August 30, 2009

Weekly News Recap 8/30/09


[I'm trying something new (though not entirely original) here at PEEG. My time is in short supply of late which puts a cramp on my style as far as blogging and playing games about which too blog. But I still manage to keep up-to-date on what's happening in the game industry and gaming culture so, in an attempt to keep my fingers typing I'm going to subject you, Inconstant Reader, to a weekend update of sorts. Basically these are my quick thoughts on several interesting game related news stories from the previous week.]

The FCC is considering a standardized rating system that would apply to games, movies, television shows, and mobile apps. Many commenters see this as another step towards censorship which I find that a weak concern. What scares me most is the logistics of such a thing. It takes long enough to get a product rated by an independent organization focused on one specific medium - imagine a governmental body charged with standardizing ratings across multiple types media!

That issue aside I'm rather intrigued by the idea. A standardized system could garner more equity across ratings. For example, some things that are tame enough to be included in a PG-13 movie will elicit and MA rating in a game. Standardized ratings would expose this gross inequality, or at least open up debate as to why one and the same action is more "mature" if it's included in an interactive medium (even if the action itself is part of a cutscene or otherwise out of the player's direct control). I personally doubt this umbrella system will ever come to pass, but I don't see it being a gross blow to the games industry if it does.

According to the Chatty Cathys of the interwebs Best Buy is willing to bribe people out of returning their recently purchased PS3 Fats for PS3 Slims.

Obviously no one likes feeling they just got shafted by purchasing a $400 piece of hardware only to learn the following day that a newer version of it could be had for 3/4 the price. But isn't that exactly what a company does if they try (and fail) to keep these things a secret? Why not let people know about a price drop or new system in advance? Because sales will probably wane in the interim as people hold out for the newer, cheaper system. So by withholding that information the company is basically decieiving consumers. Put another way, the company is hoping consumers will get shafted. That's just bad PR if you ask me. By officially announcing something like this, say, a month in advance and also - though this is a pipe dream - encouraging stores to inform consumers at the point of purchase, you give people a choice. Maybe I just can't wait a month to get the system I want, but I should be able to make an informed choice. Besides, marketing people should know the American consumer enough to realize that we're impulse buyers at heart!

Finally, on the subject of American consumerism... can you believe that people would actually consider purchasing a Scribblenauts strategy guide!? Talk about not seeing the forest for the trees. Scribblenauts is not a game about winning, it's a game about creativity. The only possible reason a person would desire a strategy guide for such a jewel of a game is if they approaching gaming as just another conquest. Everything I've read about the game suggests that it won't be all that difficult - it's not the destination but the journey that's important. Using a strategy guide is like making the journey on rails... in an enclosed vehicle... with a single window... facing the ground....

August 29, 2009

Change of Address


It's come to my attention that some readers may misinterpret the domain name of my blog. While it's possible to connect the dots from my PSN ID (ZapatoDelDiablo) and note that my domain name is simply the English version of that pithy phrase - shoe of the devil, or, devil shoe - some have taken to thinking that I prefer to be known as the devil's hoe. Apologies for that shortsightedness and I assure you this is not the case (though why it's worse to be one of Satan's garden implements than footwear I'm not sure - there's an "E" there people!).

Therefore I'll be moving this site to optimusprymus.blogspot.com. Please update your bookmarks and RSS feeds accordingly. Both of you.

July 15, 2009

Video Games Live


Inconstant Readers are no doubt aware of my recent gaming slump. Aside from occasional forays into SFIV and a slow but steady second slog through Puzzle Quest (a corrupted file ended my first play through) I haven't had much hands-on experience of gaming in the recent past. That did not, however, keep me from being as giddy as Henry Jones Sr. upon discovering that Video Games Live was coming to Pittsburgh.

Wait, I mean Video Games LIVE!

Or perhaps it would be more appropriate to call it Video Games LIVE!!!!!!111oneoneone

Yes, it's geared towards that sort of audience. But I'm getting ahead of myself.

