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Videogames are a medium which requires a good hand-eye coordination. Naturally, this doesn’t apply to Turn Based genres, so, for the purposes of this article, we’ll refer to “games”, “gaming” and “videogames” not counting Turn Based games.
As I stated plenty of times beforehand, gaming has grown to be more of a storytelling medium over the years. In more action-oriented games, this can be conflicting, since it’s quite hard to blend in the plot with the gameplay so that one does not conflict with the other.
Cutscenes are often the easiest way to tell the story between action sequences. Pre-rendered FMV cutscenes are not always well received, since they take up a large amount of space in whatever storage medium the game comes in, and they are completely non-interactive. But you must be wondering “X, you hollow shell of a human being, what do you mean non-interactive? cutscenes are not interactive by definition!” well, that’s when QTE’s come into play.
Quick Time Events, or QTE’s for short, are interactive segments during cutscenes that let the player interact with the action on-screen via action commands. However, QTE’s are a hit or miss aspect, since, when not implemented correctly, they can break the immersion and flow of a game completely, but when used properly can create a better experience all around for the game, and give the plot a better sense of urgency.
The conception of QTE’s is commonly attributed to Shenmue, a 1999 Brawler/RPG for the Sega Dreamcast, however, the first instances of these being used in cutscenes stems from 1996’s arcade hit Dynamite Deka 2, where the player characters would be seen running from one section of the stage to another, and sometimes would be prompted to press a button quickly in order to either avoid incoming hazards, or hit moving enemies as they appear. Failure would mean the players would have to fight an extra group of enemies, or would lose health upon entering the next section
QTE’s as we know them today, however, stem from Resident Evil 4, which implemented them in cutscenes and while getting grabbed by an enemy. There was even an entire boss fight that played in one cutscene, and the penalty for failing every time was instant death. There’s a good reason RE4 doesn’t do QTE’s well, but I’ll get into that in a moment.
As much as I hate to agree with this guy, I’ve got admit Ben Croshaw (Of Zero Punctuation fame) got this subject spot on. QTE’s are not a bad thing, so long as they are implemented as an integral part of a game’s gameplay. To illustrate, imagine if the last boss of Assassin’s Creed was a 10 minute cutscene that suddenly started spewing action commands from nowhere. Chances are you’d fail them, thus breaking the immersion and flow of the game.
That’s the important factor, a game’s flow. What I mean is that a game needs to move along naturally, which helps the immersion. This isn’t to say a game has to be all action and never stopping, but action has to reach a climax, then the exposition and talking can begin, the game has to keep a mood balance in order to be effectively compelling.
A good example of how QTE’s work is seen in Shenmue‘s spiritual successor, Ryu Ga Gatoku, known here in America as the Yakuza series.
In Yakuza (or at least in the third one), QTE’s for a major element during combat. Since all the fighting takes place in RPG style “encounters”, most of the time one of these may begin with a QTE, where the main character deflects attacks or fights to grab a goon and send him through a crystal window. Or, sometimes, special moves will require action commands to be executed effectively (either stopping or failing to deal damage if the action command is not input correctly), which is especially true for the finisher moves against bosses, or while a boss executes a move on you that you can deflect or counter via quick time events. And, even in combat, sometimes special moves can be triggered when the player is prompted to, which can take place in a window of time as small as one second or less. This blends in with the combat nicely, and gives the battles a sense of booth urgency and awe that the game benefits from in the sense of making combat more enjoyable and challenging without necessarily ramping the difficulty too high.
Another good example of this would come from the Dynasty Warriors spinoff based on the Fist Of The North Star series’, Ken’s Rage. In Ken’s Rage, it’s only implemented against the final bosses of each chapter, which, after depleting their lifebars, will drop down on one knee and have to be killed using a finisher move. This then takes the player into a screen in which one has to input a series’ of (completely random) button sequences. If the player fails, the boss recovers a portion of their health and gets back up, if one wins, the player is treated to the rest of the attack, then the end of the level. And the enemy exploding into a thousand tiny pieces. The sequences become way longer and the time way shorter as the game progresses. The rush one gets from reaching this point (especially in the latter stages) is almost unmatched. And to get past them feels incredibly rewarding, since not only are the fights progressively harder as the game progresses, the game’s cutscenes are fantastic, and it feels actually rewarding to get past the harder levels. That is how you put QTE’s and action commands into a game properly.
