Right off the bat, the COD franchise (particularly the games developed by Infinity Ward) is considered as one of the premier FPS games out there. Originally a WW II game, Infinity Ward has decided to take the series into the modern era thereby highlighting the issues of current events on the ‘war on terror’.

As an FPS game, it is undoubtedly superb. It has all the characteristics of an excellent game: intense action mixed with slick visuals and responsive gameplay both for the single player campaign as well as its multiplayer option. But more importantly, the treatment of the single player campaign is what probably defines COD4 the most.

For all intensive purposes, COD4 is probably one of the grittiest games out there.
 
Visually speaking, COD4 is unique. If one considers the typical ‘gritty’ look implemented in movies and other war themed games, the common technique used is having a gray filter. The lack of color brought about by the grayish hue radiates a depressing and drab mood. That mood gives that gritty effect.

COD4 however does not completely rely on the grayish hue to deliver the gritty feel of the game. It is obvious that COD4 has much more color compared to the other war-themed shooters. In fact, in some environments, flowers are even noticeable in the foliage. As everyone knows, flowers are hardly the objects associated with war. But in this game, it does not matter. The presence of a more vibrant flora give a sense of irony that only adds to the intensity of the atmosphere within the game.

This is because the grittiness mostly comes from the main action on screen highlighted by superb lighting and particle effects. The smoke effects give a sense of pollution; the explosions and gunfire mixed with convincing sound effects give a semblance of disorientation and chaos. The animation also adds to the terror. Indeed, seeing a terrorist wounded on the ground willing every ounce of his strength to pull out a handgun to shoot you further despite being on the verge of dying is horrific. The game playing at 60 frames per second make the brutality of war that much clearer.

COD4 also drops the cheese. Although the typical ‘save the world’ bit is still prevalent in its plot (as summed up by Sgt. Griggs by saying “at least the world didn’t end; hit it!), the ending is far from happy. The ‘victory’ feels hollow. In essence, COD4 depicts war as truly horrible regardless of which side you are on.

In addition, as a game that showcases modern warfare, it implicitly showcases the dark reality of modern society. COD4 depicts the primitive and dirty side of current democratic civilization. It doesn’t matter whether a soldier is ordered to fight for democracy, justice, freedom and all sorts of idealistic clichés. In this world, the sad reality is that human society will always be governed by Machiavellian principle: particularly Machiavelli’s case for hypocrisy.

Consider Act II when Captain Price talks about his mission ’15 years ago’ in Chernobyl. He mentions that it was the first time that the government ordered an assassination mission since the Second World War.

Democracy is supposed to be a system that respects the rights of each individual. So why does a democratic government order an assassination mission? To do so would mean violating the very values of equal rights to all people.

But then again, not all people believe in the system. For those who don’t, respecting other people’s rights is not really an option. In fact, a lot of people are more than happy to violate the rights of their enemies.

In essence, a democratic nation that values equal rights is no doubt in a vulnerable situation against those people with no idealistic restraints.

In order to protect the so called freedom as depicted in a democratic society, the powers that be have to play the hypocrite’s game, violating the very rules they have sworn to uphold. The powers that be have to be able to do what the ‘enemy’ is capable of doing in order to avoid in being at a disadvantage.

In simple terms, Democracy is an ideal that strives to respect people’s rights and freedom. But in upholding that ideal, the very rights and freedom of some people have to be violated. Democracy sounds good but it is far from being morally upright as its values suggest. If ‘dirty work’ is the only way to protect freedom, then that ‘dirty work’ is what justifies the case for hypocrisy.

Modern Society therefore is not exempt from choosing the “lesser evil”. Like in COD4, “Leftenant” Price was tasked to assassinate Imran Zakaev rather than risk more people dying. In essence, murdering one person is better than risking more people getting murdered.

Regardless of how civilization has advanced throughout the years, it is still very primitive in its core.

If there was one recurring complaint about the PS3 in its first year, it was the fact that it didn’t have enough quality titles in its game library. Multi-platform games on the PS3 usually looked like downgraded ports compared to their 360 and PC counterparts. Exclusive titles released in 2007 were not as successful as hoped. In addition, many major titles were also delayed.

