Tuesday, January 15, 2013

Fringe: The Ultimate Primer

The little sci-fi show that could, FOX's Fringe is about to experience something I'm sure hardly anyone who has routinely watched it during the past five years ever thought was possible: a proper series finale. As both a tribute to what has long been one of my favorite shows and a primer for the great majority of my friends who haven't seen it and should give it a shot, I'm making a list of the essential episodes.


Pilot (Season 1, Episode 1)
First Aired: September 8, 2008

The first episode is always important, no matter the show, but Fringe's pilot is especially so due to how often the rest of the show refers back to it, even past the first season. It's Olivia-heavy (before she was a real character), but does well to leave an impact and a driving vision for what this show would become.

The Arrival (Season 1, Episode 4)
First Aired: September 30, 2008

The first so-called "mythology episode," The Arrival heralds the...well arrival of the Observer into the storyline, and his interaction with Peter near the conclusion had the same effect on me as it did the younger Bishop: I had to know more.

Ability (Season 1, Episode 14)
First Aired: February 10, 2009

The episode prior to this, "In Which We Meet Mr. Jones," is very good and helps understand the still-burgeoning ZFT plot, but it's this episode that sees it hit the next level, and along with introducing Olivia's Cortexiphan storyline, serves to usher in the first season-spanning plotline in the show's run. Plus, it's really good.

Inner Child (Season 1, Episode 15)
First Aired: April 7, 2009

Inarguably the weakest of the Season 1 episodes highlighted here, this episode is important because it introduces the Observer Child (whom Season 5 viewers know as Michael), a long-dormant plotline suddenly brought back up in time for the finale. That being said, this is a good example of a stand-alone Fringe episode, and it helps flesh out Olivia's character a little more, something the first season desperately needed.

Bad Dreams (Season 1, Episode 17)
First Aired: April 21, 2009

By most counts, this is the first truly great episode in this show's run. Expanding the Cortexiphan storyline while simultaneously bringing an intriguing, mysterious and satisfying mystery plot, this is the standard which the rest of the first season aspires to.

The Road Not Taken (Season 1, Episode 19)
First Aired: May 5, 2009

The unofficial first part of the Season 1 finale, The Road Not Taken manages to tie together the seemingly disparate ZFT and Cortexiphan plots, while deftly doing away with the regrettable Agent Harris plot (the less said about that character, the better). What makes it even more impressive is the way it just sort of sneaks in the alternate universe stuff, which would come to be the trademark of the show in Season 2.

There's More Than One of Everything (Season 1, Episode 20)
First Aired: May 12, 2009

Continuing that thread, the Season 1 finale accepts the challenge that alternate universe sideplots seem to pose to sci-fi shows, and does it so suddenly and confidently that to this day, the final shot of this episode remains one of my favorite in any episode of television. Also, Leonard Nimoy shows up.

Momentum Deferred (Season 2, Episode 4)
First Aired: October 8, 2009

Grey Matters (Season 2, Episode 10)
First Aired: December 10, 2009

Jacksonville (Season 2, Episode 15)
First Aired: February 4, 2010

Peter (Season 2, Episode 16)
First Aired: April 1, 2010

White Tulip (Season 2, Episode 18)
First Aired: April 15, 2010

The Man From the Other Side (Season 2, Episode 19)
First Aired: April 22, 2010

Over There, Parts 1 and 2 (Season 2, Episodes 22/23)
First Aired: May 13 and 20, 2010

Olivia (Season 3, Episode 1)
First Aired: September 23, 2010

The Plateau (Season 3, Episode 3)
First Aired: October 7, 2010

Do Shapeshifters Dream of Electric Sheep? (Season 3, Episode 4)
First Aired: October 14, 2010

Entrada (Season 3, Episode 8)
First Aired: December 2, 2010

Subject 13 (Season 3, Episode 15)
First Aired: February 25, 2011

The Last Sam Weiss (Season 3, Episode 21)
First Aired: April 29, 2011

The Day We Died (Season 3, Episode 22)
First Aired: May 6, 2011

One Night in October (Season 4, Episode 2)
First Aired: September 30, 2011

Subject 9 (Season 4, Episode 4)
First Aired: October 14, 2011

And Those We've Left Behind (Season 4, Episode 6)
First Aired: November 11, 2011

Back to Where You've Never Been (Season 4, Episode 8)
First Aired: January 13, 2012

Welcome to Westfield (Season 4, Episode 12)
First Aired: February 20, 2012

Letters of Transit (Season 4, Episode 19)
First Aired: April 20, 2012

Worlds Apart (Season 4, Episode 20)
First Aired: April 27, 2012

Transilience Thought Unifier Model-11 (Season 5, Episode 1)
First Aired: September 28, 2012

The Bullet that Saved the World (Season 5, Episode 4)
First Aired: October 26, 2012

An Origin Story (Season 5, Episode 5)
First Aired: November 2, 2012

Through the Looking Glass and What Walter Found There (Season 5, Episode 6)
First Aired: November 9, 2012

Five-Twenty-Ten (Season 5, Episode 7)
First Aired: November 16, 2012

The Human Kind (Season 5, Episode 8)
First Aired: December 7, 2012

Anomaly XB-6783746 (Season 5, Episode 10)
First Aired: December 21, 2012



Honorable Mention

The Equation (Season 1, Episode 8)
First Aired: November 18, 2008

Safe (Season 1, Episode 10)
First Aired: December 2, 2008

Earthling (Season 2, Episode 6)
First Aired: November 5, 2009

August (Season 2, Episode 8)
First Aired: November 19, 2009

Snakehead (Season 2, Episode 9)
First Aired: December 3, 2009

What Lies Below (Season 2, Episode 13)
First Aired: January 21, 2010

Olivia. In the Lab. With the Revolver (Season 2, Episode 17)
First Aired: April 8, 2010

Northwest Passage (Season 2, Episode 21)
First Aired: May 6, 2010

The Abducted (Season 3, Episode 7)
First Aired: November 18, 2010

Marionette (Season 3, Episode 9)
First Aired: December 9, 2010

Firefly (Season 3, Episode 10)
First Aired: January 21, 2011

Reciprocity (Season 3, Episode 11)
First Aired: January 28, 2011

Stowaway (Season 3, Episode 17)
First Aired: March 18, 2011

Neither Here Nor There (Season 4, Episode 1)
First Aired: September 23, 2011

Enemy of My Enemy (Season 4, Episode 9)
First Aired: January 20, 2012

The End of All Things (Season 4, Episode 14)
First Aired: February 24, 2012

Everything in Its Right Place (Season 4, Episode 17)
First Aired: April 6, 2012

Brave New World, Part 1 and 2 (Season 4, Episode 21/22)
First Aired: May 4 and 11, 2012

Wednesday, December 19, 2012

100 of My Favorite Games (Continually Updated)

This list will take games from 1995-96 on, since I never feel comfortable ranking stuff that came out before I was conscious, gaming-wise. Sorry, Doom 2. You were awesome, I just don't have any points of reference.


100. Advent Rising (2005, GlyphX. XBOX). A wonderful premise ruined by mediocre execution is still enough to warrant a spot on this list.

99. Warcraft III (2002, Blizzard Entertainment. PC). The pinnacle of Blizzard's RTS lineage. If only they still made them...

98. Star Wars: Jedi Knight 2- Jedi Outcast (2002, Raven Software, Gamecube). As sleek and seamless as lightsaber fighting goes, along with an important early console multiplayer system.

97. Soul Calibur V (2012, Project Soul, 360). The latest iteration of what once was the freshest breath in fighting games is still better than most fighting games, even if the seams are definitely showing.

