Wednesday, December 12, 2012

Shadowauthor's Game of the Year Post


Well, seeing as I haven't posted anything in a while, I thought it might be appropriate to take a second and recognize my nominees and pick for Game of the Year. For the most part, I’m assuming that anyone who’s reading this has already played these games or has at least a workable knowledge of them, so I’m not going to beat a dead horse. I’ll be doing more than one category though, so please sit back and enjoy the show.

Best Dowloadable Game Nominees:
Fez
Sound Shapes
Walking Dead: The Game

Winner:
Walking Dead: The Game – Telltale put together a gripping narrative, tension-soaked settings and characters that I truly cared about into a package that screams quality from the get-go. I’d never played a Telltale release before, but knowing what I know now, I’m definitely a fan and will be watching them from here on out.

Best Handheld/Mobile Game Nominees:
Angry Birds Star Wars
LittleBigPlanet Vita
Sound Shapes

Winner:
LittleBigPlanet Vita – While not vastly different from its console-based siblings, LBPV does use the Vita’s touch screens in inventive ways and it was the first time I truly felt like I was able to play console-quality games on a handheld. Sony needs more releases with this kind of polish if the Vita is going to survive, let alone hope to unseat the GameBoy or other mobile devices.

Best RPG Nominees:
Diablo III
Mass Effect 3
Xenoblade Chronicles

Winner:
Mass Effect 3 – The culmination of Commander Sheppard’s tale was nothing short of epic. Seeing old friends, making new ones and watching the devastation that the Reapers unleash makes for some of the most memorable moments in gaming this generation.

Best Action/Adventure Nominees:
Assassin’s Creed III
Darksiders II
Dishonored

Winner:
Dishonored – Arkane Studios crafted a masterpiece that is equal parts stealth/action as it is an emergent experience. Truly one of the gems of this generation, and should not be missed. But more on it later…

Best PC/Mac Game Nominees:
Diablo III

Winner:
Diablo III – I own all Macs, so this was the only ‘PC’ game I played all year. That being said, Diablo III was a long-way coming, and would have likely taken the top spot regardless.

Best Turn-Based Strategy Game Nominees:
Great Big War Game
Tom Clancy’s Ghost Recon: Shadow Wars
XCOM: Enemy Unknown

Winner:
XCOM: Enemy Unknown – This is a genre that I find is sorely underrepresented in gaming today, so I was ecstatic when I was finally able to get my hands on XCOM. The unforgiving difficulty (there will be blood, oh yes, there will) and cerebral squad-based gameplay is something I’ve missed for many years. If I ever get around to learning how to program, the first games I’m going to make will be TBS ones.

Best Wii/Wii U Game Nominees:
New Super Mario Bros. U
The Last Story
Xenoblade Chronicles

Winner:
New Super Mario Bros. U – Mario in HD. And on the Gamepad. ‘Nuff said.

Best PS3 Game Nominees:
Assassin’s Creed III
Dishonored
Journey

Winner:
Dishonored

Best Xbox 360 Game Nominees:
Assassin’s Creed 3
Dishonored
XCOM: Enemy Unknown

Winner:
Dishonored

Studio of the Year Nominees:
Arkane
Bioware
Telltale Games
Ubisoft Montreal

Winner:
Arkane – They’ve taken what could have been written of as a shooter/stealth hybrid and turned it into something so much more. Dishonored is a title and Arkane is a studio that should be talked about for years to come.

And finally, the moment you’ve all been waiting for…..

Game of the Year Nominees:
Assassin’s Creed III
Dishonored
Mass Effect 3
Walking Dead: The Game

Winner:
Dishonored – Based on what you’ve read so far, should it be a surprise?

A few times each generation we gamers are treated to experiences that transcend the medium. I firmly believe that Dishonored is one of those experiences. To be sure, the game isn’t perfect. It’s got tropes out the wazoo—dystopian nightmare where a protagonist looks to revenge/avenge the crimes he’s been wrongfully accused of. I could go further, but there’s no need to. We’ve all been there and played/read that game/book before.  

That isn’t it though. It’s the execution by which the story is told and the gameplay laid out that truly makes Dishonored shine. At its core, it’s another fairly linear, action/adventure/stealth/quasi-shooter (depending on how you play it). But it doesn’t feel that way. Arkane gives players myriad options when taking on a mission. Does one go sneaking around by themselves, using the ‘Blink’ power to teleport high above the heads of guards? Or perhaps morph into a rat and use the tunnels available in order to escape those that would seek to do Corvo harm? And if a player is so inclined, they can go through the game like a wrecking ball of bad-assery, slitting throats and filling guards full of lead and crossbow bolts as they see fit.

