Some bits of this conference sort of passed over me. Since I don’t really watch (or understand, or care about) sports for the most part, I didn’t get the import of EA Sports’ portion of it. Just keep that in mind

However, there was a decent mix of stuff that kind of looked neat, things that looked like silly design choices, and not-gameplay that I think I can talk for a bit about everything else. Also Battlefield 3.

The conference opened with Mass Effect 3, and I have to say what they showed looked exponentially more action-y than the last 2. I mean that from a design perspective–the Mass Effect games are role-playing/shooter hybrids, but the segment that Casey Hudson showed wasn’t even trying to pretend that it might’ve been a role-playing game. I think that it appeared this way due to a segment at the end where Commander Shepard was mounting a gun emplacement on a moving platform being chased by and shooting at a walking Reaper. These sorts of on-rails set-piece sequences typically exist so that the designers can more effectively present players with what they want players to see, typically in the form of lots of stuff blowing up nice. This mentality, however, runs counter to a lot of what role-playing games exist to achieve (e.g. allowing players to pursue the goals that they want). Of course, the latter design mentality has never been a part of the way Mass Effect operates on the whole, but the whole demo seemed like it didn’t effectively capture why I should be excited about this game, except for the giant reaper which was really cool to see. For me, that game will hinge on the story and the character interactions therein, which is obviously impossible to show a this sort of industry event. They did promise that this game will finally see the ramifications of all of Shepard’s decisions come to fruition, so that’s exciting.

Next up was Need for Speed: The Run. It is being built on Frostbite 2, a factoid that I didn’t know. The game will leverage and expand upon the functionality that AutoLog allowed for in the recent Hot Pursuit, integrating it directly into the story. This game seems weird. They were mostly focusing on story stuff, which is absolutely ridiculous by the looks of it (for instance, police officers were flying over the player’s avatar in helicopters at one point raining gunfire down on him). I think how successful it is will hinge on how ironic it is willing to be. There will be scripted on-foot sequences which seem to be comprised entirely of Quick Time Event-powered parkour (though there may be some variety that simply wasn’t shown). The driving bits looked physically similar to the previous NFS title, though it wasn’t made entirely clear how players are going to progress through the story. They did mention that players were on a cross-country race from California to New York, though the reasons and progression details were not mentioned. Ultimately, it looks kind of silly.

Dr. Greg Zeschuck made a pretty pleasant speech about how immense Star Wars: The Old Republic will be. I kind of wish I was interested in this game, but I’m not really. They showed another trailer that was basically an amalgamation of all other trailers for that game with dueling voice overs (the Republic and the Sith both talking about how they’re going to win the war). As a general rule, MMOs do not show well at trade events, because it is impossible to get a complete feel for the game and its world in such a little span of time. The trailer was pretty though

A Sims Facebook game (The Sims Social) is in development. They only showed a trailer, but that made it seem like a shared virtual environment sort of akin to PlayStation Home. No real information about how it will all work was provided. Hopefully it will do better than the ill-fated Sims Online.

Kingdoms of Amalur: Reckoning continues to look cool. If that game can be Oblivion with a more fluid combat system (as the trailers seem to promise) I will be very very happy.

Insomniac also showed a reveal trailer for their new game, which is titled Overstrike. It looks to be a squad-based action game with some fairly insane weapons and tools, kind of in the vain of Ratchet and Clank. The trailer exuded a fair amount of personality and the art was exaggerated, but not overly so. As a general rule I trust Insomniac with giving me a good time, so this one shows promise. Too bad we couldn’t see any gameplay yet.

The conference finished with Battlefield 3. Visually, that game is stunning. The Frostbite 2 engine has some crazy new animation smoothing and rendering tech in it that make some of the most unimaginably realistic environments and characters I’ve yet seen. I’m typically not a huge proponent of realistic graphics, but when they are this flawless it’s hard not to be amazed. DICE showed some clips of multiplayer games, but not enough to really allow me to get a handle on what the game’s like. It looked like Battlefield multiplayer, but gorgeous. They are employing a new social connectivity feature called BattleLog (presumably derived from its cousin AutoLog) that will provide advanced social tools and stat tracking free of charge. They made a point of emphasizing this I suppose as a jab at Activision and their Call of Duty Elite program. The level they demoed was fairly vacant. The player was a tank gunner, though it was a while before anything actually started happening. The vehicular combat seems like it feels right with all the graphical tricks you’d expect. However, I was uncertain as to the player’s role in the level. I was not sure if they were only shooting or driving as well. At one point, the player dropped an air strike on an enemy base and again I couldn’t tell if they were prompted to do this (e.g. it was something that was hardwired into the mission) or decided to of their own volition. In any case, the weird feel of this level didn’t do anything to hurt my excitement for the game.