96. Quake III: Arena (1999, id Software, PC). The "undisputed grandaddy of online shooters" played like a relic in 2006. Still, it's influence is hard to overstate.

95. Banjo-Kazooie (1998, Rare, N64). One of that rarest of groups: a children's game that doesn't treat children like complete idiots. Rare at their peak.

94. Duke Nukem 3D (1996, 3D Realms, PC). Duke Nukem might be a punchline now, but when DN3D came out, the joke was on whoever had to follow him.

93. Fable II (2008, Lionhead Studios, 360). The second and worst of the misbegotten Fable games still has its moments of withering, Britishy charms.

92. Soul Calibur IV (2008, Project Soul, 360). Similar to SCV, except in the fact that it's easily a better game. Fighting games still don't get much better.

91. FFX-2 (2003, SquareEnix, PlayStation 2). Something of a pariah in a series not known for being universally loved, Ten Two might have had the best combat system of them all. Which is saying something.

90. Fable III (2011, Lionhead Studios, 360). The latest and last(?) of the core Fable games takes an interesting premise and undercuts it with a full blown monarch sim. A welcome surprise for the series.

89. Left 4 Dead 2 (2009, Valve, 360). There's a dead horse somewhere being kicked that relates to this game. Still, it's Valve, and even Valve's detritus looks like solid gold in the right light.

88. Hitman: Blood Money (2006, Eidos, 360). The only Hitman game I've ever really "gotten" remains one of the most open and unruly games I've ever played.

87. Unreal Tournemanet (1999, Epic Games, PC). What is the original Unreal, despite being eternally compared to Quake III? Well, it's better, for one thing.

86. Left 4 Dead (2008, Valve, 360). The fact that what amounts to a programming experiment became a top-flight zombie game is just as strange as the fact that I didn't love it.

85. Fable (2004, Lionhead Studios, XBOX). The original Fable promised the moon and gave you a really nice picture of the moon that you could buy some land on.

84. NBA 2k13 (2012, 2k Sports, 360). The most recent entry in what is increasingly the only sports franchise worth mentioning is still really, really hard to play.

83. Assassin's Creed (2007, Ubisoft, 360). A great premise wears thin almost immediately due despite a wonderful movement system. Seeds for something more are planted.

82. Alan Wake (2010, Remedy, 360). Moments of sheer brilliance overlap with moments of profound inanity. I'm so glad Remedy is making games again.

81. Resident Evil 5 (2009, Capcom, 360). Not quite survival horror, not quite cooperative, Resident Evil 5 exists in a strange sort of limbo that makes it very hard to grade. This feels right, though.

80. NBA 2k11 (2010, 2k Sports, 360). Michael Jordan's triumphant return to the digital realm still stands untouched in the sports game genre.

79. Assassin's Creed: Revelations (2011, Ubisoft, 360). The weakest of the "Ezio Trilogy" trails off in the final third, but then again, that was the point.

78. Max Payne 2: The Fall of Max Payne (2003, Remedy, XBOX). Ditches its predecessor's psychological flair in favor of even more pulp noir, and it puts too much stress on Remedy's notoriously hammy dialogue (that I adore).

77 The Elder Scrolls III: Morrowind (2002, Bethesda, XBOX). While this might feel too low for one of the most celebrated games of the last decade, I never really felt a connection to it. And there are some great games on the horizon.

76. Lost Odyssey (2008, Mistwalker Studios, 360). A wonderful trip into the halcyon days of turn-based RPGs, Lost Odyssey is a subtly written gem destined to be forgotten.

75 Half-Life: Opposing Force (1999, Gearbox, PC). That a third-party expansion to one of the most important games of all time is good is not a surprise. That it's never gotten a sequel is.

74. Final Fantasy XIII (2010, SquareEnix, 360). A beautifully constructed crystal paradise with an equally crystalline plotline. No battle system, no matter how great, could have saved this from being merely good.

73. StarFox 64 (1997, Nintendo, N64). The undisputed king of the rail shooter genre has still never received a proper sequel.

72. Star Wars: Jedi Knight: Dark Forces II (1997, Raven Software, PC). This game's reign as the best Star Wars game ever created lasted all of six years, and it remains strangely playable today.

71. Super Smash Brothers: Brawl (2008, Nintendo, Wii). Does anyone else feel like this series is coasting by on its reputation?

70. The Legend of Zelda: Twilight Princess (2006, Nintendo, Gamecube). A game stuck between consoles is marred by a bevy of strange design choices. But it's still a Zelda game.

69. Final Fantasy XII (2006, Square Enix, PlayStation 2). There were two Final Fantasy games on the PlayStation 2. This was by far the lesser.

68 Dragon Age II (2011, BioWare, 360). Even a bad BioWare game is more intelligent and engaging than most everything on the market, now and forever.

67. Assassin's Creed: Brotherhood (2010, Ubisoft, 360). What starts a rote sequel evolves into an interesting city warfare sim. And also you can still stab lots of people.

66. Resident Evil 4 (2004, Capcom, Gamecube). This game did for quick time events what T-Pain did for autotune. I still forgive it, because it's really good.

65 Assassin's Creed II (2009, Ubisoft, 360). Despite my reservations about this series and the people who play it, ACII was a generational leap forward over its predecessor.

64 Grand Theft Auto: Vice City (2002, Rockstar, PlayStation 2). To truly enjoy Vice City, you need to be a huge fan of Scarface. I am not. This is a good game, but perhaps the one that plays the hardest into the stereotypes surrounding the GTA series.

63 Perfect Dark (2000, Rare, N64). There are people who, to this day, swear by Perfect Dark. I am not one of them. That being said, it was one of the most eminently playable early console shooters.

62 Dead Space (2008, EA Redwood Shores, 360). A disarmingly quiet game. Also one of the truest surprises I can remember having in the last few years.

61 Gears of War 3 (2011, Epic Games, 360). While not the killer app I think Microsoft wanted it to be, the Gears of War trilogy ends on a solid, if uninspired note. Still very good.

60 Sleeping Dogs (2012, United Front, 360). One of the worst conceits in the gaming press is describing a game in terms of previous great games in resembles. Sleeping Dogs is one of the few that truly fits that tag. Despite that, it's a very good game.

59 Final Fantasy IX (2000, Square, PlayStation). Perhaps the most criminally underrated Final Fantasy game remains criminally underrated on my list. If only half the game weren't so unremarkable.

58 Dragon Age: Origins (2009, BioWare, 360). One of the finest examples in world-building in BioWare's impressive stable, this is a game let down ever so slightly by it's gameplay.

57 BioShock 2 (2010, 2kGames, 360). What I once thought was a wholly unnecessary sequel turned into a surprisingly solid game in all respects, even if Rapture is showing its age a little bit.

56 Diablo III (2012, Blizzard, PC). A dozen years separated entries in Blizzard's most overlooked series, and the product was worse off for it. A new approach was needed, though, if not necessarily achieved.

55 Dead Space 2 (2011, EA Redwood Shores, 360). Is to the first game what Empire Strikes Back is A New Hope. Bigger, badder, scarier and altogether better.

54 Metroid Prime 2: Echoes (2004, Retro Studios, Gamecube). While a lesser game than its predecessor, this sequel manages to successfully straddle the line between unnecessary and revolutionary.

53 Gears of War 2 (2008, Epic Games, 360). The worst (I guess?) of the three Gears of War games, Gears 2 tries its hardest to be bigger and badder, but loses some of its scope in comparison to the original.

52 Final Fantasy VIII (1999, Square, PlayStation). Square's attempt at a more "adult" art style fell a little short, but this remains a worthy piece of the company late era PlayStation golden age.

