5. Bioshock 2 (PS3/360/PC - Played on PS3)
Not on its own. Bioshock 2 and Minerva's Den are the perfect juxtaposition of frenetic action and compelling narrative. The intial product managed to address many of the control issues of the first game, allowing players to duel-wield weapons and plasmids. The addition of Big Sisters and Eve Harvesting made for some exciting encounters, and ensured that the return to Rapture wasn't just retreading water (ha! underwater dystopia pun). The story was a mixed bag of with the shallow, ideological conflict between Sophia Lamb and Rapture's father, Andrew Ryan; and the protagonist's quest to be reunited with his Little Sister, which just happens to be Lamb's daughter, Eleanor. The battle between Lamb and Ryan plays out over the series' staple of audio logs, and never sounds overly meaningful. If Lamb was such a powerful political opponent to Ryan, you would imagine that she would have played a far more prominent role in the city's downfall. Not so. The principal pursuit of a reunion with Eleanor however, is particularly forceful; and where politics bemuse, love prevails. Minerva's Den is the stronger narrative experience, with some truly surprising and stirring moments. There were few meaningful additions as far as gameplay is concerned, but Sigma's battle to liberate The Thinker is an essential experience. The final hour in particular, features several fantastic set pieces and the second biggest tearkjerker of the year. I'd talk about the multiplayer component, but this dispensable failure only serves to diminish my fervour for this exceptional sequel.
4. Metal Gear Solid: Peace Walker (PSP)
Metal Gear Solid: Peace Walker is easily the most visually impressive game released on the PSP. It also happens to feature the most fluid control system for any shooter released on Sony's portable console, and rarely provided frustration while sneaking through the jungles of Nicaragua. For those with the patience to delve into the game's economy, a plethora of weapons and equipment will be developed for your various play styles. You can opt to go naked, to carry more weapons with the trade-off of being more visible and susceptible to damage. On the other hand, you can don a sneaking suit and attempt to move undetected. The boss fights are grand in scale, and clearly designed for cooperative play. With the right equipment and strategy however, they can be conquered alone. The action is deep, but the narrative is easily the most memorable aspect of this title. What starts off as a reasonably innocuous investigation of military activity, quickly escalates to full-scale nuclear tension between world superpowers. Add to this the apparent sightings of Naked Snake's mentor, and you have a legitimate and essential chapter in the MGS canon. Snake's reunion with The Boss is the biggest tearjerker in recent memory. The end to the final confrontation forces players to relive the most horrific moment of the protagonist's life over and over again. Both characters may look (VERY) different, but questions of The Boss' betrayal still linger; once again forcing Snake to question his ideals. The story doesn't end there, with many missions and audio files to plough through upon finishing the main quest.
3. Battlefield: Bad Company 2 (PS3/PC/360 - Played on PS3)
Bad Company 2 is unbridled fun with firearms. Either alone, with friends or anonymous foes, the sheer chaos that unfolds on screen will demand hours of dedicated play. The single player campaign progresses at a frenetic pace, with breathtaking on-rails sequences and epic firefights. The story may not be essential, but it does tie these events together competently. While there were some missions towards the end that digressed to the grind of other checkpoint-based FPS campaigns, the overall pace of the title was exceptional. Bad Company 2 also features one of the most hilariously zany conclusions I've had the joy of playing through, with violent exchanges of gunfire on a plane, followed by a skydive chase. The multiplayer suite is well supported, with several updates and map packs being made available after release (most for free if you bought a new copy of the game). The addictive class-based play affords players numerous strategy, and is as deep and rewarding as the competition. The true star though in both the single and multiplayer offerings, is the almost-entirely destructible environments. There is no safe hiding place, and the absence of a sanctuary forces players to engage in sometimes unbelievable acts of heroism (and/or vengence). For an example: in the map, White Pass I had taken refuge in the second floor of a farm house, and had snaked a few cheeky kills with a mounted turret. An opponent stealthily entered the structure and stabbed me in the back, taking my precious dog tags. Enraged at my own assassination, and thankfully spawning within a short walk of my previous location, I proceeded to demolish the ceiling of my former safe haven with an underbarrel grenade launcher so that my assassin was exposed. Alterted to my presence (stealth was not part of the plan), my enemy returned fire and nearly killed me. I jumped into a nearby well, popped out, and killed my rival and two of his teammates with a spirited burst of fire. I felt like a hero. A murderous, vengeful hero (but a hero all the same).
2. Red Dead Redemption (PS3/360 - Played on PS3)
What can I say about Red Dead Redemption that has not gone unsaid by myself, or most other critics for that matter? While some were happy to assume that the game was essentially Grand Theft Auto with Horses, John Marston's quest to redeem himself and save his family was the most involving single player adventure to be released this year. The second chapter of the story is perhaps a bit too long, and the numerous fetch quests do become somewhat tiresome, but the endearing characters and thoughtful dialogue ensured that I was engaged from start to finish. Aside from the principal tale, there are hours worth of side-quests, and a complex economy to observe. It is easy to get lost on the frontier for hours on end; stopping thieves, hunting game, helping strangers, and even picking flowers. The multiplayer was an interesting concept, but unfortunately the action didn't translate perfectly from the solo campaign. It was fun enough, but was ultimately nothing more than a distraction.
1. Halo: Reach (360)
Do you know what I find to be the most annoying idiosyncracy amongst almost all of the gaming websites I visit?
The "Game of the Year," award almost never goes to the game which attained the highest score over the course of the year. Now that I'm involved with a blog, what do I do? Engage in the same irritating behaviour.
I loved this game. After I had finished the campaign, and proceeded to play other games, I felt like I was cheating on it. I felt like my game time was not being spent effectively. Halo: Reach is my sentimental favourite for the year. Sure it may be similar to every other instalment of the series, but when the action is this good, does it matter?
The action is rarely not grand (read: EPIC) in scale, and Bungie expertly allows players to feel as though they are on the losing side of a war. More than that, the pace shifts constantly with brilliant vehicle sequences (including an excellent space dogfight); intense, on-foot firefights, and well-directed cut scenes. Noble Team (with the exception of Kat) are all a likeable band of rogues, and that makes the final hours of the campaign all the more poignant and vital. The fall of Reach is easily more engaging than any previous narrative instalment in the series, and was a great joy to experience. The single player quest demands multiple playthroughs (although so far I've only managed one). Game-changing Skulls are all available from the outset too, as are multiple difficulties, ensuring that the experience can be altered to suit your tastes. I am determined however to earn the achievement titled "A Monument To All Your Sins," for finishing the game alone on Legendary difficulty; an Xbox Live friend has it, and I often gaze upon it, seething jealous rage. Two missions down, eight to go.
