thisisatempaccount Comments

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  • Why we need more developers like Zoe Quinn

  • thisisatempaccount 30/08/2014

    Hi Dan, thanks for writing this article! I enjoyed it and found much in it that was challenging and thought-provoking. I have three points that I'd like to try to make in response:

    1) I agree with the premise. I like the idea of games with stronger voices, games with something to say. I don't mind the idea of games becoming less game-like in search of that (provided they remain compelling experiences) - as you mention, 'proper' mainstream games are already becoming more and more like films anyway, so what's wrong with games that are more like novels, more like toys, more like paintings or theatre or art installations or happenings or anything else?

    2) That said, I've always had major issues with auteur theory - big games are the product of the blood, sweat and inspiration of dozens, if not hundreds of developers, so how is it fair that one person should get all of the credit? Even if they have nominal creative control over the project, it isn't as if every aspect of the game - writing, art assets, level design, direction, feedback loops, control schema, animation, voice work, music - was born as a pure droplet of concentrated Muse in their minds, woven together to be shared with their disciples to nobly go forth and make into reality. 80 to 90 percent of that shit wouldn't have come out in the form that it did were it not for anonymous schmoes in the company rank and file, each working to accordance of their own hopes, ideals, politics and dreams and producing art in their own voice. Kojima aside, replace half a dozen key people from the production effort of, say, MGS 3, and you'd have a massively different game on your hands.

    Now I'm not saying we have to get rid of collaborative art, because obviously it works: good games and movies and TV shows do get made (occasionally!). But I've always thought it's pretty exploitative to credit the whole outpouring of effort to just a single name. Depression Quest (which I'd call a good game, problematic in parts but still good) is obviously something of a different matter; it's a much smaller game, but hey, weren't there were still two other people on the credits to that game? Can anyone reading this name them off the top of their heads? I can't and I was playing the game last night!

    3) There are more developers like Zoe Quinn out there. There are thousands of Twine games available to play out there. I would imagine most if not all of them were written from an equally personal space. There were thousands of Interactive Fiction games before Twine even existed, just as for decades people have been pouring their souls into Game Maker games, flash games, html5 games, Clickteam games, RPG maker games, AGS games, Megazeux... these people exist. Their voices aren't being heard, and never will be; they'll always go undiscovered and the pains put to expressing them will be in vain.

    And that's probably inevitable because this is how so much of art has always been - only .001% of any creative work ever reaches the audience it deserves. That's alway's been unfortunate, but in the context of articles like this, articles that cry out for personal expression while pointedly ignoring the existence of scads of it everywhere on the internet, I find it poignant and sad.

    Is that gaming's fault? Is it gamers' fault? Yes. Those of us who want more from our games shoud demand more from them, and we should make more of an effort to find games that offer more. But it's also just as much the fault of sites like Eurogamer who have built wide-reaching platforms but fail or refuse to give these very types of games the one thing they depserately need, which is exposure. You could give the oxygen of publicity - I know that's a term loaded with negative connotations, but it needn't always be a bad thing - to nourish hundreds of such developers, simply by reviewing their games.

    Let people know which voices are worth listening to, Dan. Moralising in an editorial will whip everyone up into a frenzy for a while, it might nudge a few onlookers into your camp, but how is it going to really change the status quo? These developers are already out there - come on, of course they are - and these types of article are fine - if a little rude for handwaving a lot of extant creators from reality - but the business of actually finding these games, and letting us know about them, why they're valuable and where we can get our hands on them - that sort of spadework is what I'd be more interested to see.
    Reply +13
  • Video: Ellie's Gibson's best bits

  • thisisatempaccount 29/08/2014

    @Mods Not to be that guy, but both the interview links go to the Mark Rein piece.

    @GamerFreak Ellie's been a part of EG for as long, I'd guess, as pretty much anyone's been reading it. Feels very weird to see her go.
    Reply +1
  • The worst games I've ever played, by Ellie Gibson

  • thisisatempaccount 28/08/2014

    Thanks for the reviews, and the interviews, and for everything else, Ellie. They were good times. You made a pretty crap era of gaming - all middling out and compromise - brighter with your words. The thought that we'll have to soldier on through the next one without you leaves me feeling really quite sad.

    I'll be eternally grateful to you for giving us the gift of Fruit Mystery. The site is long gone, but fortunately the wayback machine has managed to preserve it. For all its brilliance (genuinely, it has to be one of the best games ever made, for what it is) I have never seen it mentioned by anyone, anywhere on the internet, even in passing.
    Reply +1
  • Ninja Theory: Don't call Hellblade Heavenly Sword 2

  • thisisatempaccount 18/08/2014

    Indie AAA? Really? Put the bread knife down and step away from the English language, Ninja Theory. Reply +2
  • The Pokémon Trading Card Game is coming to iPad

  • thisisatempaccount 18/08/2014

    Format wars aside, I'm surprised only masterofchaz seems to remember the GBC version of this game. It was without doubt one of the best of the era - you could learn it in minutes and still be playing the damn thing years later. I know I am. There's an elegance to its design which is breathtaking. Better than Yugioh or Hearthstone for me, the only genre rivals that have it beat are Magic and Netrunner. Reply +1
  • Has Valve just soft-launched the Source 2 engine?

