Modern Warfare 2: Bad Story Ruins Games

If you are not buying Modern Warfare and want to know about its crazy plot then read on?

-Or-

If you are curious as to why, for me, I just can't get my head around it then read on.

The Story (Spoilers!)

Basically a Russian dissident goes to Moscow Airport and murders everyone inside. You play a CIA agent in his gang and witness/take part in the killing (I chose not to shoot anyone). The event takes place in a graphic scene, which is cruel and brutal. In the right context it would have been challenging and interesting; however In MW2 it is just unnecessary (it is skip-able) and violent for the sake of a weak plot device.

At the end of this massacre, the villain shoots you to make it look like the CIA walked into Moscow airport and killed everyone - a ludicrous conceit. You are supposed to believe that the Russians would not know that the CIA had infiltrated the gang, or that the gang are all Russians anyway. The fact that four terrorists take on and kill 200 Russian SWAT is even more daft.

The following day Russia stages a full scale invasion of the USA and large land battles take place in a suburban town (for no real reason - or explanation) and on Capitol Hill/The White House. We are supposed to believe the Russians were so mad, they were able to stage a full scale assault on the US in retaliation. Where are China and Europe in all this? The Russians barely had enough troops to invade Georgia in 2008. What about the global condemnation that would follow. Would the rest of the world just stand by? How did all these 10,000s of paratroopers & tanks, and aircraft cross European airspace?

To solve the problem a special ops team kidnap a terrorist in Sao Paulo (not sure why), rescue a prisoner from a Russian Gulag, steal a Russian nuclear sub and launch its nuke into space. The ICBM is detonated over the US east coast to cause a EMP wave that causes all planes and helicopters to crash, as well as destroy the International Space Station.

With me so far?

The special ops team then hunt down the dissident to kill him. Some how doing this will end the full scale conflict that has taken over the world?

Opinion

It is all completely implausible.

I don't buy the argument it is just a game. IW have gone out of their way to set it in a contemporary setting. If it was a Fallout style twisted reality I would let it ride, but they set it up as a "what if".

The "what if" is based on the worst kind of soviet-era/communist aggressor tripe and lacking any historical context from the last 20 years. Worse, it is based on an enemy, and nation, who has never had the capability to do what they suggest. The major premise that a single out of context terrorist incident could cause a conflict on this scale is a leap even "24" writers would have trouble with. The single player plot is fictional garbage and neo-con scaremongering of the worst kind. The fact the plot is almost impossible to follow doesn't help either.

What MW2's story is, is a string of set pieces in locations the developers wanted to exploit for shock value. They often have no relationship to the story and lack any kind of logical cohesion. It is fiction, but it is ludicrous fiction. At least Tom Clancy based his tech-war writings on genuine facts and plausible events.

I am not the only one who finds it completely silly, I've read several reviews saying pretty much the same thing (see Charlie Brooker's and Eurogamer's reviews).

As for the scene in Moscow Airport, it is certainly one of the most violent things even done in a game. It doesn't offend me, but I did find it unnecessary and over-the-top (people crawling away bleeding to death and then being shot). As a plot device, it completely failed.

I do like many of the levels, taken in isolation, and I get that it is an action movie. However, the makers have gone out of their way to make it a "what if" story, and it deserves to be critiqued as such.

I'm sure the co-op and multiplayer will provide hours of entertainment, but the solo story in MW2 is a massive misstep, in my opinion, and belittles a lot of the ground breaking immersion that IW created in Call of Duty 1 and 2. Personally I found the story to be laughably preposterous and, at times, baffling, bloodthirsty and misjudged.

Big Daddy – Bioshock (Hi-Score Article)

Big Daddy – Bioshock (my entry to the Hi-Score Top Ten Bad Guys)

The Big Daddy is the iconic image of the 2007 critical hit Bioshock. Whenever you think about your experiences of playing Bioshock, two images spring to mind: the creepy yet charming Little Sisters, and her ever present gargantuan guardian, the Big Daddy. Dressed in an armoured diving suite, with either a giant drill or grenade launcher grafted on to its body, the Big Daddy presents a formidable presence of size, strength and brutality.

The Big Daddy is, however, an unlikely “bad guy” because he isn’t all bad. His paternal nature means that he will completely ignore you -posing no threat- seemingly happy to lumber around escorting his Little Sister. Ultimately the Little Sisters are in the way of your goal in Rapture, and they carry the precious Adam that you must somehow obtain. Thus, reluctantly, you know you must take on and defeat the hulking brutes.

