My Top Ten Most Influential Games: #10. Devil May Cry 3.

Let’s rock baby!

Easily one of the coolest additions to this list, “Devil May Cry 3: Dante’s Awakening” was anarchic, bloody, loud and violent. Exuding a stylistic combat system that benefitted from an absurd visual fluidity that made every blistering encounter with the malformed demons feel as though it was your last. From the very first confrontation, instigating one of the most justifiable acts of violence, after Dante’s pizza is crushed by the foot of a cloaked assailant, Dante eliminates several adversaries by slicing a pool table in half, shooting the cue ball into the suspended cluster of balls that has hurtling past him for multiple Fatalities, I knew this was something special. Having already played and completed the series previous two incarnation I knew what to expect from this Gothic themed aberration of the Resident Evil series. You can immediately distinguish the games emphasis on a more effectual approach to combat that was sadly absent from its predecessor, establishing confrontations that necessitated a formidable agility, fleet dexterity and a logistical objective. Though the game excelled at the traditional hack n slash, liquidate enemies into a fine sulphuric paste methodology the game was brutally relentless.

If Dmc3 were obliged to shack your partner’s hand it would steal them away, marry them, take both the house, your kids and the dog in the divorce settlement before you even introduced them. Enemies, though singularly were easy to resist relied on sheer numbers to overwhelm you, coordinating horde like advances that required crucial versatility of your progressively expansive artillery and proficiency in their utilisation. Almost every stage introduced a new foe or a variant to engage with, one that demanded an adaptation to an immediately redundant strategy. It was challenging and downright frustrating at times, yet satisfying in masochist kind of way. There was this energetic sophistication that made every recurrent button press seem urbane and graceful, even though I looked like an agitated shopper trying frantically to get my pin code to verify. The bosses too posed their own significant challenges, providing conflated dangers due to their embellished physicality and exceedingly hostile yet singular combat styles. Whether it was their inflated stature or malformed concepts, each boss looked and felt unique.

The gothic architecture and other garish aesthetics only compounded the real sense of encroaching peril, as the suppression of reality became more distorted and sense of isolation became an arresting anxiety, as Dante slowly navigated his way through this dilapidated tower that at times assumed a façade reminiscent of a cathedral. The ornate arches sweeping along corridors and elaborate doors played havoc with your sense of direction, becoming the games most persistent impediment. But as brooding and macabre the clustered environments appeared to be you could always rely on Dante to provide commentary and insight that, uttered by anyone else would sound derivative and cliché. Dmc3 for me portrayed the most realised interpretation of Dante, and really the first time he was given a personality. His pithy, petulance and egotistical proclivities somehow made him a more appealing character, exhibiting an abstract masculinity that was both irritating yet endearing. Not to mention a destructive sibling rivalry that could challenge even the Gallagher brothers enduring contempt.
The most compelling reason for elevated and coveted position on my top ten is an amalgamation of all these many formidable attributes, but it’s most perennial influence was its riff heavy, orchestral/metal soundtrack. The rousing orchestral tempo, fused with the aggressive fervour of metal punctuated every battle in this game to such an exhilarating degree. The soundtracks energizing compliment made every slice of your blade seem like the difference between life and death. I can still recite the individual themes for most the boss encounters including all 3 Dante VS Vergil iterations. In fact it’s a soundtrack I still listen too.

The series, at least for the time being is seemingly on a permanent hiatus, owing to the rather divisive nature of its passive re-imagining, which is sad and by no means a way to end my first entry into the top 10 most inspirational games. Instead here is one of my favourite scenes from Dmc3 that emphasises the absurd violence, humour and intoxicating awesomeness of this franchise. Cheers.

 

---

#8. Tales Of Symphonia.

#9. TMNT’S II.

How Gaming Can Sometimes Make You Feel Clever.

