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Red Dead Redemption Review

Sparky Clarkson's picture

The Legend of John Marston

Red Dead Redemption Screenshot

HIGH Taking down the Bollard Twins gang in a running gunfight in Pike's Basin.

LOW A late mission using a surprisingly ineffective car-mounted Browning machine gun in poor visibility.

WTF I went through all that crap with the grave robber just so he could dance like a lunatic in Fort Mercer?

The West as we "know" it never really existed. It was created in the wildly exaggerated "memoirs" and Wild West shows of its would-be heroes, expanded in the dime novels of East Coast publishing houses, and then brought to life in the films of Hollywood. The real West hides beneath this palimpsest of fantasies, to which Red Dead Redemption knowingly adds another layer. In keeping with developer Rockstar's cinematic approach to game aesthetics, Red Dead Redemption succeeds in allowing the player to inhabit, in some measure, the Westerns on which it is based.

The game pretends that in 1911 the West is dying, but really the first coating of ink has already started to dry on its corpse. Young Jack is already reading those dime novels, and his father, former outlaw John Marston, has been sent on a quest that could have come straight from one of them. John's law-breaking past has caught up with him, and unscrupulous government agents have kidnapped his wife and son to force him to hunt down his former partners in crime.

The movies' take on the West has always focused on the land, with the idea that its vastness and majesty inspired heroism (and villainy) to match. Marston himself echoes this sentiment in one of the many conversations that accompany his travels across the country with allies, but the game doesn't have the capacity to sustain this idea. Red Dead Redemption's landscapes are appropriately vast and beautifully rendered, but their scale is distorted by the demands of the game's design.

As a third-person shooter, Red Dead Redemption is obligated to keep John Marston in the foreground. The camera—and there is a camera, as the blood and rain splattering on it constantly remind us—is almost never free of him. On the fluid gallops across the dusty countryside, it chases his horse. When he ducks behind the copiously-available cover, it pulls close to him. When he aims, it looks over his shoulder. Marston can never be dwarfed by the land, never ride off into the sunset. The game can produce nothing like the life-rejecting opening shot of For a Few Dollars More. Marston is always close to us, always larger than life.

Rockstar's triumph here is that the game's story matches this perspective, because in it man is always superior to the land. This is evident in the game world—in the town of Blackwater the automobile has begun to travel on paved roads. The gun, the electron, and the law are bringing all the wildness of the West to heel. The last of the buffalo fall to John's rifle, their skin, horns, and meat sold so he can buy more bullets, more guns, more dynamite to kill the bandits and rebels that stand in the way of "civilization." In Red Dead Redemption, man is insuperable, though the land outlasts him.

Red Dead Redemption Screenshot

This is true for John as well. The land may have formed him one way, but he changed himself, becoming a farmer rather than a gunman. The player has the chance to further mold him, either as a defender of the law and the weak, or a ruthless man with no regard for either. In creating a character who could be hero or villain, Rockstar has made one of the West's strangest killers.

Marston can be a ruthless murderer, and the threat of violence constantly seethes in his dialogue. In the player's hands, Marston kills effortlessly, his aim automatically drawn to any nearby target. Nonetheless, John becomes an oddly passive and trusting dupe for almost anyone who promises to help him, however unlikely that aid seems. In the game's flabby Mexican midsection this tendency becomes almost comic, forcing him to assist both sides of a civil war. The thematic aim here is the same as in Far Cry 2, but Red Dead Redemption inherits its feeling of implausibility. John spends too much time doing too much work for men who have too little to offer his cause, a tendency at odds with his spoken impatience and short temper.

The words seem to contradict the man in other ways too. Despite being raised by a harsh orphanage and a charismatic bandit, Marston adopts an anachronistically progressive attitude towards women. John's former compatriots clearly do not share this opinion, nor his unusually courtly treatment of prostitutes. If they agree with him that their crimes should only harm the undeserving rich, they show no sign of it; nor does he, if the player chooses to assault farmers rather than bandits.

Almost nothing about John makes a lick of sense, and it's easy to agree when one of the game's characters mocks him and his supposed values. But then, John Marston is not a real man, any more than New Austin is the real West. Marston is a legend: the kind of man so quick on the draw and accurate that time slows down to let him make impossible shots. For an outlaw like that there is no contradiction between nobility and murder.

