Treating consumers with contempt costs you
July 17th, 2010 by Jeremy

Three quick notes for publishers from the your-dickheadetry-will-cost-you file:

  • New strategy game RUSE is free to try this weekend on Steam, as a method of building interest in the title. Unfortunately, the full game remains Ubi-crippled with Ubisoft’s gamer-hating “log you off if the connection is lost in the middle of a single-player game” DRM (even if you’re running it through Steam) so, I have absolutely no idea whether the full game is any good or not because I’m not going to bother downloading even a trial of it. (And I’m not alone.)

  • I was going to give new comedy RPG DeathSpank a go, and went to download it on 360 before realising that there’s no way it’ll fit on my crowded 20GB hard drive. Naturally, I have thus far resisted paying Microsoft’s frankly obscene prices for a drive upgrade, and will thus be downloading the demo and possibly buying the game on PS3, where Sony will get the sweet sweet cash and not Microsoft.
  • Would’ve bought the PC version of Battlefield Bad Company 2 on the recent Steam sale, if Australians weren’t being forced to pay 40% more than every other country. Well done, EA and local distributors – you’ve done yourselves out of another sale. Likewise 2K with its even more obscene 270% markup on the PC version of Borderlands.

I’m just one man, slowly making up for his weakness in buying the MW2 map packs.

One Small Step
July 16th, 2010 by Rohan

I was lucky. I really was. As a space nerd, that is. See, I grew up reading space stories – real ones. Underneath the Star Trek and the video games like Lightspeed and Frontier: Elite II I read book after book about space programmes, both manned and robotic. On my wall was a huge poster showing the sun, the orbits of the planets and – most importantly – the paths taken by the space craft which had explored or were still exploring the solar system.

I was lucky for this reason – I’d somehow failed to learn that NASA was putting money into developing a series of free, educational space games until the release of the first game was upon us. Moonbase: Alpha is a rather strange game. Based on the unreal engine, it’s a first/third person action/strategy game where you and up to 5 other players work to repair the life support systems of a semi-permanent base on the moon, based on the original plans to do so by NASA under George W Bush.

Things have been shaken up a bit now – Obama’s government has increased NASA’s budget and changed their goals, meaning the NASA games will likely remain the only glimpse at this particular moon base. But still, this game remains as a fun, interesting, semi-hard-scifi game which shows what that base might have been like, at least from the outside.

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You Have Been Disconnected
July 15th, 2010 by Rohan

So, late last night I was prowling columns of interesting writers, and stumbled upon a review for an indie game I hadn’t heard of in the months since its release. The game was Digital: A Love Story, and the concept alone (never mind the praise by Emily Short, the columnist I was reading) was enough to make want to give it a go.

So I did, and then my morning vanished. While I had originally wanted to avoid writing ‘reviews’ here on RRQ, so many good indie games that have cropped up recently that I am unable to review for other sites have made me decide to start doing some individual game coverage here at RRQ – but only for off-beat, unique games that you might otherwise miss if you stick to mainstream sites for your gaming news & reviews.

(Note: There are no spoilers in this review)

Digital: A Love Story has a concept that, in some ways, might seem familiar if you’ve played games like Uplink or the forgettable Hacker games by Activision, at least on the surface. But there’s a major difference – while Digital may involve hacking, that’s just a pretense to tell quite an immersive, fascinating story about… well, a relationship, I suppose. Where Uplink is really just a strategy game, Digital is a story that happens to be in game form – and it’s infinitely more immersive and engrossing in this medium than it would be as a novel or a film.

The game is a sort of sci-fi / hacking story set ‘five minutes in the future’ of 1988. You load the game and promptly find yourself confronted with “Amie Workbench”, which looks suspiciously like the old Amiga Workbench – complete with many of the same quirks. Having been given this shiny, brand-new computer, you are encouraged by the good Mr Wong to dial this fascinating new service called a Bulletin Board System.

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What games would you play again, and again?
June 28th, 2010 by Jeremy

What games have sunk their hooks into you so much that you’ve actually replayed the main singleplayer campaign several times? I don’t mean multiplayer games where you replay levels in each match, and I don’t mean strategy games like Civilization where each game is a unique campaign. I mean singleplayer games with a story, stories that you repeat despite knowing how they end because there’s something about that world that really grabs you; some reason you particularly enjoy experiencing it from within. Like a favourite movie, only you can linger more meaningfully over the parts you enjoy the most.

