E3 2019, A Post

Usually I make a post about E3 where I take some time to talk about the games shown and spend the rest of the post ranting about how the entire concept is outdated, biased towards undeserving members of the gaming community, and how it needs to be more accessible to the public or just die already. This year I’m not going to do that. Instead I’m going to just write my thoughts on a number of moments/topics addressed at E3 as completely disconnected mini-blog posts. There are some larger topics that I want to discuss in more detail and will in later blog posts, but this year for my E3 post I wanted to change it up ever so slightly. There will still be a fair amount of ranting though.

1. Who Won E3?

Usually you end with this but I wanted to start with it because it’s not actually the most important topic of E3 I want to discuss. So to cut right to the point, Nintendo won E3 this year. For me, winning E3 means garnering the most future sales . . . of games, not hardware. Now since I’m only speaking for myself, that means the winner of E3 is always the company that shows the most games that I leave the presentation at least 70% sure that I’m going to end up buying, preferably before the next E3. This was without a doubt Nintendo.

Nintendo Direct E3 2019

Now chances are I won’t buy all these games in the long run. But if I had an unlimited amount of time and money, these are all the games shown at E3 this year that I am not on the fence about wanting to buy. Meaning if they went on sale tomorrow and money was no issue, I would absolutely buy these games with no additional information. Note that I’m also not counting any games that I was already sold on before E3 because of previous announcements/presentations.

Microsoft

  • Star Wars: Jedi Fallen Order
  • Dragon Ball Z: Kakarot

Bethesda

  • Doom Eternal

Ubisoft

  • Watch Dogs Legions
  • Gods and Monsters
  • Roller Champions (Technically free to play but I’m counting it here anyway)

Square Enix

  • Marvel’s Avengers

Devolver Digital

  • Fall Guys Ultimate Knockout

Nintendo

  • Contra Collection
  • Luigi’s mansion 3
  • The Legend of Zelda: Breath of the Wild 2
  • Animal Crossing: New Horizons
  • Cadence of Hyrule
  • Collection of Mana
  • Panzer Dragoon Remake
  • Ni No Kuni Remake
  • Astral Chain

New Ganon

The number of games I’m fairly likely to buy shown by Nintendo, again that I wasn’t already planning on buying going into E3, is more games than I’ll buy from all the other companies combined. Even if you remove the Breath of the Wild sequel because that was just a tease, it’s still overwhelmingly Nintendo with the victory. Nintendo won E3.

2. Screw Leaks & the People Who Leak Them

Every E3, as with every big gaming/tech event, there are usually some leaks. This was of course true for E3 this year as well. What I noticed this year, which may have happened in past years as well but went unnoticed by me, is that leakers were getting caught by developers/publishers and then people were coming to their defense. For instance, there’s this leaker on Twitter that was apparently contacted by Nintendo with a cease and desist order before the Nintendo Direct was shown. Because of this, they didn’t leak information about Nintendo’s presentation but did about basically all the other presentations. After they tweeted about Nintendo’s threats people came out of the woodwork to defend the leaker and get angry at Nintendo. This was of course not the only leaker but just one example. Even Jason Schreier tweeted in defense of leakers, which was shocking to me considering how much work he’s put into defending and supporting better treatment for developers.

 

Personally I hate leaks. When I was young and uniformed, I used to think leaks were so cool. Now that I have a job in the tech industry, I think they’re the worst thing ever. And I get really angry when people defend leakers with arguments like “the billion dollar corporation won’t be affected that much” because it shows a complete disregard for people like me, the marketers. It is true that in the grand scheme of corporate profits, leaks have very little effect. But profits have nothing to do with why leaks are bad. Corporations, of all sizes, have employees, sometimes full teams of them, that are responsible for creating and executing marketing plans for new products. It doesn’t matter what kind of product it is. It can be hardware, which is what I do marketing for, or it can be software, such as new games. All companies, especially the ones that show up at events like E3, have marketing employees. These marketing plans take a lot of work. They’re planned sometimes months in advance. They take a lot of time and effort and often cost a lot of money. What most people don’t realize is that when leaks happen, those plans often have to change on the fly or get cancelled altogether. Imagine if months of your work was instantly destroyed because some asshat found out some privileged information by taking advantage and betraying the trust of a friend or business acquaintance and posted it to the internet for some clout. That’s what leaks are. And it doesn’t just end there. Companies have to adjust marketing plans based on the fallout from leaks. This is essentially emergency crunch time but for marketers. And it doesn’t matter when and what the situation is. You can be at home about to eat dinner with your family and suddenly get a call that a leak happened and an entire marketing plan has to be changed in the next day in time for an event. Then you also have to deal with the fallout of the leak internally. Some companies take this very seriously and will do an internal investigation to find the source. People can get fired. Entire teams can get fired if the damage is large enough and they can’t discover the culprit.

 

No I’m not speaking in hyperbole. I’m speaking from personal experience. Last month was Computex. My company had a booth there. I was part of the team responsible for the show’s online and offline marketing plan. I personally wrote more than one of the press releases for the show. I also had to help setup the booth for the show the day before it started. Somehow we had a leak happen for one of our products the day before the show started. I was literally on site setting up the booth when a coworker rushed over to me with the news and handed me a laptop saying a press release had to be rewritten to adjust based on internet response to the leaked information. Now this was a low level leak. It wasn’t a flagship product, there wasn’t a huge marketing plan created for it at that point, and rewriting a press release in the middle of a soft construction site, though rushed and inconvenient, was not the end of the world. But that’s when a leak scenario is not that bad. Imagine if it was the night before E3 and you’re in a bar drinking celebrating the fact that your multi-million dollar marketing plan that took a team of more than 50 people months to plan and put into motion was finally finshed when suddenly you get a call from your boss saying the game has been leaked and the entire plan has to be shifted or even scrapped. That’s the reality of leaks for marketers. As much as people seem to care about developers, they never seem to care about all the other people involved in launching a game or product. Leaks have little effect on developers, especially in the short run. But they play havoc on the lives of marketers and marketers are not rich douchebags in suits drinking scotch laughing at the underlings. Marketers are the underlings. We’re struggling laborers just like any other employee at any other company. We’re not famous. People don’t praise and buy products because we’re creating the marketing assets for them. It’s thankless work that no one thinks about and it’s usually underpaid work, especially for the writers. So I hope the next time you hear about a leak you ignore it and remember that someone’s day is probably gonna be ruined because of it and that someone works hard for less than they deserve, just like you probably do.

3. Subscriptions, Subscriptions, & More Subscriptions

UPLAY + Stadia

It seems my fears are coming to fruition. The age of subscription services will be in full force within the next year. So many companies announced new subscription services. XBOX updated the Games Pass to a premium version, of course for a higher price. But they also announced a PC only version which I do think is a nice surprise. But they also announced a new cloud service. Ubisoft will have a subscription service. Square Enix implied they plan on launching a subscription service. And then there’s Stadia, which I already hate the sound of. The worst part is that Ubisoft’s subscription service will connect to Stadia. Meaning you have to buy a subscription service to play games inside a subscription service you’re also buying. It’s a recursive cost that will probably multiply exponentially overtime.   I fear a future where companies do away with buying single games altogether and they force you to do annual subscriptions that require subscription based platforms subletting on other subscription based platforms. Imagine if one day to play a PC game you need to use Microsoft Windows as a subscription service because you can’t purchase one off licenses anymore. But then you also need to subscribe to Stadia to run games on your lower range hardware. But of course you’re also paying an internet service fee to stream Stadia which will charge you a premium for bandwidth. Then you have to pay for the PlayStation cloud service subscription because you want to use your PSN account for your friend’s list and trophies. But you’re trying to play a Ubisoft game like Ghost Recon: Breakpoint so you have to subscribe to Ubisoft’s subscription service. Suddenly what used to cost $60 plus your extant hardware now costs like $19.99 to the power of 5 monthly. It’s a depressing dystopia for the gamers of tomorrow. I fear the day that GOG and Steam jump onto the subscription bandwagon.

4. Devolver Digital Made Light of My Fears

Devolver-Digital-E3-2019

I’ve actually never watched the Devolver Digital E3 presentation before. To me they’ve always been kind of an odd duck. They make/publish indie class games that I rarely ever play. I’m not saying they make bad games by any means. I actually own nine of their titles and I’ll almost certainly buy Fall Guys Ultimate Knockout. I also really liked Luftrausers and The Talos Principle, which I never actually finished sadly. But to me they’re also kind of an enigma. I almost never realize a game is published by Devolver Digital even if I’m very aware of the game. So I wasn’t even planning on watching their presentation this year. The only reason I did was because a friend told me I’d really enjoy it and that they made fun of a lot of things I talk about often. So I watched it and it was excellent, but it was also scary. They ironically discussed a number of issues and trends in the gaming industry that I’ve been talking about for years. It reminded me of when Ajit Pai did that skit about being a paid shill for ISPs. In the age of games as service models, loot boxes, unfinished games supplemented with paid DLC, and other such bullshit, I found it equally refreshing and horrifying to see a publisher talk honestly about these issues while simultaneously making fun of them in the pursuit of profit. It’s a weird time to be alive.

