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LCs Fungrube lesenswerter Artikel zu Videospielen

LordCrash

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Hallo zusammen,

ich habe mich dazu entschlossen, ein neues Topic aufzumachen, in dem ich regelmäßig neue Artikel aus der Welt der Videospiele posten werde, die mir so bei meinen Streifzügen durch das Internet ins Auge fallen. Dies ist also ein Sammelthread für alles, was ich so für lesenswert und interessant finde und gerne mit euch teilen würde und was nicht schon mit einem meiner/unserer Featuretopics (Witcher 3, Project Eternity, PES 2014, Rome 2, Star Citizen) abgedeckt ist.

Wenn ihr einen Artikel gelesen habt und er euch gefallen hat, würde ich mich über ein "Gefällt mir" sehr freuen, auch um zu wissen, ob die Artikel überhaupt von jemandem gelesen werden und ob es sich die Mühe lohnt, damit fortzufahren.

In diesem Sinne viel Spaß beim Lesen! :)


P.S.: Ich bitte schon im Voraus zu entschuldigen, dass einige/viele der Artikel auf englisch sein werde. Das liegt einfach daran, dass die Dichte an Beiträgen zu Videospielen in den USA höher ist als bei uns hier in Deutschland. Dagegen kann ich persönlich auch nichts machen.... ;)
 
Fear is the path to the dark side

Obsidian on KOTOR 2 and what KOTOR 3 might have been.

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By Robert Purchese Published Wednesday, 31 July 2013

Please note that there are spoilers about Knights of the Old Republic 1 and 2 in this article, although I try to keep them to a minimum.

To this day one decision still plagues Chris Avellone's mind: should Knights of the Old Republic 2: The Sith Lords have had more Revan in it? BioWare and LucasArts hadn't forbidden it - instead, Obsidian had decided to focus on new characters to allow more creative breathing room.

"But I don't know if that was the best decision," Avellone ponders, speaking in a Eurogamer KOTOR2 podcast other members of Obsidian and The Sith Lords Restored Content Mod join us for. You can listen to it in full right now, jokes 'n all.

"There's a lot of design decisions that occurred in Knights of the Old Republic 2 that, to this day, I still question whether that was the right thing to do or not, and one was, ideally we should have maybe looked for more ways to introduce Revan in the sequel.

"But then again," he adds, "when we were plotting out the idea of doing the third game we just thought it would be cool if we were foreshadowing what Revan was really doing in Knights of the Old Republic 1, and what he was preparing for in Knights of the Old Republic 2, and then bring it to a close, the end of the trilogy, but we didn't get a chance to do that."

Yes, a Knights of the Old Republic 3 game existed in pre-production at Obsidian Entertainment.

"I always liked the idea that Revan, as smart and powerful as your player-character was, was actually even more of a brilliant strategist than became apparent in the first game," Avellone goes on.

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"The entire second game is littered with clues as to 'why didn't Revan destroy the infrastructure here? What was he trying to make sure was still intact? What did he/she see that no one else saw?' I thought that was giving a nice nod to 'wait a minute, Revan realises there's an even larger force at work here, and he's focusing his efforts on that and keeping the big picture in mind'. That was one thing - the idea that there was a larger, global conspiracy."

That third game would cast you as "the Exile" and allow you to track Revan's path. "Whether you encounter him or not..." he pauses, wary of spoilers in case the game ever happens in the future. "The idea was that even before the 'modern day' Sith came into being in The Old Republic ... there were even more distant Sith Lords that were considered the true Sith, and the idea that they were still lurking out there in the galaxy waiting for a chance to strike, kind of like the Shadows in Babylon 5, I thought would be a cool finale for that Old Republic trilogy.

"Part of the fun with designing them," he adds, "was if you have these incredibly powerful Force users and they have their whole hidden domain out in the distant reaches of the galaxy, what would that Sith empire really look like at the hands of these things?
"If they could shape entire planets or galaxies or nebulas, and they had all these slave races at their disposal, how cool would that be, to go into the heart of darkness and you're the lone Jedi and/or new version of the Sith confronting these guys? What would that be like? I thought that would be pretty epic."

Whimper. Yearn.

Knights of the Old Republic 3 would still involve the Ebon Hawk ship, your base and your home, and you'd have "a few" of the companions from the other KOTOR games. "You definitely have T3-M4 and HK-47 with you," he says, and at one point HK-47, its legs dismantled, would "ride around in your backpack like C-3PO does with Chewbacca in Empire Strikes Back". "So during one of the sequences in the game," Avellone expands, "you'd actually have HK-47 firing behind you and being your cover support while you're carrying him around on your back and getting to a repair station."

That KOTOR3 pitch, which is different to the Star Wars pitch Obsidian is trying on Disney, never got past pre-production. "It was a matter of getting LucasArts to greenlight the title and I... To be honest I don't know all the reasons that went into this, whether they wanted to have an internal team do it, whether they logistics didn't work out...

"Ultimately," he says, "it felt like we were pitching and pitching and it just wasn't going anywhere, and at some point people just drew a line and said 'it's just not going to happen', which made us kind of sad, but, OK, if that's the business, that's the business."

It could have had something to do with new consoles - PS3 and Xbox 360 - arriving and engines needing redoing, which would have been expensive and time consuming, points out Dan Spitzley, then senior programmer, now lead programmer at Obsidian. "That's a good point," concedes Avellone. "Thanks, consoles, thank you."

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***

As integral as Revan was and is to the Knights of the Old Republic experience, when Obsidian first started working on KOTOR2 - the studio's first game - no one in the team had heard of him. "We hadn't played the original game," Avellone reveals. "LucasArts hadn't signed the contract before we started working on it, so even though we were getting paid for milestones, they didn't want to give anyone a release copy of the game, so we were kind of guessing as to what the first storyline might be like."

They threw together concept art for characters who only might exist, and whipped up a tentative story around them. When Chris Avellone finally played Knights of the Old Republic he realised how terrible and out of kilter with BioWare's his story had been, and flung it into the bin. He also realised something else: this was going to be one hard act to follow.

"The moment I hit the planet Manaan and I was walking around in the sea-floor I almost threw the controller at the TV because the game was getting so f***ing awesome. And then when the storyline played out..." I imagine him mouthing a whistle. "Incredible kudos to those guys - I thought it was a great story, I thought the team had assembled all the right beats for what made a Star Wars game and," he adds, "they made me love Star Wars again."

But, also: "Wow, I'm screwed," he laughs, recalling his thoughts. "It's a rough act to follow! Like, I'm going to Garfunkle this up."


***

It's easy to look at the first Knights of the Old Republic, and at BioWare, and assume Obsidian had the same conditions to make a sequel in. Obsidian did not; Obsidian had it hard. When the deal was inked, there were only seven people working at Obsidian, all huddled in a makeshift office in Feargus Urquhart's attic. This dream job had been landed through old ties and BioWare rejecting a sequel, as it was uncomfortable with producing one in the 14-16 month timeframe LucasArts wanted. (BioWare's Chris Priestly echoed this in a panel recently.) But Obsidian couldn't and wouldn't turn that kind of work down.

Nevertheless, Obsidian was ill prepared for what lay ahead. It didn't even have a full team, which would number around 30 people (many inexperienced), let alone luxuries like in-house IT support, in-house audio and in-house QA. The engine was new and contractors, though working hard, were making mistakes that were hard to track down. Obsidian didn't even have a proper office. Someone would turn on the microwave and all the animators would lose power, Anthony Davis, gameplay programmer, recalls. "It was a real challenge," he says, but he loved it.

"We just had so many good times," he expands. "Because, you know, you're thrown into this situation where you've got cables running everywhere, you've got machines, you're like 'who took my Xbox development kit? What's going on?' It was a little bit crazy." But everybody, top to bottom, was working, and doing multiple jobs.

"Feargus Urquhart would be in his office playing the Children of Dune soundtrack over and over again, and he would be in that office and he would be working, working on the game - everybody worked on the game. And you knew everybody was pulling their weight, everybody was in the same boat."

"One of our senior designers, Tony Evans, his wife was pregnant at the time and I was like, 'Tony, why are you in the office?'" Chris Avellone recalls. "And he's like, 'I am going to get this done,' and I'm like, 'Tony Evans, I always want to work with you - you are amazing,' although I feel horrible right now."


***

But however valiant the team's efforts, Knights of the Old Republic 2 would not be properly finished - "broken", the team implores polite old me - and asking LucasArts for an extension was out of the question. "There would have been substantial penalties had we not have made that date," Avellone tells me. But LucasArts isn't the Sith Lord in all of this, the Obsidianites are quick to point out. The house that Star Wars built sent QA people over to help in-house, and did "crucial" work getting all the game's cinematics together. The LucasArts people were so nerdy about Star Wars they could even understand the fictional language written on posters in the game, which resulted in some odd bugs being filed on Obsidian staff who didn't think such a thing was possible.

No, the real fault, Avellone says, was Obsidian's eyes being bigger than its belly. "There's a number of design decisions we could have done to de-scope the game. We should have removed all mini-games - that was a huge waste of time. And all those cut-scenes we had, the in-engine sequences: all of those were such a huge pain in the arse to set up and we could never count on them reliably." There's a reason why so many cut-scenes take place on the Ebon Hawk, and that's because Obsidian could ensure people would be standing in the right places when they triggered. Oh and redesigning the interface was also "a huge waste of time".

Chris Avellone had originally even wanted players to visit the home of Princess Leia, Alderaan, "but they nixed that", he recalls. And some of the team's visions, such as the siege of Khoonda, were neutered by the restrictive power of the Xbox console they were working on. "It was practically finished," says Anthony Davis, "or at least several working versions of it were finished, but poor performance on the Xbox forced us to cut it and turn it into movies." The siege would go on to provide the inspiration for the siege at the keep in Neverwinter Nights 2.

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***

But for all that didn't work out, there was plenty that did. The villains of Knights of the Old Republic 2 are far more memorable than those in KOTOR, with the exception of Revan. Darth Nihilus, Lord of Hunger, is the most recognisable. He's a wound in the Force and feeds on the lifeforce and Force of those around him - sometimes entire planet's worth - and is so lost to the dark side he tore his spirit out and encased it in his mask and robes, becoming a manifestation of primitive intent! Malak from Knights of the Old Republic 1 is a burly bully with a mechanical jaw. Oh whoopdie doo.

Don't call Darth Nihilus "the face" of KOTOR2 around Chris Avellone, though. He doesn't like that. "One pet peeve I've always had about the Nihilus [art] that sometimes people use is there was never intended to be any hint of what was beyond the mask, so every time I see the Nihilus picture and there's the outline of his nose behind the mask, I freak out! It's supposed to be a void - that's the metaphor of what he is, so it drives me crazy when they try and imply that he's human."

A small voice, that of lead concept artist Brian Menze, interjects. He drew that nose for a magazine cover way back when. "Chris didn't like it but he went soft on me that day and let it go," he says. "I wish he would have stopped me because we probably wouldn't be in this predicament any more if he had." Nevertheless, Menze earned lasting prestige by creating Nihilus, a concept created and greenlit in all of 15 minutes. "That character has gone on to be bigger than the game we created, and I'm very thankful for that."

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Darth Sion, Lord of Pain, took much longer to get right. Typically Brian Menze didn't have time to dilly-dally because he was modelling the characters as well, so he usually sketched them quickly and roughly. But he couldn't get Sion - a corroding immortal whose excruciating pain was caused by the very anger and hatred holding him together - to Avellone's liking (Avellone having been inspired by a stone demon dying in anime Ninja Scroll). The pair had "a great many" conversations about how to get him right.

"We were trying to imagine how you would have some guy who was literally telekinetically holding himself together," says Avellone, "and trying to get the feel of having those small pieces of his body actually orbiting around him. We were trying to get the engine to pull that off. And me and Brian went through many frustrations trying to get that correct, and I'm not sure if it ever exactly turned out the way we wanted it to.

"No, not really," adds Menze. "The engine just couldn't do it." That's how Darth Sion ended up looking more human than originally intended - a bit like a decomposing monk.

But the strongest and most memorable character of Knights of the Old Republic 2 was Kreia, the blind old Jedi who guides you every step of the way. Her strength was in how she was written rather than how she was drawn, and she personified Knights of the Old Republic 2's other defining characteristic: grey areas. The light side/dark side polarity of KOTOR was questioned by Kreia at every turn. Help a poor person out with some money? They may be mugged and killed for it. "She was questioning everything about the Star Wars universe that I thought should be questioned," Avellone remarks. She was the alternate perspective without the need for ruthless and cringe-worthy evil.


***

By being a tarnished gem, Knights of the Old Republic 2 also managed to inspire something else that KOTOR couldn't: modders. These fans would go on to exhibit a kind of loyalty even a Sith Lord would covet, their work eventually restoring KOTOR2 to the game it should have been. Two members of The Sith Lords Restored Content Mod team - leader Zbiginiew Staniewicz and anchorman Julian DeLange - join us for the podcast.

Obsidian didn't hide any content from the community; everything the team made is on the game disc. That's why Anthony Davis couldn't help but smile when he heard about the restoration projects first cropping up. "Yeah they've really bitten off a lot," he knew, "they really don't know how much is in there!" It wasn't a case of altruistic foresight on Obsidian's part, though, it was simply because pulling out any content (besides offensive placeholder language) was more dangerous to the game's overall stability than leaving it in.

Of the content restored it's the HK robot factory quest that's the most significant, and entertaining. It's obvious when you play the game without the mod that something more was intended. What wasn't obvious to the Restored Content mod team, however, was how the quest was supposed to end. Chris Avellone fills in the blanks (in a subsequent email): "HK-47 went old school solo to destroy all his bulls*** 'upgraded' models hidden on Telos. "He sneaks in, they can't detect him because he's a similar model and then I believe he could either destroy the 50s/51s or make them part of the end battle." Or he could waltz off with his robot army into the distance, Spitzley recalls.

Beyond a minor upcoming update, work is at an end on The Sith Lords Restored Content Mod. Dreams of Obsidian releasing the game code to the community are just that: dreams. BioWare owns the engine and it has licensed middleware in. It's complicated, in other words, and Obsidian has no say in the matter.

The work The Restored Content Mod team has done, Obsidian is eternally grateful for. "One of the things we would talk about as the various Sith Restoration projects went on was just how lucky we were that the game was so well received by some great guys like you two guys," Anthony Davis tells Staniewicz and DeLange. "You would fix that which we could not fix. We were not allowed to. We're just - we're really appreciative of that.

"You helped complete the experience for many people. Many people who get the game for the first time, like from a Steam sale or whatever, their friends are going to tell them, 'Yeah, go get The Sith Lords Restored Content Mod, put that on their first - that's the way it was intended to be.' And that's correct. And just, really, thank you guys from the bottom of my heart, I mean it."

"I'm speechless now," says Staniewicz. "I love you Anthony!"


***

Knights of the Old Republic 2 launched Obsidian, a studio that's plied a trade making other people's sequels since, projects with tight deadlines, but struggled to manufacture breakout a hit of its own. Nevertheless, it's taken on some big names over the years, such as Fallout, and there's a really promising collaboration with the makers of South Park due out before the end of the year. There's also Project Eternity, a more modest production but a real talisman for the studio, plus a new IP no one at Obsidian will bloody tell me about. Humph.

What's most important is that Obsidian has survived, though there were storms to weather along the way, and that survival is in no small part due to The Sith Lords. "I mean it's what made Obsidian," comments Dan Spitzley, "it's the reason we're still here. For me, KOTOR2 just represents, how do I say it, Obsidian as a whole."

If it weren't for that new studio and that new game, Spitzley's eight-year career in games would have sunk with Interplay. "I was in the same boat," Brian Menze adds. "I was finishing up at Interplay and when this project started, when they were able to start bringing those of us who were still lingering behind over to Obsidian... It felt like a fresh start, and that feeling carried over to a camaraderie that, I don't know - it was pretty exciting and I felt so blessed to be a part of it. Honestly, in my career - 20-some-odd games - it's probably in the top three favourite moments of my life."

"It was such an eye-opening, amazing experience," says Anthony Davis, whose first game programming job it was. "And even so, now that I'm out of the games industry after almost nine years in it, I do look back on it and it's got a lot of bitter-sweet memories for me. I wish we could have done more but I'm proud of what we did." It's a bitter-sweet notion shared by Chris Avellone.

"I miss the people," Anthony Davis closes. "I miss the good times that we had and the hard work that we put in."


Quelle: Fear is the path to the dark side • Articles • Eurogamer.net
 
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Holodeck: Holy Grail or Hollow Promise? Part 1+2 (complete story)

By Warren Spector Wed 31 Jul 2013 3:00pm GMT / 11:00am EDT / 8:00am PDT

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Warren Spector isn't so sure the industry will be able to create a holodeck gaming experience that's actually fun

For years game developers, game players, science fiction fans (generally) and Trekkers (specifically) have been told - and have been telling themselves - that the trajectory of video game history leads inevitably to a Star Trek-inspired Holodeck.

