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Found 8 results

  1. The Stanley Parable originated as a mod for Half-Life 2 made by Davey Wreden. The mod proved to be relatively popular for its unique sense of humor and the way it played with gaming interactivity in novel ways. As a result, it became a fully fledged title that released at the tail end of 2013 with revamped graphics and additional content. Falling into that adventure game sub-genre of games that are sometimes derisively called "walking simulators," The Stanley Parable focuses on exploring interactivity in a digital medium by posing an iconic choice to the player: If you enter a room with two doors and someone tells you to go through the door on the left, but you are fully capable of going through the door on the right, which do you choose? With humor, minimalist design, and some brilliant voice work by Kevan Brighting, is The Stanley Parable one of the best games period? Outro music: Lunar Pool 'Looser Tool' by Harmsing (http://ocremix.org/remix/OCR03704) You can download or listen to the podcast over on Soundcloud, our hosting site, and iTunes. A YouTube version is available as well, so you can watch what we are talking about while we talk about it! 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 View full article
  2. The Stanley Parable originated as a mod for Half-Life 2 made by Davey Wreden. The mod proved to be relatively popular for its unique sense of humor and the way it played with gaming interactivity in novel ways. As a result, it became a fully fledged title that released at the tail end of 2013 with revamped graphics and additional content. Falling into that adventure game sub-genre of games that are sometimes derisively called "walking simulators," The Stanley Parable focuses on exploring interactivity in a digital medium by posing an iconic choice to the player: If you enter a room with two doors and someone tells you to go through the door on the left, but you are fully capable of going through the door on the right, which do you choose? With humor, minimalist design, and some brilliant voice work by Kevan Brighting, is The Stanley Parable one of the best games period? Outro music: Lunar Pool 'Looser Tool' by Harmsing (http://ocremix.org/remix/OCR03704) You can download or listen to the podcast over on Soundcloud, our hosting site, and iTunes. A YouTube version is available as well, so you can watch what we are talking about while we talk about it! 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
  3. Amidst the blockbuster games of 2013 like BioShock Infinite and The Last of Us, a little game from an unknown indie studio almost single-handedly established a genre. The Fullbright Company's Gone Home was met with critical acclaim, commercial success, and spawned fairly divisive opinions in the general audience. The hosts of the show actually discussed Gone Home when it came out on their previous podcast and revisiting it proved to be an enlightening experience. Do you think Gone Home is one of the best games period? Each week we will be tackling a video game, old or new, that at least one of us believes deserves to stand as one of the greatest games of all time. We'll dive into its history, development, and gameplay, while trying to argue for or against the game of the week. Sometimes we will be in harmonious agreement, other times we might be fighting a bitter battle to the very end. However each episode shakes out, we hope that everyone who listens will find the show entertaining and informative. Outro music: Skylanders: Spyro's Adventure 'Another Sky' by Rexy (http://ocremix.org/remix/OCR03379) You can download or listen to the podcast over on Soundcloud, our hosting site, and iTunes. A YouTube version is (sometimes) available as well, so you can watch what we are talking about while we talk about it! You can also follow the show on Twitter: @BestGamesPeriod New episodes of The Best Games Period will be released every Monday View full article
  4. Amidst the blockbuster games of 2013 like BioShock Infinite and The Last of Us, a little game from an unknown indie studio almost single-handedly established a genre. The Fullbright Company's Gone Home was met with critical acclaim, commercial success, and spawned fairly divisive opinions in the general audience. The hosts of the show actually discussed Gone Home when it came out on their previous podcast and revisiting it proved to be an enlightening experience. Do you think Gone Home is one of the best games period? Each week we will be tackling a video game, old or new, that at least one of us believes deserves to stand as one of the greatest games of all time. We'll dive into its history, development, and gameplay, while trying to argue for or against the game of the week. Sometimes we will be in harmonious agreement, other times we might be fighting a bitter battle to the very end. However each episode shakes out, we hope that everyone who listens will find the show entertaining and informative. Outro music: Skylanders: Spyro's Adventure 'Another Sky' by Rexy (http://ocremix.org/remix/OCR03379) You can download or listen to the podcast over on Soundcloud, our hosting site, and iTunes. A YouTube version is (sometimes) available as well, so you can watch what we are talking about while we talk about it! You can also follow the show on Twitter: @BestGamesPeriod New episodes of The Best Games Period will be released every Monday
