Grand Theft Auto Online Reveal

Launches October 1st

GTA V is set to drop in just over a month. However, today Rockstar Games revealed an ambitious online multiplayer suite to accompany one of the biggest GTA games ever made. It is important to note that GTA Online will be “delivered” on October 1st, access being free with every retail copy of the game.

"Grand Theft Auto Online is a dynamic and persistent online world for 16 players that begins by sharing gameplay features, geography and mechanics with Grand Theft Auto V, but will continue to expand and evolve after its launch with new content created by Rockstar Games and the Grand Theft Auto community"

GTA Online sounds and looks like an MMO. The trailer opens up promising a living, persistent online world that dynamically changes and will be continually supported post launch by Rockstar. Throughout the short video we can see instances of new characters (with voiced dialogue) offering missions to be taken to earn currency.

Currency in GTA Online allows you to customise your created character, buying clothes and accessories as you would in a usual single player experience. Earn enough currency and you'll be able to buy property (with the ability to show it off to your friends) opening up the possibilities for co-op hideouts. Or, if you'd like, you can buy vehicles (cars, boats and aircraft) to customise and race.

What would you need a hideout for? Well, GTA Online's open world allows you to join up with friends to take on bank heists and armed robbery, with each of you working together to get away with the loot.

Not in the mood to rob a bank? Well you can compete with friends in the various side games GTA V boasts, including tennis and golf, or in classic online death match modes.

GTA Online also comes packed with a content creator allowing you to create custom races (setting a course in the huge world map) and death matches (altering the allowed map space and weapon/vehicle spawns).

It looks as if Rockstar has learned from their online offerings in GTA, Max Payne and Red Dead Redemption to create a refined and cohesive open world experience. GTA 4 allowed players to connect and take part in missions together in Liberty City. Red Dead Redemption blew open the doors and allowed players to interact and play in a huge open world cooperatively, competitively or both at the same time. Max Payne 3 introduced tight third person shooter controls and systems that were previously lacking in Rockstar games. GTA Online is the culmination of Rockstar's work this generation.

I just can't believe how robust it is considering the size of the single player portion of the game. Rockstar North President Leslie Benzies stressed that it's "a different entity, a separate thing, and it'll grow on its own. It'll be GTA Online; it's not part of GTA V. Obviously it's set in the GTA V engine, but it's going to grow and evolve into its own thing." 

GTA V releases on the 17th September 2013 here in Europe with, as noted above, GTA Online coming around two weeks later.

The Last of Us

Please note, there are no spoilers in this review.

On Playstation 3

The Last of Us represents the end of an era in many ways. It is one of the last big titles on the Playstation 3, it represents the culmination to a body of work from developer Naughty Dog and it embodies a high point to a particular style of game we've seen many, many times this generation.

Throughout the last ten years we have seen more and more big budget titles, with blockbuster presentation values and grandiose stories. Call of Duty, Assassins Creed, Bioshock and Uncharted are just a few that come to mind. The Last of Us is the climax to that particular ideology and design philosophy. It is by far the best amongst them.

One of the main talking points about The Last of Us is it's story. Set in a post apocalyptic world destroyed by a cordyceps virus (a spore fungus that infects the brain and triggers mutation), The Last of Us follows the journey and relationship of Joel and Ellie. Without giving any details away, the narrative is gripping, it is tense, it is emotional and it asks many questions. Key among those: how far would you go for the last of yours? There are many variants of the “us” within the game. Separate factions and groups, all who answer that very question in different ways. Whether that answer may help our protagonists on their journey or not. More often than not that answer is also incredibly violent and morally grey.

Joel and Ellie are wonderfully realised in a manner that is not commonly found in video games. Both feel real, their relationship feels real and the ups and downs within that relationship feel real. The performance, through voice work and motion capture, made me care immensely. Both go on an emotional journey, both have flaws and are paradoxical, and together they make you emotionally invest in their story.