Since first bursting onto the scene in the 1980s, Jaron Lanier, generally credited as the first person to describe the potential of "virtual reality," has argued that something like the holodeck was unavoidable. Since then, he has been one of the leading evangelists for a fully immersive future. As recently as June of this year, in New Scientist magazine, he reiterated his desire to see that dream become a reality:

"I believe that the Holodeck as Holy Grail has the potential to lead us down a blind alley toward a dead end future"

Instead of thinking of it like a very 3D movie, or a video game that you're inside, I think what virtual reality is going to be like is a new kind of a medium where you're playing with your own identity, and that's what's so interesting about it… it's almost like you're exercising these forgotten little corners of your brain, some really old corners that evolved to actually control different bodies deep, deep, deep back in our evolutionary past. And that kind of very profound, intimate sense of experience is really what virtual reality's all about.

Similarly, interactive media thinkers like Janet Murray have written persuasively about the appeal of the "Star Trek future." In her 1997 book, Hamlet on the Holodeck, she discusses the role of immersive simulation in the future of narrative laying out an explanation of, and template for, a future rich in virtual reality experiences that is still relevant 15-plus years on:

"The format that most fully exploits the properties of digital environments is not the hyper-text or the fighting game but the simulation: the virtual world full of interrelated entities, a world we can enter, manipulate, and observe in process."

If you haven't read Hamlet on the Holodeck you should probably do so - it's kind of a must-read for any game developer. I'll warn you, there are some very smart games industry folks who find the book as frustrating as it is educational! Still, a book that engenders strong feelings and gets people arguing is worth a read, right?

More recently, at USC, there's a team working on something called "The Holodeck Project". (Clearly, though smart, talented, and driven by a Star Trek inspired mission to "go where no man has gone before" they need a marketing person to work on their naming skills). Regardless, here's what they have to say about the goals they've set for their work:

The holodeck has given us woodlands and ski slopes… figures that fight… and fictional characters with whom we can interact. Or so we were promised many years ago by a certain Jean-Luc Picard. But now we actually might have an actual Holodeck to actually run around in and actually fight baddies in… [T]he Holodeck is a bit different to the [Oculus] Rift: It's not just a head mounted display, it's a full virtual reality experience.

"I have a rule that's stood me in good stead over the years - never build a game that depends on potential buyers owning a peripheral in order to play"

And finally, if anyone requires more evidence of the pervasiveness and persuasiveness of a Holodeckian future, the most recent sighting I've seen can be found in an article by Jeff Grubb, writing for the VentureBeat website:

The Holy Grail of immersive gaming is Star Trek: The Next Generation's holodeck - a room that you can enter that becomes an interactive experience and overwhelms your every sense. It's a concept so far-fetched that it still feels like we're a hundred years away from it, and we probably are… For something to qualify as a holodeck, it must trick your every sense…

Full disclosure - I worked with Jeff back at TSR and consider him a smart guy and a friend. Despite our history together, I can't go where he's going, any more than I can go all the way with Lanier, Murray, and other VR/Holodeck evangelists.

In fact, I believe that the Holodeck as Holy Grail has the potential to lead us down a blind alley toward a dead end future.

I realize I'm swimming against the current here - what with the slavering anticipation for the Oculus Rift VR rig, reports of Holodeck-like projects from Sony and recent Microsoft Kinect-driven VR patents. But hear me out.

Here's my contention:

If we're careful and thoughtful in our approach to predecessor technologies like virtual reality and augmented reality, as well as to Holodeck-style full immersion down the road, we might end up in a great place - a place as compelling as the world Lanier, Murray, Grubb et al envision.

But if we're not careful, if we don't consider what VR, AR and Holodecks can and cannot do well, we'll just end up spending a lot of money and expending a lot of effort giving users something we think is cool, something those users think they want, but which will inevitably disappoint.

"Folks who go first often go bust. Players who buy early can end up broke"

This may seem obvious - do smart stuff and good things happen - but from much of what I read and hear, from all the gushing over headsets and new peripherals for interacting with things on the screen, it's obvious to me that a lot of people aren't thinking about the pitfalls ahead. For that reason, I'd like to go through some potential problems we'd better think about - and soon.

Pitfall #1: Do people really want VR, AR or Holodeck enough to buy a peripheral to experience it?

I have a rule that's stood me in good stead over the years - never build a game that depends on potential buyers owning a peripheral in order to play.

No matter how cool the game or how cool the peripheral, only a portion of the potential audience will have (or be willing to buy) something new to get the full experience of your game.

Heck, even a peripheral that's packaged with hardware can be a sales-limiting factor. Sometimes the old ways are the best ways and, today, lots of people are just fine with a keyboard or controller - no surprise given that these ways of interacting with a computer or console have been refined to razor-sharp effectiveness by thirty-plus years of use and mastery. People like a controller connected to a TV or monitor they already own. Very few, if any, "normal humans" want or need more immersion than that. Who wants to learn a whole new way of experiencing and interacting with a virtual world? By and large, people just want to play. Anything that gets in the way of that reduces the likelihood of people playing.

Clearly, there are some big hurdles to overcome here. You can say we're still in early days of gaming, let alone VR, AR and Hdeck. You can say, of course prices are going to be high and sales limited to early adopters. In other words, you can say that an audience limited by the need for a peripheral is okay - we have to start somewhere, right?

Not so right, I fear. Folks who go first often go bust (see Cybermaxx and Forte). Players who buy early can end up broke (yeah, I'm looking at all you Apple Newton owners out there). It's all too likely that the lack of a sufficiently large audience will lead to lack of developer and publisher support, which will lead to peripheral creators running into a brick wall we in the trade call "no money". And no money for anyone on the creation-distribution-play spectrum, regardless of where they fall on it, means the Holodeck (and VR and AR) may be further away than current technology would lead one to believe. They may never catch on…

In my book, when you require a peripheral "purchased separately," as they say in the commercials, you always lose. Anyone see peripheral-free VR, HR or HDeck? Uh-huh. Didn't think so.

Pitfall #2: How do you control this crazy thing?

One of many things we learned in the VR gaming circles of 20 years ago was that the range of mobility of the human neck limited a player's ability to experience even the most meticulously designed and immersive virtual world. Unless you were willing to stand while you played, or you sat in a chair that swiveled 360 degrees, VR didn't add enough to the experience of play to balance out the cost and deficiencies of the hardware. (And watch out for deadly python-like cords as you rotate to take in your oh-so-compelling virtual surroundings).

"How many people really want to walk, run and jump to navigate a virtual world?"

And that is just the tip of the iceberg when it comes to interfacing with a virtual world. Falling into a 3D space… feeling like you're really there in an alternate world… In a very real sense, that's the easy illusion to deliver to users.

The problem of how you interact with an illusory immersive world? Now that is one tough problem.

Creating a good head-tracking headset, while cool, is just the first hurdle. Assuming the full immersion of a Holodeck is even possible, and it seems likely it will be, probably sooner than anyone expects, what about the interface between user and device?

In a VR world, are we supposed to use a Wii Remote or something like it? In an AR world, are we supposed to flap our arms around, looking rather foolish as we do so? In a Holodeck experience are we supposed to run, jump, kick and punch?

How do you interact with a virtual world? (Remember, your solution has to be as seamless and refined as the mouse, keyboard and/or controller…) Who among us wants to walk and run and actually swing a sword for hours? How will you ride a virtual horse, climb a wall, or pick up the inevitable crate?

Head-tracking sounds great. If you want to look up, just look up. Check out your flank and turn right or left? Totally do-able and cool. Look behind you?… Oh, wait… hm… maybe do a full Exorcist and swivel your head 180 degrees? Maybe you have to get up off the couch and turn around? Use a mouse or keyboard you can't actually see in VR - and don't want to see in AR or a Holodeck?

Put another way, how many people really - really - want to walk, run and jump to navigate a virtual world? How many people really want to swing a sword for 5-10 (or 100) hours? I think we can agree on the answer - not many, for all the enthusiasm expressed.

A TV screen, a mouse and/or a keyboard are looking a little better, aren't they? If the new VR/AR/Hdeck peripheral you have to go out and buy makes such things harder rather than easier, why bother? You might as well go join a gym and get some exercise that way.

It's tough but not impossible to imagine solutions to control/interaction problems in a VR world, but being the immersive tech that's closest to what we already have, that's not much of a surprise. AR is certainly going to be harder, UI-wise (and that's assuming you can solve all sorts of visual and occlusion problems!). In an AR environment, you start with the movement problems I already mentioned, but then you also have to deal with the problem of interacting with real objects and virtual ones (and having the virtual objects then interact themselves with the real ones!). AR kind of makes my head hurt… The Holodeck? I don't even want to think about the interface and interaction problems there.

And remember - if doing things in a VR/AR/Hdeck world is harder than it is with the tried and true of a controller refined over decades of use, what use is a Holodeck at all? An immersive experience that, thanks to clunky UI, constantly reminds you that you're in a virtual world is going to drag you in and out of the experience every few seconds. That's makes it extremely unlikely users will be able to get into the desired flow state than they can in older, seemingly less immersive virtual environments.

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Pitfall #3: All costs and problems aside, does anyone even want the full-on holodeck experience?

Just to get it out of the way, I'd argue that VR and AR at least have the potential to enhance the power of immersive experiences. The holodeck promises to add little to that and will, I fear, end up being something no one really wants.

People think they want open-ended simulations of entire worlds - I was just at San Diego Comic Con a few weeks ago and I guarantee you there were lots of people in the gold, blue and red tunics of Starfleet Command who really want a Holodeck to call their own! (True confession? I had a near-biblical internal battle to resist buying one of those gold tunics myself...)

The big problem with Hdeck development is... well, there are a ton of hardware and software issues. But I'd argue that the real problems are conceptual - solvable, maybe, but requiring a radical rethinking of what an Hdeck can and should be.

Specifically, read up on the Holodeck and, with very few exceptions (notably Janet Murray, mentioned earlier) the dreamers dreaming about it seem to think it's enough just to be in a virtual world. There's a belief that convincing geometry plus deep simulation plus AI plus rules equal a satisfying experience:

"Look, I'm at Gettysburg!"

"I'm riding a horse on the Scottish moors!"

"I'm living on Tatooine!"

Or (you know it's going to happen...) "I'm in a porn flick!"

All of those experiences sound fascinating - seductively so. And seeing the Holodeck on Star Trek, with all the boring and technically challenging aspects edited out in classic Hollywood fashion, makes full immersion look great. But in actuality, I suspect most people would find open-endedness to have, at best, limited appeal.

And, not to be too facetious, let's not forget that any time the Holodeck appears in a Star Trek episode you can pretty well be assured it's going to malfunction. It's a wonder anyone wants to take such a risk in the real world. But many do want to leave our world for a more adventurous or emotionally compelling experience. Let's think about the nature of the Holodeck experience, then.

Pitfall #4: What do you do in a Holodeck?

"Being" is great, but without something to do, it's kind of an empty existence. That's true in the real world and equally true in a virtual one.

And there's perhaps the biggest conceptual problem with Hdeck thinking these days. There's an assumption that solving the hardware and UI problems is all we need to do. There seems to be this idea that simulation alone is enough. Create a compelling virtual world... add virtual people, animals and things... add players.

Bing, bang, boom! People will flock to the machine that lets them be a lion for a while or visit the pyramids in the comfort of their own home.

Clearly, in my mind at least, it isn't enough to go somewhere or be something. You have to do something. And VR can make the doing cool. I get that. But Holodeck? Maybe for training purposes. Maybe for visiting a long ago place or meeting people and personalities long gone. But for entertainment? I'm just not sure.

The problem with most of those who view the Holodeck as Holy Grail is that they downplay, deny or, usually, don't even consider the need for a "mediator" between hardware and fleshware. But someone has to create the software that guides the experience.

I can think of very few people thinking about the role of the "designer" responsible for bounding the Hdeck user experience. Too few are thinking about what it takes to channel users in virtual directions that make sense, that are interesting, that aren't just... well... being.

The Holodeck as "grail" gets a lot of press and occupies a lot of mindshare. The Holodeck as experience, as an opportunity simply to be somewhere or be something, that generates a lot of buzz, too. But the Holodeck as medium - as something goal-oriented and challenging and worth spending significant amounts of time with (time that could be spent in other pursuits)? That's not getting much attention at all.

You read about Holodecks in military training exercises... in practice surgeries... in virtual travel. But I'd argue that most, if not all, technological advances become commercially viable and "mainstreamed" when used for entertainment. And that means we need to think about the verbs of play, of storytelling, of action as much as, or more than, we need to think about graphics and controls. Those are critically important and may or may not be solvable. But for solutions to be meaningful, we need to think through the potential of the medium and begin trying to understand the role of the mediators who will make user... no... player experiences meaningful, too.

A fully-simulated world with no goals, no narrative, and no purpose is a lot of work for nothing. Aimless wandering is the enemy of fun. And without a "creator," all you have is aimless wandering. Players must find their own fun, something they're demonstrably not very good at doing. Well, let me soften that statement - most players aren't good at making their own fun.

(And before anyone brings up Minecraft, that's a very different animal, a sandbox game that's all about creation of content. The tools are there specifically to make creation easy. The Holodeck, as usually envisioned, is about exploration and unguided experience.)

Once the novelty of full immersion wears off (and I believe there's only so much "being a tiger" one can take before the thrill is gone), goal-orientation will be critical. The goal might be "save the princess" or "kill everything that moves" (god forbid to both). Or the goals can be "operate on this sick guy" or "terraform this planet." But you need goals to make a fully simulated world worth exploring. You need player constraints. You need something specific to accomplish.

And you need all of those things in a form that can't be as well expressed without all the rigmarole of headsets and treadmills and power gloves. At this time, I can't think of any experience that would be improved by a Holodeck. Not one.

Prove me wrong. Seriously. I hope someone can. Because, you see, I'm not all that psyched about the Holodeck, per se. What I am psyched about, and always have been psyched about, are the immersive possibilities VR and AR offer.

Surprising Revelation #1: I'm a Fan (Believe It Or Not)

As I wrap this up, and before the knives come out, let me be clear about one thing: I'm a longtime and enthusiastic supporter of all things VR.

As far back as 1994, I was producing first-person games that supported the leading VR devices of the day - remember Wings of Glory? Uh. Okay. How about System Shock? Even if you remember the games, you may not remember that in them we supported pioneering VR headsets like the Forte VFX-1 and Cybermaxx (which we sometimes referred to as the "Cyberbrick" for its weight and ergonomic... ahem... issues).

Back then, the head-tracking was serviceable, but the optics weren't close to being even "serviceable." And there was the weight (best measured in tons, if memory serves). Plus there was the unfortunate tendency to overheat once in a while and, you know, burst into flames. Seriously. I couldn't make that up.

Despite all those shortcomings, I saw an amazing future for such things and wanted desperately to be a part of it. Really feeling like you were in another world, seemed like the Next Step For Gaming. Looking around to see your friends and allies was incredibly cool. Keeping an eagle eye out for enemies? Oh, yeah!

But, back then, you couldn't read any text... dealing with menus was a nightmare... you still had to deal with keyboards and mice to interact... the weight of headsets back then was headache inducing and nose-crushing... and, as I said, there was that pesky fire problem.

I've heard that the Oculus Rift solves some or all of these problems. (If nothing else, it better deal with the fire issue!) But I haven't seen it, so I can't really say. I'm certainly hopeful that the issues above have been resolved in the last 20 years but, well, this is my dubious face. (If anyone wants to give me a demo, I'm totally up for it, by the way.)

What does the future hold?

Damned if I know! But here's my foolish attempt to divine what's coming:

VR? Sure. If what you're after is a more immersive but even more isolating experience than ever before. And don't forget you'll have to stand for hours to experience much beyond what a large screen monitor offers. I wouldn't say VR is "standard stuff" but it's not so far off from the 3D worlds we've been building for decades to bet against VR having a large and growing place in the gaming world.

AR? Also sure. Being out in the real world with virtual overlays sounds great. Once in a while. AR is one of the most interesting thing going on in games right now. The potential is there to do amazing things - things no game today, yesterday or in the foreseeable future has been able to do. The fact that no one knows with any degree of certainty what an AR game should look and play like is a bonus - the possibility of failure is huge. Who wouldn't want to mess with something like that?

A fully immersive, alternate world-creating Holodeck? That's a solution in search of a problem (and a solution that brings a host of its own problems along for the ride). My gut tells me we should just leave the Holodeck to Star Trek.
But let's assume all the problems of VR, AR and the Holodeck can actually be solved.