And that’s just the beginning. The emergent gameplay that comes out of Dishonored is like few I’ve encountered in over three decades of gaming. Players really see the consequences of their actions in a way that really stays with them. A high-chaos play through changes Dunwall from a city on the brink of disaster to a veritable hell. I’ll never forget after completing the penultimate act/mission (in a high-chaos game) and returning to the hideout, having a young NPC ask me “How many did you kill today, Corvo?”

There’s so much more I could go on about here, but I don’t want to delve into the realm of spoilers and this game really needs to be experienced firsthand. Anyone who considers themselves a core gamer of any stripes owes it to himself or herself to play this game.

High Honorable Mention:
Walking Dead: The Game – I actually came to TWD late. I’d heard of the series but hadn’t watched an episode. I like zombies (who doesn’t), but didn’t want to get into a series I was already woefully behind on. Well, the family decided to kill our cable and go with the Netflix/Hulu+ combination. On a whim, I watched the first episode. I was instantly hooked. I proceeded to watch the remaining episodes in season 1 and all of season 2 within the next 34-ish hours. I purchased Walking Dead: The Game for my iPad 3 the next day and played it. The story is gripping, the narrative awesome and the character development is nearly without peer. Perhaps had I had more time to spend with the game’s 5 episode before writing this I might feel somewhat different. That being said, Walking Dead: The Game is another must play for anyone of any gaming stripes.

Thursday, March 22, 2012

More Than Skin Deep



Disclaimer - This post is about a very personal, very trying time in my life. I have strived to recreate events pivotal to the point I'm trying to get across, but if I have inadvertently managed to misquote someone or portray them in a way they don't feel is accurate, I apologize. Know that it is my intention to capture the feelings I perceived in those moments, and that's what's important.

It’s been nearly seventeen weeks and it still feels like it was yesterday. Some moments in life will always stay with you no matter what. My life was forever changed in the early morning minutes of November 27, 2011. Shortly after midnight, my home phone rang. I used to have a running gag about people calling me late at night—anything after ten o’clock should be family, and it better be news about a death—preferably their own. Although we’d had some wrong numbers in the past, I just had a bad feeling and started to get nervous. I picked up the phone. It was my father, and he could barely get the words out. What came next rocked my world.

“Derek, he’s not going to make it. The doctors say Brandon’s not going to make it. You better come. They took him in and he’s not going to make it. First they said he might lose his foot. Now they’re saying he’s not going to make it.”

I hung up with him and called my brother’s cell. It immediately went to voicemail. “Kris. It’s me. Dad just called. Brandon’s in the hospital and they say he’s not going to make it. I’m heading to Syracuse in a little bit but I wanted to see if you could come too. Give me a call.” I waited for a few minutes, and when he hadn’t returned the call, I decided to try his wife’s phone. I got her voicemail too. “Holly, it’s Derek. I’m sorry to call in the middle of night, but it’s really important that I talk to Kris. I already tried his cell but he didn’t answer. My dad called and Brandon is in the hospital. If you get this before he gets his message, please have him call me.”

Within a minute or two my phone rang, and it was Kris.

“Sorry bro. I had my cell downstairs in the kitchen, but Holly’s was on the nightstand next to her. She said something about Brandon being in the hospital?”

“Yeah. Dad just called me like ten minutes ago. Brandon’s in the hospital and they were originally thinking that they were going to have to take his foot, but now the doctors are saying he isn’t going to make it. I’m heading there now, you want to go?”

“Sure, of course I’ll go. Derek, give me 20 minutes to get dressed and I’ll pick you up.”

"See you then.”

I started reminiscing about the times Brandon and I had spent together growing up. Admittedly, there were quite a few less than I’d hoped. Given that I was fourteen years Brandon’s senior, there wasn’t a whole lot we connected on. I’m into hardcore American Muscle—love my rumbling V8 Mustang—and he was all about the import scene. While I had a wife, kids, and mortgage, he was free to hang out with his friends and not have those types of responsibilities to answer to.

Within a few hours, my other brother and I were at the hospital, roughly 80 miles away from where we live. Walking off the elevator and onto the floor, we were met by my paternal aunt, Glory. “Brandon died about ten minutes ago,” she said, wiping away tears from her already-red eyes. 

We followed her down the hallway and into the room where my father and step-mother, Jane, were waiting. Dad just sat there crying, saying over and over “it’s not fair.”  I found a chair in the corner of the room and sat down, bowing my head in disbelief and clenching my fists to keep from screaming. 

After a bit, the nurse who’d been the liaison between the doctors and my father came in. “Mr. Smith,” she said in a hushed voice. “They’re bringing Brandon up to the floor and will put him in the room next door so you can spend time with him. 

My father and stepmother Jane went in first, followed by my aunt. Then Kris and I went in. I grabbed a chair from the corner of the room and sat down right next to the bed, taking his hand in mine. True to form, the underneath of Brandon’s fingernails were dirty—a testament to his many years working in auto-body repair. All the rage and anger of the last three hours had welled up inside and had to be released. As I felt his cold hand in mine, I began to sob.