A few years ago I was at my in laws house for a Saturday night dinner. It was a totally spontaneous evening, completely last minute, so we all agreed that a takeaway was the most appropriate means of sustenance, as opposed to cooking. Once we’d finished our meal, Chinese if I recall everyone convened in the living room to stifle our collective intellect by watching some banal television show that exploited the mentally deficient for the purposes of entertainment. You know, “Talent shows”. As you can imagine I’m not particularly fond of modern terrestrial programming, so I instead neglected my social insertions by playing a game on my phone, much to the chagrin of my girlfriend who indicated that my misanthropic state was a rude deterrent to the inclusive, family orientated tone of the evening. Basically she insinuated that she would deny intimacy with me if I didn’t at least attempt to embrace some communal interaction. Out of fear of having celibacy thrust upon me I complied, as if I had any alternative, but with the proposed caveat that we had to at least change the channel to something other than the decorated irrelevance of wannabe singers. This concession to stimulate a much more congenial viewing experience was inexplicably accepted, presumably because the morally repressed talent show had concluded anyway. As a result of my incredible negotiating skills we changed the channel to some trivial game show, some derivative of “The National Lottery”, hosted by the perennial tangerine Dale Winton. The premise of the show was simple; contestants competed against one another by answering a series of general knowledge questions until only one is left. A question concerning Greek mythology cropped up. Dale, with his ever evanescent glow asked “In Greek mythology, Cerberus was a 3 headed what?” The contestant, suitably confused by the word “mythology” stammered and delayed his response, allowing me to exhibit my own profound public school education by responding “dog”. My girlfriend couldn’t contain a fleeting chuckle, discerning that my reaction was obviously a joke. “No really” I countered, “It’s a dog. The original hound from hell?!”. She, along with the rest of her family were astounded by this sudden affinity with Greek mythology, yet more shocked when they discovered I was right.

Did I obtain this knowledge through years of academic study? Perhaps through an extensive affinity with the region and ancient culture? No. It’s because I’d played Devil May Cry 3. Cerberus happened to be a boss, a snarling 3 headed dog no less that Dante intentionally provokes into an intense confrontation. I didn’t tell her this of course, as I wanted to preserve the illusion that I was studied in the ways of Grecian myth. You can’t begrudge me for perpetuating my limited knowledge of the subject to ensure I gained momentary recognition and to astound people with my superior intellect, however briefly. Yet it’s staggering just how much knowledge you can attain through games really. Just how often they impart knowledge, even if the reality of these truths are inverted or embellished for a more theatrical representation, with many replete in culturally significant mythology such as Greek, Norse and Egyptian. Many game concepts are derived from some form of ancient mythology. Just look at the Twelve Labour’s of Hercules, what he was tasked with reconciling and tell me that this doesn’t sound like a concept for an open world Rpg:

1. Slay the Nemean Lion and bring back its skin. (An invulnerable Lion that could not be killed by traditional methods).

2. Slay the Lernaean Hydra. (An immortal serpent with nine heads, that could regenerate two new heads if one were removed).

3. Capture the Ceryneian Hind. (A female red deer that required a years worth of tracking to capture).

4. Capture the Erymanthian Boar. (Weird conclusion to this. Hercules coerced and harried the exhausted creature into a bush and caught it in a net. Killed a number of centaurs beforehand though?).

5. Clean the Augean stables in one day. (A stable occupied by immortal cattle that hadn’t had their residence cleansed of their excretions for over 30 years).

6. Slay the Stymphalian Birds. (Large predatory birds that required “Clappers” forged by an immortal to scare away and kill).

7. Capture the Cretan Bull. (By all accounts this guy was as difficult to catch as herpes from Katie Price).

8. Steal the Mares of Diomedes. (Man eating horses?!).

9. Obtain the Girdle (Belt)of Hippolyte. (This belt belonged to the Queen of a female tribe called the Amazon’s. Which has nothing to do with South America. Amazon is in fact Greek for, and I’m not joking here “missing one breast”).

10. Obtain the Cows of Geryon. (This feat required Hercules to travel to the “end of the world”).

11. Steal the Apples of the Hesperides. (Golden apples that belonged to the God Zeus. A wedding gift no less!).

12. Capture Cerberus. (The most dangerous task of all! Cerberus was the guardian of the underworld appointed by Hades to prevent the living from entering the underworld).

They read like errands in an Rpg. He even had side quests and was constantly challenged to feats of physical labour. I’m sure if you read through enough parchments, ornate pottery or even the bio tapestry there’d be an engraving depicting a wounded solider clutching an arrow that had pierced his knee.

