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“Before I begin, our guys are running around backstage trying to figure out what’s up. Why? There are 570 WiFi base stations in the room… would you like to see the demos? All you bloggers need to turn off your base stations, put your notebooks down.”
The iOS in context
- “Now, there’s another major milestone we’re about to hit: this month we will sell the 100 millionth iOS device.” Applause. “That’s iPhones, iPod touches, and iPads, 100 million. There is definitely a market for your applications.”
Cisco iOS Cisco IOS (originally Internetwork Operating System) is the software used on the vast majority of Cisco Systems routers and current Cisco network switches. (Earlier switches ran CatOS.) IOS is a package of routing, switching, internetworking and telecommunications functions tightly integrated with a multitasking operating system. The first IOS was written by William Yeager.
isco IOS® Software releases deliver cutting-edge technologies and industry-leading Cisco IOS Software functionality. Continuously adapted to meet evolving business needs, the full portfolio of Cisco IOS Software releases is tailored to address the requirements of specific markets and customers. Sound software development, quality assurance, and rapid time to market are fundamental to the success of Cisco customers' networks, and the Cisco IOS Software release strategy reflects these needs. This strategy, designed to minimize operational spending, maximize return on investment, and improve business productivity, assures the reliable delivery
This year WWDC sold out in 8 days. There were over 5,200 attendees from 57 countries.
Afterr dicussing the iPad and the way it has changed the way we “experience the web, email, photos, maps, video,”
Steve Jobs went on to tell the audience that over five million iPads have been sold to date, one every three seconds. The iPad is now in ten countries.
There are now 8.5k native iPad apps in the App Store… they’ve been downloaded 35 million times. That’s about 17 apps per iPad.
Steve talks more about the business case for iPad apps He showed off iPad app Elements and referred to an email stating that they “earned more on the sales of Elements for iPad the first day than on the past 5 years of Google ads on periodictable.com” he went on to say that “This is what we LOVE to hear from you guys.”
In terms of the iPad he said that “As you know, you can create highlights, you can also make notes. Now you can make notes. In addition, we’ve added a control to just tap and bookmark a page — under ToC you’ll see all the notes, highlights, and bookmarks.”
They also announced PDF support in iBooks After Big applause he described how you can now view PDFs. “We’ve put a little selector at the top — books and PDFs. You get a whole new bookshelf just for PDFs, they just look gorgeous.”
AOL's IM service, ICQ, has been sold to a Russian investment group called Digital Sky Technologies. This comes after the news that AOL is either to shut down or sell Bebo.
And it seems the purchase of ICQ was a similarly shaky deal. The $187.5 million deal with DST is far below the $200- to $250 million AOL is reported to have been asking for, and is despite the fact that AOL forked out $287 million when it bought ICQ in 1998 from Israeli outfit Mirabilis. And $287 million was worth a lot more back then, too.
AOL says that the sale will allow it to focus on its "core communications strengths in the US and other strategic markets through AIM, AOL Mail and the company’s Mobile applications".
Online reports suggests that ICQ has more than 32 million unique visitors per month, with its largest fan base in Israel, Russia, Germany and the Czech Republic.
iVirtua has exclusive official screenshots of Windows Live Messenger for iPhone.
The application will arrive in June alongside the rest of Windows Live Wave 4. According to our sources, Microsoft will unveil the next generation of Windows Live Messenger tomorrow but will not ship bits to public beta until June. A limited private beta is expected to take place in May.
Windows Live Messenger for iPhone will include photo sharing, chat and a social stream for users.
Microsoft wrote:
In the not-so-distant past, your friends were mostly on one IM network, mostly on a PC, and it was easy to keep track of what they were doing. Today’s instant messaging is still mostly about people who are online on a PC having a conversation with each other. In Messenger, these conversations occur between more than 320 million users who exchange more than 10 billion daily messages with their real friends.
But in the last several years, conversations have shifted beyond IM sessions, to activity on social networks, sharing in email, and SMS messages.
People have hundreds of “friends” across numerous social networks and sharing sites, but most people still spend most of their time communicating with a core group of people. To stay up to date with these "real friends" you have to go from site to site and wade through long lists of posts. And really, most people don’t need another social network – the one they have is just fine.
Messenger will always be great for IM, and we’ll do more to make those conversations even richer. But Messenger is evolving into a companion for your social networks, so you can stay in touch more easily with your closest friends across the many services you and they use. As we broaden Messenger's reach, we remain committed to ensuring that you’re in control of your privacy. From simple defaults that keep your private life private, to powerful controls customizing how you share.
There's no release date as yet for the IM update with Microsoft UK saying simply that it will be available to download "in the coming months". The release also states that the "new Messenger is the first of the upcoming new suite of Windows Live communications and sharing services to be revealed".
It's nearing on two years since I wrote my editorial complaining about the state of the gaming review system. I still believe it's just as broken as it was two years ago, but I'd like to tack this addendum to the piece how you, the average gamer, are helping continue this system of back-slapping and journalistic mind-melding.
Lately, Internet forums have gone into DEFCON 5 over several magazines and high-profile reviewers that have bucked the norm and given popular franchises less than stellar write-ups. When one writer takes the time to play a game and post their thoughts to their respective websites and tell you, the reader, what they really thought of the game, many readers seem to ignore this and scroll directly to the bottom of the page. When they see that their favorite franchise has been saddled with the tragic score of 5/10, they immediately begin to hyperventilate and Outlook.exe files across the land begin to fire up in preparation for an assault on that reviewer after what obviously was a lapse of judgement on his part or full-blown mental retardation, depending on whom you ask.
In most reviews, writers point out their likes and dislikes in each game and while I steadfastly believe that they do a rather poor job of maintaining a reasonable level of expectation for what a game can and should be to a player, breaking down a game's contents is of the things they do pretty well, all considering. Yet few pay attention to this in favor of fawning over Metacritic and GameRankings. Both are useful tools in their own right because they put multiple reviews at the tip of your fingers in just minutes, but the aggregate score itself is only second fiddle to content. What does it tell you? It boils down hundreds of thousands of words of text into a number that means little on its own. One reviewer may love the story of Final Fantasy, another may hate it. One may hate the gameplay while the other loves it. Both may score it 7/10. What did you learn from that aggregate score? Here's a hint: absolutely nothing.
Let us admit a simple fact: reviewers are human beings. They have an opinion on something, just like you or I. They will hate games that you enjoy and list as one of your all-time favorites. They will score games 4/10 that you would give a perfect score. I hear people scream about how reviewers should conform to some kind of mysterious standard. What does that even mean? Being disingenuous with their own opinion while reviewing a game is the last thing we should wish for as a gaming populous. That leads to the very problem we're facing now, which is that game reviewers have largely gone the way of groupthink and rarely have the courage to stand up and say that they didn't like a game because most of their peers have already shot it into the 85+ spectrum of Metacritic.
Courtesy of our very own VGC poster Kasz, here is a great quote from Roger Ebert regarding movie critics:
"I have quoted countless times a sentence by the critic Robert Warshow (1917-1955), who wrote: "A man goes to the movies. The critic must be honest enough to admit that he is that man." If my admiration for a movie is inspired by populism, politics, personal experience, generic conventions or even lust, I must say so. I cannot walk out of a movie that engaged me and deny that it did. I must certainly never lower it from three to 2.5 so I can look better on the Metacritic scale.
I cringe when people say, "How could you give that movie four stars?" I reply, "What in my review did you disagree with?" Invariably, they're stuck for an answer. One thing I try to do is provide an accurate account of what you will see, and how I feel about it. I cannot speak for you. Any worthwhile review is subjective. If we completely disagree, my words might nevertheless be useful or provocative. If you disagree with what I write, be my guest. If you disagree with how many stars I gave it, you can mail your opinion to where the sun don't shine."
Instead of taking that reasonable approach to reviewers and their opinions, gamers swear off Edge Magazine because they recently gave a big-budget game a 5/10 which is, under their scale, an “average” game. Instead of embracing the review sites that have the courage to say what they believe instead of deferring to a Metacritic aggregate in an attempt to fit in, gamers revolt and throw childish tantrums across gaming forums throughout the world. These gamers are so short-sighted that they fail to realize that these people are the ones we should look up to, not crucify, boycott, and complain about for months on end. Do we have to agree with their scores and reviews? Hell no, but at least they're putting themselves out there instead of white-washing a game's faults because their parent company depends on thousands of dollars of ad revenue from the publisher of said game.
To put it in Old West terms, many of you are actively cheering for the man in the black hat, you just never stopped complaining long enough to realize it.
In a final point, let's take a look at the movie industry and their review system. It's not unusual for one reviewer to award a movie with a 95 score while three others punish it with a 60 or below. In fact, it's the norm within the industry. Let's take a look at a few examples:
Inglourious Basterds was nominated for Best Picture by the Academy and will surely enter cult film status within a decade. What did it score on Metacritic? A whopping 68 out of 100. How did it rate so low? It's simple; eight reviewers rated the movie at 50 or below. They pointed out their likes and dislikes and surely informed many people about why they didn't care for the movie. That's the way it's supposed to work. It should also be noted that five other reviewers gave the movie a perfect score.
But wait, didn't they expand the Best Picture list this year? Maybe Inglourious Basterds isn't that great of a movie. So let's browse through a few of the recent movies that have won the Best Picture award:
• Slumdog Millionaire: 86 Metacritic, one score at 50 or below.
• No Country For Old Men : 91 Metacritic, two scores at 50 or below, including one 38.
• The Departed: 86 Metacritic, two scores at 50 or below, including one 40.
• Crash: 69 Metacritic, 13 (!) scores at 50 or below.
• Million Dollar Baby: 86 Metacritic, 3 scores at 50 or below, including two 20s!