The multiplayer offering introduces Armour Abilities into the standard, low-gravity combat and is as enjoyable as ever. The maps and new weapons offer a visual and strategic feast that any Xbox 360 owner should indulge in. There is plenty for competitive and cooperative enthusiasts, with Firefight mode returning from Halo 3: ODST and new modes like Invasion bringing large scale battles to the series, and add much to the already strong (not to mention, diverse) multiplayer suite. Best of all, a persistent reward system operates across both solo and multiplayer activity, which means no time with the game goes without recompense.
Halo: Reach may not be the most original game released in 2010, however it is easily the most polished. A gripping, sometimes moving narrative, coupled with white-knuckle action that can be enjoyed alone or with company; Halo: Reach offers more fun than any other game released this year.
What was your GOTY? What would you like to see from Unbearable Dutch next year?
That's it from me this year. Have a happy and safe holiday season, and I'll see you all back here for my first regular post of 2011 on Monday, 3 January.
Wednesday, December 1
Monday, November 29
The High Horse Audit (Part 2): Most Disappointing Game of the Year and Honourable Mentions
The Most Disappointing Game of 2010
As much as this may sound like a cop out: for me, the most disappointing game of 2010 was not technically a bad game. On the contrary, it has been subject to almost universal acclaim (read: I could only find one review where it had been scored less than the equivalent of 90 percent). Furthermore, it's not as though it was the worst game released this year. There were times where the visuals blew me away, or the action functioned as I believed it should have with lasers, bullets and bodies flying everywhere. For every moment of perfection I played through however, I was then subjected to an eternity worth of poorly-delivered dialogue, or painstakingly slow-paced firefights.
I laboured over this decision for quite some time, as there were scores of underwhelming games released this year. The disappointment started early with the comically-derivative Darksiders, which takes away the dubious honour of having the most convoluted control scheme I've ever been privy to. Not just in the context of this year either, the game was genuinely confusing to play, and I am struggling to think of any game which required more thought to execute some of the most basic maneuvers. March presented the long-awaited Final Fantasy XIII, which featured a narrative that hadn't really started, even after ten hours of play. Even though I had predominantly positive things to say about it earlier this year, I must admit that any subsequent attempt to re-engage with the game has failed. Other lowlights for the year included the soulless Modnation Racers, and criminally-difficult Lost Planet 2.
The competition was narrowed to two games however, after the month of September. Dead Rising 2 failed almost entirely to deliver a sequel worthy of its predecessor. As I had advised previously, the original Dead Rising showed the potential of then next generation hardware. Wading through thousands of zombies armed with rarely much better than sporting goods, Dead Rising was a truly black comic take on the Survival Horror genre. The sequel promised the ability to craft zany weapons, online co-op and an expansive casino-mall hybrid in which to wreak zombicide. What I played however was an unpolished, and at times unforgiving assault on the senses. With ridiculously difficult (I would even argue broken) boss fights, and truly woeful vehicle sequences, Dead Rising 2 disappointed me thoroughly. As unsatisfying as the game was, the downloadable prelude, Dead Rising 2: Case 0 had alerted me to the fact that little had changed since 2006. I was ready for the frustrations that DR2 would provide.
So without further delay, the most disappointing game of 2010 was Mass Effect 2.
Despite my best efforts, and by far the most impressive opening sequence I've ever seen, I failed to engage with Mass Effect 2 entirely. Reflecting on it now, the principal reason for my disillusionment with the game is the volumes of positive opinion that the game received. It was one of the reasons I opted to once again purchase an Xbox 360. I know that it's foolish to buy a system for one game, and in my defence I did it for three (Halo: Reach, Gears of War 3 and well, you know).
The RPG-lite approach adopted for the space opera sequel meant that Bioware had produced yet another cover shooter, which in this case was punctuated by monotone dialogue from the protagonist who was in turn accompanied by some regrettable support characters. Previously I had reported that my brother was of the opinion that I was not playing the game in the correct fashion, but I would argue that if I have the power to charge at my opponents, that I should be able to use said power and survive more often that not. Obviously that was not the case.
There were some characters that I truly appreciated, like my returning favourite Garrus and the humorously skittish Salarian, Dr Mordin Solus. After levelling-up some of my biotic powers the combat also became somewhat more enjoyable, but ultimately the game failed to attain the dizzying heights of praise levelled at it by throngs of journalists and my brother alike. Much like FFXIII, any attempts to return to the adventure have been met with abject failure. In spite of this, I am planning to restart the second chapter of Commander Shepard's journey sometime in the not too distant future.
The Best Downloadable Game (or Content) the Year
To be entirely honest, I haven't purchased too many exclusively downloadable games and content this year. To be brutally honest, little of said content was worth the price of acquisition. There were some highlights though, with the single player expansion to Bioshock 2, offering a stronger sole experience than that delivered with the initial product. The only problem with Minerva's Den was that it was yet another four hours in the underwater dystopia of Rapture, after the twelve to fifteen found in the combat-heavy retail product. The overwhelming sense of deja vu ultimately detracted from the experience, but I must stress that the conclusion was not only a great surprise, but also genuinely moving.
As good as Minerva's Den was, the best downloadable game of the year was Shank.
Despite some cruel spikes in difficulty, and the most frustratingly-difficult final boss fight in recent memory: Shank recaptured the simplicity and fun of platforming classics from the 32-Bit generation, albeit with a fresh and bloody coat of paint. With that said however, the platforming sections of the game provided the most frustration. Shank was a success more for its brutal combat, where the players can freely switch between melee and ranged weapons to create some truly gruesome combos. The boss fights were usually a reliable source of fun, and the pattern-based confrontations once again harked back to the games of consoles long since passed. The story was somewhat non-existent, but then again, how many 2D brawlers or platformers featured profound narratives? Shank is the true evolution of the 2D action game , and while there were some flaws to be found, and many cheap deaths to be had, it was by far the most memorable and enjoyable downloable game released this year.
The Most Suprisingly-Good Game of the Year
For all of my lamentations and glorified whinging, there were some good games released this year. Even some great games, many of which were far better than I had expected. Star Wars: The Force Unleashed II (which I finished this weekend) and Kane and Lynch 2: Dogs Days both proved to be more enjoyable than I had thought they would be, especially given the mediocre reviews both titles had received. These games each provided a short, focussed experience which at times was just as enjoyable as some of the more lauded competition. These games weren't anywhere near perfect, and featured several notable design flaws; but I did complete them. That's more than I can say for Vanquish, Fallout: New Vegas and Crackdown 2, which received more praise yet remain unplayed and will more than likely remain uncompleted for months to come.
As much flawed fun as I did have with some of the underdogs this year, the most suprisingly-good game of 2010 is easily Just Cause 2.
