The games and film industries are currently obsessed with the concept of reboots. While this is not a new concept, traditionally reboots are greenlit for franchises that are fairly old, and only when the IP holder feels that it will remain commercially viable after a modern facelift. Certain entities in the gaming world have bucked this trend, prescribing reboots for series that are still currently popular, and have likely had at least one new entry in the last five or so years. From a theoretical standpoint, this makes sense. If you are choosing something to to reboot from a list of modern franchises, it is much easier to determine their viability when your audience still remembers them. It also allows a publisher to continue churning out sequels at a steady clip without the new entries feeling immediately stale. → Zero Escape: Nine Hours, Nine Authors, Nine Articles
When the first Gears of War was released, I wrote a little rant about Cliff Blezinski’s introduction to the game found in the instruction book. For a game about large meatheads shooting albino insect meatheads, the intro sounded far too pretentious and lofty. Commenters took me to task, and they convinced me that I was overreacting.
Thankfully, Gears 2 doesn’t put me in the same situation. This time, Cliff’s intro makes no bones about the fact that this game wants to emulate the feeling of “being in a summer blockbuster film” better than any other game out there. Shallow as it may be, knowing a developer’s intent can have a large impact on how I view a game. An over the top setpiece becomes more palatable when I know the creators aren’t presenting it as a work of gaming art. → Disaster Readport