51 Max Payne 3 (2012, Rockstar, 360). After nearly a decade, so much of what made Max Payne what it is was gone, but just enough familiarity remained to make it a worthy experience.

50 The Legend of Zelda: The Wind Waker (2003, Nintendo, Gamecube). The shitstorm surrounding the reveal of Wind Waker's cel shaded graphics has long faded, and what we're left with is possibly the most charming entry in one of gaming's most charming series.

49 Jade Empire (2005, BioWare, XBOX). A deep, well-realized world? Interesting, affable characters? A wide-scoped plot replete with earth shattering choice? Just another BioWare game. Move along, move along.

48 The Legend of Zelda: Skyward Sword (2011, Nintendo, Wii). I barely got any time with it, but from what I played, I could tell Skyward Sword was a beautiful impressionist interpretation of one of the purest game series in the world.

47 Super Mario 64 (1996, Nintendo, N64). The second oldest game on this list is something of a hybrid between the super-simplicity of the SNES era Mario and the retro-simplicity of things like Mario Galaxy, and it remains one of the most playable games in history.

46 Gears of War (2006, Epic Games, 360). Microsoft's first attempt to create a killer app outside of Halo is not without fault, but when it came out, it was as big and mean as anything on the market. Still a refreshingly fluid co-op experience.

45 The Elder Scrolls IV: Oblivion (2006, Bethesda, 360). Few games on this list have dropped more precipitously than Oblivion, which at one point might have been one of my 10 favorite games in history. Just the nature of Bethesda, I guess.

44 GoldenEye 007 (1998, Rare, N64). On the other hand, here's a nearly 15 year old game that can be as fun as it was when first released. This was Rare at the top of their game, when they very nearly won the console war for Nintendo single-handedly.

43 Grand Theft Auto III (2001, Rockstar, PlayStation 2). Another groundbreaking game whose age has really caught up with it. The landscape of modern gaming would look drastically different without it, though.

42 Max Payne (2001, Remedy, PC). The original descent into madness is a schizophrenic miasma of melting snow and bullet time. Not for the weak, but if you've never played, I highly recommend this early millennium classic.

41 BioShock (2007, 2kGames, 360). One of the most well realized game worlds is let down by somewhat tepid, predictable gameplay. Still a paragon of the narrative forms unique to video gaming.

40 Metal Gear Solid 2: Sons of Liberty (2001, Namco, PlayStation 2). What some see as a convoluted mess other see as quintessential Kojima. The two are not mutually exclusive.

39 Half-Life 2: Episode One (2006, Valve, PC). The least imaginative core Half-Life game is still more imaginative than 95% of the gaming world. Only reason this is so low is relative length and the strength of what's ahead of it.

38 Halo 3: ODST (2009, Bungie, 360). The shortest and most experimental Halo game suffers from a lack of respect from people who disregard Halo and a lack of understanding from those who do.

37 Grand Theft Auto: San Andreas (2004, Rockstar, PlayStation 2). Many people will tell you that 2008's GTA IV was a vast downgrade after the free-wheeling explosion fest that was San Andreas. Those people are wrong, but not by much. The pinnacle of the PS2-era GTA games.

36 Star Wars: Knights of the Old Republic II: The Sith Lords (2004, Obsidian, XBOX). One of the most unfortunately rushed games in recent memory is often unfairly maligned for not having an ending. What's there is a dark, vibrant journey through the seedier side of the Star Wars universe.

35 Fallout: New Vegas (2010, Obsidian, 360). Combined with the game above, just further proof in Obsidian's strange ability to pick up someone else's engine and make a sequel to a great game that in some way outstrips its predecessor.

34 XCOM Enemy Unknown (2012, Firaxis Games, 360). One of the most viscerally challenging games I can remember playing is hampered a little by a nonstarter of a plot. But just a little.

33 Metal Gear Solid (1998, Namco, PlayStation). Kojima's first masterpiece balances the dark and the whimsical as well now as it did fourteen years ago. That's one thing about his games: they never really go out of style.

32 Super Smash Brothers: Melee (2001, Nintendo, Gamecube). Nintendo's ultimate fanwank is as curiously potent a concoction as it was the day it was released. If you find three people to play it with you, it might be the best value money can buy.

31 Halo: Reach (2010, Bungie, 360). The bleakest and ultimately least essential of the Halo games also doubles as a swan song from the series' original creators.

30 The Elder Scrolls V: Skyrim (2011, Bethesda, 360). The most muscular Elder Scrolls yet is almost one of the most atmospheric games in recent memory, full of anecdotal narratives and a fluidity not seen in modern gaming.

29 L.A. Noire (2011, Team Bondi, 360). Team Bondi's great experiment is not without its faults, but it shines in areas most games aren't even capable of expressing.

28 Team Fortress 2 (2007, Valve, PC). Generally, strictly multiplayer games are a dime a dozen. There is nothing general about TF2.

27 The Legend of Zelda: Majora's Mask (2000, Nintendo, N64). The darkest and most inventive Zelda games is also one of the best, and stands as one of the most overlooked games of the 2000s.

26 Dishonored (2012, Arkane Studios, 360). Some games are only the sum of their parts. Equal parts Deus Ex, Half-Life and BioShock, Dishonored is the rare game that raises above that sum.

25 Half-Life 2: Episode Two (2007, Valve, PC). The most recent Half-Life game (GABBBEEEE) is a marked improvement over its direct predecessor, and does more to engender an actual emotional connection to its characters than most films can aspire to.

24 Batman: Arkham Asylum (2009, Rocksteady, 360). One of the last decade's most unique surprises is the perfect distillation of the Batman mythos.

23 The Legend of Zelda: Ocarina of Time (1998, Nintendo, N64). "Pure" is a word thrown around without impunity these days, but if any gaming series deserves such a moniker, it's this one, the first great 3D Zelda.

22 Halo 3 (2007, Bungie, 360). Bungie's Halo triptych is not for most gaming connoisseurs, but where they excel is in their sense of scope. Halo 3 is the climax of that formula.

21 Half-Life (1998, Valve, PC). The second oldest game on this list did things that most games companies wish they could do now, almost 15 years later.

20 Batman: Arkham City (2011, Rocksteady, 360). Arkham Asylum was the world's greatest superhero game. Arkham City is something more. Something that transcends its origins and becomes truly great.

19 Metal Gear Solid 3: Snake Eater (2004, Namco, PlayStation 2). The smallest in scope and in plot of all the Metal Gear Solid games is also easily the best, and a game that stands tall in one of the great gaming years of all-time.

18 Halo 2 (2004, Bungie, XBOX). Halo 2 is flawed in ways that no other Halo game is. It also attempted things no other Halo game would dream.

17 Fallout 3 (2008, Bethesda, 360). Bigger, bleaker and better than Oblivion, Bethesda proved once and for all their mastery of the genre they themselves seem to have created.

16 Deus Ex: Human Revolution (2011, Eidos Montreal, 360). This is not a perfect game. For from it. But it has such a clarity of purpose about it, such a unified direction and style that permeates it entirely, that to rank it any lower is a grave injustice.

15 Halo 4 (2012, 343 Industries, 360). 343's franchise takeover from Bungie was smoother than anyone could ever have imagined, and it signals a new, bright day for gaming's preeminent franchise.

14 Mass Effect (2007, BioWare, 360). From a sheer gameplay standpoint, this game is woefully outmatched in the stratosphere of the top 20. But it had a charm about it, a confidence in world-buidling, that still resonates with me in ways the two sequels never truly have.

