You’ve bought your VR system, set it up, maybe upgraded your computer, and now you’ve downloaded and played a lot of the free experiences that act as an introduction to VR. They’re quite fun, if a bit short, but now you face the question of what to do next. The answer is to invite round friends and family and show off those same introductory experiences to them as well. Because you’d told them that you bought a VR system, and now you have to prove that it wasn’t a huge waste of money.
After a few stumbles in their latest outings, Telltale’s Marvel’s Guardians of the Galaxy Episode 1: Tangled up in Blue (“GOTG” from here on out) harks back to their last truly excellent offering of Tales From the Borderlands, with the familiar action-comedy setting of the latter to tell… a tale.
These things are episodic, so any review at this point may not be necessarily useful. For what it’s worth though – it’s pretty good. If you’re a fan of Telltale experiences or Guardians of the Galaxy, then you’ll probably enjoy this, as I certainly did.
However, there’s enough here to get me pedantically analysing the thing, and that’s always fun!
Welcome to the first of a series of articles about my travels throughout the wild landscape of VR. I have owned a VR headset since June last year and in that time I have amassed a library of dozens of games and played a hundred hours of some of the most unique gameplay you can have on the PC. Needless to say that these articles will reflect my own personal experiences with this technology, so if you feel I have disparaged your favourite game then feel free to call me an idiot in the comments. Without further ado, it’s time to jack in!
Don’t tell your friends that HOTSUPER is the most innovative story I’ve interacted with in years!
The gameplay sucks though.
Last week, I picked up a lovely neon-coloured Nintendo Switch. It’s the first time I’ve bought a console so close to launch, and I’m usually more pragmatic before committing to purchasing a piece of hardware, but two things about the console really made me want to check it out. The first was the positive response surrounding Zelda: Breath of the Wild. While it sounded like a fun adventure game in it’s own right, I became very interested after hearing conversations about the different systems of the game interacting in interesting ways. I’m a Zelda fan, and it sounded like a good Zelda game. Secondly, I bought a New 3DS about two years ago, and I really love it. The Switch, while touted as a console/handheld hybrid, seemed to me to be primarily a handheld, and that made me want to check it out more so than it being a TV console. Also, and perhaps the main reason that tipped me over to buying the Switch, is that I’m 30 and my wife and I don’t have children. We can afford to buy toys for ourselves sometimes.
Initially I had been very skeptical of the Switch. It looked to me to be something that would have been popular and cutting-edge back in 2012. From the 720p screen with large screen-bezels, to reports of 30 fps caps and limited internet functionality in the typical vein of out-of-touch Nintendo; this seemed very much to be portable technology that had been left in the dust years ago by the mobile phone and tablet industry. On announcement of the Switch, I thought that everyone already had something better; whether that be the 1080p smart devices in most of our pockets, the 2K/IPS tablets many people use on a daily basis, or our consoles and/or PCs already attached either to giant TVs or LCD panels on our desks. Nintendo has it’s dedicated fans, but what about the Switch would make the general public want to buy it?
However, the biggest revelation for me was actually using the Switch for the first time, and realising how forward thinking its central design actually is. This is a device that I want all my other devices in the future to model themselves after. Except for the use of Friend Codes. Oh, Nintendo!
Last year my wife and I watched a movie called Begin Again (2013). It has a loose romantic-comedy-drama framework but was produced by Judd Apatow, so all the characters say “fuck” and the leads don’t get together in the end. The movie is fine, but would otherwise be forgettable if not for it’s own internal contradictions with the themes it’s trying to convey. It stars an actual pop musician in a surprisingly subversive, self-parodying role that borders on performance art, and for this reason I find this movie really fascinating.
While my esteemed colleague Adam is playing with his new VR-gadget and no doubt preparing some more riveting articles about his experiences in The VR Zone; I’m going to recount the story of a forgotten movie and critically analyse it for no-one’s enjoyment but my own.
Begin Again stars Keira Knightley as a Real Musician™ called Gretta, who at the start of the movie is on a stage in a noisy music bar playing an acoustic guitar and doing that whispering-her-lyrics thing, in that style that’s really popular on corporate indie radio and Youtube. This movie exists in an alternate reality though, and no one is paying attention to the beautiful musician playing popular music at a bar for watching live music, except for Mark Ruffalo; here playing a down-and-out music producer called Dan, who is captivated by Gretta’s Real Music™ performance.
This article contains spoilers for Spec Ops: The Line and early spoilers for Undertale
In my previous article I compare the actions-with-consequences that are forced upon you by two games: the excellent Spec Ops: The Line and the amusing Accounting. These are actions that garner much criticism from the games’ characters but are outside the control of the player – they are the only options presented and the game doesn’t proceed until you take them. I tried to argue that being criticised for such forced decisions in Accounting is annoying but it is tolerable (and maybe laudable) in Spec Ops because it fully embraces this theme as a means to empathise with the protagonist. In Spec Ops you play the tunnel-visioned Captain Walker who sees no alternatives to his actions and stubbornly forges onward without considering the bigger picture. The game’s story introduces tragedies that are then the result of this obstinance and openly blames Captain Walker for them. Spec Ops then goes further by telling Walker (and perhaps also the player) that these hideous consequences could have been avoided if only he “just stopped”. But what does this mean in gameplay terms?