For the most part, Batman Arkham Knight is a game that lacks confidence. It can't quite commit to a representation of Batman that feels unique, and its Gotham is drawn from so many sources that it feels more referential than essential in and of itself. But there is one place that Arkham Knight feels not only confident, but genuinely innovative and interesting. Arkham Knight has some of the most interesting camera work I've ever seen in a game, but at every step it leaves me cold....
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Devil Survivor 2: Season 2 is probably the best way to think of Record Breaker, in fact. The second campaign has more taxing, complex battles, but also more of the cast hanging out between fights, chatting and slowly learning to trust each other as the world falls apart all around them. No one character is particularly exciting or spectacularly written, but they're solid executions on the traditional anime cliches that the SMT series trades in, and the added wrinkle of only having a limited amount of time per in-game day to spend with them means you start thinking about budgeting your friendships.
Hideo Kojima's earliest games starred Hollywood actors. 1987's Metal Gear for the MSX2 featured character portraits drawn to resemble popular actors, like Sean Connery, Mel Gibson, and uh...Albert Einstein. Scientists aside, it was a pretty clear mission statement on Kojima's part. He was a man who decided to go into video games, but he came primarily from a film background. Not academically mind you— Kojima studied economics— but he spent much of his childhood making films on an 8mm camera, and watching movies with his parents. He references games like Yuji Hori's 1983 adventure game, The Portopia Serial Murder Case, as the games that inspired him to get into the industry. He was an aspiring short story writer and artist and film maker, and here he was, making games. Games that were inspired almost entirely by movies.
Look, there are only so many times we can say this, but games can, and should be funny. Sometimes. Maybe not all the time, but there’s definitely room for cracking jokes through gameplay. Sometimes, you just need the right material. Now, I’m no game designer, but I feel like I have some idea the industry could put to good use. Specifically on adaptations of famous classic comedies, beloved the world over. Here’s some material folks- great ideas to better homes. Do with them what you will.
There’s a new Mrs. Doubtfire movie coming out. Now, I know movie tie-in games aren’t quite as popular as they used to be, but licensed game doesn't carry the same baggage as it used to. It’s a trade off. I’m fairly sure the only movie licensed game coming out for the major consoles this year is Amazing Spider-Man 2, so the market for a tie-in movie game is underserved at best. Now, it’s also nonexistent at worst, but you can’t make money without taking a few ungodly risks. And the biggest, stupidest, most ungodly risk available to you as an investor is getting behind this Mrs. Doubtfire game.
Robin Williams has effectively pissed away his popularity with projects like RV and those Zelda commercials where he had a crazy beard. Actually, can we get Robin Williams to play Ganon in a Zelda game? Check on that after we’re done here. Robin Williams is only slightly more popular than crossdressing comedies. Other than the shambling franchise zombie that is Medea, zany drag comedies don’t really pull in the audiences anymore. This probably has something to with the fact that playing crossdressing as hilarious in and of itself is crazy offensive, but then again, White Chicks in on Netflix and we as a society haven’t started rioting yet, so what do I know?
What I know is I have a killer pitch for a Mrs. Doubtfire game.
The game has two distinct gameplay stages. The first is a makeup portion, think Cooking Mama meets a dress-up doll game. You have to do Daniel Hillard’s make up perfectly for whatever the occasion calls for. Going out on the town, staying in to take care of the kids, top-secret missions in North Korea, whatever Mrs. Doubtfire needs to do.
Yes, that’s right, Mrs. Euphegenia Doubtfire is now a top-secret agent for the US Government, the world’s best disguise artist, able to infiltrate any compound without detection, all while maintaining an impeccable falsetto British accent. Depending on how well you do your makeup in the pre-mission portion of the game, the level may be easier or harder in certain places Your makeup affects your ability to blend in and attract interest from NPCs. Different makeup styles will lend themselves better to certain strategies, and don’t forget to try and track down the secret looks, which can unlock special skills like invisibility and constant-being-on-fire.
During the mission portion, you’ll be tasked with infiltrating an area with the least amount of casualties. Like Snake in Metal Gear Solid, Doubtfire only procures weapons on sight, and attacking guards and innocents is likely to arouse suspicion. Be careful not to blow the mission, your president is counting on you to stop terrorist attacks from a country that hopefully won’t be an ally in six months when this game is on store shelves. Games are missing this blend of tactical espionage action and makeup simulation, and Mrs. Doubtfire 2: When in Doubt, Fire, is just the game to give gamers what they crave.
You know it, I know it, the nation knows it. We, as a society miss Borat impressions. People aren’t saying “My Wife” enough anymore, or parroting anti-semitic and/or misogynistic comments sans satirical context. We’ve lost the Borat spark. Sacha Baron Cohen has disappeared to parts I do not know where, and there is no one to fill the void left behind by the lack of Borat in our collective life. But now, there is. Look, the Ghostbusters game was supposed to be Ghostbusters 3 until it wasn’t. Then Ghostbusters 3 went back to being a thing that will never happen but we’ll keep hearing news stories about until we’re all dead, so why can’t Borat 2 do the same?
