EXP Podcast #625: Directors Cuts and Summer Scoops

The living embodiment of the director's cut.

Ghost of Tsushima, Sony goes on a buying spree, Magic loses its...magic?  The long, protracted summer of game announcements continues!  Who would have guessed that a severely altered and smaller E3 would actually succeed in scattering a bunch of game news spores across the entire month of June?  Far be it from us to look a gift horse in the mouth.  This week, we talk about everything from director's cuts to Internet conspiracy theories as we continue wade through the flood of announcements and rumors. 

- Here's the show's stand-alone feed
- Listen to the podcast in your browser by clicking here, right-click and select "save as link" to download the show in MP3 format, or click play below.


 

Show Notes:

- Run time: 37 min 29 sec

- Music by Brad Sucks

EXP Podcast #621: SteamPal, Fantasy Souls, and E3 Identity Crisis

Chocobo, pictured here in Dark Souls attire

This week we take a breath between Returnal runs and before what is most definitely going to be a very weird E3 to talk about some news stories.  Lots of loose talk swirling around about everything from new Final Fantasy games to new Valve hardware, so join us in the rumor mill.  Just know that if anyone releases a semi-portable console with the form factor of a standard computer keyboard, they stole the idea from us.

- Here's the show's stand-alone feed
- Listen to the podcast in your browser by clicking here, right-click and select "save as link" to download the show in MP3 format, or click play below.


 

Show Notes:

- Run time: 35 min 33 sec

- Music by Brad Sucks

EXP Podcast #559: Webs and Reworks

"Next stop Tokyo!"

This week on the EXP Podcast we cover some recent news! Spider-Man swings into Sony's corporate office (and swings out to with a boatload of cash), Bioware is rebuilding the very core of Anthem, and we say goodbye to our old frenemy Flash (gone, but not forgotten or every really uninstalled).

- Here's the show's stand-alone feed
- Listen to the podcast in your browser by clicking here, right-click and select "save as link" to download the show in MP3 format, or click play below.



 - Runtime: 36 min 14 sec

- Music by Brad Sucks

EXP Podcast #551: State of Play 2019

Birdney Mullen

Small birds, big geese, boyfriends swords, and more this week as we discuss some end-of-the-year news out of Sony's State of Play 2019 and Nintendo's recent indie games showcase. While some of these games are exciting, 2020 remains a big question mark. What does the future hold!?

Well, for one, it holds the annual Gamey Awards! Join us next week when we discuss the gameyist games. If you have a game nominee, send us an email and let us know!

- Here's the show's stand-alone feed
- Listen to the podcast in your browser by clicking here, right-click and select "save as link" to download the show in MP3 format, or click play below.



 - Runtime: 38 min 18 sec
 - Music by Brad Sucks

EXP Podcast #495: Peachette Direct

Who are you really!?

Shocking revelations from Nintendo this past week with the news that Princess Peach is, in fact, a mushroom-person who is merely granted a human form using the powers of her royal crown. This week on the podcast, we discuss the latest news from Nintendo.

- Here's the show's stand-alone feed
- Listen to the podcast in your browser by clicking here, right-click and select "save as link" to download the show in MP3 format, or click play below.

Show Notes:

- Runtime: 36m 37s
- Music by Brad Sucks

EXP Podcast #429: Digital Disappearances in the News

You can take my licensed music from my cold dead hands!

This week we take a break to read the video game news and learn of many mysterious disappearances.  Alan Wake has vanished, Red Dead Redemption 2 is no where to be found, and Destiny 2 is no where to be found on Steam, and Peter Parker is apparently hiding under the pseudonym "Nathan Drake."  Time to get to the bottom of all this.

- Here's the show's stand-alone feed
- Listen to the podcast in your browser by clicking here, right-click and select "save as link" to download the show in MP3 format, or click play below.

Show Notes:

- Music by Brad Sucks
- Runtime: 34 mins 36 sec

EXP Podcast #394: PAX, Poochy, and Picross News

Calling it right now: GoTY

Before we head into the busy fall season, we're wrapping up summer with a relaxing news update.  Well, it was relaxing until we stumbled upon Miyamoto-san's secret time travel abilities.  How else can you explain Nintendo's plans to put out a Mario Maker game that doesn't allow you to upload courses to the Internet?  Clearly 1987 Miyamoto-san has usurped his modern self and taken over Nintendo.  Also: Picross 3D is back, baby!

- Here's the show's stand-alone feed
- Listen to the podcast in your browser by left-clicking here, right-click and select "save as link" to download the show in MP3 format, or click play below.

Show Notes:

- Runtime: 34 mins 33 sec
- Music by Brad Sucks

EXP Podcast #26: Spring Cleaning!

Every week, we add to a massive list of notable news, analysis, and opinion pieces related to video games, knowing full well that most of them will never make the show. We figured it was time to sort through some of the backlog for any gems that may have been passed over and fashion them into an auditory smorgasbord.

The topics vary widely, and range from art design, memory and history, dating, and even death. Be sure to check out the show notes for links to the articles. As always, feel free to weigh in on the discussion in the comments with your thoughts on the stories, or with links to some of the stories you've enjoyed over the past months.

Some discussion starters:

-How do you keep track of your past gaming experiences?
-Have you ever learned about history through gaming?
-What is the perfect "date game?" Does such a thing exist?
-Which games do you admire for their artistry?
-Do you have any life/death stories that took place in an on-line space?
-Which recent gaming articles have you enjoyed recently?

To listen to the podcast:
- Subscribe to the EXP Podcast via iTunes here. Additionally, here is the stand-alone feed.
- Listen to the podcast in your browser by left-clicking the title. Or, right-click and select "save as link" to download the show in MP3 format.
- Subscribe to this podcast and EXP's written content with the RSS link on the right.

Show notes:

-Run time: 31 min and 53 sec
-"Altars," by Lara "KaterinLHC" Crigger, via Gamers With Jobs
-"Can Games Handle History," by Luke Plunkett, via Kotaku
-"The Dating Game," by Wendy Despain, via The Escapist
-"Artist Wants More Diverse Game Graphics, Says Developers Should 'Believe More in Games,'" by Steven Totilo, via MTV Multiplayer
-"Death Leaves Online Lives in Limbo," by Peter Svensson, via The Associated Press, posted on SFGate.com
-Music by Brad Sucks

Experience Points Podcast #2 - Aspirational and Inspirational Gaming

It's the second episode of the Experience Points Podcast! Thanks to everyone that sent in their comments and suggestions on last week's show. We love hearing all your thoughts and feedback, and are continually looking to improve our work.

