A brief aside

I just want to take a minute to quote this comment from RPS:

Jim Sterling really ought to be stood down from his job at Destructoid – he’s totally hateful and mysoginistic, as a recent public Twitter spat between him and Auntie Pixelante’s partner has proved. I won’t be reading Destructoid until they eject the idiotic, infantile shithead from their payroll.

That's what I think, too. I stopped reading Destructoid altogether because that professional troll annoyed me so much. That's the reason I haven't written any "Jimbecility" posts tracking his insane foulmouthing for months.

Speaking of losing readers by the hundreds, did you know you can keep reading Kotaku without the annoying new layout if you type "UK" or "CA" in front of the url? Just try it:

http://uk.kotaku.com/

http://ca.kotaku.com/

Luckily we don't have to worry about anything like that because we don't have any readers.

Xbox exclusivity?

Now we know why Microsoft is charging you more for your Xbox Live subscription (if you live in North America or the UK):

Now in 2002, it was strictly multiplayer gaming. Now we get those Call of Duty map packs before anybody else does. We’ve got Gears and Halo, of course, as exclusives. We continue to get exclusives on the service as well. And we’ve gone from 400,000 members in our first year to 25 million.

Well, if I were an Xbox player, I wouldn't think "oh, I love these games but I don't want anyone else to play them". That would be selfish and stupid. But Microsoft is paying millions to developers so they don't sell PS3 versions. Do Xbox players get any real benefit from this? No. Microsoft does.

Also, an Xbox player has Gears of War and Halo. Microsoft could easily release Halo for PS3, but they don't want to, because it's all about strengthening the Xbox brand and hurting the competition. Does that benefit Xbox players at all? No. That's only good for Microsoft.

If Microsoft is the one reaping the benefits, why should the players pay for all that exclusivity nonsense? Are you kidding me?

'Please pay us as much as you can!'

One of the latest, most disturbing trends is to lock away some functions of the game if you buy an used copy. Publishers are getting bolder every day, so now a THQ employee has even said that buying second hand games is "cheating". They want people to pay $60 for every game.

Well, they still don't understand that some people will never pay $60 for a game. I know I never do: I wait until they they hit the bargain bin and cost 15 € (about $20) before buying anything. Anyway, for many people the basic economics for the current way of making second-hand games available is this: a kid pays $60 for a game, finds out that he doesn't like the game for whatever reason, sells it back, and then he buys another one. Do you see a pattern? If he can't sell the game, the chain is broken. A game sale disappears. Furthermore, he'll never buy the game in the first place because he knows that if he doesn't like the game for some reason, he'll be screwed. In the "best case scenario" for the games industry, he'll wait until the game costs $20-25 like I do.

Is it so hard to understand why this "preventing used games sales" will only bring harm to everyone? Also, it doesn't make any sense and goes against what we've been doing for centuries. Just imagine that you go and buy an used car from some guy. You sign the contract, the seller hands you the keys for the car... and then he says, "oh, there's one more thing. The "extra storage function" is only available for first-time buyers. That means that you should go to your nearest Ford dealership and pay them $3,000 to get the trunk key."

Can you see yourself in that situation? And can you imagine doing anything else than punching the seller's face straight away?

APB sucks... so you know what comes next

I was really hoping for APB to be great, but then I tried the open beta-thing "Keys to the City" event... and what I found was truly horrible. Awful driving, bad shooting, boring missions, long loading times... I didn't want to write specifically about it here because I couldn't even keep playing for long and you know, it was just a beta, though it didn't seem too likely that they could fix all the major problems in time for the real release.

So it's not a surprise that the game tanked, so now the developer is firing everybody. It's sad, but as I usually say, if you make really bad games you'll go under.

After getting this bad news for Real Time Worlds, a former employee has written about it from an insider perspective in the comments section of Rock, Paper, Shotgun. It looks calm and impartial enough, unlike the comment from a former Obsidian employee who crapped on the game as soon as he found the first bad review for it.

