Hot Heart

I like to see subtitles, possibly because I write, so I like getting an occasional look at the lines to see how it's phrased and perhaps how it was meant to flow and such. I can't speak for Skyrim but I don't think the subtitles would affect my immersion all that much. If Oblivion is anything to go by, it's all 'zoom-in to frame the person centrally, have them talk some boring crap with bad voice-acting (and doesn't this person sound like that other person over there?)' then you just follow the marker on your map to wherever it is they said to go. From what I've seen, Skyrim doesn't seem much different; it's all very static. Not that I mean to diminish Kenshi's own experience, obviously. Different strokes... I think, when a game has really decent production behind it, something like subtitles becomes insignificant as there are other factors that pull you in. Take some of the more recent RPGs like the Mass Effect games, The Witcher 2 or Deus Ex: Human Revolution as examples. All with good voice-acting, interesting use of framing/shots and effort put into body language (and some have quality sound design, too).

Can't be arsed to say much on the subject right now, but I think there is a danger of confusing 'quality' with 'artistic/cultural value' as well.

Heh, someone just retweeted a link to this article from a while ago. http://www.gamasutra.com/view/feature/134818/moving_forward_on_race_in_games_.php

http://www.cracked.com/blog/5-awful-things-you-learn-about-yourself-playing-dishonored/

Pretty much, yeah.

Why I oughta... Really, though, I was building on what fuchikoma was saying but rather than fucking with people for the sake of it, you try and make something meaningful out of it.

It's certainly a tricky topic, and one in which it is hard to stay objective when a lot of western media is catered towards your own demographic. Once upon a time, I attempted to write an article on the topic, but it really is such a large, branching and tricky topic. So I'll just pour out my brain here and hope it makes some sense. As WaS said before, it is a bit shallow if you're saying you can't relate to a character if they're not exactly the same gender/race/sexuality as you. But, on the other hand, I can understand if people look at certain games and think "I want that", or question why a story has to evolve a certain way. It's not just about inserting token characters or 'catering' to minorities, but having more people in the industry taking steps towards creating a diverse gaming landscape. Fortunately, the industry is maturing, and more and more talented creators are sprouting up, each capable of realising their own different perspectives. It's not an overnight process, and it is already occurring. Technical limitations are the reality when it comes to the business side of games. If we're using Mass Effect as an example, it's fairly flexible with incorporating race and gender but your English language male Shepard will still sound like a white Canadian man. It's acceptable because it doesn't really affect anything. The same goes for the actual body shape. Shepard is a soldier, thus, requiring a physically fit body. The character will never be exactly you, only ever an idealised one for the purpose of the story. Ultimately, the main character's social/cultural/biological/sexual background becomes irrelevant in the face of technical limitations, so a developer reverts to the 'norm' as the safest starting point. It doesn't matter whether your character is male/female, gay/straight/bisexual, there's an alien invasion that must be stopped! When you consider something like a female Shepard, there is the positive in that it shows women are just as capable as men, with the game's universe not even questioning that. However, in a negative light, you could argue that having a female Shepard is not really as much about making a statement as it is pursuing a potentially larger audience. Either way, it's important that it does normalise that sort of presentation where it allows. The thing is, gender/race/sexual politics is a volatile subject matter and not a high priority for most mainstream developers. If tackled, it's usually done under the guise of a fantasy setting and in an RPG (Dragon Age, The Witcher). Most mainstream games stick to a simple formula where the story is about good triumphing over evil, and are player power fantasies more often than not. The rift between the mechanics and storytelling make it hard to create a coherent theme compared to a film or novel, and subtext is almost impossible for many. So, I wouldn't begrudge people wanting to see a wider representation of different cultures, races, genders, etc. Just that, they shouldn't expect to see it overnight or shoehorned in with little to no relevance. The industry is still evolving. Boy, I hope some of that made sense.

Not what I meant at all.

Saying 'too easy, AI is dumb, made for Halo/CoD generation', while sparking a discussion, doesn't really allow people to gauge what you mean. Present your case, make an argument, engage people!

