Game Review- Borderlands 2

Released: 2012. Developer: Gearbox Software Genre: First Person Shooter/ Role Playing Game.

Why, oh, why do we enjoy killing other people in video games? This question has been posed by parents and commentators ever since Mortal Combat first emerged with its’ ‘realistic’ fatality cut scenes. This dilemma isn’t only apparent in video games, however. When I was a kid, I loved watching Tom and Jerry- a cartoon with glorified slapstick violence. The old Laurel and Hardy TV shows are examples of how violence can be executed responsibly, used solely to entertain. Today, graphics have developed to a point where killing someone in- game can seem genuinely wrong, even immoral. Many games use realistic, bloody violence for shock- value, attempting to keep the player engaged through self- professed “mature realism”. Borderlands 2 does away with this issue by providing a killing frenzy which is both light- hearted and comical. Trading good graphics for brilliant gameplay and a sensational storyline, Borderlands 2 proves how gleeful slapstick in the spirit of Tom and Jerry has not yet died, and continues to entertain us.

The gunplay of Borderlands 2 is gold. A true FPS, the game ensures you are on a well- balanced tightrope between fighting desperately for your life or putting down foes effortlessly with one- hit criticals. Although seemingly repetitious, the gunplay is endlessly engaging thanks to a slew of unique and challenging enemy types and an absolute smattering of zany weapons. One of the many original mechanics, the elemental properties of your weapons makes killing foes sadistically brutal- something the game thrives on. Whether you decide to burn, electrocute, explode, or corrode the thousands of excellent AI that block your path, the frenzied action will always play differently depending on how you approach it. As each enemy falls to the floor, a pile of loot sprays out of him, showering you with completely random items. Sometimes, you’ll get that extra round of ammo that you so desperately needed. Or, you might get an upgraded over- shield or grenade type. Grenades are just as crazy as the guns- they can home in on enemies, explode into smaller grenades, and deal a great deal of elemental damage. Combined with your characters’ awesome abilities, gear enhances what was already a blazing experience. Because the enemies are so ingenious, you’ll need every bit of loot you can get your bloody hands on.  Sure, you’re still essentially doing the same thing over and over, but the frenetic and skill- orientated action had me zoned in for over 60 hours of gameplay- and counting.

On top of its murderous approach to gunplay, Borderlands 2 also has an irreverently brutal sense of humour. The tone of gleeful mayhem is constant throughout the game, giving it a cohesive and unique atmosphere of old- fashioned fun. Ever think modern video games are taking themselves way too seriously? Borderlands 2 is certainly a breath of fresh air. The merciless humour is most evident in the mission ‘Cult Following’, in which you methodically slaughter members of a cult with their fervent consent. Another stand- out example is “Gang War”, which is actually an episodic quest which spans several missions. I won’t spoil it for anyone who’s going to play it, but let’s just say I sided with a booze- loving Irishman who likes to burn people alive in their own houses while they’re sleeping. If you don’t make the mistake of taking these sort of encounters seriously, you’re up for a ton of fun.

All the side quests are worth doing- these aren’t simply filler content designed to waste your time. Each individual mission will be packed with a sharp script, unique new characters and a memorable boss. Often, quests will involve some quaint cultural reference, which is a nice touch. In fact, these so called ‘optional missions’ can be more rewarding than the main campaign. The frequent use of text to explain side missions and story quests is refreshing; while the player takes a break from slaughtering foes, they can catch up on all the little details, including explanation of the characters’ personalities and motivations. This sidesteps the risk of becoming a mindless loot- grind with no meaningful objectives. These little nuggets of story are humorous, well written and insightful to the game world without becoming intrusive. After all, the player can simply ignore these and get to killing!

Where would this game be without its RPG elements? The original Borderlands had quite an impressive skill- tree, and the sequel has simply capitalized on it. The way you play will be nicely complemented with an array of statistical modifications and abilities. Levelling becomes increasingly rewarding even as it increases in difficulty; every singly skill point you spend will be an important decision as you hone your character to perfection. Unfortunately, you have to replay the game if you want to reach the level cap of 50, but that shouldn’t be a problem for anyone who loves the game- ‘grinding’ is just another word for ‘killing things with gleeful abandon’ in Borderlands 2. (If you don’t know what grinding is, play World of Warcraft. It’s no joke!) Each class you start the game with has a unique ‘action skill’ along with a skill tree all to its own. The developers have paid a lot of attention to how each action skill can be used in different ways, making them as versatile as they are powerful. Each class even has their own personality which explains their play- style. These aren’t the generic, faceless ‘classes’ that you see in so many games of this genre; they are genuinely unique.