Now, of course, as I stated earlier, this can’t always work properly. Sometimes QTE’s are implemented just for the sake of having them, which can lead to some undesirable results.
For example, take Splinter Cell: Double Agent (I swear, this game is the bane of my fucking existence), where after the third stage, every mission introduction segment has a quick time event. The problem here is that they’re not marked or stated by anything. For example, the first one was Sam jumping off a plane into the north pole. While he was falling, you’re supposed to guide his hand and grab the cord and pull it. I saw it not coming until I realized the little green circles that indicate Sam’s hand and the cord. While it wasn’t entirely bad, it came completely out of nowhere, had no significance, and was only there to stall the game, with absolutely nothing of importance being lost if you fail (you die and try again), nor anything of importance happening if you do it (you land and continue normally). See, just having them there to be there, with no bearing on the plot, is completely unnecessary to the gameplay in itself. QTE’s need to have a reason to be there, to be important in some fashion to progress, so that you want to do it, so that you want to complete the event to continue on. If they are just there for the sake of having them, it really demotes the importance of the event in question.
As I stated earlier, Resident Evil 4 doesn’t quite get this concept well, since every time you fail a QTE, it ends invariably in you dying. There’s never a different penalty, nor is the any incentive to complete them other than just continuing. It bears no impact beyond just moving the plot along. At least in Yakuza, they let your enemies off guard for a moment, or in Ken’s Rage the animations and continuing on the game is a reward in on itself (plus, sometimes you gain a new move), so it feels satisfying to complete them. With the exception of that really awesome cutscene/boss fight, RE4 doesn’t reward you for completing them, so it ultimately feels pointless.
That’s my conclusion. QTE’s can be a good resource to make a game more immersive or more rewarding, so long as there’s something that the player can aspire to after the cutscene. Quick Time Events can be beneficial to a game so long as it feels satisfying to actually succeed in them, instead of it being ultimately pointless in the grand scheme of things, and in the end, as I stated earlier, games need to give you a sense of accomplishment within themselves to drive you forwards.
As some of you may recall, a while ago I made an entry regarding how to continue and end a series’ of games, from a storyline perspective.
As I stated there, a story is a self contain medium which can either be stretched upon more than one iteration of the same story, but most of the times, we can see standalone stories within their own series’.
What I mean is, most of the times, a series’ of games or movies, books or any other media is not just one long story being told in different acts throughout. The vast majority of the times, an iteration of a series’ is its own self-contained story within another story. That’s actually pretty meta.
It’s a very common practice, the sequel will always lead the way to the ending, or another sequel, otherwise there wouldn’t be a story to be told in the first place. Sometimes, the whole overarching storyline and every arc within it are planned out from the beginning, which is fine, though some other times, the story in question is made up on the move. One such example, is the X-COM franchise, where every game was made in its own, without necessarily leading to a major overarching plotline, and every game told its own story through its own series’ of events, except for the last one, but I’ll get back to that on a moment.
A good ending is the one that gives the story closure, that’s a given. While open endings are a common artistic resource, unless it’s handled carefully, it doesn’t quite work the way it was originally intended. Look at Metal Gear Solid 2: Sons of Liberty, where the whole game boasted a post-modern style of narration, reaching a climax where almost no questions are answered regarding the plot (and, in fact, some more questions were raised). My point is that this ending works in every way, contrary to what many fans may believe. The ending for the game leaves enough questions unanswered to lead up to a sequel (Metal Gear Solid 4: Guns of The Patriots) that retconned and explained the entirety of the plot (and, as I’ve stated earlier, it’s the greatest way to end a series’ as convoluted and often stupid as Metal Gear), while at the same time giving the character’s own personal arc a sense of closure, regardless of how things turn out. Because that’s what life is, in the end, some things are just not answered. Granted, his arc was brutally deconstructed in the sequel, but for what it’s worth, the game stands as an experience that you can just pick up and play at any moment without necessarily knowing the rest of the series’. Something only the PSX along with this one game can boast in this series’.