Is this the time VR is here to stay? Is AR the next big thing? Is the current flush of enthusiasm for these things really the first significant step toward the Holodeck?

Or is this, as I fear, just another false alarm, like the now (thankfully) fading reemergence of 3D movies, TV and games?

Look at the history of 3D in media and you see a clear pattern - 3D is hailed as the savior of movies, for example, every 30 years. The 1890s, the 1920s, the 1950s, the 1980s and, recently, the 2010s, what do we see? You betcha! 3D is back! Every time the film business needs a creative jolt or finds itself threatened by some new medium or business model, roll out 3D and rake in the bucks. For a while.

Similarly, VR seems to make an appearance every ten years or so - in the 80s, the 90s and now the 20-teens... This latest appearance seems at least marginally tied to the current chaos in the games business, making the growing enthusiasm for such things seem even more like the movie model.

In movies, 3D has never stuck. It comes, it goes, the glasses and projection systems get marginally better, Hollywood and the press go wild. Then nothing. Audiences don't care.

I'm betting it's the same thing with VR/AR and Holodecks. Rather than being the time such things stick I tend to think this is just another moment where media history repeats itself. The craze will last a while like a raging brush fire, then fade into nothingness.

Now for the big twist ending to this column:

I truly hope I'm wrong about everything I've said here. I hope someone - maybe one of you reading this - can prove me wrong. I now turn the stage over to you to do just that.

See you in cyberspace!


Quelle: Holodeck: Holy Grail or Hollow Promise? Part 1 | GamesIndustry International und Holodeck: Holy Grail or Hollow Promise? Part 2 | GamesIndustry International
 
Zuletzt bearbeitet:
The Pitfalls of Politics & Ethics in Video Games

Posted on July 8, 2013 by Swen Vincke @Larian Studios

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Not so long ago, I found myself involved in a big discussion about what rewards to attach to a most vile and despicable deed. It’s not a position I’m used to so I couldn’t rely on instinct to sort it out. I have to admit that it really felt wrong to give a gameplay bonus to something I clearly didn’t agree with, yet at the same time, I couldn’t deny that within the logic of the gameworld we’d created, in this particular instance it made perfect sense to award gold to a player for behaving like a dictator with blood on his hands.
From this discussion sprouted the following piece, written by Jan (our lead writer) & me. The release of today’s choice & consequence promotion video for Dragon Commander felt like the right moment to release this.

If there is one aspect of Dragon Commander that has generated frequent discussion among the team at Larian it is the topic of politics and more specifically: the political, moral and ethical choices you can make in the game. When you are aboard your command ship, the Raven, a broad spectrum of political and moral issues will be brought before you by a variety of characters and inevitably, these characters will vehemently disagree with one another at all but every junction.

Our inspiration for these political conundrums we derived from newspapers, news websites and news broadcasts the world over. We ended up with a host of current issues that – to use a whopper of a euphemism – create debate wherever they arise. It is these issues that we translated into a fantasy context, though they remain quite recognisable.

To do so we created a host of fantasy characters that represent people or philosophies of a certain political persuasion in an almost commedia dell’arte manner. They are stock characters in their way, with their own eccentricities and conflicting ideals, but their masks are those of lizards, imps, elves, dwarves and undead rather than the literally masked prototypes of the theatrical genre.
These characters speak plainly. They speak forcefully. They hammer home their viewpoint, often eschewing all nuance. In their own exaggerated manner they bring to bear their opinions, and even though it should go without saying, we’re saying this anyway: this doesn’t mean we necessarily agree with their opinions at all.

This is important to keep in mind, because by creating characters that often exceed individualism only to become certain ‘types’, we noticed that their opinion regarding various political statements were amplified to such an extent that they became quite frankly shocking.
What we also discovered though, and this is something we considered important as designers, is that it made players sit back and think about what decision they should make. Because the decisions you make aren’t simply ethical ones. Dragon Commander remains a game and decisions influence gameplay. That means that what you consider to be ‘the right thing to do’ may not bring you the rewards you’d have liked.

You take on the role of an emperor after all, and if you were really to command an empire, how long would it take you before your ethics would take a backseat to more Machiavellian concerns? Compare it to conveniently ignoring injustice in a particular country, say, because the natural resource deals you have going on there are just too good to pass up. It is easy to say such choices are reprehensible, but a lot of us live in societies in which our political overlords condone such actions, and indeed our quality of life may depend on it. We just don’t quite like to talk about it.

In Dragon Commander, as a commander in chief, you are confronted with problems and opportunities that may lead you to making decisions that in real life you would never even contemplate. And yet you may well make them anyway, because they will give you the edge you were looking for. You’re trying to win a war in this game, and it’s a lot harder to live up to personal standards when all around you the enemy is closing in.

Here’s one example that caused a lot of debate to help you understand what we are talking about.

As the game progresses one of your generals will point out that when your armies conquer new land, this conquest is usually followed by widespread pillaging and abuse of women by soldiers. Clearly this is a serious but sadly all too recognisable crime that has been repeated countless times throughout history. In Dragon Commander you can choose to make a stand against this war crime by ordering the execution of its perpetrators, but you can just as well let it slide because you feel you need every last soldier for the war effort, and they can’t fight for dragon and country when they’re swinging from the gallows.

We sincerely hope that we can all agree the moral thing to do is punish those who rape; that this should be the evident and indeed only thing to do. But for us, the real problem we encountered here is that by design each choice should have gameplay consequences that fit with what gameplay mechanics are available in the game. And for decisions to have a real impact, they all need pros and cons; pros yes, even if a choice may be regarded by most as ethically despicable.

Attaching a pro in this particular example, for instance, felt wrong and for quite some time we therefore considered removing the situation from the game all together. But ultimately we decided to leave it in. This part of the game is about role playing i.e. you take on the role of somebody else, and if you decide to role play that person as somebody thoroughly evil, then that’s up to you.

The net result of this is of course that in several cases this may give the impression that we are letting our own convictions influence the rewards and penalties you reap for making certain decisions, but we really tried not to make this so. We did our very best not to judge and we simply tried to balance the game in such a manner that all choices lead to logical consequences. This wasn’t easy because logic and morality don’t necessarily add up.

Anyway, we ended up with a game in which giving your subjects license to do things that may be fundamentally wrong on all kinds of different levels may nevertheless benefit your march to victory. But, we’ll add that it is always possible to win the game by following your own moral compass, even if sometimes it may feel that’s not the case, because we did associate pros and cons to each decision, and while playing you never know what consequences are associated with the choice you didn’t make .

What direction different people’s moral needle points in is another matter entirely. Your north may be their south and vice versa. One may say that ‘one should act only according to that maxim whereby you can, at the same time, will that it should become a universal law’, but nowhere does it say that – to stay in a fantasy context – a dwarf’s view on what should become universal law does not differ fundamentally from that of an elf.

To accommodate for this we ensured that for all decisions you’ll make you’ll have vocal supporters but also even more vocal detractors. And like we said, their reactions may shock you. The intent behind that is to make you think about what you’re deciding. Keep in mind also that all situations are modelled on what we read, heard and saw in reality, a reality which isn’t always a nice place at all.
No matter what we say or write about this, we realise that what we’ve done in Dragon Commander may cause quite a stir, and may even upset people.

So why do it, you may ask. Why openly walk into a snake pit?

There are many reasons we could cite but the most important one is that we honestly think it should be possible for the medium we work with to address sensitive issues like these, using its biggest strength, that of interactivity.

Video games have come a long way in many respects; less so in others. If no one is willing to push the envelope, we might as well make another Mario again and again. Pushing the envelope in terms of choice/consequence is what we’ve tried to do, and we’ll be the first to admit that in doing so no doubt we’ve made many mistakes. Certainly, we didn’t capture all of the nuances behind each political or ethical position, because obviously, we still have to work within the constraints of our medium (and budget). But, if we managed to make a player reflect about exactly what he is doing while playing a video game, we’ve reached our goal because surprisingly, it is fun doing the right thing when you know you’re dealing with a game that’ll let you do the evil thing. It only works though, if the evil thing is really included.
We wrote this piece because this is the Internet. It is good at taking things out of context. We wanted to have a place to refer to when people address us about the choices & consequences in the game. We realize our execution isn’t picture perfect and we had many doubts about including this type of gameplay in Dragon Commander. But in the end it was doubt that we set aside, because, to quote a famous playwright: ‘Our doubts are traitors and make us lose the good we oft might win by fearing to attempt’.

Jan & Swen


Quelle: The Pitfalls of Politics & Ethics in Video Games | Swen Vincke @ Larian Studios
 
Being selective

Posted on May 7, 2013 by Swen Vincke @Larian Studios

Yes, I know. I am long overdue with this entry. But as it turns out, I too seem to be made of flesh and bones, and I really needed to slow down a bit. You can only manage that long on adrenaline alone and throughout the last months I’ve been living on awake-time that wasn’t supposed to be awake-time. So now, sadly, my body decided to reclaim some sleep-time and grounded me by giving me the mother of all colds! <coughs> Which in a way is good,because it gives me the time to pen down a new blog entry ;)

For those who don’t know the context of that last paragraph: We did a Kickstarter campaign, for Divinity: Original Sin. The goal was to collect 400KUS$. We walked away with over 1MUS$ pledged, a lot of public pressure, and tons of new ideas. It was a lot of work, with little sleep for those running the campaign, but it definitely was worth it and I’d do it again, without any hesitation.

I already wrote a bit about lessons learnt from Kickstarter here, so consider this entry the continuation of that piece, even though it’ more of an open question.

One of the things I started wondering about throughout the campaign was who we should show our games to. You see, I used to think that you should strive for maximum exposure, and try to show your game to anybody who can hold a pen or camera. But after having talked to I guess over 200 media over the last couple of months and seeing their output, I’ve actually come to reconsider that statement.

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Engagor was gifted to us by a backer. It’s a social media tool that allowed us to track how well our campaign was doing, and it also gave me insights into what media had an impact and which media didn’t. Very cool stuff.

It may sound straightforward, but I’ve come to the conclusion that it makes no sense demonstrating your game to somebody who has no interest in your type of game. At best he’ll get the facts straight, but more than often his writing will be detrimental to your cause. And so the question comes to mind – why do something that won’t do you any good?

Perhaps you think you should put up with it because said non-interested-journalist is from popular-website-X, but really, what interest do you have in having a negative article on a popular website-X? Or an article that has its facts wrong just because you and the reporter speak a different gaming language ?

If somebody doesn’t like a certain style of gameplay, he can’t write a decent preview or review of a game that features that style of gameplay. The best you can hope for is something neutral, but if it’s surrounded by superlatives for all kinds of other games, then by definition the neutral becomes negative.

So imho, in the situation where the previewer or reviewer doesn’t like a certain style of gameplay, he has no business writing about a game in that style, and you shouldn’t ask him to either. You won’t ask your doctor to do an evaluation of the quality of your house’s plumbing, even if there may be similarities in the job description ;)

Or to give another example, you don’t want me to review a FPS. I don’t play them, they’re no fun to me, so all I can do is discredit them by either writing stupidities about them or describing them in such a factual way that you’ll start wondering what is wrong with the game.

Give me a RPG though, and I’ll review it in detail and if you like RPGs too, you’ll know if this is something you might enjoy. Not so if you’d ask me to review a FPS – all you’ll know is that you can change weapons and shoot stuff, that’s about it ;)

Now if you ask my doctor to check your house’s plumbing, he’ll tell you to ask somebody else. If you ask me to review a FPS, I’ll for sure tell you to ask somebody else. So why don’t reporters do the same ?

I guess it’s because it’s their job and so they just do it, but that’s really not in the developer’s best interest. It’s also not very nice of the editor who sent them knowing that there’d be a mismatch – he or she should know better, and actually, have the decency of telling you. Of course, certain editors might tell you that you should be happy that they’ll write about you at all, but that’s really not true. There is such a thing as bad publicity.

Because the editor isn’t guaranteed to do it for you, it’s really up to you as a developer to watch out for mismatches. There’s really nothing to be won when there’s a mismatch between game and journalist, and the damage to your game may be devastating. Journalists are herd animals too and one negative article on a popular site can herald a string of negative articles, even if it’s for no good reason.

Observing the results of such mismatchs over these last months (using the Engagor tool) lead me to have my doubts about the sanity of sending out game code to anybody who asks for it. It certainly made me doubt the wisdom of pushing for previews/reviews on sites that have no natural affinity for our types of games.

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This is where the money came from on Kickstarter. Putting this together with the Engagor data showed us that some sites really aren’t worth it for us, whereas others we didn’t expect do reach part of our audience.

Of course I can’t prevent them from buying the game and reviewing it, but if they do that, I can only assume there’s an actual interest, and then it’s probably ok, though there’s still the next issue to deal with and that’s the editorial quality one.

I’m going to take an example that has nothing to do with my games, but is typical for how imho a lot of former popular publications are responsible for their own decay, and which for I don’t know what reason, really upset me today ( actually, it even got me to write this entry)

Compare this “review” to this one

Spot any differences, other than the medium ?

To my disappointment, reading the first review I learnt almost nothing, not even the name of the reviewer so I’ll refer to him as no-name. I wonder why it was even written. My seven year old does a better job at describing the games he plays, and he certainly isn’t afraid of putting his name under something he writes ;)

I know where these type of mini-reviews come from – they are born in magazine land where you try to maximize the amount of content in a limited number of pages – but really, in an online publication? It has no reason for being.

I wouldn’t have been upset if they’d called it “quick impressions” but giving it the label “review”, that was a bit too much.

Here’s the tweet that made me discover it – “After a series of delays and a Kickstarter campaign, Star Command arrives on iOS. Our review: bit.ly/YCqn1o”. I clicked on it because I was interested in seeing the difference in opinion between Edge & Angry Joe, who’s review appeared before. Watching his review had given me a good feeling for what the game is, and whether or not I’ll like it. I actually realized from this one review (the first of his I used to help figure out if I was going to get a game or not) that this man does a better job than a lot of traditional publications I know, so I wanted to compare his work to that of the legendary magazine of which I bought so many issues.

Right.

Angry Joe has a bigger audience than most traditional publications and I guess now I know why. Next time I’ll see him tweeting about a review, I’ll click through again. That’s not necessarily going to be the case for the tweets about three paragraph reviews made by no-name.

Anyway, I said to myself – if were Star Command, knowing that my game would be reviewed in such a way by no-name, would I actually send out review codes to no-name? The anwer is: probably not. Review codes really should only be sent out to people who’ll give a game a fair review, you know, of the kind that at the very least describes the game, highlights successes and failures, compares it to the state of the art, and has a subjective appraisal with the author stating his likes and dislikes, very much like what Angry Joe did… not to the 3 paragraphs ones. Yeah yeah, I know it’s idealistic.

Then the little demon inside of me asked – what if you know you made a stinker but are still trying to sell it because you need to earn money to feed your team. Would you actually send out any review codes at al? Well that’s a good question, and one I seriously hope I’ll never have to answer by not making any stinkers. I honestly don’t know what would be the best approach in such a situation, other than trying to fix what’s wrong with the game first.

Anyway, it was observations like the above one that lead me to conclude that we should start screening who we show the game to, and review the quality of their articles, prior to actually demonstrating the game to them. In the past I abstained from doing that, even when I wanted to know, but now I think it’s good practice. We’ve been perhaps too eager for attention past, and happy to show our creative babies to anybody who passed by. That delivered us some good but also quite a lot ofbad results, the most memorable one being PC Gamer UK giving Divine Divinity 56% wheras their US sister magazine gave it 84% and later put it in their top 100 games of all times. The irony ;)

Perhaps there’s another more focussed approach that might yield more benefits. I remain intrigued by the click-through numbers in our Kickstarter campaign and the link between article appearing/pledge counter increasing. It was clear who had what impact, and the results were very counter-intuitive, at least to my traditional view of games media.

To give you an example – There exists no such thing as IGN, the person. There’s only Joe, John and Daisy working at IGN reviewing and previewing games. If there’s a John who like turn-based fantasy RPG’s and played several of them, it makes sense to show him Divinity: Original Sin, if his editor will let him.

But if Joe, John and Daisy think the world ends with Assassin’s Creed and Battlefield, then perhaps we should not send a version to them, because nothing good can come from it. You wouldn’t offer mushroom-only dishes to a gourmet critique who hates mushrooms and is the editor of “fabulous cooks that don’t use mushrooms monthly” either.

Rather then than waste time on Joe, John and Daisy, we might be better off seeking out the other Gragt’s of this world, people that care about their style of game, are willing to sacrifice time to inform their audience to the best of their abilities (as in, actually finish the games they review), and ultimately feel much more genuine than most “pros”, even if they might be a bit wordy ;)

Sensible or not? I don’t know. Right now I’m mixed on the issue so different insights are more than welcome because you know what?