“Wake up, Brandon!” I yelled. “Get up, bro. We’re supposed to play Modern Warfare 3 together, you can’t leave me hanging like this.” 

You see, this story doesn’t actually start when the phone rang—in reality, it started roughly ten minutes prior. I’d been working on my graduate thesis and decided to take a small gaming break and fire up my Xbox 360 to play Battlefield 3 campaign mode. I usually don’t like military first person shooters, but I wanted to give Battlefield 3 a chance since I heard the vehicular combat was more prevalent than in the Call of Duty: Modern Warfare series. 
I’d finished the campaign on Battlefield 3, and thought to myself, I should go out and pick up Modern Warfare 3 on the PlayStation 3 tomorrow so I can play with Brandon onlineWe hadn’t seen much of each other since the summer, so I planned on getting the game and texting him within the next day or so. Realizing I had more work to do, I shut down the 360 and started writing more of my thesis. About ten minutes later was when my father called.

Kris came over and put his hands on my shoulders. “I know, it’s not fair, man. He was way too young.”

“I just can’t believe he’s gone. I was going to go buy CoD tomorrow, I was going to play and talk to him. See how things were going and making sure he was on the right path.”

“You can’t blame yourself.

“I know. But I will.” We walked back into the other room and sat down again. My father was looking every bit and then some of his almost sixty years. 

“Dad, what happened?” I asked.

“He worked a ten-hour shift on Friday, and went over to Cassie’s place complaining of a headache. He woke up Saturday not feeling well, and spent most of the day in bed. He ended up having trouble breathing, and had me come get him to bring him here.”

The doctor came in. “Mr. Smith, I want you to know how deeply saddened we are for your loss. We did everything we could to revive him, even performing CPR for over an hour, but he just didn’t respond."

“I know, doctor. Thank you for all you’ve done.”

“We have the preliminary reports back and he basically had a nasty case of pneumonia. His lungs filled with fluid to the point where he couldn’t breathe. Considering that he’s only twenty-six, we’re going to run some more in-depth tests and get back to you with the results. 

Everyone in the room started to gather their belongings. We made our way to the elevator and then outside the hospital. Just as we reached the parking garage, I turned to my father and gave him a hug. “We’re going to head home and get some sleep. I’ll call you later today, Dad.”

“Okay, Derek. Drive safe you two.”

“We will.”

The ride back home was pretty somber, broken by occasional staccato sentences. After getting home and sleeping for a few hours, I called my father. “I just wanted to check on you and make sure you’re going to be okay. I know this is a rough time for you—it is for all of us. But you don’t need to do it alone. We’re family and that’s what family is for. Maybe we all need to take this as a wakeup call and realize what’s really important in life.”

“Yeah, I agree. We’re going to go to the funeral home tomorrow to set things up. I’ll give you a call and give you the details.”

“Okay. Dad. I love you.”

“I love you too.”

The day of the wake came and I found myself dreading it. “Figures. I can’t believe Brandon’s getting the last laugh. You know if he were here he’d be giving me all kinds of shit for having to put on a tie. I should wear my Five Fingers or sandals just to throw a wrench into things.”

“You can’t do that, Derek,” my wife Kristen said, coming out of the hotel bathroom. “Help me zip up my dress?"

“It’s just all of this. I know deep down he wouldn’t have wanted any of it. I can’t believe there is going to be a mass before the funeral. Brandon was almost as nonreligious as I am.” 

“People deal with death in their own way. If this is what she feels she has to do, then so be it.”

“I know. I just always hate how people make other people out into someone they’re not simply because they died. I don’t want people at my funeral saying how great of a person I was. I want honest stuff—if they thought I was a rat-bastard, they should say that.”

“I thought you didn’t want a funeral and just wanted to be cremated?”

“Yes, of course. You know what I meant. We’d better get a move on, I want to make sure I’m one of the first people there to have some time alone with Brandon.”

Although I knew how difficult the wake would be, I had no idea how hard it would hit me and how tough it would be to make it through. People began to line up, and before long it weaved outside the building. Traffic was so congested that some of my father’s old Sheriff’s Department coworkers were out directing traffic. Each law enforcement professional that passed by me couldn’t have enough great things to say about my father. While I was internally brimming with pride that my dad could garner this much support and admiration from so many people; it bothered me that I was hearing how awesome of a man he was from strangers, rather than seeing it for myself directly from him.

It only got worse as more people showed up. I know that they only meant to try and comfort me, but as an ardent atheist, hearing all the “he’s with God now,” and “your family is in my prayers” definitely didn’t help things. I’ve questioned God’s teachings since I was about eight and became a closeted atheist at age eleven. I was getting frustrated because I didn't think that this was what my brother would have wanted at all—he definitely wouldn’t want people making a fuss over him, and surely not praying for him. But I bit my tongue in order to keep peace among my father and other family. 