It was no wonder that numerous PS3 owners were looking at Naughty Dog’s “Uncharted: Drake’s Fortune”, a tale of a modern day treasure hunter searching for the famed ‘El Dorado’, as the game that could finally justify the $600 (or 399 or 499, depending on which version one got) price tag of the so called “true next generation console” according to Kaz Hirai.

Has Naughty Dog delivered the goods?

Let us first begin with the obvious. Uncharted looks incredibly amazing. Its jungle environments are lush and vibrant. The water flows, ripples and reacts realistically to the events that transpire in the game. Plants and trees sway with the wind. Some of the plants also react to physics. In chapter 7, trees can actually be chopped down with the machine gun of the jeep. The lighting effects in the game are also impressive with its use of glare effects and self-shadowing techniques. The game also utilizes other subtle cinematic touches like soft-focus and blur-effects. The textures within the game are very detailed both for the environments and for the characters. As it stands, Uncharted is arguably the best looking console game at the moment.

Apart from the visuals, Uncharted boasts one of the most fluid animations in gaming to add to the believability of the experience. That plus realistic acting combine for one cinematic experience that could easily rival any Hollywood action flick.

Of course, people buy games to play more than just watch. Impressive visuals are good, but if the game is not fun to play, then it becomes pointless to purchase the product. In the world of video-games, gameplay always comes first.

Thankfully, Naughty Dog also had that area covered. If ever there was a lesson to be learned from the “Crash Bandicoot” series and the “Jak and Daxter” series, it is the fact that Naughty Dog prioritizes on fast-paced ‘on-the-dime’ responsive gameplay.

“Uncharted: Drake’s Fortune” incorporates three basic gameplay elements: Traversing (or platforming), shooting, and melee mechanics. All these elements are combined in such a way that each gameplay mechanic compliments each other to produce one fluid experience. Therefore, the change from one element to the next is unnoticeable. For instance, a player, after traversing steep cliffs, can sneak-up to an unsuspecting pirate for a quick stealth kill, throw a grenade towards another group of villains, equip an automatic rifle while dashing for cover and unleash lead to the next batch of bad guys on the fly. The controls are very simple but are intuitively efficient.

And it is good that the controls are efficient because the opponents’ AI in “Uncharted” are very aggressive (especially on the higher difficulty settings). They take cover and attempt to evade your shots. They know how to sneak up and flank you from the side if you are not attentive to their actions. Being able to switch from gun-play to hand-to-hand combat instantaneously is crucial for survival in any event that a bad guy successfully gets up close and personal with the main character. Needless to say, the game offers challenge without being frustrating.

However, the game still has its share of cons. The AI for instance, despite being good in such a way that at least your enemies aren’t just standing around waiting to die, is not entirely realistic. It seems that the enemies were equipped with psychic powers since all of them instantly know exactly where you’re hiding the moment you’re spotted by just one enemy. If you snipe from a distance, all the bad guys in the vicinity are able to detect your location immediately. Such is hard to fathom since sound easily reverberates in the middle of the jungle. Echoes make it difficult to identify the exact source of a particular sound. But in the game, such factor doesn’t exist. For the sake of encouraging all-out action, some of the believability was sacrificed by stretching the limits of human capabilities.

In addition, enemies in the game appear in batches. After you kill one set of enemies, another set of bad guys spawn until every last one is dead. Some areas spawn up to four batches of enemies. From a cinematic perspective, such occurrence is hardly realistic. But then again, racking up headshots and blowing people up with the grenade launcher never gets dull. The unrealistic set-up can at least be forgiven. It is, after all, still a game.

Other minor problems include texture pop-ups particularly at the start of chapters two, three, four, 18, and 20. But they only happen at the beginning of the stage and doesn’t hamper the integrity of the visuals. There are screen tearing in the game but you have to really look for them to notice them. Besides, the solid frame rate (that never drops below 30 frames per second at any point in the game) makes up for the occasional tearing.

All-in-all, Uncharted is around eight hours long. For some, that may be too short especially since the game doesn’t have a multiplayer option. However, with 61 hidden items, numerous challenges and unlockables, and multiple difficulty settings, the game still has a ton of replay value. And that’s not including the fact that the story of the game alone is enough reason for at least a second play-through.

PS3 owners can now breathe a sigh of relief. “Uncharted: Drake’s Fortune” is an outstanding game. It is one that truly highlights the definition of the term ‘next-generation’.

