TriplePoints of Interest – Week of June 1

Who’s going to be picking up a Steam Machine? Looks like Valve dominated headlines this week! This, and other great things to come for eSports and mobile games, plus words of wisdom from the CEO of Gazillion.

Remember remember the 10th of November

The Steam Machine and its Steam Link controller have been given a release date, according to Ars Technica! Valve’s first entry into the hardware market will launch on November 10, 2015. Consumers who pre-order will get them as early as October 16. Valve provided a demo of the controller on their YouTube channel.

Return to (Steam) sender

Valve has made a major change in their Steam policy where they will now offer refunds to consumers who have played less than 2 hours of a game and apply within 14 days of purchase, says GamesIndustry International. Valve stated their reason for making the change was to allow players who find their PCs don’t meet hardware requirements, bought a game by mistake, or just didn’t enjoy their game to reverse their purchase. This rule applies to DLC, in-game items, and pre-purchased titles as well.

Make It Rain! Make It Rain, eSports!

Newzoo predicts that eSports will grow to be worth over $250 million this year, and prize money to top $71 million, says GamesIndustry International. The US and China take the lead in prize money offerings. They also predict the number of eSports enthusiasts to grow by 37% compared to 2014.

Turn that MMO around!

Gazillion CEO, David Brevik, provided advice for developers hoping to improve the state of struggling online games based on his success turning around the Marvel Heroes MMO. Mr. Brevik told Develop that the key strategy was speaking to the community directly about the changes that needed to be made and not being afraid of changing everything. He cited weekly patches and overhauling the business model, while keeping the community informed about the changes, as the top tactics.

A New Mobile Hope!

Kabam just announced a Star Wars-themed mobile RPG set between Return of the Jedi and The Force Awakens, according to Polygon. Titled Star Wars Uprising, the game tasks players with creating a character, choosing a class like smugglers, bounty hunters, rebel guerrillas, and more, and embarking on missions that allow for real-time cooperative play. The game will be free-to-play and is expected to roll out sometime this fall.

Photo from Ars Technica

TriplePoints of Interest – Week of May 25

Clearly, the big news of this week came out of Google I/O, but that doesn’t mean there aren’t fun (indie) game sales happening that might catch your attention. Ladies and gentlemen, here is this week’s TriplePoints of Interest!

What intelligence does Android M have for us? (Cue spy music)

Google I/O shook up Silicon Valley this week! The Verge presented a roundup of the top news emerging from the conference. The first was “Android M,” successor of Lollipop, that will streamline apps more including faster map uploads in areas of low connectivity as well as Chrome integration into all apps. More details were given on Android Wear smartwatches and Android Pay. The keynote also touched on VR, including a new iPhone-compatible Google Cardboard.

Fun weekend activity: the Humble Nindie Bundle

Nintendo announced its first Humble Bundle, the “Humble Nindie Bundle” aimed at highlighting indies from the eShop. According to Polygon, this is the first in a series of initiatives from Nintendo to support indie games. Included in the bundle are games like Guacamelee! Super Turbo Championship edition and Woah Dave!

Higher security needed for truck full of games

Europe’s largest video game retailer, GAME UK, announced to consumers that pre-ordered Splatoon that its entire shipment of the game’s special edition, which includes the Squid Inkling amiibo, was stolen. According to IGN, no further details on the circumstances were provided other than that consumers will instead receive the game’s standard edition at a discounted price along with an Inkling Boy or Inkling Girl amiibo to make up for the losses.

This news is reminiscent of a similar incident where a truck containing 6,000 copies of Call of Duty: Modern Warfare 3 was hijacked in France in 2011.

More insight on how to improve the reputation of F2P

GamesIndustry International reported from the fourth annual Digital Dragons Conference in Kraków, Poland where a well-attended talk was given about the future of free-to-play and how to fight its bad reputation. Video game development veterans discussed the challenges the business model faces including stigma from the press, how PR must combat it, and how game designers can do better to model game mechanics to make the wait time between content availability more enjoyable. They concluded that F2P is overall a flexible system and can be tactfully tailored to suit each game and each audience.

Photo from Tech News Daily

TriplePoints of Interest – Week of May 18

A lot of fun news coming from Nintendo this week. The Nintendo World Championships are back this year and it looks like Bowser finally beat Mario to the top. Sort of! Here are our favorite news pieces from this week!

Nintendo World Championships is back from 1990!

Nintendo unveiled new details surrounding the Nintendo World Championships, a competitive event the company is reviving after 25 years. According to Polygon, the qualifying rounds kick off May 30 at Best Buy stores in 8 different cities from New York City to San Francisco. The first 750 customers who sign up must battle it out on Ultimate NES Remix for a spot in the big event!

eSports: the new frontier of advertising?

Game revenues will be taking on TV broadcast revenues, says research firm, SuperData. According to VentureBeat, video games are slated to push past broadcast TV into the #2 spot in entertainment market share thanks to the eSports phenomenon. Cable TV currently holds the top spot. SuperData states that this data shows eSports as a more lucrative platform for advertisers.

This conclusion is backed by EEDAR who, according to GamesIndustry International, stated that eSports viewers spend twice as much on PC peripherals and 30% more on their game systems than their non-eSports-watching counterparts.

The Mass Effect takes of Virtual Reality?

The importance of augmented reality in video games was amplified this week when it was announced by Polygon that Casey Hudson, former lead on the Mass Effect series, had moved to Microsoft to work on the HoloLens. Mr. Hudson is now the creative director at Microsoft Studios, leading the production of what he calls “mixed reality and holographic computing.”

Nintendo hires Bowser. And is dead serious about it.

Nintendo announced they hired a new Vice President of Sales, cleverly titling their press release, “Nintendo Hires Bowser,” according to The Guardian. Mr. Doug Bowser thanked fans for the news’ warm reception with a brilliant tweet.

