DJ Hero Retrospective

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Rhthym gaming took the world by storm in 2005. A relatively unknown company by the name of Harmonix brought Guitar Hero into the public conscious and blasted themselves to stardom. The mixture of an old-school score mentality mixed with classic rock tunes lead to an immensely popular debut that would see the series continue on for a good few years.

I jumped on the bandwagon in 2007 when Guitar Hero II was released for the Xbox 360. While I never fancied myself an actual rock star, I had some previous experience using a guitar and I liked that songs I truly admired were getting more recognition. It also felt super cool to nail insane solos without breaking a sweat.

Most of my time in college was spent playing Guitar Hero in one form or another. Its sequel or the highly polished third entry gained more of my attention in 2007 than any other game or series.

While the success of the series showed the games industry that graphics and genre weren’t that important in making lots of money, the brand eventually began to stagnate. There is only so much you can do with the formula before people realize they’ve had their fill.

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Harmonix seemed to catch on to this after creating the second game. They did not sign with Activision to produce the third and instead went on to make Rock Band, the biggest competitor to the Guitar Hero franchise. The business model was also dramatically better; instead of creating yearly sequels, Harmonix opted to utilize the online connectivity of newer consoles to continually produce extra content for the game.

Activision sort of copied that idea, but still put out a staggering amount of games with the Guitar Hero branding. Handheld consoles got installments; cellphones weren’t free from virtual shredding; there was even a spin-off series focused more on hip-hop and dance music.

That is where my interest truly piqued. I’ve always been a fan of classic rock and I love heavy metal, but to hear modern pop songs and classic hits mashed together in some freestyle kind of insanity was just golden. It encapsulated everything I liked about the internet era of music discovery with a style of gameplay that I had quickly grown to love.

Enter DJ Hero, Activision’s attempt to branch out the Hero name to reach wider audiences. The entire genre was quickly on the decline, but this didn’t stop Activision and Freestyle Games from attempting something different.

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DJ Hero was a more back to basics approach to gameplay progression mixed with some popular artists and DJs that were remixing classic dance tunes alongside some rock and metal hits. It created a strange, dissonant sound that felt comfortable in the space of gaming.

It also had a much more structurally solid controller and gameplay that totally emphasized high scores and never ending combos. Different ideas like rewinding and crossfading also put a greater emphasis on player interaction within each track. Gone were the days of pretending to be a star; you were now given some control over what the music sounded like.

The sequel, DJ Hero 2, improved almost every aspect of the previous game. The visuals were cleaner, the audio was better mixed and the soundtrack was even more solid (despite it’s omission of Daft Punk tunes from the first game). 2 focused more on rocking clubs and EDM, but its gameplay was as frenetic and score happy as before.

It also didn’t hurt that the multiplayer was greatly expanded. While credit needs to be given to the developers for attempting to not nickel and dime their consumers (the original DJ Hero has a mode that allows a player with a Guitar Hero controller to play along), having multiplayer that actually utilizes the new fangled controller just makes more sense.

Each mode feels like an intense duel with a potential usurper. Score and accuracy are dominant alongside tracks mixed specifically to up the ante with each successive checkpoint. It brought a cut-throat attitude to competitive play that had long been missing in the rhythm gaming genre.

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Sadly, 2010 marked the year that this genre of games couldn’t sustain itself. The influx of releases and more costly instrument peripherals turned any newer customers off. While they were happy with buying one “toy” and sticking with it, having to collect a virtual band in your house was too much.

Not to mention that Guitar Hero was releasing games that focused on specific bands and having redux packages of older content, but even competitor series Rock Band had started to come out with “track packs” and games dedicated to the career of specific artists (granted, the Beatles are fairly important).

For what it’s all worth, I still believe that DJ Hero was the best thing to come out of that explosion of popularity. Guitar Hero also felt a little cheesy to me and a bit insulting to actual musicians. People who had no intention of picking up actual instruments or no understanding of what went into making music treated these songs like simple levels.

