Category Archives: Media

Kudos to Nintendo’s E3 Booth Team

Yahoo’s Ben Silverman and host Jeff Cannata on the DLC podcast:

Ben Silverman: I think the problem wasn’t that there were fans there, I just think that no one was prepared for this. The management of the [Los Angeles Convention Center] didn’t route people in ways that made sense. It was just like everyone go and charge through these gigantic halls. The booths weren’t set up to handle that crush of fans.

On the first night — Tuesday night — Nintendo furiously reorganized their booth so that Wednesday and Thursday it would make more sense.

Jeff Cannata: And kudos to them because they did a great job. Tuesday it was literally just a sea of people at the Nintendo booth. It was unmanageable, completely. And kudos to them for staying up late that night and figuring it out. They had structure that really worked for the rest of the show. I mean, it was a six hour line — I wouldn’t wish that on my worst enemy — but it still at least allowed movement through their booth.

My friend and I took note of Nintendo’s queue management restructure on Wednesday as well. It was very cool to see. However, the lines for Super Mario Odyssey remained completely insane, but at least there were lines.

I mentioned that my friend and I lucked out in playing Super Mario Odyssey. Wednesday morning, after being let into the LACC, we beelined it for Super Mario Odyssey, but were discouraged to find that the line was already three hours long. A Nintendo booth actor/temp — dressed in a New Donk City themed suit and fedora no less — whispered “a secret” that the attendees sitting on a bench behind us with Switches in handheld mode were actually partaking in the demo. To a passerby, they looked like attendees playing on their own consoles. We were none the wiser until the fedora-clad “Donkian” gave us the coat full of contraband treatment. (I don’t think he was in character, but it fit the bill.) We immediately formed a line next to the bench, sparking another lengthy queue.

In all fairness, the actor/temp should have informed those waiting in the longer line that the Switches on the bench were demo units as well, long before my friend and I arrived. On the flip side, the lengthy Super Mario Odyssey line was a for a docked Switch with headphones — the full console experience. The bench Switches were portable mode only and did not feature audio, one of my favorite elements of Mario games.

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E3 2017

E3 debuted in 1995 — 22 years ago. This year, for the first time ever, the Entertainment Software Association welcomed the public to the expo. As a follower of E3 since age 9, I was overjoyed to have nabbed one of the 15,000 publicly released tickets.

The Event

The days leading up to the event were spent streaming presentations from Microsoft, Bethesda, EA, and Sony. Nintendo’s event took place while I was in the air, so I dove headfirst into the tidy 25 minute Nintendo Spotlight upon touchdown. I’d missed Ubisoft‘s presentation, but felt fairly caught up after scanning headlines during the cab ride from LAX to the Los Angeles Convention Center. I was ready for E3.

As expected, the entry lines snaked around the building. I had braced myself for standing in lines for three days straight. In the meantime, I took to booking appointments for the Sony booths via the Experience PlayStation app. I attempted to sign into the app with my PSN credentials only to find myself in an “incorrect password” loop bug, identifying storefronts and cars for CAPTCHA for upwards of 30 minutes. (Mind you, the likely “slammed by tens of thousands of E3 participants” LTE reception was poor. This did not bode well for my battery.) I could have signed in as a guest, but was hoping for a bit of PSN love if signed in. After several failed attempts, my password was finally reset, I successfully signed into the app, and was able to grab one of the remaining theater demo slots for Uncharted: The Lost Legacy. All other demos and theater slots were booked. Try again at 2pm.

Our entry line eventually moved into the Convention Center’s south hall where buzz was abound the cacophony of video game themed booths. Final Fantasy. Capcom vs. Marvel. Middle-earth: Shadow of War. Massive projections. Lighting flurries. Dragons. Cram over-the-top Disneyland aesthetics into an overcrowded casino and you have E3. Entering the gates of the video game holy land seemed everything I’d hoped it’d be.

Then we looked for games to play. And looked. And looked. And looked. The massive crowds had overtaken all available consoles for the next handful of hours. All lines were quickly capped. Luck being our only chance to play anything, it quickly became apparent that a three day pass for a single price was less of a steal as it was a requirement to actually feel like you were able to participate in what E3 had to offer. It would certainly take at least three days of waiting in lines for an attendee to play your top five choices of E3.

Clinging to hope that the crowds would thin out over the next two days, my friends and I took to wandering, stargazing, and stabbing our phones for appointment times at the Sony booth. Splitting up and sharing our experiences proved to be the best strategy. Nintendo’s construction of Super Mario Odyssey‘s New Donk City was the star of the show. IGN’s production crew and round the clock coverage was captivating. A plethora of fighting game competitions littered both halls. (I was transfixed watching Injustice 2 fighter Jen annihilate nearly every competitor that showed up.) Ubisoft made their presence known with multiple massive projections, live demos from development teams, and plenty of Just Dance 2018 performances. (Any tips for getting Hyuna’s Bubble Pop out of one’s head?)

