Haptic Feedback
"When noise is the default, silence is what catches attention." - Amy Dentata
Monday, August 1, 2016
Sunday, June 19, 2016
Monday, June 6, 2016
Critical Switch: DMC3 as Habitual Game
Devil May
Cry 3 is, admittedly, a pretty strong argument for the sort of
mechanically based analysis that I usually stay away from. Actually, it’s kind
of frustrating. It’s a spectacular audio/visual piece that insistently breaks
the tone and continuity of its world to have characters speak utterly silly
dialogue and give you things like grades
and points and you pick up orbs and all the rest of those sorts
videogame-y things that make someone like me cringe. It also happens to be one
of the best videogames I’ve ever played so . . . you win some you lose some I
guess?
I’d love to try sometime, but at least for today I’m not going
to be talking about Devil May Cry 3
as a piece of dramatic text. So I guess for today I’m calling a truce with
formalism.
For today I simply want to talk about it as an action game,
because, given that the discourse is currently dominated by an action game of a
brutally difficult nature that I do not enjoy which shall remain nameless, I
feel like I can contribute to that discussion by talking about a game whose
approach to difficult gameplay is, in my opinion, much more mature and thought
out with gamers in mind.
First of all, and this has been the subject of a lot of
discussion lately, Devil May Cry 3 actually has
difficulty modes, which is important for a number of reasons, including one
I need to come back to later, but for right now it’s most important to
acknowledge that it means the developers knew that different types of people
would want to play this game for different reasons.
Second, the game always forces a break, both when you die and
when you succeed. Every time you die, the action on the screen pauses before
giving you three options.
Continue: Would you like to start from right before where you were, get right back into that difficult fight? (It’s worth noting that this almost always starts from basically right where you left off, given that short iteration cycles are a proven method of preventing frustration.)
Restart the Mission: Maybe you feel like you didn’t play so well earlier and want to give it another shot, or maybe you just wanna hype yourself up with some easier combat before giving another go at that boss fight?
Main Menu: Do you need a break? Are you done for the day?
Continue: Would you like to start from right before where you were, get right back into that difficult fight? (It’s worth noting that this almost always starts from basically right where you left off, given that short iteration cycles are a proven method of preventing frustration.)
Restart the Mission: Maybe you feel like you didn’t play so well earlier and want to give it another shot, or maybe you just wanna hype yourself up with some easier combat before giving another go at that boss fight?
Main Menu: Do you need a break? Are you done for the day?
You get a similar set of options when you finish a mission, when
it asks you whether you like to go to the next mission, replay an earlier one,
or go back to the main menu. DMC3 know
it’s an intense game, and it also understands that being psychologically
well-rested is key to playing it well.
As well, while at first glance, the style meter and mission
grading system feels somewhat judgmental, it is a way to encourage curious
players to come back to the game. It creates a visual metric by which one can
judge their growth as a player, a form of digital, external validation that
self-improvement in many other types of genres tend to go unnoticed.
So, in contrast to many other difficult games, Devil May Cry 3 is a game that is not
indifferent to your playing it. DMC3
is not just designed like a habitual game, it’s also built like a game that
recognizes our want to make a habit out of it, consistently rewarding player
growth with ever increasing difficulty levels, new costumes, new playable
characters, and thus becomes a game that gets an exponentially increasing
amount of playtime out of what is, if you want it to be, still a relatively
brief experience. It’s very emblematic of the design philosophy that guided
some of the biggest hits on the PlayStation 2 in that way.
And I think the caring, encouraging nature of its mechanics
(which, for better or worse, were also reflected in the carefree nature of its
text) has shaped the community of truly dedicated Devil May Cry players in an important way. The famous Truestyle
competition really wasn’t a competition at all, but really more of a
non-judgemental talent show, with the competition’s third year featuring every
character and playstyle equally, and where the community voted on their
favorite videos in every category, but wisely avoiding trying to pick an
overall “winner” of the event. In their own words, they decided fairly quickly
that trying to find out the best DMC player was a fool’s errand, and to this
day, the PhantomBabies website still features every video submitted for every
category of the contest’s third year. And I think the contrast that shows with
modern gaming communities speaks for itself.
From Olympia, WA, Play is Labor. I'm Austin C. Howe.
