Splinter Cell Blacklist co-op modes partially detailed
FIFA 14 on PC won't use Ignite engine
Ace Attorney Trilogy coming to iOS next week
Far Cry 3 editor jazzed up with Blood Dragon shinies
Epic Mickey 2 for Vita coming June 18
Weekend Confirmed 105 - Journey, Mists of Pandaria, Mass Effect 3
by Garnett Lee, Mar 23, 2012 11:00am PDTAfter a long look at Mass Effect 3 last week, Jeff, Jeff, Andrea, and Garnett turn their attentions to Journey, the upcoming Mists of Pandaria expansion for World of Warcraft, and other games. However, they cannot ignore the interesting turn the controversy over the ending of Mass Effect 3 took with BioWare co-founder Dr. Ray Muzyka directly addressing fans to promise them "clarity" and "closure" through new content the team will create. We also catch up on the announcement of an Epic Mickey sequel along the way to wrapping up with Finishing Moves.
Weekend Confirmed Ep. 105: 03/23/2012
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Weekend Confirmed comes in four segments to make it easy to listen to in segments or all at once. Here's the timing for this week's episode:
Show Breakdown:
Round 1 00:00:30 – 00:27:20
Whatcha Been Playing Part 1 00:27:56 – 00:56:50
Whatcha Been Playing Part 2 00:57:50 – 01:27:58
Listener Feedback/Front Page News 01:28:49 – 01:58:34
Jeff Cannata can also be seen on The Totally Rad Show. They've gone daily so there's a new segment to watch every day of the week!
Follow the Weekend Confirmed crew on Twitter, too!
Weekend Confirmed @WeekendConfirmd
Garnett Lee @GarnettLee
Jeff Cannata @jeffcannata
Jeff Mattas @JeffMattas
Andrea Rene @andrearene
For our listeners in or near Los Angeles - Double Jump (The show Christian Spicer and Jeff Cannata are putting on) is at the Upright Citizens Brigade Theatre on Saturday, March 24th. Check our show notes for more info and the link where you can purchase tickets. People can get tickets online at:
http://losangeles.ucbtheatre.com/shows/view/3042
The first 10 people that say "Weekend Confirmed" at the door get their money back! The show is all ages and should be awesome!
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Original music in the show by Del Rio. Get his latest Album, The Wait is Over on iTunes. Check out more, including the Super Mega Worm mix and other mash-ups on his ReverbNation page or Facebook page, and follow him on twitter delriomusic.
Comments
Anytime I hear that a form of protest or dissent is labeled "Dangerous", I'm a little unsettled (y'know unless the dissent actually causes danger). Whats the danger? The consumer only has as much power as the group is perceived to have. If an prudent "artist" can be swayed by monetary concerns, it can only alter his/her integrity as much as he/she chooses.
I enjoyed the rest of the podcast though, will listen to the rest!
I actually thought the ending wasn't terrible, but the complete lack of closure was. The die hard fans have been waiting for years to find out the long term consequences of key choices that were barely ever brought up again. Even throughout Mass Effect 3 people are shouting "You've made a huge mistake. Just wait to see how this plays out!" Well, I never got to see how it played out. I'm not outraged, just... bummed.
It also compounded some of the ill will surrounding the release: A concluding novel that seemed thrown off to an unfamiliar author, day one DLC, market saturation and odd product tie-ins. Had the ending been great, I think all would've been forgiven but this just added to the discontent.
That said, I loved everything almost right up until end credits. I've loved being in the universe and am grateful that Bioware did so well for so long and won't be letting the temptation of righteous nerd rage to sully my affection for an amazing series, great characters, and memorable experiences.
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The excitement is a better competitor in the arena. Heck why do we have harddrives rather than memory cards competition:)
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I think Bioware themselves addressed their critics far more appropriately, as fans and customers who have expressed both their dissatisfaction with part of a purchased product, as well as possible willingness to pay for more content.
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There are multiple threads on their boards right now that have listed dozens of quotes made by Casey Hudson and other development staff throughout the last year that promise not to leave questions unanswered, force people into an ending they don't want, or limit their choices to A, B, and C.