5. Star Power, Star Pricing?

kingdom-hearts-3When I was a kid, Hailey Joel Osment was a famous child actor because of his ability to see dead people (that’s a The Sixth Sense (1999) reference). When it was announced that he would be voicing the main character for the English version of Kingdom Hearts, it was a special moment. While I don’t assume he was the first legitimate movie actor to voice a video game character, he was the first that I could remember being fairly famous for acting in movies at the time of doing the game. It was common with TV actors, such as TC Carson as Kratos, but they never had as much value demand as movie actors and still don’t in most cases. The fact that Hailey Joel Osment stayed with the Kingdom Hearts franchise all these years and returned to voice Sora in Kingdom Hearts III is actually really cool. But what’s important here is that Hailey Joel Osment was never really an A-list star and more importantly he got into video game voice acting in a time where even A-list stars weren’t as meaningful to the public or as expensive as they are now. The other really important detail is that Hailey Joel Osment’s likeness wasn’t actually featured in the games he was voice acting in. The first truly epic actor I recall playing a character in a AAA video game and showing their full likeness was Kevin Spacey in Call of Duty: Advanced Warfare (2014). I’m not saying that this was the first instance of this happening. I’m just saying it’s the first one that I can remember. Also note I’m not counting movie tie in games because that’s a different animal. Now we’re starting to see the use of top tier actors in games as actual characters in the games become more commonplace.

cyberpunk-2077-keanu-reevesAt E3 this year both Keanu Reeves and John Bernthal presented games because they are featured characters in those games. This is cool. It’s also expensive. My fear here is that publishers will try to leverage this practice to ultimately raise the price of games. They’ve been trying to increase that $60 MSRP for like two generations of consoles. Every time a new gen is announced, a company, usually EA, mentions the prospect of game prices increasing, the internet goes into an uproar, and then it doesn’t happen. But what if instead of tying the price increase to hardware or development costs, like they usually do, they tie it to star power? Who could actually dispute the argument that John Wick costs more to include than normal video game actors? Does it not make perfect sense that having the Punisher play the villain in a game would cost considerably more for development than say Troy Baker? Not that I’m knocking Troy Baker’s talent by any means. But it’s ridiculous to think that he costs as much to put in a game as Keanu Reeves. Suddenly we’re seeing fairly successful and notable stars pop up in games way more often.  Norman Reedus, Mads Mikkelsen, and Guillermo Del Toro will all be in Death Stranding. And people are eating the star power up. Keanu Reeves’ presenting Cyberpunk 2077 at E3 is being called the best moment at E3 by a wide margin. Do you think all these actors are working because of their love of video games? Not likely. Now hopefully I’m wrong. Hopefully prices won’t increase and rightfully they shouldn’t with loots boxes, paid DLC, season passes, microtransactions, and so on. But if you start hearing companies say things like “games have moved past AAA” then those should be warning signs that price hikes are on the way.

ghost recon breakpoint6. CDPR Reinforces Bad Behavior

It seems every year there’s some diehard fan and/or paid shill that just yells too loudly and too often during these E3 presentations. I work in the tech hardware industry so presentations like this are usually attended by introvert tech nerds, some highly analytical, usually older media, and other industry members who can no longer be asked to get too excited about an increase in processor speed or the inclusion of additional RAM slots on a motherboard. So yelling during a press conference basically doesn’t happen in my neck of the woods. But gaming events are attended by gamers. Not only that, but they’re “press” events which in 2019 means streamers, YouTubers, and other people who make a living by being obnoxious, self-absorbed, and lacking in basic human behavioral standards. Not to mention a lot of them are too young and inexperienced to actually understand the concept of professionalism. So I get why yelling occurs. But as we saw at the Bethesda conference this year, yelling during the presentations other than at specific scripted/expected times can be burdensome to both presenters and the audience. It’s a problem that can’t really be solved in any intentional way, other than not letting those damn internet personalities in of course. What can be done though is that companies shouldn’t encourage it. Sadly CDPR did the opposite this year.

In a rather sincere moment during the Cyberpunk 2077 presentation, Keanu Reeves was sort of struggling to talk to the crowd because honestly talking to a live audience of gamers isn’t in his normal wheelhouse as an actor who says little in most of his parts to begin with. But he was genuine and sincere and people appreciated that, rightly so. A YouTuber screamed out “you’re breathtaking” to Keanu Reeves and he shouted it back. It was a nice moment. It was a cute moment. It was a moment where members of the audience once again showed their lack of professionalism. I think it’s funny that no one is talking about the fact that literally right after this exchange Keanu Reeves flat out says “I gotta finish this” because so many people were yelling and interrupting and not just letting him talk. Now that’s fine. It’s fine for people to get excited. It’s fine for people to yell during the presentations. Like I said, it’s unprofessional but it can’t really be helped. But it shouldn’t be encouraged. CDPR encouraged this behavior this year by promising the “you’re breathtaking” guy a free collector’s edition of Cyberpunk 2077. Sorry but I don’t agree with that decision. A person is privileged enough to attend E3. They’re lucky enough to have a direct exchange with Keanu Reeves. They’re essentially handed an infinite amount of internet clout and articles written about them that will surely increase their YouTube presence, among other things. As I write this, he seems to have gained at least 1000 new subscribers since the event happened. They get all this for acting unprofessionally and then they’re rewarded with a $250 collector’s edition of possibly the most highly anticipated game of 2020. This is just setting up E3 2020 to be an absolute shit show. Every YouTuber, streamer, and other internet personality will be actively trying to have their moment during the press conferences next year. If anything, CDPR should have rewarded someone who wasn’t at E3 but was streaming or live tweeting about the presentation as a show of solidarity for those not fortunate enough to make it to the event. This was a great PR move but it sets a terrible precedent.

7. Roller Champions Alpha Demo

Out of nowhere, Ubisoft released an alpha demo for an upcoming free to play game called Roller Champions. It’s like Rocket League mixed with Jet Set Radio minus the graffiti. It’s surprisingly fun and I’ve already played it enough to win consistently. The demo will not be available by the time this post is published but you can check out the gameplay from when I streamed it here. If you like quick round PVP sports games then you’ll definitely want to check this game out when it drops. I just hope it’s rewarding enough because free to play PVP games tend to get stale rather quickly.

Well that’s my round up for E3 this year. Not a terrible showing, but there’s certainly been better years. I do think it will be a good year of gaming, at least on Nintendo with a few heavy hitters set to release on other platforms before the next E3. As I said at the beginning, there are a couple specific topics from this year’s E3, not included in this post, that I want to talk about in more detail. Those will be published as individual blog posts over the next few weeks. What did you think of E3 this year?

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RAD Closed Beta Review

Last week I had the opportunity to participate in the closed beta for RAD by Double Fine Productions. The first time I heard about this game was when it was teased for the Nintendo Switch in the Nindies Showcase back in March. But this closed beta was actually for PC. I wanted to give my thoughts on this current build of the game for those thinking about buying it.

The first thing I’ll say about RAD is that if I was going to buy it I would certainly choose the Nintendo Switch version, assuming they don’t add an online multiplayer component, which I actually really think they should for this particular game. The game is much more suited to a controller and mobile play than desktop gaming. It’s a roguelike dungeon crawler with perma-death mechanics. It actually reminded me a lot of Let it Die. I tried it with both a Dualshock 4 and a Wii U Pro controller. I have to say that I liked the Wii U Pro a lot better than the Dualshock 4 for this game, but a big part of that was because I couldn’t remap the buttons. The game says you can remap the buttons but the feature wouldn’t work for me with either of the two controllers I tried. While this didn’t make the game unplayable, it certainly was inconvenient. The default button map isn’t necessarily bad. It’s just not ideal for me. Being able to remap the buttons on my controller would improve my gameplay performance considerably, in my opinion. To clarify, I was able to remap my primary mutations between three specified buttons in game, but not remap the entire control scheme like I wanted to.

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The main selling point of RAD’s gameplay is the mutation, or “RAD”, system.  Each time you play the game you start as a normal kid with limited abilities. All you can do is walk around, swing a weapon, the default being a baseball bat, jump, ground pound from the air, and dodge roll. That’s the basic essence of the game. You move through procedurally generated areas that work just like floors in any roguelike swinging a bat until you die. I say procedurally generated because that’s what’s being reported, but I’d be lying if I said I didn’t see a lot of repeated areas. Not entire floor layout, but specific sections of maps seemed to be repeats. Maybe it’s procedurally generating a set of fixed islands, as all the levels are made up of disconnected island structures that are reached via bridges and warp points.

Your goal is to survive as long as you can and get past as many floors as possible, with each floor ending with a boss fight of some sort. There is an endpoint that you can reach, but I’m not sure if it’s a fixed or random number of stages that have to be beaten to reach it. I only reached the end once during the beta. It showed me one of multiple endings. You can also find and consume items to refill health or boost performance. Pretty standard roguelike fare. What makes the gameplay interesting is the leveling system. You do not level up in the traditional way where you get more HP and stronger attacks. Instead you gain mutations that grant you special abilities. These can be anything. I don’t for sure know the total number of possible mutations but according to the compendium in the game’s pause screen there are a total of 87.

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Primary mutations are active abilities that you use. Secondary mutations are passive buffs. Both are key to surviving. Your XP bar fills as you kill enemies. Every time it fills, you get another primary mutation. You can have a maximum of three primary mutations at one time. Each primary mutation is linked to a single button press. Once you’ve acquired three primary mutations filling up the XP bar causes them to develop further. The gain additional characteristics that enhance their usefulness. For instance, there’s a mutation that gives you ranged physical attack. When you level it up again the range increases by a considerable amount. Each time you level up after acquiring three primary mutations, a single mutation develops at a time going in order from left to right. Meaning that if your first mutation is at+1 and your second and third are at +0 then your second mutation will develop to +1 the next time you fill the XP bar again.

These mutations can be anything. I was very surprised at the variety of different capabilities players can get, and according to the compendium I’ve barely scratched the surface. Some of the things I gained the ability to do were short term flight, spawn mutant clone babies to fight enemies for me, throw my arm like a boomerang, enslave enemies for short periods of time, and protrude spikes from my body causing a lot of damage. The mutations were interesting, highly different from one another, and for the most part, easy to use. According to the compendium, there appears to be 56 total primary mutations. Though there are quite a few mutations available, I’ve already seen mutations repeated multiple times, having not yet gotten them all. In fact, there was one time where I got two of the same three mutations that I had gotten the round right before. There are also special landmarks in the game that replace one of your primary mutations with a random new one. You do not have to interact with these if you don’t want to and you can’t choose which of your mutations is changed.

20190526094238_1Secondary mutations may actually be more important than primary ones. These are not acquired through filling the XP bar. You get these by finding special mutation landmarks that automatically grant you an additional secondary mutation. The most I got at one time was eight, with all being constantly active for the duration of the round. I don’t know what the maximum number of active secondary mutations is or if there even is one. These buffs are just as varied as the primary mutations. Some of the ones I got were immunity to fire, longer range projectile attacks, an extra shield against toxic attacks, and increased movement speed. If you can find enough secondary mutations and manage to get the right primary mutations, all of which appear to be random, you can get some really strong builds. There appears to be 31 secondary mutations. These I did see repeat between playthroughs and they weren’t always useful or at least not at the time they were acquired. For instance, there’s a secondary mutation for improved range attacks. But often I’d get this when I didn’t have any ranged attack mutations active so it was a useless buff.

What’s very interesting is the fact that some secondary mutations are negative. I got one that made it so you couldn’t see where you’ve already been on the map. While this was annoying in practical terms, I like the fact that you can get negative mutations. Plot wise that makes perfect sense because it’s ridiculous to think that all mutations would be beneficial. While mutations of both types are meant to be considered and used individually, it’s the art of using them together that makes for truly effective play. Without a doubt the best run I’ve had was only possible because I was able to use my mutations as a collective. This includes both primary and secondary mutations. I had one primary mutation that gave me drastically higher and longer jumps, one that gave me a charge attack, and one that extended spike out of my body in mulitple directions for massive damage. By using the charge attack while jumping I was able to jump over groups of enemies. While directly above enemies I would use the spike mutation and damage them as I sailed right past them, inflicting damage and quickly escaping the line of fire. I was able to use this on pretty much ever type of enemy including bosses. When coupled with the various secondary mutations I had such as ground fire immunity, toxic pool immunity, and faster movement, I was able to inflict continuous combos and avoid pretty much all damage in most cases.

