Stop the presses! Print media has a reason to stay alive/10

As someone who has paraded the 'gaming print media is dead' flag for some time now, it is very refreshing to be proven wrong. As an Aussie, the choices of Hyper and ... well, there aren't exactly a lot of choices for local non-platform specific news outlets. We do have access to the odd US/UK import, but by the time we shell out the monetary equivalent of two cups of coffee, the news is outdated and content mostly irrelevant.

Then BAM! Game Informer has the balls to go all Aussie with the latest news and game announcements while also throwing in relevant features regarding issues that are close to home. And at a price that barely deserves the name of 'price'!? Frankly, there is nothing to complain about while going through every issue cover-to-cover ... until I hit the numerical reviews.

While I have admitted being wrong to print media being irrelevant, I'll fight to the bitter end about my hatred of using a numerical symbol to grade an experience after using several hundred words to do the same thing. Numerical scores serve only to please fanboys who believe 'game x' is infinity times better than 'game y' because a reviewer scored it .2 higher. Actually, that is an understatement. Those numbers also give studio executives a quick justification for their dirty tricks.

Its no secret that publishers and business peoples alike look to review score collecting sites such as Metacritic for a quick evaluation on the success of games. Some publishers even determine the payment for the development team. High aggravated review scores on sites like Metacritic keep investors happy, while anything under, lets say 80%, is deemed insufficient and will see heads roll. Since publishers know the bulk of 'hardcore' game sales take place in the immediate launch window, they will put embargo's on major publications that do not say the game is absolutely perfect.

And here we find gaming publications faced with the dilemma of ethics of reviewing a game honestly but later, or being the first review available to the public just because your review has a 10/10 at the end. Those who think they can fight the system can just look at what happened in GameSpot HQ when longtime reviewer Jeff Gertsman gave latest ad-funded release Kane & Lynch a 6/10. For aspiring reviewers it does not paint an optimistic image for what we can do ...

But alas, in my first issue of Game Informer as a subscriber I see this issue addressed 2 pages in! Editor Chris Stead does not hide the honest fact that numerical scores are set up to serve the non-gamers who have money invested in these projects. It was refreshing to have someone from the journalism field come out and admit it. Along with the issues of sites like Metacritic, Stead also brings up the issue of how individual publications have different standards for reviews.

From his letter response in Game Informer #5

'It doesn't matter that every publication scores their games to their own criteria, much like we do as set out on the Reviews Intro page. Some are highly damning of bugs and mistakes, others will cop such things if the addictive storytelling or innovative gameplay overrides them ...

I urge you where possible to educate yourself on a publication's judging criteria, but understand why scores average around the 6 to 7 realm. Because if you were to start dropping 5s for an average score, and giving 4s to what you would usually give 6s the context and reasoning behind such a thing will not be understood in the broader global market...'

Stead hits the nail on the head right there with the issues around sites like Metacritic. Different publications use different systems to evaluate games for reviewing purposes. But we still see review scores grouped together without proper clarification as to why individual magazines and websites such scores. I know every time I have been involved with reviewing for different publications the standards are never the same. One mans 7/10 is another mans 5. It can be universally understood when a critic says 'game x is fast paced and entertaining, and should not be missed for fans of incredible action'. But in our ADHD obsessed world, 9.2/10 is somehow much easier to understand.

You got the touch

For a while, the miracle of digital distribution seemed to only be popular on the PC end of gaming. The opportunity for small indie developers to make their works available to the gaming public for a fraction of the price of retail software has opened the doors for even more people to step into the industry. The current generation of console and handheld hardware has opened up more digital distribution channels with services such as Xbox Live Arcade, WiiWare and the PlayStation Network, but one of the biggest surprises is the success of the App Store on Apple's iPhone and iPod Touch range.

In just over a year of operation, the App Store has become home to over 65,000 individual applications ranging from virtual bubble wrap to touch versions of popular puzzle games like Tetris or Bejeweled. With prices ranging from free to hundreds of dollars, the option for cheap digital distribution of games has taken off. Independent developer Luc Bernard took a chance on the App Store with his strategy game Mecho Wars, and has reported great success from digital sales. On the other side of the coin, big name publishers like EA and Capcom are releasing App versions of some of their biggest franchises, including Madden NFL 2010 and Resident Evil 4.

The success of the App Store has changed Apple's marketing position towards the iPod Touch, with recent advertisements pushing its gaming capabilities over its other multimedia functions. The company has even taken swings at Nintendo and Sony in recent months, touting the App Stores larger library of software compared to both retail and digital offerings available on the Nintendo DSi and PlayStation Portable.

While the DSi is relatively new to the digital market, the PSP has offered access to the PlayStation Network for some time, but failed to reach consumers on a marketing level. The newly released PSP Go! is taking risks by ditching the disc drive featured on older PSP models and working entirely in the digital arena. Over the year, Sony has worked with publishers to make the existing library of games available in digital forms along with hard copy discs for retail – but higher price points and lack of regular sales have kept consumers at bay from ditching their local EB Games of JB Hifi. Although this problem may soon be resolved with the introduction of PSP Minis – smaller, available via download only games released at lower price points.