Not only are reviewers more scattershot across the movie board, which leaves me to believe that they're not so bloody afraid to give their real opinion of a movie, but look at those scores! Those are the “Best Pictures” of their respective years as voted on by the most powerful film organization in the world and one of them can't even pull a 70 in an aggregate system.
Do you know how many video games Metacriticed over 90 in 2009? According to Metacritic, across the six major platforms, 12 games were better than the average Best Picture of the past five years. That's one year of gaming and that is only including multi-platform titles once. There's something wrong with this system but not all the blame can be put on the reviewers. We, the gaming population, have to rise above these childish antics and stop score-whoring every game that releases. In fact, I'm of the opinion that no Metacritic score should be used for anything ever again, period. We should stop blasting reviewers for having an opinion and breaking a game down piece-by-piece in their writing merely because they didn't give the score “we” wanted for that game. If you can't spend enough time to read a review to see if the reviewer marked off points for a game element that you consider to be a plus, you should really just shut the hell up and not talk about the review. Or maybe you should read the piece and argue the validity of its points. That would be a novel concept.
For those of you who can't be bothered to read this editorial, let me summarize the above paragraphs so you can go back to bitching about a reviewer having the courage to state his or her opinion:
RTFA.
Edit: Thank you for all the comments on this editorial, both affirmation and criticism, but I have one thing that seems to be misunderstood and unfortunately, VGC has come under some fire for a few things that were said. Some of you have construed this piece as an attack on meta scoring systems. This is not the case. Meta systems are simply a purveyor of information and do not, nor should not, control any of the information that comes to you, the reader. They relay information, nothing more, and therefore the fault lies in the review system. Proof of this lies in the fact that Metacritic has scaled their gaming review green-yellow-red system differently than other forms of media. That's not an indictment of Metacritic, that's an indictment of the gaming press.
Personally, I do not agree with the way much of the gaming public views aggregation sites and their numbers. On the other hand, I think aggregation sites do a pretty damned good job of putting many sources of review at our fingertips, which was a point I made early in my editorial.
Anyone who knows me understands that I would never write this unless I fully believed it. I do. My original piece did not differentiate my criticisms well enough. That fault lays in my hands, the writer, and no one else. I'm not apologizing for my opinion, only that I did not state it clearly enough.
Orange has announced that it hascome to an arrangement with Apple to sell the iPhone in the UK, whereit will be the only network other than O2 to sell the iPhone 3G and 3GSin the UK. Orange announced the deal in a short statement, although details on pricing tariffs and availability are yet to be revealed.
"OrangeUK and Apple have reached an agreement to bring iPhone 3G and 3GS toOrange UK customers later this year. Orange globally now offers iPhonein 28 countries and territories," said the statement. "Orange,which has the largest 3G network covering more people in the UK thanany other operator, will sell iPhone in all Orange direct channelsincluding Orange shops, the Orange webshop and Orange telesaleschannels, as well as selected high street partners.
28th September 2009, 08.30am:Orange UK and Apple have reached an agreement to bring iPhone 3G and3GS to Orange UK customers later this year. Orange globally now offersiPhone in 28 countries and territories. Orange, which has the largest 3G network covering more people in theUK than any other operator, will sell iPhone in all Orange directchannels including Orange shops, the Orange webshop and Orangetelesales channels, as well as selected high street partners. Apre-registration site for customers to log their interest has alreadybeen launched at www.orange.co.uk/iPhone. More information on pricing, tariffs and availability dates will be released in due course.
O2 has responded to the news that Orange will be stocking the iPhone by confirming it will continue to stock the device. "We'reproud that we've been able to offer an exclusive iPhone deal to our 20million customers for the last two years. We always knew that iPhoneexclusivity was for a limited period of time, but our relationship withApple continues and will be an ongoing success," an O2 spokespersontold TechRadar. "We have over 1 million iPhone customers and they remain very important to us. "Weaim to offer our customers the best devices on the market, includingbecoming the home of Smartphones and we are really pleased to now addanother device in the Palm Pre. "We also offer award-winningcustomer service and benefits, which is why more people choose O2 thanany other network in the UK." Network blow O2 has recently been under fire for failures in its data provision,and this new announcement will be another blow to the network as it'sjoined by Orange in stocking both the iPhone 3G and the 3GS. Thespeculation regarding O2 losing exclusivity of its iPhone range hasbeen rife for months, although it was expected that only the iPhone 3Gwould be offered to other carriers, with O2 retaining its status as thesole stocker of the 3GS. O2 will still be the exclusive stockistof the new Palm Pre when it debuts in the UK next month, but given thisis over 10 months since the device was announced it's not going toattract interest in the same way the iPhone has over the years. We'restill awaiting news on whether Orange will drop the price of the iPhonecompared to O2, but we'll bring you news as and when we get it.
Orange recently revealed plans to merge its UK network with DeutscheTelekom's T-Mobile to create a business with 28.4 million customers. If given the go-ahead, it would be the UK's largest provider, overtaking Telefonica's O2, with about 37% of the mobile market. "Thatwould be good for Apple," said Mr McQueen. "Then, around three quartersof the UK market will then have access to the iPhone." O2 hasoffered the handset in the UK since its launch in 2007. In February, itsaid it had sold more than one million of the handsets. The launch of the latest iPhone 3GS in June significantly boosted sales, with many stores running out of stock. The phone has also allowed the firm to win subscribers from other networks, according to analysts. However,the rise of smartphones - which have the ability to surf the web andsend e-mail - has put a burden on the O2 network, according to MrMcQueen. "IPhone users to tend to use data quite extensively - perhaps more than anticipated," he said. "Orange has always a good data network and if the T-mobile deal goes through it would allow them to share the burden." O2 will continue to sell the handset in Britain, alongside iPhone rival the Palm Pre. The Palm phone, described by some as an "iPhone killer", will be available exclusively to O2 from 16 October. O2 said that it always knew that its exclusive deal was for "a limited period of time". Thenew agreement with Orange brings the UK into line with many othercountries around the world which have multiple operators that offer theiPhone. In countries where exclusive deals still persist, suchas the US, some customers choose to "unlock" their phones using thirdparty software so they work on an unlicensed network. However,Apple has warned that the practice can cause "irreparable" damage to ahandset and has engaged in a game of cat-and-mouse, releasing periodicsoftware updates which prevent unlocked phones from working correctly.
The past few weeks have come with two major reveals for the weirdoswho follow online social networks. The first was big news. Twitter’sinternal documents leaked and the identity-crisis of earth’s most popular start-up is now public. The second was more under the radar but just as important. In a memo that went out to staff, the CEO of MySpace admitted that their users are caught between three competing notions of what MySpace is or should be.
Twitter and Myspace are different companies in different markets butthere is a lot of evidence to suggest that they share, and will alwaysshare, the exact same problem. MySpace and Twitter are hugely popular for uses neither company anticipated.The mission of each company is so vague that their products arestretched and molded into a variety of different uses. Instead oftargeting and building their business around one of these users they take their sudden popularity as a sign they have a killer product. They don’t.
Scale is Everything
When an industry is in transition or an idea like ‘social networking’ is still being fleshed out, getting explosively popular without knowing the nuances of why is a curse.Twitter is young but in my opinion, it’s already too late. It has growntoo big, too fast, for too many different purposes. It will take 2 orthree years but Twitter will be lapped by a variety of similar services with focus and actual business models; how Facebook developed in response to MySpace sheds light on what kind.
How MySpace Scaled
Since its inception MySpace has gone after users as if they werePokemon’. MySpace managers ran competitions on sign ups and theemployes used a slew of methods to capture. The result was a sprawlingnetwork of users but by 2005, it seemed to be working. If you looked at the stats, MySpace was an utter phenomena. It destroyed Friendster and after it was purchased by Murdoch it was getting all types of press and valuations. What the raw stats didn’t tell you is that user habits on the site looked something like this:
The problem with this way of scaling is simple. When a new cultural practice, like ’social networking’, is in the grass roots stages of development you can’t assume that people are going to your site because they like it.Your competition doesn’t really exist yet. What they might like are certain aspects of your productor they might be using parts of it in ways you never designed. The onlyway to address this is to study your users obsessively, focus on aparticular experience, then update your product accordingly.
Because MySpace grew in so many different markets at a single timeand gave users so much space to use the service how they liked, they’ve never been in a position to either watch or effectively control this experience. How do you update a product without knowing its target? You don’t. MySpace at its height and the current MySpace look remarkably similar, it lost control to its users. It has gone from being hailed as one of the best acquisitions ever made to a drain on News Corps portfolio. The results look like this:
How Facebook Scaled
When it comes down to it the mechanisms of MySpace and Facebook are not that different.Thepieces and concept are nearly the same. Both are constructed of userprofiles, avatars, walls, interest spaces, groups, photo capabilities,and a friend confirmation/listing process.
Facebook distinguished itself philosophically and pragmatically. Zuckerberg’s biggest insight into designing the site was that you are online who you are in real life. Facebook was one of the first social networks to emphasize genuine identityinsofar asthey required full names, university email addresses, and deleted accounts that used aliases. The second was pragmatic. Facebook launched in a single target market. In this case, of course, it was Harvard.
What this enabled was a less abstract more manageable mission.Instead of having to define what an ‘online social networking space’was supposed to be for everyone, Zuckerburg just had to answer forHarvard. As Facebook became popular on campus, he was able to see directly into how his peers interacted with the site and was able to update the product to help them use it more efficiently. Becausethey were all college students, the feedback he was getting was focusedand nuanced. Having less users also meant they could redesign theirentire product without pissing off disparate subsections. The resultwas an incremental evolution. The Facbeook that started at Harvard looks radically different than the one we use today. It worked.