In a few months I’ll be sending out review codes for Dragon Commander. It’s no stinker, but I’m tending to not send out even beta-code to some of the bigger sites, because I’m afraid there’s a chance they’ll give it to the typical intern (it’s summer) who likes console racing games because big-publisher-strategy-title-whatever will come out at the same time and the “PC-strategy-specialist” will be otherwise occupied.

Let me know your thoughts!


Quelle: Being selective | Swen Vincke @ Larian Studios
 
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The Greatest Generation

By Brendan Sinclair, Thu 01 Aug 2013 3:25pm GMT / 11:25am EDT / 8:25am PDT

GamesIndustry International looks back on the past eight years as a golden age of gaming

The current generation of consoles started in the holiday season of 2005, with the launch of the Xbox 360. With apologies to the Wii U, the next generation will begin this holiday season when the Xbox One and PlayStation 4 arrive. The intervening years have been some of the most eventful in gaming history, changing and challenging our definitions as to what games are, who plays them, who makes them, and how. Whether or not these developments actually happened within the console space (and many of them did not), their impact has not been limited to one platform, or any corner of the industry specifically.

We may disagree about what we want out of games, what games should be, and what trends may be good or bad. Regardless of what our positions are on those subjects, we should be able to look back on this generation as a golden age of gaming. For posterity and perspective, here's an incomplete chronicle of events of monumental significance from the past eight years, each prefaced by some brief thoughts from industry voices with first-hand knowledge of the situation.

Steam Redefines Digital Distribution (Ongoing)

"No company is perfect, but Steam is by far the gold standard in digital distribution. Everything they do from developer support to storefront curation and planning is top notch. A game can be released on Steam and potentially make millions of dollars all without the need for a publisher and every other expensive and sometimes unnecessary obstacle developers have to overcome for other distributors."--Tommy Refenes, Team Meat

Yes, Steam was first announced in 2002, but it wasn't until 2006 when Valve really opened up the catalog to games from third-party developers and publishers. And that's when it really started to resemble the service we know today. Since then, people have essentially stopped predicting the death of PC games. And it's not because the shelves at GameStop are suddenly cluttered with copies of Surgeon Simulator 2013.

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With Steam, Valve has done as much for digital distribution as digital distribution did for it.

Steam has become a one-stop shop for games, whether it's the latest AAA release from a major publisher or a one-man indie studio with an interesting idea. Steam has become the Amazon.com of PC digital distribution (all the more impressive considering Amazon sells downloadable games itself). But there's one trait Steam shares with a brick-and-mortar titan like Walmart, and that's the demand for shelf space. So many people want their games on Steam that Valve has largely outsourced those decisions to its customers.

But Steam has meant so much more to PC gaming than just being another place to spend money. It addressed piracy. It addressed problems with patching. Like Xbox Live, it brought the social sphere into the same place as the storefront and the games themselves. And it has done all of this while maintaining a reasonably pro-consumer approach to its business (as regular customers during Steam's seasonal sales will tell you).

Guitar Hero: Birth of a Rock Star (November 2005)

"Before Guitar Hero, music/rhythm video games were not in the top 10 genres of games sold in the US. Americans didn't buy music games. By Guitar Hero 3, we sold $1 billion (with a B!) worth of Guitar Hero product. Guitar Hero became the second game to crack $1 billion sales in a single year. We heard similar stories of Guitar Hero's impact on music sales too. Guitar Hero not only changed the video game world, it shook up the music world as well."--Charles Huang, co-founder of original Guitar Hero publisher RedOctane, CEO and co-founder of Green Throttle Games

These days, the Guitar Hero name conjures up memories of closets jammed full of plastic instruments and a relentless onslaught of retail releases oversaturating the market. However,the series gave the industry much more than just a cautionary tale. In conjunction with Harmonix's follow-up Rock Band, Guitar Hero provided a compelling example of the power of social play. For a time, these rhythm games were the new karaoke, present at wedding receptions, house parties, bars, basically anywhere people converge to have a good time. And it wasn't just anywhere; it was virtually anyone. The plastic guitar was approachable enough as an interface, but it was absolutely compelling as a prop. It didn't matter how good people were at the game; everyone wanted to have a go as an ersatz Eddie Van Halen, or bust out a Pete Townshend windmill. Everybody gets the appeal of music, and everybody got the appeal of Guitar Hero.

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The appeal of toy guitars was nearly universal.

Just as important, Guitar Hero and Rock Band showed the industry that people were willing to spend a lot more than $60 on a game experience. Between the guitars, drums, and microphones, people were spending hundreds of dollars just on controllers for the game. Add to that the deluge of downloadable content (the Rock Band series has more than 4,000 songs available as DLC) and suddenly gamers were investing not just in a single game, but in multiple ecosystems, committing to peripherals for the system of their choice and a library of songs for their favorite series. Before everyone in the industry was talking about whales in free-to-play games, Guitar Hero was already proving that a particularly devoted segment of an audience could be monetized far above and beyond the price of a standard game.

Microsoft Launches Xbox 360 (November 2005)

"The Xbox 360 was a lot like the Tesla Model S - not the first product, but definitely the one that delivered on a bigger vision in a package that had mass-market appeal. It made a lot of big bets: HD graphics, broadband-connected games, and a live service that in some ways represented gaming's first social network. But these were bets that the industry sorely needed to break out of the basement and into the living room, and for eight years the Xbox 360 has delivered for tens of millions of gamers."--Peter Moore, Electronic Arts COO and former Microsoft interactive entertainment executive

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Xbox Live was the killer app of the Xbox 360 launch.

The release of the Xbox 360 had plenty of problems, from system scarcity to a weak retail lineup to faulty hardware. But it had one thing that worked phenomenally well, and that was its online integration. Microsoft completely overhauled Xbox Live for the system, changing it from little more than a persistent friends list to an honest-to-goodness ecosystem. Before Gears of War, Xbox Live was the 360's killer app. Xbox Live achievements were an instant hit at launch, changing gamer habits in powerful ways and shedding light on just how far people will go to earn virtual merit badges, an idea that would quickly spread to every corner the gaming universe. (Well, almost every corner. Nintendo, as always, did its own thing.)

The Xbox 360 launch also took Xbox Live Arcade, a forgotten experiment on the original Xbox, and used it to carve out an entirely new market of console game development. The rise in HD development costs may have killed the viability of the mid-range retail release, but early Xbox Live Arcade games like the addictive and acclaimed Geometry Wars were evidence of an unexpectedly strong market for $5 and $10 downloadable games on consoles.

Nintendo Wii Expands the Audience (November 2006)

"The Wii ushered in a new era of motion control gaming and reinvigorated the video game industry with new mainstream consumers. Non-traditional gamers from grandparents to young kids were connecting in the living room - it truly leveled the playing field for an entire household via more inclusive and interactive gameplay. Ubisoft saw the console's potential and was an early supporter of the Wii, positioning itself as the number one third party publisher leading up to and at the Wii launch with brand new franchises such as Rayman Raving Rabbids, Red Steel, and Your Shape."--Yves Guillemot, CEO of Ubisoft

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Who didn't see at least one picture like this in their newspapers in 2007?

Long before Nintendo announced the Wii's name or controller to the world, it had publicly code-named the console "Revolution." That would prove to be prophetic, as the Wii was a cultural phenomenon, hard to find on store shelves for its first three holiday seasons. It lacked the horsepower of the Xbox 360 or the PlayStation 3, but the Wii's controller--perfectly complemented by the pick-up-and-play fun of Wii Sports--made the system an ideal ambassador to expand the gaming audience beyond the core crowd.

All of a sudden, mainstream media coverage of games changed from scary stories of school shooters to soft-focus features about a Wii Sports bowling league at the old folks' home. Intuitive new interfaces became the order of the day, with Microsoft rolling out Kinect and Sony investing in Move. The Wii's appeal may have faded over the years, but the system worked wonders in changing not just the way people play video games, but the way they perceive them as well.

Apple Reveals iPhone, Google Intros Android (2007)

"A few years ago buttons on mobile phones were the only way to control the game. Nowadays, touch screen, gyroscope and GPS are an inalienable part of mobile gaming. And as the hardware gap between mobile devices and consoles is diminishing, more mid- and hard-core gamers turn to mobile. We see definite strengthening of the social aspects in the games as well, and I think this tendency will continue in the future. We were lucky enough to start working at the dawn of the industry, and it's exciting to see how impressive the changes are, and how it continues to evolve."--Efim Voinov, chief technology officer and co-founder of ZeptoLab

An argument could be made for either one of these events being the most significant event of the generation on their own, but there's been enough overlap in how they've upended the industry that we'll combine them into one write-up.

It was always cool, but the iPhone didn't become significant to gaming until the introduction of the App Store in its second year. Since the introduction of the App Store, the iPhone has realized its true potential, upending and all but assimilating three previously lucrative markets: mp3 players, mobile phones, and portable gaming devices. But perhaps the biggest contribution the iPhone made to the mobile gaming market was to formalize a cohesive ecosystem around it.

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The iPhone was always cool, but the App Store launch turned it into a phenomenon.

Prior to the iPhone, the carriers had their own scattered assortment of shops, selling games through them that may or may not work on the handset downloading them. The market was fragmented, and there were no assurances that a game would come to every carrier, or even the most popular of handsets. The iPhone and the App Store made the consumer experience as frictionless as possible in a way that no other mobile company had managed.

One of the key innovations was Apple's insistence on getting the user's credit card info, which made purchasing new apps as easy and painless as possible. Further down the road, the introduction of in-app purchasing unlocked a tidal wave of spending and solidified the domination of the free-to-play model. Apple brought ubiquity to the market, and in so doing opened the floodgates of developer support, ensuring the App Store would never lack for quantity of games.

Meanwhile, Android has provided Apple's iOS with an open-source competitor, a necessary counterweight giving consumers and developers another option for mobile platforms, and an inexpensive, open-ended, and unrestricted one, at that. A key part of the Android project was the desire to create an operating system with "no central point of failure, so that no single industry player could restrict or control the innovations of any other." If games are to realize their potential as a creative medium, developers can't always be subject to the whims of a corporate censor. Android ensures that no matter how dominant the smartphone and tablet market become in gaming, there will be a place for games like Phone Story and Endgame Syria.

Android's approach has been a success, with the operating system now in more devices around the world than iOS. However, Google's OS hasn't exactly eclipsed the competition, as Apple still takes the lion's share of revenue from mobile gaming.

The Free-to-Play Boom (2009-2011)

"Free-to-play has been successful because it acknowledges that all players are different, and it provides them a variety of ways to access, play, and purchase content. Free-to-play is beautiful in its simplicity. It democratizes and makes true capitalism out of the gaming space. Free-to-play keeps games evergreen, opens them up to a wider audience, and forces true competition. There is so much free content out there; to truly compete, you have to create great content. With great content, everyone wins."--John Smedley, president of Sony Online Entertainment

Free-to-play games have been around for more than a decade, but it was only during this generation that they really took root in the West. From the astronomical rise of Facebook games to more core-targeted efforts like World of Tanks and League of Legends, the free-to-play model has been adapted to serve essentially every audience in the industry. At the same time, it has underscored the enormous potential of social ties to enrich game experiences (to say nothing of game developers!) and provide compelling entertainment.

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Free-to-play encompasses a lot more than Facebook games now.

Free-to-play has also introduced new challenges for designers, changing the way they think about the relationship to their audience. In the most successful and enduring free-to-play games, the business model has been intertwined with the primary gameplay, but it has not been the driver of that gameplay. Designers need to give players a reason to spend their money while avoiding a pay-to-win model where only the free-spending players are enjoying themselves.
The free-to-play model has attracted legions of developers to mobile platforms, and even those who didn't make the jump are putting its principles to use on virtually every other platform where games are played. Free-to-play has conquered the MMORPG market, with only World of Warcraft still holding fast to subscriptions (and gearing up, apparently, to shift to free-to-play). Now free-to-play is coming to consoles in a big way with World of Tanks for the Xbox 360, and in the process it's already revolutionized Microsoft's processes and policies for updates. The free-to-play business model is sure to be an important part of the future of every game platform.

iPad Debuts (April 2010)

"Apple's iPhone was already well on its way to securing a foothold as one of the 'key' game platforms when the iPad hit the market, and when it did, the two Apple devices Voltron'ed into arguably the most course-altering combo in this era of the games industry. With the launch of the iPad, the floodgates swung open and both consumers and developers raced onto the platform. And although it's hard to see past the jaw-dropping financial impact the iPad had on our industry, it also had another impact: large screen touch-based (aka tablet) gaming became a platform unto itself."--Nathan Vella, co-founder and president of Sword & Sworcery developer Capybara Games

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Some mocked the iPad when it was first announced, but Apple would have the last laugh.

The debut of iOS and Android devices, free-to-play games, and the introduction of tablets are all intertwined. Each enabled the others, and the combination of them all redefined the game industry, or at least reallocated it. While the traditional console market lagged, these innovations thrived.

It may seem obvious in retrospect, but tablets were not pre-destined for success. When Apple unveiled the iPad, it was derided by many as a larger iPhone that couldn't make calls. No less an industry visionary than Jesse Schell mocked the device in a DICE Summit talk, calling it an oversized Swiss Army Knife that nobody would want, a stupid idea. Schell has since acknowledged he made the wrong call, but it's not like anybody needed him to confirm that. The iPad has already sold well over 100 million units, and an entire classification of computer, the netbook, has fallen victim to its incredible ascent.

The Kickstarter Revolution (2012)

"Every creator wants to control the manner for which they develop and to decide the future of their vision. Crowd sourced financing not only allows this control but further puts the proceeds back with the owner."--Brian Fargo, founder of inXile Entertainment

One recurring theme this generation has been the ongoing erosion of barriers to entry in the gaming industry. Games are easier to get than ever before, downloaded to your pocket for free instead of purchased at the mall for $60. They're easier to play, with designers increasingly concerned about accessibility and new interfaces allowing for those without lightning reflexes to enjoy the hobby just the same. And they're also easier to make, thanks to cheaper development tools and the advent of alternative funding for developers. And as much as Minecraft needs to be namedropped somewhere in any article about the amazing things that have happened this generation, that game's alpha-funding model has not yet proven as influential as Kickstarter's approach to crowdfunding.

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25 years later, gamers are getting a Wasteland 2 sequel because they were willing to pay for it up front.

Double Fine Productions wasn't the first developer to turn to Kickstarter, but its success on the platform precipitated two floods: one of money from fans eager for a new Tim Schafer adventure game, and one of recognizable developers Kickstarting projects they wanted to make outside of the existing publisher system. To date, the crowdfunding platform has helped nearly 2,000 development teams raise a cumulative total of $138.6 million for game development. That may only be enough to pay for a few AAA packaged console titles, but given the dramatic upheaval in recent years, the industry doesn't rely on that market nearly as much as it used to.

Kickstarter has also changed the way developers make games. Where game development used to go in a vacuum, with people working for years before any of their work was exposed to the light of day, these Kickstarted projects are more like working in a fishbowl, where developers share everything from the earliest concept art to decisions on balancing the final game. And sometimes these developers go even further, soliciting direct input from their backers and blurring long-established lines between audience and artist. It's an inversion of the traditional game development paradigm, reflecting the interactivity of the medium with interactivity in creation. And if it proves sustainable (something it seems too early to be sure of), this could change the very nature of the industry as much as any new business model or piece of hardware ever could.

This generation has not only seen the arrival of huge new platforms, but the arrival of new business models whose impact is still unfolding. Digital distribution is changing not just distribution but the nature of game designs. Free-to-play is also changing game designs, and crowdfunding is changing the entire process of development from a secretive endeavor to a group activity conducted in public.

Many of the trends here dovetail nicely, showing a sort of synergy in their impact and working together to push the industry in the shared direction of accessibility and ubiquity. In just eight years, gaming has gone from a hobby dominated by $50 retail power fantasies enjoyed in the living room and den to one with offerings at plenty of price points, enjoyable by anyone, anywhere and about almost anything.


Quelle: The Greatest Generation | GamesIndustry International

P.S.: Dass man hier nur fünf Bilder pro Beitrag anständig einfügen kann, suckt gewaltig.... :(
 
How much does your dream cost?

I’ve worked with a lot of people during my relatively short time in the gaming industry. Lots of freelancers, plenty of different organizations. I’ve been fortunate enough to work with and for a breadth of people, some great, some not so great. Stick around long enough, and you see trends in communication; now that social media is as much a part of the discourse as more formalized writing like web sites and blogs, these cycles spin up faster and louder than they once did. I have something to tell you, and you’re not going to want to hear it, but you have to. It’s important for you to understand the situation that you’re in, you person who wants to make a living writing about videogames:

You probably can’t.

