become, especially when attempting to depict contemporary culture (this was an issue I had with Grand Theft Auto IV for example.) This idea follows suit with the theory of the ‘Uncanny Valley’ and whilst I am a fan of realism within games (and indeed I am) I cannot help but notice the effects of this myself.
In terms of the progression witnessed within the examples that we [the group] chose to use, the influx of money and subsequent interest has simply meant that the games industry has become a bigger business, providing the artists and designers with tools, that, if available back then, would have readily been in use; and as the audiences have matured, in most cases, so to have the themes depicted within them.
Primary Research
The information displayed below remains entirely un-edited and reflects only the answers given, exactly in the way that they were delivered (including all grammatical and spelling errors) with the exception of information that was removed due to its irrelevance to the answer (such as message correspondance between the interviewee and myself.) Note that the latter does not apply to the initial email to Ms. Harvey.
Email to Auriea Harvey of ‘Tale of Tales’
Thank you Auriea, this is extremely helpful. I really do appreciate you taking the time to respond to the questions, especially in the way that you did and in your honesty. Again I'm very grateful, it was really insightful. Thanks a lot.
Yours Sincerely,
Jay Carpenter.
> Subject: Re: University Student - Quick Question
> From: auriea@tale-of-tales.com
> Date: Fri, 6 May 2011 15:53:01 +0200
> To: jay_carpenter@hotmail.co.uk
>
> Dear Jay,
>
> I have done my best to provide answers to your questions below.
>
> On 2011/05/03, at 10:06, Jay Carpenter wrote:
>
> > Dear Mrs Harvey,
> >
> > I’m very sorry to bother you (I understand that you’re a busy person) though I just wanted to say I'm very impressed with your work to date and find it extremely refreshing in its innovation, so thank you. I’m writing mainly because I have a few very quick questions concerning research I'm collecting for a paper I'm writing. I'm a student currently studying at University and I'm in the process of writing a paper on how women are represented in both video games and within the industry; the questions that I have written below represent some of the focal points in my writing and you can choose to answer any or all of the questions that you feel comfortable with, to any degree that you like. I'm very appreciative for you having taken the time to read this.
> >
> > I'm interested to know your opinion on:
> >
> > The degree to which you consider both genders (particularly the female audience) when developing new projects
>
> I wouldn't say I consider the female audience at all, as such. But being a woman I make what I make. I try to consider that many people I do not know are going to interact with these characters and in these worlds. Whatever vision I have for the game is shone through the prism of my own experience. It is not a science.
>
> > and perhaps the possible challenges (if any) when attempting to represent this in-game?
>
> The challenge is always to balance the desired narrative communication with the players expectation, how those expectations are fulfilled or thwarted by what we make. Also by who the characters are... asking a boy who plays the game to be an old woman, asking a middle aged woman to be the ghost of a dead man etc. I ask: If they go along with my game, what do I want them to take away from that experience. What story might they have in their mind? What stays with them as a memory?
>
> >
> > How you feel women are represented within the industry
> Are women represented within the industry?
>
> > and, being a woman yourself working within the industry,
> I do not consider myself to be working within the industry.
>
> > the importance of women as role-models in helping to encourage women to both participate within playing and possibly developing/producing games themselves?
> I find it far more urgent to get people from outside the industry to develop this medium. The geeks have almost ruined it. There isn't enough variation in games. It could help if women felt more welcome in the industry, to make these things. But videogames are still (unnecessarily) presented as ugly 8-bit things played by children or penis-powered war fantasies. And, most often, women just aren't into that shit.
>
> Video games haven't been only 8-bit or shooters for years. But only by some miracle will the industry allow itself to be viewed in a different light. Then maybe, maybe, people who can expand the medium might show up to play. Role models can only come after the reputation of the games medium is rescued.
>
> >
> > Finally:
> >
> > Since your initial involvement within the industry, have you noticed any changes in perhaps the way other games represent women in-game,
> not at all.
>
> > and whether games have been successful in encouraging women to play them,
> no.
>
> > if not, why do you think this is? (Noting reasons, perhaps along the lines of under-representation, in-equality/sexism in the way that the characters/in-game avatars are developed or marketed etc.)
> To many young boys with nothing to say using an artistic medium with no talent.
>
> >
> > Again, I’m very grateful for you having taken the time to read this; your opinion on this subject would prove invaluable towards my research, thank you.
>
> i hope so Jay.
>
> thank you for asking,
> Auriea.
Responses from my Female Peers
Niqi Chasseaud
• The degree to which you consider both genders (particularly the female audience) when developing your own work and perhaps the possible challenges (if any) when attempting to represent this in-game?
In my own work I do try to keep a feminine and masculine balance so that it isn't one sided and unfair on either genders. I'm aware that games have predominantly been masculine and aimed at males more than females, however this has not deterred us from playing them. I think has a lot to do with one's personality and outside influences, as well as the content of the game which makes it appealing to both genders. In essence, games are about having fun, right? And there's no boundary for that.
• How you feel women are represented within the industry and, being a woman yourself looking to work within that industry, the importance of women as role-models in helping to encourage women to both participate within playing and possibly developing/producing games themselves?
I think they're represented rather well and almost as something "new" and "fresh". When I went to a university fair last year before deciding to come to Norwich I went around the numerous university stands offering a Games Art/Design course and immediately I was told by the person I was talking to that I'd do well "because I'm a girl". I'm not sure why, but I found it interesting that I was immediately judged by my gender. Perhaps female roles in the industry are strengthening, and I think that's a good thing as long as they don't become too over confident. I'm going to be honest.. In certain situations, a woman may not be the best authoritative figure to guide a game development team. Though saying that, our course leader Marie-Claire is quite inspiring and encouraging and a good role model (not just saying that :P).
• The types of games that you yourself play and what you personally look for/ would like to see within these games (citing any of the titles to the games that you do like playing.)
Again, personality, preference and outside influences make this aspect different for everyone. And also like I said before, simply being "fun" makes a great game. I like many genres, but one thing that is important to me is that there is an excellent and consistent storyline and characters which are easily associated with or likable. I also find it good when there is a blend of reality with fantasy elements, which makes it easy to identify with but also enjoyable to escape to. Music adds so much to a game, also. I think the best aspect of games in my opinion is the nostalgia from playing a game again after having not played it in a long time. It genuinely makes me happy, as sad as that is haha.
I think the list of games/series I like is pretty cliche, but I'll give you a few in a random order: Tekken, Nanosaur, Shenmue, Pokemon, Super Mario Bros., Spyro the Dragon, Final Fantasy, Devil May Cry, Kingdom Hearts, Dynasty and Samurai Warriors, The Legend of Zelda, Crash Bandicoot, Okami, Ninja Gaiden, Metal Gear Solid, Uncharted, Grand Theft Auto, Tomb Raider, Need For Speed, Beyond Good and Evil, Dead or Alive, Burnout, Genji: Days of the Blade, Gran Turismo, BlazBlue, Eternal Sonata, etc etc.. I've probably missed so many it's difficult to think.
• How you feel women are represented within video games and whether you yourself are satisfied with this form of representation and if not, what you would like to see changed (perhaps citing any titles to the games you feel do represent women fairly, or those you believe to miss or under-represent.)