There’s an incredibly liberating rapport when it comes to interpreting myth into a cogent narrative. If you think about it most myths are fictionalised, or at least embellishments of a less glamorous truth. The ancient equivalent to comic books really. Fanciful tales written to amuse and delight children. So it’s only natural for games to take rigorous liberties with the original text. It’s not just legends and parables either. “Eternal Sonata”, a Jrpg is a very liberal interpretation of the death of famed French composer Frederic Chopin. Specifically events that’s transpired in  Chopin’s unconscious mind after slipping into a coma, having suffered a debilitating illness. As well as Chopin, traversing an imaginary world inspired by his own work, the characters he comes across on his expedition through the subconscious possess many musical connotations. You have names like Beat, Viola and Polka, all musical notations or instruments. In Tales of Symphonia “Yggdrasil” is an egocentric deity that preserves the life of a great tree. In Norse mythology Yggdrasil is the fabled tree of life.

I’m sure there are other notable examples that demonstrate just how significant historical or cultural events inspire the concepts of computer game development. Yet its fair to say you aren’t going to write a detailed thesis or graduate University with a diploma in Ancient mythology and history by simply playing God Of War, sadly. But that shouldn’t imply that games are totally devoid of any academic nourishment. How else could any of us win a physical altercation without the invaluable knowledge provided by Street Fighter. Hadouken!

Onimusha, Where Are Thou!

Ever since Resident Evil 2 I’ve been a keen advocate for Capcom properties. This admiration extended to the likes of Devil May Cry, Street Fighter, Viewtiful Joe, Dino Crisis, Marvel vs Capcom and the biblically underestimated gem that is Okami. In recent years many of these endowed series have become peripheral or diminished in social stature, with the likes of Dino Crisis, Okami and Viewtiful Joe shifting towards total obscurity. And it hurts to see such respected games become so grievously renounced. But the one that wounds the most is Onimusha. You’ve probably never heard of this game, which is really indicative of just how spurned this series became, but it was a series of games I just couldn’t get enough of. Set primarily during a feudal Japan, at a  documented period in Japanese history of political upheaval and constant military conflict, with the addition of supernatural elements just to compound the strife, you portray the role of a skilled warrior who is granted the ethereal powers of the “Oni”. Abilities that forge you’re already attuned sword skills with weapons that possess magical properties, enabling you to engage and defeat the scourge of demonic oppressors known as the “Genma”. As you battled you’re way through feudal Japan or celestial “hellish” realms teething with a various assortment of demons you were capable could of absorbing their souls, allowing you to regenerate health, magic or even enhance abilities. The absorption of their souls was so gratifying too! The distinctive setting and receptive combat elevated it above other Capcom games that possessed similar control functions. And then after the release of “Dawn Of Dreams” in 2006…..nothing.

It’s absence is curious if not entirely unexpected though. Onimusha’s most discerning obstacle was it’s conspicuous similarity to other more successful Capcom titles of that time. Dino Crisis, Devil May Cry and of course Resident Evil were all released at a time of incredible resurgence for Capcom. It hardly distinguished itself above these contemporaries on a technical front, with all of the above games utilising similar aesthetic designs, button configurations, inanimate environments and doors with elaborate mechanisms that required long and convoluted resources to unlock were all common features associate with them. Despite the striking Japanese design it never really generated the same public fandom with the same impetus as it’s other more distinguished colleagues. The popularised, hyper stylised combat and Gothic tone of DmC and the atmospheric isolation of Resident Evil seemingly hindered Onimusha as well as Dino Crisis as a desirable source of equity. Sure all of these titles contained interchangeable structures but it’s an irreverent comparison considering just how immersive Onimusha’s narrative, lore and characters were. Yet by far and away it’s biggest problem was that no one had heard of it. Even now you’re probably reading this and thinking “Hmm? It sounds familiar but I can’t really place it?”. Onimusha really wasn’t promoted to the same extent as Resident Evil for instance. Perhaps Capcom felt there was little necessity in promoting what was considered a Resident Evil clone, just with samurai’s or because there was little commercial viability to a western audience that possessed no knowledge nor interest in such a culturally contrasting story. In either case Onimusha never really garnered the respect it deserved.

