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Found 6 results

  1. Jack Gardner

    The Best Games Period - Episode 113 - P.T.

    Ephemeral, like the spooky apparition that froze the blood of players in-game, P.T. was here for a while and faded into the ether, killed by Konami. However, its memory lives on in the hearts of fans who rabidly unraveled its secrets and jealously guarded prized hard drives containing the game that is no more. Some even set out to completely remake the horror game from scratch, despite Konami taking down such projects, leading to full retail titles releasing with P.T. hiding in their DNA. But was it even a game? What was P.T.? With that question looming large over the discussion, can P.T. be considered one of the best games of all-time? Outro music: Silent Hill 'Nay Tomorrow' by Tamimi (http://ocremix.org/remix/OCR00756) You can download or listen to the podcast over on Soundcloud, our hosting site, and iTunes. A YouTube version is available, as well! If you want to have your opinion heard on air, share your opinion in the comments, follow the show on Twitter, and participate in the weekly polls: @BestGamesPeriod New episodes of The Best Games Period will be released every Monday Don't forget to sign up for Extra Life to help sick and injured kids in hospitals around the US and Canada by playing games!
  2. Ephemeral, like the spooky apparition that froze the blood of players in-game, P.T. was here for a while and faded into the ether, killed by Konami. However, its memory lives on in the hearts of fans who rabidly unraveled its secrets and jealously guarded prized hard drives containing the game that is no more. Some even set out to completely remake the horror game from scratch, despite Konami taking down such projects, leading to full retail titles releasing with P.T. hiding in their DNA. But was it even a game? What was P.T.? With that question looming large over the discussion, can P.T. be considered one of the best games of all-time? Outro music: Silent Hill 'Nay Tomorrow' by Tamimi (http://ocremix.org/remix/OCR00756) You can download or listen to the podcast over on Soundcloud, our hosting site, and iTunes. A YouTube version is available, as well! If you want to have your opinion heard on air, share your opinion in the comments, follow the show on Twitter, and participate in the weekly polls: @BestGamesPeriod New episodes of The Best Games Period will be released every Monday Don't forget to sign up for Extra Life to help sick and injured kids in hospitals around the US and Canada by playing games! View full article
  3. If The Game Awards 2016 had an category for "Most Enigmatic Trailer" Hideo Kojima's further unveiling of Death Stranding would have taken it home easily. Famous for its E3 reveal featuring a weeping Norman Reedus in the nude holding a baby in the middle of a dried seabed filled with dead whales and crabs (yes, that really happened), Death Stranding left many wondering exactly what Kojima Production's first game might be about. Unfortunately, the new, longer trailer seems to hold few answers, but that hasn't stopped fans from trying to guess as to what it all might mean. The new teaser, which clocks in at about five minutes takes place in an emptied riverbed, reminiscent of the first trailer, with a digitized Guillermo del Toro seeking refuge in a sewer from a conflict raging above. Planes fly over bombed out buildings, an inverted rainbow arcing away from the ground above them. Del Toro can be seen looking back in horror at something happening behind him. We see he has what looks to be a surgery scar running across his forehead and a badge with an image of the United States of America crossed by a massive spiderweb with the word or acronym BRIDGES written above it. As Guillermo del Toro is about to enter the sewers, a tank rumbles over the entrance, covered in large internal organs, human skeletons, and the autonomously moving black ooze omnipresent in both trailers. Soldiers follow behind, similarly streaked with ooze and linked both together and to the tank via a long umbilical cord. As they pass overhead, water begins to return to the riverbed. We finally see that del Toro has been carrying a large canister this entire time, a canister that contains a baby. Guillermo hooks what appears to be his own block umbilical cord into the canister and the baby seems to awaken, opening one eye to stare directly at the camera. A doll cast aside long ago begins floating down the river, into the sewer, bumping into del Toro as it passes. He then stumbles into the sewer as if he expects to see someone just around the corner. The camera follows the doll as it floats through the sewer and begins to fill the surrounding water with an orange glow, a glow that is faintly answered farther down the tunnel. Soldiers step out of the darkness, armed to the teeth and wearing skull masks. They all appear to be attached via black umbilical