When I think back to some of gaming’s greatest beginnings, I think of “Uncharted 2“, “Batman: Arkham City“, and “Bioshock“. They’re great games that let you know from the very start that you are in for an experience like no other.
But not all games have that luxury. In fact, the only way to appreciate games with truly great beginnings, is to play games that struggled to get started. If you’re looking for some suggestions, here are some of the greatest games of all time, that took a while to really get good.
Star Wars Jedi Knight II: Jedi Outcast
One of the top 5 Star Wars games, and one of the most underrated games period, “Jedi Outcast” was an absolutely brilliant tale that saw retired Jedi Kyle Katarn (who went through some absolute hell in the earlier game to want to give up being a friggin Jedi), wrapped up in the newest plot to take over the galaxy, and forced to go back into the Jedi life to solve it, while taking a little vengeance along the way. Sound pretty bad ass? Oh yeah, it is.
However, before you even get to use the force young padawan, you must slog through the game’s first few missions using nothing but guns, as the early moments are nothing but a first person shooter set in the Star Wars universe. This is actually a trademark of the series, since the second game, but you see the thing is that at its design worst, “Jedi Outcast” features horrible flip switching puzzles, bad jumping sections, and aimless wandering. The first half of the game exemplifies all of these flaws, and doesn’t even give you a lightsaber or force powers to help ease the pain. It’s not like it’s the worst first person shooter ever, but it’s fairly far from the best and takes some time, and patience, to get through.
But here’s the thing. Without the dullness of that first half, that moment you meet Luke Skywalker, grab your lightsaber, use the force, and hear that beautiful “Star Wars” music swell wouldn’t be near as sweet. Earning the right to that moment is what makes it, and the game in general, so incredible. Even on subsequent playthroughs though, when you know the reward, it is still difficult to force yourself through that first half.
Deus Ex
I hate to admit this, but embarrassingly I never found the words to adequately describe “Deus Ex.” Instead, I’d refer you to the mounds of accolades and awards it accumulated, and confirm with you that it was indeed a revolutionary breath of fresh air that’s influences wouldn’t be properly noticed for years to come, as even leading developers seemingly couldn’t appreciate exactly what it was.
The average gamer may have never gotten the chance to experience that though. “Deus Ex” was a first person game, but it wasn’t really a first person shooter, and trying to play the game like that, as many at the time surely did, only led to a swift demise. That’s because while you can play the game guns blazing, in that first mission you’re forced to take a more stealthy, very careful approach as you worked though what was essentially a tutorial of the game. What hurt is that it lacked many of the character enhancement options and various tactics that made “Deus Ex” so much of what it would be. Your methodical approach towards liberating the terrorist controlled statue of liberty is the game’s lowpoint, and doesn’t lend much encouragement to seeing the rest of the game through.
Even after that lengthy intro, it takes a mission or two for the game, and plot, to find its groove and for the series RPG and strategy elements to kick in properly. Once it all comes together though (which occurs around the time of a major plot twist), its inescapable brilliance is a constant onslaught to your senses. You can retrospectively laugh at gamers that didn’t stick through the beginning of “Deus Ex”, but really the game did itself no favors in immediately making itself welcome. Read the rest of this entry »
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If you can get past the irony of someone on Yahoo calling anything else outdated and irrelevant, there was an interesting article up on there recently, where writer Jay Yarrow of Yahoo’s business section painted a doomsday picture of Microsoft’s future in the video game industry. In it, the idea is presented that the PC giant may no longer have the clout and financial stability needed to stay in the video game industry.
His points are numerous, but they all center around the same basic idea that in a world that is constantly adapting more to the idea of smartphone and tablet use, the field of personal computer operations the Redmond based PC royalty once called its kingdom is no longer strong enough to keep them relevant. What’s worse is that they are not only losing ground in the home market, but more and more businesses are turning to using Macs as well. He adds to both these points by noting that Microsoft’s latest attempts to reclaim the tech throne with Windows 8 (and the systems that support it) as well as the surface tablet aren’t exactly making the impact culturally or financially to take a bite of Apple.
It’s hard to argue with any of those claims, as Microsoft’s recent financial shortcomings are well documented. However, the controversial idea presented is that as Microsoft looks to shore up its base operations for the changes of the coming world, the gaming division may be seen as expendable. The exact figure presented is that of Microsoft’s $21 billion income last year, only $364 million of it came from the Xbox division.