How Twitter Scaled
Twitter grew much like MySpace. It ran competition for signing upusers, aliases were allowed, and it grew in multiple markets at theexact same time. Twitter started as a group SMS texting service then became popular for something wholly different. By restricting the length of a message the site inadvertently addressed one of the oldest problems in group communication. How do you hear many voices at a single time? Twitter’s answer is dead simple. 140.
This little restriction has produced a fascinating, highly-addictive product. If you look at the stats, Twitter seems to be working. It’s one of the most popular websites in the world and now has an excess of 44 million members.For those who invested or employees that had stock options, it must bean incredible feeling. I have grown to love Twitter but in my opinion we are rapidly approaching its peak.Its parallels toMySpace in 2006 are explicit. Twitterhas been bootstrapped for a vast number of uses and while its exciting to watch, its service is not containable . Like MySpace, Twitter is getting pulled in a variety of directions:
Why Twitter Will Dissolve and Turn into Detroit
The ability to hear and communicate messages with a group is what brought Twitter its initial wave of users but the real allure of Twitter, the reason it has caught the imagination of the press and millions of users, is something much more abstract. On Twitter, you can hear a public. Of course, there isn’t just one public, there is an infinite number.Whether it’s your country, your college, your city, or a shared nicheinterest like nyc media,everyone belongs to many publics and most everyone has a natural curiosity about what’s happening inside of them.
Twitter offers a way to manage how you see these publics. The problem is that its 140 character restriction is a blunt instrument. The site does not reflect the potential or nuance in which a public can speak to itself online.
Twitter as a network is an ungodly mess. From the onset, the site has allowed users to register aliases on custom URLs and because of it, usernames are inconsistent and confusing. It’s hard to find people who you know and its often even difficult to deduct wether that person is who they claim to be. Twitter is mobbed by impersonators,some of them hilarious, others manipulating. Twitter addresses thisissue recently by creating a ‘Verified Account’ stamp, its sloppy butmore importantly, perpetually incomplete.
There are a host of other problems related to reputation and maintaing users but the biggest issue concerns its identity, which is also where the leaked documentsgot interesting. Twitter employees are so clearly uncertain about whattheir product is even doing. Shots at it swayed from, “Twitter is fordiscovering and sharing what is happening right now,” to, “Twitter makes you smarter, faster, more efficient and more powerful.”
Twitter became popular before it had a mission. What this means is that its employees and investors will forever be trapped in boardrooms having these inane cyclical discussions about its identity. Twitter will either perpetually be simple insofar as its millions of users will have to hack the service to reflect their own values or it will roll the dice on a focus, put the site through chronic redesigns, and risk a mass user exodus.Either way its top talent will likely get frustrated and leave thecompany. Its top users will drift to something else then jump.
How Twitter will Resolve
The first thing to realize is that thereprobably isn’t going to be just one product to replace Twitter, therewill be several and they will battle it out or find niches. I see theirdesign following two trends with a potential for a hybrid.
The first trend is a service with the most minimal centralization possible. Both Dave Winer and Anil Dash have discussed plans for such a product. Winer calls his the RSSCloud and Dash describes the project more generally as the Push Button web. The RSSCloud grew from discussions with Jay Rosen over frustrations with Twitter and how its users have been bootstrapping. The line of thought is that your data belongs to you, not Twitter, and you should be able to use your data how you like with as little brand interference as possible. The proposal is to build RSSCloud, a loosely coupled service that will push your data to any website in real time.
The second is a product that is centralized but has an elegant way of organizingits content and attracting users. This is a product that would look andscale much like Facebook. It would start in a single target market anddevelop as a place for users to hear and communicate to thatpublic. Ideally it would begin in a cloistered network like auniversity where establishing members is as easy as checking their .eduemail address.
Addressing what’s wrong with Twitter isn’t going to come from thin air. It’s going to take a lot of time, development, and platform competition.
Many will soon be working on this, myself included. What will fill the blank is likely to define modern news production.
It’s fair to say that the founders of Metacritic never foresawit generating the attention it has attracted. Intended as a way ofseeing at a glance whether a game was worth buying, it’s now used asa measure of game quality by the largest publishers, developers andretailers.
John Riccitiello has used its scores todefine EA’s business strategy to analysts; Steam prominently displaysthem on its product pages; developer Frontier uses them for salesforecasting.
And this simple set of numbers is deemedresponsible for many industry ills, from over-examination of reviewscores to influencing developer royalties. “I’ve heard thatpublishers will try to put a step in royalty levels depending onMetacritic scores, or some sort of Metacritic-related compensationstructure to a deal,” says Andy Eades, development director atRelentless.
Metacritic is still edited by just one man,Marc Doyle. But his focus remains very much on the reason why it wasestablished in the first place. “I really see myself as a kind ofgatekeeper to tell people that these are the games you should be payingattention to,” he declares. His role is to gather scores andcomments for every game released in the US, choosing whichpublications are included and concocting the formula that combinesthem into a single number.
A night owl, he works into thesmall hours from his office in Los Angeles. And though it’s nowowned by CNET, Metacritic is still his baby, Doyle co-founding itafter studying at USC Law School. There he met Jason Dietz,who came up with the concept and name in 1999. They launched itin 2001 and sold it in 2005.
Metacritic isn’t the onlyinternet game review score aggregator. The other major site is GameRankings, also owned by CNET. Doyle and GR’s editor, Lee Alessi,“talk to each other,” but have different methodologies. GR’sscores are based on averages, while Metacritic weighs publications’scores differently, depending on Doyle’s opinion of their prestigeand quality. But he won’t reveal how.
Both work on the sameprinciple, however: consistently include enough reviews fromenough publications across enough games and the results will smoothout. “A big game – one of the GTAs – I know Edge is going toreview it, and I know an easy grader will too, and so the biggames will get the same treatment,” Doyle explains. “If I includeall your reviews and all theirs, it all works out.”
Certainly,viewed broadly, the games at the top of the scale are generally thebest games around, and the bottom ones certainly aren’t. Thechallenge for Doyle [pictured above] – and the main source ofcontroversy – is in his selection of publications. The originalbasis was: “Who is the most credible, who has the best reputation,the best analysis?”
But now, he says: “It’s essentiallyabout whether gamers are going to them because they’re reliable foradvice on what games they should buy. I really don’t have to do toomuch research because they just come to me. I check out their scoringmethodology, send out a questionnaire asking when they launched,how many reviews they cover a week, total reviews done, aboutstaff – all the things I’ve learned over the years that I have todo.”
Clearly, much credence is placed on metascores, buttheir use as a metric for business decisions also depends on whetherthere really is a causal relationship between scores and sales.“There’s anecdotal evidence both ways,” says Doyle. “I know thatcertain publishers have done very comprehensive studies and they’vebeen able to highlight certain types of games and certain types ofgenres for which predictability will be much higher – racing,sports and certain types of action games, certain types offranchises. Others you just don’t know, like why did the Ben 10game sell through the roof? I don’t know. It’s not sopredictable, it’s not scientific or perfect.”
Activisionhas made such studies. Executive VP of publishing Robin Kaminsky saidat the 2008 DICE conference that higher-quality games, based onscores from Game Rankings, on average sell more, and that for everyfive points above 80, on average, sales double. But she notedthat many games buck this trend, and that the largest publishershave found that the greatest sales growth tends to occur in gamesscoring in the region of 70 compared to those scoring 80 ormore.
She also presented 18 products achieving scores of90 or more in 2008 and 2007. Only two were projected to sellover seven million copies, while seven sold less than a million.Overall, 12 out of the 18 sold less than two million, afigure that marks a rough break-even point for a triple-A game. Inother words, there is a correlation but quality does not assuresuccess.
And yet Metacritic is still gaining in stature, apoint illustrated by the fact that Doyle is receiving increasingcorrespondence from publishers. “If I’m missing something,publishers contact me and ask whether there’s a bias or a systematicissue – ‘Why are you covering this publication and not another?’”
Indeed,many PRs are strongly affected by a greater use of metascores aswell. Certainly, we’ve spoken with a PR for a major publisher whoexpressed huge frustration with the stress their companies place ongetting the best they can. “PRs who haven’t been in the industry verylong will get angry when certain new publications that I know haven’tearned their reputation aren’t included, or some local daily paper,”says Doyle.
“I say, ‘Guys, they haven’t made it yet’ –I try to be as kind as I can because I know sometimes they haveclauses in their contracts that make them affected by metascores interms of bonuses or penalties.”
The practice could be subtlychanging the relationship between developers and publishers, too.“You really want a producer to focus on doing everything that’s rightfor the game, not to be focused unduly with the review score it’sgoing to achieve,” says Splash Damage’s Paul Wedgwood [above].
“Ifhis bonus is wound up at a score of 70 or 80, he might betempted to err on the side of caution rather than taking risks andpushing for an 85 or a 90. Look at projects like BioShock,for example – on paper that isn’t something any sane producer wouldtake on, but it’s obviously well justified by its review scores.”
Furtherto this, many developers of games for broader markets feel thatmetascores are unrepresentative of their work. “If you look at familygames and kids’ games, they consistently score as many as tenreview points lower for, dare I say, what’s similar quality,”says Frontier’s David Braben. “It’s actually really hard to make areally
good kids’ game.”
For Wedgwood, developers canbe more directly affected by a poor metascore. “The negative sideis if developers are penalised for achieving low scores despite nothaving control over the resources and schedule for the project.”
Doylethinks so too: “If they’re having to achieve a certain metascore withthe same budget, that’s disturbing.” But it depends on therelationship between developer and publisher as well, as Wedgwoodsays: “Obviously, if the developer is wholly or partially funding agame or has a strong relationship with the publisher and can determinewhen it’s going to be released and how much it’s going to cost tomake, it’s their responsibility. And I think in that situationit’s quite common for a publisher to have an expectation for quality.”