It's 50/50. Some of them are portrayed as helpless "maidens" being kidnapped or just showing inferior qualities and unable to fend for themselves, or aren't given a substantial role and are usually annoying and whiny. While others are shown as independent and strong willed and acutely trained in multiple forms of self defence with fiery personalities . They're both actually the extreme opposites of each other, and the "average" real-life woman usually lies somewhere between those two roles. For a fabricated environment I think games can get away with this, but only just. The former usually adds comic relief, and the latter may inspire some women to set higher goals and attempt to achieve the impossible. An example perhaps could be Princess Peach contrasted with Lara Croft.
• Have you noticed any changes in perhaps the way games represent women and whether games have been successful in encouraging women to play them, if not, why do you think this is (noting reasons, perhaps along the lines of under-representation, in-equality/sexism in the way that the characters/in-game avatars are developed or marketed etc.)
I haven't really noticed any changes myself, but I haven't been able to play many current games recently. But from what I'm aware of, women are being given strong roles with complex personalities, like Lightning from FFXIII. Maybe character design and environment design interests women to play games and explore the stories, but it depends on the game and genre. Some may just lead busy lives and can't seem to find the time to play games, or they may be put off by the extreme sex-appeal some female games characters are given by their designers, specifically to target men. But then there is another point about the individual's orientation/preference. I'm not sure what I could say about this to help for your research. The industry seem to be dealing with both genders well.
Kerrie Shreeve
1) When I made our app game for our first assignment I didn’t really consider genders as such. I just made a game that I would enjoy and that I thought other people as a whole would enjoy. I tried to follow the trend of games already available on itunes. I didn’t think ‘ because im a girl im going to make a game for girls’.
2) I don’t think theres a lot of women in the industry. I think it would be good if more women were in the industry, but at the same time I don’t think women MUST be there. If they want to, then they should be treated as equals to men, and taken seriously. I don’t think we really need role models as such: I got into gaming through my brother and peers, and then developed my own personal taste of games I like.
3) Im a fan of driving games (forza, dirt, GTA, GT5) im not an avid gamer if im honest, I play in moderation and when I feel like it. I also like the old school games)spyro, crash bandicoot, prince of Persia, sonic and tails). I also like games with good storylines that are easy to follow ( like prince of Persia, sands of time) because then you realise why you had to do all the things you had to do to in the game (I like reading so maybe that’s why I like having stories to games?).
4) I think women are quite sexualised in games. I sometimes find it quite off putting ( like in dragon age, one of the women is dressed in what I would call ‘revealing’ clothes, and it’s a bit distracting and unnecessary. But at the same time I’m a bit indifferent to it as I appreciate good artwork, and it’s a fantasy world so things are going to be better than real life. It would be nice to see women characters who aren’t sexualised, but its not something im insistent on, I don’t mind games as they are.
5) I think games are aimed better to include women now. I’m not a ‘girly girl’ so I don’t really play games aimed specifically for girls, so I cant really comment, I think its just attitudes are changing and its now easier for girls to be accepted into the gaming community and its not so much of a ‘guy thing’. We like to play too .
Ilze Cakste
How you feel women are represented within the industry and, being a woman yourself looking to work within that industry, the importance of women as role-models in helping to encourage women to both participate within playing and possibly developing/producing games themselves?
Im happy to see that more and more females are starting to get interested into male-dominated gaming field and even considering to working in games industry. I think that womens can help the video game industry to grow and explore new ways how to reach new audiences. However, being a female who is interested in video games industry, sometimes I have to deal with people who still think that video games are not meant for womans and they don’t understand why I have chosen exactly this path of carrer. But on other hand, It’s good to see that the society is starting to change and actually most of the people now accept females as a part of the gamer society and industry.
I’m always happy to see new names of succesful females in games industry. I think that one of the best role-models for womens who are considering to work in games industry is Jayde Raymond, a well-know game producer who came up with the idea of one of the „hottest” videogames „Assasins creed”. It’s good to see someone who is so succesful in this industry. She’s defeneatly one of my role-models.
The types of games that you yourself play and what you personally look for/ would like to see within these games (citing any of the titles to the games that you do like playing.)
For me, One of the most important things that I’m looking for in video games are the exciting storyline, interesting characters and original/beautiful game worlds that can capture my attention. I have always been a big fan of „Mass Effect” series, original „Prince of Persia” trilogy, „Silent Hil”,„Resident Evil”. However there are many other titles that are listed between my favourite games. Actually I think that my taste in videogames is very similar to regular male player’s taste.
How you feel women are represented within video games and whether you yourself are satisfied with this form of representation and if not, what you would like to see changed (perhaps citing any titles to the games you feel do represent women fairly, or those you believe to miss or under-represent.)
Note: I’m not sure if i grasped the right idea of the question, but still, here is the answer:
I think that Video game industry works very similar to film industry – sometimes women’s in these forms of media are represented quite „poorly” and „cliché”. Half-naked and impossibly proportioned girls with minimal dialogue appear very often in videogames. Everyone knows that sex sells well, but I don’t find that kind of characters (such as Rachel fro Ninja Gaiden and The Girls of Dead or Alive) original, interesting and appealing. However there are plenty of other games where woman are represented very well, such as: Alyx Vance from Half-Life 2 and even Lara Croft from Tomb Raider series.
Have you noticed any changes in perhaps the way games represent women and whether games have been successful in encouraging women to play them, if not, why do you think this is (noting reasons, perhaps along the lines of under-representation, in-equality/sexism in the way that the characters/in-game avatars are developed or marketed etc.)
I think that games slowly start to encourage more womans to play games, however I think that more womans working in game industry are needed to create even more female-friendly games. Womans know what kind of videogames they would like to play so they could do a great job by working in games industry and represent teir ideas for games that are more friendly for female gamers. Step by step games are becoming something more than just a „killing” and „shooting”, they are not so „cliché” as they used to be. There is a huge variety of videogames and I think that for example, video game console called “wii” and gadgets such as “xbox360 kinect” and “PlayStation Move” are making a great impact on video game industry by opening a new ways for different game play experiences. I think that game industry is slowly getting there and I hope that soon video game environment will be completely friendly for every woman’s taste in videogames.
Frances Young
• How you feel women are represented within the industry and, being a woman yourself looking to work within that industry, the importance of women as role-models in helping to encourage women to both participate within playing and possibly developing/producing games themselves?
answer: i feel that women in the industry have minor jobs and arent typyically working with the higher mangement positions in companys.and i think women should be more involved in the producing and developing of games to help the increase of women working in the industry.
• The types of games that you yourself play and what you personally look for/ would like to see within these games (citing any of the titles to the games that you do like playing.)
answer: some of my favertes are halo,castlevania,gears of war but i tend to play alot of role playing games such as world of warcraft,pokemon,guild wars and the fable series because i like the freedom and choice within them, the only negative i can fault in them is the way that some men playing them seem to think they can talk to girls in a abusive way e.g. "hey sexy" or sumthin because they can get away with it in the virtual world.
• How you feel women are represented within video games and whether you yourself are satisfied with this form of representation and if not, what you would like to see changed (perhaps citing any titles to the games you feel do represent women fairly, or those you believe to miss or under-represent.)
answer: women are obviously represented sexually in almost all games with very little clothing or tight clothing or a huge bust i.e. tomb raider,bayonetta. and i dont like how it sets a unrealistic image of women but on a positive note the women tend to have main roles in games or are very strong independent characters but maybe for the wrong reasons as its based on image then personality.
