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Civilization: The Good Kind of Addicted screenshot

Sid Meier's Civilization IV

Game released: 2005

Developer: Firaxis

Production: Commercial

Platforms: Mac OS X, Windows

Price: $20.00

Get it from: Direct2Drive
Jordan Magnuson's picture

Civilization is one of those games that has been hallowed nearly time out of mind. Sid Meier was, after all, the second person in history to be inducted into the Academy of Interactive Arts and Sciences’ Hall of Fame. So do I really need to write an article on the series? I don’t know, but I want to. I want to write about Civilization, because I recently played the latest iterations of the game after many years away1 and was struck by the formula’s greatness yet again. I played a lot of Civ II back in the day; enough to know, like anyone else who’s ever touched a Civ game, that the things are seriously addictive. But back when I used to play Civ II I didn’t really give that fact much thought (at least not as much as my parents may have): I just knew that I liked the game, and kept coming back to it. This time around, as “one more turn” syndrome hit me once again with the force of a ton of morphine, it made me think. About games, about addiction, about what’s worth doing in life. Read more »

Modern Warfare 2: It's Just a Game screenshot

Call of Duty: Modern Warfare 2

Game released: 2009

Developer: Infinity Ward

Production: Commercial

Platforms: PlayStation 3, Windows, XBox 360

Price: $60.00

Get it from: Amazon
Chris Tompkins's picture

Infinity Ward’s Modern Warfare 2 has stirred drama in the gaming community and media alike with a scene which presents the player with a choice to slaughter hundreds of innocent civilians while undercover in a Russian false-flag terrorist group. The scene is a powerful reminder of what gaming can do, and what it should do, as it grows into more mature shoes.

Let’s pretend you have invited me over to your house to, say, participate in a heated competition of table tennis. And let’s say, in the heat of a losing streak I yelled out a threat against your life. You’d probably laugh it off as an idle threat and make the next serve. However, if I continued to follow up that threat with an intricate description of how I was going to kill you, describing morbid details, where I would hide the body and how I’d get away with it, you might begin to find it less funny. If I started including your family in such descriptions, meticulously explaining how I would kill them all one night in their sleep, drag their bodies into a rented pickup truck, then drive it to the woods and burn the bodies with the lighter fluid in my garage then dissolve the remains with lime, you might nervously smirk and start thinking about asking me to leave your house. Even further, if I began to sketch out elaborate plans about killing you, planning the best possible routes to invade your home without being detected, and describing with what weapons and in what manner I would kill you, you might begin to actually fear for your life. If I showed anyone these plans the authorities would probably be notified, and most likely, I’d be arrested for what looked like planning a murder.

Where in that story did that stop being fun and start becoming a criminal activity? Was it when I first threatened you? No, it would be when I had gone beyond an idle threat and began defining the details of its execution. Creating an increasingly believable narration of a murder would probably begin to make you believe that I might actually do it. However, if I had done all this under the guise of being a writer, published the book, and started a controversy fit for Fox news—most likely no one would be arrested. Thus we have an interesting conundrum. Detailing the plot of gruesome and/or criminal activity in private is a crime, where as publishing these detailed arrangements to the public could be, if properly contextualized, art.  Read more »

Shadow of the Colossus: It's a Poem  screenshot

Shadow of the Colossus

Game released: 2005

Developer: Team Ico

Production: Commercial

Platforms: PlayStation 2

Price: $19.00

Get it from: Amazon
Jordan Magnuson's picture

My life is flashing before me, and I wonder if I will get down from here alive. “Here” being the back of this behemoth of all ancient beasts, this blue whale monster of the air. Like an elephant senses a fly it has become aware of my presence, and it is writhing to shake me lose: I am an inconvenience, a tickle, an insect that it would rather be free of. And so I cling to my life by the hairs of its back, and pray for the strength to hold on. The world spins around me, and I wonder at my power, and my weakness: the fact that I have in my hands the means to end this creature for all time—though it does not know—and the fact that, if it does not stop spinning, my body will be crushed against a desert rock within the space of three seconds. I wonder what has become of Agro. Dear friend; she will miss me.

Such moments as these are not uncommon while playing Shadow of the Colossus, a game released in 2005 by the same people who made Ico. And what I mean when I say this is not that such moments in their factuality are not uncommon—not that you often die, or often fight large creatures—but that such moments of epic poetry are not uncommon. Shadow of the Colossus, more than any game I’ve ever played, brought me close to Tolkien and Beowulf and Sagas of Icelanders: the game is a setting, a feeling, a long waterfall of tumbling verse. Read more »

Ico: What Will I do for an NPC? screenshot

Ico

Game released: 2001

Developer: Team Ico

Production: Commercial

Platforms: PlayStation 2

Price: Out of print

Get it from: Ebay
Jordan Magnuson's picture

I’m always looking back to find good games that I missed playing at their time of release. In this case I recently got access to a Playstation 2 for the first time, and decided to take advantage. Ico, a minimalistic, puzzle-based, action-adventure game created in Japan in 2001, is an astonishingly fresh experience, and a contender for the single best computer game I have played to date.

In the game, you play the title character, a young boy born with horns who is imprisoned in an ancient castle as a sacrifice. It is granted that you must escape, but what really makes this game a beautiful work is the interaction you have with a captive girl you find locked in a cage at the start of the game. Yorda speaks an unknown language, and is in the castle for unknown reasons; she shines, and as soon as you release her shadowy creatures are after her. The relationship you build with Yorda as the game’s story unfolds, developed entirely through body language and character action, is an astonishing achievement, and unprecedented in my computer gaming experience. There are so many good things about this game, that I will have to back up. Read more »

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