Showing posts with label video games. Show all posts
Showing posts with label video games. Show all posts

Saturday, December 29, 2018

End of the Year Reflections

Hey everyone! I hope you all have had a wonderful holiday season whether you celebrate Christmas, Hanukkah, Kwanzaa, or everything in-between. More importantly, I hope you all have been spreading cheer and goodwill towards your fellow man,woman, & child.

I will see you all hopefully bright eyed and bushy tailed in the new year!

Sunday, November 11, 2018

Destiny 2 Microtransactions: Destined for a Resurgance?

During an earnings call, Activision determined that within the last quarter sales for Destiny 2: Forsaken have not lived up to expectations. The game had been heavily promoted and was even offered as a free title for PC gamers (available until November 18, 2018). It was also made available to PlayStation Plus subscribers as part of the free games line-up for the month of September. Nonetheless, the game has been under-performing in terms of player engagement as well as market performance.



During the call itself, Activision COO Coddy Johnson stated that “Some of our other franchises like Destiny are not performing as well as we’d like...” This could be a result of the core fanbase from Destiny 1 being deterred from purchasing the sequel and subsequent expansions because of poor business practices in the past which are just now starting to show repercussions. He seems to affirm this theory as he continues claiming "We have not yet seen the full core re-engage in Destiny, which has led to the under-performance against expectations to date. Some players are in 'wait and see' mode. If you're in, you're deeply engaged. If not, we think now's the time to bring players back."

Some players and critics alike believe that Exo Cayde-6's death in the overarching storyline however, may now have proven to be a critically severe tactical error from a business standpoint. As the only character with significant personality, acting as comedic relief, the tone of the franchise has perhaps become forever marred in an edgier, grittier manner. As such, it may be that players (such as myself) have lost interest and immersion considering that the character has survived the "Red War" of the main base game, only to fall victim to Prince Uldren and his Skorn underlings immediately afterwards. This may have deterred current players from purchasing the latest DLC in a denial of cycle sort of way. By not purchasing Destiny 2's Forsaken, Cayde-6 still "lives", albeit metaphysically.

Cayde-6

Unfortunately, what this means for Activision's long-term plan is that they intend to have future content released more frequently, and most egregiously, ramp up the monetization for the game. This most definitely is NOT a strategy that will be met with welcome arms from their players as it was clearly evident with the introduction of Eververse's costly "pay-to-acquire" exclusive items.

One potential monetization alternative would be a subscription fee on top of the $60 fee for the base game and the $40 fee for the expansion packs. However, I would suggest perhaps customizeable reticles (perhaps with clan tags as a feature?) or possibly adding "bases" where players could customize furnishings and hang out with other members of their group? There are less aggressive and invasive means of increasing revenue and player engagement.

Personally, I want to know more about guardians themselves. What do they do in their free time when they are not protecting the last city from enemies of the Traveler? What do they do for amusement that doesn't involve guns? Can they even reproduce considering that they were dead and then resurrected? What effects of resurrection on the anatomy does this have? Do guardians need to eat too? During a strike mission, the Ghost casually alludes to the fact that guardians are immune to Tetanus when entering a rusted water purification plant teeming with Taken spawn. Clearly, Bungie and Activision have room to ponder these aspects of their eververse-expanding world. Given enough time, they can create content that would make the game far more enticing to hardcore and casual players.

My greatest complaint with Bungie and Activision is the constant lack of transparency as well as a distinct habit of miscommunication of goals and ideals. There have been some gross violations of player trust such as when there was an Experience Level scaling issue for hardcore grinding players. Bungie & Activision have managed to shoot themselves in the foot time and time again by not communicating clearly and effectively with their fan base and it always reflects in their revenue. It's a hard lesson to learn, but a very necessary one to abide by. Treat your customers with respect and integrity, do not shortchange them, and listen heavily to feedback (both constructive and negative).

Works Cited
 

Schreier, Jason. “Activision Says It's Not Happy With Destiny's Sales.” Kotaku, Kotaku.com, 8 Nov. 2018, kotaku.com/activision-says-its-not-happy-with-destinys-sales-1830322804?utm_source=Kotaku_Twitter&utm_campaign=Socialflow_Kotaku_Twitter&utm_medium=Socialflow.

Usher, William. “Apparently, Destiny 2 Has Been A Disappointment For Activision.” CINEMABLEND, CINEMABLEND, 9 Nov. 2018, www.cinemablend.com/games/2461140/apparently-destiny-2-has-been-a-disappointment-for-activision?fbclid=IwAR2dJVpFdJ2kFvhtA2Dzz4T7T-UQulrXE2_Fenx-5usyUYfMbw2n6XEHVsk.


Wood, Austin. “Destiny 2 Director Assures Players Bungie Is.” GamesRadar, GamesRadar The Games, Movies and TV You Love, 10 Nov. 2018, www.gamesradar.com/destiny-2-director-assures-players-bungie-is-not-disappointed-with-forsaken-despite-activisions-sales-concerns/?utm_content=bufferc8f1a&utm_medium=social&utm_source=facebook&utm_campaign=buffer_grfb.

Sunday, October 14, 2018

Level Up! Why Gamers Should Be Voting - An Article Review

In an opinionated article for GameInformer Magazine, titled "Gamers Should Be Voting, So Why Aren't We?" Senior Previews Editor Matthew Miller attempts to entice readers and gamers alike into getting politically active.

This is a critical recruitment time as the November 6th, 2018 Mid-term Election is just around the corner. Midterm elections in the United States are held in November every four years, near the midpoint of a president's four-year term of office. They are considered to be general elections that affect the offices of members of the United States Congress, including all 435 seats in the United States House of Representatives, and the full terms for 33 or 34 of the 100 seats in the United States Senate.

Unfortunately, midterm elections usually produce a significantly lower voter turnout than most presidential elections. As such, Miller appeals to gamers' sense of choice and their drive for social change. Gamers provide a youthful and unique demographic. Miller cites a 2017 Pew Research Center Study which determined that "60 percent of Americans between [the ages of][sic] 18 to 29 said that they played video games regularly" Yet, in combination with data from the Center for Information and Research on Civic Learning and Engagement, "...only 19.9 percent of people aged 18 to 29" voted in the last mid-term election cycle which was held in 2014.

So, based on these separate studies, one can infer that there is a severe lack of young adults participating in the general elections.

Now, granted that both sources of data come from different sources and their respective studies, but it does illustrate a curious discrepancy between voter turnout and the number of potential voters in that age category that were gamers, who actually went to the polls, and voted, albeit, more information would be necessary to establish a better correlation. A proper study should be conducted asking gamers in that age category whether or not they actually voted in the mid-term election.

One of the possible explanations for a lack of voter participation is that there is a longstanding belief that one vote does not make a difference or that it won't change the status quo, but that is far from the truth. Miller appeals to the current state of affairs circulating online forums and many other media outlets that are of the utmost importance to gamers. For example, he cites the issues of Net Neutrality, and mass shooting related to gun control and the blame placed upon violent video games. He also cites the terrible tragedy that befell the people of Jacksonville, Florida, on August 26, 2018 during a Madden tournament. One must also consider that there is strength in numbers and that if friends and family come together on an issue, it can make a monumental change. Miller mentions that Epic Games' Fortnite title has 125 million players. Even if a fraction of those were U.S. citizen eligible to vote and did so, the turnout would be extraordinary.

I heartily encourage my friends and family (gamers and non-gamers alike) to vote and I provide a link to the Video Game Voters Network right here on my blog to garner positive changes in our American Society. Let your voices be heard!



Works Cited
Miller, Matt. “Gamers Should Be Voting, So Why Aren't We?” GameInformer, Oct. 2018, p. 32.

Thursday, March 1, 2018

Violent Tendencies and Video Games: In the Aftermath of Parkland

President Donald Trump will meet next week with members of the video game industry in the wake of the Marjory Stoneman Douglas High School massacre in Parkland, Florida which took the lives of seventeen people, on February 14, 2018.

In order to enact more concise guidelines on gun control and ownership, the president will be participating in continuous discussions and meetings with Congressional members.

Reporter Zeke Miller asked White House press secretary Sarah Huckabee Sanders why the president was having such difficulty in motivating a Republican majority Congress to “bend to his will” on matters of gun control.

