Splitting Kill Bill into two movies made a shitload of money for those in a position to profit. How much more? Considerably more. Hundreds of millions of dollars more when you count home video and cable and everything else.

In terms of raw value I’m of the opinion that both Kill Bill films had more in them to see and to like than the vast majority of well funded studio releases. That in and of itself isn’t exactly saying much considering the vast majority of well funded studio releases are pieces of litter floating by your passenger side window as you fly down the road, but, point being: neither of them felt like you got totally jipped exactly. It wasn’t that you were getting less per se, it was that, in the opinion of this moviegoer, you weren’t getting a complete experience/flick/thing either time you plunked your ten bucks down.

How important completeness is feels like a fuzzy personal matter. I don’t think this is the time or place to broach this particular Pandora’s box but let’s say for the sake of argument that it’s real important—which I believe it is. How are we to feel when Tarantino and company ask us to pay twice for two incomplete experiences. Hey Seth, this is show business, show business. There’s no show without the business. OK. But how fucking far does that go. Commercial art sure, it’s a balance right? But selling two halves of a whole without ever feeling the satisfaction of a complete experience is in my mind: criminally unacceptable. From an artistic perspective. Balance yes, absolutely, but this wasn’t it. In contrast I’m sure the bean counters loved it. Went home and played with themselves under the covers staring at an excel printout with a flashlight loved it.

For punctuation to this story of artistic degradation Tarantino again toe in toe with his money grubbing benefactor (and currently towards the end of a free fall of failure) Harvey Weinstein recently released their new film Inglorious Bastards (one volume this time) at the Cannes film festival. How did it do? My favorite entertainment reporter Anne Thompson named it 10th on her list of Cannes Ten Best Films and it didn’t win no Golden Palm.

This story is probably old hat to most of you but try this on for size: Valve Software is doing almost the exact same thing with Left for Dead except this time the halves aren’t even full size. You’re actually getting two fifty minute segments of kung fu over here and expected to pay full price twice.

Those who know Valve know they like the idea of episodic content. Seems like a good idea right? They tried it with Half Life 2 and it didn’t seem to work out so well in the sense that, well, they never got around to producing the episodic content in a timely manner which was supposed to be the whole point of it really. At least for the time being it looks as though they have given up on the Half Life front as they put their weight behind Left for Dead.

When Valve released Left for Dead Vol. 1 at the full $60 console price no one could deny it was light on content. The multiplayer and AI was so good though it was mostly forgiven. But now, here’s the kicker, they’re releasing the rest of the game, exactly one year later, and though no pricing details have been announced I bet dollars to fucking doughnuts it’s going to be full price again. You know what else they’re thinking of doing? Releasing the original LFD campaigns with the ‘sequel’ so you’ll have it all on one disc. Makes sense right?

No one makes a full release AAA first person shooter in one year. It simply doesn’t happen. The standard even for assembly line sequels from behemoths like Activision is two years. Only sports titles dare to expect you to pay that much dollar per incremental addition and they are only able to get away with that due to the nature of their domains. Bean counters get stiffies thinking about sports franchise revenue spreadsheets I’m sure.

Valve still likes the idea of releasing episodic content. Only caveat is they want you to pay full price for each release. Taking a page from the film industry playbook they are likely to ask you to pay for the same content twice, including the first half of their game on the same disc as the second half. You tell me dear reader, is this reasonable? This is a capitalistic system right? Who is anyone to judge them for trying to make as much scratch as they possibly can? Maybe I’m seeing it all wrong. For the moment from where I’m sitting it looks like a bullshit money grab from a company that isn’t known for pulling bullshit money grabs.

A CD appeared in the mail today. A while back I helped the folks at Third Ear JPN Ltd. with licensing for the image from the Computer Space flyer on coinop.org – which worked out nicely.

Nutting Associates has been defunct since 1973/1976 depending on who you talk to, and I am fairly sure that Bill Nutting passed away in July of 2008 (RIP) so Nolan Bushnell was contacted directly. Nolan was the founder of Atari and Chuck E. Cheese, and was half owner of Nutting Associates, producers of Computer Space. He happens to be a cool guy and gave permission himself, who knows how that all works legally, but hey it sounds good. The result is this fine looking CD cover:

8bit Project - Spicy Innovator vs Superior Marionette (2009)

8bit Project - Spicy Innovator vs Superior Marionette (2009)

Now that’s a fine looking CD cover. If you’re into the whole 8bit music scene, check it out. It was released in Japan on April 29th, 2009. If you want to obtain it, you can do that on Amazon.co.jp. It’s 8bit, and it’s mono. Enjoy!

All achievements, all the time.

http://armorgames.com/play/2893/achievement-unlocked

I received an invitation for the Quake Live closed beta, so I thought I’d give it a whirl. Here’s what it looks like on my Dell XPS M1330 laptop with 2.0GHz Core 2 Duo, 64bit Vista, 4GB RAM and whatever form of Nvidia 8400M graphics it has with 128MB dedicated graphics memory (sorry about the lack of sound):

YouTube Preview Image

To run Quake Live you have to install either an ActiveX control or in the case of Firefox, you actually download an installer and run it, then hit the site from your browser. This begs the question: Why?