Photo from The Punk Effect

TriplePoints of Interest – Week of May 11

This appears to be a very numbers-driven week! Here is this week’s awesome collection of earnings and funding news you won’t want to miss!

Kickstarter funds yet another major franchise revival…in 24 hours!

Koji “IGA” Igarashi, the video game designer best known for his work on the Castlevania series, has stepped out on his own seeking crowdfunding for his upcoming game, Bloodstained: Ritual of the Night. According to The Verge, the game received over $1 million less than 24 hours after it appeared on Kickstarter. The game is set for a March 2017 release. This is the latest in a wave of veteran game developers getting overwhelming support from Kickstarter for reviving their game series independently from their publishers. In 2013, Keiji Inafune’s Mega Man revival, Mighty No. 9, reached its funding goal within 2 days of its reveal and was recently picked up for publishing by Deep Silver.

Games on your wrist?

GamesIndustry International takes a deep dive into how the Apple Watch can change mobile gaming for the better. Writer, Graham McAllister, explores new genres that can be created on the device, as well as more user data developers can reap by leveraging yet another device that is part of users’ daily lives.

Asia is the mobile gaming behemoth

App Annie released their Insights into App Engagements report for Q1 2015, revealing that Asia is still the biggest driver of the mobile app ecosystem, according to GamesIndustry International. The report reveals that games account for 90% of mobile app revenues in Japan and South Korea alone, citing that Japanese and South Korean users spend more time in games than their counterparts in the West, with 3x more game activations in Japan versus the United States. Japanese Android users also spent 4x more on mobile games than American Android users.

New 3DS XL is king in Japan

More stats from the Japanese games industry: GamesIndustry International reported on the top games and games hardware sales in Japan this week. Puzzle & Dragons: Super Mario Bros. Edition came in at #1 and Minecraft  at #3. The New 3DS XL and PS Vita came in at #1 and #2 in top hardware.

What are the most-watched games on YouTube?

YouTube just revealed the top 10 games that receive the most let’s play attention on the site. According to Game Informer, Minecraft tops the list, with the Grand Theft Auto series and League of Legends coming in 2nd and 3rd. Puzzle & Dragons was the only mobile-exclusive game to make the list.

What are YOUR most watched games on YouTube?

TriplePoints of Interest – Week of May 4

Welcome to the first week of May and this week of TriplePoints of Interest. As we get closer to E3, we learn what is coming up for VR and what gamer lingo is being accepted into the English language!

The VRevolution is coming Q1 2016!

Oculus Rift has been given a real release timeframe and distributed images of the final product (no more prototypes). According to Gizmodo, the virtual reality device will ship in Q1 2016. Despite Valve and HTC’s Vive and Sony’s Morpheus making waves at GDC, it appears for now that Oculus Rift will beat the two to store shelves.

So it’s “esports” not “eSports?”

It’s official! A new word has entered Dictionary.com: “esports.” Written exactly as such, it joins other members of the gamer lexicon, “permadeath” and “completionist,” as “real” words, according to Daily Dot.

Can we drive Mario Karts in real life soon?

Universal Studios and Nintendo are teaming up to bring attractions based on Nintendo properties! Digital Spy reports that no specific games have been named yet, but Paul Tassi of Forbes had some creative ideas to share!

Sound off! What types of Nintendo-themed rides do you want to see at Universal Studios? I vote Skyward Sword-themed bungee jump a la Vegas Stratosphere.

TriplePoints of Interest – Week of April 27

It’s quite the understatement to say a lot went on this week. Here is a collection of the top news and hot button topics from the week! But above all else, I think we can conclude that video games are indeed good for you!

Are eSports “real sports?” *drops 10 foot pole*

ESPN aired Blizzard’s collegiate championships for Heroes of the Storm, generating mixed opinions from its viewer base. Eric Johnson of Re/code cited the reaction as a reason against forcing eSports into the category of “real sports.” He says game developers pushing for their games to be recognized as physical sports puts games on the defensive and creates an “inferiority complex” that will hurt the genre in the long run and give naysayers further reasons to reject video games as a medium.

ESPN radio host, Colin Cowherd, stated he would rather retire than cover eSports, causing a negative reaction from games and sports media. SB Nation called Mr. Cowherd’s statement “dumb but expected.” Polygon’s Owen Good pointed out that this statement contradicts Mr. Cowherd’s past positive coverage of video games on ESPN like Madden NFL, accusing him of fabricating outrage to boost ratings.

Silent Hills goes silent until further notice

Konami cancels the much-anticipated Silent Hills, which included a collaboration with famed movie director, Guillermo Del Toro. Kotaku speculates the cancellation was due in large part to Hideo Kojima allegedly parting ways with the company. Polygon reports that Konami delisted itself from the New York Stock Exchange shortly after the game’s cancellation was announced.

Video games make you smart?

Good news! Video games make stronger brains! According to Daily Dot, an open-access study used functional magnetic resonance imaging (fMRI) to compare the brains of 27 professional-level League of Legends and Dota 2 players against 30 non-gamers. They found the pro gamers had more connections between the brain cells and a part of the brain called in insula, leading to better hand-eye coordination and attention. What the study doesn’t reveal, however, is if the higher connectivity is a result of playing video games or are pre-existing in professional video gamers.

Tencent loves League of Legends…and Kim Kardashian!

China’s Tencent, known for its massive stake in Riot Games and thus, League of Legends, just announced it purchased a 15% stake in Glu Mobile for $126 million. Glu Mobile is most famous for their hit mobile game, Kim Kardashian: Hollywood, and is now reportedly worth $863 million, according to VentureBeat. Glu has more celebrity-endorsed games in the works about the lives of Britney Spears, Katy Perry, and others.