Graphically, Borderlands 2 has stuck very close to its’ predecessor. The almost cartoony aesthetics are extremely appealing, and a nice change to the dogged emphasis on realism that is seen in so many new games these days. However, Gearbox have certainly upped the ante when it comes to lighting, texture quality and physics effects. The many vistas and views of the gorgeous world are evident of this, as is the ramshackle beauty of the many locations you’ll find during your quest to save Pandora. Rather than spend half the budget on graphics, the developers have instead invested it into the arguably more important channel of story. Voice- acting is superb across the board, with the wise- cracking antagonist Handsome Jack standing out among many other memorable performances. This allows the player to become even more invested in the characters than they already were, adding weight to the central narrative. That being said, they are also fleshed out through the side- quests; by the time you’ve completed a dozen quests from a single NPC, you’ll know them very well indeed.

The mash- up of RPG and FPS allows Borderlands 2 to be what so few shooters ever are: free roaming. Unlike the original Borderlands, BL2 has a significant variety of locations: underground mining sites, freezing tundras and volcanic wastelands are just a few of the vivid locales you’ll traverse. Every new territory you discover has its own unique flora and fauna which bring in new gameplay challenges. At any point during the main story- line, you can stop and travel literally anywhere you want to complete side quests or just mow down enemies. Vehicle combat is brilliant, and makes travelling a blast. Your squad of fellow combatants can all load onto the one vehicle and engage in deadly dogfights with both enemy jeeps and jets. Certain maps are designed specifically for people who love this sort of gameplay: ‘The Dust’ and ‘Highlands’ are two examples of such fine racing territory. Don’t expect realism, however; these cars handle similar to the Warthog from the Halo games, if not a little worse. The best vehicular fun is found in the combat and massive ramps- without these, driving in Borderlands would be rather disappointing. An immense virtual playground, Borderlands 2 still manages to maintain a sense of narrative cohesion- something many RPGs lack direly.

Borderlands 2 is a unique experience. Recounting any of the dialogue or story would be spoiling it, as virtually every conversation, every encounter and every plot- twist is an uproarious work of either dramatic or comedic brilliance.  However, this game does not claim to be ‘mature’, and like so few games these days, it does not take any pride in its graphical or thematic sophistication. With dynamic gunplay, an excellent levelling system, unique aesthetics, and an expansive world filled with colour and carnage, Borderlands 2 is a shooter which is hard to compare to any other game on the market. Like Tom and Jerry, it does not claim to be a masterpiece. What it does claim, however, is to provide generous helpings of fun. It delivers.

Book Review- The Hobbit

Published: 1937. Author: John R. R. Tolkein. Genre: Fantasy.

The Hobbit holds a special place in my heart as the book that I have read more than any other. Obviously, this is sure to elicit suspicions of bias, but I’m sure this won’t be a concern to anyone who has read it themselves. After all, “The English speaking world is divided into those who have read The Lord of the Rings and the Hobbit and those who are going to read them” (Sunday Times). Every work of art has those who dislike it, of course, otherwise it probably wouldn’t be inspired by true creativity. It is often the most broadly accepted- even celebrated- works which are the most conventional and generic. There is nothing wrong with disliking an incredibly popular and unanimously acclaimed book; in fact, it is important to maintain your opinion in the face of overwhelming opposition. So, with all prejudice aside, let’s take a look at this surprisingly child- like journey through the dark and complex fantasy world that is Middle Earth.