As many are aware, one of the less often spoken powers that the President is granted, is the power to persuade and make compromises as a sort of negotiator between political parties, legislators, and constituents. This is among the more prominently known abilities to sign or veto legislation, command the armed forces, ask for the written opinions of their Cabinet, convene or adjourn Congress, grant pardons, or host foreign ambassadors.

According to Sanders, "Next week, he’ll also be meeting with members of the video game industry to see what they can do on that front as well. This is going to be an ongoing process and something that we don’t expect to happen overnight, but something that we’re going to continue to be engaged in and continue to look for the best ways possible to make sure we’re doing everything we can to protect schools across the country.”

Video games have had a formalized rating system, administered by the Entertainment Software Rating Board, since 1994. The rating system established by the ESRB is designed to inform and educate both players and parents in regards to the type of content featured in the game using generally applicable terms that can be utilized universally to all video games. Essentially, it provides parents with the power to be informed and dictate which games are appropriate for their children or other family members through easily identifiable icons as well as clear, concise content descriptions.

President Clinton (on June 1, 1999) requested that the Federal Trade Commission and the Department of Justice conduct studies of the marketing of violent entertainment media to youths and designated $1 million dollars of federal funding towards such experiments (Grier 2001, 123).

The problem is that research in the past by the Clinton Administration has indicated that there is next to no causal link between violence in video games and school shootings. Blaming the media and the video game industry is but a mere scapegoat which will inhibit researching actual underlying causes of why individuals like 19-year-old Nikolas Jacob Cruz would pick up a gun and start attacks in the first place...if anything, these games and media portrayals of violence might enhance or exacerbate these feelings of rage or violent tendencies, but these games can not be considered the root cause.

I personally do not foresee new research indicating anything different. As it stands, it is already difficult to do longitudinal studies because of practical and ethical reasons. Researchers cannot force participants to play the same game for weeks months, or years on end without a multitude of repercussions (i.e. fatigue, monotony, etc.).

It’s unclear what role, if any, video games played in the Parkland incident. Nikolas Jacob Cruz allegedly pulled a fire alarm before gunning down his classmates with an AR-15-style assault weapon. Perhaps that act, in and of itself, was a last ditch effort to warn his peers, a sort of "cry for help" from an emotionally and psychologically disturbed individual.

After all, one must ask why would one try to alert others before committing such a horrendous crime? Perhaps some shred of human decency tried to grasp his consciousness before he fired that first shot. We won't truly know until we can investigate further into the human psyche and the events leading up to this devastating tragedy.

There are still, as of yet, no definitive studies available that adequately determines a causal relationship between violent video games and violent acts or crime. Yet, media journalists, political activists, and parents alike continue use violent video games as a political scapegoat for our violent culture despite a severe lack of etiological evidence.

Works Cited

PBSNewsHour. 1 Mar. 2018, www.youtube.com/watch?v=FJ0xWWlpwqU&feature=youtu.be&t=5m39s. Accessed 1 Mar. 2018.

Sonya A. Grier (2001) The Federal Trade Commission’s Report on the Marketing of Violent Entertainment to Youths: Developing Policy-Tuned Research. Journal of Public Policy & Marketing: Spring 2001, Vol. 20, No. 1, pp. 123-132.

Saturday, July 8, 2017

Dragon Quest X (Upcoming PS4 Version) Update and Beta Test Announcement!

Next month in Japan marks the release of the PlayStation 4 version of Dragon Quest X: Rise of the Five Tribes Online. Square Enix shared a brand new trailer (depicted below) that highlights scenes from the MMORPG title on PS4. The new “All in One Package” edition of the game, features enhanced visuals with improvements on facial textures and other parts of the game with 1080p resolution and 60fps performance on PS4 (which is a great improvement when compared to the original Wii version). It also contain the game’s first three expansions, or rather "versions" since it was launched back in August 2, 2012.


Dragon Quest X releases in Japan on August 17, 2017 for PlayStation 4 and Fall of 2017 (estimated September 21, 2017) for the Nintendo Switch. Both of which are priced at 4,800 yen (approximately $42.14 USD). The game is currently available on Wii U, PC, iPhone, and Android.

PlayStation 4 users will need to pay about 1,500 yen a month for five characters and the Switch version will cost around 1,000 yen (approximately $8.78 USD) to 1,500 yen a month (approximately $13.17 USD) for three to five characters.


A beta test for both versions was announced, and it will go live from Wednesday, July 19, 2017 through Thursday, August 10, 2017. Unfortunately, the Beta test application period ended Saturday, June 10, 2017 at 23:59.

The link to the BETA test can be found here: http://www.jp.square-enix.com/DQXBETA2017/

In order to participate, users must:
  • Have a PlayStation® 4 / PlayStation® 4 Pro or Nintendo Switch ™ main unit 
  • Have 16 GB of free space in their PlayStation® 4 / PlayStation® 4 Pro HDD

    OR:
  • A Nintendo Switch ™ Main unit storage memory or microSD card with 16 GB of free space

    In addition:
  • There must be an environment where you can connect to the Internet 
  • Users must have a Square-Enix account

    If Nintendo holds up on their claim that their console is region free, the earliest Nintendo Switch users could see this game is September of this year.

    You can read all about my past posts regarding this title here.
Works Cited
Dragon Quest X Highlights Scenes In A New Trailer For Upcoming PS4 Version. (2017, July 06). Retrieved July 08, 2017, from http://www.siliconera.com/2017/07/06/dragon-quest-x-highlights-scenes-new-trailer-upcoming-ps4-version/

Dragon Quest X On Switch Gets Its First Footage, Release Dates For PS4 And Switch In Japan. (2017, May 27). Retrieved July 08, 2017, from http://www.siliconera.com/2017/05/27/dragon-quest-x-switch-gets-first-footage-release-dates-ps4-switch-japan/

Monday, May 22, 2017

Opinion Piece - Politics In Gaming

In a recent article of GameInformer magazine written by Associate Editor, Elise Favis, readers are exposed to the often controversial topic of placing political elements in video games. According to her assessment, a majority of the gaming community would be opposed to this invasive practice of placing these often not-too-subtle points of contention in their titles. This might be in part due to the ideal of most gamers having a medium of escapism from the world's harsh realities of life. There is an expectation of entertainment value without pondering too much.

There are radical movements such as GamerGate that passionately oppose such realism. However, I share the sentiment that Favis has in that "Politics not only matter, but they also make for better games and better stories." That's not to say that every game should apply such politically motivated components to them.

What are politics anyway? For those of you that are unaware (or those that have tried to repress any form of such discussion), politics essentially boils down to the theories and practices of governing or influencing other people in society. This often means curbing people's actions either for the benefit or detriment of the public. Ideally, the former is more desireable than the latter, but there are those that often use their power and dominion to persuade others to be corruptible.

There have been some games that fall completely flat when trying to spur feelings of activism or social awareness. None come to my mind at this moment, but it's fair to say that a political approach does not always enhance the entertainment value of a video game.

The gaming industry is ever changing though and preconceived notions of fantasy and science fiction have constantly been reshaped to fit the times. Indie developers are always trying to push the envelope digitally with enhanced graphics and storylines. It is thus to be expected that future narratives will mimic and reflect the values and concerns of the decade. As Elise Favis puts it, "The most memorable games are the ones that leave you to ponder their meanings, and politics are just one of the many methods to facilitate discussion."

Furthermore, video games (at least in my own personal opinion) are indeed a form of art, akin to the works of contemporary novelists and abstract artisans. There are numerous stories that can be told with players offered ultimatums that effect the worlds they inhabit, however briefly. Favis uses examples of games such as Mafia III, Deus Ex: Mankind Divided, and The Last of Us Part II, but one example that immediately comes to my mind is that of Ubisoft's Watch Dogs 2.

The microaggressive actions of Brody Goodale, senior programmer for the fictional tech company Nudle, upon Horatio Carlin for one instance, brought light to a daily problem in the real world felt by minorities. Harassment and general glares of suspicion are not uncommon from white, privileged individuals towards persons of color, even if they are law abiding citizens.

One scene that stood out for me involved a high tech automobile with an artificial intelligence (AI) that tells Marcus Holloway that facial recognition can’t identify him because his skin is too dark. This was an example in-game of a real-world incident where cameras by HP could not recognize dark-skinned individuals. Watch Dogs 2 is one of my most enjoyed games.