This week, we talk about a survey conducted by Guitar Center saying that a huge number of people that buy Guitar Hero are subsequently inspired to learn how to play a real guitar. We discuss the effect games have on our personal interests and explore games' abilities to inspire non-gaming action.

As far as listening to the podcast goes, here are your current options:

-For those of you who like to use iTunes to organize your podcasts, you can now find us listed in the iTunes music store! Search for "experience points" or just click here.

-For those of you who like to rage against the machine and use an iTunes alternative, here is the feed.

-You can listen to the show in your browser by left-clicking the post title or you can download the show in mp3 format by right clicking on the title and selecting "Save Link As"

-The podcast will also show up in our site feed, so you can use your RSS reader to listen in.

As always, we look forward to hearing your thoughts on the subject, so feel free to leave a comment or send us an email!

Show notes:

- Run time: 24m 12s

- The Gamasutra article

- Music provided by Brad Sucks

Experience Points Podcast #1: Finishing Games

Here it is, at long last, the first Experience Points Podcast. We have done away with the script style news posts and are embracing the future of recorded voice! Each Wednesday we'll be posting what we think is a podcast of reasonable length, usually a half hour or less. Since this is a new endeavor, if you have any thoughts or suggestions, please let us know either by commenting or emailing ExperiencePoints[at]gmail[dot]com.

The podcast will be in our normal feed which you can subscribe to on the right. An iTunes subscription option will be available shortly. You can also download the MP3 file by right clicking the title and selecting "save link as." Listen to the podcast by left clicking the title.

This week we discuss Tom Endo's article "To Do: Finish Any Game" published in the Escapist. Endo writes about the phenomenon of unfinished games and speculates on some reasons why players put down their controls. We join in on the conversation with our own thoughts and potential solutions. Thanks for listening and Happy Thanksgiving!

Show Notes:

- Run time: 31m 44s
- Tom Endo's Original Article
- Music provided by Brad Sucks

News for 11/19/08: The End of an Error

This week in news we discuss the end of the Championship Gaming Series, a concoction brewed for television that smells like ESPN and bad high school memories. Seriously, if you have never seen any CGS event, check out these youtube videos before reading. They will give you a pretty good impression of what the gaming world will lose. If you feel heated about the Series, or if you are a pro-gamer with important insight, please leave your comments below.



Jorge: Let us pause to mourn the death of the Championship Gaming Series. It lived a bright but all to short life... like a candle in the wind Scott... a candle in the wind...

Scott: Hold on, let me put away the world's smallest violin I was playing in tribute. Here's the greatest thing: the title of their farewell notice was "An Idea Whose Time Came too Early."

Jorge: I like how presumptuous they are: They could make more money in the future, but now is just not the right time.

Scott: Such visionaries.

Scott: You've actually seen competitive gaming in person, right?

Jorge: Yea, at Blizzcon they had Starcraft and World of Warcraft tournaments going on. They had flashy slanted televisions, green backdrops, and a couple of attractive announcers yelling into mics about how exciting and mind blowing it all was. It was all very weird and uncomfortable.

Scott: Which makes their failure as a company understandable.

Jorge: Have you ever participated in competitive gaming Scott? Are you that l33t?

Scott: Not even close.

Jorge: Isn't this something popularly abroad? I recall seeing a stadium full of people watching a Starcraft tournament somewhere on the Internet. If it works overseas, how come it doesn't work here?

Scott: It seems like if this was going to happen in the U.S. it would have happened already.

Jorge: Yea, but I wonder why. I think I actually would watch a Smash Bros. tournament. That could be rad.

Scott: It seems like everything that these CGS folks were doing, except for the massive prize money, could be done by normal gamers with their own equipment and youtube.

Jorge: I think one of the fatal characteristics is the forced, top-down approach where these figureheads are trying to shove "e-sports" down our throats. It's so canned. Maybe gaming is not exciting enough for this treatment. Just give up.

Scott: There are plenty of people who will watch the Superbowl of Football, even though they don't play football. I don't think there are many people who would watch the Superbowl of Counter Strike if they didn't already play CS.

Jorge: But I think I would be interested in watching people play videogames I don't have. If I am at work and can't play games, I might actually enjoy watching others play, even just to hear their strategizing.

Scott: It can be fun watching people compete at the highest level, to excel at something, but it seems like it would only appeal to folks that are already into games.

Jorge: So if this could be marketed well, do you think championship gaming would be a good thing? Are we missing the "competitive edge"?

Scott: I could see myself getting into it recreationally: using it as background noise while I'm surfing the web or brainstorming post ideas.

Jorge: Right, it would be a good substitute for actual gaming. But why then have the competitive aspect when I can just watch an average team play TF2?

Scott: But how about the celebrity issue: what if there become superstar players? Like how Bret Favre has a following regardless what team he's on, would some players become entities larger than the teams?

Jorge: Maybe, but I don't think it could happen. I know I will never become a football player. I will never be an eight foot tall behemoth with a good throwing arm. However, I think most gamers believe they could be professional gamers if they had enough time to invest. Also, no matter how exciting a 64 person match of Resistance 2 to can be, it will never lend itself well to broadcasting. That is just a limitation of filming such an event, so I doubt there could be a Favre of gaming.

Scott: Did you ever have that phase growing up when you thought you could hack it as a pro-gamer?

Jorge: No, never. I watched The Wizard and thought "Wow. That kid is way better at videogames than me."

Scott: I think there's a major philosophical and artistic aspect to this conversation, since we look at games as art, rather than sport. How could you have a competition based on creativity or vision?

Jorge: I would really like to see Iron Chef for game developers! Jonathan Blow versus Shigeru Miyamoto. They've got a team of ten coders, and one month to make the coolest side-scrolling platformer imaginable!

Scott: I think the ethos of competitive gaming subverts most of the analysis we do on our site.

Scott: I'm afraid that if competitive gaming took off, it would push the market towards something like Counter Strike and away from something like World of Goo.

Jorge: And those outside the gaming world may perceive videogames as that type of non-serious purely competitive experience.

Scott: I think the real solution is to go away from "competitive gaming" as a blanket category and instead just focus on competitions in certain games.

Scott: Instead of "competitive gaming," just "competitive StarCraft" or "competitive TF2."

