Category Archives: Media

GameStop Announces Midnight Switch Launch

GameStop press release:

This just in: GameStop, a family of specialty retail brands that makes the most popular technologies affordable and simple, announced stores will have a limited supply of Nintendo Switch systems available for walk-in customers on the March 3 launch day. Customers who were not able to pre-order the system are encouraged to attend GameStop’s midnight launch events held at stores across the nation for an opportunity to purchase Nintendo’s revolutionary new home gaming system.

A few thoughts:

  1. I’m screwed. Fat chance I’ll make a midnight launch. Fatter chance there’ll be any Switch(es) left around noon in Tahoe. Fattest chance there’ll be Switch(es) days/weeks later.
  2. Five out of the six sites I found reporting this news did not source GameStop’s press release. Not Polygon. Not GameStop. Not USA TODAY. Not BGR. Not SlashGear. However, Tom’s Hardware did. Pitiful.
  3. “Simple” is the last word I would use to describe GameStop.
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‘Metacritic’ Still Matters, But For How Long?

Chris Baker, Glixel:

The hue and cry around that score is the best evidence that Metacritic deeply matters to many people. And not just fans – the bonus payments that game makers receive from their publishing companies is often tied to the Metascore and those same publishers spend a great deal of time and effort trying to predict the number as it could affect everything from retail orders to returns.

But the games business, and games themselves, are changing. In many ways, a snapshot of what the critical consensus is at the time of launch does not reflect the ultimate nature of a game. Is Metacritic still relevant in this new climate?

A great insight to the inner workings of Metacritic. Must read.

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‘On the internet, no one still knows you’re a dog’

John Markoff,  former technology reporter for the New York Times, in an interview on Kara Swisher’s Recode Decode podcast:

On the internet, no one still knows you’re a dog. I think identity and the fact that you disconnect [real] identity from your internet identity has proved incredibly vexing for society. It played out in this election. It played out in Brexit. (It was a factor in both—I don’t know if it was a deciding factor—but I actually do blame the internet.)

I grew up with John Perry Barlow and his manifesto in WIRED in which he argued that cyberspace would be this “Socratian” abode above the grimy politics of the world. Then I realized I was wrong.

The internet is simply a reflection of all the good and the evil in the world.

[…]

What’s striking to me is that what the science-fiction world saw in the ’80s and ’90s has actually come to pass; the cyberpunk sensibility. There was a book written by Vernor Vinge in the early 1980s called True Names. The basic premise of that was you had to basically hide your true name at all costs. It was an insight into the world we’re living in today.

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The Besties Are Back

Polygon:

Though we still don’t have a great explanation as to why, the first ever Polygon podcast has returned on a monthly basis. Join The Besties (Russ Frushtick, Griffin McElroy, Justin McElroy and Chris Plante) as they nonsensically attempt to pick the “best” game released in January 2017.

I was introduced to The Besties when I moved to San Francisco in 2013. Any time I was walking the city, out on a jog, or commuting to work, there was a fair chance I was listening to The Besties. Their comradely and banter provided me company during those moments when my wife was away. (Such is the power of podcasts!)

Over the past two years, what was a monthly show turned annual. This surprise relaunch of the monthly cadence is just what I, nay the world needs right now.

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FBI releases Gamergate investigation records

Adi Robertson, The Verge:

The FBI appears to have made a serious investigation of some threats, but at least one email thread suggests there were breakdowns in communication with the subjects of them. “We feel like we are sending endless emails into the void with you,” complained one sender. Based on the timing and location details, this was Wu, who published her own account of the experience on the same day. Overall, at least one report indicates that centralizing the investigation in San Francisco limited its jurisdiction. It’s also not clear how familiar some of the FBI agents involved were with common internet services. Twitter is sometimes referred to as “Tweeter,” and one email mentions suspects using “Thor” (probably Tor) for security.

Via Twitter, Wu said that the threats the FBI discussed were only a fraction of the ones she sent them, and that the agency was largely unresponsive to her attempts to provide evidence. “All this report does for me is show how little the FBI cared about the investigation,” she told The Verge. “As I remember, we had three meetings with the FBI, we had two meetings with Homeland Security, we had three meetings with federal prosecutors in Boston. Almost nothing we told them is in this report.” She confirmed that the juvenile mentioned above had been making death threats using his father’s phone; he was apparently grounded as punishment.

This report was actually released as part of a Freedom of Information Act request last year, although at that point, it was difficult to verify whether the recipients had modified its contents. Since “Gamergate” was never really an organized movement, none of the people mentioned in the report are “members” of it, and some incidents predate the controversy, like a bomb threat against Anita Sarkeesian at the 2014 Game Developers Conference. But if anything, this emphasizes that Gamergate per se was one facet of a larger culture war — which it’s now been almost completely absorbed into.

I often wonder why it is I’m so fixated on video games and their culture. I initially started writing on the topic to help bridge what I felt was a chasm between “average joes” and “nerds”. These were worlds I strattled growing up, often hiding my adoration for video games because I was afraid to be uncool.