It’s not really that simple, because there are a lot of different variables impacting whether or not you’ll ever be able to support yourself in a realistic way by writing about videogames, but I broke down the argument to its core in hopes of improving the chances it might seep in through your personal hopes and delusions. Let’s go over why the odds are very much not in your favor, and then let’s talk about what that means for you.

For starters, let’s be clear that I’m talking to people looking to support themselves by writing about games. “Supporting yourself” means having no other source of income and being able to comfortably and reliably pay your bills. The lower your bills, the easier it is to support yourself with any job, so those of you living rent-free at your folks’ are better off than those of you with a mortgage and children. For the sake of argument, let’s assume that you’re a person with rent, a car payment, maybe some student loan debt. You need a reasonable salary to maintain your lifestyle. Ok.

The definition of “reasonable salary” varies wildly depending on where you live. The rent on my four-bedroom house here in Durham, NC, for example, would get you a studio apartment in the Tenderloin section of San Francisco. Companies don’t typically change freelancer pay-rates based on location, however. What works in your favor is that the place you’re working for is probably in San Francisco or other city with a similarly high cost of living, so their rates are probably going to skew favorably towards those kinds of markets. It also means that if you don’t live in one of those markets, you can make fewer paychecks do more work for you. What works against you, no matter where you live, is that publications rarely pay exactly on time, and there’s pretty much nothing you can do about it. If you’re fortunate enough to fall into a “permalance” situation, where you’re staff in all but name, you can probably count on getting paid regularly enough to schedule your own finances around it. But if you’re not, you can’t. Period. If you are counting on a freelance check to come in on time before you can pay rent, you are absolutely going to find yourself screwed at some point. This is a fact of freelancing life. If you can’t build yourself a buffer of cash – from another job, from your spouse, whatever – then you are going to struggle, a lot.

“But I’m really good!” I hear you saying. “My writing gets high praise from everyone! Clearly I’ll be in demand!” Here’s something else you don’t really want to hear, but have to understand: Your talent is just one part of what gets you hired, and it may not even be the biggest part.

See, editors are positively spoiled for choice when it comes to freelancers. There are tons of you, and while some are definitely much better than others, the truth is that even if you really are That Damn Good, there are a hundred other people who are That Damn Good, too – actually, no, make that hundreds, plural. Even if you’re talented, reliable, pleasant, and experienced, there are still countless reasons you might not get work. Maybe you don’t have the expertise someone’s looking for. Maybe you don’t live in the right area. Maybe the editor just plain doesn’t like your style. Or maybe they’d rather go with the certainty of someone they worked with before. Maybe they’re just out of budget. Lots and lots and lots of reasons that really have nothing to do with you personally or your skill.

And then there are all the reasons that do. Game journalism is a very, very small world and we editors all talk to each other. If you’re a pain in the ass to work with, or really blew an assignment, or are notorious for ranting on Twitter, odds are really good we know about it. There are times we’re willing to put up with diva attitude in order to get good content, but those times are few and far between. One person’s drama is another person’s quirky personality, of course, and not everyone will view your personality through the exact same lens, but it’s another factor in whether or not you can actually do this full-time.

I am not saying any of this to discourage you into quitting. Not even slightly. I’m just trying to give you realistic parameters so that you have a better understanding of what you’re getting into. You could be really talented, know a lot of people, and still not be able to make a living writing about games. That’s not some great injustice, that’s not any kind of statement about the game journalism landscape, that’s just math. Lots of people all looking for their share of the limited amount of cash currently being doled out for this kind of work.

So, my advice to you is to have a Plan B for paying your bills. Perhaps you have a day job. Perhaps you have a very generous benefactor. Perhaps you count cards in Atlantic City. Whatever. Have a way to pay your bills that has nothing to do with your game journalism efforts. Some people will tell you to just throw caution to the wind and go all in on your dream, and sure, that’s a viable option, too. Just be very clear on just what risk it is you’re taking, though. Know how long you can stand to go without steady work. Create a bare-bones budget and stick to it. Half of your career as a writer is art, but the other half is business, and if you don’t treat it as such, you’ll be begging to crash on someone’s couch for the next six months.

Of course, if you’re the kind of person that is happy going wherever the wind takes you and doesn’t stress about having enough money for a Big Mac, then ignore everything I’ve just said and do yo thang. But be honest – very honest – with yourself about the level of poverty you’re really comfortable maintaining. As anyone who’s actually been poor can tell you, it is awful. It’s scary, and stressful, and can have serious long-term impact on your life.

Again, I’m not trying to dissuade you from pursuing a career in game journalism. Just remember that passion and talent won’t mean much when the landlord comes a-knocking. Be smart.

Quelle: How much does your dream cost? | Quest Board
 
Shockingly Short Interview: Jeremy Bernstein

Richard Dansky on August 1, 2013

One of the many things Ubi does well is fostering a community of game narrative specialists, enabling them to share expertise, feedback and ideas with professional peers who have a fundamental understanding of their tasks and challenges. Or, to put it another way, it’s nice to talk with someone who speaks your language. It’s even nicer to speak with lots of somebodies, especially when they’re cool, dedicated and talented.

And it’s especially nice to be able to talk with skilled narrative experts inside and outside the company to get their takes on challenges facing the craft. First up is the multi-talented Jeremy Bernstein, whose career has taken him from earthbound research scientist to Dead Space II, applying a little “Leverage” along the way. He has written and designed serious games about topics as diverse as congressional district gerrymandering and urban trash collection routes, and regularly speaks at conferences like the Game Narrative Summit and East Coast Game Conference.

So without further ado, here are five questions for Jeremy Bernstein:

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Who the heck are you?

I’m Batman.


I’m your worst nightmare…

I’M THE ONE WHO KNOCKS!

My name is Jeremy Bernstein. I’m a writer/game designer. I’ve worked in film, television, AAA console games, indie games, serious games and dabbled in table-top games.

Oh, and back in college, I briefly experimented with LARPing. But really, who didn’t?


Once upon a time, you were a research scientist. Is there anything from that background that applies to writing in games?

I actually find a lot of it applicable – and not just because I sometimes do serious games about science. Writing, like science, requires experimentation and iteration. You always have to be willing to try something, see if it works and, if it doesn’t, figure out why before trying again.

Obviously, this is a process to which game designers can relate…

Also, being a good scientist means having a good understanding of basic logic and interacting systems, something I find incredibly important when interfacing with programmers and game designers. You have to be able to understand your game system to write for it well. It’s also been critical on some of the serious and indie games I’ve worked on, where I’ve had to be my own QA team; being able to think in terms of controlled experiments has been invaluable.


Part of your professional portfolio involved writing and designing serious games. How does writing for those vary from writing for more traditional game experiences?

I tend to mentally divide game writing into two categories: narrative writing and procedural writing. Narrative writing is everything the player needs to know to follow and invest in the story, whereas procedural writing is everything the player needs to know to be able to play the game. There’s often overlap between the two (particularly in tutorials), but thinking in those terms keeps me focused on the function of what I’m writing. And, y’know, form follows function and stuff.

So, since serious games don’t usually have a whole lot of story, writing for serious games is primarily procedural writing, not narrative. My core job is to make sure the player understands the game system and that the learning objectives are clearly conveyed.

That said, I do always try to have my procedural writing delivered by strong, entertaining characters. I think of serious games as the spoonful of sugar that helps the medicine go down; the more fun you have, the less it feels like you’re being taught something, and the more you actually learn. Peppering dialogue with character goes a long way towards disguising just how procedural it is – and that obviously goes for traditional games as well.


You gave a talk at the East Coast Game Conference wherein you called out pacing as a key element of game narrative that can be improved. How do you reconcile pacing – something that’s theoretically about a strict schedule – with player freedom?

Well, I disagree that pacing is about a strict schedule. I think pacing is, in the broadest possible terms, about knowing when it’s time to run and when it’s time to breathe. You have to vary that up or people lose interest.

And I find that one of the biggest – and most avoidable – pacing issues I encounter boils down to ludonarrative dissonance about which of the two the player should be doing.

How many times have you played a game where an NPC says something along the lines of Hurry! The building is collapsing! but the map is covered with ammo drops, health packs, power-ups, trophies and audio logs? The story says run; the level design says breathe. Add to that the fact that the building usually isn’t really going to collapse on me no matter how many times the NPC loops their dialogue, and any sense of tension or urgency is destroyed.

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So I think making sure narrative design and game design are on the same page about pacing would go a long way. If narrative design points out that the story requires running, game design should try to avoid putting side missions there. And if game design says the area needs to be a breathing space (like an ammo dump right before a boss battle or something), then narrative should find a story reason for it.

We can’t control if the player runs or breathes, but we can certainly nudge them in the right direction.


You wrote multiple episodes of the television show “Leverage,” which centered each episode on a heist. Do you see the heist mechanic working in videogames? Are there places where it’s been done well?

I absolutely think that the heist mechanic can work in videogames. A good heist is basically an asymmetric, cooperative game (or semi-cooperative, in the cases where not everyone on the team trusts each other). The gameplay is primarily stealth, but with lots of room for good platforming, puzzle-solving or combat.

The best example I’ve seen recently is Monaco: What’s Yours is Mine.

There are interesting challenges in adapting some of the core tropes of the heist genre into videogames. These tropes work well in traditional media, but not so much in games. One such trope is The Plan. Good heist stories fetishize The Plan. The heroes have a Plan.
They will execute The Plan. Things will go wrong with The Plan, but that’s okay, because they will adapt The Plan on the fly, and that’s exciting.

You ever seen gamers try to adapt a plan on the fly? “Exciting” is not the word I’d pick. I’d go with “TPK.”

Another huge heist trope is the Con. Heist stories almost always involve some element of Con, sometimes on another character, but almost always on the audience. A Con on a character is doable, but tricky. Cons are talky, which is difficult gameplay (Monaco’s Redhead character abstracts this with a “charm person” mechanic; as I think about it, though, I’d love to try using something like Telltale’s Walking Dead engine to build a con-artist game). But the Con on the audience – the reveal at the end that what you, the viewer, thought was The Plan falling apart, was actually part of The Plan all along – is probably the biggest single trope in the heist genre. I’m hard-pressed to think of a heist story without one. But it’s easy to get away with this in a linear medium, where information disparity between characters and audience is perfectly reasonable; in a game, when the audience is the character, it’s cheating.


There’s never been a good television adaptation of a videogame, and yes, I’m including the Pac-Man cartoon in that category. Why not, and do you think there will ever be one?

First of all, 8 year-old me will defend to his dying breath the Pac-Man cartoon. Speak ill of Saturday Supercade, and you and I are quits.

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That said, outside of children’s animation, I can’t really even think of any attempts at adapting games to TV. Much of that is probably due to budget; so many popular games are sci-fi, fantasy or historical, and that don’t come cheap.

But I suspect the bigger issue is that television, at its core, is about characters. Great shows have great characters, people we willingly invite into our living rooms every week, characters we want to spend our time with like old friends. There’s a reason so many TV shows (“Cheers,” “MASH,” “Friends,” “Buffy,” “Star Trek,” “Battlestar Galactica”) are about chosen families. The characters choose each other, and we choose them.

Videogames, however, are not renowned for the strength of their characters.

Now generally that’s by choice. Videogame protagonists are often deliberately ill-defined, allowing players the freedom to make the character their own. But that approach doesn’t work in TV. We love being Gordon Freeman or Master Chief, but I can’t imagine inviting either of them into my living room week after week (You know Gordon Freeman would drink all my beer and never even say “thanks”).

Still, there certainly are videogame characters who could support a show, so I think it’s only a matter of time before someone takes a good run at it. I think the most likely way around the character problem, however, is going the transmedia route — creating a show with new characters in an existing IP universe — and if that’s not what the recently announced Halo TV series turns out to be, I’ll eat my hat.

So give it time, Pac-Fans. Give it time.

Quelle: Shockingly Short Interview: Jeremy Bernstein - UbiBlog | Ubisoft®
 
Powerpoint World Championship!

Filed in Developers' diary by Dan @ 12:18 pm UTC Aug 2, 2013

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A fetching slide from our presentation

In the last entry I covered our overall strategy and how we started to get ready for pitching the game to publishers, I talked mostly about the game demo. But there is more to a pitch than just a playable demo, it includes various documents, screenshots, artworks and most importantly a PowerPoint presentation that summarizes everything in a nice and accessible way and which may be the most important thing of all. We are going to discuss the video next time, today, I am going to submit for your reading pleasure an essay on working the PowerPoint. It’s gonna be exciting!

If you want to be successful, you have to know how to sell yourself. You know the drill: Elevator pitch, describe your project in one sentence, what are the most important features of your game… If you want your game to see the light of day eventually, you have to have all the answers at the ready. For some games, based on one or two central ideas, this can be done more-or-less easily, but it’s a daunting task for an RPG where the combination of everything that goes in is more important than any single part.

The easy answer is, of course, saying: “Our game is Like XXX, but better…” Even allowing that it’s true, it’s still a pretty pathetic thing to say. Or you can try to get your point across as you would to your buddies over a pint, but this is very risky – is the person across the table going to be on the same wavelength as your buddy? What are his tastes? Is he going to be more impressed by passion, trendy superficial slogans, or by sales statistics of similar games?

That was my biggest worry in the month leading to our trip and it made my head hurt. To think that you can ruin months of effort of many people by one ill-chosen word, misjudging your partners and their preferences, that’s awful.

The biggest problem I saw in our pitch was the very fact we are making an RPG and a realistic one to boot. For some reasons publishers do not like RPGs and try to avoid them, even though when one is published, it usually sells well enough if half decent. For this reason I put some slides at the beginning of our presentation with the aim to persuade the publishers it would be a mistake to look down on our “adult” RPG. Creating these slides was pretty hard though. Eventually they included half a dozen pictures, including e.g. 1960’s Batman and today’s Batman, or Red Sonja dueling Arnie and a poster for Game of Thrones. They were to communicate a clear message: our game is Game of Thrones, while other RPGs are Red Sonjas! Surely, there are fans who like Sonja, but most people will understand what I’m trying to tell them.

I went through a sort of first round of pitching at last year’s Gamescom when sharing info about our game with some people. The first of them, even before I started, told me: “If it’s not a Skyrim killer, there’s no point in showing it…” That felt good even though I was a bit surprised: it appears as if a few million units sold changes RPG genre’s perception among publishers and it’s going to be easier. It was. But was my defense of the genre useless? It depends. When pitching our prototype for real, I made this bit shorter, but didn’t remove it completely.

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And another one

A PUZZLE

I still had to create the rest of the presentation, showcasing our project and making totally clear what kind of game it’s going to be, why it’s going to rock, what sets it apart from other games that rock and what’s special about it. It’s important not to be too self-serving, don’t drown the audience in detail and don’t make them think you are making a niche wacky oddity for nerds.

Creating the presentation took me several weeks and it was real hell. You spend the whole day discussing the wording of your pitch with a bunch of people, some of them on the other side of globe. Is it better to describe the controls as ‘intuitive’, ‘innovative’ or ‘revolutionary’? As you try to divine what’s going to go best with your audience, you feel your mind slipping away. And believe me, it matters. When I started, my idea was: “Nobody’s going to praise you if you don’t praise yourself.” In the PR business, things are always made bigger than they really are, so I made them bigger too. Then we went through every word of it three times with several people and finally one of them challenged me: “What’s revolutionary about these controls?” And so I quickly changed ‘revolutionary’ to ‘innovative’. It should be noted though, that I really do believe that our controls are revolutionary in a way.

And it goes on like this with the whole thing. There must not be too much text so as not to be boring and to fit in the time windows, but neither too short, so as not to appear composed solely of slogans and clichés. You also have to think about the visual side. You like the result, but somebody tells you that the managers don’t care for fancy graphics and you should use Arial font to make it easy to read. Then somebody else tells you that it’s good to read but looks awful.

It’s up to you if you believe in your intuition and judgment or yield to other, possibly misleading, opinions. Often you suspect that a compromise between two opposing concepts will combine the weak aspects of both and that it would be better to have one of them executed properly than trying to reconcile them. After some time, tiredness and resignation sets in: “It’s going to be like this, or I’ll go crazy and it’s not going to look better if I keep fiddling with it!”

This is exactly what I did in the end. This moment came the evening before our departure and it was not the end. We had modified the presentation several time based on feedback from our audience. We changed the order of the slides, deleted duplicate information and even created new slides with a bunch of text about stuff people kept asking us about (and it would never occur to us somebody could be interested in that). How our tour turned out, that’s a story for another time, though.

Beside the presentation you are going to need some nice printed leaflets, screenshots and video and everything neatly packaged on an elegant USB drive. You need to make clear what you’re going to show and what’s going to be left behind. Are you going to run the video first and then PowerPoint, or do you just show the game and leave the video on the USB drive? Are you going to let them play or even leave the playable version behind? Or are you going to play and politely refuse if they ask you to have a go?

