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Reviewing Reviews

I promised myself I'd try to hold off on writing blogs about video game journalism itself for a while, but it's just too good.

The link below is a review of Metroid: Other M done by Abbie Heppe from G4tv.com. You kind of have to read it in order to understand what my following rant is all about (if you want to know that is.)

http://g4tv.com/games/wii/61992/Metroid-Other-M/review/

That's an example of a very irresponsible review. I wrote a blog a while back about how professional critics have a certain amount of responsibility when it comes to reviewing games (or books, or movies, or what have you). A recent EEDAR study has proven that reviews are indeed quite important in affecting consumer behavior, and I believe that with the relative importance of their work proven, a pro reviewer has to be a lot more responsible with the reviews they write. I believe that "responsibility" is the balance of objective, and subjective thinking about the game. A review, of course, should lean toward personal opinion, but the critic can't turn their review into their soapbox.

So before I dig into why this review is pretty awful, I wan't to preface my thoughts with two things. First off, I don't care one bit about the score the game received from the reviewer, and I don't care how it relates to all the other scores the game has received thus far. I plan to pick up Other M on Tuesday, but I haven't played it yet. Hell, I might hate it as much as Abbie Heppe did, the score isn't really the point. Secondly, I'm not trying to argue the points she made either. Every single thing she said might be valid, I don't really know. Like I said, I haven't played Metroid: Other M.

M: OM

So what's the problem with her review? It's that it's not really a review. It's pretty much an editorial in disguise. Just about half the review is spent discussing the problematic characterization of Samus. Again, her opinions on how Samus is depicted might be totally spot-on, but a review is not the place to go all-out in critiquing, and analyzing one portion of a given game. That's what editorials are for.

In my opinion, the 'No Russian' sequence in Modern Warfare 2 is probably one of the most poorly handled, and distasteful moments I've ever encountered in a video game. I've ranted about it quite a few times, and it certainly makes me think less of Modern Warfare 2, but it doesn't drastically change my overall opinion about the game. Team Ninja may have succeeded in creating one of the most poorly handled, distasteful depictions of one of video gaming's most iconic female characters, but, in the same way Modern Warfare 2 is much bigger than 'No Russian', video games are much bigger than their main characters, and I think years worth of silent protagonists have proven that.

Since it's not hard to tell that Abbie Heppe's main criticism of the game is how it depicts badass bounty hunter Samus Aran as being a "sniveling little girl", it's not hard to feel as if the rest of the extremely negative review is simply further enraged writing set off by how poorly Team Ninja handled the iconic character. Whether or not that's true, I could never know, but it certainly shows very poor editing. Again, all her arguments could be valid, but her "review" probably shouldn't have been a review at all; I'd have absolutely no problems with it if it were an editorial. But as it stands, it's not an editorial, it is instead yet another case of irresponsible reviewing.

Dragon Age: Origins Golems of Amgarrak DLC Review

The rate at which BioWare has been coming out with (mostly) good pieces of downloadable content for Dragon Age: Origins is commendable, and the new DLC adventure, Golems of Amgarrak provides yet another great (if short) adventure. Priced at five dollars with a running time of about an hour and a half, some may want to skip the DLC simply due to the fact that it doesn't exactly give a whole lot of value for your hard-earned cash, but hardcore fans of Dragon Age such as myself should definitely pay up for yet another fantastic reason to dive back into Ferelden.

The story in Golems of Amgarrak is the main draw. You are summoned by a dwarf who asks you to find his brother who was last seen embarking on a quest to learn the long-lost secrets of Golem construction. You're forced to leave your party members behind, but the group of allies you put together as you make your way through Amgarrak does well to fill in the roles of the old gang.

Harvester
Gross

Things get pretty interesting as you start to learn of the terrors that lie in Amgarrak. Haunting journal entries have been scattered about, and strange creatures can be seen quickly skittering about. Dragon Age: Origins touched on some pretty dark, and gruesome subjects, but this DLC has, by far, the most chilling of them all, especially once players get to the grand reveal moment toward the end.

