Andrew Passafiume

A game’s sound design could bring you into the experience or completely take you out of it. Some look for realism, others look for dramatic music stings, and some just want a lot of shit to blow up. Either way, there is generally a game or selection of games to suit your needs. Sound design is something that takes a lot of patience, but once the designers get it right, it will bring you into an experience even more so. Especially the games that rely heavily on sound effects and less on music. These are the little touches that matter most.

When running through the large battlefields in Killzone 2, you feel the intensity of battle. The Helghast shout, several grenades go off, and the constant sound of gunfire only helps you realize that you may not survive the fight. Before you can take cover, a Helghast charges up with a shotgun. It’s already too late, as your lifeless body hits the ground. It is at this point you realize it still is only a video game.

Call of Duty 4 has a very similar affect, and handles it in a way no other war game has in the past. It’s not the most realistic experience around, but it won’t matter when the sounds around you can lead to your virtual life or death. Eventually you begin to recognize certain sounds, like that of a grenade falling to the ground. The little touches that bring you into the experience so much more than any movie, television show, or book ever could.

Sound design is absolutely crucial when it comes to games. You are experiencing what is happening, you control the character, it’s all interactive. So the sound design needs to match it so precisely, because even if it is off just slightly, it may bring you out of the experience completely. It’s said bad voice acting can make characters in an RPG (or any game, for that matter) unlikeable, and make you potentially lose interest in the story. Whether or not that is true depends on the person, but I guarantee most of you can find an example of when it is true. Same goes for those little sounds, the ones that can make or break how much you immerse yourself into a game.

Dead Space, an excellent action/horror title from late last year, had some of the best sound design I’ve heard in any video game to date. I think the best effects are the ones where your character, Isaac, needs to go outside of the ship and into space. And, as expecting, it’s completely noiseless, aside from your character’s own heavy breathing. Of course, when you least expect it, an enemy could attack, as quiet as anything else in this specific environment. (If you haven’t played it, check it out for yourself.) 

So many different things go into a game’s development, but for just about all games, nailing down great sound design is crucial. And the hard work put into something that seems so simple really pays off in the end, and could, even just slightly, improve your experience with a game. It’s hard to tell for sure just how much it impacts your enjoyment of a game, that really depends on the person playing, but there is no denying that the best sound design immerses you in the experience almost flawlessly. Just those little touches that make everything that much better.

Something I had a recent discussion with a friend of mine about got me thinking…how far can graphics and gaming technology truly evolve? With each generation, we think to ourselves “Man, I don’t think games can ever look better than this,” but we are consistently proven wrong with both new games on those systems and newer generations of consoles. But how far can we go? When does the industry stop evolving to a point where games are just…more of the same? Both technologically and in how they play. There’s no doubt that this industry may never run out of great ideas for original games, but based on a lot of our own standards now, when will “great ideas” just not be enough for us?

I think, in a lot of respects, Nintendo is taking both a good and bad approach to games. I think the Wii is a system that only wants to try new things in terms of gameplay, and on a technical level, stays in the past. A good number of people complain about this, but it’s almost as if Nintendo is going to the past with the launch of their NES as a way to reinvigorate and restart this “dying” (or, in terms of the NES, pretty much dead) industry. When the next Nintendo system begins to move forward in graphics technology that will be old to us then, but is new to us now.

Let me try to explain this further, and keep in mind this is all hypothetical. Say that, in two more generations from now, Sony and Microsoft stop making money from their game and console sales, and all third party support goes directly to Nintendo. The fact that they innovated and added something incredibly new to the industry to bring in both a new audience and grab the interest of the old audience once again is like reviving the industry. And at that point, things only restart, and the graphical and other technological capabilities of the Wii and future Nintendo systems evolve until new competition comes in and things start all over again. And then, will it be Nintendo who creates yet another new way to play games? Or will there be a new company to take their place?

It all goes back to the main point: how far can we go? How far until games just simply cannot look better than they do now? Do people change their standards? Or will the standards at that point be so high that no game is regarded as excellent; they all become simply “good” or just another game to throw in the pile. In this industry, our standards for games have changed so much, and a majority of developers try to innovate in the look of a game as much as how it actually plays. So when that well runs dry, do games all start playing the same too?

Think about it. What would it take at that point to revive the industry, or at least get them on the right track? Is the hypothetical strategy stated here for Nintendo really something that would prevail? This definitely isn’t what happened during the time before Nintendo brought the industry back to life, but it’s something that may happen. You can’t deny that high standards in games rest with not just the gameplay, but a lot of the times with how the game looks as well. And when the looks become old news, the game isn’t nearly as respected by many as it would have been. Some may be saying “graphics don’t mean a thing” but you can’t deny that no matter how important they are to you, they are important to the industry, and I think there really is no changing it at this point. 

