Video Games Archive

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The Console Wars: The Only Way to Win is Not to Play

Many years ago I was a kid without a game console. I begged. I pleaded. I cajoled. I negotiated. I even attempted to save my own money to buy a bare bones Nintendo Entertainment System. No matter what I did my father always vetoed my console desire with the exact same rebuttal.

“You have a computer. There is nothing a Nintendo or a Sega can do that your computer can’t do.”

And when I would extol the virtues of Super Mario Brothers 3, or any other console exclusive title, my dad would drop some PC exclusive in my lap. Case in point, I was the first kid in my elementary school to ever play Jill of the Jungle, Duke Nukem, and Wolfenstien 3D. Consequentially, I was also the first kid to get sent to the principal’s office for regaling my friends with Nazi killing adventures.

Now, after reading the highlights and watching various clips of Sony and Microsoft’s E3 presentations, I’m inclined to agree with Peter Molyneux’s recent sentiments. The console wars have devolved into a frat boy pissing contest between Sony and Microsoft. There’s nothing genuinely next generation about either of these consoles-who-would-be-king. They seem like little more than content delivery devices for AAAA franchise titles. Whooo Metal Gear Solid 5 you say? This time with less David Hayter? Well I’m sure to jump on that and hump it all the way to the bank. An always on Kinect and games which require a constant internet connection for no reason other than Microsoft’s clumsy attempt at DRM? Nah. I’ll pass.

So you know what, Sony and Microsoft, I’m out. I’m taking my PS2, my Xbox 360 and I’m going home. Twenty some years later you guys have proven that my dad was right. Anything I could ever want to play I can now play on a PC. From both a financial and gaming ideology point of view, it makes no sense to keep picking sides in this pointless heavyweight slug fest.

On cost, allow me to illustrate with an example from six years ago. Back then I wasn’t sure if I wanted a new gaming PC or an Xbox 360. The decision ultimately came down to the fact that in the mid-2000s a game’s development cycle began on the consoles before being half-heartedly ported to PCs. Even a game as brainless as Guitar Hero demanded a top of the line PC because lazy porting from the then powerful Xbox and imposed upon most Pentium 4 systems. Absent today’s vibrant indie and middleweight studio renaissance, and cheap multi-core processors, it seemed stupid to spend $1000 on a new gaming rig when I could drop less than half of that on an Xbox. In retrospect, that initial $400 investment plus six years of Xbox Live Gold fees balances out to what it would now cost me for a decent mid-range system. If we assume the PS4 and Xbox One will share a lifespan similar to their predecessors, either console plus five years of their premium online service puts would-be gamers in the ballpark of spending as much on a console as they would on a PC. Thus does the argument that console gaming is cheaper than PC gaming die.

In terms of digital rights management, which since the announcement of the Xbox One’s always online requirement has become an in-vogue discussion among even the most pedestrian of CoD players, it’s hard to make a case for the PC being second fiddle. Yes, EA’s Origin service sucks the devil’s ass. But Valve’s counterpart, Steam, more than makes up for Origin’s shortcomings in terms of ease of use, a deep game library, an indie friendly distribution model, and an offline play feature.

Superior to both Steam and Origin, and arguably the next big thing even though it has been around for a while, is gog.com. No longer just a vault for Dos Box enhanced versions of old games, which in and of itself is pretty fantastic, there are indie and medium scale publishers that now release directly to Gog.com. And all of the games on there are DRM free.

This means there are publishers out there who actually want gamers to feel a sense of ownership when they buy a game. Though I’m not sure from which magic land of faeries and pixies they hail. Possibly, Seattle?

Even in the darkest days of safedisc showing up on seemingly every PC title, there were always the digital libertarians distributing cracks to work around those control measures. Good luck finding a similar software analogue for the PS4.

From my point of view, the only thing Sony and Microsoft accomplished at E3 is to demonstrate how the biggest parts of the console market are attempting to rebrand themselves as the RIAA: locking down content whenever possible, reminding customers they own nothing but a licence, and generally acting as the gatekeeper through which all fun must flow. Meanwhile PC developers, in spite of stupid things like Windows 8, generally seem more apt to embrace a philosophy of letting end users use the content as they like, knowing full well that if they try to be overly-officious dicks about DRM, they will just drive paying customers to piracy. Granted there are always going to be exceptions to the rule. For example, Blizzard never really gave us a satisfactory reason for Diablo 3’s always online requirements.

It’s time for Microsoft and Sony to stop treating the console wars as a struggle between super powers. They are not the Soviet Union and United States of America, fighting for the hearts and minds of proxy players within their respective spheres of influence. They might be the biggest kids on the block, but the time of their unchallenged hegemony is over. The PC has endured marginalization and now presents itself as a viable third way. For those who still want a controller based experience, the OUYA is branding itself as the people’s console, promising a $100 retail price and games in the $10-$15 range. If Microsoft and Sony don’t react to these developments in a meaningful way, then they will spend the next year alienating more and more people whose first loyalty is to the content, not the console.


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Snake? Snake? Snaaaaaaaaaaaaaake?!

No offense to Keefer Sutherland…actually, you know what, I don’t care if Keffer Sutherland takes offense to my blog post.

Let’s try this again.

With absolutely no consideration to Keefer Sutherland’s feelings, one way or the other, I’m going to be very disappointed if the rumours prove true and the aforementioned spawn of Donald Sutherland becomes the voice of Solid Snake in Konami’s long running Metal Gear Solid series.

Make no mistake, this is not a case of nerd rage or unrepentant fanboy-ism. This is a study in Konami treating Metal Gear like it’s Doctor Who. Metal Gear is not Doctor Who. David Hayter’s performance as Solid Snake is not an interchangeable part made viable through the magic of Handwavium.

