thanks for reminding my about some great ps2 memories. seriously. had such a good time writing this.
katamari damacy - what makes katamari damacy special is a confluence of factors. one, the visual style immediately sets forth the fact that it is something very different than many other games, emphasizing simplicity of shape and a pastel color palette. two, the way you interact with the game is removed from any act of violence, which you'll notice is only true of two other games on my list (i'm surprised i have three which could be characterized this way). three, the game's soundtrack is EXTREMELY special. if i may take a brief tangent from the pace of my post on this game here and elaborate on my thoughts on the soundtrack: what i find most impressive about it is that besides the songs that are explicitly about the prince, or about a katamari, there are songs that on the surface may seem to have very little connection to the game but are in fact from within that world and constantly referencing things taking place (e.g., a love song that uses the metaphor of "rolling someone up," of becoming one with them, becoming "a single star in the sky"). the OST is probably one of the best gaming soundtracks ever. scratch that--it definitely is. to return to my reasoning, FOUR, the game's mechanic is simultaneously completely new, completely simple, but full of nuance and has room for mastery of individual levels. and five, finally, when it was released, it was $20, and represents what a success a game can be if priced correctly in the market. it sold very well because even though it was unusual and people weren't sure they'd like it, it had great word of mouth, and it was very affordable. it's one of the best games on the playstation 2, easily, and really i think one of the best examples of a video game that i've ever played.
shadow of the colossus - i have always favored games that put a heavy emphasis on atmosphere, and if nothing else shadow of the colossus has atmosphere in spades. it does effortlessly what so few games and even so few movies do with any art at all: it introduces the world, the story, and the main character in a way that is subtle and mysterious, intriguing, and drives you forward into the world to try to understand it more. it entices you with pieces of what's happened--a long closed door opens, then locks you inside, a girl who is dead who must be brought back, a world full of inconceivable things that must be destroyed--and sets you into the landscape to solve this mystery. i will make no excuses for the game's often hideous and frustrating controls, but will say that when you acclimate yourself to them, and when you stand at the feet of something that feels giant and eclipses you, any complaints you may have about the control scheme fall by the wayside. the experience you're left with is unlike anything else you'll ever play. i don't even know a movie that has provided such a sense of atmosphere and scale as this.
devil may cry - a game with a lot of flaws that has probably been surpassed by the games later in the series, but i maintain that whatever flaws it may have, it oozes style and the way dante controls is still a pleasure. the progression of the game is really just pitch-perfect video game, too--the rate at which you get new weapons and encounter new enemies is almost mathematical, giving you something new just as you feel you're settling into a groove. i'm also of the opinion that the atmosphere is much better than in later entries; it has a more gothic horror feel that it owes to its heritage as a resident evil game. it is one of the defining games of my ps2 experience.
sly cooper and the thievius raccoonus - i played this late--after i bought my 360, iirc--and i had not played a platformer in a good long time. i was very exhausted and bored by open world collectathon platformers. my god, this was a revelation. first of all, it's gorgeous. it struck me as a little living cartoon, with all the comic bookish story sequences and neat dark cartoon edges on all the characters. the writing was charming and funny. controlling sly, i felt like a freaking awesome talented thief, and zooming through master thief sprints after finishing the main game was, again, revelatory. you first approach a master thief sprint and fail miserably, thinking, "there is no way in hell i can ever do this in that time!" but slowly you learn to master the mechanics, to cut corners, and then before you know it you're out of master thief sprints and this wonderful game is over. you owe it to yourself to buy and play this game. it's dirt cheap now.
prince of persia: the sands of time - the storybook atmosphere and sense of magic really do a lot for sands of time on subsequent replays. the parkour elements were certainly impressive at the time, but have been co-opted by tons of games, and to a great extent improved upon. what makes them lesser to me, then? it comes back to the tone, to the presentation, to the total package. the prince is telling you a story. when something goes awry, he says, "no no wait, that's not how it happened," and we return to a checkpoint. the music feels wondrous, like we've just walked into a catacomb full of gold, like we're experiencing something secret, where anything can happen. limiting the rewinding of time gives you opportunities to fail and immediately retry without removing the element of challenge altogether. the way they took that interesting new manipulation of difficulty, the alteration of punitive "game over" messages, and wove it into one of the best narratives in video games, despite its simplicity? testament to jordan mechner and the other staff in charge of writing, to ubisoft montreal. prince of persia sands of time is so, so special. i know it's multiplatform, but it was a ps2 game to me, so i place it here. i dare anyone to argue it.