Much of the next day is really still a blur of hurt and emotion. I have pictures in my head of what I perceived happened, but it's in a state of flux at any given moment.

While my grieving process is far from over and I have days that are better than others, the interesting thing about all of this is that without my long-time hobby of video games, I don’t know that I’d have been able to make it. Brandon and I didn’t see eye to eye on many things, but it was that shared love of video games that brought us together in the past, and has since helped me cope with his death in ways I’d never imagined. 

Since his passing, I’ve yet to have a good night’s sleep. But in my grief-fueled insomnia, I found solace in playing. Not because each time I picked up the controller I felt particularly connected to him, but because for those fleeting moments, I wasn’t here. They transported me somewhere else, allowed me to do something else. Most importantly, they let me be somebody else. It’s not as though I was looking to hide from grief—but sometimes it gets so difficult that the only thing you can do is try and run away for a bit, even if it’s only momentary. Even as good as it was to be able to do that, once I returned, the emptiness seeped back in and I’d become despondent.

Then Valentine’s Day hit. Aside from being a holiday that I think is the biggest waste of money and time—I think people should show their love the other 364 days—it marked the long-awaited return of the Twisted Metal automobile combat franchise. I’d had the game pre-ordered since the previous summer, but it wasn’t until I got it home that the true meaning of this game would be revealed to me.

I received the limited edition downloadable content code for the previous game in the series,Twisted Metal: Black. After downloading it and playing for a bit, it dawned on me that this was the last game Brandon and I had played together. We both had Xbox Live, but timing never worked out. Then he decided that he didn’t want his Xbox 360 anymore, and sold it to purchase a PlayStation 3. As I drove around the game blasting enemies, I began to reminisce about all the good times my brother and I had together. The times we’d play games, he being an usher at my wedding—which incidentally was 366 days before Twisted Metal: Black released on the PlayStation 2—and how we’d talk outside while smoking cigarettes at my father’s house when we’d visit there.

I also began to play the new Twisted Metal as well. As each level was defeated, I felt the connection with Brandon grow stronger. Then, one day, I had an epiphany. I would create a living, permanent memorial to my brother. Part of it would have a traditional tone; a portrait of him tattooed on my chest, over my heart, and the other would be on my upper arm. Considering what I’d been through recently and seeing how it was Twisted Metal: Black and Twisted Metal that allowed me to come some sort of solace regarding my brother’s death, I could think of no better tattoo than of Sweet Tooth, the series’ deranged clown mascot.  

The tattoo is healing nicely, although it still itches quite a bit and I need to constantly put lotion on it. Some people don’t understand, and I’ve even heard grumblings through the family that some think it’s not an appropriate way to honor my brother. But I disagree, and it’s my body. Each time I look down at it, I’m reminded of Brandon and how much I miss him. I only wish I could have a few more minutes to let him know how much I love him and how much he meant to me. And that's where this blog post comes in. Here's a real-life example to show the world that the things video game developers create DO MEAN SOMETHING. As far as I'm concerned, I owe a large part of my being able to carry on with the day-to-day minutia of life and soldier on with my graduate classes and thesis rest squarely on the shoulders of the great men and women who pour their hearts and souls into these games we love to play so much. I can't say that I wouldn't have made it without the help of games, but to deny their influence on my in the darkest time of my life thus far would be idiotic at best.

A special thank you goes out David Scott Jaffe and everyone at Eat Sleep Play that was involved with the creation of Twisted Metal. You helped me connect two phases of my life and make sense of the chaos that had been engulfing me. For this I will always be grateful, and you will always hold a special place in my heart. 

RIP Brandon, I miss you bro.







Saturday, February 25, 2012

When is Too Much of a Good Thing a Bad Thing?

This is something I've been thinking about for quite some time now, but a tweet that Eat Sleep Play's David Scott Jaffe posted a bit ago really had me deeply pondering it.

" This man=my new hero. NOTE TO GAMING PRESS: ignore me- go with whatever this guy says.He's FUCKIN SPOT MUFUCKIN' ON!"
Now, I've never been shy about my admiration for Jaffe calling it like he sees it, and in this instance it's really no different. I agree wholeheartedly with what both Joe (the author of the blog Jaffe cited) and Jaffe are saying, but I think there are other factors at play here that need to be looked at and addressed. This blog post will by no means be exhaustive or definitive, but it will give an honest assessment of what I perceive to be the situation talked about—from a longtime gamer with over three decades of experience. 