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The gameplay is very smooth. While I wanted to remap the controls, they were fairly accessible and easy to understand. It’s really just learning to use the mutations effectively that has any sort of learning curve, and it’s not a big one. While RAD is perma-death for mutations, it does have a few long term unlockable upgrades. Your main weapon can be changed every time you go back to the base, which you can do between levels and at the beginning of every new round. New weapons can be unlocked as a reward for certain achievements. I was only able to unlock two additional weapons so far but both were noticeably stronger than the previous one I was using. You can also unlock quirks. These are permanent buffs that you equip from the character selection screen at the beginning of each round. You can only equip one at a time. The only one I’ve unlocked so far grants a fire shield for one of your hearts. Another important long term mechanic is money. Money can be used to purchase a variety of things each round such as health restoring items, keys, and access to special mutations. These items disappear when you die. But you can bank money between levels so that if you don’t want to spend it at that moment you can bank it and then access it again later at the base. Vendors appear all over the levels but they all sell different things from round to round and don’t appear in the same locations.

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There are quite a few items in this game with many different uses. This is where the luck component of the game comes in. In my best round I just happened to find multiple instant mutation items in the first level. This allowed me to develop a full set of attacks much earlier than you normally can. This increased combat ability so early in the round allowed me to accomplish so much more than I had in previous rounds. Up until that round I’d never beaten one of the main bosses. In that round I easily brought down two before getting tired and saving the game to continue later.

I’d say the gameplay works rather well overall, but I did encounter a number of bugs. While it’s not a genre I tend to favor, I did find RAD enjoyable in small doses. Thankfully you can save and continue games later. Rounds can be long if you can survive, but they can also be short. My longest round so far lasted more than two hours and was the only one where I reached an ending. I encountered two serious bugs that affected gameplay. The first was that I wasn’t able to claim the heart extension reward after the second major boss I defeated. While this wasn’t game breaking, it was very annoying and got me really angry. Like with Zelda games, defeating a boss fight nets you a heart extension. The place where it dropped when I beat the second boss was under his corpse, which never disappeared unlike with previous enemies, including the first boss I defeated. The game would not let me pick it up no matter how hard I tried. The second was that the game completely crashed on me once. I don’t know what caused it, but thankfully the game let me continue on the stage where the game crashed. I assume it’s an autosave feature.

20190526095022_1Visually, RAD is about what I’d expect from a top down roguelike. The camera is above and at a slight angle from the player. It’s about the same view as that in Bastion or Hyper Light Drifter. While it’s certainly not AAA quality graphics, it’s fairly decent looking for a roguelike game. It’s not trying to look realistic and thus uses a very animated style but with a large amount of detail. Lots of little things come together to make something fun and child friendly, but certainly not childish. The game is set in a post-apocalyptic dystopia filled with debris from multiple past civilizations, a number of highly differentiated enemies, and lots of plant fauna. But the real depth is in the small details. The rust on burned out cars. Tufts of grass scattered throughout a sandy wasteland or cracked roads and abandoned construction zones. Wooden planks placed over gaps as makeshift bridges. It’s these little things that set the tone of the world and they do an excellent job.

What I really appreciated most about the graphics was the mutations. As your character mutates, his/her physical form can change drastically in a plethora of ways. This is important for the tone and gameplay. Your physical appearance changes based on the mutations you unlock, ultimately connecting the player with each specific round on a more personal level than in many other roguelikes I’ve played. Enemies too come in mutated forms. You can find more than one version of an enemy as you progress forward. Obvious details like size and color differ between different versions of enemies. But also finer details like spikes can differ between different versions of the same creature. I also think it’s important to note that I never made it past the third level so I actually expect a great deal more in variation between enemies and types of enemies than I was able to access during the beta. But to be fair, the compendium only lists a total of 38 enemies, of which I’ve already found 17, and seven bosses, of which I’ve only faced one so far. So maybe there’s not as much variation as I hope as far as enemies are concerned.

20190526094256_1The HUD is simple, intuitive, and spacious. Across the top of the screen you will find the XP bar with HP, in the form of sectioned hearts, directly under it on the left side of the screen. On the right side of the screen under the XP bar, you will find the current level map and your counts for money and keys. I’m really happy with the map. It’s simple yet effective. It shows the nearby surrounding area and moves around the map as you do. But what works best with this map is how it tracks your past movements. The map is dark gray by default. As you walk in any direction, light gray is added to the map, exemplifying your specific movements. This makes keeping track of how much of the current level, or even just current room, you’ve already explored so much easier to manage and cuts the time to find the next place to go down considerably. The map also shows any items currently waiting to be picked up, since they never disappear, which is a good thing. You can only carry one item at a time as a default and then at least one more as a benefit from a secondary mutation. Currently carried items are shown below the HP meter. The bottom of the screen shows your mutations with primary mutations being in the bottom left and secondary mutations being in the bottom middle. I also really like that the HUD shows you which button to push for each mutation and items at all times without looking cluttered or ugly.

While I’d never say that RAD is worth buying just because of the graphics, they are absolutely not a hindrance. Double Fine has certainly made better looking games in the past, but this project looks exactly the way it should for what it is.

20190526003003_1The audio is solid in this game. It’s clear and quite detailed. Steps make a sound that changes based on the material you’re walking on for example. All effects are laid onto the gameplay perfectly. There’s no lag between the audio and the action. And each action has a matching effect. That includes the abilities gained from mutations. The overall mix of sound is great at default with everything set to 100. But you can control master volume, music volume, sound effects volume, voice volume, and ambient volume all separately and customize their mix levels from 1 to 100. I don’t know if I’ve played another game with five separate audio channels available to the player for mix customization. The one thing I did notice was that sometimes the music stops playing during normal activity. I don’t know if this was a bug or intentional, but I’ve seen it in numerous other games so I don’t assume it wasn’t supposed to happen.

RAD actually does have quite a bit of writing, both plot and dialog wise, as well as a ton of narrative commentary. The beta gives a lot of plot information right from the start. In my experience, roguelikes can go one of two ways when it comes to writing. Sometimes the plot is super important but delivered subtly once you’ve seen the opening sequence. Other times there’s a really flashy opening that makes you think the game is plot heavy but really it’s just for foundational reasons and then basically disappears once the game actually starts. I want to say this is the former, but really it’s a combination of both. This is kind of the issue with roguelikes though. When you can’t continue from where you died but the plot is contingent on getting farther into the game, there’s a good chance the player may never reach the end of the plot. Thankfully I was able to see one of the nine endings, but honestly the only plot given is the opening and the post final boss closing. Everything in between is just lore and world building, which is fine but it’s not necessarily accurate to call this a plot focused game.

20190526151414_1The game starts off by establishing that the world has suffered not one but two apocalypses and that you’re one of the few remaining survivors. As with most post-apocalyptic dungeon crawlers, you’re tasked with journeying into the wastelands for resources to aid your community. That’s the general plot, but it’s not lazily done. The game starts off with an opening cutscene to establish the setting, as well as an additional cutscene to specifically explain how you were chosen and how things work/will work in the game, as well as why. As you make your way through levels, you find artifacts that are accompanied by narrators, both a male and female used randomly, giving more details about the history of the world. In this way you get a lot of story, but not much development of the current plot. The game doesn’t do much in the way of discussing the future other than the initial establishing cutscene and the ending(s). The game’s compendium says eight possible endings are available but when I got one it said 1/9. At this point I can’t say for sure one way or the other. I don’t know how each of the endings compare, but the ending I got was kind of inconclusive. I was able to reach the ending after defeating three major bosses.

RAD has a lot of lore and written info in the compendium. This guidebook expands as you find and unlock more things. It gives you the ability to read about pretty much everything in the game including mutations, enemies, weapons, artifacts, and the endings you’ve seen. It will even replay narrations for you. It’s nice to see this level of documentation provided for interested players in a roguelike of this kind.

20190526094243_1There are also NPCs that talk to you. Many can be found in the base. Some of them say things that actually affect the game, but mostly it’s just décor. Most of them are scattered throughout the levels though. Some of these won’t talk to you, but many will. There are shop keepers, treasure hunters looking after chests, and random communities just hanging out. I found a hidden community of mutants just trying to avoid being ridiculed by normal looking people. I also found a cult waiting for their god to send them message through a projector screen hooked to an antenna. Some of the NPCs will even ask you to do small tasks that net money.

Some of the best writing in the game is the narrative commentary. The male narrator comments on what’s happening in the game sparingly. When you get a new mutation, he says it in a celebratory Halo style “Double Kill” voice. But that’s just one of the moments when commentary occurs. My favorite piece of commentary was when I switched to the stronger weapon I unlocked. The narrator screamed out “Chicken shit!” and it was subtitled on screen. This made me laugh really hard. Overall, the writing I witnessed was fairly good for a roguelike. But I’d have to reach later levels before I can accurately quantify its value and impact on the gameplay experience as a whole.

20190526101228_1As this is a roguelike, it’s inherently built for replay. But there are also a number of features that add legitimate replay value. As mentioned, there are several mutations, all of which have been quite interesting to try out so far. There’s also the fact that the mix of mutations you get is always different from previous plays. There are also a lot of things to unlock. Additional mutations, additional playable characters, and additional weapons are all available to unlock. There seems to be a total of eight playable characters. In the beta I’ve only managed to unlock four so far. I have yet to notice any performance based differences between them. There appears to be six unlockable weapons but I’ve only gotten one of them at this point. There are also 37 achievements for RAD on Steam and eight possible endings. The game also has daily challenges with special completion conditions tied to an online leaderboard. There’s a fair amount of stuff to do and reasons to keep playing the game. And with the procedurally generated levels, it will take quite a while before you get bored with the levels. I don’t know what the release price will be yet but if they manage to keep it to no more than $15 then I think RAD could absolutely be considered worth buying.

As this is a beta review, feedback to the developer is just as important as presenting the project to gamers considering buying the final release version. So let me clearly define what I’d like to see changed/added in the final version of RAD.

20190526161253_11. Continue by Stage

As this is a procedurally generated roguelike dungeon crawler, perma-death is kind of a given for the genre. Personally I’ve never liked that. I understand it, but I think it’s unnecessary. The important difference here though is that when you play a game like Overture, there’s no story. So it doesn’t really matter if you have to start over every time because you’re not really building towards anything. But when a game has a plot, which RAD does, albeit a small one, then being able to finish that story needs to be at least in the realm of possibility for a majority of normal players. Now I only had to clear like six levels to reach an ending. But that’s still six levels that not everyone will be able to beat consecutively. My point is that there needs to be an efficient way for bottom to mid-tier players to reach all the endings without having to take the time to get Dark Souls good. For me, the simplest solution is that you should be able to continue a new round at the farthest stage you’ve reached or at least at milestone stages such as after main bosses.