Of course, Red Dead Redemption gives John many more chances to kill than to be noble. Death suffuses the game; John trades in it when he skins a bear or takes down a bounty. The number of victims reaches into the thousands as the story meanders through its increasingly repetitive missions. While John can take time out from his quest to deal with the various "strangers" he can find in the West, he cannot leave death behind. They ask him to kill, die themselves, or send him after men already dead. Even the most innocuous of these tasks take a turn towards the macabre. By comparison, the grave robber John must help in the first third of the game seems almost normal. Besides, in a land that seems to have more headstones than houses, tomb raiding must be more profitable than burglary.

This obsession with the grave is natural, for the Old West of Red Dead Redemption is not dying on its own. The player is killing it, one outlaw and one buffalo at a time. Inevitably, all bandits must fall to the hand of the hard-charging lawmen and bounty hunters, and then those men too must die to make way for a more civilized world. The crime scene investigator replaces the marshal, and the open-sky prairie becomes flyover country. The legendary men perish, but the land that shaped them lives on, leaving the player and Jack to act out their dime-novel dreams of an Old West that has already faded into legend. Rating: 8.5 out of 10.

Disclosures: This game was obtained via retail store and reviewed on the Xbox 360. Approximately 40 hours of play was devoted to single-player modes (completed 1 time) and 0 hours of play in multiplayer modes. This review covers only the single-player aspects of the game.

Parents: According to the ESRB, this game contains blood, intense violence, nudity, strong language, strong sexual content, and use of drugs. It's a Rockstar game, so there's something here to offend practically everyone. There is a great deal of violence directed towards women (though generally not by playable characters), and unflattering depictions of certain ethnicities and other marginalized groups. The game's middle section features a "gringo who saves Mexico" theme that may offend; concerned parents might want to prepare a discussion to put this motif in its proper historical and social context.

Deaf & Hard of Hearing: Sound cues are generally not essential, and subtitles are abundant. Some dangerous animals make warning sounds before attacking, so hard-of-hearing players might experience a few surprising deaths, especially from bears. In addition, some (non-essential) sidequests start with audio rather than visual cues. Certain fonts are difficult to read even for a person with good eyesight, which will inconvenience players with modestly impaired vision.

Category Tags
Platform(s): Xbox 360   PS3  
Developer(s): Rockstar San Diego  
Publisher: Rockstar  
Series: Red Dead  
Genre(s): Open World  
ESRB Rating: Mature (17+)  
Articles: Game Reviews  

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The best review of RDD I

The best review of RDD I have read so far; in fact, it's the best review I have read in months. Hats off to you, sir!

Woooowww (brainsplode)

Woooowww (brainsplode) .......Anyway, based on the review score, I assume you loved this game, right? I guess an 8.5 is like a 9.5 on this site, particularly when looking at some of the other reviews.


hey where do you see the score? i don't see any score given by the reviewer... is it hidden, where can i find the # ?


p.s. the reviewers "LOW" is meant to illustrate how fire wepons were ineffective and the old west is really dusty thus cowboys have poor visibility while on car since they ride horses... ?

you see... is an artistic game desing choice and i suported. not many developer sacrifice some fun for historic accuracy and belivability to make the storytelling have some depths. obiously reviewer only wants to have fun he dosen't want art is obious :/

Many good points covered in this review.

A lot of stuff that I felt was flawed in this game and posted on my review are also covered in this review (but not many others).

I was really into the story at the beginning. I had high hopes it was going to pick up after rounding up horses and cattle with the McFarlanes. And the story did pick up, only to repeat itself over and over.

I even address the odd connection of Marston with both sides of a Civil War, yet put it to the moral ambiguity of Marston, although he would have been shot by either side right away in real life.

Your comments on how John effortlessly kills men is attributed to your use of Normal or Casual auto aim in the menu options. I immediately chose Expert (no auto aim at all) because I cannot stand auto aim. It becomes a real chore to kill mounted enemies while you are also mounted and have no Dead Eye.

And finally, about the camera never leaving Marston: there is a glitch that if you are caught cheating you go into a duel with the person who catches you. At the end of the duel, none of the HUD is available, but you can still pay the game. And I noticed that Marston seemed so much smaller and insignificant, and even somehow made the game slightly better to play. Everything was so much grander. It seems like even the minimalist HUD in this game fills the screen.