cords to their leader, portrayed by Mads Mikkelsen. Mikkelsen seems to be able to command his unit wordlessly and without gestures (he gives gestures, but he is clearly standing behind them and outside of their line of sight). With a swipe of his hand, his helmet dematerializes and the umbilical cords between him and the soldiers follow suit, setting them free to hunt the sewers for their prey. The doll bumps into Mikkelsen's leg, its broken body bearing a disturbingly similar scar to the one Norman Reedus bore in the first trailer. The doll's only remaining eye opens, revealing an unnervingly real eye as a scream seems to come from it. Mikkelsen smiles. All of it adds up to whatever Death Stranding is - and there are now a lot of theories as to what this game might be. There are a dizzying number of them. People have proposed everything from nanomachines to quirks of quantum physics leading to the reanimation of the dead to some kind of post-apocalyptic civil war. Personally, I have my own interpretation. Hear me out: There's a number of signs that make me think Death Stranding could be an alien invasion story. The mysterious black ooze seems to be alive, behaving in decidedly unearthly ways. So far, we have only seen two characters who aren't covered by the black ooze, del Toro and Reedus (though he does have a vision of black ooze on his hands). This, combined with the advent of technology no human would really have a desire or see the necessity in inventing (i.e. connecting one's self to other people or technology via a synthetic umbilical cord), indicate that not only is this black ooze alien in origin, but it might even be a method of mind control. Yes, mind control - I believe Death Stranding is going to focus heavily on psychic powers. The compass on Mikkelsen's combat jacket can be seen spinning crazily as he sets his soldiers free from their cords. A psychic link would seemingly explain how he is able to coordinate them from behind without any obvious form of communication. Also, it would fit with the recurring symbol of three eyes, which I believe is a reference to the concept of a psychic/spiritual "third" eye. Perhaps these umbilical babies are means of hiding from psychic enemies or the umbilical link helps them to become inoculated to mind control. Given del Toro's possession of a baby (with a seemingly cruder cord than Mikkelsen's), his medical forehead scar, and the badge on his coat, I'd hazard a guess that he's a scientist working for the BRIDGES organization, maybe even one that specializes in the aliens or in psychic research. There are other little details that I think might indicate aliens. The tank covered in large internal organs seems to indicate either some altercation with a beached whale or perhaps a larger organic creature. I'd speculate that the weirdly receding and returning water that resulted in dead aquatic life in both trailers might be due to super massive ships throwing off tidal patterns by being too close to the planet. A large ship might also explain what del Toro was looking back at in such horror and the oddly inverted rainbow in the sky. Aliens would also explain some of the futuristic-looking technology the trailers display for brief moments, like the glowing handcuffs both del Toro and Reedus wear. Finally, this alien theory would also gel with the older theory that Reedus' character eventually dons the space suit/armor featured in the Kojima Productions logo (the video for which states the game being shown is Death Stranding). Whatever Death Stranding turns out to be, it will certainly be interesting. The internet can't seem to get enough of Hideo Kojima's penchant for weirdness - and that's exactly what the game seems to be tapping into. View full article
  4. If The Game Awards 2016 had an category for "Most Enigmatic Trailer" Hideo Kojima's further unveiling of Death Stranding would have taken it home easily. Famous for its E3 reveal featuring a weeping Norman Reedus in the nude holding a baby in the middle of a dried seabed filled with dead whales and crabs (yes, that really happened), Death Stranding left many wondering exactly what Kojima Production's first game might be about. Unfortunately, the new, longer trailer seems to hold few answers, but that hasn't stopped fans from trying to guess as to what it all might mean. The new teaser, which clocks in at about five minutes takes place in an emptied riverbed, reminiscent of the first trailer, with a digitized Guillermo del Toro seeking refuge in a sewer from a conflict raging above. Planes fly over bombed out buildings, an inverted rainbow arcing away from the ground above them. Del Toro can be seen looking back in horror at something happening behind him. We see he has what looks to be a surgery scar running across his forehead and a badge with an image of the United States of America crossed by a massive spiderweb with the word or acronym BRIDGES written above it. As