Well, I'm not against snitching, but please let a game live or die on its own terms, and then tell us. Don't land the killing blow on it... What if you are wrong? And in the case of that Obsidian guy, he certainly was.

So here's the comment in its entirety. Why not?

What a fucking mess. I’m ex-RTW.

An outcome like this wasn’t desired by anyone at RTW, but game development is a weird business. A game can play poorly right up until only a few months before release, for a variety of reasons – Crackdown was awful right up until a month or two before it came out (some would say awful afterwards, too, but I’m trying to make a point :). Knowing this, it can blind you to a game’s imperfections – or lead you to think it’s going to come right by release. You end up in this situation where you’re heads down working your ass off, not well able to critically assess your own product. APB itself only really came together technically relatively late in its development cycle (and it still obviously has problems), leaving too little time for content production and polish, and lacking any real quality in some of its core mechanics (shooting / driving). It’s not that the team was unaware of these huge issues, but a million little things conspire to prevent you from being able to do anything about them. It can seem difficult to comprehend, it certainly was for me before entering the industry – ‘How did those idiots get X wrong in game Y?’. No team sets out to ship something anything less than perfection, but projects can evolve in ways that no one seems to be in total control of. All that said, it was pretty clear to me that the game was going to get a kicking at review – the gap between expectation and the reality was huge. I wasn’t on the APB team, so I played it infrequently, during internal test days etc. I was genuinely shocked when I played the release candidate – I couldn’t believe Dave J would be willing to release this. All the issues that had driven me nuts about it were still there – the driving was poor (server-authoritative with no apparent client prediction, ergo horrendously lag intolerant), combat impact-less, and I found the performance of the game sub-par on what was a high-spec dev machine.

But the real killer, IMO, is the business model. This was out of the team’s hands. The game has issues, but I think if you separate the business model from the game itself, it holds up at least a little better. A large scale team based shooter, in big urban environments, with unprecedented customisation and some really cool, original features. The problem was that management looked at the revenue they wanted to generate and priced accordingly, failing to realise (or care) that there are literally a dozen top quality, subscription free team based shooters. Many of which, now, have progression and persistence of some sort – for free. The game would have been immeasurably better received it had simply been a boxed product, with paid-for in-game items, IMO. This may not have been possible, given what was spent on the game and the running costs, but the market is tough. You can’t simply charge what you feel like earning and hope the paying public will agree with your judgement of value. Many of us within RTW were extremely nervous at APB’s prospects long before launch, and with good reason, as it turns out.

They also failed spectacularly to manage expectations. When Dave J spoke out saying there would ‘not be a standard subscription model’, he unwittingly set expectations at ‘free to play’. When it’s announced that we’re essentially pay-per-hour, we get absolutely killed in the press, somewhat understandably. The game also announced far too early (though it kept being delayed), and had little to show but customisation for what seemed like years, largely because internally we (correctly) judged it to be the stand out part of the game. But we should have kept our powder dry. Our PR felt tired and dragged on and on, rather than building a short, sharp crescendo of excitement pre-release. We also went to beta far too early, wiser heads were ignored when it was pointed out that any kind of beta, even very early beta, might as well be public as far as generating word of mouth. The real purpose of beta is publicity, not bug fixing. We never took that lesson on board. We also made the error of not releasing fixes externally to many of the issues early beta testers were picking up, keeping the fixes on internal builds, I presume to lessen the load on QA. This simply meant that to early beta testers, it looked as though we were never bothering to fix the issues they found, when in fact, they were being fixed, simply being deployed back into beta very infrequently. This lesson was eventually learnt, but only after we’d pissed off a large number of early-adopters.