Their story is really the highlight here. Gameplay, while serviceable, is nothing to rant and rave about and this has become a common theme throughout this particular style of game. The Last of Us shares the same flaws as Bioshock Infinite, Max Payne 3 and many others. There is a disconnect between the gameplay and narrative – however unlike previous titles, The Last of Us takes significant steps to reduce the dissonance. Resources are scarce and scavenging becomes both a game play mechanic and narrative element. The gameplay doesn't award points for stealth or action, both are what they are and either choice isn't celebrated or punished. This is a fact of the world The Last of Us is set in.

It is a violent world and violence is just tolerated, it is a fact of life. The slow movement and “tanky” controls help to convey the underlying tension that runs throughout the narrative as every gun fight becomes a game of resource management and self preservation – exactly how it would in a barren wasteland world.

My biggest gripe with the gameplay is the fact that when you are in control, Ellie cannot be detected by enemies. It rarely plays a factor but when it does become obvious that she is essentially invisible to them, it does take you out of the moment a little. Here is a story based on survival, survival of this couple and yet her safety is not a factor when you are in control.

This is where improvement needs to be made. Talking about character and narrative is fine but form and craft has to be taken into account. A perfect delivery of dialogue is both performance from the actor and the crafting of a director. In this instance the craft needed to be of a higher standard to keep in line with the high quality narrative. Treating the narrative and gameplay as two separate entities is a flaw of the particular design philosophy and ideology The Last of Us exploits to it's advantage and, at times, disadvantage.

Regardless of the gameplay slip ups, The Last of Us is still a fantastic game. It is the best game on Playstation 3 because it tells a story with conviction, with passion and heart. The big moments are not huge explosions or fight scenes but quiet, tender moments in a car, with two characters conversing. The key moments are not the blaring gun fire but the eerie guitar strum and a lingering camera shot across the desolate landscape. It steps away from conventional “press X to be hero and O to be villain” and presents an unflinching and uncompromising ending that many may not see coming.

The Last of Us represents, to me, the very reason why I dream to get involved in such an industry. To be able to lose yourself in such a lovingly crafted world is the best form of escapism, it has been true for the longest time with novels and stories. It is the same with this.

T

Brave New Expansion

Civilization V – Brave New World

Available on PC. Requires Civilization V to play.

If you follow me on Twitter or know me personally you may have known that over the last few days I’ve been lost in the world of Civilization. I've managed to, wilfully, spend hours upon hours on this iconic franchise. You can't help but think... just... one... more... turn. You really can't!

Civilization V, when released a few years ago, was met with mixed reactions. Many called it's predecessor, Civilization IV, a better game and up until the recent expansion I would have agreed. Brave New World manages to elevate Civilization V to heights beyond the games that came before with the introduction of Tourism, World Congress, Archaeology, several new civilizations to choose from, enhanced trading, revamped social policy trees and the introduction of an ideology tree.

These new features, combined with features introduced in the first expansion Gods and Kings (FYI – the Faith and Espionage systems introduced in Gods and Kings come with Brave New World – the additional Civilizations from this expansion, however, do not), help shape every section of a typical play through into something engaging, dynamic and devilishly captivating.

Before this expansion, I often found late game to be about the acquisition of whichever currency lead to your desired victory. Science, Culture, Gold or Units for military dominance. Gods and Kings introduced Faith to make the early game a little more dynamic with the ability to slightly enhance and buff your civilization to tailor your needs. The espionage mechanic allowed for trickery and spying, stealing peoples technology or setting civilizations against each other which made the mid-game more intriguing. Brave New World seeks to make the end game a lot of interesting and one of the key mechanics to do so is the World Congress.

Once the Industrial Era has been reached by a majority of the Civs in the game, the first Civ to have encountered every other player in the game earlier becomes the host nation for World Congress. This congress can vote on various policies and rules that change the rule set of the game going forward. Congress can vote to embargo certain players or civilizations. They can outlaw certain luxury resources (say Ivory or Sugar) deeming them immoral and worthless. Congress can impose larger restrictions like a World Religion with the Civilization that founded said religion gaining huge benefits or eventually meeting to elect a World Leader. Being elected World Leader is a key stage in attaining a diplomatic victory and the pursuit of such a victory creates for fantastic political intrigue, backstabbing and drama.

