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Societies of Control and Games

Game Analysis

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The agency of interactivity, called as player, is indispensable part of the video games. Games are required to be played and unlike any other medium, games can tell their stories via physical interactivity based on non-linear actions of player. In some ways, it is possible to interpret games as mirrors. All the actions of player are reflected on the virtual environment inside the frame of screen. Inevitably, the way player interacts with virtual world is interpreted through the semiotic structure of game. The control of player over the screen is therefore represented by allegories. Although this is what Deleuze might have analyzed under his concept ‘action-image’, we will examine another theory of him, Socities of Control in relation to games.

MGS2-3

In Postscript on the Societies of Control, Deleuze talks about three different types of society. Inspired by Foucault, he defines society of sovereignty, disciplinary society and control society. As a summary, a society of sovereignty is what he calls the political structure established in medieval ages and disciplinary society is the period where radical politic changes occured after industrial revolution and names Napoléon and Nazi periods as examples. Our primary concern is, in our case, societies of control and Deleuze declares that nowadays a system is being established where everything is manipulated for keeping the society under control. For instance, Deleuze gives highways as an example. Think about them for a moment. Back then, it was possible for  drivers to create their own route, but now, even though highways seem to make the road experience more comfortable, they are also limiting the amount of alternative routes. Deleuze says this might not have been thought directly, but on subconscious level, this is a result of what they want to establish.

In essence, the development of games theory, system theory and all similar mathematical theories in the mid-20 century aimed to reduce human equation into statistical data and geometrical models and created a metaphorical ‘cage’ for the society. Now in the post-industrial era, the corporation has replaced factory in which every individual is considered as employees or units rather than factory workers. Deleuze expands his concept: “If the most idiotic television game shows are so successful, it’s because they express the corporate situation with great precision.” Just as there is a competitive challenge between corporations, there is also a motivation that enforces individuals to oppose each other and compete against, which ends up dividing them as a result.

In the age of computation, human became nothing more than pure data and fleshless code. It is now possible to track your every movement on the net (unless you use Ghostery plug-in) and corporations like Google and Twitter are storing them to create profiles of human entities, then transform these statistics into meta products and sell them to third party companies with high amount of money in return. Every data you produce is used against you, not only to track but also to modify your thoughts and make you become an integrated part of system.

Civilization-IV-Gameplay-Screenshot-2

Alexander Galloway draws a similar picture and says that in ideological/traditional allegory, emblematic medium was cinema and the political expression was class struggle. Now in control allegory, the emblematic medium becomes video games and at present, political expression is information control. Likewise, he said “While it may appear liberating or utopian, don’t be fooled; flexibility is one of the founding principles of global informatic control. It is to the control society what discipline was to a previous one. Just as medieval scholars used the existence of contradiction in a text as an indication of existence of allegory, so Civilization game has within its many contradictions that suggest such an allegorical interpretation.” That’s why he called Civilization game as an ‘allegorithm’. Flexibility and allegory, supported by vicarious kinaesthesia, create a so-called ”independence” in games. Many games take the ‘critical approach’ away. And as Mathieu Triclot said “Video games are small dust of dream by which the big sleep of capitalism is shaken, things that are dreams connected to the numerical machines.”

Only a few games like Metal Gear Solid 2 takes a one step further and tells you to “Turn Off the Game Console Right Now!”

References:

1) Deleuze, Gilles. Postscript on the Societies of Control (1992)

2) Galloway, Alexander. Gaming: Essays on Algorithmic Culture (2006)

3) Triclot, Mathieu. La Philosophie des Jeux Vidéo (2011)

4) Deleuze, Guattari: Societies of Control and Antipsychiatry (URL) http://www.youtube.com/watch?v=720Kx3NdDig

 

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Ill Designed World

Genel

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“Some sort of pressure must exist; the artist exists because the world is not perfect. Art would be useless if the world were perfect, as man wouldn’t look for harmony but would simply live in it. Art is born out of an ill-designed world.” ― Andrei Tarkovsky

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Second Life and Online Identities

Genel

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In information age, every part of life is changing dramatically. Second Life is a simulation where every user participates to a virtual world with their alternate personas in the form of avatars. It extends the physical life and adds a new layer.