Buy Ouya?

After failing to restructure its debt, Ouya is now looking for a buyer, says Fortune. There is no word yet on the asking price. With Ouya’s success in 2013 raising $15 million in Series A funding and its extensive Android content library for TVs, CEO Julie Uhrman expressed her confidence a buyer will show interest quickly.

Photo from Slashgear

TriplePoints of Interest – Week of April 20

It’s time for the top news in tech and games from the penultimate week of April 2015. Big this week is research from analyst firm, Newzoo, who predicts a very fruitful year revenue-wise for the games industry in 2015. On that note, what games will you be picking up this weekend?

Make it rain, games industry!

Analyst firm, Newzoo, reports that the global games market will reach $91.5 billion this year, thanks to a projected 23% growth in Chinese game revenues, according to VentureBeat. They also predict China and the US will be competing for the #1 spot for the most game revenue generated this year.

Is your website mobile-friendly yet?

Google made a major algorithm change last Tuesday, April 21 bumping up search results for websites that are mobile-friendly. According to Fortune, this approach is likely to push websites who haven’t jumped on the mobile bandwagon to do so right away lest disappear off the first page of search results. This comes as the result of Google’s latest research, which shows 60% of search engine traffic comes from mobile.

Selling mods on Steam to be the new normal?

Valve rolled out a new feature on Steam for their vibrant modding community: the ability to list your fan-created mods on third-party games for free or for money. According to GameSpot, this is an extension of an existing policy where modders could sell their fan-made items on Valve games like Team Fortress 2 and Dota 2 via Steam Workshop. Starting this week, mods for Skyrim began appearing on the store with more supported titles to be announced in the coming weeks.

This new program has not been without its share of backlash. According to GameSpot, well-known modders have spoken out against the commercialization of the hobby. A mod was also just removed from the store due to a dispute over whether the entirety of the mod’s content was created by the seller.

In getting a new game discovered, there is only Beast Mode

Cliff Harris, developer from Positech Games, maker of Gratuitous Space Battles, spoke to GamesIndustry International about the changing landscape of game discoverability and how the ease for developers to release a game on Steam has made it ever the more difficult for a game to succeed. He states that with each game launch, a year and a half’s income is based on a “roulette” with advertising costs rising and fewer gamers wanting to pay for a game before it becomes 50% off.

Minecraft is to YouTube what Game of Thrones is to HBO

In other research from Newzoo, the top 10 most viewed game content on YouTube for the month of March 2015 was revealed, with Minecraft taking the top spot with over 3.9 billion views, according to Game Informer. Grand Theft Auto and Five Nights at Freddy’s followed in 2nd and 3rd place. Other notable games included League of Legends at #7 and Mario games at #8.

Better question: what games will you be WATCHING people play this weekend?
Photo from My Nintendo News

TriplePoints of Interest – Week of April 13

Welcome back to our snippet of the top news in tech and games this week! The burning question this week is, of course, who has pre-ordered an Apple Watch? Sound off in the comments!

Will the Apple Watch disrupt both the tech AND fashion world?

The Apple Watch craze is in full force clocking in at over 1 million pre-orders, according to USA Today. The Verge has already identified 3rd party accessory manufacturers creating battery life solutions for the watch without any evidence of whether or not the Apple Watch’s battery life is too short. Analysts are already examining the Apple Watch’s potential to disrupt the fashion world, according to Business Insider, warning well-known watchmakers like Fossil and Movado of the threat they may pose.

Old Spice made a game, and not the usual kind you’re thinking of

Twitch Plays Pokémon has inspired Old Spice’s latest marketing campaign, Twitch Plays Old Spice. According to Daily Dot, from April 16-18, viewers will be asked to write in the chat what they want the wilderness-stranded live-action (human) character to do and apparently, anything goes (someone just suggested “sucker punching” a bear, causing a Game Over)! It will be interesting to see how this campaign unfolds and if Twitch users will be as friendly as they were to Red in Pokémon Red and Pokémon Blue. This is one of many Twitch Plays Pokémon-inspired campaigns in the last year including the now-defunct Rev3Games stream, Twitch Plays Adam Sessler.

Guitar Hero is back for its 10th anniversary. Who is feeling old already?

After a years-long hiatus, Guitar Hero is back for its 10-year anniversary reissue. Engadget reports the reboot aims to make guitar playing more realistic by adding two rows of buttons at the top of the guitar and a live-action crowd that will react to the performance based on the player’s score. The game will also sport a first-person view accompanied by a live-action band on stage who will also turn and address the player, giving a feel of a real performance versus the 3rd person animated view of previous versions.

Let’s Get Digital

The ESA has revealed that retail game sales in the US are declining and digital game sales have risen 23% since 2010. According to GamesIndustry International, PC still rules the market with 62% of digital sales followed by consoles, smartphones, other wireless devices, and dedicated handhelds like the Nintendo 3DS. They also report that over 155 million Americans play games with 80% of households owning a device to play games.

It was a sad week for the Australian games industry

Australia’s last major AAA studio, 2K Australia, developer of Borderlands: The Pre-Sequel, has closed its doors and terminated all of its employees. Kotaku Australia reports that an attempt to move the Canberra-based studio to Melbourne in order to attract new talent led many high-level members to leave the company, which, Kotaku speculates, may have been a factor in the closure.

Asia has the key to the next level

Warner Bros. Interactive’s Senior Vice President of Digital Games, Greg Ballard, told GamesIndustry International about the importance of Asia and every company’s need to enter that space in order to stay competitive. He cites major Asian companies like Tencent and Nexon running major operations in the US and credits Riot Games’ success, in part, to Tencent helping League of Legends become successful in Asia. App Annie’s report showing China overtaking the US in iOS app downloads backs Mr. Ballard’s claims.