Later, after seeing my little brother and cousins take to the medium, I sought to bridge a chasm between parents and video games. I focused my writing on the health and education impacts of video games.

Today, in the midst of American uncertainty and woe, I wonder if thinking about video games anymore than escapism is worthwhile. Certainly, there are bigger things. But then I recall Gamergate; what I see as the first emergence of the “alt-right”. As Ezra Klein refered to it on his podcast episode with writer Ta-Nehisi Coates, it was another moment of the merging of partisan and ideological identities:

Ezra Klein: I thought Gamergate was one of the most interesting things to happen in the last couple of years.

Ta-Nehisi Coates: Because that had to do with politics, right? Like, why is this happening?

EK: Why did American political sites, Breitbart and Salon, develop an interest in an argument about whether video game sites were unduly influenced by some kind of personal relationship? When you say what happened out loud it sounds ridiculous.

TC: It’s hard to make it make sense.

EK: My big Rosetta Stone in American politics  for the last 20 or 30 years is partisan and ideological identities merged: if you’re a Democrat, you’re a liberal; if you’re a Republican, you’re a conservative. That didn’t used to be true. Once that happened, it set the stage for all of these other identities to align: where you live, who you marry, what you think about 12 Years a Slave, what you think about video game fights on the internet. The stronger this sorting mechanism becomes, the more lethal the collisions between it become.

Video games span a hearty set of demographics. It’s a medium that has taken the entertainment industry by storm. And it’s a medium that enjoys a massive online community, many players of which partake in anonymity. As ideologies and interests merge, it is important foster an inclusive and understood community, especially a community that encompasses the majority of American households.

It is important to write and talk about video games—even in anonymity (looking at me)—possibly now more than ever. And it goes without saying that a large swath of current day writers, artists, and activists were raised on and are familiar with the medium and likely its communities, let alone Tweeter and Thor. 

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Inside: A Review via ‘Death by Video Game’

Simon Parkin, Death by Video Game:

Games achieve chronoslip because they replace the real world with a new one that moves to its own laws of physics and time. This reality engages us totally, and we synchronise with its tempo.

Video games, from the simplest card game to the most vividly rendered fantasy world, consume our attention. When we become lost in a book, we enter a state where the fabricated world and its characters seem to real and pressing that we lose all sense of time. Small wonder it’s so easy to lose oneself in a good game, where one becomes not only an eavesdropper or onlooker on a world, but also an active participant in its action and drama. Video games go further than other fiction: they revolve around us and react to our every choice and input. Just as a piano needs a pianist or a violin needs a violinist, video games are lifeless without us. They need a player in a way that a film does not need a view to function.

IMG_0657Simon Parkin’s book, Death by Video Game, categorizes 12 different facets of video games that, for better or worse, make the medium addicting. Reading it, I felt vindicated. I wasn’t alone in my reasons for play, and was enlightened about the reasons others gravitate toward the activity.

As an entertainment medium, video games offer escape, control, and story. As a technology, they push the bounds of simulated physics, animation, textures, and lighting. As a social platform, they foster community via global communication and participation — each of these facets evolving rapidly year over year. In my lifetime, I’ve gone from playing limited, albeit revolutionary, 8-bit single-player side-scrolling jaunts to open world massively multiplayer online role-playing games to photorealistic action-adventure juggernauts.

After finishing the read — a difficult one to put down, mind you — came a steadfast itch to pick up a controller. No Man’s Sky, an exploration game with over 18 quintillion procedurally-generated explorable planets, which is briefly touched on in the book, had just been released. And Inside, Playdead‘s successor to their melancholy indie hit Limbo, was gathering incredibly high marks.

In the debate of open-ended vs short story, I will always choose short story. Therefore, Inside.

inside

Players are thrust into a dark and wooded area as a boy being hunted by mysterious men in trucks; dogs seek you as their prey. Peak X-Files. Once you have escaped the wood, you happen upon a farm and cornfield. Deceased wildlife pepper the dreary, fog-laden landscape. And what’s that worm-like thing sticking out of that pig?

You are eventually lead into the factory cum rabbit hole. The dark and cryptic mysteries you’ve experienced within the 10 minute introduction pale in comparison to what is “inside.”

More than their incredible art style, subtle and gradual storytelling with layers of mysteries, answers, and more questions, and impeccable taste for atmosphere, developer Play Dead’s fantastic switch-a-roo two-thirds into the game sticks with the player. A shock and horror convention is elegantly flipped on it’s head leaving you, the player, scrambling to rework your preconceived notions about the story and characters. It’s challenging, and in hindsight, speaks to the reaction and thought process of being wrong that so many feel today. Can we really be so sure about our truths? Are our beliefs simply sold to us by a manufactured narrative that elicits good as evil, god as grim, heaven as hell? How perceptive can we truly be? Is our mind a slave to the brain? Are we really in control?