2. Button Mapping for Controllers

As with all games in 2019, you should be able to customize the button map to suit your needs on any controller you choose to play with. This should be the standard for any game released today. As I said, RAD appears to have this function, but it wasn’t working properly for me in the beta on either a DualShock 4 or a Wii U Pro Controller.

20190526150552_13. Primary Mutations Replay

The game appears to have 56 primary mutations. I’ve unlocked just a small sample of those so far. Some of them I really liked and others not so much. I found all of them to be quite creative though. At some point, the player should be able to gain some control over the mutations they’re getting in a round. Like once you’ve unlocked so many mutations it should give you the ability to start with a certain mutation of your choice or at least prioritize which ones you get. The randomness is part of the game’s shtick and that’s fine but once the player has put in enough hours to unlock all the mutations, they’ll then have a number of them they’ll want to avoid and others they prefer. And since the game requires you to start from scratch every time, getting to the ending will require you to get the right set of mutations to suit your style of play. But at random that won’t happen very often. Granting some level of control to the player would make a huge difference both for progress and enjoyment. This should not be made available to the player early on in the game though.

4. Cooperative Play

It’s very rare that I ask for multiplayer in a game. But RAD just makes sense to have a coop mode. Whether it’s local or online, I think this game would be so much fun to play with other people. In a way it kind of works like ToeJam & Earl, which absolutely doesn’t require other players to enjoy, but is enhanced by the ability to do so. As I was playing it, I was reminded a lot of games like Gauntlet and Metal Slug. The ability to play this cooperatively with friends could be really fun.

20190526153251_15. Lock-On Feature

This is your standard roguelike design where you’re looking at the game from a top down third person view. Enemies can come at you from any direction and you often face many at once. Currently you just attack in a direction by either looking in that direction for close range attacks and/or using the right stick to aim in that direction for ranged attacks. As with any multiple enemy scenario, prioritizing enemies in a specific order is key. But all this has to be done manually in RAD because you can’t lock on to enemies. There should be some way to lock on to a specific enemy to help you keep track of them in group scenarios and make aiming ranged attacks more effective.

6. Full Store in Base

Within the levels there are stores scattered about that carry random items. This system works fine. But the store in the base, which you can potentially visit every time you complete a level, is trash. When you first start the game, it only sells one lousy key which you don’t even really need because you can find them or buy them from most vendors in the levels. The base store should carry all available items in the game. Or at least the ones you’ve already found during play. There are key items that can totally change the outcome, such as an extra life item that I’ve only seen in one store and couldn’t afford at the time. The base store should carry everything, or at least more than just a single, fairly useless key. The game does imply that the store will grow as certain conditions are met but how and to what extent I haven’t figured out yet. By the time I finished playing the beta, two additional items were added to the store. It seems to me that you expand the store by making purchases.

20190526100709_17. Dynamic Item Consumption

You can hold one item at a time as a default and gain the ability to hold an additional item with a secondary mutation. But you can’t control the order in which you use those items. You have to consume the first item you picked up before you can consume the second one. This is super inconvenient and comes up very often because the second item slot mutation comes up a decent amount of the time. Different items do different things, as per usual. The most common difference is the amount of health restored by healing items. Some items restore a full heart while others restore more than that. So if you have an item that restores one heart in your first slot, an item that restores two hearts in your second slot, and you’re missing two hearts from your HP you have to waste the first item to fully restore your health. Because you wouldn’t be able to use the item that restore two hearts until you’ve used the item that only restores one. Now yes you could just wait until you’ve lost that heart again, but there’s a delay to use items when not standing still so if you need to restore health during combat this could be the death of you. You should be able to use whichever item you’re carrying in whatever order you want. Even a rotate slots system would be better than the current system.

 

In general, I was very happy with this beta. I found RAD to be much more enjoyable than I thought I would after seeing the announcement trailer. It’s not the next big thing or Cuphead class indie, but it is a fun little roguelike that actually has some long term goals and reasons to keep playing. There seems to be an actual plot to discover, which matters to players like me. The gameplay is accessible but constantly changing based on the mutations you unlock in a particular round. While it wasn’t a perfect game, this beta build is pretty far along. While I did have a few issues it ran well for the most part. No lagging or other game breaking problems other than the one crash which cost me just a few minutes because I was able to continue the round from the main menu when I reloaded the game. The game has a few bugs, as I mentioned, and can still be improved but it already works quite well and it’s fun to play. I need to see a release price before I can make a final judgement but I could see RAD doing well for what it’s trying to be.

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State of Play Episode 2

Last week PlayStation released the second episode of State of Play. For those who aren’t aware, State of Play is the PlayStation version of Nintendo Direct. The first episode released in March of this year. You can read my thoughts about that first episode and the concept as a whole in this blog post. This second episode was in many ways considerably less impressive than the first one but, like with the first one, I think it shows that there’s a really strong concept here.

The first State of Play was about 20 minutes and showed 17 games. This latest episode was only 10 minutes and showed six games plus an ad/announcement for a limited edition PS4 and “Days of Play”, which appears to be their replacement for E3 this year, if I had to guess. When comparing the two episodes it’s kind of hard. This one had much fewer games shown, but the caliber of games shown was considerably better overall. We got announcements for a serious DLC expansion for Monster Hunter World, actual gameplay footage of FFVII Remake, which we haven’t seen in like three years, and a lot more substantial footage of MediEvil. Plus three indie projects, one of which will most certainly crash and burn, one which could actually do rather well, and one that’s quite possibly gonna be a sleeper hit. In general though, half of the games shown were important titles with a great amount of quality content shown. And again, this was all kept to 10 minutes.

 

As I said in my post about the first episode, I think the State of Play format works really well. It’s short, no nonsense game focused content. Yes they did throw an ad in for a limited edition console, but I feel like that’s appropriate here even if kind of annoying. The larger take away from that is that PlayStation is using this platform to make any and all gaming related announcements, big or small. I think that’s a great thing.

Riverbond
Riverbond

Many people complained that the presentation was too short and didn’t show enough, but I think that opinion shows a lack of perspective. The problem with E3 is that it’s only once a year. Companies have to make long presentations that impress because they’re making an impression that has to last an entire year. It’s expensive, time consuming, and forces companies to make announcements way earlier than they often should.  And even after putting all that time, effort, and money into it they can still disappoint the crowd and have to deal with a year’s worth of anger and vitriol. Every E3 ends with a bunch of gaming journalists, YouTubers, and streamers doing “Who Won E3?” posts.  But with something like State of Play none of that has to apply.

MHW Iceborne

In a scenario where State of Play happens one to two times a year, both episodes were absolute garbage. Not enough games, not enough big announcements, and not enough details. But in a scenario where State of Play happens say bi-monthly, both episodes were great. And with that format kept to only 10 minutes, even monthly wouldn’t be that hard, time consuming, or costly to make. That’s what State of Play really could and should be. A short monthly update of any and all PS4 news, big or small. One of the games shown in this latest episode was Away: The Survival Series. This game has you play as a sugar glider trying to survive in a world post cataclysmic natural disaster. Honestly it looks great. I’m definitely biased because I have a pet sugar glider, but even if I didn’t I’d definitely consider playing it . . . If I found about it.

MediEvil
MediEvil

Away looks like something that would ultimately be a hidden gem. Or at least it would have been if there wasn’t a video presentation showcasing small indie titles coming to PS4. Few people would have heard about it unless it was like Cuphead impressive. And that’s a shame because an indie game shouldn’t have to be record breaking to be valued if it’s a solid game. That’s the true potential of State of Play. There’s not a huge list of big flashy announcements every month. But there are always indie games, new DLC, and other updates that players should be notified about but just aren’t. State of Play can be used to fix this. If it’s done fairly often, gamers will be trained not to expect bombs every time. Sometimes it will just be news of small titles and DLC. But that’s fine because we’ll know that the next State of Play is just a few weeks away.

Away

Nintendo Directs are rare because the production value really is fairly high. They’re fairly lengthy, have real people hosting them often, and go out of their way to create high quality graphics. State of Play, on the other hand, is the bare minimum of production value. And that’s not an insult. All the excess is cut away. It’s a simple blue background, panels, and straight gameplay footage. A bodiless voice reads a fairly simple script and there are no impressive visual or audio transitions. It’s the perfect fast and friendly low budget games presentation. And that makes it perfect for taking the time to focus on lower profit indie titles on a frequent basis.

Predator

What are being called flaws should be seen as improvements from the first episode. It’s streamlined to just 10 minutes to show six games. 10 minutes of gameplay footage spread across six games is nothing. Especially if you consider that most people can’t play six games in a month to begin with. I could produce that in my sleep. And if they make the developers write their own game descriptions and provide gameplay footage for the presentation, it’s a cake walk. It’s one voice recording session and maybe an hour of video editing. The original replay link on the PlayStation YouTube channel was 25 minutes long. It’s only a 10 minute presentation. More than half of that presentation video was a static banner. Now it’s been cut down to 13 minutes. It’s way harder for PlayStation to cut the video down to 10 minutes than it is to get a measly 10 minutes of gameplay footage.

FF7 Remake
FFVII HD Remake

I think State of Play has the potential to revolutionize the way console companies present games and updates to the public. Keep them short, sweet, low budget, and publish them often. No content is too small in this format. Little puzzle games, hidden gem indie titles, and DLC expansions all have a place there. They can even announce sales in the presentations just to bolster the time if there’s literally nothing else to talk about that week/month. I really like what I’ve seen so far from State of Play and I hope it continues and thrives.

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Avengers: Endgame – A Post Not a Review (No Spoilers)

11 years ago I was in Thousand Oaks, California visiting a friend for his birthday. We watched Iron Man (2008). I was a freshman in college living in Philadelphia, single, and had no idea what I was actually going to do after I graduated. This past weekend I saw Avengers: Endgame. Today I have a B.A., live in Taiwan, work a full time job, and I’m engaged to be married. So much has happened since Iron Man both for me personally and the world as a whole. Like the MCU itself, there have been ups and downs. Advancements have been made, new entities have come and gone, and people have evolved at a personal level. As I walked out of the theater with my fiancé, she jokingly said “so what do we do now?” In many ways this question is extremely appropriate. If we’re honest, the MCU has had such a huge impact on popular culture that it’s hard to imagine a world where the Avengers don’t play a role in it.