Indeed,Wedgwood is a proponent of the idea that publishers should offer abonus related to earning certain metascores: “I think that reallyshows confidence from the publisher, saying ‘irrespective ofwhether or not this is a commercial success we’re going to pay you abonus just for achieving a certain review score’ – that’s a realincentive.”
But Braben [above] argues that developers have hadincentives all along. “Think of sales as a great big glorifiedMetacritic,” says Braben. “There’s been a lot of earnest talk aboutusing Metacritic and Game Rankings to incentivise, but the one reallyobvious way of incentivising things is royalties. EA has giveninterviews in which it mentioned average Metacritic scores as being ametric of the quality of its games. The problem is, why is itquoting that and not sales success?”
Eades agrees,reminding us that game companies are businesses: “There’s no pointin getting nine out of ten, ten out of ten and then not sellingenough products to justify a sequel.”
Which brings us back to the fact that Metacritic was only ever meant to be a general
guideto what to play for a game-buying public. For as long as everyone inthe videogame industry remembers that at the heart of it are one man’sdecisions, it could have value as just one of many other ways ofmeasuring a game’s overall success.
And perhaps, among allthe fears that a new focus on quality by publishers has emerged, thisis a change for the better. Wedgwood certainly agrees: “Wouldn’teverybody rather be working for a publisher that’s more concerned aboutquality?
According to gamesindustry.biz The videogames industry has set a new record in the US for sales ofsoftware and hardware, with 2008's level topping USD 21 billion acrossthe year, with almost a quarter of that coming in the supposedlyeconomy-stricken month of December.According to NPD data software sales grew by almost 23 per centto USD 11.7 billion, with December alone accounting for USD 5.3 billion- more than the total figure generated throughout the entire calendaryear in 1997.
Console game sales totalled USD 8.9 billion, based on 189million units sold, while PC games accounted for USD 701 million from29.1 million units, while portable titles sold 79.5 million units,hitting USD 2.1 billion.
The total number of games sold was just under 298 millionunits, with more than half of those rated at Everyone 10+. Teen titlesaccounted for 26.7 per cent of the market, while Mature games were just15.9 per cent.
I think it's amazing that something great is staying strong in our economy. It seems like the gaming industry sometime's get a lot of blame for things but it cannot be blamed for getting weak in our economy. Buy games and keep it strong!!
Danny Boyle's latest centres on a plucky street kid who somehowfinds himself one question from winning the top prize on the Indianversion of Who Wants to be a Millionaire. Even before it carried all before it at the Golden Globes this weekend,Slumdog Millionaire looked a fair bet to defy similar odds at nextmonth's Oscars: the critics have been bowled over by this adrenalineshot of life and love in the ghettos of Mumbai.
[list=]
Slumdog Millionaire
Release: 2008
Country: UK
Cert (UK): 15
Runtime: 120 mins
Directors: Danny Boyle, Loveleen Tandan
Cast: Anil Kapoor, Azharudin Mohammed Ismail, Dev Patel, Freida Pinto, Irrfan Khan, Madhur Mittal, Rubina Ali
One senses a fair number of reviewers thought long and hard aboutflagging up the cornier aspects of this rags to riches tale: itsunlikely romance, the jump between Hindi and English; even thedepiction of the poorest parts of India's largest city in dazzling,colourful, turn-up-the-brightness-dial resplendence, before succumbingto the unfettered, joyous optimism brewed up by Boyle and screenwriterSimon Beaufoy (The Full Monty).
"Together, they have managed thedifficult task of creating a film that leaves you with a big smile onyour face - without insulting your brain," writes The Sunday Times's Cosmo Landesman."It's great to see Boyle, after a series of rather undistinguishedfilms, back on great form. He's the prince of zip, zap, wham, bam, boomfilm-making, who shoots from every angle but the obvious. The actionmoves from hallucination to dream to nightmare, with quick forays intofantasy. It's a glorious and great work."
"The film uses dazzlingcinematography, breathless editing, driving music and headlong momentumto explode with narrative force, stirring in a romance at the sametime," writes Roger Ebert in the Chicago Sun-Times."For Danny Boyle, it is a personal triumph. He combines the suspense ofa game show with the vision and energy of City of God and never stopssprinting."
"This is a film so upbeat and colourful that, by thetime you're relaying its infectious air of optimism to friends, youcould forget that it features orphans, slaughter, organised crime,poverty, enslavement and police brutality in its crowd-pleasingrepertoire of suffering and renewal," writes Time Out's Dave Calhoun. "Hell, it even ends with a get-up-and-dance Bollywood number on the platform of Mumbai's Victoria Terminus."
"Despitebeing overpraised - it arrives garlanded with the kind of reviews thatmust have come out after the opening night of King Lear - this is stillvery effective entertainment," writes our own Peter Bradshaw."Despite the extravagant drama and some demonstrations of the savagerymeted out to India's street children, this is a cheerfully undemandingand unreflective film with a vision of India that, if not touristyexactly, is certainly an outsider's view; it depends for its fullenjoyment on not being taken too seriously."
For me, SlumdogMillionaire is a down and dirty glimpse of third world life through awonderfully populist, feelgood filter. We may see the worst of Mumbailife - the street child kidnapped by a Fagin-like begging gang andblinded to increase his earning potential; the toilet which is littlemore than a hole in the ground, beneath which gallons of festeringexcrement menacingly await - but this is ultimately a comfortinglygeneric storyline reminiscent of a hundred million rags to riches tales.
Bestare the flashback sequences of protagonist Jamal Malik as a mischievousscamp desperately battling to stay one step ahead in a city so fastthat even Boyle's quickfire cutting cannot keep up with it. I'm alittle surprised that Brit Dev Patel, who plays Malik aged 20, hasreceived so much praise, rather than the Indian actors who played theyounger versions of the character. Patel seems somewhat detached in hisscenes on the game show itself, but by that point the film has alreadyembedded you firmly in its wildly exuberant dynamic.
But perhapsyou see things differently? Slumdog Millionaire strikes me as a filmthat could suffer an epic backlash if it triumphs on Oscar night. Rightnow it's revelling in its underdog status, but there's plenty ofammunition available to those who want to see it pulled down from itspedestal. What did you think?
Timeout.co.uk Review:
Quote:
January’s parade of films hungry for awards continues its march with Danny Boyle’s ‘Slumdog Millionaire’, a film so upbeat and colourful that, by the time you’re relaying its infectious air of optimism to friends, you could forget that it features orphans, slaughter, organised crime, poverty, enslavement and police brutality in its crowd-pleasing repertoire of suffering and renewal. Hell, it even ends with a get-up-and-dance Bollywood number on the platform of Mumbai’s Victoria Terminus.
Shot entirely in India and largely on location, the fabric of the film is winningly realistic. But the story is pure fantasy inspired partly by co-producer Celador’s desire to enshrine its winning creation, the game show ‘Who Wants to be a Millionaire?’ in a movie. Still, Boyle succeeds in leaving these creepy beginnings behind to create a film that’s full of warmth and humanity and forever looks on the bright side of tragedy.
The script is a simple conceit: writer Simon Beaufoy (‘The Full Monty’) has ripped up Vikas Swarup’s novel ‘Q&A’ and turned it into a rags-to-riches yarn about Jamal (Dev Patel), a young, slum-born adult in Mumbai who gives such a cracking performance on ‘…Millionaire’, that he’s only one question shy of the 20-million-rupee jackpot. Such unlikely success inspires envy on the part of the show’s creepy host (Anil Kapoor), who invites the police to arrest, question and torture him. This interrogation offers flashbacks of episodes in Jamal’s life that reveal the extraordinary sources of his knowledge and lend Boyle the handy framework of a child becoming an adult against all the odds in an India that’s changing by the hour but still dangerous for any kid on the loose.
Of all Boyle’s mixed work, from the promise of ‘Shallow Grave’ to the embarrassment of ‘Millions’ and the recent experiment of ‘Sunshine’, his new film probably best resembles ‘Trainspotting’: where in that film he found energy, humour and bonhomie in the stupor of heroin addiction, here he takes the impoverished life of a young Indian and spins it into an escapist fairytale steeped in the sights and sounds of the new India. By the time Jamal gets his girl – ultimately and simplistically it’s a romance – and everyone’s tapping their feet, you’ll have forgotten that one of his young friends was blinded and another sold into prostitution. You may also forgive some of the plot’s wilder turns and increasingly erratic jumps in time.
Boyle flirts with realism but never fully buys into it.
He’s too concerned with keeping the mood light and the pace furious. He’s a flashy filmmaker at times, but the real saving grace of ‘Slumdog Millionaire’ is how Boyle and cinematographer Anthony Dod Mantle go to extreme and pleasing lengths to soak up the colours, people and places of India. The film’s messages – that hard-earned street knowledge can be as valuable as traditional education and, while hardly original, that later success can overcome earlier hardship – are attractive if you’re willing to bite your tongue at the air of positivity. With so much good humour about you can even forgive the film’s bizarre slip from one language to another as young Indian actors give way to a warm, English-language performance from Britain’s Patel, who’s just one of a cast of actors who are as likeable and compelling as the film itself.
The Indian public may not have seen Slumdog Millionaire yet, butalready the nation has taken the most-talked about British-made film inyears to its heart.
On Sunday, Slumdog, which is set in Mumbai, won four Golden Globeawards – for best director, best film, best adapted screenplay and bestscore. In the process it became the movie to beat at the forthcoming AcademyAwards and unleashed a torrent of national pride across the subcontinent.
"Indian tale catches global fancy," the Hindustan Timestrumpeted.
"The Slumdog Has Its Day," said the Times of India, theworld's largest-circulation English-language paper.