First things first, I feel it is imperative to note that while it is great that the gaming industry has grown exponentially in recent years, it is, in my humble opinion, largely a victim of that success. Back in the early days of shooters (Galaga), platformers (Super Mario Bros.), and beat-'em-ups (River City Ransom) these games HAD to rely on great gameplay mechanics because it was all they had. Sure, none of those titles listed were as primitive as titles for the Atari VCS, Intellivision, or even ColecoVision, but they definitely pale graphically when stacked up against something as old as the 64-bit era. 


As technology has progressed allowing publishers (through developers) more realistic and immersive worlds and experiences, some things have been lost in the transition. People like the aforementioned gentlemen and myself would argue that the gameplay mechanics have gone. Now, this is't a post decrying all current-gen games as unoriginal hacks of nostalgia past—quite the opposite. But there are some things that should be considered:


The things that are in the aforementioned blog post and Jaffe's comments aren't in-and-of themselves bad. There's nothing wrong with a deep, engrossing storyline or a lush ambient world, as long as they don't get in the way of, or supplant, gameplay. Unfortunately,  far too many titles released in the last ~ 5-10 years rely heavily on already established mechanics but try to put a new spin on them by slapping on a different coat of paint, or long and complicated narrative. That's not to say that there aren't titles that don't succeed. For example, the Uncharted series has set high water-marks in both cinematic quality as well as believable characters and a gripping narrative. This is due, in no small part, to Naughty Dog's masterful storyteller Amy Hennig and the talented team of developers and programmers that work there. But if we were to boil it down to its constituent parts, the series, in all honesty—hasn't innovated the genre much since the original Tomb Raider titles. This doesn't automatically mean that this series isn't successful, or that it isn't in some way trailblazing in the genre. In many ways, it's the nature of the beast.


Success in the game industry, is a double-edged sword. If a particular title does well, producers want to see more of it in order to remain profitable show their backers a return on investment. the problem with this, is that we end up having series that have regular release schedules, which not only dilute the pool of games from any particular genre, but in gaming as a whole. Where once there were maybe 2-4 must have titles released a year for any particular console platform, we are seeing this happen on almost monthly basis. Multiply this by three separate consoles, and it's easy to see why people's pile of shame are reaching higher and higher (FWIW, mines currently hovering around 20 games). And that's not even including the games that come out for the PC/Mac and various mobile devices.

I would argue that it would actually be beneficial for producers to allow developers more time to make less games. While the market has a glut of adequate games on the month-to-month basis, wouldn't it be much better to receive just a few AAA titles every quarter, half-year, or even yearly basis? The impact of this would be twofold: first, it would allow developers the time to ensure the games that they are making are being released complete, and not rushed in order to make some arbitrary holiday or product tie-in schedule. It would also allow gamers a chance to decompress in-between titles in the same genre, so they wouldn't feel as though they're doing the same “fetch” or “pizza delivery” quests in every game they've played recently. Nintendo is a master at this. The innovations in both the Mario and Zelda have been slight over the years, but because they are released so sporadically, many players don't seem to notice or even feel as though they're playing the series again for the first time.

In some ways, this is why think the mobile platforms have been able to get a foothold in the industry. Take a look at the now ubiquitous i-devices such as the iPhone and iPad. They're small enough to be taken anywhere, and have the processing and graphical prowess to create truly unique experiences. And because the form factor is new, and touch control is still in its infancy, developers are starting back at square one like they did on games like Galaga, Centipede, etc. while definitely not the best game I played in 2011, Disney's Where's My Water was probably the most unadulterated fun I'd had with any game last year. In the settings, you can restart your progress, which I have done untold times—the game is just that good, and the premise is drop-dead simple. Granted, it can't hold a candle to the atmosphere, storyline, characters, and gripping narrative that my GOTY The Elder Scrolls V: Skyrim, but it didn't need to. I've definitely spent more time playing it on my iPad then I have Skyrim  on my 360.

Another example of this, is a game I've recently started, Darksiders. While I am thoroughly enjoying the game, if it isn't a complete mash-up stolen love-child of God of War and Devil May Cry, I don't know what is. It doesn't make it a bad game, but as each level progresses, I can't shake the feeling that I've done this a million times before.
 

Friday, February 24, 2012

What's The Big Hurry?


*Author's note - This is an old blog post that's been moved from my previous blog. I do have more to say on the matter and will be posting a new entry very soon.



