Taylor Cocke

Gaming By Taylor Cocke

Silver Lining: Lollipop Chainsaw and the failure of satire

'Silver Lining' is a column from freelancer Taylor Cocke dedicated to highlighting moments of real potential in less than perfect games. This week he examines Grasshopper Manufacture's Lollipop Chainsaw. The following may contain story spoilers. There's an idea on the Internet called Poe's Law. Basically, it states that if a satirical piece is indistinguishable from the subject it is trying to mock, then it's a failure. It was designed to relate to extremist ideologies like those of the Westboro Baptist Church, but the idea can be extrapolated to just about any attempt at satire. And in the case of Lollipop Chainsaw, it's absolutely applicable.On its face, Lollipop Chainsaw has all the makings of a solid parody title. First off, it's a Suda51 joint, meaning it has a certain lighthearted over-the-top attitude that lends itself well to parody. It was also penned by James Gunn, who has made his career mocking movie tropes with films like Dawn of the Dead, Super, and the vastly underrated Slither. These are guys experienced in making weird, hilarious stuff.The game itself obviously doesn't take itself seriously. Just take a look at the cover: a scantily clad young woman carrying around a chainsaw while the head of her boyfriend hangs off her belt. It's an undeniably silly image, and one that seems to be making fun of the roles women traditionally inhabit in games. Here's a clearly over-sexualized young woman, carrying a massive chainsaw, and essentially dehumanizing her male counterpart.But it never quite makes the turn that satire must make to work. In a gaming landscape that involves a whole lot of problematic images of women, pointing out the absurdity of these portrayals could have been something incredibly valuable. Instead, we get the same old tired jokes about sexuality that we've been hearing for years and years.%Gallery-130904%

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Entertainment By Taylor Cocke

Silver Lining: Inversion and the fear of the great beyond

'Silver Lining' is a column from freelancer Taylor Cocke dedicated to highlighting moments of real potential in less than perfect games. This week he examines Saber Interactive's Inversion. The following may contain story spoilers. Inversion's opening sequence is rather affecting. Protagonist Davis Russel is tied to a pole as a monstrous Lutadore priest babbles on in a difficult to understand tone, preparing to sacrifice the former police officer. In his ostensibly final moments, he begins to remember how he got into the spot he's in. He's lost his family, his city, and soon, his life. It feels like a man reading his own suicide note – he's given up hope and is ready to die.It certainly sets a tone for the rest of the game, which is mostly told as a flashback. Humanity has lost the war against the invading aliens. The people of Vanguard City have been broken down by the relentless invasion of the monstrous Lutadores. And, if the opening sequence establishes anything, it was a war that they were destined to lose. Davis is on a game-long search for his daughter, and the possibility of saving her seems to be the only thing keeping him going.%Gallery-130923%

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Entertainment By Taylor Cocke

Silver Lining: Steel Battalion Heavy Armor and humanity within the mech

'Silver Lining' is a column from freelancer Taylor Cocke dedicated to highlighting moments of real potential in less than perfect games. This week he examines From Software's Steel Battalion: Heavy Armor. An interesting thing happened to me within the first hours of Steel Battalion: Heavy Armor. I started to actually care about the computer controlled soldiers confined to the chassis of my hulking Vertical Tank. Natch and Parker's voices would have been out of place as bad 80s stereotypes. But as the pair reloaded our tank's weapons, spewed tactical advice in my ear, and repaired our VT from encounters, I came to know them as more than chatty computer characters. They were compatriots.And then I'd aim down the sites to see enemy tanks, and do my absolute best to keep myself and my team alive – a difficult feat due to Steel Battalion's atrocious Kinect controls. My enemies were mechanical monsters, sent to destroy everything that I held dear. In early cinematics, they were shown as faceless killing machines, slaughtering men, women, and children indiscriminately.In war, one of the most powerful motivational techniques is dehumanizing your enemy. Dehumanization can also be accomplished through the use of technology. Aiming down a long-range rifle's night vision scope doesn't exactly focus on the human elements at the end of the crosshairs. Drone strikes do away with even having to look at the person being shot at. And in Steel Battalion: Heavy Armor, the player is literally separated from enemy combatants by walls of steel. There is no defining human factor on the battlefield, only the game of war.%Gallery-158612%

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Entertainment By Taylor Cocke

Silver Lining: Hydrophobia and the fearless mingling of ideas

'Silver Lining' is a column from freelancer Taylor Cocke dedicated to highlighting moments of real potential in less than perfect games. This week he examines Hydrophobia from (the now defunct) developer Dark Energy. Hydrophobia has all the makings of a great game, but where it fails is commitment. The Dark Energy Digital-developed game attempts to do too many things at once, but never succeeds at any of them. What's frustrating is the clear potential each idea had, and the huge divide between what its characters are ostensibly feeling and the gameplay itself.Exemplifying this lack of commitment is the amount of times Hydrophobia shifts between genres in the first act alone. Opening with a dream about drowning, Hydrophobia transitions from a platforming section drawing heavily from the Uncharted series, into a physics puzzler, before finally settling into a cover-based shooter.Hydrophobia doesn't execute any of its selected genres well enough to warrant the middling amount of time a player will spend to learn each. In some cases, the design decisions made in some sections undermine some of the game's good ideas, which only led to disappointing critical reception.%Gallery-103404%