Life 2.0 is a documentary about this issue. It tells the story of different people who have one thing in common: Second Life. The documentary explains how the family lives, jobs and social relationships can hugely change after starting this simulation. People can quit their wives or husbands, or even their children and start a new life with someone they met from there. Or, people can create virtual cars, houses and accessories and sell them in the virtual market of Second Life. Even Greenpeace can organize protests. So, here is a trailer:

My only criticism about this documentary is that it has only focused on individual’s lives. So, I found it relatively limited, there were little connection related to life itself. However, Second Life has also influences on the mechanisms of physical world. For instance, Adidas can invest 75,000 dollar for a virtual terrain (in a popular street) or Linden (creator of Second Life) may choose to decrease the size of terrain so that the value of every piece increases. Thus, as the title of simulation suggests, Second Life offers an alternative universe parallel to real life. However, it takes on a crucial role for defining reality and what is ‘real’.

In his ‘Simulacra and Simulation’ book, Baudrillard tells us that the world we live in is now hyperreal. All the images that surround us, including Second Life, suspend the reality. That sort of simulations  transform the reality as if it is something we can’t change or criticize. Unfortunately, there weren’t any comment on this fact in the documentary.

Moreover, it is possible to see many examples that tries to use this feature for their marketing. Eve Online and Mortal Kombat are two games that show how players immerse themselves into virtual worlds and their avatars, forcing people to think that how excitable it might become to be a part of this alternative reality and it leaves no place for thinking on the current, actual system that we are all members. Here are the links for them:

Eve Online: http://www.youtube.com/watch?v=Ok5NY_dzez8

Mortal Kombat: http://www.youtube.com/watch?v=OSxSyv4LC1c

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Devil May Cry and Society of the Spectacle

Genel

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Devil May Cry is a game created by Ninja Theory, a game developer based in England. Their latest game, shortened as DmC, is about a young boy who uprises against what Louis Althusser calls ‘ideological apparatuses of the state’. Metaphorically all the CEOs, bank managers, media presenters and politicians are depicted as a demon. In the plot of the game, they’re all the enemies that we need to fight against.

The name of main character is Dante, a signifier to Dante Alighieri’s Divine Comedy, and he is alienated from the society and he is shown as a threat to city’s security. That’s why the system he lives in treats him as a criminal even though he doesn’t commit any crime.

The game always refers to marxist terminology without revealing it directly. It emphasizes the commodity fetishism and culture of consumerism. Furthermore, we have to mention Guy Debord’s Society of the Spectacle book here, as the game constantly reminds the player a systematic conflation of capitalism and mass media, and government’s policies to exploit them. In fact, the ‘spectacle’ transforms organic human relations into objectified relations among images (and vice versa) and the hero of game wants to reveal this truth, inform people about what is hidden in their unconsciousness.

I also would like to share a marketing strategy of Ninja Theory, developed for the promotion of DmC. Below, you’ll see an augmented reality application where some specific signs and visuals of the city transforms into different images via smartphones of users.

Digital games are the instruments of cultural production and in this case, DmC have been commodified as a commercial activity that transforms its artistic expression into a commercial value. Although it criticizes socio-economic capitalist structure, it serves as a spectacle to society. Hence, as Guy Debord says ‘In the Society of the Spectacle, all the promises of liberation becomes a part of the spectacle.’

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Anamorphine – Surreal Digital Game

Game Analysis

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Anamorphine is a surreal game developed by Mohannad Al-Khatib and Ramy Daghstani in United States, first revealed in IGDA Demo Night, two weeks ago.

The game heavily relies on creating narrative based gameplay experiences, offering optical illusions and anamorphic images (as the title of game suggests). The camera angle this game uses is called First Person Shooter (FPS). Even though the game is not a shooter, the name of genre comes from the first FPS game, Wolfenstein. Until the second half of 2000s, all the games created in this genre used to be only shooters. In 2007 Bioshock game, developed by now defunct Irrational Games, was one of the first production to interpret this genre in a different way. Preferring a more narrative based gameplay experience, it was one of the most successful digital games in the industry.