I've been in love with Nobuo Uematsu's music for over 17 years, ever since I dubbed - to 4 cassettes! - a friend's copy of the Final Fantasy VI OST which, no doubt due to Americans not having the slightest clue what an OST was at the time (Original Sound Track for those of you still out-of-the-know), was strangely titled "Kefka's Domain". Having played through the 60+ hours it took to complete the game and all attendant side quests and developed an overdue appreciation for Final Fantasy (I had played I and IV but didn't think them anything special) popping those tapes into my Walkman and pedaling to school every morning was nothing short of sublime. The way each character had a unique theme woven seamlessly into the bulk of the soundtrack, the fantastic reprisals of each major theme during the closing credits, and, of course the absolute best final battle music in gaming history (yes, even better than One-Winged Angel - you fanboys realize that wasn't an entirely original composition, right?) all came together to make me appreciate just how powerful music in games could be.

Flash forward a decade or two. I've imported every OST, lyrical interpretation, and piano etude from Final Fantasy 1 through 10. I've longed to hear The Black Mages in concert. I've become familiar with other composers through my love of games - Akira Yamaoka, Yasunori Mitsuda, and Harry Gregson-Williams come to mind. Game music has found itself a staple of both my yoga and massage therapy playlists. When I heard about Video Games Live I thought this was finally it, game music has achieved mainstream appeal and I would be able to enjoy some of my favorite orchestrations in their full symphonic glory.

Someday perhaps I will. For the nonce, however, I'll have to keep dreaming.

Don't get me wrong, I love what VGL is trying to do. Anything that helps get the masses to recognize gaming as an artistic cultural artifact is a good thing. But the current iteration may not necessarily be a gateway to widespread acceptance.

Simply put the focus of the concert was more about fan service than about music. Extreme fan service. I'll admit that perhaps the video game concert of my dreams is on one end of a scale - something very much akin to a traditional night out at the symphony only all the pieces are from games - but VGL is firmly at the other extreme. The cosplay extreme if you catch my general drift. There must be some kind of middle ground.

I've got no problem with the costume contest that opened the show (and the pretty bad-ass Lich King getup that won was no joke), nor the guitar hero competition and general geeky swag-fest atmosphere that permeated the theater. But when it comes to the actual concert, well, I want to pay attention to the music.

Sure the youngsters that inevitably beg their parents to go (along with the more twitchy of the older gamers in attendee) probably couldn't handle just sitting and watching an orchestra perform, so the three screens of video clips are a good idea. Heck my SO really appreciated getting to see the graphical transformation of legendary franchises over the years (although it's jarringly obvious that VGL doesn't have the right to use images from Square-Enix games - a glaring omission when music from several Final Fantasys, both Chronos , and Kingdom Hearts is included). Having a little something pleasing for the eye as well as the ear is only appropriate for a concert rooted in a multimedia art form like games.

Still the emphasis on greatest hits medleys rather than full orchestral songs takes its toll on the artistic integrity of the music. The only piece played in its entirety and not wedged into a medley was One-Winged Angel. This meant that as a fan of the music I wasn't able to close my eyes and get lost in the nuances of a pieces with which I was familiar. Instead I had to settle for the occasional soupçon of a loved phrase during long mash ups that mostly string together riffs of the most well-known and recognizable themes.

The real let-down was the entirety of the second act during which Tommy Tallarico used an entire symphony orchestra as a platform to live out his rock-star fantasy. Electric guitar in tow (even for Scars of Time which screams for acoustic) he dominated every song with his "look-at-me-not-the-orchestra" antics and volume cranked up to 11. The crowd loved it, but as I told Renee afterward it was more like a celebration of Beatlemania than a celebration of the Beatles, more like an emphasis on Michael Jackson fandom than Michael Jackson's music.

For all my gripes it was still a very enjoyable experience. There were several moments of gooseflesh and many more of pure joy (though years of overexposure to rabid fanboys have long since deadened my heart from being affected by the first three notes of Aerith's Theme). I'm very glad that there's something out there that highlights one of the lesser talked about artistic aspects of games. Music-in-games talk today is almost exclusively about interactive music, but it's important to remember that there are well-established craft elements that stand up on their own (music, cinematography, voice-acting, etc.) and need to be recognized. But until such times as the market will support a traveling show of game music in a more traditional orchestral style I'll just keep cranking up my symphonic suites in the comfort of my own home.

What do you want out of your local video games/high culture crossover?