For now, the biggest difference between these choices are entry prices. All current PSP models can access the PlayStation Network, and are available for AU$279.95. The PSP Go! will be a bit more intimidating with an rrp of AU$449.95. Apple comes off slightly cheaper for consumers with the lowest entry price for the iPod Touch being the 8GB model for AU$268, with 32GB and 64GB editions also available for AU$399 and AU$549 each.

Heavy Rain Retrospective

So I just recently finished my first playthrough of Heavy Rain (review to be featured on The Daily Gamer sometime this week) and with the recent PS3 wordwide crash I thought I might take this downtime to reflect upon my experiences. Obviously there are spoilers ahead for anyone yet to finish the game, but I’m sure some will still read out of temptation and complain that I spoiled the game for them. Nothin I can do about those peoples aside from tell them to GTFO plz, kthxbai.

note: this isn't a proper review of the gameplay/presentation, just my own reflections of my story.

SPOILER ALERT!!!

In short, I’m disappointed with my experiences in Heavy Rain. This doesn’t mean that I’m displeased with the quality of the story or characterisation, but more that I am not happy with the outcome that my actions lead to. I may have succeed in saving Shaun Mars from the Origami Killer, but the final outcomes for the main cast left me with little emotional attachment.

Firstly, Ethan Mars SHOULD HAVE DIED! In my story, my choices lead him to be a father in search of redemption; a man willing to do anything to repair his relationship with Shaun. While the earlier challenges posed little more than ‘risk vs reward’ scenarios, I really had to reflect on if it was worth sentencing Ethan to a certain death for the sake of his son. Giving in and taking the poison was one of the more powerful moments in the game and the developers should be rewarded for creating such a set-up. And to only fail and select the wrong address in the end (a fault of my not noticing how obvious the real location was) felt like the ultimate punishment for a man who was destined to fail. Which is why I was ready to start writing death letters to the development team when the epilogue showed Ethan still alive and developing a stable relationship with his son. A can appreciate the final test being more psycological than fatal, but the way in which it was presented felt as if it should have ending with an actual death.

And speaking of actual deaths, Madison’s death at the hands of the Origami Killer was a fault on my part (and I am willing to accept it) but I can’t help but feel her involvement in my story felt tacked on. I wonder if I were to go back and have her not help Ethan when she first saw him at the hotel, would the story have just gone on withoutany of her scenes? I didn’t hate her investigations into the killer, on the contrary I actually found the chapter with the doctor to be the most thrilling of all, but since the parts of the mystery she revealed were never relayed to Norman/Ethan, her story continued to feel separate rather than connected. Prehaps if she had survived her encounter with Scott, she would have felt more important to the outcome of the story.

Instead that role fell to Norman, the FBI agent with a drug habit and Batman-like detective vision. Looking back, the complaints I have about Madison could just as easily be applied to Norman if he had died instead of her. But with her dead and Ethan MIA, he became the centre focus for the final chapter and the overall hero. The changes in character perspective in the overall game feel as if they are little more than to flesh out one main hero’s journey, but until the last chapter that hero for me was Ethan. The sudden change of having Norman come in and be the saviour was abrupt and would be somewhat confusing in a storytelling perspective in my opinion, but as I stated at the beginning, issues like these were the end result of the choices I made so I cannot hold the game responsible for its storytelling methods.

END SPOILERS!!!

I think my overall complaint with this method is that the game holds onto all its secrets right until the end. On the first playthrough, the player is doing little more than blindly fumbling through the story with no direction of what outcomes will be had from his actions (assuming hint guides and walkthroughs are not used). When every PS3 in the world stops dying and I go back to play through the game with different choices, I feel like this will be the story that should have been told the first time around, a directors cut, if you will. With the overall story arc now revealed to me, I can succeed in making the right choices that will lead to a conclusion that I will not lose sleep over. But maybe I’m complaining over nothing, maybe this is how Quantic Dream wanted me to experience the story; constantly making mistakes that will lead to an outcome that I do not fully expect, and to rectify my errors only when I have a full understanding of the story at hand.

Film review - Zombieland

I'll make a quick note to start things off: I find the term 'zombie' to be politically incorrect and offensive to those who have difficulties staying dead. So I shall try to get through this review without throwing the term around to the point that I will be sued by the corpse of Bill Murray, now let's start reviewing.

It's hard for me to enjoy movies about the non-living. Aside from the fact that we are already a bunch of brain-dead drones (as proven in Shaun of the Dead), the people in these movies all possess that irritating brain pattern of doing obviously stupid things leading to their immediate deaths. Z-land scores points right off the bat by having what are possibly the most intelligent people ever portrayed in an undead survival movie.