In terms of gameplay, things stay pretty much the same as they've always been, however, there's a cool puzzle element added to the mix in the form of switching from the real world to the dream-like realm of the fade to navigate Amgarrak. Other than that, there are a lot of fun battles, and the last battle in the DLC might be one of the toughest fights in the game.

Golems of Amgarrak is yet another piece of DLC that is sure to please fans of Dragon Age. It might be a little too pricey considering its run-time, but the encounters are fun, and the story is great, making it well worth checking out for true fans.

Be Patient

Alright, hopefully this will be my last blog about game journalism itself for a little while, but something I've seen from a few game critics, and journalists lately has really annoyed me.

It's tradition for journalists covering almost every medium of entertainment to make some sort of 'Best of' lists at the end of the year. And that's totally reasonable. I think it's great that outstanding art, and entertainment gets real recognition, because we tend to downplay their importance in our day-to-day lives (although that's a topic for another blog). However, game journalists in particular seem to be unable to wait until the year actually ends to begin the annual 'Best of' festivities.

GOTY

G4, and Gamesradar, among other sources, have already compiled lists of the best games of 2010 so far. These lists are truly useless for two reasons. The first is that they detract from the reviews written for each of these games. Instead of encouraging gamers to read through the critics' presumably well thought out reviews, these lists give them simple, easy-to-access, yet entirely incomplete arguments for a given game's quality. Secondly, they take away from what makes those end of the year awards so special. Because of these mid-year awards, we already pretty much know about half the games that will be on these websites' end of the year 'Best of' shortlists. As I mentioned before, I think recognizing the best pieces of art or entertainment in a given year is important, the competitive aspect of the end-of-the-year awards is also quite important, because when you look at that Game of the Year shortlist on your favorite gaming website, you really get the sense that those games are the best of the best.

This year has been a great one for video games, and it looks as if it will continue to be great, but a year in the world of video games isn't a long enough time to warrant both a year-end and mid-year award "ceremony". Hell, last year when I usually write up my list of my top 10 games of the year, I couldn't even think of ten that truly deserved it, so how upwards of twenty games released in the space of 12 months could be considered to be a part of that top-tier of quality titles is beyond me. Just wait until the end of the year, it's not that much further.

Please Review Responsibly

In a world of "flops", "AAAE's", and more Game of The Year awards than you can shake a stick at, video game reviews are more important than ever. Further proof of this is in a study done by EEDAR (Electronic Entertainment Design and Research) which proves that video game review scores do indeed affect consumer behaviors. So in this blog I'd like to discuss "responsible reviewing", that is to say, reviewing with a mindset that your reviews may have an affect on people (even if they don't), and as such looking past simple gut reactions (as important as they are), and being aware that your gut reaction may be based on factors outside of the game's quality (such as hype, or the pedigree of the team behind said game), and how they may affect your opinion.

(Note: I'm going to use Red Dead Redemption as my main point of argument in this blog. I understand many people really enjoyed the game, and enjoyed it regardless of the aforementioned external, opinion-changing factors. I myself didn't like it, but I'm mainly using this game as an example because of various editorials I've seen discussing it lately that I write about a little further along in this blog.)

When Red Dead Redemption came out in May, I was just as excited as everyone else. Games from the folks over at Rockstar are usually a big deal, especially when they're the grandiose, free-roam epics on which they've established their skills as developers. Beyond that, their last major title, Grand Theft Auto IV is a true masterpiece, and is easily one of my favorite games of this generation. Needless to say, the level of hype for Red Dead Redemption was through the roof. But then I played it. While I won't go on about my opinions on Red Dead, I thought it was pretty mediocre, due in large part to inconsistency in pretty much every facet of the game.

RDR

Yet, around Red Dead Redemption's initial release date, everyone seemed to love the game, leaving me thinking I had just become some sort of jaded, cynical gamer. The game got a 9.5 here on Gamespot with a 9.3 average user rating, as well as a 95 on Metacritic. Needless to say, everyone but me loved the game.