9.0/10.

Platform: PS3

Formula 1 games have always been a niche product. Because of the inherent technicalities involved within the sport, recreating Formula 1 realistically into a game would result in a product that is too complicated for the casual gamer to get involved in. Only hard core fans of the sport end up enjoying Formula 1 games.

Formula 1 Championship Edition tries to break away from that cycle as Liverpool Studios promised to have something for everyone. F1CE has an option for an arcade experience for people who just wish to feel a sense of speed, while For Formula 1 fans can turn on all the rules, switch off driver aids, enable variable weather and of course set damage to realistic. For racing purists, one can even go to the extent of racing full distances ranging from 52-78 laps per race depending on the GP venue.

Whether or not Liverpool Studious succeeded in satisfying a larger user base is the point of contention of this review.

For starters, F1CE delivers a very good sense of speed. When your speedometer reads 340 km/h, it sure does feel like it. Although 60 frames per second is a must for me when it comes to racing games, F1CE’s 30fps is acceptable. Considering that there are 22 cars on track racing at the same time without a single hitch in the framerate at any given moment is no doubt impressive. In addition, the game’s use of blur-effects add to the effect that beneath your chassis is a V8, 2.8 litre, 800 hp engine generating more than 18000 rpm.

The AI in the game is also very good. Every driver is aware of their surroundings. They do not just follow the standard racing line. Rather, they adjust to whatever you do on track. Moreover, the AI is also designed to follow the rules. For instance during qualifying, I was on my flying lap when Nick Heidfeld’s BMW-Sauber exited the pits right ahead of me. The Sauber remained away from the racing line and duly let me pass to avoid impeding my qualifying run.

Other neat touches include changing weather conditions. During certain circumstances, rain can pour right in the middle of a race. Engine blowouts are also present. In such cases, oil is actually spilt on the track. These details add to the realism as well as the unpredictability of the racing experience.

The damage in the game is also impressive provided that it is enabled. The cars break apart realistically. Broken components (like a damaged wing) react to physics and rarely clip with other objects in the environment.

Moreover, various game modes are available to the gamer. There is a Quick Race option for those who just want to immediately get into the action of racing. Time Trial lets the player race against the clock. GP weekend allows the player to experience the full race weekend complete with practice sessions, qualifying and of course the race. Championship mode lets the player race a full season using anyone in the 2006 F1 roster. And for the full F1 experience, there is also a five year career mode that lets the gamer create a driver and climb through the ranks of Formula 1. Basically, you start out as an unknown driver trying to earn a racing seat. Depending on your performance, new contracts may be offered by more competitive teams and hence allow you better opportunities for winning the title. A multiplayer option is also available if you want to compete against other drivers online.

The GP weekend, Championship mode and Career modes are the core of the game. These game modes are extensive when it comes to recreating the realistic Formula 1 atmosphere. Practice sessions let you set up your car to suit your driving style. You can choose to customize the settings of your car manually or have the ‘race-car evolution’ option aid you with the set-up. The practice sessions allow you to compare your lap-times with the other drivers’ lap times to see whether or not your set up is competitive. Different tracks require different set-ups and hence practice sessions are a must if you want to have a chance of winning. These sessions can easily take about 1-2 hours for the more serious gamers who want to squeeze the most out of the car’s performance. Once you are satisfied with the car’s set-up, you then proceed to qualify. Your recorded lap time becomes the basis of where you will be on the grid come race day. Of course you then try to win the race.

Considering that there are 17 races in a season and that the career mode offers five seasons, F1CE therefore provides 50+ hours of gaming. In essence, F1CE can be considered an RPG of racing games.

For die hard Formula 1 fans, that is a good thing. Unfortunately, the casual gamer is still left out.

It is true that there is a quick race option for immediate action. However, unless a player has set up the vehicle for the specific track, it is unlikely that the player will win the race. In other words, even the casual gamer has to spend time on practice runs in GP weekend just to be able to have a competitive set up. For some, spending 1-2 hours configuring the car and going around in circles testing the set-up for just one race can be a tedious experience.