I remember playing a song by Rush and explaining to my friends how I saw them live and had been a fan for most of high school, but they couldn’t care less. To them, Rush was the song with the hard drum section and female singer. It was infuriating to me.

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With DJ Hero, it didn’t matter if you truly didn’t care about the artists are songs on offer. The game required you to be more active in what was going on. You couldn’t simply sit there with controller in hand and bang through a few songs; you had to pay attention to your crossfader, work on maximizing your note streak for potential rewinds and add your own personal flair (via samples) to up your score.

The shift in focus from a slightly more involved spectator to a remix guru just made everything feel more rewarding. Despite the track list being the same for everyone, the way you heard the song belonged to you.

It truly made me want to consider being a DJ as a career path. While I never went down that road, I started a friendship with a DJ at a club out of my amazement for what he was able to create. Those songs weren’t his, but the way they were played was wholly his invention.

DJ Hero perfectly encapsulated the atmosphere of the club scene while making the player feel like the star of the show. It didn’t hurt that Daft Punk leant their likeness to the original game and that Deadmau5 signed on for the sequel, either. DJ Hero was into a burgeoning music scene before it erupted into mainstream acceptance.

Sadly, the potential third game will never happen. Both Activision and Harmonix tried their hands at new Guitar Hero and Rock Band titles last year, but sales figures were underwhelming for both. People seem to have had their fun and want these games to fade into blissful memories.

It may be pointless to ask for another entry into the DJ Hero series, but I’d pay a lot to see a return to such vibrancy and joy within music gaming. If I’m going to pretend I’m any kind of star of a music game, at least it should be the game that actually gave me control over the sounds pumping through my speakers.

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Series I Love – Super Mario Bros

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One cold, snowy day in 1992, my father decided to let me and my sister try out his NES. My mother had gotten the console as a first Christmas gift for my father and he liked to hide it away so we kids wouldn’t break it. Little did I realize, but his choice to let us touch that console would change my future.

I remember him going behind the television and fiddling with the coaxial cable. We had the RF/switch for our NES, so connecting it was as easy as pulling teeth (almost literally). After that, he switched the television to channel 4, dialed the nob and we were set.

Well, not just yet. The console didn’t display properly, so he had to remove the cartridge and blow into it. I never thought to question why at such a young age. I just took all of these steps as gospel. After “cleaning” the cartridge, my father put it back into the NES and we were golden.

He gave me the controller and tried to explain how Super Mario Bros. worked. I was 4 years old at the time, so needless to say, his words went completely over me. I saw the bright colors and a funny looking guy and proceeded to press some buttons. He walked to the right and the screen moved, so I just assumed that was it.

I walked into the first thing I saw. I can’t tell you what I was thinking, but I clearly had no perception of what an enemy was. My father then took the controller away from me, assuming I was an idiot (not in reality, I just got sad). I cried a bit, but I didn’t give up. I was entranced with this game.

24 years later, I’m still fond of Super Mario Bros. The fat, little, Italian plumber and I have basically grown up together. I’ve played all of the main Mario titles and a majority of the spin-offs. Seeing his face and hearing his voice is like comfort food to me.

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Some of the happiest memories I have are from Super Mario Bros. 3.My sister and I would trade turns for hours on end. The game seemed so incredibly massive and creative. Each world had something different about its design and the ability to store power-ups made challenging areas less painful.

Not only was the design more refined than previous entries, but having Luigi tag along and help progress just felt right. The original game basically mimicked an arcade machine by having each player make individual progress. Super Mario Bros. 3 felt like the first time cooperation was put into a game.

A few years after first picking up a controller, the Nintendo 64 was unleashed on the world. Being 8 years old at the time, I was completely floored. I couldn’t believe that we were moving into the third dimension so fast.

Nintendo was always the king of promo videos (their adds for Donkey Kong Country and StarFox 64 are ingrained in my mind), so I remember watching the Toys’R’Us video for Super Mario 64 about 100 times. I hung on every word the developers were mentioning. Mario was becoming more like a stuntman and a fighter. His moveset was expanding.