Finally:
• Have you noticed any changes in perhaps the way games represent women and whether games have been successful in encouraging women to play them, if not, why do you think this is (noting reasons, perhaps along the lines of under-representation, in-equality/sexism in the way that the characters/in-game avatars are developed or marketed etc.)
answer: games always represent women steroetypically either as strong sexual objects or as side characters.
i feel within the games industry that cute games aim to appeal to women more then action orintated games even though sometimes the main character can be female i.e.tomb raider.
Joyce Brabban
1. I do think of what both genders would like as I don't want to initially create a game for just one gender. However I also just draw what I like and so it would then most likely turn out to be more a femanine concept.
2. Women in the industry are fewer but growing to more numbers as games have become larger. As a woman I look up to other women game designers when they have made it without signifiying that they are a woman in a generally male industry.
3. I play a lot of role playing games an adventure type for example dragon age and final fantasy which a lot of other female gamers play. I don't have much intrest in first person shooter simply because I can't be bothers to improove on my aiming skills however I do enjoy trying them out every so often.
4. I think most women characters are represented quite pretty and sexy. Though I don't mins this because i know that it works as most gamers prefer this and so these games sell well. I don't really know what can be changed because it's what ever sells well, therefor the majority of opinion is from the gamers themselves which happen to be a majority of males. So if this sexy representation works then it has to be kept.
5, a lot of simple ds games have encourage more woman to play games. Women being represented in games as a lead role may also gae encourage woman to play as they may prefer to play as a woman than another butch male lead.
Bibliography:
- Harvey, Auriea. (2011) [Interview by email 6 May 2011].
- Chasseaud, Niqi. (2011) [Interview by email 4 May 2011].
- Shreeve, Kerrie. (2011) [Interview by email 4 May 2011].
- Cakste, Ilze. (2011) [Interview by email 5 May 2011].
- Young, Francis. (2011) [Interview by email 5 May 2011].
- Brabban, Joyce. (2011) [Interview by email 4 May 2011].
Wednesday 10 November 2010
Unit: BA1: Fundamentals 1 - Project 3: Introduction to Game Studies (Contextual Studies)
Personal Games History
My personal history and experiences with games, really cannot be summed up to any level or 'capacity' that would do it any justice; yet I do not have the time available to write what would result in something resembling that of a novel, in both size and scope, as my 'library' of games is just far too extensive, and many of which a game within that collection holds some special place or significance over my development from a child to a man. Words can never begin to describe it, so instead I'll focus primarily on the 'main' experiences of my gaming history (though naturally, some of these will be missing from this blog) that ultimately influenced and led me to the types and styles of games (and other forms of media) that I enjoy today...
The 'TV Boy' was in fact the first ever console I played (and first 'set' of digital games to my recollection) and so was to prove my introduction into the world of gaming...
Comprising of over a 127 individual games, the product supported, essentially, a multitude of highly varied gameplay options to the player, in the form of industry 'coveted', arcade 'classics.' Although simplistic in nature by todays standards, the game developers (of which several companies were involved in the console) were successful in engaging the player within an experience (whilst being limited in the technology available) to this extent, the games were able to reach audiences in a 'pick-up-and-play' form of entertainment, which remains just as engaging for many people today (including myself) as it was to the people or audiences in it's original conception and subsequent release.
The Fifth Generation of Video Game Consoles (the 32/64-bit Era, Known also as the '3D Era')
'Batman & Robin' was the first ever game (that supported '3D' graphics) that I had been introduced to and from which I had the benefit of, and the ability to, permanentely 'access' (as my brother had recieved a 'PlayStation One', as a gift, with this game being included within that package.)
The game was to have a huge impact on the way I viewed games but also, more importantly (now that I reflect and reminisce on this particular experience) the way in which it was to inform my 'decision-making' as to the type of gameplay experience I found to be the most compelling, for me, personally, which was the idea of this 'sandbox', 'free-roaming' type of gameplay. To summarise, the game was to affect the types of games I was to 'gravitate' towards, in the future, solidifying my passion for 'open-world' games.
Free-roaming, as a form of gaming, essentially offers the player the 'choice', choice in not only where the player desires to go, often within a large scope/radius (Batman & Robin had not only fantastic graphics for its time, in my opinion, but also a large 'radius' for the player to explore within) but also how he or she chooses to traverse that terrain, and when.
I never actually got much further than the first 'level' (within 'Batman & Robin) as not only was it a challenging game (the gameplay is akin to the 'Dead Rising' series of games, in that events occur at specific times, and if you do not collect the necessary evidence before that time, then you essentially fail the mission) but, then again, I never really felt the desire to progress much further; here I was, a very young person, with a creative mind, and I had essentially been given this digital 'sand-box' to play within, this is really where my passion for gaming began, especially for the freedom in creating my own stories or outcomes within games (where I otherwise couldn't.) I always found (and still continue to find today) that the 'game' (any game essentially) never truly offers a complete 'experience' in the way that I desire it (don't get me wrong, there are plenty of games out there with a strong narrative and a highly engaging visual experience, throughout, of which many of those games I will include within this section of my blog) but more so, these games offered me, really, the 'tools' by which to develop, and create, my own experiences from (essentially allowing me to 'live-out' my own desires and fascinations, within the 'constraints' of the world provided.) The next game 'on the list', did just that, and it could possibly be the most influential (and actually still one of, if not my all time favourite) game in the way it was to impact upon me, the game I speak of is 'The Legend of Zelda: Ocarina of Time'...
In order to better 'gauge' what this game was to have over my own personal growth, development and ultimately my interest as a child (I can't even begin to fathom the forms of media I perhaps would not be interested in today, had it not been for the influence of this game) it's important to situate the whole experience within the context to which I was exposed to the game...
I had no prior knowledge of the game save past the brief mention of it by other 'kids' in the playground, who would play games that recreated the adventures and experiences of the game (the 'popular' kids would assign 'roles' to each of us, as the different creatures and characters featured within the game, and of course I played along, pretending to fit in yet having no knowledge of what the other kids, along with myself, were supposed to be, or in fact, what they were even talking about for that matter.)
My next 'exposure' to the game was such an unbelievable and defining experience for me, personally, that it is difficult to amount in words. The experience was during my 8th birthday (what would have been just over four months since the games release) and I was allowed a 'big gift'. When taken to select something, I was walking around (what was then the 'Dixons' store in Bluewater) and I knew instantly that I wanted a console of my very own but something different from my brother (who was the 'sole-owner', as was the case between my brother and I whenever we got anything, of the 'PlayStation One') so I knew I wanted the 'Nintendo 64' but knew not what game I wanted with it. Whenever I purchase anything (especially these days) I always 'assess' and spend alot of time thinking in the shop about what it is I really want, the extent to which I want it and how long I feel it'll last me for (I really do prefer purchasing items that will last for a very long time, and something that I can return to, often in years to come) for my first game I didn't really have this issue/problem; this could have been due to the selection available at the time but I really do not think this is the case. Although I knew little to nothing about it, I gravitated towards 'The Legend of Zelda: Ocarina of Time', to the point that I don't recall what else was out then, I simply walked into the shop and picked up that game (holding the box and subsequently 'studying' the booklet in awe before ever playing the game, something I rememebr vidily, and still do with games to this day.) This process of simply walking in and buying something I knew that I wanted and that I 'must have' (without any pre-collection or defintive knowledge of what it was I was buying, past the artwork on the box, yet knowing that it was amazing) is something I never have done since, atleast not in quite the same way (and quite as successfully.)