  5. Great video games aren’t random mishmashes and hodgepodges of disparate visuals, mechanics, and stories. With games that stand the test of time, those elements need to come together to create a cohesive whole. Given that video games are an interactive medium, arguably their most important component is how they allow players to interact with them. The Stanley Parable, Shadow of the Colossus, and Beyond: Two Souls, perfectly capture this concept, albeit in different ways. I’ve made a point of mentioning a game called The Stanley Parable recently. Talking about The Stanley Parable is difficult without spoiling much of what makes it enjoyable and thought provoking. However, I don’t think it is giving away too much to say that the core of the experience is built around player choice and how that relates to game design. Developer Galactic Cafe stripped down the gameplay to the bare minimum required to convey this message to players. The Stanley Parable uses similar mechanics to games like Dear Esther and Gone Home, giving players only the ability to move and interact with certain objects. One of the criticisms leveled against both Gone Home and Dear Esther was that the level of engagement afforded by the limited scope of the gameplay wasn’t interesting or necessarily fun. Where those games fell short, The Stanley Parable excels by using its mechanics to help demonstrate and complement its story through intelligent game design. Essentially, players are presented with a series of branching paths and options with an amusing narration responding to whatever the player happens to be doing. The narration urges players down a predetermined path, while other opportunities are constantly presented for players to derail the experience. This allows The Stanley Parable to not only directly talk about the struggles of developing video games but also demonstrate those difficulties through the player’s experiences. Interactivity and storytelling are difficult to reconcile with one another, as interactivity is necessarily freeing and storytelling is by nature restrictive. Shadow of the Colossus marries the two in an interesting way. Colossus’ story revolves around a young man who brings his deceased love to a forbidden land and makes a pact with a demon or deity to bring her back from the dead. At the end of their interaction, the supernatural entity nebulously states that the price might be higher than the young man could imagine. As players progress through Shadow of the Colossus, killing the sixteen colossi, players begin to notice subtle changes, both in the visuals and in the gameplay. With each defeated colossus comes a flood of dark tendrils that infuse the young man’s body and transport him back to the starting area. Each time that happens, the young man receives increased health and stamina and begins to look more haggard, eventually sprouting small horns, transforming into something inhuman. This is done with little to no dialogue, but as players, we experience the transformation ourselves and recognize that something sinister is taking place; the cost alluded to at the beginning. It is an achievement in subtlety that few games ever manage. While the story in Shadow of the Colossus remains static with no branching paths, it leaves the details hanging for players to interpret and experience differently with each playthrough. That's how you can have many players walking away from Shadow of the Colossus with different takes on what happened in the game. Was it a love story about a man going to the ends of the world for the woman he loves? Was it a dark parable cautioning against hubris? Or perhaps it was a tragedy about someone coping with grief in destructive ways? These vastly different outlooks depend on how people interact with Shadow of the Colossus and the set of life experiences each individual brings with them. On the complete opposite end of the spectrum, we have games like Beyond: Two Souls, which treat gameplay mechanics almost as a hindrance rather than a strength. Playing Beyond: Two Souls feels like watching a bad movie that grudgingly pauses every so often for players to do quick-time events and contextual button presses. The game rarely communicates when players are making important choices that are arbitrarily more important later on in the plot and plot-related decisions are essentially the only meaningful gameplay in which players can partake. Yes, it has branching storylines. Yes, it integrates player choice. Yes, it looks great. But its story doesn’t serve its gameplay and that renders the interactive element of the game inert. When players can't understand how their choices mattered, that represents a fundamental problem with a game supposedly built on player choice. Interactivity should be used to help tell a story rather than having a story draped around unrelated mechanics. When the two don’t sync up right, we get games that might as well be movies or books. If we wanted that, we would go to a library (those are still a thing, right?) or flip on Netflix. View full article