June 26, 2009

Tossing My Hat into the MJ Tribute Ring


It says a lot about my web viewing habits that I first heard about Michael Jackson's death through a game site. As I've processed his passing throughout the day (and done my share to aid last.fm's spike of song plays) I've tried to think of his impact on my game playing. Like any self-respecting gaming child of the 80's I played the ever-loving snot out of Moonwalker for the Genesis and pumped several dollars worth of quarters into its isometric arcade counterpart. It's Robo-Michael. Who can resist that?

Still MJ has been somewhat absent from modern gaming, with the exception of the to-be-expected rhythm game appearances (themselves far too few - although trying to actually sing decently like Michael is its own genre of comedic buffoonery). Fortunately we live in the era of the custom playlist so I submit for your approval my suggestions for songs to include in your custom soundtracks for games that allow it if you need a little more MJ in your life:

Burnout Paradise - Beat It
Several different racers offer custom soundtracks and by and large any song with a nice driving beat would work, but Beat It is especially appropriate given the more urban feel of Paradise. Besides, doesn't being the marked man whilst cranking this one sound immaculate?

Flock - Leave Me Alone
The video for this one's got quite the trippy, psychedelic carny vibe that melds well with a trippy, psychedelic alien abduction vibe. Can't think of any other tune for herding defenseless sheep. (Bonus: the dancing elephant man scene haunted my childhood!)

High Velocity Bowling - Don't Stop 'til You Get Enough
70's bowling league vibe meets disco. A spare made in heaven.

Little Big Planet - Speed Demon
You might think this song better suited to a racing game (SARBC perhaps?), but you can make racing games in LBP too! The claymation goodness of the video screams LBP and the beat reminds me of some of the tunes in the Savannah levels.

Magic Ball - Remember the Time
Yes, I actually bought this game off the PSN. No, it's not worth the money. But I've got it now and if I want to chill a little bit to some rather laid back Arkanoid-style action this ain't a bad pick. Period costumes ftw!

Mortal Kombat vs DC Universe - Bad
Much like the pairing of MJ and inner-city West Side Story-like cool this clash of titanic IPs was probably best left to fanfic - but we love it nonetheless.

Noby Noby Boy - In the Closet
Um, not gonna touch this one ;)

Pain - The Way You Make Me Feel
There ain't much in the way of punk/ska/oy!oy! music to go along with Pain in MJ's back catalog (unless he went through a neo-punk phase I'm not aware of). Thus we'll have to stick to the lyrically appropriate. You knock me off of my feet!

PixelJunk Eden - Baby Be Mine
Not the most well known of MJ's songs, but the laid back synth beat is perfect for swinging around on the end of a thread and getting your grow on.

PixelJunk Monsters - Smooth Criminal
Just imagining those little monsters marching along to this one makes me squeal with glee. Those crafty criminals, they'll get their due!

Street Fighter IV - Wanna Be Startin' Something
My guilty pleasure. I'd give anything to be able to use custom soundtracks in online games. Mamma say mamma saw my moccasin - to your dome! (Oh yea, and you're a vegetable!)

Super Stardust HD - Heal the World
Perhaps I'm bordering on ironic-douchebag territory here, but come on, you are trying to save the world here (of course 99% of games have that general idea). This song really belongs in Flower - if only it had custom soundtracks.

Supersonic Acrobatic Rocket Powered Battle Cars - Off the Wall
Lyrically appropriate. Think of a lovely roller disco ballet - of the supersonic acrobatic rocket powered variety.

Wipeout - Another Part of Me
Nice driving synth beat in this one, very reminiscent of the early techno that characterizes the franchise. Best reserved for endless mode on the easier tracks where you can just go on autopilot and live in a trance.

June 16, 2009

Yinz Come Back Now, Hear?



I'm officially a Yinzer. You may have noticed my rather lengthy absence from blogging and would be forgiven for thinking I had met my prediction of falling off the face of the interwebs after a scant few months (just two, really? had you no faith at all?). But, in fact, my life has been a whirlwind of change the past few months - physically, spiritually, and emotionally - which has resulted in my transformation from southerner to northerner. Or midwesterner. Or eastnorwester. Whatever it is you call Pittsburghers (apparently western PA is it's own classification).