As a formula 1 fanatic, I relish the time spent for setting up the car; tweaking it to become more competitive. To me, the process of configuring the car is fun because it adds to the authenticity of the game. After two hours worth of setting up the car to my preference, come qualifying I had a pole position time of a little more than a second. During the race, I built in a commanding 7 second lead in an 8 lap race around Monaco. At the final lap, a back marker blew an engine and spilt oil on the track that caught me by surprise. I ran over the oil, spun and crashed to a barrier nose first at 150km/h thereby damaging my front wing and both my front suspensions.

It was no doubt a frustrating experience. But then again, the game captures the unpredictability, the tension, and of course the difficulty of the pinnacle of Motor Racing. Because the game incorporates fortuitous factors such as rain and engine failure, it makes the experience of finally winning a race that much more satisfying. As horrible as that experience was, I still considered the incident as a testament to how close it simulates Formula 1.

For casual gamers, the game may seem to be more ‘work’ than play since it can be as unforgiving as hell. As much as I love the game, it is still clearly not for everybody.

It is recommended that one tries it out before buying.

8.0/10

Developer: Factor 5
Publisher: Sony Computer Entertainment
Platform: PS3
Genre: Action-Adventure

No other ‘next-gen’ game has had extreme reactions to gamers other than Lair. As one of Sony’s exclusives, expectations were high. The game had no shortage of hype. But upon its release, the game has been reviewed so poorly by popular game magazines and numerous game sites.

But despite all the negatives this game has received from reviews, a surprising number of gamers have considered Lair as one of the most intuitive games ever made; opposing whatever ratings it has received from professional reviewers.

Indeed, Lair has developed a significant following. Although many are frustrated with the game, practically just as many gamers also love it. One only needs to look at the user reviews and ratings to see the opposing reception for this game.

It is quite a mystery to figure out how a game could generate contradicting impressions among gamers. However, these very contradicting impressions provide philosophical implications.

Points of Contention:
The brunt of the negatives from professional reviews for the game boils down to the required motion-sensing controls, the lack of radar as well as the game’s lock-on system. The combination of these factors, according to most professional reviews, makes a frustrating and unplayable experience.

However, for the fans of the game, these factors aren’t an issue at all. In fact, the most heavily criticized issue, the motion-sensing controls, are what the fans of the game relish.

In this situation, the very factors that are deemed as flaws by some are actually a cause for praise for others. Determining which side is accurate is debatable. What is certain however is that Lair has caused quite a stir in the gaming community. Analyzing why such is the case allow us to tread philosophical concepts.

Controls:

The controls are by far the most scrutinized area of the game. The decision of the developers to have ‘motion-sensing only’ controls has brought mixed results for gamers. It’s either the player loves it or hates it.

Gamers who don’t like the motion-sensing argue that Lair’s use of the sixaxis is ‘too-loose’ and unresponsive. They would have definitely preferred analog sticks to control the dragon. The gamers that do like it however don’t seem to find any problem with the motion sensing.

The split reactions towards Lair’s use of motion-sensing sheds light on the first Philosophical concept concerning phenomenology.

People in society use concepts and patterns to define (or classify) the world. And with these concepts and patterns, perceptions of the world are molded in the mind of the individual. This tendency is an attempt to put a semblance of order in a very unpredictable reality. We try to define the ‘real’ to be able to make some sense out of the irregular nature of an ever-changing ‘real world’.

But then again, is our perception of the world the actual reality? Or is there a difference between what reality is and what we think reality is. Are we too consumed by our definition of the real to the point that we are missing out on actual reality? This is where phenomenology comes in.

Phenomenology is a method of doing Philosophy that is concerned with reality as it is. One into phenomenology attempts to discover the original experience of reality rather than being enclosed in concepts and words used to define how we as people perceive reality.

Perceptions, definitions and classifications are evident in gaming. By classifying a game with a certain genre, a gamer already expects ‘how a game plays’ with respect to the game’s particular genre.

Although Lair is officially classified as an ‘action-game’, the mechanics of Lair can be likened to that of an ‘arcade flight-sim’. Indeed, many have considered Lair as a flight-sim with a twist: the player flies a dragon instead of a plane (or chopper, x-wing, y-wing or any flying machines conceived).

Gamers have a notion of how a flight-sim plays. Based on that notion, the player then judges if the game is good/bad depending on how close it is to the given notion.