That’s a good ending, it provides closure to its own story arc, and leads the way to a sequel. However, the presentation aspect of it is also a very important factor to be considered when making an ending. The plot, ultimately, is just a series’ of events that lead up to a conclusion. As such, the player is expected to have invested himself to it and eventually expect a climax of the events, the stakes to be higher and to reach some sense of accomplishment towards the goal the characters had been striving to achieve. An Anti-Climax can be a good resource to be used some times, for shock and artistic effect, depending on the pacing of the story. However, just like loose ends in the plot, most of the times this leads to a poorly executed ending, such as the following example.
Recently, I decided to play Splinter Cell: Double Agent, in an attempt at finding a good stealth game besides Metal Gear, so naturally I decided to pick this one up from a trade-in shop I frequent (the same one from my entry about piracy). I’ve fallen out of touch with the Tom Clancy series’ (and so has Tom himself, since he doesn’t seem to be involved in these games in the slightest), but I had played the old Rainbow Six and Splinter Cell games, so it couldn’t really be that bad.
Other than the extremely glitchy and wonky engine the game was running on, I had no complaints up until the final section of the game. When the difficulty skyrockets like this was Half -Life and one shot will kill you instantly for no good reason.
The premise of the games is that the daughter of Sam Fisher, the series’ main protagonist, is killed, leaving Fisher in an emotional wreck (for reasons not explored upon until the sequel), which prompts him to take a mission as a double agent in the JBA: James Brown Army, an American based terrorist group trying to reach control of the White House via infiltration, sabotage and acquiring Red Mercury, a nuclear component that could level Manhattan if used in a bomb. The idea was that fisher had to remain in the good sides of both the terrorists and his agency, since this was an extremely top-secret black op.
The last act of the game has the player go back to the JSA’s headquarters to find Sam’s CO and friend captive, and he’s ordered to kill him. If you do, the JSA will not suspect of your treason and you can go back to stopping the launch of the nuclear device. I didn’t kill him and was presented with an insanely hard situation where outside the door I was in, there were two armed guards ready to kill me. And they did, plenty of times, in fact.
The illumination system, which is implemented to let the player know of Sam’s visibility is toned up so that it’s virtually impossible to reach anywhere without being caught, and to top it all off you’re stripped of your equipment.
After the terrorist’s leader decides to blow the installation up with them inside (sort of counter-productive towards their goal of reaching control of the white house, but whatever), you have to stop him, get to the bomb, disable the nuclear device (which Sam can apparently do), all within a small, highly illuminated series’ of corridors riddled with cameras and guards (although, if I’m not mistaken, you can take out the camera crew in the base and the cameras will not launch an alarm state when they see you), all without most of your gadgets that you’ve learned to rely on throughout the game.
Then, the credits roll with the game’s trailer in te background and a very vague narration of what happened after the ending. Then there’s an epilogue (if you can call it that) where Sam SOMEHOW manages to get aboard a boat that contains the second bomb in Manhattan, so you need to kill the remaining character, defuse the bomb and leave. Which I did (and, due to shoddy programming, one of the enemies that wasn’t dead managed to shoot me ONCE during the scripted event of Sam jumping off the boat while it explodes, and that counted as a game over) and then, the boat explodes, Same gets out and we’re greeted with the same black-on-green screen that you get during a Game Over that reads "To be Continued". Then you have to reset your console to get it to work.
I can’t stress enough how absolutely hideous this ending is. I felt, for the first time ever, that I wasted my time and money with this game. The thing is though, there’s a technical reason why this ending is so bad.
You see, the rest of the game is good, if not for plenty of flaws that can be overlooked, but having a climax that reaches such a high difficulty, that requires to memorize the whole map twice, to end with the trailer playing over the credits and a black screen reading "TO BE CONTINUED" is just lazy design, and I’m calling the creative team for it. Their work was shit. Their ending was so utterly shit that it tainted the whole game, making it even more of an unplayable mess every time I tried to replay it than it already was. It is, quite literally, the worst ending ever, of all time. I’ve seen NES games that give more closure to their stories. Like fucking Contra. This game is the reason I started playing more Japanese games.
The excuse was mostly "there’s a sequel", but having a sequel doesn’t mean you can put less effort into the previous game. as I stated in my Metal Gear Solid 2 example, it is very possible to have an ending tie in to almost nothing, yet be utterly genius. Double Agent‘s ending was a spit in the face of every gamer who bought it. Ironically enough, there was a second version of the game, incredibly superior, released to the PS2 and Wii.
