OOPS!
Calling attention to gaming's biggest fuck-ups. 

Capcom remains undecided over Super Street Fighter IV rape price.

A recent Super Street Fighter IV-related article at Kotaku reads "Capcom is still debating whether to sell the game for the traditional price of console titles or a lower price, Killian said."

As I've said before, Capcom's so far FUCKED UP to all hell on Street Fighter IV. The game received nary an update, features minimal content compared to competitors, is littered with various grotesquely lopsided matches, and includes some of the worst 2D animation seen in a title this generation, Triple-A title or non. The game rides the fucking nostalgia wave, and we all bite into it, myself included.

We'll all buy SUPER DUPER NEATO Street Fighter IV when it releases next year, no matter the price. Capcom knows this, yet they remain hesitant to drop the inevitable price bomb. Why? They know they'll be in trouble. Has a pre-teen ever approached you, head down, hands behind his or her back, and proceeded to admit something he or she's guilty of? It's like that, but on a corporate level. 

Another theory: Capcom's waiting to see if we pull out of this recession by next year. If we do, they'll charge more. If not, they might charge a little less. 

One last theory: Capcom's checking the title over - making sure it doesn't include any potentially racist content (sup Resident Evil 5?). Somehow, Dee Jay and El Fuerte will remain. Actually, I heard in their double secret ending they both visit Mexico City. El Fuerte makes the best fried chicken in the world for Dee Jay. The government then rules the chicken so good it's illegal, and tries to arrest the duo. After running for hundreds of miles, they jump over the fence and enter the U.S. There, a reformed Abel tries to sell them life insurance. After they refuse, Rufus, now a devout Christian, eats El Fuerte's foot because he's hungry, and threatens to eat the rest unless he buys the most expensive plan from Abel. Dee Jay and El Fuerte give in, eventually gain citizenship and full-time jobs, but are unable to live comfortable lives due to mounting bills from Fuerte's constantly infected stub where his foot used to be. As they're discussing the future over a few glasses of orange soda, a newsflash brightens their screen: "Zangief reformed the Soviet Union and has fired the Omega Machine. In 30 seconds, he will effectively piledrive the Earth into the sun." THE END

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Entries in videogames (27)

Tuesday
23Feb2010

If you're going to try, go all the way.

Bukowski tickles my inspirational...whatever. Expect the ol' drunkard's ideas to meet with my thoughts on videogames and videogame writing very soon. Until then, keep this in mind:

"If you're going to try, go all the way. Otherwise, don't even start. This could mean losing girlfriends, wives, relatives and maybe even your mind. It could mean not eating for three or four days. It could mean freezing on a park bench. It could mean jail. It could mean derision. It could mean mockery--isolation. Isolation is the gift. All the others are a test of your endurance, of how much you really want to do it. And, you'll do it, despite rejection and the worst odds. And it will be better than anything else you can imagine. If you're going to try, go all the way. There is no other feeling like that. You will be alone with the gods, and the nights will flame with fire. You will ride life straight to perfect laughter. It's the only good fight there is."
— Charles Bukowski

Wednesday
17Feb2010

The power of compliments and saying "thank you." Confessions of a hardworking videogame devotee.

Disclaimer: I originally finished writing this on Friday, 22 January 2010 at 5:01 AM, but left it unpublished for reasons that escape me.

I'm not an ass any more than you. I'm simply guilty of conveying only one small piece of my personality through social media. For that, I apologize. I intensely care for the videogame industry, and seeing it drunkenly stagger towards seedy avenues of self-destruction pains me. Instinctively, and without knowing it, I formed an online presence around the idea that if we demand change we just might get it.

This is obviously very personal for me. I once believed this young medium possessed the beautiful potential to positively inspire and shape humanity in ways more profound than all other media combined, and I still do (kind of), but the naive simplicity of a path without obstructions is far, far gone. Reality, that uncaring bitch, refuses to rescind her constant bombardment of sequels, juvenile subject matter, and creativity-neutering decisions from a certain CEO whose name sounds like Kobby Botick.

But, naturally, the antithesis exists; freedom fighters who, brick by brick, are shaping the industry's path into one on which we'll all want to travel.

This is about them.

And this is from the heart.