The sheer time spent and money it took to make APB is really a product of fairly directionless creative leadership. Certainly Dave J has great, strong, ambitious ideas for his games. But he’s a big believer in letting the details emerge along the way, rather than being planned out beyond even a rudimentary form. For most of the lifetime of APB, he was also CEO of the whole company, as well as Creative Director. His full attention was not there until it late in the day. This has ramifications for how long his projects run – many years, on average – and the associated cost. This, in turn, means that the business model options were constrained, conspiring to place APB in a really difficult position, commercially. Ultimately, it’s this pairing of a subscription model cost with free to play game play that really did for the game. And many of us saw it coming a mile off. I must admit I’m dismayed about the scale of the failure, however. Many of us thought APB might do OK at retail and sell a few hundred thousand, though struggle on ongoing revenue, and gradually carve a niche. But it absolutely tanked at retail I believe (though I’m not privvy to figures) I think due to the critical mauling it received. It never made the top 20 of the all format UK chart. It’s scraping along the bottom of the PC-only chart, a situation I’m assuming is replicated in its major markets. And being at the bottom of the PC-only chart is not where you want to be as a AAA budget game. God knows what the budget was, but when you account for the 150-odd staff and all the launch hardware and support, it was in the tens of millions of dollars.

MyWorld is an innocent bystander caught up in the demise of APB. Which is a real shame, because it is genuinely ground breaking, though not aimed at the traditional gamer audience. It was going great guns over the last year or so, coming on leaps and bounds, impressing everyone who saw it. MyWorld might as well have been a different company – there was very little staff overlap on the two projects, they worked under entirely different production methodologies, and because we were not the next in line for release we received very little attention from the execs (which was a good thing, to be honest). We knew that time was limited, and tried to encourage management to go the ‘google-style beta route – release a limited, but polished core feature set early, and iterate. What happens to it from here on out is not clear, but without the people who wrote it, the code isn’t worth a damn, so I can’t see the project being picked up. Management tried to get a publisher onboard to fund continued development, but the time scales involved meant that was always unlikely, despite some considerable interest from potential partners. God knows what will happen to it now the team are gone. Probably nothing. Years of my life were poured into that project, but it was a blast to make, and at least it was made public so I can point and say, “I helped make that”.

RTW tried something bold, and fucked it up. It tried to make what amounted to two MMOs at once, as well as self-publish. I have to hand it to Dave J. He’s ballsy. But in the end, we couldn’t do it, and I think the whole company will go under sooner rather than later. It’s a shame, too, as Dundee can’t absorb the level of game dev redundancies that are about to hit, which means the Dundee scene gets that little bit smaller. But that’s the price of failure, and we certainly failed. No excuses, really. We were well funded, hired some great engineers, designers and artists, and great QA guys. Ultimately, the senior management team must take responsibility. I think they had far too much focus on the company’s ‘strategic direction’ and not enough on day-to-day execution, which was where it really matters. And I think a huge part of the blame lies with Dave J, though I can’t emphasize enough how nice a man he is personally; ultimately APB has torpedoed the company, and it failed largely under his creative leadership. It has other issues (technical, for instance), but the design and the business plan are largely down to him and the board, and they are what have failed so irrevocably for the rest of us.

ExRTW

The new censorship

As you can see in the comments from users here, the Steam software forces you to upgrade your version of Plants vs Zombies to the GOTY release even if you don't want it. Yes, even if you have disabled automatic updates for that game. They have blatantly ignored the choice made by players to keep the old version of the game, following the rules set by Valve to handle Steam.

This kind of disregard for what the player wants, taking advantage of the power they hold when they fully control your access to the games, is what makes me skeptical about digital downloads. They can tamper with your game in any way they think appropriate. Now they are saying, "oh, sorry, some character in the game may get us sued so we are removing it", but at some point you can log in to your game account and be confronted with a disclaimer telling you that "sorry, a big Earthquake killed 100,000 people in California so the Quake games are in bad taste and you can no longer play them". Or maybe one day you try to play "Rock and Roll Part 2" in a Guitar Hero / Rock Band game but then Gary Glitter is arrested for molesting a child, so then the song gets patched out of the game because some parents complained about it... You know what I mean!

