Archive for September, 2008

20
Sep

Bejeweled is inside World of Warcraft

This makes my head spin:

Where will PopCap Games’ megahit puzzle game Bejeweled pop up next? Would you believe … World of Warcraft?

A version of the match-three game is set to launch next Thursday within the World of Warcraft MMO (massively multiplayer online), letting players kill time with puzzles during raids and long stints farming rare items.

Guess what kids, WOW is now a gaming platform inside of a game.

And PopCap seems to get it:

Using World of Warcraft’s mod tools, Fromwiller built a surprisingly convincing copy of PopCap’s game, which he called Besharded. His feat did not go unnoticed by the Seattle-based publisher of the original.

“[Besharded] was cool and fun, but not very polished, so we reached out to the gamer in question and hired him to do an official version of Bejeweled for WoW,” PopCap representative Garth Chouteau said in an e-mail to Wired.com.

It’s a genius example of in-game marketing that not only works, but actually adds value. Now we just need the WOW themed Peggle.

14
Sep

EA makes a Spore choice for DRM

  There’s a war raging over at Amazon right now as a loosely organized group of frustrated users are using the Amazon rating system as a way to voice their deep disappointment with the DRM that’s being used on Spore.

If you haven’t been following along, the “copy protection” that was implemented on the product doesn’t allow more than one user to play the game, and won’t let you install the game more than three times before you have to start calling up EA and asking for permission to reinstall a game that you bought.

imageWhile they may be well within their rights to do that, it’s also a clearly a swipe aimed at limiting the games function for legitimate users, and not about stopping people from playing the game without paying for it. DRM mostly inconveniences legitimate users most of the time, so to go to the next level and do that intentionally is mind boggling. At the end of the day they’re saying that their solution to a world where everyone can easily copy everything is to let you own nothing at all.

With negative comments being deleted by Amazon, it’s becoming a high profile street battle over one of the most hyped games of the year. Although looking through the ratings it’s clear that there’s some thinking going into the comments beyond a  simple “DRM sucks” response. And you don’t have to have more than a passing understanding of how social media works on the web to know that any attempt to shut it down through brute force are only going to give the issue more attention.

While arguments can be made about the effectiveness of this kind of protest, at the end of the day EA is attempting to use a Shock Doctrine tactic of limiting the user experience under the umbrella of piracy.  And that’s a damn shame, because on some level the product itself already has a lot of organic anti-piracy features built into it. There’s a great deal of shared user content, and it would be easy enough to simply lock out the pirates from getting the tastiest morsels of gameplay, turning the copied product into a hobbled demo that leaves the pirates on the outside looking in.

EA has claimed that long-term they’re thinking of Spore as a platform that will allow for other gamers. But the whole idea of the platform model is getting the software into the hands of the players, and then charging them for a variety of experiences. Giving someone a razor and telling them they’ll need to beg for permission to use more blades after the first three is absolutely not the way to make that model work.

08
Sep

Mercenaries 2: Broken to Greatness

image I was a big fan of the first Mercenaries game. Although there had been a few previous attempts to use and recreate the mission-driven, vehicle oriented, “Sandbox” style gameplay of GTA3, Mercenaries was one of the first to successfully transplant it into a radically different genre. It was a logical leap, but by turning GTA’s metaphorical urban war-zone into a literal one, it gave the player a wider variety of (mostly military) toys to play with, along with bigger targets to blow up. And instead of your amoral actions just pissing off an ever present police the player had to deal with their own shifting loyalties to the different factions that inhabit the world. While it was a little rough around the edges, it was a genuinely unique attempt to move open-world gameplay one step further.

Three years and numerous delays later we finally have the next-generation sequel: Mercenaries 2. And the game is big mess. Buggy, unpolished, and a little threadbare, the game has all the elements of a colossal failure, and yet somehow, when it works, it works beautifully. You can see the game’s ass hanging out in the breeze, and yet it’s impossible not to find yourself noticing that, for all that, it’s a pretty gorgeous ass.

There’s nothing in this game that’s truly polished: Objects often float in the air, and characters get stuck in the walls. The AI is bone stupid, weapons don’t work quite the way they should, and the interface is a disaster of non-standard choices, combined with pure moments of frustration. But here’s the thing: It bends like a hot rubber band, but it almost never breaks. Do whatever you want within its world, take advantage of the glitches, cheat your way to victory, but the engine doesn’t ever totally collapse. It feels like the whole world is tilting over into an inevitable crash or dead end, bit somehow the game rights itself and keep on chugging along. And for a game where 99% of all the objects in the world can be blown up, that’s no mean feat.