  • thisisatempaccount 07/08/2014

    Has Wesley Yin-Poole just refreshed NeoGaf? ;) Reply +6
  • Michel Ancel starts new studio, but remains at Ubisoft

  • thisisatempaccount 01/08/2014

    "while Michel and the team at Ubisoft Montpellier are working with the core tenets of BG&E, they're developing something that aspires to push past the boundaries of a proverbial sequel and leverages next-gen technologies to deliver a truly surprising, innovative and exceptional game."

    So is this going to be Beyond the Creed of Good & Evil, or an iOS auto-runner? Place your bets!
    Reply +4
  • Five Chinese Dota 2 players win $5m

  • thisisatempaccount 22/07/2014

    It was an incredible tournament. Looking at the final in a void then yes, it was a disappointing spectacle, but that's failing to appreciate the context that serves as a backdrop to the clash.

    VG looked unstoppable coming into the final. It was if they had discovered a legal cheat code for Dota. They seemed like a stampeding herd, an innumerable swarm: they'd grab the momentum with a first blood kill in 2-3 minutes and turn that into a tower push. In the confusion and tumult, they'd steal across the map and swipe another double kill, and another tower would fall. Then another. Titans of the sport, teams that had crushed tournaments and slugged out 80-minute bouts for the ages were being consumed like a T-Rex falling to the furious onslaught of a pack of tiny, tenacious velociraptors. In their lack of respect for this meta-challenging strategy, the old guard buried their heads in the sand - and were buried in turn.

    Meanwhile, despite being well-respected and much-touted for the title, Newbee had almost been knocked out of the tournament in the group stages. They had to fight tooth and nail to scrape out of a tiebreaker set just to claim one of the final available slots in the main event. They then went on a tear of their own, winning five best of three matches - against teams who had done much better than them in the opening days of the tournament - to leap frog their way up from last qualifiying place, first into the winner's bracket and from there to the grand final itself.

    And in that first game, VG rolled over them as they had rolled over everyone. It was a straight-up demolition. The 'deathball' pushing strategy seemed to annihilate everything in its path. VG had one hand on the title.

    But then something happened in the second game. VG didn't get first blood. Then they traded two kills away for one in another lane. Simultaneously, in the third lane, they lost another man. They didn't have the momentum, but they had drafted for early tower-pushing, so they had little choice but to go ahead and push. It failed miserably. Newbee had concocted a coherent counter-strategy and the screw was beginning to turn.

    From seeming invincibility the flaws in VG's strategy were suddenly all too apparent. It wasn't an all-conquering ultra-strat but in reality, more like an all-in gambit. Like the wham moment in some action movie, the formerly invulnerable archvillain was suddenly confronted with the unexpected sight of his own blood. 'How can this be..?!' Panic set in. You could read it in the draft of game 3, and game 4, as VG doubled down on what they thought - what they knew - had served them so well up to now. They clung to heroes who were serving them no value, while panickingly picking others who Newbee had taken earlier in the set in a rash attempt to keep them out of their hands. Meanwhile, Newbee were growing in confidence. They had rallied in the face of a devastating opponent and were on their way to an emphatic comeback.

    And that's very much the point, I think. If you look at the individual matches, it was disappointing that there was no back and forth. No epic rosh fights, no six slotted carries, no buyback teamwipes, no backdoored barracks and no YOLO 322 throws. But take the longer view of the grand finals - think of losing the first game as being like losing a first set of rax - and it looks very much like the stirring from-behind reversals that we so love to see in our Dota 2 matches. Take an even longer view of the tournament as a whole, and the narrative becomes even more compelling.

    This is to say nothing of some of the other amazing games we were treated to. Some of the sickest comebacks of all time - LGD versus DK game 1; Titan versus Newbee. Some of the most dramatic base races - Big Daddy grabbing the rapier and trying to storm Mous's base single-handed. Singsing's Meepo and DDZ's Invoker. I hope the slightly bitter taste left by those individual games in the final doesn't overshadow what was a feast of sumptuous doto that produced a worthy winner. Congratulations to Newbee!
    Reply +17
  • What the FAQ?

  • thisisatempaccount 21/07/2014

    FAQs were, for a while at least, the embodiment of gaming community. Now with the arrival of the wiki scene, they resemble so many cold, remote, towering edifices. We move away from authoritative voices to collaborative wisdom because it's that much more efficient. It's sad, but only if you're weirdly sentimental like me. Reply 0
  • Fortnite builds a hopeful future for Epic, free-to-play

  • thisisatempaccount 08/07/2014

    @7M7 Agreed. This time vs money spin sounds very fair and balanced, but you can guarantee a clear pecking order will emerge. It'll go:

    those with no time and no money < those with time but no money < those with money but no time < those with time AND money.