I prepared the leaflet, the USB drive looked splendid, I captured the screenshots and we desperately waited for the video to be recorded. This had to be done last, because the video is captured form the final build and the build is always final just as your plane is about to take off. But let’s talk about that next time.

Dan Vavra, Creative Director

Quelle: Warhorse studios: BLOG
 
Sid Meier's impact on gaming cannot be overstated. As one of the fathers of the turn-based strategy genre, and the designer of games like Civilization, Pirates, and Railroad Tycoon, he's established himself as one of the titans of the industry. Adam Sessler got a rare chance to sit down with Sid and discuss his legacy, his philosophy on game design, and why he's so attracted to one genre.

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00:46 - Becoming a game designer

03:04 - The influence of board games and foundation of design

04:43 - Microprose's interest in reality and their design philosophy

07:10 - The creation of Sid Meier's Pirates!

10:30 - Developing Sid Meier's Railroad Tycoon

14:07 - Civilization

18:58 - Why has Sid stuck with turn-based strategy?

23:40 - Did Sid see the gaming industry becoming this big?
 
Opinion – Ambiguous Endings Shouldn’t Be Feared

by Kimberley Wallace on August 02, 2013 at 03:45 PM

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Video game storytelling has grown tremendously. In less than 40 years, we've gone from two ping-pong paddles and a ball to full-blown narratives, multidimensional characters, and complex themes. I love watching people dissect modern games and come away with different interpretations, and that developers even hide secret messages for the most dedicated players to unravel. Despite this, many gamers haven't reacted well to non-traditional storytelling and cryptic endings.

Spoiler warning: This editorial discusses the endings of The Last of Us, BioShock Infinite, Mass Effect 3, and Zero Escape: Virtue's Last Reward.

Lately, I've noticed more and more blowback at endings that don't wrap things up in a neat little package, and instead leave gamers to make their own interpretations. Ambiguity is looked at as the ugly stepsister of endings. How dare the writers leave any unanswered questions? One of the problems with video games and why gamers yearn to have the loose ends wrapped up is the time commitment. Compared to watching a movie, there's more buildup and hype to the culmination of our efforts. Being left unsatisfied stings, especially when you've spent numerous hours with the characters and universe. Not every game should walk the ambiguity route, but I wish gamers would take some delight in coming to their own conclusions.

Take Naughty Dog's recent hit, The Last of Us. The writer made a deliberate choice to end with Joel lying to Ellie and the audience not knowing what that lie will mean for the pair. Ellie actually asks him if he's telling the truth, acknowledging to the audience that even she is speculating about Joel's motivations. However, Joel continues his lie and she responds with a simple "okay." You can take her "okay" to mean a number of things, but the credits roll leaving you with just that word. While many defended this ending, the first question I was asked by many gamers is if I thought Naughty Dog would release DLC or a sequel to "provide closure" and "wrap up the story." My response has and always will be that knowing the complete outcome would ruin it . Part of the magic is putting together all the information and interpreting those last lines for yourself. I've thought about that ending long after I saw it because it left me to connect the dots. I am satisfied by my interpretation, and don't need Naughty Dog to spell it out in order to enjoy one of the year's best tales.
Not all stories have clean resolutions, and neither do those in reality. Life is messy and complicated; journeys don't end with all the pieces in place. Some of the best writing must be analyzed, left to one's own interpretations, without having writers commit to one "right" way to take their work.

Science fiction often leaves loose ends and unanswered questions. For whatever reason, this has been met with resistance when it pops up in games. Zero Escape: Virtue's Last Reward's ending is a classic take on the sci-fi genre, yet the complaints are rampant. Many gamers thought it was simply a setup for a future game, despite it being reminiscent of many speculative science fiction stories. Few absolutes are presented in VLR; by the end, you can't trust your own thoughts, and that's where it succeeds. Did the game end where it began? Time travel is always complicated and some of the best sci-fi plays off its ambiguity.

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However, a bad ending is a bad ending, and there's no getting away from that. Just make sure you're calling out the company because it was poorly executed, not just because it's different. Fans felt like Mass Effect 3's often-debated finale didn't fulfill the cocktail of promises BioWare waved in front of them, especially regarding their own choices. The fact that fans couldn't bear any loose ends, such as not knowing the impact of the destruction of the mass relays, says something about how powerful the series' storytelling is. Nonetheless, for some the ending overshadowed the entire game. When fans have a five-year investment in a series, sky-high expectations can make ambiguity hard to pull off. This is also a two-way street, though. Fans must meet writers halfway, and allow them to experiment and not force-fed them all the answers.

As the industry grows, more styles will emerge. This makes me worry they won't be embraced because we're too rigid in our expectations, rejecting anything that turns away from the norm. Still, I'm hopeful. Over the last few years, not all ambiguous endings have been met with displeasure. Games such as BioShock Infinite inch closer to great literature and film; gamers weren't just watching and having all their questions answered, instead being invited to think through what Infinite's ending meant.

The best games spark us to discuss and analyze them with others. This is the most gratifying experience a gamer can offer and I'd hate for gamers' longing for neat conclusions to deter writers from going outside of the box. We have to be okay with not having our hands held; the writers are sharing their stories with us, and sometimes the best storytelling asks for a little more of its audience than a passive acceptance of perfectly laid out details.

Quelle: Opinion – Ambiguous Endings Shouldn’t Be Feared - Features - www.GameInformer.com
 
Trainspotting: Why Train Simulator is the Coca-Cola of games

By Rachel Weber Tue 30 Jul 2013 4:00pm GMT / 12:00pm EDT / 9:00am PDT

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Railsimulator.com's Paul Jackson on big dangerous machines, satisfying a passionate audience and zombies

In the old days train enthusiasts could usually be found lurking on railway bridges, anoraks zipped tight against the British weather, noting down details and dreaming of playing conductor. These days those same train fans are just as likely to be sat at their PC learning to drive the NKP S-2 Class Berkshire. And one of the men making those dreams come true? Paul Jackson of Railsimulator.com, home of the massive Train Simulator series.

"I think we're a niche business, but about 20 years ago Coca-Cola recognised that they'd got something like 80 per cent of their business from 11 per cent of the population," he told GamesIndustry International.

"I kind of expect us to be just like Coca-Cola, a niche business with millions of customers."

To anyone not familiar with the world of Train Simulator, or even just more used to a world of blasting aliens or fighting goblins it can seem an oddity at first. And Jackson admits that the series' core audience is made of transport enthusiasts, who come to the games looking for a very specific experience.

Train manager

Paul Jackson Esq. OBE launched Railsimulator.com in 2009, but his career started at Electronic Arts in 1988. He started at EA Northern Europe as vice president and managing director, and stayed with the company for 18 years.

Between 2005 and 2008 he was the board director and a trustee of BAFTA, and between 2006 and 2009 he served as director general of ELSPA.

"People who, like me, if life had taken another turn we'd be train drivers or farmers or pilots or racing drivers or truck drivers or something. And in my head often I imagine them coming home from the city, watching an episode of Ice Road Truckers, and then driving a ten thousand tonne train in our on sim."

But there's another audience who don't just come for the tracks, they come for the thrill.

"We have a wider group of players who play an array of management simulation titles, various types of titles, and then we have a range of fans who come to us through their passion for big dangerous machinery."

He likens it to the feeling you get stumbling off a jumbo jet at a small airport, and making your way down a set of open steps straight on the tarmac, feeling dwarfed by the massive machine you just sat for 6 hours eating peanuts on.

"And that seems to be a constantly growing and exciting group. Our audience is growing, our community is growing by 50 odd per cent a year and has done ever since we started."

But that community is one that demands a level of authenticity beyond the norm.

"Our players end up being very dedicated, very enthusiastic, and servicing them is really quite a responsibility for us to bear and we have to and we need to take that very seriously. That brings with it some pretty significant challenges, not least of which is the amount research we have to do so the sheer amount of travelling, photography, measuring even, that our dev teams have to undertake is... we ask them to do a lot."

For instance, in the last six months the dev team have taken trips to California, Pennsylvania, Germany and Japan, and wherever possible the official blueprints for a train are used, for example on the German ICE 3 express train. The company also maintains relationships with train manufacturers like Hitachi Rail Europe, National Railway Museum, and Freightliner.

But the upside of such an active community it that you can also make the most of their expertise, one specific instance Jackson mentions is when the team are researching sounds for trains which no longer run or no longer exist. Perhaps part of the secret of that symbiotic relationship is that Jackson maintains an open office door policy when it comes to the community in a way it's hard to picture many other CEOs doing.

"I've probably spoken individually to one customer or another every week for the last four years. And often every day," he explains.

"So we're able to keep incredibly close to our customers and to try and understand what they want. The key often is to back that up with heavy duty research because quite often what people are prepared to say online is different to what they really want. And so with a combination of those things we're able to hopefully define what people want and try and give it to them."

Of course, even in the world of transport simulations there have to be slight deviations from authenticity.

"What we have to do is simulate things in a way that simmers can address them. So if it takes 6 months to learn to drive a particular locomotive, or in the case of steam engines years to learn how to do that, in real life we have to shortcut that in some way and to ease the path of our players to being able to simulate that experience. It's the, as Coleridge would put it, the willing suspension of disbelief I guess, we need to try and get that balance right."

Perhaps the biggest break from the company's authenticity rules came from a surprising idea, with surprising results. Trains vs Zombies, the shuffling, undead brainchild of one of the content developers that Jackson decided to back.

"We were quite nervous, it clearly wasn't authentic, it clearly was a departure for our fan products, but the guy was enthusiastic, we wanted to give it a go, so we did it. And we put it out there at Halloween and we were a little bit trepidatious but funnily enough the reaction we got was fabulous."

"It's not our business going forwards but it does show that while we're very serious about our simulations both as developers and as customers, we're happy to have a bit of fun periodically."

That balance is clearly working for the company, it's seeing major success in its genre and has the added advantage of facing very little competition from large or small developers. As a veteran of the industry, Jackson is surprised by the situation, but not exactly heartbroken.

"I don't think that our customers have changed, I just think that the mainstream industry has stopped supporting that particular element of video gaming to any great degree. And that's something we're happy to address, bluntly. I'm very comfortable where we are."

He points out that when he started out Microprose beat EA to be the first $100 million company in the US, and did it by providing simulation style games. So if it wasn't the customers that changed, what did? Jackson admits it's something he's been puzzling over for years.

" I think at the end of the day where the industry is now in the mainstream is if it's costing you $50 million or $70 million to commission a game, we probably wouldn't start off commissioning a train simulator either," he admits.

"And so it's a change in the way we're reaching our customers through digital distribution, the breakdown of the old way of doing things that's allowing this older type of game play, you might say, to re-emerge. "

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For now the team are focussed on keeping its core technology strong, and making sure that it takes the community with it as it updates.
"If you've ever bought a copy of our core sim in the last four years, no matter where from, you will get that technology upgrade for free the next time you log onto Steam. And that's something we do that's very important to us, we hope to be able to do that forever."

As for the future? Train Simulator 2014 has just been announced and is due out in September, and during the interview he hints that the company isn't just looking at moving to new devices (a request that has come from the community) but also on creating some products that aren't just focused on trains. Jackson refuses to say much more than that, but it seems like the formula that is working for the company so far could easily be applied to a number of big, dangerous machines.

"There are big challenges ahead of us in terms of how we address our customers concerns and where we address them. They're exciting problems to have."

Quelle: Trainspotting: Why Train Simulator is the Coca-Cola of games | GamesIndustry International
 
Why Core Gamers Hate Free-to-Play

It's about trust.

by Justin Davis, July 29, 2013

What if Borderlands 2 was the exact same game as it is today, but it was free?

Imagine a Borderlands 2 experience monetized by a player economy instead of a $60 up-front fee + $60 worth of post-launch DLC. You get the full game - the complete experience. If you choose to, you can buy and sell drops on a real-money auction house, with the creators taking a 10% cut. Simple.

It sounds like a friendly, generous system. Would you play it? My guess is I lost many of you at “Real Money Auction House.”
Is there a way to make “freemium” more than a dirty word for hardcore gamers, or will we always push back against anything more than paid cosmetic options?

Let’s take a look at why so many gamers have a problem with freemium, with Borderlands 2 in the hot seat:

Immediate Hardcore Backlash

In fact, I already asked this question on Twitter. Most gamers immediately recoiled at the idea:

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These gamers are saying they wouldn’t want to get the exact same experience they paid $60+ for, completely for free. Not only would it be free, but they could actually make money selling drops for classes they aren’t playing or otherwise aren’t interested in.

Isn’t this setup superior, at least from the player’s perspective, in pretty much every way? If you are philosophically opposed to buying or selling virtual goodies, you could just ignore the marketplace and experience all that Borderlands 2 goodness that IGN awarded a 9/10, completely for free.

The truth, as you might guess, is a little more complex. Even if Borderlands 2 were balanced in the exact same way as it is now, introducing real-world dough into the equation changes the perception. And perception is everything.

Player Trust

If Borderlands 2 was free, but 2K made a little money each time players sold Eridium to one another, how long would you have to go without finding any to become suspicious?

This question lies directly at the heart of the problem many core gamers have with the industry’s massive shift towards freemium games. It’s a problem of trust. If you can’t buy Eridium, you would never become suspicious, because there is nothing to be suspicious of. But once it’s for sale, the shop’s mere existence puts the idea into your head.

Even if the Eridium drop rate was absolutely identical (remember, the hypothetical is that this free version of BL2 is exactly the same), it just wouldn’t feel as good. Players, at least some, would worry they were being manipulated. Others would hop onto forums and prove with cold hard data that Eridium is dropping at the same rate it always has. Someone else would inevitably retort that back in the “good old days” when games just cost $60, issues like this didn’t even need to be discussed. Neither group would be wrong.

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Even if you ignore real money functions, they intrude into your mind and can ruin immersion.

Even if none of this bothers you - if you’re one of the rational, data-driven gamers happy to put hours into a free Borderlands 2 - there’s still a certain grossness associated with real-money values continually intruding into your mind. When you find a truly badass weapon drop in a $60 Borderlands 2, there’s nothing but happiness. Equip it, and wreck faces.

If you find the same gun in a Borderlands 2 monetized by a player economy, you have to choose if you want to equip it, or tab over to the marketplace and see if it’s worth $5 or another amount of dough high enough to consider selling. Every awesome drop becomes a choice.
There’s a purity in playing a paid game that’s lost in most freemium alternatives. Video games are all about escapism. There’s a certain indecency to thoughts of real-world money intruding into the experience. I believe this is why many gamers prefer a $60 Borderlands 2 experience over a free alternative. Many of us will pay a higher up-front cost to protect the integrity of the play experience.

And this is why many gamers are likely to never fully embrace free-to-play. Even if it’s done right, even if no drop rates or other game balance dials have been tweaked to bring in a few extra dollars, the idea has now been planted in the player’s head. How can is a gamer ever supposed to be sure?

The Devil in the Details

And of course, far too often freemium models aren’t done right to begin with. Many free-to-play multiplayer games include a cash shop with power-up items, undermining the game’s balance. Many freemium games feature artificial barriers put up by the game designers, which players can pay to overcome. Practices like these are where the blanket fear and distrust originate from. Gamers' time is valuable. Pay up to not waste it grinding. Ick! Core gamers are a smart, plugged-in bunch that does its research. They’re a hard group to fool.

This is why some of the biggest and best freemium game success stories have come from some of the game industry’s most trusted game makers. Valve has spent nearly 20 years treating gamers right (and making billions of dollars in the process). So it’s no surprise that gamers were willing to give freemium Team Fortress 2 and DOTA 2 a shot. Valve rewarded this consumer trust with balanced and reasonable money-making mechanisms in both titles. This trust isn't something that can be bought or faked. A game maker's only option is to form a genuine relationship with its customers, instead of wallets from which to squeeze as much short term revenue per user as possible.

Core gamers are increasingly coming around to the idea that freemium game design can actually (gasp) benefit them in a few key ways, and isn't always a pay-to-win scam. In a shooter, MOBA, MMO, or any other genre that relies on an robust and active player-base, the rise of free-to-play has been a boon. Hooked on Lord of the Rings Online or Team Fortress 2 and wanna bring your buddies in? No arm-twisting is necessary. You’re just a free download away from playing together. This is a very cool and very powerful evolution of the traditional “$60 up front” model.

Other Freemium Options

Of course, the vision for a free Borderlands 2 I laid out above isn’t the only way it could be done. If the game were free, but monetized in a way other than player-sold drops, the temptation to sell a fun gun for a few bucks goes away, and the integrity and player trust in the experience could potentially be restored.