Perhaps more troublesome than David Hayter getting canned is the fact that this is not a new trend within video games. Last year Ubisoft announced that Michael Ironside would not return as the voice of Sam Fisher in the long running Spinter Cell series. Their explanation? Ironside wasn’t the right “fit” for the game’s required motion capture.

Here’s the thing: video game characters live and die by their voice actors. A voice actor doesn’t simply read dialogue; they inhabit a character, bringing it to life for the audience. The essential empathy required to forge a memorable character doesn’t stem from a green suit with ping pong balls attached to it. A relationship with the audience emerges as a direct result of performance.

This is the essential point developers are missing when they change voice actors in an attempt to “rebrand” a game, or move the franchise in a “different direction.” Because of their inherently interactive quality, video games are much more like classic theatre than they are movies or television. Sometimes the story isn’t nearly as important to the audience as the person conveying its message.

Now, no matter who fills the sneaking suit/cardboard box of Solid Snake, the audience is going to see a digital puppet inhabited by some other soul attempting to do a David Hayter impression. More’s the pity if the new actor tries to “make the character their own.”

Though I’m sure the series will continue making an embarrassing amount of money for Hideo Kojima and Konami, I imagine a significant portion of the audience, myself among them, won’t care to watch a new soul possess Solid Snake like an unholy poltergeist.

Bottom line: So long as the game is called Metal Gear Solid, Solid Snake is David Hayter’s character.


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Adam versus Steam Greenlight Volume 4: The Fantasy Game Edition

Welcome back for this, the fourth installment, of Adam versus Steam Greenlight. For anybody new to the website, this is a monthly feature where I pull three games out of my Steam Greenlight queue and answer the quintessential question of Steam Greenlight, “Would you buy this game if it appeared on Steam?”

This month, however, I decided to do something different. Rather than taking the top three games in my Greelight queue, I pulled out the first three fantasy themed games I could find. Let’s see how it turns out.

Legend of Dungeon by RobotLoveKitty

Release Date: March 2013

Robotlovekitty’s website describes Legend of Dungeon as, “part Beat’Em’Up, like those awesome old-school 4 player arcade games (it plays a little like TMNT and X-Men) and it’s part RogueLike, in its setting and content generation.”

Here’s the trailer.

 

It seems like yesterday when FTL: Faster Than Light hit the market, and with it “Rogue-like” returned to the common gaming parlance. Now nary a month goes by without a new Rogue-like game is cropping up from indie devs and big studios, alike. Personally, I think this is a great thing. There’s a certain allure to the un-winnable game, at least for gamers who grew up with weekly (or daily) trips to the video arcade.

A quick look at the trailer for Legend of Dungeon immediately puts me in mind of a side scrolling Gauntlet. The game’s primitive aesthetic hints at a considerable retro charm paired with modern design sensibilities. What’s more important is that I could actually see my friends and I playing a few rounds of this in between big games at a LAN party.

Verdict: an enthusiastic yes.

Click here for Legend of Dungeon’s Greenlight page.

Legend of Eisenwald by Aterdux Entertainment

Release Date: April 2013

Here’s the official rundown on Legend of Eisenwald

A unique mix of RPG and strategy set in a realistic medieval world, Legends of Eisenwald combines dynamic campaigns with fast-paced, yet strategic, turn-based combat.

Take on the role of a baroness, a knight or a mystic as you liberate or rule over the world of Eisenwald. Against a backdrop of danger and intrigue, you will complete compelling quests and fight in fierce battles that will change the outcome of your story.

When we go to the trailer the game seems to deliver what it promises.

 

Now I love a good fantasy game as much as the next guy. I’ve sunk a positively embarrassing amount of time into Dragon Age over the last couple of years. Despite that, I have some reservations about this title. From the trailer alone, this game looks a lot like King’s Bounty.

King’s Bounty was the sort of game which worked well in concept but fell short in execution. For an ostensibly non-linear game, it used “high level” areas to build an artificially linear experience. After five hours of hex based “army” combat, the game’s core mechanic began to feel as exciting as watching two AIs play Battlechess.

That’s not to say this game will be the same. Eisenwald’s graphics engine seems impressive enough. As well, the presence of a skill tree hints at a bit more depth than King’s Bounty ever offered.

I suppose this one would come down to price point for me. Aterdux’s website lists a pre-order price of $15. If it stayed at that cost upon releasing on Steam, I might roll the dice. Were it more expensive, I don’t think I could get past my King’s Bounty phobia.

Verdict: a hesitant yes.

Click here for Legend of Eisenwald’s Greenlight page.

Mage’s Initiation: Rage of the Elements by Himalaya Studios

Release date: Q1 of 2014

We wrap up today’s fantasy themed AvS with Mage’s Initiation: Rage of the Elements. Here’s the quick rundown.

Mage’s Initiation is a 2D Point & Click Adventure Game / RPG hybrid, set in the fantasy medieval land of Iginor. In the tradition of Sierra’s classic “Quest for Glory” series, you may choose to play as one of four character classes (Fire, Earth, Air, or Water Mage), each with unique spells, abilities, quests, and puzzle solutions!

First reaction: Oh, well that seems interesting enough. I do like me some point and click adventure games. Then I watched the trailer.

 

Post-trailer reaction: Holy shit! That was an amazing trailer. Do I really have to wait a year to play this game?

As somebody who completely missed the Quest for Glory series (hey a guy can’t play everything) this looks absolutely amazing. Moreover, the trailer has bestowed upon me the rarest sort of moment when I realize I’m lusting after something I never knew I wanted. I loved the Space/Kings/Police Quest games. I also love role playing games. Never has it occurred to me that the two of them could work as an effective mash-up. Well done, Himalaya Studios.

Verdict: Shut up and take my money.

Click here for Mage’s Initiation’s Greenlight page.

Three fantasy games and three up-votes. I think I should do themed editions of AvS more often.