    Money will be the final arbiter, and even if it isn't, letting it have any influence on the outcome of a supposedly skill-based game is madness. Not sure I'm understanding the hype from EG here, beyond it being the done thing in previews for whatever reason.
    Reply +1
  • Distant Worlds: Universe review

  • thisisatempaccount 30/06/2014

    Anyone looking for a slightly more glass-half-full companion piece to this review should check out Adam Smith's take over at RPS.

    The game is so frigging big and so frigging complex that if you wanted Marxism in your empire you could probably implement it manually - or at least try. But you'd probably go mad doing it and the results wouldn't look anything like what you were hoping for. Which is maybe where that metaphorical weight comes in!
    Reply +14
  • The sickening side of the Steam summer sale

  • thisisatempaccount 28/06/2014

    Would you rather have a surfeit or a drought? Would you rather gaming was the exclusive preserve of the comfortably well off - a demographic in full blown regression under the vice grip of the neoliberal corporate hegemony? (Average earnings have been going backwards for the best part of a decade now.) And would you rather developers were forced to cater to said demographic - let's not forget that companies wouldn't be making these discounts unless they were satisfied with the returns?

    Never mind the first-world problem of a gaming backlog - would you rather that gaming was, once again, a first-world privilege?

    Just to be clear, I think this is a great article. It has all the reasoning and caveating and on-the-other-handing that you'd expect from Richard Cobbett. He's done justice to the subject and he's only raising concerns I think we've all had in the back of our minds when it comes to Steam, but look. Look at consoles. Look at the £50 reaming console gamers repeatedly undergo to get ahold of their games. You can't say that's preferable. You can't say that's satisfactory. I'll take the sales.

    (Another clarification - it's actually for the greater good that the keener among us pay full whack for their games. That's the trade-off for getting them while they're brand new, before the spoilers are circulating and while you can feel part of the zeitgeist. That's fine. But being expected to cough up top dollar for every game, even older ones? Especially considering the digital nature of most distribution channels means there's essentially no overhead to make up for? Eff that.)

    And on the point of the summer adventure - buying games isn't the only way to get cards and badges, you know. Almost every game on Steam now has the badge/card system implemented - meaning that if you actually play the games in your backlog, you can work towards getting points for your team! And that's just what I've been doing. Playing amazing games like Risk of Rain and Telelglitch, unlocking some cards, trading any duplicates on the marketplace (you can make surprisingly ok money doing this - just for playing games!) and using the proceeds to round off collections and craft their badges. Crafting badges itself leads to more card drops and booster packs, which will produce duplicates you can sell on the market, which can be put back into finishing badges, which leads to more card drops and booster packs...

    All without spending a penny!
    Reply +11
  • Weapons are never the solution in Alien Isolation

  • thisisatempaccount 10/06/2014

    " Turns out there are other humans, some hostile, like my unfortunate chap, some ambivalent and some friendly. How they react to you is as random as how you react to them."

    Are you sure about this? Did you play the segment twice, for example? Seems like you'd need to have done so to be sure said behaviour wasn't actually scripted.
    Reply +6
  • Why the new Gauntlet is wise to keep things simple

  • thisisatempaccount 22/05/2014

    @Porcupine_I I believe the game you are thinking of was called 'Pacman'. HTH Reply 0
  • Ridge Racer retrospective

  • thisisatempaccount 18/05/2014

    I honestly thought this might have been a Revstu piece. Reply +1
  • Soul Calibur: Lost Swords review

  • thisisatempaccount 07/05/2014

    a wallet-busting £11.99 fox

    I dunno, in some parts of London a fox will set you back far more than that. Still, 'micro' transactions can fox right off.
    Reply 0
  • Block rockin' beeps: What's behind gaming's greatest soundtracks

  • thisisatempaccount 30/04/2014

    Mystical Ninja Starring Goemon 2. Some of Konami's old hands from the Beatmania series were brought together to put out a soundtrack that is the happiest meeting of Eastern and Western aesthetics I've ever encountered - eat your heart out, Tarantino. That it provided the backdrop for one of the finest 2D platformers of its generation was just the icing on the cake. Too many great tracks.. I really struggled to choose just one. Look up the whole OST in youtube; it's simply incredible. Or better yet dig out your N64 and get on ebay!

    https://www.youtube.com/watch?v=qca21C_gjSc
    Reply 0
  • Super Mario Land retrospective

  • thisisatempaccount 27/04/2014

    The game is good. Pacey, fun, and that soundtrack. I agree with some of the commenters here, there are notable differences compared to SMB but I'm not sure they feel like a team trying to stamp their mark on the series so much as creative workarounds to things the gameboy couldn't handle. The fireballs vs. 'powerballs' for example - by not faithfully translating the slighly complex movement rules of the NES game's projectiles, the developers probably freed up a few bytes of space for something else.