And then I, as a player, will yell "stop screwing me! I just want to play my game in peace! Don't take anything away from me!". But now there's nothing I can do, because in the digital era nobody can hear you scream.

Games that stop existing

A few days ago we commented about Plants vs Zombies being updated to modify its content. As an owner of PvZ on Steam, I'll be forced to get the censored version of the game the next time I download it.

That's the worst thing of downloadable games: they can be modified by the provider, and you can't do anything about it. And it even could be worse: the game could just disappear, like Street Racing. This Facebook game was just removed from the internet surprising all its paying customers. This is one of those games in which you buy in-game stuff with real-life money. So may have "invested" a lot of money buying virtual advantages that no longer exist. You are basically screwed.

We all trust that our downloadable games will be there for as long as we want them on Steam, on Xbox Live Arcade, on PSN... but is there a real guarantee? Or can they just say "sorry, you can't play anymore" when they consider that the fan base is not big enough to justify the expense and we have to accept it?

This is what I don't like about downloads... Unless proven otherwise, we are just renting the games. They don't usually disappear, but if they do, can we do anything about it? Or are we just going to be told "sorry, it's over. But you can play our other games!" like with Street Racing?

Jimbecility - A bullet in the head

I shouldn't care about idiots making the world a worse place. After all, I didn't write any blog post about George W. Bush in eight years. But after he single-handedly started a wave of critical hate against a truly great game, and then he kept kicking it at any possible chance until that was it, I've decided that I've had enough with this twat who fancies himself a video games professional writer.

I didn't even want to acknowledge his existence ever again, but his latest act of stupidity is too amazing to let it just slip away. As part of a commentary about the difference between video game violence and real violence, he says: "to illustrate my point, I want to show you a bit of footage that it's a bit disturbing, so I want to warn you now." and then he shows the footage.

This guy is never one to be taken too seriously, because his rants are always so over the top that you don't really know if he is serious or not. So, what is he going to show us, a clip of the death of Bambi's mother?

Well, most of Sterling's followers are teenagers who don't know better, so they don't immediately identify the 23-year-old footage of the Bud Dwyer suicide. So a lot of young readers are expecting some of the patented tongue-in-cheek antics to be expected from him, they keep watching, and they are unexpectedly "rewarded" with a close up of a man shooting a gun into his own face.

Can an immature blogger sink any lower to prove an obvious, sophomoric point? The poor wretch goes on to say something equivalent to "See? Real violence is not disturbing at all. His head didn't blow up or anything like in video games". No, but I got to see a stream of blood gushing down a recently dead dude's face, and now I have to try to sleep after seeing that.

And to cap it all off, this pathetic, unineuronal excuse for a video games journalist thinks it's a good idea to end his simplistic rant taking a plastic gun out of an envelope and placing it in his mouth. Oh, how funny! I'm going to die laughing. And after 150 comments, none of his faithful readers seems offended or anything. Oh, the internets.

Sony, you won't get my money this time

You've probably heard about Playstation Plus. For 50€/50$ a year, you get very big demos (or "full game trials", but they are still demos, right?) and lots of games:

As a member you can expect to get your hands on at least four games a month at no extra charge. Each month there will be a selection of one PSN game, two minis and one PS one classics available on PlayStation Store for you to download. You also get premium avatars and dynamic themes each month, many of which are exclusive to members.

Whaaat??? I'm sold! No, but wait, because there's a catch... You only have access to all those games as long as you subscribe. The day you stop paying the service, you lose them all (except for special offers like the downloadable version of Little Big Planet)

So your they are not really "free" games, and you are paying to keep them for a limited time. They don't use that word, but you will be renting those games. (So, if during your Playstation Plus subscription there's a special offer to buy them cheap, can you still buy them or you are stuck with this rental?) That is one of the things I hate about this current generation of digital downloads: you don't want to think about it too much, but you know that sooner or later the service will be discontinued and you won't be able to download the stuff you paid good money for anymore. So my beautiful list of games from Steam will be gone, just like that... But at least you accept that as something that will happen in the distant future. In this case, "your" games are like hostages being held by Sony, and if you ever get tired of this service, Sony will say to you "if you ever want to see your loved games alive, you have to pay the ransom!". Are you prepared to give up all the games you've collected during your time as a Playstation Plus subscriber?