I was having a bad morning, yesterday. Well, maybe not bad. That word's probably best suited for those whose cars spontaneously sputter and die on a crowded interstate only five minutes away from the driver's place of employment and 20 minutes past the scheduled clock-in time. Or the temp, two weeks at her position and one week away from drawing unemployment once again, who's about to play ringmaster to Another Company Presentation when she realizes her USB drive containing the entire show is sitting on the kitchen countertop at home - the exact spot she placed it before cooking breakfast for her three kids and helping them get ready for school.

But I digress. Nothing abnormal happened yesterday morning. I got up, ate breakfast (the bark-like Kashi cereal, in case you're wondering), and walked 1.7 miles in a not-very-balmy 20 degree environment to teach keyboarding/typing. The temperature didn't bother me, nor did the distance of my travel, and in no way did I feel annoyed having to teach at 9:00AM. I adore my role as an educator, regardless of class content or size. (Note: I'm a professional. Separating my personal state from my teaching abilities is what I do. So please, don't suggest otherwise.)

The morning turned depressing immediately after I woke up. The night before, new developments combined with old to break through my normally impenetrable psyche, and I felt crushingly underappreciated and undervalued. I'd rather not reveal the specifics, but I'm more than comfortable divulging the old. Some of you have heard all this before. Maybe even two or three times.

A certain developer and publisher I was employed by didn't care about me or my well being. I worked hundreds of hours month after month as a tester, and then later as a technical requirements group member, canceled plans with family and friends, and refused to make new ones in fear of having to work. It was maddening and monotonous work, but it felt good finally working in the videogame industry. But management, at any level, never thanked us. And they never said any of us were doing a good job.

It didn't take long for the atmosphere to turn sour. People started slacking off to greater and greater degrees, but still I remained vigilant. I grew up in a small town in Northwest Minnesota, just being here working on videogames was something I never thought could happen. I worked my ass off on every title I tested. I did well, too, especially when I was entrusted with being the sole person looking over a few PlayStation 2 titles. Very rarely did those games return from being submitted to Sony, and when they did, contained few bugs. But still, my managers never said "job well done" or anything of the sort. In fact, they heavily criticized me for reading game news on my computer sometimes during loading screens. Hypocrites...

During the last few weeks of my employment at this...place, I received extensive training in additional technical requirements areas, and was led to believe I'd receive a salary offer after my seasonal work ended. No one called.

Worse yet, at various points during my time at this facility, the out-of-touch salaried  producers and game designers asked me to come up with dozens of possible titles and pitch them. On one occasion I had only one day to do this. On another, I was given two hours to come up with 12. Each time I was told some were good and some were bad. "Sure," I thought, "you live and you learn." The criticism didn't bother me, and I wasn't bothered when they said none of my ideas would turn into games.

To this day the company develops sequels on multiple platforms for my favorite pitch. And I still haven't heard a single word from a member of the company. I'm not even mentioned in the credits.

But I've moved on. I'm living another dream of mine.

I'm a teacher now. Well "adjunct faculty member," to be more precise. And I get to teach a class on the videogame industry, among others.

Here's something you might not realize if you've only spent time in a classroom as a student: teaching's a rewarding timesink. I care very deeply for my students, and I always want to provide them with the best education within my means. Sometimes I get so carried away my actions may appropriately be classified as self-destructive.

Losing sleep to planning class aside, I've done some pretty strange things in my pursuit of catering to the students, most of which involving time and money. On many occasions, I've minimized my food purchases and delayed paying bills just to buy a particular game and use it in class or during the weekly videogame-themed get togethers I host (appropriately called Game Night). With money low, and parking meters requiring quarters, I've hauled multiple systems and dozens of games on foot down the 1.7 mile stretch from my residence to the school. Sometimes we only play one game on one system, and I'm fine with that. But I prefer to bring more just in case one student arrives and wants to play something different. My pack mule-ish efforts are even more rewarding when I can open someone's eyes to the wonders of videogames.

Most of the student body will never know about any of this. They'll never know how I walked the distance with sub-zero temperatures biting at my face while I carry what feels like hundreds of pounds of technology. And, like I said earlier, I'm fine with that. They don't need to know. Playing with them each week's rewarding enough.