They did ALL of that. They set their fanbase up for disappointment from the very beginning, and are now surprised that they are disappointed.
It's not people being angry that they didn't get the ending they wanted. It's people being angry that they didn't get the ending they were promised.
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No, no Garnett, settle down mate, I'm not referring to Sasha Grey's foray into mainstream cinema but rather my girlfriend's experience in playing Journey.
First let me say I'm in a similar boat as the two Jeff's. For me Journey was an amazing piece of video game "art". What I took away from the game was extremely emotive and an overwhelming beautiful experience. It's for that reason I was interested to see what my girlfriend thought as she is quite interested in independent film but has little to no interest in video games.
After walking her through the use of the controller and the first section of the game (just past the title) I left her to her own devices. I'd peak in along the way to see how she was progressing but more often than not I found myself reacting to loud noises of frustration than long periods of silence. I was sure to observe whilst she hit what were key points for me (SPOILERS), the sun shining through the ruins as you ski through them, the death of your character scaling the snow laiden mountain and your "re-birth" through the heavens. But in every case where I was marvelling at the environment and taking in the score she seemed more happy to not have to focus on jumping or collecting anything rather than soaking anything up.
When she'd finished I asked her what she thought of it overall. Her response "cute". Further prompting as to elements of the story, or rather what her interpretation was were hollow in response. She found the game "finicky" and "annoying" when trying to reach certain areas the other player was calling for her to go to.
Now obviously this is a one user test case but I had really hoped she was going to find more of a connection with the game. As it turns out because of her unfamiliarity with gaming and gaming concepts she was left confused a lot of the time and ultimately that frustration outweighed the underlying story of the game. It was a relief for her to finish rather than an experience she would refelect on, where as to a seasoned gamer like me the gameplay was simplistic and purposely designed that way so I could take other aspects of the game in.
It was an interesting experiment, one that I hope to repeat with similar gaming experiences to come. Has anyone else done similar? I'd be interested to know how their normally "non-gaming" friends go and what they come away with.
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Oh but we've made it so far in story telling as a medium... No it's still just story then gameplay then story then gameplay, and just like porn the 2 don't mesh into one all that well. Unless you're a fan of the medium and can see past those road blocks, but that doesn't make it better.
Journey so what not original look at Super Mario Bros.
Mass effect or you could just say final fantasy.
Gears of war yeah we called that contra.
Oh oh but Heavy rain... Forget about myst.
Listen I love games and I'm dorky enough to love there stories, but at least know what you are in life. There not getting any better they just have prettier shades of grey now.
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My question is if a developer can change/alter their game for fans even if the fans already liked it without consequence from the media, why can't Bioware do that same thing with out getting labeled as sellouts?
Is it because CDProjekt are doing proactively on their own, even if some people did complain that the story was difficult to follow?
I for one don't want Bioware to change the ending I just want more clarity as to WTF happened at the end whether it is all a dream or not.
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Yet you guys brought up Charles Dickens who changed the ending to Great Expectations due to negative reaction.
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http://www.forbes.com/sites/erikkain/2012/03/27/mass-effect-3-and-corporate-influence-over-commercial-art/
Creatively and intellectually speaking, ME3's ending was terrible!
Point; you do not introduce something so pivotal at the very end of a 100+ hour story that pretty much undermines the entire threat with circular nihilistic arguments that more or less unravels everything you've done and are talked down to by a narrator that's more or less Casey Hudson, hopped up on his ego.
And for pete's sake, if you're going to invoke the mental masturbation that is 'it's not the destination, but the journey that matters', understand that the ending is just as important.
Honestly, it's getting so very tiresome to hear the gaming press belittle and insult the playerbase that have the sheer audacity to call out Bioware when they not only fail spectacularly, but try and claim that the BS that pretty much invalidates everything you done and have chosen, in a series lauded for it's freedom (or illusion) of choice is in any way acceptable.
The bottom line is; the genius who thought that the ending was good was trying to pretend they were Stanley Kubrick and they ended up looking like M. Knight Shamalan.