god hand - i would never say god hand is an easy game to like. i actually think it's an exceedingly hard game to get a handle on for some people. i played it for ten minutes when i bought it on the cheap and let it sit on my shelf a good long time. a friend bought it and raved, so off the shelf it came, back in the ps2. and holy shit. the surreality of the game is just the superficial element that will draw you in--do a search on youtube for "god hand mad midget five"--and it's the well thought out, rewarding battle system that continues to expand and grow more complex as you play that will really make you a believer. like RE4, as you fight, you can expand your fighting repertoire and form custom combos and moves that better allow you to punch angry gorillas and throw midgets into space. tank controls. yes. okay. GET OVER IT. the tank controls make it. mikami. shinji mikami. tank controls. MAD MIDGET FIVE.
metal gear solid 2 - i'll save you a long diatribe about why metal gear solid 2 is great, why it's one of the essential playstation 2 games. i'll only say that playing it for the first time, the improvement of the metal gear solid mechanics and the unbelievable visuals hooked me. the game is so cinematic. it is just so so so cinematic. it's funny because you play it and you think while you're playing you have a good grasp on what's happening, because moment to moment it makes some degree of sense, but afterward if you were asked to describe the plot you'd likely find yourself very befuddled. it doesn't matter. you sneak around and you snap a guy's neck. good. good. another guard is warned. shit. that sound. BBBRP! exclamation point! he knows. i'm in a box. oh hell. he knows there's a box. wait, he's walking away. yes. i'm throwing him overboard into the sea. wait, i have a call. godzilla? i love this game.
kingdom hearts - a game that is more than the sum of its parts. what is great about the first kingdom hearts that is not great about the second kingdom hearts is that it strikes a good balance of complexity and simplicity. the elements of the heartless storyline are dwarfed by the strength of the vivid creation of the disney environments and characters. the point is not that you are going to a disney location to chase any particular evil. they are "the heartless," and i see their most simple incarnation, little black shadowblobs, as indicative of how important they are (not at all important). the point is to go to those places and to help with the problem, whatever that problem is. it's to hang out with tarzan and beat up on a giant lizard. you understand? the battle system i love, because yes it is chaos, yes the camera is nuts sometimes, but it is totally secret of mana, whacking on dudes with your sword or spear while your half retarded a.i. buddies do the same and get stuck on rocks. donald and goofy are vocal and the voice acting is spot-on. when goofy yells "WE DIYUD IT!" you will feel like yes, i fucking did it. i did this. the stuff to collect in the game is like crack. god, the little present boxes, i coveted them. i wanted to badly more presents, to get presents and make new weapons. to travel around to the worlds and see every part of them, to collect every trinity, to fight every boss. i exhausted everything i could do in kingdom hearts. i may never love an rpg as much as this one again. this may be the last one that i really latched on to, barring the mario ones.
guitar hero - i expected nothing of guitar hero. i bought it on a friday after it came out, because i was bored and had eighty dollars, and thought it'd be good for a laugh for me and my four friends. oh holy hell, how could i know? it changed us for that night. i put the guitar strap around me and start to play, held down the chords on the neck and said out loud, "holy shit guys, THIS IS LIKE PLAYING GUITAR." this seems like such a presupposed thing now, but then, it was unheard of for me. i was in shock. we stayed up until 4am playing guitar hero and being together. i love all these songs so much now. "killer queen." "more than a feeling." i had no feelings whatsoever for "more than a feeling" before guitar hero, but it hammered it into my head and now i love it dearly. it represents such goodtimes with one of the ps2's absolutely undeniably best games, one of the games that really made the system a big step forward. i still pull it out and play it to this day.
aggressive inline - many of you will include tony hawk. i sympathize with your lack of understanding of just how great aggressive inline is. it forgoes the completely pointless "point the skateboard forward as you land" in favor of characters riding inline skates who know how to land skating forward. it's not something you have to worry about. the trick system is elaborate and can lead to multimillion point scores in a short while when the system is mastered, and the levels--which are huge, huge, huge--facilitate that level of score mastery and exploration. my god the levels are just so creative. tony hawk at the time was thinking very inside the box, to my recollection, but aggressive inline had a sense of irreverence and a dispensing with reality that i admire so much. this place wouldn't happen, this wouldn't be that way! why is thomas jefferson telling me to do a grind on those gargoyles? because that's what is the most fun. that's why. aggressive inline is awesome because it makes things vertical. because it's easier to stay up on your skates, it lets you climb high buildings and do insane grinds, insane jumps, lets you go places you feel like you shouldn't. it's like skate platforming. it's a very special game and you should feel like dog shit if you haven't tried it. you should feel like dog shit because you ARE dog shit. once you play it, congratulations, you are my new best friend.