Jorge: I agree, and this is something that has to come from the gamers and publishers. In which case CGS is right about future profitability. CGS may rise again... *shudder*

Scott: It can "rise again?" Like the South?

Jorge: Or zombies... or confederate zombies.

Scott: The very worst kind.

News for 11/12/08: Activision Blizzard Plays the Sequel Game

This week, we're discussing some recent comments made by Activision Blizzard CEO Robert Kotick. Most interesting to us were his very candid comments about the company's approach to sequels and intellectual property. Take a look at some of the articles discussing the story and then feel free to weigh in via the comments, email, Twitter, smoke signals, etc. How do you feel about the current video game industry's business model and its treatment of sequels versus new franchises?

Scott: From the Gamasutra article: "With respect to the franchises that don’t have the potential to be exploited every year across every platform, with clear sequel potential that can meet our objectives of, over time, becoming $100 million-plus franchises, that’s a strategy that has worked very well for us," Kotick said in the Gamasutra-attended call later transcribed by Seeking Alpha.

Jorge: That strategy has worked very well for them indeed.

Scott: This resulted in them dropping Ghostbusters! Good thing Atari picked it up. Even if the game doesn't end up being all that great, I love Ghostbusters. Chronicles of Riddick, not so much. I think the crazy thing here is how brazen they are about their financial strategy:
He literally used the word "exploit!"

Jorge: He knows exactly what he is doing, though maybe not what he is saying. "Exploit" has some pretty negative connotations. He could be dropping some really cool IPs too, 50 Cent notwithstanding. It makes me uncomfortable as a gamer knowing they are willing to drop innovative titles because of a market strategy.

Scott: Let's remember that Activision Blizzard has arguably the hottest IPs out there: WoW, Guitar Hero, Call of Duty. Exploiting these franchises is their meal ticket.

Jorge: They are also working on Starcraft II, which they are planning to break up into three games for each class. These are some great titles, but this is a bit weird. It feels like they are artificially elongating Starcraft, and these franchises in general, so they can milk it as much as possible. I wonder what the development process look like for these games on a ten year goal.

Scott: It looks like WoW or Guitar Hero: churning out games so people never are without the thing they like, regardless of innovation.
Of course, GH came out in 2005, and it already seems like it's been 10 years.

Jorge: In that sense they are pretty presumptuous that they can keep these titles going.
I imagine that if Activision Blizzard is keeping the same development teams on the project, the product will become stale. Surely this must stifle the creativity of the development crew if they are churning endless iterations. The result will be painfully repetitive sequels.

Scott: They'll have to do what the CoD franchise does: cycle development teams on and off the same franchise.

Jorge: But how are they going to keep people interested in this in ten years!? That is a ridiculously long time. Are you really going to want to play CoD 15? It's not going to happen unless Activision Blizzard personally funds a Third World War.

Scott: Which they could, based on their current profits.

Jorge: Also, if the industry is too focused on sequels, my fear is independent developers and new IPs will be hard to publish because developers consider them too "risky".

Scott: I think that has already happened to a large extent and that he's just articulating the current situation. We don't like hearing it, but it's basically true.
In a way though, Nintendo has been employing this technique since the company's inception: Look at all the Mario games.

Jorge: Yes, but some of those are pretty big leaps from the original franchise. Mario Kart has very little to do with Mario Sunshine. They are the same franchise, but Nintendo was willing to take dangerous creative leaps.

Scott: True, Nintendo has a track record of innovation.

Jorge: I think Activision Blizzard is too optimistic about this. I think people are going to be sick of these titles long before the ten year mark.

Scott: But either by luck or by skill, they seem to be in a unique situation to do try this business model. People love these games and they don't seem to be slowing.

Jorge: If they come out with these so often, a guitar hero title every year with another CoD in development before the first one of the year even drops

Scott: But there must be people out there who will just by the game based on the title, almost out of habit. This is what Kotick is cashing in on: people who like the games enough to buy them, even if they won't play them that much, rather than targeting a smaller number of people who will buy them, love them, and play the hell out of them.

Jorge: Of course, from a business aspect it makes a lot of sense. Shareholders must be loving this. But from a gamer perspective, I am worried about the repercussions of this business model.

Scott: I have been thinking a lot about World of Goo and its place in this business model.
Maybe if companies are focusing on one franchise, it allows games like this to exist? Or perhaps WoW is secretly funding some black-ops Activision Blizzard new IP project that we don't know about?

Jorge: God I hope so.

Scott: Maybe if the big companies were using a shotgun style scattering of new IPs, it would dilute the impact of unique games like World of Goo.

Jorge: That could be how the process works. It's a circle of life and death. A small developer works on a new IP, the good ones float to the top to be milked to death.
We'll have to see in ten years whether Bobby Kotick is fired or if we're just loving Cello Hero: Symphony Edition!

Scott: Either way, I'm sure he's a rich, rich man. Little Bobby Jr. is flying to college on the wings of Guitar Hero.

Jorge: I hope Blizzard is using some of their money on genetic engineering. That way he could fly on a real mountable griffin.

News Addendum for 11/5/08: Pressing the "Reset" Button With Obama

Although we do not want to turn Experience Points into a political soapbox, not commenting on the election would be even more off-putting than saying a few words. So here it goes:

The word "change" has been thrown around countless times this election cycle, and it is difficult to predict what changes President Obama will enact. Change often comes incrementally, and we should not mistake Obama as the messiah, or even the anti-politician. There are many points on which we differ with Obama, but even so, the simple act of electing him represents a pivotal change of both historical and contemporary scope.

What we do know is this: it is odd writing the words "President Obama," because it makes us proud to do so. Until today, invoking the name of the President of the United States conjured up feelings of outrage and shame. As far as the United States' national identity is concerned, electing Obama is the equivalent of hitting the reset button.

With Obama, our country gets to start over and repair its tarnished national image. No longer do we have a leader who rules by surrounding himself with sycophants and corrupt oligarchs. No longer do we have a leader who denounces science and rationality in favor of blind faith. No longer do we have a leader who sees a monochromatic world of "good and evil" in which he is God's holy warrior.

It appears that we now have a leader who possesses both an understanding of the world's complexity and empathizes with its inhabitants. Electing Obama allows the United States to atone for some of its mistakes. We feel as though we are finally joining the twenty-first century, and we ask the world to be patient as we make up for lost time. As trite as it sounds, for the first time in years, we are hopeful.

It is a wonderful feeling.