I could go on and on about how I've written for various companies who, when they actually decide to pay you, feed you peanuts for T-bone steak work. And I could comment on the various friends, family, and friends of friends who've called my living room "home" for extended periods of time while they "work things out," and how I rarely receive any kind of compensation for my harboring. But I won't, mainly because this is what I do. If I work hard, stay passionate, and treat people with love and respect good things will happen, right?

Sometimes, though, I have a moment of weakness. And I guess it sometimes lingers, too. But true to the previously mentioned way of life, a hand appeared and lifted me up.

I've respected former videogame industry journalist, and now Irrational Games employee, Shawn Elliott for years. In many ways, he's the intelligent prankster consumed with information intake that I aspire to be, but...you know...in my own way. I'm me, of course.

Anyway, yesterday I linked him an article I wrote months ago regarding (mostly) videogame-themed Twitter accounts. He saw it, linked to it on his Twitter, and said "Thank you." Instantly after seeing this my day started to get better.

I know how silly it seems. Believe me. But it was exactly what I needed, and I'm thankful for it. A simple "thank you" from anyone would've helped, but it held deeper significance coming from someone I respect and didn't expect to hear from.

Very late that same day, James Mielke of Q Entertainment, another person I've looked up to with great respect these last five+ years, did the same. By then, the words "thank you" lost none of their significance.

Earlier that day, I linked a music playlist on my Twitter thinking maybe one or two people would listen. Turns out, my good friend, and Street Fighter enthusiast pro, Mike Ross took a peek. A little bit later he had this to say: "Carl E. Seashore once said "as is the intelligence of a man, so is his music". You clearly are on genius level kyle :)."

I was flabbergasted and thankful; very very thankful. Much respect, Mike.

Please forgive me if I sound whiney. I don't mean to. I'm not looking for sympathy. I just wanted to put this shocking turn of events on (virtual?) paper and highlight the kindness of friends and strangers. They genuinely uplifted my spirits through some very simple means that are far too rare these days.

Oh, and I also wanted to say that I'm working on shaping my online presence to better reflect my inherent playfulness. I wish you could see me as my girlfriend Nikki sees me, as a real-life Roger Rabbit.

Monday
18Jan2010

Udyr is not overpowered.

He's not. Players just need to learn how to defeat LoL's take on the Shaman/jack of all trades.

Here's an excerpt from an excellent guide on how to beat my favorite character:

"How to stop an Udyr from ganking/getting away: Use a slow or a stun.
But Udyr has a cleanse!: Have more than a single unit of cc on your team. Or use it more than once, as all CC's have a lower cooldown than cleanse. 

How to counter Udyr in a team fight: Use a slow or a stun, just like any other carry. Udyr can only do damage if he gets into melee range.


In short, pretend Udyr is like Yi, both have an effective heal, both can do high damage and rush fairly quickly at you. The key defining difference is that Udyr has a 1 second stun every 5 seconds and Yi has higher dps without a stun."

Thanks, TiredDaemon, for putting into words what I'm constantly talking about...outloud...and to myself (sometimes).

Read the rest here.

Monday
14Dec2009

From Mod to Retail: Tripwire Interactive Builds Videogame Business on Old Blueprint (You Can Too)

 People often ask me “how do I get into the videogame industry?” Having entered only three years ago, I try to formulate a response concocted from two parts quotes I’ve read and heard, mixed with one part my own story and experiences. I feel it’s a winning combination – chewy, spicy, and textured enough to reveal new flavors upon repeated tastings. If you possess the necessary cooking skills (any kind of industry experience), give the recipe a try. But keep in mind, the better you know your audience the better the dish.

Budding audio engineers, mixers, masters, noise makers, and sound mavens comprise most of mine. I know these guys and gals, and not only from inhabiting their school as a teacher. I once wore their shoes. As a student here at the Institute of Production and Recording, I wanted nothing more than to make Ben Burtt’s contribution to film audio seem tiny and inconsequential compared to my involvement in videogames.

As an outsider looking in, I obsessively approached the profession of “game audio dude” from every possible angle. I applied a critical ear to every game I played, listened and watched every interview and podcast involving an industry professional, and joined any and every relevant community. I contacted people too, asking for career advice, tips, and more contacts. And then I graduated, became an employee at Activision, and subsequently discovered people would pay me to write about videogames, another lifelong dream. I may pursue the audio career path once again in the future, but right now the student body can benefit from the information I acquired.