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Silver Lining: Sonic the Hedgehog and a history of disappointment

'Silver Lining' is a column from freelancer Taylor Cocke dedicated to highlighting moments of real potential in less than perfect games. This week he examines the Sonic the Hedgehog franchise. Oh, Sonic, where did you go wrong? Sega's iconic mascot has become a bit of a running joke in recent years, and for good reason. His games haven't been very good. The best I can say about any of them is that about half of the levels are good in any given release. Sonic Unleashed was only enjoyable during the non-werehog parts, Sonic Generations was fun during the old school sections, and even Sonic Colors had more than its fair share of clunky, slow levels that broke up any ability for me to fully enjoy it. The further Sega seems to stray from the formula of the original Sonic games, the worse things seem to get.One would think that would mean that the two episodes of Sonic the Hedgehog 4 would be pretty good, then. After all, they're ostensibly the most faithful reproductions of the classic 16-bit platformer. Sonic doesn't talk, he's lacking all the incredibly stupid friends that have cropped up over the years, and he's running through a variety of stages so he can beat up on Robotnik at the end. Right down to the order of the worlds, they're essentially recreations. So why aren't they as celebrated as Sonic's original adventures?%Gallery-155437%

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Reviews

Reviews By Taylor Cocke

Silver Lining: I Am Alive's unfeeling world

'Silver Lining' is an ongoing column from freelancer Taylor Cocke, dedicated to examining the hidden potential in recently released, critically panned games. Even in the mediocre, we can find a silver lining. As I began my time with Ubisoft's downloadable title I Am Alive, the most striking aspect of the game's art style was the high-contrast, almost black and white way it depicted the destroyed city it takes place in. The world feels dead, as it should. The lack of color depicts a space devoid of life, dotted by humanity huddled around the bright oranges and yellows of occasional makeshift fires. At least initially, there's a sharp, distinct difference between the world and those who struggle to live within it. Very quickly, though, it becomes apparent that the distinction exists purely between the protagonist Adam and, well, everything else.I Am Alive's greatest failures don't lay in its shoddy controls or dated visuals. For me, it was never able to establish a feeling of desperately fighting for survival. At least, not in the same way the non-playable characters are very clearly struggling. Very early, Adam runs into a man sitting next to a fire, who immediately draws his weapon and demands Adam back away. Right away, I Am Alive establishes that its world is one that you shouldn't trust anyone if you value your safety.Soon after that, Adam comes across a mother and son, the latter of which has been harmed by roving bandits and needs help to survive. Unable to move, they need Adam's help to survive. You can give them a medkit, perhaps forsaking your own safety later on, or simply move on. Again, this pair does its best to show that this world is a frightening, dangerous one.%Gallery-145458%

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Gaming By Taylor Cocke

Silver Lining: NeverDead's transforming man

'Silver Lining' is a new column from freelancer Taylor Cocke dedicated to pointing to the pieces that showed the most potential in recently released, bad games. Even in the mediocre, we can find a silver lining. Games tend to take death rather lightly. Characters die constantly, extra lives are collected and wasted, and respawns are regularly infinite. NeverDead eschews it (almost) entirely, adding an interesting layer to core convention of death in games. As a whole, however, NeverDead is mostly a mess. Combat leans toward the tedious, and the dismemberment mechanic is poorly implemented and clunky. Even the story is paper-thin and mostly unfunny, in a genre not generally lauded for well-crafted narratives.But it could have worked. The concept of playing as the immortal Bryce Boltzmann is one that's fascinating, especially if he's unhappy with his blessing and/or curse. He's able to lose and reattach his limbs and head at will, even if it causes him a good amount of pain. He's bitter. Plus, the same demon that literally immortalized Boltzmann killed his wife in the process. With all the free time he has, it's understandable that he may be a little whacked in the head.We could have gotten a story about a man forced to abandon all hope, even if he does not have the means to do so physically. Instead, we got the story of a snarky, sneering jerk with no redeeming qualities.%Gallery-145558%

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Occupy the Joystick: OAK-U-TRON 201X and Keep Me Occupied take DIY games to the people

In a spot usually reserved for household names like Street Fighter or Galaga, the cabinet's title reads OAK-U-TRON 201X, hastily printed on computer paper. Heavy with the hardware and battery required to make it operate on the move, the OAK-U-TRON's creators Alex Kerfoot and Mars Jokela were sweating with the effort of pushing it through a park in the middle of San Francisco. Like a DIY Trojan horse, it contains a collection of indie titles specifically written for the Winnitron software system, all housed in a piecemeal arcade cabinet complete with an old computer monitor and PS2 fight stick controllers.I had spotted them while eating lunch in a park in the heart of downtown San Francisco, and made the decision to throw away my mediocre turkey sandwich in order to jog over and check it out. As we walked along, folks from everywhere in the park had the same idea I did, and examined the moving cabinet. Of course, that's exactly what Kerfoot and Jokela were hoping for.

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