This is probably why Lair has gotten so many mixed reactions with regards to the controls: it doesn’t handle at all like the standard arcade flight-sim. Hence, for gamers who expect the ‘feel’ of an arcade flight-sim, Lair would probably feel “off”.

Those who despise the motion-sensing of Lair seek analog sticks ‘to control the dragon’ because it would feel better. But that urge to use analog sticks already hints that they expect the ‘standard’ feel of an arcade flight sim. And because of a pre-determined notion of how a flight-sim should play, Lair is already condemned as a faulty game.

Lair’s Control Concept:
But Lair is not the standard flight-sim despite sharing the similarities of the genre. To understand why such is the case, one must consider the concept of the game. Lair allows the player to control the reins of the dragon: not the dragon itself. That simple concept is what brings the confusion among gamers put-off by the controls of the game. Flight-sims allow the player to directly control the flying object itself: Lair doesn’t. The flying in Lair therefore is more similar to riding a horse than flying a plane.

Unlike a machine, the dragon is supposedly alive. And at certain points, a live creature’s instincts take over.

This means that ‘absolute control’ is impossible. If a person riding a horse wants to jump across a cliff, there are times that the horse won’t jump simply because it doesn’t want to die. In Lair, fly too close into a mountain at a fairly quick pace and the dragon will practically fly on its own to avoid it. In times like these, controlling the beast does become difficult. But then again, flying creatures don’t like crashing into giant boulders (at least, that is the logical assumption).

For some gamers, such a concept is not bearable. This is because we as people seek to control the things around us at will. It is the very reason why we classify the world. But in real life, absolute control is impossible. Lair is a game that highlights that reality by pitting a gamer on top of a live dragon.

In addition, riding a live creature (like a horse) has its risks. Sometimes, the animal gets confused with what the rider wants to do. It is imperative therefore to be precise and accurate at all times just to be sure that the animal knows exactly what the rider wants.

Lair requires the same accuracy and precision. If a motion is skewed quite a bit, the dragon does something else. Hence, many gamers are baffled by certain maneuvers. The most common complaint is attempting to do the 180-turn. Rather than performing a 180, the dragon dashes forward.

However, there are gamers that somehow are able to execute the moves at will most, if not, at all times.

Perhaps the main issue with the controls lies in the fact that the wireless controller is not mounted on any physical object (the way reins are mounted onto the animal being ‘driven’). Therefore, spatial recognition can be difficult because a gamer doesn’t have a physical basis for what is straight, up, down etc. Depending on the posture of an individual, what is straight may not necessarily be ‘straight’ as recognized by the motion sensors.

It takes practice for a player to match his sense of space to that of the sensor. For some people, the effort is tedious. To others, it is the route for a new experience.

Either way, this very issue presented in Lair highlights the difference of what we think to what really is.

Game Mechanics:

The other major criticisms in Lair have to do with the fact that gamers aren’t given the convenience of radar as well as a definitive lock-on system. For some that heavily criticize the game, the lack of such devices merely add to the frustration. But then again, for others, the very lack of such devices adds to the atmosphere of the game.

Taking into account the backdrop for the story of Lair, one will immediately notice the medieval ambiance of an ancient world. As part of an ancient past, obviously advanced tools like radar or lock-on devices were definitely not invented yet. Therefore, the use of an arrow (that mimics a compass) for navigation and relying on the dragon’s vision for determining targets become tools for heightening the ancient feel of the game.

Indeed, for those who love the game, relying on the primitive means for navigation as well as determining targets adds to the experience of a story set in the past. In addition, relying on the compass also allows the gamer to wander a very detailed and lush environment.

However, many gamers demand the tools that exactly states where one is in the game’s environment. For these gamers, radar is imperative regardless of the story’s setting. The lack of radar becomes frustrating for such gamers.

This urge to have the convenience of modern technology within the context of an ancient backdrop highlights Heidegger’s philosophy concerning people and technology.

For Heidegger, the use of technology is a human activity. Although technology is initially invented to answer a specific need and therefore add convenience, the technology invented becomes mapped within the people that use them. In essence, technology becomes part of the very person using it.

Take clothing for example. Clothes are used for specific purposes like protection from varying weather conditions. However, with the use of clothing, fashion is also created. People don’t just wear clothes for the sole purpose of practicality. Wearing clothes for people become a statement of personality. As a result, clothes, which are originally external to the person, have now been integrated to the person wearing them.