Last December however Capcom applied for a trademark for the name Onimusha but have yet to indicate a desire to extend the series beyond its four entries. This could simply mean a re-release of the original titles with updated graphics, which I’d gladly take at this point and considering Capcoms penchant for revisiting older entries in a series, it’s probably more likely than a new interpretation. But considering the way Capcom has handled most of its notable content that’s probably not a bad thing. Capcoms complacency has been a substantial hindrance to any developing franchise as well as instilling a measurable decline in quality titles. A declination now extending to some of its most lucrative properties, most notably the Resident Evil and Street Fighter series. With the relative cost efficiency that it will take to finance the aesthetic improvements to the PS2 era of games, it would be far easier for Capcom to generate revenue for an existing series and establish just how popular the franchise still is before risking a new entry. But I wish they would at least consider bringing it back as I do miss it. Nothing in gaming is ever as powerful as nostalgia.

---

What forgotten games series do you wish they’d bring back? Let me know in the comments below. Cheers.

All We Want To Do Is Criticise.

Being critical is such an immediate retort for me that it has become something of an anthology. I’m often crass in my expressive dialogue, quick to dispute singular conjecture if my own insolent view contradicts their own, with even the most theoretical of inquiries provoking aggressive stance of defiance and sarcastic retaliations, despite the placid intention of the inquest. Becoming a fan of a game places you in such a vulnerable position, merely because such a confined affinity is often greeted by convening mediation by refluent assailants, simply due to the subjective terms of applied endearment. Whereas a disparate congregation would consolidate existing enmity, in empathetic unity to admonish what they would consider, a poorly executed game. Now nutritionists are concerned about the escalating obesity and cholesterol of children, with their diminutive size afflicted by the extravagant level of glucose consumed by their stunted configuration. I however fear the measurable fallow of analytical deduction, the expansion of ignorance of our collective nations and the overall collaborative deficiency of gamers mental comprehension.

It’s fascinating how nimble us gamers are at revoking previously admirable resolve for a series. We regularly demonstrate conflicting views on what constitutes as good, that it’s often impossible to accurately gauge what is deemed appropriate for all concerned. Some request an elevation to the game-play, to be more immediate and intuitive, others conversely may require a more advanced progression in the narrative,  or complete aberration of the established characters. Independently gamers are capable of soliciting insightful, constructive observations, expressed with succinct mediation or rationalised opinions. As an amalgamation however, its difficult to differentiate between the permissive expressions of some amid the convulsive splutter’s of venom, dismissive flippancy and infuriated aggressors that implore with vehemence that their favourite character has been tarnished because of his follicles, darkened tone.

“Just doing god’s work. The adage of gaming criticism.”

You may recall a humorous incident a couple of years ago concerning an alteration to one enduring, demon slaying Nephilim more generally recognised as Dante. DmC’s preliminary footage negated any tangible assertions to the overarching narrative or progression–or perhaps declination–of this popular vagrant, whose remedial riposte to any situation was to unsheathe rebellion (sword) and condense everyone in the immediate vicinity into aqueous coagulation. But despite the sparsity of its allurements and an impressive demonstration of its combat system, the video caused salivating heresy, simply because of Dante’s auburn locks. Well perhaps that’s not the primary pretext, but certainly the punctuation for much of fan discourse, which certainly exemplifies the displaced prerogatives of what gamers value. One man’s continuity, is another’s repetition I guess. Gamers, when suitably prompted can criticise anything; the artistry of a games cover, the superfluous ambiance of a settlement, frame rates, the pigmentation of a characters eyes or the latent personification of a females cleavage. And there’s nothing inherently erroneous in proclaiming a games falsity. It’s the type of extroverts that participate in orchestrated pacts with other vindictive hypocrites to pervade the casual observer, that galvanise their farcical postulation’s by allocating 1/10 scores on IMDB with multiple accounts making any fair, reflective assessment of a game rendered virtually mute by the excessive manipulation of its aggregation. Now imagine if that kind of puerile commitment could be harnessed and utilised for more receptive progression, rather than dismissive revile?