Friday, January 22, 2016
Critical Switch: Fallen Shadows - The Destruction of Lahan Village
Fallen Shadows: The Destruction of Lahan
Village in Xenogears
Last year I finally finished Xenogears, that being my fourth fucking attempt at a full playthrough of the game that had been in my backlog since high school. The first two were aborted attempts from when I was emulating the game. I could never get the game to run at a satisfactoraly, Playstation emulation still being a messy, incomplete affair. Around Christmas 2012 I finally bought the game on PSN such that I might be able to play a representative version. I played for 30 hours, largely enjoying the experience until I got caught in a loop of bad game design during the raid on Shevat. So, there I was, playing the beginning of the game again after having put what should be enough time to beat the damn thing twice already. There was a benefit to this however.
Having played the beginning of the game so many times, I’ve come to more deeply appreciate how Xenogears develops the town of Lahan into a complex place filled with conflicted characters to make it’s imminent destruction more emotionally impactful, which is in stark contrast the to the idealized Doomed Hometowns featured in other games.
What’s interesting is that this is partially accomplished through an absolutely infuriating minigame of Rock-Paper-Scissors.
In Xenogears you control Fei Fong Wong who one night was left at the doorstep of the Lahan village chief, who then raised him as one of their own. Over the years Fei grows into a talented martial artist and painter, and the villagers come to accept him despite early skepticism from some. The day the game starts is the day before the wedding between Alice and Timothy, two friends of Fei’s. The gamer sends Fei upstairs where he talks to Timothy, who asks Fei to go visit Alice and keep her some company, and Timothy’s younger brother, Dan, who asks Fei to meet him outside. A crucial design decision: Fei does not follow Dan outside of his own accord, the player must guide him to Dan. This gives us the opportunity to explore the town at our leisure.
In one of the houses in town is a man who is extremely good at Rock-Paper-Scissors. He tells Fei that if he’s beaten five times he’ll hand over a special item. Make no mistake, when one challenges this man they have no clue what kind of shenanigans they’re getting themselves into. Of the 3 hours I have currently logged in this playthrough, probably 45 minutes of it was playing this asshole in Rock-Paper-Scissors. This NPC has a number of different strategies programmed, and only one of them has been fully discovered to be exploitable, and even then, he doesn’t always use that strategy, leaving players to brute force their way into winning by using the strategy, even when it doesn’t work, just so you can eventually catch him using the pattern that the strategy responds to. Even then, it’s only guaranteed to work for three games in a row. You have to win five times and after you win three times, the pattern resets and he chooses one of the three options at random again. This is, to say the least, frustrating. I probably had this strategy work for the first three rounds at least ten times before winning the five games in a row. Word of advice, as is often given in the Xenogears fan community: if you win, save, then copy that save.
If you lose to this dude, you lose 50g. If you win, you get 50g, and you can’t challenge him unless you have at least the 50g to lose. When you start the game, Fei doesn’t have any money to begin with. So what else can you do but send him to go look for it? Well first of all you can find 200g in Fei’s bed, but that’s only four losses in a row, can’t we buffer that out some? If you investigate rooms close to Fei, you can find various items just by pressing X near barrels or the jump button near a spider web, and pick it up. This piques curiosity. Perhaps there are money and items in all corners of the town? And in fact there are. Gamers do things like jump down the water well and they’ll find a number of items, but to really rack up some loot they start talking to the townsfolk. Then something happens: the townsfolk are interesting.
A gamer with any genre-savvy already knows as soon as the happy music kicks in and the bright colors show up onscreen that this town is some variety of doomed. And the game shows it’s hand upfront with a short scene that shows the village destruction already in progress. In other games, it would already be difficult to care especially given how utterly typical this all is. But there’s a specific contrast to be made. The townspeople of Lahan do not live perfect lives. They live fragile, human ones. Certain characters I talked to to get money, or specific items like the Mermaid’s Tear, but I found myself so compelled in these stories that I had to talk to more of them and see the lives they were living.
There is, for example, a drunkard at the bar you can try and console. There's a woman next to the cow-creature thing that tells us about her insecurities as a woman in this small town. The other women simply get married to the men in town, but she wistfully thinks of a more independent life that she doesn’t think is possible in Lahan. There’s a child standing on the roof of a building who misses his father who’s chasing his career in a distant city, and his mother, who misses her husband and worries for the state of her family. Alice and Timothy are set to marry the next day, and the bride-to-be openly wonders whether she might've ended up with Fei instead had he arrived in her life years earlier. Cold feet? Genuine remorse? We don't know and we never will.