This post is not a review, as plainly stated in the title. There will be some comments that would be very appropriate to place in a review, but I refuse to formally endeavor to try to review Avengers: Endgame for two main reasons. First, such an endeavor would be damn near impossible without spoilers. Because of what this particular movie is, just about every scene spoils something. What this film is more than anything is a wrap up to 11 years of interconnected films. So basically everything that happens is a spoiler or Easter egg for someone. For instance, this movie finally tells us where the name Jarvis, Tony Stark’s first AI assistant voiced by Paul Bettany who later became Vision, came from. So trying to review it with any level of depth without spoiling it is like the Hulk trying to life Mjolnir. The second, and in my opinion more important reason, is that writing a review for Endgame is pointless.

My school of thinking has always been that reviews are for people who haven’t yet experienced something. The purpose of them is to help people decide if something is worth their time and money. Reviews are not for people who have already played or watched something to circle jerk about how much they liked or hated it. That’s not the purpose of reviews and ultimately why I often avoid the comments sections for main stream reviews. Because the people there usually have no business reading the review to begin with since they’ve already seen the movie or played the game. Based on this mode of thought, I find the entire idea of an Endgame review laughable. If you’ve spent the last 11 or so years watching a total of 21 other movies, not to mention multiple other TV shows on multiple platforms, possibly read comics about newly introduced characters such as a Black Nick Fury, and all the other MCU related things I could mention, is there even a chance that you aren’t going to go see Endgame? Could anyone actually convince you that it was so bad that you’re better off not seeing the culmination of the largest interconnected film franchise in the history of the world? No. The answer to that question is an emphatic and absolute no. If you’ve watched the other 21 movies, you will absolutely go see Endgame regardless of what any and all reviews say. And honestly if you haven’t seen the other 21 movies, then I wholeheartedly recommend that you don’t watch Endgame. You owe it to yourself, and to everyone who worked on that universe, not to spoil the experience of watching that particular movie until you’re fully prepared for it.

Honestly speaking, Endgame isn’t the best MCU movie. I don’t even think I’d put it in the top five. It has time travel in it. Sorry if you consider that a spoiler, but it seems fairly obvious that would have been the case after the events of Infinity War. It’s understood that pretty much any plot that relies on time travel to fix a problem isn’t going to be a top shelf plot. But that’s OK in the case Endgame. The truth is that it wasn’t meant to be the best MCU movie. This movie was meant to bookend the largest, most impressive, and most impactful interconnected film franchise the world has even known. It didn’t need to be the best MCU film. It simply had to be the most emotionally gratifying to the audience. And again, the audience in this case is only people who have watched 21 other related movies over the last 11 years. Those people will leave the theater satisfied. Not necessarily happy, but satisfied.

All MCU Movies

I never cried in a comic book movie before. I’ve cried in tons of other movies. More so the older I get. But of the more than 60 comic book movies I’ve seen over the course of my life, Avengers: Endgame was the only one I can remember crying in. And I didn’t just cry once. I cried three separate times from three separate emotions. The first time was when my favorite Avenger did something that everyone had been waiting to see happen at least once. I was overwhelmed with excitement, awe, and happiness to the point of tears. The second was in the climactic moment when probably the most epic reveal scene in the history of film we’ll ever see happened. I was overwhelmed not by the majesty of the moment or emptions of the scene. I was overwhelmed by the history that scene represented. In one moment, more than 10 years of my life came crashing down on me. In a single sequence I relived every instance that the MCU had affected in my life over the last decade. Every movie viewing. Every nerdy conversation. Every date. Every debate. Every fan theory. It hit me like a wave at that moment. And I don’t think I’ll ever experience anything like that moment ever again in my life. Maybe if I have a kid I’ll feel that way when he/she graduates college. Maybe . . . The third and final moment that made me cry was near the end of the film in a deep moment of sadness that by all rights needed to happen. I didn’t predict it but it was the right decision and was meant to make you cry.

The feelings I felt while watching Endgame were supposed to happen. Those tears weren’t a coincidence. They were the intention of the movie. Like I said, this wasn’t meant to be the greatest MCU film ever made. That’s what Infinity War was intended to be. This movie was meant to thank people like me for being a committed and diligent fan for 11 straight years. It’s like playing The Citadel DLC in Mass Effect 3. It didn’t fully make sense that all these characters were in this location at the same time. But it didn’t have to make sense. It was fan service to thank the players for five years of hardcore fandom and literally hundreds of hours of story focused gameplay. That’s what Endgame is. There are plenty of plot holes. I left the theater debating my fiancé about time travel paradoxes. There were questionable plot decisions. Like why were so few aliens involved in a plot following half of all life across the universe being destroyed? But none of that detracted from the intense feeling of satisfaction you get when you reach the end of the credits. You leave the theater with a sense of completion.

Spider-Man Far From Home

The franchise isn’t even over. They’ve already confirmed multiple TV shows, at least two of them were set up in Endgame. They’ve already said Guardians of the Galaxy Vol. 3 is for sure happening, showed footage of Spider-Man: Far From Home, and have teased a number of other movies as well. But honestly this was the bookend. This was the last MCU film you absolutely need to watch. I do not see the next phase of the MCU being able to recreate what was done with this first collection of 22 films. Especially considering the characters that are now obviously retired for one reason or another, what ultimately happens to the Infinity Stones, and the lack of an all-encompassing villain that can truly affect all characters within the universe simultaneously. I’ve been trying to figure out who the next Thanos could even be and all I could come up with was Galactus or the Celestial(s)/Eternals. But those characters don’t have a wide ranging effect on the universe as a whole all at the same time. There’s no snap risk. Galactus eats one planet at a time. That might be sad for those people, but it’s a drop in the bucket to the rest of the planets and their inhabitants at any given time. Celestials potentially have that level of threat. Like with how Ego tried to destroy all planets at the same time. But there was no long term build up to that plan and he was taken down by just eight characters, only three of which had anything close to actual super powers. So really I think for all intents and purposes, it ends with Endgame. Everything else will just be icing on an already fulfilling cake.

The movie had something for pretty much everyone. No matter who you Stan in the MCU, if your character wasn’t already killed in a previous movie, there was a moment where they were honored in some way during Endgame.  Even the female characters had an epic moment of feminism which I know lots of sexists will complain about online, but really it was just a nod to the A-Force and I’m fairly certain that all serious comic book fans appreciated it for what it was. That’s the point of the movie. Every fan gets a nod to their character. I Stan Cap. I was happy. I even got my wish fulfilled to have it confirmed that he wouldn’t die a virgin.

MCU Phase 4 Fake
Not an official image.

The only question I have left is where do we go from here? Not just in terms of the MCU. I’ve already made those predictions in a previous blog post. I would actually be careful about reading that post if you haven’t seen the movie yet because many of them were half confirmed and/or half correct in Endgame so it unofficially contains spoilers. But I pose the question more generally. As a culture. As a planet. As nerds, where do we go from here? Let’s not pretend the DCEU has even the slightest chance of rivaling the MCU for quality, longevity, or impact. Lord of the Rings is done and has been for several years now. Star Wars ends this year, and honestly for many people it ended with The Last Jedi if not before. Harry Potter, which was semi-niche to begin with, has been death rattling since Deathly Hollows Part 2. X-Men has never really had the impact of other franchises because of its continuity issues. What do we do with our time now? What do we nerd over as a culture. We all have our individual fandoms, but there’s really nothing else that sort of brings “everyone” together around the world. Arguably we haven’t had WWIII yet because literally everyone wanted to see what would happen with Thanos. Now that’s gone. And while the ending was necessary, poetic, and beautiful, the world is a little less bright because of it.

It’s over guys. This was the finale. I don’t think we’ll ever see something as beautiful and impressive as the MCU Infinity War ever again. I’m thankful to have been a part of it in my own small way. I’m thankful that each of these actors, many of which were quite famous before Iron Man (2008), stayed with it the whole time. This whole endeavor was, in the words of Taneleer Tivan, “Magnificent! Magnificent! Magnificent!”

I wanted to end this post with a quote from Avengers: Endgame that really stood out to me. I think it sums up the entire MCU quite well and also should inspire all the people who did watch these movies from start to finish over the last 11 years. I can’t actually say who the quote is spoken by in the movie because that in and of itself would be a spoiler, so I’ll just leave the quote anonymously.

Everyone fails at who they are supposed to be. The measure of a person, a hero, is how they succeed at being who they are.”  –Marvel Cinematic Universe (2008 – 2019)

Actors Assemble

SPOILERS AHEAD

As promised, I did not include any real spoilers in my post. But there are a few things I wanted to say about Avengers: Endgame that are spoilers. Some of them are jokes. Some of them are questions. Some of them are just statements I felt needed to be voiced. I wanted to put these here because I didn’t want to publish an entirely separate post of these. I also wanted to get them out as quickly as possible so other people couldn’t steal my thunder by publishing these thoughts first. There’s nothing I hate more than having an original idea that someone else gets famous for. So if you have not seen Endgame yet, definitely stop reading now.

  1. Sam Wilson: I’ve been waiting five years to say that line to you, Cap.
  2. The unsung hero of Avengers: Endgame is the rat in storage unit 616.
  3. Did the planets that had already been halved by Thanos before the snap get affected again by the snap in Infinity War or did he give them a pass?
  4. What about the Extremis in Tony Stark’s DNA?
  5. Can Hulk finally have sex?
  6. So that’s the Loki who will be featured in the TV show?
  7. That boy you didn’t recognize at Tony’s funeral was the kid from Iron Man 3.
  8. Cap returned Mjolnir to Thor with the time machine.
  9. When did Pepper get that suit?
  10. How the hell did that entire spaceship go through the time portal with 1 tube of Pym Particles?
  11. If they each only had enough Pym Particles for one jump roundtrip each, how did Nebula get back and then bring Thanos’ ship back when she gave the tube of particles to Thanos?
  12. How is it that absolutely no one else knows how to make Pym Particles after all these years and no records of the formula were kept by Hank Pym?
  13. I really hope Thor is in Guardians of the Galaxy Vol. 3 and that it starts with an epic battle sequence that doesn’t have Thor in it and then after the title appears on screen Thor drops in and saves the day. Then in hand written letters “AS” is added to the title changing it to “Asguardians of the Galaxy Vol. 3”.
  14. Did Cap still live the hero life while married to Agent Carter or was he fully retired and living his best life for those 70+ years?
  15. Edward Norton probably kicking himself right now.
  16. The Ancient One said when you make a major change to the past you create a new branching reality that can only be removed from existence by reversing that change at the exact moment it was made. If Cap inserted himself into the timeline and married Agent Carter wouldn’t that have created a branching timeline? And if it did how did Cap end up on that bench at the end of the movie? Wouldn’t he have been in an alternate timeline and thus not been able to return to that same moment in time in that original reality?
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What’s the (Avengers) Endgame?