    I also love the evocative minimalism of 'Oh! Daisy' - it's just so sad! - and then when you finally reach the end, it becomes

    'Oh! Daisy
    Daisy'

    transforming the refrain from melancholy to triumph with just the repetition of one word. Then they get into a rocketship and fly into the sunset. Puts most modern games' cutscenes to shame, anyway.
    Reply +7
  • The Story of DOTA

  • thisisatempaccount 07/04/2014

    @Number1Laing - It is. Or, it isn't. I thought much the same way, once. My resistance to these games was strong. They seemed antithetical to the kind of experience I (thought) I wanted from my games. I was irritated by the countless articles they generated, invariably with someone or other gloating about their titanic success, be it measure in accounts they had activated, or man-hours sapped out of the economy, or moneyhats hoovered into the corporate swimming pool, or feature films generated about the importance of staying in the trees. Then a friend linked me to a couple of games that were being broadcast of the last International (basically the World Cup of Dota 2). I had more or less zero idea what was going on, but it was enjoyable, in the way that a game of Starcraft or Street Fighter or even (whisper it) football can be when both sides are really, you know, going for it.

    I didn't realise at the time, but that was the first step taken on an irreversible path.

    Over the coming weeks we downloaded the client and had a few games together. I played my first game against bots, and on the proceeds cheerily dismissed the entire genre. Staring at the post-game screen, trying not to pay too close attention to my own Kill/Death/Assist score, I reeled off a list of damning indictments: the start of the match was clunky and weird; some of the mechanics seemed counter-intuitive; it was too easy to die and too hard to get kills. I had played both better RTSs and bettter aRPGs. But when my friend asked me for another game, for some reason I didn't say no. And so we played the next night. And again a couple of nights later. Then again the night after that...

    We logged about 100 hours before we even ventured online. Not because we had to, but simply because the game was compelling enough against bots. When we did, it was a revelation. The toxic community we had been so terrified of from the denouncement of a thousand eurogamer articles simply failed to materialise. The single best tip I can give you here is to find a 'stack' of two to four other friends to matchmake with - it's much better to play against strangers than with them.

    What we encountered instead was a competitive climate like no other. It turns out forty minutes is more or less the perfect time to invest in a battle of wits and reflexes. The investment is substantial enough that you can't simply dispose of the experience when you're done. It lingers in you, emotionally, be it the adrenaline highs of sweet, hard fought victory, or the cognitively dissonant lows of salty, bitter defeat. On the other hand, it doesn't take so long that you can never manage to get a game going. You might only snatch time for one or two games of an evening (we all work 9-5s), but you'll come to value those games vastly more than any rotation of TF2 or Battlefield maps. You get drawn in. Something, somewhere along the line, just clicks.

    One day you open a new browser tab and seven of the nine default bookmarks are Dota related: sites that dole out handy guides for how to play heroes and what to buy for them, sites that hook you up with live broadcasts from the world's best competitive teams (at any given moment, it seems, somebody somewhere is playing this game, breathtakingly), subreddits that g̶a̶t̶h̶e̶r̶ ̶s̶t̶e̶a̶m̶y̶ ̶p̶i̶c̶t̶u̶r̶e̶s̶ ̶o̶f̶ ̶t̶h̶e̶ ̶g̶a̶m̶e̶'̶s̶ ̶h̶e̶r̶o̶i̶n̶e̶s showcase the best and brightest moments of lunacy that the fanbase can provide.

    Somehow I've accrued more than 600 hours with the game. I still feel like a bit of a noob at times. That's probably the reason I keep coming back, why I came back after that first, unelatory experience: like Dark Souls or Monster Hunter, the game always leaves you with the sensation that there's more you can do to grow and improve. I still play other games, and I still have a social life (albeit one that's retreating faster than my hairline). I never thought I would have the time for this type of game, but if you discover something valuable, you just sort of make time for it. And this type of game, be it League or Dota or whatever, has real value in it. The phenomenal player-bases aren't evidence of some sort of Candy Crush-style herd-mind activity. These are some of the gameiest games you'll ever play. You just have to give them a chance.
    Reply +1
  • Rome 2 killer camel DLC backlash prompts rethink at Creative Assembly

  • thisisatempaccount 20/02/2014

    I'm not a Total War fan. I don't feel aggrieved about anything. But Rob, this "sounds like a 'get out' on a technicality" to me, and to anyone else reading this with more than a couple of neurons to rub together, you miserable shill. Reply -2
  • Taking games seriously

  • thisisatempaccount 01/12/2013

    HotCoffee and Frybird's comments are so good - really, guys, just so, so good - that it feels adding anything to them would be redundant. But dashed if I don't I want to get in on the fun, as Penhalion has it, and enjoy trying to win at the whole criticism a̶r̶g̶u̶m̶e̶n̶t meta-game, so here goes!