In a recent game, as the USA, I put all my focus into controlling the political stage. I did this through my economy. With the wealth I was able to amass I was able to buy tiles with the resources I would later need for trade, I was able to buy the influence of the City States within the game granting me their votes at Congress and I was able to keep certain opposing players in check with bribes of gold. Everything was going swimmingly. I was able to wrest control of World Congress and name myself the Host Nation with a majority vote. I was on track to becoming World Leader and winning the game. Twenty Five turns to turns to victory. The United Nations was about to convene for the Fourth Congress of Washington and then war broke out. A massive global war, lead by the treacherous Spanish who had been my allies for the entire game. The rest of my opponents declared war against me and my City State allies. They even went as far as to invade and capture the City States I was using to vote for me. They invaded every city I owned and pillaged my network of trading posts and factories.

I came so close. As frustrating as it was, I would have done the same if another player was close to becoming World Leader. I should have dealt with some of them earlier and this really is the beautiful thing about Civilization V. The constant feeling of “I can do better!” and the ability to tell your own sweeping stories that span the entire globe and through era upon era of time. There are no story lines, there are no cut scenes. This is a game about exploration of mechanics which provides you with the beautiful ability to create a story around your play time – like I just did above.

This inherent history is taken advantage of through the games Archaeology system. At the very start of the game, as you set the founding blocks of your first city, barbarian camps and ancient ruins frequently spawn. As you clear these camps and ruins to protect your new nation or to make room the game keeps note of what battle took place where. When Archaeology is discovered thousands of years later, those same camps and ruins return as dig sites where you can discover great works of art and ancient artifacts to increase your Tourism rating.

Tourism is another new addition to the game and the best way I can describe its use is by referring to Tourism as an offensive statistic and Culture as a defensive statistic. Tourism is how appealing you are to other nations and Culture is a currency that you can spend to further augment your overall persona. Some are happy to follow your ways of life, others not so much. Manage to be the most influential Civilization and you'll win. The buildings that you produce in your cities also come with Great Work “slots”. These slots are filled by the artifacts and great works produced by your Civilization, or through trade, increasing your Tourism. Additionally, these buildings can be themed and if you manage to match the theme for a specific building (for example, great works of art from the same time period and civilization) it increases that bonus even further. This create quite an addictive little mini game as you barter with your enemies or allies for certain pieces of art from a certain age, or scour the world for dig sites before you opponents can snap them up.

Nothing is perfect though and sometimes the AI can really be rather dumb. A few times AI controlled players have been utterly unreasonable about trade. Demanding obscene amounts of resources or heavily stacking trades in their favour. Sometimes decades of peace can lead to political strife for no apparent reason. Their voting can sometimes be questionable at the World Congress table, with smaller Nations just “going with the flow” rather than banding together to make a more viable difference.

Still, these minor quirks a side, the additions brought on by Brave New World manage to create a game that will grab a hold of you and only let go when you are crawling away suffering from starvation and fatigue. All with a smile on your face about the deal you made for Sugar with Portugal that one time in the 1300's

Still not convinced I hear you say?!

It seems like a difficult game to get into?

Well how would you like to try out Civilization IV? Because I have not one but TWO free copies to give away on Steam!

All you need to do is share/retweet the relevant link that brought you here and leave me a comment telling me something funny! (This part is optional but it might increase your chances of winning! :P). I'll randomly pick two lucky winners on Friday 19^th July 2013. Obviously, you need some form of a Steam account and a PC to play the game.

T

SimCity... or should that be Sin City?

UPDATED SEE BOTTOM OF POST.

Several sections of text in the post open videos and news sites to support what i'm saying.

The short of this whole post is avoid SimCity. Seriously.

SimCity is a well regarded franchise with many PC owners having at least dabbled in the city building simulation at some point. There are a lot of people out there who fondly remember a disaster ravaging their perfectly laid out metropolis which made the anticipation for the newest instalment huge.

