Rise of the Argonauts

Played on Xbox360

I’m not as much of a slave to my Gamefly queue as I am to my Netflix queue. Given the various platforms and their different economic models it’s hard for rentals to be a large percentage. At any point I’ll generally have a disc out from Gamefly, an MMO I’m poking around in, a handheld game for the bus, some slow burner on the console that would take too long to rent, and some downloadable game. But I’m always trying to push as much of my gaming to rental as possible, which is the smartest option for my rate of play. It has the side effect of encouraging me to try games I would never risk real permanent money on. Which means I throw stuff into my queue that is sometimes pretty borderline.

Oh, hello Rise of the Argonauts, I’m talking about you now. Not long into the first sitting I found myself wondering why the hell I threw this game into my queue. Ancient Greek mythology is up my alley, so that had to been a factor. But this game has a huge identity complex. The core gameplay mechanic is a third person action game. You know, a God of War knockoff. But Argonauts isn’t nearly as good, even compared to other knockoffs. You aren’t actually provided enough opportunities to swing your aggression around to succeed at being that type of game. Early on I was given an upgrade to a weapon before I had been given an opportunity to use the one before it. Instead of fighting there’s lots and lots of dialogue.

For a game with so much talking the dialogue animations are awkward. Wait, they’re not awkward - they’re absent. Jason stands there in the same pose for every single conversation. And there’s some serious recycling of the voice talent for bit parts. I think I had only talked to my fourth NPC before I hit a repeat.

I finished my first sitting and seriously considered putting the game back in the envelope right then and there. But something compelled me to stick with it. I definitely wanted to solve the mystery of why I chose to play the game in the first place. I knew where the answer was - in the GameTrailers video review. Most stuff in my queue first goes through a video review check (games are such a long time commitment that I like to see them first). But I knew that if I went back to the review at this point it’d bias my experience, so I held back and instead just flat out avoided the game for a week.

Eventually I came back, with revised expectations. This is clearly not an action game. It’s something… else. I started looking for the positives. Jason may just stand there stiffly as he talks to people, but statically he looks pretty good. And his voice acting is quality. The interpretation of Greek mythology is a bit off canon, but at least they commit to their variations. I found myself honestly invested in what was going to happen next.

And then I remembered why I rented the game in the first place. It was precisely for that mix of compelling story but crappy gameplay. It’s the flip of the video game cliché. I had left a little test for myself in my queue: I wanted to know if a game that failed at being a game but still had a decent story behind it could satisfy me. I’ve played a ton of games that strike the opposite balance and walked away content. Could I do the reverse?

The verdict? Well, I played the game to completion, but all that really means is that I’m willing to ride out a train wreck. I certainly wouldn’t recommend it to anyone else. I did continue to care about what was going to happen all the way until the end, but I was also pretty desperate to put that game controller to good use the whole time. Any time I play a game I could have easily reached for the remote instead of the controller, but there’s something about my mood that decided on the interactive option.

Yes, Rise of the Argonauts has a story, but it’s far from cinema quality. Nor does it muster enough quality interactivity to elevate the story to be more than it is. I’m left dreaming about how much better it would be if it had excelled more at either end. But it didn’t, so I guess it’s a failure. Oh well, back it goes in the envelope. We’ll see what present I left for myself next.

Scarface

I’m pretty much a slave to my Netflix queue these days, as that it is by far my primary source of video entertainment. Whenever someone recommends a movie to me, or if there’s some repeating pop culture reference to which I am clueless, the movie goes in my queue. The rate I feed the queue is definitely faster than the rate at which I consume it, so over the years the queue has grown obscenely long. Generally I try to manage the top of the queue to keep titles up there that suits my current mood or are at least recently contextual. But every now and then I lapse, and, well… get Scarface.

I don’t know what specifically convinced me to add Scarface to the queue. It’s probably just the fact that it’s one of those movies that people are generally aware of. You know, Al Pacino, “say hello to my little friend!” Having never seen the movie I could describe the cover and vaguely repeat the tidbits I’ve picked up from conversations over the years. This is the sort of situation that stuffs a movie into my queue. Which is too bad, because the review scores are lies. The ratings my friends gave it based on memory are lies. Scarface is not worth your three hours.