Just Cause 2 came from out of nowhere to steal hours of my life, and my heart. Sure there was enough cornball dialogue, and offensively-stereotyped voice acting to make several action films, but Just Cause 2 made up for its shortcomings with an unrivalled sense of freedom. As Rico Rodriguez, a deadly agent of the creatively-named government agency, The Agency, players could call upon a full-scale arsenal to wreak havoc across the island paradise of Panau. If you wanted to reach a fortress at the top of a mountain, you could order a helicopter from the Black Market to fly to your desired destination. If said helicopter wasn't proving to be enough fun, you could fly to the airbourne nightclub, steal a jet and proceed to plough it into your enemy's fortifications while you parachute to safety. On the other hand, maybe you don't like conventional aircraft. In that case, you could use Rico's trusty grappling hook and parachute to scale the highest peaks of Panau. Add the ability to capture your antics on videos which can then be uploaded to YouTube, and Just Cause 2 is the videogame equivalent of a youth's worth of Schwarzenegger films.
Be sure to come back on Wednesday to see my picks for the best games of the year. What was your pick for the most disappointing game of the year? What was the worst game you played this year?
As much as this may sound like a cop out: for me, the most disappointing game of 2010 was not technically a bad game. On the contrary, it has been subject to almost universal acclaim (read: I could only find one review where it had been scored less than the equivalent of 90 percent). Furthermore, it's not as though it was the worst game released this year. There were times where the visuals blew me away, or the action functioned as I believed it should have with lasers, bullets and bodies flying everywhere. For every moment of perfection I played through however, I was then subjected to an eternity worth of poorly-delivered dialogue, or painstakingly slow-paced firefights.
I laboured over this decision for quite some time, as there were scores of underwhelming games released this year. The disappointment started early with the comically-derivative Darksiders, which takes away the dubious honour of having the most convoluted control scheme I've ever been privy to. Not just in the context of this year either, the game was genuinely confusing to play, and I am struggling to think of any game which required more thought to execute some of the most basic maneuvers. March presented the long-awaited Final Fantasy XIII, which featured a narrative that hadn't really started, even after ten hours of play. Even though I had predominantly positive things to say about it earlier this year, I must admit that any subsequent attempt to re-engage with the game has failed. Other lowlights for the year included the soulless Modnation Racers, and criminally-difficult Lost Planet 2.
The competition was narrowed to two games however, after the month of September. Dead Rising 2 failed almost entirely to deliver a sequel worthy of its predecessor. As I had advised previously, the original Dead Rising showed the potential of then next generation hardware. Wading through thousands of zombies armed with rarely much better than sporting goods, Dead Rising was a truly black comic take on the Survival Horror genre. The sequel promised the ability to craft zany weapons, online co-op and an expansive casino-mall hybrid in which to wreak zombicide. What I played however was an unpolished, and at times unforgiving assault on the senses. With ridiculously difficult (I would even argue broken) boss fights, and truly woeful vehicle sequences, Dead Rising 2 disappointed me thoroughly. As unsatisfying as the game was, the downloadable prelude, Dead Rising 2: Case 0 had alerted me to the fact that little had changed since 2006. I was ready for the frustrations that DR2 would provide.
So without further delay, the most disappointing game of 2010 was Mass Effect 2.
Despite my best efforts, and by far the most impressive opening sequence I've ever seen, I failed to engage with Mass Effect 2 entirely. Reflecting on it now, the principal reason for my disillusionment with the game is the volumes of positive opinion that the game received. It was one of the reasons I opted to once again purchase an Xbox 360. I know that it's foolish to buy a system for one game, and in my defence I did it for three (Halo: Reach, Gears of War 3 and well, you know).
The RPG-lite approach adopted for the space opera sequel meant that Bioware had produced yet another cover shooter, which in this case was punctuated by monotone dialogue from the protagonist who was in turn accompanied by some regrettable support characters. Previously I had reported that my brother was of the opinion that I was not playing the game in the correct fashion, but I would argue that if I have the power to charge at my opponents, that I should be able to use said power and survive more often that not. Obviously that was not the case.
There were some characters that I truly appreciated, like my returning favourite Garrus and the humorously skittish Salarian, Dr Mordin Solus. After levelling-up some of my biotic powers the combat also became somewhat more enjoyable, but ultimately the game failed to attain the dizzying heights of praise levelled at it by throngs of journalists and my brother alike. Much like FFXIII, any attempts to return to the adventure have been met with abject failure. In spite of this, I am planning to restart the second chapter of Commander Shepard's journey sometime in the not too distant future.
The Best Downloadable Game (or Content) the Year
To be entirely honest, I haven't purchased too many exclusively downloadable games and content this year. To be brutally honest, little of said content was worth the price of acquisition. There were some highlights though, with the single player expansion to Bioshock 2, offering a stronger sole experience than that delivered with the initial product. The only problem with Minerva's Den was that it was yet another four hours in the underwater dystopia of Rapture, after the twelve to fifteen found in the combat-heavy retail product. The overwhelming sense of deja vu ultimately detracted from the experience, but I must stress that the conclusion was not only a great surprise, but also genuinely moving.
As good as Minerva's Den was, the best downloadable game of the year was Shank.
Despite some cruel spikes in difficulty, and the most frustratingly-difficult final boss fight in recent memory: Shank recaptured the simplicity and fun of platforming classics from the 32-Bit generation, albeit with a fresh and bloody coat of paint. With that said however, the platforming sections of the game provided the most frustration. Shank was a success more for its brutal combat, where the players can freely switch between melee and ranged weapons to create some truly gruesome combos. The boss fights were usually a reliable source of fun, and the pattern-based confrontations once again harked back to the games of consoles long since passed. The story was somewhat non-existent, but then again, how many 2D brawlers or platformers featured profound narratives? Shank is the true evolution of the 2D action game , and while there were some flaws to be found, and many cheap deaths to be had, it was by far the most memorable and enjoyable downloable game released this year.
The Most Suprisingly-Good Game of the Year
For all of my lamentations and glorified whinging, there were some good games released this year. Even some great games, many of which were far better than I had expected. Star Wars: The Force Unleashed II (which I finished this weekend) and Kane and Lynch 2: Dogs Days both proved to be more enjoyable than I had thought they would be, especially given the mediocre reviews both titles had received. These games each provided a short, focussed experience which at times was just as enjoyable as some of the more lauded competition. These games weren't anywhere near perfect, and featured several notable design flaws; but I did complete them. That's more than I can say for Vanquish, Fallout: New Vegas and Crackdown 2, which received more praise yet remain unplayed and will more than likely remain uncompleted for months to come.
As much flawed fun as I did have with some of the underdogs this year, the most suprisingly-good game of 2010 is easily Just Cause 2.