    Like Frybird, Hotline Miami will forever be my touchstone for this subject. So good was that game, so pure, that on release gamers and critics cried out in united delight, causing such a disturbance in the force that George Lucas recoiled in psycholiminal horror and immediately ordered twenty seven terrible new Star Wars games to restore the balance.

    For the critics' part, on the evidence of what got written about the game, it seemed like the delight seemed to stem from, to borrow from the article, the opportunity to at last take a game seriously. (Better yet, a game that wasn't even another f***ing indie puzzle platformer!) The strange, shifting layers of the game's narrative, all those snatched scraps of context and inferred significances, set up against what were at first shocking, then quickly naturalised acts of ultraviolence comprising the game's meat and bread activity - as well as it's drippingly acidic self-awareness of such - was a heady cocktail to be slammed back with abandon, fueling endless pages of yearning and soul-searching prose. Finally, gaming had an artefact that confronted the rampancy of violence indelibly written throughout its very core, like writing in a stick of rock. Finally, a game that held up a mirror to the carnage. Finally, this was a game about the meaning of games.

    Meanwhile, gamers were delighted with the game because Hotline Miami was seriously fucking excellent. I know I'm being glib here, and for no better reason than to add contrast to the comparison: it's not like gamers couldn't or didn't genuflect on the visceral thrill provided by the games' immutable heart-beat (or dance beat) of intrinsically satisfying gameplay-loops; that nobody ever put down the controller to contemplate as to whether the fact that these interactions happened to be brutal and hideous acts of murder might bring into sharp focus whether such acts where in themselves intrinsically compelling; that thousands of gamers didn't, through their time with the game, explore these issues, or respond to them, or enfold the experience in myriad tiny ways into their lives, opinions and identities. And many journos did do a fine job of trying to analyse what made the game such a damnable thrill, as opposed to wittering on for longer even than this comment is becoming about the game's higher, more purposeful message for humanity.

    But if the developers did intend for the game did have any message at all, I don't think it was one about violence. Rather, it was about the secondary value of all this Deeper Meanings business to gaming. Secondary, that is, to the value to be derived from the act of playing itself.

    Consider the god-awful stealth level that comes towards the end of the game. It feels like a rare misstep in what has heretofore been a flawlessly crafted experience - jarring and frustrating, it ruins the flow the player has perfected over god-knows-how-many previous massacre ballets, and he or she can only be grateful when it is over. Could Devolver have really dropped the ball to such a degree as to release the game with this sore-thumb speed bump of anti-fun having just been overlooked? Or was it included intentionally? Does it, dare I say it, have a meaning?

    It almost feels as if Devolver are saying: "you want to prioritise narrative from your games? You want to have meaning? You want these things to such an extent that you'll accept developers twisting and wrenching the mechanics of their games to facilitate these things? (Or just never include compelling gameplay in the first place?) Well, here you go. Here's that bed for you to lie in, the one marked Stealth Levels (And Related Superfluous Dollops of Shit Design).'

    (It should probably go without saying that stealth can - and often are - brilliant in games that are designed around making stealth an intrinsically satisfying mechanic, and not just thrown in because the narrative demanded it.)

    Devolver's crowning achievement in this is that not just any game would have been suitable as a vehicle for this message. They had to design and develop one that was almost flawlessly fun up to that point, was in fact basically perfect, in order for this message to come through without falling on its face.

    But there's the problem. I've fallen into the trap; just like everyone else, I've failed to talk about the mechanistic reasons why the game is such a joy to play. I'm talking about what it's about! Or what it's not about. Narrative and tone, meaning and context: the fatal attraction for any wank-hatted member of the enlightened gaming ubermensch.

    Anyone who wants to see what games criticism can really be, when a fine mind hones in with laser-like accuracy on the parts of a game most worth discussing, I encourage you to check out just about anything written by Stuart Campbell. He doesn't write so much about games these days, or really at all, which really is a huge shame for the medium.

    TL;DR - What HotCoffee andFrybird said, Hotline Miami is amazing, RevStu and Kieron were our industry's finest critics and we went and lost them bloody both.
    Reply -1
  • Wings of desire: My favourite Hearthstone card

  • thisisatempaccount 25/11/2013

    @Ezzekhiel Thirty nine random other people playing at the same time instantly lose their games through no fault of their own. Reply +16
  • What happens when free-to-play games aren't free?

  • thisisatempaccount 23/11/2013

    This is a good article, Martin; thank you for writing it. But if you fine folks at EG really want to make a difference (and I honestly believe that - unlike 95% of the unholy games media/marketing coagulation - you actually do), you're going to have to do all you can to help people make informed choices about whether or not to spend their money on this crap.