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I'm writing this post from the point of view of someone who takes the "Shepard Indoctrination" theory to be the actual intended interpretation of ME3s ending. For anyone not familiar with this theory, watch this: http://www.youtube.com/watch?v=ythY_GkEBck
I don't want this thread to be about the actual meaning of ME3s ending, so lets just pretend for the sake of argument that the Indoctrination theory is definitely accurate and correct.
In my opinion, Mass Effect 3's ending was an absolutely brilliant, subtle, and powerful piece of interactive storytelling. The fact that the player is put directly into Shepard's shoes when it comes to facing the Reaper's final deception is a testament to the potential for gaming to deliver unique dramatic experiences.
And yet..... almost almost nobody noticed. Despite my deep absorbtion into the story and universe of Mass Effect, I was too busy "playing the game" to notice the dozens of hints and clues littered throughout ME3. When I got to the ending, I was too busy waiting for an "LT" or "RT" prompt on the screen to really consider what I was seeing.
"Why is the VI taking the form of the little boy from my dreams?"
"Why did shooting Anderson cause me to bleed?"
"Why is Hacket saying that all alliance troops have been wiped out even as I walk towards the beam?"
I noticed all of these strange elements, but the "gameplay" portion of my brain overpowered my ability to try to figure out what I was seeing. On top of that, there is a laundry list of hints and clues that I dind't even notice at all....
The "dream trees" appearing around me as I walked towards the beam,
Shep's eyes glowing "Indoctrenation Blue" after I made my final choice,
James asking about the "low rumbling sound" on the Normandy,
the reversed use of reneagade and paragon colors to try and influence your decision,
the fact that 2 out of the 3 final choices are the same paths taken by Saren and the Illusive Man.....
I completely missed all these details. These are the kind of details I'm sure I would have noticed had I been watching a film or TV show, but in a videogame they went right over my head. And I think its safe to say these details went over most people's heads.
We constantly ask for deeper, more complex, and more subtle stories from developers. But when we are given one, most of us are too distracted to notice. Part of me thinks that Bioware should have made the meaning of ME3s ending more obviouse... more aparant. But that would defeat part of what makes it so brilliant to me. Spelling out Shepard's indoctrination would make the Reaper's trap completely transparent. The sequence would lose all poigniency. In other words, I think the ending is brilliant BECAUSE it fooled me. But I wouldn't even have realized that I'd been fooled if the hints hadn't been pointed out to me by others.
So: How do developers give us what we want? How do you tell a story with subtlty and depth when most of the audience isn't really paying close attention?
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As someone who hasn't played any of the Mass Effect games, but has read about this controversy, I personally think that Mass Effect fans are "entitled" to an ending that's more substantial than a 2.5 minute Bink video with palette swaps. Is it too late to wash away the stink of that lackluster handling? Yes. Is it too late to build a new ending series that's bigger than just "press A, B, or C"? Yes. But I think that at least some text on the implications of those decisions would be better than some Bink video that was phoned into Blur studios (or whoever they had do those renders) a few months before certification.
The multiple endings thing made me think about Catherine. Atlus had Studio 4 C make six sets of ending animations, all unique, all with dialogue. That of course requires finishing the writing ahead of time. Which makes me think: how much was BioWare making up the Mass Effect 3 story as they went along?
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I bought the Gears of War 2 theme for my xbox because I wanted to support Epic.
In return I am given the ability to buy weapon skins which apparently are 3 times better than say a game like Shadow Complex. I am shown a seasons pass which is so horribly handled that by the time the multiplayer maps I thought I was buying all along are released the gaming community has moved on and are playing other games. As well the community that is left can be some of the rudest people you will ever meet online.
I bought the ME2 theme for my xbox because I wanted to support Bioware
I bought the alternate character outfits for my characters in ME2 not because I thought they were worth it, but because I wanted to support Bioware.
I bought pretty much every piece of DLC for Mass Effect (1 & 2) not because I thought they were worth it, but because I wanted to support Bioware.
I don't like the ending, I am told I am too stupid to understand the authors intent and that I have no right to ask if something could be released that explains what I just saw. For supporting Bioware the only thing I see are people in the forums upset more than I am and they are outright demanding changes. I wanted to see the final battle where if I hadn't got the support of the Krogans, that some team on the ground was wiped out. I wanted to see the Quarians save an alliance ship because I had done their missions. Instead, I saw the exact same ending everyone else saw, save a color variation.