Just Cause 2 came from out of nowhere to steal hours of my life, and my heart. Sure there was enough cornball dialogue, and offensively-stereotyped voice acting to make several action films, but Just Cause 2 made up for its shortcomings with an unrivalled sense of freedom. As Rico Rodriguez, a deadly agent of the creatively-named government agency, The Agency, players could call upon a full-scale arsenal to wreak havoc across the island paradise of Panau. If you wanted to reach a fortress at the top of a mountain, you could order a helicopter from the Black Market to fly to your desired destination. If said helicopter wasn't proving to be enough fun, you could fly to the airbourne nightclub, steal a jet and proceed to plough it into your enemy's fortifications while you parachute to safety. On the other hand, maybe you don't like conventional aircraft. In that case, you could use Rico's trusty grappling hook and parachute to scale the highest peaks of Panau. Add the ability to capture your antics on videos which can then be uploaded to YouTube, and Just Cause 2 is the videogame equivalent of a youth's worth of Schwarzenegger films.
Be sure to come back on Wednesday to see my picks for the best games of the year. What was your pick for the most disappointing game of the year? What was the worst game you played this year?
Friday, November 26
Nukem Til They Glow
As I attempted to prise dog food from my toddlers’ mouth, I was suddenly struck with memories of Duke Nukem 3D. It may have been her pig like squeals or even the soft gooey mess on the floor once I got most (?) of it out that brought on these vivid memories, all I know is that I have become a man obsessed on Duke. Again.
Back in the mid 90’s, when it was first released, my friends and I went nuts for it. We would play it constantly through the week, and then meet up on the weekends to tirelessly take out mutated pigs and aliens together. Once it was cracked to the original US version, we not only praised the gore, but also the strong language and girly bits; two aspects of adult entertainment that were quite new to gaming (and 13 year old boys).
Along with a warped and comedic narrative, it’s these two characteristics of the game that set it apart from the FPS releases of today. The majority of today’s leading games seem to place all their focus on realism and cinematic style; whether you are fighting humans or monsters, programmers ensure the weapons, tactics and locations are accurate and that the storyline is tight and engrossing while delivering a visual feast i.e. Tom Clancy or Halo series.
If a game doesn’t deliver both, it will place preference on one aspect, usually opting to create an aesthetically pleasing gaming experience rather than a cerebral one. I can’t think of any examples off hand but I bet dollars to donuts anyone reading this can think of one game that looked the goods but was just plain boring.
Duke Nukem’s plot was simple and masculine: aliens are taking over the world and stealing all the hot chicks. Shoot the bad guys, save the world and women, go on holiday. Nothing about it was complicated and it was just over the top enough to get away with its absurdity.
One game that comes close to capturing the essence of Duke would have to be Wet, however I didn’t overly enjoy it. To be honest, I was more attracted to the name and the artwork on the box than the actual content.
It’s very much like a Quentin Tarantino movie put into a game. The action is quite stylised, with the opportunity to run up walls, slide on your knees while killing enemies with a samurai sword and perform kills in slow motion. Wet tries quite hard to be something it’s not, however the laid-back nature of Duke is evident through the game’s design.
The Grand Theft Auto series draws on a couple of Duke characteristics; however the overt adult themes and use of offensive language and sexuality were what truly captured its audience. While GTA was violent and anti-social, it took these characteristics to the next level, which gave it a dark and gritty theme and therefore had to be taken seriously.
As mentioned earlier, today’s leading FPS releases are all focused on realism – Call of Duty, Medal of Honor, Halo, Gears of War; even Wolfenstein 3D was brought into the beautifully rendered 21st century.
In the current gaming landscape, the idea of a comedic narrative seems like a joke in itself and an idea best kept off the major production table and pushed onto the Xbox Live Arcade kids table.
I for one would like to see a game that doesn’t take itself seriously and that I want to play. Not necessarily Duke Nukem 4 (let’s face it, that one is not coming...ever) or another version/clone of Duke 3D, but simply a game that says the wrong things while you do the wrong thing.
Do you need to have the realism in your games or would you also like to see a serious attempt at a game that doesn’t take itself seriously?
Next Friday on Dutch: Hold on to your hats as I possibly do something useful with a video game blog and actually review a game.
Wednesday, November 24
Back on my High Horse
So there are no surpises: please be advised that my last regular post for this year will be on Wednesday, 1 December. I'll try to report back to you throughout the month, but my upcoming nuptials and honeymoon will take precedence over writing duties. Next week's posts will include the final two instalments of the High Horse Audit for 2010. On Monday I'll reveal what I found to be the most disappointing game of 2010, the best downloadable game of the year, and the most surprisingly-good game (one of the few cases where I can actually tolerate surprises). Wednesday's post will catalogue the 5 best games I have played this year.
To prepare you for next week, I must first qualify that:
Maybe I'm looking to the past with a pair of rose-coloured glasses, to a time when I had more time to engage with games, and experience their every feature (and earn more of their precious achievements). Perhaps more likely though, is that the industry is looking more often for the safe bets; the sequels. But then all you need to do is compare the list above with the list of games I have played this year (at the end of this post) and you'll find that to be a false assertion. A sequel doesn't necessarily have to tread within the same territory, and in the case of the games above, most of those sequels featured drastic improvements over their predecessors. Maybe, and perhaps most horrifying of all, critically engaging with videogames has taken some of the fun out of playing them. Maybe I'm being dramatic. Maybe.
Please peruse the list below, and share your picks for the game of the year in the comments section. Are there any games I should have played, but missed out on?
Playstation 3
Xbox 360
To prepare you for next week, I must first qualify that:
- I do not own a Wii, DS or powerful gaming PC
- While I do spend an exorbitant amount of money on games, I cannot buy everything released on the Playstation 3, Xbox 360, PSP and PC
- While I do spend a lot of time playing videogames, I have not been able to play though all releases on the afformentioned systems
- Downloadable games include releases on the Xbox Live Arcade and titles available exclusively on the Playstation Network (ie. not available in brick-and-mortar stores)
- While I have purchased Need for Speed: Hot Pursuit, Assassin's Creed: Brotherhood, Fable III, Rock Band 3 and Star Wars: The Force Unleashed 2; I haven't been able to play them for a sufficient amount of time to form a worthwhile opinion on these titles. It is also unlikely that I will find the time to play these games long enough for them to factor into next week's calculations.
Maybe I'm looking to the past with a pair of rose-coloured glasses, to a time when I had more time to engage with games, and experience their every feature (and earn more of their precious achievements). Perhaps more likely though, is that the industry is looking more often for the safe bets; the sequels. But then all you need to do is compare the list above with the list of games I have played this year (at the end of this post) and you'll find that to be a false assertion. A sequel doesn't necessarily have to tread within the same territory, and in the case of the games above, most of those sequels featured drastic improvements over their predecessors. Maybe, and perhaps most horrifying of all, critically engaging with videogames has taken some of the fun out of playing them. Maybe I'm being dramatic. Maybe.