13 Grand Theft Auto IV (2008, Rockstar, 360). It might not be the best game in the world, but it's the best game about the world, and it sacrificed lost an ounce of Rockstar's trademark insanity.

12 Final Fantasy X (2001, Square, PlayStation 2). The Final Fantasy series' last truly great game is secretly one of the darkest, despite whatever cheery overtones a simple perusal might show.

11 Red Dead Redemption (2010, Rockstar, 360). Rockstar's noir-Western masterpiece attained a flair for the dramatic usually reserved for more...reserved games, and remains the studio's greatest achievement.

10 Metroid Prime (2002, Retro Studios, Gamecube). Few games have ever been as lovingly designed as Metroid Prime, which ushered the Gamecube into a short-lived relevance as a "big-time" console.

9 Final Fantasy VII (1997, Square, PlayStation). Simultaneously the most overrated and beloved game of the last 20 years, FF7 hits notes most Western games can only dream of, and most Eastern games haven't seen since its release.

8 Diablo II (2000, Blizzard, PC). Hack and slash games don't get more formulaic than this in structure, but the ambiance, sound design and general art style of this game crawl in you and stay. It's been a dozen years, but I'm still not done with D2.

7 Mass Effect 3 (2012, BioWare, 360). The most polarizing game of 2012 has seen scores of fans let a botched final hour ruin what is a uncommonly great game.

6 Halo: Combat Evolved (2001, Bungie, XBOX). There's a sense of cavalier wonder in Halo: CE that feels like the end of one generation and the start of another. It's something I've never seen or felt in any other game in recent memory.

5 Portal 2 (2011, Valve, PC). Valve mastery over the artform is never on better display than it is in Portal 2. Never before has making a great game seemed so effortless.

4 Mass Effect 2 (2010, BioWare, 360). The sequel to the original Mass Effect was one of the great quaity increases in gaming history. And the first game was a great one.

3 Portal (2007, Valve, PC). The shortest, strangest and most experimental game on this list is also one of the most efficient, wondrous and utterly unforgettable.

2 Star Wars: Knights of the Old Republic (2003, BioWare, XBOX). A great many things this game does are extraordinarily subtle, which is not something one associates with Star Wars very often. KOTOR has been out nearly a decade and still continues to amaze.

1 Half-Life 2 (2004, Valve, PC). Every time I think I'm starting to lionize this game, I replay it and remember just how incredibly good it is in essentially all respects. There are no perfect games, but there is Half-Life 2.


Saturday, August 4, 2012

The Post-Human Prometheus, Part 3: A Choice

Through a myriad of pop culture references, I outlined a primary form of emotional existentialism that defines and unites some of my favorite video games, movies and television shows. As a way of concluding this decidedly pointless affair, I will illustrate just how far-reaching it is, and how easily it can applied to essentially any intelligent work of fiction (or, dare I say, art).


Something I have yet to address through this lens (I'm surprised it's taken me this long) is Breaking Bad, AMC's critically acclaimed drama starring Bryan Cranston. At the expense of launching into a major recap of the series as a whole (which I have already done at Digital Refrain, here), I'll simply mention that Walter White's descent into evil has been defined and shaped primarily by his choices. In his darkest moments, he admits this ("only I should suffer the consequences of those choices"). It is, perhaps, the most compelling thing about the show, as was a certain choice the most compelling thing about HBO's The Sopranos. I have said before that I prefer both of these shows to fellow HBO hit The Wire, which deals more with the social and political structure of an entire city. Indeed, The Wire may in fact be a better television show than either of these, but it pales in this sort of existentialist dread (though it is certainly not invisible entirely).


Staying with television, another show manages to incorporate not only this form of existentialism, but many of the science fiction conceits from Part 2: FOX's Fringe. Some of these conceits include questioning the humanity of artificial beings (notably in the episode "Do Shapeshifters Dream of Electric Sheep?," a title inspired by the Philip K. Dick story that Blade Runner was adapted from). There are three main characters in Fringe, all of whom proliferate in multiple alternate dimensions, but all remain fundamentally similar every time (except of course Joshua Jackson's Peter Bishop, who literally is the same man every time. It makes sense in the show's context). What is interesting is that in every alternate universe, Peter's father Walter has made a choice, one from 20 years before the show's timeframe, that has set everything in motion. I won't spoil what this choice is, since the revelation of it is one of the show's greatest moments, but the way that this choice has come to define Walter's life since (John Noble's show of pathos is deserving of unlimited acclaim), is a prime example of sci-fi existentialism at its finest.


Two final forms of this in popular culture come in the seminal works of my two favorite video game companies: Valve's Half-Life 2 and BioWare's Mass Effect series. Mass Effect 3, the final game in the trilogy, which culminates in an ending that has been almost universally decried by the internet (that most holy of arbiters). Rather than attempt to set the stage for it, I will simply state that most people who have a problem with this ending dislike it conceptually rather than for its obvious storytelling flaws. These people exhibit a fundamental misunderstanding of what the series was about. At its core, it was an exercise in Cosmicism, which is the name given to American author H.P. Lovecraft's particular form of existentialism. In the simplest terms possible, Cosmicism states that human beliefs, concerns and ideas are ultimately unimportant in the face of the larger universe. By this I mean to say that the universe is eternal, and does not care for the affairs of human beings. 


Cosmicism is represented in the Mass Effect games by the main antagonists, the Reapers, a fleet of synthetic creatures whose purpose is to wipe out all advanced civilization. They do this not out of jealousy or spite, but simply because they do. They hold themselves to being beyond human comprehension. They represented the cold, uncaring nature of nature itself, extended out into the cosmos. The stars do not care if you live or die (all of this is independent of the existence of any higher spiritual or religious power, which is another angle I do not wish to discuss in these posts. They are irrelevant to this discussion). Many criticisms of Mass Effect 3's ending is that it "makes the choices of the previous games irrelevant." What they fail to see is that this is the point. On the bigger picture, all of our choices are irrelevant. This series was not meant to show how Shepard's choices affect the universe as a whole. They were meant to illustrate how his choices affect the people and cultures around him. Those choices define who Shepard is, and what his legacy will be. Even if none of those cultures survive to see it. Shepard stared into the eternal abyss of space, and by extension, human mortality, and did not falter.


HL2 is the story of Gordon Freeman, a former theoretical physicist who, at the behest of an enigmatic third party, returns from a prolonged absence to help free mankind from the oppressive influence of an extraterrestrial organization called "the Combine." The Combine exhibit a total, utter control over the populace of City 17, where Gordon is dropped into, and as the slowly drain the planet of resources, they pacify the people by using Wallace Breen, their human envoy, as a mouthpiece. It is in his speeches, throughout the course of the storyline, that we gain some insight into the existentialist foundation of this game. It is during one of these speeches, in particular, that Breen admonishes the Combine forces (made up primarily, of an augmented human police force referred to as the "Transhuman arm of Sector Seventeen Overwatch) for failing to capture Gordon, who is, as Breen states "by all standards an ordinary man." A man who continues to use his "boundless energy" in a struggle against forces supposedly beyond his comprehension. Much of Half-Life 2's appeal, to me, exists in its similarity to George Orwell's Nineteen Eighty Four. Perhaps the key plot of 1984 is Winston Smith's eventual defeat by the forces of the Party, who reshape their country's perception of the world as they see fit. If they say that 2 + 2 = 5, who is Winston to disagree. He states that he is a man, and he has chosen to do so. O'Brien, his tormentor, goes as far to call him "the last man," stating that his individuality is nothing in the face of their power.


