I have never been adversed in asserting my often hollow ramblings, advocating specific games vitality or condemning another’s deficiencies. My brash, often stoic posture has generated wide-spread condemnation from the wider gaming faculty, generally bored by my platitude sense of my own pomposity, typically provoking individuals with my well versed and fastidiously documented antagonism towards Call Of Duty and FPS’s in general. Not everything I scribe is coherent, reliant or even relevant in the increasingly expansive world of technology, but I’m nothing if not passionately vocal in my appreciation for content that is truly original, no more so than the cursory surmise of QTE’s. There are suggestions that this divisive element is a mandatory deterrent to many purists, negating the legitimacy of their implementation into an industry that clearly doesn’t resemble the habitual methods rigorously applied to traditional gaming. Rebuked as some form of audacious fascist, evading the ambivalent sterility of an industry remedial as it is static with its provocations. QTE based content offers less pervasive continuity and perhaps even the dynamic urgency that attracts the wider community, with fallacy consensus that seemingly implies these types of genres will only be appreciated by the more rigidly aloof and conceited populace, gesturing to their butlers to remove the infantile aggression of GTA so they can stroke their chins in a fashion of arrogance for their proud pomposity. But QTE’s provide more immersive intricacies than any other games.
Heavy Rain for instance offers such broad, provocative scope for intimacy that you never believed would be relevant. Admittedly despite the provocative noir style detective drama, the narrative becomes very benign, convoluted by the intertwining story arcs with clear consensus on the multiple choices that directly influence the finality rather than plugging the gaping chasms that service in its plot. But there is still a measured integrity that binds these loose-fitting sentences, meandering objectives and circumstantial evidence gathered by a highly conspicuous authority agency that compels you invest in these very humanised characters, with the literal elements befitting the distorted ambiance of an almost monochromatic composition, that seeps into the pores of the recipient community. This was a game that succeeded because of its reluctance to abide to the conventional architecture established in most games, and provide a piercing emotional conduit between simulation and our own lives with simplistic ethereal control.
With the addition of simplicity comes an immersive cohesion to the story. The vast majority of the game consists of tenuous remedial exercises such as starting up a car, placing food substances in microwaves or even basic food preparation, but despite the oblique pervasiveness of the conduct it all feels decidedly critical to the progression of events. There’s a retort of satisfaction you can’t help but emit through these seemingly regulatory exercises with real cathartic resonance from these domesticated stints, somehow becoming enveloped by the sterility of ascending stairs slower than a maimed tortoise, or the strangely methodical dexterity requisite to ascend from a lateral to vertical stance? Every ponderous activity feels prodigious and it’s through these pedantic methods that elevates the intensity of volatile provocations with more riveting substance. You become versed in a characters mannerisms, observe the personality and are conscious that one displaced button press will result in a characters demise. You observe with mute reverence the platonic love Ethan has for his sons, wretch in hopeless resignation at his sons tragic death and grimace in accordance with the intense imagery constructed, as the caressing nudge of the right stick assists in mutilating Ethan’s digit.
You’re the manipulating accomplice, employing the same apprehensions, adopting similar anxious convulsions to the depicted emancipating tribulations. Without the emotive stimulations presented that coerce your resolve, every flick of the controller is just a means to an unsatisfactory finality, but something I don’t think could be achieved with contemporary methods. The lack of control and sudden accelerated pace composes more seductive events, by allowing only accessory, instinctive guidance and this isn’t solely attributed to *sigh* “Interactive Drama’s” but other celebrated series lying adjacent to Heavy Rain’s methodical direction. In Resident Evil 4–despite successive, regurgitated endeavours–it still forced me to sit upright in rigid preparation for a QTE, acting on impulse rather premeditated reactions and frantically press the corresponding button. Perhaps this is a representation of my own ineptitude as a gamer (likely), but there is certainly something so engaging from the pragmatic subtlety of minimal contributions that make QTE’s such compelling additions to gaming. Though I’ll concede that there certainly isn’t enough room for them in Call Of Duty, they are additions I still want to see implemented in the future. Only QTE’s could transform the seemingly mundane task like dispensing a packet of crisps to a your son and shift it into a poignant reflection of the morose relations between father and son. I tip my figurative hat to you. *Holds L1, R1 and adjusts right stick 90 degrees*
Hold do you feel about the inclusion of QTE’s? Good or Bad influence? Let me know. Cheers.