Guillermo del Toro is about to enter the sewers, a tank rumbles over the entrance, covered in large internal organs, human skeletons, and the autonomously moving black ooze omnipresent in both trailers. Soldiers follow behind, similarly streaked with ooze and linked both together and to the tank via a long umbilical cord. As they pass overhead, water begins to return to the riverbed. We finally see that del Toro has been carrying a large canister this entire time, a canister that contains a baby. Guillermo hooks what appears to be his own block umbilical cord into the canister and the baby seems to awaken, opening one eye to stare directly at the camera. A doll cast aside long ago begins floating down the river, into the sewer, bumping into del Toro as it passes. He then stumbles into the sewer as if he expects to see someone just around the corner. The camera follows the doll as it floats through the sewer and begins to fill the surrounding water with an orange glow, a glow that is faintly answered farther down the tunnel. Soldiers step out of the darkness, armed to the teeth and wearing skull masks. They all appear to be attached via black umbilical cords to their leader, portrayed by Mads Mikkelsen. Mikkelsen seems to be able to command his unit wordlessly and without gestures (he gives gestures, but he is clearly standing behind them and outside of their line of sight). With a swipe of his hand, his helmet dematerializes and the umbilical cords between him and the soldiers follow suit, setting them free to hunt the sewers for their prey. The doll bumps into Mikkelsen's leg, its broken body bearing a disturbingly similar scar to the one Norman Reedus bore in the first trailer. The doll's only remaining eye opens, revealing an unnervingly real eye as a scream seems to come from it. Mikkelsen smiles. All of it adds up to whatever Death Stranding is - and there are now a lot of theories as to what this game might be. There are a dizzying number of them. People have proposed everything from nanomachines to quirks of quantum physics leading to the reanimation of the dead to some kind of post-apocalyptic civil war. Personally, I have my own interpretation. Hear me out: There's a number of signs that make me think Death Stranding could be an alien invasion story. The mysterious black ooze seems to be alive, behaving in decidedly unearthly ways. So far, we have only seen two characters who aren't covered by the black ooze, del Toro and Reedus (though he does have a vision of black ooze on his hands). This, combined with the advent of technology no human would really have a desire or see the necessity in inventing (i.e. connecting one's self to other people or technology via a synthetic umbilical cord), indicate that not only is this black ooze alien in origin, but it might even be a method of mind control. Yes, mind control - I believe Death Stranding is going to focus heavily on psychic powers. The compass on Mikkelsen's combat jacket can be seen spinning crazily as he sets his soldiers free from their cords. A psychic link would seemingly explain how he is able to coordinate them from behind without any obvious form of communication. Also, it would fit with the recurring symbol of three eyes, which I believe is a reference to the concept of a psychic/spiritual "third" eye. Perhaps these umbilical babies are means of hiding from psychic enemies or the umbilical link helps them to become inoculated to mind control. Given del Toro's possession of a baby (with a seemingly cruder cord than Mikkelsen's), his medical forehead scar, and the badge on his coat, I'd hazard a guess that he's a scientist working for the BRIDGES organization, maybe even one that specializes in the aliens or in psychic research. There are other little details that I think might indicate aliens. The tank covered in large internal organs seems to indicate either some altercation with a beached whale or perhaps a larger organic creature. I'd speculate that the weirdly receding and returning water that resulted in dead aquatic life in both trailers might be due to super massive ships throwing off tidal patterns by being too close to the planet. A large ship might also explain what del Toro was looking back at in such horror and the oddly inverted rainbow in the sky. Aliens would also explain some of the futuristic-looking technology the trailers display for brief moments, like the glowing handcuffs both del Toro and Reedus wear. Finally, this alien theory would also gel with the older theory that Reedus' character eventually dons the space suit/armor featured in the Kojima Productions logo (the video for which states the game being shown is Death Stranding). Whatever Death Stranding turns out to be, it will certainly be interesting. The internet can't seem to get enough of Hideo Kojima's penchant for weirdness - and that's exactly what the game seems to be tapping into.
  5. Jack Gardner

    The Twisted Design of P.T.