While 1984 ends in defeat (depressingly so, those last four words rank among the most soul-crushing in literary history), it stands to illustrate my point. Oftentimes existentialists are accused of trying to convince others that the world is meaningless. This does not mean that choice is meaningless. If there is no inherent meaning to the universe, this does not mean that what we do is not important. We ascribe our own meaning. We "make our own luck," as Harvey Dent would say. See, I knew I could pull this all back around to Christopher Nolan again.

The Post-Human Prometheus, Part 2: A Question

In my first section, I, in a thorough exploration of the central theme of the Batman mythos, explained my personal takeaways from Christopher Nolan's Batman trilogy. Through it, I wanted to hammer home one common theme, throughout not only the Nolan films but many more of my favorite pop culture artifacts. That theme is this: that an ordinary human being, and by extension humanity, will forever be locked in conflict with themselves and the darker natures of their psyche (or mind, or heart, or soul. Whatever you wish to call it). Throughout this, I wanted one more question to arise to your mind, dear reader.

What, exactly makes these ordinary human beings human beings at all? We live in an age where speculative fiction has become real life. Where the possibility of humanity ascending through technological means to a higher state. Transhumanism, this is called, and it can be seen as a counter to the sort of never-ending quest for emotional maturity I somewhat clumsily outlined in Part 1. Transhumanism is a relatively new idea, and instead of trying to speak about the practical applications of it, I will merely tie into some more popular culture. Because that's what everyone wants.


When I think of Transhumanism, or questioning what makes a human being exactly that, I think of something like the Deux Ex series of videogames. Most importantly, I think of 2011's excellent Deux Ex: Human Revolution (HR), where Transhumanism is a key theme, as is the image of Icarus, of "man's reach exceeding his grasp," which is oddly enough a key phrase in Christopher Nolan's The Prestige, which serves as something of a dark counter to his Batman series, featuring two men whose obsession and rejection of their innermost selves leads to death and ruin. It is very much a sci-fi tale. 


Getting back on track, Transhumanism is represented in HR by the key conflict in the game, one between former Detroit cop Adam Jensen and the shadowy influence of a vast global conspiracy that intends to use the game world's augmentation technology to enact a vast change in the course of human history. The conflict is accentuated by various debates in the game world, in which the general public questions whether or not people who use these augmentations (which vary from artificial limbs to digital eyes and brain applications, and more) are still fundamentally human. One of the few problems I had with the game was Adam Jensen's relative silence on this issue. His focus is more on halting the conspiracy (referred to, of course, as the Illuminati) from using this technology, and the industry surrounding it, to control the course of human civilization. There is one exception. During one of the game's marvelously scripted "verbal boss battles," in which Adam must outwit and out-debate a character, he comes into conflict with Senator William Taggart, leader of the "Humanity Front," an anti-augmentation group that seeks to enact harsh government restrictions upon the technology. During the debate, Taggart states that Jensen's crusade is merely an excuse to transplant having lost his fundamental humanity (very early in the game, Jensen is critically wounded, and undergoes life saving augmentation surgery). Jensen retors with what is perhaps the finest example of solipsism I have yet seen in a video game: he says that every time he touches something, he wonders, just for a second, if it is real.


A great deal of popular culture deals with this idea, notably among them Blade Runner, Star Trek: The Next Generation, 2001: A Space Odyssey. I enjoy all of these things, but I would like to draw off a seminal work from another culture, legendary Japanese animated show Cowboy Bebop. Bebop, a 26-episode series that ran in 1998 (2001 in America), is in many ways an amalgam of influences and homages. Every episode is named after a song, film or idea, many of them from Western culture (namely the episodes named after Rolling Stones or Led Zeppelin songs). Indeed, the very last words of the entire show are taken from The Beatles Medley from Abbey Road. Aside from these surface inspirations, the show's style combines Film Noir with old-style American Westerns and new-style science fiction. Taking place in the late 21st Century, the show follows the exploits of four bounty hunters, who occupy a form of policing the terraformed solar system in the aftermath of a catastrophic accident on Earth (mirroring the transhumanist ideal of ascending Earth). The show deals with various themes. 


More to the point of this article, one singular episode (referred to as "sessions" by the show) deals with the crew hunting a man named Londes, the head of a transhumanist cult that advocates transferring one's consciousness to an entirely digital state of being. A bounty has been placed upon Londes' head since a great many of his followers have been committing suicide (the show seems to infer that these people's consciousnesses did not ascend. They merely died), only to find that Londes himself is a construct, a character invented by a young boy who, as the result of a terrible accident, is completely a vegetable. He managed to create this character through a persistent internet connection, convincing thousands of people across the solar system to follow his lead in abandoning their bodies.


I bring up this example not to pass judgment upon Transhumanism, only to point out it's existence, and to tie it into my own personal answer to the conundrum it poses. A key characteristic of many fictional works that put forth this idea is that there is always some mechanical or digital being that is "more human," such as Alan Tudyk's character in the film I, Robot (itself based off of Isaac Asimov's "Three Laws of Robotics." Of course, a side character in Cowboy Bebop is named "Asimov"). My answer to this idea lies in existentialism. The constitution of a being does not determine its worth. It's the choices you make that determine what you are. Man is defined by choice. "It's not who I am underneath, but what I do that defines me." Guess what that quote is from. Christopher Nolan's Batman Begins. All things are interconnected.

The Post-Human Prometheus, Part 1: A Symbol

Despite my seemingly all-encompassing love for Christopher Nolan's Batman films, I am not immune to criticism. As my friend Adam Koscielak states in his deconstruction of all things Nolan (http://thinkvicariously.wordpress.com/2011/12/23/the-great-nolan-misunderstanding/), making a thought-provoking summer blockbuster isn't easy. This is undoubtedly true, as is the claim that the vast majority of Christopher Nolan's films are very much that: summer blockbusters.


One thing my friend Adam does not understand (and this he has heard a great many times from me), is how Nolan's films tap into the very essence of what the Batman mythos is, and what it represents. It represents that one things that I have now, through constant twitter debates, come to realize is the one thing that I value artistically above all others. The power and influence one ordinary man can have on the world. It is no secret that I am something of a misanthrope, someone who, in the words of the esteemed Wikipedia, holds a "mistrust or disdain of the human species or human nature." Oftentimes you will hear us described as pessimists. We are the sort of people who have come to one collective realization: that mankind is infinitely more likely to destroy itself than achieve any sort of lasting peace or tranquility. We are determined to be Icarus, burning up in the sun as we try and ascend to its heights. This does not mean misanthropes are hopeless. Quite the opposite, in fact. In my experience, we are all something closer to jaded idealists, men and women who believe fully in the potential of the human race. We are the only species in existence capable of building something as simultaneously beautiful and terrible as the atomic bomb.


The realization I came to regarding the things I enjoy is simple: I enjoy things that acknowledge this fact. Debating the point and themes of Nolan's Bat-films have forced me to try and quantify what it is I enjoy about the Batman mythos so much. I have narrowed it down to this. Batman willfully fights a battle he will never win, a battle against the corruptive nature of mankind's vices and greed. He readily admits this fact, yet never wavers in his quest. You often hear (especially in Nolan's films) that Batman is a symbol. You may have misunderstood what, exactly he is meant to symbolize. He is meant to symbolize mankind's never-ending struggle with its very nature. Insanity is a common theme in Batman, and some of the best stories in the entire mythos deal directly with the question of whether or not Bruce Wayne himself is just as insane as the degenerates he hunts in the night.