Digital games go anti-social?

Research firm, Superdata, revealed US digital game sales rose 2% to $1.01 billion in March, but social games fell 10%. GamesIndustry International reports that the firm is seeing overall interest in social games waning with more focus being put on tablets and smartphones. Superdata also advised developers to focus on building a stronger presence in Japan, where mobile revenue per paying user is three times higher than in China.

That’s all for this week! Now what will you all be playing this weekend?

Banner photo from Mashable

 

TriplePoints of Interest – Week of April 6

Welcome to a new weekly feature here on the TriplePoint blog: TriplePoints of Interest, where we recap the biggest news from around the games and tech industry, plus subjects we just can’t stop talking about around the office!

Fixing the image of free-to-play

The image of free-to-play games has been a hot topic as of late. Steve Peterson of GamesIndustry International describes why free-to-play games have built a bad reputation and how it can be fixed. He first cites how quickly widespread the business model has become as reason for the extreme divide on opinions from within the games industry.

He then suggests that in-game merchandise must improve on the game, not be required to play the game, and that players shouldn’t have to feel they must make microtransactions to remove “annoyances” in the game or get to the fun. Developers and marketers also must be clear about the ways to spend money in the game. If a developer does not feel it is beneficial to “celebrate” the microtransactions, then the microtransactions are probably not ones that should be built in in the first place and will likely anger players.

The YouTubers versus Nintendo: the saga continues

Nintendo’s controversial YouTube policies have caused another YouTuber to cease reviewing Nintendo games. Joe Vargas of the Angry Joe Show stated in a video, according to Polygon, that he will no longer make videos relating to Nintendo games after his Mario Party 10 video was flagged for copyrighted material, keeping him from making ad revenue. Mr. Vargas has also been a staunch opponent of Nintendo’s Creators Program.

Heroes of the Storm collegiate league needs a GPA boost

The rise of collegiate competitive gaming, while growing exponentially, has not been without its share of snags. Blizzard’s Heroes of the Storm collegiate tournament, “Heroes of the Dorm,” has been marred with no-shows and website bugs, leading to a host of scheduling difficulties, according to Daily Dot. The $450,000 prize pool, and involvement of Blizzard and TeSPA (high-profile collegiate eSports organization) meant very high expectations for the tournament from fans and participants alike, begging the question of the effectiveness of allowing over 800 teams to participate.

Ads and Kids, like water and electricity, do not go together

Consumer advocacy groups are asking the FTC to investigate Google’s YouTube Kids app due to concerns that it aims advertising at young children on smartphone and tablets, according to San Jose Mercury News. The concerns cite laws on broadcast TV that prohibit TV stations from placing products around kids’ programming due to children having not developed cognitive skills to resist advertising.

An old dog returns to the doghouse: Mark Pincus is back!

Zynga announced that Don Mattrick, their CEO of less than 2 years, is leaving and will be replaced with former CEO, Mark Pincus. GamesIndustry International believes that the company’s great losses under his leadership caused the change, but credited Zynga’s sharp rise in mobile profits–from 27% to 60% of the company’s worth–over the last 2 years to Mr. Mattrick’s work.

Check back again next week for more of the top news from games and tech!
Featured image from Geek.com

The Other Side: can violent video games be a peacekeeper?

Idomeneus stabbed Erymas in the mouth with the pitiless bronze. The bronze spear passed right through and up under the brain, smashing the white bones. His teeth were knocked out and both his eyes flooded with blood: wide-mouthed he spurted a well of blood through nostrils and mouth: and the black cloud of death covered him over. [i]

In the 8th century B.C., violent video games were the lyre and voice of a blind man called Homer. His narratives were also widely available for consumption by children.

In my 8th grade classroom, my classics teacher told my classmates and I to prepare for the graphic details of Homer’s The Iliad. We were told that Homer believed depicting violence in media served to cleanse the soul, removing violent intentions, not creating them. He even believed that reciting his epic poetry of the brutality of war would disturb listeners enough to prevent them from wanting to go to war.

Most recently, controversy erupted when players discovered Grand Theft Auto V’s torture scene, where the player is required to input commands to torture an NPC. Was Rockstar’s intention to disturb players with that scene? If so, would players who completed the mission be less likely to want to torture in real life due to the feelings they experienced playing through it?

Regardless, the popularity of billion-dollar franchises like Call of Duty and Grand Theft Auto has of course led much of the non-video gaming public to believe that widespread consumption of such media is, in fact, making society more violent. On the other hand, an interview between video game journalist Todd Kenreck and psychiatrist Dr. Tyler Black of the British Columbia Children’s Hospital presents another view: that the rise in violence has been skewed by the amount of media coverage it gets, and that violent crime is at a 20-year low.

Thus far, the two warring arguments state that 1) video games make the consumer more inclined to commit violent crime and 2) video games have no effect on real-world violence.

In February 2013, the New York Times’ Benedict Carey presented a third angle: video games can actually reduce real-world violence.

Mr. Carey presents findings from various scientists’ research, including that of Michael R. Ward of the University of Texas, Arlington. Dr. Ward examined week-by-week sales data for violent video games across a wide range of communities in the United States and Europe. Dr. Ward and his colleagues, in fact, discovered a new trend: surges in violent video game sales led to a decrease in crime, especially violent crime.

Coincidence? The findings of Kimberly Wallace of Game Informer suggest Dr. Ward’s results are anything but one. In her article, she explains the infamous “finger-cutting scene” of Heavy Rain, where Ethan Mars, the protagonist, is required to amputate his finger, the method of which is chosen by the player. Failure to complete this task results in one less clue to finding Ethan’s missing son.