These stories all come to brutal ends when the two warring nations of Aveh and Kislev end up sparring over Lahan. Neither is directly responsible for the town's destruction though. That would be Fei. He, in an attempt to defend his adoptive village, commandeers one of the military mechs and loses control of it and himself, causing a blast that absolutely levels the town, and kills most of the villagers. Why did Fei lose control? What mysterious forces is he wrestling with? And what would've happened to these people had such a sudden tragedy not occurred? These questions become so much more compelling because they are directly related to the guilt that Fei feels continuously throughout the game that we as players empathize with being we spend so much time with Fei throughout the game, and they're the questions we ask continuously as we probe the mysterious secrets of Xenogears.
Last year I finally finished Xenogears, that being my fourth fucking attempt at a full playthrough of the game that had been in my backlog since high school. The first two were aborted attempts from when I was emulating the game. I could never get the game to run at a satisfactoraly, Playstation emulation still being a messy, incomplete affair. Around Christmas 2012 I finally bought the game on PSN such that I might be able to play a representative version. I played for 30 hours, largely enjoying the experience until I got caught in a loop of bad game design during the raid on Shevat. So, there I was, playing the beginning of the game again after having put what should be enough time to beat the damn thing twice already. There was a benefit to this however.
Having played the beginning of the game so many times, I’ve come to more deeply appreciate how Xenogears develops the town of Lahan into a complex place filled with conflicted characters to make it’s imminent destruction more emotionally impactful, which is in stark contrast the to the idealized Doomed Hometowns featured in other games.
What’s interesting is that this is partially accomplished through an absolutely infuriating minigame of Rock-Paper-Scissors.
In Xenogears you control Fei Fong Wong who one night was left at the doorstep of the Lahan village chief, who then raised him as one of their own. Over the years Fei grows into a talented martial artist and painter, and the villagers come to accept him despite early skepticism from some. The day the game starts is the day before the wedding between Alice and Timothy, two friends of Fei’s. The gamer sends Fei upstairs where he talks to Timothy, who asks Fei to go visit Alice and keep her some company, and Timothy’s younger brother, Dan, who asks Fei to meet him outside. A crucial design decision: Fei does not follow Dan outside of his own accord, the player must guide him to Dan. This gives us the opportunity to explore the town at our leisure.
In one of the houses in town is a man who is extremely good at Rock-Paper-Scissors. He tells Fei that if he’s beaten five times he’ll hand over a special item. Make no mistake, when one challenges this man they have no clue what kind of shenanigans they’re getting themselves into. Of the 3 hours I have currently logged in this playthrough, probably 45 minutes of it was playing this asshole in Rock-Paper-Scissors. This NPC has a number of different strategies programmed, and only one of them has been fully discovered to be exploitable, and even then, he doesn’t always use that strategy, leaving players to brute force their way into winning by using the strategy, even when it doesn’t work, just so you can eventually catch him using the pattern that the strategy responds to. Even then, it’s only guaranteed to work for three games in a row. You have to win five times and after you win three times, the pattern resets and he chooses one of the three options at random again. This is, to say the least, frustrating. I probably had this strategy work for the first three rounds at least ten times before winning the five games in a row. Word of advice, as is often given in the Xenogears fan community: if you win, save, then copy that save.
If you lose to this dude, you lose 50g. If you win, you get 50g, and you can’t challenge him unless you have at least the 50g to lose. When you start the game, Fei doesn’t have any money to begin with. So what else can you do but send him to go look for it? Well first of all you can find 200g in Fei’s bed, but that’s only four losses in a row, can’t we buffer that out some? If you investigate rooms close to Fei, you can find various items just by pressing X near barrels or the jump button near a spider web, and pick it up. This piques curiosity. Perhaps there are money and items in all corners of the town? And in fact there are. Gamers do things like jump down the water well and they’ll find a number of items, but to really rack up some loot they start talking to the townsfolk. Then something happens: the townsfolk are interesting.