However, Dear Esther should be mentioned as the first FPS game to literally create a gameplay without using any weapons. FPS is a crucial type of genre in the industry as it offers the most immersive experience among other type of games. All the visual world is depicted through the eyes of player and whole the control relies upon them. In essence, all the physical movements are translated into virtual world.

Anamorphine, on the other hand, is one of those rare games in which they try to interpret the features of the genre more differently. In this early alpha version of game where I shared above, you start game by entering into the mouth of a huge panda and then, testify the changing world around you where it constantly keeps evolving and makes you question the experiences you’re having. The anamorphic 3D environment creates struggles between your self-identity and Other.

 

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The Stendhal Syndrome

Movie

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The Stendhal Syndrome, directed by italian Dario Argento, tells the story of a woman detective who follows a serial killer. Detective Anna Manni has stendhal syndrome. Even more, the serial killer she pursues is aware of her syndrome and uses her illness for his own advantage.

Dario Argento, the director of the film, was affected by this syndrome during his childhood. When he visited Parthenon in Athens with his parents, he was overwhelmed by a trance that caused him to lose his parents for hours. It was such a deep influence on the director that he has never forgotten it and consequently, motivated him to produce this film.

The origin for the name of syndrome comes from the french writer Stendhal. During his Florence dairies, he too was affected by the aesthetic beauty of historical Italy and he has written his experiences on his dairies, as such it was the first written example of this syndrome, hence the name of syndrome was derived from him.

The first part of the film describes this syndrome using effective cinematography and interesting visualization. The sequence where Anna Manni reaches the cathartic moment and faints while transitioning into the painting is really worth paying attention. The usage of ‘frame’ subject and the issue between identity and image have been worked on very smoothly. The part I shared above also makes a nice introduction of characters as we’ll testify the change among them.

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The Dead Man

Photography

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After reading Maurice Blanchot’s ‘The Two Versions of Imaginary’, this photography taken by one of my friends, Akın Çetin, came to my mind. Even though he was unaware about Blanchot’s text, I personally think that he pretty much expresses the overall idea of ‘The Two Versions of Imaginary’. Blanchot states that image is a sort of cadaver. Image creates a paradoxical and enigmatic situation. It’s there and not there, blurs the distinction between time and space just as a cadaver does. Cadaver, Blanchot says, resembles himself – because the physical body might be here and but it’s also in another place, at the dimension where death leads.

A cadaver does no longer resembles to the person that once has lived, it’s someone else now – Death has changed him. Akın has consciously preferred not to show the face of cadaver, but at the same time he has put the photo of cadaver, placed a photo inside a photo. Thus, by depicting the relationship between image and cadaver, Akın makes the viewer apart of this situation to take into account. It exposes the coalescence of virtual and real, life and death, resemblance and real, self and other, presence and absence…

You can also find further details about his book ‘Immense et Rouge’ from here.

 

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Silent Hill 3 – The Mirror Room

Game Analysis

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In late 1980s, the duration of games has expanded and game designers came up with the idea of ‘save&load’ function in games, in order to make the player save their progress and load in a particular moment in case they fail at some point. Consequently, they wouldn’t start from the beginning after playing a couple of hours. This is actually what makes games very unique and exclusive: The ability of the player to save and re-load that scene again.  So, the player is literally able to crystallize the time and save it as a file. Most of the games allow the players to reach the past records of their experiences. Save files in games play a role of recorded memories.

Silent Hill 3, a 2003 game published by Konami makes a very unique approach to this feature. This game has a special room in an hospital. When the player enters that room, he/she encounters with a big mirror, covering completely a wall of the room. The player is able to see his/her avatar on that mirror, “in Bergsonian terms, the real object is reflected in a mirror-image as in the virtual object which, from its side and simultaneously, envolops or reflects the real: there is a ‘coalescence’ between the two” (1). However,  the coalescence between real and virtual is broken by the interruption of growing blood in the scene. Few seconds later, room literally starts to bleed and the player tries to ignore this symbolic universe by escaping the room. But this is where the player understands the fact that there is no escape and the player has to face the events.

