I'm more concerned with what the author was trying to convey, and analyzing a work along that angle. If an author didn't really intend anything, you may be able to say things about the work, but discussing meaning becomes highly subjective. Or, I suppose a better way to say what I tried (and failed) to say initially: If game creators are trying to convey certain ideas/themes/etc via their work, and we are able to write articles and such about what they are trying to convey, then that itself is evidence of "Smart Games".

If the work truly is low-brow, the analysis itself can be long, but it can't really be that deep unless one is grasping at straws or making things up. I suppose I should have replaced "this level of analysis" with "worthwhile analysis". And in that sense I don't mean critiques (though those are valuable on their own), but actual explorations of what the work conveys (especially when you have evidence of intention from the author). But then again, the definition of "smart" can vary wildly from person to person. It depends what one's looking at/for.

This wouldn't really belong in the catalog, per se, but it definitely would belong in the conversation: Terry Wolfe's excellent 5 page article on games entitled "From Nothing: Why It's OK To Question Everything (Especially Metal Gear Games)": http://www.metagearsolid.org/reports_fromnothing.html It's main focus is Hideo Kojima, MGS2, and the games that came after, but it is a fascinating read on how game designers (in this case, Kojima) can struggle with communicating with their audiences. If games can lead to this level of analysis, not only of the games themselves but of their creators and their intentions, then there are definitely "Smart Games" out there.

(Damn, my whole post was eliminated when I tried to preview it. Let's hope I can replicate it.) Game: The Legend of Zelda: Majora's Mask Fun Factor: Time actually matters The whole game operates on the "three days" mechanic. The player can slow or restart the flow of time, but can never halt it (pause menus notwithstanding). As such, the player must prioritize. Planning actions to account for time beforehand and on the fly thus makes the outcomes much more rewarding than if one was allowed to do everything at their leisure. I realize this view is not really popular with many who played the game. The more-important reason I think the time mechanic makes the game fun, though, is the way it actually affects the narrative. Since the player only sees three days of the lives of the citizens of Termina as opposed to an "infinite" number of days, developers can give characters actual routines and arcs. This makes Termina feel like a real place, at least in comparison to most gameworlds. Being the explorer I am, this makes the game quite fun.

This is such a case of serendipity; my PS3 was out of commission for quite some time, so I recently got a new one and rented FFXIII in effort to catch up on the games I missed, and then you make an FFXIII post only a few days after. I'm still early on in the game, so I can't say I have a definite feel for it yet, but I was worried it wasn't going to be all that special. But as you said, this game takes its time, and you're not the first to say that. Let us hope that I reach your mindset when I'm further along.

Ah, sorry, I forgot to sign in with my TypePad account. The above comment is mine.

I have to admit, this post kind of made me disappointed about Red Dead Redemption. I thought that maybe they'd make such a kill permanent. I understand, though, that such a thing might break certain parts of the game (especially if the shopkeep is in certain quests), and it would take even more time during development to make a new shopkeep (and yet another if he was killed, and so on and so on). But still, if the justice one chooses to enact in the Wild West isn't permanent, then it devalues the whole thing. I'm still itching to give the game a try, though. =)

As one who is on the path to entering the industry, I have always kind of subconsciously felt that Western and Japanese games were a sort of yin and yang, and this article seems to have confirmed my suspicions. In my mind, both kinds of talks (and games) are valuable. They are two sides of the same coin.

Wait, so games HAVE to be one way or the other? There's no room for games like Heavy Rain? What kind of a mindset is that? There's room enough for all kinds of games. Braid and Heavy Rain can both exist; one's not gonna eat the other. Diversity is a good thing. Yes, Heavy Rain is far from perfect, but it deserves to exist just as much as Braid. Saying it fails on every level is going way too far.

And we appreciate your writing. I'd be very interested to see what your thoughts are after the next playthrough, even if they just remain the same. Keep us informed, yes?