I was prepared to be a day-one customer because I thought I would keep all those games. But now I'm not going to join in, even if they promise me a downloadable version of Uncharted 2 with a personalized welcome message from Nolan North... unless they change their mind so I get to keep the games. Maybe if we all rejected this system, Sony would get the message. Otherwise, they will understand that most customers see this rental as an acceptable service, and others will copy it in the same way many publishers are already copying EA's nasty Project $10, including (naturally!) giants like the evil Ubisoft, THQ, and even Sony itself!

Playstation Plus is not that great. The only "big thing" about it would be cross-game chat, and that's not even a launch-day feature (I'm sure they will offer it in the future, though). So my advice is, buy the games you want from the Playstation Store, and forget about paying to have a taste of games you'll still have to buy. Otherwise, you'll be helping to move the games industry in the wrong direction.

Scary new games

There are lots of new games at this time of the year. It's E3 again! Well, Los Angeles is too far and I couldn't afford the journey anyway. I could afford a trip to this year's Gamescom in Cologne, but it's still too early to know if I will be able to go. Well, what about all the new games? There are just too many, so let me talk about just a few of them.

The Guitar Hero games were getting stale, so Neversoft's main competitor Harmonix has decided to present the new, innovative Rock Band 3. Now there's a keyboard, and there will even be MIDI guitars and the possibility to connect your real MIDI instruments (like my really nice Roland drum set) to the game. The good thing about this is probably that these games are slowly leading advanced players to real musicianship, as the advanced difficulty is almost like playing a real instrument. The bad thing is that, well, you are still playing along other people's music. What I like about playing (about real playing, not the make-believe variety that these games brought to the table) is that you can change the solos, improvise, try a new rhythm to make things more interesting. Because I'm a musician myself, I feel there's still a limit to what these games can offer me. I don't want to play along a song: I'd rather just play a song, because I can, because I have the chops for it.

Let me give you an example: it's cool to follow Pink Floyd's "Another Brick on the Wall", but what happens if you just want to jam for a while and just keep playing? Here's a video of my old band doing just that. But with Rock Band you just mimic the song, and that's the end of it. Will Rock Band titles give you that opportunity in the future? That would be really cool. But would regular players even want that? I'm not the best person to answer that.

Super Scribblenauts promises adjectives that offer a lot more options than before. But are these new options any fun? Because the problem with the first game was not the lack of options, but their faulty implementation. Guys, we don't want more options, we want better options. This time you are not fooling anyone with the "hey, you can do anything!" hype. Just give us a good game, OK?

Homefront is... well, just a stupid far right wet dream turned into a videogame. Inspired by one of the most absurdly paranoid movies ever, Red Dawn. It's usually easy to present the Russians as the bad guys, but in this case the developers try to sell the idea of a Communist invasion making it look as real as possible, if real means "Korea is just like Nazi Germany". You know, Modern Warfare 2 wasn't just a good example of great storytelling, but at least they bothered to create an acceptable -even if flawed- excuse for the main conflict (you know, that level). Now it's just "Koreans are crazy and want to kill us all!"). I'm curious about the game, but I can tell you now that I'm not going to pay a cent to fuel paranoid fantasies, even if it turns out to be really good.

There are just too many new games to comment about all of them, so I just won't. Oh, but there's another thing... Today Super Mario Galaxy 2 has been released in Europe. You should definitely check out that game. It's awesome.