The solution to everything like Jeff said is not purchase Day 1 anymore. This will also be a huge problem down the road. I am planning to purchase 2 more games this year day 1, that is it. There will be no more seasons passes for me, there will be no midnight launches, there will be no more trying to get every piece of DLC as they make it harder and more expensive for me to be called a true fan. So, companies like Bioware and Epic can no longer count on me for day 1 purchases. They cannot even count on me for DLC purchases anymore as I will wait and see if they are all included in an ultimate edition later down the road.
I wanted and expected a game I could play over and over and see how it would have played out differently if I had sided with "A" instead of "B" is not there. That if I had let "A" live and "B" die I would see a different cutscene at the end of the game. That to me, is not an artistic choice, but something that should have been included in the game no matter what the ending is.
Well I buy another Bioware game? I imagine I will and to say otherwise would be extremely short sighted of me. Will they get my money on Day 1, never again. Maybe me not buying Day 1 will do nothing to a studio like Bioware, or a publisher like EA. I don't know and I don't care anymore.
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This is amazing news!
Now instead of an MMO that probably would have tanked (like 9 out of 10 do), we might be getting a sequel (spiritual or direct) to Warhammer 40,000: Space Marine!
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One thing I noticed though:
As much as I love the player interaction, and believe me, I love the player interaction; I find that I wish there was an option to limit or extend the possibilities of playing with people. Let me explain further. My playthrough consisted of me meeting 8 travellers along the way. While playing, I definitely didn't feel I met 8 people, but I definitely felt like I met more than 3. You can figure these moments out simply by human behaviour. At some points I noticed my companion was behaving different than normal, and after playing I am now certain that I was playing with a different player. While this idea is OK and works to the point where unless you are paying attention it is hard to notice, I find that a more powerful way to experience this game is to play with 1 person only. That way you can have a unique experience with a complete stranger; an experience that has potential to be the most emotionally powerful thing you have experienced in gaming. I find just a hint of this is taken away knowing the idea that you can be playing with handfuls of people at any one time.
Yes eve player will keep this going and add to the player base. But how good are those players actually going to be for competitive/casual shooter fans to play with?
The idea of 2 games working intandem sounds great, in practice it's not worked to potential yet. I think we would need bigger properties to fuse together than eve and another mediocre PS3 shooter to get any real progress. Like WoW and call of duty somehow, or wow and pokemon, or street fighter and Tekken lol:)
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Seriously, what if 25% or 50% of people who regularly purchase games decided to wait until 2 weeks after a release date to purchase, would it have any impact on total sales over the life of a game? How many would find out during that time period that a game was broken, or total crap, and not purchase at all or purchase another game that came out during that same. time.
The show is called "Playtime", and the 3rd season premiers this Tuesday, March 27.
It is being released on Halo Waypoint, with a new episode coming out every Tuesday between now and the end of May (10 episodes total). The best part is that you will be able to watch it on any version of Waypoint: website, mobile app, or even on the Xbox 360 dashboard :D Of course, the show will also be available on YouTube.
For fans of Halo Forge mode, I make all of the custom "sets" available to download on the show's website: www.playtimeshow.com
Here are a few trailers for Season 3, if anyone wants to take a look:
http://www.youtube.com/watch?v=R8IfTxYVV4E
http://www.youtube.com/watch?v=h3C8L7dcXyE
http://www.youtube.com/watch?v=KKdB-GoIka0
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http://www.youtube.com/watch?v=4ADe2vYUbWc
(36 seconds in)
POP, FF13-2, ME3 and now Asura's Wrath.
How dare people demand not to pay for the endings to games! They're so entitled!
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(I think maybe two people besides me will get that joke)
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All I can really say is that your opinion is incorrect. Sine Mora is not a good game.
- The planes are squirrely and twitchy at the best of times, nevermind that they move at the same speed even when the much lauded slowdown power is active. What the hell is the point of a slowdown mechanic where you still move at the same speed? All that does is give you more time to look at the bullet patterns as your twitchy little gnat of a plane bangs into them.