Now anyone who knows me, or has had the misfortune of conversing with me will testify to my flippant gestures and dismissive policies. I can conclude that your mumbling with audited progression something of a rebuke that motions towards kettles and darkened cavity. And yes the credibility of my own humility in this instance is vacuous, considering the scolding pronouncements recited with an audible tone of condescension that often frequents much of my appraisals. But despite my contradictions, I’d like to believe that any animosity that, if not retentive is conveyed with judicious, agnostic pragmatism. Well, unless we are referencing Call of Duty. Which reminds me. I need to visit IMDB.

Do gamers expect too much? Or should we accept nothing less than perfection? Let me know your thoughts.

Gaming Music; The Environmental Necessity

“Angry Music is what motivates Dante. Well that, pizza and using woman as yo-yo’s!.”

I’ve always held a strong affinity for the captivation and overall seduction of simulated music in computer games. The way music captures a defining moment with fluid synchronicity and encapsulates it with just the simplest of orchestral tones, that remain permanently ingrained in your memory, long after you’ve forgotten the initial game that it featured in. I’m constantly humming some ominous but distinctly recognisable tune, plucked randomly from somewhere in the deepest recesses of my mind, that illuminates an instinctive smile of tranquillity  but still difficult to competently differentiate exactly where its origins lie. It’s like a momentary act of providence of domesticated comfort, somehow encapsulating those moments with an accentuated melody. Illustrative memories are almost secondary in comparison, with auditory sounds emphasising your whimsical recollections. Familiarised music is comforting, with nostalgic implications that remind you of simpler times, and I bet that if I was to hypothetically ask you about any game-new or old-that apart from sporadic interludes of hazy illustrations formulating cognitive reactions, that you could vividly, without little pause, comfortably recite a theme, sound or any form of musical interlude with almost perfect clarity.

“Noooooooo!!

The auditory percussions are just as important as the visual stimulants and graphical superiority to such an extent, that you may not even realise what an influence a piece of music can be. There can be a strange absurdity associated with particular pieces of music, compelling but also motivation to persevere even when all conceivable hope has dissipated. For instance, almost everyone can recite, hum or vocalise any musical accompaniment to Sonic the Hedgehog; the intro music, a particular boss battle or jovially recall of themes with involuntary foot tapping, to the composition of the Green Hill zone or Chemical Plant. Me, the drowning music featured in Sonic still haunts my dreams, as I continue to search for those illusive, ascending bubbles to restore oxygenated order and grant a desperate reprieve from asphyxiation. As the countdown descends-5-and the music accelerates-4-to reiterate the growing urgency-3-for Sonic to breath, as you become more agitated-2-consumed by the impending predicament that you know-1-is unavoidable and then-0-the struggle is over, and your responsible.

“Help, help! Save me from the pixels!”

Resident Evil 2 featured the disconcerting ambiance that amplified the terrible sense of isolation, which was created, not by the percussing concertos or booming gravitas associated with an orchestra, but through the subtle influences of minimal interludes of disconcerting bells, the slow foreboding creaking of the doors and constant ticking of a distorted clock which all culminate in deterring you from functioning on an emotional level. Subverting rational deliberation and leave you (me) cowering in the corner, evaluating the minimum ammunition at my disposal and devising either an appropriate plan, as well as motivating courage to open the door to the adjacent room, or merely adopting the fetal position for another hour (of course the latter is an exaggeration that I never considered) cough. Where would games like DMC be if not for the highly influential, accelerated break beats that inspire the generous slaughtering of a plenitude of emotionally crippled, demonic spawns? The kinetic hostility is proportionately more evocative with the appropriate musical accompaniment. With an audible depiction of a physical retaliation, any subjected combative situation is heightened by musical stimulants.

But as usual, I digress too furtively and have strayed far from my initial point; that the sounds, music, no matter how genial, generic or inconsequential are important. Whether a conductor brandishing that musical stick to illicit beautifully crafted crescendos, or created via a synthesiser by one man, copious amounts of coffee and patience, iconic music will live forever in your auditory portion of your psyche. Or in my case, an unrelenting nightmare. Forgive Me Sonic!!

What video game music will you never forget? Let me know your most memorable musical pieces.