I can't say I didn't laugh when the AI had trouble profiling Marcus, but sometimes humor is the only option we have in order to keep calm in those moments of high tension. Often, comedy and satire increase the awareness of such issues. We're all human. We all make mistakes. No one is perfect. However, that doesn't mean we can't try to be better people. As with all things, we should use a modicum of moderation when applying political undertones.

Works Cited

Favis, E. (2017, June). Get Your Politics Into My Games. GameInformer, (290), 32-32.

Friday, March 31, 2017

Destiny 2 - New Legends Will Rise

After several months of speculation, Destiny 2 has finally had an official trailer. Unfortunately, not one scene of which actually included any gameplay footage. Destiny has captivated a devoted gamer fan-base since it first launched on September 9, 2014.

In the teaser trailer titled "Last Call", Cayde-6 (portrayed by none other than Nathan Fillion) recounts the events that transpired leading to the fall of the Vanguard's Hall of Guardians while presumably taking some "creative liberties" on his heroic performance whilst defending himself as well as his comrades Ikora Rey and Commander Zavala.


In the featured trailer, he makes an attempt at rallying the various Guardians spread throughout the ruins of what was once the Tower or the last city on Earth. Comically however, his motivational speech is not nearly as impressive as Commander Zavala's but with the promise of "loot", the Guardians in his midst are rearing to take on the Cabal who had the "Ghaul" to invade and destroy the Vaults containing the Guardians' arsenals (pun intended).

The official description of the reveal trailer reads as follows:

"Humanity’s last safe city has fallen to an overwhelming invasion force led by Ghaul, the imposing commander of the brutal Red Legion. He has stripped the city’s Guardians of their power, and forced the survivors to flee. You will venture to mysterious, unexplored worlds of our solar system to discover an arsenal of weapons and devastating new combat abilities. To defeat the Red Legion and confront Ghaul, you must reunite humanity’s scattered heroes, stand together, and fight back to reclaim our home."



More info is said to come via a future livestream on May 18th, 2017. Players who pre-order will be the first to obtain BETA access to the game, but there will be an Open BETA at a later date.

My Thoughts
My expectations for this game are at an all time low because I'm skeptical (and cynical) that the plot of this sequel will have any real substance.

In addition, knowing that Bungie had DLC expansions, I can at least somewhat predict that the same pattern will occur once again. As such, I suspect that Season Pass will be offered. Let's recap on when the original game released its downloadable content:

1.) The Dark Below released on December 9, 2014
(91 days from the time of the launch of Destiny or approximately 3 months).

2.) House of Wolves released on May 19, 2015
(252 days from the date of the launch of Destiny or 8 months, 10 days).
(161 days from the date of the release of The Dark Below Expansion or 5 months, 10 days)

3.) The Taken King released on September 15, 2015
(371 days from the date of the launch of Destiny or 1 year, 6 days).
(119 days from the date of the release of the House of Wolves Expansion or 3 months, 27 days).

4.) The Rise of Iron released on September 20, 2016 
(742 days from the date of the launch of Destiny or 2 years, 11 days)
(371 days from the  date of the release of The Taken King Expansion or 1 year, 5 days)

So we have a rough idea of how spread apart the expansions were for the first title. Does this mean that Destiny 2 will follow the same trend? Not necessarily, but at least it's a starting point. On average, each expansion comes out somewhere between 3-5 months apart from one another (with exceptions regarding the last one).

No Caption Provided





Sunday, December 4, 2016

Crashing the Party: Crash Bandicoot: N.Sane Trilogy's First Trailer At PlayStation Experience 2016

Activision has recently revealed a new trailer for Crash Bandicoot: N. Sane Trilogy, the upcoming remake of the first three Crash Bandicoot titles, at PlayStation Experience 2016.

Some of the improvements to the original games include a unified checkpointing & save game system. (This includes manual and auto-saving.) Also featured is an additional unified menu system, as well as Time Trials in all three games!

Arguably most impressive is the inclusion of a “fully-remastered game soundtrack, packed with all the didgeridoos, xylophones and thumpin’ bass lines you can handle, as well as newly recorded dialogue from some of the familiar voice actors who appear in the original Crash Bandicoot games, including Jess Harnell and Lex Lang, among others.”

It's been 20 years (two decades!) since the original Crash Bandicoot was released on the PlayStation One console (September 9, 1996). I look forward to getting my hands on this collection as soon as possible, if only for nostalgia's sake.



Works Cited:
S. (2016, December 03). Crash Bandicoot: N.Sane Trilogy Gets Its First Trailer At PlayStation Experience 2016 - Siliconera. Retrieved December 04, 2016, from http://www.siliconera.com/2016/12/03/crash-bandicoot-n-sane-trilogy-gets-its-first-trailer-at-playstation-experience-2016/

Gach, E. (2016, December 03). New Details On The Crash Bandicoot Trilogy Remaster. Retrieved December 04, 2016, from http://kotaku.com/new-details-on-the-crash-bandicoot-trilogy-remaster-1789644491 

Wednesday, November 9, 2016

Video Games & Violence



The following is an essay I had typed up for my Seminar in American Politics course which I had completed on April 11, 2013. It was a paper in regards to video games and politics.





Violent Video Games and Public Policy: A Diffusion of Innovation


Introduction:


Many Americans families today own home entertainment systems. Most of which include a video game console, Smartphone device, or Personal Computer (PC). It is a common occurrence to see youth and adults playing video games throughout the week and they have become a staple part of our Western culture. However, with advances in gaming technology, the depictions of violence, blood, and gore are becoming increasingly more realistic. As such, an ever growing concern among parents, educators, and legislators is that children and young adults will begin to act upon these stimuli, especially considering the large magnitude of school shootings that have occurred since their origin beginning in the mid-60’s to the early 80’s. A majority of these games started off modestly as text-based adventures, such as Zork while others were simpler concepts such as moving a small white ball back and forth using paddles, namely Pong (Anders, 1999, 270).


Interestingly enough, many children and minors are playing games that are simply not suitable for their age. Whether or not this is a fault of the ranking system created by the voluntary and self-regulating organization, the Entertainment Software Ratings Board (referred commonly to as the ESRB), a problem involving individual retailers themselves (such as GameStop), or if this is a problem concerning misinformed or uninformed parents on this particular system is up to critical debate. Another possible explanation is perhaps the tact of the industry giants to manipulate advertising to appeal to youths (despite claims that their target audience is that of a much older generation) through the usage of excessively violent imagery that still manages to appeal to them. There are two questions one must ask however, particularly when dealing with this topic of discussion. First, is there significant evidence that determines that violent video games increase aggressive behaviors (which could result in more mass shootings)? Secondly, is there a causal linkage between violent video games and violence? Finally, if there is sufficient evidence, does our Federal Government have the authority to regulate such violent media despite being a potentially protected freedom of speech and expression under the First Amendment of the United States Constitution? If so, what has been done to curb the violence?


There are three different types of studies used in determining whether or not media violence has a significant impact on aggressive behavior: experimental research, cross-sectional co-relational analysis, and longitudinal studies. Ideally, a longitudinal study would be the most conclusive type of research, able to accurately determine the long-term effect of exposure to violent video games by requesting participants to play a randomly designated violent or non-violent game for weeks, months, or years at a time. However, there are practical and ethical ramifications with regards to conducting such extensive research (Bushman et al., 2013, 227). It may be due to the more prominent interactive nature of video games compared to television and movie viewing, and the fact that this is a relatively new form of media, that research is still remarkably limited. However, continuous efforts have been made to shed some light upon this issue and raise awareness.


Method


Psychological research and meta-analytical reviews into the effects of violence on youth are vital to determining the policy implications that one must consider. Meta-analysis focuses on combining and contrasting results from multiple studies, with the expectation of identifying patterns among the results, the bases of disagreements among those results, or other significant correlations that may be exposed in the context of several studies. Meta-analysis uses a common measure of effect size, where a weighted average might be used related to sample sizes within each of the individual studies.