No doubt some of the details of this transformation will leak out over the course of future blog posts (any tips for thematically linking life-changes to gaming are appreciated!). For now I'll try to slowly get back into the swing of things and catch up on all of the great blog conversations I've only skimmed. Fortunately I've got a grip (is that appropriate slang up here?) of half-finished posts I began over the past months to kick start my return to PEEGing.

That said I'm not letting you get out of this post without some post-emo-existential gaming ranting.

Michael Abbot once wrote about the clarity of focus that comes from travel when you are limited to your portable devices. This isn't travel per se (though I have logged many hours into Patapon 2) but a major move and while I do have my PS3 available it is hooked up to a gloriously low-def television at my girlfriend's place. In fact, due to packing the wrong set of cables for a time I had to use component cables on a composite connection which - while doable - results in a PS3 output in old-school black & white! There's something to be said for getting down to just the bare essentials in SFIV - and not spending 20 seconds narcissistically deciding what color outfit to pwn your opponent with. Moving from my rather respectably sized, widescreen, HD, epilepsy inducing purveyor of next-gen eye candy to a modest, boxy CRT in no way diminished the joy of SFIV (the same can't be said for my atrophied skills after a two-week hiatus). That's a great testament to the primacy of game mechanics. I wonder if I would have just as much fun playing online with hitboxes alone.

I can't think of a single other PS3 game I own that would hold up well under similar graphical degradation. LittleBigPlanet relies on the tactile look of it's scrapbook objects to draw you into its world. Flower is just depressing without the element of color (as emphasized in the second dream). Word on the street is that you shouldn't even bother with PixelJunk Eden unless you have an HD screen to pick out those pixel-sized particles of pollen.

But SFIV reigns o'er all with it's wonderful online play and poke, prod, and decieve game mechanics (it's certainly not the compelling narrative that keeps me coming back!). I'll take it monochrome on a green, scan-lined background if need be. Any other current-gen games you can say the same for?

February 24, 2009

The Politics of Appeasement


Time for another fascinating BoRT topic!

Turning Over a New Leaf: February's BoRT invites you take a game design suggested by another blogger in last month's Round Table and build upon it. You should ignore the literary source of the original design, but attempt to communicate the same themes and/or convey the same mood as the original game. This means you can alter the game genre, change the setting, and add new layers to the game mechanics. This is not an opportunity to critique a previous design, but to honor it by striving to reach the same goals, while adding your own personal touch.


The Source

Last month's post that I'm choosing to work with is Chris at ihobo's entry on Pride and Prejudice. You really should take a look at it before continuing - after all, that's the point of this month's topic!

What I really like about the design of the game is the simplicity of the mechanic: A engages politely, B engages rudely. This allows for a lot of fun in anticipation. You know you want to engage rudely, say, but you're excited to see exactly what form that rude interaction will take. Will it be a barb-tongued statement? I disrespectful hand-gesture? I've always enjoyed this element of thematic dialogue trees where the general tone of your options is presented but the specifics aren't revealed until after you make your choice (a la Indigo Prophecy or Mass Effect).

So much for the mechanics, what about the theme of the game? While Chris isn't specific as to the theme it seems that the game is more of a sandbox for exploring various interactions with people in high Victorian society. At the end of the day the point is in the interactions themselves and playing it might give you the feeling, qua the novel, that there really is no ultimate point, that the rules of etiquette and games of intrigue played by the characters are just shallow ends in themselves. It's enjoyable, yes, but serves no purpose beyond its own enjoyment (despite what purpose the characters may think it serves).

What kind of game could I design with the same mechanics and theme? Call me a bitter cynic - I am, depending on which philosopher I last read - but one thing enters my mind when I think about people engaging in varying polite/rude interactions and taking themselves all too seriously when at the end of the day none of it really matters. Politics.


The Thought

Ian Bogost's phrase "procedural rhetoric" is foremost in my mind with this project. You can read a great hashing out of the concept here but in short the idea is that the way a game's mechanics are designed and how we ultimately master them to drive the game forward tells a story in itself, often a very loaded story. Much of the recent dialogue about Far Cry 2, for example, concerns the idea that its mechanics portray imply that seemingly meaningless violence is the only solution to even fairly mundane problems. As a developer one has to be very aware the story the mechanics of the game tells, not leaving such things up to mere chance. Not that you can't portray this underlying mechanics-driven story any way you want, you just need own it and be aware of shaping it (hence the rhetoric).