    During gamescom 2014, a playable teaser for the upcoming psychological horror game Silent Hills was released on the PlayStation 4. The project is a collaboration between Hideo Kojima and Guillermo del Toro. I finally had a chance to play through the demo this week and, while P.T. certainly nails key horror genre elements, it has a number of baffling design choices. P.T. seems to take cues from games like Outlast and Amnesia: The Dark Descent. The majority of the interactions players have with the environment is simply walking around. Essentially, the player character is a passive observer to the disturbing scenes and sounds of the environment. Players are able to move and look at different objects with the camera. A cursory examination of the different buttons reveal that none of them seem to perform any function, with the exception of a slight zoom of the camera by pressing the right analogue stick. This is important because it turns out the only way to progress in P.T. is by looking at specific objects. The problem is that P.T. occasionally changes the rules. There is one occasion in P.T. when players are supposed to intuitively know that they need to press a specific button while looking at an object. Unfortunately, the game has already established that the buttons serve no function, which makes it all the more frustrating that this is one of only two times in P.T. where players are required to press a button. At one point the demo requires players to find several scraps of a ripped up photograph. This would be fine if it was clear that the player should be looking for scraps. For a while I assumed that I was just supposed to be looking at unique objects in the hallway, because I found two by zooming in on a teddy bear and a potted plant. It wasn’t until I looked up a guide online that it was clear that I was looking for small, hidden pieces of that picture. Persistent players will eventually reach one of the most perplexing requirements of the demo; a part which has been commonly referred to as the “final puzzle.” To proceed, players must have a headset or microphone plugged into the PS4 controller. There is no indication for this; presumably players were just supposed to figure this out on their own. With the headset/mic in hand, players have to hear or compel a baby to laugh three times by looking at various objects or moving in certain ways. There are a variety of strategies that people say work, but all of them are pretty dang obscure (there are over eleven methods of unlocking the end of P.T. in this IGN walkthrough). Kojima is known for keeping his projects a surprise until just the right time, and has even admitted that he thought it would take the internet longer to figure out the secret to unlocking the ending of the demo. To me, this seems like confusing design for the sake of being mysterious. Perhaps that was entirely the point and I am being hard on P.T. because I don’t understand it. But I think that there are some decisions here that need to be called out. In particular, the ending of P.T. is not a puzzle, nor is any part of P.T. for that matter. Inconsistent controls and obscure requirements for what happens to be plugged into the PS4 controller aren’t puzzles. Good puzzles are like a Rubik’s cube. Most people understand how a Rubik’s cube works and what the goal is almost from the instant they pick it up. It is intuitive. The puzzle is figuring out how to use the simple mechanics of the cube in order to solve it. But what if there was occasionally a hidden rule to Rubik’s cubes? What if it was decided that at a very specific point in solving one you had to make a turn of the cube using only one hand? What if in order to officially have solved the cube you had to do your best impression of Freddie Mercury? Now imagine that you eliminate the Rubik’s cube and replace it with wandering around a creepy hallway. There is no puzzle there, just a weirdo having a hand around and occasionally acting like a terrible Freddie Mercury impersonator. That’s what trying to play through P.T. is like. Just because something is difficult to figure out doesn’t make it a puzzle. One of the reasons I am hounding this issue is because genuinely ruins the experience of being freaked out. Being trapped in a haunted hallway is terrifying. Being trapped in a haunted hallway where nothing happens for twenty minutes while you are trying to figure out how to get a door to open is just frustrating. In video games, frustration trumps horror. This comic by artist Bryce Corbett (warning: harsh language) perfectly sums up how many people have experienced the teaser for Silent Hills. The design creates unintended frustration, and that seems to me like a fundamental flaw. It might seem like I am being a bit hard on P.T. Like I said earlier, the atmosphere is electrifyingly uncomfortable. The environment consists of a hallway, a cement chamber, and a bathroom. Using that limited scope, it deftly manages to be unnerving, demonic, and horrifying without relying overly much on jump scares. Baby wails, guttural muttering, static-laced radio broadcasts regarding murder, bugs crawling on moldering walls, and piles of trash on the floor all work together to make the area uncomfortable. There are little details like bars on the windows, an abundance of abstract paintings, a swinging ceiling light that give the affair a sense of surreal dread. Despite my concerns, I am optimistic about a new Silent Hill game. I am hoping that most of the design decisions in the teaser reflect Kojima’s penchant for dramatic reveals and secrecy, not his vision of the full game. Honestly, I call out Kojima as being the largest name attached to the project with a history of game design. It could be that these decisions came from Guillermo del Toro. Who knows? Either way, the atmosphere of an exceedingly terrifying experience is already in place, there just needs to be a competent game behind the visuals and sound to back it all up with something that doesn’t rely on guesswork, luck, and strategy guides.
  6. Jack Gardner

    Feature: The Twisted Design of P.T.