Tolkein has a way of turning off anyone who isn’t investing the attention that his novels deserve. Like The Lord of the Rings, The Hobbit begins with a rather lengthy first chapter which regales the reader with the ins and outs of a quaint, insular society. Bilbo, the protagonist, is just selfish enough to be loveable, as we can all relate to his near- antisocial preoccupation with privacy. However, Bilbo’s simple lifestyle is abruptly interrupted by a group of  people who are as foreign to him as they are to us: Dwarves. Tolkein evokes the immense cultural distance between the thirteen Dwarves and the Hobbit with humorous tact, highlighting the less- than- dignified aspects of Thorin and his Company: the wagging beards, the obnoxious table manners and the blatant social ignorance are all recognized as traits of these otherwise noble people. Whilst other writers of equal stature (Tolkein was a renowned Philologist and invented an entire language for his fiction) would create narratives of a deathly serious tone, Tolkein instead accommodates the often overlooked demographic of children. Throughout The Hobbit, he proves that  beautiful language and sophisticated storytelling are not inhibited by humour or childishness; in fact, they can actually be enhanced!

Although stylistically light- hearted, The Hobbit grapples with issues that we as humans face every day. Throughout his journey, Bilbo learns to value life- however twisted- and makes decisions which ultimately decide the fate of Middle Earth itself. Tolkein takes this small, closeted and afraid little individual and places some of the most significant aspects of his mythical universe on his shoulders. This creates a message of hope and purpose in even the most insignificant of individuals- us. For anyone who has read more of Tolkeins’ work on Middle- Earth, we know that this is an incredible decision to make; the vast fantasy that “often rises to the greatness of true myth” (Financial Times) is now dependant on a small Hobbit who must overcome his fears and misgivings to conquer a great evil. The striking thing about this story is that many of the toughest challenges that Bilbo must face are about people. From the wise yet   ignorant Elf King to the proud and often near- sighted Thorin, the Hobbit must navigate his way through a treacherous maze of conflicting ambitions and selfish greed. At the very end of the novel, Gandalf (Bilbo’s friend, counsellor and helper) remarks: “you are only quite a little fellow in a wide world after all!” Here lies the beauty of The Hobbit: in all the struggles and conflicts of a world in peril, the smallest person can make the biggest difference.

The thrill of adventure is a strong force in The Hobbit. Tolkein’s impressively thorough mythos makes the journey feel like a genuine discovery of a world which once existed. Elrond, an incredibly old and wise elf, recalls ancient wars and strange names which have almost nothing to do with the main narrative, making the reader feel immersed in a land which has a deep and painful history. When the group reach the Misty Mountains, it becomes apparent that there is more to this world than meets the eye. “Stone Giants”, which are never seen and only mentioned once, can be heard in the distance, eerily bellowing and throwing massive rocks around in a strange variant of rugby. The corrupt creature Gollum is a memorable depiction of a person who has become moulded by isolation and constant self- preservation. The magic ring which turns Bilbos fortunes comes at an immeasurable cost to Gollum, who is helpless in his addiction to it. The wrath of Gollum and the mercy of Bilbo are events which foreground the cataclysmic final fate of Middle Earth itself, marking the end of the Third Age. The fearsome caverns of the Goblins are imbued with a dank tribal filth which intoxicates the reader, and when Bilbo finally escapes, the wide open world comes as a huge relief. You can almost feel the cool breeze, and are filled with pride when the so- called “burglar” finally proves his worth to the headstrong Dwarves by employing the unique capabilities of the ring.

Not all of Bilbo’s exploits are entirely succesful, however. Although fundamentally a childrens’ story, the narrative takes some grave turns. Because of Bilbo, and entire village is destroyed- it isn’t warriors alone who fall victim to the tragedy. Often alone and stranded, the Hobbit is forced to make unenviable decisions to ensure his survival. After all, he’s a person with the same instincts as us! Far from being a perfect hero, Bilbo betrays his friends and flatters his enemies. He is a burden to his companions and an inexperienced fighter, who must learn to adapt to extremely brutal and dangerous situations. Yet despite all his regrets, Bilbo becomes a triumphant underdog who changes the course of history. His intimacy with both fear and sorrow make him a powerfully empathetic character, and ensures that his eventual victory is all the more satisfying. As Bilbo makes “The Return Journey”, the company of his friends becomes the most important thing in the entire story. When the adventure comes to a close, it is companionship, not treasure, which Bilbo has learnt to value.