How I View $364 Million is, Apparently, Inaccurate
It’s a damning argument with a lot of big numbers behind it, but I find it to be ultimately flawed. For one thing, the biggest problem facing Microsoft right now is that they weren’t able to anticipate the coming changes in the technological world and make the necessary operational adaptions to keep up with them.
The 360 is the exception though. Outside of the notoriously stingy Japanese market, they have managed to make the Xbox name synonymous with mainstream gaming in a way that names like Nintendo and Playstation used to know. It’s sales figures continue to astound each quarter, Xbox Live is by far the most capable and complete of online services, the Kinect is an amazing piece of popular (if flawed) technology, and, even though exclusives aren’t as important as they used to be, the Xbox has some of the best and even more importantly is the most popular destination for major cross platform releases, due in large part to the technical issues inherent in PS3 releases and the limitations and adaptations required for Wii ports. The 360 managed to survive a shaky start that was highlighted by three glowing red rings of failure, to become the most complete system on the market.
While it’s true the Microsoft Xbox division launched in more prosperous financial times, since then in one mere generation it has managed to become a symbol of modern gaming, a household name, and the most consistent and inventive aspect of all of Microsoft’s operations in the last few years in terms of finances and public reception. While Microsoft’s current situation make the next Xbox a tricky prospect that may become more dependent on more gimmicky aspects like Kinect to become a more complete entertainment set piece and not “just” a gaming console in order to take a calculated risk in maintaining its position without breaking the bank, the fact remains that they would be stupid to write off the only part of their company that isn’t seriously lagging behind another major competitor.
Instead the reality is a little more frightening. If Microsoft can’t pick up the slack in every other field but gaming, then, and only then, will the Xbox fall. Even though the Xbox can’t claim responsibility for Microsoft’s current situation, it’s fate is still directly tied into the company overall, and all things considered, that’s not necessarily a brighter future.
So Valve has been busy updating some games recently to include support for their “Big Picture” mode that will allow Steam to be used on TV. It’s a welcome update for those with the capabilities and, for most games, is taking nothing more than a 70 MB update to help incorporate.
Except for one game though. For some reason “Half-Life 2: Episode 2” is requiring a 400 MB update. This being the internet, suddenly everyone started having a theory of how this would lead to “Half-Life 2: Episode 3” or even “Half-Life 3”. Nobody has any real idea about how this works, but hey, since 400 is a way bigger number than 70, it can only mean the release of one of the most anticipated games of all time right? The madness surrounding the update is so consuming, that a completely unrelated video from Machinima featuring a series of binary code, and vaguely “Half-Life” music playing throughout, was thought to be part of the conspiracy, and players are now feverishly scouring “Half-Life 2: Episode 2” to find any changes.
The “Magic Bullet” Of the “Half-Life 3” Conspiracy
Of course, the whole thing is nonsense to the sane mind, but it does bring up a very real problem for Valve, in that the next “Half-Life” (in whatever form it may take) is slowly reaching some pretty unrealistic expectations. Whenever an extra 330 MB of unspecified, probably insignificant data can bring the entire PC gaming community to a furor, the hype meter has definitely spiked, and that’s not necessarily a good thing.
Valve’s exhibited an uncommon level of craftsmanship over the years, but even they are setting themselves up for a scenario where gamers are having years to craft their own game in their minds that even Valve might not be able to match. While this doesn’t mean they should rush the development of a game, it may be time to give gamers something (anything) regarding the next title in the beloved series before the hype machine claims another victim ala “Diablo III”.
While you can put a book down, or tell yourself its just a movie, there is an element of participation involved in games that makes the scary ones that much worse. Even if it is in the virtual sense, you are the one in the game, and the horrors are happening to you.It may have taken a while for developers to truly catch on to the potential of the genre, but ever since there has been a tidal wave of terror that has left many a gamer fumbling their controllers in a cold sweat.
As October rolls around then, and Halloween dawns on us, it is time to celebrate the greatest horror games of all time. I’ve got a list of 31 total, starting here, one for each day of the month. They are loosely ranked, with the main factor being the overall experience.
Although, being absolutely terrifying also doesn’t hurt its standings.