By now, most gamers have probably heard about David Jaffe's Twitter defense of Twisted Metal's release date slip until sometime in Q1 2012. For anyone who's been "AFK" or otherwise out of the loop, here's his tweets, compiled:
"Regarding the peeps thinking we delayed TM to get away from mega games like CALL OF DU, UNCHARTED 3, &BATTLEFIELD 3: amazing how the world has conditioned them2B so cynical. I get it-you don't respond that way unless u've had xperiences that bear out your world view but when u R the guy on the other end of it- as I am now-it's amazing how little trust there is in the world when companies issue a statement. It makes me question my own cynical views of politicians and wonder if I've been too black/white in how I think about this stuff.
For what it's worth I would have no problem admitting moving TM to early 2012 was only to better our chances at sales. Why NOT admit that? Admitting we need more time than we promised doesn't HELP us look good as developers, so why offer that up if it were not true? Admitting we wanted to better time than we promised doesn't HELP us look good as developers, so why offer that up if it were not true? Admitting we wanted to better more strategically position our game makes us look like we are doing good biz, so why not admit that? What, you think we don't know and are afraid to acknowledge MW3 and Unch3 and BF3 are staggeringly larger and more successfully franchises than Twisted Metal?
It's all so fucking Win/lose with people. What have we been conditioned into?!? It's like the gamers and the biz folks have been so trained to only care about who wins and who gets their ass kicked that there is no room to appreciate a game can do well enough to turn a profit and please many fans. But doesn't have to win awards like 'most money made in a weekend by an entertainment product'.Sure we all want that success but it's not the only definition of financial, social, creative, or execution success. There ARE still some shades of gray..."
Now, anyone who knows anything about Jaffe knows that he doesn't pull punches. He calls a spade a spade. That's one of the things that draws me to him as an aspiring developer as well as a person who's eaten his fair share of shit sandwiches over the years. Jaffe does things his way. Yes, obviously he knows the reality that game development is a business and that Eat Sleep Play must be profitable, but he's not about to compromise his principles in order to get there. I respect that. I don't know too many people that are willing to go that length, period. To do so in the gaming industry is increasingly rare.

So for me to hear that people are making grumblings about Twisted Metal being delayed, I have two reactions. One of utter incredulity and one of instant anger. First off, it never ceases to amaze me how gamers can be so jaded and impatient about release schedules for games. Don't get me wrong, I'm just as anxious as the next gamer for another installment in one of my favorite series from the PSX/PS2 era, but I want it released when it's ready. And while I don't know David personally (although we've talked over Twitter), I believe him when he says that Eat Sleep Play wants to polish the hell out of TM until it's the game HE wants it to be. I will take a game that is delayed a year or two but is the best game that it can possibly be than a title that was rushed out the door because of a movie tie-in or unrealistic publisher expectations. We've all played those games where you KNOW had the dev team been able to put just a few more months into it the game would have benefitted from it.

It's also insane to insinuate that Eat Sleep Play is simply avoiding the COD, Uncharted and BF releases by pushing TM back. Everyone knows that the biggest sales period of the year for gaming is from mid-October until the holidays. Twisted Metal is going after a completely different demographic than those other titles listed. As a matter of fact, Jaffe and team are actually taking somewhat of a gamble by pushing the title back. People will be looking forward to this title for sure, but the spending frenzy that comes with the holidays will have passed, and who knows what the economy will be doing then? TM will succeed or fail based on the merits of itself as a game, not simply because it happens to be on the shelf as weary shoppers grab at whatever games are available.

That being said, I'm glad TM is being pushed back. Between all the other releases from September until the end of the year, I'll have my cart already full. And that's not including my pile of shame that is hovering somewhere in the 15-20 game range right now. I'm all for developers taking as long as is needed to bring us the best possible game they can. Eat Sleep Play have been working on this game for quite some time now, please let Jaffe and his team do what they do best and get ready for a killer TM release come next year.

Predictable Profits vs New Properties: Should Producers Take More Risks?


*Author's note - This is an old blog post that's been moved from my previous blog. I do have more to say on the matter and will be posting a new entry very soon.