One can only hope that all of this is just gibberish, and things will continue to go relatively smoothly for the gaming industry for many console generations to come. But it’s something I’ve been wondering for a long time, and something I think should definitely be discussed.

Batman’s association with video games has been mediocre at best. Aside from the classic game on the NES, and perhaps even the kid-friendly LEGO Batman, the Dark Knight hasn’t had much success in the realm of video games. Batman: Arkham Asylum , shapes up to be not only a great Batman game, but an all around great superhero game. And it not only meets any lofty expectations, it exceeds them.

Arkham Asylum follows the story of the Caped Crusader as he returns The Joker to Gotham’s own prison for the criminally insane, Arkham Asylum. Little does Batman know that The Joker plans to get kidnapped to unleash another one of his master plans. The Joker quickly escapes captivity, takes over the entire island, and as always it’s up to Batman to put an end to The Joker’s sinister plans. Batman and The Joker are voiced by Kevin Conroy and Mark Hamill respectively, and they give absolutely fantastic performances. 

The game as a whole looks stunning. It’s a lot darker, more brooding, and definitely a lot more detailed than any Batman game before it. Arkham is a huge place to explore, and there are many little nooks and crannies to look in. There are several different buildings you will find yourself exploring, each with a very unique look to it. The character models are also well done, and as the game progresses, you’ll notice Batman’s costume getting more torn and beaten up as he continues. The little touches like those may not be noticed by everyone, but they are nice to have.

The story, while it starts out basic, plays out like an interactive episode of the original Batman Animated Series. Even if you’re not a huge Batman fan, or know much about the comics/series the game is tied to, you can still appreciate the story. And although The Joker is the main villain, you’ve got plenty of supporting villains, some of which actually manage to steal the show for quite a bit. The story actually took quite a few interesting twists, and there are some truly amazing moments to be found. 

The controls are perfect, and are very easy to learn. It can be considered a pick up and play title, with a basic tutorial in the beginning of the game showing you some of the ropes. You’ll find yourself running and gliding around Arkham in no time, and the intuitive controls only adds to the fact that you truly feel like Batman playing this game. No other game before this has given you that feeling before, and it’s done thanks to the combination of the controls and the many different gadgets you get as you progress, such as the Batclaw.

The gameplay blends together three main elements, and does so excellently. The first element is the combat, which is sinplistic, but intuitive and uncomplicated. You press the X button for all of your base attacks, but you combine those attacks with movements of the analog stick, the timing of your button presses, and other things like your gadgets and moves you can learn or upgrade along the way. The Y button serves as your counter button, which is used when you can tell an enemy is about to attack (I guess you can call it “Bat Sense”). When stringing together all of these basic elements, you can get some pretty amazing combos going. And later, more difficult enemies are introduced that require different tactics to take down. 

The second major element is the stealth, and while it isn’t as prominent as the combat, it can be just as intense and challenging. There are several situations in which you are faced with a group of armed guards, and it is at that point you realize that taking them head on is suicide. You will grapple along a bunch of gargoyles that are placed around the room, and use your many tools and moves to take down the various guards. Also, thanks to Batman’s “detective vision,” it’ll pinpoint all of the guards around the room easily. Later on in the game, you get larger groups of henchmen to deal with, a lot of which stick together in groups. But thanks to things like inverted takedowns, silent takedowns, and a “sonic batarang” you can unlock later on, you’ll find yourself clearing these rooms fairly quickly.

Speaking of Batman’s detective vision, it leads into the third element of gameplay, the detective work. It’s not a large part of the game, and it basically boils down to you finding a clue, analyzing it, and then following the trail to your next major location in the game. But what this detective vision is especially good for is finding hidden areas, such as walls you can destroy with your explosive gel, or even things you can collect. 

This leads to another part of the game, The Riddler challenges. Early on in the game, The Riddler contacts you and tells you he has hidden several Riddler trophies all around the asylum, and also given you plenty of riddles to solve based on what part of the environment you are in. The detective mode is especially good for helping you solve these riddles or collect the trophies, which give you extra bonuses such as character trophies and new challenge maps. And even once you finish the main story, you can wander around Arkham to find the rest of the hidden Riddler goodies that you missed during your main playthrough of the game.

You also earn points for doing certain things in the game. These can be as basic as defeating enemies or merely progressing in the story, or a bit more complicated such as finding specific hidden items (such as The Riddler trophies mentioned above). You use these points to upgrade Batman by increasing his health, and unlocking new gadgets and attacks for him as well. While you may not use a good part of any of these unlockables, they are nice to have and add a bit of variety to the later parts of the game.