To my young game audio kin, I often recommend joining the modding community – groups of game designers, young and old, who take existing title assets and code and add, change, or dismantle content to suit their artistic vision. Modifications may be small – a reskinned weapon or minor gameplay adjustments, and sometimes they’re much larger – former “world’s most popular online action game,” Counter-Strike,” began as a mod in 1999.

Immeasurable experience and contacts may be gained from participating in a mod’s development, regardless of the product’s ultimate quality. All that and a self-inflicted pat on the back may be all you receive for your first project, depending on distribution, popularity, and the originality of the content. Oh well.

Copyright’s a nasty, pervasive little bugger who’ll prevent the sale of mods utilizing any number of the original title’s assets. If monetary return sounds more delectable, seek employment in the development of total conversion mods, where all assets used are original and lawsuit-free. Ideally, you want to take this route. The potential’s incalculable.

In fact, the financial success of one total conversion mod, Red Orchestra: Combined Arms, warranted the opening of an entirely new development house.

After winning the “Make Something Unreal” competition, and the $50,000 prize money, the Red Orchestra developers founded Tripwire Interactive and decided to take the “franchise forward as a retail game.” According to the company site, the subsequent release “achieved both critical and commercial success garnering several awards including “Multiplayer Game of the Year” and “FPS of the Year” for 2006.

Most recently, Tripwire developed and released Killing Floor, a cooperative first-person shooter built on a “survive as long as you can” gametype and infused with qualities most often found in role-playing games, such as class-based play, leveling, and an in-game store with purchasable guns, grenades, ammo, and body armor.

 

Pre-sales catapulted Killing Floor to...

Read the rest at IPR's Multimedia Blog.

Monday
14Dec2009

Haemimont Games Teases Competitive and Cooperative Multiplayer For Next Tropico

Tropico 3 on the PC released with no multiplayer features, and when the 360 version ships next February, it probably won't include any either.Oh well. Multiplayer's not a necessity. But what about the next entry in the series?

As part of a yet-to-be-published interview I conducted, Nikola Ikonomov of Haemimont Games teased the possibility of both cooperative and competitive multiplayer in the "next Tropico game."

Check out the question and response below:

ME: A rep from Haemimont once said "Tropico was not a competitive game, so a multiplayer mode would've been out of place in Tropico 3." What about a cooperative mode? Was that considered at any point in development?

NIKOLA: Of course we've considered lots of different ideas for a multiplayer mode, but we also knew right from the start that Tropico 3 is primarily a single player experience. Still, a cooperative mode is something very exciting and who knows, maybe for the next Tropico-game we'll consider including a mode where you'll be able to compete against human opponents.

If there's a coop mode in the next title it better also include a "lounge mode" where player dictators can mingle, relax, smoke big fat cuban cigars, and satisfy any number of vices. It's only right, right?

Friday
11Dec2009

Polish Developer Demonstrates Exemplary Videogame Design, Distribution, and Support.

Online multiplayer games like Diablo 2 and Team Fortress 2 get all the press. Years after release, their developers, Blizzard and Valve, still support the titles – adding patch after patch of ooey gooey delicious fixes and new content. The companies do this despite the diminishing financial returns yielded by improving a progressively dated title. Together, patches and discounts can reinvigorate sales numbers, evenrocket them far above the initial push, but at some point the return on investment skews towards unfavorable.  Next, a sequel or an expansion’s announced. This is the natural lifecycle of titles not built upon a subscription, and/or microtransaction, based foundation.

Other developers do this with their titles -applying equivalent love and support long after their little babies depart for new lives at market, but, like I said, Diablo 2 and Team Fortress 2 get all the press (especiallrecently). They’re media darlings. And rightly so. The former cemented itself as the definitive isometric, single and multiplayer role-playing, loot-obsessed king, and the latter masterfully balances nine radically different player classes across an ever-growing list of diverse maps and modes. Even without the irresistible visuals and sound design, both would’ve probably succeeded.