Initially, we see the blood on the reflection of room’s floor. After that, this blood intervenes to the ‘real’ room that our avatar is present. So, the blood attacks to the player by surrounding the room along with the body of player’s avatar. When the blood completely covers the body of the player, the reflection of player on the mirror freezes.

Normally, the mechanics of this game lies on interactive movements and research of the objects. Player has to find keys and objects in order to open doors and overcome struggles. Though, the end in this room is inevitable.  There are no objects that player can use to solve the problem and escape this situation. That’s where this binary relationship between the mirror room and the rest of the game are emphasized. A problem intervenes the scene, yet the controller that the player holds for interaction signifies nothing, it loses its basic function. The reflection on the mirror does not work anymore. Every attempt to get out of it have no value. And it is satirical that the game puts the player in that sort of situation.

This scene ends with the inevitable death of the player.  When the lights go out (when there is no resource to perceive ourselves) the player dies. Just before the lights go out, we see that player is inside a bloody room with a clean body, on the other hand the reflection of the avatar is covered with blood in a clean room: Another binary relationship of virtual and real objects. But a third actor is also present: The screen itself. The screen is also a mirror for the player. Avatar’s movement on the screen has a function of ‘mirror’ for the player as the player can receive feedback from the screen when he/she pushes the buttons on the joystick. And the screen loses this functionality when the screen goes completely black. The player has to continue the game from the last saved part. The game enforces player to load the last saved scene.

Reference: 1)  Deleuze, Gilles, 2005 (first published in 1985). Cinema II. Continuum. P. 66

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OccupyGezi

Game

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What is it?

OccupyGezi is a game about Gezi Park events of Summer 2013 in Turkey.

A peaceful sit-in of about hundred people to prevent Gezi Park, one of the last green spaces in the middle of Istanbul, from being destroyed and turned into a mall was subject to use of disproportionate force by the police. This triggered a hundreds of thousands-strong country-wide protest against the authoritarian policies of the government, and there have been many clashes and police attacks since.

Why is it made?

The game was developed as part of a game jam organized by Game Developers Turkey (GDT). Gezi Park has become a symbol of people’s fight against oppression and desire for a more democratic country, where they can have a say about their own lives, their city, their future. Now the Taksim Square and Gezi Park is occupied peacefully by the protesters with no police around and no violence, and with no other redeeming quality of our own, we chose to show our support by doing what we do best – making games.

Individuals from every part of society have collectively participated to the events, especially using social media (as the traditional media refused to inform people about this event), therefore developing games as a medium to express our political opinions fit to the spirit of the movement.

Symbols in the game

There were many iconic moments during the protests, most notably woman in red during the early days of the protests. You, as the player, control a policeman and can shoot tear gas at protesters. It is up to YOU to decide whether you want to allow the protesters to enter the park freely and safely or pose them a challenge. Should you prefer to choose the latter, woman in red will appear in the game to support the protesters in their cause.

Primarily inspired by Gonzalo Frasca’s 12th September, this game aims to show players the collective solidarity of protesters against the police state. As a player you can shoot at protesters by simply holding and releasing your left mouse button during gameplay.

Mechanically, shooting at protesters only slows them down, it’s not possible to prevent their entrance to the park. In the background, you can also see the support by habitants of the city from their home, legitimizing the protests in the eyes of people.

The game was exhibited in Amber Design & Technology Festival in Istanbul, Turkey.

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Mortal Kombat İncelemesi

Game Analysis

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Gelecek, bizim en büyük kaygımız. Bilinmeyenlerle dolu ve gizemli. Kimi zaman heyecan verici, kimi zaman korkutucu. Bizi çevreleyen görsel duvarların üzerinde gelecek; sisli, karanlık ve yıkımın olduğu bir yer olarak tasvir ediliyor. Bu yüzden insanlar bilmek istemiyorlar, öğrenmekten korkuyorlar. Doğrularını yitirmekten çekiniyorlar.