It’s a tough proposition, but there are a variety of intriguing options. A free-to-play Borderlands 2 could feature randomly-dropped keys that are used to unlock new areas of Pandora, or players could pay up to unlock them early. Slots for a 5th weapon or 2nd relic could be sold. Free raid bosses could reset once per day, or players could pay a small fee to reset them early. But perhaps the most consumer-friendly, “reasonable” free-to-play model of all is to simply charge for new content.

The problem is that consumer trust in free-to-play games, at least amongst the most plugged-in core gamers, has eroded to the point that game makers can get away with things in a $60 game that players would endlessly howl about if they tried to do it in a freemium release.
If the Borderlands 2 base game were free, but 2K was up-front about charging for new classes, multiple level cap increases, and new bosses/areas, many gamers would likely voice their displeasure.

“We don’t want to be nickle and dimed. Just charge one price and include all the classes and levels. I don’t want to get hooked and then have to pay for a Final Boss.” And so-on.

And yet, the $60 (now $30) Borderlands 2 is charging for all of these things, and Gearbox has largely been praised for their extensive post-launch support!

We now live in a time where giving gamers $75 in high-quality DLC in a paid game is good customer service, but trying to do the same in a freemium game results in distrust and derision.

Perception is everything. Freemium isn't a bad thing just because some scammy games take advantage of weak-willed players, just like $60 games aren't a bad thing just because some very bad ones are released. But for freemium games to ever make real inroads with the core gaming community, they need to find ways to make money without breaking player trust or immersion. I don't want to think about dollar bills when blasting away Skags on Pandora.

It's a tall order - I don't have all the answers. Until game makers figure it out, I'll keep buying games for full price and playing to my heart's content.

Quelle: Why Core Gamers Hate Free-to-Play - IGN
 
Enough of the games media “shock jocks”

By Rob Fahey Fri 02 Aug 2013 7:00am GMT / 3:00am EDT / 12:00am PDT

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We can't stop abusive hordes on social media - but we can stop encouraging and nurturing them for profit

Phil Fish's dramatic exit from the games industry has provoked a fair degree of navel-gazing among developers, writers and even certain groups of gamers. The basic story is pretty horrible; a talented developer who created a much-loved game finally reaches the end of his tether when a professional member of the games media makes a nasty personal attack on him, coming at the end of months of online abuse over social media from a whole host of attackers. He exits the industry, leaving it a poorer place without his creative talents. Everybody is very sad. The end.

The truth, of course, is much more complex - and even if much of the world seems to have slipped into a "let's not speak ill of the dead" mode over this entire story, it's worth bearing in mind that Phil Fish's online persona was itself abrasive, rude and combative. I've been told on numerous occasions that he's lovely in person, and have absolutely no doubt that this is true, but on the Internet, he'd never met a fight he didn't want to dive into feet first. Sometimes, he waged online campaigns that were very much justified - you'd see the occasional retweets of "#teamfish" going around at those points when he sallied forth against something or someone particularly unpleasant - but either way, he was always at the heart of mud-slinging of some form or another.

There are various phrases we've all heard while growing up which apply to a situation like that. If you can't stand the heat, get out of the kitchen; don't dish it out if you can't take it; and so on and so forth. There's something about sticks, stones and broken bones which also applies, of course. Yet even while I'm uncomfortable with the sainting of Phil Fish as an innocent dreamer who was cruelly tortured and hounded from the industry by the social media masses, I'm altogether more horrified by the sheer outpouring of hatred which is dished out by "gamers" on social media once they sense some blood in the water. Is Phil Fish guilty of being a thin-skinned man who foolishly starts fights which go on to wound him far more than his opponents? Yes, certainly. Does that excuse the awful pile-on which ensued all too regularly? Absolutely not.

Moreover, it's not like this is the first example we've had of this kind of thing happening. In the same week, we saw death and rape threats aimed at a man's family because his company made minor tweaks to weapon balance in an online game. Plenty of other game developers and representatives of game companies have come in for similar outpourings of hate and vile threats - and that's even before we get on to question of the absolutely horrific treatment of any woman who dares to stick her head over the parapet in gaming (it's often not great for ethnic or sexual minorities either). The treatment of Anita Sarkeesian in particular was an eye-opener for many people - although plenty of people kept their eyes firmly closed even in the face of that awful incident, complaining that coverage of her treatment was silencing legitimate criticism of her work (it wasn't, but way to try to deflect from the issues) or effectively saying that Sarkeesian deserved such abuse for stirring up the Internet Hate Machine in the first place (she didn't, and saying "women should shut up if they don't want to be abused" makes you as bad as the abusers).

Social media is a nasty place. We know that. It goes far beyond games, of course - politicians, writers, actors and indeed anyone in the public eye, no matter how minor, can be turned upon and hounded for the slightest perceived slip or fault. I recall being shocked and astounded a few years ago by the story of a talented young singer in South Korea who ended up a virtual recluse with a security detail outside his family's home because a group of obsessive Internet users had decided (based on maliciously placed fake information) that his university degree was a fake, and began an orchestrated campaign of hatred which spilled over into real-life stalking and threats. It turns out that I was wrong to think that South Korea was a bit crazy in this regard; it's just that, as with so many other things about Internet culture, they're a few years ahead of us. Now hate campaigns here are just as crazy and unhinged. Hurrah for progress.

The gaming world does attract more than its fair share of this kind of thing, though, largely because the gaming world continues to attract a core audience of young males - essentially the same people who are most likely to act as online trolls and abusers, it seems. It's Catch-22, of course - trolling and flaming makes the community less attractive to people from other groups (women, minorities, other demographics, etc.), which means we remain stuck with a core audience of young males, and so the cycle continues. A savvy business or development type at this point will have noticed, if they haven't already done so long ago, that this kind of toxic environment isn't just socially unpleasant, it's also extremely bad for business, since it restricts the growth of the core gaming audience significantly.

"Traditional game controllers and genres are intimidating for new audiences" is an idea we discuss quite often in gaming; it's important to recognise that those things aren't half as intimidating as being called a "slut whore" or a "fag" for joining an online game or posting a question or opinion in a forum.

What a high profile incident like the Phil Fish affair reminds us of is that it's the responsibility of everyone involved in games to work to control and limit this kind of toxic, unpleasant behaviour. We can't stop it entirely, of course - that's beyond the control of any company or individual, since this is simply a dark, nasty side of human nature we're talking about - but we can consider, as we build networks, games, online services and communities, how those are to be policed and how they contribute positively to making people feel safe and welcome as they play. We can try harder to step outside ourselves and understand that even if we're thick-skinned and unlikely to be targeted for particularly hurtful abuse, there are other people - our customers, our audience, our colleagues, our friends and family - who are not in that position, and try to build products and services that work for everyone, not just for the slice of humanity we're lucky enough to inhabit.

That goes doubly so for the media, because one other thing that has been thrown into stark relief by Fish's departure is that certain parts of the media, far from trying to clamp down on abusive or toxic behaviour and comments, have actually been thriving off it. There's a new strain of games media "personality" which has emerged in recent years which openly thrives off the primordial slime of negativity and hatred that pollutes so many comment threads and forums around the Internet - a kind of games media "shock jock", a hugely negative, cynical personality who seems to have nothing good to say about anything, who channels the cynicism and nastiness of the darker corners of the gaming world into a slicker and more carefully packaged format. Marcus Beer, who trades as "AnnoyedGamer" and dropped the offending straw on the camel's back when he called Fish an "asshole" on a GameTrailers show, is one such character - there are quite a few others who are cut from the same cloth. The online personas these people present are calculated to justify and validate the kind of gamer who participates in flinging hateful abuse at public figures within the industry.

I recall, when I first started writing about games professionally, being absolutely stunned at the existence of some really cynical and unpleasant people in the games media - people who had simply been at these jobs for too long, had fallen out of love with games but had found themselves, presumably, with no marketable skills that would allow them to work elsewhere. It was an unsettling experience to go to events or travel abroad on press tours with people whose eyes glazed over if I talked about games I'd enjoyed recently, or who openly and with curious pride announced that they hadn't played a game in years. They were always a small minority, but they were generally not very pleasant people overall and they were always around. The Games Media Shock Jocks give the same impression - disgruntled men (for they are always men) who don't like games much and seem unhappy with their lot in life, but have found an outlet in cynically stoking the fires of discontent among angry, hate-spewing teens. Awful, soul-destroying work if you can get it.

This is where I firmly believe that the games media has a role to play in fixing the culture that has come to surround games. Not just in controlling the comments threads and forums they operate, which few websites do to any degree of professionalism or satisfaction, but also - and far more easily - controlling the kind of message their employees are putting out, and the kind of culture they're encouraging. I'm not calling for censorship, but rather for stepping back from the brink of "hey, this deliberate controversy-stoking is worth a few hits!" and thinking a little about your impact and your responsibility to the wider culture of games. Stoking the fires of fanboy hatred might earn you some traffic and a little ad revenue in the short term - but in the long term, it'll help to guarantee that core gaming struggles to grow past the stunted little niche it now occupies. The "shock jocks" emerging in the games media are at the vanguard of that. Tone it down, or give up the act; there's nothing big or clever about a grown man making his living by riling up abusive teenage boys. If you're in this industry because you love games, why are you spending so much time talking about all the things you hate?

Quelle: Enough of the games media
 
Swimming in a sea of shit: Phil Fish and the Internet’s war against creatives

By Ben Kuchera, 7/29/13 at 8:55 AM

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I was somewhere outside the United States having a conversation with another critic about our respective jobs. The subject of whether we had ever thought of quitting came up, and he told me a story about sharing the death of a family member on social media, a loss that had affected him greatly.

Someone sent him the following message: “Good.” He told me that was the first time he had seriously thought about quitting, that the job just wasn’t worth the nearly constant stream of abuse you’re forced to endure online.

These are stories we rarely tell.

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What I know of Phil Fish I learned through Indie Game: The Movie, interactions on social media, and a few e-mails we’ve exchanged. I respect him creatively and as a person, although it seemed like he never met a hornet’s nest he couldn’t improve by giving it a good kick. He seemed to quit the game industry over the weekend, after having an altercation with yet another person in the press, the latest in a string of encounters he seemed to find frustrating.

He posted the following message on Polytron’s official web page:

“FEZ II is cancelled. i am done. i take the money and i run. this is as much as i can stomach. this is isn’t the result of any one thing, but the end of a long, bloody campaign. you win.”

Some people rolled their eyes. Some people repeated that same word that so bothered my friend: “Good.” A few people called him crazy. Others in the game development world nodded their heads slowly, aware of just how bad it can get online.

The horde picks up the torches

Listening to other people talk about Fish, in both good and bad terms, and what all this meant, and often brutally personally attacking him, an interview kept popping back into my head. No one who is crazy, weak-willed, or thin-skinned makes a game like Fez.

I'm going to let Dave Chappelle sum it up:

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That interview sums up the entire situation. The issue isn't with the press interactions that may have pushed Fish over this edge, or even Fish in particular. This is the sort of world we live in now. You open yourself up to constant abuse, hate speech, and hounding if you dare to release any creative work.

This goes for game developers, this goes for critics and reporters, and this goes for artists, photographers, or people making Youtube videos. It's universal. The ability to soak in, digest, and live with abuse is a prerequisite for being in the public eye, or existing online in some form next to your creations.

David Vonderhaar is the Studio Design Director on Call of Duty: Black Ops 2. Recently it was announced that a gun in the game was being balanced. “The DSR fire time was 0.2 seconds. It's now 0.4 seconds,” Vonderhaar said on Twitter. “The rechamber time was 1.0 seconds. It's now 1.1 seconds.” He also said that he didn't know if these fractions of a second are worth threats of violence.

That's not hyperbole, and in fact he was being very calm about the sort of messages he was receiving, some of which you can see in this tumblr. I want to quote a few, and I'm not going to edit any of the words or spelling. This is what we ask the people to make our games to wake up to every morning. This is their diet of fan interaction.
why do i get probation when even when the game kicks me u fucking retarded faggot piece of shit paki cunt
im going to tie you up and rape your family if you dont fix the dsr
i hope you die in the gas chambers like your parents did
It goes on and on. I'm not going to repeat the names or Twitter tags of the people who said these things, and don't comfort yourself by stating that they're obviously troll accounts or aren't indicative of what a normal day can be like for the people who make the games you play. The people who send these messages often make multiple accounts, and they understand that when you block one of their accounts it only means you're seeing their message.

This is the situation we're in: You can make yourself a bigger, more attractive target by using the safety options on social media.

I've heard these stories from so many creative people that it's hard to believe. Many, if not most, of them are afraid to talk about it, because it can often sound like someone is complaining about success. That's not what's going on, and it's important to say that money, notoriety, or other creature comforts don't excuse or make up for systemic, often focused harassment.

Abuse isn't localized, rare, or limited to one gender

This isn't something that happens to some people online, it's something that happens to everyone who has ever put any of themselves out there for public consumption. Someone on Twitter told Jonathan Blow that you can just ignore these messages.

“This is false,” he replied. “We can't choose to ignore it. As soon as the words are read, they have already hit emotionally.”

You can't give up on Twitter, because it's too good of a tool for interaction with your fans and players. You can't filter e-mail, because people send threats of violence with subject lines that sound innocuous. You just have to grit your teeth and slog through it, day after day.

“I'd like to say that none of this bothered me – to be one of those women who are strong enough to brush off the abuse, which is always the advice given by people who don't believe bullies and bigots can be fought,” writer Laurie Penny wrote in 2011. “Sometimes I feel that speaking about the strength it takes just to turn on the computer, or how I've been afraid to leave my house, is an admission of weakness. Fear that it's somehow your fault for not being strong enough is, of course, what allows abusers to continue to abuse.”

How bad did it get? “Efforts, too, were made to track down and harass my family, including my two school-age sisters. After one particular round of rape threats, including the suggestion that, for criticising neoliberal economic policymaking, I should be made to fellate a row of bankers at knifepoint, I was informed that people were searching for my home address. I could go on,” she explained.

That's the cost of the attitude that this is just something that you have to endure if you hope to be a creative mind today. I was once at a lecture with Kevin Smith, and someone asked what it was like when Ben Affleck and Jennifer Lopez were breaking up. Smith asked the audience what it would be like to deal with the tabloid press making up lies about your friends when they went through what may have been the lowest point of their lives.

We're judged on our anguish, our pain, and our worst moments, and then we're judged on how we deal with that constant judgment and pressure. We make fun of celebrities who hire people to run their Twitter accounts, but what sane person wants to spend time and brainpower dealing with the toxicity that comes from having a presence online?

This has nothing to do with politics, or gender. I know women who have been threated physically because of their thoughts on real-time strategy games. I knew men who had their spouses and children threatened, or had racial or sexual harassment thrown their way, because of review scores. This isn't new. This isn't rare. And it's not something anyone can easily ignore, or something they should expected to endure silently and gracefully.

Is it crazy for someone to walk away from this environment? Absolutely not. Asking the people who make our games to hold their breath, submerge themselves in this environment, only to judge them for gasping when they come back up for air is too much for anyone. We do it anyway, and then we continue when they walk away.

It's not about forgetting or forgiving bad behavior, or saying it's okay to lash out at writers or fans, it's about finding a shred of empathy for what so many online are asked to deal with on a daily, if not hourly, basis. We call it all part of the job, as if you're not allowed human emotions due to your success or prickly nature.

“Maybe Vahn is super patient. Maybe Vahn is super human. Maybe Vahn is heavily sedated,” Activision's Dan Amrich blogged about Treyarch's designer described above, who is forced to deal with that abuse due to a small tweak in the game. “But the fact that he focuses on the useful feedback, puts that intel to good use fixing the problem, and doesn’t irrationally lash out at the immature, whiny assholes is amazing.” Grace under that sort of fire isn't professional, it's superhuman.

Phil Fish cancelling a game isn't a win for anyone. It's another symptom of this disease. It's also unlikely to teach anyone anything. The next time someone comes up gasping for air, or finds a self-destructive way to deal with the perpetual personal war the Internet wages against creative people, we'll line up once again, ready to shove their heads back under the water.

Quelle: The PA Report - Swimming in a sea of shit: Phil Fish and the Internet’s war against creatives
 
Core gamers, mobile games and the origins of the midcore audience

By Tracey Lien on Aug 09, 2013 at 9:41a @traceylien

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The rise in popularity of "midcore" video games is partly fueled by technology advancements, increasing player sophistication and core gamers demanding more from mobile devices, according to developers from the mobile games industry.

Until the past year, mobile games were mostly associated with casual experiences and were labelled as such — casual games were found on mobile, "hardcore" games were found on PC and consoles. But the recent rise in games that identify as "midcore" is challenging the binary notion that games need to fall into one category or another, or that certain kinds of games belong on certain platforms.