But this isn’t about those two multi-million selling champions of industry. This is about a developer and publisher from Poland showering a title from a bruised and used property with constant love and attention.

CD Projekt first released The Witcher in the U.S. on October 30, 2007, four days after the European release, and six after the Russian. Critics lauded the title’s dark tone, professional dialog, and consequence-ridden choice system, but criticized the “bulky” interface, stiff character animations, long loading times, and general title instability. Technical issues became the biggest complaint. Still, PC Gamer US called it “…an amazing achievement for first-time Polish developer CD Projekt.” and even awarded the game their prestigious “RPG Game of the Year” award. The title earned similar honors from other sites and publications, and so did its composers and the visual effects team behind the phenomenal pre-rendered seven minute long opening video.

Critics loved The Witcher, and so did gamers. In three months, 600,000 copies of the game were sold worldwide. Nine months later, a full year after release, total copies sold jumped to one million. To some developers, that’s a fraction of their twelve month sales. And to others much more fortunate, one million’s achieved in just a few hours. 24 hours after Call of Duty: Modern Warfare 2 launched on November 10, 2009, 4.7 million units of the game were sold, according to publisher Activision. Three weeks later, on December 1, publisher and developer Valve announced consumers purchased more than two million retailed copies of Left 4 Dead 2 in its two weeks at market.

Unlike the aforementioned mass market titans, The Witcher didn’t ride off an established base set by a prequel from the year before, or two years before, it didn’t have the backing of a 25 million dollar ad campaign, and the title onlyappeared on what the uninformed call “a dying platform,” the PC. Michael Kicinski, co-founder of CD Projekt, told Edge one million units “was a very ambitious goal.” “We were not sure if we could make it in the first 12 months,” he continued. “Actually, that was less than a goal, but more of a dream, I would say.”

But wait, if the title cost $11 million, one million more than the gruff, tough, and all that stuff Gears of War (which made oogles and oogles of greenbacks), did Kicinski anticipate losing money on the project? Did he expect to make it back in the long run? Or was there some kind of strange Uwe Boll hole in Polish tax law that he hoped to exploit? AH! My head hurts. For the purpose of this article, let’s just believe everything a high-ranking business official says, and that Santa and the Easter Bunny share a pint of hot chocolate and a plate of crumpets at the holiday bar during their respective offseasons.

Also in the aforementioned article, Kicinski also attributed the game’s success to the established bond between developer and consumer. “We tried to treat people well, and they’ve treated us well,” he claimed, shortly after championing consumer loyalty and the power and importance of word of mouth.

CD Projekt first treated people well by...

Read the rest at IPR's Multimedia Blog.

Wednesday
25Nov2009

Games of the Year: Osmos

Move, devour smaller creatures, get bigger and devour more. Become the biggest little glob. The lifestyle is one of nature’s most basic, and found all across the globe in jungles, forests, fast food joints, and shopping supercenters across this scale-busting nation. In Hemisphere Games’ Osmos, it’s the fundamental game design.

We’ve seen this type of play many times before, most recently and similarly in Jenova Chen’s excellent senior-thesis turned flash game turned PSN downloadable title, flOw.  But, as a testament to the beauty of creativity and know-how of each title’s creators, these two independently-developed titles share little in common beyond their foundational design.

 

Jonathan Blow, outspoken industry critic and developer of the intelligent and incomparable Braid, said this about Osmos in a September 7th, 2009 blog entry:

“Those who follow this blog know that I don’t recommend games very often. So you know that when I do, I really mean it.”

“Relatively speaking, a lot of independent game designers are trying to be experimental these days, and the problem I see with most of these games is that they don’t understand their own ideas — after playing, one feels that there was a lot of potential in the ideas that went unexplored, that the game never saw in the first place.”

Osmos isn’t like that. It starts with an idea that several games have done before: you’re a cell and you eat guys that are smaller than you in order to get bigger. To this it adds the idea that makes the game stand out: This game is going to generally adhere to the nature and feel of physics in space; for example, momentum is conserved, so you need to eject your own mass in order to move. The game then explores the consequences of these ideas and ventures through a rich territory of additions that are all naturally suggested by the game’s premise.”