Tolkeins language is exquisite. There is character to every sentence, every moment. Each new destination has a striking texture, a distinct and unique culture. The Hobbit can make you cry, laugh and think. This sounds like a cliché, but all clichés originate with something genuine. This is indeed the case for The Hobbit: the palette of genuine emotion and engaging fantasy which defines Tolkein’s work makes it an experience not easily forgotten. This is one of those rare novels which will be enjoyed by very different people in very different ways; children will enjoy it just as much as adults, and tradesmen can enjoy it just as much as intellectuals. While being incredibly evocative, the language is consistently accessible, making it relevant and entertaining even sixty years after it was published.

Although I’m sure this novel has those who dislike it (all novels do), I know that I’m certainly not one of them. Ever since my Dad first read The Hobbit to me, I have been captured by its incredible depth and humble simplicity. Despite all his linguistic prowess, despite the countless hours, days and years that he spent labouring over his myth, Tolkein has created something that is at once both readable and filled with genuine splendour. There is a reason that film adaptations never equal their literary counterparts: it is because the marvel of self- discovery and adventure is an experience which can only be achieved in the imagination.

Game Review- Deus Ex: Human Revolution

Released: 2011. Developer: Eidos Montreal. Genre: Role Playing Game.

The Deus Ex franchise has been through the mill. Released in 2000, the first instalment was developed by Eidos Interactive, and combined both role- playing and action- adventure elements into a single game. At the time, this was a massive breakthrough in a market where ‘hardcore’ RPGs dominated; they were a matter of top- down dungeon crawling and number crunching. Unfortunately, the sequel which followed did not meet the expectations generated by the original. After a failed multiplayer title, the franchise disappeared off the map, ignored by the company and seemingly dead. Until 2011.

Deus Ex: Human Revolution is the prequel to the events of the celebrated first game, giving a reassuring context. Unlike Invisible War, you don’t have to play the original to understand what is going on. Nevertheless, the game overwhelms you with a flood of information. The core concept of augmentations is immediately introduced, and the swathe of accompanying issues that plague the new technology come closely behind. Whether it be the politics and rhetoric surrounding the potentially damaging and destructive nature of ‘augs’ or the shadowy security organizations which so doggedly protect the industry, Human Revolution gives the player no shortage of contextual background. At first, this pile of new ideas can be off- putting, as the narrative begins with a bang and doesn’t let up, constantly throwing exposition at you. However, as you immerse yourself into the world of  Deus Ex, discovering the multiple layers fiction becomes engaging and incredibly involving. However, although the plot itself has merit, the voice acting detracts from the experience terribly. From the monotonous, grating mumble of the players’ voice to your bosses’ obnoxious ramblings, the performances are consistently stereotypical and infuriatingly over- acted. The writing is solid, but the terrible acting overshadows it.

Deus Ex: Human Revolution is a stunningly beautiful game. It isn’t simply the cutting- edge graphics (lighting is a big wow- factor), but also the art direction and aesthetics that make it so gorgeous. The renaissance era fashion and building design make the game- world seem miles away from our own, yet still a place that you could feasibly imagine the future to look like. The affluence of David Sarif’s (your boss) office contrasts with the dingy, windswept streets outside and the gangs who lurk in the shadows. The stark whiteness of offices and labs are at odds with the murky dens and industrial complexes of your enemies. All animations a slick and seamless, from lip- syncing to the brutal kill cinematics. Even the simple action of reloading a weapon becomes satisfying as a whiff of smoke bursts from the chamber and you stylishly slot the next round in.

Another stand- out aspect of this game is its’ sound design. The gunshots are convincing, the hacking mini- game sports a nice little tension builder and some slick sound effects to go along with it. Enemies have different dialogue for ‘suspicious’ and ‘hostile’ states, and have genuinely interesting conversations if you can sneak up without being seen. Environments are imbued with excellent ambient noise, whether it be wind or a distant siren. Your footsteps echo in large rooms, thump along in air ducts and slosh in the muck of the city streets, making the games many environments even more believable.  When you start up the game, that resounding score gets you into the zone: a humming, synthetic base overlayed with fluctuating, high pitched accents. It is moody, powerfully emotional and a pleasure to listen to- truly iconic. The same goes for the rest of the soundtrack. Combined with the meticulous attention to sound effects, ambient noise and dialogue, it makes Deus Ex an incredibly immersive experience.