Anticipation which unfortunately has been met with a game that is crippled at it's earliest design choices and execution. To get the good out of the way first, SimCity is a good idea. In fact there are a few good ideas present in the latest version of SimCity. More so than previous games, the latest SimCity puts an emphasis on city specialisation and region interactivity. Two ideas which are fantastic. City specialisation lets you focus on a specific path.

Your city can focus on tourism and attract sims from across the region, driving up revenue for commercial businesses in your town and providing a pay check for the city when events are profitable (e.g a sports game at your stadium!). If you pick a plot of land with natural resources hidden underneath, your city can grow wealthy exploiting that resource. Set up a number of oil drilling or coal mining plants accompanied by a trade post and watch the money roll in. Alternatively, you can keep the raw resources and manufacturer finer goods, metals and petrol to sell at a higher price or use in your region. There is a distinct shift towards micromanagement. Before where you might plop a police station every three streets, now you might be best served upgrading the one police station you have. Most key buildings in SimCity allow you to upgrade, providing additional features or unlocking more specialisation options.

Region interactivity is another plus point. In previous SimCity games you could connect to faceless cities that bordered your town and exchange power, water or sewage for an arbitrary amount of cash. Now your cities (or those of your friends) can trade power, garbage disposal facilities, water etc. with each other too. It creates an asynchronous multiplayer which allows people to work together to provide the sims of the region with everything they need. One person could specialise in education and the sims will travel from the industrial city they live in to educate themselves. Or at least they should... in theory.

It's difficult to pin point why certain features of SimCity just don't work. On one hand it could be the overloaded servers which you are required to log into just to play, even if you want to play on your own (more on this later). Or it could be odd AI bugs that really hinder the experience.

There have been countless reports of the A.I and simulation in SimCity being somewhat broken. The Sims will take the shortest route to their destination, even if it isn't the quickest. They won't cross the road to use a bus stop, opting to drive instead. This could lead to everyone piling into small side avenues where main thoroughfares and avenues remain wide open. Your mass transit systems could just choose to ignore a turning or split in their route and ignore entire sections of the city that are “covered”, in theory, by bus routes. I had a group of low wealth sims complaining that they had no where to shop or work. But at the same time I had a group of low wealth shops complaining that they had no shoppers or workers. How???

The sims and advisors in the game will constantly seek expansion, which is understandable in the first few hours of city building but infuriating when you have completely filled the incredibly small map size provided. When you have no room to build anything (in the entire region), having the game harp on at you about “more workers” is really, really annoying.

The region interactivity just doesn't seem to work like it's supposed to either. There is a delay between interactions. For example I could volunteer up some of my police service to the next town but that won't kick in straight away, leaving my sims in the undefended town unhappy and unprotected until the game decided to catch up. I had built a huge university with lots of room and services to cover the entire region yet the sims on my adjacent towns complained of no education and flat out refused to go to the four schools, two high schools, college and university I had built just one town over. Now this could be because of the server issues EA and Maxis have been having with the launch of the game.

And thus we come to quite possibly the most prominent issue in the game. Online connectivity. You must log into their servers to be able to play the game at all. The launch of an online only game is always troublesome. SimCity had major issues, especially for North American users who had hours upon hours of down time. I, personally, have had a hand full of problems but nothing to the extent of what other players have been suffering. I've failed to connect on two occasions and I've had delayed response from the server when playing at times (region interactions, claiming city locations). In an effort to reduce the server load, Maxis temporarily removed features from the game. One of the key features being the ability to speed up time to Cheetah speed. The removal of this feature means … a lot of waiting around until you can get the money you need.

However, interestingly, a recent report on Rock, Paper, Shotgun shed light on the idea that this online DRM isn't required for the game. EA and Maxis have gone on the record stating that the online connection is a requirement for the game to run because some of the calculations are done server side. The RPS report states (from a source within Maxis) that this is not true. In fact players have reported being able to play for extended periods of time while connection to the server has been lost without being removed from the game. How is this possible if the online connection to the server is that critical? Could the online DRM just be a requirement to curb piracy and provide the platform to drip feed their players new content as microtransations (there are already items on the in game store ready to buy!)? This is a sign of a growing shift within the gaming industry from games as a product to games as a service.