News 11/5/08: The Life and Death of Arcades

It is the news time of the week again. We put our hands into the "week-old Halloween candy bucket" of news and pulled out an interesting article discussing the lack of arcades in the world but their apparent prominence in Japan. Do you have any fond arcade moments? Do you miss the arcade? Your comments are highly encouraged.

Scott: This week, let's talk about the state of arcades.

Scott: So they say that because arcades are in more public areas, people play them more.

Jorge: I could see that, but would putting an arcade next to the BART (Subway) station bring in that many more people?

Scott: Would you play on your way to work? I notice that I usually can't resist a game or two of Ms. Pacman when I'm at the laundromat.

Jorge: I have my DS. So even if there was one next to BART, I'd just sit there and play that. I think it has something to do with money. Arcades are kind of expensive.

Scott: Good point. The money-making aspect of video games is at its most blatant at the arcades.

Scott: But maybe it's more about getting an experience you can't get outside of an arcade cabinet, like Time Crisis?

Jorge: That's true, and Time Crisis is a great game, but it's still too expensive. They charge a dollar for a game like Time Crisis now, and they ratcheted up the difficulty intentionally. They don't want you to play for a very long time on fifty cents, so why even bother?

Jorge: Whenever I played arcade systems I never got past the first or second level because I would run out of me. I had to go the movie theater with the intent to blow thirty dollars on Jurassic Park arcade cabinet.

Scott: Yeah, you might as well just buy a game at that point.It just seems like the social aspect of arcades is being co-opted by the Internet.

Jorge: I don't think online gaming has replaced the social aspects of arcades completely. I admit, I probably romanticize arcades. I imagine them to be nerd havens where you can chat it up with other gamers and find people with a similar interest, or maybe bump into a friend and go grab a sandwich before some Guilty Gear.

Scott: But unfortunately, I don't think that has been either of our experiences.

Jorge: That never really happened to me. The only time I interacted with someone was on a competitive level. Someone would come own me at Tekken and essentially take my fifty cents.

Scott: Which was always the problem: there was no way of stratifying skill levels. I always felt inadequate in comparison to those that just lived in the arcade.

Jorge: In that case, internet gaming in the home has arcades beat. You can just boot people who are too good or, as many games do, filter games so you play with people at a comparable skill level.

Scott: It also seems like the kinds of games we like playing now don't translate well to the arcade format.

Scott: The kinds of games I'm playing these days (like Okami or LittleBigPlanet) just don't work in an arcade setting. They are largely solitary and they are time intensive games.

Jorge: But there are the games that do work, hence Xbox Live ARCADE. You could easily put World of Goo in a cabinet and have it fit right in with other arcade titles. Plus, it's not like Japan doesn't have online gaming. I think the reason it is still popular there has more to do with the niche market that comes out with weird titles strictly for the arcade.

Jorge: Also, again I'm sure I'm romanticizing arcades, but I think there is something there, some social aspect, that we just don't get from online console play, at least not yet.

Scott: I think there is a good political-science influenced argument there:in order for gamers to grow in their tastes and habits, they should be exposed to games and fellow gamers that they normally wouldn't seek out by their own choosing.

Jorge: I agree, expand your gamer cultural awareness.

Jorge: Interestingly enough, there are still arenas for that in the form of gaming stores with LAN setups. I have an account to one near the university that has a great computer and table-top setup and I've had some good times there with people I would never have met in another environment. It's not an arcade in the classical sense, but it fulfills the same purpose.In all honesty, I don't go there often at all, but it comforts me to know such a place exists. I've got a gaming sanctuary to run to if my power goes out, or if I'm in need of like minded company.

Scott: I think it's telling that we don't really think of these places as arcades though.

Jorge: Less money per hour and a less tacky atmosphere: I don't consider them as arcades either.

Scott: Even though arcades may be past their prime, we still have them to thank for certain innovations. Rhythm games are a great example: without arcades we probably wouldn't have Rock Band, seeing as how it arose in a climate created by games like DDR.

Jorge: Who knows what kooky, perverted games are evolving in packed and sweaty Japanese arcades right now, just waiting for a console market.

Scott: It seems like we want arcades to exist but we don't really want to go to them.

Jorge: It's like retired superheroes: I don't want to forget they exist, because one day we may need them.

News for 10/29/08: Remakes and The Game Library

This week, we eschew the storm of new releases and talk about the recent trend of game re-makes. Now that the industry has been around for a few decades, it seems likely that remakes will become increasingly common. This raises a number of creative and economic issues, so feel free to weigh in with your thoughts the matter, as well as which games you would like to see remade.

Jorge: You do realize we could be playing Fable II and Little Big Planet as we type this.

Scott: Dear readers, you are witnessing true heroism; superhuman dedication.

Scott: Alright. Seems like this week's news is a bit less controversial than last week's.
We'll have to talk about something we read a while ago.

Scott: Let's take a break from all the current games and talk about old ones.
They're remaking Klonoa, for example. I never played it so what are your thoughts?

Jorge: Woohoo!

Scott: Guess that answered that.

Jorge: I seriously love Klonoa. I must have played that game ten times at least.

Scott: So would you buy it again for Wii?

Jorge: Yes, absolutely. Hell, I'll buy it again for PS2 if I ever see a copy.
Before this article came out, I had completely forgotten about Klonoa. It brought back a flood of happy memories. Now that this franchise is enlivened, all I need is another Legacy of Kain.

Scott: I was going to ask why games should be remade, and your statement about Klonoa makes me think nostalgia is a good reason.

Jorge: People usually feel nostalgic for good games anyway. For those who have never played said game, this could be a good opportunity to get it out there.
Chrono Trigger got a re-release on the DS.

Scott: Which is also awesome. Probably my favorite RPG ever.

Scott: How about the dark side of remakes? Are there any drawbacks, or awful examples you can think of?

Jorge: Well for one, it's kind of lazy on their part. There aren't huge overhauls for some of these games, even graphically.
Also, do we really want to focus too much on older titles?

Scott: That's my fear when Squeenix does something like remake all the Final Fantasy games for DS.
I'd rather have new games of that caliber rather than re-live old ones I already played.

Jorge: Regardless of how you feel about Mega Man 9, we don't really need it. There are countless emulators online if you needed to play a game so hard you develop Tourette's.

Scott: But Mega Man 9 isn't a remake: there is brand new content.