A gamer with any genre-savvy already knows as soon as the happy music kicks in and the bright colors show up onscreen that this town is some variety of doomed. And the game shows it’s hand upfront with a short scene that shows the village destruction already in progress. In other games, it would already be difficult to care especially given how utterly typical this all is. But there’s a specific contrast to be made. The townspeople of Lahan do not live perfect lives. They live fragile, human ones. Certain characters I talked to to get money, or specific items like the Mermaid’s Tear, but I found myself so compelled in these stories that I had to talk to more of them and see the lives they were living.
There is, for example, a drunkard at the bar you can try and console. There's a woman next to the cow-creature thing that tells us about her insecurities as a woman in this small town. The other women simply get married to the men in town, but she wistfully thinks of a more independent life that she doesn’t think is possible in Lahan. There’s a child standing on the roof of a building who misses his father who’s chasing his career in a distant city, and his mother, who misses her husband and worries for the state of her family. Alice and Timothy are set to marry the next day, and the bride-to-be openly wonders whether she might've ended up with Fei instead had he arrived in her life years earlier. Cold feet? Genuine remorse? We don't know and we never will.
These stories all come to brutal ends when the two warring nations of Aveh and Kislev end up sparring over Lahan. Neither is directly responsible for the town's destruction though. That would be Fei. He, in an attempt to defend his adoptive village, commandeers one of the military mechs and loses control of it and himself, causing a blast that absolutely levels the town, and kills most of the villagers. Why did Fei lose control? What mysterious forces is he wrestling with? And what would've happened to these people had such a sudden tragedy not occurred? These questions become so much more compelling because they are directly related to the guilt that Fei feels continuously throughout the game that we as players empathize with being we spend so much time with Fei throughout the game, and they're the questions we ask continuously as we probe the mysterious secrets of Xenogears.
From Olympia, WA, Play is Labor, I'm Austin C. Howe
Thursday, December 31, 2015
On 2015
Was It A Good Year?
Honestly, yeah, pretty good, all things considered. The road to the ending has been mercilessly stressful, but I think I'll be alright.
Greatest Professional Accomplishment
Best PS4 Game
Best Old Game Austin Just Played This Year
Resident Evil (2002)
Only Movie Austin Went Out And Saw This Year, But Fuck It
Mad Max: Fury Road
Movies Austin Managed To See Before The Year Ended He EnjoyedStar Wars: The Force Awakens
Ant-Man
Honestly, yeah, pretty good, all things considered. The road to the ending has been mercilessly stressful, but I think I'll be alright.
Greatest Professional Accomplishment
This year was chock full of 'em: Moving out, the Alternative Digital Arts Festival, finishing the first draft of the FFVII book (tentatively titled Heroism Is The Labor of Sacrifice,) but probably the biggest is now being able to earn all of my rent and utilities entirely through freelance writing.
Biggest Personal Accomplishment
Coming out as agender? I guess? It feels like a non-event honestly, probably since it means identifying as a non-gendered person.
Biggest Personal Accomplishment
Coming out as agender? I guess? It feels like a non-event honestly, probably since it means identifying as a non-gendered person.
Best "Weird" Console Title
None. (Technically MGSV, but, eh.)
The Reason There Is No Best "Weird" Console Title
I'm really not sure why I held out hope for Xenoblade Chronicles X to be any good.
Best PS4 Game
Well Metal Gear Solid V is great, but it has a hot contender in Final Fantasy VII, new and improved with a no random battles feature that more easily accommodates low level runs.
Best Indie Game
We Know The Devil
Worst Game
Bloodborne
Least Favorite Game
Xenoblade Chronicles X
Best Old Game Austin Just Played This Year
Resident Evil (2002)
Best Movie
Mad Max: Fury Road
Only Movie Austin Went Out And Saw This Year, But Fuck It
Mad Max: Fury Road
Movies Austin Managed To See Before The Year Ended He EnjoyedStar Wars: The Force Awakens
Ant-Man
Best Metal Album
Two-way tie: M - Myrkur and The Ark Work - Liturgy
Highest Concentration of Bangers
Trivium - Silence in The Snow
Austin's One New Rap Album This Year
Travis Scott - Rodeo
Austin's One New Rap Album This Year
Travis Scott - Rodeo
Degree to Which FFVIII Improved With Age This Year
Bigger leap than in any previous year, arguably deserves some kind of "Most Improved" award.