  6. Great video games aren’t random mishmashes and hodgepodges of disparate visuals, mechanics, and stories. With games that stand the test of time, those elements need to come together to create a cohesive whole. Given that video games are an interactive medium, arguably their most important component is how they allow players to interact with them. The Stanley Parable, Shadow of the Colossus, and Beyond: Two Souls, perfectly capture this concept, albeit in different ways. I’ve made a point of mentioning a game called The Stanley Parable recently. Talking about The Stanley Parable is difficult without spoiling much of what makes it enjoyable and thought provoking. However, I don’t think it is giving away too much to say that the core of the experience is built around player choice and how that relates to game design. Developer Galactic Cafe stripped down the gameplay to the bare minimum required to convey this message to players. The Stanley Parable uses similar mechanics to games like Dear Esther and Gone Home, giving players only the ability to move and interact with certain objects. One of the criticisms leveled against both Gone Home and Dear Esther was that the level of engagement afforded by the limited scope of the gameplay wasn’t interesting or necessarily fun. Where those games fell short, The Stanley Parable excels by using its mechanics to help demonstrate and complement its story through intelligent game design. Essentially, players are presented with a series of branching paths and options with an amusing narration responding to whatever the player happens to be doing. The narration urges players down a predetermined path, while other opportunities are constantly presented for players to derail the experience. This allows The Stanley Parable to not only directly talk about the struggles of developing video games but also demonstrate those difficulties through the player’s experiences. Interactivity and storytelling are difficult to reconcile with one another, as interactivity is necessarily freeing and storytelling is by nature restrictive. Shadow of the Colossus marries the two in an interesting way. Colossus’ story revolves around a young man who brings his deceased love to a forbidden land and makes a pact with a demon or deity to bring her back from the dead. At the end of their interaction, the supernatural entity nebulously states that the price might be higher than the young man could imagine. As players progress through Shadow of the Colossus, killing the sixteen colossi, players begin to notice subtle changes, both in the visuals and in the gameplay. With each defeated colossus comes a flood of dark tendrils that infuse the young man’s body and transport him back to the starting area. Each time that happens, the young man receives increased health and stamina and begins to look more haggard, eventually sprouting small horns, transforming into something inhuman. This is done with little to no dialogue, but as players, we experience the transformation ourselves and recognize that something sinister is taking place; the cost alluded to at the beginning. It is an achievement in subtlety that few games ever manage. While the story in Shadow of the Colossus remains static with no branching paths, it leaves the details hanging for players to interpret and experience differently with each playthrough. That's how you can have many players walking away from Shadow of the Colossus with different takes on what happened in the game. Was it a love story about a man going to the ends of the world for the woman he loves? Was it a dark parable cautioning against hubris? Or perhaps it was a tragedy about someone coping with grief in destructive ways? These vastly different outlooks depend on how people interact with Shadow of the Colossus and the set of life experiences each individual brings with them. On the complete opposite end of the spectrum, we have games like Beyond: Two Souls, which treat gameplay mechanics almost as a hindrance rather than a strength. Playing Beyond: Two Souls feels like watching a bad movie that grudgingly pauses every so often for players to do quick-time events and contextual button presses. The game rarely communicates when players are making important choices that are arbitrarily more important later on in the plot and plot-related decisions are essentially the only meaningful gameplay in which players can partake. Yes, it has branching storylines. Yes, it integrates player choice. Yes, it looks great. But its story doesn’t serve its gameplay and that renders the interactive element of the game inert. When players can't understand how their choices mattered, that represents a fundamental problem with a game supposedly built on player choice. Interactivity should be used to help tell a story rather than having a story draped around unrelated mechanics. When the two don’t sync up right, we get games that might as well be movies or books. If we wanted that, we would go to a library (those are still a thing, right?) or flip on Netflix.