    During gamescom 2014, a playable teaser for the upcoming psychological horror game Silent Hills was released on the PlayStation 4. The project is a collaboration between Hideo Kojima and Guillermo del Toro. I finally had a chance to play through the demo this week and, while P.T. certainly nails key horror genre elements, it has a number of baffling design choices. P.T. seems to take cues from games like Outlast and Amnesia: The Dark Descent. The majority of the interactions players have with the environment is simply walking around. Essentially, the player character is a passive observer to the disturbing scenes and sounds of the environment. Players are able to move and look at different objects with the camera. A cursory examination of the different buttons reveal that none of them seem to perform any function, with the exception of a slight zoom of the camera by pressing the right analogue stick. This is important because it turns out the only way to progress in P.T. is by looking at specific objects. The problem is that P.T. occasionally changes the rules. There is one occasion in P.T. when players are supposed to intuitively know that they need to press a specific button while looking at an object. Unfortunately, the game has already established that the buttons serve no function, which makes it all the more frustrating that this is one of only two times in P.T. where players are required to press a button. At one point the demo requires players to find several scraps of a ripped up photograph. This would be fine if it was clear that the player should be looking for scraps. For a while I assumed that I was just supposed to be looking at unique objects in the hallway, because I found two by zooming in on a teddy bear and a potted plant. It wasn’t until I looked up a guide online that it was clear that I was looking for small, hidden pieces of that picture. Persistent players will eventually reach one of the most perplexing requirements of the demo; a part which has been commonly referred to as the “final puzzle.” To proceed, players must have a headset or microphone plugged into the PS4 controller. There is no indication for this; presumably players were just supposed to figure this out on their own. With the headset/mic in hand, players have to hear or compel a baby to laugh three times by looking at various objects or moving in certain ways. There are a variety of strategies that people say work, but all of them are pretty dang obscure (there are over eleven methods of unlocking the end of P.T. in this IGN walkthrough). Kojima is known for keeping his projects a surprise until just the right time, and has even admitted that he thought it would take the internet longer to figure out the secret to unlocking the ending of the demo. To me, this seems like confusing design for the sake of being mysterious. Perhaps that was entirely the point and I am being hard on P.T. because I don’t understand it. But I think that there are some decisions here that need to be called out. In particular, the ending of P.T. is not a puzzle, nor is any part of P.T. for that matter. Inconsistent controls and obscure requirements for what happens to be plugged into the PS4 controller aren’t puzzles. Good puzzles are like a Rubik’s cube. Most people understand how a Rubik’s cube works and what the goal is almost from the instant they pick it up. It is intuitive. The puzzle is figuring out how to use the simple mechanics of the cube in order to solve it. But what if there was occasionally a hidden rule to Rubik’s cubes? What if it was decided that at a very specific point in solving one you had to make a turn of the cube using only one hand? What if in order to officially have solved the cube you had to do your best impression of Freddie Mercury? Now imagine that you eliminate the Rubik’s cube and replace it with wandering around a creepy hallway. There is no puzzle there, just a weirdo having a hand around and occasionally acting like a terrible Freddie Mercury impersonator. That’s what trying to play through P.T. is like. Just because something is difficult to figure out doesn’t make it a puzzle. One of the reasons I am hounding this issue is because genuinely ruins the experience of being freaked out. Being trapped in a haunted hallway is terrifying. Being trapped in a haunted hallway where nothing happens for twenty minutes while you are trying to figure out how to get a door to open is just frustrating. In video games, frustration trumps horror. This comic by artist Bryce Corbett (warning: harsh language) perfectly sums up how many people have experienced the teaser for Silent Hills. The design creates unintended frustration, and that seems to me like a fundamental flaw. It might seem like I am being a bit hard on P.T. Like I said earlier, the atmosphere is electrifyingly uncomfortable. The environment consists of a hallway, a cement chamber, and a bathroom. Using that limited scope, it deftly manages to be unnerving, demonic, and horrifying without relying overly much on jump scares. Baby wails, guttural muttering, static-laced radio broadcasts regarding murder, bugs crawling on moldering walls, and piles of trash on the floor all work together to make the area uncomfortable. There are little details like bars on the windows, an abundance of abstract paintings, a swinging ceiling light that give the affair a sense of surreal dread. Despite my concerns, I am optimistic about a new Silent Hill game. I am hoping that most of the design decisions in the teaser reflect Kojima’s penchant for dramatic reveals and secrecy, not his vision of the full game. Honestly, I call out Kojima as being the largest name attached to the project with a history of game design. It could be that these decisions came from Guillermo del Toro. Who knows? Either way, the atmosphere of an exceedingly terrifying experience is already in place, there just needs to be a competent game behind the visuals and sound to back it all up with something that doesn’t rely on guesswork, luck, and strategy guides. View full article
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