With 'The Legend of Zelda: Ocarina of Time' as my first ever game, the sequal that was to proceed it, was a title for which I know I have never had so much anticipation and excitement for and have ever had since, for a any particular game; the sequal is of course 'The Legend of Zelda: Majora's Mask.' Whereby its predecessor had given me the 'tool's necessary to enact 'figmants' of my own imagination, whilst also simply 'breath-taking' experiences (I would spend hours simply riding around on 'Eponya', the horse/mount, for example, without ever losing interest, something I would equally enjoy doing now, perhaps this contributed in some way to my great interest in horeses?) the sequal would also see me take this much further, as I absolutely love any game that provides me the ability to shift form (possibly my most favourite 'power' that there is.) Shifting from from a 'Goron', to a 'Zura' (two fictional species featured with the I.P. of the 'Zelda' universe) and eventually even a giant was unbelievable to me then, as it is to me now, the game was simply incredible, and offered another enthralling and long lasting experience for me.) Resulting in many hours of gameplay time, past the games 'completion', it depicts (particuarly well) my motivation or 'incentive' for my progression through the primary narrative, which, essentially, is to 'complete' the game in order to gain access to as many of the aforementioned 'tools' as possible (this explains also my consistant 'saving' during interesting gameplay options or 'variants' for a given 'level' or section of the game, with the intention being of course to return to the said 'section' of the game so as to 'relive' the experience time and again.
I tended also to 'gravitate' towards the games that offered me (as a player) the experience of controlling a certain creature (animal or 'monster') caring little for the graphics or critical reception (ultimately its success as a product) of the game, for primarily, my being such a young age, I cared little for such things (and whilst, yes, reviews from respected gaming 'sources' do offer a useful base as to whether the game is right for me) when purchasing today, I still do find games, often produced by independent studios, that might provide an expereince not seen in any 'triple a' title. Games such as 'Beast Wars' (whilst not particularly a very enjoyable game it) allowed me to control dinosaurs and animals (such as the cheetah) whereby in other games, I would not have this opporunity. This desire or 'need' to 'play-out' my own fantasies of life as another creature, influenced greatly my game idea, and subsequent project that I 'pitched' during the interview stage for this course, which, essentially, was a realistic wildlife 'simulator', providing the player with just that, the ability to control a creature, in this case an animal such as the lion.
'Rugrats: Search for Reptar', similarly, was a game that featured the ability for me to take control of something other than a human (though in this case, this experience was pertaining to a particular level at the end of the game, as opposed to the game in its entirety.) The level in question allowed you, as the player, to take control of a character (essentially a tyranosaurus rex) entitled 'Rex'. I must have spent hours upon hours endlessly re-living that one experience (that amounted to perhaps two or three minutes of game-time?) I would also prolong it, refuzing to allow the game to progress any further (and essentially 'end'.) Although I was not timed, I absolutely hate timers in games, often finding that this hinders on my chosen style of play. I'll spend days or months just 're-living' or acting out an experience, much like when I find a new song I like, I'll put on the option to re-play and listen to it hundreds of times in a row without losing interest.)
'Croc: Legend of the Gobbos' was another game on the PlayStation that I was obsessed with as a youth. The games platforming style of progression, coupled with its unique visuals and compelling (albeit simple) storyline, had me playing the game from start to finish, on more than one occasion.
'MediEvil' on the PlayStation, was another equally enchanting game during my youth, and also another of my favourites upon growing up. Whilst the story is fairly cliche (atleast at a first glance, e.g. good knight v.s. evil sorcerer/necromancer) the artstyle was so unique and simply breathtaking in its imagination, originality and 'whimsical' nature. The diversity in the levels the player traverses through were also equally welcome and satisfying in completing. The whole experience is something that is very nostalgic for me, and is as memorable for me today as it was the first time I played it. The soundtrack to the game also leant itself extremely well to the experience and is something that made it a particularly enjoyable one for me then (and now) and with the risk of delving too deep, the story (again, whilst fairly cliche, but then again, what games during this era were not? Not many granted, in my opinion) offered a moral relevence that is hard to see in games of the current generation, whereby the main protagonist (the hero 'Sir Daniel Fortesque') was glamorised for heroic deeds/efforts he had not performed in life, and so in death he is given a second chance to earn his celebrated status by saving the world of 'Gallowmere', simultaneously obtaining his revenge by destroying 'Zarok' and therefore fulfilling his destiny and rightfully earning his place and within the 'Hall of Heroes'. An interesting story of redemption and an inspiring tale of one (who in life was prepared to accept gratification and an official title for 'deeds' perhaps not befitting his status, yet in death, one) who is not content with 'living' with his reputation as something he knew he had not earned.
'Conker's Bad Fur Day', is, without a doubt, one of my favourite games of all time. Besides the fact that I possibly played this game over and over again, like no other as a youth (possibly even more so than the 'Zelda' titles I mentioned earlier, although this is for different reasons, due in part to the multiplayer featured in the game) the game also featured a huge variety of levels available to the player, and vastly different situations (feeling much more like a game and several expansions than a simple 'stand-alone' title) that would warrant such a high replay-ability. Produced by the company 'Rare' for the Nintendo 64 console, I admit now (and knew full well back then) that I was perhaps far too young to have been playing this game, for essentially, the some what 'cartoony' aesthetics (or visual style) chosen for the game (that was at this point, synonymous with 'Rare's' style, as made famous by perhaps one of the more 'well-known' of their intellectual properties, their 'Banjo-Kazooie' title, a game I must say I have never owned or fully played) did not reflect the adult content of the gameplay and story itself (which If I remember correctly, I believe I relied on when convincing my parents to let me get the game.)
I mentioned earier on this blog about games that would have an influence over the types (or forms) of media that I would enjoy (as the 'Zelda' games most probably influenced my passion towards 'sword and sandel' and 'traditional' fantasy epics, for example, although I also owe this greatly to my father, who read the works of J.R.R. Tolkien, Robert E. Howard, and C. S. Lewis as a child) this is definitely one of those games.
Again, aimed at a more mature audience (and essentially marketed as such) the game is celeverly 'disguised' (although I'm sure this wasn't their intention) as a friendly platforming game, along the likes of 'Mario' or 'Donkey Kong'; yet as I probably shouldn't have had access to, let alone played this game at the age that I did (I actually had no idea what this game was about, save for having played it around a friends house) I understood all of the references to popular culture (namely films) that were mentioned in the game, and yet were almost all aimed at an older audience (films such as Ridley Scott's 'Aliens', Bram Stoker's 'Dracula', 'Jaws' and 'Saving Private Ryan.') The sexual themes, the over the top violence and parodies to popular movie franchises provided me with a form of entertainment that I cannot even begin to describe in words (and now that I think about it, this probably is one of the most played console games of mine, of all time, as I still find myself returning to play it, with equally such fervour as I did a child.) Again, the feature of multiplayer (something that the 'Zelda' titles didn't have) amounted to some of that play time, but by no means most of it; as with the 'Rugrats' game that I mentioned above, 'Conker's Bad Fur Day' also featured a level that (unlike the aforementioned game) came close to perfection (in my mind as a child then) for allowing myself to 'live-out' my own fantasies. I watched many horror films as a child (something my parents wouldn't permit, but my friend's parents were not so strict on) and none were to have quite an affect on me as films pertaining to vampires or werewolves (or similar creatures.) Bram Stoker's Dracula was (and still is) a particular favourite of mine, and the level that parodied this (in my opinion) seminal piece of film history, was a classic piece of brilliant gameplay, and implemented with equal mastery for its time.