Final thoughts: Confused. A lot of the games they showed did not seem to demo great, or they picked weird parts to show off. In addition, some of the choices they’ve made with (for instance) Mass Effect and Need for Speed seem strange. I think that Overstrike seems like potentially the most intriguing game showed at this conference, but I can’t say for certain since there was no actual gameplay. But whatever, Battlefield 3.

In a move that surprises absolutely no one, Activision Blizzard has taken the lid off of a new subscription-based business model for Call of Duty games going forward. The program is being referred to as “Call of Duty: Elite,” and is set to include additional content not available to non-Elite players, as well as other features like enhanced stat tracking. It is logical that a very business-minded company such as Activision-Blizzard would try to make one of their most profitable franchises more profitable, and it may make sense for players because presumably the incremental enhancements and map-packs will be provided to subscribers.

Regardless, it still leaves a bit of a bad taste in my mouth. It sounds like the amount of content provided may not justify the price. Again, I come from a PC background, and we tend to get a good amount of additional content for free (the likes of which console players are used to paying for). However, Call of Duty players really love Call of Duty. So we’ll just have to wait and see if it turns out to be successful or not. Like MMOs, however, I doubt that the market will be able to support many more games with models like this one, especially due to the oversaturation of First Person Shooters in this console generation.

Read an article about the program at the Wall Street Journal.

Make no mistake. Brink is not an excellent game (though it has become a bit of a guilty pleasure of mine over the past few weeks or however long I’ve been trying to write this). Those reading who indeed read other game sites have inevitably seen a plethora of disdain thrown its way, but as I stated in my last article in this series, I’m not here to review the game. I merely want to talk about it. And this game in particular made me think of something worth talking about. Multiplayer. Its place in games. How it can potentially move beyond where it is now and in what ways Brink hints at that prospect (while simultaneously falling on its face in other regards). What Brink attempts has been referred to by the vomit-inducing moniker “crossplayer.” That is, the seamless blending of singleplayer and multiplayer in one experience. Only one game and its sequel (Left 4 Dead and L4D2) have ever achieved this with any degree of success in my mind, though many in recent years have tried. Before we start talking about the game at hand, however, let’s start by breaking down the respective functions of singleplayer and multiplayer in games. A touch academic, I realize, but there are some important points that I want to throw out there before getting into the kernel of this article.

Before I go any further, I should openly state that I don’t really have any preference for game or game type as long as it’s well designed and has something to say. That said, I think that multiplayer games have one very big advantage over the way that current-generation single player games are designed, which I’ll explain in a bit. Though, as we know they serve different purposes and often cater to different audiences.

The modern single player game has a few distinct purposes. First, they are generally designed to convey a narrative. This is one of the aspects of the single player game that is most fundamental but also perhaps most difficult to effectively achieve. I don’t want to dwell on this too much (I’d like to devote an entire one of these articles to game storytelling regardless) but seriously, how many game stories do you think are either inherently good or told well? I can probably count one one hand the number of truly meaningful game stories I’ve played through. It is a difficult feat for a number of reasons, but I think chief among them is the misappropriation of games’ strengths as a storytelling medium. However, aside from the story I think people come to many single player games because they are sort of like excitement engines. Many games (even nonlinear ones) are designed in such a way that players are practically accosted with cool stuff to see and occasionally participate in. Like think of God of War for a second: pressing the square button to eviscerate a minotaur doesn’t actually add anything to the gameplay, but it is really cool to experience regardless. I’ve noticed that this is the most apparent in games that have the express purpose of telling a solid story. Only rarely do you see a game with really interesting mechanics wrapped in a really interesting and well conveyed story (e.g. Portal, Amnesia, etc.). Part of this I think is derived from how we process experiences but as I already suggested, that is a discussion for another time.