Either way, I find the vistas astonishing.

Anonymous wrote: p.s. the

Anonymous wrote:

p.s. the reviewers "LOW" is meant to illustrate how fire wepons were ineffective and the old west is really dusty thus cowboys have poor visibility while on car since they ride horses... ?

No, what the LOW means is that the Browning machine gun was "surprisingly ineffective". Machine guns at that time were surprisingly effective however. They're one of the reasons why World War 1 turned out to be trench-to-trench-warfare and cavalry couldn't simply stomp all over the enemy. Making the machine guns less effective than other guns does not count as historical accuracy.

The review score is in white, simply select the text to see it.


Thanks for the positive responses.

As Li-Ion says, the thing about the Browning is a comparative judgment. The rifles and even handguns are accurate and deadly at considerable range. During the mission I had in mind, however, men were able to throw dynamite to my position from outside the weapon's lethal range, as if the gun was shooting rose petals with compressed air. That mission also used a filter that made practically everything look gray.

Mythofheaven is correct that Marston's lethality is substantially aided by the auto-aim. I tend to view the "true" version of the game as the one with difficulty set to normal, so I left it on. It's not always helpful -- Marston sometimes seemed to get obsessed with nearby birds in the middle of a shootout. Aiming without the auto-assist was a bit difficult for me because the dot reticule is so small, which sometimes made it tough to track.

No, it's a good review. It's

No, it's a good review. It's just veeerrrryyyyy different......In a good way. Keep it up.

"Thanks for the positive responses"

"Thanks for the positive responses." Hey man, it's easy to get mostly positive responses when you delete all the negative ones.

Re: Thanks for the positive responses

Feel the need to respond here.

It isn't mostly positive responses, it's responses that follow our Code of Conduct clearly displayed at the bottom of the page.

Adhere to that and you can write an entire dissertation as to why the reviewer got it wrong and it will be posted. But you have to follow the Code of Conduct.

Most people who disagree with our reviews only have expletives to throw around and accuse us of having relations with our mothers, just trying to get attention, or just trying to hurt the poor developers or all three.

It is actually pretty amazing how inept our critics are at critiquing our critiques and doing so in a civil way. That's why you don't see many negative responses posted.

Your loyal readers have a

Your loyal readers have a right to know whether or not you fornicate with your own mothers. That you've been dodging this question for so long is quite telling.

Li-Ion wrote: No, what the

Li-Ion wrote:

No, what the LOW means is that the Browning machine gun was "surprisingly ineffective". Machine guns at that time were surprisingly effective however. They're one of the reasons why World War 1 turned out to be trench-to-trench-warfare and cavalry couldn't simply stomp all over the enemy. Making the machine guns less effective than other guns does not count as historical accuracy.

The game uses variable lighting so that set piece battles will be played out at the game's current time of day or weather. Trying to shoot a host of bandits at night in the rain is hard work. As the game progresses, you learn to make the best of the daylight. (A manual game save moves the clock on by 6 hours)

Very interesting point about

Very interesting point about the dramatic limitations having a close 3rd person camera imposes; made me think of how amazing an extreme-long-shot gameplay scene could be.

Also, I like that you

Also, I like that you address the interplay between the interactive and non-interactive elements of the game; lots of games and critics seem to take a "separate but equal" attitude to story & mechanics, rather than thinking about mechanics as being part of the storytelling and a tool for emotional expression (all the more disheartening since it's maybe the one tool that other art media can't match!). I mean for example that you don't accept the staggering body count as dramatically meaningless or irrelevant, and how you point out that the dead-eye mechanic helps define Marston's character.

? ? ?

Select what text ?? Where is the score located?

I know this review is three

I know this review is three years old, but I'd still like to thank you. John Marston is one of the most schizophrenzic video game characters in existence, yet he is constantly used as an example of a realistic protagonist.

He's kind hearted yet has no problem watching women being raped or innocents murdered. He's cynical, yet never doubts another person's motives. He's judgemental and quick to anger one moment, then open minded and accepting the next.

He's little better in terms of realism than the walking contradiction that is Niko Belic.

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