As the name would suggest, midcore games fall somewhere in the middle of the casual to hardcore spectrum. The remaining criteria for what makes a game midcore aren't widely agreed upon. Some developers argue that midcore games are hardcore experiences played in casual ways (e.g. shorter play sessions, less time commitment, more social frameworks), while others argue that a hallmark of midcore is its high monetization on a per-user basis.

While the details of its definition might be disputed, its recent growth in the gaming market isn't, and the developers we spoke to about it had a few ideas as to why we've seen a recent spike in midcore games.

James Hursthouse is the CEO and co-founder of Roadhouse Interactive, the studio behind Mechwarrior Tactics, Elemental Power and UFC Undisputed. He believes there are two main forces behind the growth of midcore: device availability and demand from hardcore gamers.

"Midcore has been driven by the emergence of tablet," Hursthouse told Polygon. "It's very hard to say you're immersed in a three-in-a-row game like Candy Crush Saga, which is great on the one hand, but at the same time if you want to have a more immersive experience you can lose yourself in, then the larger screen size is part of the emergence of midcore."

According to Hursthouse, immersiveness is a key factor in midcore games — they're experiences that are complex enough that players can lose themselves in the game world. He likens the larger screen offered by tablets to the gamer's previous domain of the large television with a console attached to it. The tablet, he says, allows gamers to have that same experience away from the television.

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"I think it's more the case that people who have been gamers since they've been kids, they're starting to have kids of their own now. They're getting busy at work and they don't have the time to devote 20+ hours a week to a game," he said. "Those gamers want something they can enjoy in bite-size pieces through a device that is with them all the time."

Hursthouse says that many of the game loops and actual game mechanics in midcore games are "quite core," and that midcore mostly refers to shorter play sessions.

DeNA's Ben Cousins, who previously worked on EA's Battlefield series and recently released The Drowning for iOS, seconds Hursthouse's idea that technology is a primary driver of the midcore gaming market.

Speaking to Polygon, Cousins said mobile devices are now powerful enough to satisfy a "not-quite hardcore gamer, but certainly a gamer who appreciates depth and high-quality graphics, and perhaps an adult tone to their game, which are some of the definitions I would give for midcore."

According to Cousins, mobile devices were not powerful enough in the early days of smartphones to support the kinds of games that appeal to core gamers. As technology has advanced, more complex gaming experiences have been made possible.
"In the early years of the App Store, it was more casual and 2D-based," he said. "I think there are more hardcore experiences on the devices now made possible by the technology, and that's a trend that will continue. So I think we'll go from casual to midcore to core to hardcore to ultra-hardcore, and by the end of the day I think our mobile devices will be having really hardcore games like League of Legends or World of Warcraft-type equivalents."

But not everyone agrees that it's all about the evolving technology.

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Jon Radoff is the CEO and founder of Disruptor Beam, a studio best known for its work on Game of Thrones Ascent, a strategy game on Facebook based on the Game of Thrones book and television series. In his view, midcore isn't even a market — it's a term that executives and investors within the games industry use to describe games that have more sophisticated mechanics than have historically been in the casual games market. The rise in the kinds of games that people would label as midcore isn't fueled by hardcore gamers — he believes it's coming from the casual end.

"When you ask why didn't midcore happen sooner, I think that's part of a question of how do markets evolve over time," Radoff said. "I think it took time for people to get exposed to simpler games, and then learn the tropes and the expectations of gameplay so they were then prepared for more complex and sophisticated gameplay over time."

Radoff told Polygon that it's not primarily a technological issue but a cultural issue. The tech may have made it easier for people to discover and access games, but it has not necessarily made the games themselves any more complicated or deep — he cites board games like Settlers of Catan as complex experiences executed using simple technology.

Big Fish's VP and general manager Chris Williams is also skeptical of the claim that technology was a primary factor in the rise of midcore. According to Williams, many of the mechanics used in midcore games came from Japan where they were pioneered on feature phones as text-based experiences, so the ability to achieve depth in a game on simpler technology was already possible more than a decade ago. As for immersive mobile games with high end graphics, Williams told Polygon: "I think if people want a graphically-rich, intensive experience, they're going to buy the new console and sit down with their HD TV and get immersed. I wouldn't say it's the power of the device that's fueling midcore."

With the technology argument pushed to the side, Williams doesn't believe the market is being fueled by casual gamers becoming more sophisticated, either.

"I wouldn't say it's casual gamers getting more sophisticated because at a certain point you're going to have to a series of very polarizing decisions to make," he said. "Do they want to compete head-to-head? Do they want to come back to their game and have their village be attacked and have lost all their resources and troops? Yes or no. If no, then that's one leg of midcore chopped off.

"Is someone who started off playing a casual game going to be a guild leader in a D&D-esque game where they're hosting raids? That's hard to believe."

Like Hursthouse and Cousins, Williams believes midcore gaming is being driven by the hardcore gamers who want to have those experiences in a light-weight on-the-go way.

"So I think it's coming the other way," he said. "It's core gamers wanting the same times of social interactions and the same types of gameplay experiences — without the commitment."

Quelle: Core gamers, mobile games and the origins of the midcore audience | Polygon
 
How Wasteland 2 Will Acknowledge Gender, Discrimination

By Nathan Grayson on August 9th, 2013 at 12:00 pm.

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If all goes according to plan, Wasteland 2 will be one of the most reactive, choice-driven games to grace PCs since man first rubbed two sticks together and invented the keyboard. Everything from juicy bits of dialogue to party members to entire locations can vanish or appear in an instant, all thanks to your actions. And wastelands, well, they tend to be pretty nasty places, radiation-scorched cesspits of violence, prejudice, and, er, waste. So naturally, some characters are going to hate you for simply being, well, you. inXile’s hinted at the system in Kickstarter updates, but I found myself exceedingly curious about how it’ll all actually come together. Here’s what the developer told me.

I adore Fallout 3, but even I’ll admit that it was hardly water-tight. If you poked at it enough, you’d eventually find holes: glitches, uninteresting characters, some sloppy quests, and so on. But there was one area where Bethesda’s Fallout revival fell flat on its face that I honestly didn’t notice until someone pointed it out to me. And truth be told, that fact makes me feel a bit ashamed.

We want to be true to the individual characters, and not try to apply some sort of global morality.

No matter what physical sex you chose, the game treated you like a probably-straight male. RPS comrade and Boobjammer extraordinaire Jenn Frank pointed it out in a brilliant piece a while back, and after getting a glimpse of things from her point of view, it became glaringly difficult to ignore. Threats, reactions to my actions, the odd pick-up line – all delivered as though addressed to a default “regular” dude (especially throughout the main storyline).

That was bad enough on its own, but really the game just didn’t acknowledge much about what I was or who I was with at all. Sex/gender was only the beginning. And I think that’s a shame because a) it made the world go from living, breathing place to desert of unblinking, defective automaton dolls and b) letting people fully inhabit characters with day-to-day experiences different from their own both enriches those people and makes game characters more interesting. It struck me as a huge missed opportunity, especially in light of the fact that desperate, dog-eat-dog post-apocalyptic situations can explore these topics from angles that fantasy, futuristic sci-fi, and the real world can’t even begin to touch.

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So I was quite pleased to hear that Wasteland 2 will pay close attention to precisely that. Party composition and your various characters’ identities will be under frequent scrutiny by wastelanders’ mistrusting glares, a holdover from the real world turned up to 11 by the fact that this setting isn’t particularly kind to those who hand out free hugs with reckless abandon. Or anyone really, for that matter.

At one point during my multi-part Wasteland 2 demo session, we came across a traveling salesman straining muscles and herniating discs to get his cart out of the mud. He seemed nice enough – at least, once we freed his wares from their waist-deep grave. Apparently, however, he could’ve changed his tune in any number of ways if our party had been even the slightest bit different.

“Here’s a merchant that turns into a store if you help him get his cart out of the mud,” explained inXile president Matt Findley. “Otherwise he’s just a guy that hates you. The conversation that he has with you is really dependent on so many different factors – the makeup of the party. He has different lines if you come up with an all-women party or if there’s a really high charisma male. There are little flags that he’ll react to.”

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Wasteland 2 isn’t necessarily trying to make a statement, though. Rather, the goal is to portray a world full of interesting individuals – each with their own preferences and prejudices. This place certainly isn’t a kind one, so some will inevitably be assholes. Others might give you the benefit of the doubt simply because you’ve picked a certain sex/background or brought a certain character with you.

“That particular character loves all-women parties,” Findley continued, still referring to the merchant. “But some characters might not give any information to an all-women party, because they might have a problem with women. The idea is to make each NPC unique in their world view. A guy might be more likely to give women information or more likely to give men information. This guy specifically, I think he says something inappropriate, and then raises his prices.”

It’s an admirable attempt at infusing the world with its own internal realism, but also a risky one. What if most of the game’s male NPCs speak to women in overtly (or covertly) sexual fashions, whether being jerky or “nice”? What if a majority of characters of a certain gender or preference end up in negative roles or clustered into joke factions? Or – those concerns in mind – what if inXile ends up playing it too safe, creating an implausible wasteland of rainbow sparkles and butterfly kisses? For his part, Findley was confident that his studio has crafted a balanced, believable setting.

“We want to be true to the individual characters, and not try to apply some sort of global morality to all the characters in the world,” he said. “We want to allow the characters to be unique and to have their own world view and to be consistent.”

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But when mechanics are tied closely to character and story, sometimes certain choices can garner preferential treatment despite a developer’s best intentions. Think of morality-based games where the “evil” side grants cooler powers. That sort of thing. In these situations, it’s not that left hand and right hand have never met. It’s that they don’t quite see eye-to-eye, and the message they write together comes out muddled and sloppily skewed. Again, however, inXile is doing its best to make sure nothing slips through the cracks.
“Whatever your party makeup, however the world reacts to it, there’s nothing that’s like, ‘This is the right one. This gives you an advantage. This other one is the wrong one.’ There’s enough diversity in the characters that you deal with that no matter how it’s made up, there will be some advantages and some disadvantages,” Findley clarified.

“And then some of the reactivity is just cosmetic. It’s just changing the intro line or the exit line. If you come in with an all-women party, the only thing that might change is, when the conversation is over, he’s like, ‘Have a good day, ladies!’ As opposed to just, ‘Have a good day!’ Some of that reactivity just makes it a bit more personal, a bit more unique.”

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Topics like preference, prejudice, and discrimination won’t grind to a halt at physical characteristics, either. Wasteland’s world is quite far removed from our own, so it has its own set of histories, oppositions, and even atrocities. Various factions treat each other with utmost contempt, and those morasses of ugly, burbling hatred will color interactions between many characters, festering like a disease. Findley pointed to the Red Skorpions as an especially hateful group.

But again, it all comes down to individual characters at the end of the day. There are exceptions to every rule, and there are exceptions to those exceptions. For now, it’s just good to know that inXile is doing its damndest to carve intimate details where most developers would never even consider looking. Sometimes it’s not about the size or scope of your world. Without love for every last element – whether tiny minutiae or huge acknowledgements of the fact that anyone could be playing your game - it’s all just a giant waste.

Quelle: How Wasteland 2 Will Acknowledge Gender, Discrimination | Rock, Paper, Shotgun
 
Es gibt ihn doch noch, den echten Spiele JOURNALISMUS. Den Beitrag, der mich zum Nachdenken anregt, der nicht nur reine Informationswiedergabe ist. Der Beitrag, dem ich jedem empfehle, der intensiv und viel spielt und jedem, der daran interessiert ist, warum wir spielen und was der Kern eines Videosspiels im Bezug auf unser reales Leben ist. :)

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Smothered by Nostalgia

August 12, 2013 10:00AM PDT, Tom Mc Shea, Editor

Tom Mc Shea explores how our insatiable desire to relive the past has undercut the creative freedoms that developers need.

Nostalgia has a power over me that is is unlike any other compulsion. During my formative years, I was more likely to explore Hyrule than my own backyard, and my heart still thumps happily when that electric theme pricks my ears. Free from responsibilities, I spent untold hours with a controller in my hands, and I would love to rekindle the feelings that warmed my younger heart. But it's not possible.
Everything was so new back then, so exciting, and developers cannot recapture that wonder by resurrecting the past. Even though I am still susceptible to the sounds and imagery of my childhood, I've realized just how underhanded the business of cashing in on nostalgia has become. I no longer relish the promise of recreated memories; I just shudder.

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DuckTales Remastered is the most recent example of a game that relies on the goodwill its progenitor inspired to make it relevant today. From the moment the midi rendition of the iconic theme song started to play, visions of sitting in my friend's basement trying to overcome that treacherous Transylvania stage bounced in my head. I was hooked before I even picked up the controller. Sadly, my happy memories began to slip away once I set out on my treasure-hunting adventure. So boring is DuckTales Remastered that I began to doubt if the original was actually good, or if my childhood ignorance had clouded my judgment. Thankfully, we have a copy of the real DuckTales in our office, and it took no more than a couple of minutes for me to realize that I was right to heap such praise on these earlier pogo escapades.

Wayforward Technologies fell into a trap like countless other development studios before them. Instead of focusing on the underlying appeal of the original game (in this case, the satisfying action), they highlighted secondary pleasures such as the soundtrack and characters. It's a misstep that does a massive disservice to the source material. DuckTales hasn't stood the test of time because of its catchy tunes alone; if that were the case, we'd cherish the music but nothing else. No, it was the spelunking action that was so incredible. WayForward messed with the physics, toned down the difficulty, and transformed the thrilling original into a hollow shell of its former self. It's a superficial remastering that tries to exploit the nostalgic feeling so many people hold rather than create its own place within this industry.

And yet, I do have sympathy for the position that WayForward put themselves in. By peddling nostalgia, WayForward had to walk the line between the old-school ideals the original exhibited and the modern sensibilities we've grown accustomed to. Whereas I celebrate my memories, they were handcuffed to them, forced to deliver an experience that was both a faithful reimagining as well as a new entry that could stand on its own. There's no question that they failed in their task, but our excessive demands put them in a position where it was nearly impossible to succeed. We remember DuckTales--or at least think that we do--and believe that any developer given the chance to work with such a property should be able to improve upon an experience that we deem a classic.

Talk about an unenviable situation.

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It's because of our insatiable love of all things nostalgia that we receive such sad efforts. If WayForward had the gall to ignore the blueprint of our expectations, we would have lambasted them. How dare they deviate from the expected path? DuckTales Remastered follows the template created by the original, never offering a hint of genuine ingenuity. 2D platformer? Check. Cane hopping? Check! Globe trotting? Pattern-based bosses? Gem collecting? Check, check, and check. There's no room for deviation from the core foundation, and that's unfair. Because we're so feverishly drawn toward nostalgia, we limit the creative freedoms of developers. They build games around our memories rather than their own desires, and that means we're stuck with flat offerings that might contain the music and the characters we remember, but none of the formidable elements that can conjure lasting appeal.

The saddest part of this quixotic quest is that developers often succeed in blinding us through brazen manipulation. Problems that would be crushing in a typical game are overlooked when they're surrounded by the characters and music that we've grown to love. The Legend of Zelda: Skyward Sword contains imaginative puzzles and devious dungeons, but does have its fair share of annoying problems as well. If the endless tutorials and forced backtracking weren't shielded by the fantasy world we're so enamored with, would so many people have been as forgiving? Would people have so eagerly shelled out money to play The Simpsons Arcade Game if they didn't have fond memories of jumping rope as Lisa in a dimly lit arcade? Is there any chance Sonic would even still exist if people couldn't look back fondly at his Genesis days?

Publishers have learned how susceptible we are to nostalgia and used that power against us. Stamping a franchise from our youth on the front of the box practically guarantees that a significant contingent of people will play (and enjoy) it no matter how many problems it contains. I've been outspoken about the dip in quality Zelda has suffered, but there are few games that I'm looking forward to more than whatever form Link takes on the Wii U. I'm so drawn to this franchise that, no matter how many times I've been beaten down, I still stand back up, ready to embrace whatever comes next. This is a terrible cycle of rising expectations and crushed hopes, and I'm helpless to break free from it. I'm trapped in a cage of nostalgia, and even though the door has been left wide open, I refuse to escape.

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But we do have a choice. We have the freedom to turn up our nose at subpar efforts. Instead of forcing developers to continually try to remake our youth, we should urge them to try something new. After all, neither The Legend of Zelda nor DuckTales were trying to appeal to any of our prior memories. They were great on their own merits, and have been celebrated for more than two decades because of what they accomplished. If we stop demanding that developers must continually release sequels and that said games must adhere to a strict formula, we empower these creators to make something they're passionate about. We need to break free from the hold nostalgia has on us. Only then will we be able to see games for what they truly are, and maybe open ourselves up to entirely new experiences.

Quelle: Smothered by Nostalgia - GameSpot.com
 
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