As in, why do this? Since the code and assets are being downloaded and refreshed on a continual basis, why bother with the browser at all? Why not do what a million MMOs and things like Second Life do, just install a basic client and go from there? What they’re doing is not that different from, I dunno, Puzzle Pirates. So why bother with the browser overhead and screen real estate issues that arise from deploying this way?

People were trying this back in 1996 before everyone realized this was a bad idea. Why revive it now?

I’m all for a version of Quake that you download and install, free, and it caches the assets locally, like Second Life or Puzzle Pirates. If you’re going to make me install code, just put it in its own window.

Here’s a cool article about the Pinball Hall of Fame on the Joystiq site.

http://www.joystiq.com/2009/02/06/joystiq-visits-the-pinball-hall-of-fame/

There was an old video game museum in St. Louis.
It closed a number of years ago, but information has been preserved on my coinop.org website:

http://www.coinop.org/features/coinopmuseum/

There was also a great traveling musuem of older video games called Videotopia, though it looks like they haven’t been doing much since 2003.

http://www.videotopia.com/

Crestfallen I am when a creator I respect falls short. Body of Lies, the Ridley Scott made middle east trying to be heady thriller/intrigue/action flick was written by William Monahan—the ridiculously brilliant writer who penned The Departed. Did I mention he won on Oscar for that? Yea. Even though the Academy nails winners like an elderly blind man in the late stages of multiple sclerosis hits a dart board’s bulls eye it’s worth mentioning because hey, it’s an Oscar.

I loved The Departed. I dug the way it was written, directed, cut, shot, all of it. Mark Wahlburg was fucking awesome. Just a great film. The writing in particular though was really well done. Dense, funny, fast, William Monahan immediately became one of my favorite working writers. His follow up? Body of Lies, out on Bluray February 17th.

OHYEAHH!!

OHYEAHH!!

In thinking about what makes stuff ‘good’ or more accurately why I like or dislike a particular thing I often fall back into that catch all word: interesting. Body of Lies, especially the first two acts, just isn’t all that interesting.

Big Bang Mini on the other hand, the SouthPeak Games published Arkedo Studio developed DS actioner is interesting. No long ’story’ intro full of next, next, next. No confusing control schemes or long expansive corridors of repeating monotonous patterns. Just a short tutorial on you’re on to blowing stuff up. And it’s fun. I was a fan of the SouthPeak published Ninjatown also on the DS so I’ll be looking forward to seeing more from this crew. Nintendo may have ultimate bragging right for selling bazillions of systems but the fact is their bazillion systems don’t have many good games out to actually play on them. Every time I get my hands on a good game for a Nintendo embossed box I feel like I just caught some sort of magical fairy or something, bright flickering moon beams shooting through interlocking fingers as I peer into clasped hands at my exotic prize.

So what is ‘interesting’? Why does one piece of media or person or moment pull us in and another inspire continual watch checking and mind wandering? I believe that’s out of scope for this particular entry but an interesting question to percolate on anyway.

This studio:

http://www.ruffiangames.com/

Is comprised of these people:

http://www.ruffiangames.com/profile

Note that a lot of them worked for Realtime Worlds on Crackdown. Note that they have signed with a major international publisher yada yada.

Crackdown 2? Holy crap, please?

Fable II was addicting. So was Crackdown. Fallout 3 not so much. And Mass Effect I didn’t care for when it came out, but I’ve sort of come around on that one. I think I know why this is the case.

Let me back up for a moment. When I first saw Crackdown, I was like “Oh look, another GTA III clone.” When I played it, this was obviously not the case. It was much more some kind of super-agent platformer. Sure, it had that sandbox-y thing going on, and it had guns, but there was something very different.

These go in the _good_ column.

These go in the _good_ column.

This game was so polished, and the rewards were doled out so just right, that I actually sold my initial Xbox 360 because I felt it was ruining my life. I was literally unable to stop myself from playing.

Every time you leveled up an attribute of your character, you gained access to a bit more of the map, but in a completely different way from a game like GTA. Instead of some section of the city suddenly opening up, you instead were a> powerful enough to go to another part of the city without being killed instantly, and b> vertical areas open up when your strength increases. You were always welcome to try going elsewhere in the city, but the bad guys made mince meat of you if you were to weak. It was far more elegant than just having a row of police blocking a bridge for days and days for some bogus reason.

Because of this, it never felt like there was some huge event that you would get to and then turn it off. There was always something just a little bit harder around the corner, another attribute to level up just a little bit more, and another achievement to unlock just around the corner. Very good formula.

Along comes Fable II, and it’s very similar in that manner. It also shares something with Crackdown which I happen to think is really, really good. When you shoot with a gun, your gun skill goes up. If you use a melee weapon, your melee goes up. If you keep doing things that involve strength, your strength ability increases. In other words, they’re both RPG-like action games that don’t turn you into some kind of stats machine. The experience that you earn doing different things are reflected in related abilities automatically.