Worst Pieces of Games Writing This Year
Worst Pieces of Games Writing This Year
Tim Rogers' Bloodborne article on Gamasutra (#GamaHateReads), Frank Lantz's response to "Ludocentrism," (#GamaHateReads) but the worst without question was Phil Owen's What The Fuck Is Wrong With Videogames, which comes to us courtesy of The Year Two-Thousand And Seven.
New Year's Resolutions
Put out the book and make this the last year I don't develop a videogame. Record (and release?) the metal album I've taken the past year and a half to write. As well, take more responsibility for myself, and be aware of and uphold my responsibilities to those around me.
Destroy any doubt that I am among the best at what I do.
Destroy any doubt that I am among the best at what I do.
- Austin C. Howe, Washington and Florida, December, 2015
Tuesday, December 22, 2015
Critical Switch: The Joy of Bob Ross
On
Bob Ross
Hi,
glad you could join me. Today I thought I'd share a happy little page
of some thoughts on the benefits of watching Bob Ross before bed each
night, for the growing creative.
Relaxation
Bob
Ross' gentle voice and tame Floridian accent, along with the
comfortable patterns of his speech, (his catchphrases in particular,
parental in their practical wisdom and comfort) and the simple,
procedural instructions he vocalizes make him the perfect thing to
listen to while getting ready to sleep. Sometimes I even turn on an
episode of The Joy of Painting
and turn the phone over such that the video doesn't glow in my eyes,
and simply listen to Ross speak. This is a man of a particular
expertise, with decades of experience in his craft. If we are lucky,
someday we might be able to instruct in our craft with similar ease
and comfort.
Welcome
Bob
Ross shows that anyone can paint, including you, and all you have to
do is do it. And he
does it by demonstrating his techniques, each day, from a blank
canvas (covered in magic white.) This is incredibly important as a
rhetorical technique: the first step to doing something is of course
to start, regardless of whatever happy accidents we may make along
the way towards creating a finished product.
Craft
The
purpose of The Joy of Painting
is extremely simple. Using a limited color palette and a limited set
of painting tools, Bob Ross instructs beginner painters in some of
the basic techniques of wet-on-wet landscape painting. When we watch
The Joy of Painting we
are witnessing the practice of craft, in the most literal sense. By
the time Bob Ross began hosting The Joy of Painting,
he was already a master of the techniques he presents, but each time
he performs them for us, he keeps his skills practiced and refined.
Ross was lucky that any number of people paid him to practice his
craft, many of us are not so lucky, but we should strive to work like
Ross and refine our basic technique, constantly, and consistently,
such that we get better at what we do, and stay good at it.
Purpose
Ross reminds us that, when painting, we
have control over the world we wish to paint. For Ross, this meant an
opportunity to create images of idyllic landscapes, separate from the
petty toils of living, and the corruption of society, a world that is
happy. As writers, musicians, visual artists, what have we, we often
choose other purposes than to make our audience our ourselves happy.
But the important part is that we choose, consciously, what that
purpose is, and we know intimately what we wish to attain with our
work.
In
Conclusion
To watch Bob Ross is to immerse one's
self in the basics of craft, and as such, serves to refresh our
willingness to practice our craft, our want to improve in our craft,
and our passion for our craft. He sends us to rest with dignity, and
respect for ourselves and our work.
From all of us here at Critical
Switch in Olympia, WA, all one of us, Play is Labor, I'm Austin
C. Howe. God bless.
Monday, November 23, 2015
Survivor Series 2015 and "Theses on Roman Reigns in The Main Event"
To get
business out of the way: Almost every single match on the card ranged
from good to very good, though I wouldn't call any of them instant
classics like I did with Reigns' cell match last month. The booking
behind the matches made many of the results predictable (that the
bracket managed to kill a singles push for Kalisto is especially
worthy of reprimand, Cesaro slightly less so given his recent
injury,) but the quality of the matches worked ended up making that
more or less irrelevant, especially since most of the matches had
“the right” endings from a booking perspective. Originally I'd've
booked Owens to beat Ambrose so Reigns could feud with Owens, which
continues their history from the #1 Contendor's Tournament from
before Rollins' knee injury, but given the swerve cash-in ending,
Ambrose and Reigns fighting a clean face vs. face match for the title
was the smart move.
