IGN’s Seth G.Macy reporting from PAX East:

“Any item that affects game play,” he told the audience, can be acquired “through grinding.” He compared his ideal F2P model to Disneyland, saying that when a person visits the park, they have the choice to spend money as they see fit once inside, but they can still enjoy and experience all the park has to offer. He contrasted that with Vegas, where the push to spend to increase enjoyment is non-stop.

“Be more Disney, less Vegas,” he said. Bleszinski also said that Boss Key is watching and taking note of the people on the forums and on reddit who are offering suggestions and participating in the community, hinting that they will be rewarded for their participation.

This seems like a very misguided comparison. Bleszinski seemed to skip the part where you pay to enter Disneyland. Get the most out of a $99 single park ticket means a Disneyland guest will spend anywhere from 11 to 16 hours in the park. Guests can bring food and drink into the park, but the realistic chances of anyone bringing in three meals plus snacks sounds overly ambitious. Needless to say, food will be purchased. And if a guest has gotten by without spending a dime inside of Disneyland, they still paid to enter. This is no where near a free-to-play model.

Polygon’s Charlie Hall reporting from GDC 2015:

Rosalind Wiseman and Ashly Burch collaborated to create their survey in the spring of 2014. Wiseman, herself a teacher, educator and author, was able to deliver the survey to 1,583 students aged 11 to 18 over the course of the year. The results, the authors say, are enough to turn the games industry’s understanding of gender issues on its head.

The most compelling data point for game developers is the fact that girls in high school are far more likely to prefer to play female characters than boys of the same age are likely to prefer to play male characters.

Only 39 percent of high-school aged boys surveyed preferred to play as male characters, while 60 percent of high-school aged girls preferred to play as female characters.

That 21 percent delta, the authors say, is more than enough reason for game developers to rethink who their main characters should be going forward.

“We as developers,” Burch said, “understandably … are afraid of our games not selling.

“It’s terrifying to imagine that your game’s not going to sell. But it could be that we are falsely attributing the success of past games to things that don’t actually matter to the kids that are playing them.”

Since hearing Rosalind Wiseman on The One You Feed podcast, I’ve been an avid fan of her and Ashly Burch’s work. In case you missed it, their GDC 2014 talk on The Connection Between Boys’ Social Status, Gaming and Conflict is worth the watch.

See also: My recent breakdown of protagonist gender and video game genre from the games announced or highlighted at E3 2014.

Continuing my research of video game genre and protagonist/main character gender, here is the collected data from E3 2014. The sample list of 152 video games was sourced from IGN’s Games at E3 2014, platform data mapped to a quantifiable “TRUE”/”FALSE” list, genre lists collected from both IGN and Wikipedia (limited to primary genre), and the main character gender researched to the best of my ability.

Elaborating on the gender categories:

“Multi” being either:

• multiple characters to select from (ie. Mario Kart 8 / Killer Instinct receive 1 count for “multi” although there are several characters to select from)
• customizable gender
• large customizable party

“n/a” being a:

• gender ambiguous character
• god-view game
• first-person with no direct gender association

Some key points:

• My data can be found here. (Numbers online)
• Sample size = 152 games
• 13 exclusively female protagonists/main characters vs. 47 exclusively male protagonists
• Female protagonists by year:
  • 2012: 2%
  • 2013: 6%
  • 2014: 9%

Additional reference:

• E3 2013: Genre/Gender Breakdown, along with E3 2012 data

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.

Arthur Gies:

Whatever factors were preventing publishers and developers from setting their games loose upon consumers in an unfinished state have become less pressing, apparently. I’m not actually interested in calling any particular publisher or platform holder out here, as I don’t think I have enough fingers to point at them all. The point is, simply, that it’s becoming harder and harder to know, even on release day, if a game will function on day one, two, three or indefinitely.

I don’t think this is going away. In fact, for the time being, I am absolutely positive it won’t. It will be some time before publishers get the hint that this isn’t ok, where they move beyond lip service about “making it right” and actually start doing the right thing and delaying games that aren’t in a state fit to be sold. I don’t know what it will take for this to happen. I don’t know what the final straw will be for consumers to push back.

That said, I think there’s more we can do to serve our audience and offer some modicum of caution and warning about games we have reservations about.

Like clocks and cars, video games are two-fold: wondrous products made functional by mechanical innards. Video games are at once magical experiences full of narrative, music, design, and animations; at the same time highly mechanical, dynamic pieces of software full of the nuts and bolts of computer science.

Playing a video game is an individual, singular experience. As Griffin McElroy has stated before, “games by their very nature are interactive, meaning… your experience playing the game is going to be different.” Therefore, the critique of a video game’s artistry (design, narrative, visuals, music, etc.) should hold little weight to an individual. Where a video game’s critique should be heavily considered is it’s functionality. If a manufacturer isn’t going to hold up their end of the consumer protection bargain (or be bad business, even better if the outlets can forewarn.

I am excited by this stance from Polygon. Video games are artistic illusions that only work if they are fully functional. If the undying mechanics are broken, the illusion is broken, too.