Not only his repertoire of attacks, but the world he was traversing was growing. Levels were becoming more vertically inclined. Mario could wall jump, ground pound and long jump; he felt like the crazy kid that I was. I was always loaded with energy, so I used to pretend I was Mario and jump around my backyard.

The wait for Christmas in 1996 was excruciating. Since I already figured out Santa wasn’t real, I knew my mother had the console in her bedroom. She hid that thing better than a drug lord dumps a corpse. I never even caught a glimpse of the box, despite her concealing it for 3 months.

When I did eventually get my hands on Super Mario 64, I felt like my life had changed. I was mesmerized by what I was playing. I couldn’t get my head around how such a game was made, let alone conceived. It felt like my world and video games were becoming one.

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The last time I felt such a way about Mario was with the release of Super Mario Galaxy. I wasn’t too big on Sunshine, but I played it and New Super Mario Bros. I had begun to gravitate more towards the spin-off games like Paper Mario and Mario Tennis, yet I had a feeling that Nintendo was slowly running out of ideas.

Super Mario Galaxy came out during my sophomore year of college. I went to school in Florida, away from my home in Connecticut and my Nintendo Wii, so I felt the sting of disappointment. I had to wait months to even try out the game, so I felt a bit empty. It didn’t help that my friends at school were jerks; I couldn’t seek comfort in the guy who had been with me my whole life.

There was a glimmer of hope, though! An online friend of mine who lived in Florida had just bought the game. He was willing to pick me up and have me stay the weekend. I was ecstatic. Not only did I get to hang out with one of my best friends, but I would finally get my hands on Super Mario Galaxy.

The opening cutscene that set up the story of Rosalina and the Lumas brought me to tears. It felt like Nintendo realized how cherished and special their mascot was. It was like they recognized the power this juggernaut of gaming had over the imagination.

The game was also thoroughly in love with Super Mario Bros. 3, something I attribute to Galaxy being the third 3D Mario game. I was sold; this felt like what I had been missing all those years. Platformers never really died down, but no one had made as creative and joyful a game as Nintendo did with Super Mario 64.

Galaxy pushed the limits of what could be done with 3D level design. It even utilized the Wii Remote in a method that didn’t feel so gimmicky. It had some challenge, an unlockable character (in the form of rising star, Luigi) and a truly incredible soundtrack.

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Since that day, Mario has been in some mediocre games and a few truly amazing ones. Nintendo just loves banking on nostalgia, a design philosophy that may potentially hold them back. When Nintendo EAD Tokyo is given the reigns, Mario is unlike anything else. The other teams kind of phone it in.

If the Mario series truly were to end, I wouldn’t mind capping it off with Super Mario Maker. Having the tools to create a brand new Mario adventure in my hands is something my younger self would have killed for. To have the kind of vibrancy and joy that my 8 year old self had would be overwhelming.

I’ve grown a bit cynical over the years, but Mario has always been there to bring the happiness back. He still has a zest for jumping and bouncing, even if his “love”, Princess Peach, is an airhead. How many times can one person really be captured?

Regardless, Nintendo isn’t going to let their mascot bow out. I won’t turn away from him, either. Until I can no longer physically hold a controller, Mario will always be a part of my life. To remove him would be like asking me to kill my childhood.

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Here’s to another 30 years!

Series I Love – The Legend of Zelda

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When I was younger, picking which games I wanted to play was simple. I was a pretty damn spoiled kid, so I usually saw something in the store and my mother bought it. While she objected to some things, she typically got me anything my heart desired.

Walking into our local Toys’R’Us one evening in 1998, I happened upon a flyer for an upcoming game called Zelda. My reading comprehension wasn’t as astute as now, so I didn’t even catch the subtitle underneath. To me, the golden sheen and shield crest were enough to hook my interest.

Over the next few months, I played my N64 as usual and kept my obsession with Goldeneye 007 going. At such a tender age, nearly any game would get its hooks into me and engulf my imagination. I kept thinking back to that sword and shield and wondering what dangers awaited me.