“It rings with that faint and distant sound of truth: because the game is based around laws of physics, it immerses you in these and you learn something about them. Perhaps not anything you didn’t already know in an abstract intellectual way, if you took physics classes in school; but here, you get a feel for them, so they become more real, more tangible. This game can change your perspective.”

Even before I saw Blow’s enthusiastic recommendation...

Read the rest at IPR's Multimedia Blog.

Tuesday
24Nov2009

Thanksgiving Gaming in Minnesota's Northwest Corner

 

My girlfriend Nikki and I are trekking across Minnesota tomorrow to spend the holiday/break with my parents in the state's Northwest corner. It's a scenic drive until halfway when we reach the upper half of the state. There, the terrain flattens and trees disappear. I call it the North Dakota effect.

I always tell myself it'll be a gaming-free trip - a nice time to "unplug," relax, and get more in touch with my roots. But videogames always come with, and somehow I still relax and do all the things I desired when my favorite medium and obsession wasn't involved. Go figure.

This year I'm bringing my Xbox 360, Wii, and PC for the four-day weekend. It's a lot of tech to carefully pack, carry down my long apartment's long hallways, and load into my 2000 Blazer, but I find it absolutely necessary year after year, despite my initial lapses in judgement. I'm not afforded many opportunities to game with my family, other than my brother and cousin who both play World of Warcraft and anything and everything else, so I relish this rare occasion.

On the 360, I hope to organize a few games of the new Buzz TV!: Quiz World and show my dad, a lifetime car enthusiast and former street racer, Forza 3 and its extensive customization features.

The only Wii title I'm bringing back is the New Super Mario Bros. I'd love to take more with, but I haven't purchased any others for the console since Brawl. I'll gauge their interest during this holiday, and, if they are positively receptive to the Wii and possibility of playing other games, I may need to pick up one or two more for Christmas.

My PC's traveling with because I don't have a laptop and I may need to do some work. My parents have one, but their setup can't run World of Warcraft...and there I go giving myself away. In-game holiday events, no matter how trivial, are too silly for me to ignore.

Sometime after the trip's over, I'll post how everything went, and possibly an article I'm really excited about. Until then, lemme know if gaming's in your holiday schedule.

Friday
20Nov2009

Games of the Year: A Review of Left 4 Dead 2

We  didn’t ask for this, but developer, publisher, and multi-faceted industry pioneer Valve software delivered Left 4 Dead 2 barely one year after the first anyway. And company chose to do so despite the passionate and sometimes ludicrous objections from fanatics clinging to an all but bygone way of industry distribution (Valve typically spends years perfecting each iteration of a property while maintaining consumer interest in those at market with free updates and downloadable content).

Months ago, the loudest protesters received an invitation to play the title they so strongly opposed at Valve’s own headquarters in Bellevue, Washington. Shortly after, the community-driven petitions received fewer signatures and boycott groups disbanded. Valve won, but did gamers as well?

After months of waiting, and Valve playing coy drug pusher with a brilliantly concise and addictive demo, the game’s out now on both the Xbox 360 and PC. The explanation behind the death of the defying few’s doubts  is obvious now. Valve destroyed them with better game design.

The first Left 4 Dead now plays like a developer trial run. The linearity of its levels rarely encouraged exploration and/or alternative pathing – telling survivors to always find the optimal straight line in their A to B journeys and stick with it. Nothing good could ever warrant deviation. 2’s levels remain linear by design, but traveling in these expansive environments feels more organic and diverse. Repeatedly during each campaign, players must take note of their current health and inventory and decide whether or not distancing themselves from the vaguely beaten path is worth an unidentified reward that may or may not exist. Sometimes it is, and the group can move forward with greater confidence and efficiency, and sometimes people die. This risk/reward system’s present in nearly every videogame ever created (I’m aware of many exceptions, thanks), but implementation here is strikingly vital to player perceived enjoyment.

In a single-player game of Left 4 Dead 2, a risk/reward thought procedure includes few factors involving the group’s efficiency. Computer-controlled allies don’t carry throwable items like the Boomer bile, pipe bomb, and molotov cocktail, but they will find and use a chainsaw or a grenade launcher regardless of your own personal preference and capability. These teammates are stupid, too – sometimes falling from a vital location or ignoring others incapacitated by the zombie pack. Out of necessity, players must think only of themselves when playing alone. “All that matters is if I can reach the end,” they likely think.