Or so it seemed. As of late, I've read a couple articles popping up across the net that seem to question Red Dead Redemption's acclaim. The two most notable ones are articles from IGN, and BitMob. The article at IGN simply discusses the game's shortcomings, without making an outright statement that the staff's opinions on the game had changed. On the other hand, the BitMob article argues that Red Dead (and other titles that may have been "overrated") get "great scores simply because they hit the right notes for long enough to impress us."

Even though the majority of people loved Red Dead upon release, and probably still love it, I think it's great to see some reviewers go back and re-examine their initial (and highly positive) reactions to the game, and I think that should be done with more games that are susceptible to major hype. Would Resistance 2, a game that's widely regarded as being markedly worse than its predecessor still receive the acclaim it did? If people really stopped to look at the value, and (lack of) features in Halo 3: ODST, would it have been as highly recommended? Maybe, maybe not.

A+

While expressing one's gut reaction to a game when crafting a review for it is quite important, so is awareness. I remember blasting my way through Perfect Dark Zero's singleplayer campaign and numerous multiplayer matches in a day or two, and then reviewing it. I believe I gave it a 9.8, and probably hailed it "greatest shooters of all time" or something ridiculous like that. In retrospect, Perfect Dark Zero was an enjoyable game, but my level of sheer excitement brought about by playing on of the first next-gen game ever kept me from reasonably assessing its quality.

So my point in all this? Simply try to be aware off factors which may sway your review toward being overly positive or negative when assessing a game. And if you think you are guilty of "irresponsible reviewing" (something which we probably all are), go back and make some edits (while still respecting your initial reaction). The gut-reaction is simultaneously one of the most important, and dangerous things there is when it comes to reviewing video games. Without them, I'd imagine reviews to be something akin to an algorithm which spits out a number between 1 and 10. However, because of them, we can end up facing the problem of irresponsible reviewing. So, the next time you decide to review a game, really sit down, think over your opinions, and review responsibly.

REFERENCES:

http://www.joystiq.com/2010/07/06/eedar-smu-study-review-scores-affect-perceived-quality-purchas/

http://ps3.ign.com/articles/110/1108433p1.html

http://www.bitmob.com/articles/is-red-dead-redemption-really-a-great-game

One Month Later

So I realized it's been about a month since I last posted on this blog. Normally I'd recommence the blogging process with an entry about the games I've been playing since the last time I posted, but to be honest, I haven't been playing very many games. Pretty much every game of this summer season has disappointed me with the exceptions being Alan Wake, and Limbo. Thus, I haven't done much in the way of gaming for the past month because, to me, there's nothing out there worth playing.

Or, there was nothing until two days ago anyway. On monday night I waited in line with some friends for the midnight launch of Starcraft II, hoping it might solve my problem of having nothing worth playing. Needless to say it was successful. I've been hooked since installing it, and I'm currently working my way through thing singleplayer portion (truthfully I'm a bit scared to play online). This game is a total blast from the past in terms of gameplay, going strongly against the more modernized, fast-paced RTS's from studios like Relic that we've been seeing as of late. I've been seeing some critics bashing the fact that the gameplay is a little old-school as far as RTS's are concerned, but the way I see it, a developer is more than welcome to keep things traditional if they've created a gaming tradition, and Blizzard has done just that. I'm convinced there's no better developer out there.

Hell, it's about time

I definitely want to do a Starcraft II review (though it may take me a while), but in the meantime I'll try to update this blog more often, there's a few reviews and ideas for "editorials" that I've been thinking about, so perhaps those will come soon.

Happy Birthday Diablo II

Diablo II has given me more value from my hard-earned cash than any other game I've purchased. The reason for this is that the game is now ten years old, and I've played through both the core game and its expansion pack, Lords of Destruction, at least once a year for those last ten years.

Something about this game makes it so addictive, and so rewarding to play even after ten years, and I can't place my finger on it. I've thought perhaps it's the randomized dungeons, or the need in my reptilian brain to farm more loot, but only recently have I really pinned down what makes Diablo II as awesome, and replayable as it is. The sense of real progression as you build up your character makes this game something to come back to. Levelling your character up, decking them out, and proceeding to slay the baddest enemies out there with your friends is so damn fun because you get to see, in terms of the sheer damage your character dishes out, just how they've progressed from their lowly beginnings, or even from one dungeon ago.