31. Deadly Premonition – Awful graphics, controls, gameplay ideas, acting, and just about every other technical malady you can think of plague this game. But, just like horror movies, not everything has to be perfect for a title to be memorable. There is just something so compelling in the way that “Deadly Premonition” handles itself, as it clumsily (but oddly beautifully) blends horror and black comedy in an open world environment. The game’s story is completely out there, and sucks you in just to see what’s next. It’s almost like the developers intended to make a bad game, but accidentally ended up with something greater than the sum of its parts (much like many a great B-Movie). You’ll either love this game or despise it, but it is impossible to forget, and makes for something every gamer must try even if you hate yourself for doing so.
30. Nocturne – In what will be something of a reoccurring theme on this list, “Nocturne” is brimming with flaws. Sporting one of the worst cameras ever in a video game, and some equally bad controls to match, “Nocturne” is slightly unplayable these days. But if you gut your way through it you will find some of the best horror environments of all time. Carried by the games great story, “Nocturne” comes off like a mix of the “X-Files” and the old Hammer horror films of the 50s. A technical disaster that did so much else right, this is one game that is begging to be revisited.
29. Dino Crisis 2 – The first “Dino Crisis” looked and felt a lot like “Resident Evil” with dinosaurs. It was fun, and had moments of genuine creativity, but the series peaked with “Dino Crisis 2.” The survival concept of the first game went almost completely out of the window, and in its place came pure action bliss, as “Dino Crisis 2” became one of the few, and greatest, arcade style horror games of all time. The variety of weapons, enemies, and levels turns the game into one new fist pumping moment after another throughout the, all too brief, runtime. It may not be scary enough to go higher on my list, but it’s fun enough to still warrant playing through to this day, which is not something you can say for a lot of similar games from that era
28. Siren– The Japanese have a good mind for horror, and “Siren” is definitely a pure Japanese horror game. While the game more than liberally borrows from “Silent Hill” in many aspects (especially the story) the look and feel of the game carry an appropriate level of dread. Bonus points are applied for the great “Sightjack” feature that allows you to take over the view of an enemy in order to best avoid them, which is necessary as they can’t be killed in the strict sense. At the end of the day, “Siren” is undeniably a clone of many superior works, but the things it copies are so rarely copied in video games that it still feels fresh.
27. Alone in the Dark – In general, video games do not share the same luxury of fine wines, and tend to age horribly. Long cited as the first survival horror game in the pure sense, “Alone in the Dark” isn’t necessarily unplayable, but its dated gameplay and graphics take much of the original impact away. More than just a textbook video game entry however, there is still a lot of great design decisions to be found in “Alone in the Dark’s” carefully constructed house of scares. Much like an old black and white horror flick, what this game has lost in fright, it makes up for with an odd charm and timeless sense of style. It’s impossible to call yourself a horror fan and not give the original “Alone in the Dark” a go.
26. Rule of Rose – If famed horror director Dario Argento made a horror game, it may look like ‘Rule of Rose.” One of gaming’s few entrants in the psychological horror genre, “Rule of Rose” is a disturbing romp through an abandoned orphanage that features an almost incomprehensible plot that actually makes the entire experience better for the dreamy effect it creates. I’ve rarely played a game that felt so unnerving, and makes you feel as unwelcome. Unfortunately this is another case of bad design ruining the overall game, as “Rule of Rose” puts its full effort into story and style and leaves players to suffer through a general gameplay hell that will make all but the most patient give up in disgust. It still remains too unique to be anything less than noteworthy, though.
25. Slender: The Eight Pages – I almost feel bad putting such a new and simple title above something like “Alone in the Dark.” However, “Slender” truly is horror design at its most pure. Featuring one enemy, and no combat system, the only thing you can really do in “Slender” is walk and collect the eight pages that are scattered about. But every turn could make you face to face with the Slender Man himself, which could spell your doom, and ensures you will be jumping constantly while playing. Uncompromisingly terrifying, this is minimalist game design at its very best, and with any luck will start a new trend of horror games not trying to rely entirely on action gameplay as a backbone.
Of all of the concepts in video game history, only one seems to have the unique attribute of being both completely irrelevant, and strangely everlasting.
It’s the concept of high scores.