Let’s go back to that X-COM example I provided earlier. This is another god way to end your games, when your series’ isn’t made with the idea that there will invariably be a sequel in the future.
The first X-COM, named X-COM: UFO Defense game revolved around an Alien Invasion on earth, the idea was that the player had to manage X-COM, the eXtraterrestrial COMbat force, to combat the aliens, investigate their origins, their biology, their technology and eventually take the fight to them. It’s truly unique in the way the plot will moves. It’s not about how many missions you complete or how many alien crafts you capture, it’s about how much you can learn from the aliens until you’re ready to strike against them. The game ends, without needing a sequel. the aliens are defeated, and the earth is now safe and boasts a whole lot of new technology, courtesy of the invaders.
There were four sequels to this game, Terror From The Deep, a more Lovercraftian approach to the plot, where the an ancient aline civilization surges from the bottom of the ocean, Interceptor, set in the future when X-COM has become defense contractors for Earth’s offworld mining and living facilities, the game kept the base building, research and development and managerial aspects of the earlier games, but instead of being a strategy game, Missions would be fought in space flying simulator, a la Wing Commander, but not nearly as good; Apocalypse, set in the future, when earth’s surface is almost uninhabitable, save for the city of Mega-Primus, where X-COM has to deal with an invasion from a new and unknown enemy from another dimension, And then there was Enforcer.
Every game in this series’ is almost completely unrelated in terms of its own plot (with the exception of Interceptor, which is an Interquel set between UFO Defense and Terror From The Deep), and it works well enough that no game conflicts with each other, since every plot is entirely self-contained within itself, and as such it works for what it is, just the plot, no tying in loose ends, no Retcons (well, a few, but nothing vastly important), every game was fresh, plotwise.
However, as it is with every series’, there was a Black Sheep, which was Enforcer, an arcadey shoot ’em up set during the fist invasion on earth that contradicts plenty of plot points from the previous games, but that’s an issue for another day.
The point I’m making is that, the X-COM games need not to worry about insignificant details, so every game’s plot and conclusion feels equally good, every game feels rewarding towards the end, because of how the plot moves, and how well made the endings for each game are.
Sometimes, however, an ending can be not as fulfilling as because of the lore behind it. Let’s take, for example, the gameCommand & Conquer 4 : Tiberium Twilight, released on the PC a few years ago.
Tiberium Twilight is Electronic Arts’ final attempt at showing people that they don’t give a fuck. Some background, first. If you’re already familiar with the series’, skip the next paragraph.
Command & Conquer is a series’ of Real Time Strategy games originally made by Westwood Studios. The series’ is divided into two main sub-series’. The one we’ll focus at is the Tiberium saga, set from 1990 onwards and based around the plot that an alien meteor crashes on earth containing a rare self-duplicating hydrocarbon that works as a clean, efficient renewable energy source, that revolutionizes every aspect of our society. The first game, Tiberian Dawn, introduces Tiberium into the series’, and the villain, Kane, an immortal leader of an international group named the Brotherhood of NOD, while the main protagonists are the UN’s Global Defense Initiative, or GDI for short. GDI starts off by taking active control in NOD insurgencies all around the world, beginning the first tiberium War which ended with Kane getting shot in the face with an orbiting laser. The Sequel, Tiberian Sun, takes place almost a century later, and deals with how Tiberium has almost destroyed the whole world’s ecosystems, by polluting and spreading itself. As Kane reveals himself to be still alive and kicking, NOD once again launches its attacks towards GDI (which is now a de facto peacekeeping force in the whole world, almost to the point of governing it), starting the Second Tiberium War, and ending with Kane being impaled through the chest. After this, the series’ was meant to end as a trilogy, however, due to Electronic Arts’ desire to cash in from the franchise as much as possible, and thus, after 2 games and 2 expansion packs, we got Command & Conquer 3: Tiberium Wars, which was an admittedly good game, that retconned the origins of Tiberium as a meteor sent by an alien race to turn the world into a giant harvesting ground for tiberium. The main plot is, Kane is alive, NOD blows up GDI’s base satellite, the Philadelphia, then Scrin arrives to harvest the Tiberium and kill everyone on the planet to make way for more Tiberium. Easy enough, and to be honest, the game wasn’t bad in the slightest. Worth mentioning is that the idea behind Kane as a villain comes from Cain and Abel, being heavily hinted in the games that Kane was, in fact, the first murderer. Sort of confirmed in Renegade, where the player can find Abel’s sarcophagus in Kane’s temple. Then came Command & Conquer 4: Tiberium Twilight.