Highlights
for me included: Del Rio showing up to work and putting on a really
physical match with Reigns that far exceeded my expectations for the
US Champion who's run so far has been marked with spotty, slow
matches.
As well,
Charlotte worked her best match as Women's Champion thus far, with
the progression of the match naturally creating the needed pace
without needing the forced drama of kayfabe injuries that make
finishing with the Figure-Eight nonsensical. Paige also showed off
some very natural and well-studied heel work in the ring, taunting
her opponent, the audience, and brutalizing Charlotte with submission
maneuvers and hard hits. Charlotte's own offense was aggressive in
nature, including an attempted pin with her knee on Paige's throat,
but I think logic would make that excusable given the lengths Paige
went to to question Charlotte's ability and credibility. This feud is
probably ending here after the faux pas on RAW
about Charlotte's family, but this match may have actually been the
highlight match for those focused mostly on technical ring work.
As well,
WWE successfully bit the bullet and resisted the temptation to make
either of their top babyfaces turn heel in the main event, which
would've been career-threatening for both men, incredibly obvious,
and incredibly short-sighted.
The one
match that didn't have the right ending was The Brothers of
Destruction vs. Bray Wyatt and Luke Harper. I'm not sure what Braun
Strowman did to piss people off backstage, but he got buried hard
tonight, and Bray Wyatt's credibility as a heel took a huge hit yet
again in a match that he and Strowman both really
needed to win and also that Undertaker really needed
to lose (and I mean he needed to eat the pin) to make stakes for what
will likely be his final Wrestlemania
match. Last month Wyatt could disregard match outcomes as he
reorganized his Family, but this match made the entire family look
weak. All of this only amplifies what I talked about last month:
Undertaker won't be on RAW
tomorrow and he won't work a match at TLC, the Royal Rumble, or
Fastlane, the roster is hurting for credible heels, and older
wrestlers on WWE's roster have done a horrible, horrible job putting
over new stars who need wins a lot more than they do.
With all of
that out of the way, I present to you:
Theses
on Roman Reigns in The Main Event.
I:
How Human Voices Work
I'm doing a lot of generalization here,
but stick with me. Grown women and children have naturally higher
voices than grown men do. Children occupy an alto-soprano range
voice, with girls capable of reaching the treble range and boys
capable of reaching the soprano range, and while women's voices lower
as they age, their voices remain naturally high, also tending to
occupy an alto-soprano range (typically the Soprano I range, with a
rare few being capable of retaining Soprano II range as they age.)
Men, however, reach down into the countertenor, baritone, and bass
ranges. For any number of reasons, these tones, and thus, these lower
voices, more easily project across a wider range, which, combined
with the tendency for mean to speak louder, means that grown men are
more easily heard.
Thus, it must be noted than when you
hear Roman Reigns get booed (or John Cena), he is never being booed
nearly as universally as one might think. This was on display during
Reigns' barn-burner HIAC match against Bray Wyatt last month,
wherein we heard the noted “Cena split”, where the higher voices
of the audience, the women and children, chanted “Let's go Roman!”
while the deeper and louder voices of the audience chanted “Roman
Sucks!”
In short: if you think WWE going with
Reigns as a main-eventer is stupid because he's getting booed, I
refer you to the above. The WWE does a lot of stupid things. They
don't put belts on people who don't draw or make merch money.
This is to say nothing of the fact that
in the internet age, when there is more backstage reporting than ever
before, babyfaces being booed is pretty much inevitable, because the
booing itself is a political act mostly meant to perform the supposed
hardcore-ness of the wrestling fans who do it. The booing doesn't say
“this guy's a jerk, he should lose” or even “this guy isn't
good” (though it does say that) but mostly “I'm not getting what
I specifically want right now,” and aside from possibly the return
of Daniel Bryan (whose push towards Wrestlemania XXX played on
these internet politics) and thrusting him back into the main event,
pretty much nothing would ever silence those boos, and WWE does well
to ignore them while listening to the kids who will continue to be
their most dedicated fans.
II
: On The Possibility of Ambrose or Reigns Turning Heel
I'll talk about Ambrose later down but
we need to focus on Roman first, because there are a number of
levels, almost too many to write about, on which the concept of the
Roman Reigns heel turn simply does not work.