It is unfortunate that such a beloved franchise has been hampered with design flaws and poor execution. Cities are small because they want to promote region play. However region play doesn't work all that great and the cities are so small that there's only so much you can do. Draconian online DRM limits when and how you can play the game, seemingly unnecessarily. Wonky A.I serve to frustrate and make the experience a chore sometimes.

There are some shining ideas underneath the rubble. Here's hoping things change and that E.A crawl off into a corner and die, i'd gladly pay extra for that to happened if it appeared in the in game store.

UPDATE: Following the news posted by Rock, Paper, Shotgun it seems that a modder has found a away to disable to artificial online requirement and play offline indefinitely. Online features such as region tools and save/load games obviously don't work correctly. Your cities are, however, saved onto their servers once you reconnect back to the online service. The UK Modder also stated that it is possible to edit the highways covering the region anywhere, even outside of the boundaries provided by Maxis and E.A. On top of this "bigmaps" were apparently referenced several times in the games code indicating that larger plots could be an additional microtransaction DLC in the future.

A Reddit post outlines all the recent discoveries made by the community. These include an inflation of the population, the ability for offline saves and the inclusion of terraforming tools (a feature removed from the newest edition of SimCity).

This is getting interesting.

T

Better than Hoboken: Conflict of Narrative and Gameplay

Max Payne 3 was without a doubt one of my highlights of 2012 however it has an odd issue of identity crisis plaguing it at the core. Still, for me, Max Payne 3 represents an important step in exploring strong and compelling narrative in gaming, and was ultimately a really enjoyable experience.

It’s clear from the outset that the gameplay in this game plays second fiddle to the narrative. The biggest example I can give you of this huge flaw is the fact that there are compilations of all the cut scenes from the film (with the gameplay removed) and they run as a movie would, quite an enjoyable one at that. The only thing missing from this movie is the action which is often left up to the player to play through. This represents Max Payne 3 biggest flaw. The dissonance between gameplay and narrative is striking as the gameplay has no bearing on the narrative and the narrative only really changes where and what Max is shooting at.

Max Payne 3 is a solid third person shooter with some serviceable mechanics and a few key standout features. There are some problems with the second chance mechanic, which is when Max is dealt a fatal blow with pain killers in his possession he is given the chance to shoot his murderer and stay alive. The implementation of this feature comes off as quite wonky and can sometimes be hampered by the environment getting in your way or the inability to reload in this mode. There isn’t much to say about the gameplay other than that in its entirety it is quite well done but largely unimportant. Nothing you do when you have control over Max really matters. It’s a shooting gallery – a well-constructed and largely well-made shooting gallery.

One of the highlight features of Max Payne is its production style and aesthetics. Max Payne 3 boasts a thumping soundtrack from Health and a visual style that apes Tony Scott’s films like Domino and Man on Fire. Overall the production of Max Payne screams high quality and a lot of effort went into constructing a certain tone and mood to the game that feels very gritty and mature. Both the look and soundtrack really do wonders to give the narrative legs and an extra oomph in its emotional punch.

The story of Max Payne 3 starts out as a plot about revenge and redemption and while it remains that to the end there are a few issues that crop up with the story. Much like the paradoxical nature of the game, the narrative seems to be unsure of what it really wants to be. Here and there, ever so gradually, political overtones begin to appear and the latter half of the story feels muddled as it deals with the weight of large issues such as capitalism, American foreign policy and the value of life.  While there is room for an undertone of political commentary in most narratives, the problem with Max Payne 3’s story is that at times it detracts from what Max ultimately set out to do.

Some of that confusion is alleviated by James McCafferys performance of Max. The actor really shines in his portrayal of Max and his delivery of dialogue, which has just the right about of dry, wry wit about it really settles the game into “serious story” mode but one that doesn’t take itself too seriously all the time. McCaffery carries the weight of the entire game and really pulls off a strong performance that gives us a character we can engage with. It’s not all perfect in the realms of characterisation but it is there and Max, as a person, does change.