Though implemented with the sought of 'toilet-humour' that is evident throughout much of the game, this level allowed the player to control 'Conker' (the protagonist in the story, and the main character the player controls) in a vampire-bat form (the object of which was to briefly 'stun' the attacking villagers with your own Guano, before carrying them via flight, to a grinder; the subsequent blood from the victim would then feed Dracula and eventually lead to this particular 'bosses'' demise as his new-found bulk/weight would cause him to drop into the grinder below and perish, returning you to your former state.)
I must have spent thousands of hours literally prolonging this level (avoiding what was required to progress) so that I could arrive as close as possible to the feeling of what it would be like to be not only a vampire, but also a bat (and whilst the game did feature 'cartoony' graphics, my imagination simply filled in the blanks, something I would do with similar media such as the 'Disney' films for example, or more recently, the 'World of Warcraft' game and subsequent expansions, whereby the graphics do not need to be realistic in order for me to feel emmersed within the world.)
I did play and continue to own, many, many more games on the 'Nintendo 64' and my brother's 'PlayStation' (including games such as 'Vigilante 8', 'Gran Turismo', 'Turok: Evolution', 'Tomb Raider 2: Starring Lara Croft' etc.) but the games above (whether they were personal favourites of mine, or were mentioned due to their interesting gameplay mechanics) are the ones that stand out for me on these particular platforms.
The Sixth Generation of Video Game Consoles (the 128-bit Era)
Continuing on from the 'theme' outlined within the game previously mentioned, another vampire 'affiliated' experience (and a game in which I obtained immense satisfaction from, and something that only added more 'fuel to the fire' to my passion for vampires and the supernatural) was the game 'Blood Omen 2: Legacy of Kain.'
Whilst I haven't in fact played any of the other games in the 'Legacy of Kain' series, this game provided me with not only interesting gameplay mechanics, but a thoroughly 'gripping' story-line also, leading to this game as another of my 'all-time' favourites.
Perhaps somewhat similarly (in terms of its dark, European/'Gothic' inspired architecture and supernaturally 'theme) and without a doubt one of my favourite games I ever played, is the game 'Devil May Cry.'
I originally played this game at a kiosk, in a French Supermarket. I had no prior knowledge of the game, whatsoever, but I saw that it was on display and I watched in both bewilderment and amazement as this French boy played through a level of the game (I remember waiting perhaps 30 minutes before I had the opportunity myself of playing the game.) The graphics (in my opinion) were unbelievable for the time; before I realised that the game on the screen infront of me was playable, I mistook the visual for a game cinematic, again, before it 'dawned on me' that in fact these were the in-game graphics. I do not want this 'account' to quickly turn into a review of the game but I'll simply say that I was instantly enthralled by and subsequently 'hooked' into the intellectual property of the game that day, and have since owned and played all of the subsequent iterations (except for the third installment) to date.
The 'Halo' game on the 'Xbox' and the 'Grand Theft Auto' series of games (namely 'Vice City' and 'San Andreas' for the 'PlayStation 2') are games that need little description concerning the impact that they had on me, as very likely, the experience was similar to that of many other thousands of people that experienced these games. For me, personally, 'Grand Theft Auto: Vice City' was an aswer to my desires for finally having a fully-fledged, 'free-roaming' experience within a game (in the 'truest' sense of the expression.) The game offered me the feeling of being able to do what I wanted, and when I wanted and for its time (save for its predecessor 'Grand Theft Auto 3' which I didn't in fact play) was an entirely unique experience. The story-line (whilst interesting) was something of a 'side-note' to the enjoyment and true freedom I got in simply exploring the world and harnassing its various 'tool's at my disposle. This also an example of a game whereby the developers couldn't truly predict the soughts of outcomes and 'feats' players would subsequently discover and achieve (essentially they built this virtual 'sandbox' and included various 'toys' for the player, and simply unleashed them into this world, and make of it as they saw fit.) Halo, however, sought of re-defined the 'First-Person Shooter' ('FPS') genre for me (as not being too much of a 'FPS' fan, I did play the 'Call of Duty' games however) as the inclusion of vehicles into this somewhat original 'sci-fi' fantsy setting, was a hugely enjoyable experience for me, that got only better with the mulitplayer featured in the game (I have only ever played these series of games for its multiplayer feature I must admit, as the story became rather generic for me, personally, after the second game.)
'Metal Gear Solid 2: Sons of Liberty' was a game that led to a defining moment for myself, as this was the game in which I started considering games as a serious medium, past personal enjoyment or simple innocent, competitive fun.) Similarly to my experience when buying 'The Legend of Zelda: Ocarina of Time', I knew nothing about this game prior to my purchasing it. I bought the game in a tiny shop, that dealt largely with second-hand games, but this was their only copy of a brand new game (of which I didn't realise or know of then) of this game entitled 'Metal Gear Solid 2: Sons of Liberty'. Again, having no prior knowldge of the franchise (of which there is a huge following for) that I was about to 'step-into', I simply scanned the front and back of the box (the artwork for the front of which I was encapsulated by, with not only its style but presentation also) and the story and graphics from a brief 'glance' on the back, peaked my interest enough, I guess, for me to purchase the game (this game of which was to have one of the greatest impacts on me that any game has ever had.)
The graphics were phenomenal, and the art style (of stylised realism) was to have an influence on me personally, and artistically/creatively. The story featured in the game (which was actually a sequel to a game I had never heard of, let alone played) was essentially a postmodernist interpration of 'real-world' events (or political climates) as relevent to recent or current 'history' (perhaps being one of the first games to do so e.g. in using this postmodernist 'feel' to add both realism and to drive the story forward.) The game felt very much like I was within a film (perhaps a Hollywood big-budgeted 'epic') as opposed to simply interacting with a game, and the impressive visuals, coupled with the somewhat mature and well-developed narrative (along with undeniably somewhat 'cheesy'/'over-the-top' moments strewn throughout the experience) I feel contributed to this level of emmersion for me perosnally (looking back also, and having further knowledge of, in terns out the games were in fact inspired by Western Hollywood 'Block-busters' as well as being directly influenced by the film 'Escape from New York' from which the characters, and to a certain extent, the plot, was referenced from.) Hideo Kojima (the producer behind the 'Metal Gear' franchise) orginially wanted to be a Director of films, and I feel this influence is evident in much of his subsequent work in the Video Game industry. The characters of 'Raiden' and 'Vamp' are my personal favourite (controversially) from the games (having since played all of the consoles games to date) although I understand that this would probably be met with some annoyance from general 'Metal Gear' fans, and these two character tend to be hated by the community at large (though I don't see why, I feel they offer more really, whether that was intentional or not, than perhaps the other characters featured in the game.) On a side note, the bonus 'making-of' DVD that came with the game (that essentially followed the progression of and outlined the development and intentions behind the creation of the game) had a profound influence on me when growing up. I also own the official book of artwork to this particular game (entitled 'The Art Of Metal Gear Solid 2, Sons Of Liberty, Yoji Shinkawa Official Illustrations Book Part 2') which I had won in a competition I had entered in a games magazine, as a child; the artwork also continues to inspire me with its originality and 'freshness' in the simplicity of its lines.