First:
it's what the Rock did. And as I've discussed before, the “Samoan
Heritage” angle is not going to get Roman over, partially because
of vile racism, and mostly because for the brief moment that WWE did
highlight his Samoan heritage and pointed out his relationship to The
Rock, people believed that he was only getting pushed because of his
relationship to The Rock, something that can only get you heat. As
well: Rock 2.0 (which is ultimately how people would view Heel
Reigns, regardless of the character he performed, because of the
expectation that he will follow a similar character arc to The Rock,
because Nostalgia) is not a sellable character beyond nostalgia, and
is not something that WWE can rely on for someone they want to make
into their next long-term babyface while John Cena slides back down
to the midcard. For Reigns to be The Man he has to be his own man,
and turning him heel would undo most of the work done to establish
him as a separate identity from his relatives.
As
well, Roman's key weakness (which he has been steadily improving) is
his mic work. For any number of reasons, a babyface can afford to
have less-than-stellar mic work, but a heel needs to be able to talk
for days. They need to be able to talk shit. They need to be able to
rile up a crowd. The only heat Roman has is with smarks who hate him
for whatever god-forsaken reason, and he gets booed during his promos
precisely because for the longest time his promos were very weak.
(That they have notably improved has had little effect on those who
boo him at live events, which is as unsurprising as it is
disappointing.)
On top
of that, Roman's moveset, while hard-hitting and slam-oriented, is
ill-suited towards heel work. This is not to say that he couldn't
learn the submission moves and limb-specific work that would be
required of him as a heel, but suffice to say that his in-ring work
as it exists is not
already well-suited towards him being a heel.
In
short, Roman would be ineffective as a heel in a way that he has not
proven ineffective as a babyface. This brings up an uncomfortable
truth for the IWC to confront: what they see as being desperately
necessary out of Roman because they believe that Roman gets booed
because people hate him is actually incredibly risky. If Reigns
doesn't work as a heel (and he won't) he has to do a lot of work to
turn back face, and that quite simply may not work with the fans he
has, particularly children, who may find it difficult to forgive him.
He may only be a few years old in the main roster, but for good or
ill, Roman Reigns is already John Cena, and if WWE wants him to be
John Cena, in terms of being their hero for children, they cannot
make him a heel.
Ambrose,
on the other hand, is frankly just an incredibly obvious heel, who
might actually excel in that role. However, a turn for him now serves
to sever one of the few dramatic bits of humanity on WWE TV that has
proven resonant with fans of Ambrose and Reigns: the friendship
shared by the both of them. (That breaking up that friendship also
delays the reuniting of the SHIELD should not go unnoticed of
course.) Moreover, Dean Ambrose may be able to effectively work and
talk as a heel, but it is very likely that his heel persona would be
dealing in some incredibly offensive stereotypes about mentally ill
people, given that his already uncomfortable “Lunatic Fringe”
merchandise (that he rarely ever wears) already plays off of it. On
top of everything else, he is already a well liked babyface, and
while he is really in need of a hot feud to put him back in the
spotlight, I personally think it makes more sense for him to be
wrestling for the IC or US belt while he waits to be put back into
the main event (where he definitely belongs after Reigns' next title
reign comes to an end.)
III:
The Match Itself
In
the moment the match felt obviously rushed because what could've been
a 20 or 30-minute main event was forced down to 10 to fit in Sheamus'
cash-in, but this was a well-constructed 10-minute match that
featured my favorite developing feature of Roman Reigns: his tendency
to use his high-impact moves sparsely and intelligently while working
around his opponents offense (as well as simply absorb it, Reigns can
eat a lot
of finishers on PPV.) At
Hell in A Cell,
this resulted in a matchup that had more one-sided paces, with Reigns
dominating early, Wyatt getting the advantage only with weapons, and
then Reigns managing to counter a number of Wyatt's in-ring moves to
close out the match. Here, it resulted in a more even matchup with
counters abounding on both sides as Ambrose's speed occasionally
overwhelmed Roman's defense, as well as his unusual reversals of
momentum on the ropes and apron. As well, being top guys, both
managed to absorb at least one finisher from each other, with Ambrose
kicking out of a Spear earlier in the going. Ultimately, as
deeply-underrated commentator Michael Cole said, it came down to the
last man with the ball. Ambrose went off the turnbuckle and winded up
for a big move, and Reigns hit him suddenly with the spear for the
pin. For a moment, Roman Reigns was your World Heavyweight Champion.