As the release date drew closer, Nintendo began their marketing campaign on TV and in movie theaters. I distinctly remember sitting in the theaters and seeing the “WHILST THOU SUCK?” advertisement. It put a fire in my eyes and made me determined to prove those ads wrong.

A night or two before the games release, I heard from a GameStop employee that the cartridge for Ocarina of Time was going to be gold. My little mind was blown. I couldn’t let this thing escape me. I needed to have this game in my collection. It felt like a rite of passage.

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After getting home with the game, I couldn’t wait to play it. I nearly ripped the box apart with excitement, but I saved my enthusiasm for the journey. I didn’t want to sully the experience by destroying its case.

As soon as the first chords of the theme played, I was in love. The game felt legendary even without its namesake. For 10 year old me, this was the most important game of my life. It was almost as if I became an adult as I stepped in Link’s boots and set off to save the land of Hyrule.

I had never played anything like it at that point in my life. My childhood was full of video games, but the 90’s were dominated by platformers and beat-em-ups. Fighting games were a big deal after Street Fighter, but not many besides that and Mortal Kombat stuck around.

Something like Zelda encompassed all of the exploration I loved from Mario with puzzle solving and dungeon diving. It was literally being placed into darkness with some tools and being told to figure it out. You had no guide and your worth was measured in accomplishing the mind benders in front of you.

I don’t remember how long it took my younger self to finish the N64 classic; I do know that I nearly missed the bus ride to school one morning since I was nearing the end and refused to skip the cutscene. My mother also nearly fell asleep listening to Zelda’s lullaby after a long night at work.

That same year, Nintendo had a double whammy for young me. A colorized version of the first portable Zelda title, Link’s Awakening, was released for the Gameboy Color. I always brought the device with me to school for recess and the bus rides, so clearly I had to have this other Zelda title.

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When I’d leave home for the bus stop, I’d pack Link’s Awakening with me. From one to the other, my adventures with Link never ended. I’d sketch doodles of Link tackling foes, exploring ruins and finding treasure. I would fantasize about being in those dank caverns and surmounting the colossal beasts.

Since those games, The Legend of Zelda has become my favorite series. I’ve beaten each game in the series more than once (save for a couple of them) and I even get excited hearing about re-releases of past games. It’s strange to be excited for an HD version of a game you’ve finished 3 times and still own.

Even the dreaded Zelda 2 I’ve managed to complete twice. When playing it, I find the game amazing. For that matter, during any of the Zelda games, I’m awestruck. How Nintendo manages to craft such a varied world with intricate puzzles and hidden treasures is just awesome to me.

The mixture of thought provoking puzzle design and grandiose combat scenarios with a classic tale of good versus evil just keeps me coming back. I dig all of the variations the series has seen. Wind Waker is my favorite and I love bringing a friend along in Four Swords Adventures. The more recent Triforce Heroes is a solid co-op puzzle game and Skyward Sword made me a believer of motion controls.

Honestly, there isn’t a title in the series I truly dislike. I may complain about the issues that Twilight Princess has wit pacing or how superfluous most of Skyward Sword is, but I can’t get enough of those worlds. They are filled to the brim with interesting content.

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More importantly, they make me feel like my actions matter. I know that gaming has always placed your character as a hero, but those exploits weren’t as personal until The Legend of Zelda came along. With Zelda 2, Link was now directly helping people with their requests.

Running menial tasks shouldn’t be that gratifying, but I’ve always been drawn to the side quests in Zelda. Fishing for hours to get a stupid scale or holding onto a chicken and floating down to Earth is utterly captivating to me. That each activity rewards the player with something useful also makes those tasks feel less tedious.

I also just plain love exploring. Hyrule has had such a rich landscape, but even the extra worlds of Termina and Koholint are filled with nooks and crannies to delve into. As much as I may associate puzzles with Zelda, spelunking is a big part of the formula.

I’m not opposed to change and I do wish that some of the tropes would be put to rest, but I’m always eager and ready for a new Zelda title. Each one is like stepping into an actual legend. That I get to be the hero who overcomes adverse odds is just icing on the cake.

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Here’s to the future of Zelda.