- Boss hitboxes are small and fussy. Hey, I'm all for moderate bullet spray, but the rule of thumb in good shmups is that you're shooting in the general direction of the enemy while your primary focus is on weaving through bullets, protecting your own hitbox. Having small targets all the while means you're only dealing damage when lined up with a specific horizontal slice of the screen. In a game where the time limit is your health bar, this presents a problem.
- Tons, and I do mean TONS of "aha, I gotcha" moments, where enemies or obstacles fly onto the screen completely and utterly without warning or without adequate time to react. The bosses in particular are really bad for this, often having sudden, fast moving attacks that sweep the entire screen. Cheap hits is not the same thing as challenge.
- Some bullets or obstacles blend into the background. Ever notice how Cave and Touhou shmups tend to have large pink and purple bullets? There's a reason for that: you can fucking see them! It's the same reason why the backgrounds tend to have a muted colour pallet.
- Two words: Gradius Syndrome. Your success in several areas is more or less dependent on how powered up your guns are. If you lose your powerups, good bloody luck.
- Powerup drops are anything but balanced.
- Poor level design and pacing.
- I will concede that the art style, music and story are all amazing, but that's not really what you want to hang your hat on when making a horizontal scrolling shooter.
- On the whole, I wouldn't call it garbage, just very amateurish. There's still some fun to be had, but the design just seems kind of haphazard and poorly thought out.
If anyone out there is curious about the genre but found the whole danmaku thing to be too intimidating, I urge you, don't pick Sine Mora as your gateway game. Jamestown is cheaper and a better game in every way.
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I'm starting to think that won't happen until gaming is more like music and movies and games keep gaining money after the initial release. Think about how much money Pink Floyd would have not made off of Dark Side of the Moon if it only came out to be abandoned after release.
HD collections and places like the Virtual Console are an ok move, but until the process of releasing old games becomes the norm, and until publishers and developers libraries of titles are looked at as more than IP, this problem will continue.
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X-Files
Lost
Battlestar Galactica
These all had *terrible* endings that ruined the experience for me to the point where the entire experience was ruined and I will *never* go back and watch those again.
A poor ending *can* ruin an experience, if it seems like it's poorly thought out or not much effort is put into it.
Other than comics, gaming is the only medium where things can possibly be rectified.
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How long you figure before one of these spoiled children goes off the edge and chains Casey Hudson to a bed until he changes the ending? :P
They send a really interesting message. Now, presuming an essential part of the game isn't lock away behind a micro-transaction or the function of a micro-transaction isn't the banishing of ads, the message of micro-transactions seems to be "pay us money to not play our game".
This could be a device of the reward being greater than the experience. People might grind for an achievement or superfluous emblem in a game in a way that isn't enjoyable to play so repetitively. Isn't that strange to anyone?
Take Mass Effect 3. You can pay to get extra credits to unlock more gear. But you can get more credits by playing the game, y'know, the game you supposedly bought because you'd enjoy playing? So now you're paying X amount of dollars for a game and then paying small amounts on top of that to avoid playing the game.
I would have thought that if you wanted extra credits you'd play the game to get them because the game is a rewarding experience and you get rewards by experiencing it, y'know you enjoy the gameplay and then the game rewards you, then rinse and repeat. If the game was fun to play why would you pay money to skip playing it?
Then it makes you wonder. Do designers purposely make their game not fun to pay unless you pay little extra fees? Do they create a desirable reward for players that could be obtained by playing the game repetitively but then hide it behind an amount of repetitive gameplay that is mind numbing and boring to achieve no matter how fun the game is?
Makes you think huh?
I really want to love games like Ico, SotC, and Flower, but they all have controls that feel stiff and non-streamlined. I also think people confuse their use of mystery and lack of story as a good replacement for story. Sure, that is a great technique to use for a bit, but after a while I want to find myself learning more about the worlds I explore than just seeing an environment and hints of a society. I've tried beating both Ico and SotC at least four times each, and every time I give up a few hours in after I start to get boredny the lack of exposition. That doesn't mean I don't get them or don't want to love them- I do. I'm just a different type of gamer that respects this type of title, but doesn't love playing them. I wish I did, but I'd rather play Zelda any day.