See, Borat 2: The Game won’t be a good game. That’s literally impossible. What kind of game would it even be? We’ll get to my pitch in a moment, but seriously, it’s terrible. Don’t bother. The point is, it’ll light a fire under Mr. Borat’s ass to work on the real Borat 2, or better yet, Borat 3: The Canonical Sequel to the Trainwreck Known as Borat 2: The Game. It’s sure to be a film loaded with laughs, hoots, hollers, and guffaws galore. Maybe there will be a celebrity cameo or two? Maybe I’ll appear, and Mr. Borat can say something mostly offensive to me. It’ll be very exciting. The point is, we need to make this game happen, and then we can all go back to the halcyon days of late 2006 to early 2007, where your dad thought the Borat voice was the key to comedy.
I’m not going to lie to you, folks. This cannot be a good game. I mean, first of all, Cohen refuses to play the Borat character anymore, since he’s too famous to trick people with. Second of all, what do even gamify here? I was thinking to go the easy route, and have Mr. Borat platform his way through America, but we’re not lazy here at Built to Play. We’re innovators, and we have a trainwreck of a design pitch for you. Imagine a 3D exploration game, where you, as Borat, walk around a town, asking for interviews with various townspeople. Using a Mass Effect-style dialog wheel, you find the best way to keep the conversation going, which builds up your catchphrase bar. Once full, you can decide to end the conversation by making them uncomfortable, and physically yelling on of Borat’s many catchphrases into a microphone. By the way, you’re also wearing an Oculus Rift, two Playstation Moves, and Wii Vitality Sensor, so your body language, heartbeat, and head positioning have to be perfect for the NPCs to trust you during the interview.
Alternatively, you can use the catchphrase bar for point multipliers, which will increase your score the longer you keep the conversation going. It’s a classic risk reward system, like quoting Borat in 2014. You have one life, and villagers react as you move, so it’s pretty much a roguelike too, because the kids are into those these days. And everything has Minecraft-style graphics, because we aren’t made of money here. We’re already packing three high-end VR peripherals into the box, and one of them doesn’t even exist. The game also features a day-night cycle,which affects which NPCs you find roaming town, as well as your tiredness meter. It’s also the key to the endgame. After ten in-game years, your character will be retried, all your relevance is shot, and you’ll still hear people saying “my wife” is a dumb voice.
What’d I say? Trainwreck.
A Midsummer Night’s Dream:
Shakespeare is classic. And I don’t mean that in the patronizing, pretentious, you have to read him because he’s so important. You don’t, and he isn’t. I mean it in the literal sense, he’s old, and kids don’t care. But, he’s public domain as all hell, which means a cheap game idea is ripe for the picking. I flicked through a list of his comedies, and the dude didn’t really “get” being funny, but hey, this one has donkeys and fairies in it, and that’s probably good enough. We polish this thing up, give it some grit, market it to the Mountain Dew generation, and we’re golden.
In case you don’t know, and who am I kidding, you probably don’t because who pays attention in high school english other than nerds like me, A Midsummer Night's Dream is about four dumb teens who get messed around with by some fairies in the woods. Puck, the fairy court jester, makes some of the teens fall in love with each other, and the whole thing becomes a confusing love quadrangle. After that, a guy called Bottom shows up and he gets turned into a donkey before everything gets sorted out, and Puck tells you it was all probably just a dream.
There’s a couple directions we could go with this. Obviously, kids love “it’s all a dream” endings. They’re all over video games. Hell, Mario 2 was all a dream, and that’s the greatest story in the history of video games. It has frogs, it has vegetables, what more could drama need? Second, kids love fairies. It’s all over their media. Name me one show that doesn’t have a fairy in it. They all do. They’re tiny and magical and only visible to the pure-hearted, so of course you don’t see them. Maybe stop being such a jerk and work with me here.
I have two ideas for this project. Both are first person titles, but only one is a shooter. That one has you in the woods, playing as one of the four dumb teens. Each has a different special ability, and is fighting to make their way back to their friends for sweet group makeouts. Hermia is a sniper, Helena uses rockets and explosives, Lysander is an all-around character with an assault rifle, and Demetrius is a close-up shotgun character. There’s no real reason for any of that, but no one’s read the play, they won’t know. They fight all kinds of twisted monsters in the forest, and at the end of each level, they fight one of the fairies as bosses. Threatening monsters like Mustardseed, and Peaceblossom. The final boss is Bottom, with his donkey head as a horrifying, gruesome visage that will scare the daylights of of children for decades to come, guaranteeing our place in gaming history.
Alternatively, my other idea is a first person VR experience, where you sit and watch a performance of A Midsummer Night’s Dream from any seat in the audience. But, no matter which you pick, you’ll always be bored. It’s art!