Jorge: Right, but the core mechanics and visuals are exactly the same. Don't we want innovation? I'm not against remaking a classic game or making a game in the same style, but there has got to be a limit. I've played so many great games in the past, but I don't want to see a remake of every single one. There are plenty of new stories to be told as well.
Even Klonoa, I would prefer ten-fold to play a completely new Klonoa, not just a polished version of the one I have in a cardboard box back at home.

Scott: That's a good point, but Mega Man 9 is for folks that love the core mechanics of Mega Man and want to apply them in new situations.
That being said, I agree that we don't want to just make old games into cash cows.

Scott: Your point about remakes being valuable for those who missed the original release brings me back to my last post: Doesn't remaking classic games add to gamers' shared cultural experiences?
There are kids playing games today that weren't even born when Chrono Trigger was released.

Jorge: That's true. It's kind of like encouraging kids who are avid readers to pick up Of Mice and Men... or another, better, analogy...

Jorge: Playing through older titles will better arm them when going into current games. How many times have we heard reviewers cite much older releases when discussing the latest JRPG?
That's where literature has an advantage over videogames as a medium. It is so much easier to go back and experience older works.

Scott: Maybe this is an argument for the widespread availability of used games then?

Jorge: Even if I can get my hands on a copy of the original Lunar or some other really old title, I'll still need a functioning console to play it on and a gamer who hasn't grown to comfortable with the flashy visuals of games today.

Scott: So maybe what we're actually talking about is a kind of public domain for video games.
That way, publishers can't continue to milk games and people who can deal with old-school graphics and gameplay have the titles readily available.

Jorge: A virtual library of games to play over the Internet could be great for the industry. If there is a demand for a title reworked on a new engine it can still be done, and the more obscure titles that would never get a re-release, particular foreign games, could be accessible.

Scott: And if people wanted an updated version, a developer could make it and give the people the option of paying for it.

Scott: I think this is the most radical, Utopian, far flung idea we've ever proposed.

Jorge: "And games were played, it was good."

Jorge: If it's not troublesome, I'm fine with all good titles getting a remake. Or at last encouraging backwards compatibility.
But the public library of gaming, I like that better. It has a nice ring to it.

Scott: I like that idea too. If only we had the theoretical time to devote to this theoretical concept.

Jorge: Amen... So you want to go play some Little Big Planet?

Scott: I think you know the answer to that question.

News for 10/22/08: Little Planet, Big Controversy

This week we are discussing the Little Big Planet delay on account of two Qur'An verses appearing in some background music. We won't be linking to the original story as usual since this is all over the games news media already. The fact this incident received so much coverage is indicative of how interesting and controversial religion is these days. We're pretty certain you've all got an opinion on the subject, so feel free to participate in the dialogue by leaving your comments.

Scott: They delayed the reason I bought a PS3, dammit.

Jorge: It was for your own good Scott. Who knows what kind of rage you would go into upon hearing parts of the Qur'An sung while completely immersed in LBP.

Scott: You're right. It's good to have a friend like you, praise Allah. Wait, was that culturally insensitive?

Jorge: I don't know. You're Jewish so I think it evens out... In all seriousness, I kind of feel bad for Sony. After all the media blow-up on the subject, they are receiving more flak than they would have had they left the game alone.

Scott: I think you're right on that one. Do we even know who brought it up, or if anyone even complained? Or is this just a preemptive recall?


Jorge: Their exact statement was "During the review process prior to the release of LittleBigPlanet, it has been brought to our attention that one of the background music tracks licensed from a record label for use in the game contains two expressions that can be found in the Qur'an."

Scott: Kotaku mentions they may have received this written complaint from a "hardcore Arabic gaming forum."

Jorge: Even their complaint implies they would be fine with shipping the game as long as future prints do not contain the lyrics. They were patching it anyway. The only people who could have heard it and been offended were a small portion of Muslims with keen hearing who bought LBP and played without being connected to the Internet. How many is that? Three?

Scott: Yes, it just seems like a huge amount of work to recall disks, print new ones, and then ship them out. And this says nothing about the larger ethical, cultural, or moral dilemmas brought into focus by Sony's actions.

Jorge: I understand that Sony wants to satisfy their fan base, some of which is Muslim. So in that sense, removing it from future printing and sending out the patch makes sense. But the entire reprinting process and delay hurts the rest of their consumers, albeit minutely. I don't think the ends justify the means in this case.

Scott: Agreed. And I realize that the delay is just a week, which isn't a big deal.

Scott: The thing that angers me is their willingness to completely bend to the will of a vocal minority. Why do a small group of people get to change a game simply because they are offended by it? Jack Thompson tried to do that for years and Rock Star never changed GTA's content.

Jorge: And I'm sure there are plenty of Christians within the US that have been offended by aspects of videogames for quite sometime.

Scott: I mean, think of the number of times someone has said "Oh my God," and "Goddammit!" in video games. Any calls to censor that stuff is met with derision.

Scott: Capitulation to Muslim complaints strike me as racist. Bear with me here: I argue that the only reason to relent to this minority is that Sony views them as "dangerous" people capable as extreme acts.

Jorge: I completely agree with you. Sony seems to have bought into this fear of radical Muslims. There will be people within all faiths that don't always agree. No group is homogeneous. I'm sure there are some Muslims who are more offended that Sony took this action at all. To think you can please everyone through rash action is ludicrous. Pleasing all audiences is impossible, though I commend Media Molecule in trying to achieve a universal crowd pleaser.

Scott: I argue that the only reason Sony took the song out was because they buy into the threat of Muslim extremism. And now those Muslims who don't care have to deal with the backlash of non-Muslims who are pissed at Sony.

Jorge: If videogames are to be classified as art then publishers will have to make these sometimes tough decisions because art will almost always offend. It's a risk inherent in the medium.

Scott: True: good art pushes people's comfort zones.

Jorge: Though I know this isn't that big of a deal in the long run (its only two lines of lyric after all) I think this is a nice reminder that the videogame industry is still couched in the larger global context in which we all find ourselves. I'd like to know if publishers are going to consistently fear offending people, because that is not a quality I desire in the industry, even if that means I will be offended now and again. Material created with the intent to agitate tends to sell poorly, but knowing we can push the boundaries of the medium is important.

Scott: The frustrating thing is that there are real battles to fight in terms of prejudice in games. Prejudice in terms of race, sexuality, gender and a whole host of other topics.This flap about two ambiguous lines detracts from what is really offensive in games.