D2

The only other game that gave me that sense of progression was World of Warcraft. Though WoW will always be one of my top games of all time, I recently put it behind me after playing it regularly (as in hours a day) for about four years. Grinding to level 60 (and then 70, and then 80), raiding with my friends, and building up my characters was a lot of fun to be sure, but it required a lot of time and energy. And that is where Diablo II trumps the mighty World of Warcraft. Every day I'd spend hours of my life to build up my character in World of Warcraft, yet Diablo II is a game I can play on and off, and still be just as rewarded by that sense of progression. Blizzard truly accomplished something special by offering that sense of progression while not requiring a huge level of commitment.

Even though they've released masterpiece after masterpiece, Diablo II is Blizzard's magnum opus. It offers a level of pure fun that few games match, and a level of replayability which, to me, no other game has attained. Happy 10th birthday Diablo II.

D2

Now Blizzard better hurry up with Diablo 3.

It's Not Like I Planned This - Mass Effect 2 Overlord DLC Review

Before BioWare had even released Mass Effect 2, they promised a bevy of quality downloadable content that would serve to expand upon the universe, and the story. The newest piece of DLC, Overlord, is the biggest and best of these downloadable adventures thus far. Clocking it at about two and a half hours, Overlord isn't a significant piece of DLC, but it does feature some of the most well-designed, and varied missions the series has seen, and features an excellent, haunting side story.

Overlord takes place entirely on one rather open planet. Players will go between duking it out with enemies in indoor laboratories, and exploring with the Hammerhead in a pretty expansive outdoor environment.

ME2

The best thing about Overlord is how it toys with the formula players have gotten used to in Mass Effect 2. In the game proper, players go between shooting, and talking, and while it works rather well, the game begged for more variation, and Overlord pack features some attempts to spice things up (even if some ideas do fall flat). As mentioned earlier, the hub world in Overlord is the first environment in the game to feature both on-foot, and Hammerhead sequences, showing that planetary exploration can still work even without the Mako. But there's plenty more deviations to the formula including a sequence of platforming across rivers of lava in the Hammerhead, and a rather odd puzzle. These additions aren't groundbreaking by any means, but they're fun changes to the usual formula.

The story is the star of the show, however. The basic setup for the plot is that a virus that has been terrorizing a research base is trying to go off-planet to wreak havoc on the rest of the galaxy, and, of course, it's up to Shepard and his team to stop it, all the while dealing with a sketchy scientist. This story drives you through the first portion of the DLC, but clues as to what's really going on pop up along the way, and there is a grand reveal moment at the end. Once the full scope of the plot is understood, it makes for a great sci-fi story, it's weird, mysterious, and haunting, and it ranks as one of the coolest side-stories in the Mass Effect universe.

It goes without saying the Overlord is merely a new adventure, it doesn't tie in with the overall Mass Effect storyline, and it doesn't present any significant changes to the formula. That being said, Overlord has some unique gameplay moments (even if some of them are questionable), and an awesome story that make it worth the price of admission.

The Next Level

Rock Band 3's Pro mode is exactly what I've been waiting to see rhythm games progress toward. Casual and hardcore players alike have become infatuated with the Rock Band and Guitar Hero franchises, and many have mastered their plastic instruments, and I'm glad Harmonix decided to take people's love of playing music on fake instruments to the next level by letting them play on peripherals that are closer to the genuine article. The reason I got into playing the bass is because of my love for rhythm games. Indeed, gaming, instead of some of the more likely suspects lead me to my love of, and love of playing music. Though it's hard for me to write this without sounding like a music snob, I truly have progressed so far away from the plastic clicking of guitar controllers that made up my humble beginnings that I find it very difficult to go back and play games like Guitar Hero or Rock Band. And I would like for more people to end up in the same boat as me. Rock Band and Guitar Hero are accessible games that just about anyone can get into, but they can also serve as the first stepping stone toward becoming something of a musician, as they set the foundation for some of the rhythmic, and melodic qualities of your typical rock and roll song.