Regardless of the difficulty level played, the Big Daddy always offers a significant challenge. Each Big Daddy encounter is normally premised with fear and indecision. Taking down the armour plated guardian requires more than a little cunning to succeed. Big Daddy battles are often savage, violent and prolonged. Bioshock successfully makes you feel every punch, drill and thump from the Big Daddy – often sending you dramatically flying off your feet, or stunned on the spot. In defeat the Big Daddy continues to toy with your emotions. The morally good player is confronted with feelings of guilt and repentance; made worse by the cries of grief from the Little Sister for her now lost “Mr Bubbles”.

There have not been many games that have established such an iconic bad guy. Even fewer have established a character class so strong that, in itself, it is a metaphor for the game and world in which it is set. The Big Daddy is Bioshock. Plastered over the front of the game cover; shipped as an ornament in the special edition; and taking centre stage in the gruesome promotion video for Bioshock’s initial release. Bioshock 2 looks to be building its entire story with a Big Daddy as its central heroic character. I wait with bated breath to see if a promised Big Sister can match her paternal inspiration.

To read the other entries in the top 10, visit Hi-Score.co.uk...

Guitar Hero On Tour: Modern Hits (DS)

Originally written for The Gamer Scene (http://www.thegamerscene.com)

Guitar Hero On Tour, for the Nintendo DS, was a surprise worldwide hit in 2008 despite its mixed critical reception. Guitar Hero On Tour: Modern Hits is the third instalment of the cramp-inducing series that comes complete with a handful of tweaks and a new “modern” set-list.

Guitar Hero On Tour is probably better described as “Plectrum Hero”, since the gameplay centres around the use of the custom four-button fret board device that plugs into the DS Slot 2 (sorry DSi owners, no rock for you!), and a large plectrum stylus. The mechanics are fully translated from the plastic guitar version. The only difference being that the board has only 4 tracks of notes, and you strum on the touch screen using the plectrum stylus. Star Power, activated by shouting into the microphone, and Whammy effects are all present just as before.

Modern Hits makes no amendments to the series’ tried and tested gameplay, and it’s still the same heady mix of “Wow! this really works” and “Oow! This really hurts!” Strumming the plectrum on the virtual strings, and holding the frets, is enjoyable and feels strangely satisfying. The problem is you have to hold the DS very still in an uncomfortable portrait position. If you rock-out for anything more than 30 minutes at a time, it induces a painful cramp in your wrist and fingers. You will also constantly find yourself adjusting your grip or even propping the DS on a convenient shelf – a beer belly in my case.

The presentation is what you would expect from Guitar Hero. You get the usual whimsical 3D animations of the franchise characters, such as Clive Wilson and Judy Nails, performing on crazy virtual stages around the world. The sound, however, is heavily compressed to fit onto the DS cartridge. If you are not are wearing headphones the music will sound tinny and flat – not ideal for a rock music game.

Structurally Modern Hits is pretty much the same as the previous two installments. There are some cosmetic changes to menu layout and new replay challenges for each song you unlock. Modern Hits, like the two previous games, is fully cross-compatible with other Guitar Hero On Tour games: so you can enjoy a multiplayer game with a friend even if you both have different versions. I have found this feature to be particularly useful for long train journeys with the wife or friends. The technology to stream the song from one DS to another, during gameplay, is seamless.

Guitar Hero On Tour: Modern Hits is fun in small bursts but, ultimately, rhythm music games like this are judged on the set-list they contain. Like most Guitar Hero games, you can enjoy playing the notes on certain songs even if you might not like the music itself. It really is up to you to decide if these songs make you want to wield your inner plectrum, or “run to the hills”. (3/5)