Jorge: All of which can be addressed by either not purchasing the offensive game in question or engaging in a dialogue between gamers, developers, and publishers. No one in the videogame industry wants to make gamers feel unwelcome, that's obvious. There was no maliciousness on Sony's part.

Scott: Exactly, and instead of start a discussion, people called for censorship and censorship was readily granted. This does nothing to advance the medium.

Scott: And I think neither of us want this to turn into an "anti-PC" rant. Cultural sensitivity is a good thing; alarmist reactions are not.

Jorge: And if anything it's counterproductive in allaying the concern of Sony's consumers. I wonder if they now regret this decision.

Scott: Yes, this was a time when calm, rational reflection was needed. This whole situation casts Sony as a reactionary company willing to sacrifice a game's artistic package on whim.

Scott: Well, at least this controversy has given me something to think about while I wait for LBP.

Jorge: By LBP you mean "Little Blasphemy Planet" right?

Scott: You win, sir. You win.

News for 10/15/08: Marching Booth Babes and the Oddities of Conventions

There were quite a few interesting things to see at the recent Tokyo Game Show. Instead of rehash all the announcements, we'd like to point out a little bit of the show's absurdity. To be fair, no game show is without its weirdness, but this video served as a good starting point for a discussion about the culture of trade shows as well as gamer culture in general.

Scott: Here we go. Time for the News: The WTF edition

Scott: I kind of feel like this video is like one of those de-motivational posters: "Sense: This video makes none."

Jorge: I like the cowboy boots. Is that to emphasize the fact Microsoft is a Western franchise? But Japanese women are wearing them. Maybe this is some metaphor for Microsoft's burgeoning role in the Japanese market.

Scott: Or maybe ladies in boots are hawwwwt.

Jorge: Hey, I just came from Blizzcon. Why make them wear boots when you can make them wear skimpy leather clothing and night-elf ears?

Scott: I mean, we talk a lot about video games in fairly serious way: culture, economics, artistic interpretation. But this is a good reminder of the commercial nature of the industry. Not to mention the downright weirdness.

Jorge: It is the overt commercial aspects that are so weird.

Jorge: Costumes and themed apparel are not new (eg: http://www.blizzard.com/blizzcon/photogalleries/) for convention goers. But most of these are just game enthusiasts, not paid models who don't know the difference between a thumbstick and a drumstick.

Scott: Are these ladies really helping Microsoft sell things?
I mean, I don't watch this and then think to myself: Snap, I have to buy a 360!

Jorge: It's strange because when I think of gamer communities getting together, and TGS definitely included this considering how many civilians showed up, I think of an organic experience. There is an interesting dichotomy at events like these between the organic and inorganic aspects of gamer culture.

Scott: What do you mean by "organic?"

Jorge: When I think of gamers getting together I think of myself getting together with friends back in high school. If you think of these events as venues where people gather to share a common interest you are dreadfully misinformed. Unless your common interest is an army of booth babes.

Scott: Which it most certainly is.
But seriously, that's a good point: these events are by their nature marketing events. They're trying to sell their stuff, so why not use sex appeal?

Jorge: Part of the uncomfortable feeling, and maybe its just me, is the sense that I am being targeted. All these women are just scantily clad door-to-door salesmen as I see it.

Jorge: It's not just the night-elf models either. There were two announcers at Blizzcon during the Starcraft Tournament that were clearly had no idea what they were talking about. They called themselves "E-sports" announcers. The pay-per-view announcers at the event had the same pre-packaged feel about them.

Scott: They literally called it e-sports?

Jorge: Yeah. Their heads were swollen with excitement.

Scott: Or faux-excitement?
Because I think that's what you're getting at with the whole "organic" thing. These are people who are being paid to look excited about the games, rather than being genuinely enthusiastic.

Jorge: When I think of videogames as related to books, the booth babe marching band seems incredibly alien. I've never seen something like that at a book signing.

Scott: Or at a movie premier, or even something like Sundance.

Jorge: Do you find this degrading to the medium?

Scott: It's somewhat degrading, although probably more so to the women...
But it's the idea that gamers can be fooled by a tight body and pumping techno music.

Jorge: I don't think its just targeting gamers though. They do it for themselves too, and for journalists. It's just become so ingrained in the theatrical nature of it all. Car shows do the same thing.

Scott: So they're branding, or trying to create a culture for a company?

Jorge: You'd think you'd be able to show off your goods without showing off someone else's goods. Brand your company with sex appeal and show off frivoulous spending, that will bolster your street cred.

Scott: A corporate pissing contest?

Jorge: Yea, its just what you get with this type of marketing. It's easy to forget how silly the videogame industry is when you're busy enjoying their actual product.

Scott: True. Maybe it's best just to laugh at it and try not to get too involved in the marketing quagmire.

Jorge: I'm glad that game journalists and convention goers know this is just silly.

Scott: Yeah. It makes me less worried that all the big deal folks like Brian Crecente realize how ridiculous it is. But you have to admit, techno "Auld Lang Syne" is damn catchy.

News for 10/8/2008: New & Used Gears of War 2

This week in news we are talking about Epic Studio's plan to release downloadable content for Gears of War 2 for those who buy the game new and on launch date. This seems like a pretty obvious attempt to address lost profit concerns with used games. If this game is purchased used, the consumer will never be able to get their hands on the map pack. We've condensed our discussion, which included sandwich analogies and meat-scented-candles, to the following post. The used games issue has gotten a lot of interested lately. If you've got a strong opinion either way, let us hear it.


Scott: Now, buying Gears 2 used, do we feel cheated?

Jorge: I don't. If I decide to buy it used for a cheaper price I'm essentially getting what I paid for. If anything its more fair.

Scott: But, my point is that once the code for exclusive new content is used, the game is changed. Someone who buys it used is buying a different product. Jorge: That is exactly what the publishers want. If you buy a used version of GoW2, then you are not buying the same product but you are getting a cheaper deal for it. This addition to the game forces the consumer to make a decision that can only give the publishers a more fair portion of the profit. What would you ask for in exchange, I cheaper copy of an already cheap used game? Look at DLC for example. You have two things already on the market. Some people buy it. For those who don't, it is a different game.

Scott: It feels like that with DLC, everyone is starting with the same basic game, and then they can modify it as they see fit. The Gears2 example makes it so that people who buy the same disc won't have the same game nor the option to buy it.

Jorge: They do have the option though. Your option is buy the game when it first hits the shelves. Either you buy the Gears2 and give the developers a more fair share of the profits or you buy the used version and suffer the consequences.