I was also one to play almost all of the 'Spider-Man' games for the consoles (culiminating in my favourite, 'Spider-Man 2', yet I also played its 'next-gen' sequal, 'Spider-Man 3', which was arguably not as good, at least in my opinion.) The 'Superman Returns' game, which is technically of the 'next-generation' of games (whilst a failure in terms of both the story and gameplay) did feature an open-world experience and unique gameplay mechanics (the latter two qualities of which can be shared with 'Spiderman 2') which offered the player an experience which cannot be seen in any other game to my recollection and personal history in the games I've played.
As stated with the 'Fifth Generation' of games I mentioned above, there are far too many games that I have played and currently own, that each offered a unique and defining experience for me, and each 'deserve' a place in this 'list' of my personal history of games (which is true also for the remainder of this section of my blog) but alas, I cannot accomodate this in the time and space I have available, which is why I have had to refine both my 'list' and subsequent 'descriptions' of the games I have chosen and decided to include...
The Seventh Generation of Video Game Consoles (Also Currently Known as the 'Next Generation' or 'Next-Gen' Era)
My personal history and experiences with games, really cannot be summed up to any level or 'capacity' that would do it any justice; yet I do not have the time available to write what would result in something resembling that of a novel, in both size and scope, as my 'library' of games is just far too extensive, and many of which a game within that collection holds some special place or significance over my development from a child to a man. Words can never begin to describe it, so instead I'll focus primarily on the 'main' experiences of my gaming history (though naturally, some of these will be missing from this blog) that ultimately influenced and led me to the types and styles of games (and other forms of media) that I enjoy today...
The 'TV Boy' was in fact the first ever console I played (and first 'set' of digital games to my recollection) and so was to prove my introduction into the world of gaming...
Comprising of over a 127 individual games, the product supported, essentially, a multitude of highly varied gameplay options to the player, in the form of industry 'coveted', arcade 'classics.' Although simplistic in nature by todays standards, the game developers (of which several companies were involved in the console) were successful in engaging the player within an experience (whilst being limited in the technology available) to this extent, the games were able to reach audiences in a 'pick-up-and-play' form of entertainment, which remains just as engaging for many people today (including myself) as it was to the people or audiences in it's original conception and subsequent release.
The Fifth Generation of Video Game Consoles (the 32/64-bit Era, Known also as the '3D Era')
'Batman & Robin' was the first ever game (that supported '3D' graphics) that I had been introduced to and from which I had the benefit of, and the ability to, permanentely 'access' (as my brother had recieved a 'PlayStation One', as a gift, with this game being included within that package.)
The game was to have a huge impact on the way I viewed games but also, more importantly (now that I reflect and reminisce on this particular experience) the way in which it was to inform my 'decision-making' as to the type of gameplay experience I found to be the most compelling, for me, personally, which was the idea of this 'sandbox', 'free-roaming' type of gameplay. To summarise, the game was to affect the types of games I was to 'gravitate' towards, in the future, solidifying my passion for 'open-world' games.
Free-roaming, as a form of gaming, essentially offers the player the 'choice', choice in not only where the player desires to go, often within a large scope/radius (Batman & Robin had not only fantastic graphics for its time, in my opinion, but also a large 'radius' for the player to explore within) but also how he or she chooses to traverse that terrain, and when.
I never actually got much further than the first 'level' (within 'Batman & Robin) as not only was it a challenging game (the gameplay is akin to the 'Dead Rising' series of games, in that events occur at specific times, and if you do not collect the necessary evidence before that time, then you essentially fail the mission) but, then again, I never really felt the desire to progress much further; here I was, a very young person, with a creative mind, and I had essentially been given this digital 'sand-box' to play within, this is really where my passion for gaming began, especially for the freedom in creating my own stories or outcomes within games (where I otherwise couldn't.) I always found (and still continue to find today) that the 'game' (any game essentially) never truly offers a complete 'experience' in the way that I desire it (don't get me wrong, there are plenty of games out there with a strong narrative and a highly engaging visual experience, throughout, of which many of those games I will include within this section of my blog) but more so, these games offered me, really, the 'tools' by which to develop, and create, my own experiences from (essentially allowing me to 'live-out' my own desires and fascinations, within the 'constraints' of the world provided.) The next game 'on the list', did just that, and it could possibly be the most influential (and actually still one of, if not my all time favourite) game in the way it was to impact upon me, the game I speak of is 'The Legend of Zelda: Ocarina of Time'...
In order to better 'gauge' what this game was to have over my own personal growth, development and ultimately my interest as a child (I can't even begin to fathom the forms of media I perhaps would not be interested in today, had it not been for the influence of this game) it's important to situate the whole experience within the context to which I was exposed to the game...
I had no prior knowledge of the game save past the brief mention of it by other 'kids' in the playground, who would play games that recreated the adventures and experiences of the game (the 'popular' kids would assign 'roles' to each of us, as the different creatures and characters featured within the game, and of course I played along, pretending to fit in yet having no knowledge of what the other kids, along with myself, were supposed to be, or in fact, what they were even talking about for that matter.)
My next 'exposure' to the game was such an unbelievable and defining experience for me, personally, that it is difficult to amount in words. The experience was during my 8th birthday (what would have been just over four months since the games release) and I was allowed a 'big gift'. When taken to select something, I was walking around (what was then the 'Dixons' store in Bluewater) and I knew instantly that I wanted a console of my very own but something different from my brother (who was the 'sole-owner', as was the case between my brother and I whenever we got anything, of the 'PlayStation One') so I knew I wanted the 'Nintendo 64' but knew not what game I wanted with it. Whenever I purchase anything (especially these days) I always 'assess' and spend alot of time thinking in the shop about what it is I really want, the extent to which I want it and how long I feel it'll last me for (I really do prefer purchasing items that will last for a very long time, and something that I can return to, often in years to come) for my first game I didn't really have this issue/problem; this could have been due to the selection available at the time but I really do not think this is the case. Although I knew little to nothing about it, I gravitated towards 'The Legend of Zelda: Ocarina of Time', to the point that I don't recall what else was out then, I simply walked into the shop and picked up that game (holding the box and subsequently 'studying' the booklet in awe before ever playing the game, something I rememebr vidily, and still do with games to this day.) This process of simply walking in and buying something I knew that I wanted and that I 'must have' (without any pre-collection or defintive knowledge of what it was I was buying, past the artwork on the box, yet knowing that it was amazing) is something I never have done since, atleast not in quite the same way (and quite as successfully.)
With 'The Legend of Zelda: Ocarina of Time' as my first ever game, the sequal that was to proceed it, was a title for which I know I have never had so much anticipation and excitement for and have ever had since, for a any particular game; the sequal is of course 'The Legend of Zelda: Majora's Mask.' Whereby its predecessor had given me the 'tool's necessary to enact 'figmants' of my own imagination, whilst also simply 'breath-taking' experiences (I would spend hours simply riding around on 'Eponya', the horse/mount, for example, without ever losing interest, something I would equally enjoy doing now, perhaps this contributed in some way to my great interest in horeses?) the sequal would also see me take this much further, as I absolutely love any game that provides me the ability to shift form (possibly my most favourite 'power' that there is.) Shifting from from a 'Goron', to a 'Zura' (two fictional species featured with the I.P. of the 'Zelda' universe) and eventually even a giant was unbelievable to me then, as it is to me now, the game was simply incredible, and offered another enthralling and long lasting experience for me.) Resulting in many hours of gameplay time, past the games 'completion', it depicts (particuarly well) my motivation or 'incentive' for my progression through the primary narrative, which, essentially, is to 'complete' the game in order to gain access to as many of the aforementioned 'tools' as possible (this explains also my consistant 'saving' during interesting gameplay options or 'variants' for a given 'level' or section of the game, with the intention being of course to return to the said 'section' of the game so as to 'relive' the experience time and again.