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Adam Versus Steam Greenlight, Volume 3: The Cat Lady, Yuri Nation, and Lords of Xulima

For your consideration, noir horror, epic fantasy, and a dog who just wants to be loved on this month’s edition of Adam Versus Steam Greenlight. Presenting the candidates: The Cat Lady, Yuri Nation, and Lords of Xulima.

For anybody not familiar with the process, this is a monthly feature where I pull the first three games out of my Steam Greenlight queue, answering the core question of Steam Greenlight, “Would you buy this game if it appeared on Steam?”

Let’s jump right in.

The Cat Lady by Harvester Games

Click here for The Cat Lady’s Steam Greenlight Page.

As a completed and currently available noir point and click adventure game, The Cat Lady is looking to make the jump to digital distribution on Steam.

Here’s the description.

The Cat Lady is a new, gory horror adventure game not for the faint hearted from designer R. Michalski, the creator of successful adventure game Downfall. A gripping story, pumping soundtrack, high-resolution artwork and voice acting will engross you on your journey through the strange and often terrifying world of The Cat Lady.

Susan Ashworth, known in her neighbourhood as the crazy Cat Lady, is a lonely 40-year old on the verge of suicide. She has no family, no friends and no hope for a better future.

One day she discovers that five strangers will come along and change everything… But those five, “The Parasites”, are also the most ruthless, deranged and cold-blooded bunch of psychopaths the city has ever known. They will stop at nothing to hurt Susan. Unless, she hurts them first…

Despite a lack of Oxford commas in the copy, the premise alone sounds fascinating. After watching the trailer, which goes on for about three minutes longer than is necessary to sell me on the title, my only complaint is that I’m not quite sure I would call all the voice acting “high resolution”. The female voice actor, presumably the eponymous Cat Lady, is reminiscent of Kate Beckinsale. However some of the male actors sound a little bit too forced. Of course, this is just a trailer. Perhaps the delivery is better when everything is in its proper context.

Also, I sincerely hope the audio balance in the game is an order of magnitude better than what we see in the trailer.

 

Verdict: It has been a long time since I’ve played a good horror game on the PC. For roughly twelve dollars (as priced on Desura) I would be willing to roll the dice on The Cat Lady.

Click here to head over to The Cat Lady’s website for more details.

Yuri Nation by Serotonin Studios

Click here for Yuri Nation’s Steam Greenlight page.

If a person were to say the name of this game as one word, they would soon discover the M.O. of this particular entry. Expected to release in the fourth quarter of 2013, Yuri Nation is…well it’s a game about peeing on things.

Maybe I’ll just go straight to the video on this one.

 

Though the developers talk about drawing inspiration from the likes of Paperboy, Grand Theft Auto, and Mario Kart – all games which I have enjoyed at some point in my life – I really don’t think I’m sold on Yuri Nation’s core concept. I mean, you play as a dog intent to piss on as much stuff as possible as part of a turf war with other dogs. It’s about one diabetic toddler away from being a pitch for a TLC program.

I suppose if I was twelve I might be able to appreciate this game on some level. Perhaps I may recommend it to my friend, Chris, as a present for his five-year-old. Though I can’t see his wife approving of the core mechanics any more than I do.

Verdict: A resounding, “No.”

But if you manage to find yourself interested in this game, here is its kickstarter page.

Lords of Xulima by Numantian Games

Click here for Lords of Xulima’s Steam Greenlight page.

Finally, we have Lords of Xulima. Expected to release at the end of 2013, this is Numantian Games’ attempt at recapturing the spirit of the late-90s RPG.

Lords of Xulima is an isometric, turn-based, single-player 2D role-playing game. It is set in a mythical lost continent called Xulima where the world makers lived in ancient times. The game features a challenging vast world where you will have to command and create a six characters (sic) party in an epic story between gods and men.

Question: If the game uses an isometric perspective, is it not still presenting a 3D view?

 

I will say that the exposition in the trailer is a little bit much. There even came a point when the flying text shifted voice between a heroic history and an outright personal narration.

Ultimately though, I think there is some potential to this game. If XCOM: Enemy Unknown has demonstrated anything it’s that there is still a market for turn based strategy in today’s gaming world. Assuming the price point on Lords of Xulima peaked at $25, I would probably buy in. Bearing that in mind, my customer and critical expectations for this game will be pretty high. Given an obvious inspiration from the likes of Ultima, Baldur’s Gate, or Planescape: Torment, I would expect Lords of Xulima to get it right on the first try. When standing on the shoulders of giants, there is little margin for error.

Verdict: Tentative yes.

Head over to lordsofxulima.com for more information on the game.

And there we have it. Two thumbs up out of three for this month. Tune in next month when I pull three more games out of the queue and take them apart for your reading pleasure.


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Micro-transactions, Marxism, and Making Money in Computer Games

Last week a friend of mine, who is near to releasing a computer game, asked me to explain my generally negative viewpoint on micro-transactions in gaming. In reflecting on my writing over the last three years, I came to realize that I’ve never actually talked about this issue independent of a game review. To fully explore this question, I think it best to establish some core principles for myself as a gamer and game critic.

1 – I will gladly pay for a computer/mobile/console game if it appeals to my interests and/or offers what I deem to be a unique experience.

2 – Not withstanding subscription based games in the vein of World of Warcraft or EVE Online, I will not pay for a game more than once.

3 – No game should exist exclusively as a means of tricking players into parting coin from hand, or use players as unpaid marketing drones.

Keeping these ideas in mind, let us delve into the world of micro-transactions.

A great many games which employ micro-transactions as their monetization model fail on my third principle a few minutes after completing their tutorial. Anything by Zynga (Farmville, Farmville 2, Cityville, Mafia Wars) or its competitors falls into this category. Their MO is to bombard players with “rewards” until almost every action yields a “victory” event. Once the player is accustomed to this constant stimulation, the game arbitrarily denies said action until such a time as players either pay for more actions, invite others into the game, a mechanism which is at best annoying and at worst an invasion of privacy, or wait until a fixed amount of time has passed. After this cool down period, the player returns to the pay-spam-wait decision gate, their resistance to the first two options ever so slightly worn down.