    Which means the laudable spirit in which this piece was written is going to have to manifest itself in places it matters: reviews, previews and interviews. You can do more than just decry the publishers responsible for these scummy practises, you can help us hold them to account. And that's a job for which a one-shot op-ed, even one as good as this, isn't going to be enough.
    Reply +92
  • Crimson Dragon review

  • thisisatempaccount 21/11/2013

    Given the pattern these launch reviews are beginning to suggest will be here to stay for the new generation, I think EG should give serious consideration to flagging up any P2P systems (pay to pay, ie micro-transactions in premium priced software) in their Price and Availability box-outs, as well as the main body of the review.

    I'd also recommend a minimum three point reduction from the score of any game that engages in this manipulative, classless, consumer-hostile, fun-sucking, money-grubbing practice, but of the two it's only the former that I can see any chance of happening. :)
    Reply +14
  • Forza Motorsport 5 review

  • thisisatempaccount 20/11/2013

    Are you fucking kidding me? F2P grind in a £45 game, and you wave it through with a seven??! Jesus! Reply +18
  • What Garriott's new RPG looks like after six months

  • thisisatempaccount 04/11/2013

    @the_dudefather Is it just me or does that skeleton have a willy? Reply +2
  • You're in charge!

  • thisisatempaccount 02/11/2013

    Huh? No, this can't be right. I'm sure I read that the gaming community was full of spoiled, over-entitled man-children, and that not only did we not know what we wanted, but that our brattish behaviour was even threatening to ruin the wonderful buffet of doritos and mountain dew that the industry had so lovingly put out for us. Reply +5
  • MadCatz's M.O.J.O. Android console costs a whoptastic £219.99

  • thisisatempaccount 08/10/2013

    M.O.J.O. mo' problems Reply +2
  • Sonic returning to TV in new CG animation

  • thisisatempaccount 03/10/2013

    Ok, but http://www.youtube.com/watch?v=pFMwgOfdG_M Reply 0
  • The play's the thing

  • thisisatempaccount 31/08/2013

    I love everything about this article. Story is the context a game gives you to play, but as games like Hotline Miami showed, even if that context doesn't cohere in any way - even if you half think the game is sneakily asking the question 'why should you actually care?', of you and every other story-heavy game in the medium - context will only carry you through the game with a sort of half-curious inertia. What makes you *want* to *play* the game - well, I refer you to the title of the OP.

    Spec Ops: The Line had an interesting story, but that was the only thing that lifted a toe out of the great sea of cover-shooter mediocrity. Actually, that isn't fair, the Abu Dhabi setting also led to some diverting corridors to run through with your mole-vision FoV. On reflection, I would much rather have spend the eight hours playing Super Crate Box and watched the cutscenes on Youtube.
    Reply 0
  • Killer is Dead review

  • thisisatempaccount 28/08/2013

    Punk is just a product. Maybe at one stage it wasn't, or thought it wasn't, at least by definition. Now it's a word people use to make themselves feel good about buying (and selling) corporate goods; it's an aesthetic that said corporations use to capture a segment of the market full of people that for whatever reason like to think themselves above the rest of their brothers and sisters. So the corps shift the message, tweak the marketing, hide the production line behind a more personal face, indulge these ridiculous walking superiority complexes and collect their money all the same.

    Organic vegetables are punk. Collecting vinyl in the age of digital music is punk. And so too indie games must be punk. What does it matter, you might ask, if the consumers are happy with the veggies, vinyl and games in question? Well, exactly. Lots of indie games are, in fact, amazing. But that has everything to do with their qualities as product, and naff all to do with ridiculous categorical obsessions such as whether something is punk or not.
    Reply +3
  • Payday 2 review

  • thisisatempaccount 14/08/2013

    I have no idea whether the game is any good or not - the review and these comments seem equally conflicted on that - but I have to take issue with Dan's opening jibe that 'a couple of years to tidy things up' is some kind of gross extravagance for a comparatively tiny dev to take with their game. The sad fact that most AAA franchises are getting sequelised instalments churned out on a yearly basis, by bloated developer behemoths who struggle to keep the lights on despite millions of sales annually, should be considered an industry affliction, not an aspiration. Reply 0
  • Jeremy Soule: "Pac-Man will eat Mark Zuckerberg's lunch"

  • thisisatempaccount 06/08/2013

    A cabinet level seat at the round table of design does make it sound like SOE have hired office space in a furniture shop. Reply +1
  • thisisatempaccount 06/08/2013