Ms. Wallace explains the trauma she experienced upon completing the scene. She states that all she could think about was the pain she’d endure were she to cut off her own finger in real life, coming to the conclusion that, “It shouldn’t be so easy to watch a man slice off his own finger, especially when you’re behind the wheel.”

Ms. Wallace’s experience suggests that exposing a consumer to gore and violent situations instills the undesirable feelings associated with possibly experiencing the violence themselves. Even in situations where the player is required to inflict pain on a character other than the protagonist, notably the airport scene in Call of Duty: Modern Warfare 2, there is the option to skip the scene in-game. This is due to players decrying its disturbing nature, which is telling that gamers do not enjoy the idea of killing innocent people. Developer Infinity Ward told USA Today that the scene is meant to get players “pretty twisted up.” They go on to say that they hope the scene “makes some people a little upset.”

Infinity Ward’s hope for players’ negative reaction is likely attributed to the fact that they want players to recognize that murdering civilians is a shameful act. If Homer were alive today, would he endorse exposing that scene to people of all ages, including children, to educate them on the immoral nature and damaging consequences of committing violent crimes?

The idea that exposure to violence and undesirable situations reduces the consumer from committing them in real life is hardly exclusive to video games. Scientific American published a 2011 article stating that experts believe consumption of pornography may reduce the desire to rape by offering a safe, private outlet for deviant sexual desires. This is backed by data from Christopher J. Ferguson, professor of Psychology at Texas A&M International University. Dr. Ferguson states that rape and sexual assault are at their lowest levels since the 1960s, thanks in part to porn being nothing more than “a Google search away.” In 1992, psychiatrist Richard Green at Imperial College London found that patients requesting treatment as sex offenders commonly saw that “pornography keeps their abnormal sexuality within the confines of their imagination.”

If Dr. Ferguson and Dr. Green’s findings on pornography apply to violent video games, then perhaps there is a fourth side to this argument: that violent video games not only reduce the inclination to commit violent crime, but can be a tool for making violent criminals less likely to re-offend.

I am by no means suggesting that Charles Manson should be released from prison if he reaches the top of the leaderboards in Call of Duty: Black Ops 2. However, the data presented does suggest we might be asking the wrong question when it comes to violence and video games.

Do video games cause violence? Do video games reduce violence? Or is there no link between the two? Perhaps we cannot find the right answer before we find the right question.

Which do I believe is correct? I believe that being traumatized after the much more traumatic “Trial 4” scene of Heavy Rain made me a better person. I also believe that bettering myself after experiencing that mission was a conscious choice I made.

I believe that video games have the ability to heal and make you a better person. I also believe that video games can only accomplish the above if you let them.

I don’t know if I am right. But I believe that a medium is only as good or bad as you decide. How do video games influence you? I believe only you know the answer to that.


[i] The Iliad: A New Prose Translation by Martin Hammond (Penguin Classics, 1988)

Images:

The Wrath of Achilles (1819), by Michel Drolling

Grand Theft Auto V, from Pixel Enemy

Heavy Rain “The Lizard,” from IGN

Call of Duty: Modern Warfare 2 “No Russian,” from PC Gamer

Waiting for Superman: The Beauty of Virality

One day in October 2012, I happened across this YouTube video with a top-down view of PSY’s concert in Seoul. Over 80,000 people were in attendance, with the crowd spanning entire city blocks. Every member of the audience was singing along in unison with PSY who was on stage addressing the crowd as if he were a superhero who had just delivered their fair city from evil by swooping down in black suit pants and baby blue cape, I mean, blazer jacket.

Nonetheless, to this day, I have never been able to watch the video of said concert from beginning to end due to an inability to come to grips with it emotionally. This is why.

Amidst the Harlem Shake craze of 2013, famous YouTube film director, Freddie Wong, released a video in which he attacks a man about to perform a rendition of the Harlem Shake, ending with a screen saying, “Friends don’t let friends make Harlem Shake videos.” Whether this video expressed Mr. Wong’s true feeling towards the extreme virality of the trend or was simply his creative take on the Harlem Shake itself, it made me think about the real annoyance I have seen towards the trend in other social media.

Perhaps it is my personal preference, but I always wondered what makes some people so annoyed and angry over a trend that becomes very popular very quickly. Some pointed out that each Harlem Shake video was not indeed the “real” Harlem Shake dance move. Others simply expressed disdain over people trying to bank on something popular for the sake of achieving virality.

Last October, some friends of mine and I got together on a semi-weekly basis to learn the Gangnam Style dance then perform flash mobs throughout San Francisco on a sunny Saturday afternoon. Many onlookers stopped to watch, took videos that are now on YouTube, even honked their horns as they drove by. Street performers stationed at our chosen venues offered to step aside for us (one even told us the $10 we offered him for a few minutes of his time wasn’t necessary). To be honest, I was feeling quite under the weather that day (I was coming down with what amounted to be two colds and a flu) but I felt energized and refreshed because I was dancing. I was sweating. I was back to my days of exercising regularly and when dancing was a part of my life.

At that moment, I thought this must be the best viral video that happened to the world. It got everyone dancing. It got everyone to get up and move. It appeared on Ubisoft’s Just Dance 4 and Harmonix’s Dance Central 3 where players downloaded the DLC and danced along (myself included, I have 5 stars on that song), sweating, exercising, bringing movement back to our sedentary lifestyles. Of course, its benefits lie beyond physical fitness. That flash mob group I danced with was asked to perform for a man who would then propose to his girlfriend while we danced for her.

It’s obvious that said individual is not the only person who associates Gangnam Style or any motion of virality with love, even peace. At the height of the Harlem Shake’s popularity, Egyptians and Tunisians recorded their own renditions of the Harlem Shake as forms of peaceful protest against their governments. In this interview with CNN, two Egyptian protesters explain that the Harlem Shake is their tool of “protest in a fun manner” and that, “instead of chanting and getting beaten, we’d have fun, laugh, and then leave normally.”