With that in mind I figure that a game about politics developed by a political cynic like myself would have to very much express through its game play the utter futility and meaninglessness of it all. (Perhaps that's a gross exaggeration but hey it'll be a Wii game so it has to be grossly exaggerated and not taken seriously anyhow! Oh, did I mention I'm a Nintendo cynic as well?) The game would follow you as a newly elected Congressman embarking upon your brief two-year term with the only directly expressed goal being re-election. In fact this should be so explicitly stated so early in the game that it makes the player question the entire logic: "You've just been elected to US Congress, now what are you going to do?" "Get re-elected!"

That's the general theme and the mechanics enhance this by pretty much giving you little control other choosing which members of congress to talk to and whether you want to act politely or rudely towards them, or in the parlance of the game, appease or displease them. You're trying to get re-elected, but in the context of the game the interests of your constituents are irrelevant to you. Building relationships and coalitions with with senior Congressmen is what will get you re-elected, not trying to gauge what your constituents want. Of course building bridges with some Representatives invariably burns bridges with others. . .


The Game

The Politics of Appeasement begins with a brief cut scene which shows your Mii avatar (in a nice suit of course) barely winning the race for Representative of your district. The incumbent which you have defeated congratulates you and offers you the following piece of advice: "Make sure you meet the right people and ignore all the rest. Otherwise you'll end up like me." It's never made quite clear what state, let alone district, you are representing.

After the intro you are given control of your Mii using the same point-and-click interface found in Jane Austen's Pride and Prejudice (the Mansfield Engine). Your new secretary is showing you around your office in Washington and explaining the control scheme: generally A interacts with objects and people positively, B interacts with them negatively. Instead of politeness and rudeness, however, your interactions are meant to appease or displease and to this end only really have an affect when others are around. You are promptly introduced to the congenial Representative from a neighboring district and instructed to appease her. Pointing your Wiimote at her and pressing A brings up a short quip congratulating her on winning re-election and making a passing remark about the clear-headedness of her constituents. This invokes the appearance of a Sims-style happy face above her head and an increase in her attitude towards you (detailed below). Interacting with A on objects in the room causes somewhat obvious but awkward interactions with things that would appeal to the Representative: pointing out a recent photograph of you with a well-liked Senator, making her aware of congenial literature on your bookshelf.

After his departure your secretary announces the visit of another Representative, one which she clearly indicates as your rival, a man a bit disgruntled by your predecessor's defeat. Before the meeting you are given instructions to use B to interact with him in a displeasing way. Doing so presents dialogue that is very cleverly dismissive in a way that seems cordial but contains undertones of hostility and the corresponding angry/unhappy face above your rival's head. Similarly you may interact with the objects in your office in a manner that promulgates displeasure: putting your feet up on the desk or straightening pictures (an indication that you aren't playing full attention to the Representative).

After this intro you are left on your own to peruse the Congressional directory and make a few calls to fellow Representatives. Much like the Sims you can chose to simply talk or invite them to to an event (mostly fundraisers) for more detailed interactions, all of which involve use of the appeasement/displeasement mechanic. On any given weekday (when Congress is in session) you may only make a set number of calls (say 5), attend 1 fundraiser/function, and, if available, cast a vote on a Bill (more below). Each Friday new poll numbers are released indicating where you stand with your constituency. It must be noted that in addition to there not being any direct line of connection between you and those you represent (indeed, the player has no idea who they are!) these poll numbers are the only visible indication that they exist, though it provides the one structured goal of the game.

In addition to it not being clear exactly where you are from nor who you are representing it's also never made explicit what political party you align with or what your campaign platform was. These details seem extraneous to game play - you re-election depends upon the relationships you make with other Representatives (and maybe the occasional Senator) rather than on pushing a specific agenda. With that in mind you proceed making calls and visits to other political figures. At any point you can press 1 to call up a window showing your relationship to other Representatives (for simplicity's sake the number is limited to 50 or so rather than the full 435) and a handful of Senators. Below each face/name is a scale from -10 to +10 (replacing the Notoriety meter from Jane Austen). A good number of Representatives are neutral with you from the outset, though you can get a sense of who may be a member of your or the opposing party by noting trends in positive and negative associations.

