This Dumb Industry: The PC Market Share

By Shamus Posted Tuesday Oct 9, 2018

Filed under: Column 97 comments

Back in 2008 or so I read some studies showing that the PC gaming market had dwindled. I don’t remember what those studies were, who did them, or where I read about them, but the idea stuck in my head that the PC was no longer a major concern to the big publishers.

This certainly explained their behavior at the time. In 2008, gaming was plagued by horrible ports, ghastly PC performance, and burdensome DRM. And that’s when publishers could be bothered to port a game to the PC in the first place. It very much felt like PlayStation 3, Xbox 360, and Wii were where the bulk of hardcore gamers were at, and the PC was sitting at the kid’s table.

Continue reading ⟩⟩ “This Dumb Industry: The PC Market Share”

 


 

Two Retrospectives at Once?

By Shamus Posted Sunday Oct 7, 2018

Filed under: Notices 69 comments

I knew this would happen sooner or later. Sometimes there just isn’t enough news going on to give me a topic for a weekly column. Now that I’m writing at the Escapist, I’m trying to fill two columns.

One of the decisions I made when I took the Escapist gig was that I wan’t going to reduce the volume of content here on the blog. I think that’s the only way to be fair to my Patrons. Now I’m having trouble filling both commitments.

My self-imposed quota goes something like this:

Continue reading ⟩⟩ “Two Retrospectives at Once?”

 


 

The Witcher 3: Dad Games, Revisited

By Bob Case Posted Saturday Oct 6, 2018

Filed under: Video Games 133 comments

In an earlier entry in this series (this entry, to be precise), I placed the Witcher 3 into the mini-genre of “Dad Games,” and said furthermore that in my opinion, it’s the best of them. Now that we’re closing in on the end of the main quest, I should go into that more.

Most Dad Games feature a protective relationship between the father and the child. This was the case in the Last of Us and this year’s God of War. In the case of the Witcher 3, however, Ciri is pretty capable herself and isn’t presented to the audience as vulnerable in the same way. She’s also older. I don’t remember if her age is ever made explicit in the game, but I get the impression she’s twentyish years old, or at least in her late teens – basically, an age where parenting might be less about protecting and more about letting go.

CDPR handles this theme in a way that in some ways is very clever, but in others can lead to players feeling like they’ve been treated unfairly. Basically, at several points in the second half of the game there’ll be a scene – which seems innocuous at the time – in which Geralt is given the choice of either being protective or solicitous towards Ciri somehow, or backing off and letting her act on her own. (The choices don’t all cleave along that particular line, but

For example, in one instance, Ciri is frustrated after the battle at Kaer Morhen, and storms off, and Geralt has the choice of following her or giving her privacy to deal with her feelings on her own. In another, Ciri is to meet several members of the Lodge of Sorceresses. Geralt, knowing that the Lodge has their own agenda and can be manipulative, can either accompany Ciri or allow her to face it alone.

The wrinkle that isn’t revealed to the player until much later (the end of the game, really) is that each of these decisions affects how Ciri’s character develops, and how well-equipped she is to handle a certain challenge that she has to face alone. This, in turn, determines whether you get one of the “good” or “bad” endings.

Continue reading ⟩⟩ “The Witcher 3: Dad Games, Revisited”

 


 

Grand Theft Auto V: We Need To Talk about Trevor

By Shamus Posted Thursday Oct 4, 2018

Filed under: Retrospectives 106 comments

I think I get what the writer is trying to do with Trevor. And to a certain extent, I think they succeeded. The writer is trying to alleviate the case of ludonarrative dissonance the series suffers from. The story tells us one thing, and the mechanics tell us the opposite. This dissonance peaked in GTA IV, and here in GTA V the designer is finally taking some steps to smooth this out.

On one hand the story is telling us that the protagonist is a generally sane and reasonable criminal and not a mass-murdering supervillain. But then all of the mechanics, the missions, and the player’s own desire to have fun work against this, turning our otherwise relatable protagonist into a madman. Even if we ignore the player’s behavior in the the open world and their crazy driving, the scripted missions themselves require the player character to kill literally hundreds of people. That would be fine, except the cutscenes then depict the character as a much more grounded person. And that would be fine if this was some absurd romp, but the cutscenes usually demand that we take this melodrama seriously.

But Shamus, you don’t have to overthink this. Just understand that the story and gameplay are separate, or that gameplay is exaggerated for the sake of fun.