Tabii eğer bir tanrıysanız durum biraz farklı. Gelecekte olan bir felaketi yaşayıp geçmişteki kendinize mesaj yollayabilirsiniz. Böylece şimdiki zamanda yaşayan varlığınızla geleceği yeniden şekillendirebilirsiniz. Nitekim şimşek tanrısı Raiden ile yaptığımız şey de tam olarak bu. Eğer son Mortal Kombat oyunu Armageddon’u oynadıysanız, muhtemelen bilirsiniz: Evren için büyük bir tehdit olan Shao Khan her yeri ele geçirmek üzeredir ve imparatorun, koruyucu Raiden’ı öldürmesine çok az kalmıştır. Bu, bir yerde kıyametin başlangıcıdır. Bunun üzerine Raiden, geçmişteki Raiden’a mesaj yollar. Artık olacaklardan haberdar olan aydınlanmış savaşçımız, daha bilinçli hareket eder. Bu da paralel evrende yeni bir Mortal Kombat hikayesi yaratır. Peki nedir Mortal Kombat’ın hikayesi?

Öncelikle bu yapım, ilk üç oyunun alternatif hikayesini içeriyor. Dolayısıyla Mortal Kombat (MK) evrenine yeni giriş yapacak oyuncular yabancılık çekmeyecektir. Aslında dövüş oyunlarında kurgu ya çok basit, klişedir ya da hiç yoktur. İnsanlar dövüş oyunlarını yalnızca birbirlerini pataklayarak eğlenmek için oynar. Bu yüzden kitlesi bellidir. Ancak Mortal Kombat’ın bu oyununda durum biraz daha farklı, tek oyunculu modunda hikaye de önemli bir rol üstleniyor. MK evreninde toplam 6 adet “Realm”, boyut bulunuyor. Earthrealm; Johnny Cage, Sonya Blade, Liu Kang, Scorpion ve Sub-Zero’nun yaşadığı ve şimşek tanrısı Raiden’ın koruyuculuğunu yaptığı yer. Netherrealm; şeytanların ve gölge savaşçılarının hüküm sürdüğü topraklar. Outworld, imparator Shao Khan’ın iktidarlığını yaptığı ve mülkünün kendisine ait olduğunu belirttiği evren. Seido; yapının, düzenin ve disiplinin mutlak olduğu mekan. Kaos, yaşayanlarının asla kural tanımadığı boyut ve güzelliği, sanatsal çevreleriyle tanınan Edenia. Bu düzeni oluşturan Yüce Tanrılar başka bir Realm’ın fethedilebilmesi için şöyle bir kural buyurmuştur: O Realm’ın en iyi savaşçılarını Mortal Kombat turnuvasıyla yenmek. Oyundaki hikaye ara-sinematiklerle desteklenmekte fakat bu ara sinematikler havada kalmadığı için oynadığınız karakterlerle ve yaşadıkları dünyayla empati kurabiliyorsunuz. Bu da benim gibi sadece oynanışa önem vermeyenler için güzel bir gelişme. Tabii hikaye kısmı oyunun yalnızca üçte birlik kısmını oluşturuyor. Bu da sadece dövüş yapmak isteyenler için önemli bir kriter.

Ölümcül dövüşte şiddet kaçınılmaz mı?

Oyunun tek kişilik bölümü haricinde birçok modu var. Ancak her şeyden önce uğramanız gereken yer Training Mode. Buradaki basit hareketleri öğrendikten sonra ister oyunun çevrimiçi moduna, ister hikaye moduna başlayabilirsiniz. Farklı bir mod olarak Krypt modu var, bu bölümde yürüyerek ve yeri geldiğinde mezarları kazarak bazı gizli şeyleri (Fatality gibi – Fatality, dövüş sonunda rakibinizi bitirme hareketine verilen isimdir) keşfedebiliyorsunuz. Bu modun özellikle sunuluş biçimi yenilikçi olmuş. Bunun haricinde klasik Test Your Might, Test Your Sight ve yeni Test Your Strike ve Test Your Luck mini-oyunları var. Bu oyunlarda ya tuğla kırıyorsunuz, ya karıştırılan bardaklardan topun konulduğu yeri bulmaya çalışıyorsunuz ya da karşınıza ilginç bir şekilde çıkan (kafasız mesela) rastgele bir düşmanla dövüşüyorsunuz. Bir de toplamda 300 tane dövüşün yer aldığı Challenge Tower modu var ki oyunun sadece bu bölümünün bile bir 10 saatinizi alacağını belirtmeliyim.