Long ago (I would say even into the Super Nintendo era) the need and use for high scores in video games as a dominate means of measuring achievement feel to the wayside. In its place came the greater ideas of narrative, exploration, and eventually direct competition, creativity and, of course, unique individual game achievements. In other words, pretty much everything but a rolling tally of numbers is used to judge gamers, and games, by skill and merit.
And yet, even as gaming spreads more and more into the public conscious, the idea of a high score and video games still goes hand and hand. To this day, you still hear movies and other mediums throw out the line “I beat my high score!” or something similar when the story calls for a gaming reference. In a way it’s no surprise. The idea of one set of numbers being greater than another is used in so many other fields to declare a winner that its natural for that same feature to be the defining characteristic of victory for gaming as well in the eyes of many.
Of course, with the explosion of mobile gaming, the idea of a high score is becoming slightly less barbaric than it once was. Those simple app games are re-exploring the concept and, thanks to the global communication devices they often run off of, are also bringing back the idea of the classic arcade concept of communal high score competition. Just like an arcade, there are of course those gamers that shine above all others, and whose names remain such fixtures on the tops of leaderboards that you would think they were programmed there. Also, much like an arcade, every now and then a small group of those superior scorers will engage in a back and forth over the top spots that creates one of the competitive concepts that you see in just about every other field with regularity except for gaming. Genuine, individual player vs individual player rivalry.
Right now on the leaderboards of “Super Hexagon,” this rare moment is occurring. Even better, it’s not two civilians that are engaging, but two heavyweight players. In one corner is Terry Cavanagh. Terry has the unique “Super Hexagon” advantage of not only having programmed “Super Hexagon”, but creating the damn thing in the first place. The game’s challenge of moving a small triangle through a pulsating and vibrant tunnel of constant death is his doing. Actually, allow me a quick sidebar here before we move any further. If you’ve never played it, “Super Hexagon” can be sadistic. Think, “Dark Souls” without the thrill of accomplishment, because there rarely is accomplishment to be found within its impossible confines.
Yet this common idea doesn’t hold for Cavanagh who constantly finds himself atop the leaderboard. He isn’t doing it through any programming advantages either. The man is just that good and, even more important, is obsessed with remaining the best player in the world. He constantly checks in to see if anyone is eyeing the throne, and smites all those who would seek to replace him.
It’s a madness that has worked so far and, were it not for Jason Killingsworth, Mr. Cavanagh may be a man without rival.
“I have near-crippling levels of perfectionism,” Killingsworth says, and a penchant for exquisite challenges. “Most games these days feel like cow-tipping — the only requirement to succeed is to possess at least one working arm,” he says. “I want to spend my gaming hours breaking crazy-eyed, bucking stallions.”
The blindingly fast “Super Hexagon” is his latest stallion, and therefore, so is the high score of Cavanagh. Their competition hasn’t been so much a sweet science, as it is a stick and move affair. Killingsworth takes a jab, Cavanagh posts a new score moving farther out of reach. It’s the same, again and again. Only recently, has a true counter-strike has been landed as Killingsworth has beaten Cavanagh in the games third highest difficulty by 12 seconds. It’s not total victory, but for a creator who has a “Frankenstein” like obsession with his work, it’s enough to make him sweat and feverishly check the leaderboards each day to make sure Killingsworth doesn’t claim even part of the kingdom for long.
Yet, like all great champions, he is still gracious in defeat as he is quick to praise Killingsworth for accomplishing what few, if any more, ever will. He does this for the same reason he is so adamant about maintaining his spot on the leaderboard. Because he just wants to promote the game he is so proud of.
That, is the biggest reason this one of my favorite gaming stories of the year. Someday someone is going to have to invent a better phrase for it, but until then this is simply old school gaming at its purest. It brings back such glorious concepts of arcade spirit and high score competitions, that aren’t marred by things like cheap tactics, glitch exploitation, or the dreaded pre-pubescent bewildering smack talk that plagues so many other competitive games either. No, somehow in an industry that is becoming more and more obsessed with corporate ideas, lies a high profile back and forth between a game creator who just wants everyone to love his game as much as he does, and a hardcore gamer who welcomes challenges that take no prisoners.
In other competitive fields they refer to events such as this as being for “the love of the game”, or representing “the integrity of the sport”. Video games don’t really have a similar phrase, but the beauty of it is they don’t need one. Because in a simpler time, we just called this gaming. In a more complex age, that’s thankfully all this still is.
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