It’s difficult to discuss Inside without giving too much away; therefore, I will leave you with an appropriate quote from what turned out to be an appropriately timed and, ultimately, serendipitous read, the aforementioned Death by Video Game:

Moreover, video games flatter us: their worlds exist for our benefits, and usually, revolve around us. A video game requires a player: without input, it is inert. Our world, by contrast, seems indifferent to us. The cogs around us, both natural and human-made, turn regardless of our interest or input. It is sometimes difficult to know whether we matter, whether anyone cares. When a company loses our details or forgets about us for some reason, we talk of being ‘lost in the system.’ This is how loneliness is seeded in the human heart: a sense that the world and all of its people are indifferent, oblivious.

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Pokémon GOTY

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The year is 1998. I’m standing in Toys”R”Us, holding a slip of paper that reads “Pokémon: Blue Version – $29.95”.

“Are you sure this is the game you want?” my father asks.

Confidentially, I respond, “Yes.”

Now 30-years-old and in the media business, I’m watching headline after headline roll in:

It seems every outlet is writing about the phenomenon that is Pokémon GO; seemingly the second coming of the franchise in North America. And for someone who grew up poring over GamePro and EGM, there is a small bit of vindication every time a major publication like the Times or the Post covers video games in a positive light.

The game has “almost certainly exceeded 65 million American users“, Nintendo’s share price has risen 53%, and all of my feeds (TV included) have been taken over by this game. Over and over, I read stories of the diverse communities engaging in Pokémon GO together. People everywhere partaking in arguably the world’s largest Easter egg hunt together. They are discovering destinations and landmarks in their hometowns via PokéStops and Gyms together.

The biggest shock of all came when our lawyer informed me that she’d caught a Bulbasaur over the weekend.

Caught a Bulbasaur.

Caught!

For someone who grew up with the original Pokémon Red and Blue versions, the dawn of the franchise, that sentence shouldn’t exist.

This whole thing is looney, nuts, insane even. This is a game rooted in green, red, and blue plastic Game Boy cartridges and 11 MB black and white (green) software from the late-90s. But for a child of the late-80s / early-90s, it’s all surreal, strange, and beautiful to watch.

The franchise is once again re-shaping ideas about gaming and technology. The game itself is re-shaping ideas about community and education. Pokémon GO joins other experience, culture, and zeitgeist defining titles such as Pong, Super Mario Bros., TamagotchiGolden Eye, World of Warcraft, and Minecraft. For that, I deem Pokémon GO “Game of the Year”.

And yes, it’s July.

Intel, Vox Media, Re/code and the Born This Way Foundation Launch #HackHarassment

Kara Swisher, re/code:

The first knee-jerk reaction of those who think completely free speech is the paramount rule of the Internet is simple: Stop whining, you stupid girl, and take it, because everyone should be able to say exactly what they want, however they want and in whatever way they want to say it.

It’s a canard of an argument, designed to turn a complex issue into a reductive black-and-white debate where no one can come to any agreement.

Still, it’s always set up this way when anyone attempts to make the more obvious point that free speech is not as free as all that in the real world, where there are numerous social repercussions for behaving in a rude, obscene and appalling manner.

Simple example: If you loudly tell a woman she deserves to be raped for speaking her mind on any subject in the public square, at a party or at work, there’s a pretty good chance you’ll get ejected from there and, at the very least, you’ll be subject to much-deserved derision and censure.

Not so on the Internet, where such talk is all too common and much too tolerated. Which is why Intel, Vox Media, Re/code and the Born This Way Foundation are coming together to co-create Hack Harassment (#hackharassment), a new, collaborative initiative to fight online harassment and provide safer, more inclusive online experiences.

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Polygon Skips Star Wars: Battlefront Review Event

Polygon:

Review events are a reality of the industry, and in the case of multiplayer-oriented titles, they make sense — it’s very difficult to organize 20-40 people in different locations remotely at the same time, and we introduced provisional reviews this year to account for server uncertainty. We’ve attended review events this year when it made sense to do so, including events for Call of Duty: Black Ops 3Metal Gear Solid 5: The Phantom Pain and even Battlefield Hardline.

But we will not participate in review events that tie our hands in ways that restrict us well after the general public has full access to the game in question. With that in mind, we’ll be playing the full version of Star Wars Battlefront on EA Access this week, along with many of you, without support from EA. As we have not agreed to any advance access or accepted any coverage restrictions, our provisional review will be live once we are confident in the opinions of our pair of reviewers.

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Re Netflix-Zelda: What is Game of Thrones without George R. R. Martin?

The Wall Street Journal:

The video streaming service is in the early stages of developing a live action series based on “Zelda,” about an ordinary boy named Link who must rescue a princess named Zelda and save a fantasy world called Hyrule, said a person familiar with the matter. As it seeks writers to work on the show, Netflix is describing it as Game of Thrones for a family audience, this person said.

As it is still seeking a writer to work on the series, Netflix has a long road to travel before a “Legend of Zelda” series actually becomes a reality. It’s also possible that Netflix or Nintendo will kill the project before it gets off the ground.

Considering Netflix’s vision without a writer, I’d say this has a very long road to travel.

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