As an RPG, Deus Ex sports a number of personal upgrade options. However, unlike many titles of its’ genre, the game actually provides a feasible explanation for how these perks work, as they are a part of your augmentations. Instead of throwing numbers around, you are actually modifying yourself in a believable way. The in- depth descriptions for each individual augmentation is a nice touch, too. However, the modular nature of your augs means there isn’t a singular skill tree. Instead, you are simply upgrading separate components and abilities of your character. This  makes levelling seem less persistent than most RPGs, and therefore less meaningful. Sure, you can add more power capacity and decrease hacking detection, but the upgrade system is mostly based on unlocking new abilities rather than boosting your stats. Although the successful convention of character persistence has been sacrificed for realism, some may welcome the change.

Although the maps of Deus Ex are quite small and linear compared with most free- roaming games, it is the freedom of choice you have which makes it truly expansive. The gameplay allows for multiple options to each and every quest or confrontation, each with satisfying and meaningful results. When faced with a roadblock, you could find a ventilation shaft and simply crawl through undetected. Or, you could get to the rooftops and stalk you enemies from there. Then again, there is a weakened wall around the corner- just use your augmentation to smash through to the other side. Oh, hang it all- let’s just shoot everything in sight! No, I’m feeling merciful today, let’s just tranquillize them. The list of possibilities goes on. The ability to hack robots and cameras allows you to subvert enemy infrastructure to your advantage, which is immensely gratifying. Social gameplay is another succesful mechanic. Conversations are mostly believable, and your target reacts to your responses in often unpredictable ways. Upgrading your social augmentations only adds to this incredibly deep and surprisingly moving experience. However, you might find yourself wishing you could just skip conversation and get the job done. As you play the game, you begin feel genuinely proficient as you learn to tackle different objectives in different ways.

Human Revolution is not an easy game. Engage in any firefight on normal difficulty and you’ll be dead in about four or five pistol shots- and that’s without mentioning machine guns, armoured enemies and bosses. This means that stealth is often the preferred option. Still, there is always more than one way to skin a cat. Stealth is challenging too; guards will react if they see even a glimpse of you or find the dead body of a fallen comrade. Yet all these barriers manage to make the experience even more fulfilling. Whether you go all guns blazing or take the humane approach, you will find yourself adapting to unexpected situations and challenges. Dragging bodies into cover and using stealth augmentations could not be more satisfying, as it is your skill which ultimately determines your success. The same goes for gunplay; if you don’t use cover, go for headshots and react to the movements of your enemies, you’ll most likely end up dead. Don’t let this put you off, as there are three levels of difficulty, and even playing on easy can be fun. It is not simply the challenge that makes Deus Ex so rewarding; it is the way every single gameplay mechanic is so brilliantly executed.

The sheer amount of love and attention that has been poured into this game is apparent: the smallest objects are extremely detailed, and things which you could easily ignore are crafted beautifully. E- books scattered around the world fill you in on current issues and debates surrounding the events of the story, and digital newspapers make exploring feel fresh and rewarding. If you take your time with this game, you will discover all sorts of unexpected rewards for your vigilance. As you dip your toes into the fiction of the game- world, it submerges you into its’ layered canvass of political intrigue and bureaucratic corruption. Formulating your own opinion of the events and issues surrounding the narrative is encouraged through a dichotomy of concepts which have no clear ‘good’ or ‘bad’ side. The developers throw you into the deep end and let you swim, finding your own way through the mature and gritty storyline. This makes the conclusion of the game that much more satisfying. When given a final decision at the very end of the game, your choice will be based not on who was good and who was bad, but on what you garnered from your own exploration of the game and its’ complex story. If that’s not role playing, I don’t know what is.

Like its’ predecessors, Deus Ex: Human Revolution combines several unique game elements and puts them into a single game. Whether you go out and burn lead, engage in tense social battles or hack your way through the system, Human Revolution delivers on so many fronts. Although the difficulty and complex, interweaving storylines may render it inaccessible for many, it is a rewarding and deeply satisfying experience. If you are willing to put aside a good twenty or so hours for this brilliant game, I highly recommend you do so.

Book Review- Cold Mountain

Published: 1997. Author: Charles Frazier. Genre: Historical Fiction.

