By Matt Forbeck
The New York Times bestselling sequence in line with the blockbuster Xbox® games!
While Spartans get the entire glory, no soldier―not even the mythical grasp Chief―wins a conflict all alone. Gunnery Sergeant Edward dollar and his crew of Orbital Drop surprise soldiers (ODSTs) performed an important function in saving the Earth from all-out invasion on the finish of the Covenant War―acts of bravery and ingenuity that didn't cross omitted through the United countries area Command.
Now, after many Spartans were killed in conflict and the grasp leader is indexed as MIA, the UNSC makes a decision to create a brand new iteration of Spartans to safeguard humanity from threats either outside―and inside. after they come to greenback with a rare proposition, he's compelled to make a life-altering choice. With the Covenant battle eventually over, is it time for him to eventually retire to the sidelines for a lifestyles he may purely dream about…or is he ready to step up and turn into a part of the military’s new blood?
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Additional resources for Halo: New Blood (Halo, Book 14)
Sample text
Writing this small survey of solutions to the paradox gives me something close to an “all of The Paradox of Failure and the Paradox of Tragedy 41 the above” experience. Not every variation of every type of solution appears entirely convincing, but most seem to identify a component of the response we have to painful art. To get a little further, let us take a step back. Philosopher Gregory Currie has recently provided not a solution but a different angle on the paradox of tragedy. He frames it like this: it seems that when we watch Shakespeare’s play Othello,19 we want Desdemona to survive.
Improvement goals are about our personal and continuous quest for improvement, and failure is simply a temporary failure to improve. Chapter 5 shows that games can also be tragic in their fictions: fictional tragedy in games is a counterintuitive combination of failure and success—the failure of the fictional protagonist(s), but the success of the real player. Are players willing to play for the goal of the self-destruction of the protagonist, or are games better suited for other types of tragic content?
48 Note that tragic endings in games are not interesting because they magically transform video games into a respected art form, but because they show that games can deal with types of content that we thought could not be represented in this form. Tragic Introduction 29 game endings appear distressing due to the tension between the success of the player and the failure of a game protagonist, but this distress can give us a sense of responsibility and complicity, creating an entirely new type of tragedy.