By selecting a specific Representative you can pull up more details about them including humanizing touches like their personal likes and dislikes as well as their political leanings (bills they've recently authored or voted for/against, more on that below). Most importantly you can see a graph tracking the changes in their relationship to you. By comparing days when a particular Representative's attitude for you shifted to your interactions with them or others you start to get a sense of who likes whom and who you may need to appease or displease to influence more powerful figures that you may not be able to directly interact with (depending on the specific Representative and their attitude towards you they may not take your calls).

The core mechanic of the game is a complex logic puzzle that represents a system of relationships. The design needs to be such that feedback is obvious yet the underlying threads are obfuscated enough that the player needs to put in work to discover them. For this reason there may not always be an immediate cause/effect relationship between my actions and the attitudes of others. For those directly involved yes, it should be immediate, but for others it may take a day or two for word to spread and attitudes to change. Ultimately, of course, even the logic of these connections is tied into the weekly poll numbers in a somewhat more inscrutable way. Figuring out having who on your side makes for good numbers and in turn figuring out who to go through to appease those people is where the real strategy comes in. Then again there's no need to appease everybody or even anybody. I hear tell sometimes being a maverick can pay off...

Now this is a game about politics so eventually we will need to actually do what the legeslative branch is supposed to do, namely craft and pass new bills into law. As a first-term Representative you won't have the power to craft a new bill (there's always the second-term sequel/expansion for that) but you may occasionally be asked to sponsor one by a well-liked colleague. Sponsoring a bill has enormous consequences, and the biggest shifts in others' attitudes toward you comes from agreeing or refusing sponsorship. Voting, which happens more often than sponsoring, also affects attitudes greater than individual interactions do.

As for the bills themselves it's important that they not engage the player's personal political leanings. In the spirit of the game these bills avoid anything resembling a hot-button issue and instead are light-hearted and comical as well as mundane. One bill might mandate that all federally funded schools use green chairs in their classroom. Another may levy a tax on people who keep walruses as pets. Again it should be unclear what, if any, interest the player's constituency has on these bills, though conversations occurring before the bill is put to a vote will indicate where particular Representatives stand on the issue. Also you vote yay or nay on the bills from your desk at the end of the work day - it becomes obvious by its omission that at no time do you actually sit in Congress and debate politics or cast your vote.


A Second Term?

Well that's it. Reading it over this definitely represents a very narrow and cynical view of politics but I suppose that's the point! At the end of the day, if done correctly, the game should leave the player feeling a certain sense of exhilaration and fun at the politicking yet be consciously aware that they're not really doing anything in the interest of public-service. Playing the game is an end in itself. If it's a means to anything it's merely a means to re-election. Why be re-elected? That's obvious: so you can continue to play the game!



February 15, 2009

I'm a Leaf on the Wind. Watch How I Soar.


Though I've recently read and largely agreed with a post by L.B. Jeffries about the benefits of blogging for the long tail rather than the game du jour, I've actually been looking forward to trying my hand at the latter. Over the months that I've been reading gaming blogs I've often felt a bit out of the loop and unable to legitimately formulate my own thoughts because I lacked either the time or the tools (still a Sony-only household) to play some of last year's most discussed games. With all the critical hype surrounding Flower I'm excited to have a chance to throw my tam in the ring during the early stages of what looks to be one of 2009's most talked about experiences.

There's already been some discussion out there in the blogosphere. Michael Abbot's initial shoot-from-the hip impressions have spawned a deluge of comments which I've intentionally avoided for the sake of forming my own critical opinion before having it blown in other directions by my fellow bloggers. So after 2.33 playthroughs here's one PEEGers impressions:

Flower is a game about symbiosis. The hyped up notion of zen-gaming actually works in the game's favor by swaying players' expectations. Before booting it up you expect to accept the simple grandeur of the landscape as a way of turning the game into an exercise in relaxation. It rather reminds me of Cloud, a game I was introduced to back in 2006 as an academic attempt to create non-violent and non-exclusively-goal-oriented play in video games.