Edgar Allan Poe, oftentimes shrugged off as a mere horror writer, makes a point in "Eureka," his last major work. He postulates that the entire point of his horror writing was to exercise some of his own personal demons, acknowledging the darkest parts of his psyche as a way of moving past them. Or, perhaps, above them. Batman operates in similarly to this, using his own darkness as a way of fueling his hopeless crusade. In the 2010 DC Animated Universe feature Justice League: Crisis on Two Earths, Batman, voiced by the indomitable Kevin Conroy (whose continuing portrayal of Batman has as much to do with my love of the character as anything else) confronts Owlman, voiced by James Woods, a version of himself from an alternate universe who plots to destroy the "Earth Prime," the original Earth from which all parallel Earths derive, thereby destroying all of creation. As Batman traps Owlman with his doomsday device and sends him to another, uninhabited Earth, he tells him one thing, and the quote he gives has served to define every incarnation of the character for me since. "We both looked into the abyss," Batman says, echoing Nietzche's famous quote. "But when it looked back at us, you blinked."


Oftentimes, Christopher Nolan is accused of shoving too many seemingly disparate themes into his work. Surely I will not claim that he successfully implemented all of those themes, but I will debate, to my death, the idea that anyone could ever have such a thing as "too many" themes. There is always one singular theme that unifies each one of his works. Memento is about memory. The Prestige is about obsession. Inception is about dreams and hopes. All the others themes are ancillary, serving as tributes to other genres, chief among them Film Noir. 


His supposed political commentaries, seen mainly in the Batman films, have precedents in the mythos. He didn't mean for the class warfare themes in TDKR to be mere reaction to the "Occupy Wall Street" movement. Bane tells Batman, halfway through the film, that he will fill the people of Gotham with hope before he destroys them. This is what he does. By inspiring them (through fear, I might add) to rise up and "take back their city" from the rich and corrupt upper classes, Bane is playing off of Bruce Wayne's ultimate hope, that his city will be galvanized into saving itself. It is as insidious as it is cunning, because this ensures that Bruce Wayne understands that the city's newfound hope will be crushed, even if  Bruce and his allies manage to stop the bomb that Bane has planted in the city. Nothing will change. The privileged will still feast off the back of the less fortunate, and vice will still dominate Gotham city. Nothing Batman does will do anything to slow that, with the possible of one: Batman making the ultimate sacrifice, like his parents did (part of me has always felt that Thomas Wayne walked into Crime Alley knowing that it would cost him his life. Nolan's interpretation only helped fuel this.) This is why I feel that, while keeping Bruce Wayne alive can surely be seen as something of a cop-out (although one that pays off in giving Michael Caine's wondrous Alfred at least a modicum of hope), the idea is that Batman will always be needed. His work will never end. It is only though the determination of one unmistakably mortal man that this crusade has any chance of success.


My friend Adam ends his post with by saying that "perhaps he's just too stupid to understand Christopher Nolan." This is assuredly not the case. Christopher Nolan is a clever filmmaker, but hardly a genius or indecipherable poet. His films have always been based more on emotion than mere intellect. The human mind is not so easily separated. It is not strictly intellectual, just as it is not strictly emotional. The interpretation is that Nolan's films are emotionally distant is something of a misnomer. His protagonists are emotionally distant. Every one of his films shows how that detachment, how the refusal to deal with the darker aspects of their personalities, led to their downfall. Except Batman. Batman endures. Because he has to. He has no idea what else to do. Through sheer force of will, he pushes himself to be more than what he is.


I'll add another side of this, one decidedly less Batman-centric, at some point in the future.

Saturday, June 16, 2012

Top 100 Games of All Time

Earlier this week, G4 finished their "Top 100 Games of All Time" list, and, like most things G4, it's laughably bad. Bad enough that I figured I could do better myself. Combine that with the fact that I haven't used this blog in a while, and you've got a premise for a simple post. Here's my list. I tried to keep it from within the last 15 years or so and only on consoles/PC, along with my own personal scores for keeping the list organizes.

100- Left 4 Dead 2 (Valve, 2009)- 7.9
99- Star Wars Battlefront (Pandemic Studios, 2004)- 7.9
98- Crackdown (Realtime Worlds, 2007)- 7.9
97- Mario Kart 64 (Nintendo, 1997)- 8.0
96- Prey (Human Head Studios, 2006)- 8.0
95- Advent Rising (GlyphX Games, 2005)- 8.0
94- Lost Planet: Extreme Condition (Capcom, 2007)- 8.0
93- Super Smash Brothers (HAL Laboratory, 1999)- 8.0
92- Half-Life: Blue Shift (Gearbox, 2001)- 8.1
91- Max Payne 2: The Fall of Max Payne (Remedy Entertainment, 2003)- 8.1
90- Star Wars Battlefront (Pandemic Studios, 2005)- 8.1
89- Left 4 Dead (Valve Corporation, 2008)- 8.1
88- Duke Nukem 3D (3D Realms, 1996)- 8.2
87- Quake III Arena (id Software, 1999)- 8.2
86- Resident Evil 3: Nemesis (Capcom, 1999)- 8.2
85- Star Wars Jedi Knight II: Jedi Outcast (Raven Software, 2002)- 8.3
84- Jet Set Radio Future (Smilebit, 2002)- 8.3
83- Fable (Lionhead Studios, 2004)- 8.3
82- Dragon Age II (BioWare, 2011)- 8.4
81- NBA 2k11 (Visual Concepts, 2010)- 8.4
80- Diablo (Blizzard Entertainment, 1995)- 8.4
79- Warcraft III: Reign of Chaos (Blizzard Entertainment, 2002)- 8.4
78- Resident Evil 5 (Capcom, 2009)- 8.4
77- Unreal Tournament (Epic Games, 1999)- 8.4
76- Guitar Hero II (Harmonix Music Systems, 2006)- 8.5
75- Hitman: Blood Money (IO Interactive, 2006)- 8.5
74- Final Fantasy XII (SquareEnix, 2006)- 8.5
73- Dead Space (EA Redwood Shores, 2008)- 8.6
72- BioShock 2 (2k Games, 2010)- 8.6
71- Star Fox 64 (Nintendo EAD, 1997)- 8.6
70- Final Fantasy X-2 (SquareEnix, 2003)- 8.6
69- Resident Evil (Capcom, 1996)- 8.6
68- Final Fantasy Tactics (Square, 1998)- 8.7
67- Starcraft (Blizzard Entertainment, 1998)- 8.7
66- Alan Wake (Remedy Entertainment, 2010)- 8.7
65- Dragon Age: Origins (BioWare, 2009)- 8.7
64- Final Fantasy XIII (SquareEnix, 2010)- 8.7
63- Warcraft II: Tides of Darkness (Blizzard Entertainment, 1995)- 8.7
62- Half-Life: Opposing Force (Gearbox, 1999)- 8.8
61- Super Smash Brothers: Brawl (HAL Laboratory, 2008)- 8.8
60- The Legend of Zelda: Twilight Princess (Nintendo EAD, 2006)- 8.8
59- Lost Odyssey (Mistwalker Studios, 2008)- 8.8
58- Gears of War 2 (Epic Games, 2008)- 8.8
57- The Elder Scrolls III: Morrowind (Bethesda Game Studios, 2002)- 8.9
56- Metroid Prime 2: Echoes (Retro Studios, 2004)- 8.9
55- Perfect Dark (Rare, 2000)- 8.9
54- Resident Evil 2 (Capcom, 1998)- 8.9
53- Gears of War 3 (Epic Games, 2011)- 8.9
52- Star Wars Jedi Knight: Dark Forces II (LucasArts, 1997)- 8.9
51- Gears of War (Epic Games, 2006)- 8.9
50- Resident Evil 4 (Capcom, 2005)- 9.0
49- Jade Empire (BioWare, 2005)- 9.0
48- GoldenEye 007 (Rare, 1997)- 9.0
47- Grand Theft Auto: Vice City (Rockstar North, 2002)- 9.0
46- Dead Space 2 (EA Redwood Shores, 2011)- 9.0
45- The Legend of Zelda: Skyward Sword (Nintendo EAD, 2011)- 9.1
44- Final Fantasy IX (Square, 2000)- 9.1
43- Max Payne (Remedy Entertainment, 2001)- 9.1
42- Fallout: New Vegas (Obsidian Entertainment, 2010)- 9.1
41- Halo 3: ODST (Bungie, 2009)- 9.1
40- L.A. Noire (Rockstar, 2011)- 9.2
39- Super Mario 64 (Nintendo EAD, 1996)- 9.2
38- Half-Life 2: Episode One (Valve, 2006)- 9.2
37- Final Fantasy VIII (Square, 1999)- 9.2
36- The Legend of Zelda: The Wind Waker (Nintendo EAD, 2003)- 9.3
35- Metal Gear Solid 2: Sons of Liberty (KCEJ, 2001)- 9.3
34- Grand Theft Auto III (Rockstar, 2001)- 9.3
33- Half-Life 2: Episode Two (Valve, 2007)- 9.3
32- Halo: Reach (Bungie, 2010)- 9.3
31- BioShock (2K Boston, 2007)- 9.4
30- Batman: Arkham Asylum (Rocksteady Studios, 2009)- 9.4
29- Diablo III (Blizzard Entertainment, 2012)- 9.4
28- Star Wars: Knights of the Old Republic II- The Sith Lords (Obsidian Entertainment, 2004)- 9.4
27- Grand Theft Auto: San Andreas (Rockstar, 2004)- 9.5
26- The Legend of Zelda: Majora's Mask (Nintendo EAD, 2000)- 9.5
25- Super Smash Brothers: Melee (HAL Laboratory, 2001)- 9.5
24- The Elder Scrolls IV: Oblivion (Bethesda Game Studios, 2006)- 9.5
23- Batman: Arkham City (Rocksteady Studios, 2011)- 9.5
22- Mass Effect (BioWare, 2007)- 9.6
21- Fallout 3 (Bethesda Game Studios, 2008)- 9.6
20- Metal Gear Solid (KCEJ, 1998)- 9.6
19- Halo 2 (Bungie, 2004)- 9.6
18- The Legend of Zelda: Ocarina of Time (Nintendo EAD, 1998)- 9.6
17- Half-Life (Valve, 1998)- 9.6
16- Metal Gear Solid 3: Snake Eater (KCEJ, 2004)- 9.6
15- Halo 3 (Bungie, 2007)- 9.6
14- Red Dead Redemption (Rockstar, 2010)- 9.7
13- Final Fantasy VII (Square, 1997)- 9.7
12- Deus Ex Human Revolution (Eidos Montreal, 2011)- 9.7
11- Metroid Prime (Retro Studios, 2002)- 9.8
10- Portal 2 (Valve, 2011)- 9.8
9- Diablo II (Blizzard Entertainment, 2000)- 9.8
8- Grand Theft Auto IV (Rockstar, 2008)- 9.8
7- Portal (Valve, 2007)- 9.9
6- Mass Effect 2 (BioWare, 2010)- 9.9
5- Final Fantasy X (Square, 2001)- 9.9
4- Mass Effect 3 (BioWare, 2012)- 9.9
3- Halo: Combat Evolved (Bungie, 2001)- 9.9
2- Star Wars: Knights of the Old Republic (BioWare, 2003)- 10.0
1- Half-Life 2 (Valve, 2004)- 10.0

