Guitar Hero is a new phenomenon in the rhythm genre. But what is it that makes it so great?
Many people argue against an interactive medium, insisting that the living of vicarious visions that players manipulate are corrosive, negative, and sometimes patently dangerous. Perhaps that is the case. But like all good entertainment, there are examples of video gaming that transcend stereotypes and help prove that innovation and fun can be a better seller than a severe rating or controversial game play.
What is Guitar Hero?
Point: Guitar Hero (and its superior sequel, Guitar Hero II). The Guitar Hero franchise is deceptively simple: Pick up the lightweight, plastic guitar, pick a song, and start playing along. This is not a game that relies on the player’s innate musical ability. Arpeggios, etudes, and any number of other musical theories are all tossed out the door. No, this game is to help fulfill that common longing of jamming like a rock star.
See, Guitar Hero doesn’t sit you down and say, “Okay, kid, Jimi Hendrix was one of the greatest guitar greats of all time. Just listen to ‘Foxy’ or ‘All Along the Watchtower.’ Listen and be amazed!” Instead, the game says, “Here. You’re Jimi Hendrix now. Let’s hear ‘Spanish Castle Magic.’ That’s right. Play it and be amazed!” Appreciation for music moves from a passive to an active sphere. Ask any teacher which kind of learning does a better job of permanently impressing an idea on someone, and you’ll quickly see that an active learner is a happier, better learner.
But who cares?
In all honesty, does it matter where music has been? In all fairness, Guitar Hero is a classic rock game. Megadeath, Kiss, David Bowie, and Black Sabbath are all represented (the game utilizes high-quality covers rather than the master tracks), with other famous names—some old and some new—thrown into the mix. So the game is a nostalgic kick for baby boomers, a demographic that is not as well known for its interest in the interactive media genre.
Musical appreciation, then, blooms inside of burgeoning musicians. The game is not as good as playing a real guitar, of course, though both require hours of practice to do well. But when a child who has listened solely to Disney promoted artists suddenly gets a flavor of the musicality of Stevie Ray Vaughn, something positive happens. Rather than being exposed to a song “My dad likes,” the same child feels (a little) of what it’s like to actually play a groovy lick or a ripping riff. In fact, those who hate the grinding, pulsating beat of Ozzy Osbourne’s “Bark at the Moon” might gain an appreciation—though not necessarily a like—for what heavy metal contains.
That’s not to say lighter tracks don’t accent the soundtrack. The sequel boasts an even more eclectic mix, throwing in tracks like the Allman Brothers Band’s “Jessica” and “Carry on my Wayward Son” by Kansas. These “non-thrasher” tunes help to round out the experience, letting anyone interested in the history of contemporary music get a feel for what has come before.
It’s all in the rhythm
These games augment your rhythm, allowing you to syncopate your timing with that of the music. Never has good rhythm been a bad thing. In fact, this one benefit of the oft-cited “hand/eye coordination” excuse for video games is palpable. Those who play guitar (in real life) often feel that they have improved their reach and their rhythm by playing the game.
Don’t stop rockin’
The desire to impress people with quick licks has been around for a good long time. Now, thanks to this game, more and more people—some with little to no “real life” musical ability—can tap into the pleasure of being able to pull off a riff from Incubus without training. Granted, there’s a pronounced difference in the real world guitar and what’s available in Guitar Hero—but video games are supposed to work on a virtual level anyway.
Long live rock and roll.