Please peruse the list below, and share your picks for the game of the year in the comments section. Are there any games I should have played, but missed out on?
Playstation 3
- Call of Duty: Black Ops
- Super Street Fighter IV
- Final Fantasy XIII
- NBA 2K11
- Vanquish
- Medal of Honor
- Blur
- Kane & Lynch 2
- Modnation Racers
- Mafia II
- Battlefield: Bad Company 2
- Bioshock 2
- Prince of Persia: The Forgotten Sands
- Dark Void
- Sonic & SEGA All-Stars Racing
- Lost Planet 2
- God of War III
- Red Dead Redemption
- Just Cause 2
- Darksiders
- Bayonetta
- Shank
- Megaman 10
- After Burner Climax
- Sam and Max: Season 6, Episode 1 - The Penal Zone
- Scott Pilgrim Vs The World: The Videogame
- Final Fight: Double Impact
- Bioshock 2: Minerva's Den
Xbox 360
- Halo: Reach
- Split/Second
- Crackdown 2
- Fallout: New Vegas
- Dead Rising 2
- Mass Effect 2
- Alan Wake
- Risk: Factions
- Super Meat Boy
- Snoopy Flying Ace
- Metal Gear Solid: Peace Walker
- Half-Minute Hero
- Several horrible minis
- StarCraft II: Wings of Liberty
Monday, November 22
In case you haven't played it: Call of Duty - Black Ops Review (PS3)
Is there really any point in writing an introduction to a review for the fastest-selling videogame of all time? Odds are that if you haven't bought it already, you're waiting for Call of Duty: Black Ops to hit the bargain bin (good luck with that). Another reason, perhaps even more unlikely, is that you have no interest in this lastest instalment at all? Still, there may be some of you who are on the fence; some of you who are wondering whether Treyarch have been able to bring balance to the multiplayer suite, or even create a singleplayer storyline bereft of controversy, with more effective pacing? With this package, I'm happy to report in the affirmative. The latest offering in this storied money-maker of a franchise has fixed many of the problems that presented during Modern Warfare 2. That is not to say that Black Ops is a perfect game, or an essential experience for that matter; as the formula that millions were first exposed to back in 2007 is now starting to feel cliched, even stale.
The Good
Once more, with feeling - While the script can at times rely heavily on curse words, the voice talent articulating the narrative have managed to create a sense of drama and atmosphere atypical of most First Person Shooters. James Burns, who lent his voice to regular companion Sergeant Frank Woods is the real standout, however Ice Cube, Ed Harris, Garry Oldman (man-crush) and (for the most part) Sam Worthington all contribute to one of the most compelling CoD campaign I've ever played through.
Still hot - While this is solely in reference to the single player campaign, it must be said that Blacks Ops is quite the looker. There are scores of wow moments within this game, and, they aren't limited to explosions. The environments each look fantastic, and, some of the scripted sequences are simply breathtaking.
Are you OK with this? - Black Ops contains some of the most gruesome sequences in recent memory; more stomach-churning (but nowhere near as questionable) than the airport sequence in Modern Warfare 2. I've heard quite a bit about a particular torture sequence, but, I felt that it paled in comparison to some of the contextual melee hits that are scattered throughout the missions in Vietnam. What is fantastic about this brutality is that it need not be experienced if it is beyond your comfort level: Treyarch have included an option to tone down and, in some cases, nearly remove the gore of specific sequences, and I thoroughly appluad their efforts to cater to wussbags like myself.
Go your own way - The thoroughly popular, and overly familiar Call of Duty multiplayer suite returns; however, now players are able to decide (for the most part) how they progress, and what perks, weapons and equipment they use. I've explored this previously in the post "Blaze of Glory," so I won't dwell on it for too long. However, the freedom you are afforded allows for you to develop effective strategies well before you reach higher levels. The new Contract system works well enough (however, I must admit that I lack the skill and confidence to make proper use of it) and presents even more opportunites to acquire COD points and unlock more weapons, attachments and various other personalisations. There is even the option to play against bots, and when you tune your opponents to Veteran difficulty it can prove to be an unforgiving, albeit necessary, introduction to the mechanics of CoD multiplayer.
Tour of Duty - Black Ops features an impressive array of expertly designed maps that suit the CoD formula of play perfectly. There are plenty of places to camp; however, run-and-gunners are able to flourish as well, as no spot on any map is unreachable. The balanced Killstreak rewards also add substantially to the strategies that players can develop and then employ. I can't recall a single instance where I felt cheated by the new or returning rewards.
Promising start - The first two hours of the campaign are a blast, and at times even break from the action typical of previous instalments. The first mission especially, is so frenetic in pace and execution that I genuinely thought the series was embarking in a refreshing new direction. Some early sequences don't even demand that every enemy be dispatched. A chase is always more exciting than a rout.
Black Ops Arcade - Unlockable from the main menu (check the video below if you want to know how, beware the swears!), Black Ops Arcade is an addictive and humourous twin-stick shooter. Not a reason to buy the game by any means; but, still a value-added Easter Egg complete with weapons, power-ups and precious treasure.
The Bad
Ugly cousin - I am wondering whether this is specific to the Playstation 3 version, but the multiplayer game looks washed out when compared to the singleplayer portion. I can understand that animations and details need to be scaled down when dealing with 16 players, each employing their own dynamic strategy; but some competitors feature just as many players, and look far better (Battlefield: Bad Company 2 anyone?).
In English please? - Once again, Black Ops carries the fine tradition of employing a whole dictionary of military terminology that goes unexplained. I hope to fill the gaps in my vocabulary with subtitles, but they offered no elaboration on the various acronyms, jargon and code you're exposed to throughout the adventure.
Empty additions - The new Wager Matches are a novelty at best, and while they do serve to offer some new experiences they are, ultimately, unnecessary. This may be sour grapes on account of losing a few thousand at the proverbial track, but, the matches I played were not overly enjoyable. One in the Chamber quickly devolves into a knife fight, while Sticks and Stones is the foremost venue for opponents rage-quitting. Gun Game and Sharpshooter are fun enough for the casual crowd, however, the lack of depth had me returning to standard matches very quickly.
Unstable - For every solid match you'll find online, you'll have to endure two with spotty and, at times, unplayable connections. Even after a post-release patch, I'm still finding that matches end prematurely, or lobbies close as I get tantalisingly close to a match beginning. Not a game breaker, but, frustrating nonetheless.
The Ugly
Same old - The multiplayer offering has been refined to the point of near-perfection, but this is essentially the same game I've been playing for over three years. It still managed to engage me for a few hours, but, after less than ten hours of play, I can advise that I am happy to put it bed. I may return to it sporadically. however, if you've played any CoD multiplayer game since Modern Warfare, you know exactly what to expect here.