I’m not an American, and I don’t know much history. Why would I want to read Cold Mountain? Charles Frazier’s first novel is a work of historical fiction set in the American Civil War. However, it surpasses its’ genre to provide a story which is as compelling to an uninformed Australian as it is to the descendant of a Civil War veteran. In fact, the setting of Cold Mountain is one of its’ many strengths, as it evokes a brutality which calls for a reciprocal sensitivity- both from its’ characters and its’ language.

Following the trail of the world- weary Inman after his release from military service, the narrative  reveals his destination with a slow restraint. His love, Ada, is waiting for him at Cold Mountain, and he will do anything to get back to her. Despite the all- too- familiar premise, this novel is exceptionally creative and unique. Weaving two concurrent narratives together,  Frazier contrasts the harrowing journey of Inman with Ada’s attempts to make a living on her father’s farm. With every chapter, the perspective alternates to show the two very different realities of these two very different people.

What is strange is that the protagonists don’t actually know much about one another. The infrequent flashbacks detail how Inman and Ada fell in love, but there seems to be a lack of depth in their relationship. This adds a tension to the plot: when they finally meet each other, will they discover they no longer understand each other? Did they even love each other to begin with? This concept of emotional insecurity and degradation is a constant force throughout the novel. As Inman faces the trials and witnesses the horrors of a country at war, his humanity is threatened. Much like the Pilgrim from John Bunyan’s famous novel, Inman must not only survive physically, but spiritually also.

Frazier’s lyrical prose emphasises description over dialogue and creates a distinct atmosphere of loneliness and intensified emotion. When characters speak, the significance of their words is magnified, as talking is such an infrequent occurrence. This by no means detracts from the experience- in fact, it reinforces the exquisite, almost haunting quality of the language. Omitting inverted commas, Frazier incorporates these words into the prose of the narrative itself, making both human expression and human experience equal to each other. This technique renders the story far more powerful, as the author places conversation directly within the prose of the story: the depth and beauty of the language are never once interrupted.

Frazier’s close attention to detail makes almost every description riveting; from the shaft of on arrow embedded in a tree to the surprisingly heart- warming evocations of food throughout the novel, the almost forensic articulation is astounding. This imagery does not solely make the story more engaging, however; there is a clear significance to every disturbing sight or comforting omen which Inman sees on his journey back to Cold Mountain. Many of Frazier’s depictions provide a moral judgement or opinion on the Civil War period. Much of the authors’ contentions are based on the travesty of war and the tragic waste of human life, yet the themes are far more varied than that. Audaciously, Frazier covers topics such as the fleeting nature of life, the importance of the natural world, the power and importance of human empathy, and even the roles of men and women. It seems like the novel has taken all the aspects of its’ protagonists’ lives and earnestly probed into each and every one. However, this is not executed with burdensome exposition or pointless authorial judgements: all the themes of the novel are unearthed through both Ada and Inman’s’ experiences, making them persuasively compelling.

Secondary characters in Cold Mountain are few and far between. Apart from the obvious ones of Ruby, Veasey and Stobrod, there is virtually no peripheral character development. Frazier remains focused solely on his two core characters and the people their paths cross with. This narrow field of view ensures the reader is fully invested into the characters of Ada and Inman. We don’t have to like them, but they nevertheless leave a lasting impact on the mind. Their struggles and desires are explored in excruciating detail, making the reader want a resolution to their struggles almost as much as they do. Any obstacle in the way of their goal becomes an antagonist of extreme opposition, as the reader has so much riding on their reunion.

However, the other characters that populate the story are not left to the sidelines. This is especially true for Ruby, who saves Ada’s life and ensures she has a chance to survive the cruel and demanding life of a land owner during the war. The two women are forced to make a living for themselves from  derelict estate, and Rubies’ determination to see it through is one of her defining features. Stubborn and calloused, she is far more adept in the art of survival than the insulated Ada, who must rely on this young girl for her wellbeing. Ruby provides an insight into the harsh reality of the Civil War: it did not discriminate between male and female, young and old. Frazier’s evocation of this worldly, proficient girl is inspiring, as it reminds the reader how powerfully competent children can be in even the worst of situations. Ruby is like a beacon of hope in the novel, as she represents something which is both young, damaged, and yet perseverant.