To be honest, I am very surprised at your response to Heavy Rain. I'm not saying that I don't see where you're coming from, but I thought you would be forgiving, to an extent. (Before I go any further, I should say that I haven't finished the game yet, but I am quite a ways in. Well past the "tutorial".) Firstly -- and this has been said above already -- why is the opening scene not seen as a tutorial? I thought that for a gamer, that would be apparent. Brushing the teeth is not brushing your teeth, but teaching the player about the SIXAXIS involvement, which it used quite excellently at certain parts later in the game. Carrying the groceries is the same idea with multiple-button holds -- which, again, are used quite devilishly later on. Secondly, I very much agree that the game is imperfect, but I think it is definitely on the right track. If anything, its main failing is lack of options. Sometimes the options are just as plentiful as they should be, but at other times, they are sorely lacking. For example **SPOILER START** when Jayden is going throught withdrawals in the police station (and you have refused to take the drug), you are forced to steady his hand as he makes his way to the washroom. The steadying should have been an option, not a requirement. A subtle example, but still. **SPOILER END** Third, to those who mention how things don't feel right in terms of characters/location, I think it's wise to keep in mind that this is a European title (with mainly European actors). I am by no means giving them a free pass, but the oddness is definitely understandable given this mindset. To use a more extreme example, a Japanese game about American life would not be spot on either. Yes, Europeans should be closer, but the disconnect is to be expected to a degree. I very much enjoy this game, and I don't see that changing the farther I delve into it. It is an imperfect title, to be sure, but it shows us where we can go as a medium (if not entriely by example, then by what needs fixing/refining). And that has me very excited.

Nice post. In my personal experience with Far Cry 2, I was always one to, for example, head to an arms dealer and switch out my weapons before embarking on a mission. As such, I almost never ran into the gun-jam problem. Similarly, after purchasing the camo-suit and silenced weapons, I found I could almost eliminate the wounding problems as well (almost) by staying back, picking off soldiers one by one, and by regaining health at arms dealers between any skirmishes. Being a stealth player, it seems, kind of eliminates the improvisational aspect of the game (to an extent). I'm not complaining, but it is interesting to ponder upon.

Well that's good to hear. Maybe I should give this game a go, then. =)

Does this game have random battles? That's something that JRPGs have held on to for far too long that, for me, is inexcusable. God knows I love JRPGs, but random battles should have ceased to be ever since Chrono Trigger.

I get bouts of TCBAGS quite often. I, however, don't usually have anything to record the results with at the time, so I attempt to store them in my memory, but that method is far from fail-proof. I should really start carrying a pen and pad around with me at all times for this very reason...

I think the amnesia angle is more for the fact that, in a game, the player is invited to BE the character rather than to merely observe him or her. Being a character is much easier if the character is like a new player: with no previous memory of the game world. I'm not saying it's excusable, but merely that it is a quick and easy way to get the ball rolling. Additionally, the amnesia helps to make any futher game/backstory explanations to the player seem like logical learning rather than recapping previous knowledge.

Is it bad that I am ONLY familiar with lion Voltron? I didn't even know vehicle Voltron existed until this post...

Ah, I loved it. The TNG parts, anyway. The main plot involving Brian and Meg could've been canned for all I care. =P Only complaint is that I wish there were more scenes with the TNG cast, especially since that trailer you posted a while back had, unfortunately, most of the TNG scenes in it. Still, hilarious for what it was. I can only pray you guys do this again in the future.

Hey. New reader and all. You run a good blog, Mr. Wheaton. This'll be on my RSS feed list from now on. Anyhoo, you still seem a tad perplexed about your new surge of readers. I may be able to explain why (you can yell at me if someone's told you this before): A few posts ago, you presented a comically edited TNG vid that you found. That vid was, in part, created by Andrew Hussie, creator of MS Paint Adventures (http://www.mspaintadventures.com/). He found out that you had posted the vid on your blog, and being the famous man you are, he linked to your blog. Now, MS Paint Adventures has quite a following, so I wouldn't be surprised if a few people followed the link. How can I assume this? Well, I myself did just that. I had actually known about your blog for a while now, being a TNG fan and all, but I hadn't thought to actually see it until MS Paint Adventures posted the link. I'm glad I came, though. Like I said before, you run a good blog, and I like the cut of your jib. I'll be sticking around. =)