59% of Americans play video games

Owen S. Good of Polygon on the Entertainment Software Association (ESA) 2014 Survey:

Other questions asked of the survey is whether parents view video games to be a positive part of their child’s life; a majority — 56 percent — said yes, though some could view the figure as low given the nature of the question.

I’d say the 56% is positive and more than likely an upward trend seeing that the average gamer age is now 31. Most of today’s parents of 0~10 year-olds grew up with games. I believe they would likely state that games were a positive influence on their lives.

Erin Hoffman, Lead Game Designer at GlassLab Games on how commercial games can engage players in social causes:

Computers and video games have a history of teaching technology skills just by being the way they are, so to be able to get them into classrooms is a very powerful thing. I think you can make the argument that the new SimCity is the most sophisticated toy that’s ever been developed, and it’s just mesmerizing to look at and it’s very real and empowering.

I’d like to think this sentiment is shared by adults who grew up with video games.

How video games can change the world, one child at a time

Erin Hoffman, lead systems designer at GlassLab:

Learning is not broken. But testing is pretty broken. The way that we measure learning has been pretty broken.

A lot of game developers are parents now, and they’re starting to see their kids learn. They’re starting to see what their kids are encountering in the education system. The education system is starting to realize, we feel like we’re competing with this barrage of entertainment that’s around kids, nonstop, all the time. I think initially that was shocking to them. TV is the enemy. Heavy metal is the enemy. Video games are the enemy. They’re starting to ask, what if we could harness that instead of making it the enemy? So it’s actually a parallel maturation. Both the education system is maturing into not seeing video games as the enemy, and game developers are maturing into seeing that there are things we can do with games other than just pure entertainment.

Due to their highly addictive and engaging qualities, I’ve always felt that video games have “magical” potential to foster critical thinking and teach skills on a profound level. The ability to quantify various attributes over simple interactions has an insane amount of potential. (ie. how long does a player’s finger hover over a particular object, how many Hearthstone cards did they analyze before making a play, etc.)

I recommend reading Sir Ken Robinson’s “The Element” for more on standardization’s inability to encourage an individual’s potential. Similar to GlassLab, take a look at Knack.

Humanity in Hearthstone

How Blizzard is changing the diversity game.


It is an understatement to say that diversity in gaming has become a hot topic as of late. Themes of sexuality, racial prominence, and gender depiction are now a hotbed for passionate discussion across developer, journalist, and player communities.

From 2012 to 2013, the number of games showcased at E3 featuring a playable female protagonist rose from 2% to 6%. Reluctance to include the theme of sexuality is being countered more frequently by games such as Gone HomeThe Last of Us, and Mass Effect. This is clear evidence that players are yearning for character dynamic and identity in their games. Video games are a medium that exudes immersion more than any other, and in turn becomes the perfect platform for sympathetic and relatable storytelling.

On April 16, 2014, Blizzard Entertainment released their latest foray Hearthstone: Heroes of Warcraft to the iPad. As a free-to-play (F2P) digital collectible card game (CCG) built by a AAA developer that prides itself on the promise of polish with a highly reputable back-catalog, it is an extremely inviting and sure to be incredibly popular download. From testing with a PC/Mac open-bata to trickling the iOS version out to Australia, New Zealand, and Canada prior to world-wide launch, Blizzard was sure this game would be a massive hit.

At the news of Hearthstone for iPad’s launch, I was extremely excited to see what the buzz was about. After rave reviews across the industry, I could not wait to invest in this new Blizzard title that seemed perfectly suited for the tablet platform. Upon launching the game, I assumed I would be given the opportunity to select/create a character and possibly build a deck. Thankfully, I was wrong.

Ultimately, Hearthstone does not include a single protagonist. From Orcs to Elves, Druids to Barbarians, players are eventually offered the chance to unlock a collection of Heroes to chose from. Many veteran CCG players will understand this at the onset. What they may not realize is that they will be forced to begin their Hearthstone experience in a tutorial as Human Mage, Jaina Proudmoore. A female.

This tutorial consists of six ‘missions,’ each introducing details about the game’s mechanics and subtleties. Each ‘mission’ sets the protagonist Jaina against an eccentric opponent, throwing out comical comments that unfold their caricature against a backdrop of the colorful and cartoony tones of the Warcraft universe. Jaina faces her six opponents in the following order:

Six males versus one female. This alone is a powerful statement that will likely slip into the unconscious if not willingly observed.