While it was nice to see and play highly anticipated games ahead of release, the real magic of E3 2017 were the extravagant booths, passionate publisher/developer staff, wandering games media personnel, and ecstatic fans. The lines were hellish and I really wish I’d been able to play more. It was an exhaustive, discouraging experience that could have been more conducive to consumers with better line management (Sony’s mediocre app was the best experience and even that was painful), more live demos rather than hands-on areas with larger theaters, co-op or multiplayer experiences when possible, more occupied floor space, and simply less people. One full day may have been enough, but three was required to participate in more than one activity. It was certainly a childhood dream come true and I was expecting no less, but I can’t say I’ll be retuning to E3 without media or industry credentials in the future.

The Games

At the end of day three, I walked away seeing live demos of Uncharted, Spider-Man, Monster Hunter World, Days Gone, and Middle-earth: Shadow of War, and played Super Mario Odyssey and Mario + Rabbids Kingdom Battle. (My friend and I lucked out by standing next to a nearly unoccupied Super Mario Odyssey demo and I waited two hours for 16 minutes of Mario + Rabbids Kingdom Battle.) In hindsight, it was not enough to feel fulfilled by the experience.

Of the two games I played, Super Mario Odyssey was the better. Odyssey feels like the perfect amalgam of all 3D Mario adventures: The playground of Super Mario 64‘s introductory courtyard, Super Mario Sunshine‘s NPCs, Super Mario Galaxy‘s inventiveness, and Super Mario 3D World‘s fidelity. Above all, there is a “weird” factor that has been generating buzz. The various worlds Mario can travel to feature a variety of art styles: the playable New Donk City feels like a Tony Hawk’s Pro Skater / Sims hybrid while the Sand Kingdom felt like a traditional 3D Mario world with a new classic 2D side-scrolling mechanic added to the mix. (Think The Legend of Zelda: A Link Between Worlds.) The game played as great as you can imagine, but the real allure is looking forward to the variety and trying to figure out just what the hell is going on!

Mario + Rabbids Kingdom Battle is the game I’m most looking forward to. It’s gorgeous and surprisingly deep. I can’t recall ever seeing the Mushroom Kingdom in such detail. And like any great Mario game, it feels like it may be deceptively difficult. I’ve never played an XCOM game, and the demo seemed to only scratch the surface, but the number of methods to approaching and evading battle seemed impressive. There is a certain chess-like quality to the game in that you may need to think twice or thrice before executing a move. Enemies lurk in around cover and, if you’re not careful, environmental elements can throw off your game. I do worry that variety will be a problem; the old “Sonic” syndrome where the first handful of levels feel great but then feel dull or repetitive or both. We shall see.

Uncharted looks like Uncharted. I certainly love the idea of playing as Chole, but the sequence shown did little to suggest that this would be any different from previous iterations. And that may be fine, but unless there is a drastically different element (Uncharted 2‘s sequences > Uncharted 1, Uncharted 3‘s story > Uncharted 2, Uncharted 4‘s fidelity > Uncharted 3), I feel it’s a bit soon to jump back into this world.

The live Spider-Man demo went a little off script from the Sony presentation but was largely the same. I love the Arkham-like feel, but the reliance on quicktime events is a bit off-putting. Still, I’m looking forward to this game. (Now I want Insomniac to make a TMNT game!)

Days Gone was touted for it’s variety of mission approaches and environmental effects on the population, but the post-apocalypse / zombie infestation disenchanted me. How are we not done with zombies yet?

Both Monster Hunter World and Middle-earth: Shadow of War looked incredibly chaotic yet impressive. The highlight of Monster Hunter World came when a giant iguana-like monster crashed out of a nearby forest to feast on another gigantic beast — albeit lower in the food chain — plumping up like a snake after the meal, and sauntering back into the forest. Back at the nest, the iguana-like creature regurgitated part of his meal, summoning it’s offspring to the feast. Later in the demo, the same iguana-like creature would join our battle against a T. Rex-like monster as the T. Rex-like was trespassing on the iguana-like’s territory. Quite the world!

Middle-earth: Shadow of War looks to be focused more on castle raids than the previous entry. Players will recruit orc war chiefs throughout their play and choose which ones they will bring into a castle raid, strategizing their recruits’ strengths vs. the castle’s war chiefs’ weaknesses. Before the demo, director of technical art at Monolith Mike Allen touted enhancements to the nemesis system; however, these did not seem evident to me. I was expecting something more along the lines of the beloved Brûz.

There was lots of buzz about Detroit throughout the show. It plays like Heavy Rain, allowing payers to investigate a scene in attempts to build a successful outcome to a dire situation. While I did not get a chance to play Detroit, I did observe four different endings to the hostage scenario players were given the opportunity to partake in: 1 failure, 3 successes. The failure resulted in the hostage being killed. The successes varied in:

  1. the player sacrificing himself to save the hostage
  2. the player saving the hostage, but being shot during the encounter
  3. convincing the rival android to comply, saving the hostage and himself

There are plenty of games that offer a variety of situations and solutions, but to see these different scenarios play out next to each other simultaneous by different individuals’ actions was rather interesting to see. I can’t say the game is for me, but of those that played it, most felt it was the game for them.

As noted, I wasn’t able to partake in much. Nor were all games showcased during the presentations being showcased — Anthem and God of War most notably. Ultimately, I feel I’d gotten everything I needed from the presentations. A trip to E3 was not warranted.

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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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