If GTAIV is a Ferrari, clean, smooth, and fast, then Mercenaries 2 is the old Dodge truck, complete with cheap Earl Sheib paint job. It’s dependable and tough, even if you can still see the rust underneath.

And the game does feel old in places. Despite the glossy textures, it has a decidedly last gen feel. Characters slide around the world, rag dolls go ridiculously limp, and things that should be fully animated just aren’t.

image So why does it work? It’s clear that at some point the developers decided they’d make as much cool stuff as they could, then fix it just enough to make sure the game never breaks too badly. And while that sounds like a recipe for disaster I can’t help but wonder if it might be better if we didn’t have more games with this can-do aesthetic.

Don’t get me wrong, polish is important. And it’s probably true that for most developers failure on this scale would probably mean the game would never get released. But compare it to a failed AAA wannabe like Too-Human. It’s clear that at some point the developer of that game decided the best course of action was to simply remove what didn’t work, and the resulting game ended up being an obviously good idea that’s simply too full of holes to be fun.

In the end, there’s something almost magically old-school about Mercenaries 2. A kind of digital brashness that we see less far less of on the consoles than we used to on the PC. I can’t help but wish for more of it.

07
Sep

Reviewing Video Games: You really should have been there

image Laurie Anderson once said, “Writing about music is like dancing about architecture.”

While that’s a clever analogy, it’s also not quite as deep as it sounds. Music is, after all, a written, linear experience. It has lyrics, and occurs in the same exact sequence every time we experience it. Words alone may not capture the experience directly, but there’s a sort of purification that happens as you describe one experience in another medium that can make it effective in communicating our thoughts to someone else. And if all we talked to each other about was about talking it would be a pretty boring world.

But writing about video-games… that’s a bit more difficult. It’s more like writing about a live concert. To get the full effect, you really have to be there. Because they respond to our input directly video games are a unique experience every time you play them. Some games take more or less advantage of that, but people connect (or disconnect) with games for reasons that go far beyond what traditional linear media provide. So when someone is writing about a game they’re not just describing what happened, they’re telling us what happened to them.

Recently an public relations executive posted an email complaining that video-game reviews have essentially failed the industry. His main issue is that, by not factoring in the difficulty of development into the equation, the reviewers are doing a disservice to the games that they’re reviewing. His position is somewhat more nuanced, but it’s not the game reviewer’s responsibility to try and bring in the larger context of a video game anymore than a movie reviewer should be worried about how difficult it was to direct a movie-star, or the quality of food at the craft services table.

But there is a larger point here. How can you parse out an experience that personal in a way that allows the reader to understand whether or not they will connect to it in a way that a reviewer might not? It’s a tough challenge, more so in the sense that if the user is given a set of incorrect pre-conceptions about how to play a game that will have a far bigger effect than lowered expectations on an album, book, or film.

And a good review shouldn’t tell a player how to think. Instead, it should give them the tools they need to help them decide whether or not to spend their most valuable assets on an experience; time and money. And while all reviews are going to reflect the ego of the writer, it does seem that many reviewers in our industry think that it’s their job to make some kind of definitive statement on whether or not something should be played, rather than become part of a larger conversation. In those cases they may also forget to tell the player about whether or not the gaming is working on a basic level.

01
Sep

You Don’t Know What You Really Want

The speech at Penny Arcade Expo ended up being full to overflowing, and it turns out that Gamers weren’t the only people in attendance. There was some press as well.

One might not expect the producer and designer of the original Petz to attract a big crowd at the hardcore gaming celebration that is the Penny Arcade Expo. However, Andrew Mayer’s “You Don’t Know What You Really Want” panel attracted an overflowing crowd to the “Wolfman Theatre,” with additional attendees waiting outside hoping to fill any seats vacated mid-presentation.

Thanks so much to everyone who came. I promised that I’d put up my slides, and here they are.
PAX 08 - You Don’t Know What You Really Want

I’m also going to be doing some more detailed posts on the topics I discussed at presentation over the next few weeks, so stay tuned.

Feel free to use this post as a conversation thread if you have any questions, or just want to rant.




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