How does this break a gaming experience? First and foremost, it illustrates the pointlessness of the game. “Winning” at Farmville, and its kind, requires no particular skill when every action is a victory event. The game thrives on repetition so much so it feels like a form of unskilled digital labour.

Where the Sim City player is a P. Eng., a specialist who lives in a world where things can, and often do, go wrong, a Farmville denizen is a high school drop-out on a road crew shovelling road kill. The only thing which precludes success in such actions is a physical inability to carry out the task at hand. Otherwise, if you can manipulate a mouse, you can “win” at Farmville.

Other micro-transaction games, World of Tanks, Moon Breakers, Tribes Ascend, Battlestar Galactica Online and MechWarrior Online, do a better job at creating an actual game experience. Yet they still manage to fail, albeit to a lesser extent, on all three of my principles.

For the sake of discussion, let’s consider MechWarrior Online. As a die-hard Battletech and MechWarrior fan, I would have bought this game outright if Piranha Games opted for a traditional release model. When the developers released a founder’s package, allowing for early access to the closed beta, a small fortune of in-game premium currency, and a BattleMech which would always yield a better non-premium cash flow, I bought in. Absent the benefits of my founder’s package, MechWarrior Online would be a completely different experience. Generating enough non-premium cash to buy a new ‘mech and outfit it with custom weapons would take hours upon hours of play. Once again, the experience goes from that of a game to a labour exchange.

I had a similar experience with Moon Breakers, a space dogfighter MMO. To unlock an additional starfighter, without using real money to purchase it, would have required something on the order of fifty hours of game play. Suppose Wing Commander had said, “You’ll be flying a Rapier for this mission, but for 99 cents you can fly the Saber and have a distinct advantage over the Kilrathi.” Now insert such an inherent tilt in the playing field into a multi-player context, where those who spend the most money are flying the best ships.

The effective point of entry into the game becomes an ever rising median of what everybody else is spending. It makes great financial sense for the developers, but forces players into a place where the game is free in name alone. Meanwhile, there is no guarantee that linear development rather than progressive growth (i.e. a proper conventional expansion) to the game will not invite players to spend more money to maintain the same baseline experience.

So what does work in the realm of micro-transactions?

The best micro-transaction model I’ve come across is Ndemic Creations’ Plague Inc. This game invites players to unleash a pathogen upon the world with the ultimate goal of wiping out all of humanity. What sets Plague Inc. apart from other micro-transaction games is its appeal to intellect, rather than tawdry addiction. Defeating Plague Inc. unlocks additional play types. To buy these unlocks is to suppress gamer vanity and admit the game has outfoxed you.

Note well that Plague Inc. exists as a fully realized creation, independent of its micro-transactions. There is a discrete goal and an end-point to the game. These two elements are often absent in other micro-transaction driven games. Yet without them, there can be no game, per se. By the very definition of the word, a game must have some sort of conditions for victory or loss. Without an objective beyond “just doing it for the sake of doing it,” or in the common parlance “grinding,” there is no game. Instead there’s an assembly line with workers pushing buttons to the benefit of owners.

Is it just me or is there a really Marxist streak to the industry of free-to-play gaming?

So to my friend, and anybody else who has read these words and is intent upon producing a game, I suggest considering these three questions when choosing a monetization model.

Have you actually created a game, or is it a gamification of player labour intent upon making you money?

If the reality of the situation is the latter, then go away. The internet is already so saturated with this variety of non-games that you’ll likely never make any money.

Do you believe in the value of your game as a creative expression?

There is nothing wrong with charging a flat rate for your product. I paid 99 cents to buy Plague Inc., and have found ample value for my investment.

Who is your audience, and what sort of relationship do you want with them?

If the answer is anything other than “I want everybody to be my audience so I can take all their money,” then tread very lightly in the realm of micro-transactions. Nobody wants to be nickel and dimed for things which are lateral outgrowths of the core game mechanics.

In games, as in any form of creative expression, good works will always stand on their own merit. Of course, consumers who spend money on good works want a sense of ownership over them. The free-to-play/micro-transaction model is at its worst when it turns ownership into a life-lease. While nobody should begrudge creators a right to profit from their work, the work in question should not expect much in the form of critical praise, at least from me, when it exists exclusively as an engine to make other people money.


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SyFy’s Defiance: A Gamble in Transmedia Storytelling (and Marketing)

A few days ago my friend Will and I were talking about the upcoming SyFy original series Defiance. When we began speculating on why SyFy would opt for a transmedia approach to Defiance, releasing both the TV series and a tie-in video game at the same time, we defaulted to snark. “They like money, that’s why.”

But what if there is more to Defiance than a shameless cash grab?

Premise: The management at SyFy recognizes that their original programming (movies not withstanding) has more critical appeal than popular. Consider the recently cancelled superhero series Alphas as people’s exhibit A.

Exhibit B: The most recent trailer for Defiance (the series).

 

Assuming the trailer is an honest representation of the show, Defiance seems like the perfect series to win over critics. An alien channels Tony Soprano with his Mafioso rationalization, “I’m doing this for my children.” A single line of dialogue from Graham Greene manages to bring the entire conceptual framework of indigenous rights into a science fiction setting. What sort of savvy media consumer wouldn’t pay attention to the poignancy of having a native American actor paint humanity at large as a marginalized people in the face of a technologically superior colonial power? At the same time, I’m not so delusional to think that near future alien-human politics is universally appealing; we learned that lesson from Babylon 5. It sounds to me like Defiance is the perfect sort of show to win over critics while boring the broader audience with its weekly discussions of individual rights versus the collective good. Hey, I think we just re-invented Outcasts.