Aside from the main story, you also have challenge maps, which are specific parts of the game that you can play to earn high scores, which are uploaded onto Xbox Live scoreboards. There are two main types: the combat challenge maps, and the predator challenge maps. And they are nice additions to the game that might keep you coming back to it, if you’re one for earning high scores and such. They also unlock even more things for you, so they are must plays for the completionists out there. 

There is one weakness in the game, and that is  that some of the boss battles are very disappointing (and some can’t even be considered “battles” at all). The final boss is especially disappointing, considering it mainly consists of you fighting regular enemies for the majority of it. Some of these boss battles are truly amazing, but a lot of them are downright disappointing. 

Overall, the gameplay blends together many different elements and does so in a truly amazing way. You have never played a Batman game quite like Arkham Asylum, as it brings Batman to video games like never before. This is as close to a perfect superhero game as we have gotten so far, and it really shows the folks over at Rocksteady know exactly how to treat this franchise with the respect it deserves. Even if you aren’t a fan of Batman, this is a quality game that is well worth the asking price. 

ESRB: T for Teen; rated for blood, violence, suggestive themes and mild language

Pros: Has a truly gripping story; fantastic presentation and voice cast; free flow combat is uncomplicated, smooth and satisfying; stealth sections are challenging and tense; truly amazing level design; plenty of extras to collect, riddles to solve, and things to unlock

Cons: Some disappointing boss battles, especially the final boss

What

September 7, 2009

Video games have generally never been high on humor or comedy, and I feel that this is a bit disappointing. The early days of gaming, it was hard to find a funny game outside of a point-and-click adventure title or, even farther back, a text-based adventure title. You just don’t see that many games with comedic moments in them anymore, and most games that attempt this generally fall flat on their face. Here’s a little dedication to humor in games, discussions some of my favorite funny games and why the industry needs to just lighten up a little. 

The new Prince of Persia is arguably a great game. While some hate its difficulty (or rather lack thereof,) they praise the artistic design of the game. A few complaints go towards the Prince himself, who is definitely less of a “Prince” and more of some street punk in this addition. But I enjoyed his lighter tone, his more upbeat personality, and his occasional funny quip. It was a nice refresh from the Prince in the Sands of Time trilogy (especially the later two games) and his brooding and almost self-loathing attitude. A game doesn’t need to be consistently funny, just a few lines of dialog that make us smile or maybe giggle at the sometimes stupid but generally worthy comedy.

 

I said earlier that most funny games were point-and-click adventure titles, a lot of which were being developed over at LucasArts by people the likes of Tim Schafer, Ron Gilbert, and Steve Purcell. But there were a few exceptions to this, one of which being a quirky little RPG on the Super Nintendo called Earthbound. 

 

It may not be the generally “stupid” humor most Americans are accustomed too, but it’s definitely there, and it suits video games more than slapstick gags, which work better in films. It’s usually intelligent and quick witted humor, especially found in Tim Schafer’s games. From his early work on the original Monkey Island titles, to his more recent games that depart from his point-and-click roots like Psychonauts and the soon to be released Brutal Legend, he’s a comedic genius, and he has a fantastic team of developers. The humor in games work best in point-and-click adventure games, because it gives the players more of a reason to continue playing, to see the characters reactions or lines of dialog. It makes them laugh, and it gives them a drive to finish the game. It’s one of those rare cases that even the most simple games can have their gameplay greatly improved with a little humor.

 

Grim Fandango is my favorite example of this. It’s a lengthy adventure, and almost every line of dialog is brilliantly delivered by the excellent cast, and they are all also excellently written. Of course, this isn’t to say humor can’t work outside of this genre, but these kinds of games work best with even just a sprinkle of humor. The more recent releases, such as the Sam & Max episodes, are good examples of how to both do episodic content right and perfectly mix an old genre with fresh humor. It’s something I truly believe this industry needs more of.

 

I’m all for the latest “serious” game, but sometimes it’s a bit upsetting to see games that don’t even have the slightest bit of humor outside of our own fun (and funny) times we can have with a game. Even an epic (of sorts) RPG such as Lost Odyssey has the “comic relief” character, whose voice work and dialog make him one of the best characters in the cast and one of the better RPG characters to come around in a long time. People tend to forget that comedy is a great thing, and while I’m not expecting the next Gears of War to turn into a comedic adventure for the whole family, I think we’ve all forgotten how much fun games can be if we’re laughing or even just smiling the entire time even when we’re not playing the game.

