#Drakengard 3 cutscenes movie#

When the player boots up a game and it is not what they had expected, an emotional reaction is had, whether that be good or bad. ‘Certain aesthetic effects had to be granted as belonging uniquely to the art of motion pictures.’” The same can be said for games whether admitting to it or not, a normal player most likely has reference points and ideas of what a video game might be as it has become a more accepted art form.

#Drakengard 3 cutscenes movie#

The creation and application of a movie aesthetic had begun to seem reasonable to those who initially doubted the worth of film. Haberski references the flatly named “Is It Art?” editorial within his book that breaks this down further “At first, those ‘nursed in the traditions of the older arts rose in denunciation,’ but soon ‘voices of authority… were gradually raised in … defense’ of motion pictures. With the mainstream “accepting” this new art form, there is a dark flipside in which the expectation of what the movie, game, theatre, etc “should be” becomes more prominent in discussions. In the book It’s Only a Movie! Haberski discusses the histories of movies and more relevantly their aesthetics. Movies and theatre, in the ways they tell stories are a good place to begin, as they were also subjected to the argument of “Is it art?”. Games, as an emerging art form, can look back on other media before them. The game itself does follow a lot of the themes of Drakengard and Nier but lacks the over all polish to effectively deliver its message to a wide range of viewers beyond hardcore fans and those who know Taro’s niche who will seek out any and all content there is to be found. “If you’re expecting that, you’ll be disappointed.” This only makes sense in the context of his disappointment with the way development was going. After playing the game, Taro says “It’s not Drakengard or Nier,” said creative director Yoko Taro. From the lamenting of Yoko Taro, the game’s director and designer, he seemed to know it would be its own undoing. Drakengard 3, through being an unfinished and unpolished demo, sadly becomes its own spoil-sport. The framerate drops within curated cutscenes, the music drowns out the snarky dialogue, the battle system is simply button mashing most of the time and playing games with the AI to cheat the unfair death mechanics, there are many parts of the game that are simply untextured, and the final boss is unbeatable for most players. Drakengard 3 had a troubled development cycle which shows in the final product. Players control an “intoner” (a kind of musical death and sex goddess) named Zero and her dragon Mikael. Zero and Michael, the dragon she had a pact with before Mikhailĭrakengard 3 is a game released in 2013 by developer Access Games (best known for Deadly Premonition) and published by Square Enix. This is because the spoil-sport shatters the play-world itself.” It is curious to note how much more lenient society is to the cheat than to the spoil-sport. The spoil-sport is not the same as the false player, the cheat for the latter pretends to be playing the game and, on the face of it, still acknowledges the magic circle. Huzinga explains in Homo Ludens “The player who trespasses against the rules or ignores them is a ‘spoil-sport’. How can a game be its own spoilsport but also hold value in the furthering of the medium? To bend the play experience to their will is indeed disruptive, but sometimes it can lead to a completely new way of play or a new game itself. The spoil-sport believes they are above the rules however, they can also be seen as “innovators”, “prophets”, “heretics” (Huzinga, 1944). Not to be confused with an outright cheater, the spoil-sport can create a hostile and troubled game play experience for all those involved.

Perhaps the spoilsport we ran into did not want to play, or that person made a mockery of the game itself a spoil-sport comes in many different variations. Playing games throughout our lives, it is likely we have all run into a “spoil-sport”.