Enter Defiance (the game)

 

Other than the name and SyFy branding, is there anything to indicate these two things are related? The series looks like Mad Max meets Firefly featuring Farscape; whereas the game channels Lost Planet and Mass Effect. Even the cover girl for Defiance projects a FemShep vibe.

Left: Female Commander Sheppard as seen on the cover of BioWare's Mass Effect 3. Right: Promotional cover art red head pulled from Defiance's homepage.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

When we peel back the layers on Defiance’s video game it further seems to be positioning itself as an amalgam of everything that is popular in gaming.

“Join the futuristic online open-world shooter where thousands of players scour a transformed Earth competing for alien technology. Hunt alone or with others as you improve your skills and level up, unlocking powerful weapons that will help you survive the massive battles that await.”

So there’s the Borderlands franchise covered with just a hint of Planetside tossed into the fray.

“Fight for survival in a constantly evolving environment with regular content updates and dynamic events. Play solo, or join tens of thousands of simultaneous live players in a futuristic San Francisco Bay Area that’s a fully-realized open world. You’ve never imagined a 3rd-person shooter this huge.”

World of Warcraft? Check. Gears of War? Check. Now here comes the clincher.

“Experience dynamic missions, massive co-op battles, and endless exploration across a gigantic game environment. Plus, brought to you by Syfy, the Defiance TV series is a revolutionary weekly drama that impacts the game, and gives you the chance to change the show.”

Play the game, and change the show. Wasn’t that the slogan for Heroes’ terrible third season? Considering the game is set in San Francisco and the series in St. Louis, I expect the changes will probably be of the blink-and-miss-it variety. Otherwise, SyFy had best be prepared for a whole lot of 4chan inspired trolling.

This combination of television and gaming amounts to an interesting gamble on the part of SyFy. On a cable channel where a few hundred thousand viewers can make the difference between renewal and cancellation, a cross branded video game might just be enough to bring in an audience for a show which already looks to draw on conceptual themes from other one season wonders.

The down side of gambling is that the consequences can often be ugly. Case in point, it would not take much to turn Defiance into Captain Power and the Soldiers of the Future. Shitty light gun games built into Captain Power’s action sequences doomed an otherwise well written series after one season. If Defiance (the game) is anything but a masterpiece it’s going to make the show look bad in the eyes of gamers. And at a $60 price point – $100 for the deluxe edition – god help the series and everybody who works on it if the game turns out to be a turd. If SyFy thinks it has an image problem for its dedication to low cost reality TV and syndicated wrestling, imagine how bad it will get when the internet accuses the network of pandering to/plagiarizing from A-list of video games as a means of raising capital. The same problem emerges if the show is garbage and the game is great; TV wonks could accuse SyFy of throwing a series under the bus to leverage itself into the video game market. Though if SyFy was intent on making a fast buck they would have revisited the free to play model of Battlestar Galactica Online.

Whatever else it is, it’s hard to see Defiance’s transmedia experiment as anything but an all-in bet. Both the game and the series need to resonate with their respective audiences while also seeing some of the game’s following tune into the show. It’s a risky proposition on all fronts, but if it works Defiance could be at the forefront of a new evolution in genre entertainment. At the very least, April will see a renewed discussion in the ongoing “video games as art” debate.


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Adam versus Steam Greenlight, Volume 2: BattleBall, Purge, and Worlds

That’s right, ladies and gentlemen it’s time for another edition of Adam versus Steam Greenlight. In case you missed the first edition this is a monthly post where I pull three games out of my Steam Greenlight queue and publicly answer the question, “Would you buy this game if it appeared on Steam?”

So without further ado, let’s get into it.

Candidate #1 – BattleBall by Fenrir Games

Release date: Officially, Late 2012. Presumably if/when this game gets greenlit it will be ready to go.

At a glance, BattleBall looks like a combination of Pong and a Japanese bullet hell shooter.

BattleBall pins players against a computer or other players both on local and online multiplayer, and makes them do battle, and not just score points with the ball. Power-Ups will allow players to defend themselves, or go on the offensive and both trick and cripple their opponents, while also providing faster and more powerful projectiles to destroy whomever dares to challenge them.

 

Despite the colourful graphics, I can’t see myself getting excited about this game. No matter how you dress it up, Pong is still Pong. A slick trailer and some good audio doesn’t change the fact that the fundamentals of this game are two paddles and a ball. Frankly, I think the trailer would have done better without even drawing the reference to Pong. Kudos though for having the courage to make the comparison before somebody else did so in an unflattering manner.

Verdict: Even on a Steam sale, I can’t see myself dropping cash for this game.

Click here to see BattleBall’s Greenlight page.

Candidate #2 – Purge

Release date: None listed.

From its cell shaded screen shots, Purge immediately evoked thoughts of Borderlands. On the other hand, the game’s description makes it sound like Mirror’s Edge.

Purge is a platforms game with a first person camera, where you’ll have to use stealth and parkour to avoid the enemies and escape. Use the abilities at your disposal like wallrun, pipe climbing, ledge grabbing and more to reach the only route to run away from the agonizing city of Dul’Halasa.

Will you surive the purge?

There’s a thing I often tell my undergrads; no matter how smart you may be, spelling and grammar mistakes make you look stupid. And when a game’s pitch is limited to fifty-seven words there’s no excuse for multiple spelling mistakes and a comma splice.

Anyway, here’s the video.

 

Even if I set aside the poop shaded colour palette, the graphics engine which seems to predate Mirror’s Edge by a few years, and the awful music in the trailer, this game puts me off. However, none of those issues seem quite as offensive as the promotional copy saying there is only one way out of Dul’Halasa. The whole point of Parkour and the philosophy of free running is to be creative and innovative in moving from point A to point B. That there would only be one way out of the city seems painfully linear, oddly counter-intuitive, and particularly boring.