Sex aside, characters banter back and forth throughout matches. Each foe’s optimistic attitude is met with Jaina’s cautious yet powerful tone. The addition of voice-acting helps build a bond between player and protagonist. Like reading through Katniss Everdeen’s struggles in The Hunger Games, it is nearly impossible not to build a trusting connection with Jaina, rooting for her to defeat each of the tutorial’s quirky baddies.

The initial tutorial took me roughly one hour to complete. Once finished, I felt an attachment to Jaina. Not only had we defeated six opposing (male) Heroes without fail together, we had conquered the powerhouse that is Illidan Stormrage even though the game told us we couldn’t. (A comical, clever and original design choice)

While Jaina and I must spend more time together in order to unlock additional playable Heroes and decks, I am not racing to change protagonists. This tutorial has certainly bonded me to Jaina and is likely to do the same for most players: young and old, male and female.

As subtle and simple as it may appear, Blizzard has made a bold move as a AAA developer in building a tutorial showcasing a powerful female protagonist against six male rivals. Forcing hardcore veterans and casual novices to learn from, protect, and assist a female protagonist in what has the potential to become the largest cross-platform game is a great leap for the cause of diversity in gaming; however, the job is far from done.


Hearthstone: Heroes of Warcraft is currently available for PC, Mac and iPad.


Originally published on TheStarrList.com

Juxtaposition in Video Game Commercials

Textbook Tarantino or tired trope?

I recently re-entered the world of BioShock’s Rapture by means of BioShock: Infinite’s Burial At Sea DLC. As I moved about the underwater city, full of the Gatsby-esque architectural stylings of Frank Lloyd Wright, I heard familiar sounds from the 20s-40s cascade through the setting.

At first, these genuinely warm pieces lulled me into a comfort juxtaposed against what eventually becomes a dark and grotesque atmosphere. Though, after roughly an hour, the presence of the pieces became more noticeable than they had seemed in my first play-through of the original BioShock. I pawned this off to the Billie Holiday Pandora station I’ve practically had on loop since that original play-through.

However, I began to wonder if the use of happy/soothing/serene/moving music juxtaposed against aggressive and bleak circumstances may be overstaying it’s welcome. Just as quickly as I had decided to push this notion out of my mind, I heard news of the new Wolfenstein: The New Order trailer making use of Martha and The Vandellas hit “Nowhere to Run.” While the song my not be strewn throughout the entirety of the trailer, it made me wonder if my initial inkling was correct.

I have decided to compile a list of many video game commercials that take advantage of this marketing approach, starting with Super Smash Bros. in 1999. This is likely nowhere near a complete list, merely an example of a marketing technique that is becoming less and less subtle.

Is this approach still effective or tired?

Super Smash Bros. (1999)

https://www.youtube.com/watch?v=K783SDTBKmg

Song: The Turtles - Happy Together
iTunes | Amazon MP3

Black (2005)

https://www.youtube.com/watch?v=TplY6-UVPqc

Song: Giuseppe Verdi - La Traviata: Noi Siamo Zingarelle
iTunes | Amazon MP3

Gears of War (2006)

https://www.youtube.com/watch?v=ccWrbGEFgI8

Song: Gary Jules - Mad World (feat. Michael Andrews)
iTunes | Amazon MP3

BioShock (2007)

https://www.youtube.com/watch?v=dTyntbnSC_0

Song: Bobby Darin - Beyond the Sea
iTunes | Amazon Mp3

Dante’s Inferno (2010)

https://www.youtube.com/watch?v=9rbeAGdYk_0

Song: Bill Withers - Ain’t No Sunshine
iTunes | Amazon MP3

Playstation 4: Perfect Day (2013)

https://www.youtube.com/watch?v=s0d9d-cdxhk

Song: Lou Reed - Perfect Day
iTunes | Amazon Mp3

Titanfall: Life is Better With a Titan (2014)

https://www.youtube.com/watch?v=YGtMrF3cvZE

Song: Robbie Williams & Jonathan Wilkes - Me and My Shadow
iTunes | Amazon Mp3

PS4: Sharing Means Caring (Destiny) (2014)

https://www.youtube.com/watch?v=5ed9e7yJKxY

Song: Josh Daughtery - Sharing Means Caring

PS4: Sharing Means Caring (Watch Dogs) (2014)

https://www.youtube.com/watch?v=6SGtVryq8gw

Song: Josh Daughtery - Sharing Means Caring

Wolfenstein: The New Order (2014)

http://www.youtube.com/watch?v=dwjKMjIE1rs

Song (Original): Martha and The Vandellas - Nowhere to Run
iTunes | Amazon MP3


UPDATE: Thanks to Bob Mackey of Retronauts for the “Sharing Means Caring” recommendations.