Wednesday, May 9, 2012

15 Years of Gaming, Part 17/Conclusion (2011)

Dead Space 2

Release Date: January 25, 2011.
Platform: PC/360/PS3
ESRB Rating: M
Developer/Publisher: Visceral Games/EA
GameRankings: 89.36%
Completely Arbitrary Personal Score: 8.8/10 (Very Good)


The difference between Dead Space 2 and it's predecessor is less dramatic than something like, say, the difference between Mass Effect and Mass Effect 2, but it is noticeable. Perhaps the area it is most noticeable is in the main character. Isaac Clarke was not much more than a cipher in the first game, nearly mute and not all that interesting. Aside from his obsession with finding Nicole, his erstwhile girlfriend, Isaac doesn't emit much personality. This was a measured and deliberate thing. I'm assuming the developers felt the various hallucinations and breaks in reality would seem much more frightening if the player could just as easily assume they were the ones experiencing it. This is certainly not a bad idea (the Half-Life series has nearly mastered it), but it left the main character not seeming all that important or much of a character.

Of all the improvements the second game makes (and there are many), it is this sudden burst of character from Isaac that is the most important. He's not the most interesting character, but the fact that is one at all improves the narrative of this game tenfold, specifically when Isaac makes a sacrifice near the game's conclusion (spoiler: he survives). All in all, the Dead Space series is proving to be one of the few EA-produced series worth anything at all, and I anticipate the third installment, whenever it may be.





Dragon Age II

Release Date: March 8, 2011.
Platform: 360/PS3/PC/Mac
ESRB Rating: M
Developer/Publisher: BioWare/EA
GameRankings: 80.37%
Completely Arbitrary Personal Score: 8.0/10 (Good)


Dragon Age II is possibly the most infamous game in BioWare's long and storied history. It is not, however, the worst. After the underground success that was Dragon Age: Origins (which, before I go any further, is a superior game, despite what my scores might say), Dragon Age II was one of the most heavily promoted and anticipated games in BioWare's history. To say it was a disappointment is an understatement. I don't believe this is because DAII is a bad game. Quite the contrary. I believe the backlash occurred because DAII was a poorly marketed game. People thought they were getting a true sequel to the original game. They were not. They were getting a loose continuation of the world in which the first game took place in. Dragon Age is as well written a game as anything on the open market, featuring interesting characters, a remarkable (if small in scope) array of areas, and a bevvy of strenuous political choices and motivations to wade through, like and good BioWare game. It might be a below standard offering by BioWare's standards, but it's still one of the better games of 2011, and worth playing. Most other companies should be so lucky to have such a good "worst" game.





Portal 2

Release Date: April 19, 2011.
Platform: 360/PS3/PC
ESRB Rating: E 10+
Developer/Publisher: Valve
GameRankings: 94.54%
Completely Arbitrary Personal Score: 9.4/10 (Great)



Valve, ever the master craftsmen, took a bit of a gamble with 2007's Portal. A gamble that unequivocally paid off. What was originally included as a bit of a bonus on the Orange Box became possibly the most successful and most fully-praised bit, making a sequel a near guarantee. Before release, Valve described Portal 2 as a full-fledged game where the original had been simply an experiment. There is no better way to describe the divide between Portal 2 and it's predecessor. Portal 2 is a fully-formed, fully-developed game. A game that takes everything good about the original (which was everything) and expands to a near-caricature (without taking that last little step into ridiculousness). It is truly a masterpiece of black humor. Stephen Merchant and J.K. Simmons are stupendously good in their roles, as is the returning Ellen McClain (who was literally the only voice actor in the original game.) Almost everything that was good about Portal is better in Portal 2. It has an interactive, context sensitive soundtrack, for crying out loud. Just a magnificent game. There is one minor caveat, however. Because it's an actual game, Portal 2 lacks a bit of the surprise of the original. You really had no idea what to expect from Portal 1. Short, elegant, to the point and unbearingly endearing, Portal was the quintessential post modern video game. Portal 2 is fantastic, but perhaps not quite as seminal in thought or execution. The co-op makes up for that, however.





