Another Goddamn PAX East Diary (But Different)

I figure I should probably get back into the swing of writing things before I lose any sense of personal momentum. For the sake of easing back in, I figure the best thing to do is cobble together my snatches of experience from Twitter posts and/or drunken photo ops and compose them into a singular overarching idea.

I didn't have a Media pass; I was at a Holiday Inn with three good friends. I didn't go to any of the major panels or booths; no Ken Levine, no Casey Hudson, no Bioware, no Assassin's Creed, no Max Payne 3. Patience is a virtue, but there's only so much any of those spectacles are worth. I generally drew the line at 30 minutes to an hour, and had a far better four days for it. So, what did I do, see, think, experience? Who did I meet at talk to? We'll get into that. But, as someone who's now a repeat visitor to this thing, consider this an alternative guide on what to do.

Pictured: idiots who are doing it all wrong.

...Could Be Better I Guess

Last time we discussed the shocking revelation of what my favorite example of game design is. The infrastructure in place in Three Rings' long-running puzzle-centric MMO Puzzle Pirates might not reveal itself at first blush, what with the cutesy G-rated Playmobil-like visual design and general "kid-friendly" style. But, as one plays on, well-modeled systems for player-run affiliations ("flags" and "crews") in both naval and economic conflict get their chance to impress. So the question begs: with such a rich and capable world in which to play puzzle games and pretend to swashbuckle, why don't more people participate... and why don't I play all that much, for that matter? Well, the following are a few overarching hypotheses: some blame lies with the game, some with me, and some with the world at large.

It really is uncanny, to an extent.

Fun & Games, Pt. 4

We've spent our fair share of this series considering games from a design perspective, and where games big and small, lauded and loathed, have betrayed their narrative-heavy stylizations. But what about "fun"? Can a game be judged on it as a criteria? What do people really mean when they talk about it? Are in we in need of some kind of system to categorize different "fun types" and determine how a particular video game delivers each?

Fun, in the most general sense, is enjoyment. When someone tells you a game is "fun", they are articulating their appreciation of the overall experience, even if they cannot particularly put their finger on or elucidate why. It could be they are engrossed by the plotline and cutscene; it could be the draw of visually and audially rendered splendor; it could even (perish the thought) be the mechanics and interactions of the game itself. What's certain is that the word, for all its value as a common term, is useless when trying to operate critically, analytically, or descriptively. The number of times I've seen "it's just fun" as the beginning and end of someone's defense of a game is just staggering, to the point where I have to assume that people who use it are, at least some of the time, avoiding having to admit they like a video game for its shiny colors and/or pulpy romance subplots.

You know... for kids!

In The Flesh

With these stories finally told, we can at last answer the primary question: so what?

Consider it a parable. The world of video games, as it stands today, is a very warped and bizarre place that is slowly but surely forming the black hole center of a cultural quasar. Rather than engage with the world around it on the terms of reality, it chooses instead to create an entire supporting psuedo-culture, either by bending existing media to its will or making new abominations to further extol its own virtues. "Hardcore" players of plastic instrument games are generally attracted to metal because of its difficulty as gem sequences, and clamor for video game-related novelty songs because their subject matter reinforces their lifestyle. It's why people remember "Jordan" by Buckethead from Guitar Hero II, "Through the Fire and the Flames" by DragonForce from III, and why when given the keys to a content pipeline in Rock Band there came a surge of Jonathan Coulton and Evile. To be fair, though, those are also some of the artists that sold the best, so they at least deserve credit for knowing their audience (themselves).

"Note Shuffle", i.e. "Just Put The Gems Wherever"

Another Brick in the Wall, Pt. 3

The Rock Band Network, or RBN for short, was an extremely bold move with great potential at redefining the kind of music that could be made available for band rhythm games. As of this moment, any act with master recordings and legal reproduction/sales rights to their songs can, with time and effort, make their music into a playable file, or "chart", of for-profit downloadable content for the Rock Band series. The entry cost is relatively low, even with hiring outside parties to do the charting and the added cost of piggybacking onto Microsoft's XNA indie development distribution program; most songs are capable of at least breaking even financially under the right circumstances. Acts from well-respected independent labels from Sub Pop to Fat Possum to Polyvinyl to Barsuk have all released material at some point or another, and even Matador and EMI made attempts to release music through this alternative pipeline. This was a major opportunity at expanding the song selection exponentially, and hopefully appealing to a wider swath of people and realizing the promises of series-as-platform on a new level.

Ugh.

Suffice to say, this did not happen.

Another Brick In The Wall, Pt. 2

In Part 1, we explored an abridged history of plastic-instrument games and their surge and ebb in the general market. In this installment, we will examine how specifically the two major primary-developer/publisher pairs (Neversoft/Activision of later Guitar Hero titles and EA/Harmonix of Rock Band) approached their products, and the shortcomings of the principles guiding each. Since hardware was by and large interchangeable and affected each series equally, the differences in tactics boil down almost entirely to software and available content libraries. Let the case study begin!

This is what the thunderclap at the end of a Slayer song looks like...

Another Brick In The Wall, Pt. 1

Western audiences were by no means unschooled in games with action synced to music thanks to the contributions of Bemani (Dance Dance Revolution, Beatmania)  in arcades, while the likes of NanaOn-Sha (Parappa the Rapper, Vib-Ribbon) and iNiS (Gitaroo Man, Ouendan) made ventures on consumers' home and portable systems. Their appeal, however, was often limited by song selections and/or original compositions that did little if anything to line up with American popular musical taste, as well as often highly abstracted translations of input. It was the synthesis of Western music selection, home console availability, and the tactile sensation of simulating playing a guitar (borrowed from Bemani's GuitarFreaks arcade cabinets) that became the core of the first Guitar Hero game.

Notice: only 3 colors... and mandatory guitar tilting.

In The Flesh?

I realize that my first two pieces, while topical, were just slightly behind the zeitgeist. In response to this, I will now go as far as possible from what is current in games to what seems to be nearing an end, or at the very least is well out of the honeymoon phase. And I will take three parts, an introduction post and a conclusion post to do so.

So: plastic-instrument rhythm games!

Wait, don't go, I promise I will do my best to keep this interesting.