  7. One of 2013’s critical indie darlings, Gone Home made a huge splash when it released. Critics praised it as a huge leap forward in interactive storytelling and for its non-violent content. Several notable publications such as Polygon, GamesRadar, and Giant Bomb gave the highest recommendations they can give and awarded the title perfect scores. Statements such as, “After completing the game, I sat in spellbound, smiling silence for nearly an hour,” from Danielle Riendeau at Polygon and Giancarlo Saldana’s acclaim in his GamesRadar review that, “Gone Home attempts to explore the boundaries of a game’s communicative potential and succeeds by giving us a story that satisfies our senses and touches our innermost being,” had me excited to play the title for myself. Unfortunately, my response to Gone Home fell far short of what others seemed to have enjoyed so thoroughly. I played Gone Home for about an hour from start to finish and walked away wishing I could have that hour back to do something different with my life. Gone Home places players in the shoes of Katie Greenbriar, a college student returning from travelling abroad in 1995. Katie arrives home, only to find that the house her family recently moved into is deserted, with her parents and sister nowhere to be found. As Katie, players navigate the house to discover what became of the Greenbriar family. Gameplay consists of wandering the house, looking at things, moving small objects, and occasionally interacting with buttons. The problems I had with Gone Home became apparent within the first ten minutes of wandering the massive Greenbriar residence. After I found the key to the front door, I entered the house and began looking at various knick-knacks on shelves and opening drawers obsessively, eventually stumbling across a hand-written note from Katie’s sister, Sam, whereupon I was rewarded with a voice-over narration by the talented Sarah Grayson. That’s when I realized that this was going to be the entire game. At first, I didn’t think there would be anything wrong with the lack of interesting gameplay. I had recently finished playing through The Stanley Parable, which has even less interactivity than Gone Home, and it was so brilliant it made my top 10 games of the generation list. However, as I made my way painstakingly through room after room, I rapidly lost my enthusiasm. Gone Home tries to immerse players in the role of Katie by setting movement at a certain realistic (i.e. slow) pace and adding little touches like a button that puts objects back in the place you found them. The Stanley Parable saddles players with extremely limiting controls to make points about game design, interactivity, and storytelling in the video game medium. The Stanley Parable’s gameplay serves to complement its story and can even serve as a point of commentary in its own right. Gone Home feels just the opposite. Its gameplay fails to add anything of importance to either its own story, which is the central focus of the game, or to the enjoyment I derived from it, which was nonexistent. Boring gameplay can be fine if there is a solid story to back it up. The original Mass Effect’s gameplay wasn’t anything to be excited about, but the story was compelling enough that I wanted to see it through to the end. Most of the praise people have lauded Gone Home with seems to center on it containing a narrative not traditionally associated with video games. Deviating from the norm in the video game industry is a bold move and one I wish more developers were willing to do. The problem is that simply having a non-traditional video game narrative doesn’t automatically make it worthwhile, especially if it is something we have experienced before in other mediums. The sole hook of Gone Home is to discover what became of the members of Katie’s family. With the exception of one red herring, it is fairly easy to figure out where the plot is going within the initial twenty minutes, and the destination isn’t terribly interesting. Without spoiling anything, the story boils down to a time-worn shtick that we’ve all heard a million times before across every form of media and has been better told elsewhere without the slow, monotonous gameplay. I don’t mean to imply that Gone Home isn’t well crafted. The voice-acting is particularly well done and deserves recognition for attempting to infuse some life into the game. Its environments have an astonishing attention to detail. Almost all text written on papers or books can be read if zoomed in and there are little secrets spread throughout the house for those who care to find them. The house’s architecture is impressively laid out and great care was taken into making the secrets it conceals believable. Little touches are scattered around the home that make it apparent that the game takes place in 1995. All of these aspects are testaments to how much care The Fullbright Company took to create the Greenbriar home. However, all of that work is wasted on someone like me. To be perfectly blunt, I didn’t care if I could read most of the text if I zoom in on documents and I also didn’t really care to spend hours combing through a digital house to learn more about Katie’s family, because I didn’t find any of them particularly interesting or compelling. The experience of playing Gone Home is, to paraphrase one of my colleagues, like taking the audio diaries scattered throughout BioShock and making them the center of your game, eliminating everything else. There are precious few distractions in Gone Home, none of which break up the tedium of walking around inside a house looking for things. Eventually, even minor annoyances like the sluggish pace at which Katie walks become frustrating because you just want to finish the game and be done. I could recreate the experience of playing Gone Home almost perfectly by losing my car keys and trying to remember where I put them, with none of the satisfaction or resolution that goes along with actually finding the dang things. Does Gone Home appeal to somebody? With over 500,000 copies sold, you bet your bootstraps it does. Was I in Gone Home’s target audience? Absolutely not. Now, where are my keys… View full article