The stage progression is what really makes the game. The first dream is 100% natural, bright and airy, free and merry with some random rocks breaking up the landscape and a spectacular tree to capstone the experience. The second flower's dream might initially be seen as more of the same. While there are hints of human interference - the intentionally constructed stone circles - they are non threatening enough that one might not even notice them on the first play through, despite the obvious counterpoint they make with the randomly placed stones from the first dream. The desaturated color palette - an idea that seems to be gaining more purchase lately - doesn't even negatively affect one's mood because it provides a wonderful canvas to paint on.

I probably wouldn't have felt any tension between the natural and artificial elements of the landscape in the third dream if it weren't that I have a friend with a unusual fear of windmills. We've seen the windmills in pre-release videos of the game and, being that you control petals flowing on the wind, they seem like a perfectly reasonable and non threatening addition to the landscape. But as elegant and appropriate as they may be they still represent the beginnings of a tension in the game between nature and technology. This isn't just a narrative tension either. In the third dream you encounter for the first time some constraints on the hitherto free flowing game play. Once you've activated the windmills and enter the canyons it becomes nigh impossible to escape them and re-entering them to search for more petals is a might frustrating as the wind, seemingly generated by the windmills, constantly tries to push you out.

I'd like to stop here and think about this for a moment because in light of where the game goes I think the third and fourth dreams are the game's apex and best represent the symbiosis I mentioned at the outset. Though it doesn't really hit you over the head until the fifth dream there's a steadily building dread - literally an approaching storm - of technology encroaching upon the idyllic meadows and canyons of Flower. At the climax of the fourth dream (what I consider the second act) this becomes very obvious and I was a bit put off by it. I've got more than a little of the tree-loving hippie in me, but I just wasn't excited about being subjected to another trope about technology's deflowering of poor, innocent nature, nor with the rest of the game being a struggle to overcome the evil monoliths of electricity and steel. Not to mention the irony of such a story being told on as bloated a piece of technology as the PS3!

Fortunately Flower doesn't do this. While you may feel, particularly in dream five, that technology is the enemy and must be eradicated, by dream six you start to see how wonderfully nature and technology can get along. The sixth flower's goal isn't to return to the human-free meadow of the first dream but to achieve harmony through balance, a balance that had, in fact, already been achieved in the third and fourth dreams. Your primary goal in the sixth and final dream isn't to destroy the city but to repair it. It's an interesting critique in its own right of the idea that too many games equate "realism" and "grittiness" with drab and colorless landscapes. The solution isn't a full reversal to the land of dandelions and roses, the solution, in true zen fashion, is to find balance and harmony.

Still I have to admit that I've not successfully sat down and played all six dreams in one sitting because I simply can't stand the fifth dream. My poor flower has yet to be resurrected from that nightmare; it sits bowed over and pathetic despite the three bonus leaves resting in its pot. I don't even know if it's possible to make that flower bloom and I'm not sure I'll ever find out - I simply hate that dream! I hate trying to thread the needle, re-living the torture I experience years ago at the hands of Irritating Stick. I hate the way that stage interrupts my calm. In fact after getting literally sucked into the darkness and kicked out of the dream I've needed to "calm down" by playing some Street Fighter - at least there I know to expect tension and how to deal with it. How's that for harmony!

That said the fifth dream is an integral part of the experience. While I'd prefer the chilled out experience of the first dream to the fifth, both of them are extreme ends of a spectrum that needs balancing, a balancing that was present in the third and fourth dreams but that the sixth dream helps you re-discover. The first act is more play than game, the last more game than play, but the real genius is that thatgamecompany has taken the tired debate over what is most important in a video game - set goals versus tools for free form play - and distilled it into an experience that makes you appreciate the symbiotic relationship between them.

Ultimately that makes Flower a wonderful game of self-discovery. To which set of stages are you more apt to gravitate? The first two (Act I) where you can forget entirely about humanity and technology and just flOw, freeform, through the wondrous scenery? Act II (my favorite) where a careful balance is struck between push and pull, control and being controlled, set amongst a backdrop where nature and technology not only coexist but seem to feed off each other? Or the final act which is much more goal oriented, much more tense and dark but, subsequently, may offer a more gratifying feeling of accomplishment?

Time to go poke my nose in on other people's thoughts.