On the PC, Only the Maximum Settings Are Canon

The eternal cycle that plagues us PC gamers is the constant need to upgrade our hardware, to keep up with the newest and shiniest games. It’s not just the fact that we need a rig that passes a new game’s minimum requirements and barely manages to run the game at all – we desire more than that. We want to play the game at its maximum possible visual settings, so that we can see it in its full glory. I’ve wondered, though, whether it really is just a craving for the best eye candy that drives that desire in me.

Maximum CrysisWhen I play a game at less than maximum settings, there is a nagging feeling I get that is separate from the disappointment in the reduction of graphical fidelity, or the dismay that my PC is getting long in the tooth. I find myself wondering if I’m really experiencing the game as it was intended by its creators. Developers speak more and more about wanting to deliver an experience to gamers, and wanting them to play it just how they envision 1)http://www.1up.com/do/newsStory?cId=3162366. I think about the interpretation of what I see, and whether what I’m seeing is ‘canon’. If the object detail is down so low that I can’t tell what a character is wearing, am I missing a crucial point about that character? If I make a certain conclusion about a room that I wouldn’t have if I could only read the writing scrawled upon the walls, is my understanding of what happened ‘non-canon’? It’s a minor point but it’s something I keep thinking of in an age of games that are finally able to tell stories with every kind of narrative device available.

Of course, console gamers don’t face this dilemma at all. A console game plays the same on every unit of that console, and developers have a lot more control on how the game will look and perform without having to think about different hardware combinations and permutations. So I’m just restricting this thought experiment to PC games. There are a number of questions that follow this thought. Does it really matter if the graphics are not at the very max? Would you even be able to glean some higher level meaning or nuance from the details? Are we at the stage in game technology where this would matter, and developers can use this level of detail to add subtle enhancement to a games story and atmosphere? If so, in what games released today would it make a difference? A few games came to my mind immediately, and I’ll restrict my selection to just these few already installed on my hard drive so as not to belabour the hypothesis.

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The Fires Will Consume You In Igneous

IgneousRichard linked me to a video of this today, and I felt compelled to pass it on. Igneous is short little game by a group of DigiPen Institute seniors calling themselves Going Down In Flames. Inadequately described as an “action platformer”, the game has you rolling a little stone totem guy through a vast underground cavern, with flowing lava bearing down on you all the way. There are four main areas – any of which you can pick from a chapter menu – and two difficulty settings. The graphics and physics are impressive considering it has all been done from scratch in 16 months; the game is definitely worth a look.

It may seem like there isn’t much more to the game than vaulting forward at top speed, but it isn’t as simple as that. Not only must you keep up the pace so as to stay ahead of the lava and crumbling floor, but you must jump over cracks and chasms – some of which may be created suddenly by falling rocks. Add to this a thumping soundtrack of tribal drums that brings a certain urgency, and you have a game with a real sense of speed not unlike that found in the Burnout games.

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The download clocks in at 114MB, and can be obtained here, but do have a look at the hefty system requirements first. The video trailer that enticed me is embedded after the jump.

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Small Worlds

Thanks to @SorenJohnson for the heads-up on this lovely little game. Small Worlds is a pixely exploration game with the most rudimentary graphics and controls, created by David Shute for the Casual Gameplay Design competition. You play as a three-pixel-high sprite that could pass as a human if you squint hard enough, moving him around an environment that slowly reveals itself as you progress.

Small Worlds Small Worlds Small Worlds Small Worlds

At first there is nothing remarkable about finding the way forward, with indistinct backgrounds and no clear goal. But as you play the black fog of war clears away, and view pulls out, making the pixels smaller and more defined. At a certain distance you realise that the three pixels are enough to describe your protagonist and the low-def world has a charm all of its own.

The way the game leads you along a path that winds back and forth and up and around and over things, makes the deliberate revelation of the background more evident. Stepping into a flashing object sends you to a new place, and completing that area brings you back, now with a goal in mind. The haunting and thematic music complements the quiet and atmospheric environments, and you feel there is a story being told even if it’s not quite so straightforward.

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The Big Bad Behind The Rise Of Rapture

This week GametrailersTV brings BioShock 2 back into the spotlight, with some brand new footage of the game. In the latest episode of GTTV (embedded after the break) Geoff Keighley talks to Creative Director Jordan Thomas and scoops some heavy spoilers about the story and some of the key characters. Those who don’t want to know anything in advance about Andrew Ryan’s successor would be wise to skip the video – or at least watch it on mute.
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Most of the footage is entirely new, revealing a new splicer, the Tank-like Brute, as well as a new area in Rapture, the city’s red-light district known as Siren Alley. Not only is the singleplayer action shown, there is some multiplayer gameplay too, now more representative of the experience than the debut trailer. Hit the jump to see the GTTV episode.

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Mass Effect 2 Launching in January 2010

Mass Effect 2It seems Mass Effect 2 isn’t as far off as we thought. With the upcoming release of Dragon Age: Origins early next month, it was almost assumed that the titles would be spaced out a little further apart. But BioWare announced yesterday that ME2 will be following close on the heels of DA:O, dropping on January 26 2010 in the US, and 29 in Europe. The announcement came with details of the preorder options available and their in-game bonuses.

It’s been a relatively quiet month for ME2 as BioWare has been focusing its efforts on spreading the word on DA:O. With the almost ridiculous extent to which gamers have been given choices on preorder bonus DLC, it’s no surprise that the developer will be using some of the same ideas with ME2. There’s already a bit of cross-pollination with the Blood Dragon Armour (usable in both games) awarded in one of the DA:O preorder options, and now there are two more opportunities. Currently it looks like these options are available to US preorderers only, the choices being between getting the game at Gamestop, and everywhere else. The Gamestop bonus is the Terminus Armour and M-90 Blackstorm Heavy Weapon, and the everywhere-else bonus is the Inferno Armour. Both outfits look quite dapper as you can in the screens below.

Terminus Armour Subject Zero Inferno Armour

As I mentioned earlier there has been less attention on ME2 as of late, though there is still media being trickled out from time to time. The latest trailer (embedded after the jump) introduces a new character, Subject Zero (pictured above), whom you can ask to join your ranks. This new video most certainly didn’t drop with any lack of ripples; the general “edgy” direction of the sequel’s promotion seems to have finally strayed a bit too close to the current debacle that is the DA:O marketing campaign. The knee-jerk reactions to this worrying shift were so drastic it prompted a cautionary counter-reaction from Martyn.

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