Tiberium Twilight reaches a new low for the franchise by basically spitting on everything it ever stood for, and every aspect of its plot. Again, we’ll focus on the ending. the plot is basically, that GDI and NOD have reached a truce in order for Kane to help build the Tiberium Control Network, in order to restore the earth to a functional state. And it works, however, within the ranks of GDI and NOD, civil war erupts over various unimportant issues. Skip to the ending, where invariably, no matter what faction you play as, it ends with Kane revealing himself to be actually an Alien stranded on earth for thousands of years in his search to lead humanity into creating the technology to help him ascend… Ascend where or how, it’s never explained. Which contradicts the entirety of the series’ up until then, in absolutely every fashion possible. Kane was meant to be working to use Tiberium as a means to reach a higher evolutionary position for all of humanity, via mutation, infestation, exposition, and all that. His goal was to bring down oppressive governments in the world and have humanity ascend to a higher evolutionary plane. Instead, they took the "ascend" part literally and had him go somewhere somehow for no good reason. It completely mutilates every single aspect of the franchise up to that point. You might be wondering why I didn’t bring it up when I talked about finishing franchises, that’s because the series’ is far from over, for better or for worse.
Alright, I’ve rambled long enough, here’s my Thesis for today: An ending in any game can be artsy, open ended or leading up to a sequel so long as it reaches fulfillment of its own story. A game has to make you feel like you’ve accomplished something within the game itself in order to be a successful story told, you can’t give the excuse that it’s an ongoing story to have half-baked resolution. You need to feel the closure after you’ve ended the story, even if, like in Metal Gear Solid 2, you only feel emotionally fulfilled and the plot has more holes in it than a cheddar cheese factory. Because, in the end, a story is only as good as its conclusion.
If you’re reading this entry, chances are you have some interest in videogames. If so is the case, you probably know a thing or two about them.
Which was the first videogame ever made is a very controversial issue. The answer can be pinpointed to three games. One of the earliest examples of a video game goes all the way back to 1958, called Tennis For Two (that’s right, folks, the first game ever was a sports game of all things), which consisted of a small tennis game assembled out of decommissioned Radar equipment. This is commonly disputed with PONG, one of the first Arcade cabinets to hit the mainstream market and make itself popular, which came out in 1972 and 1975 with an official home version.
During the 80s and 90s, geek culture and computer games were one and the same, and at the same time, younger gamers were introduced to the medium via home consoles like thew Atari family consoles, or most prominently, the Nintendo Entertainment System, otherwise known as the NES. And, sure enough, later on we’d see its successor, the Super Nintendo Entertainment System, which by itself drew in another generation of gaming, and so forth.
Flash forward to the present day, that generation of gamers who grew up on early consoles like the NES or SNES is probably still playing, ow in the more advanced home consoles like the PlayStation 3 or the XBOX 360, which are both good consoles in on their own terms.
Thanks to the advent of the internet, a great deal of people have banded togheter and started sites, forums or blogs dedicated to old school games. Then, with video and the expansion of sites like YouTube and whatnot, people started discussing, reviewing and chronicling these games and their memories of them. Nostalgia is a powerful feeling, indeed.
Eventually companies would start capitalizing off this sentiment in various shapes. While Nintendo had been doing this as their main gimmick since Animal Crossing came bundled with an NES emulator, and then the Virtual Console on the Wii which is a collection of old school games for download, other companies like Capcom or Konami decided to start making some money off of this a while ago. For example, There’s the reboot and remake of Bionic Commando, the namesake being a sequel to the original, and the remake calledReArmed, which added a bunch new features to it. I’ll get into detail in a moment.
In order to cash in from this, Capcom (company known for cashing in on to anything) released Megaman 9, a continuation to the NES Mega Man franchise. And it was made to look like an old NES game, pixelated graphics, music made to mimic the 8-Bit console’s sound chip, easy controls, terrible box art, excuse plot, etcetera.
And here’s where I start getting skeptic. You see, the reason NES games looked and played the way they did was because the system had technological limitations to what could be made in the first place. The console had that limit to deal with, it wasn’t just an aesthetic choice.