It was not to last.
IV:
On Consistent Storytelling and Metatext
Roman
Reigns' loss to Sheamus tonight was heartbreaking, and genuinely
tragic in structure. Allowing himself a brief moment to vent his
frustrations with how opportunity has been stolen from beneath him
despite effort upon effort, Reigns rejected to have his hand raised
by Triple-H and Speared the COO, at which point he was immediately
Brogue Kicked by the Irishman, who immediately cashed in the Money in
the Bank Contract. Reigns kicked out of the first finisher, but he
ate a second almost immediately and that put him down. Sheamus is
your World Heavyweight Champion, and he doesn't deserve to be there.
This
is where we hit the consistent drama and the metatext: Roman Reigns
spearing Triple-H is not representative necessarily of beef with
Triple-H, but of Reigns' frustrations with WWE as a structure. How
the inherent unfairness of the Money in the Bank briefcase lead to
him being screwed at Wrestlemania
XXXI
and how shoddy officiating led to his failure to achieve retribution
by using that briefcase himself, and then Triple-H had the gall to
offer him a place in the Authority despite having never shown him any
love before, not to mention causing the betrayal of his once-friend
Seth Rollins. It's also about how WWE has mismanaged Roman Reigns.
How they screwed up his push towards WMXXXI
and his characterization basically since the breakup of the SHIELD.
How they've managed to make something as simple as making Roman
Reigns a main event superstar and screw it up, just like they've
screwed it up with so many guaranteed winners before. For fans of
Reigns, seeing him Spear Triple-H is satisfying on a number of levels
because of all of these factors both inside and outside of kayfabe.
That
Spear also represents a minor betrayal of the sort of values that
Reigns is intended to embody as a babyface, as deserved as it is. It
was a display of hubris, and it also betrayed the sort of calm Reigns
has portrayed. It's the kind of short-term and short-sighted
satisfaction that one is not supposed to strive for as a babyface.
And
as punishment, Reigns was cashed-in on, again, and lost to Sheamus,
the man who he lost the MiTB contract to after deserving to win it so
obviously. (Note: this would be a great setup for a feud if Sheamus
was even remotely threatening as a heel, or entertaining as a
wrestler.) Yet again, Roman worked so hard to get where he got to,
and lost it all because as tough as he is, and as talented as he is,
he's only human. And this time it even happened again, during a title
match, with a Money In The Bank cash-in. And he lost it to Sheamus, a
total jobber who's been an absolute afterthought for most of the
year, and who totally deserves it because he's a lazy in-ring worker
and an at-best uninspired talker who's W-L record can never back up
the bark. (Something that I can't help now but think was planned as a
way to make his cash-in win as much of a swerve as possible.) The
consistency of that is pretty admirable.
It's
also smart: Roman has been slowly regaining popularity throughout the
year because he's continued to work hard and yet continually lose on
a number of occasions, and nothing else builds fan sympathy easier.
I'd have to run the numbers again, but since Mania,
Roman has barely more than a 50/50 win-rate on PPV, and that's only
after two consecutive PPV wins these past two months. And while his
sudden push to win the title here felt a little rushed, it now makes
a lot of sense since we're learning that satisfaction is likely going
to be delayed until at least TLC,
though I think for pure excitement WWE shouldn't pull the trigger on
that until the Royal
Rumble
in January. Last year's event, though the Rumble itself was obviously
a huge disappointment, had an air of real excitement in the
triple-threat between Cena, Rollins, and Lesnar, as we were left
predicting who might win the Royal Rumble, as well as wondering who
might be the Champion, leaving the Mania
card itself totally empty. With smarter and less predictable booking
(I know, I'm asking a lot) WWE could really capitalize on a similar
setup again in January.
All
in all, I really enjoyed Survivor
Series,
and, while I think Sheamus' reign should not be long, I do think that
WWE showed a lot of restraint here by not making Reigns champion and
by avoiding the obvious heel turns they could've created for
short-lived drama. That makes it unbearably “safe” for some, but
to me, sometimes “safe” just means smart.
-
From Olympia, WA, Play is Labor, I'm Austin C. Howe.
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