    I'm happy that he's clearly excited about the project, that he feels more engagement in his position than he has in the past and that he's able to feel like he's pushing the boundaries of his field. On the other hand, I'll believe it when I see it. So many MMOs have been hyped as 'the true next gen breakthrough' - SWTOR, Guild Wars 2 and The Secret World in just the last couple of years, but we've been fed this story before, time and again, by developers and games sites since the likes of Everquest 2, Champions Online, Conan - that I'm a little sick of having my fingers burned. Best of luck, anyway, Jeremy. Reply +1
  • Cancelled $123K Kickstarter board game finds new publisher

  • thisisatempaccount 01/08/2013

    Nice one Cryptozoic. They say you can't buy PR this good.. turns out they were wrong! In all seriousness, I'm quite happy for the backers. Somebody just made one hell of a saving throw. Reply +29
  • Pay what you want for Saints Row: The Third in the Humble Deep Silver Bundle

  • thisisatempaccount 31/07/2013

    Hold on there, my hand-wringing friends. It's pay what you want. Deep Silver didn't have to make it pay what you want! And they wouldn't have made it pay what you want unless they thought doing so would make them *more* money than not doing so. They could have gone with a bundle sale through Steam, for example - priced these games at 10$, or 25$ - but they were happier doing it this way.

    So I honestly can't see what the griping is about - all parties have given consent, here, even at a 1$ price point. All parties are happy - the gamers are elated, and I'm sure Deep Silver are happy too, getting an injection of revenue for games that are no longer generating income at full price. They wouldn't be doing that in the bad old days of boxed retail, either, btw - they'd no longer be on the shop shelves, so they'd be making the publisher squat.

    It's not like there are Colombian coffee growers getting burned in this deal, either! The cost of selling digital products is trivial. Especially as Steam takes care of the infrastructure costs of distribution. Devs can set any unit price on a game they like - there's no such thing as selling at a loss here, like with hardware, or the bad old days of retail. Speaking more generally, if turned out that publishers made more money buy selling games at a cheaper base price than they currently do, would it makes sense for anyone to chastise gamers for buying them? Because that's what's happening here!

    So by my reasoning, at least, there is nothing unethical about paying what you want in a pay what you want deal. Thus I don't understand the general grumpiness in these here comments.

    Admittedly, I may have an incentive in looking at it this way. *Checks progress on downloads for his five-for-five-dollars games*
    Reply +13
  • How Plants vs. Zombies 2 works as a free-to-play game so far

  • thisisatempaccount 15/07/2013

    @BunjiquoBianco 'Free to Pay' seems apposite. Reply +1
  • Pokémon X and Y adds mounts, is set in an alternate version of France

  • thisisatempaccount 14/05/2013

    @TechnicPuppet Thread won, we can all go home. Reply +1
  • Mario and Donkey Kong: Minis on the Move review

  • thisisatempaccount 13/05/2013

    @LunaticPandora

    http://dictionary.reference.com/browse/synonym
    Reply +2
  • Saturday Soapbox: The magic of dedicated hardware

  • thisisatempaccount 04/05/2013

    I'm sorry, but this article just strikes me as incredibly, incredibly mean spirited. I just can't understand this mindset that could ever be in favour of around and telling people that their experiences in gaming are impure or - and let's face it, this is the logical extension - invalid.

    Constraints abound for billions of gamers the world over - even for those above the poverty line, money, leisure time and local access are still the obvious three that come straight to mind. How can it possibly be worth anyone's while to denigrate whatever 'second-rate' experiences can be secured by people who don't have the luxury of, say, trawling ebay til the small hours to more 'purely' appreciate their hobby for at £100+ a time, or spending a week or more chasing down an original 80s arcade cabinet (for the sake of experiencing their sprites at the correct fucking level of blurriness? See, it's a subject that can drive me to swear too.)

    That someone can enjoy 99% of the experience - say, like a child today listening to Sergeant Pepper's Lonely Hearts Club on mp3 - and be sneered at for missing the 1% of crackling and warping that comes from hearing it 'pure' on vinyl. That child's conciousness just expanded to include something as brilliant as the Beatles, man! That's an event to be fucking celebrated! Not qualified and caveated and belittled with meanness. There's no need for gatekeepers in music or gaming. I say throw the fucking doors open! Let's have everyone in!
    Reply +30
  • Molyneux adds option to re-grow Curiosity cube

  • thisisatempaccount 19/04/2013

    @DanWhitehead Congrats on your 1,337th comment!

    You realise you can never comment again, now, right?

    Ah! Ah ah! What are you doing? Don't reply to this! What did I just tell you, man?!
    Reply +1
  • Muramasa Rebirth dated for June in North America

  • thisisatempaccount 10/04/2013

    It was a fair review. I loved Muramasa, but its length and combat are entirely legitimate gripes to have, and 7/10 isn't a bad score, it just reflects that the game wasn't perfect. Obviously it's a breathtakingly beautiful game, and the weird blend of JRPG and platformer systems is worth every gamer's attention, even just as an experimental curio. But those mechanics were a little shallow, and the story? The story made absolutely no sense whatsoever! Reply 0
  • Plastic Soul: One man's quest to build an AI that can create games

  • thisisatempaccount 03/04/2013

    Best thing I've read in ages, phenomenal article on a fascinating subject. Top work EG.