I haven't played Journey yet and actually think it looks much better than Flower, but I've already heard people and journalists say that anyone who detracts from the game just doesn't get it.
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The controls seem to be the most divisive factor, I can't promise you won't have any trouble with it, but I will say that for myself personally, it felt absolutely impossible to wrap my head around it for the first couple chapters, then it slowly started making sense. Finding a way to hold the system that didn't cause any cramping or discomfort took a little while as well, though from reading reviews, some people are having much more difficulty than others.
The only advice I can offer in that regard is that you don't need to keep the stylus pressed on the touch screen at all times. Think of it less as a surrogate mouse and more as a surrogate track ball. Give it a flick to spin the ball, then give it a tap to stop it, and don't worry too much about precision, the game seems to be built around broad strokes.
Also, the lefty controls work just fine. There are several configurations available, and you can jump directly into the practice arena from the options menu to try them out.
The writing is really self aware and clever, and the voice acting is great. The combat has a great feel to it, and the more I play, the more subtlety is revealed. I thought I was getting to be pretty good at it, then I jumped into multiplayer and got completely massacred, so clearly, there's much more to learn. The weapons are all varied and interesting, and the loot whoring, while not up to the level of a Torchlight or Diablo, still makes re-playing stages on higher difficulties very enticing.
Speaking of which, the difficulty slider in this game is excellent. The balance is absolutely perfect between how much it costs to boost the difficulty, how much greater the rewards, and the penalty for dying.
I know, I have a reputation as a big N fanboy, so consider the source, but honestly, I was excited for this game when I saw the reveal trailer, then it'd fallen off my radar completely, to the point where I couldn't care any less, then the pre-release hype train got me back on board at the last minute, and this game did not disappoint at all. One of the best games for the system.
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Jeff's reaction like '....yeeeeeeeeeeah, actually...' was great too. :P
The camera was a disaster, the painting mechanics were simplistic and dull, and the Disney Land hub world felt as hollow and fake as the actual themepark.
There is no better example of a game held back by the Wii than Epic Mickey.
For me, I was disappointed that Spector and company scaled back on the original concept, of a dark, twisted, steampunk Disney universe that Mickey had to save. I envisioned going up against twisted, robot versions of Donald and Goofy, exploring dark, phantasmagoric versions of Disney cartoons. Never got that... it was like Disney or Nintendo or both looked at the Wii audience and said... 'yeah, maybe make it a little bit more idiot-proof art-wise.'
Ah well. Here's hoping for the sequel.
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It reminds me of the original Metroid. Metroid showed you that you could go from right to left in the beginning of the game by putting an impassable object in your way to the right. Back then a lot of games had you going from left to right so they wanted to demonstrate that you could move in any direction. Once you do go left, you immediately pick up a power up (the round ball) that allows you to continue where you could not previously go. Those two lessons are taught at the beginning of the game with little to no text, just experimentation. I love this kind of tutorial and wish all games did it this way.
Also, sorry to Jeff for talking your ear off when I got nervous. I didn't mean to blab like an idiot.
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I was laughing so hard I couldn't even make a sound.
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Without spoiling anything, my problem with the ending on Mass Effect 3 is the few last seconds on the ending that I chose. Those last seconds didn't provide closure at all. Just to give some sense to what I'm talking about, my end had orange...
But I do agree that they shouldn't change the ending. All the time I played the game was well worth it. But in my opinion because of the choices I made, I found that my Renegade story was more fulfilling because of his last action than my Paragon, or my Own (this character wasn't a renegade or a paragon, he was the character that did what I would do without a care in paragon/renegade points).
And I did like Journey a lot. It was a fantastic experience. And one I will have to repeat someday in future.
I actually still have one hour of the podcast to listen to, but I thought I should come and express my opinion on the matter while it's still fresh.
Keep doing what you do, Weekend Confirmed became my company on the bus :D
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if this is true then the writers at Bioware may have pulled off one of the greatest feats in video game history.
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