That we recognize symbols in culture is not amazing, we seem to be hard wired to recognize symbols and symbolism. Whether we understand the symbolism or not is not the point. When we look at culture it is filled with images that tell us what we are supposed to connote some message from the work. In the movie BLACK RAIN with Michael Douglas a plane leaves the United States airspace of red sun, white sky and blue ocean (The US Flag: Red White and Blue) to land in Japan, with a largely white sky and blazing Red rising sun (The Japanese flag of the Rising Sun.) It is not necessarily important but it adds to the layers of symbolic information, and the viewer may or may not understand it more than just feeling something, but, it is there.
Some symbolism retains power and value throughout human experience. The story of Saint George killing the Dragon is powerful, but a mythic story that arose from a person who did something very much the same in terms of choices made. Saint George comes from a historical figure who chose not to convert to a different religious faith in the face of a demand from an Emperor. He was executed as a result. The mythic story follows a Knight who slays a dragon, but the mythic root is that in our lives we are able to make heroic decisions, and the dragon, that beast of conformity and hate can be slain. The Christian metal band Demon Hunter has an image of a slain Demon skull as the symbol of their band. They do not linger over lyrics of killing demons, they speak about choices and morality, they slay demons with words. The symbolism here is unchanged, and there are many many other instances I could show for the same sort of usage.
Death itself is symbolized by a Skull. In the past the use of a skull in imagery meant very clearly that death was near, that a portent of danger was evident, and that one should be careful, exhibit fear, or wariness. But lately in many forms of culture, you see the skull being used not as an omen of horror, or danger, but of empowerment over such a thing. Whereas Skeletor from He-Man and Darth Vader of Star Wars were given skull like faces, you can see skate boarders wearing clothing with skulls on it to show they are brave in the face of danger. You can see it in the Christian metal band AS I LAY DYING, who uses the skull to symbolize that Death is a doorway to a different existence, and that being slave to the flesh rather than the spirit is death itself. This usage of imagery can cause confusion, as clearly when symbols change meaning people from before and after do not connate the same thing from the symbol. When I see a pirate flag and the Skull and Cross bones I do not necessarily think I am about to die, or be in danger, but I certainly don’t see Pirates of the Caribbean as being about men who are evil and wishing to plunder.
Finally some images we create might have no greater meaning (although Abbey Road does have a number of symbolic images and meanings, which I might discuss in future articles... although I am no expert regarding it) but enter into culture due to the widespread popularity, notoriety, and importance. The Beatles were very much a famous, powerful, important band, and everything they did had a place in culture, that was revered and examined. Whether they were meaning to do so was really not the point. They were considered at the edge of culture and you can see from album covers and personal statements and music lyrics from the band and members, they were a cultural movement. The album Abbey Road was very important, lovely to listen to, and musically valuable. But the impact it had can be seen in the numerous parodies of it. Many dozens of bands, individual artists and popular culture mediums utilized the familiarity and fame of the image, to portray themselves in the same important light. The image enclosed shows just the tip of the iceberg of people imitating the image.
Symbolic information exists whether we understand it or not, but is the symbol used a constant, or has the culture changed it, what band, author or game is so powerful and important to become part of the imagery of popular culture?
Tuesday, October 28, 2008
Monday, October 20, 2008
The story is rife with melodrama that would not feel out of place on daytime soaps. Themes weave through suicide attempts, bio-terrorism, euthanasia, and inter-office canoodling. While the storyline itself feels current and topical, the delivery is quite dated. Static images accompany scrolling text like an RPG for the SNES. The pain of reading is exacerbated by the fact that the game is almost too chatty. Before each surgery there is dialogue with storyline development. There is also a longer dialogue scene between each surgery. This means that for each minute that is spent with a scalpel, two more are spent reading about it. Just give me something to suture already. Moreover, the themes are very dark, even with a T rating.
All of this obnoxious discussion and medical mystery magically disappears when the mission starts. The gameplay is (big surprise) the best part of the game. The mission will begin with a senior resident explaining the procedure to Stiles. It is important to pay attention, because they will not be helpful during the surgery, and Angie only seems to chime in when the good doctor makes a mistake.
The game uses both the remote and the nunchuck. The analog stick on the nunchuck is used to select the appropriate medical tool, such as a scalpel, syringe, or ultrasound. After grabbing the correct tool, the player simply points to the screen and uses it. With this simple control scheme players can master time-honored medical techniques such as the connect-the-dots cut and the zig-zag stitch. Believe me, nothing is more rewarding than pulling a shard of glass out of a man's heart and then using a needle and thread to clumsily stitch it shut.