Multiplayer games have to be designed in a very different way as they serve alternative functions. This is where my argument might get a little weird, so bear with me. On the surface, multiplayer games exist to provide players with the challenge of facing down human opponents as well as elongating a given player’s stay with the game, which is an ingenious move on the developer’s part if it’s designed and integrated well, as they don’t want people to tire of their game too quickly. However, there is something else to them that I want to discuss that does not get brought up with multiplayer too much: Player agency. For those of you who do not know, agency refers to an individual’s ability to feel as if they are in control their own life, or at least the controllable aspects of it. When I mention player agency in games, I am talking about a player’s ability to feel as if they are making meaningful choices. And this goes beyond deciding to choose the “evil” option in an RPG conversation tree. In recent years, there has been a big development initiative to make games with multiple paths through them and/or multiple ways to play. That’s great, but it’s not quite the same as true agency (which might in fact be impossible), because the choices you make (and, more importantly, their resolutions) therein essentially exist even before you put the disc into your machine. Games like Mass Effect 2 and Heavy Rain employ some very clever techniques to secret the seams between branching paths, but you as a player still know that they and all the potential other ways the game can play out are still there hiding in the game code. Multiplayer games have traditionally not hinged on story as their singleplayer brethren have, so the focus of design has been squarely on play–perhaps the only design element that is unique to games. Historically, that is what a game is: An exercise in play either with or against a group of others constrained to a particular rule structure. And therefore, multiplayer developers are basically giving players a ruleset and tools with which to act inside of rather than a path (or multiple paths) to walk along. This renders player choices made as meaningful to the players since their outcomes have not yet been determined. I’ll give you an example from Brink. I was playing and saw a teammate get gunned down by enemies. I ran out from cover and into the line of fire in order to revive him, dying in the process. Now, we know this action was not meaningful to any of the characters in the game world and the world didn’t change because of it. However, to the players involved, it might have been at least somewhat impactful. I remember mumbling “You better not die now,” even though I knew he couldn’t hear me. This can also be observed in just how furious people get over multiplayer games, but we can have that talk at a later date as well.

So, to the question at hand. What does Brink do to try to bring together these two seemingly antithetical styles of game design–narrative-focused singleplayer and fast-paced competitive multiplayer? The short answer: Not enough. But here’s the long answer. Brink is a game that seems to have way too much content in some parts than in others, making it awkwardly uneven. It is easy enough to write the game off as a boring Team Fortress 2 knockoff, but I think that’s partially missing the point. In spite of what the rest of the internet says, I found the part where you actually shoot guys in the face to be pretty enjoyable. However, the way Brink is assembled makes it problematic. The story progression is in a completely separate sphere than the shooting part, and few things in game design bug me more than not using gameplay to tell a story or vice versa. It would be extremely possible to not even know or understand anything about the story (except for the fact that the guys you’re playing as live in a pretty messed up place) while playing this game, and as a result, the game relinquishes about half of what it had originally set out to do. The story is conveyed through a little dialogue voice over followed by a cutscene at the very beginning of the mission. This mode of storytelling works (if only slightly) in some circumstances when a story does not pretend like it matters, but this one tries to act important. One way that the developers try to give the story a sense of weight is by injecting the players’ custom models into these cutscenes when appropriate. As such, you may see yourself or your human teammates chatting it up about their mission as opposed to the nameless generic stock models. This could be an effective way of letting the players participate in the story, but its where that sort of player-narrative connection ends. The rest of the narrative seems hastily told and only exists as exposition for whatever mission it prefaces, as opposed to being threaded throughout the rest of the game. By doing this, the game actually lessens the amount of agency each player may feel, because in spite of how well a person performs in game, none of it really seems to matter. It’s easy to see that story tries to carry weight–characters question the motives of their mission, are cognizant that their actions may ultimately do more harm than good, and everything has an air of moral grayness–but all this is relayed to players in such a little amount of time that it comes off as forced and unnecessary.