    As far as getting the AI to recognise and differentiate between good and bad level designs goes, as opposed to valid and illegal ones, how about teaching ANGELINA enough rules to solve some examples of good levels and bad levels that already exist in other games?

    So say, in a game such as Little Big Planet, you have an enormous collection of levels collected and peer-reviewed by the player base. So you can start grabbing from either end of the scale - the five star levels and the one star ones. If ANGELINA could take notes about what was - for want of a better word - happening in every level as it solved them, and used a large enough sample, wouldn't it be able to distil some 'universal' rules about what elements of level design are frequently considered to be good and bad, and feed that back into its own platform games? Maybe even contrast this data and interrogate the differences, look for the patterns?

    It still wouldn't be 'her' - sorry, its own opinion, so much as an amalgam of the LBP player base's. And the reason levels get the scores that they do isn't purely qualitative - ANGELINA would never understand why an imperfect but otherwise enjoyable recreation of Super Mario Bros. 1-1 got a lower score than a more faithful replication - but it'd be something other than the random iterations and binary value-judgement the evolution approach provides.
    Reply +7
  • Draw Something studio boss quits Zynga

  • thisisatempaccount 03/04/2013

    @AOFanboi It was hardly a Zynga. Reply +5
  • David Hayter, the voice of Solid Snake, waves goodbye to Metal Gear

  • thisisatempaccount 02/04/2013

    Hey EG, think I've picked up a typo in your article. Small deal, really, a word in the wrong tense. Should read

    "I drove home through Laurel Canyon, bummed, and thought about Snake."

    It's certainly one way to deal with grief.
    Reply +39
  • The big Battlefield 4 interview: DICE leaves technology behind

  • thisisatempaccount 28/03/2013

    @Rattlepiece It's no surprise they've been able to find examples of 'overwhelming positivity' in the gamer community, considering they've been paying people to put it there:

    http://www.ayzenberg.com/#/work/all/case-study/ea-games/

    Kind of makes you wonder about your fellow commenters, doesn't it? All just part of the chilling effect of the cancerous corporate shill.

    If there are any shills reading this, please be aware that beyond any shadow of a doubt, every day you go into work you are actively making the world a worse place.

    I thought Wesley did a good job with this interview. Kept pressing, even though it got him precisely nowhere beyond The Message that had been briefed. I wouldn't like to have to slog through a conversation with an invincible bullshit PR brick wall, even if I was being paid for the pleasure.
    Reply +8
  • Switch Galaxy review

  • thisisatempaccount 21/03/2013

    @Der_tolle_Emil It does, doesn't it? Reckon it's testament to the quality of the community EG has that within four comments someone mentions the name of the game I'd otherwise have been scratching my head all day trying to remember. Wonderful nostalgia. On the other hand, now I have no reason not to get on with some work. So many conflicting emotions. Reply +2
  • Nintendo solidifies 60Hz support for Wii U Virtual Console with launch of Punch-Out!!

  • thisisatempaccount 18/03/2013

    Punch-Out is one of those series which doesn't have a bad instalment. Great games.

    Also, while I appreciate a gameplay vid's more useful to people curious about the game, this is mandatory:

    http://www.youtube.com/watch?feature=player_embedded&v=WxeyY95HEzs
    Reply +1
  • Plague Inc. review

  • thisisatempaccount 04/03/2013

    Unfortunately it is (or was) a 99% rip-off of Dark Realm's Pandemic series. With app cloning such (forgive the pun) an epidemic on iOS and Android, do EG really not have some sort of policy to make at least a cursory check for clones when they're doing these reviews? If nothing else, they could have given Dark Realms (the Pandemic developers) their due for the original from which this cynical cash-grab has been so shamelessly ripped - instead "one-man English developer Ndemic Creations" seem to be getting away with rewriting history (and soaking up the lucrative exposure from the likes of EG into the bargain). Reply 0
  • Kinect sales equal the original Xbox, higher than GameCube

  • thisisatempaccount 12/02/2013

    From this article:
    "Microsoft also says it has now shifted 76 million Xbox 360 consoles - suggesting an attach rate of nearly one Kinect to every three Xbox 360s."

    From the press release (thanks patch!)
    "Today, there are more than 76 million Xbox 360 consoles around the world. That’s three times the number of original Xbox consoles sold."

    Notice they only use the word 'sold' in one of those two sentences. To me that's a clear indication that they mean 76m shipped but want to imply sold. Either way the article is vague at best and outright wrong at worst, with Tom's choice of the word 'shifted' almost as weasely as Microsoft's.

    Stop trying to feeding us this reheated PR slop please, EG.
    Reply +12