Tired - While lacking any civilian slaying controversy, the majority of Black Ops plays like every other CoD singleplayer adventure. There are usually three kinds of scripts for any given level, involving corridors, large set pieces in exterior locations, or, simplistic vehicle sequences. While the narrative tying these sequences together may be different, and the settings and context have been changed; I can't escape the feeling of deja vu I've experienced since as far back as Call of Duty 2. Black Ops looks fantastic, and plays well enough, but so did World at War; so did Modern Warfare. The recently rebooted Medal of Honor only exacerbates the situation; Black Ops may be a better game, but, since MoH is a CoD rip-off, the feeling of deja vu is stronger still.
Convoluted yet predictable - For its every attempt at misdirection, the final twist in Black Ops was in no way a surprise. I didn't pay too much attention to the credits, but it would not surprise me if M. Night Shyamalan was called upon by Treyarch to write this bumbling, time-hopping period piece.
Zombies - I am f&$%ing tired of zombies in videogames. Zombies mode makes its return in Black Ops, and it is just as uninspiring as it was in World at War. Zombies mode is no substitution for Special Ops, and Black Ops is a weaker package without a proper co-operative mode.
8/10 - For anyone who has somehow been living in a gaming cave, and hasn't played a Call of Duty game: you need to play Black Ops, for it is easily the most enjoyable and refined instalment of the franchise. However, all the quality voice acting, progession systems and map design in the world can't save this from feeling like a loaf of stale bread, fresh from the CoD bakery. This would be the best entry point for anyone who is yet to properly engage with series; a statement which holds true for both the single and multiplayer offerings.
The Good
Once more, with feeling - While the script can at times rely heavily on curse words, the voice talent articulating the narrative have managed to create a sense of drama and atmosphere atypical of most First Person Shooters. James Burns, who lent his voice to regular companion Sergeant Frank Woods is the real standout, however Ice Cube, Ed Harris, Garry Oldman (man-crush) and (for the most part) Sam Worthington all contribute to one of the most compelling CoD campaign I've ever played through.
Still hot - While this is solely in reference to the single player campaign, it must be said that Blacks Ops is quite the looker. There are scores of wow moments within this game, and, they aren't limited to explosions. The environments each look fantastic, and, some of the scripted sequences are simply breathtaking.
Are you OK with this? - Black Ops contains some of the most gruesome sequences in recent memory; more stomach-churning (but nowhere near as questionable) than the airport sequence in Modern Warfare 2. I've heard quite a bit about a particular torture sequence, but, I felt that it paled in comparison to some of the contextual melee hits that are scattered throughout the missions in Vietnam. What is fantastic about this brutality is that it need not be experienced if it is beyond your comfort level: Treyarch have included an option to tone down and, in some cases, nearly remove the gore of specific sequences, and I thoroughly appluad their efforts to cater to wussbags like myself.
Go your own way - The thoroughly popular, and overly familiar Call of Duty multiplayer suite returns; however, now players are able to decide (for the most part) how they progress, and what perks, weapons and equipment they use. I've explored this previously in the post "Blaze of Glory," so I won't dwell on it for too long. However, the freedom you are afforded allows for you to develop effective strategies well before you reach higher levels. The new Contract system works well enough (however, I must admit that I lack the skill and confidence to make proper use of it) and presents even more opportunites to acquire COD points and unlock more weapons, attachments and various other personalisations. There is even the option to play against bots, and when you tune your opponents to Veteran difficulty it can prove to be an unforgiving, albeit necessary, introduction to the mechanics of CoD multiplayer.
Tour of Duty - Black Ops features an impressive array of expertly designed maps that suit the CoD formula of play perfectly. There are plenty of places to camp; however, run-and-gunners are able to flourish as well, as no spot on any map is unreachable. The balanced Killstreak rewards also add substantially to the strategies that players can develop and then employ. I can't recall a single instance where I felt cheated by the new or returning rewards.
Promising start - The first two hours of the campaign are a blast, and at times even break from the action typical of previous instalments. The first mission especially, is so frenetic in pace and execution that I genuinely thought the series was embarking in a refreshing new direction. Some early sequences don't even demand that every enemy be dispatched. A chase is always more exciting than a rout.
Black Ops Arcade - Unlockable from the main menu (check the video below if you want to know how, beware the swears!), Black Ops Arcade is an addictive and humourous twin-stick shooter. Not a reason to buy the game by any means; but, still a value-added Easter Egg complete with weapons, power-ups and precious treasure.
The Bad
Ugly cousin - I am wondering whether this is specific to the Playstation 3 version, but the multiplayer game looks washed out when compared to the singleplayer portion. I can understand that animations and details need to be scaled down when dealing with 16 players, each employing their own dynamic strategy; but some competitors feature just as many players, and look far better (Battlefield: Bad Company 2 anyone?).
In English please? - Once again, Black Ops carries the fine tradition of employing a whole dictionary of military terminology that goes unexplained. I hope to fill the gaps in my vocabulary with subtitles, but they offered no elaboration on the various acronyms, jargon and code you're exposed to throughout the adventure.
Empty additions - The new Wager Matches are a novelty at best, and while they do serve to offer some new experiences they are, ultimately, unnecessary. This may be sour grapes on account of losing a few thousand at the proverbial track, but, the matches I played were not overly enjoyable. One in the Chamber quickly devolves into a knife fight, while Sticks and Stones is the foremost venue for opponents rage-quitting. Gun Game and Sharpshooter are fun enough for the casual crowd, however, the lack of depth had me returning to standard matches very quickly.
Unstable - For every solid match you'll find online, you'll have to endure two with spotty and, at times, unplayable connections. Even after a post-release patch, I'm still finding that matches end prematurely, or lobbies close as I get tantalisingly close to a match beginning. Not a game breaker, but, frustrating nonetheless.
The Ugly
Same old - The multiplayer offering has been refined to the point of near-perfection, but this is essentially the same game I've been playing for over three years. It still managed to engage me for a few hours, but, after less than ten hours of play, I can advise that I am happy to put it bed. I may return to it sporadically. however, if you've played any CoD multiplayer game since Modern Warfare, you know exactly what to expect here.
Tired - While lacking any civilian slaying controversy, the majority of Black Ops plays like every other CoD singleplayer adventure. There are usually three kinds of scripts for any given level, involving corridors, large set pieces in exterior locations, or, simplistic vehicle sequences. While the narrative tying these sequences together may be different, and the settings and context have been changed; I can't escape the feeling of deja vu I've experienced since as far back as Call of Duty 2. Black Ops looks fantastic, and plays well enough, but so did World at War; so did Modern Warfare. The recently rebooted Medal of Honor only exacerbates the situation; Black Ops may be a better game, but, since MoH is a CoD rip-off, the feeling of deja vu is stronger still.
