It’s amazing what you can do when you put your mind to something. One minute I’ve decided that I need to pull finger and finish Saints Row The Third and the next, I’m staring at the closing credits. Admittedly, it’s not a long game, but I also find it difficult to push myself through any “entertainment” I’m not enjoying. There’s nothing deep and meaningful here: SR3 continues to succeed in its predecessor’s goal to escalate the levels of parody and hilarity and generally succeeds. View full article »
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It seems to me that Valve saw the pop culture success of the original Portal and played to that. Great for marketing, fantastic for sales, but great for making a sequel? I don’t think so.
The main attraction to the game seems to be the storyline, which makes up the majority of the game. There are interminably long parts of the game that are death by expositional voiceover. All about the founding and original work performed at Aperture Science. It even provides two-by-four sized hints about the origins of GLaDOS, and explains her motivation for constant testing.
All that left me asking but one question: why did I need that? The best stories are the ones that leave things unsaid. Fill in the blanks, and let your audience make things up. As Yahtzee puts it:
Portal 1 was as tight as a walnet corset; not an inch of it was wasted… Portal 2 is a sightseeing tour that begrudgingly has a puzzle game in it.
I may be in the minority, but I found that despite the increased length (I finished Portal 2 in twelve hours, compared to the 4-or-so flash in the pan that was the first game), the levels flew by. I was genuinely stumped only once, at that was only two or three puzzles from the end. Call me rhetorical, but what’s the point of a puzzle game that doesn’t puzzle you?
I have to say that I’m astounded by the Metacritic score for the game. 95 is far too high for something that begins with what critics and fans agree is a perfect game and makes it longer, less funny and less challenging to the point of being laughable. The best writers know the value of a good editor lies in their ability to find things to cut out. Valve obviously hasn’t figured that out yet.
This playlist is all about the big sounds and strong stories.
I’d Do Anything For Love (But I Won’t Do That) – Meat Loaf
Let’s open with one of the strongest voices ever to smash rock n’ roll. This 1993 release is full of crescendos, thematic shading and strong singing.
Rock You Like a Hurricane – Scorpions
Following on with some good hard rocking. I love the guitar work, and that definitive declaration: Here I am! Rock you like a hurricane!
The Final Countdown – Europe
Still in the 80s, Europe tells the great story of a spaceship about to leave Earth
All Along The Watchtower – Bear McReary
The segue here is space travel. This cover of the Bob Dylan classic comes from the soundtrack to Battlestar Galactica season 3. McReary did a great job in finding a completely new sound for this tune, and it’s big and bangy. I love it!
You Know My Name – Chris Cornell
From one soundtrack to another. This was the theme song to the James Bond flick, Casino Royale.
Like a Stone – Audioslave
Slowing down, but still very dramatic, Chris Cornell continues on lead vocals.
Rolling In The Deep – Adele
Keeping with the blues feel. I think Adele’s got an amazing voice, and she deserves all the sales and accolades she’s currently enjoying.
Zip Gun Bop (Reloaded) – Royal Crown Revue
It’s not that much of a stretch from rhythm and blues to swung jazz is it? Some amazing horn work here.
From here, we’re going pretty metal. The genre pretty much lends itself to punch numbers so I’m not going to try to justify them. Each of these songs is big and strong, and is highly narrative.
Full Moon – Sonata Arctica
Hearts on Fire – HammerFall
Wish I Had an Angel – Nightwish
Welcome Home – Coheed and Cambria
This has been a pretty wide theme to play with. I like these songs also because I can belt them out when I feel like singing. What do you like to sing in the car?