Scott: This calls into question people's rights to sell games. If you buy a game that is only truly "complete" if it is new, the product is instantly devalued for the next person who wants to sell it.Should you have the right to sell the same product you bought, with the only difference is that it is used?

Jorge: Right. That is a tough question, and to be honest I don't know where I side on this. But that is why Epic's action is so ingenious.
Scott: So you think that they're ingenious for confusing us? You think that the glass is half full?
Jorge: If we change how we perceive this new content then GoW2 is satisfying both aspects of the issue here. If we see the new weapons attached to new copies of GoW2 as extra and the lack thereof as the "actual" game, then there isn't a problem. You can still sell your game or buy one used. You just won't be getting that bonus material. Essentially they are just rewarding those gamers who will buy their game early.

Scott: they're only rewarding them if the other gamers have the option to buy the content they initially had to wait for.

Jorge: Do you think it would be more satisfying if they released the content later as DLC?

Scott: I feel like everybody should have the opportunity to play the game in its entirety.
Jorge: What if you saw the extra content as something consumable that you can keep or give away. You could, theoretically, buy GoW2, not use the code, and then sell the game and code together. Or, if you enjoy the map pack, you could use the code, thereby keeping it on your hardware. You could sell the game, just not that portion.

Scott: Essentially, we are moving towards a model where the consumer owns specific components of the game (components they are free to sell individually) instead of the game as a whole.

Jorge: Right. But in this case the loss of value is coming from the user not the publisher.

Scott: And we're both in agreement that we respect the publisher's wishes to make some money off their games.

Jorge: Yes, and Gamestop is a major factor in curbing the profits that flow to the publishers.with their almost fanatical attempts at getting people to buy used games and sell their own for a couple bucks.

Scott: I can't really blame the publishers for trying to circumvent Gamestop since they don't see any money from the used stuff.

Jorge: Yea, but Gamestop itself is at the core of the issue right now. We'll open up that can of worms another day.

News for 10/1/08: The Welch Interview and the Death of Consoles

This week's news post comes from an exceedingly interesting, yet frustratingly brief interview with John Welch, the CEO of PlayFirst. As the head of a company focused on "casual" gaming, Welch provides some unique views on the future of video games. Jorge and I had a very long conversation about this article, mostly because Welch touches on so many hot buttons for old crotchety gamers like ourselves. This excerpt is only a small portion of what we talked about, and I am certain that the issues raised in the course of our conversation will show up in future posts. Again, feel free to check the article out yourself and add your two cents in the comments.

Scott: Interesting article this week, an interview with John Welch, CEO of PlayFirst, of "Cooking Dash" fame. In it, he speculates on the death of consoles!

Jorge: First off, I was really surprised to see this article at all. From what I've been hearing, there has been more talk about the death of pc-gaming than the death of consoles. Just the idea sounds ludicrous.

Scott: As we both know, the death of pc gaming has always been proclaimed, and has always been nonsense. He has an interesting quote about his approach to the market: "We’re really attacking or going after the ‘gamerification’ of the mass market. If you have the whole gamer industry, that’s a segment, and you’ve got everybody else, which is a bigger segment. So our approach is getting those people to become gamers."

Jorge: It's not one or the other as I see it. If more people become gamers, this should theoretically fuel the console market, not make is obsolete.

Scott: I kind of agree with his sentiment here, as long as it doesn't mean the end of deep, complex games.

Jorge: Crappy flash games have some consumers, but how many people can that hold? These are two different markets here. Is he imagining that soon everyone will play simple games and therefore not needed consoles as devices through which they can play the more complex games?

Welch is articulating the fear of the "hardcore" gamer, the source of all the discussion about the pros and cons of a growing casual gamer market. That is, casual gamers will be such a large part of the videogame market that they will fundamentally change how videogames are played. He creates the type of games that would succeed in that market, so its something he's looking forward to and wants to happen.

Scott: So essentially, gamers and non-gamers should meet halfway?

Jorge: In his opinion, yes. For him, halfway means giving up our emphasis on hardware in favor of more "casual" software that makes things like powerful consoles obsolete.

Scott: I agree that "hardcore" folks need to be open to letting newcomers ease in with a gradual learning curve, but I think that "casual" folks need to be open to exploring deeper and more complex games.

Jorge: I certainly believe they can live side by side. You already see that with some gamers who don't touch a certain genre.

Scott: His idea that "hardcore" games will be a niche market is a little threatening to those of us who never play DinerDash.

Jorge: Exactly. As a console gamer, I don't like what he has to say at all. But I also think he's flat wrong regardless of my bias. Which I think is becoming a trend in these news posts.

Scott: Well, let's talk about his comments about where the consoles themselves are going. He says: "I think the biggest proof point in the death of consoles in my thesis is the Wii...The technology could be adapted to run on your average set top box, at least in the next generation of set top boxes. How much would it cost to integrate Wii-like technology into a set top box, if anything even needs to be specialized? What we really need are more standards around the input devices."

Jorge: First, I don't even know what a set top box is. Do I have a set top box? Is my xbox a set top box? It's definitely a box. That much is clear.

Scott: Exactly, a "set-top-box" is a just a three word term for a console. It is a device that exists outside your TV that plays games.

Jorge: He is imagining a console then, that fulfills other functions of your entertainment set-up. DVD playing, downloadable movies and tv shows, Blue-ray capabilities, which the existing consoles are already addressing. He just doesn't want to call them consoles and he believes there will be just one producer with no incentive to increase the technological capabilities of their product.

Scott: It seems like he's saying that, since a large chunk of gamers are casual (which in his mind means that that they don't want the best graphics and technology) the hardware doesn't matter anymore.

Jorge: That claim that we have no more need of advancing technology has been made over and over again over the years and has been proven wrong time and time again. If we can improve the hardware, we will. If for no other reason that it makes a stale product more marketable and gives you an advantage over others in the market.

Scott: True, more horsepower doesn't automatically provide new experiences, but it can definitely allow for new experiences. Today's consoles offer innovativegameplay that is also technically advanced in one easy-to-use package. Consoles can provide both fun and technically advanced games in a cheap and relatively hassle free way in comparison to the PC.

Jorge: Which is exactly the tech race that PC gaming suffers from and why consoles make up a solid chunk of the market. It's simply easier for gamers and developers to agree on the hardware of an existing console that is already being marketed.

Scott: And I think that arms race turns off the casual gamer. The beauty of the console is that, like you said, you'll know all the games will work right out of the box without any cumbersome install.

