Child of Eden Review: An Interactive Artistic Masterpiece

Child of Eden is one of the most fully realized instances of interactive art the gaming world has yet seen. Labeling it as simply a “video game” seems to do it an injustice somehow. It clearly strives to be something more; to convey a message, to impart a certain feeling upon the player unlike any lowly game they’ve ever played before.

However successful it may be in these attempts, Child of Eden’s artistic aspirations are also worthy of note for more pragmatic reasons. When viewed as a $50 piece of art that uses a controller, an HDTV, and a good sound system as its mediums, the experience is untouchable. There’s simply nothing else like it available today. Playing it transports you to another world, another mindset. It’s a magical experience that you can relive over and over again, just like getting lost in the depths of a good painting.

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Review - Enslaved: Odyssey to the West

The apocalypse is all the rage these days. Blown up, devastated, ruined, and post-nuclear worlds are as inescapable as the inevitable doom these glorious nightmare scenarios envision. It seems there’s something about imagining humanity’s demise that has captured our collective attention of late.

We’ve squeezed the apocalyptic fruit of so much juice that it seems to have nothing left to give. The apocalypse has become boring. How’s that for strange?

Enslaved manages to infuse this overdone concept with new life by abandoning the bland brown grit traditionally favored as the end of the world’s color of choice. Instead, it opts for a greener palette, one that sees nature as regaining its rightful control over the land after humanity has made itself scarce. 

While Enslaved dazzles with its unique setting, it decidedly lacks a historical focus. Those hoping to learn the details of this world’s downfall will be disappointed. Enslaved plants its foot firmly in its fictional present and you learn little more than vague hints of backstory throughout the course of the adventure.

The game finds its true strength in its characters. The world sometimes seems a confusing jumble of disparate elements, full of lush greenery and sentient robots alike, but the characters you encounter along the journey, while few in number, will quickly endear themselves to you. By the end of the game, you’re sure to care far more about the people than the land. 

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Best of the Decade: Limbo

Limbo

Platform: Xbox 360

Release Date: July 21, 2010

Publisher: Microsoft Game Studios

Developer: Playdead Studios

I think most who hold the hobby of gaming close to their heart would agree that the medium is perfectly capable of being considered art. When it comes time to decide which games constitute art, consensus is decidedly less clear. Outside of a few select titles that seem to pop up repeatedly in such discussions, such as Shadow of the Colossus, I’m not sure most gamers know what an “artistic” game is supposed to look like.

Should we look to games like Heavy Rain, which aspires as much as is possible to be a film, for our example? Should we turn to games like Flower, which dispense with most recognizable aspects of being a game at all in favor of being visually interesting and delivering a strong message? Or is the answer somewhere in between?

I think with Limbo we’re a step closer to knowing. Of course, as with any type of art, there isn’t simply one easy definition. Looking at games like Shadow of the Colossus and Limbo, however, it does become clearer what is required on a fundamental level to be both a game and art.

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Best of the Decade: Left 4 Dead

Left 4 Dead

Platforms: Xbox 360, Windows, Mac OS X

Release Date: November 18, 2008 (360 and Windows)

Developer: Valve Corporation

Publisher: Valve Corporation

Few competitive games manage to grab my attention. While I may like the idea of hardcore competition on paper, it kind of falls apart in the long run if you don’t practice. I don’t tend to stick with single games that long, so my dalliances with competitive play tend to be either fleeting or relegated to more accessible multiplayer setups (read: Nintendo). 

In the early part of the decade, this meant I was out of luck for multiplayer. The gaming scene was competitive or nothing. So I had the occasional fling with Halo and mostly stuck to playing by myself.

What I yearned for was more opportunites to work with friends rather than against them. Beating your friends into the ground can be immensely satisfying, even I know that. I’ve played my share of Smash Bros. and Soulcalibur matches. Playing a game along with a friend can be just as gratifying however, and the Playstation 2 era seemed to forget this. I was thrown a bone every once in a while, such as with the surprisingly fun Mortal Kombat Shaolin Monks, but was mostly left wanting.

Luckily this problem has been thoroughly rectified with the most recent console generation. Developers are finally creating more and more fantastic ways to play along with your friends, instead of against them, and co-op is finally an expected feature rather than a rare bonus. 

I can now happily join friends in Halo matches, beat up Yoshi with them in Smash Bros., rock out with them in Rock Band, and, of course, shoot zombies with them in Left 4 Dead.

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Best of the Decade - The Elder Scrolls IV: Oblivion

The Elder Scrolls IV: Oblivion

Platforms: Windows, Xbox 360, Playstation 3

Release Date: March 20, 2006 (Windows and 360 versions)

Publisher: 2K Games; Bethesda Softworks

Developer: Bethesda Game Studios

Most of the games on this list were carefully chosen as modern experiences that still hold up as such. I have previously discussed my modernist mindset when it comes to gaming, a mindset that makes it difficult to enjoy certain older titles. In the fast-moving gaming industry, a game doesn’t actually have to be that old to feel aged. A glance at many PS2-era titles is proof enough of this. Even in just 10 years, games have come a long way indeed.

Oblivion is a good example of this. It wasn’t the first of its kind, as one need only look at its predecessor, Morrowind, to see where it came from. But Oblivion did represent a huge leap forward from anything that had come before. When it was released, it was definitively a “next-gen” open-world RPG. It was gorgeous, stunningly large, and complex. Perhaps it feels dated in some respects now, but Oblivion raised the bar when it was released and it’s telling that, even after all this time, few games attempt the sheer scale and depth it delivered. 

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