Soundtrack Central The best classic game music and more

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vert1 Jun 12, 2010 (edited Sep 11, 2011)

Inspired by the Hard Corps: Uprising thread.

GoldfishX wrote:

Remember Strider 2 and it had unlimited continues? People serious about the game can simply opt not to use them (and arguably have a more rewarding experience, provided the base levels are well-designed enough).

vert1 wrote:

It was also in Ikaruga (GC). It's very anti-arcade games (you get game over, you leave the arcade cabinet). I think Cave or some other STG company was striking back against credit feeding for console gamers. Infinite lives have no business being in an STG.

GoldfishX wrote:

so I don't know if Rising Mode will break this one right away for us hardcore types. At least it gives the option to play with one-hit kills.

vert1 wrote:

This is something no hardcore type wants to read. This is where you let a game be ruined with compliance or get mad and fight. The point isn't that it gives us an option to play an easy mode, the point is that the company is selling out to losers (people who aren't good at games) and focusing on detractors rather than strengths to satisfying games (games with difficulty)

vert1 wrote:

Getting shot and getting knocked backwards in Metal Slug Advance (newly added: without dying) never fit well with the series: it didn't look right and made you feel less badass. Not sure how you think the controls are unresponsive.

Added from aim "post":

vert1 wrote:

In RE4, if you are low on health, you have activated brutal player death scene to occur upon Leon getting attacked. It triggers death as opposed to when you are on high health and getting attacked. There weren't an overwhelming amount of ohko (Chainsaws, Krauser, QTEs, exposed plagas head chomp, etc)--a side note, I was once unescapable comboed to death in a Novistador beatdown on Professional difficulty at full health--, so for example a Novistador would spray acid on your face at high health and Leon would throw it off. Now at low health the acid would melt through Leon's face killing you instantly.

On the other side were enemy deaths. If you got grabbed by an enemy that was at high health and you self defense kicked it off you, it just got knocked back down; but, like the player if it was at low health your kick would knock it's head way the f--- off killing it instantly.

From a post commenting on Itagaki's new Devil's Third game trailer:

vert1 wrote:

A concern I see right now is that the enemies died really easily. I'd expect this sort-of thing towards the end of the game when your weapons are upgraded a lot. The enemies shown can't be expected to put up the same resistance as the robots in Vanquish, but they died without the player doing any advanced techniques (where was the dodging?). In Ninja Gaiden 2 to obliterate opponents took a charged attack or prior limb liberation; in other words, it took more time to kill foes. Beheadings weren't taking place every second. I don't want the enemies dying so fast that there is little satisfaction in the 'en masse' deaths. This is why in RE4, players had to deal with the absurd image of Leon shooting ganados 6-8 times in the head with the pistol before it exploded in the early stages. Mikami had to find a way past the "boom headshot! dead" way plaguing many games (i.e. FPS games). For the later stages, he upped the easy kill headshot problem fix by adding the exposed plagas ganado. Then he hilariously to the dismay (horror) of many gamers added an enemy that's head grew back. If you expected quick kills through headshots in RE4, look out.

What I am asking from the community is a discussion on death (what should result in the separation of gamer and game). In Japan, your death resulted in a complete separation from the arcade cabinet. You were forced back into your "real world". So what games do you think the player's death or enemy death are best presented to the viewing audience (I expect to see some Persona games listed)? A description of the death and context (genre, story, anything) is important. My thoughts on the subject is that death should be one of near equal balance of substance and style for player and enemy alike. Smaller pest enemies 'en masse' should not be given as elaborate a death as boss characters. But the shock of your enemy or player dying in a way counter to this can also deliver great impact on the player; i.e. that small kick poke that kills a tourny player's fighter--Smash Brothers went for the big hits=kill approach--or the gigantic explosion from a small, and otherwise, less deadly enemy; Ninja Gaiden 2.

The future edits: Etrian Odyssey vs Pokemon vs Shining Force status afflictions. And more talk about Metal Slug. Maybe Guilty Gear too.

Amazingu wrote:

You might be interested to know, if you don't already, that many of RE4's death animations were completely taken out of the JP version. No beheadings, no face-melting, just Leon collapsing.

One thing else to comment on was the brutal laser deaths in the Resident Evil movie getting the JPN censorship treatment for the NTSC game. I've wondered if the real death scene never made it past the censors or if Mikami just didn't feel like destroying Leon that brutally. Now I know RE4 had some of the most brutal death scenes--a great juxtaposition for the people with "kiddie haters" mentality rampant against the Gamecube in the last significant console fanboy war to witness--but to surgically divide Leon like processed meat...could Mikami have found that distasteful? This is why I hate the gaming press--they never ask our game developers stuff like this--we still don't know what was in 'that bag'; and perhaps that is for the better!

Amazingu Jun 13, 2010

You might be interested to know, if you don't already, that many of RE4's death animations were completely taken out of the JP version. No beheadings, no face-melting, just Leon collapsing.

The videogame deaths that I find most interesting are the "paradoxical" ones.
In most cases this means your character dying during an interactive flashback, or in the case of MGS3, during a prequel. I believe MGS3 even used the phrase "Time Paradox" instead of just Game Over.