Add a few more flesh-and-blood teammates to the mix and more factors get thrown into the risk/reward situational blender. Emotion, the bittersweet spice, inevitably slips its way in as well. Groups filled with equally capable players are rare, and at one point or another, everyone eventually debates whether or not it’s a good idea to use a healing item on the fool with a constantly dropping health bar. “Perhaps it would be a better idea to save the invaluable first aid kit and use it on someone else, someone with more kills and a greater sense of what it takes to survive,” we wonder. “Or maybe we should check in that dark corner behind the motel. I once saw a health pack there during a different playthrough.”


Undoubtedly the best campaign.

Situations like these present themselves at the end of every bleak corridor and inside each brightly outdoor environment in Left 4 Dead 2. From the small, “this zombie will hit me in maybe three seconds, but one might hit me from behind in two…what should I do?,” to the big, “I’m at the end of the level and all of my friends are lying on the ground getting attacked by everything. Do I save them or leave?” Valve’s successes in inserting these moments dictate the game’s unexpected achievements in playability. Don’t be fooled, the zombie apocalypse is just pretty packaging.

As I stated earlier, the title’s levels are brilliantly crafted environments that allow the intended gameplay design to work exceedingly well. The craftsmen themselves deserve substantial credit, but will probably receive very little from those outside their field. It’s okay, guys and gals, few realize the visual splendor of films like Brokeback Mountain and 25th Hour are due to cinematographer Rodrigo Prieto’s involvement.

Making the level designers look even better...

Read the rest at IPR's Multimedia blog.

Thursday
19Nov2009

Digg users express (justifiable?) concern over site’s front page ads.

Popular social news site Digg.com targeted its tech-savvy, mostly left-wing,sensationalism-devouring audience and repeatedly bombarded them with a Dragon Age: Origins-riddled front page. Almost no corner of the site remained untouched by the Bioware-developed and Eletronic Arts-published videogame. A site width-equivalent banner brightened the Digg sky, another rested in the upper-right quadrant (below relevant site articles featuring the title), and, sitting incognito among the up-and-coming new items on the left-center,  a sponsored item lie in wait, ready to pounce on an unsuspecting reader not privvy to new age marketing techniques. The ad looked like any other news story, and users could even promote it with a Digg, but the thin black line encasing the item, complete with squint-or-you’ll-miss-it “sponsored by…” text, indicated presence was not earned through the site’s typical user-submitted and user-endorsed foundations.

Users felt betrayed by their site; their internet communal home to which they contributed content and maintained through Digging the articles of others. “I helped build this and now a part of it is mine!” they might’ve thought, despite never paying a dime to upkeep the site and pay for an eventual expansion. The opportunity to comment and become an identifiable Digg “star” for submitting popular articles only ensured a pervasive deep-seated sense of ownership.

This “for us and exclusively by us” mentality held by the privileged and informed internet power user clique doesn’t pay Digg’s multi-million dollar bills. According to a December 18, 2008 report from BusinessWeek, the 2004 internet start-up from founder Kevin Rose lost $4 million on $6.4 million of revenue in the first three quarters of 2008. The business model needed to change, and Chief Executive Officer Jay Adelson knew it. On December 2 of the same year, a few weeks prior to the BusinessWeek article, Adelson announced the site was no longer for sale, and that it would shift its focus to “building an independent business that reaches profitability as quickly as possible.” As we all know, one way to boost revenue is by selling more adspace, and that’s what Digg’s doing.

But at what cost? Chas Edwards, Chief Revenue Officer at Digg updated his blog with a post called “EA’s Dragon Age: Content and Ads Working Well Together” and wrote: ” EA is promoting Dragon Age on Digg with Digg Ads units on the homepage. At the same time, reviews of Dragon Age (this one from Joystiq) are also making their way to Digg’s homepage organically, based on votes by Digg readers.” Below the aforementioned text he added this picture (below).

Finally, Chas commented ” I love it when this happens. You know you’re serving relevant ads to an audience when that audience votes up the brand or product on its own,” and disclosed his employment with Digg.

Chas may be right in his observance of the ad relevancy, but...

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