If virality is indeed the new universal language and is proven by political protesters to stop violence, can it bring peace? Can a single viral trend bring us to a common understanding? Can one person dancing be what puts aside sentiments of hate, dissent, and intolerance?

It’s still a stretch. PSY and the Australian YouTube celebrities known as TheSunnyCoastSkate and DizastaMusic who started the Harlem Shake video trend have yet to stop all wars and conflicts ravaging the world today. But virality’s abilities are now known to stretch beyond just mobilizing people to get up and move and make something fun. Perhaps it can bring peace and understanding to people who embrace it and at least gives a tiny clue in finding what can unite us as human beings. For me, and for some of the 80,000 attendees at PSY’s Seoul concert, it was a glimpse of a group of like and unlike minded people singing, dancing, and thinking as one.

This is why I have yet to watch the video from beginning to end…without needing to pause at certain moments to recover from the impact felt from a simple song and dance. This is why I don’t understand why I should stop my friends from making Harlem Shake videos. This is why I feel overwhelmed when I see something as beautiful as a group of over 80,000 strangers rallying around one song, one dance, one person, one idea, one love, for one thing.

This is why I give thanks for every global viral trend. I give thanks for bringing us together. I give thanks for delivering us not from evil but for delivering us to harmony.

Four minutes and thirteen seconds. Maybe even as little as thirty-one seconds might be enough to save the world. If everyone saw viral trends this way, perhaps we have found our Superman.

Reposted on Frisky Mongoose

Photos from Business Insider and The Verge

Featured image from Reuters

Age of Aquarius: the video game industry at Comic-Con

Almost exactly ten years ago, I finished for the first time The Legend of Zelda: Ocarina of Time. It was that moment when I first identified as a gamer and felt a devotion to video games that I was at the time too young to understand. But over the next ten years, that devotion grew to become the incorporation of video games into my own being.

For keeping in touch with who I have become and investing in what is important to me, I obviously then felt a yearning to attend PAX and of course Comic-Con, which I knew was not focused on video games, but interested me nonetheless. What video game devotee wouldn’t want to see just how much video game fandom she could soak up at Comic-Con?

We are at a point in time when Comic-Con attendees no longer enter believing the show is about comics. That is not to say comics don’t have a strong presence at the show; one end of the hall was covered in nothing but DC and Marvel merchandise vendors. Attendees costumed as Thor, Spiderman, Superman, and Batman far outnumbered attendees dressed as video game characters (including myself). Still, one cannot ignore that the most crowded parts of the convention hall were around the likes of Fox and Warner Bros, and the most popular panels were any that featured Hollywood celebrities regardless of whether or not the panel was about a comic book movie.

We are also at a point in time where the fandoms of comics, movies about comics, movies and TV shows about fantasy worlds in general, cartoons, anime, manga, and video games have all collided, with the resulting explosion manifesting as the San Diego Comic-Con. But as I took my first steps into the convention center, I asked myself, how many video game companies might I find exhibiting on the show floor? Will they take up as much space as the fabled comics that started the show? Or, will they be shoved off to a corner where only the most hardcore of fans will bother to visit?

After pushing through the crowd surrounding the Fox and Warner Bros booths, I found Ubisoft, Activision, Nintendo, Square Enix, Sony, and Capcom nestled into one end of the convention hall. Each game demo station was populated, each with a player and a crowd of onlookers. I later learned Nintendo and Ubisoft had the rest of their games featured at Nintendo’s game lounge next door, SEGA and Microsoft had set up across the street, and BioWare had their own station at the Hilton two blocks away. After visiting each booth, each game lounge, and finding a wealth of merchandise from my favorite video games from vendors on the show floor, I continued each day satisfied with the presence of video games at the show.

As a gamer and a fan, I believe my trip to Comic-Con was fruitful. I got to demo new games. I bought a wealth of fun merchandise (video game and non-video game alike) and received generous VIP gifts (a Sonic comic from Sonic Boom seemed fitting). I got to reconnect with video game industry people who were equally as enthusiastic about the show. I got to see how video games had joined the cultural lexicon. I got to take a memorable vacation to a consumer show with friends whom I grew closer to. And most of all, I was reminded of how the gamer in me grew into the person I am today. This was not done via the games I demoed, the swag I obtained, the parties I attended, or the characters I dressed up as, but by coming to this realization ten years later.

I have heard the multi-genre fiesta that is Comic-Con described as a “nerd Woodstock.” Unlike trade shows like E3 and video game-focused consumer shows like PAX, Comic-Con encourages people of multiple interests to come together and “celebrate the popular arts,” as proclaimed by the Wreck-It Ralph banners on each San Diego street. As someone whose being lies predominantly in the gaming realm of Comic-Con’s pot of genre stew, I wondered if the video game companies who exhibited off the show floor this year would be inside the convention center next year. And, for video game companies who exhibit on the show floor annually, I wonder if they will build their Comic-Con presence over the years. Will that draw more gamers to the show? Will that raise the interest of non-gamers who might want to learn more about video games and video game culture? Will it tip the balance of Comic-Con as a multi-genre gathering towards a more game-oriented event? Or, will it simply boost the video game industry’s positioning as just that: a popular art?

Though I refuse to make an argument for whether or not video games are art, I want to know how video game companies themselves feel about Comic-Con’s role in the video game industry, whether the industry can be celebrated there like it is at PAX, and whether video games will continue to have as much or more presence as comic books, movies, and the other media at Comic-Con.

Whatever the future holds for the presence of video games at Comic-Con, we can safely assume the next ten years will only keep San Diego as the center of the Aquarian Exposition of Comics, Movies, Anime, Manga, and Video Games. And for now, I can at least say I’m proud to be a part of the video game industry’s involvement in the movement for peace and love across all fandoms.