It’s just a shame that this change isn’t reflected in the gameplay and ultimately this dissonance between narrative and gameplay stops Max Payne 3 from being an amazing must play game but rather represents an important but tentative step in the evolution of gaming.

To me there are two clear cut types of games now: games which present systems and gameplay as the main engaging factor and games which present narrative and story in the forefront. Games like Max Payne 3 and Uncharted provide shining examples of relatively well written and engaging stories in games and they bring a form of validity to the medium. These stories are far from perfect but by in large they are really well done, even when compared to some films that are released.

On the flip side of the spectrum you have games such as FTL or Terraria which present players with hugely addicting and compelling gameplay mechanics, with little story and narrative to frame them, which also legitimise the medium. There is room for both styles of game in the genre and Max Payne 3 represents, to me, an important step in ensuring high quality, mature, story driven content with which players can interact with and ultimately enjoy. However for story and narrative to truly be seen as valid constituents of the spotlight they need to engage with the gameplay in meaningful ways providing players with input and interaction to fully engross the player and provide them with a full-fledged, story driven game – like Heavy Rain.

T

ThatGameJourney

I love playing games. It’s one of my hobbies and I’m quite passionate about it. In light of the recent bad press gaming seems to have had (things that I commented on in a previous blog post) I wanted to present quite possibly one of the most amazing gaming experiences I have ever encountered. I’ve actually wanted to talk about this game for quite a while but I’ve been holding off because I don’t think I could do it justice and convey just how exquisite an experience this is. The reality is the only way to truly understand would be to play it, uninterrupted, alone and completely open to be immersed by it. As gaming news and commentary is going to be something I continue to do, I wanted to start with “the right game” and it had to be Journey. There is nothing that comes close this year and arguably this decade. If you haven’t played it, I won’t spoil any of the key moments.

The main thing to note about Journey is that everything the game does serves one purpose and that is to drive the narrative and build towards a collective experience. It is difficult to talk about single aspects of the game because each system in the game compliments and supports another. It’s becoming more and more prevalent to see multiplayer or RPG elements added to games because it’s “in fashion”. Journey doesn’t do that, everything present is potent, masterfully crafted and has a purpose.

The first thing that hits you about Journey is the visuals. As soon as you start the game you are presented with a vast desolate desert, stretching out as far as you can see, and soon after you are quickly introduced to your single solitary goal in the game: reach the mountain top. A peak looms over the land in the distance and at its summit there seems to be a ray of light. As the title screen appears over the image of the mountain the distance it becomes abundantly clear that your journey is to get there. There is no quest text telling you what to do or mini map markers (in fact the UI is stripped entirely with all information being represented visually in the world or on the character), this is intuitive design. The simplicity of this game is its brilliance because it taps into core human emotions, this one being curiosity and the need to explore.

And then the music kicks in and suddenly you’re within the games grasp. As you wander the desert as the main character (who is designed with no specific gender) the music accents each step with emotion. Whether it is fear, excitement, curiosity or sorrow the games changing visuals and music create an emotional ride that sucks you in. The music in Journey is one of the standout features; it was nominated for a Grammy and if you’re listening to the video I linked at the top, it’s clear why.

The gameplay is as simplistic as the games aesthetics. You can jump (and glide) and let out a pulse of light. The pulse of light is an interesting mechanic because it is your only way to interact with world and all the wonders waiting to be found. It also serves as an interesting and creative way to communicate with any players you happen to pass by. Journey features a multiplayer component with adds to the games appeal, narrative and collective experience. You don’t know the identity of the people you pass by. There is no way to “connect”, anyone playing at the same point as you in the game has a chance to appear in your world and you theirs. There is no name plates, no way to start talking to the person, you cannot message them, you are just two strangers in a strange land and you can either continue on together or drift off into the sands. The multiplayer mechanic in this game taps into another core human trait, that being one of humanity. Simply working out how to communicate and work with a complete stranger was an uplifting experience.