Convoluted yet predictable - For its every attempt at misdirection, the final twist in Black Ops was in no way a surprise. I didn't pay too much attention to the credits, but it would not surprise me if M. Night Shyamalan was called upon by Treyarch to write this bumbling, time-hopping period piece.
Zombies - I am f&$%ing tired of zombies in videogames. Zombies mode makes its return in Black Ops, and it is just as uninspiring as it was in World at War. Zombies mode is no substitution for Special Ops, and Black Ops is a weaker package without a proper co-operative mode.
8/10 - For anyone who has somehow been living in a gaming cave, and hasn't played a Call of Duty game: you need to play Black Ops, for it is easily the most enjoyable and refined instalment of the franchise. However, all the quality voice acting, progession systems and map design in the world can't save this from feeling like a loaf of stale bread, fresh from the CoD bakery. This would be the best entry point for anyone who is yet to properly engage with series; a statement which holds true for both the single and multiplayer offerings.
Friday, November 19
Job Hunting: Reality’s Monkey Island
Once again I sit in my cubicle feeling misunderstood and insignificant. I’ve been looking for a new job for some time now, however, events during the past few months have motivated me to get a wriggle on and bust out of the rut I’ve carved myself.
Unfortunately, applying for a job isn’t a simple feat, especially in a specialist and competitive field such as marketing. Job applications used to comprise a resume, carefully crafted cover letter and a quick email. These days you have to jump through hoops and answer questions about this and that, and provide seemingly random musings to impress your prospective employer. And then there’s the interview.
The whole process reminds me of the old Monkey Island series – you look around for far too long to find what you think you are looking for, only to discover you can’t use it for your ultimate goal.
That makes the role of the jobseeker played by Guybrush Threepwood, ‘mighty’ pirate and habitual boat sinker. You start your adventure quite ambitious, tending to ask irrelevant questions and fumble around trying to find the right path.
Answering and submitting selection criteria is just like sword fighting with insults – you just think of something possibly relevant, throw in a key word here and there, and you’re done. You’ll fail miserably until you realise the tricks of the trade and learn a couple of decent responses but that’s ok because you need the practice to beat the Sword Master.
The Sword Master in this case is the person conducting the phone or first interview. You need to collect as much information as possible to get past this one. Some of the conversation will be relevant to employment, some of it will be filler so you can prove you aren’t a serial killer.
The Sword Master is a harsh mistress, living in seclusion and only available by stalking (thanks LinkedIn!). You’re likely to come across her a number of times only to fail but return much more confident.
Once you’ve impressed the Sword Master, you fiddle around for a little bit (that’s the easiest summary of the game) and square up to the ghost pirate LeChuck. Note to potential employers: I doubt very much you are an evil undead-demon-zombie-ghost-pirate antagonist hell bent on stealing my missus. Please don’t hold the analogy against me.
The final showdown, or second interview, leads to clammy hands, nervousness and what can feel like a mental beating of epic proportions; not because it’s hard, it’s just a drawn out process. Minutes feel like hours and it seems like you are running around in circles. At times you might feel like you’re at your wits end and that all hope is lost, but then you pull out some magic and win the game. Cue a sigh of relief, celebrations and fireworks.
Delving further into the comparison, job hunting website Seek could play the part of the mutinous pirates that ‘help’ you sail the Caribbean. I find it ever so *helpful* to receive irrelevant email job alerts. How is a lawyer part of marketing communications? I’m not sure, but they said I’m not qualified for the position.
Of all the objects in my real life puzzle based comic adventure, my favourite is definitely the resume (aka the soup on the ship) - a crazy concoction of random stuff collected along the way that changes the direction of your career only to land you on a new desert island full of misguided adventure that will inevitably lead you to a sequel in a couple of years.
Has your life seemed to mimic games?
Unfortunately, applying for a job isn’t a simple feat, especially in a specialist and competitive field such as marketing. Job applications used to comprise a resume, carefully crafted cover letter and a quick email. These days you have to jump through hoops and answer questions about this and that, and provide seemingly random musings to impress your prospective employer. And then there’s the interview.
The whole process reminds me of the old Monkey Island series – you look around for far too long to find what you think you are looking for, only to discover you can’t use it for your ultimate goal.
That makes the role of the jobseeker played by Guybrush Threepwood, ‘mighty’ pirate and habitual boat sinker. You start your adventure quite ambitious, tending to ask irrelevant questions and fumble around trying to find the right path.
Answering and submitting selection criteria is just like sword fighting with insults – you just think of something possibly relevant, throw in a key word here and there, and you’re done. You’ll fail miserably until you realise the tricks of the trade and learn a couple of decent responses but that’s ok because you need the practice to beat the Sword Master.
The Sword Master in this case is the person conducting the phone or first interview. You need to collect as much information as possible to get past this one. Some of the conversation will be relevant to employment, some of it will be filler so you can prove you aren’t a serial killer.
The Sword Master is a harsh mistress, living in seclusion and only available by stalking (thanks LinkedIn!). You’re likely to come across her a number of times only to fail but return much more confident.
Once you’ve impressed the Sword Master, you fiddle around for a little bit (that’s the easiest summary of the game) and square up to the ghost pirate LeChuck. Note to potential employers: I doubt very much you are an evil undead-demon-zombie-ghost-pirate antagonist hell bent on stealing my missus. Please don’t hold the analogy against me.
The final showdown, or second interview, leads to clammy hands, nervousness and what can feel like a mental beating of epic proportions; not because it’s hard, it’s just a drawn out process. Minutes feel like hours and it seems like you are running around in circles. At times you might feel like you’re at your wits end and that all hope is lost, but then you pull out some magic and win the game. Cue a sigh of relief, celebrations and fireworks.
Delving further into the comparison, job hunting website Seek could play the part of the mutinous pirates that ‘help’ you sail the Caribbean. I find it ever so *helpful* to receive irrelevant email job alerts. How is a lawyer part of marketing communications? I’m not sure, but they said I’m not qualified for the position.
Of all the objects in my real life puzzle based comic adventure, my favourite is definitely the resume (aka the soup on the ship) - a crazy concoction of random stuff collected along the way that changes the direction of your career only to land you on a new desert island full of misguided adventure that will inevitably lead you to a sequel in a couple of years.
Has your life seemed to mimic games?
Thursday, November 18
Response to Kotaku AU's Open Letter to Metacritic
Allow me to preface this diatribe. This afternoon, Kotaku Australia's editor posted an article titled "An Open Letter: Metacritic," which can be viewed using the following link. While I appreciated the criticism of a freely-available evaluation tool for all popular media, I don't agree that we can blame Metacritic alone for the failures of the gaming industry as a whole; or even original endeavours within the industry itself. I posted a response to the letter, which I wanted to share with you all.
Dear Metacritic,
No hate from me. You provide a valuable service, and if the gaming media adjusts their assessment methods so that their opinions can be published on your website then that is their concern.