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The biggest cheer was reserved for A.R. Rahman, Bollywood's best-knowncomposer, who became the first Indian to win a Golden Globe, for the bestoriginal score.
The film's distributors are now predicting that Slumdog will prove amassive popular success when it is released in India on January 23, largelybecause it wears its Bollywood credentials on its sleeve.
Vijay Singh, chief executive officer of Fox STAR Studios India, which isdistributing the movie in India, said: "It's an exceptional film, it hasIndian emotion much like a Bollywood film. The film has been built on thebuzz, it built its credibility in the US and then rolled out in the rest ofthe world."
Indian audiences are known for their love of melodramatic musicals, but intruth it is hard to say to which genre Slumdog, which is directed byDanny Boyle, the Briton behind Trainspotting, belongs.
The plot, based on the best-selling novel Q&A by Vikas Swarup, aformer Indian diplomat, tells the story of Jamal Malik, a dirt-poor orphanfrom Mumbai who stuns India when he reaps success on the country's versionof Who Wants to be a Millionaire?. Jamal, played by the British actorDev Patel, draws on his life experiences, many of them shockingly brutal, toanswer the game show's questions, aiming to stay on air for as long aspossible in a bid to win back the love of his life.
There is a song-and-dance routine and a third of the dialogue is in Hindi withEnglish subtitles – hardly the stuff of your average Hollywood blockbuster.Yet, in terms of revenue per screen, the film broke all records when it wasreleased in the US in November.
Inventing a new term in its honour, The Wall Street Journal called it"the film world's first globalised masterpiece".
But its biggest challenge might just be reaching Indian audiences: Slumdog,which has raised hackles among some Indians for its graphic depictions ofthe nation's darker side, has yet to make it past the country's notoriouslyprickly censors.
Nevertheless, the distributors have prepared a Hindi-dubbed version in anattempt to crack the Indian mainstream. It now remains to be seen whetherthe film will draw the same plaudits from the slums – home to half ofMumbai's population of 18 million people - as it has from Hollywood'sswooning critics.
There are different types of cinema theatre in India, which correspond todifferent portions of society. In recent years, a handful of western-stylemultiplexes, with about 600 screens between them, have sprung up in thelargest cities, catering to the wealthy middle class. Despite hosting lessthan a tenth of the country's screens, they account for about half thecinema industry's revenue. This is where the 200 prints of Slumdoginitially being released in India will be shown.
Then there are the 7,000 traditional single-screen cinemas, still known as"talkies", found across the country. Known for their conservative tastes,there had been concerns that Slumdog would prove too avant-garde forthem. In the past fortnight, however, the release of a trailer thatemphasised the film's "masala " (or "spicy") credentials has persuadedexperts that it is poised for popular success in India. "It looks to haveemotion, drama, songs, dance, romance: all the trappings of Bollywood,"Taran Adarsh, a leading critic, said. "The single screens would be crazy notto show it."
The latest generation of home consoles - the Wii, PlayStation 3 andXbox 360 - have a total installed base of 10 million units in the UKand Ireland.
That's according to data from GfK Chart Track, revealed todayin a public trading update from retailer GAME, which shows that as ofJanuary 3 2009 the addition of 12 million PSP and DS consoles bringsthe total of all five machines to 22 million units in the region.
The PlayStation 3 sold 1 million units in 2008, putting theinstalled base at 1.9 million, while Microsoft's Xbox 360 now sits in3.2 million homes in the UK, compared to 1.8 million in January 2008.
Nintendo's Wii is still the strongest of all home consoles,with an installed base of 4.9 million units by January 3, compared to 2million last year.
The DS and DS Lite leads the handheld market, with an installedbase of 8.8 million units, up from 5.4 million at the start of 2008,while Sony's PSP has hit 3.2 million units, compared to 2.6 million in2008
You. Your friends and family. Your classmates and coworkers. In thebrave new world of the internet, everybody has power. Information isinteractive, knowledge is collaborative and history is open source. Thenerdy kid next door has just as much influence as a high schoolteacher; the dorky dude at the comic book shop has just as much voiceas a college professor.
Problem is, the nerds and dorks tend to have a lot morefree time - and passion - than the teachers and professors. The endresult? A hilariously skewed, terrifyingly twisted view of the world inwhich all the wrong things are deemed "important" and worthy of seriousacademic discussion.
Here are 15 mind-boggling examples.
See what we mean? When the deadliest, costliest war in the history of mankind has been trumped by a videogame franchiseabout that war,you know something's off. One involved over 50 countries and took over70 million lives; the other involves button mashing and tea bagging.
On an encouraging note, we did have to add all the Call of Dutygames' individual pages together to reach the crazy number above. On adiscouraging note, we didn't have to add Call of Duty 4 and itsnon-WWII setting, which would have brought the total word count to aneven crazier 18,927.
Oh, and on a simply ridiculous note? Call of Duty 4: Modern Warfare beats "modern warfare"... 5,858 to 2,873.
Alsoless important than Call of Duty! • American Revolutionary War = 8,078
• American Civil War = 11,729
• English Civil War = 8,030
• Napoleonic Wars = 7,951
• Hundred Years' War = 7,992
• War on Terrorism = 10,674
• War on Drugs = 7,628
• Cold War = 10,117
• "War" = 9,233 While the magic menagerie of super-powered, frilly-maned, sparkly-eyed, rosy-cheeked wonder beasts might make for slightly more exciting cards than a Three of Spades, the emphasis here is still extremely wonky.
Poker has been around for longer than anyone can remember... the Pokemon Trading Card Game was invented in 1996. Poker has created millionaires and forced bankruptcy... the Pokemon Trading Card Game might have resulted in some lost lunch money and a temper tantrum or two.
Alsoless important than Pokemon Trading Cards! • Baseball cards = 4,686
• Blackjack = 5,228
• Roulette = 5,492
• Checkers = 2,326
• Pool (Billiards) = 621
• Bowling = 407
• Wheel of Fortune = 4,521
• "Trade" = 3,038
• "Games" = 2,830 Before you get the wrong impression, no, the Master Chief does not win in a Wikipedia matchup against George W. Bush... though his approval ratings are undoubtedly higher.
The truly astounding thing, however, is that he does emerge victorious against not one, not two, but TENof this country's past commanders in chief. Yes, 23% of the men whohelped make the United States the strongest nation on Earth are easilydefeated by a fictional and faceless videogame character who barelyknows how to speak and takes orders from a naked hologram. Go America!
The orange word count above is an average taken from the USPresidents beaten by the Master Chief. Here's the full, patheticbreakdown:
Leaders of the Free Worldless important than Master Chief! • James Monroe = 2,820
(5th President)
• John Quincy Adams = 3,457
(6th President)
• John Tyler = 3,431
(10th President)
• Zachary Taylor = 2,235
(12th President)
• Millard Fillmore = 3,631
(13th President)
• Franklin Pierce = 4,203
(14th President)
• James Buchanan = 3,888
(15th President)
• Rutherford B. Hayes = 2,686
(19th President)
• James A. Garfield = 3,915
(20th President)
• Chester A. Arthur = 3,078
(21st President)
In the future, when Captain Kirk is battling tribbles and Data islearning how to love, this lopsided comparison will make completesense. Why wouldn't the entries for the glorious Starship Enterprise dwarf that for a dusty museum piece like the automobile? We expect the pages for hoverboards, robot maids, personal time machines and giant laser death rays to do the same.
For the present, though, why does a make-believe spaceship deserve more words than the planet's principal mode oftransportation? Also, why does that make-believe space ship deserve noless than nine separate pages, including unique entries for six different models of the NCC-1701? Seriously?!
You think Hideo Kojima's cut scenes are long? Try reading Leo Tolstoy's epic tome. War and Peace waspublished in four books over five years, covers nearly a decade ofhistory and includes more than 1,400 pages, more than 560,000 words andmore than 3 million characters. It's generally considered one of thelongest novels - hell, one of the longest things - of all time.
Somehow, though, the writers on Wikipedia managed to summarize thewhole plot in 1,922 words. Well done! Now we'd be really impressed ifyou guys could squeeze the plot of a single damn videogame - even therambling old man that is Metal Gear Solid 4 - into less than 2,548 words.
The top numbers (in orange) are for the entire entries.The numbers in the preceding paragraph, as well as the list below, arefor the subsections entitled "plot," "story," or "synopsis."
Alsoless important than Metal Gear Solid 4!
(by plot, story or synopsis)
We won't get jealous and play the competition card here. EGM isimportant, a veritable titan of the industry with a massive and devotedfollowing. Many of us here at GamesRadar include ourselves in that camp.
But come on... do the latest screenshots of Chun-Li'sthighs really carry more weight than the 2008 election? Do you reallyneed to know the review score for Turok more than you need to know thereasons for the recession? Is the dropping price of the PS3 morecritical than the rising price of gasoline?
Yes, Electronic Gaming Monthly - and any videogame publication - is totally worthy of 4,429 words. We just wish that Time and other vital news sources received the same attention.
We love, love, love the soundtracks to Final Fantasy... but someone put way, way, way too much effort into this Wikipedia page. The intro alone is nearly 700 words, lengthier than the entries for many singers, bands and genres. Rock and roll, the biggest genre of them all, doesn't stand a chance.
Of course, the vastness of the web was made to hold such exceedinglyniche minutiae, but even the fan who owns all of these compilationalbums probably agrees that they could have fit onto the page forgeneral Final Fantasy music. Unless that fan is the one who wrote this obsessive love letter to begin with...
Alsoless important than obscure Final Fantasy music!
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Jeffrey Dahmer was a cannibal, Charles Manson was a deranged cultleader and John Wayne Gacy, worst of all, dressed up like a friggin'clown. Yet the complete list of these horrible, horrible murderers -together with dozens of depraved others - is apparently about 3,000words less significant than the list of Maverick boss characters in the Mega Man X series.