Paystation 4

Going into the 8th generation of console gaming, it seemed like Sony finally understood their fans. All their mistakes with pricing and vague marketing with the PS3 were a thing of the past. Microsoft became money grubbing and lost their focus on gaming. Nintendo was being Nintendo, but promising a stronger drive to make new games.

A few years into this generation, Nintendo is the only one that remained consistent. Microsoft made a dramatic reveal of backwards compatibility on the Xbox One at E3 this year and Sony is now following suit.

Wait, let me rephrase that; Sony is now charging us a 3rd (4th or possibly 5th) time to play our old games on new hardware. I think I’ve had enough of this lunacy. Despite me strongly preferring the PS4 interface over Xbox One, I can’t believe that my older games are being resold to me.

It’s not the largest deal to me as my PS3 is still functional and plays PS2 games. Many people are not in that same boat. Backwards compatibility should be a required on all consoles, regardless of architectural differences. All those legacy consoles are not going to last forever and I’ll be damned if I’m going to keep feeding money to a company bent on making me bankrupt.

Sony has gleefully taken to the trend of re-releasing “HD Remaster” ports of PS3 games on PS4 and now the PS2 is falling in line. Instead of selling a more expensive version of the current console with backwards compatibility support (which would make sense!!!), we’re being asked to fork over $10-15 for our favorite older games.

That doesn’t seem too dramatic, but the implication is that this will be a trend. Down the line on the PS6, we’re going to be rebuying our PS4 games. Hell, it may not even take that long as we’re currently rebuying PS3 games!

Because we all asked for this shit…

What makes this so shocking is that Sony was such a stalwart for PS1 support on the PS2. It was one of the defining features of the console when Nintendo switched formats and Sega basically forgot about the Saturn. With a PS2, you didn’t need to kiss your old library goodbye.

When the PS3 launched, Sony figured that not giving gamers an option was best and decided on jam packing the system with a bunch of extraneous features. Most people didn’t need media streaming, SACD support, wireless networking and video playback; for some, just playing a video game was all they wanted.

If you wanted the prestige of owning a Sony product, you had to deal with the price and extra nonsense. You were getting a Blu-Ray player, whether you liked it or not. You were dealing with internal storage and install times despite older consoles not having that. You were making due with WiFi even if your network didn’t support it.

Granted, the PS2 forced DVD support, but Sony managed to keep the price down by including expansion ports on the system. This let Sony develop a hard drive and network port for later use and for people to decide if they wanted.  Now that philosophy is lost.

With Microsoft granting you access to your games simply by owning the 360 disc, Sony has no reason to expect gamers to jump on these PS2 remasters. What is more baffling is that Sony launched a “PS2 Classics” line on PS3 that let gamers purchase things digitally.

They also started an initiative called “Cross-buy” that allowed you to make one purchase of software and get it on every Sony console. Like that cute little game on your Vita? That’s cool; you can have it on PS3 and PS4 for no extra cost! Why is this not a feature with PS2 on PS4?

It’s hard not to immediately jump to the conclusion of, “MONEY, MONEY, MONEY!!!” It’s doubly hard when Eurogamer took an in-depth look at the first PS2 remasters (Star Wars: Bounty Hunter, Racer Revenge and Jedi Starfighter) and found that they truly are emulation. This isn’t even some new code being written for different hardware; it’s the same damn thing!

Yeah! I’ll rebuy that!!!!

I could maybe understand not allowing discs to be used as there were a tremendous amount of PS2 games, but previous digital purchases not being supported is just unacceptable. It’s downright criminal, if you ask me. For a company so prided on their dedication to their fans, this just reeks of greed.

I will not stand for it. I may not be able to speak with Sony directly, but I’m not going to buy a single one of these “PS2 remasters”. There is no point. If I give in, what’s to say that I won’t be buying a PS2 Re-Remaster on the PS5? In some cases (San Andreas), you may already be doing so.

Unless you really cannot find a functional PS2, don’t give in to Sony. Let them know that you demand to have your games back. Owning a disc should mean that I can use it; the PC format has been like that forever. Enough is enough with this remaster trend.

