Blog Archives

0 Hello, Goodbye?

So.

Boy likes videogames. Boy likes thinking, talking, writing about videogames. He meets with some people, commits thoughts to words, and keeps doing this for no reason other than his love for videogames. He meets with several degrees of success – initially a pet of hardcore sites, then a newcomer to physical magazine publishing, then his presence is scattered across the internet. Highs and lows.

During the process, boy understands the need to talk about videogames with others beyond his immediate friend circles. He begins investing time into translating his words, and it pays off. He now has several people, as close to friends as one can have over the web, he found during this process. Most of these friends have a clear advantage over him, however. Not being indebted to more than one language, they can gain momentum with their blogs, publish several times a week if need be. Boy’s attempt to open a gateway to others is successful, but draining.

Boy thinks writing in the third person about a blog which, some exceptions aside, registers very few visits is weird, even more so when he considers if he should keep writing or not. The problem isn’t one of success – he never wrote to be noticed. He never talked to draw attention on himself. While it’s arguable videogames are truly interactive, if they can present more than play sessions where one has to guess what designers want, their effect is anything but elusive. They’re a virus that propagates and colonizes our perception, our ideas, our imaginations, our way of life. To write about videogames, then, is the cure, the exorcism. Awesome, stupid, intriguing, dull: whatever they are, they are mine. And so it follows that by extension, they are everyone else’s as well. That was always the point. It was never the numbers, the reviews, the Top Ten lists, the pursuit of superstar developers who keep promising worlds and only deliver puppet shows. It was always about what videogames meant to us. So boy writes, talks, plays.

But he’s not sure he can keep it up.

Time is always the main villain. It’s never death or disease or heartbreak; they’re the sidekicks, appointments along the way. There’s this wonderful episode of the Twilight Zone series called “Time Enough At Last”, where the lead character, whose reading hobby is constantly jeopardized by his wife, his boss, the world around him. One day he is trapped inside the vault of the bank he works in and an earthquake strikes. Waking up some time later, he finds the world a desolate place, where everyone is gone. “Time enough at last” to read, to prove his undying love for the written word, to absorb all the prose and poetry he can. Until, at the steps of a library, his glasses fall and break. He can’t read without them.

Time enough.

Boy think his current situation is similar, though less post-apocalyptic in nature. At the end of the day, it comes down to this: to maintain this communication channel between two different worlds or to focus on only one. Boy loves the fact that videogames have such astounding critics, defenders and writers that he sometimes feels he can’t cope with it all. He’d like to be there, side by side with them; writing about games in English was, at least, an attempt to communicate. Or at least send out an SOS. “I’m trapped in a world where no one raises eyebrows at reviews that claim Journey has the best sand since Uncharted 3″. Or “I’m trapped in a world where people take the term “hack’n slash” so literally it is now used to describe Ninja Gaiden”. Or “When are people going to realize that when they say they like RPG games they are saying they like role-playing game games?”

Or just “I’ll pay for the shotgun, you just bring the shovel and the truck.”

So yes, boy is me (“An epic plot twist” – IGN). I’m not convinced that I can continue writing in both Portuguese and English. What you love, you do with all your heart. But there’s always the villain (no sidekicks in view, fortunately).

So Juxtapixel isn’t going anywhere (“What else is new?” – Sarcasm Ed). I’m thinking of several things right now. There are still some articles I’m trying to write for the blog, including translations for them, though it’s unclear what I’ll do after those. One idea is to eventually aggregate all texts after a while, translate them and print out a nice *.pdf file to freely distribute. This is easier than working at some simultaneous publishing for two different versions, but the odds anyone will still care in the future are slim at best. Another idea is to just stop writing immense walls of text; I’m receptive to this idea, though a part of me is angrily shouting against what it feels may become a less productive mind (then again, being productive isn’t the same as being good).

In the short run, what this means is I’ll still have some more articles for the blog in the next months. After that, I don’t know. So if for whatever reason you’ve visited the blog, and on some cosmic improbability you enjoyed what I’ve written, my heartfelt thanks. And if that’s the case, apologies for the chance that the blog won’t be further written in English – though I’m probably disappointing myself more than potential readers.