It is this perfect cocktail of simple features and a world of wonder that make Journey such a fantastic game. I found myself exploring whenever I could and I was genuinely afraid when the games enemies would approach. Because there is no way of combating them, a crushing sense of fear and helplessness overcomes you. You feel concern for the person you’re on this journey with, even though you know nothing about them.

When it was over (the game clocks in at about two to three hours) I knew then that what I had just played was something crafted with care, with purpose and it was one of few instalments in this genre that can be considered art. I would put this alongside any painting, film or piece of music because it evokes the same emotions and I’d argue that those emotions are much more personal because you interact with the game, it is your story.

If you’re interested in games and are a little tired of the same old thing over and over again then I implore you to try Journey. If you’re not into games and enjoy books, films or music then I also implore you to try Journey when you get a chance, this goes beyond a video game and it is an experience. Journey is easily the best game of 2012, quite possibly the best game in the last 10 years.

Utterly haunting.

T

I wish The Sun would go away

Sensationalist British media hardly fails to surprise me with its laughable standards “journalism”, however with the recent rise in mind numbingly stupid headlines following the unimaginable horror of the school shootings – I’m actually starting to wonder why anyone still buys these tabloids any more. Surely these readers would have more self-respect than to pick up The Sun and consider themselves informed of today’s current events, but these things continue to sell.

The Sun recently ran the headlines that reported the murderer who opened fire on innocent children in a school was somehow influenced by Call of Duty: Black Ops 2. Hooray, it’s “let’s jump on the video games are evil bandwagon” time! Hang on; they just need to get off the “Goth killers” bandwagon first.

In the interest of transparency I’d like to inform you guys that I have just finished a game of Call of Duty: Black Ops 2 before sitting down to type this up and no, I am not feeling any urges to grab a weapon and open fire on innocent children. There is no evidence to suggest that playing video games = mass murderers. It’s insulting to even suggest that. To even imply that Call of Duty or video games in general is a main cause (one tabloid reported Dynasty Warriors as being one!) is becoming less and less of a credible argument and the constant backing of such an argument simply makes you look ignorant, narrow minded, backwards and quite frankly stupid.

To me that is the best way to describe the general institution of British Journalism, most (not all!) is quite frankly antiquated and a relic of times long since passed. More and more people are finding their news elsewhere. More and more people get their fix of entertainment gossip elsewhere, these trash tabloids quite frankly should just die out now – and quickly – and reform themselves in the wake of more connected and smarter audiences. I’m normally not one to just lash out at such a large sector of people, writers and journalists however this is just another instance of brazen sensational “journalism” where these tabloids get away with presenting shit as fact.

This follows the scandalous investigation into phone hacking and the invasion of privacy by journalists in more and more bold attempts to sell newspapers. Finally they were somewhat threatened by the Levinson Inquiry but the reforms suggest by that didn’t go far enough. We shouldn’t live in a world where journalists can offer depressed and mentally unstable people money for drugs and sex just to get a story. Or a world where whole sections of people (the killer was labelled as a Goth in a recent headline) are quite frankly discriminated against, whether they are immigrants, gamers or people who are interested in alternative music, attire and values, by large corporations whose interests solely lie in sales and political control. An establishment that can change its entire political belief at a whim to stay “in with the readers” loses all integrity with me.

It’s trashy, uneducated and petty. Their attempts to tarnish all forms of media and entertainment in which the large News Corporations have little control (for example News Corp has very little control in the games industry or avenues of Goth music and fashion) are getting obvious and quite frankly laughable.

We deserve better from our media and government and it burns me up inside that productions such as The Sun are still able to operate today. They are a fountain of hate and bigotry that are in the business of scaring readers and keeping them under their control rather than presenting news.

How about they stop finding out what music and games the killer listened to and plastering his face all over the front page and focus their attention on the innocent lives lost and the families having to deal with such a tragedy. Maybe that’s asking for too much.

T