While I can appreciate an old school game, and if you ask me, most of my favorite games are from before ’03, I cannot stand the current trend to make games look, play and sound like this was 1987 all over again. Take, for example, Mega Man 9 and 10.
The Mega Man franchise is, like we all know, a hit and miss game. While some really good Mega Man games have been made in the past decade, most of them fall under games that range from Mediocre to plain bad, with the honorable exception of the Mega Man Legends series‘. And we all know how well that ended. Truth is, the franchise’s only real direction could be backwards, being how wildly praised the old NES and SNES games are. So, naturally, Mega Man 9 was made to look, play, and feel like the old games. And it was showered with praise, and money. While some attribute this to the actual effort put into it, some others just allude its success to the rose tinted glasses most gamers were wearing while playing the game, metaphorically speaking.
To be fair, the game is not bad, but it’s definitely not the kind of game I’d want to play. If I wanted to play an old school Mega Man game, I would gladly go back to play Mega Man 2 on the NES While I appretiate the effort of making an old school game, I can’t help but wonder how would the game had turned out if the developers had thought to draw inspiration from the game rather than making a hard copy of it.
The way I see it, no matter how good a game was, like any other aspect of technology, Games need to move forwards.
Now, there are other games like 3D Dot Game Heroes and Scott Pilgrim vs. The World: The Movie: The Game that use a retro style look , without necessarily being based directly on one. And then we run into a similar issue. While 3D Dot Game Heroes is more of a tribute to old school adventure games, Scott Pilgrim‘s main selling point was the graphics and music (and the movie and comic book license). Again, this isn’t really good. How is it any different than getting the same game yearly rehashed?
Don’t get me wrong, I’m not saying I’m against 2D or sprite based games, or that these games are bad. Mega Mag 9, 3D Dot Game Heroes and Scott Pilgrim are all really good games. And there are also some other great 2D sprite based games like Shank, which is a beautifully animated 2D side scrolling Beat ’em Up, or, say BlazBlue andGuilty Gear, both sister series’ which feature very well done sprites and backgrounds, all neatly animated and detailed (although, in the case of BlazBlue, they would benefit from some more frames of animation).
But the difference between Shank and Scott Pilgrim is that Shank doesn’t promote itself as “Old School Action”, it’s just the game it is. Does it draw elements from older games? Of course, and older films too. But it needs not to dwell on this to be a good game, and it uses the console’s capabilities to make the experience richer, rather than aiming to some retraux look just for the sake of capitalizing off people who believe gaming hasn’t been good since 1990.
Let me bring up another example. The makers of Dynasty Warriors recently made a game based no the manga and anime Fist Of The North Star, titled “Fist Of The North Star: Ken’s Rage” (Though the version we received was slightly altered from the original and was re-released in Japan under the title Hokuto Musou International). I’ve never played the other Dynasty Warriorsrs games, so I wouldn’t know how it fares from them, but as far as I could tell, the game was pretty damn good. But there’s one thing I wanted to mention.
Throughout the game I found various elements and gameplay tidbits that reminded me of old school arcade beat ’em ups. For example, in order to progress in the game you’re supposed to kill all the enemies on screen, like most beat ’em ups, also, you fill up a meter that lets you pull off special moves, or go into a state where if you filled another bar, you can pull off even stronger special moves that sometimes worked as one hit kills for tons of enemies, there are segments where you can ride on motorcycles and run over enemies (albeit it’s not a very effective way to kill large amounts of enemies), sometimes large enemies jump and you have to avoid them stomping you by looking at their shadow, etc. It has plenty of old and perfected elements in gameplay, but it never feels like it’s trying too hard to draw on those or at least not intentionally so.
Finally we have Remakes of older games, which follow a similar formula, but differently so. Of course, we all know Remakes are a hit-and-miss thing, where they are either really good, or really bad. Let’s take for example, the aforementioned Bionic commando ReArmed . ReArmed pulls this off well enough. The game is completely modeled after the original, but everything that was lacking due to the time and console it was released has been polished and made to look as a proper modern game. The translation is not intentionally bad, the graphics are not forcefully pixelated (in fact, the whole game is rendered in 3D and in 720p HD), the music, although it takes cues from the original soundtrack, sounds more appealing to the ear than a forceful chiptune soundtrack, and the game plays a lot like the original, but tweaked to be both more fun and to work better with the system in question. This is a good remake, because it doesn’t blatantly copy everything from its original without deviating too much from its formula.