I think it would be quite cool to mess with an earlier version of the game, perhaps deliberately leaking it, in a way that has an impact on its presentation/perception somehow. Off the top of my head, having only an altered, brief ending available, or some surprise or pattern of clues is revealed, so that there is value in replaying the story. Kind of like how a company like Valve is savvy enough to know that PC gamers go data-mining, so they create little clues or ARGs, a company could get creative with all the meta aspects of their game. Obviously, this would be sort of like encouraging piracy, but if you can't beat 'em...

Yeah, that's a good way of putting it. With Night Watch, I called it 'quirkiness', while Hanna's symbolic elements give it a bit of depth. Obviously, Night Watch is aping a lot of Hollywood films but with its own cultural twist. There is a definite charm or standout quality to both that makes up for their shortcomings. It's also a shame that it seems the UK doesn't get the 'proper' English language release of Night Watch, with the fancy subtitles envisioned by the director. And that the director is now actually making shit Hollywood films like Wanted and Abraham Lincoln: Vampire Hunter.

Might as well post a few... Hanna. This is an odd film, anchored by some great casting. It's got some very interesting direction and a unique score by The Chemical Brothers, combined with some (blunt) symbolism regarding fairy tales that just about lifts it above being an 'OK' film. Just don't expect a Hit Girl-type action film. Leon is a good comparison for tone, I guess. Night Watch Another film that is just above 'OK'. I had forgotten how much I liked the idea of supernatural elements mixed in with 'ordinary' stuff, and the film's setting and lore was really intriguing. There is an endearing quirkiness to it. However, it's a really uneven film that mixes inspired touches with melodrama and, ultimately, doesn't quite contain a 'complete' story (being the first part of a planned trilogy, and based on part of the first book in a series). A lot is spent on establishing the world and its rules without moving things forward at the same time. In its favour, it did pique my interest enough that I have already purchased the following film (which was cheap) and am disappointed to hear the third part's production is stalled. Battlestar Galactica: Razor I'm counting this here because, unlike most of show I've seen so far, I quite liked it. Working through the series, I actually followed a friend's advice and watched this at an appropriate time during season two rather than when it would have been seen originally. It anchors its story well with a new central character, who brings an interesting dynamic with existing ones, and keeps the drama at a decent level without straying into the show's usual contrived set-ups (due to a distinct lack of Baltar, thankfully). It built well on events that had only been talked about before and fleshed out certain characters' backstories satisfyingly enough. I am a bit worried about whatever was going on right near the end though... Also, the Australian chick was smoking hot.

Well, it seems more like he bailed but that about sums it up. I'm currently working through Season Two of Battlestar Galactica and seeing some horrifying similarities with what Mass Effect became...

Oh, I think I remember now. Ties into ME1 and then has no real relevance to ME3.

I can't even remember the ending to Firewalker, but it's only worth playing if you got it free with the Cerberus Network.

I would say only Lair of the Shadow Broker is the real 'must-have'. The others are amusing in their own way, and Arrival does set up ME3, but could be ignored. I'd ignore any of the weapon and appearance packs, obviously. If you wanted an overview of the others: Overlord is an interesting little mission involving the geth, with a 'powerful' ending. Kasumi is an interesting enough character, and the mission is a fun, little diversion. I'm assuming you got Zaeed free with the game? If not, I'm not sure whether he's worth it. I found him amusing but I know some people dislike him. He is useful to have though.

Yeah, I wasn't directing the being 'bothered' thing at anyone here. More at the guy who wrote the blog, but even then, he was being a bit facetious, too. Reminds me, actually, there's a line in Hanna where Jason Flemyng says "...is your mum and dad still together?" and it sounds weird, because he's 'bohemian', not exactly poorly-educated. It's a funny scene, if you were interested in seeing it. http://www.youtube.com/watch?v=QErz-lzzcr4

I tend not to get hung up on what is said by game fans, in general. So much wasted energy.

I'm not really bothered by the 'is' and 'are' stuff, in general. There are times when either can look odd; it all depends on context. It's when I see it in contractions, that it can look odd to me. For example, 'there's two ways this can go down', if written out fully, becomes 'there is two ways this can go down'. Of course, it's not meant to be read fully, so it's OK. Just that my brain always picks up on it. In the same way, my brain feels weird about 'times like this' and 'times like these', without either being inherently wrong.

Haven't heard this song in years. Was reminded after Saint's Row 3.

Comedy writer's rant. http://danielmaier.posterous.com/stop-american-creep