Why Heavy Rain Should Have Been An On-Rails, First-Person Light Gun Game But Without The Light Gun

When I went to go see Dead Space: Extraction at EA’s offices last year, I stifled a scoff when it was introduced as a “guided first-person experience”. Them some fancy words for a light gun game, I thought. Indeed, no matter how good Extraction proved to be, my thought was right on the money. Despite apt use of motion-captured characters, a realistically shaky camera, and the mind-mush that were the hallucinations, Extraction was a very enjoyable, well orchestrated light gun game.

Then again, is there something in the concept of a guided first-person experience? What are the advantages of the on-rails action and the first-person perspective of a light gun game? Is there something to them in tandem that means they could be used outside of light gun games?

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This Generation’s Best Music

This article was originally published at TheGameReviews

As budgets have gotten bigger, as the market has expanded, and as the resources have become ever more diverse, gaming’s music has simply gone from strength to strength. These days we’re regularly treated to a range of incredible songs in every game we play, carefully choreographed music that amplifies our experience, making each success and each failure that much more dramatic.

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Emergent Competitive Play Within Co-op Play

I’ve recently returned to a popular Xbox Live Arcade game from last year, the puzzling platformer Splosion Man. I’ve been looking for a co-op game to enjoy with Joe DeLia, especially in lieu of the five hour-long nightmare devoid of even an iota of pleasure that was our disastrous Too Human session.

Thankfully, Splosion Man is an excellent game to play in co-op. Any frustration with its lofty difficulty level is engulfed by the satisfaction taken from laughing at each other’s misfortunes, this providing the platform for the game’s quirky humour to really shine. There are intelligent, inventive ideas specific to co-op too, particularly the synchronized 1-2-3 countdown that removes any hindrance to teamwork from lag. All in all, it’s a better game in co-op, as so many games prove to be.

As we played through a few levels, Joe begrudgingly noted that I was constantly reaching the finishing line before him. It wasn’t that there was any bonus for finishing first; as long as one of us finished the level, we both made it through to the next one. It’s just that, apparently, he wanted a piece of the imperceptible glory too. I told him that he had to earn it, and from there we made a game of it: whoever makes it to the finish line first wins. So, we helped each other through the next five levels – you have to, such is the nature of Splosion Man’s platforming level design – but when it came to the finish, all teamwork was abandoned in a madcap dash for the line.

It reminded me of that scene from the movie adaptation of Lord of the Rings: The Two Towers, when Gimley and Legolas are defending the fort. The pair decides to make a game of who can kill the most enemies. Just like Legolas trashed Gimley, I left Joe biting the dust with a final 4-1 result.  

This is the emergence of competitive play within co-operative play, where the competitive play works towards the aims of the co-operative play, despite being emergent and essentially disconnected. More than that, it amplifies desire to achieve the goals of the co-operative play by providing another motivation to do so: to beat your partner. Actually, it’s more than just emergent play. It’s the emergence of a game within a game. There are rules, win conditions, boundaries, etc. That the sub-game not only works with the objectives of the main game, but actually amplifies desire to achieve them, is quite fascinating to me.

Then again, think of all the times you’ve had a bet anything like who would score the most goals in a football match for your team, or who would run their part of the relay the fastest. Co-op remains fairly fertile territory for video games, but outside of them this type of play is not so unusual.

Does competitive play within co-operative play work better when it’s emergent? I’m not sure. I haven’t really given it enough thought, but I will note that I more enjoyed the artificial competition we made for ourselves in Splosion Man than any more imposed competitive play I had with my girlfriend in New Super Mario Bros. Wii. Sure, it was fun to push her off the edge once in a while, but ultimately that game was tough enough without squabbling between us. I think that analysis reveals that drawing any conclusions from that comparison would be foolish. It might be something worth exploring, though, and a subject I will probably return to in a future post.