The most referenced and leading meta-analytical review, conducted by Craig A. Anderson and Brad J. Bushman, used research studies available in the PsychINFO database (that were listed up through 2000) based upon their search of specific keywords (video*, computer, arcade, game, attack*, fight*, aggress*, violen*, hostil*, ang*, arous*, pro-social, or help*). Their initial search revealed 35 reports that included 54 independent participant samples. A total of 4,262 participants were included within these studies with roughly 46% (approximately 1,960.52) of those being under 18 years of age. Anderson and Bushman contacted the authors of the reports in order to request missing information so that they would be able to provide and calculate a proper effect-size estimate (Bushman and Anderson, 2001, 356). To account for relevance, they considered a study pertinent only if “they examined the effects of playing violent video games on the aggressive cognition, aggressive affect, aggressive behavior, physiological arousal, or pro-social behavior.” Those studies that were excluded were those that had participants that only watched others play a game. For those that had half of the participants play and half watch, the results were collapsed across a play/watch variable. The sample size was divided in half using the collapsed results when Anderson and Bushman could not estimate the effect for “play” participants (Anderson and Bushman, 2001, 356).


Results


Condensed into perhaps a bi-variate model, the independent variable would be the studies listed in the PsychINFO database matching the aforementioned terms and the dependant variable would be participant behavior with the individuals themselves being the unit of analysis. Anderson and Bushman describe their own five dependent variables as: aggression, pro-social (or “helping”) behavior, aggressive cognition, aggressive affect, and arousal.


Regarding aggressive behavior, it was determined that “across the 33 independent tests of the relation between video-game violence and aggression, involving 3,033 participants, the average effect size was positive and significant, Pearson’s r value of 0.19”. When considering Pearson’s r, one must recall that it is a measure of the strength of linear dependency between two variables. Thus, for a “rejection of the null hypothesis” to occur, (the relationship between the independent and dependent variables being significant) the Pearson’s r value must be less than 0.05. Also, one must recall that the R-squared value is the percentage of variation in the dependent variable, accounted for by the independent variable.


A moderator analysis of factors such as age, type of study, and publication status revealed that there were no significant effects on the dependent measures of aggressive behavior, aggressive cognition, and aggressive affect (Anderson and Bushman, 2001, 357). Anderson and Bushman determined that short-term exposure to violent video games causes a temporary increase in aggression through the use of separately calculated effect-sizes for each of the 21 experimental studies and the average effect was an r = 0.18, with a 95% confidence interval (0.13, 0.24). Regarding the 13 non-experimental tests, the average effect was r = 0.19 with confidence intervals of .15, and .23. As such, Anderson and Bushman claim that “exposure to violent video games is correlated with aggression in the real world” (Anderson and Bushman, 2001, 357).


Non-experimental tests were divided by Anderson and Bushman into three categories: time spent playing video games, preference for violent games, or time spent playing video games in general (regardless of game content) in order to measure exposure (Anderson and Bushman, 2001, 357). According to them, in all three cases, the average correlations with aggression were statistically significant and positive (Anderson and Bushman, 2001, 357).


Experimental tests were also divided into two categories based upon whether or not the target of aggression was another individual. Thus, the magnitude of the effect was dependent upon the aggression target (Anderson and Bushman, 2001, 357-358). When it came to the dependent variable of pro-social behavior, “The eight independent tests of the relation between violent video games and pro-social behavior, involving 676 participants, yielded an average effect that was both negative and significant, there was a negative r = 0.16” (Anderson and Bushman, 2001, 358). Unfortunately, a moderator analysis was not possible due to a lack of a sufficient number of studies involved with this aspect. Physiological arousal was determined by measuring systolic blood pressure, diastolic blood pressure, and heart rate. It was ascertained that the type of measure did not significantly influence the results (Anderson and Bushman, 2001, 358).


They concluded that exposure to violent video games has a positive association with increased levels of aggression in both young adults and children, including tests of experimental and non-experimental design (Anderson and Bushman, 2001, 358). Appropriately noted however, was that longitudinal research was desperately needed and despite the slim possibility that repeat exposure to violent video games would not increase aggression in the long-term, sound evidence to support such a claim would be most desirable (Anderson and Bushman, 2001, 359).


New attempts have been made to further research into the effects of video game violence on society, by Brad J. Bushman, Laurent Bègue, Youssef Hasan, and Michael Scharkow with their longitudinal study of the effect of violent video games on the cumulative effects of violent video games on hostile expectations of violence, they did find evidence to suggest that hostile expectation of violence did increase over time with violent video game exposure (20 min per session), but that study itself only covered a span of three days. Bushman et al. claim that although they recognize that their study was limited in scope, they noted that it is difficult to do longitudinal studies because of practical and ethical reasons (One cannot force participants to play the same game for weeks months, or years on end without a multitude of repercussions) (Bushman et al., 2013).


In another study, by Nicholas L. Carnagey, Craig A. Anderson, and Brad J. Bushman, they discovered through participants’ heart rates and galvanized skin responses, that players became desensitized to real-world depictions of violence (Carnagey, Anderson, and Bushman, 2007). Despite the assertions that Anderson and Bushman (2001) claim with their meta-analytical review of existing research, there are still no definitive studies available that adequately determines a causal relationship between violent video games and violent acts or crime. Yet, media journalists and parents continue use violent video games as a political scapegoat for our violent culture despite a lack of etiological evidence.


Following the Colombine Shootings, President Clinton (on June 1, 1999) requested that the Federal Trade Commission and the Department of Justice conduct studies of the marketing of violent entertainment media to youths and apportioned $1 million dollars of federal funding towards such research (Grier 2001, 123). The Federal Trade Commission’s initial report seems to concur with such findings of increased aggressive behaviors & expectations. Their study was not merely limited solely to violent video games as it included other similar forms of violent media such as movies and television. In the FTC’s review of the Effects of Media Violence on Youth, (issued by President Clinton at the time) found that “there was a high correlation between exposure to media violence and aggressive and/or violent behavior” (Grier, 2001, 124). Yet, regarding causation, the evidence from the studies reviewed was deemed less than conclusive (Grier, 2001, 125).


The rating system established by the ESRB is designed to inform and educate both players and parents alike as to the content of the game in generally applicable terms that can be applied universally to all video games. Essentially, it provides parents with the power to dictate which games are appropriate for their children or other family members through easily identifiable icons and content descriptions. The most current ratings provided by the ESRB are as follows:





Early Childhood (EC): Games with this rating are intended for children ages 3 and above. These games often contain highly educational material.






Everyone (E): This content is generally suitable for all ages. It may however, contain minimal cartoon, fantasy or mild violence and/or infrequent use of mild language.






Everyone 10+ (E 10+): The content found in video games with this rating are considered to be generally suitable for children age 10 and up. These games may contain more cartoon, fantasy or mild violence, mild language and/or minimal suggestive themes than the previous tier however.






Teen (T): The content found in these titles is generally suitable for youth ages 13 and up. These games may contain violence, suggestive themes, crude humor, minimal amounts of blood, simulated gambling and/or infrequent use of strong language.






Mature (M): The content found in these games is generally suitable for those 17 years old and up. These games often contain intense violence, blood and gore, sexual content and/or strong language.






Adults Only (AO): This content is suitable only for adults ages 18 and up. It may include but is not limited to, prolonged scenes of intense violence, graphic sexual content and/or gambling with real currency.






Rating Pending (RP): These are video games that have not yet been assigned an official final ESRB rating. This rating appears only in advertising, marketing and promotional materials related to a game that is expected to carry an ESRB rating, and is often replaced by a game's official rating once it has been assigned. (ESRB website)






The criteria and ratings have been modified over time. In 1999, according to Kelly Anders article, more than 5,000 titles had been rated by the ESRB and of those, 3% had an EC (Early Childhood) rating, 71% had a K-A (Kids-Adults) or E (Everyone) rating, 19% had a rating of T for teen, 7% of which had a rating of M or Mature, and with less than 1% of the total number of games rated in the AO or Adults Only category.


A large majority of what is considered mild is up to the discretion of the members of the ESRB however, and parents may not necessarily agree with their criteria. Additional problems abound especially when considering that ratings are printed so small on the packaging that they are easily ignored by children and overlooked by adults who purchase the games (Anders 1999, 272). Nonetheless, according to the Federal Trade Commission’s 2007 Report to Congress, “the ESRB continues to lead all three electronic entertainment media industries [music, movies, and games] in providing clear and prominent disclosures of rating information in television, print, and online advertising.” (Federal Trade Commission Report to Congress, 2007)


Anders acknowledged that seven states had taken it upon themselves to regulate violent video games through their proposed regulatory policies (Anders 1999, 271). These seven states were Alabama, Arkansas, Florida, Minnesota, New York, Pennsylvania, and Washington. Many legislative attempts have been made since, from other states such as California (which will be discussed momentarily), but to date, none have succeeded. These numerous failures are perhaps reflective of a perception of Spitzer’s book, as he recognizes that “repetitive political scenarios play themselves out with great fury, but astonishingly little effect”, a trait that is predominant in his outrage-action-reaction model (Spitzer, 2008, 13).


