This Week In Video Game Criticism: Apocalypse When? Zelda Now!
In this week's roundup of inspiring writing on the art and design of video games, Ben Abraham looks at E3 'surprises', Apocalypse Now game thoughts, and where Zelda went wrong.
[Gamasutra is partnering with game criticism site Critical Distance to present some of the week's most inspiring writing about the art and design of video games from commentators worldwide. This week, Ben Abraham looks at E3 'surprises', Apocalypse Now game thoughts, and where Zelda went wrong.] The first piece from this week is Matthew Kaplan’s post on the Game In Mind blog asking ‘Who will stand for us?’ – the ‘us’ in question being a sophisticated audience that Kaplan sees existing for other media, and which he assumes is also present somewhere in gaming. He opines, “...mainstream games are letting down a sophisticated generation of gamers who are increasingly plugged into media that combines entertainment and cultural insight.” Kyle Orland on his blog ‘The Game Beat’ examines the lies told to make E3 reveals ‘more of a surprise’, and asks whether it’s okay to lie to maintain said surprise. In a post called “David Jaffe is a liar. Do we care?” Orland sums up the issues quite nicely. Paul Sztajerat at PDYXS wrote about ‘Signalling the intent of the player character’ in which he discusses the character of Shepherd in Mass Effect and what we are supposed to think about him or her. Sztajerat says, “at first, I thought the character was a shell, into which I could pour my conceptions of humanity; and later, I realised that the character was fully-developed, meant to act as a mirror to hold to the light my own ideals and values.” Eric Swain has an excellent post this week on ‘The Milleu of inFamous’ at The Game Critique. One of my pet peeves is the trend in all quarters of gaming to frenetically move on to the newest and latest games, so I commend Swain for taking the time to examine a slightly older one here. Of the game he notes, “I would place the introduction of inFamous as one of the better opening levels in open world gaming. I say this because it sets the stage to not just for the game, but also more importantly for the milieu.” Swain follows on with two other posts about the game, focusing on ‘The propaganda of inFamous’ and ‘The morality of inFamous’ respectively. On the back of rumors about an “Apocalypse Now” game possibly in development, Mike Dunbar at the RRoD blog says “That’s already been done!” and in the following post points to Far Cry 2 as the descendant of that thematic concern. His primary issue with any such new game, however, is that, “...a simple tour of scenes from the movie, or a standard Vietnam shooter with on-rails boating excursions, would be a great disservice to the source material. I don’t want to be told my character is going mad. I don’t want to read it in a journal, or hear Martin Sheen tell me. I want to feel it.” In the first of a few E3 influenced posts from across the blogosphere, Michael Abbott wrote about the hyperbolic rhetoric often employed in announcements and pronouncements about the future. His post “Keynote Rhetoric