RB3 Keyboard
Rock Band 3's Pro Keyboard in action.

That's why I would be extremely excited for Rock Band 3's Pro instruments. Although not quite like the real things, the Pro peripherals are much more genuine representation of what playing those instruments is like. But notice I said "would be" excited. Yes, while the keytar/two octave keyboard, 17 fret six-string guitar, and something close to a full drum set all seem awesome to jam on, and perfect evolutions of their simpler predecessors, there's something missing from that line of peripherals. What could that be?

The bass. As a bassist myself, the fact that a Pro bass peripheral was not listed amongst the others stuck out like a sore thumb. This concerns me because if the guys at Harmonix really wanted to give players a shot at experiencing something close to playing each of these instruments, why would they leave one out? I think the idea of giving folks a shot at playing with instrument peripherals that are very near the real thing with little initial investment is a great idea, as I'm sure many people will get really into it, and might just end up deciding they want to take the plunge and buy real instruments. However, it would be a shame if they weren't given the opportunity to play each of the instruments that are crucial to a rock band. I'm aware of the fact that these peripherals have just been announced, so we may yet see a Pro bass peripheral, but if there ends up not being one, I'll be very disappointed.

Memory Woes

So I just got Metal Gear Solid: Peace Walker, and of course immediately popped it in my PSP. However, it takes up 33 MB's to install.

I only have a 32 MB Memory Stick.

One day shipping on the 1 GB Memory Stick I ordered immediately afterward can't come fast enough.

Outlaws To The End - Red Dead Redemption Review

It's easy to look at Red Dead Redemption and expect another sprawling epic from the excellent development team over at Rockstar. Red Dead Redemption is a game which perfectly embodies its setting while using that tried-and-true gameplay structure pioneered by Rockstar's 2008 masterpiece, Grand Theft Auto IV. However, it's quite difficult to realize that Red Dead Redemption is a far cry from Rockstar's magnum opus - since it is, in fact, one of their weakest games in a long time. Just looking at Red Dead Redemption, it's hard not to be impressed by its wonderful sense of place, but once you get beyond that, you'll realize you're playing yet another thoroughly unremarkable sandbox game.

Red Dead Redemption is set in 1911, the brink of the Wild West's end. Players step into the shoes of reformed outlaw John Marston as he tracks down his former gang members on orders from some mysterious government men. Things aren't that simple, of course, and soon enough Marston will find himself entangled in many different conflicts north and south of the border.

The story in Red Dead is simultaneously one of its strongest, and weakest points. To start with the positive, John Marston is one of the greatest protagonists in video game history. As a reformed outlaw trying to settle down in a society that's quickly becoming civilized, he's a man without any real place in the world, and his flaws and personal struggles really come to the surface throughout the story. And for the first few missions in the story you'll encounter a couple other great characters, but the rest of the West's denizens swiftly move into the realm of lame caricatures: a sleazy seller of "miracle" elixirs, a retired gunslinger, and a drunk Irishman. Thankfully, John Marston's story is the focal point of Red Dead Redemption, and its key moments are pulled of wonderfully. Unfortunately, you'll be so tired of it's secondary characters that getting to the good parts feels like a grind more than anything else.

As a period-piece, and character study, Red Dead Redemption goes above-and-beyond most games (despite some inconsistencies involving its setting), but the game loses a lot of its impact simply because not enough time is spent on plot points, and characters that truly matter.

RDR

Red Dead Redemption uses Grand Theft Auto IV's basic framework which covers everything from the gunplay to the mission structure. As such, it plays a lot like Grand Theft Auto IV, however, it includes many subtle differences that better suit its time period. Probably one of the most obvious of these changes is how you get around. Instead of hot-wiring sports cars, you can tame (or buy) a horse to call your own which you can keep throughout the game's entirety. Getting around on horseback takes some getting used to, and even when you have it down, it's never really that fun simply because it's a little too nuanced for the sake of realism. Your steed is constantly losing stamina, thus its speed is always varying, creating a frustrating struggle between the player's desire to simply gallop through the country-side, and the limitations of their horse.