This leads me to the point that the game itself does not actually support much of the story. Ideally a game set in a dystopian future with two warring factions (neither of which is really in the right) would try to explore some of the complex decisions either side would have to make in order to further their goals but simultaneously retain some semblance of humanity. As mentioned, the narrative elements hint at this but never really flesh it out in a compelling way. The game however completely washes over it. Many of the objectives are fundamentally the same from mission to mission, albeit dressed up differently. Depending on the role your chosen faction takes in the given scenario (i.e. attacking or defending) you will in most circumstances be given something to either attack or defend. It is usually an object, such as a utility robot, but sometimes its a teammate (e.g. you need one of your team’s operatives to hack a console and the rest of the team has to defend him). I didn’t get much sense of why any of this was important while playing, it just boiled down to something that I had to do in order to win. Worse yet, this type of attack/defend dynamic along with the game’s level design sets up some nasty (maybe intentional) choke points that just bottleneck the entire flow of the match into what feels like a glorified game of tower defense. The game’s focus on teamwork should not be overlooked, however. Brink is quite good at pointing everyone in the right direction, and giving players rewards for helping others rather than helping themselves. For example, as a medic I get an experience bonus for healing a teammate but none for self-healing. From a radial menu, players choose what objectives they want to participate in, immediately bringing up a waypoint marker on the HUD, which helps centralize the action and gives players more control over how they want to go about helping their team. Even with these modifications to the formula, the game ultimately feels like just another multiplayer shooter. The type of agency that I mentioned before is certainly provided–especially in how objectives are delegated–but it still doesn’t ascend to anything beyond being a pretty okay FPS. The shooting and running around bits are fun enough and it has a wealth of character customization options, but still it fails at bringing any kind of impelling force to the game beyond the desire to continue fragging people and leveling up your character. I suppose true crossplayer is still a ways off.

It felt a bit like election night as fans watched for updates on the Playstation Blog, eager to see their states get filled in on the map. Next came the southeastern U.S. and California, followed by the rest of the east coast, and beyond. Like a child on Christmas Day, I sat cross-legged in front of the television, trying to login as I waited for the network to reach Philadelphia. Finally, around 1:30AM my Playstation 3 prompted me to change my password. PSN, it’s good to have you back.

Twenty-four days since its network was hacked and subsequently taken down, Sony restored partial online functionality to its online infrastructure. The key features are there such as online gameplay, voice chat, friends lists, Trophy syncing, as well as Home & Qriosity services. Missing most notably from PSN is the Playstation Store which is still down. No word yet on when the digital storefront will return but Sony fans eager to get back online will no doubt welcome this development. It’s been a wild three weeks. Who’s up for some Portal 2 co-op?

Read their whole new post here.

In an interesting, albeit spoiler-ridden interview with key members of Portal 2′s design team at Fast Company, Valve’s VP of marketing Doug Lombardi announces the future announcement of DLC for the game. At the moment, hard details are scarce though as many of you probably know, there is plenty of backstory that was divulged in the Portal “Lab Rat” comic as well as the strange ARG leading up to the game’s release that wasn’t actually touched on in the game. In addition, there’s the tangential connection to the Half-Life 2 universe that has never been fully explored in the Portal games. Suffice to say there is much more to the universe that they can build gameplay around, up to and including adding more challenge rooms with a de-emphasis on story or additional co-op courses. At any rate, I can totally go for more Portal. Expect the DLC to launch this Summer.

UPDATE: According to Patrick Klepek over at GiantBomb, the aforementioned DLC will A) predominantly consist of new test chambers and challenge rooms, seemingly akin to those post-completion challenges found in the first game and B) will be free of charge. Good news abounds.

Resident Evil: Operation Raccoon City is a team based third person shooter set in Raccoon City back when Leon and company were still around. Only this time you get to play as Umbrella Secret Service and go around changing history by doing such things as eliminating Leon before he gets all badass a few years down the road. Whether or not all of these events will turn out to be canon is unlikely, but re-imagining how things were done is always great to see once a franchise gets as old as Resident Evil. Slant Six Games is handling the development (who are infamously known to the SOCOM community for their handling of Confrontation).

Resident Evil: Operation Raccoon City is slated for release for PlayStation 3, Xbox 360 and PC.

Source: 1, 2

Hooray for trans-media. The marketing team over at Zenimax Bethesda seems to be trying to hit all bases with RAGE–a comic book series via Dark Horse and now a newly announced novelization through Del Rey. It’s only a matter of time before the RAGE serialized television show comes about, followed by a movie and a game based on the movie. The author of this book, Matt Costello, seems to have written for plenty of visual media including television shows and games which could be a step in the right direction as far as game books are concerned.  Or it could end up completely frenetic and unreadable. But who am I to judge something that I have not and probably will never lay hands on. Read the official article and decide for yourself when it hits on April 30th.

SURPRISE! Yes, today Gearbox Software announced that the much maligned Duke Nukem: Forever is going to be delayed yet again.  As if we didn’t see that coming.  I am still morbidly curious to see what this game actually looks like when I have it in my hands, because at this point it only exists as an artifact of game design that doesn’t really exist anymore.  Well, I guess we’ll see for real when the game (maybe) ships in June.
Watch the “official” announcement below (marginally NSFW)
An important message about Duke Nukem Forever