For example, and for no particularly good reason (“achievements” are not a good reason), I’m on probably my half-dozenth playthrough of Half Life 2, having completed it on PC, then original Xbox, then along with Episode One, then as part of the orange box on 360, then on PC again on Steam. City 17 both horrifies and fascinates me, and there’s something powerful about that abandoned landscape (particularly Highway 17 and the road to White Forrest) that really strikes a chord with me. You wander through humanity’s twilight, where we’re on the way out but individuals are still hanging on, waiting their turn to disappear, without hope. It’s civilization as it becomes a ruin. It’s haunting and beautiful, and it still evokes strong feelings even though I am now completely aware of what’s coming next and know the levels well enough to see behind the curtain. It’s got a certain magic to it anyway.

And, even if Half Life 2 isn’t your thing, I doubt I’m alone in the condition I’m describing.

What are your addictive favourites?

Sick of Australian distributors
June 21st, 2010 by Jeremy

Okay, look, I’m still not over the Steam ripoff thing. (Although, with a cousin in London, I did find a way around it for long enough to buy L4D2.) In addition to Civ 5 (50 USD vs 80 USD) there have been a series of sales this week for EA titles which have (ignoring the ridiculousness of additional publisher-based DRM in a Steam title) been spectacularly offensive.

Take Sunday’s sale of Dragon Age: Origins. The 40% off “discount” price in Australia is 40% off the frankly absurd 70 USD so it’s 46.89 USD. Hardly a bargain. The standard, non-sale US price is 39.99 USD, so our “40% off” price is still significantly more than the US standard price – let alone the UK sale price of 13.39 pounds, which works out at 19.82 USD, somewhat less than HALF the Australian “discount” price.

For a digital download that is in all respects identical.

I get that publishers have to add GST to games sold in Australia, but the 10% GST is 10% – considerably less than 110%, being ten percent and not one hundred and ten percent. It’s not much of an excuse for the markups they’re imposing, is my point.

And that’s not even the worst example – according to the steamprices.com top ripoffs page, Steam charges USD 20 for Red Faction Guerilla in the US, but to those stuck behind an Australian IP it charges USD… prepare yourself… are you sitting comfortably? Good, then I will continue… USD 70. (That probably needs to be in a bigger font.) Yup, a markup of 350%. I mean, you’ve almost got to admire the sheer gall of THQ, don’t you? That kind of ripoff is a thing of such spectacular shamelessness that it’s almost thrilling. I’m not going to buy their game, but I might come back and admire its monstrous pricing structure next time I need an emotional shock.

Also, unbelievable regional pricing aside, there’s the issue of the ever more stupid delays in game releases here, highlighted by – who else – Nintendo Australia’s treatment of its flagship titles. Like Super Mario Galaxy 2, which won’t be out here till July. Despite having been released overseas a month ago.

My question is: what the hell is the point of Australian distributors, and why wouldn’t we all be better off if they just disappeared and the big retailers imported directly from overseas?

Feel free to share the examples of us being ripped off and screwed over that have really gotten your metaphorical goat.

Gaming Platforms
June 9th, 2010 by Rohan

A discussion topic just came up – which gaming platforms do you use? This was relevant because I’m in the bizarre situation of having almost everything it’s possible to play games on. Between my partner and I, we have a Windows PC, Mac, iPhone, iPad, 360, PS3, Wii and PSP. (Just missing the DS, and really don’t care)

Obviously, when you have access to all these devices, you aren’t going to spend equal time on each. It becomes a “right tool for the job” situation. So, after now having most of these (except the iPad, which I will discuss separately) for numerous months, just which devices have proven to be the most frequently used ones?

I’ll list them in rough order of use (most used to least) and give some reasons for this.

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Steam region ripoff
May 9th, 2010 by Jeremy

Now I have a nifty PC that can run modern games, I’ve been exploring the convenience of the Steam store – PC games that’ll run without having to download a nodvd crack and disable your ability to play them online.

Only I’m in Australia, which means Steam insists on making me pay a penalty for many titles. Take Civilization 5, now taking preorders – they want $US80-90 from us (in US currency, bizarrely), where if they don’t manage to automatically detect your location and think you’re in the US the price is $US50-60. That’s right, we’re paying almost double for NOTHING. They don’t ship anything here, they don’t have any increased costs, the Australian distributor is not involved – so what the hell is the justification for robbing us blind? They’re even charging MORE than in the shops, for less – no packaging, no distribution, no middle men costs, but prices at retail level Australian dollar figures with the currency changed to the more expensive US dollars.

And whether we just blame the publishers for being discriminatory parasites, or assign some blame to Valve for giving them the tools to do it, the situation is both offensive and absurd.