Indifference Be Thy Name!

Something seems off with me lately. Whether it’s because of age or general apathy towards the vacant release schedule near the end of the year, I’ve been pretty indifferent to a lot of new things happening.

Fallout 4 launched last week and I don’t care. Spectre just came out in theaters and I thought it was pretty mediocre. Guitar Hero Live has been getting good press, but I found the game is simply the same old thing. Indifference Be Thy Name!

At least with James Bond, you can tell it’s a bit of brand fatigue for Daniel Craig. Some recent interviews have shown that he has grown tired of the character, but I’m still unsure why he would put out another movie with that attitude (I’m guessing the extra 0’s at the end of his paycheck helped).

It can’t just be my cynical attitude towards Hollywood, because I also saw The Peanutsand thought it was pretty good. I believe MGM is constantly battling with whether to reinvent Bond or stick to the same old formula. Sadly, Spectre just feels like a continuation of Roger Moore’s films.

I was never big on Fallout 3. I loved the introductory sequence and was blown away by the scale of things, but none of the missions really added up. The ending felt rushed and even your choices were stuck in a binary process. You couldn’t do a moral grey, just black and white.

My favorite memory from the game was running with your dad and getting hit by a god damned fatboy. That was intense. Otherwise, I just remember the game looking average and being a stripped down shooter and RPG. It was a cool combo, but the game was basically Oblivion with guns.

I also used to be a gigantic rhythm gaming nut. I played all the Guitar Hero games up to 5 (as well as Aerosmith and Metallica) and played each Rock Band game (including the preposterously stupid Lego one). I even still own DJ Hero. I just feel nothing with GHLive.

Yeah, I want to play this instead of some classic rock…

The addition of the lower fret is kind of neat, but I can’t wrap my head around the icons for Black and White buttons. For some reason, I keep reading White as if it’s on top. I know that is more of my problem then the game, but what isn’t my issue is the lackluster presentation.

The FMV sequences are pretty stupid. It’s funny to watch someone else play, but they are completely pointless in the midst of you grabbing the controller. Not only that, but those transitions are not seamless; the damn screen flashes blue between “Awesome” and “Poor” performances. It’s really distracting.

Rating a setlist is always going to be subjective, but I’m just tired of these games front loading all the horrible songs to make you work for your favorite tunes. I like the idea of GHTV, but the menu system loves explaining every detail with excruciating clarity. I just want to play the damn game.

In all fairness, it isn’t a bad game. In the intervening years, I’ve managed to pick up an actual instrument and learn to play. I’m a decent bassist and going back to Guitar Hero, I just want to play my bass. The controller is so light weight and flimsy that I don’t feel like a musician; I just feel like some tool with a toy.

Even with this blog, I haven’t had much to really say. I’ve been playing some neat games (and fucking WWE 2k15 for asinine reasons) and everything is cool. I have a Mega Yarn Yoshi and La-Mulana is kicking my ass. There really isn’t much I can write about.

Yeah?! Well, fuck you!

As fun as a game like La-Mulana is, there really isn’t any deeper meaning to it. I like the design and the philosophy behind it’s difficulty, but it’s just a really well made retro throwback with some punishing moments. It’s great for people like me, but not the general public.

I’m mainly worried that my lack of motivation is a sign of something deeper. I’ve been out of the loop with major game releases for awhile now. Metal Gear Solid V was a fluke for me, in that regard. It was a series I had fallen in love with, where Fallout and Call of Duty are just games that are in my past.

Even Xenoblade Chronicles X doesn’t appeal to me. That is insane, as the firstXenoblade Chronicles is one of my favorite RPGs and Wii games. I should be excited, but I just don’t care. If I get it, it won’t be for some time and I think I’ll manage without.

Oh well; I suppose one cannot always have some topic to bring up. I didn’t feel like leaving this blog empty in November, so this is what I came up with. I promise my next blog will have more of a focus to it.

In the meantime, have a picture of Yoshi with Hogan.