I tended also to 'gravitate' towards the games that offered me (as a player) the experience of controlling a certain creature (animal or 'monster') caring little for the graphics or critical reception (ultimately its success as a product) of the game, for primarily, my being such a young age, I cared little for such things (and whilst, yes, reviews from respected gaming 'sources' do offer a useful base as to whether the game is right for me) when purchasing today, I still do find games, often produced by independent studios, that might provide an expereince not seen in any 'triple a' title. Games such as 'Beast Wars' (whilst not particularly a very enjoyable game it) allowed me to control dinosaurs and animals (such as the cheetah) whereby in other games, I would not have this opporunity. This desire or 'need' to 'play-out' my own fantasies of life as another creature, influenced greatly my game idea, and subsequent project that I 'pitched' during the interview stage for this course, which, essentially, was a realistic wildlife 'simulator', providing the player with just that, the ability to control a creature, in this case an animal such as the lion.
'Rugrats: Search for Reptar', similarly, was a game that featured the ability for me to take control of something other than a human (though in this case, this experience was pertaining to a particular level at the end of the game, as opposed to the game in its entirety.) The level in question allowed you, as the player, to take control of a character (essentially a tyranosaurus rex) entitled 'Rex'. I must have spent hours upon hours endlessly re-living that one experience (that amounted to perhaps two or three minutes of game-time?) I would also prolong it, refuzing to allow the game to progress any further (and essentially 'end'.) Although I was not timed, I absolutely hate timers in games, often finding that this hinders on my chosen style of play. I'll spend days or months just 're-living' or acting out an experience, much like when I find a new song I like, I'll put on the option to re-play and listen to it hundreds of times in a row without losing interest.)
'Croc: Legend of the Gobbos' was another game on the PlayStation that I was obsessed with as a youth. The games platforming style of progression, coupled with its unique visuals and compelling (albeit simple) storyline, had me playing the game from start to finish, on more than one occasion.
'MediEvil' on the PlayStation, was another equally enchanting game during my youth, and also another of my favourites upon growing up. Whilst the story is fairly cliche (atleast at a first glance, e.g. good knight v.s. evil sorcerer/necromancer) the artstyle was so unique and simply breathtaking in its imagination, originality and 'whimsical' nature. The diversity in the levels the player traverses through were also equally welcome and satisfying in completing. The whole experience is something that is very nostalgic for me, and is as memorable for me today as it was the first time I played it. The soundtrack to the game also leant itself extremely well to the experience and is something that made it a particularly enjoyable one for me then (and now) and with the risk of delving too deep, the story (again, whilst fairly cliche, but then again, what games during this era were not? Not many granted, in my opinion) offered a moral relevence that is hard to see in games of the current generation, whereby the main protagonist (the hero 'Sir Daniel Fortesque') was glamorised for heroic deeds/efforts he had not performed in life, and so in death he is given a second chance to earn his celebrated status by saving the world of 'Gallowmere', simultaneously obtaining his revenge by destroying 'Zarok' and therefore fulfilling his destiny and rightfully earning his place and within the 'Hall of Heroes'. An interesting story of redemption and an inspiring tale of one (who in life was prepared to accept gratification and an official title for 'deeds' perhaps not befitting his status, yet in death, one) who is not content with 'living' with his reputation as something he knew he had not earned.
'Conker's Bad Fur Day', is, without a doubt, one of my favourite games of all time. Besides the fact that I possibly played this game over and over again, like no other as a youth (possibly even more so than the 'Zelda' titles I mentioned earlier, although this is for different reasons, due in part to the multiplayer featured in the game) the game also featured a huge variety of levels available to the player, and vastly different situations (feeling much more like a game and several expansions than a simple 'stand-alone' title) that would warrant such a high replay-ability. Produced by the company 'Rare' for the Nintendo 64 console, I admit now (and knew full well back then) that I was perhaps far too young to have been playing this game, for essentially, the some what 'cartoony' aesthetics (or visual style) chosen for the game (that was at this point, synonymous with 'Rare's' style, as made famous by perhaps one of the more 'well-known' of their intellectual properties, their 'Banjo-Kazooie' title, a game I must say I have never owned or fully played) did not reflect the adult content of the gameplay and story itself (which If I remember correctly, I believe I relied on when convincing my parents to let me get the game.)
I mentioned earier on this blog about games that would have an influence over the types (or forms) of media that I would enjoy (as the 'Zelda' games most probably influenced my passion towards 'sword and sandel' and 'traditional' fantasy epics, for example, although I also owe this greatly to my father, who read the works of J.R.R. Tolkien, Robert E. Howard, and C. S. Lewis as a child) this is definitely one of those games.
Again, aimed at a more mature audience (and essentially marketed as such) the game is celeverly 'disguised' (although I'm sure this wasn't their intention) as a friendly platforming game, along the likes of 'Mario' or 'Donkey Kong'; yet as I probably shouldn't have had access to, let alone played this game at the age that I did (I actually had no idea what this game was about, save for having played it around a friends house) I understood all of the references to popular culture (namely films) that were mentioned in the game, and yet were almost all aimed at an older audience (films such as Ridley Scott's 'Aliens', Bram Stoker's 'Dracula', 'Jaws' and 'Saving Private Ryan.') The sexual themes, the over the top violence and parodies to popular movie franchises provided me with a form of entertainment that I cannot even begin to describe in words (and now that I think about it, this probably is one of the most played console games of mine, of all time, as I still find myself returning to play it, with equally such fervour as I did a child.) Again, the feature of multiplayer (something that the 'Zelda' titles didn't have) amounted to some of that play time, but by no means most of it; as with the 'Rugrats' game that I mentioned above, 'Conker's Bad Fur Day' also featured a level that (unlike the aforementioned game) came close to perfection (in my mind as a child then) for allowing myself to 'live-out' my own fantasies. I watched many horror films as a child (something my parents wouldn't permit, but my friend's parents were not so strict on) and none were to have quite an affect on me as films pertaining to vampires or werewolves (or similar creatures.) Bram Stoker's Dracula was (and still is) a particular favourite of mine, and the level that parodied this (in my opinion) seminal piece of film history, was a classic piece of brilliant gameplay, and implemented with equal mastery for its time.
Though implemented with the sought of 'toilet-humour' that is evident throughout much of the game, this level allowed the player to control 'Conker' (the protagonist in the story, and the main character the player controls) in a vampire-bat form (the object of which was to briefly 'stun' the attacking villagers with your own Guano, before carrying them via flight, to a grinder; the subsequent blood from the victim would then feed Dracula and eventually lead to this particular 'bosses'' demise as his new-found bulk/weight would cause him to drop into the grinder below and perish, returning you to your former state.)
I must have spent thousands of hours literally prolonging this level (avoiding what was required to progress) so that I could arrive as close as possible to the feeling of what it would be like to be not only a vampire, but also a bat (and whilst the game did feature 'cartoony' graphics, my imagination simply filled in the blanks, something I would do with similar media such as the 'Disney' films for example, or more recently, the 'World of Warcraft' game and subsequent expansions, whereby the graphics do not need to be realistic in order for me to feel emmersed within the world.)