Mortal Kombat’ı daha önce oynamamış olsanız bile kült olmuş karakterlerine muhakkak bir yerlerde rastlamışsınızdır. Nitekim oyunun bu versiyonunda eski serilerdeki bütün önemli karakterler derlenmiş. Oyunun kapağından da göreceğiniz üzere Sub-zero ve Scorpion yine var ve aralarındaki amansız rekabete yine tanık olacaksınız. Onların haricinde Raiden, Mileena, Shang Tsung, Quan Chi gibi isimler de dahil olmak üzere oynanabilir 28 kişi var. Eskiler arasında benim favorim ise Noob Saibot. Kendisi aslında ilk oyundaki Sub-zero ve şimdikinin abisi. Noob Saibot, Scorpion tarafından öldürüldükten sonra Netherrealm’da yeniden doğuyor (reenkarnasyon) ve içerisinde alev gibi büyüyen bir hırs aracılığıyla önüne çıkan her şeyi yok etmek istiyor. Karakteri, tasarımına da hoş bir şekilde yansımış. Fatality’leri de oldukça hoş. MK’nın bu sürümünde dövüşler, ilk oyunlarda olduğu gibi iki boyutlu düzlemler üzerinde geçiyor. Bu da oyuna nostaljik bir hava verirken dövüşlerin de daha etkili geçmesini sağlamış.

Kratos ile Dövüos, Yıkıos ve Adios Amigos

Ancak elbette ki oyunun en çarpıcı ismi God of War’dan tanıdığımız Kratos. Savaş tanrısı daha önce Heavenly Sword oyununda da yer almıştı ve dövüş temalı oyunlara oldukça uyumlu olduğunu itiraf etmeliyim. Gerçekten de Kratos, oyun dünyasının istenilen ismi oldu artık. Mekan olarak da God of War III’ten Chamber of Flame eklenmiş. Burası Kratos’un Zeus ile dövüştüğü mekandı. 1980 sonrası sinemanın özelliklerinden biri sinema tarihinde yer almış önemli yapımlara gönderme yapmaktı (Almodovar bir filminde Hitchcock’ın filmlerindeki deniz fenerine gönderme yapar). Sanırım 2005 sonrası video oyunları için de bu özelliğin geçerli olduğunu söyleyebiliriz.

Oyunda toplam 25 mekan var ve hepsi de birbirinden çarpıcı. Önceki oyunlardaki gibi statik değil de dinamik, yaşayan, nefes alan, canlı mekanların olması oyundaki atmosferi zenginleştiren bir unsur. Örneğin bir bölümde arkaplanda yer alan ejderha oyuna odaklanmamı engelledi (olumlu olarak söylüyorum, mekandaki detaylar hoşuma gitti). Oyundaki fatality’ler de oldukça çeşitli ve oynadığınız mekan da zaten bu konuda bir görev üstleniyor. Mesela bir bölümdeki fatality’de düşmanımızı mekanda bulunan ağaca yediriyoruz, bir bölümde gelen metroya rakibimizin kafasını sürtüyoruz (O an spiderman’in üçüncü filmde kum adama yaptığı şey aklıma geldi), başka bir bölümde düşmanı gelen taksinin önüne atıyoruz ve ezilmesini seyrediyoruz. Her bir karakterin kendine has komboları, özel saldırı şekilleri ve fatality’leri var. Sürpriz bir şekilde “babalities fatality” de yer alıyor. Oldukça sarkastik olan bu dövüşü bitirme şekli, rakibinizi bir bebeğe çeviriyor. Kratos’u sakallı bir bebek olarak görmek veya Raiden’ı ağlarken izlemek oldukça eğlenceliydi. Bir de oyuna yeni bir özellik eklenmiş: X-Ray modu. Bu modda düşmanımızın kemiklerini kırarken gerçekten kemiklerini görüyoruz!! İtiraf etmeliyim ki bu özellik gerçekten de sadistçe olmuş.