 

Let’s stop all of this serious business for a little while, and let’s lighten the mood. I want to laugh when I play a game, and not every game, but just some games. Maybe one out of every five games, that will be enough. It’s nice to see developers are still trying and (generally) succeeded at humor, even if it’s just a small part of the game, but we need more Tim Shafers in the world. Portal, what a fantastic game that was. And it will continue to be remembered by many gamers…why? Not because of the puzzles or the portal gun itself, but because of the humor. Take notes, I guarantee you’ll find yourself remembering something about a game more so if it made you laugh than anything else. Humor is an interesting thing, isn’t it?

Velvet Assassin is an attempt to bring back the old school style of stealth games some people may remember, before Splinter Cell and Metal Gear Solid took the genre by storm. And while it does manage to keep the basic gameplay from an earlier time intact, it does nothing to improve upon it. The gameplay is something that some fans of the genre may enjoy, but it’s hard to deny that it feels less like a current generation title and more like an old relic from two console generations past.

The story is “loosely”  based on the life of British secret agent Violette Szabo. But by loosely, I mean it does not have any historical accuracy with either Violette as a person, or her life. The only connect that can be made is that it all takes place during World War II, and the main character, Violette Summer, is a British secret agent. But aside from those key points, it’s a completely fictionalized version of both her life, and that time in history. 

Violette tells the story of the game as she is lying in bed, and the entire game is narrated from her own perspective. But she tends to narrate everything, even basic things you could just learn from a tutorial. Saying things like “lockers tend to have useful items inside” just removes any credibility the narration has, and at times makes it almost laughable. The voice actress who portrays Violette isn’t necessarily convincing either, as a lot of her lines seem to be simply read from a script without emotion or care, not acted.

The game does have a surprisingly original look to it, with an art style that is dark, brooding, and sometimes a bit creepy. It definitely takes a lot away from whatever realism the game is going for, but it also adds a lot to the experience. But sometimes, it can be too dark, to the point where you have to rely on your flashlight way too often. And of course, getting to a new area with your flashlight still on will lead to trouble, because the enemies will no doubt find you in a second. Darkness is a necessary part of a stealth game, yes, but it also becomes an obstacle you need to overcome. 

As I said earlier, the basic stealth gameplay is intact and it does work rather well. It pretty much involves you entering a new area, figuring out the pattern of the enemies, and finding a way to take them all out (or just sneak past them) to get to the next area. If you are a hardcore stealth fan, you may appreciate this game’s attempt to revitalize the old school stealth genre. It definitely is an acquired taste, but it works for what it is trying to accomplish.

However, there are many other problems that hold the game back from being an enjoyable stealth game. The A.I. is a big one, and when you have a game that is practically dependent on the enemy A.I., you can’t afford to mess it up. The enemies can be both too stupid at times, allowing you to walk right past them when it is clear they should notice you. But they can also do some odd things, like being able to detect you through a doorway. Sometimes when you open a door, you get a very brief loading screen and then you are in a new area. There were times when the enemies would someone detect me the second I walked through that door, and I had no chance to do anything to protect myself or get away. 

You can upgrade Violette, but it is generally useless as the majority of the game involves you trying to avoid danger as opposed to finding it. The increase in health can be handy, but more often than not, when you get caught in some later levels, you might not even get a chance to escape. And then you get upgrades for guns, or at least Violette’s ability to use them. They are more of a problem than a helpful tool, since the aiming is absolutely awful. You can also pick up morphine, which when used makes you invisible to the enemies for a short period of time. It can be helpful when you need to get out of a tight spot, but again, takes away from any realism in the game. 

Another problem is the game’s checkpoint system. You do get checkpoints during missions, yes, but they are way too few and far between. During one mission, you get one checkpoint right at the beginning, and that was it. The mission should take most players from that point on another ten or fifteen minutes, but since you can be killed so easily, you’ll find that time increase by another twenty to thirty minutes. It is old school, but it definitely is not fun.  

Velvet Assassin is a rather ambitious stealth game that tries to blend realism with a unique and original art style, but it falls flat on its face too many times to make the game worth any price. You might get some enjoyment out of this title if you’re a huge fan of the genre, but players are guaranteed to be persistently annoyed by its problems, no matter how patient they are. 

ESRB: M for Mature; contains plenty of blood, violence, and strong language.

Pros: Basic, old school stealth gameplay is intact; the art style of the game is interesting and original

Cons: Various A.I. problems can sometimes make the game more frustrating; the game is often too dark; the aiming/shooting mechanics are awful; the game’s lack of checkpoints can lead to frustration; narration is unintentionally hilarious at times