0 The “Indie” Challenge (2)

So. Part one, where I discuss the challenges indie developers face in regards to mediatic exposition and self-promotion, is done. While I’m still nurturing the ideas that will let me move beyond an introduction paragraph for the third piece, here’s part two of The “Indie” Challenge.

The Indie Challenge, pt. 2
– notes on technology, perception, authenticity, nostalgia

Classic music – now, that’s real music.

It’s a kind of scrutiny often made towards all artistic mediums, not just music. While it’s arguable if authenticity really matters in fields other than anthropology, it is nonetheless a rampant and varied concern elsewhere – and if authenticity means something different for everyone, then it stops having any meaning altogether. Artists live and die by their image – they create, develop and try to sustain one throughout the span of their careers. If they do it convincingly, their audience is won; falter, and even talent and skill may not be enough. And so, looking at the videogame medium and its own social spheres, it shouldn’t be a surprise to find the same mindset there. What might surprise is the degree to which it’s also affecting indie games. How exactly?

Technology, perception and authenticity have formed a complex web of meanings. The ZX Spectrum was perhaps the first popular gaming platform that gathered gamer and programmer alike; its programming language was friendly enough that anyone could be an enthusiast. In fact, it wasn’t uncommon to see game reviewers criticizing the programming skills of developers, even offering suggestions to improve their code routines. But as technology improved, it wasn’t just the gulf between consumer and enthusiast that widened. Increasingly advanced graphical power also increased the consumers’ expectations. In the 8-bit days, a hobbyist’s game would be judged against the power of then current 8-bit platforms. Today, technological standards are much higher, and anything below said standard tends to be seen as inferior, obsolete.

Bleak? One only needs to think back to the not so distant history of the Wii: from its release to its journey of near global domination, “hardcore” gamers would always find ways to discredit it. It’s easy to see these actions as representative of a smaller group of players when confronted with the success of Nintendo’s console. There’s certainly a world of difference between what happens in online commentary boxes and in the market. But the Wii’s negative reception was actually a problem for the company, or at least enough of a problem that Reggie Fils-Aime saw the need to trumpet the return of core titles during 2011′s E3, perceived as forgotten in favor of “casual” or family entertainment.

Yet, Nintendo was far from being the only one to go through these hardships.

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0 Game Over?

– on GAME, bookstores, cafés, cultural transmission, small scale services, quiches

For those who have kept up with videogames for a long time, industry transitions – such as technological innovation and new business models – shouldn’t come as a surprise. From arcades to consoles, from single-player to online, from shareware to DLC, from scores to Achievements, videogames have rarely abandoned their trajectory of growth and expansion. We may very well be in the golden age of videogames, or close enough: we’ve become socially connected again, we have more control options than before, we have different distribution methods, we can play the latest mainstream releases or choose from a stream of classic, social and independent games. But there are still some growing pains.

Gravity, the third part.

Recently, GAME announced it wouldn’t be stocking Mass Effect 3. The retailer has blamed it on a “supply issue” that renders them incapable of fulfilling orders of Bioware’s space opera, and the damage may be greater than that. GAME is one of the longest standing videogame retailers in the market, but its survival has been challenged for a long time. Talks of a crisis amidst the retail sector aren’t new, but it’s interesting to consider Mass Effect 3 may end up triggering it – more than any other game in Electronic Arts’ catalog, it’s one the publisher is trying to monetize through more direct means. The DLC amount and cost alone are gargantuan, and one that very much circumvents traditional business models. Reactions have been mixed, with some lamenting the situation and others applauding the possibility that GAME closes down.

Does this mean traditional videogame stores are at an end? Maybe, but they are also at a beginning – provided they rethink what they can offer consumers.