As a lifelong gamer, I’m always interested in seeing what developers have in their hoppers that they’re working on. While I’ll be the last to complain about the overall quantity and quality being put into the marketplace, I do have to say that I am somewhat dismayed when I don’t see more risks being taken. I understand that bills need to be paid and shareholders need to be placated, but are art and innovation being stifled at the hands of profitability?
It’s rare for me to see a completely new concept anymore. Don’t get me wrong, as a writer I’m in firm belief that there aren’t any truly unique concepts left, only artful mashups of things that have come before. Not that it’s a bad thing, mind you. But just as in literature, in my gaming I like to see variety. These days it seems to be all about sequels. If a game is published and receives a warm response and corresponding sales, chances are good that there will be a sequel. Some games are conceptualized in a trilogy type fashion from the outset, so as to have room to grow the mythos of the universe and keep the revenue stream coming in at regular intervals. I’m not against that. If a franchise is good, hell, give me more! I’m crestfallen that within the next year I will see what I believe will be the end of four of my most beloved franchises (in no particular order): Gears of War, Mass Effect, Resistance, and Uncharted.
I think that one of the things about those franchises that drew me to them is that while they might have all followed some sort of trope (which admittedly is nearly inescapable), they broke new ground and barriers in other ways. Gears introduced a cover mechanic and active reload that felt so natural it’s a wonder we didn’t have it 10 years ago. Mass Effect truly made me feel like the interactions I had with plot-important and ancillary NPCs mattered. I also really like the fact that BioWare made me make tough choices — Ashley or Kaidan? Which one will die? As well as giving me problems to solve that aren’t just black and white or that fall along the good/evil spectrum. There were many gray areas, and while I might’ve squirmed a little at some of the decisions/sacrifices that I made, I like that. It’s also important to point out that BioWare is at the forefront of non hetero-normative relationships in their games. Commander Shepard can be a male or female, and have a relationship with a number of crew members, even ones of the same sex. Reading what I have of BioWare and some of the press that’s been generated about the relationship choices in BioWare’s games, it never has occurred to me that they were trying to make a statement. They were simply not bringing in any biases or homophobic attitudes into their games, which allows the player to pursue the character they want. If they even want to pursue anyone, that is. And that’s the way it should be.
Resistance holds a special place for me because even though at its core it is still an FPS, Insomniac put enough care into it that it didn’t feel generic like I was simply playing this year’s iteration of CoD. The concept that World War II never happened because of the Chimera invasion is an intriguing one. That’s a perfect example of taking something that’s not original but completely making it your own. Not to mention that with the Chimeran threat, it opened up some really cool weapon options for the player to use. Uncharted took leaps forward in the action/platforming/adventure genres for sure, but it’s the development of two strong female characters that really drew me in. Both Elena and Chloe truly feel like they’re Drake’s equals, fighting right alongside him rather than playing the typical damsel trope.
I could make this a really long post about how the industry can take more chances and cite a myriad of specific examples, but I won’t. I do want to point out an (IMHO) underrated game that took a chance. Dante’s Inferno. Say what you will about EA’s marketing campaign or that the game is God of War for the 360 crowd (I know it’s also available for the PS3). To me, the fact that a developer took a piece of classic literature and adapted it for gaming is great. Think of the possibilities. Homer’s Odyssey, Ovid’s Metamorphosis, or the Canterbury Tales, just to name three off the top of my head. I don’t have sales or ROI numbers to be able to tell me if Dante’s Inferno made EA or Visceral Games a lot of money, but one thing I do know is that when smart, researched and cultivated innovation happens, we all win.
It’s up to us gamers to show the publishers what we want to see and support the chances that they take when they do take them. Do I want to see people buying crappy games just because they break pre-established tropes? Of course not. But innovation should be applauded and supported. Similarly, good games should be supported regardless of platform or genre. Just because a game is released on a mobile platform doesn’t make it any less significant than one developed for a PC or console.
I also want to encourage fellow gamers at every level to be vocal. Yes, voting with our money is the most prominent way of getting our point across, but with social media outlets like Twitter, Facebook and now Google+, there’s no excuse for not having your voice heard. Even more important than that, if there is a game you want to see made that isn’t being developed by someone else, make it yourself! With the Unreal Engine, the XNA, Cocos2D and Xcode, amazing things can be accomplished with little out of pocket expense and knowledge. YouTube has more tutorials than anyone could possibly watch. Who knows, this might be a way to get yourself noticed and hired into the game industry, should you so desire.
Support innovation, I promise you won’t be disappointed!

Cloud-Based Gaming: Boon or Bust?


*Author's note - This is an old blog post that's been moved from my previous blog. I do have more to say on the matter and will be posting a new entry very soon.