One of the problems I having here is the same I’ve been having with this Castlevania thing: I experienced this movie in the wrong order. I’ve seen films like Blow and American Gangster. This is not my first cinematic encounter with drugs and crime lords. It’s unfair of me to make any comparisons here, because Scarface is a movie that really paved the way for those more modern titles. In its day it was a ballsy epic that blew people’s minds. But for me, in my timeline, it’s a story I’ve seen before and seen better.

What I will say is that Al Pacino is the redeeming aspect of this movie. Having seen him in so many other movies it’s clear he is playing a specific role here and not just some stock Al Pacino character. It’s not a likeable character, but he nails it. He also totally looks the part, ranging from sleazy to decadent throughout his rise to power.

But that’s pretty much it. It’s long, there’s heaps of cocaine, people swear a lot, and there’s violence. Where does this get compelling? I gave it two stars, with Pacino’s performance pulling it up out of complete oblivion.

Nostalgic Bias

As promised, I’ve started playing Symphony of the Night. And I’m having a hard time developing an unbiased opinion. I’m comparing my current experience with the experience other people had in the natural evolution of gaming. I’m coming to this game after having already experienced a half dozen of its indirect sequels. It’s extraordinarily difficult to pretend that I’m not bringing a ton of baggage with me on this experience.

But that’s always the case, isn’t it? All of our experiences are shaped by the path we were on that lead us to them. Expectations, one way or the other, can completely tint our perceptions. Trying to be completely objective is futile, so I guess I shouldn’t bother to try? In as much as this blog is a record of my memories, lack of bias is irrelevant. But as this blog serves as a form of communication with other people and a platform for discussion, it’s more important for me to try to relate my point of view to a more broad point of view.

So I guess you should question my judgment about this Super Castlevania game. My opinions are not be trusted, as that they are steeped in a nostalgic bias. But should I question my own feelings? Given the warm fuzzies that nostalgia gives me, I don’t really have any incentive to upend my positive experiences. But hopefully those don’t get in the way of forming new experiences, because when that happens I’m officially Old.

Maybe the true solution is for me as a writer to share my history with you as a reader, so that you can judge how well your path aligns with my path. If you and I have been on similar journeys then it stands to reason that the way I experience something new will be very similar to the way you will experience it. Although you can read what I’ve posted here and piece some of that together, you’ll always have incomplete information because you don’t have my whole history. For some time now I’ve been meaning to put together the autobiographical sort of my gaming experiences (a la High Fidelity) which would definitely serve this purpose. But to take advantage of that I’m assuming a much larger investment from a reader than is probably sane. As I stated from the outset of this blog, I assume I am my only audience. So I should probably only engage such a task if it’s appropriately self indulgent, for which I think this qualifies.

In the meantime, I encourage you to challenge what I have to say. I am only one data point. If you’re in the same boat, give Symphony a spin and we’ll compare notes. Or perhaps you’ve played Symphony but not Super Castlevania, and can give the reverse analysis. If we come to opposite conclusions than we’ve really learned nothing more than nostalgia is king. But if there’s agreement then I think we’re on to something.

Castlevania

I just polished off Castlevania: Order of Ecclesia, while at the same time the Angry Video Game Nerd completed his four part series on the Castlevania franchise (told in parts I, II, III, and IV, and of course supplemented by his classic coverage of Castlevania II). Given the type of game the Nerd generally covers I usually only go to him for entertainment value, not critical analysis. But watching these videos on the Castlevania franchise I found he and I seem to be in exact agreement.

There’s an inflection point on the Castlevania franchise, which is Symphony of the Night. Truth be told, I haven’t actually played it - the hilariously bad voice acting turned me away immediately. But I have a good idea what Symphony is like because every Castlevania game after it carries its influence. This is when games stopped being called Metroid-clones and started being placed in the “metroidvania” genre.

I’ve played most of the handheld games (Aria of Sorrow, Dawn of Sorrow, Portrait of Ruin, and most recent Order of Ecclesia), and they all follow the same formula. You’re fighting Dracula (although generally with some other secondary villain). You explore his castle, progressing through tough boss fights and unlocking abilities that open up new areas of the castle. Gone is the classic whip, replaced with a set of swords, axes, pole arms, and sometimes magic. There’s some attempt at a story, and it’s always terrible. There is series gothic atmosphere, but the annoying characters completely destroy the mood (Portrait of Ruin’s childlike heroes were particularly guilty of this, but to be fair Order of Ecclesia wasn’t so bad). Then there’s a layer of RPG elements where you have stats, level up, and manage all sorts of equipment. And throughout this is a ton of recycled art assets (going from Dawn of Sorrow to Portrait of Ruin I felt like I was playing the same game). Overall the formula takes in classic Castlevania and adds in elements from Metroid and Final Fantasy.