In modern society, tools like radar are very common. More and more cell phones as well as cars are equipped with GPS. With such technology, the normal person is able to determine where he/she is at any given time.

As a result, when a game like Lair strips the gamer of such devices that is already part in everyday living, the experience may be shocking. For some gamers, the shock is frustrating and confusing. But to those willing enough to be taken in, the shock may also become a window to experience the challenge people faced in the past who did not yet have the convenience of modern technology.

Either way, the very scenario Lair has given within the gaming community has no doubt highlighted some Philosophical insights.

Title: Colin McRae: DiRT
Developer: Codemasters
Publisher: Codemasters
Genre: Racing
Platform: Xbox 360, PS3, PC

Introduction:

Colin McRae: DiRT is easily one of the most recognizable racing games out there. Being the sixth installment of the Colin McRae Rally series already hints at the relative popularity and success of the franchise.

As successful as the series is, DiRT attempts to outdo its predecessors by expanding the market base of the franchise. It tries to cater even to gamers with no Rally knowledge by incorporating six different kinds of off-road disciplines. One doesn’t need to initially be a rally fan in order to appreciate the game and of rally racing in general.

The changes to the formula of the series have met some minor criticisms however. Others argue that the game-play became more arcade than simulation. Regardless of some complaints, there is no denying that the appeal of DiRT has expanded beyond the hard-core rally fans.

Despite the arcade influence of the game, DiRT probably captured most closely the essence of the man whose name is used in the game: Colin McRae.

Colin Hilton, Chief Executive of the Motor Sports Association hailed Colin McRae as “a great ambassador for Scottish and UK motor sport”. Indeed, McRae’s all out driving style and uncompromising commitment have garnered countless of fans throughout the world.

DiRT, like the man whose name the game bears, is an ambassador of rally racing as well. Its wide range of appeal has brought the sport to countries that do not have a strong following for rally racing.

Perhaps, DiRT is a fitting tribute to the rally ace. If this game is to be the last of the series, it is one lasting reminder of the legend that is Colin McRae.

-Colin McRae (MBE) – 1968-2007

Graphics:

DiRT’s graphics stand out as one of the best looking games of 2007. The game’s environments are varied. The lighting is impressive. One can practically ‘feel’ the searing heat of the Australian afternoon sun by simply watching the game.

But if there is one aspect of the game that truly stands out, it is the damage engine. The cars wreck with meticulous detail depending on the severity of the impact. The damage however is not restricted to the car. Even the environments react accordingly to the car the player is driving. Clip an Armco barrier and it dents. Makeshift fences break apart when swiped by a drifting car going 100+ km/h. Gone are the invisible walls that cause the gamers to bounce back on to the designated course.

The details involved in the crash engine highlight phenomenology in gaming. It takes into account how environments in the real world react to certain scenarios. In the case of DiRT, how the environment reacts to a shunted car.

The damage engine may look cool, but its implications are deep nonetheless. DiRT produces environments that are more than just a background. Environments in the game are an essential part in experiencing the game.

Phenomenology and the World of Experience:

Phenomenology is a process in which a person attempts to grasp the world of experience. A large part of the subject deals with observable matter. In order to ‘grasp’ genuine experience, one must heighten his/her senses of the world around. Perceiving the world should be beyond just the labels society has bestowed to objects in the world. By being keener to the observable world, one is avoiding the tendency to take things for granted.

The pattern in video gaming is at a stage where a keener sense of the environment is a must. In the pursuit of realism, developers have to be more aware of how the environment works and reacts to produce an immersive experience. With games like DiRT, the environment of the digital world has become a large part of the experience of the game.

By mimicking the physical attributes of the world within the game, gamers are given a chance to realize the nuances of the real world. The interactive environment in DiRT, as highlighted by its damage engine, attempts to perceive the world as it is (as closely as possible). Not to mention, the environments are detailed and lush. It grabs attention and hence is not something that is taken for granted.

Like phenomenology, DiRT allows gamers to experience the environment as it is. By witnessing how the environments ‘react’ to a given situation within the game, perhaps gamers may have that keener sense to recognize the environments of the real world in which the game’s environments are based. The damage engine in DiRT is a subtle reminder that real environments in the world are part of humans’ experience of life.