Alpha Protocol's rift - A mystery

A few days after Alpha Protocol's release, a lot of us are still shocked about all the bad reviews it got in the good old USA, which forced people like me or these other Spanish guys to hastily defend the game even before we were done with it. The game has been received warmly elsewhere and players all over the world love it, as I showed at the end of my full review, so why all that hate?


Vlad Andrici tries to study this phenomenon in this article, trying to check all the facts and find an explanation, but it still doesn't make any sense. What is going on? Now, I hate to turn too paranoid, but I've come to think that there are some reasons that don't have anything to do with the quality of the game. First, as Andrice points out,


I've noticed for a long time that many magazines/review sites tend to overlook some pretty noticeable problems that certain games coming from big-ass publishers and developers have, while the "not so hyped" games tend to be hammered for the same issues.


That is so true! If a GTA or a Metal Gear Solid game is released, it automatically gets top marks. Yes, it's a completely populist attitude but it's not going to go away soon (most players actually go crazy if they don't get those unrealistic reviews, anyway). But some game must be seen in a negative light so it doesn't look like reviewers love just everything. And it looks like it's Alpha Protocol's turn.


Also, I hate to turn to ideological explanations, which always look crazy no matter how you present them, but I'm really starting to think that American reviewers are not OK with having a company called "Halbach" (a dead ringer for Halliburton) as the bad guys in Alpha Protocol's story, while the head of the effing islamic terrorists is depicted as a man of his word. Blasphemy!

But I don't know what to think. Thankfully, this game was released a bit earlier in Europe, so when bad reviews started to drip from the US, a lot of people already knew that the game was much better than what they were being told. And you can influence someone to not buy a game, as in this case, but it's different if you are already playing the game... and enjoying it.

I hope this whole thing is not disastrous for Obsidian. As far as I'm concerned, they have delivered the goods with their latest game. If my review didn't convince you yet, I'm telling you again: Alpha Protocol has great writing, and decent gameplay, so if you love RPGs, you should definitely try it.

And speaking of good writing, I really enjoyed this in-depth article by Chris Breault about how important writing is, and about the way careless scripting can ruin the whole experience, using Splinter Cell: Conviction as an example of how bad a game can be because of that. You should read it!

BONUS: Someone sent me this article which says that core gamers are male and casual gamers are female. Well, SuperViv, JR and I are both things at once, and we are not hermaphrodites! Or, at least, I wasn't the last time I checked. Let me have a look again...

WHAT THE...?! UBIIIIII!!!!!!!!!!!

No, no, no, no, no, no, no, no, no, NO, NO, NO, NO, NO, NO!!!!!

What in god's name is this!?!

Ubisoft is retroactively ruining the box art for probably their best game, just to trick unsuspecting customers into thinking that this is the PS2 version of their new (and not that interesting) Prince of Persia game.

Screw it, I'm done buying Ubisoft games. I just can't believe they are so short-sighted, and after watching them build up a great franchise and then demolish it. I don't want any part in that.

But I have to calm down, relax... Is there a good part about this? Well, yes... At least some buyers will buy this release thinking it's a tie-in for the movie, or the new game, and they will be surprised to see it's much, much better.

Still, this shows that Ubisoft is doing despicable things again. I'm disturbed to see how one of my favourite companies has become a worthy competitor for Activision's "King of Evil" title.

How my enemies are doing

Rebellion seems to be in trouble.

Splinter Cell: Conviction is fighting hard to ensure that nobody will ever buy any PC Ubisoft title again. This is not going to end well.

This won't last. They are going to pay for what they've done. So it looks like there's justice in this world after all. Right?

My "gaming enemies" are just not those evil game companies! I also hate bad design and games that treat the players like cattle, and I totally agree with this opinion about what I enjoy (or hate) about videogames. I play games to be entertained, not to prove I'm "the best" at it. I like decent writing, nice graphics and getting from the start to the end with as little frustration as possible. I don't like competitive multiplayer, tough challenges and grinding.