According to Jack L. Walker’s The Diffusion of Innovations among the American States the definition of innovation is any “program or policy which is new to the states adopting it, no matter how old the program may be or how many other states have adopted it” (Walker, 881). This diffusion or transmission of ideas is keenly applicable to regulatory policy on the economic marketing and distribution of these violent video games towards youth.


This is especially true when applying this concept to those aforementioned states and the ten regulatory proposals introduced in 1999 to the House of Representatives and the Senate, all of which failed spectacularly across the board (Anders, 1999, 272). Each policy is regulatory in nature and it’s rather peculiar that none of the state legislature conceived a notion of perhaps a distributive policy in increasing public knowledge or awareness of the already implemented ESRB system (through the distribution of more educational materials). The ten proposals are listed as follows:



Alabama (House Bill 726) had introduced a policy to prohibit the sale, lease, and/or renting of video games to those under the age of 18 and would have appointed the attorney general to establish all ratings of video games.






Arkansas (Senate Bill 925) would have prohibited the public display of violent video games. After the Jonesboro incident, a governor’s group formed which advocated that that the state target violent media and send medical personnel into the homes of teenage mothers to deter their children of crime. In addition, this group proposed to conduct public service announcements, fundraisers, statewide conferences, and local seminars aimed at teaching parents and children of the harmful effects of violent media.






Florida (House Bill 225, Senate Bill 820) intended to create the Children’s Protection from Violence Act, restricting the public display or exhibition of graphically violent video games in certain specified places. The bill proposed would also forbid those who consciously operate a business (with displays of graphically violent video games) from allowing anyone under 18 years of age to visit, patronize, or loiter in the vicinity.






Minnesota (House Bills 2394 and 2395, Senate Bills 2171 and 2172) attempted to ban the sale of violent video games to children and restrict the public display of these games in specified areas as well. A second bill would require the Department of Children, Families and Learning to report on methods of juvenile access to violent video games and require scientific studies on how these games increase aggressive behaviors in juveniles.






New York (Assembly Bill 8420, Senate Bill 5625) had a proposal to restrict minor’s access to certain video games. The state wanted to establish its own rating labeling system for video games (including those found in arcades), with a second bill forming the Advisory Council on Interactive Media and Youth Violence, the Parent/Teacher Anti-Violence Co-Operative Program, and the Parent/Teacher Anti-Violence Awareness Fund.






Pennsylvania (House Bills 1509 and 1672, Senate Bill 960) would have established its own Video Game Rating Panel and the School Violence Fund. In addition, it would make it an offense to sell or provide a minor with a violent video game.






Washington (House Bill 1315) would have mandated that the Department of Health arrange a report on the most effective method for parents to control juvenile access to violent video games and would have forced the Department of Revenue to conduct research on how to generate appropriate user fees on the rental and sale of unrated video games, those rated Adult or Mature, and those that are already restricted. (Anders, 1999, 272)






All of these proposals were, in essence, attempting to remove power from the Interactive Digital Software Association (ISDA) and the self-regulated Entertainment Software Ratings Board (ESRB) and grant that power to the individual state legislatures (or perhaps the Federal Government itself) because it was felt as though the organization was inept at fulfilling its responsibilities. (The Interactive Digital Software Association, a trade association, was founded in 1994 and had undergone a name change in 2003. It is now commonly referred to as the Entertainment Software Association and established the ESRB also in 1994.) (Anders, 1999).


This sentiment is exacerbated when considering the aftermath of the Columbine School Shootings in Littleton, Colorado on April 20, 1999 which was committed by two gunmen Eric Harris and Dylan Klebold. They murdered 13 people (twelve classmates and one teacher) and wounded 23 others before turning their guns upon themselves. The major relation between this violent act and video games was that Harris and Klebold both played the widely popular game Doom. In fact, Harris created a modified version of the game himself and added elements such as unlimited ammunition and enemies that could not retaliate even when fired upon, thus effectively creating his own victims (Anderson and Bushman 2001, 353) (Anders, 270). The similarities between the nature of the game and the school shooting were eerily similar and raised etiological questions of whether or not the game itself caused such an aggressive outburst. More recently, on December 14, 2012 the Sandy Hook Elementary School shooting in Newtown, Connecticut had rekindled public interest on restricting access of violent games.


As such, these tragic and unfortunate episodes can quite possibly be referred to as “focusing events”, a term coined by Thomas A. Birkland to explain phenomena (examples include, but are not limited to, industrial accidents or natural disasters) that “change the dominant issues on the agenda in a policy domain” and “can lead to interest group mobilization” (Birkland, 1998, 53). Focusing events are sudden and relatively uncommon, are defined as harmful, reveal the possibility of future harms to the public, and are “concentrated in a particular geographical area or community of interest” (Birkland, 1998, 54). He continues to state that these focusing events are exposed to both the public and law makers simultaneously (Birkland, 1998, 54). In fact, the manner in which these numerously erratic shootings arise is reflective of Robert J. Spitzer’s “Outrage-Action-Reaction” model (Spitzer, 2008, 13-15). The Outrage-Action-Reaction model essentially describes how the policy agenda becomes focused on issues after some sort of public outcry (from focusing events like school shootings), the action that takes place is the formation of a new policy, often regulatory in stature, with a reaction from anti-regulatory organizations (Spitzer uses the National Rifle Association in his example, whereas I would argue that the Entertainment Software Association would take on that role). As such, questions are raised as to whether this cycle can produce rational policies, and whether these focusing events are just isolated incidences, or if they are truly indicative of a larger issue. (Spitzer, 2008, 13-15)


Additionally, “groups actively seek to expand or contain issues after a focusing event” as these events are often sporadic and are unique in that they act as “potential triggers” for policy change (Birkland, 1998, 53). Birkland also states that these local events have the capacity to gain national and world attention. As such, outside communities often help to form new coalitions under the premise of preventing future incidents from affecting themselves, as well as others (Birkland, 1998, 55). Thus, concerned educators, parents, consumers, and state legislators, operate as organized interest groups in an attempt to confront the ESRB and ESA and they seek to inform legislators of their concerns.


First Amendment Protection


If there have been numerous attempts to regulate this form of media, why is it that they have all failed? For one possible answer to this question, we must turn to the more recent and monumental court ruling, Brown v. Entertainment Merchants Association (formerly known as Schwarzenegger v. Entertainment Merchants Association, 2011) which struck down a 2005 California law which not only banned the sale of violent video games to anyone under age 18, but required clear labeling beyond the existing ESRB rating system. The law would have created a maximum fine of $1,000 per violation. In addition, it attempted to use a variation of the Miller Test (used in Miller v. California, 1973) to define when certain forms of speech are not protected under the First Amendment. The Miller Test essentially set up a new standard, establishing three major criteria which must be met on all levels, in order for a medium of speech to be subject to legitimate government regulation:


1. “Whether the average person, applying contemporary community standards (not national standards, as some prior tests required), would have to find that the work, taken as a whole, appeals to the prurient interest;


2. whether the work depicts or describes, in a patently offensive way, sexual conduct or excretory functions specifically defined by applicable state law; and


3. whether the work, taken as a whole, lacks serious literary, artistic, political, or scientific value.” - (Miller v. California 1973)






The prurient interest being arousing sentiments of sexuality, obscenity, or other forms of unwholesome desire.


Justice Scalia delivered the opinion of the court and using precedent from a previous case, United States v. Playboy Entertainment Group, Inc., argued that:


“Like the protected books, plays, and movies that preceded them, video games communicate ideas—and even social messages—through many familiar literary devices (such as characters, dialogue, plot, and music) and through features distinctive to the medium (such as the player’s interaction with the virtual world). That suffices to confer First Amendment protection. Under our Constitution, “esthetic and moral judgments about art and literature . . . are for the individual to make, not for the Government to decree, even with the mandate or approval of a majority.” United States v. Playboy Entertainment Group, Inc., 529 U. S. 803, 818 (2000).” (Brown v. Entertainment Merchants Association, 2011).