Scott: Because the Wii presented a set piece of hardware that never changes and needs almost zero user maintenance, people are free to focus on the games. They are drawn in by casual titles and are automatically provided with the tools they need to go further if they so choose. You might buy a Wii for WiiSports, but then get into Mario Kart, and then Zelda, and then you're magically seen as a "hardcore" gamer.

Jorge: I don't think Mr. Welch here appreciates the innovation that specifically comes out of consoles as a launching point for developers to use the specs to their advantage to create a new and innovative titles. And this is particularly the case for independent game developers who use the consoles conveniently because they know they have a system that can play their creation with ease and that can market their content better than they could ever do on their own.

Scott: Braid, PixelJunk Eden, and Mega Man IX are all good examples of what you describe. Consoles give developers a set of parameters and the knowledge that anyone could play their games, not just those with a high-end system. For gamers, having a console allows them to go as deep as they want in terms of games: they can stick to simple, casual games, but they can also rest assured that if they want to get more serious, they have the opportunity to do so. Consoles have always been appealing to me because of their simplicity. They are an elegant solution to playing games: they are a machine completely dedicated to that task.

Jorge: I think its telling that Steam is one of the most popular PC gaming clients specifically because it is essentially setting up a virtual console. It provides easy access and easy playability of games that you know will run on your computer. Their success is due in no small part to the fact they are the only ones who are treating their client like a videogame console. Steam's got their market on lockdown.

Scott: So it seems our conclusion is that consoles provide the platform that incorporates Welch's audience with the more hardcore audience. I argue that, if anything, consoles detract from his audience, since they allow the casual player to move deeper into gaming.

Jorge: "Next Week's News: Diner Dash Highest Selling XBLA game."

Scott: The prospect chills me to the bone.

News 9/24/08: The Sims Movie

This week in news, we are discussing videogame movies. Adding to the deep history of videogame movies (who can forget Doom and Bloodrayne?) comes The Sims Movie currently in the works. Before reading our thoughts on the subject, check out the link for a short interview with John Davis, the film's producer. Also, feel free to join in on our conversation by leaving your comments.

Today's Topic: The Sims Movie

Scott: If someone told you to think up a premise for a Sims movie, this would probably be the first crappy idea you come up with. And they're greenlighting it.

Jorge: They can't deny the fact that they are just making this up as they go along. Everything about this script is completely off the top of their head, everything except the fact a game called "The Sims" exists.

Scott: It's a blatant cash in. Possibly more blatant than the ill fated Super Mario Bros. movie.

Jorge: The interviewer on the N'Gai Croal's article, who sounds brutally honest with his questions, likens the movie idea to 'Weird Science'. Which isn't bad. But how old is that movie now? A story like that just doesn't fly anymore.

Scott: Good point. It's been done. So who do they think is going to watch it?

Jorge: I don't even think they will be trying to market it to gamers. I think they're just banking on the name "The Sims" because everyone knows the game, whether or not they've even played it. Part of what is so cool about the Sims is the character creation, but as a movie goer, there is absolutely no interaction. You lose what drew people to the game in the first place.

Scott: There is such a huge audience for the sims game; everyone from "hardcore" players to soccer moms have played it. So do you think they're targeting the moms who don't know better than to watch/bring their kids to what will most likely be terrible movie?

Jorge: Oh, absolutely. So essentially, the movie is going to be about a little kid who gets powers that should NEVER been given to a child, and then uses it to make a pool full of jello or some other idiotic shenanigans. Sounds like a terrible movie for the right audience. Didn't we see this movie already? I think it was called "Click." It's like like a really bad goosebumps story arc.
Really, it kind of saddens me that EA can just wipe their hands clean from the terrible movie this will be. They should be punished for letting this get too far.

Scott: But what power do we have against EA? What are we going to do? Not buy Sims 3? I don't see that happening. Those evil bastards have us right where they want us.

Jorge: I don't know... maybe I'll make a spore creature that spells out "The Sims Movie Sucks."

Jorge: Why do we need videogame movies anyway? I'm not so sure they really lend themselves to the movie format. Even the Mass Effect movie rights were sold, and though it has a strong narrative, I don't believe it will make a good movie.

Scott: I can't really think of a good movie that was originally a video game. Of course, to be fair, I tend to avoid them like the plague.

Jorge: The first resident evil movie was pretty entertaining. I thought about seeing the Silent Hill movie, but I was too scared to just watch the trailer. So that didn't pan out.

Scott: I'm just trying to think of movies not directed by Uwe Boll. It seems like video game movies are just relegated to "B" list actors, budgets, etc. That being said, isn't Marky-Mark in the new Max Payne movie?

Jorge: Yea, which actually looks like a decent action movie, for what its worth. It looks a bit like Constantine. Plus the Bioshock movie speculations are exciting because there is some good source material to work with. If a videogame has a compelling world in which to set a movie in, fine, that could work. I could at least understand why someone would want to make a movie set in that universe.

Scott: It's just hard though, because I think lots of games have good universes. The problem always seems to be coming up with a good script, performed by good actors, directed by a good director, working with a good budget. Without the confluence of all those factors, I think any move, videogame or not, is doomed to suck.

Jorge: I think we are naturally possessive with these worlds too. I'm sure most of the writers didn't grow up with these games. The idea of someone putting their filthy paws on Hyrule is terrifying. Mark Wahlberg said he didn't play the Max Payne movie and said he wasn't going to. That being said, I would love to see a Shadow of the Colossus movie it comes from a studio that actually knows what they are doing.

Scott: Something like Colossus would be hard though, because part of the power of that game is the fact that it is so long and involved. Building the same kind of relationship (a relationship based largely on interaction) is hard to do in 2 hours.

Jorge: There are problems translating any story from one medium to another. You just hope they the movie, book, or game can capture some of the joy you derived from the original content and add something to it as well.

Scott: I guess what we really want is for the movies to do justice for their material.

Jorge: It seems like when books or videogames are translated into movies they shed the things that made the game fun and interesting. For something like The Sims movie, it looks like that is intentional. If a movie comes from a studio that appreciates these videogame worlds from the perspective of a gamer, then the product should be better.

Scott: I just wish all the Hollywood hacks would keep their hands off games. But at the same time, I have a soft spot for the camp value of Super Mario Bros. John Leguizamo as Luigi? Genius. And Dennis Hopper is definitely Bowser's scariest incarnation.