Do they REALLY think we’re going to cop it? Do they REALLY think we’re going to pay double for no reason? Do they REALLY think that people who are considering handing over money are going to just bend over and take being ripped off so outrageously? There’s a reason Australia is known for high levels of piracy, and THIS SORT OF GARBAGE IS IT.

Screw you, Steam. Screw you, Valve. Most importantly – Screw you, publishers. If you’re going to treat your paying customers like this you deserve to lose sales to piracy.

If you have an IP product and you

  • refuse to sell it to people in certain countries;

  • refuse to sell it for particular periods;
  • refuse to sell it in particular formats;
  • insist on adding anti-consumer garbage like DRM that limits paying customers’ access to the content for which they’ve paid;
  • charge some customers more than others;
  • charge unreasonable amounts for content

…Then you do not deserve the protection of OUR courts, OUR governments. IP is not an intrinsic natural law, it’s something we the public grant you in order to encourage you to create. If you’re not going to live up to your end of the bargain, and enable us to access those created works reasonably, then why should we live up to ours? Why should we send the police we pay for to chase after your imaginary “property” rights? Why should we respect them at all?

I will NEVER buy a download game (such as via Steam) at a higher price than they’ll sell it to an American customer. NEVER. I may try to work around the restriction by using a US paying account and a US proxy, but if that doesn’t work I will not buy it at all. THEY WILL GET NONE OF MY MONEY. There is ZERO chance of me paying them more for less.

Get stuffed, you discriminatory arseholes.

ELSEWHERE: What a publisher that’s thinking straight does about “piracy”.

Unintentionally Spontaneous Excrement
May 6th, 2010 by Rohan

As in life, there are moments in gaming where the only reasonable response is the phrase, “Oh, Shit!”

Now, this phrase, versatile as it is, can be used to mean a wide variety of different things – from “It appears that the killer is still alive,” to “I have been shot, please call for an ambulance as soon as possible,” and even the all-time classic, ”I admit to experiencing surprise and frustration at learning that you have, in fact, forgotten to bring the hummus.”

For this reason, I decided to recount a top-five list of these “Oh, Shit!” moments from my own personal gaming experiences, complete with imagery.

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RRQ E06: Narrative & Storytelling
May 5th, 2010 by Rohan

RESTORE RESTART QUIT

Episode 06:
“Narrative & Storytelling in Games”
with special guests Joab Gilroy and Jessica Citizen

After an unforseen hiatus due to a computer being in for a service and an extended period of being busy with my web series project, we’re back for another episode.

This time, after playing through the relatively-recent possibly-overhyped PS3-exclusive Heavy Rain, we decided it was worth focusing an entire discussion on narrative and storytelling in games. As it seemed like a natural continuation of our inaugural episode on Gaming as a Unique Medium, we brought back Joab Gilroy from GameArena. To provide a different perspective, we also invited along Jessica Citizen of Gamepron (and some other sites).

Due to the nature of this discussion, please be warned that we spoil the ending of  a fairly large number of games including Heavy RainSystem Shock 2BioshockShadow of the Colossus and Planescape: Torment.

Our meandering discussions took us to subjects such as:

  • D&D Gold Box games
  • Space Quest, Quest for Glory and other adventure games
  • Interactive Fiction
  • Half-life 2 (Because Jeremy can’t go 5 minutes without discussing it)
  • 101st Airborne in Normandy
  • The Mass Effect series and character death
  • Continuing on after character death
  • Delivering multiple choice options in games
  • Meta-story in the game world (such as in Assassin’s Creed and the new Prince of Persia series)
  • The passage of time in game stories (such as in Metal Gear Solid)
  • Dialogue trees
  • Cut scenes as a method of delivering plot
  • Plot twists in games
  • A huge discussion of the merits of Heavy Rain
  • The limitations of game stories – having to be based around action or conflict for the most part
  • Flower & Flow – narrative without dialogue or even characters
  • Metro 2033 and Book-to-video game adaptations
 
icon for podpress  Restore Restart Quit Episode 06 [127:42m]: Play Now | Play in Popup | Download
My name is Bo-lo San-tosi
May 4th, 2010 by Jeremy

Another entry in our “I can’t believe they left it out” series of retorts to the ABC’s Good Game, this time over their worst videogame voice acting top 5 from this week.

I’m not objecting because their list is weird and obscure but not as funny as this top 50 from Youtube:

I’m objecting because they completely omitted the recent, indisputable Absolute Worst Pick for 2010 – Just Cause‘s Bolo Santosi:


Don’t you practice your alliteration on me!

I know they’ve played the game, because they reviewed it a month ago. How was this brain-freezing atrocity not fresh in their minds?