One other famous example is Prince of Persia Sands of Time, where the story is told retrospectively by the protagonist who is at that moment at the end of the "game". In that case, any deaths by the player would result in the narrating Prince going "No...that's not what happened..." or something similar.
I always thought this was particularly clever, and it's one of those things that is exclusive to videogame narratology, because no other form of media requires it.

And then there's games that just don't think about it at all, like FFX, which was also narrated retrospectively for a large part, but any player deaths along the way would not result in anything more than a simple Game Over screen.

Tim JC Jun 13, 2010

I never die, so player deaths make no difference to me. That's what my brother would say.

One thing that always strikes me as funny is how your character can take thousands of bullets or sword swipes during the course of a game, only to receive a serious wound in a cutscene. I know people have mentioned this plenty, so by now it's just something we accept. It doesn't affect the fun factor, after all. One example is in Uncharted 2. That cameraman gets shot and you have to escort him out of danger as he's leaning on your shoulder. Meanwhile, you're both getting shot up--if you move too slowly--by more bullets!

One other little tidbit. In some games, after your character is bludgeoned to death by a monster, every enemy on screen immediately disregards your body and slowly begins walking away, as the screen goes black. This feels trivial. I like it when the monster that offed me pumps his arms and gloats, along with surrounding enemies. I want to jump right back in and take my revenge on those obnoxious pixels. It makes the revenge sweeter, instead of just, "Yay, I finally found the right combination of attacks and timing to overcome this computer program." (It goes without saying that the enemy should also give an equally satisfying moan of defeat.)

Ashley Winchester Jun 13, 2010

"Mommy, why didn't they just use a Phoenix Down on Aeris?"

Dais Jun 13, 2010

delete all posts except first, edit first post to read "SHIREN" in giant flaming letters

vert1 Jun 14, 2010 (edited Jun 14, 2010)

Amazingu wrote:

You might be interested to know, if you don't already, that many of RE4's death animations were completely taken out of the JP version. No beheadings, no face-melting, just Leon collapsing.

Thanks for reminding me of this.

Love everyone's responses thus far.

vert1 Sep 11, 2011 (edited Sep 11, 2011)

I've been thinking about why Gears of War is a paltry offering of a game compared to Resident Evil 4 and I've come up with another reason: death.

In RE4, the player is being threatened by enemies who make you feel the impact of their attacks. If you are hit you are temporarily stunned with Leon uttering a grunt while his body reacts accordingly to the hit. When you are hurt your character's animation will show it (no flashing colors, no gimmicks). Now when you approach death your player is subject to the full brutality of the attack. Acid spewed chews through Leon's face, claws impale, and heads roll. These attacks are psychologically impactful on the player in a way that he will greatly desire to have enemies keep their distance.

In Gears of War, the player is being threatened by an enemy that shoots at you. If you are hit your character will grunt, but there is no real connect with your attacker. You are being picked off and shot at by some tiny practically imperceptible gunfire. The visual impact is much less than getting shot by an energy attack in PN03; Even the gunfire in PN03 was well-done and enabled the player to have some sort-of connection with it by dodging (not covering)--you can even dodge sideways through the "machinegun" fire. As you get shot in Gears the screen will start to fill up with red. And bulls are not the only creature this would upset. This redness is obnoxious. It is unbearable to stare at and it has entered into the genre to infect future titles. When you die a skull appears over your character.

Playing Rolling Thunder 2, I can say that the death animation of your character is very impressive: Albatross slumps over, one hand holding his chest, the other supporting him on the ground.

Mario 64 death of drowning was also a great death.

What are more great deaths?

vert1 Oct 13, 2011 (edited Jan 22, 2013)

Sigmund Freud wrote:

But this attitude of ours towards death has a powerful effect upon our lives. Life is impoverished, it loses in interest, when the highest stake in the game of living, life itself, may not be risked. It becomes as flat, as superficial, as one of those American flirtations in which it is from the first understood that nothing is to happen, contrasted with a Continental love affair in which both partners must constantly bear in mind the serious consequences.

In the real of fiction we discover that plurality of lives we crave. We die in the person of a given hero, yet we survive him, and are ready to die again with the next hero just as safely.

From Thoughts On War And Death.

Grace M. Jantzen wrote:

The hero must resist and master such seduction, not by denying his own sexual desires (Odysseus takes sexual pleasure with some of these female creatures) but by doing so on his own terms, never allowing himself to be emotionally bound to them. He must above all never give way to the fatal beauty that would turn him to liquid or to stone, unremembered.

From Death and the Displacement of Beauty
pg 88-89

vert1 Jan 1, 2012

Jeff Ryan wrote:

There was something quite spiritual about the concept of a man returning from the dead again and again to complete a task left undone. Facing the monster was a ritual of purity for Jumpman, with impurity of form (i.e. getting clobbered) punished by death. This game of Miyamoto’s, and most every video game since, could be seen as a digital Shinto purification ceremony.

page 26 from Super Mario: How Nintendo Conquered America

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