Originally published on TheStarrList.com

Monument Valley - A Review

The beauty of brevity. The pleasure of paradox.


Monument Valley

Ten puzzles. Ten gorgeous, mind-bending, paradoxical puzzles. This is a video game you will complete. In fact, Monument Valley may the first video game many will complete. This is by design.

“With so many games, people never see the end, because there’s so many hours of gameplay, we wanted to make a game where you see the whole thing.” - Dan Gray, Monument Valley Executive Producer in an interview with Polygon

As a child, completing a game was a triumph. This was not due to lack time, rather heightened difficulty. Personally, my choice in games was largely based on franchise rather than quality. In turn, this provided me with a library of poorly designed “classics” such as Sonic The Hedgehog and Battletoads. Hours were spent replaying games from Stage 1-1 on to the point where I was forced to power down the console. Check points were few and far between. Save files were non-existent. When asking a video game funding parent if their child had completed any, you’d be hard pressed to receive a positive answer.

I wouldn’t be surprised if this notion has persuaded many audiences away from video games entirely. If they cannot be finished, what is the point?

Now in my late-20s, working 10-12 hours per day, fitting in crucial exercise for a metabolism that seems all but lost, weekends spent running errands that have stacked up, and nurturing a relationship with my soon-to-be wife, I find very little free time to invest in my love for gaming. The minute-to-minute time I do find is spent reading pieces on Polygon or IGN, sharing these with the greater social media landscape. Echoed in Ben Kuchera’s post ”Parenthood makes gaming better by making time your most precious resource,” the value of time skyrockets as we age. The pastimes of yesteryear begin to seem wasteful, yet we strive to retain a connection to our childhood identity. After all, it is the foundation of our dreams. It is who we are and where we are headed.

Since playing Final Fantasy X (recently remastered for PS3 and PSVita) in high school, I have searched for games with rich story. Until the rise of indies, these only seemed attainable through 15-40 hour bouts of character and world building, effectively turning a game into an interactive novel. Fitting one of these epics into my day-to-day has become a near impossible feat.

This is where Monument Valley succeeds. Piling mass amounts of beautiful art and ambitious puzzle design into a bite sized experience is the video game equivalent of a decadent cake. Too much is overbearing. Not enough is unsatisfying. There is a balance.

Monument Valley immediately finds it’s footing through a rich color palette, a soothing soundtrack, and delicate animation. The player understands this world and its inhabitants. The story is used as a mysterious additive that comes secondary to exploring the gorgeous worlds built on paradoxical M. C. Esher design.

Puzzle solving through the discovery of paradox makes the player feel empowered and unstoppable. The experience of breaking illogical boundaries through new perspectives gives players the opportunity to live out their fantasies; it offers a sensation of seeing The Matrix or experiencing the paradox of Inception first-hand.

As the game progresses, the solutions to impossible geometry become more and more difficult to discover. It was not uncommon for me to consciously forget my knowledge of the real world and instead fall back on memories of mazes and Puzzlemania books of my youth. As the difficulty builds, the frustration of adulthood becomes more apparent. Our desire to know how things work is challenged to near breaking point. Even those with a basic understanding of code, animation, and design will scratch their heads and ask of the developers, “how did they do that?” Somehow, the player is able to move the on-screen character through paths that did not previously exist until viewing the vertical world from a different angle. Genius.

It seems the urgency for time has permeated the minds of the developers at ustwo. Monument Valley’s 2-3 hour play-through is the perfect amount of that decadent cake. The experience of Monument Valley is sure to please both the hardcore gamer and casual audiences alike. In fact, it is the perfect example of the importance of short and sweet, possibly introducing these polarizing audiences to a new approach in game design as seen in JourneyThe Room, or EDGE. And like that decadent cake, Monument Valley’s length, design, and puzzles are mesmerizing enough to feel satisfied yet haunting enough to warrant constant craving. If DLC is abound, sign me up.

Monument Valley is available exclusively on iOS (iTunes)


Originally published on TheStarrList.com