As we are just a week away from Avengers: Endgame, I thought it appropriate to do a post about the future state of the MCU. This upcoming and highly anticipated film is called “Endgame” but let’s all be honest in saying that there’s no end in sight. The comic book business is dying, Marvel games are at the low end of the spectrum for quality and profit, and Marvel animation has played 2nd fiddle to DC animation since like the 90’s. Movies are the bread and butter of Marvel now and predictably moving forward. So it should surprise no one that the MCU will absolutely not be ending with Endgame.

They’ve already confirmed Guardians of the Galaxy Vol. 3 (woo James Gunn!), Spider-Man: Far From Home, and a Black Widow movie. Black Panther 2 was unofficially confirmed after the success of the first one. Plus now that Disney has acquired FOX, they have the ability to introduce the X-Men and Deadpool into the mix, among other properties. So there’s no question that Marvel plans to keep churning out MCU films. At the same time though, we’ve already been promised high stakes in Avengers: Endgame. For instance, it was basically confirmed that this will be Chris Evans’, among other actors, last performance in the MCU. I’m sure we might get some cameos down the road from some, but for all intents and purposes some top tier characters are being retired, whether by death or some other means. So I wanted to make a few predictions of my own about the future of the MCU based on things I’ve seen and heard as well as my own understanding of how the industry works.

All MCU Movies

 Avengers: Endgame Predictions

Someone or more likely multiple characters are going to die by the end of this movie. I don’t mean the snappening. Personally I predict that they reverse the snap by the end of the second hour and everyone comes back, ultimately all working together to kill Thanos, who will certainly be dead by the end of the movie. But after the snap is reversed there will be people permanently dead by the end of Endgame.

Spider-Man, all the remaining Guardians of the Galaxy, Captain Marvel, Black Panther, and Black Widow will all surely survive. They’ve all got movies confirmed in the future so let’s assume they aren’t going to die. Ant-Man isn’t going to die because they just reintroduced Janet Van Dyne, flipped Ghost into a potential protagonist, and gave us our first adventure with The Wasp. There’s simply too much potential to keep that team going to remove any of them now. I could see Hank Pym dying though, but I doubt it. I don’t see Falcon dying because for one you can’t kill off one of only two African American (T’Challa is African) heroes before either of them gets a solo movie in the current political climate. It just doesn’t happen. I don’t think Valkyrie is dying either, for the same reason. Even more so when you consider that she’s not just Black, but the only Black Asgardian still living and one of only two living Asgardian heroes/warriors, unless you’re in the Lady Sif is still alive camp. And if you were going to kill off one of the Black characters it would be War Machine, because the character has already appeared in more movies, is much older, and has already gotten injured critically in the field previously (Captain America: Civil War). And the character can be easily replaced while preserving the suit as a character. Not to mention that Falcon becomes Captain America in the comics once Steve Rogers retires. I could see a similar occurrence happening in the MCU where Falcon takes up the shield.

The fallen resize

Hulk won’t die because for one it just doesn’t happen, but more importantly they haven’t yet introduced a replacement for him yet. Eventually they will most likely introduce a She-Hulk or Amadeus Cho replacement and allow Banner to retire, but that hasn’t happened yet. I’m also waiting to see them mention whatever happened to Abomination, which would require a Hulk to be present in the universe, because of course it would. I’m also going to assume Doctor Strange won’t die because they sort of teased a Doctor Strange 2, have introduced magic, which means there needs to be a master of magic within the universe, and the character has been heavily under used to just kill off so quickly. Those are the characters I’m fairly certain won’t die.

As far as retirements, that’s a little trickier. Retiring characters are interesting to predict because they’re essentially deaths with the potential to come back, as Iron Man did after Avengers: Age of Ultron. But in the case of Endgame, I also think most retirements would have to be considered semi-permanent both from a plot stakes standpoint as well as from a contractual obligation standpoint. It’s safe to say that a number of these actors, such as Chris Hemsworth and Robert Downey Junior, are probably tired of playing these roles. They’re both physically and mentally grueling as well as I’m sure repetitive after this many years. Even Stephen Amell is retiring from Arrow and that’s not nearly as big of an enterprise as any of the first generation Avengers roles, nor has it been running as long. So while it’s hard to specifically guess based on any hard evidence which characters will retire, but not die, it’s safe to assume that a number of them will.

MCU Phase 1
It’s been a long time since those days.

I believe Tony Stark is retiring. Not dying but hanging up the suit permanently. I think killing him off doesn’t work because if we go back to his vision in Age of Ultron, he lives to the end. The fact that he wasn’t snapped away also leads me to believe this. The first trailer tried to imply he might die in space, but then they did away with that theory with the latest trailer showing him in the white suit with the rest of the team. I say he makes it to the end and walks away so he can finally have a family with Pepper. I wouldn’t be surprised if Rhodes died as a straw that finally broke the camel’s back moment though.

Hawkeye is retiring. It’s way past time. Especially after introducing a wife and not two, but three children, including a new born. I’m sure at least some if not all of his family was snapped away, leading him to become Ronin, but as I already said, I don’t believe the snap is permanent. Hank Pym is either retiring or dying, but I see no value in killing him off after introducing his wife who was believed to be dead, so I think retirement is what ultimately happens. Hulk will most likely imply some form of retirement but Banner will still be around a while longer, until they’ve introduced a Hulk replacement. Sadly, I don’t think we’ll ever get a Planet Hulk scenario after the events of Thor: Ragnarok.

null
Planet Hulk-esque?

As I said, I could see Rhodes dying, but retiring is more likely in my honest opinion. Loki will be revived, which I think is garbage because he wasn’t killed in the snap. But as he is both the trickster and has a show coming in the new Disney streaming service, it’s just impossible that he’s dead unless the show is a flashback, which I doubt is the case. So while he should be dead already and remain as such, I think he’s coming back to life. Gotta love those Infinity stones.

Vision is currently dead, but I see him getting revived at the end once they’ve defeated Thanos and gotten the Infinity stones back. Or possibly half way through when they reverse the snap. In any case, I don’t think a character of that power level that’s only been in three movies and has an established romance that’s only just started to bud is getting killed off this quickly. In the same way, Scarlett Witch ain’t dying either. But let’s talk about actual deaths.

Vision Romance

Bucky Barnes is dead. I’ll get into why later, but for me he’s easily on the chopping block. Gamora is staying dead. While I hate the fact that she’s dead, her death was a requirement of the Soul stone being found and as such she can’t be brought back to life or the Soul stone is taken out of play. And that’s not going to happen. So unless they do some garbage time travel story and just retcon the whole thing a la Days of Future Past, she’s done. But because she’s dead I absolutely believe Mantis and Nebula not only survive but become permanent Guardians of the Galaxy members for Vol. 3. I’m not nearly caught up enough on Agents of Shield to confidently make a prediction for Coulson, but assuming the show isn’t on its last legs, I don’t see him dying again after already having been resurrected once. You also need some continuous Shield members in the MCU for continuity into the next Phase. Maria Hill I could see being permanently killed off though. Nick Fury will survive but there’s a reason for that which I’ll get into later. If he is actually a Skrull though, I could see the Skrull version of him dying and the real version being revealed to still be alive. You are going to lose a lot of B and C recurring characters, but which ones I can’t say for sure.

Agent Coulson

The one debatable character for me is Thor. I don’t believe Thor will be killed off for two main reasons. The first is that he is the only surviving member of the Asgardian royal family. I just can’t see the entire bloodline being killed off. Especially after he finally got his full power mastery in Thor: Ragnarok and got a new boss level axe in Infinity War. I also think his presence is extremely important for continuity. The next Phase is going to focus heavily on space, from what I’ve heard. Thor would absolutely be a main link between space and Earth, at least for establishing the foundational transition to this new Phase. Yes there are other characters relevant to space such as of course the Guardians of the Galaxy and even Captain Marvel, but the link between Earth and space was established in the MCU by Thor. I think he’s the ambassador into the next Phase. I predict he ends up retiring a small ways into the next Phase and ultimately reestablishing Asgard on a new planet. Killing him off kind of prevents this.

At the same time though, a very good argument can be made for why Thor will die. For starters, there have been multiple clues/threats going back to at least Thor: The Dark World about the extermination of the Asgardian royal family. Removing Asgard as a main player also opens up a new world of possibilities in space rather than focusing on the same characters/races. Chris Hemsworth is also one of those first generation actors that is probably ready to hang up the cape. So while I don’t see him dying, in this film at least, I absolutely understand why people would predict that he will.

thor and hulk

For me the most important death that I believe absolutely will happen is Captain America, or more specifically Steve Rogers. Captain America is The First Avenger. He has served his country and the world for more than 70 years, if you count the ice nap as active duty. He starts off by saying that he has the right to die for his country just like any other man (not an exact quote). He is the first super hero that ever lived. At least until Wolverine finally gets introduced. It would be poetic, logical, and emotionally moving for him to be killed in action saving the world. Especially if Bucky dies first. Because as has been said multiple times, and was the theme of The Winter Soldier, they’re in it together “till the end of the line”. What more impactful ending could there be than Bucky Barnes and Captain America dying together in the line of duty after having both been resurrected from death at different times? I believe that Captain America will ultimately be the one that kills Thanos but that he will die in the process. It will be a glorious moment that will make us all cry.

MCU Phase 4

Post Endgame Predictions

As I’ve already said, Avengers: Endgame is not the end of the MCU. It’s just the end of Phase 3. Phase 4 will happen and we already have a number of movies confirmed. So I just want to quickly give a rundown of some of my predictions for the next one to two Phases of the MCU to occur in no particular order.

  1. Thor establishes a new Asgard with Valkyrie taking his place as an on call Avenger from space.
  2. Iron Heart is introduced as the next generation Iron Man/Person.
  3. Captain Marvel becomes the new front man of the Avengers in place of Iron Man.
  4. She-Hulk is introduced and then Hulk/Bruce Banner retires fully.
  5. Nick Fury dies or retires, not in relation to Endgame, and Black Widow becomes director of Shield. I could see Maria Hill also taking over Shield but that seems too small a move.
  6. Vision and Scarlett Witch have a child/children.
  7. Falcon becomes the new Captain America.
  8. Nebula becomes a permanent member of the Guardians of the Galaxy.
  9. Mutants will be introduced but not as a full on X-Men franchise.
  10. The next great villain will be Galactus which means Fantastic Four will be introduced into the MCU.

*Even since I wrote this post, but before publishing it, a host of new announcements have been made my Disney/Marvel about future MCU content. It seems that a number of characters are getting their own show including The Winter Solider, Scarlett Witch/Vision, Falcon, and others. While I have not altered my original predictions here, I now am more inclined to believe we’re going to get some kind of time stone scenario where everything is reversed because way too many characters seem to be getting shows. Granted it’s quite possible that some of these will be set in the past/before Infinity War/Endgame.