Or, how about X-COM: Enemy Unknown, upcoming game by Firaxis software, remaking the original X-COM: UFO Defense for the PC. For what we’ve seen so far, it remains true to its source material and at the same time is manages to put a new twist to it to better adapt to modern audiences. It’s not exactly the same game, but it still feels like the original, without having to shoehorn itself to the player.
Or, for a last example, we got a few years back, an arcade port (or, as I call them “Arcadort”) of After Burner Climax, for the PS3 and 360. As a sequel of such an old franchise it works well, while it’s true it lets you turn on the old After Burner II music and sound effects, the game makes full use of the console, while not deviating from the After Burner formula in the slightest, aside from the new “Climax Mode”, which is essentially bullet time with planes and missiles. It’s nostalgic, yes, but that doesn’t mean the game dwells on that fact, it just compliments the experience.
My thesis: It’s OK to draw inspiration from older games, it’s perfectly fine to be nostalgic, but gaming is a medium that should move always forwards, and while it’s OK to enjoy old games, to play them again and all, it’s not right to dwell on them to the point of blindly praising any game that looks or plays like an old game. Again, there’s nothing wrong with Nostalgia, heck, that’s the reason sites like Abandonia or Good Old Games exist, so you can go back and play those games, and if it’s a PC game, you can always find mods and custom campaigns for them to make the experience fresher; however, if companies kept going back to release the same product again, over and over, just cashing in on nostalgia, would that be any different from releasing the same shooter with new guns every year? I’ll leave you with that thought.
Author’s Note: At the time of writing this, ironically, I was listening to old games’ music. Please note, I’m not a hypocrite.
Videogames have been a storytelling medium since text adventure games on early computers became popular among the early gaming crowd.The plot factor started taking more and more prominence in the early and mid 80s, thanks to the advent of computer Role Playing games, like Ultima or Wasteland. The common use of excuse plots, lacking basic descriptions or motivations to motivate the events, which became a staple of gaming for a long time, came about with the Arcades and cartridge based home systems like the NES or SNES, which couldn’t contain as much information as a computer, so most of the time games wouldn’t have much of a storyline, with the notable exception of Role Playing Games.
As time went on, the genre matured along with its audience. These days, the idea of a game without a plot is unacceptable. Stories have become part of the experience as a whole, and as such they get better over time, with a few exceptions that either remained grandiose since the beginning (The Elder Scrolls, Point and Click adventure series’, Fallout, etc.) or remain bland even to this day (Metal Slug, which resorts to the old technique of not having any in-game plot; or the Mega Man franchise, which has gotten convoluted and almost unapproachable due to massive amounts of retcons, just to end with games that rehash the old nearly absent narrative), but today I want to address an issue which you’ve probably already deduced from the title, unless you’re stupid.
In media, in general, sometimes a story is told as itself, being entirely self contained and requiring no further development. However, it’s very common to see franchises that span beyond a single iteration. This normally means the progression of the plot will stretch out over multiple self contained entries within the same series’.
While there’s nothing wrong with this, since it gives the story a bigger focus and more time to develop itself, at the same time it can lead to unfortunate side effects.
It can happen that a series’ will become stagnated in a single point in its progression. The cheapest way to profit from a series’ is to make the plot move anywhere but forwards, which is becoming alarmingly common in the videogame market.
This phenomenon is by no means something originated as of recent years. Take, for example, Capcom’s Street Fighter franchise.
As most of you may know, the second iteration of the game was updated and released multiple times over the course of the 90s, due to how immensely popular it was both in the arcades and home consoles. This is not good. Having the same game be released over and over again eventually leads to the creators thinking they can spit out anything and we’ll pour money into it.
A more modern, negative example of this effect can be observed with Namco-Bandai’s Ace Combat franchise. Ace Combat is a series’ that’s spanned since the early 90s to this day in the Playstation family of consoles. It’s a Arcade style flying simulator set in the world of Strangereal, a world similar to earth with plenty of counterpart cultures to our own, but with it’s own history and mythology.