  8. One of 2013’s critical indie darlings, Gone Home made a huge splash when it released. Critics praised it as a huge leap forward in interactive storytelling and for its non-violent content. Several notable publications such as Polygon, GamesRadar, and Giant Bomb gave the highest recommendations they can give and awarded the title perfect scores. Statements such as, “After completing the game, I sat in spellbound, smiling silence for nearly an hour,” from Danielle Riendeau at Polygon and Giancarlo Saldana’s acclaim in his GamesRadar review that, “Gone Home attempts to explore the boundaries of a game’s communicative potential and succeeds by giving us a story that satisfies our senses and touches our innermost being,” had me excited to play the title for myself. Unfortunately, my response to Gone Home fell far short of what others seemed to have enjoyed so thoroughly. I played Gone Home for about an hour from start to finish and walked away wishing I could have that hour back to do something different with my life. Gone Home places players in the shoes of Katie Greenbriar, a college student returning from travelling abroad in 1995. Katie arrives home, only to find that the house her family recently moved into is deserted, with her parents and sister nowhere to be found. As Katie, players navigate the house to discover what became of the Greenbriar family. Gameplay consists of wandering the house, looking at things, moving small objects, and occasionally interacting with buttons. The problems I had with Gone Home became apparent within the first ten minutes of wandering the massive Greenbriar residence. After I found the key to the front door, I entered the house and began looking at various knick-knacks on shelves and opening drawers obsessively, eventually stumbling across a hand-written note from Katie’s sister, Sam, whereupon I was rewarded with a voice-over narration by the talented Sarah Grayson. That’s when I realized that this was going to be the entire game. At first, I didn’t think there would be anything wrong with the lack of interesting gameplay. I had recently finished playing through The Stanley Parable, which has even less interactivity than Gone Home, and it was so brilliant it made my top 10 games of the generation list. However, as I made my way painstakingly through room after room, I rapidly lost my enthusiasm. Gone Home tries to immerse players in the role of Katie by setting movement at a certain realistic (i.e. slow) pace and adding little touches like a button that puts objects back in the place you found them. The Stanley Parable saddles players with extremely limiting controls to make points about game design, interactivity, and storytelling in the video game medium. The Stanley Parable’s gameplay serves to complement its story and can even serve as a point of commentary in its own right. Gone Home feels just the opposite. Its gameplay fails to add anything of importance to either its own story, which is the central focus of the game, or to the enjoyment I derived from it, which was nonexistent. Boring gameplay can be fine if there is a solid story to back it up. The original Mass Effect’s gameplay wasn’t anything to be excited about, but the story was compelling enough that I wanted to see it through to the end. Most of the praise people have lauded Gone Home with seems to center on it containing a narrative not traditionally associated with video games. Deviating from the norm in the video game industry is a bold move and one I wish more developers were willing to do. The problem is that simply having a non-traditional video game narrative doesn’t automatically make it worthwhile, especially if it is something we have experienced before in other mediums. The sole hook of Gone Home is to discover what became of the members of Katie’s family. With the exception of one red herring, it is fairly easy to figure out where the plot is going within the initial twenty minutes, and the destination isn’t terribly interesting. Without spoiling anything, the story boils down to a time-worn shtick that we’ve all heard a million times before across every form of media and has been better told elsewhere without the slow, monotonous gameplay. I don’t mean to imply that Gone Home isn’t well crafted. The voice-acting is particularly well done and deserves recognition for attempting to infuse some life into the game. Its environments have an astonishing attention to detail. Almost all text written on papers or books can be read if zoomed in and there are little secrets spread throughout the house for those who care to find them. The house’s architecture is impressively laid out and great care was taken into making the secrets it conceals believable. Little touches are scattered around the home that make it apparent that the game takes place in 1995. All of these aspects are testaments to how much care The Fullbright Company took to create the Greenbriar home. However, all of that work is wasted on someone like me. To be perfectly blunt, I didn’t care if I could read most of the text if I zoom in on documents and I also didn’t really care to spend hours combing through a digital house to learn more about Katie’s family, because I didn’t find any of them particularly interesting or compelling. The experience of playing Gone Home is, to paraphrase one of my colleagues, like taking the audio diaries scattered throughout BioShock and making them the center of your game, eliminating everything else. There are precious few distractions in Gone Home, none of which break up the tedium of walking around inside a house looking for things. Eventually, even minor annoyances like the sluggish pace at which Katie walks become frustrating because you just want to finish the game and be done. I could recreate the experience of playing Gone Home almost perfectly by losing my car keys and trying to remember where I put them, with none of the satisfaction or resolution that goes along with actually finding the dang things. Does Gone Home appeal to somebody? With over 500,000 copies sold, you bet your bootstraps it does. Was I in Gone Home’s target audience? Absolutely not. Now, where are my keys…
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