Verdict: Purge may get other people’s votes but it won’t get mine.

Click here to see Purge’s Greenlight page.

Candidate #3 – Worlds by Curious Planet

Release Date: 2013 – month/quarter unspecified.

Finally, we turn to Worlds, a third person action game.

You’re Reyk, an Agent of the Order. The Order’s main goal is to maintain the equilibrum between the different worlds…

Worlds is an action / adventure / stealth game, which will plunge you in many strange worlds. The game offers a lot of freedom, and you’ll find out that there’s often more than one way to finish your mission.

 

I can’t quite tell if the game is whimsically primitive in its visual design or just a little unpolished. Either way, I’m intrigued with the trailer. It seems to fall somewhere between Black and White and Metal Gear Solid, perhaps with a bit of Hitman in the mix for good measure.

Though still in development, Worlds promises eight distinct realms to explore in its finished form. Further, the developers state there will be overlapping consequences from world to world. However, even in big budget games like BioShock or Mass Effect 3 consequences can often end up as red herrings. All too often games and their designers mistake the illusion of choice with actual variety in the outcomes. Hopefully, Worlds manages to see the distinction between the two.

Verdict: Thumbs up. If Worlds appeared in the Steam store I think I would roll the dice on it.

Click here to see Worlds’ Greenlight page.

So ends another edition of Adam versus Steam Greenlight. One out of three isn’t great, but it’s better than a shutout. And if there’s a single take away from this post it’s that developers need to hire a copy editor when putting together their Steam pitches. I might be willing to look past typos, the internet is full of trolls who will downvote a game on the thinnest pretext.


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Adam versus Steam Greenlight, Volume 1: Fester Mudd, MaK, and Haunt

Some months ago Steam Greenlight appeared on Valve’s digital video game distribution service. This community driven feature quickly became the answer to the question I asked game developers when I started writing The Page of Reviews: who do you have to kill to get your game on Steam? The developers’ answers would often include words like “Pagan Rituals” and “blood pact with Gozer the Gozerian.”  Perhaps taking its cues from the democratization of game development through crowd sourcing, Steam Greenlight allows members of the Steam community and general public to vote on what upcoming games should be included in Steam’s catalogue.

In Valve’s own words…

Steam Greenlight is a system that enlists the community’s help in picking some of the new games to be released on Steam. Developers post information, screenshots, and video for their game and seek a critical mass of community support in order to get selected for distribution. Steam Greenlight also helps developers get feedback from potential customers and start creating an active community around their game during the development process.

As I looked through my Greenlight queue, judging future games based on screenshots and trailers, I thought to myself, why not do this right? Why should I limit debate to my inner monologue when I can draw some public attention to developers who have put the fate of their product into the hands of a fickle gaming community?

Gather round then, good citizens of the boundless digital empire. Cast your eyes upon these three games which would prove themselves worthy of your love and coin.

Fester Mudd: Curse of the Gold Episode 1 by Replay Games

Replay Games describes Fester Mudd as “a three-part comic saga of exploration, reunion, and redemption…and a love letter to the classic adventure games of the 90s.”

Let’s go to the video.

 

With a projected release date of Q1 2013, I think we can assume Fester Mudd is a finished game looking for a home. I like that the devs took it upon themselves to make an actual Greenlight trailer, rather than going with something generic to show off the game. As a guy who once went to school dressed up for Halloween as Roger Wilco, hero janitor of the Space Quest games, there’s really no way I could not want to play this game. The interface looks good. What little we see of the script and overall aesthetic seems appropriately light hearted and clever. Perhaps most importantly, Fester Mudd represents a niche of the gaming market that is due for a renaissance. Since I can’t see a lot of big publishers optioning a game style older than their target audience, Fester Mudd seems perfect for release via steam.

Verdict: Unequovical thumbs-up. If you’re a gamer whose old enough to buy their own alcohol, or somebody who likes Community then you would do well to pay attention to a game which draws its sensibilities from greats like Sam and Max, Full Throttle, and Space Quest.

Here’s the link to Fester Mudd’s Greenlight page.

NB: After giving my thumbs up to Fester Mudd I discovered that Replay Games is the studio responsible for the upcoming rerelease of the Leisure Suit Larry series.

MaK by Verge Game Studio

Verge calls MaK a “…physics playground – A sandbox world with engaging game modes built on top of it. We wanted to make something that gives you a sense of discovery and wonder – where creativity is king – a place to explore and experiment – to compete and cooperate – with your friends. The major features that define the game experience, so far, stem from these concepts.”

MaK’s Greenlight page offers five videos that showcase the game in its current pre-release Alpha build. Here’s one of them…

 

I won’t deny this game looks cool. From the footage alone it is obvious MaK does some interesting things with gravity. Despite the sandbox feel, the developers are promising multi-player support as well as a “… non-linear campaign that wraps around an intriguing central plot.” However, I’m not getting a “shut up and take my money” feel off of this game.

Since the success of Minecraft a lot of indie studios are working with variations on said theme. Certainly MaK is charting its own unique direction, but from what I’ve seen I don’t know if it’s quite my style. Personally, I’d rather build a castle than a dancing robot.

Verdict: Thumbs Down. I think this is something a lot of people could have hours of with, but I don’t know if I’m one of them. When the essential question is “Would you buy this game if it were available on Steam?” my answer is a hesitant “only after I read the reviews.” That said, I’d be happy to review it, but I just don’t think I would buy it based on what I’ve seen so far.

MaK is scheduled for release in Q4 of 2013. Check out MaK’s Greenlight page and you can tell me how wrong I am about this game in the comments.

Haunt by ParanormalDev

This is the initial description on Haunt.

Haunt (originally named Haunt: The Real Slender Game) is independent adventure/horror game project inspired by Parsec Productions “Slender: The Eight Pages”, which was based on Victors Surge “Slender-man” idea.