The controls are very precise, which means that they precisely demonstrate how imprecise I am. Though the objectives such as connecting the dots are clearly laid out, my clumsy hand can't seem to complete them without mangling the patient. The worst mechanic in the game is the defibrillator. Every now and then, Angie decides that the only way to save a patient is to electrocute them. During these times, players must hold their wiimote and nunchuck like handles of a defibrillator and push them toward the screen. This simply does not work. I just ended up shaking the controllers back and forth, and hoping it would work.
The early stages feel very "medical": healing wounds, excising tumors, removing foreign objects. As the game progresses, however, the challenges begin to feel more arcade-like. A few puzzles, and abundant use of the laser to fight disease, make it clear that the designers ran short on "medical" ideas after a while.
The graphics are, thankfully, unrealistic. The characters are all hand-drawn in anime style. The bodies and vital organs are rendered in three dimensions in soft, muted tones. There is little to no blood, and nobody ever dies. If a player fails a mission, a senior doctor simply takes over. Overall the game looks very nice.
Despite the few downfalls, Trauma Center Second Opinion is absolutely a game worth playing. It provides a surprisingly developed story with fun game mechanics that offer a glimpse of what is possible on the Wii. Hopefully, this game will usher in a new generation of medical simulators.
Bottom line? Rent it before buying it.
Sunday, October 5, 2008
There's a good reason for this. MGS is a series that has a dense and intricate story line that is intertwined throughout every iteration, and MGS 4 is the culmination of all the story lines, the One Sequel To Rule Them All. As such, this game was uncompromisingly crafted for MGS fans seeking closure and makes no effort to sacrifice this finality in a belated effort to attract new fans.
Imagine watching The Return of the King on the basis of it having won 11 Oscars - without actually having watched the other two LOTR films beforehand. That's pretty much how it is with this game. Sometimes a sequel is masterful not because it can stand alone, but because it completes a familiar fictional universe and your experience of it in ways that go above and beyond the call of duty.
Overall, the gameplay elements have been evolved magnificently. You can do, see, shoot, and sneak more than ever before. But even in this wealth of improvement, some things in particular stand out:
The guards, human and otherwise, have gotten much, much smarter (finally) and have formidable eyesight (finally). If you thought the new completely maneuverable camera would make intrusion too easy, think again. In earlier games, the fixed camera was compensated for by guards who, though not unintelligent, couldn't see farther than their own gun point. The new and improved guards not only work in squad synchronicity, but are blessed with much better senses, including a keen sense of smell. Did you hear that? They can smell you.
The fact you can choose sides in a shootout to exploit the situation gives the game a glorious amount of tactical elbow room. You can choose to ignore the conflicts, of course, but choosing sides makes some sections easier at the expense of making some sections more difficult. But above all, being encouraged to be a rabble-rouser of the worst kind is too hard to turn down. Deliberately making a mess of an already messy firefight is just too much fun to be legal, no matter how virtual it is.
SIXAXIS motion controls are for the most part gimmicky and extremely limited. Having only played a little of MGS4 in a local EBGames, I can say that I haven't spent a terrible amount of time with it, though. They're never mentioned in the manual either, leaving you to sleuth out if they even exist. You can tilt your controller to gently peek out from under a dumpster lid, shake to "clear" your octocamo and, supposedly, shake it to wake yourself up. In regards to this latter function, however, I've swung the controller around in every which way I could imagine (short of tying it to a string and swinging it around my head) and it didn't seem to make a difference.
It annoys me as well that Metal Gear has finally succumbed to the aggravating Light Fixture Anomaly, in which any source of light that is covered by a rudimentary grate or pane of glass is inexplicably invulnerable to projectiles of any kind. In a game where the mere act of walking runs the risk of shattering a clay vase or beer bottle, and car windows can be obliterated by a tranquilizer dart, I demand that a street lamp should snuff if I shoot it.
The amount of mandatory gameplay is fairly small, which is compounded by the length of the cutscenes. If you are a savvy gamer and are good at rushing economically through a level, you will at times find yourself wondering why the gameplay in-between the cut scenes is so short.
I heard there are 90 minutes of cut-scenes. MGS has always been infamous for its long cutscenes, but don’t worry. I’m sure you won’t end up watching a feature length film in the middle of your gameplay. *cough*
I'll give you a bottom line: if you haven't played all the MGS games before this one, don't play it. You'll be doing yourself and this game a great disservice. If you played some MGS games and could never get into them, stay away from this one, because it will not give you a change of heart. But if you have played MGS, then this game will be fun.
And just to be clear, I’m not telling anyone to go buy a PS3 just for this game. It’s not worth it when there isn’t anything else worth playing on the console.
Bottom line? Rent it.