Part of Me: On the Smithsonian’s Art of Video Games

In the farthest reaches of the Smithsonian, at the end of a dark corridor, was a large screen indicating the entrance to the Art of Video Games exhibit. On the large screen were snippets of video game cut-scenes from various video games, old and new, from Pac-Man to Heavy Rain. What really caught my eye were not the images on the screen but the statement by guest curator, Chris Melissinos.

Last month, Destructoid’s Ryan Perez expressed his disdain for the industry’s need to validate itself by calling video games “art.” Mr. Perez notes at the beginning of his article that he is neither the first nor the only one to be tired of the “games as art” argument. I personally never bothered to validate video games as art or not art as I felt that if a medium—an experience—could mean so much to me and be such an important part of myself, does it really matter if the public believes it to be art or not?

I believe this to be the reason why I was refreshed to see the words written on the wall. In three short paragraphs, Chris Melissinos explains the importance of video games in his life, as some of the deepest personal and globally connecting experiences in human history. More importantly, Mr. Melissinos makes it clear that the exhibit was not created to educate viewers on why video games are art, but for viewers to make that decision for themselves, that video games “may even be” art.

The adjacent room, with concept art from a few games and videos of facial expressions captured while playing, housed a small gray panel which explained the goal of the exhibit further.

If I had ever argued that games are art, it was because I believed the definition of art was any piece that made a bold statement that resonated with me when I viewed it. I wondered after reading this panel if Mr. Melissinos wished viewers to leave the exhibit believing games to be art, while still allowing them to come to the conclusion themselves.

I believed that to be the case when I saw the next room, which was filled with demos of games from the original Super Mario Bros. to The Secret of Monkey Island to thatgamecompany’s Flower. Visitors were invited to play through a few minutes of each of those games in the hope that it would either bring back fond memories or help non-gamers understand the meaning of video games and the experiences they offer. Though I could not read what each player in the room was thinking when they were playing, I knew this room was intended to complete the equation explained in the gray panel: the conversation among the game, the artist, and the player.

The final room of the exhibit had a timeline of consoles on display, with video clips from games of different generations from the Atari VCS to the PlayStation 3. After getting my dose of knowledge and nostalgia (and an array of new photos in my camera), I wondered if the hundreds of strangers around me actually believed games are art, refused to believe they are, or were indifferent of the answer. Did each visitor fulfill Chris Melissinos’s goal of at least deliberating the question?

I took one last look at the gray panel: Three Voices—Artist, Game, Player. In this instance, the Artist is the game developer, the Game is the physical product created by the developer, and the Player is the consumer; the one experiencing the game. As I read the passage one more time, the definitions of each voice began to blur in my mind. I believed this to be the goal of the exhibit as well: to allow viewers—the players—to insert themselves into the concept art they saw, into the game demos on display, and into the memories that returned when looking at the different generations of consoles and games. Though we will never know what exactly emerges within each visitor, we can safely assume that each is wholly unique.

Personally, I still do not believe there is a universal truth on whether or not games are art. I could write an entirely separate piece arguing for the importance of the medium, but for now, I have at least come to this conclusion:

Each visitor of the exhibit is the creator of what they took away and of what they believe video games are to them. I chose to focus on what video games have made me and why I chose to agree with Chris Melissinos’ beliefs on the sacred bond the player makes with the game. For these reasons, I believe that the conversation between the game, the artist, and the player—and the blurring of the lines separating the three—brings about a fourth voice. And it is for these reasons that the identity of the fourth voice is up to the player to decide.

Steve Jobs vs. Ezio Auditore: On Leaving Behind What You Started

 

 

 

 

 

I think it is fair to say one of the biggest fears we all share is that we will be unable to finish what we started; that we will die before our dreams can ever come true. I know that fear is always at the back of my mind. When it was announced that Steve Jobs, age 56, passed away last year, I couldn’t help but wonder: in his final moments, was he satisfied with the state of Apple or at least satisfied with Apple’s current path of development as a company? Did he feel like he completed what he set out to do?

Those same thoughts rushed back in my head when I finished Assassin’s Creed: Revelations. For those not familiar with the series, one of the main protagonists, Ezio Auditore da Firenze, joins the Assassin brotherhood and leads it in the fight against the Templars and, of course, avenges the death of his father and brothers who were killed at the hands of the Templars. In Revelations, the last game in the series to feature him, Ezio Auditore, age 52, [SPOILER] moves on with his life and announces that he has done everything he could to leave his legacy:

“I have lived my life as best I could, not knowing its purpose but drawn forward like a moth to a distant moon.

“And here at last I discover a strange truth, that I am only a conduit for a message that eludes my understanding.

“Who are we? We have been so blessed to share our stories like this, to speak across centuries. Maybe you will answer all the questions I have asked. Maybe you will be the one who will make all this suffering worth something in the end.”

(Watch the speech.) [/SPOILER]

I always had immense respect for people who saw through everything they started through to the end, like people who start their own company and run it until the day they die, and friends of mine who started student groups in college and put all the sweat and blood they could into them until they graduated. But when I put Assassin’s Creed: Revelations down for the last time, I realized I have even more respect for people who can accept that seeing something through to the end is not possible, that our biggest fear—being unable to finish what one started—has indeed come true, and the only way around it is to gather all the strength within us to simply move on.

By their 50s, both Steve Jobs and Ezio Auditore da Firenze have left a legacy, one in technology and the other in the survival of freedom. Both gained some degree of a negative reputation by using questionable means towards their goal, one in his apparent treatment of colleagues and the other in the death of many. And both were only conduits for a message—a dream—that might not have been realized in their lifetime.