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Sekiro: Noobs Cry Twice

This post is going to offend many and possibly cost me quite a few followers. I’m fine with that. I’m not here to garner a following. I’m here to incite discussion by making arguments tempered by more than two decades of gaming and being an active part of the gaming community. That being said, my intention with this post, as with all posts, is not to offend but to give an informed opinion about topics in gaming. Really I didn’t want to write this post but I got tired of having the same argument over and over with different people on different platforms so I thought it would make more sense just to write it all out in one place and then link that to people rather than hash it all out for the umpteenth time.

Last month From Software, the makers of Dark Souls and Bloodborne, released Sekiro: Shadows Die Twice. This is a game that was teased a few years back with the rumor mill believing it was Bloodborne 2. Much later it was revealed that it was a new IP that would take a much different approach to the From Software formula while still delivering an authentic From Software experience. If the internet is any indicator, the studio succeeded in literally every way possible except for the lack of character creation options, which personally I’m fine with.

Sekiro Tease

I have not yet played the release version of Sekiro. I played a pre-build at Taipei Game Show this year, which I discussed briefly in my blog post about the event. I will eventually play the full game though. From what the internet has expressed, Sekiro has all the iconic Soulsborne qualities. Beautiful settings, quality lore, and weird, random stuff. The only key differences between this and past games from the studio, within the same genre, are the presence of an actual character driven narrative and the inability to summon other players for help. The combat style is different, but it’s apparently no different than the difference between Dark Souls and Bloodborne. It’s just another take on that style of gameplay. But what’s most important is that for whatever reason Sekiro seems to be harder than any of their past games.

Difficulty is an interesting topic of discussion in games. What makes a game hard? I don’t think there’s a simple answer to that question. Many developers have addressed this question in different ways. Some people think it’s the amount of life the player character has which is ultimately measured by the number of hits the player can take in a given battle. Others think it’s the amount of life the enemies have which is ultimately measured by the number of hits the player has to deal in a given battle. And still others would say it’s the number of enemies you have to face in a given battle. And this only applies to games where difficulty is measured in combat scenarios. There are many different genres of games that define difficulty in different ways. While most people can’t fully agree on what is or isn’t difficult, a majority of players can agree on one thing: From Software games are hard. And apparently everyone is also in agreement that Sekiro: Shadows Die Twice is the hardest game From Software has ever made.

dark souls is hard

Sekiro is the fifth game in this genre by From Software but I couldn’t even tell you how many total games in this genre now exist. Other companies have started making these games as well such as Koei Tecmo with Nioh, currently my favorite game in the genre, and CI Games S.A. with Lords of the Fallen. So this genre is now well established and iconically difficult. It’s also important to consider that difficulty in games is both relative and comparative. A game is not difficult in a vacuum. It’s difficult compared to other games as defined by the overall experiences of a majority of players. The fact is that if you had never played any video games except games in this genre then you probably wouldn’t think Soulsborne games were hard. You would think they were normal difficulty. It’s only in the context of other games that Sekiro is considered ultra-hard.

Soulsborne games do not have a difficulty setting. Like with classic games such as Super Mario Bros., still one of the hardest games ever made, you just play the game as intended by the developers. There are no easier and harder default modes. The closest thing to a harder mode is new game +, which is completely optional once you’ve already completed it. There’s no hand holding or extra challenging way to play. The game just is. Difficulty levels were introduced to make games more accessible to different styles of play and different levels of ability, or at least that’s how it was sold. I actually think difficulty levels were introduced to games in order to encourage replays. In the arcade era you fed quarters into machines. Games were hard because they wanted to steal your money. But once home consoles became a thing, quarters became a non-factor. Instead games were measured in play hours. So questions about how you keep people playing a game after they’ve already beaten it came up. In my opinion, difficulty levels was one of many answers to this question. But not the only answer. Replay value as a concept is something that developers are constantly trying to figure out in new ways.

Super Mario Bros
Let me tell you about difficulty in games.

The issue we’re now facing is that Sekiro seems to have finally pushed the difficulty barrier too far. A vocal minority of people are claiming the game is just too hard and that an easy mode should be added. Now you have to understand the context in which this discussion is occurring to truly understand the nuances of it. The semi-official motto of Soulsborne games is “Prepare to Die” or “You Will Die”. The point being that From Software markets their games as being difficult as defined by the number of times you will fail before you finally succeed is much higher than in most games in the market today. I’d still say I’ve died more times playing Super Mario Bros. than in any singular Soulsborne title though. But the unofficial motto of Soulsborne games is “git gud” or “get good” if you want a formal English translation. The community sees the games as difficult and relishes that fact. The games are not “too hard”. They simply are hard and you as the player need to get better. Because of this culture of the genre, the idea of demanding From Software, specifically, to add an easy mode has caused a large debate within the community of people who claim to play video games. I worded that in that way intentionally.

prepare to die

Let’s be very honest about who started this “movement”. It was noobs. People who either through a lack of experience, a lack of patience, or a general lack of skill simply don’t want to put the work in to git gud but they paid $60+ to buy a pretty samurai game and now feel entitled to be able to finish it without sinking hundreds of hours into it. This is absolutely entitlement. Is it misplaced entitlement? I don’t know. They did spend $60. But at the same time, they should have been aware of the company making the game and done more research about the game before purchasing. So I don’t necessarily agree that having bought the game entitles anyone to being able to beat the game. I will however say that From Software, and really all developers of all genres of games, should have put out a free demo to allow players to try the game before purchasing. Then people could have made more informed buying decisions and would be solely to blame for being noobs or at least idiots for buying a game they weren’t good enough to beat when they had the option to try it and find that out beforehand. But in any case, this idea that From Software should add an easy mode to Sekiro was started by noobs. There’s no official hashtag for the movement so I couldn’t find the origin of the argument but I did try, just for the record.

As with all controversies on the internet, especially those concerning performance/ability to complete a task, the whiners were blasted. Soulsborne veterans were not having any such nonsense about From Software adding an easy mode to their games. Git gud doesn’t work if you can play on easy mode. And of course, in true internet fashion, when the whiners weren’t agreed with they shifted the argument towards fighting on behalf of a marginalized group. In this case that group was people with physical disabilities.

Sekiro-easy-mode

As an African American, I get extremely irritated when people, and I’ll be honest and say nine times out of ten it’s white people, choose to speak on behalf of my people based on their opinions of how they think things should be that would be better for my people. This is a super common occurrence that literally every group that doesn’t fall under straight, cis, white person has to deal with. They speak for racial minorities. They speak for homosexuals. They speak for physically disabled people. They speak for mental health patients. Rarely do they ask any of us our opinions on an issue and they pretty much never let us control the conversation about our issues. And that is exactly what’s happening here.

The argument, again after shifting the narrative away from lazy noobs, is that Sekiro: Shadows Die Twice is so difficult that physically disabled gamers aren’t able to play it. First of all, that’s extremely patronizing. People have beaten Dark Souls with Guitar Hero controllers, Rock Band drum sets, and literal bananas. If anything this is proof that the games really aren’t that hard and just require a lot of practice, which is the point of the games to begin with. Learn and improve by doing is the basic gameplay model. So to argue that disabled players simply can’t ever get good enough to beat Sekiro is insulting to them. And second of all, what gives anyone who isn’t disabled the right to speak on behalf of disabled gamers in the first place?

banana controller

I have seen multiple, yes white, people online arguing that the game needs an easy mode because of disabled players. I’ve yet to see a single disabled person voice this argument themselves. I’m not saying none have. I’m just saying that the most outspoken group of people making this argument aren’t disabled themselves. I’m sure some people will argue that this is because disabled people are marginalized and thus don’t have the proper platform to represent themselves, but again patronizing. Everyone can speak on the internet. I’m an African American but I can still write this blog and post tweets just like any able bodied white person can. I don’t need them to speak for me and disabled gamers don’t either in 2019. This is a false flag operation that noobs are using to try to get an easy mode made for themselves.

I want to reiterate a point that I’ve made countless times and have written multiple blog posts about. NOT EVERYTHING IS FOR YOU! More specifically, every piece of entertainment has a target audience and you are not always going to be a part of that target audience. And that’s OK. There are movies for Black people. White people can watch them but they’re not made with the intent of being accessible to them. There are games made for women with focused themes about feminism, gender inequality, and sexism. Men can buy and play them but they’re not made with the intent of being accessible to them. All products, both entertainment and not, are made with a specific target audience in mind. That’s literally how business, and marketing, works. To expect all things to be made for all people to fully enjoy is not only unrealistic but it ultimately lowers the quality of products and over simplifies people’s interests. Some games just aren’t for everyone and that includes you. And yes sometimes that means certain groups won’t be able to enjoy them. That’s not discrimination. It’s targeted product development.

target-audience

Sekiro is not discriminating against disabled gamers. Now if From Software told stores to not allow disabled players to buy the game or asked the player if they were disabled at the start of the game and then locked them out if they answer yes, that would be discrimination against disabled players. At worst, Sekiro simply wasn’t made for disabled players. But it is not actively discriminating against them. And arguing to lower the difficulty of the games for disabled players is not only patronizing, but the incorrect way to solve the problem.

Why might a game be difficult for disabled players specifically? Assuming they have the mental capacity to play and understand the game, then it really comes down to maneuverability and possibly reaction time. By reaction time, I mean players having to move their fingers/hands around the control mechanism quickly enough, not their ability to press buttons quickly once their fingers/hands have reached the button’s location. Reaction time is a part of gaming. Whether it’s Dark Souls, Dance Dance Revolution, or Gran Turismo, the ability to react to the game on time is the main aspect of the gameplay. Any active time game works that way. To remove reaction time from games altogether would severely limit what games could be made going all the way back to Pong. You could pretty much only make turn based games with no action timers if reaction time had to be completely removed from gaming. So in the same way that people aren’t advocating that games add a slow mode for elderly players, it’s not realistic to demand games to slow down for disabled players. What can be fixed is how disabled players interact with a game via control schemes.

xbox adaptive controller
This IS how you make gaming more accessible to disabled players.

Control customization is what really should be discussed if we’re going to talk about making games more accessible for disabled players. The XBOX Adaptive Controller is a great example of this. The problem was/is that a traditional XBOX controller made it harder for disabled players to interact with games effectively. The solution was not to dumb down the games. Because disabled players aren’t dumb. They’re physically limited by comparison to a majority of the population of gamers. So rather than change the games, Microsoft created a controller that would make it easier for disabled players to interact with the games they wanted to play. I think the fact that Fortnite was used in the ad is extremely telling. Fortnite is a PVP shooter that requires not just fast response times but response times and strategic decision making better than that of your human opponents. No one said Fortnite should force players to play slower for disabled people. Because that would be ridiculous. Instead they made controlling Fortnite more accessible for disabled players thus allowing them to play the game at true level. Which is exactly what gamers, disabled or not, want to do. Gamers want to beat games and beat them properly. Noobs want to pass through games as quickly as possible with little to no effort. Just because a person is disabled, that doesn’t make them a noob.