In addition, the Justice Scalia (rather comically) determined that violence is not obscene and that California’s law could open gateways for further regulation on depictions of violence that could be potentially render publishers (of both video games and other forms of media) into a near catatonic state if left unaltered and he uses the example of iconic fairy tales such as Hansel and Gretel to illustrate the point that although the main characters in that story, children no less, kill their captor by pushing her into an oven meant for them, a moral of not wandering into stranger’s homes is established (Brown v. Entertainment Merchants Association, 2011). Thus, these violent games are not without some merit of value through careful consideration.


Ultimately, the Court acknowledged that “The Video Software Dealers Association encourages retailers to prominently display information about the ESRB system in their stores; to refrain from renting or selling adults only games to minors; and to rent or sell “M” rated games to minors only with parental consent.” and determined that:



“This system does much to ensure that minors cannot purchase seriously violent games on their own, and that parents who care about the matter can readily evaluate the games their children bring home. Filling the remaining modest gap in concerned-parents’ control can hardly be a compelling state interest.” (Brown v. Entertainment Merchants Association, 2011).









The compelling state interest being referred to is most likely the notion of “parens patriae”, a term that literally translates to “parent of the country”; wherefore a state may assume the legal responsibility, care, protection and custody of a child within its jurisdiction. It is essentially the right of the government to take care of minors and youths that cannot take care of themselves, in order to prevent them from future and further harms (Hess, Orthman, and Wright, 6th edition, 2013, 418).

Overall, the issues regarding violent video games (and other violent media for that matter) and the regulation of such, is a hot button issue. Such debate has elements of maintaining equal protections on freedoms of speech, while also protecting citizens and youth from potential stimuli of violence. While significant strides have been made to prevent the sale of inappropriate media to minors through the usage of the Entertainment Software Ratings Board’s criteria, it may be the parents that are ultimately responsible for monitoring their child’s access to violent content.





Annotated Bibliography


1. Anders, Kelly. 1999. "Marketing and Policy Considerations for Violent Video Games." Journal of Public Policy & Marketing Fall. 270-73.


This article is significant in that it provides information regarding policies that were under consideration during the Clinton Administration that are related to violent video games and their distribution to minors. It also provides for a few statistics that demonstrate the past recommended ratings by the ESRB as well as what those recommended ratings represent. Market practices, the Columbine High School shootings, and Federal Trade Commission are mentioned as focal points for consideration. Anders essentially sets up the argument of “parens patriae” as a precedent for policy regarding marketing of violent video games. Essentially, it is the responsibility of the state to protect adolescents from harm.






2. Anderson, Craig A., and Brad J. Bushman. 2001. "Effects of Violent Video Games on Aggressive Behavior, Aggressive Cognition, Aggressive Affect, Physiological Arousal, and Prosocial Behavior: A Meta-Analytic Review of the Scientific Literature." Psychological Science. September. 353-59.


This article also mentions the Columbine High School shooting in addition to a few others that were under investigation as it seemed that an underlying cause of these heinous mass murder events. Then it attempts to relate aggressive behavior, aggressive cognition, and physiological arousal to exposure to violent video games. It also is useful in that it provides a single-episode and multiple-episode version of the General Aggression Model which is significant to my research. I intend to specifically target the state policies mentioned in future research gathering and determine which were passed and those that were not.






3. Bushman, B. J., and C. A. Anderson. 2002. "Violent Video Games and Hostile Expectations: A Test of the General Aggression Model." Personality and Social Psychology Bulletin. December. 1679-1686.


This article from the Iowa State University puts the General Aggression Model through further tests in order to test the expectation of violence in potential conflict situations. Students were essentially asked to play a game for 20 minutes and then were asked what they believed would occur in three story stems and what they believed the main character in each scenario would think, do, or say. They use four different games of each type (non-violent and violent) in order to maintain a control group. What they found essentially was that those that played the violent video games prior to answering these questions would expect a more violent approach than those that did not.






4. Carnagey, Nicholas L., Craig A. Anderson, and Brad J. Bushman. 2007. "The Effect of Video Game Violence on Physiological Desensitization to Real-life Violence." Journal of Experimental Social Psychology 43.3. 489-96.


This academic journal article suggests that video game violence desensitizes people to real-world violence. Researchers conducted experiments and monitored participants’ heart rates and galvanized skin responses. A few of the games used were Mortal Kombat, Glider Pro, Carmaggedon, and Duke Nukem, which were featured in other experiments in the aforementioned articles. Thus, it relevant to the studies correlating violent media (in this regard video games) with aggressive behaviors which, in turn, may lead to violent crime.


5. Desai, Rani A., Suchitra Krisnan-Sarin, Dana Cavallo, and Marc N. Potenza. 2010. "Video-Gaming Among High School Students: Health Correlates, Gender Differences, and Problematic Gaming." American Academy of Pediatrics. e1414-e1424.


This particular article focuses on high school students (which are part of the target age demographic for my argument that violent media should not be advertised to such youths). It differentiates between normal video gaming and problematic gaming. The research was done with gender as a potentially significant variable and with risk behaviors as a potential indicator of poor gaming habits. In addition, the research reflected the market for video games as the data indicated that more males that females play regularly and this may be those females that are attracted to gaming are more aggressive and find it as a recreational activity that allows the alleviation of those tendencies. It shows that females have increa






6. Engelhardt, Christopher R., Bruce D. Bartholow, Geoffrey T. Kerr, and Brad J. Bushman. 2011. "This Is Your Brain on Violent Video Games: Neural Desensitization to Violence Predicts Increased Aggression following Violent Video Game Exposure." Journal of Experimental Social Psychology 47.5. 1033-036.


This research is similar to that of Anderson et al. work in relating violent video games and desensitization but this research takes on a different approach. They research how willing an individual is to inflict pain upon another during a “competitive reaction time task” through sound blasts. They determined that those that had played a violent video game were more likely to inflict longer and more intense sound blasts to their “opponent” (in reality, there was no opponent, just a computer randomly generating sound blasts at different intensities). The data from this adds to the initial findings of the Anderson et al. trial.






7. Federal Trade Commission. 2007. Marketing Violent Entertainment to Children: A Fifth Follow-Up Review of Industry Practices in the Motion Picture, Music Recording & Electronic Game Industries: A Federal Trade Commission Report to Congress. April.


This report essentially provides detailed analysis of the marketing practices and effectiveness of the Entertainment Software Rating Board’s (ESRB) (a self-regulatory organization) rating system. In addition it provides more current information regarding the distribution of those ratings. This information is absolutely crucial to establishing violent media (i.e. violent video games) as a serious domestic policy issue. It rates the overall satisfaction of parents with the ratings system as well as the familiarity of the parents to it and the awareness of the content descriptors.






8. Cunningham, A. Scott & Engelstätter, Benjamin and; Ward, Michael R. 2011.
"Understanding the effects of violent video games on violent crime,"
ZEW Discussion Papers 11-042, ZEW - Zentrum für Europäische Wirtschaftsforschung / Center for European Economic Research.


In this research investigate the relationship between the prevalence of violent video games and violent crimes. The data seems to indicate that violent video games may actually lead to decreases in violent crime. It also utilizes the GAM (General Aggression Model) as a guideline. This article also makes references to the Federal Trade Commission reports for 2009. Granted, the one I’ve listed above is for 2007, it is still fairly recent and pertinent. In particular, this study dealt with the effects of video game sales on violent crimes using time variation in sales data of the top selling games in relation to the violent criminal offenses listed in the National Incident Based Reporting System (NIBRS) for each week starting from 2005-2008.

Wednesday, December 9, 2015

A Year In Review (2015)

Hey everyone! Been absent for a while (got to love the holidays am I right?), but needless to say, I'm back for a brief post regarding this year in gaming. I've gathered a collection of drafted blog posts I wanted to submit earlier this year, but was unable to do so due to time constraints.

E3 2015 Thoughts and Reactions
I started (and ended) my viewing session of E3's live coverage through IGN's app on the PlayStation 4. I was impressed with Bethesda's showcase and not only with the announcement of Fallout 4, but I was also impressed with the announcement of a sequel to Dishonored.

Overall, I'd give it an 8.5-9.0 out of 10.0 (somewhere in-between).