The 'rules' used by one of the main protagonists are pretty much what viewers have learned after years of watching people get caught off-guard and losing brains. Their continuous pop-ups during the movie put a smile on the viewers face, which will probably stay on there thanks to the constant humor.

Yes, Z-land is quite funny at times. While it is nowhere near the level of English wit features in Shaun of the Dead, Z-land relies on a more American type of humor – meaning in-your-face pop culture name drops a la Family Guy. If you can stomach these kind of laughs, then Z-land is one great roller coaster of fun.

If past movies in the genre have annoyed you, or you've grown tired of the same formula, Z-land is a must see. On your way to the cinema, be sure to remember rule #3 – wear seatbelts.

Nobody Miniviews - Afro Samurai

I can't say I was expecting a samurai-themed video game staring Samuel Jackson to hold back at any point, but like so many game adaptations something feels off the moment I start. Maybe its the overuse of in-game symbols in the loading screens alone – more teddy bears than I need to fill my bed. Or maybe its because even the lowly grunts of the video game world take more effort to bring down than Afro ever needed in the hand drawn world.

Even with the comical slapstick of another Samuel Jackson character (since he needs a minimum of two roles in any movie/game/book ever made) doesn't feel right. Maybe its because instead of my bizarre id, he has had to take up a second job as a checkpoint marker to the end of a level. I know the economy is tough all round, but taking it as far as stylised feudal Japan shows how bad it is.

Well if there aren't enough coins/headbands to go around in tough times, I could always thin out the numbers with my trusty pointy object. But for some reason grunts don't fall into a million pieces on the first swing like they used to. Obscene video game rule # 258 “all sharp weapons shall do motherfucking all when trying to cut artificial life”. Oh, I may have spoken too soon! It seems faceless bad guys can become confetti if you rip off The Matrix and slow the fuck down. Motherfucking Success!

Miniviewed by Steven Janjic

email @ nobodygaming@gmail.com

Nobody Miniviews - De Blob

It is amazing what developers are allowed to get away with in games that are labeled as 'kid friendly'. Mario is pardoned for mass genocide of a kingdom of turtles, not to mention his highly questionable fixation on shrooms. And here we have a 12 and under version of V For Vendetta. All these 'bad guys' wanted to do was create order and stop all those people distributing child pornography. Is that such as bad thing? Apparently so, because rebelling against authority is quite fun when you are a walking paint brush.

Rolling into town seems simple enough. Those janitors hired by the new regime seem to have done a good job in cleaning up this town, but now it seems kinda....boring. Wonder what they will say if I make a few trees red. Hmm, no one seems to be complaining – maybe a building next, or why not half a dozen buildings? Hey, now someone brought out the funky tunes in acknowledgement of me, and he knows how to play to my groove. Chillax time is a go!

But it seems the man doesn't quite want me chillaxing. For some completely stupid reason, there are time limits and high scores. However, since there are enough bonus time and points scattered around this totalitarian town, kinda seems that taxpayer dollars are going to waste with this scheme. And while I'm bitching about pointless ideas, whoever legislated that all jumping be regulated to swinging around wiimotes should be removed from office faster than Richard Nixon. But there is no time to complain, I seem to have earned a bajillion points and extras just by doing my own thing in town. Someone bring out the margaritas – the party is off the ball n chain!

Miniviewed by Steven Janjic

email @ nobodygaming@gmail.com

Nobody Miniviews - Assassin's Creed

The atmosphere in the 12th century holy land is as washed out as the colours of the city walls and people. The flicking of the screen and unknown voices really put me in Jerusel- wait, screen flickering?Who and what are these omnipotent beings talking out of sight? And why am I a human lab rat in the future instead of a crusaders era assassin? Alright alright, I'll bear this science-fiction reject stuff if it means I get back to 'ye olde thyme' faster. Yes yes sit in the machine, suffer through a pointless tutorial, can we get on with it please?

Alright I'm in, but something still doesn't feel right. This is a video game, but Atalir is strangely well-endowed for a prologue. After killing a few guards and starting to enjoy myself, I discover Atalir suffers from a Metroid complex – the process of teasing players with a fully powered figure only to rip it away from them instantly. How someone forgets to tackle or shrug off being grabbed I don't know, but Atalir has found a way. Seems if I want all the swag returned to me, I gotta be a good dog and do grandpas chores; eavesdropping on who people think will be voted off Idol this week, and occasionally putting sharp objects into these people. So when do I get to start running around 12th century rooftops?

Finally out of the assassins castle, but now where the hell am I? It's going to take at least a week to reach Damascus with every single guard chasing me unless I walk at the same pace as an old man. And just when you need it, you remember that Atalir still hasn't remembered how to fight against the medieval police. How exactly does someone forget how to parry? Oh well, maybe the sci-fi rejects can answer that?

Miniviewed by Steven Janjic

email @ nobodygaming@gmail.com