These sources are good games, so the combination should be awesome, right? Well, not really. The end result is… diluted. Instead of overcoming enemies with skill you can now just out-level them. But the developers have taken that into account so unless you know all the tricks you should expect to do some level grinding. And by tricks I don’t just mean patterns, I also mean particular equipment combinations that exploit their vulnerabilities. A lot of that equipment comes from random drops, so you won’t just be grinding for XP. Some of this grinding comes naturally, because the branching exploration means that you’re going to retreat the same areas more than you’d like instead of experiencing a clear climactic progression. Despite all the flaws I obviously find something of value in these games because I keep playing them. But I’m always left a little disappointed because they fall short of that classic action game I remember so fondly.

What is that classic game? Super Castlevania IV for the SNES. On this the Nerd and I agree; Super Castlevania is the pinnacle of the series. The music… the tight control… this game is awesome. It’s definitely on my short list for best 2D action games. Each level has it’s own feel, with perfectly paired music and some challenging boss. The game is hard, but not cruel. You can infinitely continue from the beginning of the stage, and the password system let’s you save your progress easily enough (for the standard of the day). So although there will be parts that test your patience and precision, it’s manageable.

Your primary weapon in Super Castlevania is the whip, and here it is at its most deadly. You can attack in all eight directions, as well as control the whip’s motion after the initial strike. This creates a weapon with a lot of subtlety, with plenty of tricks to master. The “evolution” from this to the wide array of single-button single-direction weapons in later games is a complete disappointment. Instead of being compelled to get better with the whip you’re only strategy is to find weapons with better stats or larger hit boxes. Maybe this broadens the audience for the game by requiring less skill, but it’s not like the whip is impenetrable.

I’ve always had this ambient dissatisfaction with the post-Symphony Castlevania games. I’m excited to start them, but by the end I’m left feeling that something was missing. Like they could have been better if they were less RPG and more like the classic Castlevania games. I figured it’s possible that nostalgia had clouded my judgment, so I decided to dust off the Wii and download Super Castlevania IV for the Virtual Console. It did not disappoint. I played the game to its completion and enjoyed every minute of it. It’s really amazing how little the series has evolved over the past 15 years, and how so many of the changes don’t really add anything to the experience. The new titles have more gameplay breadth, but not really depth. In my opinion the franchise has lost its way and become something far lesser than what it once was.

The more I ponder this topic the more I realize I’m missing a piece of the puzzle. I’m going to go grab Symphony of the Night off XBLA and report back with my findings.

Let the Right One In

When Halloween rolled around this year I decided that I was very much in the mood for a vampire movie. So I flipped through this article on Rotten Tomatoes of the top rated vampire movies of all time. I cross reference that against the list available for instant watch on Netflix and landed on Let the Right One In.

This movie tells the story of a boy in some Scandinavian city who falls in love with a vampire. No, this is nothing like Twilight (although I will say the people that seem to loathe that movie need to get over themselves - it was neither spectacularly good nor spectacularly bad - it was adequately entertaining). The life of the vampire in this world is not sparkly and moral, but rather messy and vulnerable. She is both predator to humans and also completely reliant on them. Her motivations are not completely selfless, but there is something sweet about her connection with this boy. Which is not an emotion you’d typically associate with a horror movie.

I’m a fan of a careful blend of mundane and supernatural. If everything is fantastical then a story becomes hard to relate to. But if there isn’t enough magic and mystery then it can be a little bit boring. There are real life stories that definitely entertain me, but I have a preference for something a little bit more than real. Given my video game habit it shouldn’t come as a surprise that I’m a bit of an escapist, but the trick is blending in just the right amount of fiction that it’s still believable. Unbreakable is an excellent example of this. Let the Right One In also hits this sweet spot really well. Yes, this is a world that hosts vampires, but the story around this is such a sleepy human tale that the vampire element doesn’t feel so outlandish. The movie doesn’t gloss over vampire mythology, nor is it the focus of the narrative.

The movie totally scratched my itch. I was looking for an innovative new tale of those delightfully enigmatic bloodsuckers and that’s exactly what I got here. If you’re also looking for a more relaxed, less in-your-face (but still dark) vampire movie then you should check this one out.