Apparently I don’t run in the right circles on the internet because I have no idea what the Slender Man is, or why it has led to ParanormalDev doing their own take on another studio’s game, which at the time of this post is still in beta. Let’s go to the trailer.

 

So walking and a flashlight…is this another Dear Esther? The Greenlight description frames this game as “First Person Horror”. However, the trailer gives me the distinct vibe of a game intent on coming up with various ways of yelling “boogie boogie boogie” at me in an attempt to startle me out of my crappy Ikea desk chair. Games like that have never really been my scene; seriously, I didn’t even bother to finish the first Silent Hill. I don’t scare easily, and I’m often too cynical/clinical to buy into the underlying ghost/paranormal mythos that drives games of this spectrum.

One other paragraph within the game’s description caught my attention.

More important thing is that “Haunt: TRSG” that uses slender-game gameplay has become some kind of prototype for much more bigger project, that will provide unique story, gameplay elements, environment and will be inspired by many paranormal activities that appeared in our world. Yes – we will do anything to keep it free – even in case of Haunts successor. It is all in your hands!

Two things: first, you guys at ParanormalDev should call me the next time you do a press release, I’d be happy to do a pro bono copy edit; second, the game is free. Free is good, especially in the case of games which seem highly experimental.

Verdict: Thumbs up to Haunt. Since the developers are dedicated to keeping this game free, as well as using it to build a larger project, which too will be free, there’s really no reason not to up-check this game.

Head over to Haunt’s Greenlight page for more trailers and links to download the game.

That’s it for the premiere edition of “Adam versus Steam Greenlight”. I’ll do it again next month with three new games out to prove their worth to the big bad world.


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#1reasonwhy and #1reasontobe – A Gentleman’s Guide to Why More Men Should Care About Sexism

When I read the tweets associated with the #1reasonwhy and #1reasontobe hashtags I wasn’t surprised to see the awful chauvinism and sexism that women in the gaming industry have to deal with. Disappointed and embarrassed on behalf of my gender, yes. But surprised, no. Unless a person has kept their head in the sand for the last few years, there has been no shortage of examples within genre culture demonstrating just how pervasive and pernicious misogyny can be.

In a laudable attempt to educate, Kotaku took it upon itself to aggregate some of the #onereasonwhy tweets. After I finished with the article, I made the mistake of glancing at the reader comments. Therein, I saw this.

I can’t help but feel this whole “Girls in Games” thing is being drummed up a little more than it should be.

Considering there are fewer woman (sic) than men working in the industry there’s bound to be cases of sexism against woman, but unfortunately, isn’t this just the nature of the beast? If the roles were reversed you can’t say that sexism simply wouldn’t exist.

This all stems from the fact that more males than females are interested in games, coding, design, etc. This coupled with the fact that a smaller percentage of them would actually have what it takes to land themselves an industry job (men are not exempt from this) helps explain the apparent lack of woman.

Thankfully, comments like these were in the minority. A great many commenters, who identified themselves as male, were sympathetic and lamented the fact that the game industry, as well as game culture, can be downright hostile to women. But how do we account for people like the commenter above, who seemingly do not understand the chicken and egg causality which keeps women on the margins of the industry?

Allow me to offer a story which might help those who don’t get it/don’t see the problem generate a bit of empathy.

A couple of years ago I was having dinner with my girlfriend’s extended family. Out of the blue one of her aunts said that video games made men violent psychotics; she then stared at me. Rather than ignoring the obvious attempt to stir up shit, I engaged. I demanded to know what behavioural psychology studies she was referencing. I praised digital mediums as an art form which marries rich visual aesthetic with comprehensive and layered storytelling. I used reason and logic to hold the table hostage for a good three minutes.

After all, who was this person to sit in judgement of me as both a man and a gamer? What unmitigated gall to presume to understand not only my world view, but a thing about which I am infinitely more knowledgeable than her. Never the less, I swallowed my outrage, and went on with dinner.

Fast forward to last summer. I was at a con attending a panel on gaming. One of the panelists, who identified herself as a PhD candidate in the digital humanities, made the broad sweeping sophomoric statement that “Men are only interested in video games as a means of sating their bloodlust.”

Odd, I didn’t know I suffered from blood lust.

Once again, a person made a value judgement against me based on a dubious gender driven supposition. Adding to the milieu, there was one very vocal member of the audience who was quick to agree with the offending panelist; this person happened to be sitting right next to me. This time I didn’t bother to speak. I just quietly nodded and smiled, before trading business cards with another member of the audience so that we might play Starcraft 2 together sometime, you know to work through our blood lust and stuff.

I’m 31 years old. I’ve been a gamer for at least 20 of those years. Within my adult life I’ve been held to task as a male gamer twice. Twice in twenty years. If I took anything away from the #1reasonwhy and #1reasontobe hashtag it’s that women gamers, women in the industry, and women training to be in the industry – even at a high school level – would probably look at two gender slanted comments in a single day and call it a win compared to the usual volume of crap.

So when somebody says “…there are fewer woman (sic) than men working in the industry [so] there’s bound to be cases of sexism” My first reaction has to be, “Well, no wonder women don’t want to work in the industry. Think about all the shit they have to put up with just to get there. Imagine if every day you were being called a caveman for being a gamer, and king of the cavemen for wanting to design games.” If somebody gave me crap every day because what I was doing didn’t fit in with what was expected of me based on the arrangement of my genitals, I might just say “Fuck it” and find a career trajectory where my gender wasn’t such an issue.

So to my fellow men who don’t understand why this is a big issue, think about when somebody has called you a Neanderthal for playing a FPS; then imagine hearing it every day, all of your life. Now imagine somebody doing that to your sister, friend, girlfriend, girl you want to be your girlfriend, or wife. Are you angry yet? Feeling frustrated yet? I am.