And that's compared to the list of serial killers by country. Look up the list of serial killers by number of victims andthe difference grows to 6,000. Go ahead and add the two lists togetherif you want - at 8,000 words total, they still fall short of the sheerterror and infamy inspired by Cyber Peacock, Blizzard Buffalo,Overdrive Ostrich and Armored Armadillo. Ooh, we're getting chills justthinking about them!
Above: The true face of evil
Let's be honest. Who doesn't love Gardulla the Hut? Who didn't havea poster of Cole Fardreamer or Elan Sleazebaggano hanging on theirbedroom wall as a kid? Who wouldn't beg their parents to buy them thatKlaatu action figure for the holidays?
Qwi Xux, Plo Koon, 2-1B, Chief Chirpa, Yarna D'al Gargan, BaronSoontir Fel, Meewalh, Oola, Commander Cody, Baron Soontir Fel, TraskUlgo, Gartogg, Wam "Blam" Lufba and, of course, little Windy... all ofthem are forever entwined in our dreams and imaginations.
No surprises here. After all, Superman (10,641 words) has been known to survive a nuclear explosion... inside his own ass. And Batman (10,818 words) invented his own damn brand of shark repellent Bat spray!
Obviously, these guys are far superior to the rest of us. End of discussion.
Above: Holy sardine!
Both the fictional Umbrella Corporation and the real world National Human Genome Research Institute studythe mysteries of genetics. Both engage in the cutting edge field ofbiomedical engineering. Both are located in small towns. Both haveseemingly harmless, yet somehow creepy names. Both have seeminglyvague, yet somehow menacing logos.
Wait a second - are these two organizations actuallyone and the same?! Has Umbrella been a front all along, a clever ployto distract us from the true zombie overlords? We knew that tiny word count seemed suspicious...
Above: Oh shit.
According to Wikipedia, Kirby is "a small, pink, spherical creature with large red feet."
Exactly. Done. Enough said. Oh, if only that were the case...instead, that is merely the first sentence of a 1,512 word subsectionentitled Characteristics, which goes on to describe - in disturbinglydetailed sub-subsections - the Personality, Abilities and Species of Kirby. Yes, species.
The dog hasan overall longer page, sure, but the fact that Kirby's"characteristics" actually overcome those of man's best friend isabsolutely insane. They shouldn't even be close.
As expected, Jesus whoops Mario byquite a large margin in total Wikipedia word count. In a miraculousturn of events, however, Mario's Legacy section is actually longer thanJesus' Legacy. Yes, you heard right - a pixelated plumber is consideredto have had a bigger impact on the world than the central figure ofChristianity and, to some, the physical embodiment of God. Wow.
Then again... Jesus can walk on water and heal the sick,but Mario can shoot fireballs out of his hands and turn into a raccoon.Jesus has an awesome beard, but Mario's got a super sweet mustache.Jesus ushered in much of modern religion, but Mario ushered in much ofmodern gaming. Both can come back from the dead, though to be fair,Jesus only did that once.
At last, we reach the ultimate showdown. In this corner, we have God, who Wikipedia describes as:
"... the principal or sole deity in religion..."
"...the creator and overseer of the universe..."
"... omnipotent and eternal..."
"... the source of all moral obligation, and the greatest conceivable being existent..."
His opponent? Knuckles of Sonic the Hedgehog fame, who Wikipedia describes as:
"... a red, teenage, anthropomorphic echidna..."
"... the fourth most popular character in the series..."
"... shy around girls..."
And, uh, yeah. How did this guy beat God by more than 4,000 words again? Well, to reach Knuckles' number, we did have to add two pages together, one for his game character and one for his comic character. To level the playing field, we should probably give God the Bible or something, right? Of course, we'll also have to give Knuckles his comic books and two videogames (Knuckles Chaotix and Sonic & Knuckles) to keep things even...
Damn! Sorry God - you lose again. Looks like we have a new omnipotentoverseer in the universe... or at least in the strange, silly, scaryand seriously skewed universe that is Wikipedia.
The video game market is changing incrediblyquickly right now, probably at the fastest rate since the big crash ofthe mid-1980s.
Not only is the market expanding to include women and casual gamersonce again, the definition of what constitutes a game is expanding. Iwouldn't say it’s expanding within the minds of game developers, but itis expanding in the context of the mass media and mass consumers, andthat’s who drives the market in the first place.
As sick to death as we all are of talking about microtransactions,free-to-play MMOs, and casual online spaces, the advent of these thingsis changing the game landscape for good, whether we like it or not.
Interactive Media - At Face Value The lines between an online community portal and an MMO are blurredto the point of being indistinguishable. Consider the numbers — Audition Online has tens of millions of users worldwide, and a dedicated TV show in Vietnam. Kart Rider has tens of millions of users. Ditto Habbo Hotel and Club Penguin.
Traditional games - like most people reading this are developingtoday - may never be able to reach that large of an audience. Our gamesare too focused, too hardcore, and bear too much of the stereotype of“gamer.”
Right now, Halo 3, Grand Theft Auto IV, and World of Warcraftare considered our blockbuster titles, and flagships for the industryin popular culture. But when you think about it, it’s still justshooting aliens, playing gang banger, and swinging your sword in theforest.
Boiled down to their essentials those things appeal to a verylimited group of people, and the complexity of game controls preventseven blockbuster movie attendees, whom we should be attracting, fromplaying these things.
At least, that’s the common line. But is that really the case? Doaliens, wizards, and soldiers really make a piece of entertainmentinaccessible? Many millions of people went to see the Iron Man movieover the past two months, and a large percentage of them have probablynever picked up a comic book in their lives.
Why is it that people will go see The Lord of the Rings' movies, but many of them will not play the games?
The Real Mass Market It’s common knowledge that game controllers are intimidating, thatconsoles have a certain stigma to them, and that most mass marketconsumers consider games to be either a waste of time, or activelydetrimental.
These can all be debated until the end of time, but the perceptionexists, and either that has to change (Nintendo is doing good workthere), or we have to change. Otherwise we’ll end up with acomparatively small fraction of a growing market.
Will it be possible to make a game like Assassin’s Creed or BioShockin 2015? It’s already becoming difficult to justify large budgets forsingle-player experiences, and it stands to reason that it will getmore difficult as time goes on. What does that mean for developers ofthese games? What happens to the concept of a game auteur?
One possibility is for these hardcore games to essentially becomethe art-house cinema of the video game world, which would be odd, asthat’s a role currently filled by indie titles.
Interestingly, never has the film/game analogy worked less well than it does currently. In the PS2 era, you could correlate Grand Theft Auto III with a movie blockbuster, and Ico with an art-house film.
But now, in terms of scope, money, and global social impact, Kart Rider or Club Penguin would be that blockbuster, and Call of Duty 4 would be the art-house equivalent, though content- and budget-wise Call of Duty 4 is much more your traditional blockbuster material. Something seems awry there.
The fact is, these simple-to-play social experiences are here.They’re growing in popularity, they’re dwarfing our multi-milliondollar projects that sell through to 5 million people at max, and theycost a fraction of the price to make.
With the market expanding as it is, and the dollars going wherethey’re going, the $20 million budget bestselling console title oftoday is going to be the hardcore niche title of tomorrow, art-house ornot. Unless development costs get significantly lower, it seems we havean online future to look forward to.
New Things Are Stupid To wit: online games are taking over, and I, curmudgeon that I am, don’t really like it.
Certainly there will always be the hardcore players that will wantthat deeper experience. There’s no doubt about that. But the questionis: in an industry where we’re getting our asses kicked financially byweb developers, of all people, who will pay us to make it?
30. Rise of the Argonauts (PS3, X360, PS3) Publisher: Codemasters
Developer: Liquid Entertainment
Est. Release Date: Sep 2008
Officially Announced for E3: Yes
Anaction RPG that promises to be way more action than RPG, Rise of theArgonauts has a winning mythological premise and lots of little designtouches that keep the game looking fresh. Take the Argo—the ship oflegend will act as a seafaring headquarters from which your recruitedArgonauts will provide support. There is also a “deed” system that willincrease Jason’s abilities via the acquisition of Xbox LiveAchievement-like trophies. So it’s bursting with interesting ideas, andit’s all running on the reliable Unreal Engine 3—this could be thesleeper hit of the year.
29. High School Musical 3: Senior Year Dance (PC, Wii, PS2, NDS, X360) Publisher: Disney Interactive
Developer: TBA
Est. Release Date: Holiday 2008
Officially Announced for E3: Yes
Considerthis your representative sample of licensed games that promise to sellgangbusters regardless of quality or media reaction. And High SchoolMusical 3 is likely to be the biggest game of its breed this year: themovie of the same name is the first time this children’s blockbusterfranchise will see a theatrical release, meaning the marketing for theproperty is likely to be even more inescapable than usual. Beyond theusual niceties of rhythm games—coop and competitive modes, mechanicsspecific to each system’s control scheme—it will have the songs fromHigh School Musical movies past and present. That last one is almostcertainly the only feature the game needs to add another million insales to the franchise’s life-to-date count.
28. Borderlands (PC, X360, PS3) Publisher: 2K Games
Developer: Gearbox Software
Est. Release Date: 2009
Officially Announced for E3: Yes
Capabledeveloper Gearbox has never swung for the fences with quite as muchgusto as with Borderlands. The fact that the game is original IP isn’teven the half of it—it also promises a procedural item creation systemthat will provide this sci-fi first-person shooter over half a millionweapons. If that’s not enough, Borderlands also shares some ambitionswith big-budget role playing games: the world will be expansive,character growth and classes comes standard, and missions and sidequests will populate the landscape. Borderlands has all the earmarks ofa breakout hit, and its scope should easily take the breath away fromboth shooter and science fiction fans.