My Destiny: House of Wolves DLC Expansion Review -- (Release Date of HoW: May 19, 2015)


The game itself becomes extremely repetitive as players are forced to complete the same missions over and over again at varying difficulty levels in a rather futile attempt to gain better weaponry or armor. Yet, we don't bother asking "why?" or "to what end?". When players begin to question the elements of the plot, the whole game falls rather flat. For instance, Why does the moon have the same gravity as Earth? Shouldn't Guardians be falling slowly after leaping into the air to dodge oncoming fire?

Outside of the House of Wolves DLC, the voice acting lacks energy and charisma, in particular, that of Peter Dinklage, who voices your Ghost companion.

It's essentially the same as the Wii's Conduit 2 (I give that game a solid 7.0. It's better than the original, 6.5) in that it's a playable game, but with a forgettable storyline and while it may have stunning artistic visual rendering, it falls flat when it comes to providing proper immersion.

What Destiny needs right now:

  1. New Ghost Shells. There aren't any new ones available to players.
  2. Custom private lobbies where players can setup game modes and play without exp. gains and with level buffs enabled or disabled depending upon the host.
  3. Trading option for armor and guns.
  4. Possible racing mode for sparrows? They remind me of speeders from Star Wars so, it would be cool to race on those.

Final Verdict:

7.0/10.0 Par - C Rank Game




RTX 2015 Tragedy

In Hunt County, Texas on Friday August 7, 2015 at approximately 1:50 in the morning, three Virginia teenagers were killed and two were severely injured in a fiery crash on Interstate 30 on their way to RTX. RTX is an annual gaming and Internet convention created by Rooster Teeth Productions held in Austin, Texas, run by Gus Sorola and Barbara Dunkelman. Texas Department of Public Safety spokesman Trooper Kyle Bradford reported that the teens' SUV was struck head-on by a wrong-way driver . An 18-wheeler driving behind the accident could not stop in time and unfortunately, slammed into both the SUV and the wrong-way driver's car. Both vehicles caught fire.


Kyle Mathers, 19 (DECEASED)
Dale Neibaur, 19 (DECEASED)
Holly Novak, 18 (DECEASED)
Kevin DiCicco, 19
Hannah Galbraith, 18

This particular incident was quite an impact for me as I had been in Austin during that time for the very same event. My friend Matthew and I had traveled from Ohio to attend the festivities via car (20 hour drive one way...) so, while I was there, I happened to pick up a newspaper (something you should do whenever you travel) and I learned of the heartbreaking tragedy.

Works Cited
Wise, Scott. (2015, August 7). Police identify Virginia teenagers killed in fiery crash on Texas interstate. Retrieved August 14, 2015, from http://wtvr.com/2015/08/07/virginia-teens-killed-in-crash/

A memorial podcast was setup by the RoosterTeeth staff in order to honor and mourn the loss of the teens as they were making their way to the event.

http://roosterteeth.com/post/51169175

http://roosterteeth.com/episode/rt-podcast-season-1-kevin-diccio

Thursday, June 4, 2015

Gamer Journalism: Pointing Fingers Without Taking Blame

As a gamer, I like to think of myself as among a group of individuals (male or female) that may or may not have a selective interest in virtual media. I've perhaps stated once before that video games are akin to books in that (more often than not) they tell a story of some kind, whether it's simple or complex. They come in a variety of different genres and styles, all with some sort of protagonist and antagonist. It's fair to say that one individual's tastes may differ from another's, but at the end of the day, those that use the medium are all collectively and equally described as "readers" or in this case, "gamers".

...Or so I thought. Apparently within the "gaming community" a storm has arisen. Rather, several storms are on the horizon so to speak, as gaming journalists are under fierce scrutiny as well as the very vulnerable medium itself. On social media, common hashtags have surfaced such as #GamerGate and #GamesSoWhite. (For those unaware of what is trending, there have been numerous political discussions regarding racial depictions in video games as well as sexism in video game culture.)

Essentially, a culture war has been manifesting over gaming culture diversification, artistic recognition and social criticism of video games, which all incorporate a gamer's "social identity". 

Gamergate for instance, was the result of a sustained campaign of misogynistic attacks back in August of 2014 against game developers Zoe Quinn and Brianna Wu, in addition to the feminist cultural critic, Anita Sarkeesian, who were subjected to severe cyber-bullying and multiple death threats. Now, while some individuals using the #gamergate hashtag have stated that their goal is to improve the ethical standards of video game journalism by peacefully opposing social criticism in video game reviews (which they claim is the result of a conspiracy among feminists, progressives and social critics) others have used more distasteful methods. It's become somewhat frustrating (as well as downright exhausting) as some gamers view this phenomenon as a detour of legitimate gaming reviews focused primarily on the premises of the games themselves while others view this as a rather valid critique.

The most recent trend has been about the depictions (or lack thereof) of minority characters in video games. I tend not to dwell too much upon how many minorities are visible in a video game (despite being a minority in real life), but every now and then, I'm reminded of the panel on Politics in Video Games I attended at ColossalCon back in 2012. That panel discussed many subtle issues in many of the games I played. I typically will create characters (whenever possible in a customizable game) reflective of my own racial skin tone, but for the most part I feel that it's mostly aesthetic and has no bearing on how I play the game. My skills tell the tale, not how my protagonist looks.

One troubling thought that never occurred to me prior to that panel was the fact that the protagonist of the Legend of Zelda franchise, Link, was a blonde haired, blue-eyed character that could have been easily associated with the Aryan race along with Princess Zelda, while Ganondorf, the antagonist (and the only male minority Gerudo character) was not, and was considered "evil" (In some of the games, he's merely jealous of Hyrule's prosperity and acted out of envy. One game in particular, The Wind Waker, comes to mind.) More often than not, there are few, if any, meaningful minority characters at all in a majority of video games. Most of the time, players are playing as a Caucasian male. This is certainly not reflective of the times. That's not to say that there should be mandated quotas, but some ethnic diversity is more than welcome.

Nonetheless, it has sort of popped my proverbial "bubble" in the fantasy realm. I now look at some of my games through a begrudgingly tainted perspective. A once enjoyable escape from the harshness of reality, has now become grossly entangled in its grasp.

As a political science graduate, I can obviously see the correlations between my favorite pastime and politics. However, as such, it truly pains me to see how hostile and divided the gaming community has become. I like to view the personal and political aspects of life to be somewhat equal, but separate entities (much like the separation of "Church & State"). There may be a bit of a spillover effect from one end to the other, or vice-versa, but too much of one aspect without consideration for the other can, and often will, produce disastrous results.

I suppose what I wish to happen is a tolerance AND a formal acknowledgement of the cultural and ethical dilemmas posed in video games, at least for now (that is, until gradual improvements have been made). Change will not happen overnight. In addition, many folks are not as tolerant of change as others (which is fine, to an extent). Yet, what players & journalists need to realize is that the industry itself is only one facet of the problem, while the consumers themselves are another. Both are at fault, as I see it, because consumers have the power to boycott those products that they don't agree with, thereby forcing developers to re-evaluate their content in order to produce a worthwhile product. (I've done so myself countless times).

I hope that as the dust settles, we can get back to discussing the plots and storylines of games rather than being so enamored with the political miasma of a game. Games are meant to be thought-provoking, amusing, and enjoyable...not capable of inducing undue burden.

Friday, May 8, 2015

Splatoon Global Testfire

In the upcoming title Splatoon, players will be shooting colorful ink blots at opponents as well as surfaces, which the player characters, known as "Inklings" can swim through, in order to hide from enemies, increase movement speed, or climb up walls. In the online multiplayer mode, two teams compete to cover the map in most of their color of ink. In the single-player campaign, the player infiltrates an enemy octopus army that uses its own arsenal of various ink weapons.

During a very special Nintendo Direct presentation, Nintendo announced the Splatoon Global Testfire, an open beta test for the upcoming Wii U action-shooter game.



For those interested in participating, you must download the beta demo from the Wii U eShop, which is available now. Splatoon’s Global Testfire will run during specific dates and times in the United States. These times are listed in the schedule below:

May 8 from 8:00 P.M. - 9:00 P.M. PT / 4:00 - 5:00 A.M. GMT / 11:00 P.M - 12:00 A.M EDT
May 9 from 4:00 A.M. - 5:00 A.M. PT / 12:00 - 13.00 P.M. GMT / 7:00 A.M. - 8:00 A.M. EDT
May 9 from Noon to 1 P.M. PT / 16:00 - 17.00 P.M. GMT / 3:00 P.M. - 4:00 P.M. EDT


Participants that work for Nintendo will have their Inkling avatars wearing Lab Coats during the event. Nintendo has not indicated any additional dates or hours for the worldwide Splatoon Global Testfire at this time.