Meaningful Content

In the last generation, we saw games getting bigger and bigger and budgets ballooning out of control. As publishers were looking to get as much return as possible, games became bloated with side-quests that had little to no relevance to the main story mode.

Just this year, we have been given three games that do away with such fluff. Bloodborne, The Witcher 3 and Metal Gear Solid V. In each game, every bit of content feels just. You never waste your time in areas that plaster up invisible walls or grant absolutely no benefit; if you undertake a side-quest, the reward is readily apparent.

Take MGS V for example. At the very beginning of the game, you are unable to understand the soldiers in Afghanistan. This pretty much makes getting information a pointless endeavor. After finishing the first mission, you are informed of translators in the area that can be rescued. Doing so grants you the ability to understand the language in that area.

It’s an immediate payoff that gives the player a sense of accomplishment. Instead of including an activity because it’s cool, the developers thought to award some palpable sense of achievement within the game itself.

The Witcher basically has stronger plot points in the side missions then the main quest itself. One very early side quest has you tackling the mystery of a man’s wife who has gone disappearing. You get to be a detective and figure out what occurred and the impact this has had on the man’s life.

Did you take her?

It is supremely rewarding to dig into such a rich story. Most side quests can be boiled down to a few simple points; the game needs to be longer and the player can skip these. Since developers don’t want the player to “miss” any important content, one can reasonably skip the side stuff and still get the entire story.

Even before Wild Hunt, The Witcher 2 had an entirely different second act based on some decisions you made at the end of the first. It was a radical departure from what mainstream, triple A gaming was doing. That is getting a bit side tracked from my point, though.

With Bloodborne, while the world may not be entirely open as in Witcher and MGS, you can tackle most of the boss creatures in an order of your choosing. There are even a great few that you can entirely skip. A lot of the work in getting to them is shrouded in obscurity and requires one to think outside the box.

This leads to optional areas that are just as thrilling, frightening and meticulously detailed as the main game. More so, with the narrative being ambiguous and vague, the game encourages you to seek out as much information as possible. Without being told to, you are actively pushed to see the full picture.

This subtlety to approaching story in a game makes Bloodborne utterly captivating. Coupled with the brutal combat mechanics and steep difficulty and Bloodborne becomes a game that can consume your life for a good month or two.

Ah, yes, a good month or two….where is my cranberry juice?

I do remember games being like this in my heyday. Games on the NES, SNES and even PS1 were more about creating experiences that rewarded player skill and investment. Not every game was supremely long, but every bit of content was worthwhile.

I can’t think of a Mario game where I would want to skip levels (other then 8-3 in the original being a bitch). Shooters like Quake were so morbid, dark and terrifying that I was compelled to press on to see the corridors that lie ahead.

Then you look back at the last few years of gaming and you see pointless padding. Watch_Dogs, Assassin’s Creed, Grand Theft Auto, Tomb Raider; newer entries in these series had so much pointless content that gamers gave up caring. Why do I want to climb towers in every city just to spot “important” locations? What benefit does collecting feathers or journals or hidden packages have for me?

I was amazed when playing Sleeping Dogs and found out that a lot of the side quests have a tangible benefit to the player. Finding the hidden shrines would increase your maximum health. Getting all of the statues in the story missions unlocked extra finishing moves for your combos. It was wild to think that side content could actually mean something in the modern era.

Then you look at inFamous: Second Son and all of the side stuff does basically nothing. Sure, you can level up your skills, but the game is so easy that nothing else over your starting arsenal is really required.

It seems that for as big as we can make game worlds, there is some nagging need to include as much stuff as possible. It’s as if the game isn’t engaging enough, so developers have a desire to distract you from how mediocre it is.

“You’re right! I don’t even care!”

There are some complaints that MGS V is devoid of life (something lobbied at Ocarina of Time as well), but that doesn’t even hold water. When I actively want to explore the game world, I don’t care if hundreds of things are crawling around. I like exploring landscapes and seeing nature in a natural state.