27. Mortal Kombat vs. DC Universe (X360, PS3) Publisher: Midway
Developer: Midway
Est. Release Date: Holiday 2008
Officially Announced for E3: Yes
Goingon the title alone, Mortal Kombat Vs DC Universe feels a decade late,like it should have been slugging it out with Marvel Vs Capcom for thequarters of 90s teenagers. But it’s actually a better idea,commercially, in 2008—now the game can ride the tide of successfulcomic book film blockbusters. It can pull from the years of soliddesign work and franchise reputation rebuilding that culminated inMortal Kombat: Armageddon. And with an anticipated ESRB rating of T forTeen, there’re no retail hurdles to keep the adolescent maledemographic from eating this up with a spoon.
26. S.T.A.L.K.E.R.: Clear Sky (PC) Publisher: Deep Silver
Developer: GSC Game World
Est. Release Date: Aug 29, 2008
Officially Announced for E3: Yes
S.T.A.L.K.E.R.:Shadow of Chernobyl was hardly the biggest first-person shooter of 2007in the west. But it posted platinum-level sales in Eastern Europe,where its freeform gameplay and mythos steeped in Russia’s uniquescience fiction struck a strong chord. With little similar competitionin the region, its sequel Clear Sky should do well for itself therealso. Which isn’t to say the rest of the world shouldn’t (or won’t)give it a go as well—Clear Sky will add a tactical, squad-based turfwar to the already eccentric proceedings, and should be just as curiousand interesting a beast as its predecessor.
25. Star Wars: The Force Unleashed (PS3, X360, Wii, PS2, PSP, NDS) Publisher: LucasArts
Developer: LucasArts
Est. Release Date: Sep 2008
Officially Announced for E3: No, but it might as well be
TheForce Unleashed could well be the biggest project to bear the Star Warsfranchise name since Episode III ended the franchise’s non-animatedtheatrical run. Every Star Wars fan has been curious about the periodright before the Original Trilogy when Darth Vader had his run of thegalaxy; Force Unleashed promises to capture this period from theperspective of the Dark Side, using exciting new technologies torealistically render bot the AI and the Force itself. If the persistentrumors are true, this could well be the last project completely builtby LucasArts’ internal studio—but in that case, it will be one heck ofa send-off that a lot of Star Wars fans will experience.
24. Beyond Good and Evil 2 (PS3, X360) Publisher: Ubisoft
Developer: Ubisoft Montpellier (likely)
Est. Release Date: TBA
Officially Announced for E3: No
Allthat’s known about Beyond Good and Evil 2 is that it’s currently beingworked on by Ubisoft premier designer Michel Ancel. But in this case,that’s more than enough—Ancel’s resume does include perennial hitRayman and (naturally) the first Beyond Good and Evil, after all. Andthe first Beyond Good and Evil is particularly beloved. The smallaudience that played it has been talking about it ever since, praisingits varied gameplay and realistic, strong female protagonist Jade. Sothe sequel is exciting, and though its commercial success is by nomeans assured it’s possible that maybe the adult gaming audience isfinally ready for this franchise.
23. Lock’s Quest (NDS) Publisher: THQ
Developer: 5th Cell
Est. Release Date: Fall 2008
Officially Announced for E3: Yes
2007’sbiggest surprise sales blockbuster was a little DS game called Drawn toLife, built by a little mobile developer called 5th Cell. That gamegave the independent studio a reputation for creating innovations withstrong market appeal, and it could cement that reputation with Lock’sQuest, a curious RTS/Action/RPG/minigame hybrid with cute graphics,quick thrills and a world that can be completely remodeled by theplayer. In other words, it has a lot of elements that appeal across awide variety of gaming demographics, as well as a lot of ambition. Ifthis one lives up to its potential, it would be great to see it succeed.
22. Puzzle Quest: Galactrix (PC, X360, NDS) Publisher: D3 Publisher of America
Developer: Infinite Interactive
Est. Release Date: Fall 2008
Officially Announced for E3: Yes
Lastyear’s Puzzle Quest combined the most addictive parts of the casual“match three” puzzle game with the most addictive parts of RPGcharacter development, a powerful cocktail that murdered productivityand sold in huge numbers. There’s no reason this follow-up shouldn’tcontinue in that trend—it’s still a match three puzzle game (this timemore Collapse than Bejeweled), it still has those all-important RPGelements, and it’s being built by the same studio. The only differences(besides the science fiction setting) all look like improvements.There’s an element of strategy gaming. Players can enhance not justtheir character, but also their spacecraft. Downloadable content willabound. It all sounds like a game that players will itch to play afterthe first hit.
21. Crysis: Warhead (PC) Publisher: Electronic Arts
Developer: Crysis
Est. Release Date: Fall 2008
Officially Announced for E3: Yes
Allegedlythe last PC exclusive from the bastion of PC gaming high technology,Crytek’s side story to 2007’s Crysis looks every bit as graphicallydazzling as its predecessor. It also promises to be a moremarket-friendly title (a tall order considering Crysis’ million-sellingstatus); Warhead provides a less strategic, more bombastic run-and-gunaffair compared to the original Crysis. And with a year of hardwareadvancements in between Crysis and Crysis: Warhead, that more widelyappealing design will find that a lot more people have the rigs toactually run it well. And who knows? If Warhead does manage to findthat perfect balance, perhaps Crytek will stick to their PC-exclusivestomping grounds for a while longer.
20. Tomb Raider Underworld (Wii, PS2, PS3, X360, PC, NDS) Publisher: Eidos
Developer: Crystal Dynamics
Est. Release Date: Holiday 2008
Officially Announced for E3: Yes
It’sbeen a few years since Crystal Dynamics took the Tomb Raider franchiseand reinvigorated it with Legend. But it’s really with Underworld thatthe series’ previous mistakes have been taken to heart. Rather thanrest the game on its laurels again, Underworld is a creation that lookstoward with the new; the game engine is all new, the way the worldinteracts with Lara is more realistic, combat now has melee and willflow fluidly into the puzzle mechanics. And if that wasn’t enough toguarantee sales, Lara has a motorcycle now too.
19. Sonic Unleashed (Wii, PS2, PS3, X360) Publisher: SEGA
Developer: Sonic Team/Dimps
Est. Release Date: Holiday 2008
Officially Announced for E3: No
Thesedays it feels like SEGA promises the moon with every Sonic title, tothe point where it’s hard to fall for it anymore. Take Sonic Unleashed;it’s promise of a revamped, re-invented Sonic echoes the promises SEGAmade before this generation’s first Sonic the Hedgehog hit the Xbox 360with a sad plop. And yet, franchise sales have never followed the samecurve as the blue blur’s review scores. This is mostly because ofSonic’s strong appeal to the child market, but on some level thegraying Genesis owner wants to believe what we’re told, that this nextSonic really will reclaim the glory days. Anyway, Sonic Unleashed. It’srunning on a new engine and has some 2D environments. It’ll sell, andas for the rest of it? Here’s hoping.
18. MadWorld (Wii) Publisher: SEGA
Developer: Platinum Games
Est. Release Date: 2009
Officially Announced for E3: No
PlatinumGames, formerly Seeds, formerly Clover Studios, isn’t known for makingcommercial hits. No, that team is known more for making instant,beloved classics. Okami certainly, but Viewtiful Joe is in there aswell, and the only people who remember God Hand these days love it toabsolute death. MadWorld, a blood-soaked black and white Wii exclusive,feels like a return to the playful, experimentation that made this teamfamous. Will it sell? Well, it’s nice to think that just maybe, thistime, the market has caught up to what Platinum is doing.
17. Animal Crossing Wii (Wii) Publisher: Nintendo
Developer: Nintendo
Est. Release Date: TBA
Officially Announced for E3: No
Asof this writing, Animal Crossing Wii still exists as a hopeful glimmerin the eye of the gaming public. Nintendo hasn’t said anything at allabout it yet, though almost all speculation says that it exists andwill be announced soon—and if that’s the case, E3 is as good a place toshowcase it as any. It’s a completely believable theory. Nintendo’sChristmas lineup is currently a complete mystery, and Animal Crossing,already a surprise hit on GameCube and DS, is such a good fit for thecasual Wii-loving audience it’s startling it’s not on the systemalready.
16. Left 4 Dead (PC, X360) Publisher: Valve Software
Developer: Turtle Rock Studios
Est. Release Date: Holiday 2008
Officially Announced for E3: Yes
Valvedoesn’t release duds, and it doesn’t buy teams that can’t deliver. Sothe fact that it purchased Turtle Rock Studios and have put a greatdeal of PR muscle behind Left 4 Dead speaks volumes as to how good thisgame could be. The game has a completely innovative, yet highly marketfriendly hook in its “four survivors must cooperate to survive thezombie horde” premise, though players of a less polite persuasion canalso take up the role of a super-powered zombie. This could very wellbe the next major online phenomenon, like Team Fortress 2 before it.
15. Resistance 2 (PS3) Publisher: Sony Computer Entertainment
Developer: Insomniac Games
Est. Release Date: Holiday 2008
Officially Announced for E3: Yes
Thefirst Resistance was the big win for the PlayStation 3 at launch, butResistance 2 looks set to spin that good first impression into anempire. Resistance 2 pushes the game out of London to the morerelatable (in the US, anyway) environs of the United States. A goodmove, but not as good as the massive 60-man multiplayer that the gamepromises. That’s fantastic scale for an online console game; add onsome more focused, objective-oriented teamplay and Resistance 2 is agood contender for gamer’s next networked obsession.