I believe that we can only take solace in one fact: when one has a dream so large in scope, perhaps there is no way for one individual to reach such a pinnacle, if it exists at all, in their lifetime. Perhaps the only dream or pinnacle one can hope to reach in a lifetime is the lifelong pursuit of it. If we each are already pursuing a dream then perhaps there is nothing left to be afraid of.

You Are Loved (Don’t Give Up): The Tragedy of Amy Rose

Most video game franchises have one character in common: the damsel in distress. From Pauline to Peach to Zelda (in her early days), gamers wonder why these women don’t invest in some pepper spray or better security in their lavish castles. Game after game, players reassume the role of hero and rescue said damsels by defeating the main antagonist.

This concept is hardly exclusive to video games. Other series also have damsels in distress, but they may be harder to identify, normally because what puts them in distress is not always a kidnapping by the antagonist or some sort of physical danger. Damsels in distress come in different forms and in different kinds of distress. But all damsels in distress generally fall into one category.

Ingénue (n.): a stock character in literature, film, and a role type in theater denoting a naïve and wholesome young woman. She is generally placed in emotional, mental, or physical danger and is, most of the time, involved in a romance subplot.

In literature and theater, the most famous ingénue is Ophelia, from Shakespeare’s Hamlet. Ophelia is a young Danish noblewoman who lives under the watchful eye of her brother Laertes and overbearing father, Polonius. She is put in danger when she is led by Polonius to believe that Hamlet is in love with her, only to be told by Hamlet to, “get thee to a nunnery” and that “we will have no more marriages.” Ophelia is heartbroken but forgives him in her soliloquy, “O, what a noble mind is here o’erthrown.” She falls deeper into distress when Hamlet kills her father, driving her mad and to death by the loss of her mentor and innocence.

Ophelia is the classic damsel in distress who does not see her happy ending or get rescued by a mentally recovered Hamlet (he does not show a glimmer of affection to her until after her death). This should certainly make Pauline, Peach, and Zelda realize how lucky they are, that they have a hero who never fails to save them…yet again.

In 1993, SEGA (TriplePoint client) introduced an ingénue opposite Sonic the Hedgehog: Amy Rose. Amy begins her role in the Sonic franchise as the classic video game damsel in distress who must be rescued from antagonist, Metal Sonic. But with the advent of Sonic Adventure in 1999 and her character re-design, Sonic fans were met with a drastically different damsel.

By 2001, in Sonic Adventure 2, she turns the tables and rescues Sonic from his kidnapping and boasts full mastery of her Piko Piko hammer, even going as far as having her own sidekicks in the anime series, Sonic X. However, despite her credentials in independence, Amy continues to maintain her place as the character who is far too innocent for her own good, finding herself in a role that other known video game ingénues would never know.

When Mario rushes off to rescue Peach in each installment, it is often made clear that Mario has romantic intentions in doing so. A Robot Chicken sketch was hot on the topic of similar intentions Link probably had upon rescuing Zelda. A cartoon short by Seth MacFarlane wonders if a similar dynamic existed between Peach and Mario.

Unlike these video game females, Amy not only shed her role as the passive participant in Sonic games, she was never assigned the role of romantic interest. Sonic fans learn from the start that the romance dynamic between Sonic and Amy is in fact the other way around. Amy is first introduced in her permanent lovesick state, a state that will keep her kidnapped—imprisoned—with no hope of rescue.

The anime series, Sonic X, is the one source where a deeper, unspoken connection between Sonic and Amy is explored. Though Amy continues to be rejected by Sonic in each episode, she gets minor payoffs every now and then, in moments where Sonic does not present to her his usual carefree and crass dismissal of her feelings, and in the notable episode where Sonic plunges into the sea to save her from drowning—water being Sonic’s greatest fear.

Hopefuls for a Sonic and Amy relationship would enjoy the anime for giving Amy these small occasional victories over her unrequited love, which is shown in touching detail how much it tears at her personally yet keeps her going day to day. All fans of course begin to wonder, when will she finally shed her innocence along with her damsel in distress image, which she lost long ago, to learn that Sonic will never return her affections? Will she be forever cursed as the most independent ingénue who will never be saved from her loving, but fragile heart?

Perhaps the most tragic aspect of Amy’s character is the notoriety she has gained over her years of failed attempts at a romance she so dreams of with Sonic. Critics like GamesRadar’s Justin Towell describe her as a “whiny, annoying brat in Sonic Adventure.” Even after asserting her abilities as a capable fighter and an independent girl who sometimes finds herself rescuing the boys, she is still the victim of her naivety and never-ending quest to know what it is like to be loved.

What breaks my heart most about Amy is how she has grown into a new age of female video game characters, yet she stays locked in her own castle, one from which even Sonic can’t free himself. But if there is one place where Amy’s true strength shines through, it is in how she manages to avoid becoming Ophelia: the naïve and wholesome girl killed by love and loss of innocence.

Perhaps that is why Amy continues to soldier on in her battle for Sonic’s heart, due to her ability to hold onto her innocence. Perhaps her unrequited love for Sonic is what keeps her strong and alive. Perhaps that is why she remains a well-recognized character in the series, as the symbol of perseverance, the perseverance gamers discovered within themselves when playing through each unbeatable stage in every installment of Sonic the Hedgehog.

Gamers who grew up with Sonic will tell you how difficult each game was compared to others they played and how they just didn’t want to give up, either due to the satisfaction of seeing Sonic rush through the Green Hill Zone and experiencing that fresh air and scent of fresh grass or due to some unexplained force that tells us not to give up.

It is for these reasons that Amy’s tragedy is the hidden inspiration more powerful than any drive to finish the game and rescue the princess: the perseverance that keeps us playing, keeps us living, and that tiny glimmer of hope we all hold—that we might just be loved.