The gunplay is also largely like what you'd find in Grand Theft Auto IV, however numerous improvements have been made. Health recharges, more than one of each type of gun can be carried, and there are some brutal close range kills in case enemies get a little to close for comfort. Perhaps the most significant piece of Red Dead Redemptions gunplay is Dead Eye. If Dead Eye is deployed, everything slows down for a brief time, letting you set up some insane kills that can decimate whoever stands in your path.

At the end of the day, Red Dead Redemption is a sandbox game before anything else, and RDR certainly keeps up the genre's various conventions, all the while brilliantly adapting them to its setting. Instead of facing the usual onslaught of police that result in your evil deeds, you'll simply have a bounty placed on you, and more people will hunt you the higher your bounty goes. The extracurriculars also fit perfectly with the game's setting. You can play one of many different barroom games, duel poor fools who get in your way, clean out gang hideouts, track down bounties, complete hunting challenges, help out strangers, or simply pick flowers. Surprisingly, each of these activities (save flower-picking) is quite fun, and stranger quests add extra depth to an already inspired setting.

There is one very questionable element to the gameplay, and that is the game's morality system. As the game's title implies, John Marston's story is one of redemption, so why players are allowed to go around murdering people and becoming the most infamous outlaw in the West is beyond me. It's out of place, detrimental to the story, and it's simply unnecessary.

Red Dead Redemption's multiplayer component is very hit or miss. To start with the bad this time around, its adversarial modes are downright awful. While gunplay is fine when killing A.I. enemies in solo or co-op modes, the old-fashioned weaponry really doesn't lend itself to heated gunfights against human opponents. Because each of the guns in Red Dead Redemption are so powerful, slow, and long-ranged, battles simply become a test of who fires first from the safest, yet most effective distance. The result is cheap deaths all over the place, and uneventful, unexciting matches.

Alternatively, Red Dead Redemption's Free Roam mode is quite great. It allows sixteen players to group up and explore the entirety of the overworked completing challenges, raiding gang hideouts, hunting, fighting the law, each other, and generally doing as they please. Just like Grand Theft Auto IV's Free Mode before it, Free Roam is a pretty astounding game mode, and is surely the high point of Red Dead Redemption's multiplayer.

RDR

Red Dead's production values are just about as uneven as everything else in the game. On one hand, the sound department is amazing, and is probably the most consistently high quality part of this game. The voice-overs are excellent, the music perfectly embodies the mood of the game, and the sound effects and ambient noises, namely the sounds of all the various wildlife, are all believable.

Then there's the graphics. The game's art direction believably captures all the various locales, from the desolate Mexican countryside to the cobblestone streets of Blackwater, the game certainly has some st.yle and the collisions of Wild West and urbanization are breathtaking. But it seems as if the game's engine really can't handle these wide-open environments very well. There are bugs all over the place, from minor clipping issues to your character being launched into the air (this has happened to me multiple times), and the graphics engine as a whole looks a bit dated.

RDR

Red Dead Redemption can last players quite a long time. The story missions can be completed in about 20 hours, and there are plenty of side activities to complete which can easily boost your playtime passed the 30 hour marker. The multiplayer component can also suck up quite a bit of time as it utilizes that oh so addicting XP system pioneered by Call of Duty 4 a few years back.

Red Dead Redemption, sadly, is not Rockstar's next masterpiece. There's plenty of great things in this game, including a well-realized setting, a magnificent sound department, and fun gunplay (given your not going toe-to-toe with human opponents). Unfortunately, there's just as much bad as there is good, as Red Dead Redemption is also guilty of numerous graphical problems, terrible adversarial multiplayer, and a story that is mostly filler with slow progression, and some pretty two-dimensional characters. Red Dead Redemption's greatest flaw is that it is inconsistent, for every awesome thing about it that draws you in, there is a problem that pushes you away again, and in the end, this unevenness makes Red Dead Redemption hard to recommend.