Meh.

Meh.

Contrast that with a game like Fallout 3. I really wanted to love Fallout 3. I ended up kind of hating it. The Pip-Boy 3000 drove me nuts after a while. Even though the Fable II interface isn’t great, you didn’t spend half the game with it up on the screen, changing weapons, micro managing health, and putting points into abilities, because they brought certain parts of it up to the top. In a battle, for instance, your d-pad actions change and are shown onscreen. If you’re hurt, things you can heal with are shown there. And more importantly, you were never assigning earned points to categories. I think if Bethesda had automated the experience/skill end of things in Fallout 3, it would have been much more enjoyable.

Crackdown and Fable II are games where you role-play. You’re a special agent, or a hero of olde. You go out into the world, and you do things. You find or buy things, and you do things that take skill to do. And in both games, your character changes to reflect what you’ve done.

Fallout 3 is some kind of throwback meta-game, where you aren’t really role-playing. Instead, you’re playing god to another character by sticking numbers into categories. In Fallout 3 I can go out into the wastes and do nothing but kill people with small guns and gain enough experience doing that to level up my character 3 levels. And when presented with the “level up screen” I can use all those points earned to increase my lockpicking skill. Suddenly my character is really good at lockpicking without ever picking a lock. Why? It doesn’t make sense.

I’m firmly on the side of Crackdown / Fable II on this one.

At the beginning of this post, I also, seemingly randomly, brought up Mass Effect. It wasn’t random. When I first played Mass Effect, with the default options, I was playing the micromanage meta-game. When I started replaying it last week, from scratch, I realized there was an option to auto-assign attributes when leveling up. The game is 500% more fun. It lets you focus on playing the role, instead of constantly having to manually make decisions about where earned experience points are assigned. The more you do something, the better you get at it. Like life.

And yes, I know games aren’t (and shouldn’t be) real life, but I think that the believability and immersion indexes go up dramatically when this type of character evolution happens automatically, based on your actions.

Me: Feverishly trying to get the Completionist achievement but constantly thwarted by my lovable dog’s lack of Backflip ability. I don’t like to get up early, so I missed getting to the Pub for happy hour.

You: A compulsive gambler with an extra book to teach my canine, or just a collector of 25-digit tokens. You fancy yourself in Spartan Armor, but are not part of the exclusive club.

FR: Minimalist360

Let’s meet near the bookstore in Bowerstone and fulfill each other’s dreams!

You can also contact me here. Looking forward to meeting you!

burnout
Burnout Paradise is a game I played a whole lot when it came out. It’s also a game that I haven’t sold off because of the amazing downloadable content that Criterion has supplied, all free.

Since most of my gaming happens on the Xbox 360, I have also racked up a bunch of achievements, as of right now 850/1050 gamerpoints worth. The achievements that I haven’t obtained out of the core 1000 are for anything related to Burning Routes. There is one burning route per model of car, and it involves just hauling it open-throttle style across the map from some point A to another point B, usually set far apart.

There are a few reasons that I haven’t done these. One is that I didn’t do any burning routes as I advanced my license, and now that’s pretty much all I have left. Completing a burning route, driving back to the garage, changing cars, driving to the starting point for that car’s burning route, then repeat for 80 or so cars. Since I’ve completed everything else in the game, I can’t really work it into gameplay, so it’s really tedious.

Another reason is a combination of two things. One, Burning Routes are hard, one crash and you’re liekly not going to do it. Two, there is no restart option.

Imagine that for a minute. You get in a car, do a long race across this gigantic map, and near the very end someone pulls out in an intersection and you crash. Now that you’ve blown it, you have to just sit for a moment until the game registers that you’re no longer interested, or go to the finish line and lose. And then you have to drive all the way back across the map to the starting point of the Burning route and start again. It’s torture.

Some people defend this game design decision by saying that it fits in with the open world philosophy and that anything else would be “jarring” or some other mealy-mouth fanboy crap. However, when an online race starts all players don’t have to go driving to the starting line, instead you’re suddenly warped to the starting line from wherever you are, and no one seems to complain about that.

Anyhow, I think it’s crap, and I’m not the only one.

Crashy Smashy image by JackBlade

Crashy Smashy image by JackBlade

Criterion is finally addressing this in one of two downloads available February 6th. One of the updates is the Party Pack, which is paid content and will add some kind of crazy festive party mode.

The other update, the free update, adds the forementioned restart. It also tweaks car handling and some of the game modes so they’re more balanced. For instance, the Stunt Run counter has been tweaked to start off slower and then speed up with each multiplier. Like all change, this will likely upset a large number of people and result in flamewars in many forums.

I might just dust off my copy and finish up those Burning Routes and get my Criterion license now that the game has been fixed.

Anyone is welcome to FR me on the Xbox 360, my gamertag is Minimalist360.