Videogames have been a medium prone to sequels (and a wholesale lack of creativity) for quite some time. I would argue this was the case long before I began to consult with you.
Ordinarily for me, purchase decisions are based on the impressions I read about a title pre-release. While reviews often reinforce the initial impressions, they can in great number sway me from purchasing something I was only remotely interested in. On the other hand, if something garners positive quantitative analysis out of relative obscurity (Braid, Demons' Souls) you then open my eyes, and my wallet.
I consult Kotaku daily for reviews and opinion, and the site has not since I started reading it afforded numeric scores to evaluate videogames. I appreciate that, I respect that, and these qualitative measures can at times have more sway than a number.
I would argue that no outlet on its own can provide the means to justify a purchase decision. You merely assist with filtering the raw data that the gaming media provides, and help with those 50/50 gambits. IGN and Gameinformer often scare me with their fleeting, albeit usually positive analysis of AAA games upon release, only to publish an article weeks/months later providing valid criticisms of a game that they will probably state is "Game of the Year," material. For an example, IGN gave Fable III a score of 8.5 only to publish an article titled "Editorial: Fable III - Why It Fails." 8.5 is not a fail, if Fable III went to IGN University, it would be awarded a High Distinction with that score.
Metacritic doesn't speak English, it only does the math. I refuse to hate on the numbers guy, they only try to help.
To Kotaku AU, please criticise a publication that deserves a higher level of scrutiny, like Gameinformer. Especially after that 30 characters that defined a decade article. That was rubbish. I loved Red Dead Redemption, but how has Bonnie MacFarlane (or John Marston for that matter) characterised a decade of videogames? How can they rate Niko the fifth most influential character and lament that "Before Grand Theft Auto IV, Rockstar protagonists were predominantly shallow criminals driven by a lustful desire for money and power," only to then announce the 17th most influential character, Tommy Verceti from GTA: Vice City? Absolute rubbish.
To me metacritic, it's not your numbers that I loathe, it's the usually inane opinions behind them.
Keep on adding, subtracting and dividing.
Your friend,
Dutch
While I will admit that I made a few sweeping statements in my reply, I think it is wrong for us to lay blame for the industry's downturn at the feet of a website which merely aggregates the opinion of the gaming media as a whole. I'll admit that Metascores have influenced several of my purchase decisions, but this is often because I am unfamiliar with a recent release and am looking for a second, third or fourth opinion. If I'm interested in a game well before release, and intend to purchase it well before it is available, odds are that I will buy it regardless of the numbers involved.
What concerns me more than Metacritic, is the opinions that contribute to the much-maligned Metascores. Once again I will refer to Gameinformer, where reviews for recently released games are usually far shorter than the previews for upcoming titles. The final evaluations of many games are far less protracted than the pre-release hype typical of this publication. Call me a cynic, but I think this is in no small part due to the fact that the publication's principal sales partner is a large gaming retail chain.
Even with Metacritic's advice, I've still managed to pick up many games which I have failed to engage with. This includes titles with Metascores in the high 80s, and in some cases, 90s. Mass Effect 2 and Fallout: New Vegas, I am looking at you.
Do you all use Metacritic? Do you object to the concept of the website?
References:
1. Stead, C (Editor) (2010). The 30 Characters Who Defined a Decade. Game Informer, Issue 12, p26-49.
Dear Metacritic,
No hate from me. You provide a valuable service, and if the gaming media adjusts their assessment methods so that their opinions can be published on your website then that is their concern.
Videogames have been a medium prone to sequels (and a wholesale lack of creativity) for quite some time. I would argue this was the case long before I began to consult with you.
Ordinarily for me, purchase decisions are based on the impressions I read about a title pre-release. While reviews often reinforce the initial impressions, they can in great number sway me from purchasing something I was only remotely interested in. On the other hand, if something garners positive quantitative analysis out of relative obscurity (Braid, Demons' Souls) you then open my eyes, and my wallet.
I consult Kotaku daily for reviews and opinion, and the site has not since I started reading it afforded numeric scores to evaluate videogames. I appreciate that, I respect that, and these qualitative measures can at times have more sway than a number.
I would argue that no outlet on its own can provide the means to justify a purchase decision. You merely assist with filtering the raw data that the gaming media provides, and help with those 50/50 gambits. IGN and Gameinformer often scare me with their fleeting, albeit usually positive analysis of AAA games upon release, only to publish an article weeks/months later providing valid criticisms of a game that they will probably state is "Game of the Year," material. For an example, IGN gave Fable III a score of 8.5 only to publish an article titled "Editorial: Fable III - Why It Fails." 8.5 is not a fail, if Fable III went to IGN University, it would be awarded a High Distinction with that score.
Metacritic doesn't speak English, it only does the math. I refuse to hate on the numbers guy, they only try to help.
To Kotaku AU, please criticise a publication that deserves a higher level of scrutiny, like Gameinformer. Especially after that 30 characters that defined a decade article. That was rubbish. I loved Red Dead Redemption, but how has Bonnie MacFarlane (or John Marston for that matter) characterised a decade of videogames? How can they rate Niko the fifth most influential character and lament that "Before Grand Theft Auto IV, Rockstar protagonists were predominantly shallow criminals driven by a lustful desire for money and power," only to then announce the 17th most influential character, Tommy Verceti from GTA: Vice City? Absolute rubbish.
To me metacritic, it's not your numbers that I loathe, it's the usually inane opinions behind them.
Keep on adding, subtracting and dividing.
Your friend,
Dutch
While I will admit that I made a few sweeping statements in my reply, I think it is wrong for us to lay blame for the industry's downturn at the feet of a website which merely aggregates the opinion of the gaming media as a whole. I'll admit that Metascores have influenced several of my purchase decisions, but this is often because I am unfamiliar with a recent release and am looking for a second, third or fourth opinion. If I'm interested in a game well before release, and intend to purchase it well before it is available, odds are that I will buy it regardless of the numbers involved.
What concerns me more than Metacritic, is the opinions that contribute to the much-maligned Metascores. Once again I will refer to Gameinformer, where reviews for recently released games are usually far shorter than the previews for upcoming titles. The final evaluations of many games are far less protracted than the pre-release hype typical of this publication. Call me a cynic, but I think this is in no small part due to the fact that the publication's principal sales partner is a large gaming retail chain.
Even with Metacritic's advice, I've still managed to pick up many games which I have failed to engage with. This includes titles with Metascores in the high 80s, and in some cases, 90s. Mass Effect 2 and Fallout: New Vegas, I am looking at you.
Do you all use Metacritic? Do you object to the concept of the website?
References:
1. Stead, C (Editor) (2010). The 30 Characters Who Defined a Decade. Game Informer, Issue 12, p26-49.
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