The third game in the series’, Electrosphere, was set in the future, where corpocracies had taken over the world and kept fighting their own personal battles with each other for personal profit. The game featured entirely non-linear storytelling that branched out within the missions and led to 4 different endings, all with animated cutscenes. Sadly, the American release of the game had almost the entirety of the game cut off, leaving it a plotless game with no end. However, that is not the issue I’m addressing right now.
After 3, every game in the series’ has been set within the period between 1990 and 2015 within its own world, and has dropped various hints and has lead up to the events of 3 (The most prominent examples being The Unsung War and Advance). However, ever since Ace Combat 5: The Unsung War, the plot hasn’t moved forwards in the slightest. Zero was a prequel to 5, Fires Of Liberation was almost completely unrelated, and the last two games (not counting a remake of 2), Joint Assault and Assault Horizon, have been set in the real world, completely ignoring the established canon.
Now, let me contrast this with another very long series’ with a huge fan following, which I’m quite fond of myself, Metal Gear Solid. To my experience, Metal Gear Solid 4: Guns of The Patriots is the best ending for a franchise as far as videogames go. Don’t go to the comments section to verbally assault me yet, allow me to elaborate.
The Metal Gear franchise is a mindbogglingly complicated plot which I will summarize some other time. To give you an idea, it’s divided into three main series’. There’s the original games on the MSX and MSX II computers back in the late 80s and 90s, the Solid series’ on the Playstation consoles, and the prequel series’ in the PS2 and PSP. All of them tie in together in 4, which makes about 10 games, not counting special editions, which, in turn, give way to a gigantically overstressed plot with a great deal of plot threads and unresolved plot holes.
Now, Guns of The Patriots is often criticized because of having approximately Nine hours of cutscenes in the entire game, the ending cutscene and epilogue alone lasting for a good 3 and a half hours. If you miss a single minute of it, you might be left behind in the whole series’.
Yet this is necessary, because having to not only tie in to a game with an ending so surreal it’s been analogized as the 2001: A Space Odyssey of videogames, without ever being in space; but also needing to have its own plot (otherwise it wouldn’t be much of a game).
And yet, it pulls the whole thing off perfectly.
See, the thing is, it gives closure to absolutely every aspect of the games that could raise questions. Everything, minor as it may be, is addressed and eventually sorted out in the course of either the game or the ending. It leaves no room for a sequel, since all but seven of the main characters (out of nearly 20 recurring characters in the games) remain alive in the end (one of them having but a few months to live) and need no more development. The series’ in its entirety reached its apex, and ended. The only other game to be released was the last of the prequel series’. There is absolutely no need for a new game in any segment of the story. It’s over. Not that it stops the developers from having a new installment on the way in the form of a spinoff title, with the creator having jumped ship a while ago.
That’s the thing, any sort of story is ultimately just the buildup to its conclusion. Not giving it proper closure is diminishing the importance of every event in the story up to that point. And as such, it might as well be left open to interpretation.
I’m not against the idea of making money off of a given series’, or if the creators want to make more installemnts or expand upon the world. Worldbuilding and Expanded universes are a good thing, if you don’t believe this, go ahead and take a look at the Star Wars franchise. A universe so rich and large that you can’t help but feel overwhelmed by it, yet every plotline has reached its end within the series’.
Another current example of a series’ overstaying its welcome comes from the Kingdom Hearths series’, which after the second game has gone nowhere, plotwise, releasing prequels, gaiden games, and a plethora of other materials, but the ongoing plot remains unresolved.
Now, sometimes this can be done right. See, for example, the ‘Final Fantasy series’, where every new game is set in a completely new world and storyline than the previous one, with a few exceptions. Here, the franchise can theoretically go anywhere, since every installment is a new story almost completely unrelated to the previous one.
Or, if you don’t like Final Fantasy, there’s Bethesda’s excellent The Elder Scrolls franchise, which have a similar structure for each new release, only it all occurs within the same universe. Yet, every game always reaches the end of its story. It leaves a few open strings, but the story in question is over.
My thesis of the week, like any other storytelling medium, videogames need to get closure in their plots, One thing is trying to flesh out the story, maybe make money on the way, but if you purposely hold back the plot to a grinding halt, it undermines the importance of the whole thing, and eventually it will cost you a sizable portion of the fanbase. And when you’re making a videogame, what’s more important, money, or the game you’ve been working on for years now?