Set-list:
12 Stones – “Adrenalin”
AFI – “Miss Murder”
Angels & Airwaves – “Call to Arms”
Atreyu – “Falling Down”
Black Tide – “Shockwave”
Coldplay – “Violet Hill”
Endeverafter – “I Wanna Be Your Man”
Evanescence – “Sweet Sacrifice”
Fall Out Boy – “This Ain’t A Scene, It’s An Arms Race”
Finger Eleven – “Paralyzer”
Foo Fighters – “All My Life”
Franz Ferdinand – “The Fallen”
Kaiser Chiefs – “Ruby”
Lenny Kravitz – “Where Are We Runnin’?”
Modest Mouse – “Dashboard”
Phantom Planet – “Do The Panic”
Sum 41 – “Still Waiting”
Tenacious D – “The Metal”
The Bravery – “Unconditional”
The Donnas – “What Do I Have to Do”
The Duke Spirit – “Lassoo”
The Fratellis – “Chelsea Dagger”
The Kooks – “Always Where I Need to Be”
The Offspring – “Half-Truism”
The Strokes – “Reptilia”
Weezer – “Everybody Get Dangerous”
Wolfmother – “Dimension”
Yellowcard – “Lights and Sounds”

L'Angleterre est une nation de boutiquiers

"A Nation of Shopkeepers" ("L'Angleterre est une nation de boutiquiers" is how Napoleon once famously described our fair isle (although it was probably first coined by Adam Smith). There are two topics of conversation that all British people are obsessed with: the weather, and “the price of fish”. Well, not just fish, anything and everything!

We have a culture that is always skewed towards cheapness over quality: from badly placed government IT contracts and infrastructure projects, to supermarket produce and hooky DVDs down the pub. This obsession also skews our retailers and high-streets.

Walk into any shop and 60-80% of the stock is “on-sale”, “on offer”, or “buy one get one free”. It’s like no one will buy anything unless they think they are getting a deal. But of course, the retailer has to make money, so products now must routinely carry a higher recommended retail price to make margin so that it can then be artificially discounted.

Listen to many UK-based gaming podcasts and you’d be forgiven for thinking that the only thing that matters is the price. With the exception of often sound consumer advice on FrugalGaming, I have become increasingly annoyed at complaints about the price of video games, in particular those on Xbox Live and the iPhone.

I think a lot of gamers fail to appreciate just how much it costs to create a game, even a fairly small one. The average Xbox 360 and Playstation 3 game costs £5-15m to create. That is a considerable investment for any company to make. Only half of all games made actually break even. In the beginning of Xbox Live Arcade titles were small ports of PC games that were produced for less than £100k and came in under 50MB. Today, Xbox Live Arcade games can be anything up to 500MB and costs between £100k and £1m to make: for example Braid is reported to have cost $200k.

Given the dramatic increase in the quality, size, value and cost of an Xbox Live Arcade titles isn’t it inevitable that the retail cost must increase. Given the 200-1000% increase in production costs, it would not be unexpected to see a similar increase in the purchase price? However, most games are today are either 800 or 1200 Microsoft Points: that a miserly increase of 50%, or just £3.40. Are we really trying to say that we are not prepared to pay an extra £3 for games that have the quality and production values of Battlefield 1943 or Braid, or would we rather stick to playing cheap thrill ports like Wik?

Incidentally, £3.40 buys you:

A pint of beer and some peanuts

A fish pie ready meal

A copy of the TV Times

A Venti Skinny Latte

The iPhone has revolutionised handheld gaming, and has created a new wave of “bedroom” indie games developers. The App Store provides an opportunity for games developers to produce small, cheap games that can be enjoyed by the masses. Prices range from 59p to £5.99, with most games selling for between £1 and £3. Considering the more expensive studio games, such as Tiger Woods, it still seems incredible value when compared to the cost of the same game on a Nintendo DS or Sony PSP (£25+). Yet, I still hear complaints about the pricing!

So what is the underlying problem here? Is it because these games have no physical media, and so therefore our perceived value of the product is less, even if the game may be identical to a physical version of greater cost? Probably.

Maybe it is the method of pricing that is the issue? 1200 sounds like a lot of money compared to 800. But £10.20 doesn’t sound like a huge amount of money; after all it’s the price of the average movie DVD?

Activision recently announced that their premium titles would carry and premium price. Not totally unexpected. Modern Warfare 2 is likely to be the best selling game of the year, but also one of the most expensive games ever produced. The publisher’s margins will also have been squeezed by the dramatic increase in the popularity of game rentals and trading that become a feature of this generation.

Whilst the timing of this price increase seems opportunistic, I have felt for some time that the impact of game trading and rental, on the scale we are seeing today, can only ever result in forcing prices up. A similar thing occurred in the early 90s when rampant piracy on the Commodore Amiga saw the price of games increase twofold in a couple of years. Video Games cost a lot of money to make, and the main means of returning a profit is to sell disks. If the disk is being resold or rented then you aren’t making money on that.