What Sekiro needs isn’t an easy mode. It needs an open button map that allows players, disabled or otherwise, to operate the game in a way that works best for them. I think it says a lot that in my blog post about the demo I commented on how much I, a gamer that isn’t disabled, hated the button map. The problem isn’t the difficulty. It’s the accessibility of the controls. Making more solutions to give disabled players more control is the real answer here. And again, I haven’t played the final build. It may very well be the case that some of the suggestions I’ve made here have already been implemented into the release version of the game.

sekiro-controls-xboxone

I want to be crystal clear, if it’s not already obvious, that I have no problem with disabled gamers or their desire to play Sekiro or any game. I 100% advocate for solutions that will help disabled players enjoy the same games that everyone else does. The operative word being SAME. We should not lower the difficulty threshold of games so more noobs can play them. And again, disabled gamers aren’t noobs. Noobs are noobs whether they’re disabled or not. And I don’t care what noobs want whether they’re disabled or not, because noobs aren’t gamers and shouldn’t be able to dictate what happens to games. But there’s also another serious component to this discussion that’s being overtly ignored. What about the developer(s)?

My mantra for this blog is “I fight for the user.” This has always been and will always be a blog that focuses on consumer sided arguments. But I’m no idiot. I still understand that gaming is a business and that business comes first for developers and publishers. So when things go too far into the realm of ridiculous, I do feel required to address and sometimes advocate for the developer’s side of the discussion. Not publishers though. Screw those greedy bastards.

Souls series

People are arguing that From Software has an obligation to create an easy mode in Sekiro even though many people have already beaten the game. One guy already did a speed run of it. The game is already widely successful, topping the global sales charts. So the question must be asked, what does From Software stand to gain, as a business, from adding an easy mode? Will profits increase? Will the game become more popular than it currently is? Will more top level streamers and reviewers feature the game on their channels? What is the benefit to From Software as a company for spending the time and resources to create an easy mode? And let’s please not pretend that it would be easy to make an easy mode. They are a company that makes a quality product with a certain expectation of experience. They would still work to create an authentic experience that’s just not as hard while preserving the sense of accomplishment for winning. Also factor in how their loyal fans that have been playing their games sense Demon’s Souls would respond. People love to say “it doesn’t affect you so it shouldn’t matter” but we all know that’s not how market pressure works. The truth is that enough people would get angry about the addition of an easy mode that it would affect sales. All of these factors need to be taken into account. It’s not realistic or fair to demand From Software, or really any developer, to devote resources to ultimately lose money.

Even if there was no negative backlash, which is a highly unlikely if not impossible scenario, that still doesn’t mean sales will increase. And if no profit comes from adding an easy mode then it’s a complete waste of time and resources. Resources that could be used to make DLC, patches, fix balance issues, or work on the next project. All of these things would be potentially sacrificed, for a time, in order to create this mode. If adding the mode won’t increase profits then it’s not a mode worth adding. And that still doesn’t address the issue of creative control.

creative control

I believe that markets shape end products. I believe that companies have an obligation to themselves to meet the demands of the public in order to make a profit. But I also believe that companies should be allowed to make the games they want to make. Even if a game/idea is obviously not going to be profitable, I still think a developer has the right to choose to pursue that bad idea if it’s what they want to pursue. Hopefully they pay attention and appropriately react to market pressure but they should never be obligated to. So I take serious issue with the narrative/argument that From Software has an obligation to make an easy mode for literally any group. Whether it’s people with disabilities, noobs, women, people of color, or anyone else, I think it’s both ridiculous and unfair to approach a topic like this from the position of making demands. Developers are artists and they have the right and responsibility to create the art they want to create. If that art isn’t profitable, which is absolutely not the case with Sekiro, that changes nothing. They still have the right to make unprofitable or even terrible art if it’s what they want to make.

I think it’s especially problematic that, as per usual, Americans, again mostly white people, have the nerve to try to dictate what a group of Japanese developers do with their already successful game. That sort of thinking comes from a combination of Western narcissism and privilege. It’s From Software’s game and they have the right to do, or not do, whatever they want with it. So stop whining and try to come up with more creative solutions for how to make gaming controls more accessible for disabled gamers rather than demanding games be easier. And for those who aren’t disabled and just can’t hack it, GIT GUD!

*I actually discovered this article after I finished preparing this post and I thought it was very well done. While I did not change anything about my post because of it, I found it to be insightful, informative, and mostly agreeable with my opinions on the subject. Even better is the fact that it was written by a disabled gamer who works as an accessibility consultant for game developers. If you are interested in learning more about this topic, I highly recommend reading it.

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As always, thanks for reading. Please take the time to follow my blog, leave a comment, and check out some of my other channels if you enjoyed what you read.

State of Play(Station)

Last week, Sony debuted the first episode of “State of Play”. In short, this is the PlayStation version of Nintendo Direct. I think this is a great thing. It’s just another example of how E3 is dying, which I’ve been saying for years. Every year I do a blog post about E3 and in the last several years I have been very critical. I want to reiterate that my problem with E3 is not the general concept but the business model and execution. I think live gaming events for the public are a good thing. I think making them private events that only allow media while charging game companies a fortune to give the event content is preposterous and outdated. And I praised E3 for finally selling some public access tickets in my post last year. But really it’s too little and nearly too late. If drastic changes aren’t made to the model soon, the entire concept will be dead in the water if it’s not already. All that is to say that I happily support State of Play as a concept.

Let’s be honest, the content shown in this first episode was lackluster. It was a bunch of VR announcements that affect less than 10% of the entire PS4 user base, a remake we don’t really need, an indie Gauntlet clone with a minor PVP component, Concrete Genie, and footage from two AAA titles that we were already well aware of. Concrete Genie was probably the only part of that presentation that had any real value to the bulk of PS4 users. And please don’t try to tell me that presentation told you anything about Days Gone you weren’t already aware of if it’s a game you were actually interested in before watching the presentation. But the content shown isn’t why I already consider State of Play a success and ultimately a good thing.

5 Nights VR

Sony announced that they weren’t attending E3 this year months ago. They were very open and honest about the fact that they have very little to show for this year. Between such a strong 2018, with games like God of War, Detroit: Become Human, and Marvel’s Spider-Man, and the all but confirmed transition to PS5 coming in less than two years, they’re basically riding out the rest of this generation. Also remember that there are great third party titles coming out that Sony has no real reason to try to compete with directly this late in the gen when the largest user base is on their platform anyway. Games like Sekiro: Shadows Die Twice put plenty of money in Sony’s bank account for a fraction of the work it takes for them to make the next God of War level project. And since they’re putting out a new console soon anyway while concurrently dominating the current generation, and have the largest console multiplayer base with games like The Division 2, there’s really no reason for them to rush out anything. I genuinely believe the only reason this first State of Play was released now is that they were trying to console people who have been complaining about the lack of announcements directly from Sony since the last E3. Remember that PlayStation Experience was cancelled last year as well. In a way, this is the ideal scenario though.

Sony and E3 BreakUp

When a company has nothing to show, it’s fairly common for them to say nothing, make up some bullshit, or show something way too far in advance. For whatever reason, a large number of gamers seem to be happy when the second or third thing occurs, but get livid when the first, the most honest of the three, happens. Yet Sony did none of these three things with this State of Play. They had nothing and they used it. Even with very little to show, they put together a 20 minute presentation about what was on the way, and in true Nintendo Direct style, they only showed things that will be out relatively soon. This level of transparency has never really existed in the gaming industry before from a AAA publisher and hardware manufacturer. I would much rather a company honestly tell me they have nothing than lie to me or show me stuff that may not even happen (glances at Scalebound). So for me State of Play was great even if the games shown were a combination of junk and information I already had.

scalebound
Still not over this.

I also really liked the format. I want all gaming presentations to be done like State of Play. No bullshit. No random people I don’t care about trying to make badly written jokes to transition between projects. Just a single faceless voice giving bare bones facts about upcoming projects over gameplay footage, with release dates in the not too distant future. They showed 17 games, all releasing this year, with gameplay footage, in less than 20 minutes. That’s amazing. The recent Nindie Showcase showed 18 games and took more than 25 minutes. The time of the long drawn out presentation is past. People watch these at work in a corner window or while traveling, on their phones and tablets. I don’t need pomp and drama in my games presentations. I need facts and footage in an efficient and informative manner. And there’s no resentment.

I won’t speak for everyone, but a large number of gamers are fed up with media and gaming personalities. Over the last several years, a lot of faux pas, bullshit, and disappointing moments have been perpetrated by the games industry and media, not to mention “influencers”. Much of this has been overblown, but there have also been many valid criticisms. People no longer want to see unqualified hacks or unknown randoms present games. Unless it’s an actual developer talking, I could personally do without a face at all. A large part of this comes from jealousy, and I include myself in that statement.

pewdiepie

Why does this random millennial get to present games while I have to work my boring job? Do they game more than I do? Do they have some degree in gaming that I wasn’t aware I could get? What gives them the right above all the gamers watching to have that job? This is the thought process that has developed over a generation of random unqualified media personalities with nothing to justify their positions except a social media following getting the privilege of working alongside the games industry. It has bread a lot of bad blood that has even often spilled into development as well. Many people are kind of just done with people, which is admittedly sad but not unjustified. I appreciate that Sony recognized this in how they formatted this first State of Play. Faceless voice presenting games with a minimum amount of marketing fluff. No one to get jealous of. No experiences to envy. No reason or target to hate. Just gaming. And really isn’t that what these presentations are supposed to be about?

AAA State of Play

I genuinely liked State of Play. The content was disappointing but the way it was presented was ideal. And this also showed that Sony is willing to do State of Play presentations even when nothing huge is in the pipeline. That’s great for indie games. There are so many great smaller titles that never get any attention simply because people don’t hear about them and they don’t have the budgets for marketing. But if Sony, like current Nintendo with the Nindies Showcase, will take the time to do presentations with no spectacular announcements, that gives indie titles a real chance to shine on PlayStation consoles.

I guess the point I’m making is that a lot of people have been complaining about State of Play but I think it showed a great amount of potential as a format and the future of gaming news. Slowly but surely we are breaking down the walls between the developer and the gamer with more direct access to information without the need for middle men, media companies, and elitist events that most of the gaming community can’t attend for one reason or another. In my book, the future of gaming information distribution is going in the right direction.

What are your thoughts on State of Play and what this means for the future of gaming news?

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