Taking a hike through a forest doesn’t bring you to a lost tribe or hidden tomb (unless you happen to be lucky); one takes a walk through nature to escape the fast paced nature of their lives. It’s a form of escapism that brings you back to reality and the purity of nature.

It’s also not a waste of time. Even though you aren’t technically accomplishing anything, you are freeing your mind of the bullshit from your daily life. Your problems disappear for a few hours in a safe, fun and refreshing manner.

Where are all the damn side quests?

When a video game so perfectly encapsulates that (such as MGS V), why am I going to complain about a lack of visible life? I don’t want more stuff in my games, I want my games to feel more complete.

I just wonder why it took so long for developers to finally get around to making completely worthwhile experiences. I think that, in the years coming up, we’ll see more and more games that cut out all of the trappings and stick to gameplay and extra missions that actually matter.

That, or we can just look at Super Mario Maker and make our own stuff. I wish Project Spark were as open-ended as Mario Maker, because I would love to get in on manipulating my childhood memories.

Perceived Value

A strange trend seems to be emerging within the review process for games. If something lacks a large quantity of content, the score goes down regardless of the quality. For example, Dirt: Showdown was given a lukewarm reception because it’s career mode is short.

I completely disagree with that assessment. I found the game to be extremely enjoyable and a decent attempt at a Burnout style game from a company known for realism. The physics felt wonderful and the damage modeling looked amazing.

For $60 though, I could maybe see the point. There isn’t a tremendous amount of stuff to do, but the included modes and cars are furiously entertaining. Then again, I got the game in a Steam sale for $5, so maybe my acceptance of it’s “lack of content” comes down to perceived value.

Gamers exist in a world where the generally accepted $60 price point is not the only way to buy a game. That may have never been the case, but every game launches at $60 at retail whether it should or not.

I know during the PS2/Xbox/GCN era, we saw a bunch of B-games come out at reduced rates. Those titles clearly knew they weren’t going to set the world ablaze and kept their MSRP low to garner more sales.

This led to titles like The Suffering and GUN becoming hits despite not being of the best quality. One of my favorite games from the era, Psi-Ops: The Mindgate Conspiracy, was a huge failure due to launching at a full retail price point.

And possibly that “To Be Continued…” ending.

Without the expectation of “$60 thrills,” games like those are allowed to be rated fairly and given a chance to entertain. If Aliens: Colonial Marines didn’t have the audacity to launch at full price, it may have not been as negatively received.

A person’s own perception may shift that idea. Games like Dead Space and Max Payne are fairly short, but have been showered with praise from gamers and critics alike. Everyone seems to think that the general polish and feel of the games is worth their higher launch prices, even if you could get extensive experiences for less.

Bethesda had started talks about this when Skyrim was nearing launch. The director of Elder Scrolls 5, Todd Howard, stated, “I do think industry-wide we would benefit from more games out at $19 or $29. I would try more games. Because I’m not going to try a game for $60. It’s a tough decision.”

That does make sense. Without having a wide range of titles to enjoy, you begin to fall into a rut and give-up on gaming entirely. Without those fresh, different, unique games, one gets jaded to the whole practice.

Valve has done their best to remedy that situation. While Steam sales may not be the best answer, they show that any title can become popular and lucrative if given a better price.

I can even attest to it. While I wouldn’t recommend Dirt: Showdown to serious simulation racer enthusiasts, anyone looking for a rambunctious time slamming cars together will not find a better title.

Yeah, $60 is a bit much, but getting the game for $5 will give you weeks of enjoyment. That lower price lets you feel out whether the game is for you and how the online mode functions. FYI, smashing others online is a blast.

The year is 2015 and we’re still dealing with full retail price. $60 is not going to cut it anymore, especially not when disasters like Batman: Arkham Knight launch on PC and just assume $60 is correct.

I think reviewers should be looking beyond the dollar value when evaluating games. It may be easy to write in that something isn’t worth full price, but don’t let that negatively effect your perception of the game.

A lot of deserving titles will get slammed because their prices are insane. Just because the games market is a broken mess doesn’t mean the title is, too. And to developers; it doesn’t speak negatively of your game to price it at $40.