MK, çoklu oyuncu modunda da büyük yenilikler yapmış. Arkadaşınızla iki joystick aracılığıyla karşılıklı maçlar yapabileceğiniz gibi King of the Hill olarak adlandırılan çevrimiçi bölümde tiyatro sahnesi gibi bir mekana küçük bir avatar olarak giriş yapıyorsunuz. Öncelikle sahnede oynanan maçları izliyorsunuz ve oyuncuların dövüşü sergileyiş biçimlerine göre saygı puanı veriyorsunuz. Tabii ki oyun bittikten sonra sıra size gelmişse kazananla dövüşmek için sahneye çıkıyorsunuz ve sahnede kalmaya çalışıyorsunuz. Başka oyunlarda olduğu gibi NetherRealm sadece yazı tabanlı bir bekleme modülü geliştirebilirdi fakat detaylı bir bekleme odası hazırlamışlar. İnteraktif özellikler sayesinde beklerken hem rakibinizin taktiklerini inceliyorsunuz hem de sıkılmıyorsunuz. Bu konuda diğer geliştiriciler de kendi oyunları için pay çıkartabilir.

Finish him, Finish film

Oyunda eleştirebileceğimiz yer, sanırım zaman zaman çuvallayan yapay zeka. Zor seviyelerde bile rakibiniz damağınızda istenilen tadı bırakmıyor. Bölüm sonu düşmanları da tatmin etmiyor. Neredeyse standart rakiplerden hiçbir fakrı yok. Ancak oyunun bütünü ele alındığında bu kusurlar okyanustaki çakıl taşları olarak kalıyor. Oynanış, farklı oyun modları ve oyunun uzunluğu ele alındığı zaman bu kusurları görmezden de gelebilirsiniz.

Mortal Kombat, şiddet içeren sahneleriyle ünlü olan bir yapım. Öyle ki ESRB kurumu, MK’ya yaş sınırı getirebilmek için kurulmuş. Zaten şiddet içeren dövüş oyunları mağlum nedenlerden dolayı medya başta olmak üzere birçok kesim tarafından eleştirilmekte. Birçok kişi bu tarz yapımların insanların psikolojisini bozduğunu iddaa etmekte. Ancak ben olaya farklı bir perspektiften bakıyorum. Eğer ki psikolojik terimlerle ifade edecek olursak, freudyen teoriye göre şiddet insanın alt-benliğinde (id), özünde bulunur. Dolayısıyla şiddet insanlar için kaçınılmazdır, sadece bastırılabilir. Bence MK gibi yapımlar sayesinde insanlar içindeki şiddeti sanal ortama yansıtabilir ve kanalize edebilir. MK, dengeli ve gözetim altında oynandığında (toplumumuzda kadına şiddetin arttığını göz önünde bulunduracak olursak) çözüm amaçlı bile kullanılabilir. Tabii bu benim kişisel fikrim. Annenize veya etrafınızdakilere karşı argüman olarak kullanabilirsiniz ama oyunu eğlence amaçlı oynadığınızı hiçbir zaman unutmayın!

Toparlayacak olursak, Mortal Kombat getirdiği yenilikler sayesinde türündeki diğer yapımlardan daha gelişmiş bir oyun olmuş. Kendini tekrar etmeyen oyun mekanikleri ve uzunluğu sayesinde kesinlikle hayranlarını tatmin edecek bir yapım. Eğer seriye yeni başlayacaksanız ve şiddete çok olumsuz bakmıyorsanız, kafa dağıtmak amaçlı da bu oyunu oynayabilirsiniz.

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