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Disney Buys Lucasfilm/Arts, Now Let’s All Calm Down

On the off chance you’ve been living under a rock on some distant extra-solar planet without access to television or the internet, you may not have heard that Disney bought Lucasfilm. The house of mouse secured Lucas’ brainchild for 4.05 billion dollars. The price is quite a steal considering Disney paid 7.4 billion for Pixar and 4.2 billion for Marvel. Disney’s acquisition includes LucasArts, Industrial Light and Magic, and Lucas Sound, making  the deal seem all the more like a fire sale on George Lucas’ life. And as if all that wasn’t enough to get the internet buzzing, Disney paired announcing the sale with news of a new Star Wars film to release in 2015: Details remain unreleased.

Apropos of Obi-Wan, millions of voices cried out in terror…and nerd rage. Scenes with Jar-Jar as a speaking character and Leia reduced to “Disney princess” status raced through people’s minds as Randy Newman played some tedious up-tempo song in the background.

People pleaded with the internet gods, “Please, no more. Why can’t they leave it alone? Nothing good will come from this? They’re going to do more crap from the expanded universe.”

Life rarely mirrors rage comics, but this announcement ushered in one of those infrequent moments of similarity.

You seem upset...

 

 

 

 

 

 

 

 

 

Now that the dust has settled, and fury morphed to quiet discontent I feel it is my duty to say the following. Good people of the internet, I feel your frustration but it’s time to calm the hell down.

Yes, not many among us liked the new trilogy. There was too much green screen, questionable writing, and no real depth to any of the characters. Would that George Lucas’ story telling abilities matched his technical acumen, I too would lament his departure from the Star Wars universe.

However let us explore the idea that some of the best Star Wars stuff has little to do with George Lucas, other than via his role as the progenitor of a mythic cycle, and scant direct tie-in to the canonical movies. In fact, I would go so far as to say that since Return of the Jedi the popularity of Star Wars, as a contemporary mythology, is so far removed from film that even if the next trilogy proves as bad as the last, it wouldn’t really hurt the brand or the reason it is so beloved by its fans.

To illustrate this point I offer five first rate aspects of the expanded universe which would not have been possible if Lucasfilm/LucasArts had left Star Wars alone.

The Heir to the Empire Trilogy

Timothy Zahn published the first of these post-Jedi continuity novels in 1991. In doing so he rekindled interest in Star Wars after many years of creative drought. The first book, Heir to the Empire landed on the New York Times best seller list. It would later go on to be adapted into a graphic novel by Dark Horse Comics. In addition to giving Coruscant its name, Zahn also gave Star Wars one of its most enigmatic villains in the form of Grand Admiral Thrawn. Though Zahn’s novels may show their age, they did bring a new generation of fans into the zealous fold when they hungered for more in the aftermath of Return of the Jedi.

Tie Fighter

Published by LucasArts but developed by the now defunct Totally Games, Tie Fighter is a name spoken with awed reverence among gamers. Though not the first game to put players in the cockpit of a star fighter, Tie Fighter set multiple benchmarks for space combat simulation. In terms of sound, graphics, and mission complexity, it was leaps and bounds beyond its predecessor X-Wing. TF also managed to change the news cycle of the Star Wars universe. For the first time the rebels were cast not as heroes but violent insurgents bent on disrupting the life of innocent imperial citizens. In shifting perspectives, players saw a more pragmatic and practical side to the empire and less of an evil oppressor.

 

Star Wars Jedi Knight: Dark Forces 2

The name might be a mouthful but Dark Forces 2 offered the first ever post-Jedi live action glimpse of life in the Star Wars universe. Like so many games of the late 90s, Dark Forces 2 bookended each level with a full motion video cut scene. As a precursor to Bioshock, a player’s decisions in-game dictated clear consequences for lead character Kyle Katarn, a former imperial officer turned smuggler turned Jedi. But more important than that, DF2 gave Star Wars fans what they really wanted: an opportunity to cut down storm troopers with a light saber in a first person shooter.

 

 

Star Wars: Knights of the Old Republic

Because the only thing better than Dungeons and Dragons is a Star Wars RPG governed by D20 rules. KOTOR, and its sequel KOTOR 2, wound back the clock on the decadent, and possibly illiterate, civilization that is the Star Wars universe. Set thousands of years before the Battle of Yavin, KOTOR set the galaxy on fire with a war between the Republic and the Sith empire. As with any good RPG, decisions on the part of the player created multiple paths to stopping the Sith lord Darth Malak. Although far removed from the source material, KOTOR was widely praised by critics and earned multiple awards including the first ever BAFTA Games Award for best X-Box game of the year.

The Clone Wars

Perhaps the most controversial of the expanded universe settings, The Clone Wars follows the exploits of Anakin Skywalker and company during the “fade to black” conflict that occurs during Episode 2 and 3. While the story telling can fall flat with respect to certain characters whose fates are known, the series is at its best when chronicling the war stories of the clone troopers. Indeed, if this series proves anything, it’s that even the worst executed ideas (Star Wars Ep. 2) can lead to better things when fresh eyes get to work within a well established mythology.

So while Disney may own LucasArts/Films, it doesn’t necessarily follow that Star Wars is going to get neutered like so many scruffy looking Nerf Herders. Disney owns Marvel, yet Tony Stark is still an egomaniacal booze swilling playboy. The Hulk still has anger problems, even if they are a little inconsistent. Wall-E, for all its cutesy-poo robot stuff, was a story about unabashed capitalism gone wrong, wrapped in a criticism of the inherent sloth built into a western lifestyles, all told through the lens of ecological catastrophe.

Indeed, if the new trilogy, as well as these examples, prove anything, it’s that Star Wars can often be at its best when it is far removed from the man who created it.

So relax already. Everything is going to be fine.