14. Killzone 2 (PS3) Publisher: Sony Computer Entertainment
Developer: Guerilla Games
Est. Release Date: 2009
Officially Announced for E3: Yes
Threeyears on and Killzone 2 is still trying to shake off its disastrous“showing” at E3 2005. Admittedly the team at Guerilla has done a finejob of actually approaching the target in that first badly marketed“target render,” with more recent previews showing the game asappropriately attractive and bombastic for its high position in Sony’sportfolio. But it still needs a big floor to show off, and it needs aman to say “in-game graphics” about one thousand times in front of somehuge HD Killzone if it wants to really nail the market. E3 historicallyhas had some very big floors.
13. Fable 2 (X360) Publisher: Microsoft
Developer: Lionhead Studios
Est. Release Date: Oct 2008
Officially Announced for E3: Yes
Alot on Fable 2 is already known, and most of it is interesting on avariety of levels. There’s the in-game dog, a character ofunconditional love that will act as the player’s anchor to the game’sworld. There’s the Pub Games, a series of Xbox Live Arcade titles thatwill act as both encapsulated products and previews for the bigrelease. Then there’s the gay marriage, pregnant adventuring, and allmanner of family matters to deal with in the game as well. It’s a gamethat promises to push boundaries and break some of the medium’s moreridiculous unnecessary taboos. Considering the success of the originalGable, it’s likely many people will choose to experience this moveforward—surely a good thing.
12. Command and Conquer: Red Alert 3 (PC, X360) Publisher: Electronic Arts
Developer: EA Los Angeles
Est. Release Date: Holiday 2008
Officially Announced for E3: Yes
RedAlert’s Cold War gone hot is one of the most beloved scenarios is allof strategy gaming, and the franchise’s long seven year absence makesthis game even more exciting and desirable. And by adding thepseudo-Japanese Empire of the Rising Sun faction the festivities geteven more campy and strange, complete with towering mecha, psychicschoolgirls and parachuting bears. So it’s got a lot of hooks for boththe longtime fan and sugar-crazed newcomer alike.
11. Far Cry 2 (PC, X360, PS3) Publisher: Ubisoft
Developer: Ubisoft Montreal
Est. Release Date: Holiday 2008
Officially Announced for E3: No
FarCry 2 has found a unique gaming setting in the jungles, savannahs andtowns of Africa, and it plans on giving the player a lot of thatsetting – 50 square kilometers, to be precise. Plenty of new gameplayelements will make themselves known as the player crosses that expanse:some wounds have to be treated with field medicine (ie. fishing abullet out with a knife) and brush fires can be started, only to bewhipped up realistically by wind. Far Cry 2 is an underutilized brandmoving to an underutilized setting while adding multiple newinnovations, making it an extremely strong contender in the hardcoreshooter market.
10. Prince of Persia (X360, PS3) Publisher: Ubisoft
Developer: Ubisoft Montreal
Est. Release Date: Holiday 2008
Officially Announced for E3: No
Princeof Persia: The Sands of Time was one of the last generation’s definingmoments, so it would have been easy for Ubisoft to just build astandard sequel on the successes of its previous trilogy. The fact thatthis is not the case, that the series is instead being rebooted with anincredible hand-painted aesthetic and open world, show a strongdedication to making the Prince one of the most lasting and importantfranchises in gaming (though the big budget movie helps on that scoreas well). While previous PoP titles did sell well, after theblockbuster success of Assassin’s Creed, the timing is perfect for thePrince to really make it big.
9. Final Fantasy XIII (PS3) Publisher: Square Enix
Developer: Square Enix
Est. Release Date: TBD
Officially Announced for E3: Yes
Sinceclosing the door on the last console genre, Square Enix has relied onhandheld games and Wii side stories alone. If the publisher’s lastfiscal statement said anything, it was that’s no way for a company tolive—so while Square Enix has some other interesting console games inthe pipe, it needs to bring its megaton franchise back into the publiceye. It’s not surprising that Final Fantasy XIII will show up in someform at E3—and regardless of what form it takes or what the game lookslike now, it could certainly steal the show if it tried.
8. Street Fighter IV (PC, X360, PS3) Publisher: Capcom
Developer: Capcom/Dimps
Est. Release Date: 2009
Officially Announced for E3: Yes
Atworst, this is a surprise come back of one of gaming’s most iconicfranchises. At best, this could be the surprise come back of agenre—certainly if anything could revive a flagging fighting gamefield, a new numbered entry in its greatest series would be the thingto do it. Perhaps the best sign that this game knows what it will taketo succeed is its reverence to Street Fighter II—all of the charactersfrom that game will return, and the gameplay mirrors the measured paceof that early entry. Considering versions of SFII still sell in strongnumbers, it’s easy to see how this strategy could succeed on the market.
7. Rock Band 2 (X360, PS3, PS2, Wii) Publisher: MTV Games
Developer: Harmonix
Est. Release Date: Sep 2008 (X360 timed exclusive, with other versions to follow)
Officially Announced for E3: Yes
Nomatter what other companies say, the fast-paced game of catch-up thathas gripped the music genre says one thing louder: the four-piece RockBand is the standard for the field. And while little is known about itat this point, what is known proves that Harmonix hasn’t lost the plotwith Rock Band 2. Sticking to its “platform” guns, the game will befully backwards compatible—with old DLC, with old instruments, theworks. And while user-created content is not a go this time, there arecertainly things about the game yet to be announced—you don’t want tomiss this one at the show.
6. LittleBigPlanet (PS3) Publisher: Sony Computer Entertainment
Developer: Media Molecule
Est. Release Date: Oct 2008
Officially Announced for E3: Yes
Despiteseemingly constant delays, LittleBigPlanet remains one of the mostunique products in Sony’s first-party arsenal. The idea of a game thatlives and dies by the content created by its users has been triedbefore in first-person shooters, but LittleBigPlanet, with its lovelytextured graphics and universal, non-violent charm wants to be muchmore—the YouTube of games perhaps, or the Legos of the 21st century. Ofall the games that could bring PlayStation 3 to the mass market, thisremains the best hope.
5. Halo Wars (X360) Publisher: Microsoft
Developer: Ensemble Studios/Bungie
Est. Release Date: Oct 2008
Officially Announced for E3: Yes
HaloWars is more than just the next title from Microsoft to have the Haloname. It’s also more than the first Halo project not spearheaded byBungie. Halo Wars wants to be a revolution in real-time strategy, aconsole exclusive built from the ground up for a console controller—inother words, Halo Wars wants to do for real-time strategy what Halo didfor first-person shooters. If it succeeds, it could crack wide open thenascent console RTS market as gamers try it based on the franchisealone. It’s been reported that the game will be playable by the mediaat E3, so the show should give a much better idea as to how itssucceeding.
4. Spore (PC, Mac) Publisher: Electronic Arts
Developer: Maxis
Est. Release Date: Sep 7, 2008
Officially Announced for E3: Yes
It’scertainly something that even after the seemingly endless amount ofwords typed about Spore, even though it’s appeared in publications asnon-game centric as The New Yorker, even though the wait for the gamehas been years long and interminable, almost everyone who knows aboutit is still excited at its promise. And after the success of therecently released Creature Creator, that excitement is still mounting.Will Wright’s SimEverything could very well the next big thing, tossingaside silly ideas like “demographics” and just appealing to everyoneeverywhere. In other words, the next Sims.
3. Gears of War 2 (X360) Publisher: Microsoft
Developer: Epic Games
Est. Release Date: Nov 2008
Officially Announced for E3: Yes
Gearsof War 2 is a lot of things. To the gamer, it is epic, the sequel tothe game that dominated man hours spent on Xbox Live for most of 2007.To developers, it’s the new baseline, as every new Epic game has cometo represent the state of the art for the now industry standard UnrealEngine 3. In both regards Gears of War 2 looks great. A fewimprovements to the constantly evolving engine have already been shown,and most gamers agree that new mechanics like martyrdom and the “meatshield” look like fantastic fun. Gears of War is already one of thisgeneration’s emblematic franchises, so it will be great to see how thesequel goes about cementing that status.
2. Resident Evil 5 (X360, PS3) Publisher: Capcom
Developer: Capcom
Est. Release Date: 2009
Officially Announced for E3: Yes
RE5is not even close to a retail release, and yet it’s already one of themost interesting topics in the industry. It brings with it the highlyrespected pedigree of Resident Evil 4, hands-down one of the best gamesof the last generation, and will probably sell strongly to the audiencethat loved, or even heard about, that game. Yet it’s also mired incontroversy over some concerns regarding racism. So it’s a projectthat’s walking many tightropes of expectation, and there’s potentialfor huge success or massive failure here. As a result this E3 could bethe most important public showing for RE5 until its release—it shouldbe fascinating.
1. Fallout 3 (PC, X360, PS3) Publisher: Bethesda Softworks
Developer: Bethesda Softworks
Est. Release Date: Oct 2008
Officially Announced for E3: Yes
Fallout3 shows great evolutionary leaps every time it’s displayed for publicviewing, with recent revelations—the childhood simulating charactercreator, the 500 endings—being particularly fascinating. Now that it’scoming precariously close to its announced release date, this E3 shouldrepresent the game’s biggest showing yet. If there are any surprisesleft in the title to announce, expect them to get announced at somepoint during the week. But even if there aren’t, Fallout 3 has alreadyproven itself to be a sprawling, ambitious project that anyone in thegaming audience would wait to spend more time with.
RedAlert’s Cold War gone hot is one of the most beloved scenarios is allof strategy gaming, and the franchise’s long seven year absence makesthis game even more exciting and desirable. And by adding thepseudo-Japanese Empire of the Rising Sun faction the festivities geteven more campy and strange, complete with towering mecha, psychicschoolgirls and parachuting bears. So it’s got a lot of hooks for boththe longtime fan and sugar-crazed newcomer alike.