Yeah, that’s what ludonarrative dissonance is. We have to mentally compartmentalize parts of the experience because they don’t quite fit together. Dissonance doesn’t mean “automatically bad”, but a work where all the elements are in harmony is often better. It’s fine if you can enjoy the gameplay and the cutscenes despite the harsh seams between them. I usually do. But it’s frequently distracting. It can also cause confusion when we find ourselves in the semi-scripted gameplay moments when it’s not clear if the content in front of us is taking place using the movie logic or the gameplay logic.

Trevor doesn’t fix this problem, but he does mitigate it.

This is usually portrayed as a conflict between gameplay and story, but you can also think of it as a conflict between the designer and the audience. The player wants to play with all of these systems and enjoy the empowerment of running rampant in this simulated world. The writer wants to take a bunch of scenes out of different Scorsese movies and string them together into a crime drama mixtape. They want the player to inhabit this story as one of the characters, and not as an outsized god of mischief. The player wants chaos and the writer wants restraint.

Continue reading ⟩⟩ “Grand Theft Auto V: We Need To Talk about Trevor”

 


 

Experienced Points: The New Spider-Man Does Amazing Things

By Shamus Posted Wednesday Oct 3, 2018

Filed under: Column 67 comments

My Escapist column this week is about how the new Spider-Man game nails several different things that other adaptations have typically struggled with.

I’m currently writing my long-form Spider-Man retrospective, so I guess I should warn you that this article will spoil a few points I plan to touch on in that series. Then again, that series won’t appear for a long time. We’ve got another month of Grand Theft Auto V, then five months of Mass Effect Andromeda, and then the Spider-Man analysis will run. By then a lot of you will probably have forgotten about this article. Just be warned that you’ll be seeing these points again in the future, only much, much longer and with many more self-indulgent digressions.

In the article I praised the game for the alternate costumes. They are indeed pretty cool, although to be honest I usually put on a new suit when it unlocked and then five minutes later I switched back to the classic suit. I’m pretty old-school in my sensibilities. I can still remember being miffed over the black costume in the mid-1980s. I kinda still am. Stop trying to make Spider-Man cool and edgy! Don’t change things! I fell in love with the character in 1978 and he should stay that way forever!

Yeah, I’m one of those fans: The ultra-retro hipster purist snob. Yes, I know we are the absolute worst. I can’t really help it. Sometimes you just latch onto stuff in childhood and it sticks with you.

I suppose it speaks well of the game that I’m such a fan despite how insufferably picky I am about my Spider-Man content.

 


 

Atari Charts

By Shamus Posted Tuesday Oct 2, 2018

Filed under: Column 60 comments

In my Escapist column last week, I spent a few paragraphs talking about the gaming crash of 1983. As part of my research for that section, I spent some time reading about the crash and getting a proper feel for the timeline.

(Aside: The new version of the Escapist is up! It’s still being worked on, but it’s up and running. This is a pretty big step in bringing the site back to life and I know the team put a lot of work into it.)

Anyway, I started scanning Wikipedia for articles about the crash and wondering if I could plug this data into a graph because that might be interesting. The standing narrative is that Atari suffered from a flooded console market and competition from the PC scene. On top of that, I suggested that a sharp decline in quality had made consumers shy about purchasing new games. Does the data support this? I guess so. Kinda. You’ll see. Unsurprisingly, nothing is as clear-cut as I expected and the timeline doesn’t totally match my memories.

First I just plugged in the number of first-party titles released per year: Continue reading ⟩⟩ “Atari Charts”

 


 

Diecast #227: House Hunting Blues, Distance, Corporate Leadership, Pitch Meeting

By Shamus Posted Monday Oct 1, 2018

Filed under: Diecast 32 comments

Lots of complaining about personal problems in this episode. I don’t want to pin the blame on anyone in particular, but I will say that Paul never made any effort to stop me.

For those of you who have been complaining the the podcast RSS doesn’t work, can you give this one a try and see if it works for you? It’s maintained by a listener, and hopefully isn’t afflicted by whatever curse plagues the RSS that WordPress is generating.


Hosts: Paul, Shamus. Episode edited by Issac.

Show notes: Continue reading ⟩⟩ “Diecast #227: House Hunting Blues, Distance, Corporate Leadership, Pitch Meeting”