[22 July 2008]
PopMatters Associate Multimedia Editor
When the New York Times takes the time to comment on E3 being dull, you know it’s going to be a slow year. A bunch of games we already knew were coming, a couple of games anyone could’ve predicted were coming, and Microsoft having a very bizarre ‘Dr. Jekyll and Mr. Hyde’ interface for Xbox. So…what upcoming games should we get hyped about? Hype is an integral part of the video game world, even if it has proven to be a bit problematic. Beyond the odd effect it can have on fans, hype can even be blinding to the actual critics involved. Mitch Krpata points out that critics can be so dead set on a game being good that they’ll list off dozens of flaws yet give a high score anyways. To give you an example of how ridiculous this can get, whether you loved or hated GTA IV, I can’t think of many players who would seriously consider comparing it to ’The Wire’. But it can’t be denied that hype can do a lot of good by getting the word out. So how do we pick we pick what games to hype?
William Gibson coined the term ‘cool-hunter’ in his bookPattern Recognition
and it’s a very apt description of what a game critic needs to do when selecting which game to hype. You need a developed sixth sense that allows you to stare at a sea of clothes, movies, music, and advertising and detect the one that’s working. Gibson compares it to watching the snow on a television and being able to see an image in it. It’s a good term because it recognizes that there is a certain mystical element to spotting a cool game before it exists, something that is never going to be possible to put into words. Acknowledging then that some games are definitely going to be awesomely kickass and it can be predicted, it stands to reason that we should get out there and support it. The developer and producer need to sell as many copies as possible as quickly as possible, before shelf-space demands pushes the game into the bargain bin. We want to reward creativity and boldness in games, right? Even looking past the desire to economically help your favorite game, there is still something to be said for hype being fun. Over at Brainy Gamer, there’s an interesting post about enjoying hype as a kind of celebration. Soon enough video games will be the mega industry the analysts are predicting and everything will be a sea of jaded “It’s good but not great” reviews. We’ll all just be comparing them to old classics and not even caring about new releases anymore.
So what are some games that should be hyped? We’re entering the realm of subjectivity here but I’ll explain what makes these such stand-out games. I found The Nameless Game at Steve Gaynor’s blog and must admit the pitch is fascinating. They basically took the idea of ‘The Ring’ and applied it to a video game. What if there was a haunted cartridge game and whoever played it would find themselves horribly cursed? I’m basing this purely off the two trailers and Gaynor’s observations, but little touches like the 8-bit game within a game being buggy and glitchy are just the tip of the iceberg. One of the themes in both trailers is the cross-over of games into reality. In the first trailer, you pick-up a DS. The trailer comes to an abrupt end there, the fourth wall being shattered as the person playing a game is now confronting that very fact. In the second, there is a transition from incessant 8-bit music to the humming of a real person in the same tune. It’s this transition of the virtual into the real that both horrifies and fascinates us that the game is capitalizing on. What if our entertainment, our escape, became real? Sure, the graphics look fine, there may be some pacing issues and the puzzles may be dull. But this is a game that no matter what flaws there may be, it is still a very interesting concept.
Another game that has several interesting things going to for it is Red Fly Studio’s Mushroom Men. A studio comprised almost entirely of artists, one look at the game will convince you that it’s totally unlike anything else aesthetically. It also explores the mostly uncharted landscape of being a tiny person in a 3-D human landscape. Levels include a trailer, shed, and the underground world of the mushroom people as they face off against everyday creatures like rabbits, spiders, and moles. Sounds good, right? Here’s the kicker: Les Claypool of Primus is making the soundtrack. It’s extremely unusual for the selling point of a video game to be its soundtrack and yet the time seems ripe for it to happen. An interview with game composer Richard Jacques outlines the culture of game soundtracks today. The once level-based themes that composers knew would be heard countless times have been replaced by long epic scores that support narrative and tension. Games are just now entering a phase where they are moving past that orchestral phase and are looking for new ways to incorporate music into games. It’s safe to say Les Claypool is your man for that kind of job. Again, no matter what problems this game may have, it’s trying to do something new and it’s doing it with a whole lot of style.
The first piece of hype I ever read was for the game Monkey Island. It was a sprawling six page spread, with screenshots that showed snippets from every part of the game. Fighting the swordmaster, digging for treasure, and Monkey Island itself were all featured and captioned. It completely fascinated me, this world they were describing and the experiences I would have there. My obsession with the game was rewarded heartily when I finally managed to play it some months later, but looking back I can still remember that hype article very clearly. I’d played a lot of interactive fiction games before and I’ve played a lot since, but I think what made it so special was that I’d never played anything that was about pirates in the Caribbean. With so much unexplored territory still left for video games, it seems like the best thing we can do now is support the people who are doing the real exploring.