Ruby’s personality is not just a result of the hard times in which she is growing up. Stobrod is the quintessential unfaithful father- impulsive, self- centred and foolish. His eccentric and beguiling personality hides what is essentially a broken man. Through this character, Frazier portrays a person who can no longer express themselves to the others around them. Instead, Stobrod is known only by his love of music. Through the medium of song, he is able to cry out all his feelings- from the depths of sorrow to the heights of joy. This gift is literally all Stobrod has- everything else has been squandered or taken from him. The infrequent ballads of Stobrod provide a refreshing break from the solemn ponderings of Inman or the frenzied work of Ada and Ruby. His is a disposition of extreme sensitivity, and Frazier communicates this through the meandering and seemingly senseless lyrics which belie a genuine yearning for solace in a broken world.

The story of Ada and Inman is one you may not easily forget. As Inman draws near to his destination, the dual narratives are linearized to create a singular climax which is both epic and intimate. The finality of the novel cannot be questioned; Frazier ties off all the plot threads seamlessly. I won’t spoil anything, because I hope some of you will decide to read this book- chances are you haven’t. Not enough people know about this book;  Cold Mountain is one of the best novels I have read, and I encourage you to read it too.

Reading Gamer Intro

First Official Post!

At the moment, the rapidly advancing mediums of gaming and digital entertainment seem to be threatening the future of books and literature in general across the globe. It doesn’t take much research to recognize this- the recent wave of bookstore closures across Britain is enough evidence on its own. Yet despite the marginalization of this important art form, we sometimes forget that the media overtaking it is in fact designed for similar purposes.

Games have exploded in the last two decades. Since the birth of gaming via computer programs, new modes of interactive entertainment have emerged. The Nintendo Entertainment System which emerged during the 80s further proliferated a growing market of lounge room gamers which had already started with the Odyssey and Atari of the mid to late 70s. Today, we have a gaming community of hundreds of millions, whether it be on PC, console or mobile. The ‘old days’ of going out to play an arcade game like Galaga at the local milkbar are long gone- though they still hold appeal.

So what does this have to do with reading and books? Quite a lot. It has become increasingly clear that screens are now the new platform on which we engage in entertainment, escapism and even art. Borders once sold books and CDs in shops, in person. After the collapse of the umbrella company REDgroup, Borders went online. However, hardcovers and paperbacks are not necessarily the primary stock: platforms like the Kindle are now being emphasised, bringing even Literature to the screen. Borders wasn’t the only one to convert; Collins Booksellers and Angus and Robertson are but two of the franchises which have switched to online marketing. Just take a look at their websites to see how things have changed! Perhaps we should be concerned about this. Perhaps not. However, one thing is for sure: times are changing.

Are games and books destined to oppose one another? Will games always be considered base escapism for gen Y? Will books always be considered our bastion of cultural integrity? The polarizing nature of these two art forms make them seemingly antagonistic and conflicting. One is written; one is programmed. One is read; one is played. One is old; one is new. However, both are designed to either entertain, inform or engage- sometimes these three things at once! My personal belief is that books are as important today as they were two thousand years ago. Games, however, could prove to be more significant than we might like to imagine. In the words of game developer Phil Fish: “It’s the sum total of every expressive medium of all time- made interactive.”

Games are amazing. So are books. Hopefully, we can learn to appreciate them both without the prejudices of our age or opinions. Let’s not fob off books as boring and outdated or dismiss video games as digital trash. The importance of reading has not diminished despite the news- in fact, it has become more critical in an increasingly digital age. Neither have games become irrelevant due to the stereotypes attached to them (lack of creativity, violent behaviour, dullness- you name it!) Hopefully, this blog will take a small part in reconciling two distinct mediums and treating them with the dignity and impartiality they deserve.

So, as the first article of the blog, I’ve described some of the things I’m concerned about regarding art and entertainment in the present day. There are quite a few streams of thought in here that could be explored in far more detail, and hopefully they will be. In the weeks to come, I’ll be providing reviews and articles on both books and games, sharing my experiences and opinions of both. My aim is to have a fun, informative and engaging look at two things I greatly enjoy and treasure. Hope you learn something new!

Enjoy.