The issue of retail price is further exaggerated in the UK by our obsession with “getting a deal”. I can’t remember the last time I actually paid RRP (recommended retail price) for a game, even on pre-order. There is almost an unwritten rule that all games bought online or on the high-street carry a 20% discount!

I have a feeling we are heading towards a very uncomfortable future. Retail copies of games are likely to continue to increase in price in an effort to claw back revenue lost to trading and rental. The publishers are keen to get their games distributed online, but that carries the burden of massive IT infrastructure; discrimination against those gamers who are not online; or who can only “trade purchase”; and the aforementioned perception that download games are overpriced or lower value.

Microsoft are due to launch their own On-Demand service soon. It is the future, but I can already hear the complaints from British podcasters; I might just have to take a 3 month holiday when it arrives!

An Elixir for Success

I recently recorded an episode of the Big Red Potion podcast (http://bigredpotion.com) with StridentUK (blog writer for the Cranky Gamers) and the show's host Shoinan a.k.a Sinan Kubba (writer for TheGameReviews and EGC Games). In the show we discussed the often tricky subject of Sony's relative demise. I say relative, because any product that sells 20 million units cannot be considered a failure.

I personally found it a very rewarding discussion and one which I think video game enthusiasts would have thought about themselves over the last 18 months. It did however get me wondering just how important our opinions are to the wider world? I certainly have influence over the buying decisions of friends and relatives; that could account for maybe 20 sales. I have been known to dish out advice to strangers in a store if I think they are getting bad advice (I once sold a Mac to someone in PC World!); so that could influence another half a dozen people. Would they pass on my views and advice? Possibly. But it would have increasingly less impact.

I guess what I am mulling over is how much influence do gaming enthusiasts have over the general console buying public? My conclusion is actually very little. Movie critics have very little impact on what films make it to number one, and similarly, gaming enthusiasts can only ever hope to influence each other.

Anyway, listen to the podcast and leave feedback for Sinan on iTunes and his blog. It was a pleasure to record the show and I hope you enjoy it.

http://shoinan.com/2009/03/02/big-red-potion-episode-4-how-to-sell-a-ps3/

Review: My Horse and Me 2 (Xbox 360)

Full Review on Cranky Gamers UK

My Horse and Me 2 turns out to be a rather enjoyable, if simplistic, sports game. Essentially it is a “Three Day Eventing” simulator (Dressage, Show-jumping, Cross Country) with various horse grooming mini games thrown into the mix. Despite being clearly aimed at young girls, My Horse and Me 2 avoids many of the usual female social stereotypes. It is only the unintentionally funny cutscenes and sugary presentation that illustrate you’re playing something aimed at a specific gender.

(3/5)

Reviews Round-up Part 5

Motorstorm 2: Pacific Rift (PS3)

Motorstorm is back, and this time it has taken the cyberpunk off-road racing even further and set the entire game on a volcanic pacific island. The setting provides Motorstorm with much needed variety in both the track environments and design: from long beaches and lava tubes, to jungle tracks and mountain top observatories. Races are grouped by location and race type, making progression less linear and more interesting. Online, you can race with up to 12 other suicidal petrol heads. Motorstorm 2 is loud, brash and loads of fun.

(4/5)

Mirror’s Edge (PS3)

Mirror’s Edge proved to be a revelation. Despite my dislike of the first person shooter genere, and especially first person precision jumping, I found the game to be exhilarating and rewarding. The first person free-running is brilliantly implemented, and the stark environments spectacularly convey the corporatocracy (a government dominated by corporate influence) in which the game is set. Despite a number of flaws, such as the forced combat and weak story-telling, Mirror’s Edge manages to balance frustration with fun, and difficulty with well thought out puzzles.

(5/5)

Little Big Planet (PS3)

Little Big Planet is both revolutionary and old fashioned in equal measure. Essentially it is a 2D platform game construction set. But such a description doesn’t do the game justice when you consider the sheer scope available to players and creators alike. With thousands of user created levels already in existence and the impossibly cute Sackboy, Little Big Planet should have something for everyone. Unfortunately, it is not a flawless experience: the floaty jumping never feels right and restricted number of retries make the gameplay more frustrating and difficult than it should be. However, Little Big Planet is a contemporary classic and many hours of fun can be had both playing and creating levels.

(5/5)