I did play and continue to own, many, many more games on the 'Nintendo 64' and my brother's 'PlayStation' (including games such as 'Vigilante 8', 'Gran Turismo', 'Turok: Evolution', 'Tomb Raider 2: Starring Lara Croft' etc.) but the games above (whether they were personal favourites of mine, or were mentioned due to their interesting gameplay mechanics) are the ones that stand out for me on these particular platforms.
The Sixth Generation of Video Game Consoles (the 128-bit Era)
Continuing on from the 'theme' outlined within the game previously mentioned, another vampire 'affiliated' experience (and a game in which I obtained immense satisfaction from, and something that only added more 'fuel to the fire' to my passion for vampires and the supernatural) was the game 'Blood Omen 2: Legacy of Kain.'
Whilst I haven't in fact played any of the other games in the 'Legacy of Kain' series, this game provided me with not only interesting gameplay mechanics, but a thoroughly 'gripping' story-line also, leading to this game as another of my 'all-time' favourites.
Perhaps somewhat similarly (in terms of its dark, European/'Gothic' inspired architecture and supernaturally 'theme) and without a doubt one of my favourite games I ever played, is the game 'Devil May Cry.'
I originally played this game at a kiosk, in a French Supermarket. I had no prior knowledge of the game, whatsoever, but I saw that it was on display and I watched in both bewilderment and amazement as this French boy played through a level of the game (I remember waiting perhaps 30 minutes before I had the opportunity myself of playing the game.) The graphics (in my opinion) were unbelievable for the time; before I realised that the game on the screen infront of me was playable, I mistook the visual for a game cinematic, again, before it 'dawned on me' that in fact these were the in-game graphics. I do not want this 'account' to quickly turn into a review of the game but I'll simply say that I was instantly enthralled by and subsequently 'hooked' into the intellectual property of the game that day, and have since owned and played all of the subsequent iterations (except for the third installment) to date.
The 'Halo' game on the 'Xbox' and the 'Grand Theft Auto' series of games (namely 'Vice City' and 'San Andreas' for the 'PlayStation 2') are games that need little description concerning the impact that they had on me, as very likely, the experience was similar to that of many other thousands of people that experienced these games. For me, personally, 'Grand Theft Auto: Vice City' was an aswer to my desires for finally having a fully-fledged, 'free-roaming' experience within a game (in the 'truest' sense of the expression.) The game offered me the feeling of being able to do what I wanted, and when I wanted and for its time (save for its predecessor 'Grand Theft Auto 3' which I didn't in fact play) was an entirely unique experience. The story-line (whilst interesting) was something of a 'side-note' to the enjoyment and true freedom I got in simply exploring the world and harnassing its various 'tool's at my disposle. This also an example of a game whereby the developers couldn't truly predict the soughts of outcomes and 'feats' players would subsequently discover and achieve (essentially they built this virtual 'sandbox' and included various 'toys' for the player, and simply unleashed them into this world, and make of it as they saw fit.) Halo, however, sought of re-defined the 'First-Person Shooter' ('FPS') genre for me (as not being too much of a 'FPS' fan, I did play the 'Call of Duty' games however) as the inclusion of vehicles into this somewhat original 'sci-fi' fantsy setting, was a hugely enjoyable experience for me, that got only better with the mulitplayer featured in the game (I have only ever played these series of games for its multiplayer feature I must admit, as the story became rather generic for me, personally, after the second game.)
'Metal Gear Solid 2: Sons of Liberty' was a game that led to a defining moment for myself, as this was the game in which I started considering games as a serious medium, past personal enjoyment or simple innocent, competitive fun.) Similarly to my experience when buying 'The Legend of Zelda: Ocarina of Time', I knew nothing about this game prior to my purchasing it. I bought the game in a tiny shop, that dealt largely with second-hand games, but this was their only copy of a brand new game (of which I didn't realise or know of then) of this game entitled 'Metal Gear Solid 2: Sons of Liberty'. Again, having no prior knowldge of the franchise (of which there is a huge following for) that I was about to 'step-into', I simply scanned the front and back of the box (the artwork for the front of which I was encapsulated by, with not only its style but presentation also) and the story and graphics from a brief 'glance' on the back, peaked my interest enough, I guess, for me to purchase the game (this game of which was to have one of the greatest impacts on me that any game has ever had.)
The graphics were phenomenal, and the art style (of stylised realism) was to have an influence on me personally, and artistically/creatively. The story featured in the game (which was actually a sequel to a game I had never heard of, let alone played) was essentially a postmodernist interpration of 'real-world' events (or political climates) as relevent to recent or current 'history' (perhaps being one of the first games to do so e.g. in using this postmodernist 'feel' to add both realism and to drive the story forward.) The game felt very much like I was within a film (perhaps a Hollywood big-budgeted 'epic') as opposed to simply interacting with a game, and the impressive visuals, coupled with the somewhat mature and well-developed narrative (along with undeniably somewhat 'cheesy'/'over-the-top' moments strewn throughout the experience) I feel contributed to this level of emmersion for me perosnally (looking back also, and having further knowledge of, in terns out the games were in fact inspired by Western Hollywood 'Block-busters' as well as being directly influenced by the film 'Escape from New York' from which the characters, and to a certain extent, the plot, was referenced from.) Hideo Kojima (the producer behind the 'Metal Gear' franchise) orginially wanted to be a Director of films, and I feel this influence is evident in much of his subsequent work in the Video Game industry. The characters of 'Raiden' and 'Vamp' are my personal favourite (controversially) from the games (having since played all of the consoles games to date) although I understand that this would probably be met with some annoyance from general 'Metal Gear' fans, and these two character tend to be hated by the community at large (though I don't see why, I feel they offer more really, whether that was intentional or not, than perhaps the other characters featured in the game.) On a side note, the bonus 'making-of' DVD that came with the game (that essentially followed the progression of and outlined the development and intentions behind the creation of the game) had a profound influence on me when growing up. I also own the official book of artwork to this particular game (entitled 'The Art Of Metal Gear Solid 2, Sons Of Liberty, Yoji Shinkawa Official Illustrations Book Part 2') which I had won in a competition I had entered in a games magazine, as a child; the artwork also continues to inspire me with its originality and 'freshness' in the simplicity of its lines.
I was also one to play almost all of the 'Spider-Man' games for the consoles (culiminating in my favourite, 'Spider-Man 2', yet I also played its 'next-gen' sequal, 'Spider-Man 3', which was arguably not as good, at least in my opinion.) The 'Superman Returns' game, which is technically of the 'next-generation' of games (whilst a failure in terms of both the story and gameplay) did feature an open-world experience and unique gameplay mechanics (the latter two qualities of which can be shared with 'Spiderman 2') which offered the player an experience which cannot be seen in any other game to my recollection and personal history in the games I've played.
As stated with the 'Fifth Generation' of games I mentioned above, there are far too many games that I have played and currently own, that each offered a unique and defining experience for me, and each 'deserve' a place in this 'list' of my personal history of games (which is true also for the remainder of this section of my blog) but alas, I cannot accomodate this in the time and space I have available, which is why I have had to refine both my 'list' and subsequent 'descriptions' of the games I have chosen and decided to include...
The Seventh Generation of Video Game Consoles (Also Currently Known as the 'Next Generation' or 'Next-Gen' Era)
Subscribe to:
Posts (Atom)