The Nintendo Direct Presentation revealed a plethora of information regarding the central hub, Booyah Base. It also provided an in-depth look at the vendors and types of equipment available for purchase. The Splatoon Amiibo set will unlock three NES-style mini-games when the game launches on May 29, 2015.

Friday, February 20, 2015

The Practice of DLC & Why I Despise It

I think the most appalling practice that has come to fruition from the video game industry is the incorporation of Downloadable Content or micro-transactions for current titles. As a veteran gamer, I find it a little bit absurd that games have not only gone up in price since my youth (from a standard MSRP of $49.99 to $59.99), but I also find it cruel to have games now with a lack of content that is added after the initial release that the owner is required to pay for.

I understand and can sympathize with companies trying to get games out as soon as possible in order to meet deadlines and gain revenue, but now this trend has become commonplace without anyone really questioning why they're tacking on these added fees for content that is typically not worth the investment. If anything, publishers should just make the full game come out with all of the bells and whistles included.


To me, it seems as though DLC detracts from the overall experience, especially if other players want to discuss their experiences. It ostracizes those that either choose not to (or can not) purchase the DLC for the game their friends are playing. Often times, if the game has a multiplayer online feature, the DLC is required to play on certain maps (or stages) or it is required to equip special items for use. Those that do not have such content, cannot play with those that do. In some instances, it can be game breaking as certain add-ons disrupt game balance. Regular maintenance and patches can regulate this problem but it is still one that shouldn't exist in the first place.

In some instances, publishers have even put additional content (that could have been DLC) on the game disc itself, which the consumer can unlock buy spending additional money. Which means that the content is already on the disk. Therefore, my argument is that the practice of selling DLC is an exploitation of what should already be provided to the gamer. Essentially, publishers are using DLC as a way of increasing the price of games arbitrarily while being relatively inconspicuous about it.

With the current minimum wage being $8.15 per hour (in Michigan. I'm using them just as an example) and games roughly being $60.00 (not including tax & other fees), it would take approximately eight hours to earn enough to purchase one game. It would be a fairly reasonable argument to state that the game should have at lease that many hours worth of entertainment for the value. Yet, gamers are getting a fraction of what they pay for.

When a consumer sells a game, the purchased DLC isn't included with it, and the new owner will have to purchase all of that content over again. From the publisher's perspective, that means they're finally making some money from a used game sale. From the player's point of view however, it means there's no way to recoup any amount of the money they may have spent on their DLC. This make a game substantially less valuable in the long term.

Now, that's not to say that all of the downloadable content is absolutely vital to a game. Some of the extras sold are secondary to the game itself or not deeply impactful to the main storyline on a large majority of games. However, overall, they are meant to enhance the game and further the development of certain subplots or elements to it. As such, it seems like a sucker punch to those that are driven by deep meaningful gameplay experiences and those that want to view games as a form of art (like a book). Imagine your favorite novel asking you to pay an additional $19.99 for enhanced backstories about certain characters or for more descriptive text about the scenery depicted in the chapter. It seems rather ridiculous as it shatters the immersion of the player. It just seems like a downright manipulative practice.

Tuesday, March 4, 2014

Wii U Call of Duty: Ghosts - The Dead DLC Has Risen and It's Free(Fallin')!!!

The Wii U FINALLY has the FreeFall Map as of March 4, 2014.

@A_Trey_U posted at 4:26 PM - March 4, 2014: "Free Fall is now available to Wii U players in #CODGhosts and has been added to various playlists!"

This is the original YouTube Trailer that was shown for the PS3 and Xbox 360 version:


The map is absolutely free and comes with an update. You can see all the details of the most recent update here.

It's a 130 MB download for the Free DLC Map Free Fall and it's mandatory in order to play online multiplayer. All I can say is that it's about time that Treyarch and Nintendo got their acts together. For a VERY long time, the Nintendo versions of Call of Duty titles have been absent of downloadable content and maps from Treyarch/Infinity Ward/Activision. Now players can breathe a small sigh of relief that they'll be able to at least try one of these nearly exclusive stages. Hopefully, this will be a stepping stone towards future third party support and integration. Nintendo desperately needs all the help it can get right now.

Thursday, February 20, 2014

One of Swords: Playing With Swords: COD Ghosts Game Day


One of Swords: Playing With Swords: COD Ghosts ... | Community

It looks like on Friday, February 21 from 6pm PT to 8pm PT (9:00p.m. -11:00p.m. EST) there will be an event hosted by OneOfSwords (That's his Nintendo Network ID) for Call of Duty: Ghosts on the Wii U. The link is enclosed above if you are interested. Basically it will be friendly matches in core objective playlists, mostly Domination.

Now, I know for some of you this is a bit short notice and I do apologize, but this knowledge did not come into my possession until this very morning. The original post was made on Feb 18, 2014 5:35:16 PM and wasn't brought to my attention until today. Nonetheless, I will try myself to make an appearance online if time permits. My Nintendo Network ID is Supergamesniper9.

You can follow Treyarch specifically for the Wii U version of Call of Duty: Ghosts on Twitter by following
@A_Trey_U

Thursday, January 16, 2014

Mech Check, Testing, 1, 2, 3!!!

No, that's no typo (it's more of a pun on how often I come up on the Internet blog stage to talk to you all...I'm making sure the "mic" or "mech" in this instance is still working). I'm excited to be talking today to you all about another Kickstarter campaign I've stumbled across on my news feeds. It's called Project Nimbus by KISS Ltd. and it's about mechanized robots which are essentially humaniod machines controlled by human pilots (often for the purpose of warfare or competitive combat).

Project Nimbus


I've always loved the giant robot/mecha genre in both movies and games but the latter of the two is sort of lacking in terms of production.

For me, the last game that I personally owned and played with that dealt specifically with robots in a free-roaming-like environment was Custom Robo Arena (released in North America on March 19, 2007). It was a fun game but Nintendo hasn't published another installment to the franchise and to me, that's a little bit disheartening because I (and many others I'm certain) would really enjoy a new game either on the Nintendo 3DS or Wii U (preferably on both).

Nonetheless, Project Nimbus will be a "high speed mech action game set in a post apocalyptic world. Players control 'BattleFrames' - humanoid battles suits armed with an arsenal of weapons."

When they say "High Speed", they're not kidding around!!!
The game is apparently set in the late 21st century (known as the "Age of Sky"); taking place decades after a massive war broke out which decimated the entire surface of the Earth, causing it to no longer be able to sufficiently sustain human life. Thus, mankind had to take refuge in the heavens.


The world (or perhaps the skies) are divided into three different factions; each possessing its own orbital elevator that generates energy to keep the flying cities stable.

Players fly freely in the sky, dodge and intercept incoming missiles with machine guns and particle blades/beamswords, fighting colossal armies with the power to annihilate nearly anything imaginable, all while engaging with many ace BattleFrame pilots, each with their own unique, individualistic fighting styles and backstories.



The game seems to be reminiscent of Zone of the Enders (Konami, 2001) with its level of control in a three-dimensional environment. However, unlike Z.O.E, you can replay any of the cleared story missions with all of the BattleFrames you have encountered in your campaign. That means that your allies and the various enemy BattleFrames are available to pilot, from the grunts to even the ‘boss’ BattleFrames. Every ace pilot’s personal machine can be yours for the taking.



As of this post, the project will be funded on Saturday Jan 25, 10:03pm EST (it's currently raised £9,939 of its £6,000 goal). However, the development team as some pretty sweet stretch goals that it's trying to reach. (I've got a snapshot of them here for you to take a look at.)




The game is being made in Thailand (which is why GameCrafterTeam noted that the initial goal was so low. The cost of living in Phuket, Thailand (I laughed at that name.) is apparently much lower than in other locations). So their £6,000 goal converts to approximately $9801.60.

The game will be available on STEAM and may have multiplayer functionality later on (I'm REALLY banking on that feature. It seems almost a necessity for this genre). So, if you'd like to contribute, please visit the Project Nimbus Kickstarter Page.