I’ve been seeing the implementation (or talk) of cloud-based gaming a lot recently. At the forefront seems to be companies like instant game purveyor OnLive. In theory, it seems like a pretty decent deal. You can play using a PC, Mac, or even your home TV and the OnLive system and controller. The system itself doesn’t look like much other than a broadband modem and the controller resembles the love-child of the 360 and PS3′s offerings. To be fair, I’ve not used it myself so I can’t pass judgement, but it just looks bulkier and more awkward than it should be.
Players have the choice of purchasing retail games through OnLive, or going with what is known as the “PlayPack Bundle” for $10 a month. This allows users unlimited access to more than 50 games for that month. A quick perusal of the selection show heavyweights like Bioshock and Borderlands, but most are older titles or are games that can be purchased through the Xbox LIVE Arcade. Maw and Trine were two I noticed immediately.
Clearly this service is set to sell full retail games to players and then stream them on demand. I like the idea of being able to access a collection of games from nearly anywhere, and not need anything more than a laptop or the aforementioned OnLive system and controller. That being said, however, I have major misgivings about the whole thing:
First (and most obvious), what happens if OnLive goes under? Will my collection of games do the same? Like the cloud-based music services that’ve been rolled out by Google and Amazon (iTiunes is working on their own as well), it would really suck to lose many years’ worth of collecting and gaming. I’d be quite upset if I lost my music on a cloud, but I’d have a backup here on my iMac. That wouldn’t be the case with OnLive.
What about connection issues? Granted, OnLive has a fairly robust internet throughput testing application that you need to run in order to be deemed fast enough for their service. But what if you live in an area that regularly has outages or experiences precipitous drops in speed? Granted, that isn’t OnLive’s fault, but it must be taken into account by anyone looking to use the service.
Lastly, the thing that also would be troublesome is if industry publishers decided to take this road as well. We already have some companies that are requiring a constant connection to the Internet in order to play their game. The most recent I’m aware of is Darkspore from Maxis and EA. I have no beef with devs and producers wanting to protect their IPs that they’ve worked so hard on for years at a time. Quite the opposite. I applaud their efforts, as long as it doesn’t get in the way of the experience for gamers like myself who play by the rules. In a recent review for Darkspore done by Game Informer magazine, the reviewer lamented losing the connection with EA’s servers, and thus having to go back and re-play some of the levels he’d already completed. To some this might not be that big of a deal. To me, it could be a deal-breaker. I don’t have enough time in the day to get everything I need to done, let alone go back and re-play levels because of security issues.
The good news is that I’m not all acid and vitriol. Nope, I like to give the good with the bad. I think that while cloud-based gaming can definitely become a bust (Sega Channel anyone?), it has the potentiality to become something great for gamers and the industry alike. If I were in charge of things, this is how I’d implement it (this assumes all needed technologies already exist or can be realistically implemented):
- Get the major publishers together behind a single system like OnLive. We don’t need another Beta/VHS or HD DVD/Blu-Ray fiasco on our hands. Publishers who elect not to jump on board (Nintendo would be my first guess) won’t be an issue, just hope they see the growth there and jump onboard.
- Have the retail experience be ubiquitous, regardless if a game is bought at a brick and mortar retail location or through the streaming system. I liken it to the current Blu-Ray situation where you purchase a movie and still get the standard definition DVD and Digital Copy. The same could apply. Walk into GameStop and purchase Resistance 3, get a code that allows you access to stream it. Charge a monthly fee like you already have, and it will be up to gamers wether or not they want to pay the extra to use the service. On the reverse side, if a gamer purchases the title through the streaming service, after a designated period of time, they can have access to the physical disc. I’d guess somewhere between 6-12 months. That way the publisher isn’t risking the game being turned right around to be sold or traded in. Most fans of a game will have it and have beaten it long before the 6 month window expires.
- Make it as multi-platform as possible. An awesome example of this is a little iOS game called Shadow Era. It’s a card-based game like Magic that can be played on the iPhone, iPad, as well as through any web browser. That’s as close as I’ve seen any title come to gaming convergence. Now I understand that what goes into a game like Shadow Era and a game like Uncharted 2 are vastly different and that the latter probably just wouldn’t be possible through a web-based portal or on a tablet like the iPad. But hopefully it could be run over the streaming service through the proprietary box or even a decent PC/Mac configuration.
- Make it different. Unless there’s something value-added to it, I don’t see a lot of people wanting to fork over extra money in addition to what they’re paying for XBL or something to that effect. This could be another coup for a streaming service where entire communities of like-minded individuals could get together and game, hang out, chat, whatever really. Friends lists would be implemented day one, but I’d like to see a real doozy of a profile analyzer there. Like Internet dating sites, but to find gaming buddies.
- Make it affordable. I know it’s a double-edged sword. You want to give gamers hardware that will power their games through the lifespan on the current generation, but keeping costs down are tough. Look at the PS3. As an avid gamer and home theater enthusiast, $500 for a launch 20GB system was a no-brainer to me. But to “Joe Six-
Pack,” it wasn’t happening. At the other end of the spectrum we had the Wii. Granted, its motion-based gameplay and charming interface (as only Nintendo seems to be able to pull off continuously) were a huge reason that it was popular. But I’d posit that the price-point at which it was originally marketed at was also a huge boost as well. With our pretend venture, all the heavy lifting is done on the server side. No reason why new systems can’t be implemented every few years, or even yearly if the cost is low enough. To use that old trope, “If we build it, they will come.”
- Make devs want to develop for this platform. Even though the gaming industry is showing unprecedented growth, we’re still in the middle of a nasty recession. Talk to any number of teams and at least one member has been, or knows someone who laid off or had to switch companies. Plan it right and hit it out of the park, and the industry will have such an influx of both hardcore and casual gamers that there will be enough to go around. And everyone gets to keep making money doing what they love.
Now for the wet blanket portion of our programming…I’m under no delusions here. I know this is all pie-in-the-sky stuff. I know that competition is good and there are inherent risks with going with a singular platform/delivery service. And most of all, I know that getting the big 3 to cede some control to a central delivery system is about as likely as Doom-inspired cosplay or SquareSoft actually releasing an updated version of Final Fantasy VII. But we can dare to dream, can’t we?