L.A. Noire

Release Date: May 17, 2011.
Platform: 360/PS3/PC
ESRB Rating: M
Developer/Publisher: Team Bondi/Rockstar Games
GameRankings: 87.72%
Completely Arbitrary Personal Score: 9.1/10 (Great)


L.A. Noire was (and still is) one of the most interesting and unique undertakings in gaming history. So much so that, unlike ANY of the games on this list (excluding possibly the two Portal games), Noire has almost no basis in combat. More so even than a game like Mass Effect, it is based almost entirely on dialogue. Using a nigh-revolutionary motion capture facial system, Team Bondi created a conversation system that, while maybe a little static (you'll notice the same facial expressions constantly), manages to skirt the edge of the uncanny valley while still seeming realistic, something that's increasingly difficult to do. A game that is based on talking, investigating and wondering less than straightforward action is not rare to see, out of an indie or B title. Too see it from one of the biggest game companies in the world is different. Add in the excruciatingly re-created world and attention to detail, and you have a sandbox game every bit as engrossing as GTA IV or Red Dead Redemption. Maybe not a world as accessible or blindingly fun as either of those games, and certainly not as good, but perhaps a more seminal affair. In the end, Noire was an experiment, a new way of designing games set in the mold of a historical epic. I can easily see another great GTA game, and I can certainly see another game like RDR at some point in the future. I'm not sure if I ever see another game quite like L.A. Noire.




Deus Ex: Human Revolution

Release Date: August 23, 2011.
Platform: 360/PS3/PC
ESRB Rating: M
Developer/Publisher: Eidos Montreal/Square Enix
GameRankings: 89.41%
Completely Arbitrary Personal Score: 9.4/10 (Great)



Every year, there's one game I never see coming. A game that I play on a whim that ends up utterly and completely captivating me. Deus Ex: Human Revolution is not only one of those games, it may be the ultimate version of one. I never played either of the original Deus Ex games. For someone who presents himself as something of a gaming connoisseur, not playing one of the most influential and proverbially game-changing works int he history of the medium is a bit of a shame, to be sure. Perhaps I was too young. Perhaps I wasn't privy to a computer capable of running it. Whatever the reason, the Deus Ex games were something of an unknown to me. That changed when I bought Human Revolution. Equal parts Blade Runner, Mass Effect, and Ghost in the Shell, Human Rev is one of the most visually arresting games I can remember playing, and an eternal testament to of one my favorite sayings in gaming: graphics aren't as important as art design.

Speaking of design, DX:HR is as wonderfully sounding a game as I can remember. The voice acting isn't flawless, but when it has to be good, it's wonderful. The sound design is as convincing as it is ethereal. The music is...my God, the music. Forceful, haunting and every bit perfect for the world it inhabits, the music is possibly this game's biggest strength.

All this effusive praise of the game's design might sound like I'm dodging what is arguably the most important aspect of any game: how it plays. Have no fear; Human Revolution plays marvelously. A hybrid shooter/rpg/stealth/puzzle game set in an imaginative and eerily prescient 2027. It plays extremely well. It's hard for me to recommend a game more than I can Deus Ex: Human Revolution. It lives up to a legacy I was never even sure existed, and does so by being it's own game. Not a perfect game, but as ambitious and engrossing a game as I can remember, full of ideas and wonder. Play it.




Gears of War 3

Release Date: September 20, 2011.
Platform: Xbox 360
ESRB Rating: M
Developer/Publisher: Epic Games/Microsoft Studios
GameRankings: 91.59%
Completely Arbitrary Personal Score: 8.7/10 (Very Good)


Gears of War 3 is all the platitudes you would want from the back end of a major trilogy. It wraps up the storyline started with 2006's Gears of War. It's bigger, badder and more entertaining. It's everything about the series distilled into it's purest, most effective form. And it picked a horrible year to release. 2011 is one of the strongest gaming years of this or any generation. For instance: I chose not to write about The Legend of Zelda: Skyward Sword for this year's edition, not because it wasn't good enough (it was fantastic), but because there were just too many other games, and I didn't feel like I played enough of SS to justify writing about it.

Gears of War 3 was very good, but I'm having trouble remembering it when so many other great games came out in close proximity. Gears 3 should have come out in 2010.





Batman: Arkham City

Release Date: October 18, 2011.
Platform: PS3/360/PC (Eventually Wii U)
ESRB Rating: M
Developer/Publisher: Rocksteady Studios/Warner Bros. Interactive Entertainment
GameRankings: 94.13%
Completely Arbitrary Personal Score: 9.3/10 (Great)


Batman: Arkham Asylum was one of those games I mentioned earlier: a total surprise that ended up being one of the best games of it's year. Batman: Arkham City, the sequel, had no such luxury. What very easily could have fallen victim to a bevy of unrealistic expectations (most of which from yours truly), Arkham City ended up surpassing expectations to usurp the title of "best superhero game ever" from its predecessor. This is due, mainly, to one thing and one thing only: the city. While not as big an open world as something like Fallout or Grand Theft Auto, Arkham City brought a BioShock-like level of detail and a bevy of Batman's best villains, along with a huge amount of lesser-known cameos (Kevin Conroy as Hush in particular). From a gameplay perspective, it's bigger, more complex and more satisfying than it's predecessor, while featuring a more taught story (although I'm starting to doubt the possibility of this game occurring during only one night).

Atmospheric, visceral and thoroughly exciting, this is one of the four best games of its year, which is saying something in a year like 2011.





The Elder Scrolls V: Skyrim

Release Date: November 11, 2011.
Platform: Xbox 360/PlayStation 3
ESRB Rating: M
Developer/Publisher: Bethesda
GameRankings: 95%
Completely Arbitrary Personal Score: 9.5/10 (Legendary)



Here it is. Skyrim. Another installment in Bethesda's life-destroying Elder Scrolls series, Skyrim is, on the surface, one of the most ambitious looking and feeling games ever to exist. Digging a little deeper? It's still an amazingly, mindblowingly big, detailed and enjoyable game. But it's not perfect. Like all Bethesda games, there's too much size, too many variables, that can throw a proverbial wrench in the system. Glitches are as common as ever, and in a game this atmospheric, they can be near deal-breakers at times.

Moving past that (admittedly big) hiccup, Skyrim also benefits from the tightest and most engrossing main plotline of any of the Elder Scrolls games. And those dragons. Only after severe amounts of playtime and leveling do they cease to be among the most adrenaline-pumping boss fights in all of gaming. The soundtrack is ethereal yet substantially beautiful. Like all Bethesda open-world games, an inordinate amount of enjoyment can be had by just picking a direction and walking towards the horizon. The world of Skyrim, the nothern-most province of Tamriel, is a cold and unforgiving place, where the winds whip at you almost as hard as the predators do. Aside from the cities (some of the most intriguing in all of the series), every settlement feels vulnerable and wild. And yet, there is a strange warmth to this game. A feeling of belonging. One of the single most wondrous maps in all of gaming, Blackreach (if you haven't checked it out, do so immediately). Untold wonders await you in Skyrim. Here be dragons.




This concludes (for now), my 16-part 15 Years of Gaming segment. By no means are these all of the games I have liked in my lifetime. These are just the ones I felt I had something to say about. If this is your first time or you've read them all, thank you, immensely, for reading. This has been maybe the first large-scale personal project I can remember completing, and easily the most fun. I'll probably be doing a 2012 round-up sometime in December or January, but this is the end of my scheduled reviews/recaps.