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0 Connecting The Dots

Connecting the dots
– notes on Pac-Man Championship Edition DX, Romanticism, videogame history

In videogames, narrative has traditionally been seen in two ways. Some games tailor specific outcomes to choices but still provide a universal continuity or endgame. Others resituate narrative as a personal reward, where players can find or create new meanings as long as they dedicate enough time to a virtual world. No matter how its granularity is discussed, videogame narrative design has a long history; it has outlived genres, periods and transitions in the industry to remain not only constant, but ubiquitous. What was once thought to be in the domain of role-playing games can now be seen, in some form or another, in series such as Metal Gear Solid, Bioshock, Fallout: New Vegas or Assassin’s Creed.

But what about games whose own history as a game is just as important? Games whose primary narrative exists in our shared memory?

Pac-ing.

Like the original Pac-Man, the basics of Pac-Man Championship Edition are best described as tension and release, survival and scoring – words that convey much of the arcade sensibilities of the time. In Namco’s game, this is presented through the titular Pac-Man, tasked with eating dots scattered around a maze while surviving the relentless pursuit of four ghosts. It’s simple, it’s clever, it’s timeless.

It also speaks to us about how we remember videogames.

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2 The “Indie” Challenge

If all goes well, this will be the first part in a short series of articles documenting my thoughts on the problems indie games face in regards to gamer perception, market penetration and media coverage, along with some other more general notes I’ve written over the past two years.

 

The Indie Challenge
- notes on indie games, journalism, marketing

Garage programmers. What the Sex Pistols would have done if they had Commodores instead of guitars. These and other terms have tried to define indie developers over the years, from the anonymous enthusiasts releasing demos on ZX Spectrum magazines to the Minecraft phenomenon. What started out as a hobby with low budget visual and aspirations has grown to influence the casual, social and iOS gaming landscape. From business to publishing models, indie games have also changed the industry, but they still remain divisive among “hardcore” gamers. Yet, some parts of the gaming press still turn a blind eye to them, favoring bigger, louder, shinier titles instead. Shouldn’t every game deserve equal treatment regardless of size, platform and money invested into it? What’s wrong with this picture?

 

"News"

 

The relationship between journalism and advertisement, to start with. During the mid-1990s, publishers and advertisers started taking advantage of game magazines as communication channels with gamers – and in more ways that an increase in ad pages. In 1995, Future Publishing premiered the PlayStation Official Magazine (OPM) in the UK. Magazines devoted to a particular platform weren’t exactly new; Super Play, focusing on the Super Nintendo, and PC Gamer, covering all things PC, were also under Future’s editorial wing, and predated OPM. Now, a reliable source of information seems fairly harmless if not for the overt claims of authority. If the competition was not “official”, what could it offer to readers? The appearance of magazines dedicated to specific brands and platforms which for themselves the mantle of legitimacy caused a rift in information structures – becoming centralized and less critical, respectively. It shouldn’t be a surprise, then, that OPM went on to become one of the best-selling magazines in Future’s catalog.

When the popularity of magazines died, the internet became the logical next step for consumer reviews and news. Much has been made of the world wide web’s democratization of public space, although the reality is a bit different. While it’s laudable that gamers have erected communities to discuss the medium, these are mostly ivory towers that promote consensus rather than welcome criticism and discussion. New platforms paved the way for an increasing number of people to speak their minds, but some, like blogs, are still islands spread out wide and far. Even the authority of gaming sites analogous to official magazines has shifted considerably too. How? The economics of videogame journalism during the magazine era, much like those of traditional journalism in newspapers, depended on readers. The unwritten contract was that for a price readers would receive useful information and critical insight. But readers are no longer the main economic force: advertisers and publishers are.

Precisely what indie games don’t have.

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0 Now Playing… #5

Jamestown: Legend of the Lost Colony (PC) – Final Form Games

They all look the same.

It’s the rethoric du jour when it comes to shmups; a consensual blindness that in two strokes, fails to recognize the genre’s intricate evolution and gives carte blance to other series which do little other than affixing subtitles or numerals to stale formulas. Jamestown shouldn’t be seen as an eye opener to the history of shmups, at least mechanically; its strength lies more in its creative vision than the scope of its gameplay. This doesn’t mean its systems are outdated or lacking in verve, but these will seem a secondary or tertiary concern when juxtaposed with the concept, and that is:

A shmup set in a 17th century British colonial Mars.

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