Still, it was something that interested me and I thought I would share it instead of plunder further along in the world of Final Fantasy XIII’s Cocoon. On the tenuously segue way-based subject of grand games with theological ideas, I was wondering if Amiga classic Mega-Lo-Mania provided a good example of the reverse i.e. co-operative play within competition.

In this real-time strategy game – although players familiar with its time-bending play will understand why that description is misleading – you fought against up to 3 AI opponents for control of sectors within a map. You could strike alliances with them, if they were willing, and indeed break these alliances at will. The AI could form its own alliances too. To keep things fair, this was more often than not completely random, and the unpredictable AI made for captivating battles and outcomes.

Obviously this isn’t emergent, but you do have temporary co-operative play that amplifies the goal of the competitive play. The key difference is that the example for Splosion Man was purely in the name of fun, while this example is with strategy in mind. I’m not sure it’s even a legitimate example, but again I thought it was worth exploring. There may well be better examples to cite.

I’ve written in my planned notes to have some sort of conclusion here, but I’m not sure there’s one to be drawn, really. Maybe that emergent competitive play within co-operative play is kinda cool. I just wanted to share an observation, really. 

Oh wait, here’s a conclusion: Joe sucks at Splosion Man – hah!

Toy Soldiers

You have to hand it to Signal Studios; they actually found a unique way of presenting World War I combat. While the Army Men and Lego series have taken some of the freshness out of living plastic figurines, Toy Soldiers’ authentic representation of kids playing with miniature troops makes interactive historical combat feel more harmless than usual. It’s surreal fun to see these plastic soldiers burst into bits after being shot, as is looking down from your fighter plane on the painted landscapes and cardboard backgrounds below. Also, it’s not another first-person shooter, which certainly helps.

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Fragile Dreams

tri-Crescendo’s debut solo project, Eternal Sonata, did not deliver on its potential. It took place in the mind of composer Chopin, bravely attempting the balance of a rich, vivid art direction against an overtly morbid theme. It proved to be a mismatch of ideas, criminally let down by poor writing, superficial characters, and combat that neither challenged nor engaged.

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Final Fantasy Shouldn’t Be Ashamed Of Its Linearity

James Bishop recently wrote in his Spoony Bard column about defending linearity as a gaming device. He talked about Final Fantasy XIII’s director, Motomu Toriyama, responding to criticism of that game’s linearity. A month later and indeed reviews like this one from PC Magazine criticize the game for being too linear. Whitney Reynolds writes:

There’s something soulless to the overly linear Final Fantasy XIII, something missing that makes it not feel like a Final Fantasy game at all.

Reynolds is certainly not alone in thinking Final Fantasy XIII is unusually linear for the series. But is that an accurate assessment of the series, that it is non-linear as the statement infers? Is the argument that because previous series games, specifically those before X, had overworlds to explore and side quests to find, that made them non-linear?

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CM 97/98

The Championship Manager 97/98 demo was my first experience of the series. CM 97/98 was the third and final game to use the CM2 engine, and because of the previous two games’ success was much anticipated. For all the popularity, it was still astonishing to see a humble football management sim dominating the PC Zone issue that housed the disc with the game’s demo on it.

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Greed Corp

As a chess-loving youngster, I later found its gaming equivalent(-ish) in the fantasy game and series, Heroes of Might and Magic. Early iterations were simple, often ending in bitter endgames. Sometimes these were drawn out over hours, but they were never stalemates. Even ostensibly simple turn-based strategy games like Heroes can have a wealth of depth, and Greed Corp presents an impressive modern example.

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Heavy Rain: Win Or Choose?

I’ve been thinking about the esteemed Jared Newman’s comments in response to my (spoilerific) blog post on Heavy Rain. I just wanted to throw out a quick thought on something that occurred very early on in the game, something I think represents the best example of what (I think) Jared was talking about, namely Heavy Rain trying to present itself more as an interactive drama with no correct choices than as a video game to be beaten.

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